SCIENCE AND ART DEPARTMENT 
 OF THE COMMITTEE OF COUNCIL ON 
 EDUCATION. 
 
 SCHOOL OF ART 
 
 tosfda. 
 
 Presented to_s/..(l.CL r.UJL4A^ 
 
 for success in the Jdvanced Section of the Course of 
 Instruction in Art, 
 
 BY ORDER OF THE LORDS OF THE COMMITTEE OF 
 THE PRIVY COUNCIL ON EDUCATION. 
 187 ~ 
 
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THE J. PAUL GETTY MUSEUM LIBRARY 
 
 Ftoiv ^^'^ ^ ''^^'^ry of 
 
Digitized by 
 
 the Internet Archive 
 
 
 
 in 2014 
 
 
 
 
 
 
 https://archive.org/details/dictionaryofartiOOredg_0 
 
A DICTIONAEY OF ARTISTS. 
 
LONDON : PRIXTP:D BY 
 bi'OTTISWOODK AXI) CO., NEW-r.TRERT SQUA1:1 
 ANU PARLIAMENT gTllEKT 
 
A DICTIONARY OF ARTISTS 
 
 
 OF THE 
 
 ENGLISH SCHOOL: 
 
 PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS 
 AND ORNAMENTISTS : 
 
 WITH NOTICES OF THEIR LIVES AND WORKS. 
 
 SAMUEL HEDGE AVE, 
 
 JOINT-AUTHOR OF 
 
 • A CENTURY OF PAINTERS OF THE ENGLISH SCHOOL.' 
 
 * A painfull work it is, I'll assure you, and more than difficult, 
 wherein what toyle hath been taken, as no man thinketh, so no 
 man believeth, but he that hath made the trialL' Ant. a Wood. 
 
 N 
 
 LONDON : 
 
 LONGMANS, GREEN, AND CO. 
 1874. 
 
 BY 
 
 AU rt'jhts re.'^errrd. 
 
M. KNOEDLER & Co.. Inc. 
 
 34, ST. JAMES'S STREET, 
 S. W. 1. 
 
 L I B Fi A R Y 
 
 THE GETTY CENTEf 
 
 LIBRARY 
 
PREFACE . 
 
 This work was commenced upon an experience of the little 
 information readily attainable respecting the Artists of the 
 English School. For some years several special opportunities 
 which arose have been diligently used, and every means taken, to 
 collect such facts as might be obtained : but it was painful to 
 find how little was known, or could be learnt, of many who, in 
 their own day, if not in ours, had been distinguished, andhow often 
 the few facts which in some cases still existed were at variance. 
 While it cannot be assumed that this work is free from errors, or 
 that all who ought to find a place have been included, it will be 
 a great satisfaction to the author to correcb hereafter any 
 mistakes or omissions that may be kindly pointed out. 
 
 A succession of native artists may be traced from the time of 
 Henry YII., many of whose works exist, and are prized ; while 
 of the artists themselves, the few facts which in some cases have 
 been preserved, are beyond the reach of ordinary means of 
 reference. The collected art-biographies we possess are general, 
 and the notices of our' doailtry cnen which are included in them 
 seem rather the result of chance than of any effort to attain 
 completeness. 
 
 The present work appears to be the first to combine, in a dic- 
 tionary form, some account of the Artists of the English School 
 exclusively, and to include the Painters, Sculptors, Architects, 
 Engravers, and Ornaraentists ; and the number who have been 
 thought deserving a place is probably ten times greater than will 
 be found in any other work. The materials have not only been 
 collected from all the ordinary sources of reference, but much 
 information has been sought in out-of-the-way places, and has 
 been the result of private and personal enquiries. 
 
vi 
 
 PREFACE. 
 
 The aim of the Compiler has been to include the name of every 
 artist whose works may give interest to his memory, whether to 
 the lover of art, the art- collector, or the antiquary. The limi- 
 tation to the Artists of the English School has not been followed 
 so strictly as to include only those born in this country. Many 
 foreign artists who came to England in their youth, learnt their 
 art here, practised it here, and died here, could not be omitted ; 
 nor could, indeed, some others whose title to insertion may not 
 be so clear. But in every case foreign artists who held any 
 public appointment or employment here, or who have been 
 connected with the art institutions of the country, have been in- 
 cluded ; though, in taking this course, it is not necessarily intended 
 to claim such artists as of the English School. 
 
 Regarding the scope of the work, it may be objected that the 
 names of artists have been inserted who have left little by which 
 they merit remembrance. Possibly so. But, on the other hand, 
 it is not the artist alone of whose works and memory there are 
 ample records, so much as the obscure and forgotten, whose 
 works are rarely met with, of whom information is desired, and 
 frequently sought in vain. Also in the scale of the memoirs, 
 of an indifferent artist information may abound ; of one of 
 eminence, concerning whom every fact would be valued, the 
 particulars which exist are meagre in the extreme. The time 
 seems past when they could be supplied, and the few facts given 
 are all that in many such cases it appeared possible to save from 
 oblivion. 
 
 Of the early architects, the names of the chief of those are 
 included which appear in many documents under the title of 
 * Devisor,' 'Supervisor,' 'Director,' 'Master Mason,' 'Clerk of 
 the Works,' &c., some of whom held high Church preferment. 
 But the doubts often expressed are fully shared by the author as 
 to hov/ far such officers may claim the distinction of architect, as 
 the name is now applied, of many of the noble early works which 
 have been attributed to them. 
 
 In the alphabetical arrangement, all names with a prefix have 
 been classed under the initial letter of the prefix. Thus names 
 commencing Vmi, Von, Van der, Von der, Le, La, Be, Di, Delia, &c. 
 have been subjected to this arrangement. They refer chiefly to 
 foreigners or their descendants, and it will be found that when 
 
PREFACE. 
 
 vii 
 
 such names become acclimatised, the prefix is naturally absorbed 
 in the proper name, and no longer maintains its separate form. 
 In the orthography of names, which hardly became settled till 
 nearly the middle of the last century, the most recently accepted 
 spelling has been adopted. 
 
 The Author received, in the progress of this work, so much 
 kind assistance, not alone from friends, but from many others of 
 whom he solicited information, that he regrets he is only able to 
 acknowledge generally the valued help given to him, and the 
 great obligations he is under. 
 
 Kensington : 
 
 November 1873. 
 
DICTIONAEY 
 
 OF 
 
 ARTISTS OF THE ENGLISH SCHOOL. 
 
 NOTE. 
 
 Royal Academy of Arts, London : P.EA., President ; R A., Royal Academician ; A.R.A., Asso- 
 ciate ; A.E., Associate Engraver. 
 
 Royal Scottish Academy, Edinburgh : R.S.A., Royal Scottish Academician ; A.R.S.A., Asso- 
 ciate ; H.R.S.A., Honorary Scottish Academician. 
 
 Royal Hibernian Academy, Dnblin : R.H.A., Academician ; A.R.H.A., Associate. 
 
 ABBOT, J. W., amateur. Practised 
 about 1760. He drew landscapes in tlio 
 manner of Peter de Lair, and etclied. He 
 also painted insects, and tliero is a small 
 otcliing by him of some merit. He was 
 honorary exhibitor of landscapes with cattle 
 and ligurcs at the Academy from 1793 to 
 1810. A landscape and cattle in oil, ex- 
 hibited 179^5 received great contemporary 
 praise. 
 
 ABBOT, Henry, landscape falnier. Prac- 
 tised in London. Drew in 1818 views of 
 the chief Eoman ruins, with the panoramic 
 environs of Rome, which he published. 
 
 ABBOTT, Edward, landscape painter. 
 Lived many years in Long Acre, where he 
 was eminent as a herald and coach painter. 
 He also painted landscapes in a pleasing 
 manner, and travelled in France and Italy 
 with Wynne Ryland, the engraver. In 1782 
 he retired .to Hereford, where he practised 
 as an artist, and died, after a long illness, 
 November 11, 1791, in his 54th year. 
 
 ABBOTT, Francis I;emxjel, portrait 
 painter. Born 1760, in Leicestershire. Son 
 of a clergyman in that county. At the age 
 of 14 became the pupil of Frank Hayman, 
 who dying two years after, he returned to 
 his parents, and by his own perseverance 
 attained the power of taking a correct like- 
 ness. About 1780 he settled in London, 
 and gained reputation and employment. He 
 first exhibit k1 his portraits at the Academy 
 in 17C3, aga'n in tie following year, and 
 then not till ] 798. He exhibitecl the last 
 time in 1800. Lord Nelson sat to him bc- 
 veral times ; and his practice greatly in- 
 creasing, he would not, as w^as then the 
 custom, employ an assistant. He was over- 
 whelmed with engagements which he could 
 not complete, and that anxiety, added to 
 the domestic disquiet arising from an ill- 
 assorted marriage, brought on insanity, 
 which terminated his life early in 1803. His 
 
 portraits have been engraved by Valentine 
 Green, Skelton, AValker, and others. There 
 is a half-length portrait of Nelson by him 
 in the gallery at Greenwich Hospital, and 
 a whole-length of Admiral Sir Peter Parker. 
 His merits were limited to the he/id ; his 
 male portraits, in particular, were perfect 
 in resemblance and the finish well studied, 
 but his figures were insipid, his backgrounds 
 weak ancl tasteless. 
 
 ABEL, John, architect. Practised with 
 some distinction in the reign of James I. 
 The Town Hall and Market-house at Here- 
 ford (1618-20), at Brecon, and at Weobly, 
 are from his design, as also the School-house 
 at Kington and at Leominster, 1663. These 
 buildings were handsome erections in wood, 
 showing much constructive ability ; but 
 where they remain, repairs and alterations 
 have deprived them of their original cha- 
 racter. He held the appointment as one of 
 Charles I. 's carpenters. He died 1694, aged 
 97, and was buried at Snaresfield, Here- 
 fordshire, where, on his tomb, he is styled 
 ' architect.' 
 
 ABEL, Richard, medallist. He was a 
 goldsmith, and was in the 27th Henry III. 
 nominated ' to be maker and cutter of the 
 money dies.' 
 
 ABERRY, , engraver. He is only 
 
 known by a portrait after Hudson, 1753, 
 and an etched portrait of Sir W. W. Wynne, 
 1755. 
 
 ABRAHAM, Robert, architect. Born 
 1774 ; was the son of a builder and educated 
 as a surveyor. In the early part of his 
 career he found employment in measuring 
 builders' work and settling their accounts, 
 and later in life was much engaged in valu- 
 ations. When, following the peace of 1815, 
 some impetus was given to Metropolitan 
 architecture, he was engaged as an architect, , 
 and his works, if not of great architectural 
 merit, showed a fitness of character and 
 
 1 
 
ADA 
 
 ADA 
 
 adaptation of material. Among the chief 
 were the County Fire Office, the Jews' 
 Synagogue, near the Haymarket, and the 
 Westminster Bridewell. He died Dec. 11, 
 1850, aged 77. 
 
 ADAM, William, architect. Held the ap- 
 pointment of king's mason at Edinburgh, 
 where he practised his profession with much 
 repute. Hopetoun House and the Royal 
 Infirmary in that city are examples of his 
 ability, as also the New Library and Uni- 
 versity at Griasgow. He died June 24, 1 748. 
 The three Adams of the Adelphi were his 
 sons. 
 
 ADAM, Robert, architect. Born 1728, 
 at Kirkaldy, Fifeshire. Son of the above 
 William Adam. He was educated at the 
 Edinburgh University, and formed friend- 
 ships with several men who became dis- 
 tinguished. In the study of his art he visited 
 Italy about 1754. He took with him Cle- 
 risseau, a clever draftsman, and remained 
 some time. On his return he soon rose to 
 professional eminence, and in 1762 was ap- 
 pointed architect to the king, but resigned 
 that office to become candidate for Kinross- 
 shire, for which county he was elected 
 representative in 1768. At this time, in 
 conjunction with his brother James, he 
 commenced the great work on the shores of 
 the Thames with which his name is asso- 
 siated. His plans were unsuccessfully op- 
 posed by the Corporation of London, as an 
 encroachment upon their privileges. He 
 raised the shore by a succession of arches, 
 and on them erected three fine streets and 
 a terrace fronting the Thames, naming this 
 work, in memory of himself and his two 
 brothers, the ' Adelphi.' It was not, how- 
 ever, successful as a speculation, and in 
 1774, under the sanction of an Act of Parlia- 
 ment, he disposed of the whole by lottery. 
 Among his works may be named — The 
 fagade of the Admiralty, Whitehall ; Lans- 
 downe House, Berkeley Square ; Looton 
 Hoo, Bedfordshire ; Caen Wood House, near 
 Hampstead ; Osterley House, near Brent- 
 ford ; Kedleston, Derbyshire ; Compton 
 Verney, Warwickshire ; and the General Re- 
 gister House, Edinburgh. He was largely 
 employed in the alteration of many fine 
 mansions, and showed great ability in the 
 arrangement and decoration of interiors, 
 displaying a pleasing variety in the form 
 and proportion of liis apartments, and a 
 comfort and elegance not studied by his 
 predecessors. He also designed ornamental 
 furniture. His style was original— in taste 
 approaching prettiness, but was highly 
 popular in his day, and has left a cha- 
 racter which is still known as his. He 
 painted many good landscape compositions 
 in water-colours. He published a work 
 on the Ruins of Dioclesian's Palace, 1764, 
 and, with his brother James, commenced in 
 2 
 
 1773 'The AVorks in Architecture of R. 
 and J. Adam.' He was F.R.S. and F.S.A. 
 
 He died, from the bursting of a blood- 
 vessel, at his house in Albemarle Street, 
 March 3, 1792, and was buried in the south 
 aisle of Westminster Abbey. His journal 
 of his tour in Italy, 1760-61, was pub- 
 lished in the Library of the Fine Arts. 
 
 ADAM, James, architect. Younger 
 brother of the preceding, and connected 
 with him in most of his works. He held 
 the office of architect to the king, and was 
 himself tlie architect of the spacious range 
 of buildings named Portland Place. He 
 published a treatise on architecture, and 
 was engaged upon a history of architecture 
 which he did not live to finish. He died, 
 in Albemarle Street, of an apoplectic attack, 
 October 20, 1794. 
 
 ADAM, John, engraver. He practised 
 in London towards the end of the 18th 
 century, and engraved in the chalk manner 
 portraits for periodical works. The por- 
 traits in Caulfield's ' History of Remarkable 
 Characters ' are engraved by him, but pos- 
 sess little merit. There are also by him 
 portraits of Queen Elizabeth and Dudley, 
 Earl of Leicester, after drawings by Zucchero. 
 
 ADAMS, Robert, architect. Born in 
 London 1540. Was surveyor to the Board 
 of Works and architect to Queen Elizabeth. 
 A large plan of Middleburgh by him is ex- 
 tant, dated 1588 ; also a pen-and-ink draw- 
 ing, styled ' Tamesis descriptio,' showing 
 how the river may be defended by artillery 
 from Tilbury to London, with representa- 
 tions of several actions while the Spanish 
 Armada was off the British coast. These 
 latter were engraved, and Walpole assumes 
 that they were engraved by him, and styles 
 him an engraver. Dallaway says they were 
 engraved by Augustine Ryther, of which 
 there seems little doubt. He translated 
 from the Italian into Latin Ubaldini's ac- 
 count of the defeat of the Spanish Armada. 
 He died in 1595, and was buried in Green- 
 wich Church, where a tablet describes him 
 as ' Operum regiorum supervisori, architec- 
 turse peretissimo.' 
 
 ADAMS, Bernard, architect. Practised 
 in the reign of Queen Elizabeth, when his 
 name often appears, but of his works no 
 particulars are recorded. 
 
 ADAMS, Francis E., engraver. He re- 
 ceived a premium from the Society of Arts 
 in 1760. Produced some portraits in mezzo- 
 tint about 1774, but did not attain any 
 excellence in his art. A satirical print of 
 a young girl, dressed quite a la mode, whoso 
 mother does not know her (1773), is well 
 drawn and tolerably finished. 
 
 ADAMS, Frances Matilda, flower 
 fainter. Was water-colour painter extra- 
 ordinary to Queen Adelaide, and exhibited 
 at the Royal Academy for several years 
 
ADA 
 
 AIK 
 
 from 1816. She died October 24, 1863, 
 aged 79. 
 
 ADAMS, James, arcliitcct. Gained the 
 Eoyal Academy gold medal for an archi- 
 tectural design, 1809. In 1818 he was re- 
 siding at Portsmouth, and exhibited the 
 view of a Dispensary erected at Plymouth 
 Dock and the additions made to Mount 
 Edgecumbe House. In the following year 
 he exhibited the interior of St. Thomas's 
 Church, Portsmouth, after which the cata- 
 logue affords no trace of him. 
 
 ADYE, Thomas, sculptor. He was ap- 
 pointed sculptor to the Dilettanti Society 
 in 1737, and between that date and 1744 
 executed several little commissions for the 
 Society, chiefly for carvings in ivory. 
 
 AG-AR, D., portrait painter. Practised 
 about the beginning of the 18th century. 
 Paithorne engraved after him. 
 
 AGAR, John Samuel, engraver. Pro- 
 duced some excellent works in the stipple 
 or chalk manner, and also drew some por- 
 traits. He exhibited portraits and an occa- 
 sional subject at the Royal Academy, com- 
 mencing in 1796 up to 1806. He was, in 
 1 803, governor of the Society of Engravers, 
 and was living in 1809. 
 
 AGASSE, James Laurent, cmmial and 
 landscape painter. Born at Geneva, and 
 studied there as an animal painter. In 
 1800 he pleased an English traveller by a 
 portrait of his dog, and was induced by 
 him to come to London, where he settled. 
 In 1801 he appears as an exhibitor, at the 
 Academy, of the ' Portrait of a Horse,' fol- 
 lowed by a ' Rustic Repast,' ' Race-ground,' 
 'Portrait of a Lady,' 'Market-day,' &c. 
 Then, in 1842, after an interval of 10 
 years, he sent a ' Pishmonger's Shop,' and 
 contributed one work in each of the three 
 following years. Several of his works were 
 engraved, among them six landscapes. He 
 was of independent, unconciliating man- 
 ners ; lived poor and died poor about 1846. 
 
 AGGAS, Ralph, draftsman and surveyor. 
 He practised 1560-89, and was distin- 
 guished by his maps of the principal cities 
 of the realm. They are bird's-eye views, 
 representing in the margins the principal 
 structures. Cambridge, published 1578, 
 was the earliest; 10 years later, Oxford, 
 surrounded with the views of the colleges, 
 the arms, and other objects of interest. He 
 also made a survey of London and West- 
 minster, and produced a large plan and 
 view on wood (subsequently repeated on 
 copper) ; but he could not obtain permis- 
 sion to publish it — probably from political 
 reasons — till the accession of James I., to 
 whom it is dedicated. He died about 1617. 
 He has been designated the engraver of 
 the plans, but on one of them he is called 
 ' Autore,' and the engraving was more pro- 
 bably the work of Ryther^ His maps have 
 
 been many times repeated, And are the au- 
 thority adopted by all subsequent anti- 
 quarian writers. 
 
 AGGAS, Robert, landscape and scene 
 painter. A descendant of the foregoing. 
 Was a good landscape painter both in oil 
 and tempera, and skilled in the introduction 
 of architecture. He was much employed 
 by Charles II., and gained a reputation as 
 scene painter for the theatre at Dorset 
 Garden. He was also employed at the 
 Blackfriars and Phoenix Theatres. In the 
 Painter-Stainers' Hall there is preserved a 
 landscape by him. He died in London in 
 1679, aged about 60. 
 
 AIKIN, Edmund, architect. Son of 
 Dr. John Aikin. Was born at Warring- 
 ton, October 2, 1780. He was assistant to 
 General Sir Samuel Bentham, R.E., who 
 was the architect of the General Penitentiary 
 at Millbank. About 1814 he resided some 
 time at Liverpool, while superintending 
 there the erection of the Assembly Rooms, 
 and designed several buildings in that 
 borough, and later the Presbyterian Chapel 
 in Jewin Street, London. He wrote several 
 professional papers and essays, among them 
 the account of St. Paul's Cathedral, pub- 
 lished with Britton's engravings of that 
 edifice, and some of the earlier architectural 
 articles in Rees's ' Encyclopaedia ; ' and also, 
 in 1808, published ' Designs for Villas.' He 
 was from 1800 to 1814 an occasional ex- 
 hibitor of architectural designs at the Royal 
 Academy. He died at Stoke Newington, 
 March 13, 1820. 
 
 AIKMAN, William, portrait painter. 
 Born at Cairney, Forfarshire, October 24, 
 1682, only son of a member of the Scotch 
 bar, of good family, who designed him also 
 for the law. But he was attracted to art, 
 and so soon as he was at liberty left the 
 study of law, and turning to art placed 
 himself under Sir John Medina, with whom 
 he continued three yea^s. Then he sold 
 his paternal estate in Forfarshire, and in 
 1707 went to Rome, where he studied till 
 1710. He next travelled to Constantinople 
 and Smyrna, and returning by Rome and 
 Florence, reached Scotland in 1712. He 
 succeeded to some employment on the death 
 of Sir John Medina, and practised for 
 about 13 years in Edinburgh with great 
 success. He was induced, in 1723, to come 
 to London, where he settled and became ac- 
 quainted, among other artists, with Kneller, 
 whose manner he imitated. He was much 
 employed. His works were weak but pleas- 
 ing, not showing much original invention. 
 Several of his full-length portraits are at 
 Blickling, Norfolk. He had commenced a 
 large picture of the royal family in three 
 compartments, but the third, containing the 
 half-length portrait of the king, was un- 
 finished at his death. This picture is in 
 2 3 
 
AIK 
 
 ALE 
 
 tho collection of tlio Duke of Devonshire. 
 Many of his portraits have been engrayed, 
 and two portrait etchings by his hand are 
 known. He was reputed a good judge of 
 pictures, and while in Italy was employed 
 to purchase for the Duke of Kingston. He 
 died in Leicester Square, June 7, 1731, it 
 is said of cxcessivo grief for the loss of an 
 only son, and both were rcmoyed to Scot- 
 land together and buried in one grave, in 
 the Greyfriars' Church, Edinburgh. He 
 left two daughters. His friend Mallet 
 wrote his epitaph and Thomson bew^ailed 
 his loss in verse. Ho was intimate with 
 many of the most distinguished men of his 
 time. 
 
 AIKMAN, John, draftsman. Born 1713; 
 only son of the foregoing. Ho had early 
 shown much promise of future excellence 
 •in art. There are a few studies etched by 
 him after Vandyke, two or more on a plate, 
 but they are rare. He died at tho age of 
 18, in 1731. 
 
 ALBIN, Eleazar, draftsman and na- 
 turalist. AVas of German origin, and 
 changed his family name of Weiss to its 
 latinised translation, Albinus. A student 
 of natural history, he made able drawings, 
 and engraved and coloured them with his 
 own hand. His ' History of English Insects ' 
 is a great example of laborious perseverance. 
 It was published in ] 720. He explains, in 
 his preface, that teaching to draw in water- 
 colours is his profession, that the beautiful 
 colours of flowers and insects led him to 
 paint them, and that, becoming acquainted 
 with some eminent naturalists, he was much 
 employed by them. He published a ' Na- 
 tural History of Birds,' comprising 306 
 plates of birds drawn from life, a work on 
 spiders, and a history of fishes, but in this 
 last work he was assisted in the engraving 
 by Basire, James Smith, and others. His in- 
 sects are marked by great truth. He does not 
 seem to have received the encouragement he 
 so .well deserved, for he says his subscrip- 
 tions came in slowly, and that having a large 
 family to provide for, his circumstances re- 
 tarded his work. He practised 1720-40. 
 
 ALCOCK, John, D.D., amateur. Born 
 at Beverley about 1453. AYas educated at 
 Cambridge and was preceptor to Edward, 
 Prince of Y/ales, and successively Bishop 
 of Rochester, AVorcester, and Ely. He was 
 also a privy counsellor, ambassador to the 
 Court of Spain, and filled several high offices 
 in tlie State. He was distinguished as one 
 of the greatest architects of his time. He 
 designed the spacious hall belonging to the 
 Episcopal Palace at Ely, and made great 
 architectural improvement there and in his 
 other sees. He planned the conversion of 
 the old nunnery of St. Eadcgund at Cam^- 
 bridge into Jesus College. He was appointed 
 joint surveyor of the royal works and build- 
 4 
 
 ings in the reign of Henry VIIT. Died at 
 AVisbeach, October 1, 1500. 
 
 ALDRICH, Henry, amateur. Dean of 
 Christ Church, Oxon. Born at AVestminster 
 1617. He had much skill in architecture, 
 for which he had cultivated a taste during 
 a long residence in Italy. He designed the 
 quadrangle at Oxford, named Peckwater 
 Square, the chapel of Trinity College, the 
 church of All Saints, and the garden front 
 of Corpus Christi. He wrote a series of 
 lectures, called ' The Elements of Civil Ar- 
 chitecture,' published many years after his 
 death (1789). He was a man of great know- 
 ledge and varied acquirements, a classic and 
 scriptural scholar, and withal a good musi- 
 cian ; the composer of ' A Smoking Catch ' 
 and the favourite ' Hark, the bonny Christ 
 Church Bells ! ' which he published in his 
 ' Pleasant Musical Companion.' He was 
 also the author of several learned works. 
 Died at Oxford, December 14, 1710. 
 
 ALEFOUNDER, John, portrait and 
 miniature 2^aintcr . AVas a student in the 
 Royal Academy, and in 1782 gained a silver 
 medal. He first exhibited, in 1777, an 
 architectural design, in the following year 
 a portrait in chalk, and then practised in 
 miniature, occasionally in chalk and oil, 
 and in 1784 he exhibited some theatrical 
 portraits and portrait groups. Soon after 
 he went to India, where he realised some 
 property by the practice of his art. He sent 
 a portrait from Calcutta to the Academy 
 Exhibition in 1794, and suffering from the 
 effects of the climate, died there in the fol- 
 lowing year. A portrait by him of ' Peter 
 the AVild Boy ' was engraved by Bartolozzi 
 in 1784, and of ' Edwin the Actor ' by C. N. 
 Hodges in the same year. An oil portrait 
 by him of John Shipley is at the Society 
 of Arts. 
 
 ALEXANDER, Sir Anthony, Knight, 
 architect. Son of Alexander, Earl of Stir- 
 ling. AYas master of the king's works in 
 Scotland in the reign of Charles I. He died 
 in London, August 1637, and was buried at 
 Stirling. 
 
 ALEXANDER, John, portrait and his- 
 tory painter. AYas born in Scotland, the 
 son of a minister of the Scotch Kirk, and 
 w\as the pupil and son-in-law of Alexander 
 Jamesone, a descendant of George Jame- 
 sone. He was educated in Italy, spent 
 some time in Florence, and in 1716 was in 
 Rome, where he devoted himself to the 
 study of Raphael's w^orks. On his return 
 to Scotland in 1720, he painted portraits 
 and several historical pictures. The ' Rape 
 of Proserpine,' on the staircase of Gordon 
 Castle, was by him. He copied, or in- 
 vented, several portraits of Mary Queen of 
 Scots. AA^hilc in Rome lie etched in a 
 course but effective manner six plates after 
 Raphael. In 1728 he aqua -tinted the por- 
 
ALE 
 
 ALK 
 
 trait of George Jamesone with liis wife and 
 fiimily, and on the phite styles himself 
 'Pronepos.' He died about the middle of 
 the century. 
 
 ALEXANDEE, Cosmo, 'portrait 'painter. 
 Practised in Edinburgh about 1750. A 
 portrait by him of the provost of that city 
 was engraved 1 7o2. His portrait of G eneral 
 Dalziell is also engraved. In 176G he was 
 a member of tlie Incorporated .Societ}^ of 
 Artists in London. Gibbs, the architect, 
 left him his house, with all his furniture, 
 pictures, busts, &c. He went to America 
 when between 50 and 60 years of age, and 
 in 1772 was painting portraits in Phode 
 Island, but he eventually returned to Scot- 
 land, and shortly after his arrival died in 
 Edinburgh. 
 
 ALEXANDEE, William, water-colour 
 fainter. Porn at Maidstone, April 10, 1767. 
 Son of a coach-maker in the town, and edu- 
 cated at the Grammar School there. Came 
 to London at the age of 15 to study as 
 an artist, a]id was placed under William 
 Parr, then under Ibljetson, and in 1784: was 
 admitted student of the Eoyal Academy. In 
 1792 he accompanied Lord Macartney's 
 mission to China as draftsman, and rem^ain- 
 ing during the journey to the northern fron- 
 tier, returned with the mission in 1794. Ho 
 married in the following year, . but the loss 
 of his Vv'ife shortly afterwards left a lasting 
 impression on his character. In 1802 he 
 was appointed professor of drawing to the 
 Eoyal Military College, Great Marlow, an 
 office he resigned in 1808 on his appoint- 
 ment as assistant-keeper of the antiquities 
 in the British Museum, and afterwards was 
 appointed, on the creation of the office, 
 keeper of the prints and drawings. His 
 drawings were engraved for the illustration 
 of Sir George Staunton's account of the 
 Chinese Embassy, published in 1797. In 
 1798 he published himself some drawings 
 made in China, of headlands, islands, and 
 other views ; and in the same year he made 
 finished drawings from Daniell's sketches, 
 illustrating Vancouver's voyage to the Xorth 
 Pacific. He also illustrated Barrow's 
 * Travels in China,' published 1804, and his 
 ' Cochin China,' 1806. In 1805 he published 
 his ' Costumes of China.' He was also em- 
 ployed as draftsman to the department of 
 antiquities, British Museum, and made the 
 drawings for the engravings from the terra 
 cottas and marbles in the Museum, pub- 
 lished by the trustees in 1810-12 and 1815. 
 He also drew many of the views for the 
 ' Beauties of Great Britain,' and for Brit- 
 ton's ' Architectural Antiquities.' He died 
 of a brain fever at Maidstone, July 23, 1816, 
 and was buried in the neighbouring vil- 
 lage of Boxley. He was a good draftsman 
 and colourist. His drawings are minutely 
 finished, and evince great accuracy. His 
 
 early drawings are executed with the pen, 
 shaded in India ink and tinted ; his figures 
 well introduced ; his architectural details, 
 as shown in the 'Britannia Depicta,' mi- 
 nutely traced. He published, 1798-1805, a 
 masterly collection of his etchings, illustra- 
 tive of Chinese life and character; and in 
 1837 a short journal of a visit he paid to 
 the old seat of Cotton the angler was pub- 
 lished in lithograph fac simile. He was a 
 man of cultiviited tastes, an artist, antiquary, 
 and connoisseur. 
 
 ALEXANDEE, Daniel Asiier, arcJiitect. 
 AVas born in London 1768, and educated at 
 St. Paul's School, London. In 1782 he was 
 admitted a student of the Eoyal Academy, 
 and on the completion of his professional 
 education was early called into important 
 and responsible practice. In 1796 he vras 
 appointed surveyor to the London Dock 
 Company, the principal buildings of which 
 are by him. He built the military prison 
 at Dartmoor, now used for convicts ; the 
 old county prison at Maidstone, tlie Eoyal 
 Naval Asylum at Greenwich, the London 
 Docks, several lighthouses, and was em- 
 ployed on additions and alterations to Long- 
 ford Castle, Wilts; Beddington House, 
 Surrey ; Coleshill, Berks ; and Combebank, 
 Kent. His designs wore marked by appro- 
 priateness, his knowledge of construction 
 great, and his work finished with great at- 
 tention to detail. He had retired from his 
 profession to Exeter, and died there March 2, 
 1846, aged 78. His eldest son for some 
 time practised as his assistant, but ho left 
 the profession in 1820 to enter the Church, 
 and died in 1843. 
 
 ALIAMET, Erancis Germain, engraver. 
 Brother to the celebrated French engTaver. 
 Born at Abbeville 1734. He studied at Lisle 
 and then at Paris, but came to London 
 when young. Ho received a Society of 
 Arts' premium in 1764, and completing his 
 studies under Strange, settled here, and 
 found emiployment'in engraving portraits 
 for the publishers. He finished with great 
 care and accuracy. He engraved a ' Circum- 
 cision ' after Guido, on a large scale, for 
 Alderman Boy dell ; also plates after Caracci, 
 Le Sceur, Watteau, Edge Pine, and others. 
 He was accidentally killed February 5, 1790. 
 
 ALKEN, Samuel, aqua-tint eng7^aver. 
 Practised his art in London towards the 
 end of the 18th century. He had probably 
 some instruction in architecture, and in 
 1780 exhibited an architectural design. He 
 produced many views in Great Britain and 
 Ireland, chiefly for the illustration of topo- 
 graphical works, and carried the art of 
 aqua-tint to very high perfection. Ho de- 
 signed and etched ' A New Book of Orna- 
 ments.' He published, in 1796, 'Views in 
 Cumberland and Westmoreland,' and aqua- 
 tint views in North Wales in 1798. 
 
 5 
 
ALK 
 
 ALKEN", Henry, draftsman and en- 
 gravrr. Ho was well known by liis numerous 
 facile delineations, sometimes humorous in 
 character, of field-sports, races, and games. 
 He published 'The Eeauties and Defects 
 of the Figure of the Horse,' 1816; 'Scraps 
 from his Sketch-Book,' 1821; 'Symptoms 
 of being Amused,' 1822; 'Illustrations of 
 Popular Songs,' 1823; 'The Art and 
 Practice of Etching,' 1849; 'Jorrock's 
 Jaunts and Jollities,' 1869. 
 
 ALLAN, David (called the Scotch Ho- 
 gk\v\\\),j_wr trait and history painter, was born 
 at Alloa, near Edinburgh, where his father 
 held the office of shore-master, February 13, 
 1744. His childhood was marked by 
 troubles ; his genius first shown by chance. 
 In 1755 he was apprenticed to Messrs. 
 Eoulis, and studied his art in their aca- 
 demy at Grlasgow. Then, assisted by some 
 friends, he set off for Italy in 1764, and 
 remained in that country nearly 14 
 years, studying and copying from the old 
 masters. He sent home two historical pic- 
 tures for exhibition at the Eoyal Academy 
 in 1771, and at Rome in 1773 he gained 
 the prize medal of the Academy of St. 
 Luke for his historical composition, ' The 
 Corinthian Maid drawing the Shadow of 
 her Loyer.' Eeturning in 1777 he resided 
 in London till 1780, supporting himself by 
 portrait painting. Four drawings which he 
 made at Rome during the Carnival, introduc- 
 ing portraits with much humour and cha- 
 racter, were engraved in aqua-tint by Paul 
 Sandby, and published in 1781. He then 
 settled in Edinburgh, where he met with 
 much patronage, and on a vacancy in 1786 
 was appointed master and director of the 
 Edinburgh Academy of Arts. He. etched 
 in a free style the illustrations for Tassie's 
 I Catalogue of Engraved Gems,' compris- 
 ing 57 plates, with from seven to nine 
 examples each. They have a frontispiece 
 designed and etched by him, dated 1788. 
 In the same year he illustrated and en- 
 graved in aqua-tint an edition of the 
 * Gentle Shepherd,' and in 1798 he etched 
 some characteristic designs, small oval size, 
 for the ' Songs of the Lowlands of Scotland.' 
 Ho also amused himself with etching, some- 
 times combined with mezzo-tint, chiefly 
 scenes from cottage life. He was admired for 
 the natural truth of his works and the cha- 
 racter and expression of his subjects from 
 low-life. His art did not aim at either 
 beauty or grace. He will be remembered by 
 his 'Scotch Wedding,' 'Highland Dame,' 
 ' Repentance Stool,' and his designs for the 
 ' Gentle Shepherd.' He died near Edin- 
 burgh, August 6, 1 796, leaving a widow with 
 a son and daughter. His portrait, painted 
 by himself, hangs in the National Gallery 
 of Scotland. 
 
 ALLAN, Sir William, Knt., P.R.S.A. 
 6 
 
 ALL 
 
 and R.A., subject and history jpawe^er, 
 limner to the Queen in Scotland. He 
 was born in 1782, in Edinburgh, where his 
 father held the humble office of macer to 
 the Court of Session, and was educated at 
 the High School. He made little progress 
 in classic knowledge, but showed a fancy 
 for drawing, to gratify which he was appren- 
 ticed to a coach painter, and proving to 
 have a taste for decoration was sent for 
 his further improvement to the Trustees' 
 Academy, where, after several years' study, 
 he developed a taste for art, and then came 
 to London and entered the schools of the 
 Royal Academy. Struck with the works of 
 Opie, he imitated his manner, and in 1803 
 exhibited his first picture, ' A Gipsy Boy 
 with an Ass.' But failing to gain notice, 
 he set off the same year for Russia, with no 
 other apparent inducement than the love 
 of travel and the desire to seek his fortune. 
 Driven into Memel by a storm, his means 
 were soon exhausted, and he painted a few 
 portraits to enable him to make his way to 
 St. Petersburg, where he found friends, and 
 was assisted by his countryman Sir Alex- 
 ander Crichton, then the Court physician. 
 
 Having made some study of the language, 
 he visited Tartary and Turkey, sketching 
 the costume and studying the manners of 
 the Cossacks, Circassians, and Tartars. He 
 sent homo to the Academy Exhibition of 
 1809, 'Russian Peasants keeping Holiday,' 
 but his picture did not receive much notice, 
 and disappointed he did not exhibit again 
 for several years. In 1812 he had made 
 up his mind to return, but Napoleon's 
 great campaign, the horrors of which he 
 witnessed, prevented him, and he did not 
 reach Scotland till 1814. Then, settling in 
 Edinburgh, he sent to the Academy in 
 London the following spring his ' Circassian 
 Captives,' and in 1816 a work of the same 
 class, ' The Sale of two Boys by a Chief of 
 the Black Sea,' an incident he had witnessed ; 
 and in 1817 another Circassian subject. 
 But these works were unsold, and he was 
 disappointed beyond hope. He was, how- 
 ever, befriended by Sir Walter Scott, who 
 got up a lottery for the sale of his ' Circas- 
 sian Captives,' and induced him to remain 
 in Edinburgh. Here he painted ' Tartar 
 Robbers dividing their Spoil,' and then 
 tried another class of subjects, ' The Press 
 Gang,' 'The Parting between Prince Charles 
 Stuart and Flora Macdonald,' ' Jeanie 
 Deans and her Father ;' yet these works 
 did not justify the expectations he had 
 raised among his friends. He again de- 
 sponded. Sir Walter came once more to his 
 help,' encouraged him to paint a sketch he 
 had made of the 'Murder of Archbishop 
 Sharpe,' and found a purchaser for it when 
 finished.' With renewed hope he then 
 painted ' J ohn Knox reproving Mary, Queen 
 
ALL 
 
 ALL 
 
 of Scots,' vvliicli was exhibited at the Royal 
 Academy in 1823, followed Ly ' Ruthycn 
 forcing Mary to sign her Abdication,' and 
 * The Kegent Murray shot by Hamilton of 
 Bothwcllliaugh,' which last was purchased 
 by the Duke of Bedford for 800 guineas, 
 and gained the artist the distinction of 
 associate of the Koyal Academy. In 182G 
 he was appointed master of the Trustees' 
 School, Edinburgh, an office he held till 
 only a few years before his death. 
 
 Though he did not want energy, and per- 
 severed in his work without flagging, he 
 scarcely maintained the reputation he had 
 gained, and his labours and anxieties began 
 to tell upon him. He was attacked by a com- 
 plaint which threatened blindness, and was 
 compelled to take rest. He went to Italy, 
 and after spending a winter at Eome 
 journeyed on to Naples, and from thence to 
 Constantinople, Asia Minor, and Greece. 
 In 1830 he returned to Edinburgh, restored 
 to health, and was successful in a small 
 portrait work of ' Sir Walter Scott in his 
 Study,' which became a favourite, and was 
 well engraved by Burnet ; as also in a com- 
 panion picture, exhibited in 1833 under the 
 title of ' The Orphan,' representing Ann 
 Scott on the floor, close to her father's 
 vacant chair in his studio at Abbotsforcl, 
 which was purchased by Queen Adelaide. 
 In 183 -i he again travelled, visiting Spain, 
 and subsequently Erance and Belgium. 
 On his return in 1835 he was elected a 
 royal academician, and in 1838 the presi- 
 dent of the Royal Scottish Academy. In 
 1841 he succeeded to the office of limner 
 to the Queen in Scotland, which was accom- 
 panied, as had been usual, by knighthood. 
 
 He had returned to his Siberian subjects, 
 and exhibited yearly at the Academy, when 
 in 1843 he completed a work he had long 
 contemplated, ' The Battle of Waterloo from 
 the French side.' This was admired by the 
 Duke of AVellington, who became its pur- 
 chaser. His last great completed work w^as 
 a second picture of this battle from the 
 English side. It was painted in competition 
 for the decorations of the palace at West- 
 minster in 1846, but was unsuccessful, and 
 he had the further disappointment that it 
 remained unsold. He had always retained 
 a pleasant recollection of the kindness of 
 his friends in St. Petersburg, and in 1844 
 he revisited that capital, and painted for 
 the emperor 'Peter the Great teaching his 
 Subjects the Art of Ship-building.' The 
 effects of hard travel and a life of hard 
 labour and anxiety now began to tell upon 
 him. He suffered from bronchitis, and had 
 been for some time at work upon a large 
 canvas on ' The Battle of Bannockburn.' 
 His weakness increased, but he did not 
 relax, and removing his bed to his painting- 
 room he continued his work ; and here, with 
 
 his unfinished picture before him, he died 
 in Edinburgli, February 23, 1850. His 
 picture has found an appropriate place 
 in the National Gallery of Scotland, and he 
 will not fail to be remembered among the 
 painters of his country. He represented 
 the costumes and characters of countries 
 then little known, and connected them with 
 kindred subjects of great interest, and 
 painted many subjects and incidents with 
 equal success from the history of his own 
 country. His stories were well told and 
 well composed, his choice of subjects good ; 
 but his pictures were wanting in power, 
 and were crude and weak in colour. His 
 merit did not find early recognition, and 
 distinctions and honours were delayed till 
 near the end of his active career. He was 
 gifted with much natural humour, a clever 
 mimic, at all times an agreeable companion, 
 and possessed the friendship of many of the 
 most distinguished of his countrymen. 
 
 ALLASON, Thomas, architect. Born in 
 London, July 31, 1790. Was placed in 
 an architect's office, and entered as a student 
 at the Royal Academy, where he gained a 
 silver medal, and in 1805 exhibited a design 
 for a college. He studied Grecian archi- 
 tecture, and in 1814 made a tour in Greece. 
 On his return in 1817 he established him- 
 self in London, and was much employed 
 both in buildings, furniture, and landscape 
 gardening. Many villas and mansions 
 were erected after his designs — perhaps the 
 Alliance Fire Office, in Bartholomew Lane, 
 may be pointed to as his chief work. Ho 
 died April 9, 1852, in his 62nd year. 
 He began life dependent upon his own 
 exertions. He was conspicuous for good 
 taste, and independently shaped his own 
 useful career. He published 'Plan of a 
 House of Industry,' 1805; 'Picturesque 
 Views of the Antiquities of Pola, in Istria,' 
 1819; and a clever etching of Milan 
 Cathedral. 
 
 ALLEN, Andrew^ portrait painter. 
 Supposed of Scotch origin. Practiced with 
 some repute in Edinburgh about 1730. A 
 portrait by him of one of the Lords of Ses- 
 sion is engraved, as is also his own portrait. 
 
 ALLEN, Joseph, portrait ^yainter. Born 
 at Birmingham, and early found employ- 
 ment in painting Japanned tea-trays, which 
 it was then the fashion to decorate with 
 pictures. Having some feeling for art, he 
 came to London and obtained admission as 
 student at the Royal Academy, with the 
 resolution to attempt history, but he AYas 
 compelled to descend to portrait, and in 
 this did not meet with success. He next 
 was induced to try ^Vrexham, where he 
 settled, and found a lucrative practice by 
 visiting Manchester, Preston, Lancaster, 
 and other large towns in the north, where 
 he established a connection, This last 
 
 7 
 
ALL 
 
 success tempted liim again to try the Metro- 
 polis, but he again failed to secure notice ; 
 and being advanced in life, he broke up his 
 establishment and retired to Erdington, near 
 Birmingham, in easy circumstances, and 
 died there Noyember 19, 1839, aged 70. 
 Ilis portraits were carefully painted, tender 
 and pleasing in character, but not of any 
 high merit. 
 
 ALLEN, John, architect. He practised 
 in England, with much repute, in the reign 
 of Queen Elizabeth. His descendants 
 settled in Ireland, where his grandson, 
 Joshua Allen, following his profession, was 
 employed by many of the nobility, became 
 lord mayor of Dublin, and was knighted. 
 
 ALLEN, George, circhitect, AVas born 
 at Brentford, April 14, 1798. Studied at the 
 Royal Academy, and was a pupil of Jam.es 
 Elmes. He published, in 1828, ' Plans and 
 Designs for the future" Approaches to the 
 New London Bridge,' and found much pro- 
 fessional employment on the Southwark 
 side of the river. He died June 28, 1847. 
 
 ALLEN, Joseph W., Ictndscajpe fainter. 
 Was born in Lambeth, the son of a school- 
 master, and educated at St. Paul's School. 
 For a time he found employment as an 
 usher in an academy at Taunton, but a love 
 of art prevailing, he came to London to 
 gain a living as an artist. His early prac- 
 tice was in wat^r-colours— views in Che- 
 shire and North Wales — but latterly chiefly 
 in oil. He was first employed by a dealer, 
 afterwards assisted as a scene painter, and 
 many of the scenes at the Olympic during 
 Madame Vestris's first management were by 
 him. He became a member of the Society 
 of British Artists in 1830, and was for a 
 time vice-president, and a large contributor 
 of landscapes to the exhibitions, chiefly of 
 views in Surrey, and some compositions. 
 His 'Vale of Clwyd,' 1842, gained him 
 much notice, and was purchased for 300 
 guineas as an Art Union prize. His works 
 were of some merit, but the anxieties to 
 provide for a large family were hindrances 
 to art ; and though his subjects were well 
 chosen, and not without artistic feeling, 
 they were crude and unfinished. He was 
 also engaged as a teacher in the City of 
 London School. He died in August 1852, 
 aged about 48, leaving a widow and a 
 large family, to make some provision for 
 whom a subscription was raised among his 
 friends. 
 
 ALLEN, James C, engraver. Was born 
 in London, the son of a Smithfi.eld sales- 
 man, and apprenticed to William Cooke, for 
 whom he worked many years after the ter- 
 mination of his apprenticeship, and was 
 much employed on book illustration. In 
 1821 he published, with Mr. Cooke, 15 
 views of tho interior and exterior of the 
 Coliseum at Eomo, well engraved in the 
 8 
 
 ALL 
 
 line manner; and in 1831 a s^^irited plate 
 of the ' Defeat of the Spanish Armada,' after 
 Dc Loutherbourg. He excelled very much 
 in his etching, and was devoted to his art. 
 Of eccentric habits, and suffering from ill- 
 health, he died in his middle age. 
 
 ALLEN, Thomas, marine 'painter. His 
 subjects were chiefly naval battles, trac- 
 tised about the middle of the 18th cen- 
 tury. He painted the incidents of Queen 
 Charlotte's voyage and arrival in this coun- 
 try, also the ' Great Harry,' from Holbein's 
 design of that vessel. His works were en- 
 graved by P. C. Canot. 
 
 ALLEN, Thomas, topographical drafts- 
 man. An ingenious m.an, who was engaged 
 in several antiqaarian pidjli cations. He 
 drew and etched the illustrations for his 
 ' History of the Antiquities of Lambeth ' 
 and ' History of the Antiquities of London, 
 Westminster, and Southwark,' and was the 
 author of some other anticjuarian v/orks ; 
 but his illustrations possessed no higher 
 merit than careful neatness. He died sud- 
 denly, of cholera, July 20, 1833, aged 30. 
 
 ALLEN, Thomas John, architectural 
 draftsman. Excelled in water-colours. He 
 committed suicide, it was said owing to the 
 death of his sister, September 29, 1846, 
 aged 25. 
 
 ALLOM, Thomas, architect. Was born 
 in London, March 13, 1804, and was ar- 
 ticled to Erancis Goodwin, in whose office he 
 passed above seven years ; and Vv'as also a 
 student in the schools of the Eoyal Academy. 
 In 1824 he first appears as an exhibitor at 
 Suffolk Street of designs for a cathedral, 
 and in 1827 at the Academy, contributing 
 a design for Sydenham Chiu'ch. Soon after 
 he travelled for improvement in his art. 
 He had great skill in finisliing architectural 
 drawings, and drew and sketched wdth great 
 facility, and was soon engaged by publish- 
 ing firms to furnish them with views of 
 the continental cities. Lie continued an 
 occasional exhibitor of views and architec- 
 tural designs. In 1846 he was awarded a 
 premium for his design for the Choristers' 
 Schools at Oxford. He was the architect 
 of the Union Workhouse at Calne and at 
 Kensington ; also of Highbury Church, 
 1850; the Cambridge Military As^dum, 
 Kingston, 1852; St. Peters Church, Not- 
 ting Hill, 1856; and other w^orks. But 
 his reputation will rest upon his numerous 
 published views, by which he is so widely 
 known — Cumberland and Westmoreland ; 
 Devonshire and Cornwall ; Yorkshire, Der- 
 byshire, and the Midland Counties ; Surrey, 
 Belgium, Scotland, Erance, Constantinople, 
 Asia Minor, China. He was one of the 
 founders of the Institute of British Archi- 
 tects. He died at Barnes, October 21, 1872. 
 
 ALLPOET, H. C, water-colour painter. 
 He lived near Lichfield, and first appears 
 
ALL 
 
 as an ' exhibitor ' at the Water-Coloiu' 
 Society in 1813. He continued to exhibit 
 landscape yiews, but chiefly of well-known 
 buildings, and in 1818 he was elected a 
 member of the Society. In 1822 his name 
 disappears from the list of members, but 
 he contributed several , dravangs, cliiefly 
 Italian scenes, in 1823, and is then classed 
 as an 'associate exhibitor.' He does not 
 appear to have again exhibited. 
 
 ALLSTON, Washixgtox, A.E.A., hls- 
 tori/ ixiintcr. Was born in South Carolina 
 ] 779, and entered Hayard College, Massa- 
 chusetts , 1796. Drawin g s hi s fay ourite 
 amusement as a boy, and ho early tried to 
 design. He first attempted miniature, but 
 without success. In 1800 ho gTaduated 
 and then returned to Cliarlestown, where 
 he deyotcd himself to art, banditti bcir.g 
 his f\iyourite subjects. Then, with a desire 
 for his improyement, in May 1801, haying 
 sold his hereditary property to enable him 
 to study art, he came to England and at 
 once entered the schools of the Royal 
 Academy ; was an exhibitor in 1802 and 
 1803. xlfter three years' study, he went to 
 Paris in 1804, copied some pictures at the 
 Louyre, and then set out for Italy, where 
 he passed four years, the greater part of the 
 time in Rome, studying modelling in clay 
 as well as drawing; and tliero, in 1805, he 
 painted his 'Joseph's Dream,' a v/orkyvdiich 
 at once laid the foundation of his fiime. In 
 1809 he went back to America, where ho 
 married the daughter of Dr. Clianning, and 
 in 1811 brought his y/ife to England. Soon 
 after he commenced 'The Dead Man 
 touching Elisha's Bones,' but his y^ork was 
 interrupted by a dangerous illness ; and 
 when, after a short residence at Clifton to 
 re-establish his health, he finished his pic- 
 ture, it was exhibited at the British Insti- 
 tution, and gained, in 1814, a premium of 
 200 guineas. It was afterwards purchased 
 by the Pennsylyanian Academy of Fine Arts 
 for 3,500 dollars. In the same and the 
 tv/o following years he exhibited at the Aca- 
 demy, chiefly Italian landscapes. He had 
 returned to London, and had hardly settled 
 in his newly -furnished house ydien his 
 wife died suddenly. The shock produced 
 the deepest melancholy and temporary de- 
 rangement. But recoyering, he yisited 
 Paris in 1817 in company with his friend 
 C. R. Leslie, and on his return commenced 
 his ' Jacob's Dream,' which he sent to the 
 Academy from Boston in 1819, his first con- 
 tribution to that exhibition. He continued 
 in England during the American war ; on 
 its termination a home sickness seized him, 
 and with great regret he left his English 
 friends and again crossed the Atlantic, 
 arriying at Boston in 1818. He had the 
 same year been elected an associate of the 
 Academy, and had gained a premium of 
 
 150 guineas at the British Institution for 
 his 'Angel Uriel standing in the Sun.' 
 He had also commenced his ' Bclshazzar's 
 Feast,' but he did not complete this work 
 till 1834. Finally settling in his natiyo 
 country, he pursued his art, and wrote on 
 seyeral subjects. In 1830 he married his 
 second wife, a sister of Mr. Dana, the well- 
 known author. He died at Cambridge, 
 Massachusetts, July 8, 1843. He was an 
 excellent artist. His subjects were of the 
 highest aim, and marked by a yiyid imagi- 
 nation ; his light and shade f tdl of power ; 
 his colour good. He was also a scholar. 
 He published — ' The Sylphs of the Seasons,' 
 London, 1813; 'Hints to Young Practi- 
 tioners on Landscape Painting,' 1814 ; 
 'Monaldi: a Tale.' Boston, U.S., 1841. 
 After his death his ' Lectures on Art and 
 Poems ' were published at New York, 1850 ; 
 ' Outlines and Sketches,' at Boston, U.S., 
 1850. 
 
 ALNWYCK, William, D.D., amateur. 
 Became Bishop of Norwich 1426, and of 
 Lincoln 1436. Besides several works at 
 Cambridge and at Lincoln, he rebuilt the 
 western door of Norwich Cathedral with the 
 windoy/ oyer it, also the principal paru of 
 the Tower Gate-house to the Episcopal 
 Palace. He died about 1450. 
 
 ALVES, James, portrait fainter. He 
 pi^actised in London, chiefly in miniature. 
 In 1775 he exhibited two classical subjects ; 
 in the following year, with some loortraits, 
 a ' St. Cecilia' in miniature ; and in 1777-78 
 and 1779 small portraits in crayons. After 
 that he does not appear as an exhibitor. Ho 
 died at Inyerness, Noyember 27, 1808, in 
 his 71st year. 
 
 AMES, , engraver. Practised, with 
 
 no great ability, about 1777. His works 
 consisted chiefly of portraits — many of them 
 in small oyal, in the stipple manner — of 
 popular dissenting ministers. 
 
 ANDE RSON, Alexander, engraver. An 
 English artist of the latter part of the 18th 
 century. He engrayed some designs for 
 ' Don Quixote,' and some anatomical figures, 
 with great neatness and accuracy. 
 
 ANDERSON, David, modeller. Natiye 
 of Perthshire. Made himself locally known 
 by some cleyer w^orks in statuary, but did 
 not exhibit in London. Died of typhus 
 foyer at Liverpool 1847. 
 
 ANDERSON, John, wood engraver. Was 
 born in Scotland, where he roceiyed a clas- 
 sical education. He was a man of superior 
 attainments ; became a xmpil of Bewick, and 
 engrayed the illustrations to ' Grroye Hill,' a 
 poem, and also for an edition of ' The Letters 
 of Junius.' He formed a style 0 ? his own, and 
 showed much ability, but he did not long 
 follow his profession. He went abroad on 
 some speculation, and was lost sight of. 
 He died early in the century. 
 
 9 
 
AND 
 
 ANS 
 
 ANDERSON, William, marine painter. 
 Born in Scotland 1757. Originally a 
 ship^vriglit, he cultivated drawing in his 
 leisure hours, and painted some pictures of 
 shipping. He practised in London ; first 
 exhibited at the Academy in 1787, and con- 
 tinued to contribute up to 1814, when he 
 exhibited for the last time. His works are 
 usually of small size, and show a practical 
 nautical knowledge ; they are usually river 
 scenes— calms, with shipping and boats— 
 neatly painted, low and agreeable in colour, 
 but wanting in vigour. He painted one or 
 two landscapes. A set of five ' Views of the 
 Battle of the Nile ' were well engraved after 
 him in aqua-tint, 1800, by W. Ellis. Died 
 May 27, 3 837. 
 
 ANDERTON, Henry, history and por- 
 trait j^^iinter. Born 1630. Practised in 
 the reign of Charles II., by whom he was 
 patronised. He was a pupil of Streater, 
 and made a tour in Italy for his improve- 
 ment. On his return he was employed by 
 the King and the Court, and in some de- 
 gree rivalled Lely. He painted a fine por- 
 trait of the celebrated Mrs. Stuart, after- 
 wards Duchess of Richmond. His name 
 does not appear to any engraved works, and 
 it has been assumed that the more popular 
 name of Lely may have been attached to 
 his portraits. He died young, soon after 
 1665. 
 
 ANDRAS, Miss Catherine, modeller in 
 wax. "Was born near Bristol about 1775, 
 where she attained some proficiency in her 
 art, and was induced by her success to visit 
 London. In 1799 she first exhibited her 
 portraits in wax at the Royal Academy, 
 and had several distinguished sitters. The 
 Queen appointed her modeller in wax to 
 Her Majesty, and in 1802 she exhibited her 
 model of the Princess Charlotte. She con- 
 tinued an occasional exhibitor up to 1824. 
 
 ANDRE, Major John, amateur. A young 
 officer of much promise, who showed great 
 talent for art. A half-length miniature, 
 which he painted of himself, was engraved 
 by Sherwin. There is also a bold landscape 
 etching by him. He was acting a^ adju- 
 tant-general to the British Army in North 
 America, and arrested within the American 
 lines, was shot as a spy October 2, 1780. 
 
 ANDREWS, H., subject j^ciintcr. He 
 was a contributor to the Academy Exhibi- 
 tions from 1833, when he sent ' Charade en 
 Action' — exhibiting for the last time, in 
 1838, 'A Garden Scene' and 'The Eirst 
 Music Lesson.' He had talent and might 
 have acquired reputation, but he fell into 
 the hands of unscrupulous dealers, made 
 copies of Watteau — not sold as copies — and 
 subjects in the style of Watteau, and his art 
 became degraded. He is reputed to have 
 died November 30, 1868. 
 
 ANGELIS, Peter, landscape and figure 
 10 
 
 painter. Was born at Dunkirk in 1685. 
 After studying there, and in Elanders and 
 Germany, he came to England about the 
 year 1712, was well received, and became a 
 favourite painter. He practised here up to 
 1728, when he sold his pictures, including 
 many fine copies, and went to Italy, w^here 
 he remained three years, chiefly in Rome, 
 when he set off, intending to return to 
 England ; but, stopping at Rennes, he was 
 so well esteemed there, that he was induced 
 to remain, and died in that city in 1734. 
 
 ANGIER, Paul, engraver. Was taught 
 by John Tinney. Practised in London about 
 the middle of the 18th century, being chiefly 
 employed on small plates for book illustra- 
 tion. There are some landscapes of this 
 class by him neatly executed, but weak in 
 manner. Also ' Roman Ruins,' after Pannini, 
 dated 1749 ; a Landscape, after Moucheron, 
 1755 ; ' Dead Game,' after Huet, 1757. He 
 never arrived at much excellence, and died 
 at the age of 30. 
 
 ANGUS, William, engraver. Was a 
 pupil of William Walker, and his works 
 highly esteemed. He practised in the line 
 manner, excelled in landscape, and engraved 
 after Paul Sandby and Dayes, as well as 
 from his own designs. One of his principal 
 works was ' The Seats of the Nobility and 
 Gentry,' 1787-1815. He also engraved, 
 chiefiy after Stothard, the plates for the 
 small Atlas Pocket-book, and some portraits 
 for the ' European Magazine.' One of his 
 best works is a landscape after Elsheimer. 
 He was improvident and died poor, after 
 two years' painful illness, October 12, 1821, 
 aged 69, leaving a widow without any 
 provision. 
 
 ANSELL, Charles, animal painter. Re- 
 puted for his drawing of the horse. He 
 also drew domestic subjects with some ele- 
 gance. Several of his works engraved — 
 ' The Death of a Race-horse,' in six aqua- 
 tint plates, published 1784; 'The Poor 
 Soldier,' 1787; also, 'A Dressing-room a 
 I'Anglaise' and 'a la Fran^aise,' 1789. 
 He exhibited at the Royal Academy in 1780 
 and 1781, but his name does not appear 
 afterwards in the catalogues. 
 
 ANSLEY, Mrs. Mary Ann, amateur. 
 Was a daughter of Gandon, the architect, 
 and married General Ansley, an officer of 
 the Guards. She contributed many clever 
 subject pictures to the British Institution 
 and the Royal Academy. At the latter she 
 first exhibited, in 1814, a classical subject, 
 and continued to send works of this class, 
 with an occasional portrait, up to 1825; and 
 in 1833 exhibited, for the last time, a por- 
 trait of Prince Napoleon, for wdiich the 
 prince, then in London, had sat to her. She 
 died at Naples in 1840. Her principal 
 paintings are at Houghton Hall, Hunting- 
 donshire, the family residence. 
 
ANT 
 
 ARN 
 
 ANTONY, Charles, medallist. He was 
 master of the mint to James I. His re- 
 lative, Thomas Antony, at the same time 
 held the office of overseer of the stamps. 
 Both were able artists. 
 
 ARCHER, John Wykeham, water-colour 
 painter. Was the son of a prosperous 
 tradesman at Newcastle-on-Tyne, and was 
 born there ilugust 2, 1808. He was sent 
 to London as the pupil of John Scott, the 
 animal engraver. Retiuming to Newcastle 
 he etched, in conjunction with Collard, after 
 Carmichael's designs, ' Views of Fountains' 
 Abbey,' and some plates for Mackenzie's 
 'History of Durham.' After passing a short 
 time in Edinburgh, he came again to Lon- 
 don about 1830, and was employed by the 
 Messrs. Finden. He engraved a plate after 
 Callcott, R.A., and was then engaged to en- 
 grave for the ' Sportsman's Magazine ; ' but 
 his employment was uncertain, and he was 
 induced to try water-colour painting. He 
 was led by his tastes to paint the old build- 
 ings in the Metropolis, and in this pursuit 
 he acquired knowledge and repute as an 
 antiquarian, and had a large commission 
 for works of this class, which employed him 
 to the end of his life. He drew occasionally 
 on the wood for Mr. Charles Knight's pub- 
 lications, and made a number of topogra- 
 phical drawings for the Duke of Northum- 
 berland. He was an able artist, and a 
 member of the Institute of Painters in 
 Water-Colours, and exhibited there a num- 
 ber of drawings of St. Mary Overy and 
 of Lambeth Palace. He died suddenly in 
 London, May 25, 1864. He published 
 ' Vestiges of Old London,' drawn and etched 
 by himself, 1851 — his subjects very picto- 
 rially treated, with numerous figures well 
 introduced — and some other etchings. He 
 had some literary taste, and wrote for 
 Douglas Jerrold's Magazine, ' Recreations 
 of Mr. Zigzag the elder,' and some antiqua- 
 rian papers, which he contributed to the 
 ' Grentleman's Magazine.' 
 
 ARCHER, Thomas, architect. His 
 father represented Warwick in the time of 
 Charles II. He was a pupil of S ir John 
 Vanbrugh, and was largely employed at the 
 beginning of the 18th century. He built 
 Heythorpe Hall, Oxfordshire, his first work, 
 1710; Harcourt House, Hanover Square; 
 Cliefden House, long since burned dov/n ; 
 St. Philip's Church, Birmingham, 1/15-19 ; 
 and St. John's Church, Westminster, 
 1 721-28. This work, frequently ascribed to 
 Vanbrugh, is conspicuous by its four bel- 
 fries, and has been sharply assailed by the 
 critics. He held the office of groom-porter 
 during the reigns of Anne, George I., 
 and George 11. Walpole speaks of him as 
 'the groom-porter who built Ilithrop ' 
 (Heythorpe). He died May 23, 1743, 
 having accumulated a large i^roperty. His 
 
 works were not without a certain gran- 
 deur of proportion, and they may surely 
 claim the merit of originality. 
 
 ARLAUD, James Anthony, miniature 
 'painter. Was born in Geneva, May 18, 
 1688, and was intended for the Church, but 
 was too poor to continue his studies, and 
 he turned painter. At the age of 20 he 
 left Geneva, and after working a while at 
 Dijon, where he found employment in art 
 as a painter of small ornamental portraits 
 for jewellers, encouraged by his success, 
 he went to Paris, where he commenced 
 practice as a miniature painter, and, patro- 
 nised by the Duke of Orleans, gained a 
 great reputation. In 1721 he came to 
 London, and met with much encouragement. 
 He painted the Princess of Wales, after- 
 wards Queen Caroline, and several of the 
 nobility. But he went back to Paris, and 
 after a time, having amassed money, re- 
 tired to Geneva, where he died May 25, 
 1743. He was esteemed one of the first 
 artists in miniature of his time. His por- 
 traits, which are very numerous, are well 
 drawn and carefully finished; his colour 
 is good, the costume well painted. He 
 painted several historical subjects. 
 
 ARLAUD, Benedict, miniature painter. 
 He was brother of the foregoing, and, like 
 him, was born in Geneva. He practised for 
 a time in Amsterdam and then in London, 
 where he died in 1719. Some of his por- 
 traits have been engraved. 
 
 ARLAUD, Bernard (or Benjamin), 
 miniature fainter. Born in Geneva, he 
 came to London, where he resided, and at 
 two different periods met with encourage- 
 ment. Between 1793 and 1800 he was 
 frequently an exhibitor at the Royal 
 Academy. He retired to Geneva in 1801, 
 and was living there in 1825, when he sent 
 a miniature to the Royal Academy Exhi- 
 bition. 
 
 ARMSTRONG, Cosmo, engraver. He 
 was a pupil of Milton, and remained in his 
 employ for five years. He engraved illus- 
 trations for Cooke's edition of the Poets, 
 Kearsley's edition of Shakespeare, 1804-5, 
 and after Smirke and Thurston, for an 
 edition of the ' Arabian Nights.' He was 
 a governor of the Society of Engravers, 
 founded 1803, and in 1821 exhibited with 
 the Associated Engravers. His works were 
 greatly esteemed, and examples of his art 
 were shown at the International Exhibition, 
 1862. 
 
 ARNALD, George, A.R.A., landscape 
 painter. Born in Berkshire in 1763, he 
 began life as a domestic servant to a lady 
 who, noticing his great ability in drawing, 
 obtained for him some instruction. He 
 became a pupil of William Pether, and 
 first appears as an exhibitor at the Academy 
 1 in 1788 ; and was from that time, with few 
 
 11 
 
ARN 
 
 ASH 
 
 exceptions, a regular contributor. Ho 
 painted moonlights, storms, effects of light, 
 the sun breaking through a fog, classical 
 landscapes, architectural compositions ; and 
 later in his career, marines and sea-lights. 
 In 1810 he was elected an associate of the 
 Academy. Jn 1825 he was the successful 
 competitor for a commission of 5001. offered 
 by the British Institution for a painting of 
 ' The 13attle of the Nile.' This work is of 
 large size and well painted, the moment 
 seized being the explosion of the ' L' Orient.' 
 It is now in the Gallery at Greenwich 
 Hospital. In 1827 he exhibited 'The 
 
 Belleroplion," 74, as a Convict Ship at 
 Slieerness,' and the following year four 
 landscapes, in approval of which 50^. were 
 awarded to him. He continued an exhi- 
 bitor for many years. He died at Penton- 
 ville, November 21, 1841, Some of his 
 works were engraved in ' The Border An- 
 tiquities of England and Scotland.' His 
 two daughters exhibited at the Eoyal 
 Academy ; one of them was a constant ex- 
 hibitor of landscapes in oil, 1823-32. 
 
 AENALD, Sebastian Wyndham, sculp- 
 tor. Son of the above. Was student in 
 the Academy schools, and first exhibited, in 
 1823, bust of G. Arnald, A.E.A. ; in 1827, 
 ' The Death of Abel,' a sketch in plaster ; in 
 1828, a ' Perseus and Andromeda ; ' and con- 
 tinued to exhibit classical designs and 
 busts. In 1831 he gained the Academy 
 gold medal for his group of ' The Murder 
 of the Innocents.' Afterv/ards, he occa- 
 sionally exhibited a drawing or a painting 
 up to the death of his father in 1841, when 
 he ceased to exhibit till 1846, and then 
 sent a painting from ' Pilgrim's Progress,' 
 after which any further traces of his art- 
 career are lost. 
 
 AENOLD, Samuel James, panorama 
 painter. Began art as a portrait painter, 
 and first appears in the Academy catalogues 
 as an exhibitor in 1800, and continued to 
 exhibit portraits up to 1806, but was 
 chiefly employed in panorama painting. 
 
 AETAUD, William, jportr ait ■ 'painter. 
 He was the son of a jeweller, and in 1776 
 gained a premium at the Society of Arts. 
 He became a student in the Academy 
 schools, and appears first in 1780 as an 
 exhibitor of a 'St. John,' in enamel, fol- 
 lowed in 1784 and 1786 by portraits in 
 oil. In the latter year he obtained the 
 Academy gold medal for a painting from 
 'Paradise Lost,' and in 1795 the travel- 
 ling studentship. He continued to exhibit 
 portraits, with, occasionally, history — in 
 1791, ' Potiphar s Wife accusing Joseph ; ' 
 in 1792 ' Martha and Mary ; ' in 1795, 'A 
 AVeary Traveller in a Storni ; ' in 1800, four 
 subject pictures— up to 1822, when his 
 name appears in the catalogue for the last 
 time. He was employed on some of the 
 12 
 
 subjects for Macklin's ' Bible,' and several of 
 his portraits are engraved. His portraits 
 were cleverly drawn, and painted with 
 great power. They have individuality of 
 character, but want expression. 
 
 AEUNDALE, Piiancis, architect. Born 
 in London, August 9, 1807. Was a pupil 
 of Augustus Pugin ; accompanied him in 
 his tour through Normandy, and made 
 some of the drawings for his 'Architec- 
 tural Antiquities of Normandy.' In 1 8 3 1 he 
 went to Egyi3t to study the architectiu:al 
 remains of that country, and in 1833, in 
 company with Mr. Catherwood and Mr. 
 Bonomi, he visited the Holy Land, resided 
 some time in Jerusalem, and made a large 
 number of sketches and drawings, and a 
 careful measurem.ent of the Mosque of 
 Omar. He remained, altogether, nine years 
 in the East, and then travelled in Greece. 
 Later he visited Prance and Italy, passing 
 several winters in Eome. He did not 
 practise as an architect ; he rather studied 
 the art as a draftsman. He painted several 
 large pictures in oil from his Eastern 
 sketches, and published ' The Edifices of 
 Palladio,' from his own drawings and 
 measurements, 1832; 'Illustrations of 
 Jerusalem and Mount Sinai,' also from his 
 ov/n drawings, 1837; 'Selections from the 
 Gallery of Antiquities in the British 
 Museum,' 1842; 'The Early History of 
 Egypt,' from the same source, did not ap- 
 pear till 1857, and was, with the preceding 
 v/ork, the joint production of Mr. Bonomi. 
 He also commenced a reprint of ' Palladio.' 
 He married a daughter of Mr. Pickersgill, 
 E.A., by whom he had six children. He 
 died at Brighton, September 9, 1853, pro- 
 bably having laid the seeds of his malady 
 by inhabiting a tomb while in Egypt. 
 
 AEUNDEL, Thomas, D.D., amateur. 
 Was born in 1353 ; second son of the Earl 
 of ArundeL He was created Bishop of 
 Ely 1374, Archbishop of York 1388, and 
 of Canterbury 1396 ; and he filled the 
 office of Lord Chancellor. As an architect, 
 he rebuilt the Episcopal Palace in Holborn, 
 built or superintended the erection of the 
 Palace at York, and the Lantern Tower and 
 part of the na^^e of Canterbury Cathedral. 
 He died February 20, 1413. 
 
 ASHBY, II., portrait painter. Was 
 the son of an engraver, of whom little is 
 known. He practised in London, and first 
 appears as an exhibitor at the Eoyal 
 Academy in 1794, and in the following 
 years was a regular contributor of portraits, 
 and occasionally of domestic subjects. In 
 1808 he exhibited at the British Institution 
 ' The Attic Artist,' and in 1816 ' The Hy- 
 pochondriac,' at the Eoyal Academy. He 
 had retired for several years to Mitcham, 
 and he exhibited two portraits in 1821, his 
 last contribution. His portraits possessed 
 
ASH 
 
 ASH 
 
 some merit, and one or two have been en- 
 graved. His domestic scenes showed an 
 appreciation of character. 
 
 ASHFIELD, John, architect. He was 
 master of the works of Bristol Cathedral 
 from 1^72 to 1491, and is believed to have 
 built the tower and south transept. 
 
 ASHFIELD, Ebmuxd, fortrcdt fainter. 
 Pupil of Michael Wright ; painted both in 
 oil and crayons, but excelled in the latter, 
 which were highly and powerfully finished, 
 and gained large prices. Vertue speaks 
 with much praise of a small portrait by 
 him of Lady Herbert. He practised about 
 1680, and died about 1700. There are 
 some portraits by him at Burleigh. 
 
 ASHFOKD, William, P.E.H.A., lancl- 
 scape painter. Born in Birmingham, he 
 went to Ireland in 1761 and settled in 
 Dublin. He was at that time about 18 
 years of age, and for a while held a situa- 
 tion in the Ordnance Department. Fond 
 of landscape painting, he gave up his situa- 
 tion to follow art. He contributed to the 
 early exhibitions of the Incorporated Society 
 of Artists in London, and in 1783 and 1790 
 to the Koyal Academy Exhibitions. At 
 this period he resided some time in London, 
 and in conjunction wdtli Serres, E.A., the 
 marine painter, made a joint exhibition of 
 their paintings. He was one of the three 
 artists to whom his professional brethren 
 confided the election of eleven others to 
 constitute, with themseh^es, the Royal 
 Hibernian Academy, which was incorpo- 
 rated in 1823, and he was the first presi- 
 dent of the new institution, in which he 
 always took the liveliest interest. His 
 works were much esteemed, and he saved, 
 early in his career, a sufficient competence; 
 but for the last 30 years of his life he 
 was neglected. He had retired to Sandy- 
 mount, near Dublin, wdiere he pursued his 
 favourite art, both in oil and water-colours, 
 with great vigour. He died there April 17, 
 1824, aged 78, and was buried in the 
 neighbouring old churchyard at Donny- 
 brook. A fine work by him, ' Orlando 
 under the Oak,' is in the Hibernian Aca- 
 demy; and his own portrait, painted by 
 himself, and several of his landscapes, are 
 in the Fitzwilliam collection at Cambridge. 
 
 ASHLEY, Hector, mason and architect. 
 His name frequently appears in the Privy 
 Purse accounts of Henry VII. and Henry 
 VIII. He is also mentioned by Walpole 
 as an architect of the time of Queen Eliza- 
 beth, and is supposed to have been engaged 
 in the erection of Hunsdon House. 
 
 ASHPITEL Arthur, architect. Born 
 December 14, 1807- He w\as the son of a 
 surA^eyor and architect ; a clever child, he 
 suffered from an accident, and his long con- 
 finement led to study. AVhen about 35 
 years of age, regaining his strength, he 
 
 established himself as an architect and 
 surveyor in the city, wdiere he designed and 
 erected a number of houses. In 1845 ho 
 built the new church of St. Barnabas, 
 Homerton, soon after a church at Battersea, 
 and another near Cardigan, followed by a 
 churcli at Vernham Dean, near Hungerford, 
 and the new church at Blackheatli. In 
 1853 he travelled by Paris and Marseilles 
 to Rome, where he passed the first three 
 months of the next year, and then went to 
 Naples for three months, where he suffered 
 from fever, and returned home in 1854, 
 after twelve months' absence. Ho had 
 from 1845 been a constant exhibitor, 
 chiefly of his executed works, at the Royal 
 Academy, and after his return from Italy 
 exhibited several restorations and works of 
 great interest — in 1850, 'Selections from 
 Palladio ; ' in 1851, ' A Design for rebuild- 
 ing Blackfriars Bridge and throwing open 
 St. Paul's ; ' in 1858, restorations of 'An- 
 cient Rome ; ' in 1859, ' Modern Rome,' the 
 last two published works. He was a good 
 scholar and linguist, a clever archaeologist, 
 and the writer of several works of art con- 
 nected with his profession. He was an active 
 fellow of the Institute of British Archi- 
 tects, and a contributor to the ' Dictionary 
 of Architecture ' in the course of publication 
 by that body. He also contributed to the 
 ' Encyclopcedia Britannica ' the articles on 
 Vanbrugh, AVren, the Wyatt Family, and 
 William of Wyckham. He died January 18, 
 1869, and was buried in Hackney Church- 
 yard. 
 
 ASHTON, Henry, architect. Born in 
 London 1801. He was a pupil of Sir 
 Robert Smirke, and was afterwards em- 
 ployed by Sir Jeffrey Wyattville, and con- 
 tinued in his employ till his death. He 
 was engaged to erect the stables at Windsor 
 and the kennels at Frogmore. In 1828 he 
 first exhibited ' A Roman Street,' a compo- 
 sition ; in the following year, ' Strada delta 
 Chiesa,' a composition; in 1830, a ' Palla- 
 dian Villa ; ' and in ''831 a study in the 
 Tudor style ; and then for above 20 years 
 was no longer an exhibitor. He was at 
 this period employed by the King of Hol- 
 land to erect the Summer Palace at the 
 Hague, and competed, though without suc- 
 cess, for some of the most important works 
 of h's day. He was engaged as architect 
 for the Victoria Street improvements, and 
 designed tl e fine thoroughf^ire connecting 
 Belgravia with the Houses o? Parliament, 
 and in 1854 appears again as an exhibitor, 
 sending a portion of his designs for this 
 street, 'Houses on t^re Scotch Principle;' 
 in 1855 he exhibited a design for a mansion 
 he Vv^as erecting; and in 1856, 'Sketches 
 for enlarging the Nationa^ Gallery.' His 
 work possessed many good characteristics — 
 good in construction, simple yet tasteful in 
 
 13 
 
ASH 
 
 ATK 
 
 its design and proportions. Some of his 
 best examples will be found in Victoria 
 Street. He died March 18, 1872. 
 
 ASIITON, Matthew, 2'^ortTait painter. 
 Practised his art between 1725-50, both in 
 Ireland and London. His portrait of 
 33oiilter, Archbishop of Armagh, is en- 
 graved, and also his portrait of Ambrose 
 Phillips, the poet. 
 
 ASTLEY, John, portrait painter. Born 
 at Wemm, Shropshire, about 1730. Son of 
 an apothecary, and educated in the village 
 school. Came to London and studied his 
 art under Hudson; then, about 1749, 
 managed to visit Kome, where Northcote 
 tells he was poor enough, for, reluctantly 
 pulling off his coat to follow the general 
 example of a party of artists one hot even- 
 ing, he displayed the back of his waistcoat 
 made of one of his own canvas studies. On 
 his return he practised his art sometime in 
 London, and afterwards went as an adven- 
 turer, in 1759, to Dublin, where in about 
 three years he is said to have realised 
 3,000^. by his pencil. On his way home he 
 was tempted to visit the neighbourhood of 
 his birthplace, and invited to the Kmits- 
 ford Assembly, Lady Daniell, a rich widow 
 who was present, was so won by his appear- 
 ance that she contrived to sit to him for 
 her portrait, and to marry him, we are told, 
 within a week. She settled on him the Tably 
 estate, producing about 1,000/. a year, and 
 by her will left him, on the death of her 
 daughter, the Duckenfield estate, worth 
 5,000/. a year. He had much talent, particu- 
 larly in portraits. His colouring was agree- 
 able, the composition original, drawing fair, 
 but the finish slight, and character and 
 expression weak. His art was, however, 
 spoiled by his fortune. He passed his time 
 in idleness and dissipation, and obtained the 
 name of * Beau Astley.' He soon sold the 
 Tably property. He made two or three 
 charges on the reversion of the Duckenfield 
 estate, and was just on the point of selling 
 his final interest when the heiress died, and 
 he came into possession of the whole. He 
 now purchased Schomberg House, Pall 
 Mall, for 5,000/., and spent 5,000/. more to 
 convert it into three dwellings ; the centre, 
 fantastically fitted up, but not without 
 taste, he inhabited himself, and also a villa 
 on Barnes Terrace. He speculated in a 
 colliery, and sank more money than he 
 raised, and was not more successful in some 
 iron works ; but his losses were somewhat 
 replaced by a fortune of 10,000/. he in- 
 herited on the death of his brother, a 
 surgeon at Putney, who was accidentally 
 killed. In his youth handsome, vain, and 
 ostentatious, with little sense of morality 
 or propriety; in the decline of life, when 
 not without the apprehension of indigence, 
 he was disturbed by the remembrance of 
 H 
 
 his early follies. He died at Duckenfield 
 Lodge, 'November 14, 1787, and was 
 buried in the village church there. He 
 had, when far advanced in life, mar- 
 ried a third wife, and left a son and two 
 daughters. 
 
 ATKINS, J., portrait painter. Born in 
 Ireland. He studied for a time at Kome, 
 and exhibited portraits at the Academy in 
 1831 and 1833. He was a young artist of 
 much promise, and went to Constantinople 
 to paint the portrait of the Sultan ; on his 
 return, and while undergoing quarantine at 
 Malta, he was attacked with fever, and died 
 there 1834. 
 
 ATKINS, S., marine painter. Exhibited 
 some good paintings at the Eoyal Academy 
 in 1787 — ' A Light Breeze,' 'A Calm,' and 
 ' A Fresh Grale,' but did not exhibit again 
 till 1791, when in that year, and up to 
 1796, he was a contributor. He then went 
 to the East Indies, and on his return in 
 180.4 exhibited 'An East Indiaman passing 
 the Boca Tigris,' and continued an exhibitor 
 to 1808. He painted both in oil and in 
 water-colour. His works are characterised 
 by much neatness and truth of finish. 
 
 ATKINSON, Thomas Witlam, architect 
 and draftsman. Was of humble origin ; 
 born about 1799; and was employed as 
 a mason or stone-carver upon several 
 churches building in the North of England. 
 He for some time taught drawing at 
 Ashton-under-Lyne. Ingenious and obser- 
 vant, he gained knowledge in his work, 
 and drew and published in 1831 his 
 ' Gothic Ornaments.' He afterwards settled 
 at Manchester, and commenced practice as 
 an architect, and gave the first impulse 
 towards some taste in building in that city. 
 In 1829 and the succeeding years he ex- 
 hibited some architectural designs at the 
 Koyal Academy. In 1840, after some re- 
 verses, which left him in difficulties, he 
 came to London, and eventually went to 
 Hamburgh, and from thence to Berlin and 
 St. Petersburg. Then, abandoning any 
 practice as an architect, he started as a 
 traveller and an artist, and with the sanc- 
 tion of the Pussian Government he visited 
 the most remote parts of Pussia in Asia, 
 including the Amoor Piver, bordering 
 Chinese Tartary. He made a great many 
 drawings and notes upon the condition of 
 this remote territory, and returning to 
 England after many difficulties, he pub- 
 lished, with his own illustrations, in 1858, 
 ' Oriental and Western Siberia; ' in 1860, 
 ' Travels in the Pegion of the Upper and 
 Lower Amoor.' The ' Pecollections of the 
 Tartar Steppes and their Inhabitants ' ap- 
 peared in 1863. He died at Little Walmer, 
 Kent, August 13, 1861, aged 62. 
 
 ATKINSON, John Augustus, painter 
 and draftsman. Was born in London in 
 
ATK 
 
 AT W 
 
 1775, and in 1784 went with his uncle to 
 St. Petersburg. Fond of art, he was 
 allowed to study in the picture gallery of 
 the royal palace, and gained the patronage 
 of the Empress Catherine, and, on her death, 
 of her son the Emperor Paul. Induced to 
 settle in Eussia, he executed there some 
 good paintings. Two in the Michael's Palace 
 represent 'The Victory of the Cossacks 
 of the Don over the Tartars ' and ' The 
 Baptism of Count Wladimir.' He was a 
 very skilful draftsman, and made numerous 
 drawings of Russian costume and amuse- 
 ments, and illustrated a Russian edition of 
 ' Hudibras,' published in 1798 at Konigs- 
 berg. In 1801 he returned to England, 
 and the following year was an exhibitor of 
 a Russian subject at the Royal Academy. 
 Roydell about the same time published a 
 view by him of the Russian metropolis, and 
 a portrait of Suwarrow, engraved by Walker. 
 In 1803-4 he published 'A Picturesque 
 Representation of the Manners, Customs, 
 and Amusements of the Russians;' the 
 plates, slightly etched in outline, shaded with 
 aqua-tint and coloured, number 100, and 
 were all drawn and etched by himself. In 
 1807 he published a set of soft-ground 
 etchings to illustrate the miseries of human 
 life; and, in the same year, 'A Picturesque 
 Representation, in 100 coloured plates, of the 
 Nayal, Military, and Miscellaneous Cos- 
 tames of Great Britain.' Later, he published 
 some very spirited lithographic drawings 
 of battles. In 1819 he completed a large 
 picture of the ' Battle of Waterloo,' which 
 was engraved by Burnet. He first ex- 
 hibited at the Water-Colour Society as an 
 'associate,' in 1808, two classic subjects 
 with some others, and the following year 
 was elected a member of the Society, when 
 his contributions were chiefly military. In 
 1810 and 1811 his works were of the same 
 class. In 1812 he sent Shakespeare's 
 ' Seven Ages.' In 1813, when an alteration 
 was made in the rules of the Society, his 
 name no longer appears as a member, but 
 he continued to contribute under the new 
 class as an 'exhibitor' up to 1818, when 
 his contributions ceased. He was also a 
 frequent exhibitor at the Royal Academy, 
 sending during several years both rustic 
 and classic subjects, with battle-pieces and 
 camp scenes, in oil and water-colours. His 
 last contribution was in 1829. The date of 
 his death cannot be traced. His drawing 
 was vigorous and powerful, his battle- 
 pieces, in which he excelled, very spirited ; 
 his representation of character and costume 
 truthful ; and his water-colour drawings 
 simple in treatment, and characterised by 
 a masterly hand. 
 
 ATKINSON, Frederick, amateur. Was 
 a silk-mercer and draper at York; and 
 about the beginning of the 19th century 
 
 produced some fair etchings, chiefly por- 
 traits, some from the life, with two or three 
 views. 
 
 ATKINSON, Peter, architect. Was 
 born at Ripon in 1725, and was brought up 
 as a carpenter. He was employed by John 
 Carr, the architect of York, and improving 
 himself he succeeded his master on his re- 
 tirement from the profession. He built for 
 Sir John V. Johnstone the large mansion 
 at Hackness, near Scarborough, and found 
 much employment in Yorkshire and the 
 adjacent counties. He died June 19, 1805. 
 
 ATKINSON, Peter, architect. Son of 
 the above. Born about 1776 ; brought up 
 to his profession under his father, and 
 afterwards his partner. He erected the 
 bridge over the Ouse at York, commenced 
 1810. He was many years surveyor to the 
 Corporation of York, and built the city 
 prison. He also built several new churches. 
 During the latter part of his life he resided 
 abroad. He died in 1842. 
 
 ATKINSON, William, architect. Was 
 born at Bishop's Auckland, near Durham, 
 about 1773. Began life as a carpenter, and 
 with the assistance of Bishop Barrington 
 was sent to London and became the appren- 
 tice of James Wyatt. He entered the 
 schools of the Royal Academy, and first 
 exhibited some architectural designs in 
 1796, and was for several years an occa- 
 sional exhibitor. In 1797 he gained the 
 Academy gold medal for his designs for a 
 Court of Justice. He built several large 
 mansions — among them Lord Mansfield's 
 house at Scone — and was both in theory and 
 practice a clever architect ; also several 
 churches in Scotland, and holding the office 
 of architect to the Board of Ordnance he 
 made several alterations to the buildings at 
 the Tower and at Woolwich. The offices of 
 the Board of Control in Canon Row, West- 
 minster, are also after his designs. He was 
 the inventor of Atkinson's cement, and 
 published ' Views of picturesque Cottages * 
 in 1805. He died at Cobham, Surrey, 
 May 22, 1839, aged 66. 
 
 ATSYLL, Richard, gem engraver. Held 
 the office of gem engraver to Henry VIII., 
 with a fee of 20^. a year. It is recorded 
 that he cut the king's head in sardonyx, 
 and this gem is supposed to exist in the 
 Duke of Devonshire's collection. 
 
 ATTWOLD, R., engraver and draftsman. 
 There is an engraving in the line manner, 
 cleverly designed and engraved l^y him, 
 published in 1750 — ' The Military Nurse, or 
 Modern Officer,' and ' The Naval Nurse, or 
 Modern Commander,' two satirical subjects 
 on one plate, in the manner of Hogarth, to 
 whom, in the absence of any knowledge of 
 the artist, they have been erroneously 
 attributed. 
 
 ATWOOD, Thomas, Hower 'painter 
 
AUD 
 
 BAO 
 
 Exhibited a large flower-piece at tlio second 
 Exhibition of Artists, 1761, and was a 
 member of the Incorporated Society in 1706 ; 
 but does not appear to have been a con- 
 trilnitor to the Academy Exhibitions. 
 
 AUDINET, Philippe, engraver. De- 
 scended from a French refugee ftimily long 
 settled in England. Born in Soho in 1766, 
 and apprenticed to John Hall, the distin- 
 guished lino ongrayer, and worked in that 
 manner. Among his early works v/ere 
 the portraits for Harrison's ' Biographical 
 Magazine ' and the ' History of England.' 
 He also engraved for Bell's publications, 
 and there is a plate of 'Louis XVI. and the 
 Eoyal Family of Franco ' by him. Among 
 his later works may be distinguished a large 
 portrait of Sir Benjamin Hobhouse, and 
 another of Sir William Domville, with the 
 illustrations for an edition of Walton's 
 'Angler.' He died a bachelor, Decem- 
 ber 18, 1837, aged 71, and was buried in 
 the vaults of St. Giles's Church. 
 
 AUSTEN, William, modeller. Practised 
 in London in the reign of Henry VI. Exe- 
 cuted the model and metal work of the 
 fiimous monument of Ei chard de Beau- 
 champ, Earl of Warwick, in St. Mary's 
 Church, at Warwick, 1464, the principal 
 figure of a natural size, and a fine work, 
 with 36 small figures in rich Gothic niches. 
 Euseli praises this tomb highly, 'and says it 
 equals the work of the great Italian artists 
 of that time. 
 
 AUSTIN, Geoege, architect. Was born 
 at Woodstock, and early applied himself 
 to the restoration of Gothic edifices. In 
 1820 he was appointed the resident archi- 
 tect of Canterbury Cathedral, and carried 
 out very extensive and important restora- 
 tions and repairs to the fabric. He died 
 October 26, 1842, aged 62, and was buried 
 in the cathedral. 
 
 AUSTIN, Paul, engraver. Born in Lon- 
 don 1741. Ho engraved landscape after 
 several masters. 
 
 AUSTIN, EiCHARD T., wood engraver. 
 AVas a pupil of John Bewick ; and executed 
 small cuts and vignettes in wood at the 
 commencement of the 19th century. In 
 1802 he obtained the Society of Arts' silver 
 medal. Tho cuts for Linnaeus' s 'Travels 
 
 in Lapland,' published in 1811, are by him. 
 
 He was a clever artist, and much employed 
 by tho booksellers, but he did nothing to 
 promote the art, which in his day began to 
 rise in estimation. He exhibited some land- 
 scapes at the Eoyal Academy in 1803 and 
 1806. 
 
 AUSTIN, Skmviel,^ trater-coloiir painter. 
 He resided at Liverpool, where he was ori- 
 ginally clerk in a bank, and gave up a good 
 salary to pursue professionally an art in 
 which he had excelled as an amateur. He 
 was, in 1824, one of the foundation mem- 
 bers of the Society of British Artists, and 
 exhibited in their galleries water-colour 
 drawings till 1827, when he joined the 
 Water-Colour Society, on his election as an 
 associate member, and exhibited with the 
 Society to 1834, and died in July of that 
 year. He contributed landscapes and occa- 
 sionally rustic figures, but his best works 
 were coast scenes, introducing boats and 
 figures, some of which were from sketches 
 in Holland, France, and on the Ehine. 
 
 AUSTIN, William, draftsman and en- 
 graver. Pupil of Bickham. Practised in 
 London about the middle of the 18th cen- 
 tury, but did not attain to much reputa- 
 tion. He engraved several landscapes; 10 
 plates of the ' Euins of Palmyra ; ' views 
 of Eome, Venice, Athens ; 38 slight etch- 
 ings after Lucatelli, 1781 ; and 'Windsor 
 Park ' after Thomas Sandby. He for some 
 time kept a print shop ; was a great hu- 
 morist, a great supporter of Charles Fox, 
 and published some political caricatures, 
 which were mostly directed against the 
 French. He exhibited at the Academy 
 in 1776 a view on the Ehine, but does 
 not a^ipear again as an exhibitor. He 
 retired to Brighton, and died there in 1820, 
 aged 99. 
 
 AYLESFOED, Heneage FixXCH, Fourth 
 Earl of, amateur. Born in London, July 15, 
 1751. Was a clever draftsman in w^ater- 
 colours, working in a slight, free manner, 
 chiefly in sepia or bistre. He was an 
 honorary exhibitor at the Eoyal Academy, 
 1786-90, contributing architectural A^iews. 
 He also produced a few good etchings of 
 cottages and rural scenery, some of which 
 were published. He died October 20, 1812. 
 
 B 
 
 BxVCON, John, E.A., Ecidftor. Born in 
 Southwark, NoA'cmbcr 24, 1740. Son of a 
 cloth-worker in Southwark, who was de- 
 scended from an old Somersetshire fan 'ly. 
 After a short schooling, he began to learn 
 his father's trade ; but, at the age of 15, was 
 16 
 
 apprenticed to Mr. Crispe, a china manu- 
 facturer, who had a factory in Lambeth 
 and his shop in Bov/ Chiu'chyard. Here 
 he was employed in modelling and painting 
 porcelain, gained knowledge from the fine 
 works sent to the manufactory to be burnt, 
 
BAG 
 
 BAG 
 
 and making rapid progress, early conceived 
 a notion of his art. In 1758 he gained a 
 premium, and, altogether, nine premiums 
 from the Society of Arts, including an 
 award of 50 guineas for his emblematic 
 figure, ' Ocean.' During his apprenticeship 
 he matured plans for employing artificial 
 stone for sculpture ; and, by his art, was 
 the means of restoring Coade's manufiicture, 
 then falling into disuse. He had hitherto 
 lived in the City, and now removed to the 
 West End, and entered in 1768 as a stu- 
 dent of the Koyal Academy, then founded. 
 About the same time he began to work in 
 marble, and invented a machine for trans- 
 ferring the design in plaster with mecha- 
 nical accuracy to the marble. In 1769 he 
 gained the first gold medal given by the 
 Academy for a bas-relief, ' ^neas escaping 
 from Troy.' He had now given proofs of 
 his genius as a sculptor, and in 1770 he was 
 elected an associate of the Koyal Academy. 
 He established his reputation by his fine 
 statue of ' Mars,' and gained the favour of 
 the king by a bust of His Majesty, which 
 he executed for the Archbishop of York. 
 He had for a time lived in Wardour Street. 
 He now married and removed to Newman 
 Street; but he lost his wife within three 
 years, and married a second time. His 
 talent now gained him full employment, 
 and he was commissioned to execute some 
 important public works ; among them may 
 be pointed out — the monuments to Pitt in 
 the Guildhall, London, and in Westminster 
 Abbey; to Dr. Johnson and Howard the 
 Philanthropist, in St. Paul's ; the bronze 
 statue of George III. and the two groups 
 and colossal figure of the ' Thames ' in So- 
 merset House ; also the monument of Mrs. 
 Draper (Sterne's ' Eliza'), in Bristol Cathe- 
 dral ; of Judge Blackstone, at Oxford ; of 
 Mr. Whitbread, at Uphill, Bedfordshire ; 
 and of Lord Cornwallis, for India. He 
 greatly improved the sculptor's pointing- 
 machine. He owed much to his natural 
 genius : in design and execution, though he 
 never acquired the art of using the chisel, 
 he showed an original delicacy, which was 
 neither derived from the study of the antique 
 nor any conventional ideal of beauty. He 
 wrote the article ' Sculpture ' in Rees's 
 ' Encyclopaedia.' His works, which are al- 
 most confined to portrait sculpture, possess 
 great simplicity of treatment. He did not 
 attempt classic subjects. He was, with 
 some interruptions, an exhibitor at the 
 Royal Academy up to his death, which 
 befel at the height of a successful career ; 
 when in the prime of life he was seized 
 with infiammation of the bowels, and 
 died in Newman Street, where he had 
 resided 22 years, August 4, 1799. Ho 
 was buried at Whitfield's Chapel, known 
 as the Tabernacle, Tottenham Court Road. 
 
 Animated by true religious feeling, he had 
 written many epitaphs, in both verse and 
 prose, and the following, upon himself, was 
 placed over his grave — ' What I was as an 
 artist seemed of some importance while I 
 lived ; but what I really was as a believer 
 in J esus Christ is the only thing of import- 
 ance to me now.' Careful in all his trans- 
 actions, possibly somewhat avaricious, and 
 judicious in the investment of his gains, he 
 amassed by his art a fortune of 60,000^., 
 which he left to be divided among his five 
 children, two of whom followed his profes- 
 sion. The antique had little influence or 
 share in his art. His chief works were 
 monumental, and for that nature, not the 
 ideal, was his study. His designs were 
 marked by strong good sense. He was not 
 led away by the poetic or the heroic, and 
 the portrait character of his works was well 
 preserved. The pious member of an influ- 
 ential Methodist congregation, he was the 
 writer of some religious disquisitions, and, 
 as connected with his profession, of an 
 article for Chambers's 'Dictionary,' on the 
 characters of painting and sculpture, which 
 is, at least, distinguished by his usual good 
 judgment. A short memoir of ' him by 
 Richard Cecil, M.A., was published in 
 1801. 
 
 BACON, John, sculptor. Second son 
 of John Bacon, R.A. He was born in 
 Newman Street in March 1777 ; and at 
 12 years of age entered the schools of 
 the Royal Academy. At 15 he was an 
 exhibitor, contributing in 1792 his first 
 work, a bas-relief of ' Moses striking the 
 Rock.' At the age of 16 he gained an 
 Academy silver medal, and the following 
 year (1794) the gold medal for his 'Cas- 
 sandra.' In 1796 he exhibited two figures, 
 'Vigilance' and 'Prudence,' now at the 
 Trinity House. On the death of his father 
 in 1799, he succeeded him in his business 
 and in his studio, completing the works in 
 progress, on which he had been associated. 
 In 1800 he exhibited two monumental 
 works ; in 1801, Lord Cornwallis's monu- 
 ment, a work commenced by his father; 
 and in 1802 some portions of monumental 
 works and busts, upon which he was largely 
 employed ; and continued to exhibit up to 
 1824, after which year his name no longer 
 appears in the catalogues. He died in 
 1859. His monuments, proofs of his genius, 
 will be found both in St. Paul's Cathedral, 
 where there are six, and in Westminster 
 Abbey. The statue of William III. in 
 St. James's Square was by him in 1808. 
 
 BACON, T., sculptor. Son of John 
 Bacon, R.A. Was associated with his father 
 in his works. He first exhibited at the 
 Academy, in 1793, 'The Prodigal Son,* 
 in terra cotta ; in 1794, ' Christ and the 
 Woman of Samaria ; ' in 1795, ' Christ in the 
 
 17 
 
BAG 
 
 BAI 
 
 Garden,' a model, when he ceased to ex- 
 hibit. 
 
 BACON, Sir Nathaniel, Knt., amateur. 
 Half-brother to Lord Chancellor Bacon. He 
 painted portrait and still-life, had much 
 talent, and studied art in Italy. Some of 
 his works wore at Ciilford, where he lived ; 
 and at Gorhanibury, his father's scat, there 
 is a ' Cook-maid with Dead Fowls,' and his 
 own whole-length portrait, painted by him- 
 eelf, which is a very good work, and has 
 been justly much praised. He also painted 
 a ' Ceres ' and a ' Hercules,' and left some 
 paintings at Eedgrave Hall, Suffolk. He 
 died 1615, in his 69th year, and was buried 
 in the chancel of Culford Church, where a 
 monument to him has been erected bear- 
 ing his bust, and among other emblems 
 his palette and pencils. A portrait of Sir 
 Nicholas Bacon by him has been engraved. 
 
 BADESLADE, Thomas, toj^ographtcal 
 draftsman. He practised in London 17^0- 
 17/)0. He drew many of the seats of the 
 nobility and gentry, which were engraved 
 by Toms and Harris, and made the draw- 
 ings for Dr. John Harris's ' History of Kent,' 
 published 1719, and some other publica- 
 tions. 
 
 BAILEY, John, engraver and draftsman. 
 He was self-taught, and early in life drew 
 and engraved for Hutchinson's Histories 
 of Northumberland and Durham, 1781-84 ; 
 Culley's ' Observations on Live Stock ; ' and 
 other publications. His works, which were 
 both on wood and copper, are very creditable 
 productions, but better in engraving than in 
 design. Leaving art, he became eminent in 
 Northumberland as a land agent and agri- 
 culturist. He was the author of Agricul- 
 tural Surveys of Northumberland, 1794; 
 Durham, 1810 ; and an essay on the ' Con- 
 struction of the Plough,' 1795. 
 
 BAILLIE, Edw^ard, glass painter. Born 
 at Gateshead. Exhibited at the Interna- 
 tional Exhibition, 1851, ' Shakespeare read- 
 ing a Play to Queen Elizabeth.' He died in 
 London, September 21, 1856. 
 
 BAILLIE, Alexander, engraver. Born 
 in Scotland. Practised about the middle of 
 the 18th century ; but his art was indifferent, 
 and his works are but little known. He 
 was at Rome in 1764, and while there en- 
 graved a ' St. Cecilia ' and a 'Holy Eamily,' 
 both after Imperial!. On his return he 
 settled in Edinburgh, and engraved some 
 portraits. 
 
 BAILLIE, Captain William, amateur 
 etcher. Born at Killbride, county of Car- 
 low, June 5, 1723. Educated at Dublin, 
 and at the age of 18 came to London and 
 entered the Middle Temple to study the law; 
 but, against the wishes of his father, ho 
 followed the example of a younger brother 
 and entorod the army. He served several 
 years in the 13th Foot, and was at the 
 18 
 
 battle of CuUoden and several actions in 
 G-ermany ; afterwards in the 51st Foot, and 
 fought at Minden, and lastly in the 17th 
 Light Dragoons. He then left the army and 
 was made a commissioner of stamps, from 
 which office he retired with a pension after 
 25 years' service. It is uncertain at what 
 period, though no doubt early in life, he 
 took up art (which his office left him leisure 
 to practice). He said the happiest hours 
 of his life were spent in its pursuit. He, 
 however, exhibited mezzo-tints and etchings 
 at the Spring Gardens Exhibition in 1774, 
 and in 1776 Rembrandt's one hundred guel- 
 ders' print, before and after 'restoration.' 
 He etched in various manners, blending 
 mezzo-tint and etching with great success. 
 He shone most in his imitations of Rem- 
 brandt, whose hundred guelders' print, 
 ' Christ Healing the Sick,' and ' Three Trees,' 
 with the twilight effect, he closely copied ; 
 and these, with some others of his works, 
 have been placed side by side with the ori- 
 ginals in the British Museum. He scraped a 
 portrait of himself, after Hone, and from his 
 own designs, ' The French Fleet overtaken 
 by a Storm,' 1759 ; 'An Engagement of Ca- 
 valry,' 1762; and 'The Sacrifice of Abra- 
 ham,' 1765, with some portraits. He pro- 
 duced altogether 107 plates, a selection of 
 50 from which was published by his son 
 in 1774, and the whole collection by Boy dell 
 in 1792. He died in December 1810, in his 
 88 th year. 
 
 BAILY, J., engraver. Practised towards 
 the end of the 18th century. Some good 
 landscapes and views in aqua-tint were 
 executed by him, and some subjects after 
 Morland. 
 
 BAILY, Edw^aud Hodges, R.A., sciplptor, 
 A¥as born March 10, 1788, at Bristol, where 
 his father was noted for his skill as a carver 
 of figure-heads for ships. He was educated 
 at the City Grammar School, and leav- 
 ing school at the age of 14, was placed 
 in a merchant's office, where he continued 
 two years. As a boy he had amused 
 himself in carving the likenesses of his 
 schoolfellows, and making the acquaintance 
 of a modeller in wax, he soon acquired such 
 facility in the art that he abandoned the 
 counting-house and commenced portraiture 
 in that material. A love of Flaxman's 
 works led him to make some studies from 
 the antique, and gained him an introduction 
 to the great sculptor, who offered him assist- 
 ance ; and coming to London in 1807, he 
 was admitted to Flaxman's studio, where 
 he worked for nearly seven years, and was 
 then employed as chief modeller by Messrs. 
 Rundell, the silversmiths. In 1809 he en- 
 tered the schools of the Royal Academy, 
 and the same year gained a silver medal, 
 followed in 1811 by the gold medal for his 
 group, 'Hercules rescuing Alcestis.' In 
 
BAK 
 
 1817 he was elected an associate of the 
 Academy, and produced for the next year's 
 exhibition his ' Eve at the Fountain,' which 
 gave him a wide reputation, and was exe- 
 cuted in marble for the Literary Institution 
 in his native city. In 1821 he became a 
 full member of the Academy, and was at 
 this time commissioned to execute the bassi- 
 rilievi for the Marble Arch, now removed to 
 Cumberland Gate, Hyde Park, and some of 
 the decorations in Buckingham Palace. He 
 was a constant exhibitor at the Academy. 
 His art did not derive its inspiration from 
 any classic source. His tastes led him to 
 works founded on the affections, and 
 
 * Mother and Child,' * Group of Children,' 
 
 * Sleeping Girl,' were subjects several times 
 repeated. His few sacred subjects, origin- 
 ating in the same feeling, were confined to 
 Adam and Eve. Hut his chief works — 
 those on which he was mainly employed and 
 became most distinguished — were monu- 
 mental statues and portrait busts. Of such 
 may be mentioned, in St. Paul's, Sir Astley 
 Cooper, Sir P. Malcolm, Sir W. Ponsonby, 
 and Earl St. Vincent ; his Charles James 
 Fox and Lord Mansfield for St. Stephen's 
 Hall, in the Houses of Parliament; Earl 
 Grey, Lord Mansfield, Telford, the engineer, 
 and some others. After 1858 his contribu- 
 tions to the Academy Exhibition fell off, 
 and in 1863 he accepted the position of 
 'honorary retired academician,' and did 
 not again exhibit. He died at Holloway, 
 May 22, 1867, in the 80th year of his age, 
 and was buried in Highgate Cemetery. His 
 talent placed him in the front rank of his 
 profession, and as he was for many years 
 fully employed, should have made him 
 wealthy ; but he was extravagant and 
 careless, and the latter part of his life was 
 always in difficulties. 
 
 BAKER, Henry Aaron, R.H.A., archi- 
 tect. Was a pupil of Gandon. He practised 
 in Dublin, and was elected teacher of archi- 
 tecture in the Dublin Society's School 1787, 
 and filled that office till his death. He erected 
 the Triumphal Arch at Derry, and gained the 
 first premium for his design for converting 
 the Irish Parliament House into a bank, but 
 was not employed. He was elected a mem- 
 ber of the Eoyal Hibernian Academy on its 
 foundation in 1823. He died inll838. He 
 had considerable architectural talent, but 
 was not fortunate in opportunity for its 
 development. 
 
 BAKER, ^ portrait jpcdnter. Practised 
 about 1700. He assisted Sir Godfrey 
 Kneller in the draperies and accessories of 
 his portraits. A portrait by him of Sir 
 Stephen Fox is finely engraved in mezzo-tint 
 by J. Simon. A view of St. Paul's by him 
 was sold at Sir Mark Sykes's sale. Vertue 
 engraved his portrait in the same group 
 with Charles Boit, the enamel painter. 
 
 c 
 
 BAL 
 
 BAKER, J., engraver. Resided at Isling- 
 ton. Practised towards the end of the 18th 
 century. There are by him some neatly 
 engraved book plates, chiefly portraits. He 
 engraved for the 'European' and other 
 magazines. 
 
 BAKER, Joseph, draftsman, "Was ori- 
 ginally an actor at York, and master of the 
 ceremonies in that city ; but fond of art he 
 became an able draftsman. Walpole men- 
 tions his having painted some church in- 
 teriors. Ho drew, on a large scale, the 
 cathedrals of York and Lincoln, which 
 were well engraved by Francis Vivares. Ho 
 died April 25, 1770. 
 
 BAKER, John, R.A., flower painter. 
 Born 1736. Was bred an ornamental coach 
 painter, and became pre-eminently distin- 
 g^iished for the wToaths and floral decora- 
 tions by which it was then the fashion to 
 surround the family arms emblazoned on 
 coach-panels. These works by him had 
 considerable merit, though marked by a 
 sharp hardness of finish common to this 
 class of art. Later in life he devoted him- 
 self to flower painting, and attained great 
 brilliancy in his colouring. He first exhi- 
 bited at the Spring Gardens Exhibition in 
 1762. He was one of the foundation mem- 
 bers of the Royal Academy, and exhibited 
 groups of flowers at the three flrst exhibi- 
 tions. His presentation picture is a group 
 of flowers. He died in Denmark Street, 
 Soho, April 30, 1771. His widow was long 
 a pensioner of the Royal Academy. 
 
 BAKER, Thomas, landscape painter. 
 Born in 1809. He practised in the Mid- 
 land Counties, where he was known as 
 ' Baker of Leamington,' and his art was 
 patronised and esteemed. He exhibited at 
 the Royal Academy in 1831. He died 
 August 10, 1844. 
 
 BAKER, Samuel, engraver. Practised 
 in London towards the end of the 17th 
 century. There are several engra^dngs by 
 him, but they do not possess much merit. 
 For a series of costumes a la mode he 
 engraved two or three of the plates, 1690. 
 
 BALDREY, John K., engraver and 
 draftsman. Born about 1750. Practised 
 both in London and Cambridge between 
 1780-1810, working both in the chalk and 
 dot manners ; many of his works are printed 
 in colours. Among his best works are 
 ' The Finding of Moses,' after Salvator 
 Rosa, 1785 ; 'Diana in a Landscape,' after 
 Carlo Maratti ; ' Lady Rawdon,' after 
 Reynolds, 1783; and some subjects after 
 Penny and Bunbury. His chief work is 
 from the East Window of King's College 
 Chapel, Cambridge, which he drew and 
 engraved, and then finished highly in 
 colours. He exhibited portraits at the 
 Academy in 1793 and 1794. He retired 
 to Hatfield, where he was living in 1821. 
 2 19 
 
BAL 
 
 BAN 
 
 BALDWIN, Thomas, architect. Practised 
 in Bath, and about 1775 was appointed 
 the architect of the corporation. He de- 
 signed many of the mansions, the town- 
 hall, the baths, the western front and 
 portico of the king's pump-room, 1 796. He 
 also drew the plans of a Roman temple 
 which was discovered in Bath. He died 
 March 7, 1820, aged 70. Robert Baldwin 
 practised in London as an architect about 
 the same period. 
 
 BALMER, George, water-colour 'painter. 
 Was the son of a house painter in North 
 Shields, and intended for that business. 
 He practised for a while as a decorator in 
 Edinburgh, cultivating at the same time a 
 taste for art. About 1831 he sent some 
 water-colour drawings to an exhibition at 
 Newcastle, and afterwards assisted Mr. 
 W. J. Carmichael, the marine painter, in 
 his large work, 'The Heroic Exploit of 
 Admiral Collingwood at the Battle of Tra- 
 falgar,' a picture now at the Trinity House, 
 Newcastle. He then visited Holland, the 
 Rhine, Switzerland, and Paris, where he 
 made some good studies at the Louvre, 
 On his return he settled in London, and 
 painted some Rhenish and Dutch shore 
 and coast scenes and some moonlights. In 
 1836 he suggested to Messrs. Einden ' The 
 Ports and Harbours of Great Britain,' i 
 publication which they commenced, con 
 taining many views, chiefly on the north 
 coast, from his drawings, but the work was 
 not continued. About 1842 he came into 
 possession of some property. He had always 
 been diffident of the merit of his works, and 
 giving up his commissions, he retired to 
 Ravensworth, Durham. Here he lived 
 about four years, amusing himself only 
 with his art, when he was attacked by 
 illness, and died in the prime of life on 
 April 10, 1846. 
 
 BAMFYLDE, Copp Warre, of Hester 
 combe, Somersetshire, amateur. Was con 
 spicuous as a landscape painter towards 
 the end of the 18th century, and was an 
 honorary exhibitor at the Academy. There 
 are some landscape etchings by him and 
 some humorous caricatures on costume, 
 1776. Benazech, Canot, and Vivares en^ 
 graved after him. 
 
 BANKS, Thomas, R.A., sculptor. Born 
 in St. Mary's parish, Lambeth, Dec. 22, 
 1735 (some accounts say 1738). His 
 father was land-steward and surveyor to 
 the Duke of Beaufort. He was sent to 
 school at Ross, Herefordshire, and at 15 
 apprenticed in London to a wood-carver, 
 serving his full time of seven years. At 
 23 he entered the St. Martin's Lane 
 Academy to study from the life. In 1763 
 he obtiiined the Society of Arts' medal 
 for a basso-rilievo. Ho gained a second 
 medal in 1765, and for a Ijfo-Bize model of 
 20 
 
 Prometheus' in 1769 a third medal. He 
 had found some employment under Kent, , 
 and at the same time entering the newly- 
 established schools of the Royal Academy, 
 he obtained the gold medal in 1770 for his 
 Rape of Proserpine,' a bas-relief ; and two 
 years later the travelling studentship. He 
 arrived in Rome in August 1772, and by 
 the assistance of his family prolonged his 
 stay beyond the three years of his student- 
 ship, and completed some fl.ne works in 
 marble, the chief of which were ' The Death 
 of Germanicus,' a basso-rilievo ; ' Carac- 
 tacus,' a ' Psyche,' . and a ' Cupid,' which he 
 brought to London to finish. He returned 
 to England in 1779, having married a lady 
 of some property, and exhibited a group in 
 marble and some designs in plaster. Soon 
 after, not finding his talents appreciated at 
 home, and" tempted by an offer from the 
 Court of Russia, he visited St. Petersburg, 
 taking with him his ' Cupid tormenting 
 a Butterfiy,' which was purchased by the 
 Empress. His health suffered by the 
 climate, and after executing some works, he 
 returned in less than two years, and in 1781 
 took a house in Newman Street, and settling 
 in the practice of his profession, he met 
 with considerable encouragement, exhibiting 
 yearly at the Academy. He was employed 
 upon a monument of Bishop Newton, and 
 finished his first great work, a colossal 
 statue of ' Achilles bewailing the loss of 
 Briseis,' which was afterwards presented 
 by his widow to the British Institution, and 
 till the alteration of the gallery in 1868, 
 stood in the vestibule. In 1784 he was 
 elected an associate, and in the next year 
 a full member of the Royal Academy. He 
 presented on his election his fine work, 
 'The Palling Giant.' 'Thetis and her 
 Nymphs,' a small oval alto-rilievo, is also 
 one of his most excellent productions. Of 
 his works 'in St. Paul's are the monuments 
 of Captains Westcott and Burgess ; in 
 Westminster Abbey, where there is a tablet 
 to his memory, the monument of Sir Eyre 
 Coote ; and in Pall Mall, the Shakespeare 
 Group in the exterior front of the British 
 Institution. He died in Newman Street, 
 where he had dwelt since 1781, February 2, 
 1805, and was buried in Paddington Church- 
 yard. His death was hastened by the vio- 
 lent treatment of an ignorant empyric. He 
 takes high rank among England's sculptors, 
 among whom he was the first who attained 
 excellence in the poetic treatment of purely 
 classic subjects, of which he left numerous 
 sketches in clay, full of delicacy in feeling 
 and refined finish. He was a reserved, 
 amiable, religious man — always kind to 
 young artists. In his latter days he found 
 pleasure in instructing his only daughter. 
 He left a handsome provision for his widow, 
 BANKS, Charles, sculptor. Brother of 
 
BAN 
 
 BAR 
 
 the foregoing. Was a student of the Eoyal 
 Academy, and after receiving several 
 premiums of the Society of Arts, gained 
 the Academy gold medal in 1774 for his 
 group of ' Pygmalion and his Statue.' In 
 the foUo^^-ing year he exhibited 'Adonis,' 
 a model, and did not again contribute to 
 the exhibition till 1783, when he sent 'A 
 Design for a Monument;' in 1784, 'Lot 
 and the Angels,' a model ; in 1787, 'Sketch 
 of a Basso-rilievo in Wax;' and after a 
 lapse of four years, in 1792, 'Diana and 
 Endymion,' apparently in wax, which was 
 his last exhibited work. 
 
 BANKS, Charles, miniature painter. 
 Was a native of Sweden, and came to this 
 country when young, in 1746. He prac- 
 tised his art here, and was an occasional 
 exhibitor at the Koyal Academy from 1775 
 to 1792. His miniature of himself is en- 
 graved by M' Ardell. 
 
 BANNEEMAN, Alexander, engraver. 
 Born at Cambridge about 1730. He was 
 employed by Alderman Boydell, and en- 
 graved for him ' Joseph interpreting 
 Pharaoh's Dream,' after Spagnoletti ; ' The 
 Death of St. Joseph,' after Velasquez ; and 
 'Children Dancing,' after Le Nain. He 
 also engraved several of the portraits for 
 Walpole's 'Anecdotes of Painters,' and 
 other portraits, frequently grouping them 
 grotesquely together. In 1766 he was a 
 member of the Incorporated Society of 
 Artists, and in 1770 was residing at Cam- 
 bridge. 
 
 BAPTIST, John Gaspars, portrait and 
 drapery painter. Born at Antwerp. Came 
 to England during the Civil War, and was 
 employed by General Lambert. After the 
 Eestoration, Lely engaged him as drapery 
 painter, and he was known as 'Lely's 
 Baptist.' He was afterwards employed in 
 the same capacity by Kneller and Eiley. 
 There is a portrait by him of Charles 11. 
 in the hall of St. Bartholomew's Hospital, 
 and another in the hall of the Painters' 
 Company. His drawing was correct. He 
 excelled in designs for tapestry. He died 
 in London 1691. 
 
 BAEBEE, Charles, landscape painter. 
 Was born in Birmingham, and settled in 
 Liverpool, where, and in the neighbourhood, 
 he resided nearly 40 years. When the 
 Liverpool Institute of Art was founded he 
 was appointed the teacher of drawing, and 
 subsequently became the president. He 
 painted landscape with figures. In 1813- 
 1816 he exhibited with the Water-Colour 
 Society, which was then open to the pro- 
 fession. In 1839 he exhibited at the Eoyal 
 Academy ' A View of Dovedale.' His name 
 does not appear again in the catalogue 
 till 1849, when he sent — his last contribu- 
 tion — ' Evening after Eain : a Luggage Train 
 preparing to Start,' and ' Dawn of Day i 
 
 Foraging Party returning.* He died at 
 Liverpool, January 1854. 
 
 BAEBEE, Chrtstopheb, miniature 
 painter. Practised with some repute, both 
 in crayons, and miniature, and in oil. He 
 was careful in the mediums he used and 
 in the preparation of his colours, and at- 
 tained much brilliancy. He was a member 
 of the Incorporated Society of Artists in 
 1763, but was expelled in 1765, having ex- 
 hibited with the opposing society. In 1770 
 he was living in St. Martin's Lane, and ex- 
 hibited for the first time at the Academy 
 miniature portraits in oil, followed by small 
 half-lengths, conversation pieces, and some 
 landscapes, continuing an occasional ex- 
 hibitor up to 1792. He was a great enthu- 
 siast in music and a man of much inge- 
 nuity. He died in Great Marylebone Street, 
 March 8, 1810, aged 74. 
 
 BAEBEE, J., medallist. He executed 
 in 1814 a good medal of ' Europa,' and 
 earned a reputation by many fine memorial 
 medals. He exhibited at the Academy, in 
 1825, 'A Group of Horses,' an impression 
 from a die ; and in 1838, 'A Medallic Por- 
 trait of the Queen.' 
 
 BAEBEE, John Vincent, landscape 
 painter. Was the son of Joseph Barber, 
 who taught drawing in Birmingham to- 
 wards the end of the 18th century, 
 and died there in 1811. He exhibited at 
 the Academy, in 1812, ' Cattle and Land- 
 scape ;' in 1828, 'Lake Lugano' and ' Tho 
 Golden Age ; ' in 1829, ' Morning ; ' and in 
 1830, 'Gypsies' and 'Evening' — his last 
 exhibited works. He died at Eome a few 
 years after. He made drawings, in con- 
 junction with some of our eminent water- 
 colour painters, for the 'Graphic Illus- 
 trations of Warwickshire,' published in 
 1829. 
 
 BAEBEE, Thomas, portrait painter. 
 He was apprenticed to a house painter in 
 Nottingham, and showing signs of superior 
 ability, he came to London to study, and 
 was assisted to receive some instruction 
 from Sir Thomas Lawrence. He practised 
 at Nottingham about 1810, and in that and 
 the following years was an exhibitor at the 
 Eoyal Academy. In 1819 he was residing 
 at Derby, and exhibited at the Academy a 
 portrait of Mrs. Siddons ; in 1823, two 
 portraits of young ladies ; in 1824, ' The 
 Sisters.' In 1829 he was still residing at 
 Derby, and was for the last time a con- 
 tributor to the exhibition. He was well 
 known and encouraged in the Midland 
 Counties, and possessed a local reputation ; 
 but his portraits, though showing the in- 
 fluence of Lawrence, were weak, and had 
 little character. He also painted several 
 landscape views. He died at Nottingham, 
 September 12, 1843, aged 75, and was 
 buried in the cemetery there. He is eaid 
 
 21 
 
BAR 
 
 BAR 
 
 to have made a considerable sum by his 
 profession. 
 
 BAIIBOR, Lucius, oniniature painter. 
 He lived in the Ilaymarket, and practised 
 in oil, but chiefly in enamel, and gained a 
 reputation by his clever miniatures. He ex- 
 hibited at the Spring Gardens Exhibitions. 
 He died November 7, 1767, and left a 
 widow in distress, who was assisted by the 
 Incorporated Society of Artists. 
 
 BARCLAY, Hugh, miniature painter. 
 Born in London in 1797, and practised his 
 art there, and also in Paris, where he was 
 much engaged in making copies in the 
 Louvre from the great Italian masters. He 
 died in 1859. 
 
 BARD WELL, Thomas, portrait painter. 
 Chiefly employed as a copyist. He painted 
 a picture of 'Dr. AVard (who was caricatured 
 by Hogarth) relieving his Sick and Lame 
 Patients,' which was engraved in 1748-49 ; 
 and in 1744 a portrait of Admiral Vernon, 
 from which there is a mezzo -tint. In the 
 University Galleries, Oxford, there are full- 
 length portraits by him of the Earl and 
 Countess of Pomfret. His name is re- 
 membered by his book, ' The Practice of 
 Painting and Perspective made Easy,' which 
 he published by exclusive licence from the 
 Crown in 1756. He died about 1780. 
 
 BARENGER, James, animal painter. 
 His father (born 1745, died 1813) was 
 brought up a chaser, and was known by his 
 drawings of insects in water-colours. His 
 mother was a sister of Woollett, the en- 
 graver. He w^as born December 25, 1780, 
 and gained a reputation as a painter of 
 running horses. He also painted park- 
 scenery, introducing deer, other animals, 
 and birds. He exhibited at the Royal 
 Academy, and was about 1820, while giving 
 his address at Messrs. Tattersals, largely 
 employed in painting the portraits of horses 
 and dogs. He continued an occasional 
 exhibitor at the Academy up to 1831. 
 
 BARKER, Benjamin, animal petinter. 
 AVas educated for the bar. Ran through a 
 considerable property, and then turned ar- 
 tist. He became known as a horse painter, 
 but his works did not go beyond portraits 
 of horses. He died at Bristol, June 12, 
 1793. 
 
 BARKER, Thomas (known as * Barker 
 of Bath '), landscape and subject painter. 
 Born 1769, near Pontypool, Monmouthshire. 
 Son of the foregoing. Removed with his 
 family to Bath, where, showing a talent for 
 art, and assisted in means by a friend, he 
 made some good copies from the Dutch 
 masters ; and continuing to improve, at 
 the age of 21 his friend made him a liberal 
 allowance to go to Italy. He was there 
 pursuing his studies in 1793, when his 
 father died. Ho first exhibited at the 
 Academy in 1791 — two landscapes and a 
 22 
 
 ' Moonlight wdth Banditti;' in 1796, three 
 Italian landscapes and a portrait ; and con- 
 tinued an occasional exhibitor up to 1829. 
 He also exhibited at the British Institution 
 for many years. His sketches wore truth- 
 ful, but slight and unfinished in manner. 
 His ' Woodman,' ' Old Tom,' ' The Gipsey,' 
 and other rustic groups, were very popular, 
 and were reproduced on china, pottery, and 
 even the textile fabrics. The ' Woodman,' 
 of which he made two copies life-size, sold 
 for 500 guineas ; his ' Woodman's Cottage- 
 door,' in 1819, for 350 guineas. He painted 
 ' The Trial of Queen Caroline,' introducing 
 many portraits, 1821 ; and a fresco, 30 feet 
 by 12 feet, in his house at Bath, ' The In- 
 road of the Turks upon Scio,' 1822. He 
 made an exhibition of his works in the 
 great room in Lower Brook Street, where 
 the Water-Colour Society opened their first 
 exhibition. He died at Bath in his 79th 
 year, December 11, 1847. He published, 
 in 1813, 'Rustic Figures after Nature,' 
 in 40 tinted plates ; drew also on stone, 
 and published a series of lithographic 
 works. 
 
 BARKER, Benjamin, landscape painter. 
 Brother of the above. Born in 1776. He 
 resided at Bath, and occasionally exhibited 
 at the Academy— in 1800 and 1801, Welsh 
 views; in 1810, two landscapes; in 1813, 
 a scene near Arundel ; and in 1821, his last 
 contribution, a Sussex landscape. During 
 the years 1813-20 he was a large exhi- 
 bitor of views and landscape compositions 
 at the Water-Colour Society. He was also 
 an exhibitor at the British Institution. 
 Though a student from nature, his land- 
 scape compositions are often imitations of 
 the old masters. His works, both in oil and 
 water-colour, no less show much taste and 
 feeling, and have considerable merit, but he 
 found little encouragement. He died at 
 Totnes, after a lingering illness, March 2, 
 1838, aged 62. Thales Eielding engraved 
 48 of his landscapes in aqua-tint. 
 
 BARKER, Robert, panorama painter. 
 Born in 1739, at Kells, in the county of 
 Meath. He set up in business in Dublin, 
 and failing in this, tried miniature and por- 
 trait painting; then, quitting Ireland, he 
 settled in Edinburgh, and followed portrait 
 art there. The view from the Calton Hill 
 first suggested the panorama. He had made 
 himself master of the principles of perspec- 
 tive ; and in 1787 he determined to execute 
 the half-circle view from the hill, to prove 
 the practicability of his idea. This he 
 completed in water-colours and brought to 
 London in the following j^ear. Sir Joshua 
 Reynolds was greatly pleased with his 
 attempt, but thought his scheme imprac- 
 ticable. He, however, persevered, and pa- 
 tented his plan under the title of ' La 
 Nature a Coup-d'oeil.' Then completing a 
 
BAR 
 
 whole-circle view of Edinburgh, he ex- 
 hibited it in that city, Glasgow, and Lon- 
 don ; but he did not at first meet with 
 success in the Metropolis. His next work, 
 however, a view of London from the Albion 
 Mills, became popular ; and, encouraged by 
 this, he built in 1793 a new exhibition- 
 room at the corner of Leicester Square, and 
 painted the ' Kussian Fleet at Spithead,' 
 which was visited by the King and Queen, 
 and became the talk of the town. A suc- 
 cession of his panoramas, among which the 
 Elba, Athens, and Bay of Lisbon, were 
 very fine, were long the favourites of the 
 public. Stothard admired his genius, and 
 spoke of him in high terms. He died in 
 West Square, Lambeth, April 8, 1806, aged 
 67, leaving two sons. 
 
 BAKKEE, Henry Aston, imnorama 
 'painter. Younger son of the above. AVas 
 born at Glasgow 1774. When quite a youth, 
 he made the drawings for his father's 
 first panorama from the Calton Hill, and 
 was for some time a teacher of perspective 
 in Edinburgh. " In 1789 he made the draw- 
 ings of London for the same purpose, and 
 afterwards etching them in six large sheets, 
 published them. He was the chief assistant 
 in the production of his father's panoramas, 
 and on coming to London was admitted a 
 student of the Academy. Succeeding his 
 father, he went to Constantinople to make 
 drawings for the panorama of that city, 
 which he opened in 1802 ; and on the peace 
 of Amiens, he went to Paris to make 
 sketches for a panorama. He had a good 
 knowledge of shipping. He was at Palermo 
 in 1799, and at Copenhagen in 1801, and 
 made sketches for panoramas of the two 
 naval actions which were fought off those 
 cities. In 1810 he was at Malta. He as- 
 sisted Messrs. Burford in their panoramas 
 of the Peninsular actions and of Waterloo, 
 and went to Venice in 1819 to make draw- 
 ings for the panorama of that city. His 
 last work was the Coronation procession of 
 George IV., 1822. In 1826 he retired from 
 his profession, having realised a handsome 
 competency. He died July 19, 1856, at 
 Bilton, near Bristol, aged 82. 
 
 BAKKER, Samuel, flower painter. Was 
 the cousin and pupil of John Vanderbank. 
 He was brought up as a portrait painter, 
 and a portrait by him is engraved ; but he 
 was early led to paint flowers and fruit, and 
 in this art promised much excellence, when 
 he died young, in 1727. 
 
 BARLOW, J., engraver. Practised in 
 London towards the close of the 18th cen- 
 tury. Among his works are engravings 
 after Hogarth, to illustrate Ireland's work 
 in 1791 ; a portrait of Mrs. Siddons as 
 ' Rosalind ; ' and a considerable number of 
 the illustrations for Rees's ' Encyclopaedia,' 
 with other works of tliat date. 
 
 Barlow, Prancis, animal painter. 
 Born in Lincolnshire in 1626. Ho became 
 the pupil of William Sheppard, a portrait 
 painter, and at first himself painted i^or- 
 traits ; but his genius inclined him to ani- 
 mals, and he drew horses, dogs, birds and 
 fish with great spirit and characteristic 
 truth, and embellished his groups with cle- 
 ver landscape backgrounds. Paithorne en- 
 graved after him, in 1658, ' Diversse avium 
 species studiosissime ad vitam deliniatse ; ' 
 Hollar, in 1671-, 'Hunting, Hawking, and 
 Pishing,' from his inventions. He engraved 
 several of his own works himself, and there 
 are many etchings by him. His best 
 work is his illustrations, consisting of 110 
 plates, to an edition of ^sop's ' Pables.' 
 Symonds records that he lived in Drury 
 Lane, and inherited a large sum of money ; 
 yet, notwithstanding this and his numerous 
 drawings and engravings, he died in indi- 
 gent circumstances in 1702. His drawings 
 are usually done with the pen in a very 
 minute, careful manner, and slightly tinted, 
 mostly in brown. He painted some ceilings 
 with birds, and designed several monu- 
 ments for Westminster Abbey. He painted 
 a portrait of George Monk, Duke of Albe- 
 marle, of which there is by his own hand 
 an excellent etching ; and he also designed 
 the hearse and made drawings of the duke's 
 funeral pageant, which are engraved in 
 mezzo-tint. 
 
 BARNARD, W., engraver. Practised his 
 art in London about the beginning of this 
 century. Among his works, ' Summer ' and 
 ' Winter,' after Morland, often printed in 
 colours, were much prized. He also engraved 
 a portrait of Nelson. 
 
 BARNEY, Joseph, engraver. Practised 
 about tlie end of the 1 8th century. There 
 are some plates by him after Bassano, 
 and in the dot manner after Hamilton and 
 others. 
 
 BARNEY, Joseph, fruit and flower 
 painter. Was born at Wolverhampton in 
 1751, and at the age of 16 came to London, 
 where he studied under Zucchi and Angelica 
 Kauffmann. In 1774 he gained a premium 
 at the Society of Arts, and early in life was 
 appointed drawing-master at the Royal 
 Military Academy, an office which he held 
 for 27 years. His name first appears 
 as an exhibitor at the Royal Academy 
 in 1786, and his first contributions were 
 chiefly classical subjects from Tasso, from 
 Shakespeare, 'Calypso,' 'Erminia;' in 1791, 
 ' Taking down from the Cross,' followed by 
 domestic scenes, introducing children. Later 
 he resumed history, with occasionally a 
 portrait. He had exhibited one or two 
 groups of flowers in oil, and in 1815 was 
 appointed flower painter to the Prince Re- 
 gent. He then exhibited some flowers and 
 fruit, with other subjects, and appears for 
 
 23 
 
BAR 
 
 BAR 
 
 the last time in 1827, when lie sent a do- 
 mestic picture. He lived for a time in 
 Westminster, but the greater part of his 
 life at Greenwich. 
 
 BARNEY, Joseph, flower ^painter. Son 
 of the foregoing. He practised at South- 
 ampton. He exhibited at the Water-Colour 
 Society in 1815 and the three following 
 years, and was an occasional exhibitor in 
 London. 
 
 BARNEY, AViLLiAM Whiston, engraver. 
 Brother of the above. He was a pupil of 
 S. "W. Reynolds, and practised in mezzo- 
 tint. He engraved, among others, the por- 
 trait of the Marquis of Blandford, after 
 Cosway, R.A. ; Sir Arthur Wellesley, after 
 Hoppner, R.A. ; and some sporting subjects, 
 after Reinagle, R.A. About 1805, quitting 
 his profession, he purchased a commission 
 in the army, and rose to some distinction in 
 the Peninsular campaign. 
 
 BARON, Bernard, engraver. Born in 
 Paris about 1700, and educated there. He 
 came to England in 1712, but returned to 
 Paris for a time in 1729, and while there 
 sat to Vanloo for his portrait. On his re- 
 turn to this country he met with consider- 
 able employment. He engraved many fine 
 works after Vandyke — ' King Charles I. on 
 Horseback, with the Duke d'Epernon;' 
 ' The King and Queen, with two Children ; ' 
 * The Nassau Family ; ' ' The Pembroke 
 Family,' and Vandyke's own family. He 
 engraved also several works after Watteau 
 and Titian, and after Holbein, Allan Ram- 
 say, a portrait after Hogarth, ' King Wil- 
 liam,' after Kneller ; and many other works 
 from the best masters. His chi ef works were 
 executed in London, where he resided the 
 greater part of his life, and died in Panton 
 Street, Piccadilly, January 24, 1762. He 
 engraved in the manner of Tardieu, a Erench 
 artist, by whom he was instructed. His 
 manner, though coarse, possessed much 
 merit. He was employed by Hogarth. 
 
 BARRA, John, engraver. Born in Hol- 
 land about 1572. He came to England in 
 1624, and between that date and 1627 ho 
 completed several plates, to which his name 
 is attached, with the word ' London.' He is 
 reputed to have died here in 1634. He 
 worked entirely with the graver in a stiff, 
 laboured manner. He is supposed to have 
 occasionally painted on glass. 
 
 BARRALET, John James, water-colour 
 ^painter. He was of French descent, and 
 was born in L'eland. He studied under 
 Manning in the schools of the Dublin 
 Academy, and was temporarily employed to 
 teach in the schools. Settling in Dublin he 
 was much sought after as a teacher. Later 
 he was engaged in glass-staining in con- 
 nection with Hand. Afterwards he became 
 a member of the Incorporated Society of 
 Artists in London, and was an occasional 
 24 
 
 contributor to the exhibitions of the Royal 
 Academy. In 1770 he sent three tinted 
 drawings — 'A Storm,' ' Sunset,' and ' Ruins ; ' 
 in 1771, two historical drawings and a 
 whole-length portrait, followed by ' Women 
 Bathing,' and some subject pieces. He also 
 drew some views of gentlemen's seats, 
 introducing figures and cattle, and was 
 awarded in 1774 a premium by the Society 
 of Arts for 'A View on the Thames.' In 
 1795, when advanced in years, he emigrated 
 to Philadelphia. There, though at first a 
 great beau, he is said to have fallen into 
 slovenly habits. He found employment 
 chiefly in book illustration. Many of the 
 drawings for Grrose's 'Antiquities of Ire- 
 land ' and Conyngham's ' Irish Antiquities j 
 are by him, and his works have been en- 
 graved by Bartolozzi, Grrignon, and others. 
 He died in America about 1812. 
 
 BARRALET, J. Melchoir, water-colour 
 painter. Brother to the above. He was a 
 student of the Academy, and was chiefly 
 employed as a teacher of the figure and of 
 landscape, both in oil and water-colours. 
 He exhibited at the Royal Academy tinted 
 views in 1775-77 and 1788 ; and in 1789 
 views of London, but his name does not 
 appear again. His drawings were cleverly 
 and carefully finished in the early tinted 
 manner. Several of his landscapes are 
 engraved. 
 
 BARRAUD, William, animal jpainter^ 
 Was grandson of the well-known chrono- 
 meter maker, who was of an old French 
 family. His father held a situation in the 
 Custom House, where, on leaving school, he 
 obtained an appointment, which after a short 
 time he resigned, and became a pupil of 
 Abraham Cooper, R.A. He chiefly painted 
 portraits of horses and dogs, but tried some 
 subject pictures in conjunction with his 
 brother Henry. He first exhibited at the 
 Academy in 1829, and continued to exhibit 
 till his death. He was also an occasional 
 exhibitor at Suffolk Street. He had at- 
 tained a power of drawing, but did not 
 reach any eminence in art. Two sentimental 
 subjects by him were engraved, and had an 
 extensive sale. He died, after a short 
 illness, in October 1850, in his 40th year. 
 
 BARRET, George, R.A., landscape 
 painter. Was the son of a clothier, and 
 was born in the Liberties of Dublin 1732 
 (some accounts say 1728). He was ap- 
 prenticed to a stay-maker, but managed 
 to get employed by a publisher to colour 
 prints, and, self-taught, became drawing- 
 master at a school in Dublin. He was 
 fortunate in gaining the notice and patron- 
 age of Mr. Burke, upon whose recommen- 
 dation he began to study from nature 
 among the fine scenery in the environs of 
 Dublin, and soon after gained a 50^. premium 
 from the Dublin Society for the beet land- 
 
BAR 
 
 BAR 
 
 scape painting His success prompted liim 
 to seek his fortune in London, where he 
 arrived in 1762, bringing with him two 
 landscapes, which were so extravagantly 
 praised that he thought himself the first 
 landscape painter in Europe. He found a 
 patron in Lord Dalkeith, who paid him 
 1,500/. for three pictures. He was a 
 member of the Incorporated Society of 
 Artists, and one of the exhibitors at the 
 Spring Grardens Exhibitions, and in 1764 
 gained the Society of Arts' premium of 50/. 
 for the best landscape. 
 
 His success continuing, ho settled in the 
 Metropolis, and on the foundation of the 
 Eoyal Academy in 1768 was nominated one 
 of the members. He resided for several 
 years in Orchard Street, Portman Square, 
 and managed to become reduced to bank- 
 ruptcy, while he was earning, it is said, 
 2,000/. a year by his profession. He suffered 
 from asthma, and then removed to West- 
 bourne Green, Paddington, as more condu- 
 cive to his health. He was at this time 
 employed by Mr. Lock, on whose commis- 
 sion he painted a largo room at Norbury 
 Park, near Leatherhead, and by the friend- 
 ship of Mr. Burke he was appointed master 
 painter to Chelsea Hospital, an office to 
 which large emoluments, though it does 
 not appear what duties, were attached. 
 The last 1 0 years of his life were passed 
 at Westbourne Green. There he had painted 
 some of his best works, and died May 29, 
 1 784, and was buried at Paddington Church. 
 His family endured much distress, and after 
 his death were pensioners of the Eoyal 
 Academy. 
 
 He became a painter by the force of his 
 own genius ; he was his own teacher. His 
 pencil was rapid, his touch firm and charac- 
 teristic. He represented English scenery 
 in its true freshness and richness, excelling 
 in the verdure peculiar to spring. His 
 distances were very successful ; his effects 
 good. He painted animals in a spirited 
 manner ; sometimes they were introduced 
 into his pictures by Sawrey Gilpin. In his 
 early manner he was heavy, but improved 
 in his later pictures. Some of his works 
 have not stood well, from the colours he 
 employed. His studies from nature, made 
 with a black-lead pencil, are excellent, and 
 his drawings in water-colour are painted 
 with great skill. Several etchings by his 
 hand are also known — done in a spirited 
 manner. He enjoyed great reputation in 
 his lifetime, which his works have not since 
 maintained. 
 
 BARRET, Geoege, waUr-colour jpainfcr. 
 Son of the preceding. His life commenced 
 under difficulties, which he encountered 
 with patient exertion. He appears as an 
 exhibitor at the Academy in 1800—' Rocky 
 Sceno ' and * Morning ' — and bocam© cele- , 
 
 bra ted for his water-colour paintings. He 
 excelled in his poetic treatments of sunrise 
 and sunset, the effects of moonlight, and in 
 his truly classic and poetic compositions. 
 He was, on the foundation of the Water- 
 Colour Society in 1804, one of its first 
 members, and was a constant and large con- 
 tributor to their exhibitions. He laboured 
 incessantly at his art, and striving rather 
 for excellence than gain, only earned 
 enough to meet the daily wants of his 
 family. The long illness and eventual 
 loss of his son added to his troubles and 
 accelerated his own death, which took place 
 in 1842, when a subscription was opened 
 for his family. He published, in 1 840, ' The 
 Theory and Practice of Water-colour Paint- 
 ing elucidated in a series of Letters.' 
 
 BARRET, Miss M., water-colour painter. 
 Was the sister of the foregoing. She was a 
 pupil of Mrs. Mee, and commenced art as a 
 miniature painter, exhibiting at the Royal 
 Academy in 1797 and the two following 
 years. She also painted birds, fish, and 
 still-life, and in 1823 was admitted a 
 member of the Water-Colour Society, and 
 was a constant exhibitor up to 1836, at 
 which time she died. She resided with her 
 brother. 
 
 BARRET, J., landscape painter. Brother 
 of the above. He practised as a water- 
 colour painter, sometimes in body colour, 
 and was an occasional exhibitor at the 
 Academy from 1785 to 1800. 
 
 BARRETT, Ranelagh, copyist. Was 
 much employed by Sir Robert Walpole and 
 others, and excelled in his power of copying, 
 especially from the works of Rubens. He 
 died in 1768, and his pictures were sold by 
 auction in the December of that year. 
 
 BARRON, Hugh, portrait painter. Born 
 in London, Son of an apothecary in Soho. 
 He became a member of the Incorporated 
 Society, and a pupil of Sir Joshua Reynolds, 
 and on leaving him practised for some time 
 as a portrait painter in London, exhibiting 
 at the Spring Gardens Exhibitions in 
 1766-67 and 1768. About 1770 he started 
 for Italy by sea. Stopping some time at 
 Lisbon he painted some portraits there, and 
 in 1771 and 1772 was in Rome. He soon 
 after returned to London, settled in Lei- 
 cester Square, and exhibited some portraits 
 at the Academy in 1782-83 and 1786. He 
 died in the autumn of 1791, aged about 
 45. He gave as a boy great promise of 
 future excellence, which ho failed to realise. 
 His manner was weak ; his paintings but 
 feeble imitations of his great master. He 
 had, however, great musical talent — was 
 esteemed the first amateur violinist of his 
 day — and probably to this talent, and to 
 his gentlemanly manners, owed his em- 
 ployment as a painter. 
 
 BARRON, William Augustus, land- 
 
 25 
 
BAR 
 
 sca])e fainter. Younger Lrotlier of tlie 
 above. AVas pupil of AVilliam Tomkins, 
 A.E.A. In 1766 he gained a premium at 
 the Society of Arts. He practised land- 
 scape painting and taught drawing. He. 
 was an exhibitor of landscapes, chiefly 
 views, at the Academy from 1774 to 1777. 
 His view of 'Wanstead House' has been 
 engraved by Picot, and some other of his 
 views in Essex have been engraved. Like 
 his brother, he was distinguished as a 
 musical amateur ; and gaining the notice of 
 Sir Edward Walpole, he gave him an ap- 
 pointment in the Exchequer, upon which he 
 quitted his profession. 
 
 BARRY, James, R.A., history paioiter. 
 Born at Cork, October 11, 1741. His 
 father was a bricklayer and builder, and 
 afterwards became a coasting trader and 
 the keeper of a small public-house, called 
 ' Cold Harbour,' on the quays at Cork. 
 Ho was intended for the coasting trade, 
 but became disgusted after two or throe 
 voyages. His early education was not de- 
 ficient, and of drawing he first showed 
 some art talent by painting his fathers 
 sign of ' The Neptune,' a ship of that name 
 on one side and the heathen god on the 
 other. Then, permitted to follow his own 
 bent, he continued the practice of drawing, 
 made acquaintance with two herald painters, 
 from whom he gained some help ; copied 
 such prints as he could get, among them the 
 cartoons of Raphael, and decorated his 
 father's house with his attempts. Happily, 
 finding a purchaser for his works, he was 
 enabled to go to Dublin. Here he became 
 the pupil of Mr. West, the well-known able 
 teacher of the figure, and at the age of 22 
 he painted a large historical subject from a 
 sketch he had made at Cork, The Conversion 
 and Baptism of one of the Kings of Leinster. 
 This work was exhibited at the Dublin So- 
 ciety of Arts, and at once brought him into 
 notice and gained him the friendship of Mr. 
 Burke, who, in 1764, induced him to come 
 to London, introduced him to his friends, 
 and in the next year assisted him by an 
 allowance of 50/. a year to visit Italy. On 
 his way he stayed a while to study, and 
 then went on to Rome, where, as his letters 
 show, he applied himself earnestly to his 
 improvement in art ; but, unfortunately, an 
 irritable temper led him into disputes with 
 both the artists and lovers of art in that 
 capital. 
 
 In 1770, after an absence of five years 
 mostly spent in Rome, he returned to Lon- 
 don, visiting on his way Florence, Turin, 
 Bologna, and other cities, and the following 
 year he exhibited his first picture at the 
 Royal Academy, the ' Adam and Eve ' now 
 in tlie possession of the Society of Arts, and 
 next year his ' Venus rising from the Sea,' 
 when he gained his election as associate, 
 26 
 
 BAB 
 
 and in 1773 as royal academician. These 
 pictures, and his ' Jupiter and Juno' exhi- 
 bited at this time, obtained him much notice 
 but no employment, and he advertised to 
 give lessons twice a week for three guineas 
 per month. He disliked portraiture — in- 
 deed, he was by temper and manner most 
 unsuited to its successful pursuit — but de- 
 voted to epic art, he was one of the fore- 
 most of the artists who pro^^osed to decorate 
 St. Paul's Cathedral, if the plan did not 
 originate with him. In 1776 he completed 
 a ' Death of General Wolfe.' Led away by 
 his love of classic art —and not without high 
 contemporary authority — his figures in this 
 picture were all nude, and provoked criti- 
 cism which stirred him to unbridled anger, 
 and much bitter feeling ensued. Enthusi- 
 astic in his desire to vindicate the genius 
 of his countrymen, he published at this 
 time his reply to the ill-founded opinion of 
 the Abbe Winkelman, that the English are 
 incapable both from natural defect of genius 
 and an unfavourable climate of attaining 
 excellence in art. His wants were, from his 
 well-known habits, few ; yet he must have 
 found a difficulty to supply them by the 
 practice of high art, and he recurred to his 
 proposal to teach, offering to give instruc- 
 tion in the art of design to any nobleman 
 or gentleman who might require such assist- 
 ance. 
 
 Shortly after, he was engaged in the 
 great work of his life. In March 1777 
 the Society of Arts accepted his offer to 
 decorate their great room with appropriate 
 paintings, on condition that he was provided 
 with canvas, colours, and models for his 
 work. He chose for his subject ' Human 
 Culture,' and thus describes his designs : 
 ' In this series, consisting of six pictures on 
 subjects useful and agreeable in themselves, 
 I have still further endeavoured to give 
 them such a connection as might serve to 
 illustrate one great maxim or moral truth — 
 viz. that the obtaining of happiness, as well 
 individual as public, depends upon culti- 
 vating the human faculties. We begin 
 with man in a savage state, full of incon- 
 venience, imperfection and misery ; and we 
 folloAv him through several gradations of 
 culture and happiness, which, after our pro- 
 bationary state here, are finally attended 
 with beatitude or misery. The first is 
 the story of Orpheus ; the second, a Har- 
 vest Home, or Thanksgiving to Ceres and 
 Bacchus ; the third, the Victors of Olym- 
 pia ; the fourth, Navigation, or the 
 Triumph of the Thames ; the fifth, the 
 Distribution of Premiums in the Socie'ty 
 of Arts ; and the sixth, Elysium, or the 
 State of Final Retribution. Three of these 
 subjects are poetical, the others historical.' 
 These six pictures are each 1 1 feet 6 inches 
 high, and two 42 feet each in length. All 
 
BAR 
 
 of them are crowded by carefully painted 
 figures, and the Elysium is filled with the 
 portraits of the most distinguished men the 
 world had then known. Barry, unassisted 
 by any one, and in strict conformity with his 
 offer, completed his laborious work — which 
 must have proved a constant strain upon 
 his mental and physical powers — but not in 
 three years as he had proposed, as it was 
 not till April 26, 1783, that the Society of 
 Arts voted him their thanks on accepting 
 his finished work. 
 
 Meanwhile, in 1782, he was appointed 
 professor of painting in the Koyal Aca- 
 demy, and at the beginning was irritated by 
 some observations of the president on his 
 want of diligence in preparing his lectures. 
 But surely some allowance might have been 
 made for an artist then so earnestly occu- 
 pied ; and there could have been little time 
 lost, as he commenced his first course on 
 March 2, 1 7 84. But the choice of lecturer wa s 
 injudicious, and should have been avoided. 
 He was not popular in the profession. He 
 had made enemies, and was soon charged 
 with being intemperate in his remarks from 
 the professor's chair, and filling his lectures 
 with invectives against his fellow academi- 
 cians. One of the body, Edward Edwards, in 
 a memoir of Barry tainted by great ill-will, 
 selects as an example of this his remark 
 ' on the contracted and beggarly state of the 
 academical library '—a fact, if coarsely ex- 
 pressed — and his out-of-place tale of his 
 serious loss of money, which he is supposed 
 to have misplaced and afterwards dis- 
 covered. ' My house was broken open and 
 robbed of a considerable sum, which I had 
 provided to purchase the lease of a house, 
 where I wished quietly and retired to carry 
 on another work for the piiblic, about w^hich 
 I had been for some time engaged. What 
 aggravated the matter still more was, that 
 I had good reason to be assured that this 
 robbery was not committed by mere thieves, 
 but by some limbs of a motley, shameless 
 combination, some of whom passed for my 
 friends, who well knew what I was about, 
 and wanted to interrupt and prevent it, by 
 stripping me of the necessary means of 
 carrying it on ; ' and this writer thus sums 
 up Barry's offences : ' His writings, and 
 particularly his lectures, abound with traits 
 of self-conscquence and inexplicable at- 
 tempts at definitions, interspersed with 
 abusive comments upon those persons who 
 did not pay him that high respect to which 
 he thought himself entitled.' There is no 
 doubt the academicians had selected the 
 A\Tong man for their professor's chair, nor 
 that they wished to remove him ; and in 
 1799 they appointed a committee to enquire 
 into his backslidings, who summoned him 
 to appear before them. It is not stated 
 whether he appeared ; but on their report 
 
 BAR 
 
 I a general assembly of the body resolved — 
 ; ' First, to remove him from the office of 
 professor of painting ; and by a second vote, 
 that ho be expelled from the Eoyal Aca- 
 1 demy.' The interests of the Academy would 
 I warrant the conclusion which was come to 
 in the first vote, but on what grounds can 
 the second vote be justly supported ? Now 
 all personal irritation has long since passed 
 away, Barry is known only as a great 
 painter ; and all must feel regret that, for 
 defects of temper and manners alone ho 
 should have been expelled from a body 
 where, as artists, few were his equals. 
 
 Barry was now 58 years of age. He was 
 a solitary man, of an unsocial but far from 
 a morose disposition, and rudely independ- 
 ent, living in the greatest discomfort and 
 neglect, without a servant or even an at- 
 tendant of any kind. His house in Castle 
 Street, Oxford Street, where he lived 20 
 years and died, was known by its ruinous 
 decayed exterior ; a visitor was rarely ad- 
 mitted, and he became more and more 
 negligent of his person and dress. Yet he 
 was not without means, though his wants 
 were reduced to a very low scale. The 
 Society of Arts, with their gold medal and 
 a present of 200 guineas, had given him 
 the privilege to exhibit the great works he 
 had painted on their walls. This produced 
 him, in 1783 and 1784, 503/., and altogether 
 700/., and he then undertook the drudgery 
 of etching and engraving these works to a 
 large size, which, from his way of working, 
 became a labour requiring the exercise of 
 strength as well as skill, and it is said that 
 he even printed the ^yovk himself. He also 
 engraved some of his own designs in aqua- 
 tint, among them ' Job in his Distress sur- 
 rounded by his Friends.' The occasional 
 sale of a few copies of these works was an 
 addition to his means, though ho ungra- 
 ciously received the help of those who pro- 
 cured him purchasers. Age had crept upon 
 him. His singular appearance and mode 
 of life naturally led to the conclusion that 
 he was in necessitous circumstances, and 
 his friends at the Society of Arts recog- 
 nising his persevering pursuit of art, his 
 love of his profession, and his neglect of 
 mere pecuniary gain, called a meeting in 
 May 1805, and resolved to purchase him 
 an annuity. They raised 1,000/., and pur- 
 chased of Sir Eobert Peel an annuity of 
 120/., to which Lord Buchan added 10/., 
 but Barry did not live to receive the first 
 payment. 
 
 The circumstances of his death and soli- 
 tary condition are truly painful. He was 
 seized with an attack of pleuritic fever on 
 entering a dining-house which he usually 
 frequented, on February 6, 1806. Unable 
 to speak or move, some cordial was admin- 
 istered, and he was taken to the door of his 
 
 27 
 
BAR 
 
 BAR 
 
 house in a coach. It was found impossible 
 to open it. Some mischievous boys had 
 filled the key-hole with dirt and pebbles ; 
 shivering under the rapid progress of his 
 disease, he was at last taken to the house 
 of a kind friend, who procured him a bed 
 at a neighbour's. He desired to be left, 
 and locked liimself in for 48 hours with- 
 out medical assisbmce. Ho could give 
 no account of himself during that time, and 
 was probably delirious. When medical aid 
 was procured it was too late. He lingered 
 till the 22nd, when he died. Son of a 
 Protestant father he had early in life been 
 converted to Eomanism by his mother, and 
 became a stern and bigoted Catholic, and 
 on his death -bed he was attended by a 
 priest of that communion. He was in 
 principle a republican, which he never 
 failed to avow. Sir Robert Peel defrayed 
 the charge of his funeral. Surrounded by 
 his great epic work, still unsurpassed in 
 the English school, his body lay in state at 
 the Society of Arts, and then, followed only 
 by its members and a few friends — yet not 
 one artist — found its merited resting-place 
 in the crypt of St. Paul's, near the coffin of 
 Reynolds. 
 
 His literary works have been published, 
 with a copious memoir of him, by Dr. 
 Fryer, in 2 vols. 8vo. They comprise ' An 
 Enquiry into the real and imaginary Ob- 
 structions to the acquisition of the Arts in 
 England in 1775.' 'An Account of the 
 series of Pictures in the Great Room of the 
 Society of Arts, by James Barry, R.A., 1783.' 
 
 * A Letter to the President, Vice-presi- 
 dents, and Members of the Society, 1793.' 
 
 * A Letter to the Dilettanti Society respect- 
 ing the obtcnsion of certain matters essen- 
 tially necessary for the improvement of 
 public taste, and for accomplishing the 
 original views of the Royal Academy.' 
 Second edition, with matters appended re- 
 lating to his expulsion from the Academy, 
 1799. 'A Letter and Petition addressed 
 to His Majesty, 1799.' His works were 
 sold at Christie's in April 1807. Bidders 
 mounted on the benches. His favourite 
 
 * Pandora,' though unfinished, fetched 230 
 guineas ; ' Venus rising from the Sea,' 
 100 guineas ; ' Adam and Eve,' 110 guineas. 
 But the ' Pandora,' when resold in 1846 to 
 pay the expense of warehouse-room, fetched 
 only 11 J guineas! In the 'Edinburgh 
 Review' of 1811 there is an article on his 
 works, attributed to Mr. Payne Knight. 
 
 BxVRRY, Sir Charles, Knt., R.A., archi- 
 tect. Born May 23, 1795. Son of a sta- 
 tioner in Bridge Street, Westminster. He 
 was articled to a surveyor and architect in 
 Lambeth. About the expiration of his 
 articles his father died, and leaving him 
 a little property, he determined to travel 
 for improvement in his profession. He 
 28 
 
 was a tolerable draftsman, and had exhi- 
 bited his first drawing at the Royal Aca- 
 demy in 1812. In 1816, in his 22nd year, 
 he started for Italy, and devoted himself to 
 the careful study of the finest edifices of 
 the Italian cities. In 1818 he extended his 
 tour to Greece, and thence to Palestine and 
 Egypt, returning to England in 1820. In 
 1822 he commenced his professional career, 
 and while yet unknown obtained by com- 
 petition the erection of St. Philip's Church 
 at Brighton. Some commissions followed 
 from Manchester, where he also erected a 
 church, and at Oldham another in 1822. 
 His works soon made known his abilities, 
 and professional employment increased 
 rapidly. He was appointed architect to 
 Dulwich College ; and in 1832 completed 
 his first notable work in London, the Tra- 
 vellers' Club, a building distinguished by 
 the simple elegance of its proportions and 
 of its ornamentations. In 1834 the Houses 
 of Parliament were burnt down, and a new 
 legislative palace was thrown open to com- 
 petition, an opportunity of distinction which 
 rarely falls to the architects of this country. 
 Barry entered the competition and was suc- 
 cessful, and in 1837 commenced this great 
 w^ork, which will for ever give him a 
 memory and a name in our metropolis. In 
 the same year he was appointed to erect 
 the Reform Club, followed by the College 
 of Surgeons. He now stood at the head of 
 his profession, and in 1840 was elected an 
 associate, and in 1842 full member, of the 
 Royal Academy. Simultaneously with the 
 great works on which he was engaged, he 
 erected several noble mansions — for Lord 
 Tankerville, at Walton-on-Thames ; the 
 Duke of Sutherland, at Trentham, Cliefden, 
 and, in Scotland, Dunrobin Castle ; and for 
 the Earl of Ellesmere, Bridgewater House, 
 St. James's. But the greater portion of his 
 active life was devoted to the Houses of 
 Parliament, one of the most extensive and 
 elaborate w^orks of tlie time, both from its 
 vast proportions and the amount of its 
 decorative details. The House of Lords 
 was completed and occupied for the session 
 of 1847, and the House of Commons, with 
 all the principal parts of the edifice, for the 
 session of 1852, and the architect then re- 
 ceived the honour of knighthood. His 
 unremitting labours came to a sudden ter- 
 mination ; he was seized with paralysis and 
 died, before medical assistance reached him, 
 at his house at Clapham, May 12, 1860. 
 He was buried in Westminster Abbey, his 
 funeral attended by numerous professional 
 and personal friends. His art will always 
 be measured by his great Gothic work, the 
 Houses of Parliament — a work carried on 
 with successful determination under many 
 vexatious obstructions and difficulties. The 
 I noble river fagade, the grand proportions 
 
BAR 
 
 BAR 
 
 of the Victoria Tower, the elegant lightness 
 of the Clock Tower, added to the well-pro- 
 portioned and decorated galleries and 
 chambers of the interior, render this work 
 one of the greatest architectural features of 
 the Metropolis ; yet the less pretentious 
 merits of some of his other works no less 
 attest his genius and refined taste. The 
 two fronts of the Travellers' Club — that in 
 Carlton Cardens especially — and the en- 
 trance front of Bridgewater House, are 
 notable examples of his true feeling for 
 Italian art. He was a fellow of the Royal 
 Society and of the Institute of British 
 Architects, and was awarded the gold 
 medal of the Institute in 1850. He was 
 also a member of several foreign academies, 
 and in 1855 gained the gold medal for 
 architecture at the Paris Exhibition. His 
 ' Life and AVorks ' has been written by his 
 son, the Rev. Alfred Barry. 
 
 BARRY, J., miniature fainter , He first 
 appears as an exhibitor at the Royal Aca- 
 demy in 1 78 Jr, and continued for many years. 
 In 1786 he contributed, in miniature, ' The 
 Four Seasons.' In 1788, his health failing, 
 lie made a voyage to Lisbon, and on his 
 return, in 1789, exhibited ' Mrs. Crouch in 
 Selima ; ' in 1792, a ' Bacchante ; ' and was 
 an occasional exhibitor up to 1819, when his 
 name disappears. 
 
 BARTHOLOMEW, Alfred, architect. 
 Was born in Clerkenwell, March 28, 1801. 
 Showing an early taste for architecture, he 
 was placed under an architect, but devoted 
 himself to the literature of the profession. 
 He published ' Specifications for Practical 
 Architecture ; ' ' Hints relative to the Con- 
 struction of Fire-proof Buildings ; ' a ' Cy- 
 clopaedia of the Metropolitan Buildings 
 Act ; ' and was the editor of ' The Builder ' 
 on its commencement. He died January 2, 
 1845. 
 
 BARTHOLOMEW, Anne Charlotte, 
 flower fainter. Born March 28, 1800, at 
 Loddon, Norfolk. In 1827 she married 
 Mr. Turnbull, a musical composer, who 
 died in 1838, and under this name she 
 published — 1825, 'It's only my Aunt,' a 
 farce ; and in 1840, ' The Song of Azreal,' 
 ' and other poems. She first exhibited 
 miniature portraits at the Royal Academy 
 in 1829, and continued for several years as 
 an exhibitor of miniatures. In 1840 she 
 married Mr. V. Bartholomew, a flower 
 painter, and then occasionally exhibited 
 flowers or fruit ; but her chief works were 
 miniatures for brooches and jewellery. She 
 painted also some miniatures in character. 
 Her last exhibited works, in 1856 and 1857, 
 were flowers and fruit. She died in Char- 
 lotte Street, Rathbone Place, August 18, 
 1862, and was buried in Highgate Cemetery. 
 
 BARTLETT, William Henry, topogra- 
 phical landscape fainter. Born at Kentish 
 
 Town, March 26, 1809. In 1823 he was 
 articled to Mr. John Britton, whoso archi- 
 tectural publications are well known, and 
 accompanied him on his tour when collect- 
 ing the materials for his ' Picturesque An- 
 tiquities of English Cities.' Ho soon made 
 great progress in drawing, and was em- 
 ployed in sketching views and buildings 
 in Essex, Kent, Bedford, Wilts, and other 
 counties. He afterwards made drawings of 
 many churches in Bristol, Grloucestcr, and 
 Hereford. In 1829 he was engaged in 
 making drawings of Fountains, Roche, 
 Rievaiilx, and other abbeys. Then ho 
 travelled on the Continent, and in 1834-35 
 extended his journeys to the East, explor- 
 ing, in a succession of visits up to 1852, 
 Asia Minor, Syria, Palestine, Egypt, Turkey, 
 and the Arabian Deserts. He also took 
 four voyages to America. In these jour- 
 neys he made numerous sketches and draw- 
 ings, above 1,000 of which have been pub- 
 lished, in addition to those comprised in 
 the following works — ' Walks about Jeru- ^ 
 salem,' 1844; ' Topography of Jerusalem,' 
 1845; 'Forty Days in the Desert,' 1848; 
 'The Nile Boat,' 1849; 'The Overland 
 Route,' 1850; 'Footsteps of Our Lord,' 
 1851; 'Pictures from Sicily,' 1852; and 
 ' The Pilgrim Fathers,' 1853. In prosecu- 
 tion of his indefatigable labours, he had 
 started again for the East, when, on his 
 passage from Malta to Marseilles, he was 
 suddenly attacked by illness, and died on 
 board September 13, 1854. His drawings 
 were sold by auction at Messrs. Sotheby's 
 in the following January. 
 
 BARTOLOZZI, Francisco, R.A., en- 
 graver. Was the son of a goldsmith in 
 Florence, and born there September 21, 
 1728, He studied drawing under a master 
 in Florence, and then became the pupil of 
 Joseph Wagner at Venice, by whom he was 
 taught engraving. He afterwards went to 
 Rome, where he established his reputation 
 by his plates from designs for the ' Life of 
 St. Vitus ' and the engraved portraits for 
 an edition of ' Vasari.' Dalton, the libra- 
 rian of Greorge III., who was travelling in 
 Italy, engaged him to engrave a series of 
 Guercino's drawings, and on the completion 
 of this work induced him to come to Eng- 
 land, where he arrived in 1764, and was 
 soon after admitted a member of the Incor- 
 porated Society of Artists and appointed 
 engraver to the king, with a salary of 
 300/. a year. He was thus brought into 
 rivalry with Robert Strange, who had lost 
 the king's favour ; and stimulated by this 
 he produced his fine plate of ' Clytea,' after 
 Caracci, followed by his ' Virgin and Child,' 
 after Carlo Dolci. His skill in drawing the 
 figure and knowledge of the principles of 
 painting were unequalled, and on the estab- 
 lishment of the Royal Academy in 1768, 
 
BAR 
 
 BAS 
 
 he was nominated a member. As an en- 
 graver, ho was a complete master of his 
 art, and the diploma of the Koyal Academy, 
 engraved by him, is unrivalled ; this, with 
 the works mentioned above, the ' Venus and 
 Satyr,' after Luca Giordano ; the ' Silence,' 
 after Caracci ; and the portraits of Lord 
 Clive and Lord Thurlow, are talented speci- 
 mens of his art and finest manner. In his 
 boyhood he formed a friendship with Ci- 
 priani, E.A., which continued through life, 
 and he became the best engraver of the 
 works of his friend. He engraved several 
 fine plates for Alderman Boydell. He was 
 not less excellent in his lighter productions, 
 which were rapidly executed, than in his 
 exquisitely-finished plates — both bore evi- 
 dence of character, sweetness, and beauty, 
 while "both equally imitated the spirit of 
 the originals. Laborious, working early 
 and late, he was generous and profuse in 
 spending his gains, but he was without 
 prudence, and made no provision for the 
 latter days. His difficulties drove him to 
 expedients to meet his expenses. The 
 chalk manner offered him facilities, and 
 his studio became a mere manufactory of 
 this class of art; plates were executed by 
 many hands under his directions, which 
 received only some finishing touches by 
 him ; and his art was further vitiated and 
 his talents wasted by the trifling class of 
 works thus produced. In 1802 he accepted 
 the office of superintendent to the National 
 Academy at Lisbon, and to induce his stay 
 here George III. offered him a pension, but 
 too late ; his engagement was made, to 
 which he held, or excused himself, and he 
 left England on November 3, 1802, for Por- 
 tugal, where he was knighted. He died at 
 Lisbon in 1815, in his 88th year. 
 
 BAKTOLOZZI, Gaetano Stephan, en- 
 graver. Son of the foregoing, and of some 
 reputation in the same profession, but was 
 indolent — an enthusiast for music rather 
 than engraving. He was the father of 
 Madame Vestris, of stage celebrity. He 
 engraved a portrait of Madame Kecamier, 
 after Cos way, R.A., and of Mrs. Eudd, 
 who was tried for forgery 1775. He died 
 August 25, 1821, aged 64. 
 
 BAKTON, portrait painter. An 
 
 artist of this name painted a portrait of 
 George I., of which Bromley catalogues an 
 engraving. 
 
 BASE VI, George, architect. He was 
 educated at the well-known school kept by 
 Dr. Burney at Greenwich, and then enter- 
 ing Sir John Soane's office in 1810, was for 
 six years his pupil. At the end of this 
 time he travelled, and studied during three 
 years, in Italy and Greece ; on his return he 
 soon gained notice, and Belgrave Square, 
 the great building speculation of the day, 
 was erected after his designs in 1825. His 
 30 
 
 principal work is the Fitzwilliam Museum 
 at Cambridge, in the florid Italian style, 
 designed in competition in 1835. He built 
 a small church at Twickenham, St. Mary's 
 Church at Greenwich, and also a church 
 at Brompton and at Hove. The Eliza- 
 bethan Hall at Brighton is by him, and he 
 was the joint architect, with Mr. Sidney 
 Smirke, of the Conservative Club in Pall 
 Mall. His death was accidental. He was 
 engaged to inspect the Bell Tower of Ely 
 Cathedral, then undergoing repair, and 
 while lost in the consideration of its fine 
 construction, he stepped from a beam on 
 which he was standing, and falling to the 
 fioor, was killed on the spot, October 16, 
 1845, aged 51. 
 
 BASIRE, Isaac, engraver. Born 1704. 
 He lived near St. John's Gate, Clerkenwell, 
 and has been styled a map engraver. He 
 engraved the frontispiece to an edition of 
 Bailey's ' Dictionary,' published 1755. Died 
 August 24, 1768. 
 
 BASIRE, James, engraver. Son of the 
 foregoing. Born October 6, 1730. Brought 
 up to his father's profession, he was assisted 
 in his studies by Richard Dalton, went 
 with him to Italy, and made drawings in 
 Rome after Raphael. He was appointed 
 engraver to the Society of Antiquaries 
 about 1760, and to the Royal Society about 
 1770. He was member of the Free Society 
 of Artists, and acted as their secretary. 
 The best specimens of his works are the 
 beautiful plates in the 'Vetusta Monu- 
 menta,' published by the Society of Anti- 
 quaries, and the royal portraits and other 
 plates in the ' Sepulchral Monuments.' 
 He also engraved 'Pylades and Orestes,* 
 after West ; a large plate from ' The Field 
 of the Golden Cloth,' after the Windsor 
 painting; many plates for Stuart's 'Athens;' 
 and some fine portraits of distinguished 
 men. He died in his house in Great Queen 
 Street, Lincoln's Inn Fields, September 6, 
 1802, and was buried in a vault under 
 Pentonville Chapel. He was noted for the 
 correctness of his drawing and the fidelity 
 of his burin. 
 
 BASIRE, James, engraver. Son and 
 grandson of the foregoing, and succeeded 
 his father in his art. Born November 12, 
 1769. He was engraver to tlie Royal So- 
 ciety and the Antiquarian Society, and 
 inherited the abilities of his father. His 
 best works are ' The Cathedrals ' from Mr. 
 John Carter's drawings. He died at Chig- 
 well Wells, May 13, 1822. 
 
 BASIRE, James, engraver. Son of the 
 above,'and fourth in succession following the 
 same profession. He was born in 1796, 
 and early acquired excellence as a draftsman 
 and engraver. He was much employed by 
 the Society of Antiquaries, and engraved 
 many of the plates for Cough's 'English 
 
BAS 
 
 BAY 
 
 Cathedrals.' He died in London, May 17, 
 1869. 
 
 BASSETT, Henry, architect. Student 
 of tlie Eoyal Academy. Gained the gold 
 medal in 1825 for his design for a National 
 Gallery. He was from that time an occa- 
 sional exhibitor at the Academy, and about 
 1839 was professionally employed on the 
 Southampton estate. In 184^1 ho exhibited 
 his last contribution, a ' Model of Italian 
 Villas,' then erecting after his designs. 
 
 BASTON, Thomas, onarme painter. At- 
 tained some eminence. Several of his re- 
 presentations of ships-of-^yar and shipping 
 have been engraved. He etched some of 
 his own designs, and published in 1721 nine 
 plates of sea views. 
 
 BATEMAN, James, animal fainter. Ho 
 was born in London in 18M, and in 1841 
 was, for the first time, an exhibitor at the 
 Eoyal Academy, and continued a contributor 
 till his death. His subjects were the hu- 
 morous treatment of animals, and were 
 very cleverly chosen, as well as the titles 
 he gave to them. He died at Holloway, 
 March 24, 1848. 
 
 BATEMAN, William, engraver. Born 
 at Chester. Drew and engraved with much 
 spirit many of the ancient buildings in that 
 city. He died at Shrewsbury, A]pril 27, 
 1833, aged 27. 
 
 BATLEY, , engraver. Ho practised 
 
 in mezzo-tint about 1770, and was chiefly 
 employed upon portraits. 
 
 BATLEY, William, architect. He is 
 supposed to have built some of the fine old 
 mansions in Northamptonshire and the 
 adjoining counties. He died at Welling- 
 borough in 1674, aged 80, and on his tomb 
 is designated as ' architect.' 
 
 BATTLEY, John, architect. Was of 
 some local eminence at Leeds, where he 
 erected the theatre and several considerable 
 buildings in the town and neighbourhood. 
 His principal works executed about 1770-80. 
 BATTY, Egbert, Lieut. -Colonel, ama- 
 \ teur draftsman. Son of Mr. Batty, of 
 ■ Hastings, M.D. At the age of L5 he 
 accompanied his cousin, Mr. Bickersteth, 
 • afterwards Lord Langdale, on a tour in 
 ! Italy, and had the opportunity of cultivat- 
 : ing a taste for art, which belonged to his 
 : family. He was educated at Cains College, 
 Cambridge, but his destination in life was 
 balanced between arms and medicine, for 
 after entering the army he returned to Cam- 
 j bridge, and eventually took a degree in 
 ! medicine. But the events of the day pro- 
 bably determined his career, and entering 
 j! the Grenadier Guards, he served with them 
 I during the campaign of the Western Pyro- 
 !f nees and at Waterloo ; and he recorded the 
 I sersdces of his corps in a quarto volume, 
 I llustratod by his own etchings, under the 
 title of ' The Campaign of the Left Wing of 
 
 the Allied Army in the Western Pyrenees 
 and South of France in 1813-14.' He also 
 wrote a 'Sketch of the Campaign of 1815.' 
 Afterwards he published several volumes 
 of scenery in various countries — 'Erencli 
 Scenery,' in 1822 ; 'German Scenery,' in 1823 ; 
 'Welsh Scenery,' in the same year; 'Scenery 
 of the Ehine, Belgium, and Holland,' 1826; 
 'Hanoverian, Saxon, and Danish Scenery,' 
 1828; 'Scenery in Lidia,' and 'Select Views 
 of the principal Cities of Europe,' 1830-33. 
 He had also completed drawings in water- 
 colours of views in Spain and Portugal, and 
 had disposed of them for publication, but 
 they have not appeared. Ho was occasiDn- 
 ally an honorary exhibitor at the Academy 
 from 1825 to 1832. He died in London, No- 
 vember 20, 1848, aged 59, leaving a widow 
 and family. His industry was great, his 
 works carefully and truthfully drawn, his 
 architecture correct in its proportions and 
 outlines ; and his merits as a topographical 
 draftsman deserve recognition. 
 
 BAUEE, Francis, F.E.S., botanic drafts- 
 man. Was born at Felsberg, Austria, Oc- 
 tober 1, 1758. He came to England in 1788, 
 and two years after settled at Kew, where 
 he was for 30 years draftsman to the 
 Eoyal Botanic Gardens, and was appointed 
 botanic painter to George III. A fine col- 
 lection of his elaborate works is in the 
 British Museum. He died December 11, 
 1840, aged 82. 
 
 BAXTEE, Thomas, water-colour painter. 
 Was born in Worcester, February 18, 1782. 
 He was a clever imitator of still life, and 
 rapid in his manner. He excelled in fruit, 
 flowers, and landscape. He also painted 
 some works on porcelain, which were greatly 
 esteemed, especially some miniatures after 
 Eeynolds. He came to London, but unable 
 to support himself, he sought employment 
 in the provinces, travelling from place to 
 place ; but under his anxieties his health 
 failed, and he died in London, April 18, 
 1821. He drew the monumental figures, 
 some of which he also etched, for Britten's 
 ' Salisbury Cathedral,' and made two very 
 clever copies of the 'Portland Vase.' 
 
 BAXTEE, John, architect. Born in 
 Scotland, where, after having studied in 
 Italy, he practised with much ability. He 
 died 1796. 
 
 BAYNES, James, water-colour painter. 
 Born at Kirkby Lonsdale, April 1766, 
 and was assisted to become the pupil of 
 Eomney and a student of the Academy. 
 He married, and was on the point of start-, 
 ing for Italy ; but his patron, offended by 
 his imprudent marriage, stopped his assist- 
 ance. He then obtained employment, with 
 but small pay, from a company who pro- 
 posed to print in oil-colours the works of 
 the old masters. This soon failed, and he 
 fell back upon his art. He also taught, and 
 
 31 
 
BEA 
 
 BE A 
 
 had several pnpils who gained a name in 
 art. Ho was from 1 796 till his death nearly 
 a constant exhibitor at the Academy. His 
 contributions comprised views m Norfolk, 
 North Wales, Cumberland, and later, in 
 Kent. He occasionally introduced figures 
 and cattle. He died 1837. 
 
 IJHACH, TnoyiAs, porlrait painter. He 
 was born at Milton Abbas, Dorsetshire, and 
 early showed a love of art. In 1760 he 
 became a pupil of Sir Joshua Keynolds, 
 and at the same time a student in the 
 St. Martin's Lane Academy. On lea^dng his 
 master he established himself in Bath, 
 where he gained employment and repute as 
 a portrait painter, and from that city sent 
 portraits (1772-83) to the exhibitions of 
 the Incorporated Society of Artists, of which 
 body he was a member, and a warm advo- 
 cat<3 in the squabbles which arose. His 
 works are well known in the West of Eng- 
 land, and consist chiefly of small portraits 
 and portrait groups. He painted in 1787 the 
 portraits of Mrs. Siddons and her brother 
 in the Dagger scone in ' Macbeth ; ' and she 
 describes 'her brother's head as the finest 
 she has ever seen, and the likest of the two.' 
 He first exhibited at the Royal Academy in 
 1785, contributing portraits yearly up to 
 1790, and did not again exhibit till 1797, 
 when he was living at Strand-on-the-Green, 
 near Kow, and then sent a portrait of the 
 Prince of Wales. He died at Dorchester, 
 December 17, 1806, aged 68. His works 
 are well drawn, carefully painted in a low 
 sober tone, and are by no means without 
 merit. Several of his portraits are engraved. 
 There is a portrait of Woodfall, the par- 
 liamentary reporter, by him in the National 
 Portrait Gallery. 
 
 BEALE, Mary, portrait painter. Born 
 in Suffolk 1632. Daughter of the Eev. 
 Mr. Cradock, minister of Walton-on- 
 Thames. She is said to have been in- 
 structed by Sir Peter Lely, but probably 
 only copied his works ; and Walpole adds, 
 * Sir Peter is supposed to have had a tender 
 attachment to her.' She painted in oil, 
 water-colour, and crayons, and was much 
 encouraged ; many persons of great distinc- 
 tion, especially Churchmen, sat to her, and 
 she derived a good income from her pro- 
 fession. Her prices in oil were 6^. for a 
 head, lOl. for a half-length. Pilkington 
 says she married an obscure painter named 
 Beale, but it is stated in a note to Walpole 
 that he succeeded his father in a manor and 
 estate at Watton, Bucks ; and it appears 
 lie was more of a chemist than an artist, 
 preparing colours, in which ho trafficked 
 witli painters, and it is clear exchanged 
 with Loly. It appears, too. that he held 
 some cm])l()yment under the Board of Green 
 Cloth. Mrs. Beale died in Pall Mall, De- 
 cember 28, 1G97, and waa buried under the 
 32 
 
 communion table in St. James's Church. 
 There is a portrait by her of Charles II. in 
 the National Portrait Gallery, and of Arch- 
 bishop Tillotson in Lambeth Palace. Her 
 portraits are weakly painted, wanting in 
 expression and finish, hands without draw- 
 ing, and colour disagreeable. She was in 
 her day reputed as a poet as well as a 
 painter. 
 
 BEALE, Charles, miniature painter. 
 Son of the foregoing. Born May 28, 1660. 
 Studied art under'Flatman ; then assisted 
 his mother in her draperies and back- 
 grounds, and painted portraits in oil and 
 water-colours, and some few in crayons. 
 But he had weak eyes, which prevented him 
 following his profession more than four or 
 five years, and he never attained any dis- 
 tinction in art. 
 
 BEALE, Bajitholomew, portrait painter. 
 Another son of the above Mary Beale. He 
 was intended for her profession, and com- 
 menced his art under Elatman, and painted 
 portraits in oil and water-colours ; but he 
 had little inclination for painting, which he 
 relinquished, and studied physic. He prac- 
 tised medicine for a time at Coventry, and 
 died there. 
 
 BEAN, Richard, engraver. Studied in 
 Paris under Guerin. He was of much pro- 
 mise, and produced a set of anatomical 
 plates and some good portraits ; but he was 
 drowned while bathing at Hastings, at the 
 age of 25, June 24, 1817. 
 
 BEARD, Thomas, mezzo-tint engraver. 
 Born in Ireland. He engraved several por- 
 traits of no great merit, though popular in 
 his day. His best works dated about 1728. 
 
 BEARE, Gboilgb, portrait painter. Prac- 
 tised in the first half of the 18th cen- 
 tury. There is a known portrait by him 
 of John, fourth Duke of Bedford, and an 
 engrai^ng, dated 1747, of another portrait 
 by him. 
 
 BEAUCHAMP, RicharD, D.D., archi- 
 tect. Son of Sir Walter Beauchamp. Was 
 created Dean of Windsor in 1447, Bishop 
 of Hereford 1449, and of Salisbury 1450. 
 He built the great hall, parlour, and 
 chamber of the Episcopal Palace at Salis- 
 bury, and was appointed by Edward IV., in 
 1474, ' master and supervisor of the works* 
 in the erection of St. George's Chapel, 
 Windsor. He died in 1481, and was buried 
 at Salisbury. 
 
 BEAUCLERC, Lady Diana, amateur. 
 Daughter of Charles Spencer, second Duke 
 of Marlborough. Born March 24, 1734 ; 
 married in 1757 Viscount Bolingbroke, and 
 on the dissolution of this marriage the 
 Hon. Topham Beauclerc, celebrated as a wit 
 and^^man of society. She drew, designed, and 
 executed bas-reliefs. Walpole says he built 
 a closet * expressly for the reception of some 
 incomparable drawings by her for scenes in 
 
BE A 
 
 BEC 
 
 the "Mysterious Mother;'" but he adds, 
 ' these sublime drawings were the first she 
 ever attempted, and were all conceived and 
 executed in a fortnight.' This smacks of 
 flattery; but she was certainly a clever 
 painter, and though aiming at a loose ar- 
 tistic style, she showed power and invention. 
 She made designs for a translation of Bur- 
 ger's ' Leonora,' and contributed some de- 
 signs also to a handsome edition of Dryden's 
 ' Fables,' published in folio, 1797- A draw- 
 ing by her of her two daughters in the 
 characters of ' L' Allegro ' and ' II Penseroso ' 
 was engraved by Bartolozzi. She died 
 August 1808, aged 74. 
 
 BEAUMONT, Sir Albanis, amateur. 
 Born in Piedmont, but naturalised in this 
 country. He was an amateur di'aftsman of 
 great merit, and engraved in aqua -tint. He 
 traA^elled much; and in 1801 issued his 
 ' Travels in the Alps,' illustrated by his own 
 faithful drawings. Between 1 787 and 1806 
 he published five works on the Alps, and 
 views of the harbours and antiquities of 
 the South of Prance. He died in England; 
 the date of his death is unknown. 
 
 BEAUMONT, Sir aEORGE Howland, 
 Bart., amateur. Born at Dunmow, Essex, 
 November 6, 1753. Succeeded to the title 
 176*2. Educated at Eton and New College, 
 Oxford. In 1782 he travelled and visited 
 Prance, Switzerland, and Italy. In 1790 
 he entered Parliament. His tastes were 
 early devoted to the arts, and he gained 
 distinction as an amateur painter. He en- 
 joyed the friendship of Sir Joshua Reynolds 
 and other distinguished artists, and ruled 
 in the fashionable world as the leader of 
 taste. He was a frequent honorary exhi- 
 bitor, at the Royal Academy, of landscapes, 
 which did not surpass respectability in 
 manner. He died Pebruary 7, 1827, and 
 left by his will 16 pictures — among them 
 some fine works — to the National Oallery, 
 the establishment of which he had zealously 
 promoted. 
 
 BEAUMONT, John Thomas Barber, 
 miniature fainter. Was born in Maryle- 
 bone, December 21, 1774. He manifested 
 an early taste for art, and in 1791 entered 
 the schools of the Royal Academy, where 
 he gained several medals, and from 1794 to 
 1806 was an exhibitor. He took up minia- 
 ture art, soon distinguished himself, and 
 was appointed miniature painter to the 
 Duke of Kent and Duke of York. In his 
 miniatures there is no apparent stippling 
 or hatching — all appears done with a broad, 
 full pencil. Of an active mind, he was not 
 satisfied with the quiet pursuits of art. He 
 published, in 1802, ' ATour in South Wales.' 
 Soon after, he wrote on the defences of the 
 country, and organised a body of volunteers. 
 He also established the well-known 'Weekly 
 Register.' In 1806 he successfully estab- 
 
 lished a provident institution, and later the 
 County Fire Office, of which he was tho 
 managing director. He abandoned art for 
 these pursuits, and does not appear as an 
 exhibitor after 1806. He took the name of 
 Beaumont (added to Barber), and was an 
 active magistrate for Middlesex and West- 
 minster. He died May 15, 1851. Some 
 theatrical miniature portraits by him are 
 engraved. 
 
 BEAUVAIS, John, miniature jpainter, 
 A native of Prance, who settled in England. 
 He gained a Society of Arts' premium in 
 1765, and practised with success as a minia- 
 ture painter at Bath in the latter half of the 
 18th century. He is mentioned in Smith's 
 ' Life of Nollekens ' as a constant attendant 
 at Langford's auctions, and was noted for 
 his dirty person, but he nevertheless regu- 
 larly presented himself at Court. He died 
 in London, date unknown. 
 
 BEAZLEY, Charles, architect. For- 
 merly of Whitehall and of Walmer, Kent. 
 He was an occasional exhibitor at the Aca- 
 demy, 1787 to 1806. Died at Hampstead, 
 January 6, 1829, aged 69. 
 
 BEAZLEY, Samuel, architect. The son 
 of an architect ; he was born at Wliitehall 
 in 1786, and was the pupil of the foregoing 
 Charles Beazley, his uncle. In early life 
 he served as a volunteer in the Peninsula. 
 He was fond of the drama, and wrote for 
 the stage several dramatic pieces and adap- 
 tations, 'The Steward,' played in 1820, 
 and ' The Deserted Daughter,' were his 
 chief productions of this class. His archi- 
 tectural works were mainly in connection 
 with the theatre. He rebuilt the Lyceum 
 in 1807, and again after it was burnt down 
 in 1830. In 1820 he rebuilt the Birming- 
 ham Theatre, and in 1821 the Dublin 
 Theatre. He also reconstructed the interior 
 of the Drury Lane Theatre in 1822, and 
 added the external colonnade. To this list 
 must be added the Soho Theatre, built 
 about 1834 ; the St. James's Theatre, in 
 1836-37; the theatre at Leicester, 1836; and 
 the City of London Theatre, 1837. After 
 his designs also several mansions were 
 erected, and some stations on the South 
 Eastern Railway ; the Lord Warden Hotel, 
 Dover, 1849 ; and the Pilot House. He ex- 
 hibited at the Royal Academy for the first 
 time in 1811, and at long intervals up to 
 1840. He died of apoplexy at Tunbridge, 
 October 12, 1851, in his 66th year, and was 
 buried at Bermondsey Old Church. 
 
 BECK, David, ^portrait painter. Bora 
 at Arnheim 1621. Came to England as 
 pupil and assistant -to Vandyke, and gained 
 the notice of Charles I., who made him 
 drawing-master to the young princes. His 
 facility of execution was so great, that the 
 king is reported to have said : ' Paith, Beck ! 
 I believe you could paint riding post ! ' He 
 > 33 
 
BEC 
 
 alVnt^ards wont to Franco, Denmark, and 
 Swodrn, and in the last country was pa- 
 tronised l.y the Queen, and gamed wealth 
 and reinitaVion. lie died 1656. 
 
 BECKETT, Isaac, mczzo-t'mt engraver. 
 Born in Kent 1653. Ho was apprenticed 
 to a ciilico printer, but becoming acquainted 
 with Lutterell, who was tr>ang the new art 
 of mezzo-tint, he learnt from him the pro- 
 cess. Ho was obliged to abscond for a time 
 in consequence of an intrigue, but was 
 afterwards again connected with Lutterell 
 in the development of mozzo-tint ; and then 
 marrying a woman of some fortune, he set 
 up for himself. He was industrious, com- 
 pk'ted many ix)rtraits, chiefly after Kneller, 
 Lely, and Kiley, with some after Vandyke 
 and Murray, and from the life, wit:h some sub- 
 iect plates. In this he was assisted by his 
 former colleague, Lutterell. His dra^ving 
 was weak, but his plates clear and well 
 scraped, though flat and coarse in the 
 shadows ; and the art owed some progress 
 to him. He died 1719, aged 66. 
 
 BECKMAN, Sir MartixV, Knt., land- 
 scnpe painter. Pupil of John Wyck. He 
 painted sea-pieces and landscapes, and then 
 entering the service of Charles 11. as an 
 engineer, he planned Tilbury Fort and the 
 works at Sheer ness. 
 
 BECKWITH, Thomas, portrait painter. 
 Was the son of a respectable attorney in 
 the West Ei ding of Yorkshire, and was ap- 
 prenticed to a house painter at Wakefield. 
 Then, showing a taste for drawing, he became 
 locally reputed as a clever portrait painter, 
 and with the feeling of an antiquary drew 
 every church and object of antiquity in the 
 neighbourhood, till his drawings in pencil 
 or water-colour formed an important col- 
 lection. He was well known for his anti- 
 quarian knowledge. He published ' A 
 Walk in and about the City of York,' and 
 was elected F.S.A. He obtained a patent for 
 a hardened crayon which held a good point. 
 During the latter part of his life he resided 
 in York, and died there February 17, 1786. 
 
 BEECHEY, Sir William, Knt., E.A., 
 portrait painter. Was born at Burford, 
 in Oxfordshire, December 12, 17<^3. He is 
 said by an early contemporary to have been 
 originally a house painter; other accounts 
 state that he was articled to a solicitor at 
 Stowe, Gloucestershire, and was transferred 
 to a solicitor in London. Here he became 
 acquainted \\ith some students of the Royal 
 Aciidemy and enamoured with the fine arts. 
 Ho had been restless in his law studies, 
 and his master being prevailed upon to re- 
 lease him, ho devoted himself earnestly to 
 the ]irofession of his own choice, and was 
 admitted a student of the Academy in 
 1772. In 1775 he exhibited some small 
 portraits, and making some progress he 
 painted for a time in London, and then 
 34 
 
 BEE 
 
 tried Norwich, where he produced some 
 conversation-pieces i^i the Hogarth manner. 
 He remained there four or five years, and 
 first tried life-size portraits in 1783, when 
 he painted a whole-length, with some others. 
 He had some distinguished sitters, and he 
 also tried some subject pictures. He then 
 returned to the Metropolis, and took a house 
 in Lower Brook Street, where he soon gained 
 both practice and celebrity. He afterwards 
 removed to Hill Street, Berkeley Square, 
 then to George Street, Hanover Square, and 
 finally to Harley Street. He was elected 
 A.E.A. in 1793, and the same year painted 
 a portrait of Queen Charlotte, who ap- 
 pointed him Her Majesty's portrait painter. 
 He was fortunate to gain the Court favour, 
 and in 1798 he painted a large equestrian 
 portrait of George III., with portraits of the 
 Prince of Wales and the Duke of York at a 
 review in Hyde Park, and the same year re- 
 ceived the honour of knighthood, and was 
 elected a royal academician. The above large 
 work has been called his chef-d'xuvre, and 
 was much admired at the time. It is, with 
 several other portraits by him, in the 
 Hampton Court Gallery, and has at least 
 the merit of solid, honest painting ; but he 
 has failed to overcome the ungainly military 
 uniforms of that day, and his composition 
 is faulty, and the work stiff and ineffective. 
 He afterwards painted for the Prince of 
 Wales portraits of the princesses, and then 
 whole-length portraits of all the royal 
 family, and for the Queen the entire por- 
 trait decorations of a room at Frogmore. 
 Enjoying the favour of the Court, fashion 
 followed him, and many of the most dis- 
 tinguished of his day were among his sitters. 
 In his early career he had painted some 
 subject pictures, but his art was essentially 
 portrait. His chief merit was the accuracy 
 of his likenesses. His colouring was deli- 
 cate and sweet, particularly in his female 
 portraits, but his draperies were flimsy, 
 his females want grace, and his males cha- 
 racter. Yet he was not without much 
 merit, though his works are not likely to 
 sustain the high reputation which he en- 
 joyed in his lifetime. He sold his art col- 
 lection of pictures, books, and engravings 
 in 1836, and retired to Hampstead, where 
 he died January 28, 1839, aged 86. 
 
 BEECHEY, G-eorgeD., portrait painter. 
 Son of the foregoing,. Was brought up as 
 a portrait painter, and followed his father s 
 manner. Commencing in 1817, he was a 
 constant exhibitor at the Academy for 
 several years, and so long as his father 
 continued in active practice he had many 
 sitters, including some persons of distinction. 
 Soon after 1828, his practice having rapidly 
 declined, he went to Calcutta, and his last 
 exhibited portrait, in 1832, was sent from 
 that city. He was for a long time settled 
 
BEE 
 
 BEN 
 
 in Lucknow, and was Court painter to the 
 King of Oudh. He is believed to have been 
 living there in 1855, but to have died 
 before the Indian Mutiny in 1857. 
 
 BEESLEY, Egbert, still •life painter. 
 He was a member of the Free Society of 
 Artists, and exhibited with the Society, 
 1763-80, fruit, birds, landscapes, and some 
 subjects in oil. 
 
 BEHNES, William, sculptor. Was the 
 son of a Hanoverian, a pianoforte maker, 
 who had settled in London. He was born 
 there, and in 1795 was taken, when in 
 childhood, by his family to Dublin, and 
 was intended to follow his father's business, 
 but entering the schools of the Dublin 
 Academy he showed abilities which led him 
 to art. He, however, returned with his 
 family to London, and settling with them 
 at the East end of the Metropolis, he con- 
 tinued to work with his father. He had 
 no less retained his art tastes, and acquired 
 a great facility in drawing portraits on vel- 
 lum, and the family moving westward he 
 tried portraiture as a profession, and by 
 his great diligence soon rose into notice. 
 He first exhibited at the Academy in 1815, 
 and in that and the three following years 
 sent portraits in oil and in crayons ; but 
 gaining some casual instruction in model- 
 ling he was led to that art, and in 1819 
 he exhibited portraits both in oil and 
 modelled in clay. 
 
 He now finally adopted the sculptor's 
 profession, and soon found full employ- 
 ment. From 1820 to 1840 he enjoyed a 
 very large practice, and executed some im- 
 portant public works. But he was impro- 
 vident and involved himself in difficulties, 
 added to which he was of irregular habits. 
 His reputation suffered; in 1861 he became 
 bankrupt, and in his old age, living alone 
 in miserable lodgings and afflicted with 
 paralysis, he was taken, after a fall in the 
 streets, to Middlesex Hospital, where he 
 died, January 3, 1864, aged above 70. 
 
 His true art was in portrait statues and 
 busts, and from 1822 his exhibited works 
 were of this class. He rendered the grace 
 of childhood with much truth. His ' Child 
 with a Dove,' and his portraits of Lord 
 Mansfield's and Mr. Hope's children are 
 good examples, as is also a bust of the 
 Princess Victoria and of Benjamin West, 
 P.R.A. Of his statues may be named Sir 
 William FoUett and Dr. Bell, in Westmin- 
 ster Abbey ; and Major-General Sir T. Jones 
 and Dr. Babington, in St. Paul's— the latter 
 probably his best work. General Havelock, in 
 Trafalgar Square — his last work of this class 
 — is but a weak production. The honours of 
 his profession were barred by his irregu- 
 larities. Several distinguished sculptors 
 were among his pupils. 
 
 BELL, Edwaed, engraver. Was nephew 
 
 I) : 
 
 ) of the publisher of the ' British Poets,' and 
 
 1 was known as a mezzo-tint engraver towards 
 [ the end of the 18th century. 
 
 BELL, Lady, amateur. Sister of Hamil- 
 ton, E.A., and wife of Sir Thomas Bell, 
 ■ sheriff of London. She was instructed by 
 her brother, and had some assistance from 
 Sir Joshua Reynolds. She made some good 
 copies of oil paintings : among them, a 
 ' Holy Family ' by Rubens. She appears also 
 to have had some skill in modelling, as in 
 1819 she was an honorary exhibitor of two 
 busts at the Royal Academy. A portrait 
 by her of her husband is engraved. She 
 died March 9, 1825. 
 
 BELL, William, portrait and history 
 painter. Born at Newcastle-on-Tyne about 
 1740. He came to London 1768, and en- 
 tered the schools of the Royal Academy es- 
 tablished that year. In 1771 he gained the 
 gold medal for his picture of ' Venus entreat- 
 ing Vulcan to forge Arms for her Son.' He 
 found a patron in Lord Delaval, and painted 
 two views of his Lordship's mansion, Seaton 
 Delaval, in 1775, and several whole-length 
 portraits of his family, but did not maintain 
 his early promise. He resided for some time 
 at Newcastle, where he subsisted by portrait 
 painting, and died about 1804. 
 
 BELLERS, William, landscape painter 
 of the latter part of the 18th century. 
 Eight views by him of the Cumberland 
 Lakes were published by Boydell in 1774, 
 and several of his landscapes are etched by 
 Chatelain, Ravenet, Canot, and others. He 
 exhibited with the artists at the Society of 
 Arts in 1761, and continued an exhibitor 
 to 1772, painting moonlights, sunsets, 
 storms, &c., sometimes tinted drawings and 
 crayons, but he does not appear to have 
 contributed to the Academy Exhibitions. 
 
 BENAZECH, Peter Paul, engraver and 
 draftsman. He was born in England in 
 1744, and was a pupil of Vivares, and 
 studied some time in Paris. His landscapes 
 evinced much observation of nature and taste, 
 and gained him reputation ; some of them 
 are engraved. Of his own engravings, his 
 best are four large landscapes after Dietrich, 
 1770-71. He also engraved four land- 
 scapes after Vernet, and a subject-piece after 
 Ostade. 
 
 BENAZECH, Charles, portrait and 
 subject painter. Son of the foregoing. Born 
 in London, but chiefly studied on the Con- 
 tinent. He went to Rome in 1782, and re- 
 turning by Paris, was in that city at the 
 commencement of the Revolution. He ex- 
 hibited at the Academy, in 1790 and 1791, 
 subjects from the poets and some portraits. 
 He is known by four pictures, engraved by 
 Schiavonetti, of the last days of Louis XVI. 
 He painted several good portraits, some of 
 which he engraved with his own hand. He 
 was member of the Academy at Florence. 
 
 2 3 
 
BEN 
 
 BEN 
 
 Piod in London in tlie summer of 1794, in 
 his 27tli jear. 
 
 BENIERK, Thomas, statuary, l^orn m 
 Kn-'land, of French parents, 1663. He 
 carved portraits in marl^lo from life at two 
 guinejis each, and modelled small works, 
 whicli were much admired. He lived near 
 the Ylcvt Ditch, and died there m 1693. 
 
 BENNETT, William Mineard, miniature 
 pai?ifcr. Born at Exeter. Became a pupil 
 of Sir Thomas La^\'rence, and attained re- 
 putation in London as a miniature and por- 
 trait painter. He exhibited at the Academy 
 in 1812, sending oil portraits and minia- 
 tures, in 1813-15-16, and again in 1834- 
 1835. Ho then settled in Paris, where he 
 gained the esteem of the French Court, and 
 was decorated by Louis XVIIL He at- 
 tiiined also proficiency in music, and culti- 
 vated a taste for literature. In 1844 he 
 returned to Exeter, and pursuing art only 
 as an amusement, died in his native city, 
 October 17, 1858, aged 80. 
 
 BENNETT, William, water-colour 
 painter. Born 1811. He is reputed to 
 have been a pupil of David Cox, and to 
 have begun his art career rather late in 
 life. His name as an exhibitor first ap- 
 pears at the Royal Academy in 1842 and 
 1843, when he sent views in Somersetshire, 
 followed in 1844 and 1845 by subjects in 
 North Wales, continuing at long intervals 
 a contributor till 1854. In 1848 he was 
 chosen a member of the Institute of Painters 
 in Water-Colours, and from that year till 
 his death his chief works were exhibited at 
 the gallery of the Institute. He painted 
 chiefly the scenery of England — her woods, 
 commons, sea-coasts, and ruined edifices. 
 His works were carefully finished, his foliage 
 good, but the general effect sometimes too 
 green. He died at Clapham Park, after a 
 short illness, March 16, 1871. 
 
 BENNETT, William J a^ies, water-colour 
 pai?itcr. He was in 1808 a member of the 
 ' Associated Artists in Water-Colours,' and 
 was in 1819 an ' exhibitor' at the Water- 
 Colour Society, sending Neapolitan views. 
 In 1821 he was elected an 'associate exhi- 
 bitor,' exhibiting in 1 823 ' The Coast of Bar- 
 bary,' and in 1824 ' Mount Vesuvius ; ' after 
 1825 his name disappears from the catalogue. 
 
 BENOIST, William Philip, engraver. 
 He was lK)rn at Coutances, Normandy, and 
 brouglit to England by Du Bosch ; he early 
 in life settled in London. He engraved 
 portraits in a neat manner, and a print of 
 the ' Mock-masons,' with some other subject 
 works. He was also a teacher of drawing 
 in many families of the higher class. After 
 a residence of about 40 years in London, 
 ho died there in August 1770. 
 
 BENSON, Sir William, Knt, architect. 
 His father served the otfico of sheriff of 
 London, and was knighted. He was born 
 3G 
 
 in 1 682, and having received a good educa- 
 tion he travelled to improve himself in his 
 profession. In 1710 he built a residence 
 for himself at Amesbury. He represented 
 Shaftesbury in the first parliament of 
 George 1. He was appointed surveyor- 
 general to the Crown in 1718, supersed- 
 ing by a political intrigue Sir Christopher 
 Wren, and in opposition to his opinion he 
 erected the exterior balustrade over the 
 upper order of St. Paul's Cathedral. On 
 an official survey of the House of Lords, 
 he reported the Peers' Chamber was in a 
 dangerous state ; but other professional 
 opinion being taken, it was, after inves- 
 tigation by a committee of the House, 
 declared in a sound condition, and his report 
 false and groundless. He was removed 
 from his office, for which he was incom- 
 petent. He was afterwards convicted of 
 bribery, and expelled the House of Com- 
 mons ; and then, sinking into obscurity, he 
 died at Wimbledon, February 2, 1754. He 
 is stigmatised by Pope in ' The Dunciad.' 
 
 BENTLEY, Charles, wafer - coloiir 
 painter. He first exhibited at the Water- 
 Colour Society in 1832 and 1833, and appears 
 as an associate exhibitor in 1834. He was 
 elected a member in 1844, and was from the 
 first a constant contributor to the Society's 
 Exhibitions. His contributions were chiefly 
 coast and river scenes, but extended over a 
 wide range, and included the numerous and 
 varied incidents which belong to such sub- 
 jects. Though chiefly found on the coasts of 
 the United Kingdom, he sought his subjects 
 in France, Holland, Venice, and painted 
 effects of sunset, evening, storm, and calm. 
 He also painted a few more exclusively 
 landscape subjects. In the hands of picture 
 dealers, he was uncertain in his transactions, 
 and always poor. He died of an attack of 
 cholera, after a few hours' illness, Septem- 
 ber 4, 1854, aged 48. 
 
 BENTLEY, Joseph Clayton, engraver. 
 He was born in 1809, at Bradford, York- 
 shire, and commenced art as a landscape 
 painter; but in 1832 came up to London 
 to study engraving, and placed himself 
 under E. Brandard. He practised in the 
 line manner, and was much engaged on 
 Messrs. Fisher's illustrated serial publica- 
 tions. Many of his works were also for the 
 ' Gems of European Art,' published by 
 Messrs. Virtue ; and he engraved for ' The 
 Vernon Gallery.' He did not abandon 
 painting, but continued to paint and ex- 
 hibit, and his knowledge of art enhanced 
 the value of his engravi ngs. In engraving he 
 was rapid, but his work was not of a high 
 class. Some of his best engraved works are 
 after R. Wilson, Gainsborough, Callcott, Cres- 
 wick, and Linnell. His assiduous labour 
 undermined a weak constitution, his health 
 became precarious, and he died at the age 
 
BEN 
 
 BE W 
 
 of 42, October 9, 1851, leaving a widow and 
 two children. 
 
 BENTLEY, Eichard, amateur. Was 
 the only son of the celebrated Dr. Bentley, 
 master of Trinity College, Cambridge, and 
 an educated man of many accomplishments, 
 but inyolved in distress and difficulty by 
 his own imprudence. He was intimate 
 with Walpole, with whom he is said to 
 have maintained 'a sickly kind of friend- 
 ship, which had its hot and cold fits.' He 
 claims a place here by his designs in illus- 
 tration of an edition of Gray's works, 
 printed at Strawberry Hill, and also as the 
 designer of many Gothic embellishments at 
 that noted residence. He was patronised 
 by Lord Bute, and wTote some political and 
 dramatic works. He died October 23, 1 782. 
 
 BENWELL, John Hodges, suhjcct 
 painter. Born 1764; son of the under- 
 steward to the Duke of Marlborough. Was 
 a pupil of Mr. Saunders, an obscure portrait 
 painter, and studied in the schools of the 
 Eoyal Academy, where, in 1782, he gained 
 a silver medal. He then for a time taught 
 drawing in Bath. He executed a few small 
 oval dra^^ings in water-colour, which he 
 united with crayon in a manner peculiar to 
 himself, and was much praised at the time. 
 Several of his works have been engraved — 
 two scenes from ' Eobin Gray,' the ' St. Giles's 
 and the St. James's Beauties,' and the ' Chil- 
 dren in the Wood.' This latter, by Sharp, has 
 been pointed to as of great merit, but pos- 
 sesses little character — the children unsoiled, 
 trimly dressed, and crisply curled, reclining 
 on a bank of flowers. He exhibited a classic 
 subject at the Academy in 1784. Using the 
 wet crayon, which is so liable to be effaced, 
 his works have not endured. H*e died prema- 
 turely, of consumption, in 1785, and was bu- 
 ried in St. Pancras's Churchyard. He is be- 
 lieved to have been in no way relatedto Mary 
 Benwell, who practised about the same time. 
 
 BENWELL, Miss Mary, portrait 
 painter. She practised in crayons, oil, and 
 in miniature ; and was of repute in her pro- 
 fession. She lived in Warwick Court, and 
 exhibited at the Artists' Society in 1761, 
 and continued to exhibit there and at the 
 Eoyal Academy up to 1782, chiefly crayon 
 portraits and miniatures. A portrait by 
 her of Queen Charlotte was engraved by 
 Houston, and her 'Cupid Disarmed' by 
 Charles Knight. She married an officer 
 named Code, whose promotion she was able 
 to purchase, and retired to Paddington, 
 where she was living in 1800, having long 
 ceased to practise her profession. She was 
 said to have been an aspirant for Academy 
 honours ; and Peter Pindar, mistaking her 
 Christian name, alludes to her — 
 * Thus shall I hurt not any group composers, 
 From Sarah Benwell's brush to Mary 
 Moser's.' 
 
 BEECHETT, Peter, history painter. 
 Born in France 1659. Was a pupil of 
 La Fosse, and made rapid progress in art. 
 He first came to England in 1681, but 
 stayed only a year. He then came again 
 on an engagement, which fulfilled, he went 
 to Holland for a short time to paint King 
 William's palace at Loo, and returned to 
 England, where he finally settled. Ho 
 practised in the decorations then in vogue. 
 He painted the chapel- ceiling at Trinity 
 College, Oxford, the staircase at the Duke 
 of Schomberg's in Pall Mall, and other 
 works of this class. At the latter part o-f 
 his life he lived in ill-health at Maryle- 
 bone, and painted only small pieces from 
 fabulous history. He died in Marylebone, 
 January 1, 1720^. 
 
 BEEEIDGE, John, portrait painter. 
 He w^as a pupil of Sir Joshua Eeynolds. 
 While studying under him in 1766 he re- 
 ceived a premium from the Society of Arts. 
 In 1769 he was elected a member of the 
 Incorporated Society of Artists. He ex- 
 hibited portraits in oil at the Society's Ex- 
 hibitions and at the Eoyal Academy in 
 1785, but there is no further trace of him. 
 
 BEEEY, William, gem engraver. Born 
 in Scotland about 1730. Was apprenticed 
 to a seal engraver in Edinburgh, and fol- 
 lowed this art with great assiduity. He 
 attained high excellence, and executed some 
 fine intaglios, but very few in a pure style 
 of art — heads and full-length figures, both 
 of men and animals. For these works, both 
 original and from the antique, he was with- 
 out encouragement ; his great abilities were 
 little known, and he modestly followed the 
 lower branches of his art to maintain his 
 family. He passed his life in Edinburgh, 
 and died there June 3, 1783, leaving a 
 large family, for whom his talent and in- 
 dustry had not enabled him to make any 
 savings. 
 
 BETTES, John, engraver and painter. 
 Was a pupil of Hilliard, and practised mi- 
 niature painting and engraving in thereign 
 of Queen Elizabeth. He painted a minia- 
 ture in oil of the Queen, which gave her 
 Majesty great satisfaction. He engraved 
 some vignettes for Hall's ' Chronicle.' He 
 died about 1570. 
 
 BETTES, Thomas, illuminator. Was 
 brother of the foregoing, and followed, with 
 him, the same profession. He painted the 
 limnings, then much used, in Church books, 
 and drawings in small from the life. 
 
 BEWICK, Thomas, wood engraver. He 
 was born August 12, 1753, at Cherry- 
 burn, in the parish of Ovingham, Northum- 
 berland, where his father held a colliery for 
 many years. Having by his chalk scrib- 
 blings on a barn-door — a ]Dropensity he in- 
 dulged over the whole village — attracted the 
 notice of Mr. Ealph Beilby, an engraver at 
 
 37 
 
BEW 
 
 Newcastle, he liecamo his apprentice. His 
 master undertook every class of work, and 
 he employed Bewick on the diagrams for 
 Dr. Hut ton's great work on Mensuration, 
 which were engraved on wood, that they 
 might be printed with the type ; and the 
 beauty and accuracy with which he finished 
 these diagrams induced his master to 
 recommend him to devote himself to wood 
 engraving, then little practised. His ap- 
 prenticeship ended in 1774-75, he re- 
 turned to his father's house at Cherry- 
 burn, but continued to do piece-work for his 
 master. In 1776 he came to London, and 
 was employed by a wood engraver ; but he 
 pined for his native air and rural habits, 
 and \sithin about twelvemonths he was 
 again settled at Newcastle, and soon after 
 became the partner of his former master. 
 At this time he engaged to furnish the cuts 
 for an edition of Gay's ' Fables,' pul)lished 
 in 1779. The work showed a good know- 
 ledge of his art, and ' The Old Hound,' one 
 of these cuts, obtained a premium from the 
 Society of Arts. In 1784 a new edition of 
 
 * Select Fables ' was published, the wood- 
 cuts for which were entirely the work of 
 himself and his brother, and showed an ad- 
 vance in his art, with improved finish. 
 
 From his earliest youth he was a close 
 observer and delineator of animals. He 
 neglected no opportunity of visiting and 
 studying the itinerant collections which 
 were l^rought to Newcastle, and had long 
 projected a ' History of Quadrupeds.' This 
 he commenced in 1785, and after several 
 years of preparation, in conjunction with 
 his partner, published in 1790 the first edi- 
 tion, the drawings and engravings for 
 which were entirely by his own hand : and 
 as a proof of its popularity, in each of the 
 succeeding two years printed another edi- 
 tion. During the progress of this work he 
 was employed upon some plates in copper, 
 the natural history illustrations for a ' Tour 
 through Sweden and Lapland,' which are 
 curious specimens of that art, combining 
 the manner both of wood and copper. His 
 Quadrupeds became widely known, and the 
 work was very highly esteemed: the ani- 
 mals' themselves, the vignettes and tail- 
 pieces descriptive of their haunts and ha- 
 bits, with quaint bits of humour, satire, and 
 fun, were a great and unexpected charm. 
 His fame was now firmly established, both 
 as an engraver and designer, and he en- 
 gaged, with his brother John, upon a series 
 of cuts for Goldsmith's 'Traveller' and 
 
 * Deserted Village,' and Parnell's ' Hermit,' 
 wliich were published by Bulmer in 1795, 
 and their success afterwards led to Somer- 
 ville's ' Chase.' 
 
 The Quach-upeds had been the foundation 
 of his fortune, and pursuing the same idea, 
 and jointly ^vith his partner, he beean, in 
 38 
 
 BEW 
 
 1 791, the cuts for a new work, * The History 
 of British Birds,' and in 1797 published 
 the first volume, containing the land-birds, 
 the finest example of his work. His part- 
 ner contributed the written descriptions ; 
 but, owing to some misunderstanding, he 
 published in 1804 the second volume, the 
 water-birds, himself, with some assistance 
 in the literary part. This new work in- 
 creased his reputation ; the minute and 
 characteristic accuracy of the drawing, the 
 natural delicacy of the feathered and furry 
 textures, the truth of the backgrounds and 
 accessories, and the graphic humour of the 
 vignettes, were unsurpassed, and a new 
 scope and value given to the art of wood 
 engraving. In 1818 he published ^sop's 
 ' Fables,' with his own designs. This was 
 his last work, and had occupied him six 
 years. He was engaged in the latter part 
 of his life, assisted by his son, upon the 
 ' British Fishes.' Aloout 30 cuts of the 
 fishes were completed, wdth more than 
 100 vignettes of river and coast scenery, 
 the vagaries of fishermen and fishwomen, 
 birds of prey fishing, and such like ; but the 
 work was not finished. His last project 
 was to improve the morals and taste of the 
 lower classes by a series of prints on a 
 large scale for cottage-walls ; and a cut of 
 an old horse, intended to head an address 
 on cruelty, his last attempt. He died of 
 gout at his house, near the Windmill Hills, 
 Gateshead, November 8, 1828, in his 76th 
 year. He was a man of frank, genial 
 habits, with a strong power of observation 
 and love of nature, and united the talents 
 of the draftsman and engraver with the 
 knowledge of the naturalist — the power of 
 vigorous invdhtion with laborious detail. 
 
 The number of his works and his in- 
 dustry are inconceivable. Fine copies of 
 his birds and quadrupeds command 'large 
 prices. For an impression of his cele- 
 brated 'Bull,' dated 1789, 20 guineas have 
 been given ; and the impressions of a 
 zebra, an elephant, a lion, and tiger, which 
 he executed on a large scale for an exhibitor 
 of wild beasts, are now rare. Yet his art 
 is best shown in his smaller pieces. But 
 it must not be said that all had been the 
 work of his own hands. He had the merit 
 of educating several talented pupils, who 
 assisted him. Of them, Eobert Johnson 
 designed many of the tail-pieces in the 
 birds and the greater number of the fables 
 published in 1818; and Luke Clennell, 
 among other works, the greater portion of 
 the tail-pieces in the second volume of the 
 birds. His own brother, too, was a valu- 
 able coadjutor. Several memoirs and notices 
 of him have been published — ' A Sketch of 
 his Life and Works,' by his friend Mr. 
 Atkinson ; ' Some Account of his Life,_ 
 Genius, and Personal Habits,' by another 
 
BE W 
 
 BIO 
 
 friend, Mr. Doveston ; a memoir in * Black- 
 wood's Magazine,' 1825, and in the ' G-entle- 
 mau's Magazine,' 1829 ; a notice in Jack- 
 son's ' Treatise on Wood Engraving,' 1839 ; 
 ' A Critical Catalogue of liis AVorks and 
 his Brother's, with Notices of their Lives,' 
 by John Gray Bell, 1851 ; and lastly, a ma- 
 nuscript memoir, which he left with his 
 fiimily, was published in 1862, but it is 
 very discursive, and but little connected 
 Viiih his art. 
 
 BEWICK, John, wood engraver. Younger 
 brother of the foregoing Thomas Bewick. 
 He was born at Cherryburn in 1760, and 
 was apprenticed to his brother. During 
 five years he assisted in many of his works. 
 After the completion of his apprenticeship 
 he came to London for a short time, and 
 found plenty of employment in cutting and 
 designing wood illustrations for the pub- 
 lishers. He was a rapid workman, but his 
 health failing, he returned to his native 
 village ; and then, thinking his health re- 
 stored, he came again to London, but the 
 close confinement exacted by his art was too 
 much, and di\dding his time, he engaged to 
 teach drawing at an academy in Hornsey. 
 This he continued to do for several years, 
 when his health again failing, he returned 
 home in 1795. There he endeavoured to 
 complete the blocks he had engaged to 
 finish, including all the designs except one 
 for Somerville's ' Chase,' on which he was 
 employed jointly with his brother. This 
 was his last work. He died of consump- 
 tion at Ovingham, aged 35, December 5, 
 1795. He designed and engraved above 
 200 illustrations for ' The Progress of Man 
 in Society,' and engraved the ' Emblems of 
 Mortality,' 1789. The best specimens of 
 his art will be found in the illustrations of 
 Goldsmith's and Parnell's works, 1795, and 
 of Somerville's, published the following year. 
 Though he was much behind his brother, 
 he had merit both as a designer and an 
 engraver ; yet his engraving was hard and 
 dry, marked by strong contrasts of black 
 and white — his designs better conceived 
 than executed. 
 
 BEWICK, Egbert Elliott, wood en- 
 graver. He was the only son of the fore- 
 going Thomas Bewick, and brought up to 
 assist him in his profession. He cut some 
 of the designs for ' The Eishes,' the un- 
 published work, and was in 1832 a publisher 
 in Newcastle, but does not appear to have 
 made himself known as an engraver. He 
 died unmarried, July 27, 1849. 
 
 BEWICK, William, ])ortrait and history 
 'painter. He was born October 20, 1795, 
 at Harworth, near Darlington, where his 
 father carried on the business of an uphol- 
 sterer. He had, as a child, a love of 
 pictures, and though put to his father's 
 business, he devoted his spare hours to 
 
 drawing, and got some help from such 
 itinerant geniuses as came into his neigh- 
 bourhood to teach. At the age of 20, his 
 head filled with the name of Haydon and 
 with 20/. in his pocket, he came to London 
 without friends or introductions. Living 
 as young artists manage to do, he was fortu- 
 nate in becoming acquainted with Haydon, 
 who accepted him as his pupil gratuitously, 
 assisted his admission to the schools of 
 the Academy, and introduced him to his 
 artistic and literary friends. Harassed in 
 his circumstances, though helped by small 
 sums from home, he worked zealously, and 
 managed to make some way. While with 
 Haydon he was employed by him in making 
 drawings to a large scale of the 'Elgin 
 Marbles' for Goethe, the great German 
 writer ; and he found many friends as a 
 portrait painter. He visited Edinburgh 
 and Dublin, where he was received into 
 the best society ; and in 1820 he exhibited 
 his ' Una in the Eorest ' at the Spring Gar- 
 dens Gallery, followed by, in 1822, his 
 ' Jacob meeting Rachel,' a picture of large 
 dimensions, at the British Institution, and 
 at this time made many sketches for large 
 works, which, however, did not proceed 
 much further. 
 
 In 1824-25 he returned to Darlington, 
 where his reputation gained him some 
 sitters ; and in 1826, encouraged by a com- 
 mission from Sir Thomas Lawrence to make 
 copies for him from Michael Angelo's works 
 in the Sistine Chapel, he went to Rome, 
 where he resided for some time, and to 
 Naples and other Italian cities, returning 
 to England in 1829. He afterwards settled 
 in London, where he practised as a portrait 
 painter, and in 1839 and 1840 exhibited 
 both portrait and history at the Academy. 
 He had, while at Rome, suffered from 
 malaria fever, and after a time its effects 
 began to show themselves. He was neces- 
 sitated to leave London, and retired to 
 some property he possessed at Haughton- 
 le-Skerne, Durham, where he amused, him- 
 self with art, sending up to the Westminster 
 Hall Competition in 1843 'The Triumph 
 of David,' and kept up a correspondence 
 with his friends. After many years passed 
 in his quiet retirement, he died June 8, 
 1866. Haydon, in his journal, speaks of 
 him and his works. He was of much pro- 
 mise, but his career was checked by his 
 failing health. His ' Life and Letters,' by 
 Thomas Landseer, A.E., was published in 
 1871. 
 
 BIBB, Charles, engramr. He studied at 
 the St. Martin's Lane Academy, and was in 
 1766 a member of the Incorporated Society 
 of Artists. He practised about the middle 
 of the 18th century. 
 
 BICKAM, George, engraver and drafts- 
 man. He practised in the reign of Queen 
 
 39 
 
BIC 
 
 BIR 
 
 Anne and her two successors. Published, 
 about 1709, the heads of six eminent writ- 
 iug-niasters, one of which from his own 
 drawing; also 'The Universal Penman,' 
 and engraved some other good portraits 
 and frontispieces. He also engraved after 
 Pcmbrandt; and after Rubens, 'The Peace 
 and War ' and ' Golden and Silver Age.' He 
 was a member of the Free Socict}'' of Artists 
 1763. Ho retired to Richmond, and in 
 May 1767 sold by auction part of his plates 
 and stock-in-trade. Ho died 1769. 
 
 BICKAM, George, engraver. Son of 
 the foregoing. Engraved 'A Group of 
 Hungarian Cavalry,' 1742, and many of 
 the humorous cuts published by Messrs. 
 Bowles, and was best known by works of 
 this class. He was one of our earliest poli- 
 tical caricaturists. The ' Newmarket Race- 
 course' and 'Ludicrous Philosopher,' in six 
 plates, are by him. He also engraved the 
 portraits of his fether and himself. He 
 died 17o8. 
 
 BIELBY, AV., topographical draftsman. 
 He practised in the latter half of the 18th 
 century, and painted some A^ews of Chel- 
 sea and Batter sea, which were engraved 
 in aqua-tint by Jukes. Several views by 
 him are also engraved in Angus's ' Seats of 
 the Nobility and Gentry,' commenced 1787. 
 
 BIFFIN, Miss Sauah, miniature painter. 
 She was born near Bridgewater in 1 784, and 
 was from her birth without hands and feet. 
 She was early taught drawing, and making 
 good progress, she had some instruction 
 from Mr. Craig, the miniature painter, and 
 in 1821 was awarded a medal by the Society 
 of Arts. She was patronised by the royal 
 family, and for many years supported her- 
 self by her art ; but as age grew upon her 
 she was much reduced, and then residing at 
 Liverpool, an annuity was purchased for her 
 by a subscription raised there. She died 
 October 1850. 
 
 BIGG, William Redmore, R.A., subject 
 painter. Was born in January 1755. He 
 was a pupil of Penny, R.A., and entered 
 the Academy schools in 1778. In 1780 he 
 first appears as an exhibitor of ' School- 
 boys giving Charity to a Blind Man,' and 
 in the following year of 'A Lady and Chil- 
 dren relieving a Distressed Cottager.' In 
 1782 he exhibited with the Free Society 
 • Palemon and Lavinia.' He continued to 
 exhibit works of this class and portraits, 
 and in 1787 was elected an associate of 
 the Academy ; but his progress must have 
 been slow, for it was not till 1814 that he 
 gained his election as academician. From 
 the commencement of his career to its close 
 he was a constant exhibitor. His whole art, 
 from wliich he never strayed, was founded 
 upon the simplest incidents of domestic 
 life, and always with a benevolent and 
 ijnoral tendency. Among his later works 
 
 are, however, some landscapes, into which, 
 no doubt, rustic figures are introduced. His 
 works had not much vigour in execution or 
 subject; his colouring was somewhat feeble 
 anci chalky ; but his pictures were no less 
 suited to the taste of the day, and were 
 very popular. Many of them were en- 
 graved. Leslie, R.A., mentions that he sat 
 to him for the Knight in his painting of ' Sir 
 Roger de Coverley,' and says, ' I thought 
 him an admirable specimen, both in look 
 and manner, of an old-fashioned English 
 gentleman ; a more amiable man never ex- 
 isted.' He died in Great Russell Street, 
 February 6, 1828. 
 
 BILLINGSLEY, William, china painter. 
 He was born at Derby about 1758, and 
 was apprenticed at the Derby china-works, 
 where he gained great reputation for his 
 taste and skill as a painter on china. He 
 died in Shropshire about 1820. 
 
 BILLINGTON, Horace W., landscape 
 painter. He was the brother-in-law of the 
 celebrated singer, and was known by his 
 abilities as an artist. He exhibited some 
 views at the Academy in 1802. Died in 
 London, November 17, 1812. 
 
 BINDON, Francis, amateur. Was a na- 
 tive of Ireland, and a gentleman of fortune, 
 who made great efforts to promote the fine 
 arts in his country. With this view he 
 visited Italy, to improve his own knowledge 
 of art. He painted many portraits in Ire- 
 land in the reign of George II., and had 
 some knowledge of architecture, of which 
 Bessborough House, in the county of Kil- 
 kenny, built by him, is an example. There 
 is by his hand a portrait of Dean Swift, 
 engraved 1732; Dean Delany, and Dr. 
 Sheridan; and a full-length of the Arch- 
 bishop of Armagh, which was mezzo-tinted 
 about 1742 by John Brooks. His portraits 
 are tolerably drawn, but painted thinly, 
 and with very little finish. He died June 2, 
 1765. 
 
 BING (or BYNG), Edward, drapery 
 painter. He found constant employment 
 in the studio of Sir Godfrey Kneller, to 
 whose portraits he added the wigs, dra- 
 peries, and other accessories. After Knel- 
 ler's death, in 1723, he was employed to 
 finish his unfinished works — a task left 
 him by his master's will, with an annuity 
 of 100/. His brother, Robert Bing, was 
 also a painter, and was employed in the 
 same manner. There are portraits by him 
 dated 1716. 
 
 BINNEMAN, Walter, engraver. He 
 practised in the 1 7th century, and there are 
 some indifferent portraits by his hand. 
 
 BIRCH, William, enamel fainter. Born 
 in Warwick. Practised in London. Exhi- 
 bited at the Academy, first time, in 1781, 
 ' A Mother and Child,' enamel ; and the fol- 
 lowing year, ' Portrait of a Child going to 
 
BIR 
 
 BIR 
 
 Bed,' also in enamel ; and continued for 
 several years to exhibit. He received the 
 Society of Arts' medal in 1785 for excel- 
 lence in his art and improvements in the 
 processes. In 1794 he went to America, 
 and settled in Philadelphia, where he died. 
 He painted a miniature of Washington, 
 which has been engraved. He w^as also an 
 excellent engraver, and a clever view from 
 Mr. Cosway's room in Pall Mall is a good 
 example of his ability in the use of the 
 graver, 1789. He published, in 1791, ' De- 
 lices de la Grande Bretagne ' — landscapes 
 after the principal English painters. 
 
 BIRCH, Henhy, engraver. Practised 
 latter part of 18th century. He engraved 
 two plates after Stubbs— 'The Gamekeeper ' 
 and ' The Labourer.' His chief works were 
 after contemporary artists. 
 
 BIKCH, John, fortrait fainter. Born 
 April 18, 1807, at Norton, Derbyshire. For 
 a time assisted his father, who was a file- 
 cutter, and was then employed by a carver 
 and gilder at Sheffield; but after seven 
 years he was tempted by a love of drawing 
 to leave home, to try his fortune as a por- 
 trait painter, and coming to London, he 
 placed himself under Mr. Bigg, R.A. He 
 practised his art chiefly at Sheffield, where 
 he found full employment ; but a portrait 
 by him of Ebenezer Elliott, the poet of the 
 corn-laws, does not give any high opinion 
 of his ability. He also painted some land- 
 scape scenery in Derbyshire. In the latter 
 part of his life he resided in the Metropolis. 
 He died at South Hackney, May 29, 1857. 
 
 BIRD, Miss E., miniature 'painter. She 
 was an occasional exhibitor at the Academy 
 from 1793 to 1798. 
 
 BIRD, Edwaed, R.A., subject painter. 
 Was born at Wolverhampton, April 12, 
 1772; the son of a clothier. He received 
 a fair education, began to draw as a lad, 
 and was apprenticed to a tea-tray maker, 
 whose productions he embellished with land- 
 scapes, fruit, and flowers. His work gave 
 room for taste and skill, and he was soon 
 distinguished above his fellow-workmen. 
 After the end of his apprenticeship he re- 
 fused advantageous offers to continue with 
 his employers, and removed to Bristol, 
 where he opened a drawing-school, and in 
 the intervals of teaching worked hard to 
 improve himself. Nothing came amiss to 
 him ; he painted miniatures and the scenery 
 for a pantomime. He had filled a sketch- 
 book with subjects which showed much ori- 
 ginality, and was induced by his friends to 
 send some finished works to the Bath Exhibi- 
 tion, where they found purchasers. His first 
 successful work .was 'Good News,' which he 
 exhibited at the Academy in 1809. This was 
 followed by ' Choristers Rehearsing ' and 
 ' The Will ;' and in 1812 he was elected an 
 associate of the Academy. He exhibited the 
 
 same year his ' Country Auction,' followed 
 by six subjects representing a Poachers 
 Career ; and in 1814, ' Queen Philippa sup- 
 plicating the Lives of the Six Burghers of 
 Calais.' In 1 8 1 5 he was elected a member of 
 the Academy ; and inl816 he exhibited 'The 
 Crucifixion ;' in 181 7, ' Christ led to be Cruci- 
 fied;' and in 1818, ' The Death of Sapphira,' 
 his last work. His ' Chevy Chase ' w^as es- 
 teemed his chef-cVcBUvre. It was purchased 
 for 300 guineas by the Duke of Sutherland, 
 and gained him the appointment of his- 
 torical painter to the Princess Charlotte. 
 This was followed by his 'Death of Eli,'for 
 which the British Institution awarded him 
 300 guineas. His 'Choristers' was pur- 
 chased by the Prince Regent, who gavo 
 him a commission for a companion picture, 
 which he did not live to finish. During tho 
 last five or six years of his life he constantly 
 struggled with disease, latterly producing hy- 
 pochondriacal affection. The death of a son 
 and a daughter added to his trials, and he 
 died November 2, 1819, at Bristol, where 
 he had chiefly resided, and was buried in 
 the cloisters of the cathedral. He left a 
 widow and three children without provi- 
 sion. His art was imitative, without the 
 appearance of labour. His earlier domestic 
 subjects are his best works. He showed 
 great skill in the conception of his higher 
 class pictures, but he had not the power 
 suited to their completion, and his colour- 
 ing was crude and tasteless. 
 
 BIRD, Erancis, sculptor. Was born in 
 Piccadilly in 1667. Sent to Brussels at 
 the age of 11, he afterwards studied his 
 art there, and then travelled to Rome, 
 where he was instructed by Le Gros. In 
 1716 he returned to England, and was 
 employed by Gibbons, and next by Cibber, 
 whom he succeeded in his profession, set- 
 ting up for himself after a second short 
 visit to Italy. He gained the favour of 
 Sir Christopher Wren, and was employed 
 on the decorations of St. Paul's Cathedral. 
 The great alto-rilievo, ' The Conversion of 
 St. Paul,' in the pediment, 64 ft. by 18 ft., 
 contains eight equestrian figures, with many 
 others. It is his chief w^ork, and he was 
 paid for it 1,180^. His ' Queen Anne,' with 
 four figures round the pedestal, which stands 
 before the portico, is a picturesque work, for 
 which he received 1,130^. His chief monu- 
 mental works are — ' Dr. Busby,' a fine cha- 
 racteristic work ; ' Sir Cloudesley Shovel ' 
 and ' The Duke of Newcastle,' in Westmin- 
 ster Abbey ; ' Lord Mordaunt,' in Fulham 
 Church ; and ' Henry IV.' in bronze, at Eton 
 College. He died February 20, 1731, after 
 having for many years monopolised the chief 
 works in the profession. He was unequal in 
 his productions, but hardly deserves the cri- 
 ticism with which he has been assailed. If 
 his works possess little true genius, they 
 
 41 
 
BIR 
 
 cannot bo called ♦ barbarous in taste ; ' but 
 Pope's epithet, 'the bathos of sculpture, 
 applied to liis monument of Sir Cloudesley 
 Shovel, sticks to the artist. 
 
 BIRD, John, topographical draftsman. 
 He was self-taught, and without the ad- 
 Yantai?es of education, gained some local 
 distinction. He drew some of the views 
 for Angus's 'Seats of the Nobility and Gen- 
 try,' and tlic views for a ' History of Clove- 
 land,' published in 1808. Hied at Whitby, 
 February o, 1829, aged 61. 
 
 BISSET, James, engraver. He was born 
 in 17G0, and was first known in 1785, when 
 ho was practising at Newmarket as a mi- 
 niature painter. At the beginning of the 
 19th century he was living at Birming- 
 ham, and produced there several good 
 medallions. He was a singular character, 
 and at the latter town kept a museum.^ He 
 was chiefly known by his poetic effusions ; 
 among tlicm by his ' Poetic Survey of Bir- 
 mingham,' which was illustrated by his own 
 designs, emblematical and topographical. 
 He died at Leamington, August 17, 1832. 
 
 BLACK, Alexander, architect. At- 
 tained eminence by his works in Edin- 
 burgh, where he practised. He died there 
 February 19, 1761, aged 60. 
 
 BLACK, Thomas, portrait painter. He 
 studied at the St. Martin's Lane Academy. 
 In his day he was well known in London, 
 where he practised for many years as a 
 portrait and drapery painter. His por- 
 trait heads were well drawn. He died in 
 1777. 
 
 BLACK, Miss Mary, portrait painter. 
 Daughter of the above. She painted a few 
 portraits, but was best known as a copyist 
 and as a fashionable teacher of drawing. 
 She died in London, November 24, 1814, 
 aged 77. Her sister, Clara Black, had 
 some ability. There is a mezzo-tint portrait 
 by her. 
 
 BLACKBURN, William, architect and 
 surveyor. Born in Southwark, December 20, 
 1750. He was a student of the Eoyal 
 Academy; and in 1773 gained the silver 
 medal for an architectural drawing. When 
 the state of our prisons was first forced 
 upon the public notice by the philanthropic 
 Howard, he conduced largely to their im- 
 provement by his designs for a mode of 
 construction better suited to the separation 
 and employment of the prisoners ; and in 
 1782 he received the premium of 100 
 guineas offered for the best design for a 
 penitentiary prison. He built the county 
 gaol at Oxford, and was appointed archi- 
 tect to St. Thomas's Hospital and to Guy's 
 Hospital. He was much consulted on 
 plans for the improvement of prisons, 
 but did not live to carry them into execu- 
 tion. On his journey to Glasgow to advise 
 as to the erection of a new gaol in that city, 
 42 
 
 BLA 
 
 he was attacked by paralysis at Preston, 
 and died there December 28, 1790. 
 
 BLACKLOCK, W. J., landscape painter. 
 Practised in the North of England, and 
 painted the varied scenery of the Northern 
 Counties. He exhibited oil landscapes at 
 the Academy in 1853-54 and 1855. He died 
 at Brampton. Cumberland, in March 1858, 
 aged 42. 
 
 BLACKMORE, John, mezzo-tint en- 
 graver. Born in London about 1740. He 
 engraved several portraits after Sir Joshua 
 Eeynolds : among them Eoote, the player, 
 dated 1771 ; and Bunbury, the caricaturist. 
 He also engraved after Frank Hals, Moli- 
 naer, and others. Died about 1780. His 
 work was brilliant : the character of his 
 heads well expressed, hands well drawn. 
 
 BLACKWELL, Elizabeth, botanical 
 painter. She was born about the begin- 
 ning of the 17th century. The daughter 
 of a merchant in the city of London, she 
 became the wife of Dr. Blackwell, physician 
 to the King of Sweden. With great per- 
 severance she drew, engraved, and tinted 
 with her own hands a large collection of 
 medical plants, an undertaking in which 
 she was assisted and encouraged by Sir 
 Hans Sloane, Dr. Mead, and the well-known 
 Mr. Thomas Miller ; and for this purpose 
 she resided near the Physick Garden in 
 Chelsea. The fi.rst volume of her work was 
 completed in 1737, the second in 1739, and 
 the whole was then published under the 
 title of ' A Curious Herbal, containing five 
 hundred cuts of the most useful Plants 
 which are now used in the practice of 
 Physic, engraved on folio copper plates, 
 after drawings taken from the life.' An 
 edition of her work was published at 
 Nuremberg in 1750, and another at Leip- 
 zig in 1794. Her work had much merit. 
 Her drawings were faithful and charac- 
 teristic, but by no means possessed that 
 accuracy, particularly of the minute parts, 
 which is required in the present day. She 
 commenced this laborious work to relieve 
 the difficulties of her husband, who, though 
 an educated man, was a restless schemer. 
 She died suddenly in 1774. Her husband, 
 who after many speculations had gone to 
 Sweden upon some agricultural undertaking, 
 was involved in a state cabal, and was put 
 to the torture and beheaded at Stockholm, 
 August 9, 1747, on a charge of treason, of 
 which he denied his guilt. 
 
 BLAGRAVE, John, amateur. He was 
 an eminent mathematician, who, among 
 other works, published, 1582, ' The Mathe- 
 matical Jewel,' illustrated with neat wood- 
 cuts, inscribed, ' By John Blagrave, of 
 Beading, gentleman, and well-wisher to 
 the mathematics, who hath cut all the prints 
 or pictures of the whole with his own 
 hands.' 
 
BL A 
 
 BL A 
 
 BLAKE, Miss C. J., amateur. She etched 
 a careful portrait of her undo, Sir Francis 
 Blake Delaval, which is dated 1775. 
 
 BLAKE, B., still-life painter. His name 
 first appears in 1807, when he exhibited 
 at the Royal Academy. He was then lodg- 
 ing in London, probably in his student 
 days, and his work was ' The Portrait of 
 an Artist.' In the following year he exhi- 
 bited a ' Last Judgment,' not necessarily a 
 sacred subject, and a ' View! near Dunford, _ 
 Salisbury.' He did not exhibit again till 
 1818, and then contributed another view 
 of Dunford, where he was at the time 
 living. In 1812 he was lodging in West- 
 minster, and exhibited another view of the 
 same village and a landscape with figures, 
 and from that time occasionally exhibited 
 landscape subjects till 1821, when he sent 
 ' Dead Glame,' and only once more exhibited 
 at the Academy. He was, in 1824, one of 
 the foundation members of the Society of 
 British Artists, and up to 1830 exhibited, 
 usually ' Dead Game,' with the Society. 
 His works were minutely and carefully 
 painted, but hot and monotonous in colour. 
 He was pressed with difficulties, lived in 
 obscurity, and most of his works were 
 painted for the dealers. He made some 
 skilful copies of the Dutch masters, which 
 would mislead an unwary connoisseur. He 
 died about 1830. 
 
 BLAKE, William, engraver, painter, and 
 poet. Born in Broad Street, Golden Square, 
 London, November 28, 1757. His father 
 was a respectable hosier, and carried on 
 his business there for 20 years. He was a 
 strange, dreamy boy, who took to wander- 
 ing away to the fields and country lanes, 
 and was fond of resorting to the picture 
 sales by Langford in Covent Garden. 
 AVhen only 10 years of age he was sent to 
 Pars's school to learn drawing. At 12 he 
 was a poet, and has left verses written 
 at 14, which have merit. Then it was de- 
 termined that the young genius should be 
 an engraver, and he was apprenticed to 
 James Basire, the second and most talented 
 of the name, and was sent to make draw- 
 ings for his master from the antiquities in 
 Westminster Abbey, and in the old edifice 
 nourished his dreamy fancies. Erom 1779 
 to 1782, and onwards, he was employed en- 
 graving book illustrations, some from his 
 own designs, but chiefly after Stothard, 
 R.A. In 1783 he married, and the same 
 year, assisted by his young friend Elax- 
 man, he printed, in 74 pages, his ' Poetical 
 Sketches,' some of which possess much 
 sweetness ; yet on the death of his father, 
 in 1784, we find that, stimulated by the 
 necessities of life, he opened a shop as 
 prints eller and engraver with James Parker, 
 who was his fellow-apprentice. 
 
 His shop was not a profitable undertaking, 
 
 for having, in 1788, completed the first part 
 of another poem, ' The Songs of Innocence,' 
 he was without the means to publish it, and 
 we are now first told of his visions. His 
 thoughts were filled with this printing diffi- 
 culty, when in the night his dead brother 
 Robert stood before him, and revealed to 
 him a process, which he adopted, spending 
 for the materials half the few pence he pos- 
 sessed. This revealed process was not 
 very recondite, and simply consisted in 
 leaving in relief, by means of nitric acid, 
 the letters written on a copper plate, so 
 that they might be printed by a copper- 
 plate printing-press, though the result was 
 a very blurred, blotted work. By this 
 original process, however, he multiplied the 
 copies of his illustrated poem, and with the 
 help of his wife, truly a helpmate, the 
 songs were printed, tinted, and stitched 
 into a book of 27 pages, and their occa- 
 sional sale found the means of subsist- 
 ence for the contented couple. This work 
 was followed by the ' Books of Prophecy,* 
 produced in the same manner. He contri- 
 buted some few works to the Academy 
 Exhibitions— in 1780, 'The Death of Earl 
 Godwin;' in 1784, 'A Breach in a City 
 the Morning after Battle ; ' and ' War 
 unchained by an Angel : Fire, Pestilence, 
 and Famine ;' in 1785, three subjects from 
 the history of Joseph ; in 1799, ' The Last 
 Supper;' and in 1808, 'Jacob's Dream' 
 and ' Christ guarded in the Sepulchre by 
 Angels.' In 1793 Blake removed to Her- 
 cules Buildings, Lambeth, and in the same 
 year published his ' Gates of Paradise,' a 
 small book for children, and the next year 
 the ' Songs of Experience,' a sequel to the 
 ' Songs of Innocence,' the two compris- 
 ing 54 engraved plates; and 'America, 
 a Prophecy ; ' followed by ' Europe, a 
 Prophecy.' Resuming his graver, in 1797 
 he commenced an illustrated edition of 
 Young's ' Night Thoughts,' of which every 
 page was a design, but he only published 
 one number, containing 43 plates. 
 
 In 1800 a new life opened to Blake ; he 
 was induced by Hayley, the poet, who be- 
 came known to him through the instru- 
 mentality of Flaxman, to come and live 
 near him at Felpham, a small village on 
 the Sussex coast ; and here for a time ho 
 was happy, indulging in dreamy rambles, 
 assisting Hayley as his ' illustrator,' and 
 painting a few portraits. But Hayley's 
 projects had no success, and his society be- 
 came burdensome. Blake had at this time 
 a vexatious quarrel with a- soldier who 
 trespassed upon his premises, and from some 
 angry words he used, was charged with 
 sedition, and tried at the Quarter Sessions, 
 where the charge could not be sustained. 
 His visions then began to fail him, and in 
 disgust he quitted his cottage, and returning 
 
 43 
 
BL A 
 
 BOD 
 
 after three years' absence, to the Me- 
 tropolis, lived nearly 17 years in South 
 Molton Street. At Felpham he had illus- 
 trated some ballads by Hayley, and he 
 afterwards designed 40 illustrations of 
 Blair's 'Crave,' which were neatly en- 
 graved by Schiavonetti, and were greatly 
 admired. Yet at this time he is said to 
 have subsisted, with his wife, upon a few 
 shillings a week. 
 
 His ' Canterbury Pilgrims,' a large sheet 
 engi-aving, full of character and talent, led to 
 a bitter feud with his friend Stothard, E.A., 
 who pjiintcd the same subject, the w^orks of 
 both showing some points of similarity, and 
 both claiming the original conception.^ He 
 also published his 'Jerusalem,' 'Milton,' 
 and 'Job,' his last and best work, elabo- 
 rately finished with the graver, and full of 
 fine original thought. His^ latter days 
 "were passed in a back room in Fountain's 
 Court, leading from the Strand. Here, sur- 
 rounded by liis books, his sketches, and 
 manuscripts, his copper-plates and his ma- 
 terials, in poverty, but not, it is believed, 
 in want, simple in mind and conduct, he 
 died tranquilly, August 12, 1827, in his 
 70th year. He was laid in a common grave 
 in the great Bunhill Field's Burial-ground, 
 near the north wall, the more exact situa- 
 tion of which is now lost. His works com- 
 prise his engravings, showing a fair know- 
 ledge of his art ; his water-colour drawings, 
 ranging from mere rude sketches to the 
 most careful and elaborate finish ; but all, 
 like his wi'itings, combining occasional ideas 
 of great sweetness with wild and incompre- 
 hensible imaginings, incompatible with a 
 sane mind. He early said he 'acted by 
 command. The spirit said to him, Blake, 
 be an artist, and nothing else;' also, 'I 
 wish to do nothing for profit. I wish to 
 live for art. I want nothing whatever. I 
 am quite happy.' And at another time, ' I 
 ehould be sorry if I had any earthly fame, 
 for whatever natural glory a man has is so 
 much taken from his spiritual glory.' His 
 
 • Life,' by Alexander Gilchrist, wa s published 
 in 1863, and by R. C. Swinburne in 1868. 
 
 BLAKE, John, engraver. Brother of 
 the foregoing; drew and engraved for 
 several literary works. He engraved, in 
 1817, Flaxman's outlines for Hesiod's 
 
 * Theogony.' 
 
 BLAKE, Nicholas, engraver and de- 
 signer. Was born in Ireland. Studied in 
 Paris, and resided much there. He was 
 of some celebrity about the middle of 
 the 18th century, and worked both as 
 painter and engraver. He wvas one of the 
 first who l)egan to design for engravers. 
 Ho designed and engraved the illustrations 
 for an edition of Pope's works, and for 
 Jonas Hanway's 'Travels in Persia,' pub- 
 lished 17o3 ; and jointly with Frank Hay- 
 
 man he designed some prints in illustration 
 of English history, which were published 
 by subscription. He died in Paris. His 
 daughter was living in London in 1809. 
 
 BLONDEAU, Peter, medallist. Was, in 
 1649, invited to London from Paris, and 
 upon a favourable report upon his improved 
 method of coining by a committee of the 
 Mint, was appointed by the Council of 
 State to coin their money ; but, it is stated 
 by Ending, the opposition of the moneyers 
 of the Mint for some time impeded his 
 progress, and eventually succeeded in driv- 
 ing him out of the country. On the Resto- 
 ration he returned, was appointed engineer 
 to the Tower Mint, when he brought into 
 use his new machinery for coining ; his 
 occupation here being rather as a machinist 
 than as a medallist. The dies of the so- 
 called Blondeau's pattern-pieces of 25. 6^^., 
 Is., and 6(7. were the work of Thomas Simon. 
 
 BLYTH, Robert, Born 1750. 
 
 Was a pupil of Mortimer, A.R.A., from 
 whose drawings he produced some clever 
 etchings. His works showed great spirit and 
 feeling ; but he had lived a loose life, ruined 
 his constitution, and committed suicide on 
 January 19, 1784. His best works are his 
 slight etchings, after Mortimer, and his 
 engravings of ' The Soldier's Courtship,' 
 with a companion plate. 
 
 BOADEN, John, portrait painter. He 
 first exhibited at the Academy in 1812. 
 His art was limited to portraiture, occa- 
 sionally a portrait group or a theatrical 
 portrait in character. His portraits were 
 generally pleasing, but did not rise above 
 respectability in art. His contributions to 
 the Academy fell off after 1825, and his last 
 work was exhibited in 1833; but he ex- 
 hibited at the Society of British Artists up 
 to 1838, and died in 1839. 
 
 BOBBIN, Tim, pseudonym. See Collier, 
 John. 
 
 BOOKMAN, R., portrait painter and 
 mezzo-tint engraver. Practised in the first 
 half of the 1 8th century. There are several 
 portraits by him of the Duke of Cumber- 
 land, and a life-size half-length of Admiral 
 Russell, Earl of Orford, in the gallery of 
 Greenwich Hospital; also copies in half- 
 length after Kneller of the naval heroes of 
 the early part of Queen Anne's reign, in the 
 Hampton Court Gallery. He also engraved 
 in mezzo-tint portraits after Vanloo, Dahl, 
 Worsdale ; and, after his own painting, ' St. 
 Dunstan holding the Devil with a pair of 
 Tongs by the Nose.' His widow applied to 
 the Society of Artists for relief in 1769. 
 
 BODDINGTON, Henry John, land- 
 scape-painter. He was born in 1811, and 
 was a member of the ' Williams Family,' of 
 whom so many were painters, and changed 
 his name as a means of better identification 
 in his art. He first exhibited at the Royal 
 
BOG 
 
 BON 
 
 Academy in 1837. In 1842 he became a 
 member of the Society of British Artists, 
 and contributed to their exhibitions ; but 
 he contributed more largely to the Academy, 
 where he continued an exhibitor till his 
 death. His subjects were chiefly found on 
 the Thames and the Welsh rivers. He 
 painted the effects of spring and autumn, 
 of morning and evening, of sunshine and 
 shower, and treated all with much ability, 
 in a facile manner. He died at Barnes, 
 after a long illness, April 11, 1865, in his 
 54th year. 
 
 BOGBANI, James, flower fainter. Na- 
 tive of Hungary. His father was deputy 
 from the States to the Emperor. He was 
 not brought up as an artist, but by his 
 natural abilities he acquired much power. 
 He painted fruits, flowers, and especially 
 birds, with great excellence. He came early 
 to England. Several of his works were 
 purchased by Queen Anne, and well pa- 
 tronised he made a competence by his art, 
 but an extravagant son reduced him to 
 poverty. After a residence of between 
 40 and 50 years in England, he died in 
 1720, at his house in Great Queen Street, 
 Lincoln's Inn Fields, and his pictures and 
 remaining property were sold there by 
 auction. 
 
 BOGLE, John, miniature painter. He 
 practised his art in Glasgow, and afterwards 
 in Edinburgh, sending miniatures from 
 thence in 1769 and the following year to 
 the Spring Gardens Exhibitions. In 1772 
 he was settled in London, and from that 
 time to 1792 exhibited miniatures at the 
 Koyal Academy. His works were beauti- 
 fully finished, and possessed great merit. 
 He died in great poverty. Allan Cunning- 
 ham says ' he was a little lame man, very 
 poor, very proud, and very singular.' 
 
 BOIT, Charles, e7iamel painter. He 
 was born at Stockholm, the son of a Erench- 
 man, and was brought up a jeweller. About 
 1683 he came to London, to follow that 
 trade here; but, not succeeding, he went 
 into the country as a teacher of drawing. 
 Following this occupation, Walpole says 
 that he had engaged one of his pupils, the 
 daughter of a general officer, to marry him ; 
 and that the intrigue being discovered he 
 was thrown into prison, where, during two 
 years' confinement, he studied enamel paint- 
 ing. This art he afterwards practised in 
 London with very great success, and was paid 
 very high prices for his work. He under- 
 took an unusually large plate for Queen 
 Anne, representing her Majesty, the Prince, 
 and the chief officers of her court, and re- 
 ceived large advances for the work; but, 
 though he built a furnace for the purpose, 
 he was unable to lay an enamel ground 
 over the large surface. During his many 
 experiments the Queen died ; and Boit, who 
 
 had run into debt, fled to France, where his 
 works were greatly admired, and he ol)- 
 tained the Court favour and a large pension. 
 He died suddenly at Paris, about Christmas, 
 1726. 
 
 BOITARD, Louis P., engraver. Born in 
 Fr.ince, where he was a pupil of La Farge. 
 He was brought to this country by his 
 father ; and in the reigns of George I. and 
 George II. was chiefly engaged in book 
 illustrations, engraved in a neat, light style. 
 There is a plate by him of the ' E-anolagh 
 Rotunda ; ' one of ' Apollo and Venus ' for 
 Spence's ' Poly metis,' which has much merit, 
 and some portraits. He frequently engraved 
 from his own compositions, was a member 
 of the Artists' Club, and a humorist ; occa- 
 sionally with his pencil burlesquing the 
 eccentricities of his time. He married an 
 Englishwoman, and died in London some 
 time after 1760, leaving a daughter, and a 
 son who followed his profession. 
 
 BOLTON, AViLLiAM, architect. Was 
 prior of the monastery of St. Bartholomew, 
 Smithfield, about 1506. He was ' maister 
 of the works ' of Henry VII. 's Chapel, 
 which was completed in 1519 ; and the de- 
 sign, with other works, has been attributed 
 to him. He died at Harrow 1532. 
 
 BOLTON, James, flower painter. He 
 was apprenticed to B. Clowes, the engraver, 
 but became known in the North of England 
 for his skill as a painter of flowers in 
 water-colours. His works do not appear to 
 have been exhibited in London. He died 
 near Halifax, January 24, 1799. 
 
 BOND, John Daniel, landscape painter. 
 Resided chiefly at Birmingham, where he 
 conducted the decorative branch of some 
 large manufactory. He obtained the Society 
 of Arts' premiums for landscape — in 1764, 
 25 guineas ; in the following year, 50 
 guineas. He worked with a bold pencil, 
 in the manner of Wilson, R. A. ; tried effiicts 
 of light and shade, but was black ; neglected 
 detail. He died near Birmingham, De- 
 cember 18, 1803, aged 78. His pictures and 
 other works were sold in London a few 
 months after his death. 
 
 BOND, John Sinnell, architect. Born 
 about 1766. He was a student of the 
 Royal Academy, and probably a pupil of 
 Malton. He gained the Academy gold 
 medal in 1786 for his design for a mau- 
 soleum, and was an occasional exhibitor at 
 the Academy from 1783 to 1797. In 1818 he 
 set out upon his travels in Italy and Greece 
 to study their architectural remains, and re- 
 turned in 1821. Then, commencing the 
 practice of his profession, he was employed 
 in the erection of several large mansions, 
 and made the architectural design for 
 Waterloo Bridge. He was a good classic 
 scholar, and left behind" him a translation 
 of Vitruvius, the work of nearly 20 years. 
 
 45 
 
BON 
 
 BON 
 
 lie was also a writer on professional sub- 
 jects in the ' Literary Gazette.' He died in 
 Newman iStrect, after a long illness, No- 
 vember G, 1837. 
 
 ]K)ND, AViLLTAM, engraver. His works, 
 alter Keynolds, Slice, WesUll, and others, 
 deserve especial notice. He was a governor 
 of the Society of Engravers, founded 1803. 
 
 BONE, Henry, RA., enamel painter. 
 He was born at Truro, February 6, 1755, 
 and was the son of a cabinet-maker there, 
 who was also reputed as a clever carver. 
 AVhen 12 years of age he came with his 
 family to Pl}Tnouth, and showing a dispo- 
 sition for art, was apprenticed in 1771 to a 
 china manufacturer, with whom he shortly 
 afterwards removed to Bristol, where his 
 master established the celebrated porcelain 
 works. His apprenticeship terminated in 
 1778 ; and on the failure of his master in 
 the following year, he came to London with 
 a few pounds lent to him by a humble 
 friend, and found employment in enamelling 
 watches and jewellery in the manner then 
 fashionable. Then, fashion changing, this 
 device painting began to fail, and he tried 
 miniature painting in water-colour, and 
 with higher aims in enamel. After much 
 study of his colours and the necessary 
 fluxes, he completed an enamel portrait of 
 his wife, which he exhibited at the Koyal 
 Academy in 1780, and gained much notice. 
 Continuing to execute such device painting 
 as offered, his thoughts were bent on enamel, 
 and he completed ' A Muse and Cupid ' after 
 his own design, and of a size far exceeding 
 any hitherto executed in that material. 
 His ' Sleeping Girl,' after Sir J. Keynolds, 
 exhibited 1794, and a portrait of Lord 
 Eglintoun, 1797, pleased the Prince of 
 Wales, and in 1800 he was appointed 
 enamel painter to the Prince, who for se- 
 veral years was the purchaser of his best 
 works. 
 
 Eising rapidly in public estimation, in 
 1801 he was elected associate of the Eoyal 
 Academy, and was appointed enamel painter 
 to George ILL. He then engaged upon 
 several large enamels after Sir Joshua, and 
 completed a very fine work after Lionardo 
 da \'inci. In 1811 he was elected a royal 
 aciidemician, and soon after produced an 
 enamel copy, 18 in. by 16 in., of the ' Bac- 
 clius and Ai'iadnc ' after Titian, for which 
 he received 2,200 guineas. His industry 
 led him to undertake a series of portraits 
 of illustrious persons, 85 in number, 
 commencing with the reign of Elizabeth, 
 but with little pecuniary reward ; also 
 portraits of the Russell family from the 
 reign of Henry A^L, and of the Royalists 
 distinguished in the Civil AVar. His eye- 
 sight failing, he retired to Somers Town. 
 He liad brought up and educated a large 
 family, and was compelled to receive the 
 
 A 
 
 Academy pension. He was greatly esteemed, 
 yet he complained that his artist-friends 
 neglected him in his old age. He died of 
 paralysis, December 17, 1834, and his works | 
 were then sold, though they were far from r 
 realising their real value. He possessed 
 the power of correct drawing and fine 
 colour, with great richness, force, and chas- 
 tity, free from the glare and china-looking 
 surface of enamel. 
 
 BONE, Henry Pierce, enamel painter. 
 Son of Henry Bone, R.A. Born November 6, 
 1779. A¥as brought up under his father 
 and assisted him. He also practised in oil, 
 and first exhibited at the Academy in 1799, 
 his early works being portraits in that 
 medium. In 1806 he exhibited two classic 
 subjects, and continued, with an occasional 
 portrait, to paint from sacred and profane 
 history, the poets and dramatists, till 1833, 
 when he commenced , enamel painting ; and 
 from that year to 1855 — the last year he 
 exhibited — his works were exclusively in 
 enamel, comprising portraits from the life 
 after contemporary painters and the old 
 masters, with one or two subject pictures, 
 also in enamel. He was enamel painter to 
 Queen Adelaide and to the Queen and 
 Prince Consort. He died in London, Oc- 
 tober 21, 1855. 
 
 BONE, Egbert Trewick, subject painter. 
 Born in London, September 24, 1790. Son 
 of Henry Bone, R.A. AVas taught by 
 him, and for the first 20 years of his art 
 career lived in his house. He exhibited at 
 the Academy, in 1813, 'A Nymph and 
 Cupid; 'in 1815, a portrait of his sister; 
 and at the British Institution, in 1817, 'A 
 Lady with her Attendants at the Bath,' for 
 which the directors awarded him a premium 
 of 100/. He continued to contribute to the 
 exhibitions at the Academy, and also at the 
 British Institution, classic and sacred sub- 
 jects, with occasionally a portrait, and later 
 in his career some domestic subjects ; but 
 gradually falling off in his contributions, he 
 ceased to exhibit after 1838. He died from 
 the effects of a hurt. May 5, 1840. His 
 works were small in size, tasty and clever 
 in composition, broad and sparkling in 
 effect, the landscape accessories and costume 
 pleasing ; but his art did not find the en- 
 couragement it merited. He was a member 
 of the Sketching Club. 
 
 BONINGTON, Richard Parkes, land- 
 scape and subject painter. Born Octo- 
 ber 25, 1801, at Arnold, a village near 
 Nottingham. His grandfather was the 
 governor of the gaol of that county, and 
 was succeeded by his father, who lost the 
 appointment through his irregularities, and 
 then practised as a portrait painter, and 
 published a few prints of little merit in 
 aqua-tint, while his wife kept a school. 
 The son's early talents were divided 
 
BON 
 
 BON 
 
 between art find the drama, and his future 
 career seemed balanced between the two. 
 But the father's love of low company, his 
 indiscreet conduct, and his violent political 
 opinions, broke up his wife's school, which 
 was probably the chief support of the 
 family, and they Hed to Paris. Here, at 
 the age of 15, and with the most limited 
 means, young Bonington obtained admission 
 to the Louvre, and commenced seriously 
 the study of art as his future profession. 
 He took great pains to improve, became a 
 student at the Institute, and drew in the 
 atelier of Baron Grros, and his improve- 
 ment was rapid ; his studies were in a bold, 
 masterly style, and he gained the gold 
 medal in Paris for one of his marine 
 subjects. 
 
 About the year 1822 he went to Italy. 
 His works, both in oil and water- colours, 
 had already met with patronage, and had 
 made him a reputation in Paris, but were 
 unknown here ; when, in 1826, he exhibited 
 at the British Institution two views on the 
 French Coast, which surprised the English 
 painters, and gave him at once a name 
 among his own countrymen ; and in the next 
 year a similar subject at the Academy, fol- 
 lowed in 1828, when he was still residing 
 in Paris, by ' Henry III. of Prance ' and 
 the ' Grand Canal, Venice.' He had always 
 been greatly esteemed in Prance, and now 
 commissions flowed upon him from both 
 countries. Devoting himself to his art, he 
 was imprudently sketching in the sun at 
 Paris, when he was attacked by brain 
 fever, followed by a severe illness. He 
 came to London for advice, and fell into a 
 rapid consumption, which ended his short 
 yet promising career, September 23,1828. 
 He was buried in the vaults of St. James's 
 Church, Pentonville. His works were 
 marked by great originality and a rich feel- 
 ing for colour. His art was picturesque and 
 dramatic. He painted landscape and ma- 
 rine ; and master of the figure, genre sub- 
 jects with much grace. His drawings were 
 sold by auction, and realised 1,200^. In 
 1870, his 'Henry IV. and the Ambas- 
 sador ' is stated to have fetched 3,320^. at a 
 sale in Paris. A series of his works was 
 lithographed by Harding, and his ' Pictur- 
 esque Journey ' was published, but its true 
 appreciation was confined to the artists. 
 
 BONNAP, William, K.S.A., portrait 
 and subject fainter. Born in Edinburgh in 
 June 1800. He was the son of a house 
 painter, and was apprenticed to a decorator. 
 In 1822 he fitted up the Assembly Pooms 
 at Edinburgh for the state ball given to 
 George IV. on his visit to Scotland. His 
 friends advised him to try art, and in 
 1821 he painted 'The Tinkers,' a work 
 which at once gave him rank as an artist. 
 On the foundation of the Hoyal Scottish 
 
 Academy in 1830, he was chosen one of the 
 members, and painted many good pictures, 
 some of which have been engraved; but ho 
 was chiefly engaged in portraiture. He died 
 in Edinburgh, February 1853, in his 53rd 
 year. 
 
 BONNEAU, Jacob, landscape painter. 
 He is believed to have been the son of an 
 indifferent French engraver, who, about 
 1741, practised in London, and was em- 
 ployed by the booksellers. He was a 
 member of the Incorporated Society of 
 Artists, and exhibited landscape views at 
 the Spring Gardens Exhibitions— 1765- 
 1778, and at the Academy between 1770 
 and 1784 — chiefly landscapes, in water- 
 colours, with occasionally a figure subject. 
 But he was principally engaged as a teacher 
 of drawing and perspective. He died at 
 Kentish Town, March 18, 1786. 
 
 BONNEP, George William, wood 
 engraver. Was born at Devizes, May 24, 
 1796, and educated at Batb. He came to 
 London, and apprenticed to a wood en- 
 graver, he became a good draftsman and 
 skilled engraver, and was distinguished 
 by his ability in producing gradations of 
 tint by a 'combination of blocks. He en- 
 graved for the ' British Cyclopaedia.' Died 
 January 3, 1836. 
 
 BONNER, Thomas, topographical drafts- 
 man and engraver. Was a native of 
 Gloucestershire, and drew and engraved 
 the churches of that county. In 1763 he 
 received a premium from the Society of 
 Arts. The views also for Polwhele's ' His- 
 tory of Devonshire,' published 1797, and 
 the numerous illustrations for Collinson's 
 ' History of Somersetshire,' published 1791, 
 were both drawn and engraved by him. He 
 published also the ' Copper-plate Perspec- 
 tive Itinerary,' which consisted of well-exe- 
 cuted topographical engravings, and, with 
 the drawings and descriptive letter-press, 
 were by his own hand. In 1807 he exhi- 
 bited at the Academy drawings of archi- 
 tectural remains. 
 
 BONOMI, Joseph, A.R.A., architect. 
 Born at Rome, January 19, 1739. Stu- 
 died architecture there, and was induced, 
 in 1767, to come to London by the Brothers 
 Adam, with whom he for many years found 
 employment, especially in the interior de- 
 coration of their buildings. He married, 
 in 1775, the cousin of Angelica Kaufl?mann, 
 who, when she went to reside in Pome, in 
 1783, persuaded him to return to Italy with 
 his wife and family. He did not remain 
 there above one year, but, hastened by the 
 death of his son, came back again to Lon- 
 don, where he finally settled in the practice 
 of his profession. In 1789 he was elected 
 associate of the Poyal Academy, and the 
 failure of his election to the full member- 
 ship, which was espoused by Sir Joshua 
 
 47 
 
BOO 
 
 BOW 
 
 Koynolds, was the cauRC of his resignation 
 of the offife of president. IIo was an occa- 
 sional exhibitor at the Eoyal Academy from 
 1783 to 1S06, and was distinguished for 
 his architectural knowledge and his great 
 fisto as an architectural draftsman. He 
 madeadditions toLangley Hall, Kent, 1700 ; 
 designed the chapel of the Spanish Em- 
 bassy, 1792 ; Kastwell House, Kent, 1793 ; 
 Longford Hall, Shropshire, and Laverstoke, 
 Hants, 1797 ; Roseneath, Dumbarton, N.B., 
 for the Duke of Argyll, 1803; and in 
 1804 was appointed honorary architect of 
 St. Peter's, Rome, and made designs for 
 tho new sacristy. He died in London, 
 March 9, 1808, in his 69th year, and was 
 burieil in the Marylebone Cemetery. 
 
 1U)0N, Daniel, subject fainter. Born 
 in HoUand. He Ciime. to England, and 
 practised here in the reign of Charles 11. 
 He painted drinking and debauchery, with 
 nothing to relieve the vulgarity of his 
 subjects. He died in London 1698. 
 
 BOOTH, William, miniature painter. 
 Ho was born at Aberdeen in 1807. He 
 practised in London with much success, 
 and was a constant exhibitor at the Royal 
 Academy from 1827 to 1845. He painted 
 female portraits well, and grouped with 
 children. He died 1845. 
 
 BOOTH, Joseph, miniature painter. Was 
 born and studied in England ; but about 
 1 770 practised in Dublin with great success. 
 He was a clever man, and possessed also 
 some mechanical genius. 
 
 BOSSAM, Zo'R'i^, subject painter. Hilliard 
 speaks of this painter in the reign of Ed- 
 ward VL, describing him ' As a most rare 
 English drawer of story works in black and 
 white ; ' and he adds that ' he was poor, and 
 growing yet poorer by charge of children, 
 and gave painting clean over — unfortunate 
 being English born ;' and it is said that 
 in the reign of Elizabeth he entered the 
 Church, and became a reading minister. 
 
 BOTT, Thomas, china painter. Born 
 near Kidderminster in 1829. He was 
 brought up as a mechanic, and employed 
 his leisure in drawing. He gained employ- 
 ment in a glass manufactory, and then went 
 to Birmingham ; and for two or three years 
 he subsisted by painting portraits. Return- 
 ing to Worcester he was employed there in 
 porcehiin painting; improved himself in 
 the art, and became reputed for his very 
 successful imitiition of the Limoges enamels 
 on china, for which ho was distinguished at 
 Raris in 1855, London 1862. He fell into 
 ill-health, and died December 13, 1870. 
 
 BOURDE, John (of Corfe Castle), 
 * marbJrr: Was employed as mason, and 
 carved upon the fine tomb of the Warwick 
 family in Warwick Church, in the time of 
 Henry VL, the figures upon which are well 
 com] 'f sod, the action good. 
 •18 
 
 BOURGEOIS, Sir Fkancis P., Knt., 
 R.A., landscape painter. His father de- 
 scended from a Swiss family, was a watch- 
 maker in London, where he was born 1756, 
 and was intended for the army ; but a taste 
 for drawing, and some instructions which 
 he had received from an obscure painter, 
 led him to art, and he became the pupil of 
 De Louth erbourg, with whom he continued 
 some time, and early attained reputation. 
 In 1776 he travelled in Erance, Holland, 
 and Italy ; and on his return his works 
 made him known and found him patrons. 
 He exhibited at the Academy from 1779 to 
 1810. His subjects were chiefly landscapes, 
 with cattle and figures ; but among them 
 were ' Hunting a Tiger,' 'A Young Lady 
 as a Shepherdess,' ' Mr. Kemble as " Corio- 
 lanus," ' ' A Eriar before the Cross,' ' A De- 
 tachment of Horse, costume of Charles I.' 
 In 1791 he was appointed painter to the 
 King of Poland, and received from him at 
 the same time the honour of knighthood. 
 In 1787 he was elected an associate, in 
 1793 a full member, of the Royal Academy, 
 and the following year was appointed 
 landscape painter to George III., who sanc- 
 tioned the use of the title conferred by the 
 King of Poland. His friend, Noel Desen- 
 fans, on his death in 1804, left him, with 
 his other property, a valuable collection of 
 paintings, which it was said he had pur- 
 chased by remittances made to him for the 
 purpose by Stanislaus, King of Poland, and 
 which, upon that monarch's misfortunes, 
 remained in his hands. This fine col- 
 lection, comprising, with some modern 
 works added by Sir Erancis, 350 
 paintings, he bequeathed to Dulwich 
 College, with 10,000^. to provide for its 
 maintenance and 2,000^. to fit up a gallery 
 for its reception, besides legacies to the 
 officers of the College. He died in Port- 
 land Street, in consequence of a fall from 
 his horse, January 8, 1811, and was buried 
 in the chapel of Dulwich College. His 
 works, with a strong feeling for art, are 
 crude and sketchy, his drawing of figures 
 and animals weak, and his attitudes extra- 
 vagant and mannered ; but he had an influ- 
 ence on the art of his day, which his works 
 would not now earn for him. 
 
 BOURNE, James, water-colour painter. 
 Practised in London at the beginning of the 
 19th century, and was an occasional exhi- 
 bitor of landscape views at the Academy 
 up to 1809. He was afterwards much em- 
 ployed by Sir Thomas Gage, and made 
 numerous drawings for him in a pleasing, 
 easy style. Some of the drawings for ' Views 
 in Lincolnshire,' published 1801, are by 
 him. 
 
 BOWEN, Emanuel, engraver. There is 
 no other information of him than that he 
 was appointed engraver to George II. and to 
 
BOW 
 
 BOY 
 
 Louis XV. His son, Thomas Bowen, a 
 map engraver, died in Clerkenwell Work- 
 house 1790. 
 
 BOWEE, Edward, 'portrait painter. 
 Practised in the reign of Charles I. He 
 painted ' The King seated at his Trial,' now 
 possessed by Mr. Pole Carew ; an eques- 
 trian portrait of Lord Fairfax, 1647, which 
 was engraved by Marshall; and a small oval 
 portrait of Lord Finch, 1640, also engraved ; 
 and some other portraits by Hollar. 
 
 BOWER, George, medallist. Produced 
 several large medals of Charles II., with 
 the head of his Queen on the reverse ; also 
 a medal of the Duke of York's shipwreck, 
 of James 11. , his Queen, the Dukes of 
 Albemarle, Ormohd, and Lauderdale, and 
 the Earl of Shaftesbury. He was employed 
 in the Mint as an assistant to Henry Harris 
 during the reign of James II. 
 
 BOWLER, Thomas William, lar,dscajpe 
 painter. He showed an early attachment 
 to art, but was led to accept the appoint- 
 ment of assistant-astronomer at the Cape 
 of Good Hope. At the end of four years, 
 the love of art prevailing, he resigned his 
 office, and commenced at Cape Town his 
 career as a painter and teacher of draw- 
 ing. He published views of Cape Town and 
 the neighbourhood, and 20 scenes illustrat- 
 ing the Caffre War. In 1866 he visited 
 Mauritius, where he made some drawings, 
 but caught a fever which prevailed there, 
 and in bad health came to England to pub- 
 lish some of his works, and died October 24, 
 1869. 
 
 BOWLES, Thomas, draftsman and en- 
 graver. Born about 1712. He is chiefly 
 known by the publication of 30 views of 
 the principal buildings in London, drawn, 
 and some of them engraved, by himself. 
 But he was also esteemed for his skill as a 
 scene painter. He engraved some portraits 
 after several masters. His principal works 
 are dated about the middle of the century. 
 
 BOWNDE, Richard, 'glazier^ of St. 
 Clement Danes. One of four contractors, 
 in the reign of Henry VIIL, for 18 painted 
 windows of the upper story of King's 
 College Chapel, Cambridge. 
 
 BOWNESS, William, portrait 'painter. 
 He was born at Kendal in 1809, and com- 
 menced his art career there. He afterwards 
 came to London, where he found employ- 
 ment as a portrait painter. He was an 
 exhibitor at Suffolk Street and at the 
 Academy from 1841 to 1855, sometimes 
 sending a subject — ' Girl at her Devotions,' 
 1841; 'Maternal Solicitude,' 1844; 'Cap- 
 tivity,' 1853; and his last work, 'Monday 
 Morning: Conning the Lesson,' 1855. He 
 died in London, aged 58, December 27, 1867. 
 
 BO WRING, Benjamin, portretit painter. 
 Practised in London both in oil and in 
 miniature. He first exhibited at the Aca- 
 
 demy in 1773, and continued to contribute 
 up to 1781, sending in 1777 a miniature, 
 ' Apollo and Diana.' 
 
 BOWYER, Robert, miniature painter. 
 Was probably a pupil of Smart. He first 
 exliibited miniatures at the Academy in 
 1783, and continued an exhibitor up to 
 1797. He had many sitters of distinction, 
 and his works were greatly esteemed. Ho 
 was appointed painter in water-colours to 
 George III. and miniature painter to the 
 Queen. He was the projector and publisher 
 of an illustrated 'History of England,' which 
 bears his name, with some other works of 
 the same class. He died at Byfleet, Surrey, 
 June 4, 1834, aged 76. 
 
 BOYCE, Samuel, engraver. A portrait 
 of the Earl of Oxford bears his name. He 
 died 1775. 
 
 BOYDELL, Alderman John, engraver 
 and publisher. Born January 19, 1719, at 
 Dorington, near Ower, Shropshire. His 
 grandfather was vicar of Ashborne and 
 rector of Mapleton, Derbyshire ; his father 
 a land surveyor, for which profession he was 
 himself intended. But he took a fancy to 
 engraving, and at the age of 21 walked up 
 to London, and apprenticed himself to Mr. 
 Thoms, at the same time entering himself 
 as a student at the St. Martin's Lane Aca- 
 demy. He worked steadily for six years, 
 and then, purchasing the remaining year of 
 his term, became his own master, and was 
 admitted a member of the Incorporated 
 Society of Artists. At this time he pub- 
 lished six small engravings from designs of 
 his own, which, from each containing a 
 bridge, was called his ' Bridge-book ; ' fol- 
 lowed in 1751 by a book of 152 prints of 
 views in England and Wales, also engraved 
 by himself. The profits of this work enabled 
 him to employ some of the best engravers 
 of that time in producing specimens of the 
 old masters, and to commence a career 
 which raised the engraver's art to a high 
 eminence in this country ; and while treating 
 the profession with great liberality, gained 
 a fortune for himself. Having achieved 
 this, he commissioned artists to paint sub- 
 jects for the engraver, and in 1786 he 
 adopted the scheme of a ' Shakespeare Gal- 
 lery.' He alone found the funds, and em- 
 ploying every English artist of distinction to 
 paint subjects from the works of the great 
 poet, he exhibited them in a gallery he 
 had built for the purpose in Pall Mall 
 (now converted to other uses), and then en- 
 gaged engravers to produce the whole series, 
 and published it by subscription. He had 
 ventured an extensive capital, but the 
 French Revolution deranged his large ordi- 
 nary transactions with the Continent, and 
 he was bankrupt. Parliament empowered 
 him to dispose of his gallery of paintings, 
 which he had purposed to present to the 
 I 49 
 
BOY 
 
 nation, and also his stock, by lottery, and 
 ho was enabled to discharge the whole of 
 his debts. Ho died soon after, Decem- 
 ber 12, 1804, at his house in Choapside, and 
 was buried at St. Olave's, Coleman Street. 
 As an engraver he never made much pro- 
 gress himself; but the art owed to his 
 enterprise a pre-eminence it had never be- 
 fore known. He filled the office of sheriff 
 in 1785, and lord mayor in 1790. 
 
 B0YDP:]LL, JosiAH, portrait and history 
 painter. Born at Stanton, Shropshire, about 
 1750. Nephew of the foregoing; bred in 
 his counting-house, and eventually his part- 
 ner and successor. He had a professional 
 training both in painting and engraving, 
 and painted some portraits and several of 
 the subjects in the Shakespeare Gallery. 
 The latter are by no means poor works— 
 compositions with many figures, and a little 
 in the manner of Westall, E.A.— though his 
 uncle, in the preface to the engraved work, 
 makes an apology for him, which seems 
 hardly needed. He exhibited at the Acji- 
 demy from 1772 to 1779, his works consist- 
 ing of some portraits, a ' Juno,' ' Gipsey 
 Girl,' and — apparently his most aspiring 
 contribution — ' Coriolanus taking leave of 
 his Family.' He published, in 1803, ' Sug- 
 gestions towards forming a Plan for the 
 Improvement of the Arts and Sciences.' 
 He succeeded his uncle in his alderman's 
 gown, and was master of the Stationers' 
 Company. Died at Halliford, Middlesex, 
 March 27, 1817- 
 
 BOYDEN, William, architect. His 
 name is recorded, as the chief architect of 
 the chapel of the Virgin, in the Abbey 
 Church of St. Alban's, 1308-26. 
 
 BOYFIELD, John, architect. Completed, 
 towards the end of the 1 4:th century, the 
 works commenced in 1350 for the improve- 
 ment of Gloucester Cathedral. 
 
 BO YNE, John, caricaturist and engraver. 
 He was born in the County Down about 
 1750. He was the son of a joiner, who 
 was afterwards employed in the Victualling 
 office at Deptford, and brought his son, 
 then about 9 years of age, with him to Eng- 
 land. The boy was apprenticed to William 
 Byrne, the engraver, and for a time fol- 
 lowed that employment ; but, falling into 
 bad habits, he sold his tools and joined a 
 company of strolling players, among whom 
 ho became distinguished. Leaving them in 
 1781 he returned to London, setup a draw- 
 ing school, made some literary attempts, 
 and both sketched and engraved. He ex- 
 celled in caricature. 'The Muck -worm' 
 and the ' Glow-worm ' are by him, as is also 
 ' The Meeting of the Connoisseurs,' the 
 original drawing of which is exhibited at 
 the South Kensington Museum. Reckless 
 in his habits and always poor, he died 
 June 22, 1810. 
 
 BRA 
 
 BRADBERRY, Thomas, architect. Stu- 
 dent of the Royal Academy. Gained the 
 gold medal, 1823, for an architectural design 
 for ' A Hospital for Sailors.' He does not 
 afterwards appear as an exhibitor at the 
 Academy. 
 
 BRADLEY, William, portrait painter. 
 Born at Manchester, January 16,1801. Left 
 an orphan at 3 years of age, he commenced 
 life as an errand boy, but early began to try 
 his hand at drawing, and was soon able to 
 produce profile portraits, for which he re- 
 ceived \s. each. He also added to his 
 means by teaching. When 21 years of age 
 he got some little instruction from Mather 
 Brown, then practising in Manchester, and 
 soon after made his way up to London. 
 Establishing himself in the Metropolis he 
 paid frequent visits to his native town, 
 and was induced to return and settle there 
 in 1847 ; but his health had given way, he 
 became misanthropic, his mind was affected, 
 and he died of typhoid fever, July 4, 1857. 
 He achieved a local reputation, and many 
 distinguished men were among his sitters. 
 His heads were well drawn and intellectual, 
 his likeness good. 
 
 BRADSHAW, Lawrence, architect. His 
 name is mentioned as practising in the 
 reign of Queen Elizabeth, but his works 
 are now unknown. 
 
 BRAGG, Thomas, engraver. He was 
 a pupil of W. Sharp, and practised at 
 the beginning of the 19th century. In 
 1821 he exhibited his works with the As- 
 sociated Society of EngTavers. He died 
 1840. 
 
 BRAGGE, Francis, engraver. Practised 
 in the reign of James II. 
 
 BRANDARD, Robert, landscape en- 
 graver. Was born in Birmingham 1805. He 
 came to London in 1824, and placed him- 
 self for one year under Mr. Edw. Goodall. 
 Then, working on his own account, he en- 
 graved some plates for Brockedon's ' Passes 
 of the Alps ' and Captain Batty's ' Saxony.' 
 Gaining power, he was next employed upon 
 Turner's ' England ' and ' English Rivers,' 
 and upon many plates after Turner, Call- 
 cott, and Stanfield. He published, in 1844, 
 a series of etched scraps from nature, 
 very well etched, but having more of the 
 character of the engraver's than the painter's 
 art. At the International Exhibition, 1862, 
 he exhibited two works after . Turner's 
 ' Crossing the Brook ' — esteemed his best 
 work — and 'The Snow Storm.' He occa- 
 sionally exhibited a small oil painting at 
 the British Institution, and excelled as a 
 painter in water-colours. He died Jan. 7, 
 1862. 
 
 BRANDON, , portrait painter. 
 
 Practised in the reign of William and 
 Mary. A portrait by him of the Queen is 
 engraved by Gunst. 
 
BRA 
 
 BRl 
 
 BEANDON, Joshua Arthur, architect. 
 He built, jointly with John E. Brandon, 
 his brother, the new Corn Exchange at 
 Colchester, and Portswood Chapel, South- 
 ampton ; and published, also in conjunction 
 with him, ' An Analysis of Gothic Archi- 
 tecture ' and ' Views of Parish Churches.' 
 He died in Beaufort Buildings, Strand, 
 December 11, 1847, aged 25. 
 
 BEANSTON, Allen Egbert, wood en- 
 graver. Born 1778, at Lynn, Norfolk. 
 Apprenticed to his father, a general copper- 
 plate engraver, and when in his 19th year 
 settled at Bath, and practised both as a 
 painter and an engraver. He then un- 
 dertook some woodcuts for a work describ- 
 ing that city, but not finding encouragement 
 he came to London in 1799, and for a time 
 supported himself by engraving music. 
 Then he engraved some woodcuts for lot- 
 tery bills, and determined to apply himself 
 to wood engraving. He soon became dis- 
 tinguished. He formed a style of his own, 
 engraved the figure well, and excelled in 
 the gradations of light in indoor scenes. 
 His best works are in ' The History of 
 England,' published by Scholey, 1804-10; 
 Bloomfield's 'Wild Plowers,' 1806; and 
 'Poems 'by George Marshall, 1812. He 
 had several pupils, and many clever artists 
 were indebted to his teaching. He died at 
 Brompton in 1827. 
 
 BEAY, Sir Eeginald, architect. He 
 was a distinguished statesman, holding the 
 highest offices in the reign of Edward IV. 
 He was high steward of the University of 
 Oxford in the reign of Henry VII., and 
 the architect of the large additions then 
 made to St. Mary's Church. He built 
 Henry VII.'s Chapel at Westminster, and, 
 it is supposed, St. George's Chapel at Wind- 
 sor, two of the finest Gothic structures. 
 He was eminent both as an architect and a 
 statesman. He died about 1501. 
 
 BEENTWOOD, John, ornamentist. 
 Citizen and steyner of London. Was one- 
 of the artists engaged upon the Warwick 
 tomb, in the chapel of Warwick Church, in 
 the time of Henry VI. He painted the 
 west wall and the dome with all manner of 
 devices and imagery, with the finest colours 
 and fine gold, 1439. 
 
 BEETHEETON, James, engraver. He 
 was born about the middle of the 18th cen- 
 tury. He etched and aqua-tinted after Bun- 
 bury and others, and some works after his 
 own designs. Of those after Bunbury, whose 
 works he published, were ' Susannah and 
 Blouzelinda,' 1781 ; ' Snip Fran9ais and Snip 
 Anglais,' 1773 ; ' A Tour in Foreign Parts.' 
 His chief productions date between 1770 
 and 1790. 
 
 BEETHEETON, Charles, e^^^my^r. Son 
 of the foregoing. He engraved views, land- 
 scapes, and portraits, and was employed by 
 
 E 
 
 1 Walpole on the portrait illustrations for his 
 'Anecdotes of Painters.' There is by him 
 an etching after Samuel Cooper's fine head 
 of Cromwell, at Sidney Sussex College. He 
 was also a designer ; and ' Kate of Aber- 
 deen,' by him, is engraved by Tomkins. He 
 died young, of decline, in July 1783. 
 
 BEETT, Joseph William, history painter: 
 Son of a clergyman of the Church of Eng- 
 land. He was an unsuccessful competitor for 
 the premiums offered for cartoons for tho 
 decoration of the Houses of Parliament. The 
 subject he submitted was 'King Eichard 
 forgiving the Soldier who Shot him.' He 
 was found dead at Chelsea, with his throat 
 cut, supposed his own act, January 12, 1848. 
 He was aged 34. 
 
 BEETTINGHAM, Matthew, architect. 
 He built, in 1742, Norfolk House, St. .lames's 
 Square (now No. 21), in which George III. 
 was born ; the north and east fronts of Charl- 
 ton House, Wilts ; the Duke of York's house 
 in Pall Mall (now part of the War Office), 
 a well-proportioned elevation, but with little 
 attempt at design ; and some other mansions 
 in London. In 1748 and 1750 he travelled 
 in Italy. He published, in 1761 and 1773, 
 plans drawn by himself of Lord Leicester's 
 house at Holkham, but omitted to state that 
 it was designed by Kent. He died August 1 9, 
 1769, aged 70, and was buried at St. Au- 
 gustus, Norwich. His son, Matthew Bret- 
 TiNGHAM, was also an architect. He died 
 March 18, 1803, aged 78. 
 
 BEETTINGHAM, Egbert Furze, archi- 
 tect. Nephew of the foregoing ; was born 
 about 1750, and early in life travelled in 
 Italy, returning about 1781 . He had a large 
 practice, and built and altered several fine 
 mansions. He was from 1783 to 1799 an 
 exhibitor of his designs at the Eoyal Aca- 
 demy. In 1790 he exhibited the design for 
 a bridge he had erected at Benham Place, 
 Berks, in the previous year ; and he is sup- 
 posed to have been the architect of Maiden- 
 head Bridge, in the same county. He held 
 an office in the Board of Works, from which 
 he retired in 1805. 
 
 BEIDELL, Frederick Lee, landscape 
 fainter. Was born of respectable parents 
 at Southampton, in November 1831. He 
 was very early attached to art, and when 
 very young tried to maintain himself by 
 portrait painting. Then falling in the way 
 of a picture dealer, he made an engagement 
 to copy for him, and he passed some time 
 in Munich and other art cities ; and after- 
 wards, following his own impulses, resided 
 several years on the Italian hills, studying 
 the grand poetry of the scenery by which 
 he was surrounded. In 1851 he was living 
 at Maidenhead, and in that year was first 
 an exhibitor at the Eoyal Academy of ' A 
 bit of Berkshire.' In 1856 he sent ' Moun- 
 tains in the Tyrol,' which at once made him 
 
 2 51 
 
BRI 
 
 BRI 
 
 known. Ho afterwards travelled in Italy, 
 and was married at Rome in 1858 to a lady 
 of much ability in art. In 1860 he passed 
 the winter in Rome. Ho was of delicate 
 and declining health, hut laboured with 
 unabated energy. Consumption ensued, and 
 he died in August 1863. ' The Coliseum by 
 Moonlight,' his last and best work, was ex- 
 hibited at the International Exhibition, 
 1862. His art was poetic and of much pro- 
 mise, his colour and composition good and 
 vigorous ; but he had not met with much 
 encouragement, and after his death about 
 40 of his works were sold at Christie's. 
 
 BRIDGES, CiiMii.v:s, portrait painter. He 
 practised in the first half of the 18th cen- 
 tury. There is a portrait by him in the 
 collection of the Society of Antiquaries. 
 
 BRIDGMAN, , orname^itist. He 
 
 practised towards the middle of the 18th 
 century, and about 1735 was the fashion- 
 able designer of gardens. He first used the 
 sunk fence, or ' ha-ha.' He banished the 
 formal Dutch stylo, and what Walpole called 
 ' the verdant sculpture' that had prevailed, 
 and introduced the more natural and pic- 
 turesque manner, and was so far the prede- 
 cessor of Kent. 
 
 BRIGGS, Henry Perronet, R.A., sub- 
 ject and portrait painter. Born at Wal- 
 worth in 1 791, of a very old Norwich family. 
 He w^as a cousin of Amelia Opie. His father 
 held a lucrative situation in the Post-office, 
 and intended him for a commercial life ; 
 but he showed an early love for art, and in 
 1806, while at school at Epping, sent to 
 the ' Gentleman's Magazine ' two small, well- 
 executed engravings of Epping Church. He 
 entered as student of the Royal Academy 
 in 1811, and in 1813 went to Cambridge, 
 where ho painted the portraits of several 
 members of the colleges, and the following 
 year exhibited a portrait at the Royal Aca- 
 demy. In 1818 he produced an historical 
 composition, ' Lord Wake of Cottingham 
 setting fire to his Castlo to prevent a Visit 
 from Henry VIII., who was enamoured of 
 his AVifo ; ' and next year a subject from 
 Boccaccio, follow^ed by ' Othello relating his 
 Adventures to Desdemona.' He next ex- 
 hibited his ' First Interview between the 
 Spaniards and Peruvians,' a picture which 
 gained him much notice, and is now in the 
 National Gallery. In 1823 he exhibited 
 at th© British Institution 'Scenes from 
 Shakespeare,' and the directors awarded 
 him a premium of 100^. In the following 
 year ho exhibited there 'Colonel Blood's 
 Attempt to Steal the Regalia ; ' and in 1827 
 a large painting of 'George III. presenting 
 tho Sword to Earl Howe on board the 
 " Queen Charlotte," 1794,' which tho direc- 
 tors purchased for 500 guineas, and pre- 
 sented to Green^^^ch Hospital, whero it finds 
 an appropriate place. He was elected an 
 52 
 
 associate of the Royal Academy in 1825, 
 and a full member in 1832 ; and from this 
 time doA^oted himself chiefly to portraiture, 
 not from his own free choice, but as more 
 remunerative of his talents. His subject 
 pictures are well constructed, the action of 
 his figures original, and his story w^ell told ; 
 but his colour is not agreeable, and his 
 flesh-tints hot. He painted some fine por- 
 traits, among them ' The Earl of El don 
 receiving the Degree of D.C.L. at Oxford, 
 on the Installation of the Duke of Welling- 
 ton.' He died in Bruton Street, January 18, 
 1844, in his 51st year. His wife had died 
 six or seven years previously, and he left 
 two orphan children. 
 
 BRIOT, Nicholas, medallist. Native of 
 Lorraine. Was employed in the French 
 mint, and invented a process of coining by 
 the press, instead of hammering. Foiled 
 in his endeavours to introduce his inven- 
 tion in France, he came to England, pro- 
 bably in the reign of James I. Gaining the 
 notice of Charles I., he was employed to 
 engrave a medal of him in 1628, and was 
 engaged to work for both the English and 
 Scotch mints, holding the office of graver 
 from the 3rd to the 8th Charles I. In 1631 
 a commission was issued to report upon 
 his invention for coining. He executed 
 the coronation medal of Charles I., when 
 inaugurated at Edinburgh in 1633, which 
 was the first medal that bore a legend en- 
 graved on the edge. It is said that he was 
 removed from the Mint, and made a Poor 
 Knight of Windsor ; but some authorities 
 state that he returned to France about 1642. 
 Thomas Simon was his pupil. 
 
 BRITTON, John, F.S.A., architectural 
 draftsman. Was born in 1771, at Kingston 
 St. Michael, Wilts, where his father kept 
 a general shop. In 1787 he came up to 
 London, and was employed for many years 
 as cellarman at a tavern, and then by a 
 hop-factor. Fond of reading and actively 
 intelligent, he made acquaintance with men 
 engaged in the book-trade and literary pur- 
 suits, and then found employment in a 
 printing-office, where he became afterwards 
 connected with Mr. Brayley in some of his 
 publications. In 1799 he took an engage- 
 ment, at three guineas a week, to write, re- 
 cite, and sing at a theatre in Panton Street, 
 Haymarket, and about the same time found 
 his true vocation as a draftsman, and ex- 
 hibited some drawings of architectural an- 
 tiquities at the Royal Academy in 1799, 
 1800, and 1801. He then undertook with 
 Mr. Brayley ' The Beauties of Wiltshire' 
 and ' The Beauties of England and Wales.* 
 These were followed by works of much 
 learning on the cathedrals of Norwich, 
 Winchester, York, Lichfield, Oxford, Can- 
 terbury, Wells, and Exeter. He began, in 
 1802, a series of articles on British topo- 
 
BRO 
 
 BRO 
 
 graphy for Eees's * Encyclopaedia.' In 1805 
 he commenced his ' Architectural Anti- 
 quities of Great Britain;' in 1814, his 
 ' Cathedral Antiquities of England ; ' in 
 1825, in conjunction with Augustus Pugin, 
 * The Architectural Antiquities of Nor- 
 mandy;' in 1829, a 'Dictionary of Archi- 
 tecture and Archaeology of the Middle Ages.' 
 These were his chief works. From 1845 he 
 was engaged upon his autobiography, which 
 he had nearly completed, when he died in 
 London, January 1, 1857. 
 
 BKOCAS, Henry, landscape jpainter. He 
 was born in Dublin, and practised there. 
 He painted chiefly in water-colours, and 
 drew well in chalk. There are some en- 
 gravings by him. He was appointed teacher 
 of landscape in the Dublin Society's School 
 in 1801. He died in 1838, aged 72, and 
 was succeeded in his office by his son 
 Henry. 
 
 BROCAS, Samuel F., landscape painter. 
 Son of the above. He practised both in 
 oil and water-colours, and painted in a 
 broad, free manner. Among his water- 
 colours are a series of street views in 
 Dublin, dated 1817, well drawn and filled 
 with figures and animals, in which latter 
 he excelled. 
 
 BROCAS, William, R.H.A., portrait 
 painter. He was the brother of the fore- 
 going, and practised in Dublin, both in oil 
 and water-colours. He was also much en- 
 gaged in teaching. He left a large collection 
 of prints and etchings. 
 
 BROCKEDON, William, suhject and 
 history painter. Born October 13, 1787, at 
 Totnes. Son of a watchmaker there, whose 
 family had been known in the county from 
 the time of Henry IV. His father died 
 early, and for five years he managed to 
 carry on the business. Having a love of 
 art, he then came to London, and gained 
 admission, in 1809, as student of the Royal 
 Academy. He studied assiduously, and in 
 1812 exhibited two portraits, and the next 
 year a portrait of Miss Booth, the actress, 
 as 'Juliet,' which obtained him notice. In 
 1814 he exhibited a painting of a higher 
 class, and also sent in a plaster model of 
 ' Adam and Eve,' in competition for the 
 Academy medal. He took the opportunity 
 in 1815 to visit the galleries in Paris, then 
 temporarily so rich, and the Belgian cities ; 
 and in 1818 was again, in sculpture, a com- 
 petitor for the Academy • medal ; and the 
 same year painted ' The Resurrection of 
 the Widow's Son,' for which he received a 
 premium of 100/. from the British Institu- 
 tion ; and for the following seven years was 
 led to engage in large historical works, an 
 attempt which he then abandoned. He had 
 in this period married, and had visited the 
 chief Italian cities in the summers of 1821- 
 ] 822, spending a winter in Rome. 
 
 On his return in 1822 he settled in 
 London, and painted pictures of a smaller 
 size, and of subjects more suited to the 
 public taste — ' Pfifferari,' ' Psyche borne 
 by Zephyrs,' ' L' Allegro,' ' Galileo visited 
 in Prison by Milton,' ' Burial of Sir John 
 Moore,' ' Raphael and the Fornarina,' some 
 of which were engraved. Between 1828-30 
 he published ' Illustrations of the Passes 
 of the Alps,' followed by ' Journals of Ex- 
 cursions in the Alps.' He edited Fin- 
 den's 'Illustrations of the Life of Byron,' 
 1833-34; 'The Road-book from London 
 to Naples,' 1835; 'Italy, classical and 
 picturesque,' 1842-43 ; ' Egypt and Nubia, 
 from drawings by David Roberts, R.A.,' 
 1846-49. He was clever and of active in- 
 vention, and in his latter years devoted 
 himself to science rather than art. He 
 contrived a rest for painters engaged in mi- 
 nute works, also a support for a weak knee- 
 joint ; he made improvements in steel-pens, 
 and utilised the waste of black-lead in the 
 manufacture of pencils. He patented some 
 chemical processes in caoutchouc, a method 
 of drawing gold and silver wire, and ar- 
 rangements for warming buildings ; and is 
 reputed to have amassed property by his 
 inventions. He was the founder of the 
 Graphic Society, and was F.R.S. and member 
 of the academies of Florence and Rome. 
 He died August 29, 1854, in his 67th 
 year, and was buried in the cemetery of 
 St. George-the-Martyr, Bloomsbury. 
 
 BROCKY, Charles, portrait and subject 
 painter. He was born in 1808, of peasant 
 parents, at Banat, in Hungary. The son of 
 a hair-dresser, and early an orphan, he 
 commenced life with some strolling players. 
 He endured many vicissitudes — was servant 
 in a cook's-shop and assistant to a barber. 
 Eventually he was placed in a free drawing 
 school in Vienna, and, while undergoing 
 sad privations, managed to acquire some 
 knowledge of art. He then found his way 
 to Paris, and became a student in the 
 Louvre ; and from thence, when about 30 
 years of age, he came to London, and in 
 1839 first appears as an exhibitor of portrait 
 studies and heads at the Royal Academy. 
 Making friends, he continued to exhibit 
 portraits in pencil, and some miniatures on 
 ivory, and settled in the Metropolis. In 
 1850 he exhibited a ' Nymph ' in oil ; in the 
 fallowing year a ' Psyche ' and ' Venus and 
 Phaon;' in 1852, 'Spring,' 'Summer,' 
 ' Autumn,' and ' Winter,' four pictures ; and 
 in the next two years, classic and subject 
 pictures. He was also successful in his 
 portraits, and reckoned the Queen among 
 his sitters. He died July 8, 1855. A 
 sketch of his life, by Norman Wilkinson, 
 was published in 1870. 
 
 BRODIE, Alexander, sculptor. Bora 
 1830. Was the brother of W. Brodie, R.S.A^ 
 
 53 
 
BRO 
 
 find commcncocl life as a brass finisher. 
 ILivini^ a biste for art, ho tried modelling, 
 and was rising into reputation in his prac- 
 tice at Aherdoen M'hen he died suddenly 
 tluTO, May 30, 1867, at the age of 36. 
 Ho exliil.itod at the Royal Academy, in 
 1864, 'The Mitherless Lassie ' and 'Cupid 
 and Mask.' The statue of Queen Victoria 
 in Abenleen is by him, and also the 
 Kfitue of the Duke of Richmond at Huntley, 
 Scotland. 
 
 13R0ME, Charles, engraver. Son ot a 
 linen-draper. Was a pupil of Skelton, and 
 a gO(xl draftsman. He engraved a portrait 
 of Pitt, after Owen ; and was engaged upon 
 Romney's picture of ' Contemplation ' when 
 ho was accidentally drowned bathing in the 
 Sorpontine, April 23, 1801, aged 27. 
 
 BROMLEY, William, A.E., line en- 
 graver. Born at Carisbrooke, Isle of Wight, 
 "in 1769. He was apprenticed to Wooding, 
 an engraver in London, and soon gaining no- 
 tice, he enjoyed a considerable reputation at 
 the commencement of the 19th century for 
 the excellence of his engra\^ngs in the line 
 manner. Among his early works may be 
 mentioned those for Macklin's ' Bible ; ' and 
 after Stothard, ' Hlustrations of the History 
 of England ; ' also ' The Death of Nelson,' 
 after Devis ; ' The Attack on Valenciennes,' 
 after De Loutherbourg ; and ' The Woman 
 taken in Adultery,' after Rubens. He was 
 elected an associate engraver of the Academy 
 in 1819, and was for several years engaged 
 in engra^-ing for the trustees the ' Elgin 
 Marbles ' in the British Museum. He died 
 1842. 
 
 BROMLEY, John Charles, mezzo-tint 
 engraver. Born in 1795, at Chelsea. Second 
 son of the foregoing. Distinguished by 
 his many important works — among them, 
 * Spanish Girl and Nurse,' after Murillo, 
 1831 ; ' The Trial of Lord William Russell,' 
 after Hayter, 1830 ; ' The Lady Jane Grey 
 refusing the Crown,' after Leslie ; ' The Trial 
 of Algernon Sydney,' after Stephanoff, 1835 ; 
 ' Monks preaching in Seville,' after Lewis, 
 1836 ; ' The Reform Banquet,' after B. R. 
 Haydon ; a nd the portraits of many eminent 
 men. His figures were well drawn, the 
 expression well preserved ; his tints and 
 gradations of light and shade excellent — 
 powerful, yet refined in his manner. He 
 died of water on the chest, April 3, 1839, 
 h<i(m1 44. He left a large family. His son 
 Frederick followed his profession as an 
 engraver. 
 
 BROMLEY, James, mezzo-tint engraver. 
 Born in 1800. Third son of the above 
 William Bromley, A.E. He engraved se- 
 veral well-known portraits — the Princess 
 Victoria, the Duchess of Kent, and Lord 
 John Russell, after Hayter ; the Mar- 
 chioness of Londonderry, after Sir W. Ross, 
 R.A. ; and many others. He was of a weakly 
 
 BRO 
 
 constitution, and died unmarried, Decem- 
 ber 12, 1838, in his 38th year. 
 
 BROMLEY, Henry, engraver. He was 
 brought up to the profession, but is only 
 known by his useful ' Catalogue of Engraved 
 British Portraits,' published in 1793. 
 
 BROMPTON, Richard, portrait painter. 
 Was a pupil of Benjamin Wilson, and after- 
 wards studied at Rome under Mengs. While 
 there he became acquainted with the Earl 
 of Northampton, and accompanied his lord- 
 ship to Venice. There he painted a small 
 conversation-piece, with whole-length por- 
 traits of the Duke of York and of some 
 English gentlemen, which were exhibited at 
 Spring Gardens in 1763. He had a few 
 months previously returned to England, and 
 settled in George Street, Hanover" Square. 
 He painted a whole-length portrait of the 
 Prince of Wales in the robes of the Garter, 
 1772, and of his brother, Prince Frederick, 
 in the robes of the Bath — both of which 
 are engraved in mezzo-tint by J. Saunders ; 
 also a good portrait- of the first Earl of 
 Chatham — the face quietly expressive and 
 the robes excellent. His abilities would 
 not have failed to secure him considerable 
 employment, but his folly and vanity in a 
 few years brought him into the King's 
 Bench. Erom this he was released by the 
 Empress of Russia, who appointed him her 
 portrait painter, and he went to St. Peters- 
 burg. Here he was well received and en- 
 couraged, but he launched into a pompous 
 style of living, and after a few years died 
 there in 1782. His widow married an 
 English merchant, and returned to London. 
 His colour was gaudy, his drawing fre- 
 quently hard, and he prided himself upon 
 his laborious finish. There is a portrait 
 by him of Admiral Saunders in the gallery 
 of Greenwich Hospital. He was employed 
 to repair Vandyke's celebrated portrait- 
 group of the Pembroke family at AVilton, 
 which suffered grievously under his hand. 
 
 BROOKE, William Henry, portrait 
 fainter. Was nephew of the author of 
 ' The Pool of Quality,' and began life in a 
 banker's office. Afterwards he became a 
 pupil to S. Drummond, A.R.A., and making 
 rapid progress, he established himself in the 
 Adelphi as a portrait painter. He first ex- 
 hibited at the Academy in 1810. His early 
 works were sketches only, the subjects — 
 ' Anacreon,' ' Murder of Thoraa s a Becket,' 
 'Musidora.' From 1813 to 1823 his name 
 does not appear in the catalogues ; but in the 
 latter year he contributed a portrait and two 
 Irish landscapes with figures ; and in 1826, 
 ' Chastity,' the last work he exhibited at 
 the Academy. In 1812 he undertook a 
 series of designs for 'The Satirist,' a monthly 
 publication, which led to his employment to 
 make drawings on wood for the publica- 
 tions of the day. The vignettes for Moore's 
 
BRO 
 
 BRO 
 
 'Irish Melodies,' published in 1822, are by 
 him ; also some of the vignettes for Major's 
 edition of 'Izaac Walton,' and the outline 
 figures and gems from the antique for 
 Keightley's ' Greek and Koman Mythology,' 
 published 1831. His best designs were 
 characteristic, and were well drawn. He 
 died at Chichester, after a long illness, 
 January 12, 1860, aged 88. 
 
 BROOKE, Henry, history painter. Was 
 born in Dublin 1738. He came to London 
 in 1701, and by the exhibition of his 
 pictures gained both a reputation and 
 money. In 1767 he married and settled 
 in Dublin, where he lost his money in an 
 unfortunate speculation. He tlien found 
 employment in the decoration of some 
 Koman Catholic chapels. He died in 
 Dublin 1806. 
 
 BROOKING, Charles, marine painter. 
 Born 1723. Was bred in some department 
 of the dockyard at Deptford, and practised 
 as a ship painter. He acquired great skill 
 as a marine painter, but he was in the 
 hands of the dealers, and lived in obscurity. 
 He painted sea -views and sea-fights, which 
 showed an extensive knowledge of naval 
 tactics ; his colour was bright and clear, 
 his water pellucid, his manner broad and 
 spirited. He promised to become eminent, 
 but died under 36 years of age from con- 
 sumption, induced by mistaken medical 
 treatment, at his lodging in Castle Street, 
 Leicester Square, in the spring of 1759, 
 just as he was getting into repute. His 
 works have been engraved by R. B. Godfrey, 
 Ravenet, Canot, and Boydell. There is a 
 very fine sea-piece of large dimensions by 
 him in the Foundling Hospital. The re- 
 cords of the Royal Academy show that 
 ' William Brooking, the son of a painter ' — 
 and doubtless his son — was apprenticed to 
 a peruke-maker, with a fee of 11 guineas 
 out of the proceeds of the first exhibition ; 
 and from other documents it is clear that 
 his widow and children were left in extreme 
 distress, and that another son was an in- 
 mate of St. Luku's Workhouse. 
 
 BROOKS (or BROOKES), John, mezzo- 
 tint engraver. Was born in Ireland, and 
 was a very popular engraver towards the 
 middle of the 18th century. He discovered 
 a method of printing in enamel to burn on 
 china, which was applied in a manufactory 
 at Liverpool and some other places, and 
 then at Battersea, where appropriate build- 
 ings were erected for the purpose, at which 
 Gwinn, a clever designer, and John HiVll, 
 the engraver, then very young, were em- 
 ployed. Their designs were popular, 
 and the enterprise might have succeeded 
 but for the dissipated conduct and bad 
 management of Brooks, which led to the 
 ruin of Sir Stephen T. Jansen, then (1755) 
 lord mayor of London, who had embarked 
 
 in it. On this failure, Brooks, who had 
 resided at Battersea till 1756, when he was 
 bankrupt, took up his abode with a con- 
 genial friend, a publican in AVestminster, 
 and never for years quitted his room, except 
 to accompany his friend on his removal to 
 Bloomsbury, where he then continued in 
 the same seclusion till his death. In his 
 younger days he had been industrious. He 
 worked chiefly on portraits ; but there is a 
 plate by him, after Wyck, of * The Battle of 
 the Boyne ; ' but it is very doubtful whether 
 several plates which bear his name are not 
 by his pupils. He is distinguished as the 
 master of McArdell and Houston. 
 
 BROOKSHAW, Richard, draftsman and 
 mezzo-tint engraver. Born about 1 736. For 
 many years he practised unnoticed in Lon- 
 don, earning only 255. a week while en- 
 graving after the most celebrated masters. 
 He then went to France, where his talents 
 were recognised, and he was admitted a 
 member of several societies and well re- 
 munerated. Among his works, which are 
 not numerous, his best are — 'The Flight 
 out of Egypt,' after Rubens ; portraits of 
 Louis XVI. and Marie Antoinette; a sea- 
 piece ; ' Moonlight ' and ' A Storm,' after 
 Kobell ; ' A Lady,' half-length ; and ' The 
 Earl of Radnor,' after Reynolds. He also 
 engraved for the ' Pomona Britannica,' a 
 costly work, published 1804. 
 
 BROWN, Christian, botanical fainter. 
 He was chiefly employed upon the illustra- 
 tions for botanical works. Died in Mary- 
 lebone, May 7, 1803. 
 
 BROWN, David, landscape painter. Was 
 brought up a house and sign painter. He 
 became so infatuated with George Morland's 
 art that, at the age of 35, he parted with 
 a good business to become his pupil. He 
 was a man of persevering, steady habits, 
 and learned to make respectable copies of 
 his master's works ; but could not bear 
 his excesses, and was obliged to leave liira. 
 He exhibited landscape views and land- 
 scapes with figures at the Academy in 1792, 
 and up to 1 797. He retired into the country 
 to gain his livelihood as a teacher of 
 drawing. 
 
 BROWN, John, serjeant painter to 
 Henry VIIL He received a pension of 10^. 
 a year. He built Painters' Hall for the 
 Company 1553, and his portrait is preserved 
 there. 
 
 BROWN, John, engraver. He practised 
 as a draftsman and copper-plate engraver 
 in London about 1676, and is known by 
 several portraits from his hand. 
 
 BROWN, John, portrait painter. Born 
 at Edinburgh 1752. He was the son of 
 a jeweller and watchmaker. He received 
 a good education, v/as early destined for 
 an artist, and was a pupil of Alexander 
 Runciman. In 1771 he went to Italy; and 
 
BRO 
 
 BKO 
 
 nt Rome, from whence he sent two drawings 
 to the Academy Exhibition in 1774, became 
 acquainted with Mr. Tounley and Sir William 
 Young, who were pleased ^dth his drawings ; 
 «ind ho accompanied them to Sicily, where 
 ho made many liighly-finished pen draw- 
 ings of the antiquities. He was absent 
 above 10 years, and on his return to Edin- 
 burgli was much esteemed for his taste 
 and acquirements. He exhibited a por- 
 trait and a frame of miniatures at the 
 Academy in 1786, and the same year came 
 to London and engaged in portraiture. He 
 excelled in small portraits in pencil, which 
 were always correct in drawing and cha- 
 racter ; but his health had suffered by his 
 incessant application, and taking a sea- 
 voyage to Scotland, he was sea- sick, lay 
 without attention in his hammock, and on 
 landing at Leith died there on September 5, 
 1787. He was a great enthusiast for his 
 art. His works were marked by delicacy 
 and taste. He left some highly-finished 
 portraits in pencil, many sketches of Italian 
 scenery in the same manner, and one or 
 two careful etchings. He was also pas- 
 sionately fond of music, and his 'Letters 
 on the Poetry and Music of the Italian 
 Opera' were published in 1789 for the 
 benefit of his widow, edited by Lord 
 Monboddo. His friend, Alexander Runci- 
 man, about 1782 painted his portrait 
 grouped with his own. 
 
 BROWN, LatJxXcelot (called 'Capability 
 Brown'), architect. He was born in 1715 
 at Kirkhall, Northumberland, and was 
 brought up in the kitchen-gardens at Stowe. 
 He came into Lord Cobliam's service when 
 a lad, in 1737, and was employed in the 
 gardens till 1750, and afterwards from 1751 
 at Croome Court, Worcestershire, where he 
 built the mansion and offices and a Gothic 
 church. He made additions to Burleigh, 
 Northamptonshire, and Broadlands, Hamp- 
 shire ; and built Redgrave Hall, Suffolk. But 
 the successful formation of a fine lake for 
 tlie Duke of Grafton at Wakefield laid the 
 foundation of his fortunes, and he was 
 largely employed in landscape gardening, 
 find engaged on the improvement of the 
 grounds at Blenheim, Luton, Corsham, 
 Trentliam, Nuneham, Caversham, and the 
 formation of Kensington Gardens ; and on 
 the alteration of the mansion and grounds 
 at Claremont, at a cost of 100,000/. He 
 held the appointment of head-gardener at 
 Windsor Castle and Hampton Court. In 
 1770 he was chosen high sheriff of Cam- 
 bridge and Huntingdon, and his son after- 
 wards represented the latter county. He 
 died suddenly in the street in London, 
 February 6, 1783. Hannah More extols 
 his great conversational powers. 
 
 BROAVN, Mather, history fainter. AVas 
 born in America ; it is supposed at Boston, 
 56 
 
 and that his father was a loyalist. He 
 came to England young, and was the pupil 
 of Benjamin West, P.R.A., whose pictures 
 were the objects of his intense admiration. 
 He pursued the study of his art with great 
 devotion and shared the public patronage 
 as a portrait painter. Erom 1782 up to 1831 
 he was an exhibitor at the Royal Academy, 
 and at the latter part of the time an occa- 
 sional contributor to Sufifolk Street. He 
 occupied a large house in Cavendish Square, 
 and among his sitters numbered George III. 
 and his queen, and some distinguished 
 officers of both services. He painted Holman 
 and Miss Brunton as ' Romeo' and 'Juliet,' 
 was consulted by Alderman Boy dell on his 
 scheme of the ' Shakespeare Gallery,' and 
 painted for that collection 'Bolingbroke 
 offering the Crown to Richard II.' He 
 painted some other subjects, which were 
 engraved, the best known of which is ' The 
 Marquis Cornwallis receiving as Hostages 
 the Sons of Tippoo Saib.' Later in life he 
 finished a ' Resurrection,' probably one of 
 his best works. He, however, never at- 
 tained excellence, though in the height of 
 his career he occasionally produced a por- 
 trait possessing some good art, and he was 
 prudent then to make some provision for the 
 future. In his latter days he became care- 
 less in his dress and person, poverty-stricken 
 in his appearance, and lost to the customs 
 of society. But he continued to labour at 
 his art, though without reward, accumulat- 
 ing historical pictures and portraits of all 
 classes, amused in happy self-satisfaction 
 in spite of surrounding critics. Leslie, R.A., 
 says that at this period he visited him, 
 and never saw a more miserable display of 
 imbecility. ' I thought,' he adds, ' of Gay's 
 ines — 
 
 " In dusty piles his pictures lay,^ 
 Eor no one sent the second pay." ' 
 
 He died in Newman Street at an advanced 
 age, June 1, 1831. He held the appoint- 
 ments of principal painter to H.R.H. the 
 Commander-in-Chief and to the Duke of 
 Clarence. 
 
 BROAVN, Peter, botanical painter. In 
 1766 he was a member of the Incorporated 
 Society of Artists, and the following year 
 was assisted from the Society's funds. He 
 first exhibited at the Academy in 1770, and 
 was for several years a constant exhibitor. 
 He tried several styles of art, but after 
 painting animals, birds, shells and insects, 
 and even a ' Holy Family ' in miniature, he 
 settled down as a flower painter about 1781,, 
 and was appointed botanical painter to the 
 Prince of Wales. His last contribution to 
 the Academy Exhibition w^as in 179L 
 
 BROWN, Richard, architectural drafts- 
 man. He devoted himself to the theory 
 and teaching of his profession. He first 
 
BRO 
 
 exhibited at the Academy an architectural 
 drawing in 1793, and continued to exhibit 
 works of this class. In 1811, 'Interior of 
 Chester Cathedral;' in 1826, 'Interior of 
 Exeter Cathedral ; ' the following year an 
 exceptional work, 'The Angel delivering 
 St. Peter out of Prison ;' and in 1828 his 
 last contribution was, ' A View of Exeter 
 Cathedral.' He published, in 1815, 'The 
 Principles of Practical Perspective;' in 
 1822, ' Kudiments of Drawing,' ' Cabinet and 
 Upholstery Furniture ;' in 1841, ' Domestic 
 Architecture ; ' and in 1845, ' Sacred Archi- 
 tecture.' 
 
 BKOWN, Egbert, decorative 'painter. 
 Born in London. Was the pupil and as- 
 sistant to Sir James Thornhill, working 
 under him upon the cupola of St. Paul's. 
 He was also assistant to Verrio and La 
 Guerre, and afterwards set up for himself, 
 nnd found employment in the decoration of 
 the City churches and as a sign painter. 
 The altar-piece of St. Andrew, Under shaft, 
 is by him ; as also some original paintings 
 in St. Botolph, Aldgate, and St. Andrew's, 
 Holborn ; but much of his work consisted 
 in painting crimson curtains and religious 
 emblems, which were then common. He 
 painted some portraits, and there are two 
 mezzo -tint engravings by McArdell after 
 children painted by him. He was the 
 master of Frank Hayman, R.A. He died 
 December 26, 1753. 
 
 BROWNE, Alexander, limner and 
 mezzo-tint engraver. He practised in the 
 reign of Charles II., and was also a dealer 
 in paintings. He engraved both in mezzo- 
 tint and with the needle. He painted, among 
 other portraits, Charles 11. , the Countess 
 Stewart, and the Prince of Orange. He 
 published, in 1669, ' Ars Pictoria ; or, An 
 Academy treating of Drawing, Painting, 
 Limning, and Etching,' illustrated with 31 
 etchings by his own hand; and in 1677? 
 ' A Compendious Drawing-book.' 
 
 BROWNE, John, A.E., landscape en- 
 graver. Erroneously stated by Bryan to 
 have been born at Oxford 1719, was born 
 at Finchinfield, Essex (of which parish his 
 maternal grandfather was vicar), April 26, 
 1741, six months after the death of his 
 father, who was rector of Booton, Norfolk. 
 He was educated at Norwich, and in 1756 
 was apprenticed to Tinney, the engraver and 
 printseller, in London, with whom he con- 
 tinued till 1761, completing his time with 
 AVoollett, who had been his fellow-appren- 
 tice, and remaining with him three years 
 after as his assistant. In 1768 he finished 
 a fine plate of 'St. John' after Salvator 
 Rosa, the figures by Hall, which at once 
 gave him distinction ; and in 1770 he was 
 elected associate engraver of the Royal 
 Academy, where he was an exhibitor from 
 1771 to 1783. On leaAnng Woollett he com- 
 
 menced a series of fine works after Rubens, 
 Poussin, Paul Brill, Both, Swannevelt, 
 and also executed two large worlds after 
 Hodges, R.A. ; all of which plates were 
 published by Alderman Boydell between 
 1768 and 1795. In 1796-98 he engraved 
 and published from his own drawings four 
 plates — 'Morning,' 'Evening,' 'After Sun- 
 set,' and ' Moonlight.' His other chief works 
 were from sketches by Gainsborough, R.A., 
 and a forest scene after Sir George Beau- 
 mont. He was the friend and neighbour of 
 his great rival in art William Sharp, while 
 residing in Lambeth, and died after a long 
 illness in West Lane, Walworth, October 2, 
 1801, leaving a widow with three sons and 
 a daughter. He was distinguished as an 
 etcher and engraver of landscapes ; his style 
 was bold and beautiful in its A^ariety — par- 
 ticularly in his foregrounds ; but his dis- 
 tances had a tendency to be heavy and 
 black — wanting gradation and air. 
 
 BROWNE, William, gem engraver. In 
 early life he was much employed by the 
 Empress of Russia, who appointed him her 
 ' gem sculptor.' He then resided for a time in 
 Paris (was there in 1788), and was patron- 
 ised by the Court of Louis XVI. On the 
 Revolution he quitted France and followed 
 his art in London, where he failed to receive 
 due appreciation. He exhibited at the 
 Royal Academy at intervals from 1770 to 
 1811, and then for the last time in 1823. 
 His contributions were classic heads, im,- 
 pressions and gems — ' Venus,' ' Hebe,' ' Dying 
 Gladiator,' ' Piety of <3Eneas J and later in 
 his career, a series of portraits of illustrious 
 persons, cut with spirit and feeling, many 
 of which are in the royal collection ; but 
 his best works were sent to Russia, are of 
 a high order, and are mostly distinguished 
 by his initials. He died in John Street, 
 Fitzroy Square, July 20, 1825, in his 77th 
 year. Charles Browne, who lived with him, 
 exhibited works of the same class from 
 1780 to 1789. Died June 1, 1795, aged 46. 
 
 BROWNE, J. C, A.R.S.A., landscape 
 painter. He was born in 1805, at Glasgow, 
 where he commenced his art studies. He 
 visited Holland, Flanders and Spain, and on 
 his return spent several years in London. 
 He then settled for a time in Glasgow, and 
 finally removed to Edinburgh. He usually 
 painted Scotch scenes — ' The last of the 
 Clan Glencoe, Dawn Morning of the Mas- 
 sacre,' 'The Ferry Rock,' 'The Desolate 
 Glen.' He died at Edinburgh, May 8, 
 1867. 
 
 BROWNOVER, T., portrait painter. He 
 practised about the beginning of the 1 8th 
 century. A portrait of Locke by him is 
 engraved. 
 
 BRUCE, Sir William, Bart., architect. 
 Was born in Scotland ; the second son of 
 the tjiird Baron of Blairhall. He was, in 
 
 67 
 
BRY 
 
 BUG 
 
 1G71, liis Majesty's surveyor and master 
 of tho kings works, and enjoyed a high 
 reputation. lie was engaged on the re- 
 storation of Holyrood Palace after the fire 
 in 1674. Ho built Hopetoun House, 1698- 
 1702— a noMo mansion, engraved in the 
 * Vitruvius Britiinnicus,' the elevation 
 sliowing both originality and taste. He 
 dieil 1710. 
 
 BKYER, Henry, engraver. He was a 
 pupil of W. Wynne Ryland, and afterwards 
 entered into partnership with him in the 
 sliop opened on Cornhill. He received, in 
 1762, the Society of Arts' premium for a 
 l)late — ' Mars discovered with Venus by 
 Vulcan ; ' but his engraved works are few — 
 some plates after Angelica KaufFmann and 
 a 'Bacchus and Ariadne.' He died 1799. 
 
 BUBB, J. G., sculptor. The monument 
 to AVilliam Pitt in the Guildhall, erected 
 1813, is by him. He carved the sculptures 
 for the front of the Custom House, and 
 modelled the terra cotta basso-rilievo in 
 the Haymarket front of the Opera House. 
 Ho exhibited at the Royal Academy, 1831, 
 'A Nymph leaving the Bath ; ' and there are 
 several busts by him. 
 
 BUCHAN, Henry David Stewart, 
 Earl of, amateur. Born 1699. He was 
 fond of engraving. There is a south view 
 of the cathedral at Icolmkill in aqua-tint 
 by him, dated 1761 ; and among his later 
 works are some portraits. These attempts 
 are respectable. He died December 1, 
 1767. 
 
 BUCK, Adam, portrait painter. Born 
 in Cork. Believed to have been self- 
 taught, but is said to have studied under 
 Minasi. He practised for several years in 
 Dublin, and first exhibited at the Academy 
 in 1796, contributing two marine drawings; 
 but his subsequent works were all portraits, 
 and he continued an exhibitor, with little 
 intermission, to 1833, when he appears for 
 the last time. His portraits were chiefly 
 drawn, small size, in wax crayons, and 
 slightly tinted ; but he also painted in oil 
 and miniature. His portraits evince no 
 power of grouping or composition, are 
 mostly in profile, and hard and without 
 feeling. He published, in 1811, a collec- 
 tion of 100 Greek vases, drawn and en- 
 graved from the originals by himself. His 
 brother, Frederick Buck, practised at 
 tlie same time as a miniature painter in 
 Cork. 
 
 BUCK, Samuel, engraver and topogra- 
 phical draftsman. Drew and engraved a 
 very large number of views, consisting of 
 churches, abbeys, castles, and other ruins ; 
 also views of tho principal towns in 
 England and Wales, with a large plate of 
 London ^ and AVcstminster. His works 
 were finished with tho graver in a stiff 
 manner: tlie backgrounds slightly etched ; 
 
 his drawings hasty and slight ; but in some 
 few instances, elaborately finished with pen 
 and ink, and tinted. He exhibited draw- 
 ings at the Spring Gardens Exhibitions in 
 1768,1 774-75, and two topographical views 
 at the Academy in 1775. He was in his 
 latter days in distress, and a liberal sub- 
 scription was made for him ; but he died 
 a few months after, on August 17, 1779, 
 aged 83. He was buried in St. Clement's 
 Churchyard, Strand. His works are known 
 as ' Buck's Views,' and are records of places 
 long since destroyed ; they are in three 
 volumes, and comprise 420 views of noted 
 ruins in England and Wales. 
 
 BUCK, Nathaniel, engraver. Brother 
 to the foregoing Samuel Buck, and his 
 partner and assistant in his topographical 
 works. Died many years before him. 
 
 BUCKLER, John Chesel, topographical 
 draftsman. Born at Culbourne, Isle of 
 Wight, November 30, 1770. He was 
 articled to an architect and surveyor in 
 Southwark, and on the expiration of his 
 articles commenced business for himself, and 
 practised for some years as an architect; 
 but is chiefly known as a topographical 
 draftsman. In 1 797 he published two aqua- 
 tint engravings of Magdalen College, Oxford, 
 and in 1799 a south-east view of Lincoln 
 Minster ; and in these beginnings origi- 
 nated his laborious and valuable work — 
 ' The English Cathedrals,' and contempora- 
 neously the finest of our collegiate and 
 abbey churches. He was confirmed in this 
 pursuit by a commission from Sir Richard 
 Colt Hoare to make drawings of the 
 churches and other ancient buildings in 
 Wiltshire ; and in the latter part of his life 
 he was similarly employed by antiquarians 
 in Buckinghamshire, Yorkshire, Oxford- 
 shire, and Hertfordshire. He exhibited at 
 the Royal Academy, from 1796 to 1840, 
 drawings of cathedrals and colleges, chiefly 
 of an antiquarian character; and from 1815 
 to 1820 drawings of the same class with the 
 Water-Colour Society. He published, in 
 1 809, aqua-tint engravings from his drawings 
 of some of the chief cathedrals and abbey 
 churches ; in 1822, his ' Views of the Cathe- 
 dral Churches of England ;' in 1826, 'Views 
 of Eaton Hall, Cheshire;' in 1827, 'Sixty 
 Views of Endowed Grammar Schools ;' in 
 1828, ' Historical and Descriptive Account 
 of the Royal Palace at Eltham;' in 1843, 
 'Remarks upon AVayside Chapels;' in 
 1847, ' History of the Architecture of the 
 Abbey Church of St. Alban.' He died at 
 Rockingham Row, New Kent Road, Decem- 
 ber 6, 1851, aged 81. 
 
 BUCKSHORN, Joseph, drapery and 
 portrait painter. Born in the Netherlands. 
 He settled in England in 1670 ; and was the 
 pupil and assistant of Lely, painting his 
 draperies and accessories, and copying his 
 
BUD 
 
 BUR 
 
 works with great skill. He also pftinted 
 portraits, imifciting Lely's manner, with 
 much ability. He died in London in his 
 35th year, and was buried in St. Martin's 
 Churchyard. Bardwell, in his work on 
 painting (1756), says, ' Buckshorn was one 
 of the last good copyers we have had in 
 England.' The copy of 'The Stafford 
 Family,' at Wentworth Castle, after Van- 
 dyke, is by him. 
 
 BUDB, G-EORGE, portrait and landsca'pe 
 fainter. He was bred a hosier, but left 
 that business and became a teacher of 
 drawing. He also painted landscapes, still- 
 life, and portraits. A portrait by him of 
 the so-called 'Patriotic Shoemaker,' who 
 maintained the right of way through Bushey 
 Park, was mezzo-tinted by McArdell in 
 1756. A painting by him is also engraved, 
 representing the execution of Lords Bal- 
 merino and Kilmarnock in 1746, with a 
 background of the Tower and surrounding 
 buildings, and the whole picture crowded 
 by a dense mass of small figures. 
 
 BULL. Samuel, medallist. Was engraver 
 to the Mint in the reigns of Anne and of 
 George 1. 
 
 BUNBURY, Henry William, amateur. 
 He was the second son of the Rev. Sir 
 W. H. Bunbury, Bt., of Mildenhall, Suf- 
 folk, and w^as born in 1750. Educated at 
 St. Catherine's Hall, Cambridge, he was a 
 good classic scholar. He was colonel of 
 the West Suffolk Militia, and was in 1787 
 appointed one of the Duke of York's 
 equerries, and constantly attended him at 
 court. Early distinguished by his taste 
 for drawing, he became celebrated as a 
 caricaturist, and was occasionally an 
 honorary exhibitor at the Royal Academy. 
 His drawings are marked examples of 
 harmless humour. His 'Long Minuet at 
 Bath,' 'Propagation of a Lie,' 'Barber's 
 Shop,' ' Country Club,' ' Hints to bad 
 Horsemen,' and 'Academy for grown Horse- 
 men,' are among his best productions. He 
 contributed to Boydell's ' Shakespeare ' and 
 Macklin's ' Poets ; ' but his art was essen- 
 tially caricature, and his higher attempts 
 were weak sentimentalities only. He was 
 an accomplished performer in private thea- 
 tricals. Died at Keswick, May 7, 1811. 
 
 BUNK, James, landscape and ornamental 
 painter. An obscure painter of landscapes, 
 still-life, candle-light effects, and figures 
 for the decoration of clocks, giving to them 
 mechanical movement. He exhibited in the 
 Free Society of Artists from 1766 to 1769, 
 and is supposed to have died soon after. 
 
 BUNNING, James Bunstone, architect. 
 Born October 9, 1802. He was the son 
 of a surveyor in London, was self-taught, 
 and began early in life to practise on his 
 own account. He was fortunate, on the 
 commencement of his career, in gaining the 
 
 appointment of surveyor to the Foundling 
 Hospital Estates. He first exhibited at 
 the Royal Academy in 1819, and continued 
 to be an occasional exhibitor. In 1837 he 
 gained, in competition, the erection of the 
 City of London School. In 1839 he was 
 appointed surveyor to the City Cemetery 
 Company, and afterwards to several other 
 institutions. In 1843 he gained the lucra- 
 tive office of architect to the Corporation of 
 London, ' clerk of city works,' and during 
 the 20 years he held the appointment he 
 carried out many extensive improvements. 
 Of his principal works may be named — the 
 City School, the Orphan School, Billings- 
 gate Market, the Coal Exchange, the City 
 Prison, Holloway, Islington Cattle Market, 
 Rogers' Almshouses, Brixton ; the City 
 Lunatic Asylum. He had amassed a con- 
 siderable property, and died November 2, 
 1863. 
 
 BURCH, Edward, R.A., sculptor and 
 medallist. He was born in London, and 
 originally studied in the St. Martin's Lane 
 Schools. In 1769 he was admitted a stu- 
 dent of the Royal Academy, where he 
 became noted for the great delicacy, truth, 
 and finish shown in his studies. He exhi- 
 bited at Spring Gardens, in 1765, 'Heads 
 from the Antique,' and first at the Academy 
 in 1770 ; and from that time continued a 
 contributor of models in wax, casts from 
 gems, intaglios, classical heads, and por^ 
 traits in wax. He was elected an asso- 
 ciate of the Academy in 1770 and a full 
 member in 1771, and was afterwards ap- 
 pointed librarian. As a gem engraver he 
 was unrivalled in his day. Early in his 
 career he married a lady of great beauty, and 
 from that time he devoted himself to minia- 
 ture painting, and exhibited for the first 
 time a miniature enamel in 1792. He 
 painted a portrait of Mrs. Fitzherbert, the 
 last for which she sat; and of Mary, 
 Duchess of Gloucester. George III. sat to 
 him for a bust. He lived to an advanced 
 age, became nearly blind, and died at 
 Brompton sometime before 1840. 
 
 BURFORD, Robert, panorama painter. 
 He was known as the painter and proprietor 
 of the panoramas exhibited in Leicester 
 Square and in the Strand. He commenced 
 these works in 1827, visited several of the 
 European capitals to make sketches for 
 them, and was engaged upon them for the 
 greater part of his life. He died Januar}^ 30, 
 1861, aged 69. 
 
 BURFORD, Thomas, mezzo-tiut en- 
 graver. Born about 1710. His best works 
 are portrait, and were executed towards 
 the middle of the 18th century, some of 
 them from the life ; but he also engraved 
 some landscapes and hunting subjects. He 
 was a member of the Incorporated Society 
 of Artists, and died in London about 1770, 
 
 59 
 
BUR 
 
 BUR 
 
 BURGESS, Jons Cart, Jlowcr pa'mter. 
 Ho pjiinted, in water-colours, flowers, and 
 occiisionally a landscape, and exhibited at 
 tlio Royal Aaidemy and at Suffolk Street ; 
 but the necessities of a large family com- 
 pelled him to devote much of his time to 
 teaching. He published 'The Art of 
 Flowor-painting' and a ' Treatise on Per- 
 spective.' He died at Leamington, Feb. 20, 
 I860, in his 65th year. 
 
 BURG-ESS, Thomas, portrait painter. 
 Was a student in the St. Martin's Lane 
 Aciidemy, and in 1766 a member of the 
 Incorporated Society, and contributed ^ to 
 its exhibitions portraits, academy studies, 
 conversation-pieces, &c. In 1778 he was 
 iving in Kemp's Row, Chelsea, and for the 
 first time exhibited at the Royal Academy, 
 
 * William the Conqueror dismounted by his 
 eldest Son,' ' Hanpibal swearing enmity to 
 the Romans,' and ' Our Saviour's Appear- 
 ance to Mary Magdalen.' He afterwards 
 sent a portrait of himself, some landscapes, 
 and, in 1786, 'The Death of Athelwold,' 
 his last contribution to the Academy. He 
 for some time kept an art academy in 
 Maiden Lane, and was reputed for his 
 
 eaching. 
 
 BURGESS, William, portrait painter. 
 In 1761 he gained a premium at the So- 
 ciety of Arts. He exhibited portraits and 
 conversation-pieces with the Free Society 
 of Artists in 1769 and 1771, and at the 
 Academy, commencing in 1774, portraits in 
 chalk, small whole-lengths, groups, ' Gipsey 
 Boy and Girl,' and occasionally landscape 
 views. He last exhibited in 1799. His 
 principal occupation was, however, as a 
 teacher of drawing. He died in Sloane 
 Square, Chelsea, May 11, 1812, aged 63. 
 
 BURGESS, Thomas, landscape painter. 
 First appears as an exhibitor at the Aca- 
 demy in 1802, when he contributed ' Market 
 Gardener s House at Walham Green ; ' in 
 1803, ' Landscape and Flowers;' in 1804, 
 
 * Ruins of a Fire in Soho ; ' and in 1805 and 
 1806, 'Derbyshire and Devonshire Views.' 
 His works were of much promise. He died 
 at the age of 23, in Sloane Square, Chelsea, 
 November 23, 1807. 
 
 BURGESS, AViLLiAM, engraver. He 
 practised about the end of the 18th cen- 
 tury. There is by him a set of prints of 
 the Lincolnshire churches, and of Lin- 
 coln and Ely Cathedrals. While following 
 his profession as an artist, he was for 20 
 years the pastor of a Baptist congrega- 
 tion. He was also the writer of a contro- 
 versial pamphlet on the works of Dr. Adam 
 Clark. He- died suddenly, at Fleet, Lin- 
 colnshire, December 11, 1813, in his 59th 
 year. 
 
 BURGESS, William Oakley, mezzo-tint 
 engraver. Son of the parish surgeon of 
 St. Giles-in-the-Fieldg. Pupil of Lupton, 
 60 
 
 under whom he continued till his 20th 
 year, and acquired by his earnest applica- 
 tion much delicacy in his art. He engraved 
 a fine portrait of the Duke of Wellington, 
 after Sir Thomas Lawrence, P.R.A., and 
 had commenced a series of Lawrence por- 
 traits, giving great promise of excellence, 
 when he died prematurely, December 24, 
 1844, aged 26, from an abscess in the head, 
 attributed to a blow from a cricket -ball 
 some years before. 
 
 BUEGH, H., engraver. Practised in 
 London about the middle of the 18th cen- 
 tury. He was principally employed by the 
 booksellers in engraving portrait frontis- 
 pieces. 
 
 BUKGHERS, Michael, engraver and 
 draftsman. Born in Holland. Came to 
 England on the taking of Utrecht by 
 Louis XIV., and settled at Oxford. He 
 engra.ved the first Oxford almanack, 1676, 
 and the greater part for the first 47 years. 
 He drew and engraved the illustrations for 
 Dr. Plott's ' History of Staffordshire,' 1686, 
 and for Dr. White Kennett's ' History of 
 Ambroseden,' and engraved many portraits. 
 He worked almost wholly with the graver, 
 and with great neatness, but in a dry. stiff 
 manner. 
 
 BURKE, Thomas, engraver. Born in 
 Dublin 1749. Was pupil of Dixon, the 
 mezzo-tint engraver, and practised both 
 in that and in the chalk manner. He 
 principally engraved after contemporary 
 painters, and his works were highly es- 
 teemed. Among his best are those after 
 Angelica Kauflfrnann, R.A. : ' Telemachus at 
 the Spartan Court,' 1778, and ' Andromache 
 at Hector's Grave ; ' ' The Battle of Agin- 
 court,' after Mortimer ; ' The Nightmare,* 
 after Fuseli, E.A., 1783 ; and ' Lord North,' 
 after Dance, R.A. He died in London, 
 December 31, 1815. 
 
 BURLINGTON, Richard Boyle, Earl 
 of, amateur . Born April 25, 1695. He 
 early and enthusiastically studied archi- 
 tecture. At the age of 20 he visited Rome, 
 and was distinguished for his genius and 
 the zeal he displayed in the patronage of 
 art as well as for the sums he expended 
 on publications more particularly tend- 
 ing to the improvement of architecture. 
 The Bath-house at Chiswick, commenced 
 about 1717, was his first work. The 
 fagade of Burlington House, Piccadilly, 
 and the colonnade within the court, both 
 now pulled down, were said to have been 
 from his own designs, though the centre 
 gateway, the principle feature in the fagade^ 
 is described in the ' Vitruvius Britannicus ' 
 as designed by Colin Campbell. He built 
 in 1729 an Italian villa at Chiswick, in imi- 
 tation of a Palladian design, to which 
 James Wyatt added two wings ; also the 
 dprmitory of the Westminster School ; 
 
BUR 
 
 BUR 
 
 the Assembly Eooms at York— two large, 
 
 handsome rooms, in the Corinthian order, 
 without any variety in form, and of very 
 inconvenient access. Lord Harrington's 
 house at Petersham ; the Duke of Eich- 
 mond's house at Whitehall, which occupied 
 the site of Kichmond Terrace ; and General 
 Wade's house in Cork Street, Saville Row, 
 were also designed by him. Lord Chester- 
 field wittily said of this house, which was 
 not celebrated for its interior arrangements, 
 that 'as the owner could not live in it with 
 comfort, he had better take a house opposite 
 and look at it.' He died December 4, 1753. 
 
 BURLOWE, Henry Behnes, sculptor. 
 Was the brother of Behnes, the sculptor, 
 and following the same art took the name 
 of Burlowe, as distinctive. He exhibited 
 busts at the Academy in 1831-32-33. He 
 afterwards went to Rome, where he was 
 much employed as a bust modeller. On 
 the memorable outbreak of cholera he re- 
 solved to take his chance in the city, and 
 was found in his solitary lodgings, unat- 
 tended, unassisted, and dying, by a kind 
 artist friend, whose hurriedly sought help 
 was all too late. He died of that terrible 
 scourge in August 1837. He was original 
 in his art and of much promise. 
 
 BURMAN, Thomas, sculptor. Practised 
 in the reign of Charles II. Did not attain 
 any excellence, and is chiefly known as the 
 master of Bushnell. He died March 17, 
 1673-74, aged 56, and was buried at 
 St. Martin-in-the-Fields. 
 
 BURN, William, architect. He was born 
 in Edinburgh, December 20, 1789. He was 
 the son of a builder and surveyor, who sent 
 him to London in 1808, as a pupil of Sir 
 Robert Smirke. Returning to Scotland, 
 his earliest commission of any importance 
 was the Custom House at Greenock. He 
 settled in Edinburgh, and devoting himself 
 to domestic architecture, became reputed 
 for the comfort and convenience of his 
 designs. After 28 years' practice there, his 
 connections gradually extended to England, 
 and he came to reside in London in 1844. 
 During a long career he executed a long 
 list of works in various styles of art, in 
 both England and Scotland, including 
 several churches, hospitals, and county 
 buildings, the Theatre Royal, Edinburgh, 
 and the residence of the Duke of Buccleugh 
 at AVhitehall, one of his last works. He 
 died in London, February 15, 1870, and was 
 buried in the Kensal Green Cemetery. 
 
 BURNET, John, engraver and painter. 
 He was born near Edinburgh, March 20, 
 1784; the son of the surveyor-general of 
 excise for Scotland. It has been said that 
 he was descended from a brother of Bishop 
 Burnet, but this is proved to be an error. 
 A passion for drawing led to his appren- 
 ticeship to Robert Scott, a landscape en- 
 
 graver, practising in Edinburgh, and he 
 
 improved himself as a student in the Trus- 
 tees' Academy. Here his tastes led him to 
 painting, and incited by the success of his 
 friend and fellow-student AVilkie, he worked 
 early and late during his apprentice years, 
 and gained a knowledge of the figure ; and 
 then seeking distinction in a wider field, 
 having completed his term of apprentice- 
 ship, he set out in a Leith smack for 
 London in 1806, and arriving with only a 
 few shillings in his pocket, he was warmly 
 received by Wilkie. He first found em- 
 ployment as an engraver on the illustrations 
 for Britton and Brayley's ' England and 
 Wales,' Mrs. Inchbald's ' British Theatre/ 
 and Cooke's ' Novelists.' 
 
 But he desired to be employed on some 
 more ambitious work; and in 1810 made a 
 successful engraving, the size of the picture, 
 of Wilkie's 'Jew's Harp.' This was the 
 foundation of his reputation, and was fol- 
 lowed by the same painter's 'Blind Fiddler,' 
 which was highly popular ; and encouraged 
 by the notice he had gained, he visited 
 Paris at the peace of 1815, and for nearly 
 five months was a constant student in the 
 Louvre. Soon after he engraved for 
 Foster's ' British Gallery,' Metzu's ' Letter 
 Writer,' and Rembrandt's ' Salutation of 
 the Virgin.' Anxious to support the school 
 of line engraving, he joined the Associated 
 Engravers, and executed for the Association 
 Rembrandt's ' Jew,' ' Nativity,' and ' Cruci- 
 fixion.' He also engraved, after Atkinson, 
 ' The Battle of Waterloo,' and the same 
 subject after Devis. His best works were, 
 however, after his friend Wilkie, who was 
 fortunate in his clever renderings of ' The 
 Reading of the Will,' ' The Rabbit on the 
 Wall,' ' Chelsea Pensioners reading the 
 Gazette of the Battle of Waterloo,' ' The 
 Letter of Introduction,' ' The Death of 
 Tippoo Saib,' 'The Village School'— in 
 which the character and humour of the 
 painter were admirably maintained. Yet 
 his work was defective in beauty of line ; 
 had an appearance of blackness ; was heavy; 
 wanting in sparkle and brilliance. 
 
 His repute does not, however, rest alone 
 on his engraving ; he was a painter and a 
 writer on art. He first exhibited at the 
 Royal Academy, in 1808, ' The Draught 
 Players;' in 1818, 'The Humorous Bal- 
 lad ;' in 1 823, 'A Windy Day ; ' and on some 
 few occasions at the British Institution, 
 sending there in 1837 his ' Greenwich Hos- 
 pital and Naval Heroes,' painted on a 
 commission from the Duke of Wellington 
 as a companion for Wilkie's ' Chelsea Pen- 
 sioners ' — a difficult task, which resulted in 
 his best picture. The above works he en- 
 graved, and also, from his own paintings, 
 'Christmas Eve,' 1815; 'The Valentine,' 
 1820. His writings on art ar numerous, 
 
 61 
 
BUR 
 
 BUS 
 
 and he will probably be remembered by 
 his criticisms and opinions rather than his 
 art. He published, in 1827, ' A Practical 
 Treatise on Painting, in Three Parts : Com- 
 position, Chiaroscuro, and Colouring;' in 
 1837, ' An Essay on the Education of the 
 Eye, with reference to Painting ; ' in 1848, 
 ' Practiced Essays on various Branches of 
 the Fine Arts, and an Enquiry into the 
 Practice and Principles of Sir David 
 Wilkie, R.A. in 1849, ' Landscape Paint- 
 ing in Oil-Colours Explained' and 'Rem- 
 brandt and his Works ; ' in 1850, ' Practical 
 Hints on Portrait Painting;' in 1852, 
 
 • Turner and his Works, illustrated by 
 Examples ; ' and in 1854, ' The Progress of 
 a Painter in the 19th Century.' In 1860 
 he was granted a pension on the Civil list, 
 and retired to Stoke Newington, where he 
 passed the last six years of his life, in 
 straightened circumstances, and died on 
 April 29, 1868, aged 84. 
 
 BURNET, James M., landscape painter. 
 Brother to the above. He was born at 
 Musselburgh 1788. He early showed a 
 taste for art, and was placed under a wood 
 carver, studying also at the Trustees' Aca- 
 demy ; but was soon tempted to art, and 
 sending some specimens of his drawings to 
 his brother, then in London, without wait- 
 ing for a reply he started for the great 
 metropolis in 1810, determined to devote 
 himself to art. Charmed with Wilkie's 
 ' Blind Fiddler,' which he found his brother 
 then engraving, he was led by it to the 
 study of the Dutch masters, and the art 
 which he afterwards followed. Taking up 
 his residence at Chelsea, he haunted the 
 neighbouring pasture-lands at Battersea and 
 Fulham, devoting himself to the study of 
 rural nature. In 1812 he first appears as 
 an exhibitor at the Royal Academy of 
 
 * Evening : Cattle returning Home ; ' in 
 1813 he sent 'Mid-day' and 'The Return 
 in the Evening ;' in 1814, ' Early Morning' 
 and ' The Ploughman returning Home ; ' 
 in 1816, two works of the same class, his 
 last contributions. Of weak health, he was 
 attacked with consumption, and removing 
 for purer air to Lea, in Kent, died there 
 July 27, 1816, and was buried in the ad- 
 jacent churchyard at Lewisham. He was 
 of great promise ; he had a true feeling 
 for the rural and picturesque ; his pictures 
 were rich and brilliant in colour, luminous 
 and powerful in effect. 
 
 BURNEY, Edward Francis, portrait 
 and subject painter. He was born near 
 Worcester, of a good family, in September 
 1760. Sent to London to study in 1776, he 
 was admitted to the schools of the Royal 
 Academy, and gained the friendship of Sir 
 Joshua Reynolds. He first appears as an 
 cxliibitor at the Academy in 1780, con- 
 tributing three sketches from 'Evelina' 
 62 
 
 and from that time exhibited portraits, with 
 occasionally a domestic subject ; but, of re- 
 tired habits, he did not continue portraiture, 
 and after 1793, when he sent some illustra- 
 tions for ' Telemachus,' he ceased to exhibit. 
 He made, in conjunction with Catton, jun., 
 some designs for Gay's 'Fables,' and de- 
 voting himself to book illustration he be- 
 came popular, and his designs were inlaid 
 in work-boxes and other feminine trifles. 
 His designs were clever and imaginative, 
 made with the pen, and slightly tinted. 
 He painted a good half-length portrait of 
 his relative Madame d'Arblay, which is 
 engraved as a frontispiece to her works. 
 He continued till late in life to visit the 
 schools of the Academy. He died in Wim- 
 pole Street, London, December 16, 1848, in 
 his 89th year. 
 
 BURROUan, Sir James, Knt., LL.D., 
 amateur. Was master of Gonville and 
 Caius College, Cambridge, in 1747, and ap- 
 pljdng himself to architecture, he attained 
 some proficiency. He was consulted upon the 
 designs of the University buildings erected 
 during his time. The chapel at Clare Hall 
 is reputed to have been built after his 
 designs, but it has not much claim to ori- 
 ginality. He designed the Corinthian altar- 
 screen erected in Canterbury Cathedral in 
 1720, and since removed. Died August 7, 
 1764. 
 
 BURT, Albin R., engraver. Was a 
 pupil of Thew, and was turned over to 
 Benjamin Smith, but not excelling as an 
 engraver, he became an itinerant portrait, 
 or rather face, painter — for his art did not 
 go farther — and by his industry saved 
 money. He painted many persons of emi- 
 nence, but took persons of all classes, and 
 associated with all without loss of self- 
 respect. His mother had known the cele- 
 brated Lady Hamilton when a barefooted 
 girl in Wales, and he produced a great ugly 
 print of her as ' Britannia unveiling the 
 Bust of Nelson,' for which she secured him 
 a good list of subscribers. He died at 
 Reading, March 18, 1842, aged 58. 
 
 BUSBY, Charles A., architect. He was 
 a successful student in the schools of the 
 Academy, and in 1807 gained the gold 
 medal for an architectural design. He had 
 been an exhibitor from 1801. He appears 
 to have gained employment, and about 
 1823 to have settled at Brighton, where 
 he was engaged in the design and erection 
 of the buildings at Portland Place and West 
 Cliff. After 1814 he only exhibited at the 
 Academy at long intervals, and for the last 
 time in 1830. 
 
 BUSHE, Letitia, amateur. She was 
 skilled as a miniature painter. There is a 
 good miniature of her, painted by herself, 
 engraved for Lady Llanover's ' Mrs. Delany.* 
 She died in Ireland about 1757. 
 
BUS 
 
 B YR 
 
 BUSHELL, Thomas, mcdallifit. An ex- 
 cellent die engraver of the 17th century. 
 He is supposed to have produced the die 
 for the remarkable medal bearing the like- 
 ness of the Lord Chancellor Bacon. 
 
 BUSHNELL, John, sculptor. He was a 
 pupil of Burman, and left England in dis- 
 gust, his master having frightened him into 
 marrying a servant girl whom he had him- 
 self seduced. After studying two years in 
 France he travelled to Italy, and resided 
 some time in Rome and Venice. On his 
 return to England he executed statues for the 
 Koyal Exchange of Charles I., Charles II., 
 and Sir Thomas Gresham, works which 
 gained him credit for much proficiency in 
 art. The kings introduced in Temple Bar 
 are by him, also Cowley's and Sir Palmer 
 Fairbourn's monuments in "Westminster 
 Abbey. His statue of Lord Mordaunt in 
 Roman costume at Fulham was looked upon 
 as a classic performance. He was caprici- 
 ously jealous, and refused to complete a set 
 of kings for the Gruildhall, though he had 
 begun several, because Cibber, his rival, 
 was also employed. To confute the opinion 
 that he could not model undraped figures, 
 he undertook a nude statue of Alexander 
 the Great, which was a failure, and he 
 commenced a large model in wooden-frame 
 work, to be covered with stucco, to demon- 
 strate the probability of the Trojan Horse, 
 but his unfinished work was blown down 
 by the wind, and so far damaged that he 
 had not courage to recommence it. He had 
 purchased an estate in Kent, which he lost 
 by a law suit ; and this, with the failure of 
 other schemes, overset his disordered brain, 
 and he died insane 1701. He was buried 
 in Paddington Church. He left a daughter 
 and two sons. Walpole tells that his sons, 
 to whom he had bequeathed a sufficient 
 maintenance, shut themselves up in an un- 
 finished house and saw no one, grumbling 
 that the world had not been worthy of their 
 father. 
 
 BUTLER, William Deane, architect. 
 He was a pupil of Beazley and settled in 
 Dublin, where he practised nearly 40 years. 
 He built the Roman Catholic Church at 
 Roscrea and at Monasteverin, two important 
 Gothic edifices ; the new cathedral at Kil- 
 kenny ; the railway stations at Dublin and 
 Drogheda ; and the market-place in Sack- 
 ville Street, Dublin. He held the appoint- 
 ment of architect to the Lord Lieutenant. 
 His art was much esteemed in Ireland. He 
 died suddenly at Dublin, November 28, 
 1857, well advanced in years.* 
 
 BUTTS, John, landscape painter. He 
 was born at Cork, where he was brought 
 up, and early in life took to landscape paint- 
 ing, without much help in the pursuit of his 
 art. He painted compositions in the man- 
 ner of Claude, introducing figures, but far 
 
 from mere imitations. For a time he was a 
 scene painter, and suffering many distresses, 
 did anything, even signs and coach-panels, to 
 supply the wants of a large young family. 
 Barry, R.A., his friend and fellow-citizen, 
 writes of him from Rome : * I am, indeed, 
 sensibly touched with the fate of poor Butts, 
 who, with all his merit, never met with any- 
 thing but cares and misery, which, I may say, 
 hunted him into his very grave.' His works 
 showed great breadth and harmony of co- 
 lour. His cares may be accounted for — he 
 fell into the hands of a dealer in Dublin 
 when about 30 years of age, shared an attic 
 with him, spent his gains in whisky, and 
 his vices soon terminated his career. He 
 died 1764. 
 
 B YER, Nicholas, portrait pain ter. Born 
 at Drontheim, Norway. Painted both his- 
 tory and portrait. Was employed for three 
 or four years by Sir William Temple, at 
 Sheen, Surrey. Several persons of distinc- 
 tion and some members of the royal family 
 sat to him, and he was reputed a good 
 painter. He died at Sheen in 1681, and was 
 the first person buried at St. Clement Danes 
 after the rebuilding of the church. 
 
 BYFIELD, Ebenezer, wood engraver. 
 Executed the fine woodcuts for Dibdin's 
 ■ ' Decameron,' a costly work, published in 
 1817, and died before its publication. 
 
 BYFIELD, John, wood engraver. 
 Brother of the above Ebenezer. He at- 
 tained much reputation as a wood engraver, 
 and, assisted by Mary Byfield, his sister, 
 engraved the woodcuts for an edition of 
 Holbein's ' Icones Veteres Testamenti,' pub- 
 lished 1830 ; and, in conjunction with 
 Bonner, ' The Dance of Death,' published 
 1833. He also engraved for an illustration 
 of Gray's 'Elegy,' published 1835. 
 
 BYFIELD, Geobge, architect. From 
 1780 till his death he was a constant ex- 
 hibitor at the Academy, his designs and 
 the works on which he was employed sel- 
 dom going beyond a villa, a country seat, 
 or a park entrance. He died in Craven 
 Street, Strand, August 9, 1813, in his 58th 
 year. 
 
 BYl^GjlR,., portrait painter. He assisted 
 Kneller in painting his backgrounds and 
 draperies. Some portraits by him in the 
 reign of William III. are engraved. He 
 practised for a time at Salisbury. 
 
 BYRES, James, architect. He was es- 
 tablished at Rome about 1770, and pro- 
 moted the inclination of his countrymen to 
 purchase antique sculpture. 
 
 BYRNE, William, landscape engraver. 
 Born in London 1743. He was educated at 
 Birmingham under his uncle, a native of 
 Ireland, an engraver of arms on plate. Ho 
 attempted an engraving of the ' Villa Ma- 
 dama,' after Wilson, R.A., for which, in 
 1 1765, he gained the Society of Art^^' medal. 
 
 63 
 
BTR 
 
 BYR 
 
 Thus encouraged, he studied landscape en- 
 graving, and went to Paris, then the chief 
 school of engraving, and was the pupil of 
 Aliamet, and afterwards of Wille. On his 
 return to England he became a member of 
 the Incorporated Society of Artists. He 
 studied from nature, and formed his own 
 style. His larger works are after Zucca- 
 relli and Both ; but his best examples will 
 be found in * The Antiquities of Great Bri- 
 ti in,' after Hearne ; 'Views of the Lakes,' 
 after Farington, R.A. ; and ' The Scenery 
 of ItJily,' after Smith. His chief excel- 
 lence was in his aerial perspective and the 
 general effect of his light and shade. His 
 skies were put in by hand, and were noted 
 for their beauty of finish. His pupils — in 
 his later years his own son and daughters — 
 were employed in the etching, and he occu- 
 pied himself more in the finishing of his 
 plates. He died in Titchfield Street, Sep- 
 tember 24, 1805, and was buried at Old 
 St. Pancras's Church. 
 
 BYKNE, Anne Frances, flower painter. 
 Eldest daughter of the foregoing William 
 Byrne. She was born in London in 1775, 
 and in her early life was chiefly engaged 
 in teaching ; but renouncing this more lu- 
 crative practice, she devoted herself to 
 painting, and acquired great skill in water- 
 colours. In 1806 she was elected an asso- 
 ciate exhibitor of the AVater-Colour Society, 
 and in 1809 to full membership. On the 
 change made in the constitution of the 
 Society in 1813 she withdrew from it ; but 
 in 1820 was an exhibitor, and in the follow- 
 ing year she rejoined the Society as a mem- 
 ber. She occasionally exhibited a flower- 
 piece at the Academy, commencing in 1796, 
 and sent her last work in 1820. Her flowers 
 were well grouped, and with great richness 
 of colour combine a charming freshness ; but, 
 with the exception of a bird exhibited on 
 one or two occasions, her art was confined to 
 fruit and flowers. She died January 2, 1837. 
 
 BYRNE, Letitia, engraver. Third daugh- 
 ter of the foregoing William Bj^rne. Born 
 November 24, 1779. She exhibited land- 
 scape views at the Academy, commencing 
 1799. Her last work exhibited was 'From 
 Eton College Play-fields,' 1822. She etched 
 the illustrations for ' A Description of Tun- 
 bridge Wells,' 1810; and engraved four 
 views for Hakcwell's ' History of Windsor.' 
 
 She also engraved for * White-Knights,' the 
 Duke of Marlborough's seat ; but was best 
 known by her skilful etchings. She died 
 May 22, 1849, and was buried at the Kensal 
 G-reen Cemetery. 
 
 BYRNE, John, water-colour painter. 
 Was born in 1786; the only son and 
 youngest child of William Byrne, the en- 
 graver, whose profession he followed at the 
 commencement of his career, some of his 
 best engravings being produced for Wild's 
 ' Cathedrals.' He exhibited at the Academy, 
 in 1822, 'A Scene in Moor Park,' and the 
 following year ' London from Hampstead 
 Heath,' and afterwards turning to landscape 
 art, practised as a water-colour painter ; 
 and from 1826 to 1846 was an 'associate 
 exhibitor ' of the Water-Colour Society and a 
 constant contributor to the Society's Exhi- 
 bitions. He also, from 1830 to 1833, con- 
 tributed views in Wales to the Academy 
 Exhibitions. Setting off about 1832, he 
 travelled in Italy for three years, passing 
 that time in a careful study both of nature 
 and the great Italian painters ; on his return 
 he exliibited, in 1838 and up to 18.43, 
 Italian views at the Royal Academy, in the 
 latter year two Welsh views in oil. His 
 works at the Water-Colour Society during 
 the same period comprised many views of 
 the ancient Welsh border castles and ruins. 
 His ' View of Twickenham, on the Thames,' 
 exhibited in 1830, and now in the Water- 
 Colour Gallery at the South Kensington 
 Museum, is a good example of his art. He 
 was a carefu.1 imitator of nature, finishing 
 his works with great power and truth, in- 
 troducing animals with good effect, and 
 pleasing in his tone of colour. He died 
 March 11, 1847, and was buried at the 
 Kensal Green Cemetery. 
 
 BYRNE, Charles, miniature jpainter. 
 Was born in Dublin about 1810, and for 
 some time practised his art in London. He 
 was constitutionally eccentric and capri- 
 cious, and his infirmity ended in confirmed 
 insanity. He died in Dublin. 
 
 BYRON, William, Lord, amateur. He 
 was a pupil of P. Tillemans, and excelled 
 as an etcher. He copied Rembrandt 
 closely, and there is a good imitation of 
 ' The Three Trees ' by him. His portrait 
 of the first Earl de la Warr is engraved. 
 He died August 8, 1736. 
 
 G4 
 
c 
 
 CABALIEEE, John, Tniniature painter. 
 Began life as a wine merchant in Bond 
 Street, but had a talent for art, and was 
 distinguished by his skill as a miniature 
 painter. He died June 12, 1780. 
 
 CABANEL, KuDOLPH, architect. Was 
 born at Aix-la-Chapelle in 1762. He came 
 to England early in life, and settled in 
 London, where he was employed in the 
 construction of several theatres. He de- 
 signed the arrangements of the stage of the 
 old Drury Lane Theatre, the Koyal Circus, 
 afterwards called the Surrey Theatre, 1805 
 (since burnt down), and the Cobourg The- 
 atre, 1818. He died February 4, 1839. 
 
 CALDWALL, John, miniature fainter. 
 Born in Scotland, where he practised with 
 much reputation, and died February 1819. 
 
 CALDWALL, James, engraver and 
 draftsman. Brother of the above. Born in 
 London 1739. Was a pupil of Sherwin. 
 He is chiefly known by his portrait en- 
 gravings, the dates of which extend to 
 1780. He engraved also 'The Camp at 
 Coxheath,' after Hamilton ; Mrs. Siddons 
 as the ' Grecian Daughter;' the 'Apotheosis 
 of Grarrick ; ' and some fine portraits ; also 
 some of the plates for Cook's ' Voyages ' and 
 Boydell's ' Shakespeare.' He survived his 
 brother. He practised in the line manner, 
 and used the etching needle largely. His 
 drawing was good, his work powerful, the 
 drapery beautifully and brilliantly treated. 
 He exhibited engravings with the Eree 
 Society of Artists from 1769 to 1776. 
 
 CALLCOTT, Sir Augustus Wall, Knt., 
 RA., landsca'pe 'painter. Was born at 
 Kensington, February 20, 1779. He was 
 brother to the distinguished musician. 
 Dr. Callcott, and commenced life himself 
 in the choir at Westminster Abbey ; but, 
 tempted to try his hand at portrait paint- 
 ing, his success induced him to take up 
 that art, though for some time he pursued 
 music and painting together. He was a stu- 
 dent of the Academy, and under the tuition 
 of Hoppner, E.A. ; and in 1799 he exhi- 
 bited at the Eoyal Academy his first por- 
 trait, and thenceforth followed art. In 1 801 
 he exhibited two portraits and a landscape 
 view of Oxford, and soon found the true 
 bent of his genius, for after 1803 his exhi- 
 bited works were for many years exclusively 
 landscapes. In 1806 he had fully con- 
 firmed the expectations raised by his first 
 works. He was looked upon as a very 
 rising painter of the landscape school, and 
 in that year was elected an associate of 
 the Royal Academy. He continued to paint 
 
 English landscape, chiefly river and coast 
 scenery, with increasing reputation ; and in 
 1810 he gained his election as full member 
 of the Academy. 
 
 Commissions came freely upon him, but 
 he was not a rapid painter ; his work was 
 conscientiously and studiously laborious, 
 and in the 10 years— 1813-22 — he only 
 exhibited seven of his works at the Royal 
 Academy. In 1827 he married the widow of 
 Captain Grraham, R.N., a lady well known 
 by her literary abilities, and with his wife 
 set off for a Continental tour. His subjects 
 up to this time had continued of the same 
 class, with one or two Dutch coast scenes, 
 but in 1830 he commenced his Italian land- 
 scapes. In 1837 he painted a life-size 
 subject picture of ' Raphael and the Forna- 
 rina,' and the same year received the honour 
 of knighthood. In the following year he 
 produced another large work, ' Milton dic- 
 tating to his Daughters.' In 1844 he was 
 appointed surveyor of the royal pictures, 
 an office for which he was well fitted, but 
 which he did not long enjoy. His health 
 had been for some time failing. His wife 
 died in 1842, and he then showed increased 
 feebleness and marks of suffering, and died 
 at Kensington, November 25, 1844, aged 
 65. He was buried at the Kensal Green 
 Cemetery. 
 
 His early English and Dutch landscapes 
 were among his best works. They show 
 great richness and purity of tone and colour, 
 with a thorough feeling for English nature. 
 His Italian landscapes charm by their 
 tasteful composition and classic rendering. 
 Claude-like they have been called, but are 
 purely original. He will always rank as 
 one of the eminent landscape painters of 
 the English school, representing with much 
 refinement and poetry nature in her most 
 placid and gentle moods. In his private 
 life he was amiable and greatly esteemed, 
 generous and unprejudiced in all that 
 related to his profession. 
 
 CALVERT, Frederick, topographic 
 draftsman. Published, in 1815, four of his 
 own drawings of the Interior of Tintern 
 Abbey, and ' Lessons on Landscape colouring, 
 shadowing, and pencilling;' in 1822, a series 
 of lithographic drawings, ' The Forest Illus- 
 trated;' in 1830, 'Picturesque Views in 
 Staffordshire and Shropshire' — 39 plates. 
 He also contributed some papers in the 
 ' Archaeological J ournal.' 
 
 CALVERT, Charles, landscape painter^ 
 Born September 23, 1785, at Glossop Hall, 
 Derbyshire, where his father was agent for 
 
 65 
 
CAM 
 
 CAN 
 
 the Duke of Norfolk's estate. He served 
 an apprenticeship in Manchester, and com- 
 menced business as a cotton merchant, but 
 soon relinquished this to follow the more 
 genial pursuit of art. He devoted himself 
 to landscape painting, practising both in oil 
 and water-colour, and was instrumental in 
 founding the Royal Manchester Institution, 
 from which he gained the Heywood gold 
 modal for the best oil picture, and the silver 
 medal for a 'Landscape by a Manchester 
 Artist.' His time was much occupied in 
 teaching ; but when released from that he 
 studied among the lake scenery of the 
 North of England. His bad health had for 
 some time removed him from notice. He 
 died at Bowness, Westmoreland, Feb. 26, 
 1852, aged 66. 
 
 CAMDEN, Samson, portrait painter. 
 Lived in the Old Bailey, and painted the^e 
 about 1 540. He was the fathef of William 
 Camden, the antiquarian, who is said to 
 have d^awn a portrait of Queen Elizabeth, 
 which is now in the British Museum. 
 
 CAMEUON, Charles, architect. Ptac- 
 tised in the latter half of the 18th century. 
 He published, in 1772, a large folio work on 
 the ' Roman Baths,' many of the numerous 
 illustrations to which were etched by him- 
 self. He died at the beginning of the 19th 
 century. 
 
 CAMPBELL, Colin, architect. Born in 
 Scotland. He enjoyed much teputation in 
 his day, and was largely employed. He 
 built AVanstead House in 1715 (pulled 
 down in 1822), a work — thef^ont extending 
 260 feet — which united in a great degree 
 grandeur of design with convenience in 
 arrangement. He also built the Rolls 
 House in Chancery Lane, 1717, and Mere- 
 worth, in Kent — the latter an imitation of 
 Palladio ; Drumlanrig Castle, a poor mix- 
 ture of the classic and grotesque ; and 
 several other mansions. He carried out 
 Lord Burlington's designs for the improve- 
 ment of his mansion in Piccadilly, and 
 designed himself tYiafaQade. With Woolfe 
 and Gandon he published, in three large 
 folio volumes, with 30 plates, the ' Vitruvius 
 Britannicus,' a work originally projected 
 by Lord Burlington. He was appointed 
 architect to the Prince of Wales in 1 725, and 
 in 1726 surveyor of the works of Green- 
 wich Hospital. He died 1734. His least 
 pretentious designs are the best, his at- 
 tempts at originality leading him into in- 
 harmonious combinations. 
 
 CAMPBELL, Thomas, sculptor. Was 
 born in Edinburgh, May 1, 1790, of parents 
 in very humble circumstances. He was 
 apprenticed to a marble-cutter, and though 
 without education, soon showed a taste and 
 intelligence which raised him above the 
 mechanic ; and occupied on a class of works 
 by which he gained knowledge, he made 
 
 good progress, and was enabled to come to 
 London and study in the schools of the 
 Royal Academy. In 1818 he was assisted 
 to visit Rome ; and there, devoted to his 
 art, he soon made friends, and received 
 commissions for busts. One of his first 
 groups was a sitting statue of the Princess 
 Pauline Borghese, which is now at Chats- 
 worth. He continued at Rome for many 
 years, and his chief associates were the 
 Italian and German artists. In 1827 he 
 sent from thence his first work, the bust 
 of a lady, for exhibition in the Royal 
 Academy ; and the next year a classic 
 group — ' Cupid instructed by Venus to as- 
 sume the form of Ascanius.' 
 
 Having at this time large commissions 
 to execute in England, he returned in 1830, 
 but tetained his studio in Rome, and ex- 
 hibited at the Academy a marble statue of 
 ' Psyche,' with o\h&i works. He established 
 himself chiefly by his busts — some of which 
 we^e colossal — and portrait statues, and con- 
 tinued to exhibit his works at the Academy 
 up to 1857, though only occasionally in the 
 latter years. He frequently during this 
 period visited Rome to make arrangements 
 for wotks commenced there ; but during the 
 last 25 years of his life his residence was 
 in London, whefe he died February 4, 1858. 
 He was painstaking and elaborate in the 
 completion of his works, and amassed a 
 large property by his profession. One of 
 his most important groups is the monu- 
 ment to the Duchess of Buccleugh at 
 Boughton. At Windsor Castle there is a 
 statue of the Queen by him ; at St. Paul's, 
 Sir William Hoste, one of the public monu- 
 ments. 
 
 CAMPBELL, J., engraver. He practised 
 about the middle of the 18th century. He 
 engraved some plates after Rembrandt, suc- 
 cessfully rendering that master's style and 
 manner. 
 
 CAMPION, George B., water-colour 
 painter. He was elected a member of the 
 Institute of Water-Colour Painters in 1837, 
 and was an occasional, and sometimes a 
 large, contributor of views, but slightly 
 finished, to the exhibitions of the Institute. 
 His chief art was topographical, and many 
 of his views have been published. He 
 wrote some contributions on German art 
 for the ' Art Journal.' Reputed a good 
 sportsman, he was the author of The ' Ad- 
 ventures of a Chamois Hunter.' He died 
 at Munich, where he had long resided, 
 April 7, 1870. 
 
 CANOT, Peter Charles, A.E., engraver. 
 Born in Prance 1710. He came to England 
 in 1740, and found employment in engrav- 
 ing marine subjects and landscapes. He 
 engraved after Backhuysen, Vandevelde, 
 Caspar Poussin, and Claude ; also views 
 of London and Westminster Bridges, after 
 
■ {$cott ; a series of sea-views and sea-fights, 
 after Monamy ; and four battle-pieces, after 
 
 I Paton, his over-exertions on which are said 
 [ to have led to his death in 1777, at Kentish 
 1 Town. He was a member of the Incor- 
 i porated Society of Artists in 1766, and was 
 f elected associate engraver of the Royal 
 
 ■ Academy in 1770, where he was one of the 
 ' early exhibitors. His engravings, par- 
 ! ticularly the sea-pieces, have much merit, 
 
 and were very popular in their day. 
 
 I CAPON, William, sce^ie painter and 
 
 i architect. He was born at Norwich, Oc- 
 tober 6, 1757. His father was an artist of 
 some ability, and under him he commenced 
 portrait painting, but his taste led him to 
 architecture, and he was placed under 
 Novozielski, the architect and scene painter, 
 and assisted him in the erection of the 
 Italian Opera House and the buildings 
 
 : and scenery for the Ranelagh Gardens. On 
 the completion of the new Drury Lane 
 
 ; Theatre in 1794, he was engaged by Mr. 
 Kemble as the scene painter, and ma- 
 terially assisted him in his great reform of 
 the stage. This he was well qualified to 
 
 j do by his antiquarian knowledge, which 
 
 i enabled him to give his works historic in- 
 terest by their accuracy. He was appointed 
 draftsman and painter of architecture and 
 landscape to the Duke of York. He first 
 exhibited at the Academy in 1788, next in 
 
 < 1792, and from that time was an occasional 
 exhibitor. His subjects were chiefly views 
 of buildings and architectural remains, with 
 some landscapes. He made many drawings 
 of the old dwellings and buildings in the 
 Metropolis, and careful plans of the old 
 palace at Westminster, and of the sub- 
 structure of the Abbey, priding himself 
 upon the accuracy of his drawings and 
 measurements. His plan of the West- 
 minster Palace was purchased by the Society 
 
 i of Antiquaries for 120 guineas, and was 
 engraved by Basire. He made finished 
 drawings of the interior of both Covent 
 Garden and Drury Lane Theatres, exhibited 
 1800 and 1802; and erected a theatre at 
 Kildare, painting also the scenery, for Lord 
 Aldborough. He left some views which 
 he had drawn of the theatre in Goodman's 
 Fields, burnt down in 1802 ; and had made 
 an extensive collection of topographical 
 drawings. He died suddenly at his house 
 in Norton Street, Westminster, Septem- 
 ber 26, 1827, aged 70 He was of a con- 
 ceited nature, and Sheridan gave him the 
 name of ' Pompous Billy.' 
 
 CARDON, Anthony, Tnezzo-tint en- 
 graver. The son of an engraver, by whom 
 he was instructed in his art. He was 
 born at Brussels in 1773; and on the 
 insurrection in 1790 he fled to England, 
 where he placed himself under his friend 
 Schiavonetti for three years. He soon found 
 
 OAR 
 
 employment, and became known by his 
 engravings for book illustration. He en- 
 graved 'The Battle of Alexandria' (for 
 which he received the Society of Arts' gold 
 medal in 1807) and of ' Maida ; ' ' The Mar- 
 riage of Catherine of France with Henry V. 
 of England,' after Stothard, R.A. ; 'The 
 Rustic Minstrel,' after Singleton ; and 
 ' George III.,' after A. Chalon, R.A. ; and 
 portraits of Mr. Pitt, Madame Recamier, 
 and others. He died, from too close an appli- 
 cation to his profession, in London Street, 
 Fitzroy Square, February 17, 1813, in his 
 40th year. He engraved in the stipple man- 
 ner. His style was pretty, but wanting in 
 drawing ; the parts ill -defined and hard. 
 
 CARDON, Philip, engraver. Was the 
 son of the above, and educated as an en- 
 graver. He was a clever draftsman, but 
 died young, about 1817- 
 
 CARLINI, Agostino, R.A., sculptor and 
 painter. He was a native of Geneva, and 
 came early in life to this country, where he 
 settled in the practice of his art, and ob- 
 tained the reputation of the best sculptor 
 of his day. He was one of the original 
 members of the Royal Academy, and in 
 1783 succeeded Moser as the keeper. He 
 executed the model of an equestrian statue 
 of George III., which he exhibited in 1769, 
 and in the following year an emblematical 
 figure of 'Maritime Power;' in 1776 he 
 exhibited the portrait in oil of a nobleman, 
 and in 1783 a model of 'Plenty.' In the 
 hall of the Society of Arts there is by him 
 a marble statue of the renowned Dr. Ward, 
 strutting in dignity and drapery. At 
 Somerset House three of the key-stones of 
 the Strand front, representing the rivers 
 Tyne, Dee, and Severn, are by him, as also 
 the two centre statues against the same 
 edifice. He died in Carlisle Street, Soho, 
 August 16, 1790. 
 
 CARLISLE, A.-^'i^^-E, portrait painter. She 
 practised in the reigns of Charles 1. and 
 Charles II. She was much esteemed and 
 patronised by the former, who, it is recorded, 
 made her a valuable present of ultramarine. 
 She was celebrated for her copies of the 
 great Italian masters, and also for her 
 miniature copies in the manner of the 
 Olivers. She died about the year 1680. 
 
 CARLISLE, Isabella, Countess of, 
 amateur. She was the daughter of William, 
 fourth Lord Byron, and married in 1743 
 the Earl of Carlisle. She was known as a 
 clever etcher, and made some good copies 
 of Rembrandt's etchings. 
 
 CARLON, , engraver. He was born 
 
 in England, and practised at the beginning 
 of the 19th century. He engraved for 
 Thornton's ' Temple of Flora,' a costly work, 
 published in 1805. 
 
 CARLSE, James, engraver. Was born 
 in Shoreditch in 1798, and apprenticed to 
 2 67 
 
CAR 
 
 CAR 
 
 an architectural engraver. On the expira- 
 tion of his term, ho took up landscape and 
 figure engraving, and attained much pro- 
 ficiency. In 18i0 he commenced a work 
 on AVindsor Castle, which he discontinued 
 from the absence of support. He was then 
 employed to engrave for the annuals and 
 the 'Art Journal,' and upon some architec- 
 tural plates for Mr. Weale's publications. 
 He died in August 1855. 
 
 CARMICHAEL, James Wilson, marine 
 'painter. He was born at Newcastle-on- 
 Tyne. His name first appears as an exhi- 
 bitor in 1838, when he contributed an oil 
 picture to the Society of British Artists— 
 ♦ Shipping in the Bay of Naples.' In 1841 he 
 exhibited at the Royal Academy a drawing 
 of ' The " Conqueror " towing the " Africa " 
 off the Shoals of Trafalgar;' and in 1843 
 two drawings—' The Royal Yacht, with the 
 Queen on board, off Edinburgh,' and ' The 
 Arrival of the Royal Squadron.' In 1845 
 he exhibited both in oil and water-colours. 
 He had up to this time lived at Newcastle, 
 and now came to reside in London, and con- 
 tinued to exhibit marine subjects, chiefly in 
 oil, up to 1859. Shortly after this he re- 
 tired to Scarborough, where he died very 
 suddenly. May 2, 1868, in his 68th year. 
 There is a large painting by him in the 
 Trinity House, Newcastle, ' The heroic Ex- 
 ploit of Admiral Collingwood at the Battle 
 of Trafalgar.' He published ' The Art of 
 Marine Painting in Water-colours' 1859, 
 and in ' Oil-colours' 1864. 
 
 CARPENTER, Richard Cromwell, 
 architect. He was born October 21, 1812, 
 and was educated at the Charter House, 
 and then articled to Mr. Blyth, under whom 
 he studied Gothic architecture with great 
 industry. He first exhibited at the Aca- 
 demy, in 1830, 'Design for a Cathedral 
 Transept ; ' in the next year, ' A Cathedral 
 Shrine ; ' in 1832, 'An Italian Villa.' His 
 earliest executed works were the churches 
 of St. Stephen and St. Andrew at Birming- 
 ham, erected about 1841. His later works 
 —St. Paul, Brighton ; St. Mary Magdalen, 
 Munster Square, London ; and the restora- 
 tions at Chichester Cathedral, Sherborne 
 Abbey, and St. John's College, Hurstpier- 
 point, Sussex ; the last probably his most 
 importiint work. He died in Upper Bed- 
 ford Place, Russell Square, March 27, 1855, 
 in his 43rd year. 
 
 CARPENTER, Mrs. Margaret Sarah, 
 'portrait painter. She was the daughter of 
 Captain Geddes, who was of an Edinburgh 
 family, and was born at Salisbury in 1793. 
 She was instructed in art by a drawing- 
 master who practised in that city, and 
 greatly improved herself by the study, to 
 which she was admitted, of the fine collec- 
 tion of paintings at Longford Castle ; and 
 for one of her copies was awarded a gold 
 
 medal by the Society of Arts. In 1814 
 
 she was induced to come to London, where 
 she soon established herself as a portrait 
 painter. She exhibited a portrait of Lord 
 Folkestone at the Academy in that year, and 
 at the British Institution, 'The Fortune 
 Teller.' In 1817 she married Mr. Car- 
 penter, of the British Museum, and from that 
 time to 1866 was a constant contributor of 
 portraits, with occasionally a subject picture, 
 to the Academy Exhibitions. Among her 
 exhibited portraits were Sir H. Bunbury, 
 1822; Lady Denbigh, 1831; Lady King, 
 1835 ; Lord John Manners, Gibson, R.A., 
 and, her last work. Dr. Whewell. Her por- 
 trait of Gribson is in the National Gallery, 
 and three of her works in the South Ken- 
 sington Museum. Upon the death of her 
 husband in 1866 she was granted a pension 
 of 100^. a year — a graceful recognition of 
 her own merits as well as of her husband's 
 valued services. She died in London, 
 November 13, 1872, in her 80th year. 
 
 CARPENTIERS, Adrien, portrait 
 painter. Born in Switzerland. Came to 
 London about the year 1760, and settled 
 here in the practice of his profession. In 
 1763 he was a member of the Free Society 
 of Artists, and was a constant exhibitor at 
 the Spring Gardens Exhibitions. From 1 770 
 to 1 774 he sent portraits and portrait-groups 
 to the Academy Exhibitions. A half-length 
 portrait of ' Roubiliac, the sculptor, model- 
 ling Shakespeare's bust,' which has been 
 well engraved both in mezzo-tint and line, is 
 mentioned as one of his best works. His 
 own portrait is in Salter's Hall, St. Swithin's 
 Lane. In the latter part of his life he lived 
 in Pimlico, and he died there far advanced 
 in years, but the date is unknown. He 
 ceased to exhibit in 1774. 
 
 CARR, The Rev. William Holwell, 
 amateur. Born in 1750. He painted 
 landscapes, and was an occasional honorary 
 exhibitor at the Royal Academy from 1797 
 to 1820 of landscape views. He died in 
 1830, and bequeathed several good works, 
 by the old masters, to the National Gallery. 
 
 CARR, John, of York, architect. Was 
 born at Horbury, near Wakefield, in May 
 1723. He commenced life as a working 
 man, and settling in York, found full em- 
 ployment. By his intelligence and in- 
 dustry he improved his position, and prac- 
 tised with reputation as an architect. Ho 
 built the Court House at York; Hare- 
 wood House, near Leeds, 1760; Thoresby 
 Lodge, Nottinghamshire ; Oakland House, 
 Cheshire; Constable Burton, Yorkshire; 
 Lytliam Hall, near Preston ; the east 
 front and gallery of Wentworth Castle, 
 near Beverley ; York Castle and Gaol ; 
 Baseldon Park, 1780, and Farnley Hall, 
 1790 — both in Yorkshire. At his own ex- 
 pense, nearly 10,000?., he built the parish 
 
CAR 
 
 CAR 
 
 • church of his native village, and was buried 
 1 there. He died at Askham Hall, near 
 York, February 22, 1807, aged 84. He 
 was lord mayor of York in 1770, and again 
 I in 1785. His buildings were symmetrical 
 and well planned, his elevations marked 
 by simplicity and good taste, and he en- 
 joyed considerable merit in his profession, 
 amassing a very large property. 
 
 CARE, Johnson, landscape fainter. Was 
 descended from a respectable family in the 
 North of England, and became the pupil of 
 Bichard Wilson, R.A. He obtained pre- 
 miums from the Society of Arts for his 
 landscape drawings in 1762 and 1763. His 
 drawings were something in the manner 
 of his master, drawn on tinted paper in 
 black and white chalk, and showed great 
 promise. He died of rapid consamption, 
 January 16, 1765, in his 22nd year. 
 
 CARE, E., engraver. Practised in the 
 latter part of the 17th century. He imi- 
 tated Hollar, but with little success. He 
 etched a map of England, which is dated 
 1668. 
 
 CAESE, A., topographical draftsman. 
 Drew views and buildings towards the end 
 of the 18th century, which appear literally 
 accurate as their chief merit. Many of his 
 drawings were engraved in ' The Scots' 
 Magazine.' 
 
 CAESE, W., subject painter. He prac- 
 tised in Edinburgh, and at the time of the 
 first exhibition there in 1808, enjoyed a 
 high reputation. His pictures showed much 
 humour, but they were coarse and ill drawn. 
 He is said to have died early in the cen- 
 tury. 
 
 CAETEE, Ellen, booh illustrator. Her 
 maiden name was Vavaseur. Educated 
 in a convent at Eouen, she formed a taste 
 for drawing, drew the figure tolerably, and 
 made careful copi,es of antiquarian subjects. 
 She drew for the ' Gentleman's Magazine,' 
 the ' Archseologia,' and other works. An 
 engraving was published from a drawing 
 by her, called ' The Gardener's Girl.' She 
 married the Eey. John Carter, and died 
 September 22, 1815. 
 
 CAETEE, Francis, architect. He was 
 clerk of the works under Inigo Jones, and 
 carried out several of his designs after his 
 death. He is mentioned in Evelyn's 
 ' Sculptura ' as one of the draftsmen of 
 that day, and as then in Italy. He re- 
 sided some time in Covent Garden, and 
 during the Commonwealth was made a 
 justice of the peace and ' surveyor of the 
 works.' 
 
 CAETEE, GeorCxE, portrait and subject 
 painter. Practised in the second half of 
 the 18th century. Several of his works are 
 engraved. His ' Death of Captain Cook ' 
 has been engraved by Hall, Thornthwaite, 
 and Cook; his ' Apotheosis of G^rrick,' 
 
 with portraits of contemporary tragic actors 
 and actresses, by Caldwell. His ' Fisher- 
 man going Out ' and * Fisherman returning 
 Home' were popular. He died 1786. 
 
 CAETEE, G'EORGE, subject painter. Was 
 born at Colchester, of humble parents, and 
 educated at the Free School there. Ho 
 came to London as a servant, afterwards 
 became shopman to a mercer, and then 
 entered into the same business ; but failing 
 after a few years he set up as a painter, 
 and ingratiating himself with the artists, 
 gained their assistance. He then travelled, 
 visiting Eome, St. Petersburg, Gibraltar, 
 and the West Indies. In 1775 he sent 
 from Eome to the Academy Exhibition * A 
 Wounded Hussar on the Field of Battle,' 
 and a small size portrait-group. In the 
 following year he was in London, and ex- 
 hibited ' A Weary Pilgrim on his Journey 
 to Eome ' and ' The Dying Pilgrim, with a 
 View of the Sybils' Temple.' In 1778 he 
 exhibited ' The Adoration of the Shep- 
 herds,' a poor work, which he afterwards 
 presented to St. James's Church, Colchester. 
 In 1785 he exhibited in Pall Mall, admis- 
 sion Is., a collection of his pictures, 35 in 
 number, including ' The Siege of Gibraltar,' 
 but nearly all portraits, and described them 
 with ignorant pomposity in his catalogue. 
 He says : ' These pictures were all painted 
 without commission; the motive, to cele- 
 brate good men and brave actions. They 
 are now at the disposal of any nobleman or 
 gentleman who may wish to possess either 
 the whole or a part of them.' He pub- 
 lished several engravings from his works. 
 He styled himself ' historical painter,' and 
 affected also to be an author, having pub- 
 lished ' A Narrative of the Loss of the 
 " Grosvenor," East Indiaman.' He con- 
 trived, however, to realise a fortune, and re- 
 tired to Hendon, where he died in 1795. 
 
 CAETEE, James, engraver. Was born 
 inShoreditch 1798. He was articled to an 
 architectural engraver, but his taste led 
 him to landscape. He worked in the line 
 manner, and in 1840 he commei;iced a work 
 on Windsor Castle, which did not succeed. 
 He then found employment on plates for 
 the annuals, working successfully after 
 Prout ; and engraved for the Art Union, after 
 Ward and Goodall. He was also engaged 
 upon some architectural plates for Weale's 
 publications. He engraved some works 
 after his own sketches and designs. He 
 died August 1855, and left a large family 
 without provision. 
 
 CAETEE, John, F.E.S., architectural 
 draftsman. Horn in Ireland, June 22, 1748. 
 He was the son of a carver in marble, in 
 Piccadilly, and was early employed in 
 making drawings for architects and builders. 
 From 1774 to 1786 he drew for ' The 
 [Builders' Magazine,' a serial publication, 
 
 69 
 
CAR 
 
 and gave evidence of his correct antiquarian 
 taste. In 1780 he was employed by the 
 Antiquarian Society, and was their drafts- 
 man for above 20 years. He was also 
 employed by Eichard Gough, for whose 
 ' Croyland Abbey ' and ' Sepulchral Monu- 
 ments ' he made drawings. In 1782-84 he 
 published his ' Specimens of Ancient Sculp- 
 ture and Painting' and ' Views of Ancient 
 Buildings in England;' and in 1786 he 
 published some small etchings, followed by 
 ' The Ancient Architecture of England,' 
 and some small architectural works of a 
 monumental character. He was passion- 
 ately fond of music, and wrote and com- 
 posed two operas, painting also the scenery 
 and adapting them to the stage. ^ He was 
 an enthusiastic writer on Grothic archi- 
 tecture, and the author of a series of com- 
 munications to the ' Gentleman's Magazine,' 
 commencing 1798, under the title of 'Pur- 
 suits of Architectural Innovation.' As a 
 draftsman he was faithful, but wanting 
 decision ; his light and shade were put in 
 with Indian ink, and touched slightly with 
 local colour ; groups of figures, sometimes 
 humorous, are well introduced. He was 
 an occasional exhibitor at the Eoyal 
 Aciidemy. He was of the Koman Catholic 
 religion, recluse in his habits, and a 
 bachelor. He died in Eaton Street, Pim- 
 lico, September 8, 1817, and was buried at 
 Hampstead. His drawings and antiquities 
 — his sketches alone filling 28 large folio 
 volumes — were sold by Sotheby in Febru« 
 ary 1818, and realised 1,695Z. 
 
 CAETER, OwT.N Browne, architect and 
 draftsman. He lived at Winchester, and 
 in addition to his practice as architect made 
 some good drawings of cathedrals and 
 churches. He died March 30, 1 859, aged 53. 
 
 CAETEE, Thomas, sculptor. Was a 
 statuary at Knightsbridge, whom Jervis, 
 the painter, noticed industriously employed 
 early and late on tombstones, tablets, and 
 such works. At last he made acquaintance 
 with him at his labour, and greatly sur- 
 prised him by the question if 100^. would be 
 of service to him. ' One hundred pounds I ' 
 exclaimed the young workman. ' Lord love 
 me ! why, it would be the making of me for 
 ever.' Jervis at once asked his new friend, 
 who did not even know his name, to break- 
 fast, lent him the money, recommended him, 
 and thus laid the foundation of his fortune. 
 The bas-relief on Lord Townshend's monu- 
 ment in Westminster Abbey was modelled 
 by him. Carter was member of the first 
 artist committee formed in 1755 to found a 
 Eoyal Academy. He was the first employer 
 of Eoubiliac. He died January 5, 1795. 
 
 CAETEE, William, engraver and drafts- 
 97ian. He was born about 1630, was a 
 pupil of Hollar, and the most successful 
 imitator of Ms style, and probably assisted 
 70 
 
 OAR 
 
 him in his larger works. His own en- ' 
 gravings are mostly vignettes and orna- 
 mental plates for books. The illustrations 
 for an edition of Ogilvy's ' Homer' are 
 engraved by him. He practised about 
 1660. 
 
 CAETWEIGHT, John, portrait painter. 
 Exhibited at the Academy from 1784 to 
 1808. His contributions were portraits in 
 oil, including some small whole-lengths, and 
 at the commencement of his career one or 
 two classical subjects. When Fuseli, EA., 
 returned to London in 1779, he resided with 
 him in St. Martin's Lane. 
 
 CAETWEIGHT, Joseph, marine painter. 
 He was attached to the army in a civil 
 capacity, and was for some time paymaster- 
 general at Corfu. Called to Greece in the 
 course of his duties, he made many sketches 
 of the countrj^, and on his return to England 
 he devoted himself to art. He painted some 
 good marine subjects ; and was appointed 
 in 1828 marine painter to the Lord High 
 Admiral. He exhibited at the Academy in 
 1824 -25, and in 1826 was elected a member 
 of the Society of British Artists, exhibit- 
 ing with the Society in that year ' The 
 Burning of Admiral Bruey's Ship at the 
 Battle of the Nile ; ' in 1827, ' Venice from 
 the Public Gardens;' in 1828, 'Vesuvius 
 and the Bay of Naples;' and in 1829, 
 'Dover Pier.' He died in the spring of 
 1829. 
 
 CAETWEIGHT, Thomas, architect. He 
 practised in the latter part of the 1 6th cen- 
 tury as an architect and builder. A plan 
 of the Eoyal Exchange is said to have been 
 engraved by him about 1571. 
 
 CAETWEIGHT, William, engraver. 
 He was one of the early engravers of por- 
 traits and book plates. His name is 
 affixed to a portrait of Thomas Cranmer, 
 Archbishop of Canterbury. He engraved 
 also after Holbein. 
 
 CAETWEIGHT, William, engraver. 
 He practised as a landscape engraver at 
 the beginning of the 19th century. He 
 engraved four views of the Isle of Wight, 
 after AValmsley. 
 
 CAEVEE, EiCHAED, history and land- 
 scape painter. He was born in Ireland, and 
 practised there about the middle of the 
 18th century. In 1775 he was in London, 
 and was then a 'director' of the Incor- 
 porated Society of Artists, and contributed 
 to their exhibition in Spring Gardens a 
 large oil landscape with ruins and figures, 
 also two landscapes in water-colours. He 
 exhibited again, in 1778, some large land- 
 scapes ; and in the newspapers of the day 
 was spoken of as ' the celebrated Mr. Car- 
 ver.' There is an altar-piece in a church 
 at Waterford painted by him. He was 
 weak both in drawing and colour, but his 
 landscapes showed some taste. 
 
CAR 
 
 OAT 
 
 CAKVEE, Egbert, scene painter. Son 
 of the above. Born in Ireland, where he 
 gained a reputation by his small water- 
 \ colour drawings, and as a scene painter. 
 He was invited to London to paint for 
 Drury Lane Theatre, but followed his friend 
 Barry, the actor, to Covent Garden Theatre, 
 where he continued till his death. He was 
 a member of the Incorporated Society of 
 Artists, and his landscapes contributed to 
 their exhibition in 1777 were much noticed. 
 His landscape scenery was grand, with great 
 beauty of execution, particularly in his 
 early pictures ; his colouring warm, with 
 depth of middle tint, giving a great tran- 
 quillity of light and shade. He painted 
 coast scenes, with the waves breaking on 
 the shore, with great truth and force ; and a 
 drop-scene of this character is described as 
 of terrific excellence. He was a fast liver 
 and generous host, and for several years 
 afflicted with gout. Died in Bow Street at 
 the end of November 1791. 
 
 CAEWAEDINE, Miss J., miniature 
 painter. Born in Herefordshire. She was 
 an exhibitor up to 1761, w^ien she married 
 Mr. Butter, organist of St. Martin's and 
 St. Anne's, Westminster, and quitted the 
 practice of her profession. 
 
 CAEWITHAM, J., engraver. Born in 
 England. Practised in the first half of the 
 1 8th century, and worked chiefiy upon book 
 plates. He largely employed etching, but 
 some plates are worked with the graver 
 only, and retouched in the manner of 
 Picart, after whom he engraved an emble- 
 matical frontispiece dated 1723. He en- 
 graved the ' Laocoon ' from the antique, 
 1741. 
 
 CASALI, Andhea, The CJievalier, his- 
 tory painter. Born at Civita Yecchia 1720. 
 He came to England before 1748, as in 
 that year he was employed to paint the 
 transparencies which formed part of the 
 decorations used in St. James's Park on 
 the celebration of the peace of Aix-la-Cha- 
 pelle — works which were afterwards en- 
 graved. He painted some ceilings at Font- 
 hill, and was one of the first candidates for 
 the Society of Arts' premiums, obtaining in 
 1760 the second premium of 50 guineas 
 for a subject from English history ; in 1762, 
 the first premium of 100 guineas; and in 
 1766, a third premium of 50 guineas. He 
 painted an altar-piece for the chapel of the 
 Foundling Hospital, which was afterwards 
 removed, to make place for West's ' Wise 
 Men's Offering ; ' and about 1758 the figures 
 of St. Peter and St. Paul for the altar of 
 St. Margaret's Church, Westminster. His 
 works were carefully and neatly painted, 
 but tawdry in colour and theatrical in style. 
 He completed some etchings, among them 
 from the pictures for which he gained the 
 Society of Arts' premiums. In 1763 he sold 
 
 his collected works by auction, and soon 
 after 1766 quitted England, and lived 
 several years at Eome. 
 
 CASANOVA, Francis, landscape and 
 battle painter. Born in London, of Italian 
 parents, 1730. Settled in Paris, where he 
 was admitted a member of the Academy of 
 Painting in 1 763. He was employed by the 
 Prince of Cond6, and also by Catherine II., 
 who engaged him to paint the Eussian 
 victories over the Turks. He died near 
 Vienna 1805. 
 
 CASSELS, EicwARD, architect. He was 
 born in Germany, and invited to Ireland, 
 came and settled there in 1773. There was 
 little talent to oppose him, and he was soon 
 successful. He built the mansion of Hazle^ 
 wood, Co. Sligo; Powerscourt, Co. Wick- 
 low; Carton House, Kildare; Bessborough 
 House, Kilkenny; Leinster House, and 
 seyeral other fine mansions, in Dublin ; also 
 the Lying-in Hospital, 1757, and the Print- 
 ing-office in the College Park. The design 
 for the Parliament House has been attri- 
 buted to him. He died suddenly, aged 60, 
 and was buried at Maynooth. He was 
 very eccentric and addicted to intemper- 
 ance, but Ireland owes to him the intro- 
 duction of a better style of architecture. 
 
 CASTELLS, Peter, painter and engraver. 
 Born at Antwerp 1684. He came to 
 England in 1708, and in 1716 revisited his 
 native city, but soon returned to this 
 country. He painted birds, fowls, fruit, 
 and fiowers — mostly the latter, but in an 
 inferior manner. His engravings had more 
 merit. Lord Burlington published, at his 
 own expense, Castell's ' Villas of the Aur 
 cients,' giving him the profits. In 1726 
 he published himself 12 plates of birds and 
 fowls, which he etched from his own de? 
 signs ; also some plates from his pictures, 
 which have much merit. In 1735 he re- 
 moved to Tooting, as designer for some 
 calico works there, and afterwards followed 
 the manufactory to Eichmond, where he 
 died May 16, 1749. 
 
 CATESBY, Mark, F.E.S., amateur and 
 naturalist. Born 1679 ; and in 1712 visited 
 America, where he remained seyen years, 
 studying the botany of the country. On his 
 return he was induced by some scientific 
 friends to revisit America, and taking up 
 his quarters at Charleston, he made in- 
 cursions into Georgia and Florida, collecting 
 specimens. On his return to England he 
 studied etching, and engraved his own 
 work, ' The Natural History of Carolina, 
 Florida, and the Bahama Islands,' published 
 1741-43, comprising 165 plates, all drawn 
 and etched by his own hand. The birdjj, 
 animals, plants, and insects are of large 
 size, are well drawn, and expressed with 
 much character, and must have been the 
 fruit of great industry and labour, whilst 
 
 71 
 
CAT 
 
 CAV 
 
 its salo wns tho chief support left for his 
 widow and two children. Ho died Dec. 24, 
 1749, apfod 70. 
 
 CATTERMOLE, George, water-colour 
 'painter. Ho was born at Dickleborough, 
 near Diss, in August 1800, and at tho 
 ago of 16 began his career as a topo- 
 graphical draftsman, and drew for Britton's 
 * English Cathedrals.' In 1822 he was elected 
 an associate exhibitor of the Water- Colour 
 Society, but was only an occasional contri- 
 butor to the Society's Exhibitions up to 
 1833, when he became a member, and for the 
 next few years was a more constant contri- 
 butor — sending, among others, 'After the 
 Sortie ; ' ' The Gallery of Naworth Castle ; ' 
 ♦The Murder of the Bishop of Liege;' 
 ♦Pilgrims at a Church-door;' 'The Ar- 
 mourer relating the Story of the Sword ; ' 
 and at this period produced some of his 
 best works ; then his contributions fell off, 
 and in 1850 he withdrew from the Society. 
 Ho afterwards tried some subjects in oil, 
 and exhibited in that medium at the Royal 
 Academy, in 1862, 'A Terrible Secret.' He 
 was unsettled in his habits and uncertain 
 in his engagements, and died July 24, 1868. 
 Versatile in his power, learned in costume, 
 his art was dramatic and pictorial. He was 
 largely employed by the publishers. He 
 designed for the annuals and for the ' Wa- 
 verley' novels, with some other works of 
 the same class. The ' Historical Annual,' 
 devoted to the scenes of the Civil War, is 
 his best work of this character. At the 
 Paris Exhibition, 1855, he received a first- 
 class gold medal in water-colour painting. 
 He was a member of the Academy at Am- 
 sterdam, and of the Belgian Society of 
 Water-Colour Painters. 
 
 CATTERMOLE, Richard, water-colour 
 fainter. He was, between 1814 and 1818, 
 an ' exhibitor ' at the Water-Colour Society, 
 in the latter year contributing ' The State 
 Bedchamber, Hampton Court,' and 'The 
 Cupola Room, Kensington Palace,' painted 
 for Pye's ' Royal Palaces,' on which work 
 ho was at that time employed. He after- 
 wards went to Cambridge, and entered the 
 Church. 
 
 CATTON, Charles, R.A., landscape and 
 cattle fainter. Born at Norwich 1728 ; and 
 said to have been one of 35 children by 
 his father, who was twice married. He 
 was apprenticed to a coach painter in 
 London, improved himself as a student in 
 the St. Martin's Lane Academy, and became 
 a member of the Incorporated Society of 
 Artists, with which body he exhibited, 
 1760-64, landscapes, cattle, and subject 
 pictures. He obtained a good knowledge 
 of tho human figure, which, with his natural 
 taste, raised him above others following 
 his branch of the profession. He designed 
 and painted the ornamental panels of car- 
 
 riages, flowers, and allegorical subjects in 
 an artistic manner, and greatly improved 
 the style of herald-painting and sign-paint- 
 ing. He was appointed the king's coach 
 painter, and was one of the foundation 
 members of the Royal Academy. He served 
 the office of master of the Company of 
 Painter-Stainers in 1784. He had a knack 
 for humorous designs, and drew and etched 
 in 1786 'The Margate Packet,' a very 
 clever work of this class. At the Royal 
 Academy he chiefly exhibited landscapes, 
 but occasionally compositions and animals. 
 His last works were a ' Jupiter and Leda ' 
 and a 'Child at Play.' He also painted 
 some whole-length portraits and an altar- 
 piece, ' The Angel delivering St. Peter,' for 
 the church of St. Peter, Mancroft, Norwich. 
 He had for several years retired from the 
 active pursuit of his profession, and died 
 rather suddenly at his house in Judd Place, 
 August 28, 1798, in his 70th year, and was 
 buried in Bloomsbury Cemetery, Brunswick 
 Square. 
 
 CATTON, Charles, animal fainter. Son 
 of the foregoing ; was born in London, De- 
 cember 30, 1756. He was taught by his 
 father, and studied in the schools of the Aca- 
 demy, where he acquired a good knowledge 
 of the figure. He travelled in most parts of 
 England and Scotland, making sketches, 
 some of which were engraved and published. 
 He was a good scene painter, and had a repu- 
 tation for his topographical views. In 1775 
 he exhibited at the Academy a 'View of 
 London from Blackfriars Bridge,' and of 
 'Westminster, from AVestminster Bridge.' 
 In 1793 he exhibited his designs, conjointly 
 with Burney, for Gay's ' Fables,' which were 
 afterwards published ; as was also a collec- 
 tion of animals, drawn from nature and 
 engraved by him, 1788. He exhibited for 
 the last time in 1800, and was then living 
 at Purley, near Reading; and in 1804, 
 having acquired wealth, he emigrated to 
 America with his two daughters and a son, 
 and took a farm upon the Hudson, where 
 he lived many years, occasionally painting 
 landscapes and animals. He died in America, 
 April 24, 1819. 
 
 CAVE, Henry, tofografhical draftsman." 
 He resided at York, and drew and etched 
 the ancient buildings in that city. He ex- 
 hibited an oil painting at the Academy in 
 1814, and again in 1822. He published, in 
 1813, 'The Antiquities of York,' ^dth 40 
 plates, which are very well drawn and 
 etched with spirit ; and several other etch- 
 ings. He died at York, August 4, 1836, 
 aged 56. 
 
 CAVE, James, topographical draftsman. 
 He practised his art at Winchester. He 
 exhibited at the Academy, in 1802, views of 
 the Interior of Winchester Cathedral ; in 
 1806, of St. Cross ; and in 1812 and 1817, 
 
CAW 
 
 CHA 
 
 of the Cathedral again. He made the 
 drawings for the illustration of Milner's 
 ' History of Winchester,' 2nd edition, pub- 
 lished 1809. 
 
 CAWSE, John, portrait and subject 
 painter. He first exhibited at tlie Royal 
 Academy in 1802. His early works were 
 portraits and sketches for pictures, and he 
 was much engaged as a teacher. In 181-i, 
 and some following years, he exhibited 
 portraits of racehorses; and in 1818-19, 
 subjects from Shakespeare's ' Henry IV.,' 
 introducing Sir John Falstaff. He last ex- 
 hibited at Suffolk Street in 1845. He died 
 January 19, 1862, aged 83. In 1840 he 
 published ' The Art of Oil-Painting.' Se- 
 veral of his pictures are engraved. 
 
 CECIL, Thomas, engraver and drafts- 
 man. Practised in the first half of the 
 17th century, working from 1628 to 1635 
 in London, where he maintained a high 
 rank among his contemporaries. Some of 
 his best works are dated 1627-28 and 1631, 
 and are portraits — many of them from his 
 own designs — executed entirely with the 
 graver. His 'Queen Elizabeth on Horse- 
 back' is much esteemed. His works are 
 neat in finish, but stiff and wanting in taste ; 
 his drawing of the figure weak and incor- 
 rect, the extremities bad ; yet I^velyn speaks 
 of his art in high terms. 
 
 CEEACCHI, GriTJSEPPE, sculptor. Was 
 born at Eome about 1740. He came to 
 England in 1773, and was employed by 
 Carlini, R.A. He modelled in basso-rilievo, 
 for Mr. R. Adam, a ' Sacrifice of Bacchus,' 
 14 ft. by 6 ft., and also a bust of Sir Joshua 
 Reynolds, which was popular. He exhi- 
 bited at the Royal Academy, in 1776, a 
 group of ' Thetis and Jupiter ; ' in the fol- 
 lomng year, a ' Castor and Pollux ; ' and in 
 1 779, 'A Design for Lord Chatham's Monu- 
 ment in St. Paul's ;' and other works. The 
 Hon. Mrs. Damer was his pupil, and the 
 statue of her in the hall of the British 
 Museum was modelled by him. In 1791 
 he crossed the Atlantic, to propose the 
 erection of a statue to Liberty in the 
 United States, but returned disappointed 
 to Europe about 1795. He was then for a 
 time at Rome, and afterwards went to Paris. 
 He was a republican fanatic, and was one 
 of the conspirators in a plot to assassinate 
 Napoleon in 1801. Charged with this crime, 
 he called in his defence David, with whom 
 he had lived in intimacy, to speak to his 
 character ; but the great painter declared 
 he knew nothing of him beyond his fame 
 as a sculptor. He was condemned and guil- 
 lotined in 1801 ; and it is said that he was 
 dragged to the scaffold, in the habit of a 
 Roman Emperor, on a car which he had 
 designed. 
 
 CHALMERS, W. A., water-colour 
 painter. Practised in London towards the 
 
 end of the 18th century. His works ap- 
 pear to have been in water-colours, and 
 his subjects show him to have been an 
 artist of some pretensions. In 1790 he ex- 
 hibited a ' View in the Collegiate Church, 
 AVestminster,' and 'Mrs. Jordan as "Sir 
 Harry Wildair ; " ' in 1791, two Interiors 
 of Westminster Abbey; in 1792, 'The 
 Interment of the late President at St. 
 Paul's ; ' in 1793, 'The Interior of Henry 
 VII.'s Chapel, with the Ceremony of the In- 
 stallation ;' the next year, ' West Front of 
 the Abbey, Bath ; ' and then, after a lapse 
 of three years, he exhibited, in 1798, ' Mr. 
 Kemble as the " Stranger," ' and the ' Tomb 
 of Henry VII.,' the last work he exhibited. 
 He probably died young. 
 
 CHALMERS, Sir George, Bart., j9or- 
 trait painter. He inherited a title without 
 fortune, which was forfeited from a con- 
 nection with the exiled Stuart family. He 
 was born in Edinburgh, and studied under 
 Ramsay, and afterwards travelled, making 
 some stay in Rome. Returning, he resided 
 a few years at Hull, where he painted por- 
 traits ; and, commencing in 1775, exhibited 
 at the Royal Academy up to 1790. One or 
 two of his portraits have been engraved in 
 mezzo-tint. He died in London in the early 
 part of the year 1791. 
 
 CHALON, John James, R.A., landscape 
 and genre painter. Was of an old French 
 family, who left France on the revocation 
 of the edict of Nantes, and long resided in 
 Geneva, where he was born, March 27, 
 1778. His grandfather served as a volun- 
 teer in a French Protestant regiment in 
 Ireland, under King William III., and was 
 wounded at the battle of the Boyne. On 
 the reverses which followed the French 
 Revolution in 1789 the family came to Eng- 
 land, and the father was appointed professor 
 of the French language and literature at 
 the Royal Military College, Sandhurst, and 
 afterwards settled with his family at Ken- 
 sington. The son was placed in a large 
 commercial house; but he had a natural 
 genius for art, and in 1796 entered as a 
 student at the Royal Academy, and there, 
 in 1800, he exhibited his first picture, 
 ' Banditti at their Repast,' followed by ' A 
 Landscape ' and ' Fortune Telling ; ' and 
 then, in 1804 and 1805, several works — all 
 landscapes. Up to this time his art had been 
 in oil ; but in 1806 he became an exhibitor, 
 and in 1808 a full member, of the Water- 
 Colour Society, and then produced works 
 which gave him a distinguished position as 
 a water-colour painter. On the alterations 
 which took place in the Society in 1813 he 
 was among the seceders. 
 
 He had continued to send an oil painting 
 to the Academy— his secession was pro- 
 bably infiuenced by the desire to seek Aca- 
 demy honours; and in 1816 he exhibited 
 
 73 
 
CHA 
 
 CHA 
 
 his ' Napoleon on board the Bellcrophon, 
 1815/ a fine work, which he presented to 
 the gallery at Greenwich Hospital. In 
 1819 he exhibited a work of great power, 
 now in the South Kensington Museum—' A 
 View of Hastings.' He continued to exhibit 
 both landsciipe and genre subjects of great 
 merit and intex^est, original both in their 
 conception and treatment. In 1822, 'The 
 Market and Fountain of the Innocents, 
 Paris;' in 1823, 'The Serpentine, Hyde 
 Park, during the Frost;' in 1829, 'The 
 Haymarket, Geneva;' works filled witk 
 groups of well-painted figures ; but it was 
 not till 1827 that he gained his election as 
 associate, and his election as academician 
 was deferred till 1841. Among his later 
 works were, ' Gil Bias in the Bobbers' 
 Cave,' 1843; 'The Birth of Christ an- 
 nounced to the Shepherds,' 1846 ; ' Arrival 
 of the Steam-packet at Folkestone ' in the 
 follo^\dng year. 
 
 In 1847 he was suddenly seized with pa- 
 ralysis, his powers and health gradually 
 declined, and a long and wearisome illness 
 terminated fatally on November 14, 1854. 
 During a career of nearly 50 years he 
 painted few pictures. His art met with 
 little encouragement, and he was engaged 
 part of his time in teaching. He was one 
 of the founders, and to the last a member, 
 of the Sketching Society, and with his 
 brother one of its most constant attendants 
 and supporters. His principal works we:p.e 
 in oil, simple and powerful in treatment, 
 but not effective in colour, and with a ten- 
 dency to blackness. His friend Leslie, 
 R.A., said : ' He received little justice from 
 the ephemeral criticism of the journalists 
 of the day ; but his professional brethren 
 acknowledged and felt the truth and ori- 
 ginality of his art.' His works show a 
 great range of talent and invention, and 
 some of his earlier works possess very high 
 merit. With his brother Alfred he was 
 the centre of a group of distinguished men 
 of their profession, frank in his manner, 
 steadfast in his friendship and hospitality. 
 He published, in 1820, ' Sketches from Pa- 
 risian Manners ' — humorous in their treat- 
 ment, but not caricature. 
 
 CHALON, Alfred Edward, R.A., por- 
 trait an cl subject painter. Was the younger 
 brother of the above, and was born at 
 Geneva, February 15, 1781. Like him, he 
 was intended for a commercial life, but the 
 drudgery was distasteful, and with the con- 
 sent of his father he commenced the study 
 of art, for which his talents eminently 
 fitted him, and entered the schools of the 
 Academy in 1797. He became a member 
 of the short-lived Society of Associated 
 Artists in Water-Colours in 1808 ; and in 
 the same year, with his brother and a few 
 friends, founded 'The Sketching Society,' 
 
 for the study and practice of composition. 
 In 1810 he exhibited his first picture at the 
 Royal Academy. He was elected an asso- 
 ciate of the Academy in 1812 and a full 
 member in 1816. He then, and for many 
 years afterwards, was the most fashionable 
 portrait painter in water-colours. His full- 
 length portraits in this manner, usually 
 about 15 inches high, were full of character, 
 painted with a dashing grace, and never 
 commonplace ; the draperies and acces- 
 sories drawn with great spirit and elegance, 
 imitations of all the vagaries that fashion 
 can commit in lace and silk. He also 
 painted, among his earlier works, some 
 good miniatures in ivory. Many of his 
 drawings of the celebrated operatic singers 
 and dancers of his day were engraved. He 
 held the appointment of painter in water- 
 colours to the Queen. 
 
 But his genius was not limited to water- 
 colours or to portraiture. He painted many 
 fine subject pictures in oil. Among others, 
 he exhibited, in 1831, 'Hunt the Slipper,' 
 a large composition, filled with well-grouped 
 figures in action ; in 1837, 'Samson and 
 Delilah,' an imitation in style and colour of 
 the works of Veronese; in 1841, 'John 
 Knox reproving the Ladies of Queen Mary's 
 Court,' which was engraved ; in 1847, 
 ' Serena ; ' and in 1857, ' Sophia Western ; * 
 with many others. He had a great 
 power of imitating the styles of the great 
 painters, particularly of Watteau, whose 
 works he greatly admired. In 1855 a col- 
 lection of his works, together with his late 
 brother's, was exhibited in the rooms of the 
 Society of A:pts in the Adelphi. He took 
 the greatest interest in its collection and 
 arrangement, but it was, to his great disap- 
 pointment, a failure — was almost unvisited. 
 He had made a large collection of draw- 
 ings and sketches by himself, and he pos- 
 sessed the chief of his brother's works, which 
 had found no purchasers, all of which he 
 proposed in 1859 to give to the inhabitants 
 of Hampstead, with some endowment for 
 the maintenance of the collection ; but they 
 were unable to provide a suitable building 
 for its exhibition. He then offered the col- 
 lection to the Government, but no arrange- 
 ment was come to, when he died suddenly, 
 though he had been sometime unwell, on 
 October 3, 1860. His property came to his 
 heirs -at-law in Geneva, and his treasured 
 collection was sold by auction. 
 
 He had retired to an old house at Camden 
 Hill, Kensington, with his brother, where 
 both died, and after passing a long un- 
 married life inseparably together, were 
 buried in the same grave in the Highgate 
 Cemetery. French in his manner, he was a 
 true Englishman at heart ; an active host, 
 anxious to provide for the amusement of his 
 numerous friends ; a witty companion, full of 
 
CHA 
 
 CHA 
 
 the gossip of his profession ; and an accom- 
 plished musician. 
 
 CHALON, Henry Bernard, animal 
 fainter. His father was a native of Am- 
 sterdam, in no way related to the fore- 
 going two painters of the same name. He 
 came early in life to London, where he 
 practised and was living in 1793. The son 
 was a student of the Academy, and first 
 appears as an exhibitor there of a land- 
 scape with cattle in 1792, which was fol- 
 lowed by a 'Lion and Lioness 'and some other 
 wild animals. He was appointed in 1795 
 animal painter to the Duchess of York, 
 and from that time was exclusively devoted 
 to animal portraiture, chiefly of horses and 
 dogs. He appears to have met with much 
 patronage. He also received the same ap- 
 pointment from the Prince Kegent, and after- 
 wards from William IV., and in 1840 the 
 appointment to the royal family. He was 
 a frequent exhibitor at Suffolk Street, and 
 continued an exhibitor at the Academy 
 up to 1846, when, at the age of 76, he met 
 with an accident in the street, which de- 
 prived him of the use of his limbs. His 
 conduct had not been unimpeachable ; he 
 fell into severe distress, and a subscription 
 was raised for him in 1846. He died in 
 1849. He published a lithographed work 
 on the Horse, 1827. His daughter, Miss 
 M. A. Chalon, was miniature painter to the 
 Duke of York and an exhibitor at the 
 Academy. 
 
 CHAMBAES, Thomas, A.E., engraver. 
 He was of Irish extraction, and was born 
 in London about 1 724, and stiidied drawing 
 and engraving both in Dublin and in Paris. 
 When residing in the latter city in 1766, 
 he was awarded a premium by the Society 
 of Arts. He engraved several large plates 
 for Boy dell — ' St. Martin dividing his 
 Cloak,' after Eubens ; ' A Concert,' after 
 Caravaggio, considered his best work. He 
 also engraved Mrs. Quarrington as 'St. 
 Agnes,' after Keynolds, and the ' Death of 
 Marshal Turenne,' two excellent works ; 
 and after Eaphael, Vandyck, Murillo, and 
 others. He occasionally assisted Grignion. 
 In 1761 he was an exhibitor and member 
 of the Incorporated Society of Artists, and 
 was elected associated engraver of the 
 Eoyal Academy in 1770. He worked with 
 the graver ; his manner was vigorous, but 
 hard. He was not successful in his pro- 
 fession, and being pressed by his landlord 
 for the over -due rent of his apartments, he 
 quitted the house in distress of mind, leav- 
 ing a note desiring the landlord, if he did 
 not return, to sell his effects and pay him- 
 self. Some days afterwards his body was 
 found in the river Thames, near Battersea. 
 This happened in 1789. 
 
 CHAMBEELAIN, William, portrait 
 painter. Was born in London, and was a 
 
 student of the Eoyal Academy. Afterwards 
 he was a pupil of Opie, E.A. He showed 
 much talent in portraiture and followed 
 that branch of the profession. He first 
 exhibited at the Academy in 1794, and in 
 the following year sent ' A Fortune Teller ' 
 ^nd ' An Old Man Eeading,' and did not 
 exhibit again till 1802, when he sent his 
 last contribution, the portrait of a New- 
 foundland dog. He practised for a short 
 time at Hull, where he died in the prime of 
 life, July 12, 1807. 
 
 CHAMBEELIN, Mason, K A., portrait 
 painter. He commenced life as a clerk in 
 a merchant's counting-house, and then turn- 
 ing to art became the pupil of Prank Hay- 
 man, E.A. In 1764 he gained the Society of 
 Arts' second premium of 50 guineas for an 
 historical painting. He resided chiefly in 
 the vicinity of Spitalflelds, and practised 
 there as a portrait painter with some suc- 
 cess. His likenesses were faithful, very 
 carefully drawn and painted, but his colour- 
 ing was thin, monotonous, and unpleasant. 
 He was a member of the Incorporated So^ 
 ciety of Artists, and when the Eoyal Aca- 
 demy was founded he was nominated one 
 of its members ; and is distinguished by a 
 few words addressed to him by Peter Pindar 
 in his first ode to that body, He exhi- 
 bited at Spring Gardens in 1763, and at 
 the Academy from 1770 to 1786. His 
 works were exclusively portraits, several 
 of them whole-lengths. Late in life he 
 removed to Bartlett's Buildings, Holborn, 
 and died there, January 26, 1787. A por- 
 trait by him of Dr. Hunter, his presentation 
 picture, is in the Eoyal Academy, and a 
 portrait of Dr. Chandler in the Eoyal 
 Society, both of which have been engraved. 
 His son was an occasional exhibitor of 
 landscape views at the Academy from 1786 
 to 1821. 
 
 CHAMBEES, George, marine painter. 
 Born at Whitby 1803. He was the son 
 of a seaman of that port, and when 10 
 years old was sent to sea in a small coast- 
 ing vessel, and was afterwards apprenticed 
 to the master of a brig trading to the 
 Mediterranean and the Baltic. He showed 
 his ingenuity by sketching the different 
 classes of vessels, and his master was so 
 pleased with his attempts, that in further- 
 ance of the lad's wishes he cancelled his 
 indentures, that he might devote himself to 
 becoming a painter of shipping. Eeturned 
 to Whitby, he thought himself in the right 
 direction by commencing as a house painter, 
 and devoting his spare time in taking 
 drawing lessons. This he continued for 
 three years, and then being ambitious to try 
 his fortune in London, he worked his way 
 to the Metropolis in a trading vessel. Here 
 he tried to make a livelihood by painting 
 portraits of ships, and then gained em- 
 
CHA 
 
 CHA 
 
 ployment under Mr. T. Horner, and for 
 Bcvon years assisted him in painting his great 
 panorama of London. This work com- 
 pleted, he became the scene painter at the 
 Pavilion Theatre. Self-taught, relying upon 
 himself, struggling with difficulties, he at- 
 tained success. His painting gained the 
 notice of Admiral Lord Mark Kerr, who 
 introduced him to William IV. Fortune 
 seemed to look favourably upon^ him, 
 and he was rapidly improving in his art, 
 when his constitution, impaired by the 
 hardship of his boyhood and never natu- 
 rally strong, gave way, and he fell a victim 
 to disease on October 28, 1840. Late in 
 his career he drew in water-colours, and 
 rapidly mastering the technicalities of the 
 art, he was admitted an associate exhibitor 
 of the Water-Colour Society in 1834, and 
 in 1836 elected a member of the Society, 
 and exhibited up to his death many clever 
 works founded on the interesting incidents 
 of our river and coast scenery. His best 
 works were his naval battles. In Green- 
 wich Hospital there is by him a large 
 painting of the ' Bombardment of Algiers 
 in 1816 ' and the ' Capture of Portobello ; ' 
 but though truthful and correct, his works 
 have a tendency to coldness in manner and 
 colour. He left a family, for whom a sub- 
 scription was raised. His ' Life and Career,' 
 by John Watkins, was published in 1841. 
 
 CHAMBEKS, Sir William, Knt., K.A., 
 architect. Was descended from a Scotch 
 family, and was born in Sweden about 
 1 726, where his grandfather was an eminent 
 merchant, and his father supplied the 
 armies of Charles XII. with stores and 
 money. In 1728, when 2 years of age, 
 he came with his father to England. He 
 was educated at Ripon, and at 16 com- 
 menced life as supercargo to the Swedish 
 East India Company, and made one voyage 
 to China, where his previous acquirements 
 enabled him to make some sketches of their 
 peculiar 'architecture. But when 18 he 
 quitted that service to follow the bent of 
 his own inclination as a draftsman and 
 architect, and went to Italy, where he made 
 a considerable stay, assiduously studying 
 to improve himself in his adopted profes- 
 sion, and at Paris studied under Cl^risseau. 
 On his return in 1755 he had the good 
 fortune to be employed by the Princess 
 Dowager of Wales in the improvement of 
 Kew Gardens, and was also employed to 
 teach the Prince of Wales drawing, which 
 secured him the royal favour for the rest 
 of his life, and by his own merits and 
 ability as a draftsman he early enjoyed a 
 groat reputation. 
 
 He was also distinguished as an author. 
 In 1759 he publiMied his 'Designs for 
 Chinese Buildings' and a 'Treatise on 
 Civil Architecture,' upon which his fame as 
 76 
 
 an author rests ; in 1 765, in a costly form, the 
 result of his labours at Kew, ' Plans, Eleva- 
 tions, Sections, and Perspective Views of the 
 Gardens and Buildings at Kew ;' in 1771, ' A 
 Dissertation on Oriental Gardening,' founded 
 on his own observations in China, a work 
 which was much ridiculed at the time. The 
 King of Sweden in 1771 created him a 
 Knight of the Polish Star, and his own 
 sovereign allowed him to assume the title. 
 In 1775 he was appointed the architect of 
 the great national palace in the Strand, 
 Somerset House, and maintained for many 
 years the highest rank of his profession. 
 He was architect to the King and the 
 Queen, and surveyor -general of the Board 
 of Works. He was largely instrumental in 
 the foundation of the Poyal Academy, and 
 was one of the first members, and the 
 treasurer. He was also a fellow of the 
 Eoyal Society and the Society of Anti- 
 quaries, a member of the Academy of Fine 
 Arts at Florence, and of the Royal Academy 
 of Architecture at Paris. He married the 
 daughter of Wilton, R.A., who was re- 
 markable for her great beauty. He died, 
 after a long and severe illness, at his house 
 in Norton Street, March 8, 1796, aged 69, 
 and was buried in Poet's Corner, West- 
 minster Abbey. He left a son and three 
 daughters married, and had amassed a 
 considerable fortune. Somerset House is 
 his greatest work — the terrace is boldly 
 conceived, the distribution of the interior 
 good, the staircases masterpieces. Among 
 his best works may be mentioned Charle- 
 mont House, Dublin, a noble mansion ; 
 the Marquis of Abercorn's mansion at Dud- 
 dingstone, near Edinburgh ; Milton Abbey, 
 near Dorchester ; Lord Bessborough's 
 Italian villa at Roehampton ; and the 
 'Albany,' Piccadilly. Mr. Hardwick, R.A., 
 published in 1825 a piemoir of his life. 
 
 CHANDLER, J. W., portrait painter. 
 He ^as a natural son of Lord Warwick, 
 and practised in London towards the end 
 of the 18th century; and about 1800 was 
 invited to Aberdeenshire, where he painted 
 a good many portraits, and afterwards 
 settled in Edinburgh. He was a free- 
 thinker, of a morbid disposition, and at- 
 tempted suicide. His life was spared, but 
 he died in confinement about 1804-5, when 
 under 30 years of age. He was considered of 
 great promise. His works are little known, 
 and such as may be seen are stiff, weakly 
 painted, and do not sustain the character 
 of talent. He does not appear to have 
 exhibited at the Academy. William Ward, 
 A.R.A., mezzo-tinted after him a portrait 
 of Lord St. Helens. 
 
 CHANTREY, Sir Peancis Legatt, Knt., 
 R.A., sculptor. He was born at Norton, near 
 Sheffield, April 7, 1781. His father was a 
 carpenter, and also rented some small fields, 
 
CHA 
 
 CH A 
 
 and his family had long followed humble 
 employments in that neighbourhood. Edu- 
 cated in the village school, he was then 
 employed by a grocer at Sheffield, where 
 his imagination was strongly attracted by 
 the display in the shop-windows of a 
 carver, and he became the carver's ap- 
 prentice for seven years. Kaphael Smith, 
 the mezzo-tint engraver, found him some 
 time after precariously employed in drawing 
 portraits and landscapes in black-lead 
 pencil, in which he displayed great taste 
 and skill. The engraver noticed and en- 
 couraged his talent, and a statuary of the 
 town helped in the mechanical part of the 
 art of stone-carving. All this time he con- 
 tinued with his master, who did not en- 
 courage his predilections for art ; and in 
 1802 he made a composition with him, and 
 left him, though some accounts say that he 
 ran away and was advertised as a run-away 
 apprentice ; but this can hardly be correct, 
 as he advertised in the ' Sheffield Iris ' of 
 April 22, 1802, to paint portraits at two gui- 
 neas each ; and no less than 72 portraits of 
 this class by his hand have been catalogued. 
 
 Soon after this time he came up to 
 London, and was allowed to study for a 
 limited time in the schools of the Koyal 
 Academy, though he was not regularly ad- 
 mitted as a student ; and it is told that 
 for the first eight years of his London life 
 he did not make 5^. by his profession, yet it 
 appears that in 1804 he advertised to take 
 models from the life, and in the same year 
 exhibited his first portrait at the Academy. 
 He married a cousin in 1809, with whom 
 he received a little property, which assisted 
 him in 1810, when making way in his pro- 
 fession, to establish himself in Pimlico, 
 and to build a studio and large workshops. 
 The merit of his busts was recognised, and 
 in that year he was the successful compe- 
 titor for a statue of George III. for the 
 city of London, his first work of that class. 
 His reputation continued to increase, and 
 about 1813 he raised his price for a bust 
 from 120 to 150 guineas. In 1816 he was 
 elected an associate of the Eoyal Academy, 
 and in the following year he completed his 
 simple and affecting group of ' The Sleeping 
 Cliildren,' now in Lichfield Cathedral. He 
 was elected a full member of the Academy 
 in 1818, and in 1819 visited France and 
 Italy, and after his return produced some of 
 his finest works ; and then, at the head of 
 his profession, with more commissions than 
 he could execute, in 1822 he raised his price 
 for a bust to 200 guineas. 
 
 Of his most important statues should 
 be mentioned — the Sir Joseph Banks, 1827, 
 now in the hall of the British Museum; 
 George Canning, in the Town Hall, Liver- 
 pool, 1832; Sir John Malcolm, in West- 
 minster Abbey, 1837 ; Bishop Bathurst, in 
 
 Norwich Cathedral, 1841; also in West- 
 minster Abbey, Francis Horner, a work of 
 great simplicity, truth, and sweetness, the 
 modern costume treated in a masterly style ; 
 James Watt and Sir Stamford Kaffles, and 
 the three bronze statues of William Pitt, 
 one of which is in Hanover Square ; the 
 equestrian figure of George IV., in Trafal- 
 gar Square ; and of the Duke of Wellington, 
 in front of the Koyal Exchange. In 1835 
 he was knighted by William IV. Ho died 
 suddenly, in his own house, of a spasm of 
 the heart, November 25, 1842, and was 
 buried in a vault he had prepared in his 
 native village. His works were distin- 
 guished by great refinement and taste. 
 They consist almost exclusively of busts 
 and portrait statues, treated in a simple, 
 natural style, never wanting in character or 
 dignity. His invention did not lead him to 
 allegory, or to those classic compositions to 
 which the sculptor loves to give life. About 
 25 of his sketches from nature are engraved 
 in his friend Khode's ' Peak Scenery,' pub- 
 lished 1818-23. He was childless, and he 
 left the reversionary interest of the bulk 
 of his property, after the death of his 
 widow, to the Royal Academy, to make 
 some provision for the president, and for 
 the purchase of the most valuable works 
 in sculpture and painting by artists of any 
 nation residing in Great Britain at the time 
 of their execution, for the purpose of es- 
 tablishing a national collection. He is 
 reputed to have died worth 150,000^. 
 'Recollections of his Life, Practice, and 
 Opinions,' written by his friend George 
 Jones, R.A., was published 1849; and 
 'Memorials of Sir F. Chantrey, sculptor, 
 in Hallamshire,' by John Holland, of Shef- 
 field, was published there 1851. 
 
 CHANTRY, John, engraver. He prac- 
 tised in the reign of Charles 11. His chief 
 works were portraits and ornamental fron- 
 tispieces for the booksellers. He used the 
 graver only in a hard, stiff manner, and 
 his figures were very indifferent. He re- 
 sided some time at Oxford, and died about 
 1G62. Vertue enumerates several plates" 
 by him. 
 
 CHAPMAN, Charles, decorative painter. 
 Was the son of an eminent comedian. He 
 was the pupil of Frank Hayman, and was 
 employed by him in the decorations at Vaux- 
 hall ; but, losing that engagement, he sunk 
 into indigence, and died soon after 1770. 
 
 CHARPENTIERE, Adrien, statuary. 
 He was the friend and art companion of 
 Roubiliac, and must also have had some 
 skill as a painter, as there is a good por- 
 trait by him of Roubiliac, which is well 
 known. Was much employed at Canons, 
 under Van Nost, by the Duke of Bucking- 
 ham. He afterwards set up for himself in 
 Piccadilly, and manufactured the leaden 
 
 77 
 
CHA 
 
 CHE 
 
 statues used in the decoration of gardens, 
 and grow rich upon the bad taste of the 
 day. Died in 1737, in Piccadilly, aged 
 above 60. 
 
 CHATELAINE, John Baptiste Claube, 
 draftsman and engraver. Was born in 
 London, of French Protestant parents, in 
 1710. His real name was Phillippe — the 
 name of Chatelaine assumed. He held a 
 commission in the French army, and served 
 a campaign in Flanders. He then tried 
 art, and became an eminent draftsman and 
 engraver. His drawings were chiefly from 
 nature, sketched with great spirit, either 
 in black chalk or with pen and ink slightly 
 washed. He engraved landscapes with great 
 freedom, many from his own designs, some 
 after Gaspar Poussin and Marco Kicci. He 
 used to work for Vivares, and was employed 
 by Alderman Boydell ; but he only worked 
 when impelled by necessity, and it was his 
 custom to hire himself by the hour, work- 
 ing as long as the flt lasted, and bargaining 
 for instant payment ; when he had earned 
 a guinea he would spend half upon a dinner. 
 He lived in an old house, near Chelsea, that 
 had belonged to Oliver Cromwell, which 
 he took from having dreamt he should find 
 there a hidden treasure, and spent much 
 time in idle attempts to discover it. It is 
 much to be regretted that his great talents 
 were obscured by his depraved manners and 
 irregularities. He was famed for his etch- 
 ings. Fifty views by him of churches and 
 other buildings in the environs of London, 
 which he had devoted four years to making 
 the sketches for, were published. He died 
 at the White Bear Inn, Piccadilly, in 1771, 
 after eating a too hearty supper. His 
 friends raised a subscription to defray the 
 cost of his funeral. Dussieux, in his ' Ar- 
 tistes Fran9aises a I'Etranger,' says that 
 he was born and died in Paris. 
 
 CHATFIELD, Edward, 'portrait fainter. 
 He was of a respectable family, and was 
 placed as a pupil under B. K. Haydon. He 
 tried portraiture, and was an exhibitor of 
 portraits at the Koyal Academy, com- 
 mencing in 1827. He also tried a 'Death 
 of Locke,' 1833; 'The iBattle of KiUie- 
 crankie : two Highlanders stripped to 
 Fight,' 1836 ; and in 1837, ' Ophelia.' But 
 he had not powers equal to such works, 
 and did not do justice to the talent he 
 really possessed. He died January 21, 
 1839, aged 36. He wrote some able papers 
 for ' Blackwood's ' and the ' New Monthly ' 
 magazines. 
 
 CHEERE, Sir Henry, Bart., sculptor. 
 He was a pupil of Scheemakers, and prac- 
 tised about the middle of the 18th century. 
 He was in 1755 a member of the Artists' 
 Committee which in that year attempted 
 to found a Royal Academy; and in 1757 
 he offered to the Society of Arts a plan of 
 
 his own for that object. In 1770 he lived 
 in Piccadilly, where he manufactured the 
 leaden figures then used for- garden decora- 
 tion. The bronze busts of the eminent 
 Fellows of All Souls College, Oxford, and 
 the large statue of the founder, are by him, 
 as is also the equestrian figure of the Duke 
 of Cumberland in Cavendish Square. In 
 1798 he was an honorary exhibitor at the 
 Royal Academy of a drawing from nature. 
 He was knighted in 1760, and created a 
 baronet in 1766. He died at an advanced 
 age in 1781. 
 
 CHEESMAN, Thomas, engraver and 
 draftsman. He was placed under Barto- 
 lozzi, R.A., and was esteemed one of his 
 best pupils. He engraved in the dot man- 
 ner, and practised about the end of the 
 18th century. He was an exhibitor of 
 drawings at the Royal Academy. He con- 
 tributed, in 1802, 'Plenty;' in 1803, 
 ' Spring and Summer ;' in 1805, 'Erminia;* 
 in 1806, a portrait; in 1807, ' Nymphs Bath- 
 ing ; ' followed by an occasional portrait up to 
 1820, when he exhibited for the last time. 
 Among his engraved works may be men- 
 tioned — a portrait of General Washington, 
 printed in colours ; ' The Two Apostles,' 
 after Giotto ; some subjects after Rom- 
 ney ; and ' The Lady's last Stake,' after 
 Hogarth. 
 
 CHENEY, Bartholomew, modeller. He 
 was employed by Sir Robert Taylor to- 
 wards the middle of the 18th century. 
 Among other works, the figures of Fame 
 and Britannia, for Captain Cornwall's 
 monument in Westminster Abbey, were 
 modelled and carved by him. 
 
 CHENU, Peter Francis, sculptor. He 
 studied in the schools of the Royal Aca- 
 demy, and in 1786 gained the gold medal 
 for ' An attempt to perfect the Torso.' 
 He first exhibited at the Academy, in 1788, 
 ' Mercury instructing Cupid ;' and in 1790, 
 ' Genius Weeping ; ' but in succeeding 
 years, whether from inability or want of 
 means, he exhibited at intervals only, and 
 his works did not rise above those of a 
 decorative class — designs to support lights, 
 candelabra, and such, but usually embody- 
 ing tJie figure. In 1822, returning to his 
 early art, he sent a ' Model of Time for a 
 Monument,' his last exhibited work. 
 
 CHERON, Lotris, designer. Born in 
 Paris 1660. He was the son of an enamel 
 painter. After studying in Italy, he came 
 to England, on account of his religion, in 
 1695, and was employed in the decoration 
 of Boughton, Burleigh, and Chats worth. 
 His work was not, however, much esteemed, 
 and he tried small subjects in history, and 
 found employment as a designer, the book 
 illustrations of the time being largely from 
 his designs. He etched from his own de- 
 signs 22 small histories for the *Life of 
 
CHE 
 
 CHR 
 
 David/ published with a French version of 
 the Psalms, 1715, and made the designs for 
 an edition of ' Paradise Lost,' published in 
 1720. He died of apoplexy in Covent Grar- 
 den in 1723, and was buried in the porch 
 of Covent Garden Church. 
 
 CHESHAM) Francis, draftsman and en- 
 graver. Born 1749. He engraved aftei^ his 
 own drawings ' Moses striking the Rock,' 
 and several other works. He also engraved 
 ' Britannia,' after Cipriani, K.A. ; ' Admiral 
 Parker's Victory of 1781 ;' and many views 
 after Paul Sandby. He died in London 
 1806. 
 
 CHICHELEY, Henry, Archbishop of 
 Canterbury, 1414-43. Was one of the 
 chief ecclesiastical architects of the time of 
 Henry Y. 
 
 CHILD, James Warren, miniature 
 painter. He was, during many years, an ex- 
 hibitor of miniature portraits at the Royal 
 Academy. Among his sitters were many of 
 the principal and most popular actresses of 
 the day, and some actors ; and they formed 
 from 1832 the chief of his exhibited works. 
 He exhibited for the last time in 1853, and 
 died September 19, 1862, aged 84. 
 
 CHILDE, Elias, landscape painter. He 
 was an exhibitor of some views at the 
 Water-Colour Society in 1820, and in 1824 
 with the Society of British Artists ; and 
 was in the following year elected a member. 
 From that time his contributions were very 
 numerous — landscapes, many with moon- 
 light effects, and introducing figures with 
 the incidents of country life. At the same 
 time he exhibited works of the same class 
 at the Royal Academy, with river scenes. 
 He exhibited for the last time in 1848. 
 
 CHINNERY, George, R.H.A., portrait 
 painter. Practised both in oil and water- 
 colours. He first appears as an exhibitor 
 of crayon portraits with the Free Society 
 in 1766, and of miniature portraits at the 
 Royal Academy in 1791. He was then 
 living in London, and in the following years 
 made rapid progress. In 1798 he was prac- 
 tising in Dublin, and was elected a mem- 
 ber of the Irish Academy. In 1802 he had 
 returned to London, and exhibited a family 
 group in oil ; and from that time his name 
 does not appear as an exhibitor till 1^30, 
 when he sent a portrait to the Academy 
 from Canton, where he was then living. 
 He was again, in 1831, a contributor of 
 four, and in 1835 of five, portraits. In 1846 
 he exhibited his own portrait — his last work 
 exhibited in London. He spent nearly 50 
 years of his life in the practice of his art 
 in India and China, and died at Macao. 
 There are some etched portraits by him — 
 works of great ability. He sketched in 
 pencil, and tinted with much spirit, boats 
 and river scenes in China, and was greatly 
 esteemed as a portrait painter, excelling in 
 
 every style of art ; but in his life eccentric, 
 irregular, and uncertain. 
 
 CHIPPENDALE, Thomas, ornameniist. 
 He was a native of Worcestershire. Came 
 to London, where he first found employment 
 as a joinei^, and by his own industry and 
 taste was in the reign of George I. most 
 eminent as a carver and cabinet-maker. 
 He published, in 1762, the 3rd edition of his 
 'Gentleman's and Cabinet-maker's Direc- 
 tor,' comprising 200 designs drawn by him- 
 self of household furniture, full of fancy 
 and taste, but with a leaning to the French 
 style. Messrs.Woale published, in 1858-59, 
 his ' Interior Decorations in the Old French 
 Style.' No particulars of his life could bo 
 ascertained. 
 
 CHISHOLM, ALEXANDERj portrait and 
 subject painter. Born at Elgin, N.B., in 
 the year 1792 or 1793. He was appr enti ced 
 to a weaver at Peterhead, but had a great 
 dislike for his trade and a predilection for 
 drawing. He drew on the cloth in his loom, 
 and resorting to the seashore, amused him- 
 self by tracing forms on the smooth sand. 
 Nourishing his love for drawing, he strolled 
 to Aberdeen ; at the age of 19 or 20 came 
 to Edinburgh, and had improved himself 
 so far as to gain the appointment of teacher 
 in the schools of the Scottish Academy. 
 Here he married one of his pupils, and in 
 1818 came to London, and practised history 
 and portrait painting — the latter with much 
 success. He first exhibited at the Royal 
 Academy in 1820, his earliest works being 
 portraits, with an occasional subject pic- 
 ture, not rising higher than * Boys with a 
 Burning-glass,' 1822 ; ' The Cut Foot,' 1823 ; 
 and from that year to 1836 he only exhi- 
 bited thrice, and his contributions were 
 portraits. In 1837 he exhibited more pre- 
 tentious subjects — 'The Baptism of Ben 
 Jonson's Daughter,' for whom Shakespeare 
 stood godfather, with portraits of Shakes- 
 peare, Jonson, Beaumont, Fletcher, Raleigh, 
 and others ; followed, in 1 842, by ' The Lords 
 of the Congregation taking the Oath of the 
 Covenant;' in 1844 and 1845, by other im- 
 portant works ; and in 1 846, by his last 
 work, ' The Minister and his AVife conceal- 
 ing in the Church the Scottish Regalia.* 
 He had, in 1829, become an 'associate ex- 
 hibitor ' of the Water-Colour Society, and 
 from that year to his death exhibited works 
 of the same class in water-colours as those he 
 contributed to the Academy. After having 
 suffered from severe illness for nearly nine 
 years, he died at Rothesay, N.B., October 3, 
 1847, while he was engaged in painting 
 some portraits for a picture of the Evange- 
 lical Alliance. He left six orphan children. 
 
 CHRISMAS, Gerard, architect and 
 carver. He enjoyed a reputation in the 
 reign of James I. He designed Alders- 
 gate (pulled down in 1761), and carved 
 
CHR 
 
 CIP 
 
 on it in bas-relief the figure of James I. on 
 horseback. Ho designed also i\iQfagade oi 
 Northumberland House, and had much in- 
 genuity in his inventions for pageants. 
 
 CHKISMAS, John ^ modellers and 
 
 CHRISMAS, Gerakd, / carvers. Sons of 
 the above, who continued his business. They 
 executed a fine tomb at Ampton, in Suf- 
 folk ; another at Ruislip, Middlesex ; and 
 the carved decorations for the great ship 
 built at Woolwich by Peter Pett in 1637. 
 
 CHRISTIE, Ajlexandee, A.R.S.A., jpor- 
 trait and subject fainter. Was born at 
 Edinburgh 1807. Served an apprentice- 
 ship to a writer to the signet, and was for 
 some time engaged in the business of the 
 law ; but he had from his youth indulged 
 a great feeling for art, to pursue which he 
 at last gave up the law. He entered as a 
 pupil in the Trustees' Academy in 1833, 
 and afterwards studied a short time in 
 London. He then returned and settled 
 in Edinburgh, and was in 1848 appointed 
 an assistant, and in 1845 director of the 
 ornamental department of the Trustees' 
 School. In 1848 he was elected an asso- 
 ciate of the Scottish Academy. He exhi- 
 bited at the Eoyal Academy in London 
 only once, sending in 1853 'A Window- 
 Beat at AVittenburgh, 1526, Luther, the 
 married Priest.' He died May 5, 1860. 
 
 CHURCHMAN, John, architect. He 
 built the first custom-house for the port of 
 London, which stood upon the site of the 
 present building. He was sheriff for the 
 City 1385. 
 
 CHURCHMAN, John, miniature painter. 
 He was of some ability. Died in Russell 
 Street, Bloomsbury, August 5, 1780. 
 
 CIBBER, Caixjs Gabriel, sculptor. Born 
 at Plensburgh, in Holstein, 1630; son of 
 the cabinet-maker to the Danish Court. 
 He evinced an early talent for modelling, 
 and was sent at the expense of his sove- 
 reign to Rome to pursue his studies. Shortly 
 before the Restoration he came to England 
 and found employment under John Stone, 
 and was afterwards largely engaged in monu- 
 mental art and the production or rather 
 manufacture of gods and goddesses for the 
 decoration of groves and gardens. He carved 
 most of the statues of the kings round the 
 old Royal Exchange ; the figures of ' Eaith ' 
 and ' Hope ' in the chapel at Chatsworth, 
 where he was much employed, both on the 
 mansion and in the gardens ; the large bas- 
 relief in the western front of the pedestal of 
 the monument; the 'Phoenix' in bas-relief 
 over the southern door of St. Paul's ; and a 
 fine vase at Hampton Court. But he is popu- 
 larly known by his figures of ' Melancholy 
 Madness ' and ' Raving Madness,' which 
 in 1680 were placed over the entrance-gate 
 of Bethlehem Hospital, at that time in 
 Moorfields. These figures, though original 
 
 and characteristic, attained a notoriety be- 
 yond their art merits. They are said to 
 have been the portraits of two remarkable 
 patients then in Bethlehem, one of whom 
 had been the porter to Oliver Cromwell. 
 Pope says of them in his ' Dunciad,' re- 
 ferring to Cibber's son, the well-known 
 Laureat — 
 
 * Where o'er the gates, by his famed 
 father's hand, 
 
 Great Cibber's brazen brainless brothers, 
 stand.' 
 
 But they neither stood, nor were brazen. 
 They are recumbent and carved in Portland 
 stone ; were repaired by Bacon, R.A., in 
 1815, and are now placed in the South 
 Kensington Museum. Cibber was ap- 
 pointed ' carver to the king's closet,' what- 
 ever that office may be. He was twice 
 married ; his second wife, a Miss Colley, of a 
 Rutlandshire family, bringing him a fortune 
 of 6,000?. He died in 1700, at the age of 
 70, and was buried in the Danish Church, 
 WeUclose Square, of which, in 1696, he was 
 the architect. 
 
 CIPRIANI, John Baptist, R.A., histori- 
 cal painter. Was born in Florence in 1727i 
 of an ancient Tuscan family of Pistoja. His 
 first instruction was by an English painter 
 named Heckford, who was settled in Flor- 
 ence. In 1750 he went to Rome, where he 
 studied three years, and was then induced 
 by Sir William Chambers and Wilton, the 
 sculptor, to accompany them to England 
 in 1755. His reputation had preceded him. 
 He found here his countryman Bartolozzi, 
 whose engravings from his works gave him 
 at once a widespread reputation. He was 
 appointed in 1758 one of the visitors to 
 the Duke of Richmond's gallery at White- 
 hall, was a member of the St. Martin's 
 Lane Academy, and in 1768 one of the 
 foundation members of the Royal Academy, 
 and an exhibitor of classic subjects from 
 that year up to 1779. He painted a few 
 large pictures in oil, some of them at 
 Houghton, but they were feeble and gaudy, 
 wanting in expression, colour and chiaros- 
 curo. His art is to be found in his draw- 
 ings, full of graceful invention and fancy ; 
 his females exquisitely elegant, his children 
 unrivalled. Euseli praises his invention, 
 his graceful compositions and elegant forms, 
 and also his simple manners and unaffected 
 benevolence. The English school is in- 
 debted to him for the improved drawing 
 of the figure and more correct taste. He 
 painted the allegorical designs on the 
 panels for the new state-coach first used by 
 George III. in November 1762, and still 
 used by our sovereign. Designed the 
 diploma for the Royal Academy in 1768. 
 He repaired the paintings by Vario at 
 Windsor, and the fine Rubens's ceiling in 
 AVhitehall Chapel in 1778. He etched 
 
CIP 
 
 CL A 
 
 some portraits for Hollis's 'Memoirs.' He 
 married in 1761 an English lady of some 
 fortune, and had two sons, and a daughter 
 who died young. He lived many years 
 next the Eoyal Mews, in Hedge Lane (now 
 AVhitcombe Street), Charing Cross, but 
 later in life removed to Hammersmith, 
 where he died of rheumatic fever, Decem- 
 ber 14, 1785, and was buried in the Chelsea 
 Burial-ground, King's Koad, where his friend 
 Bartolozzi erected a monument to his me- 
 mory. In March 1786 no less than 1,100 
 drawings by him were sold, many of them 
 highly finished, and among them a com- 
 position of six figures, 'The Death of Dido,' 
 which fetched 54 guineas. In the following 
 year a collection of his drawings made by 
 Mr. Locke was also sold by auction. 
 
 CIPEIANI, Captain Sir Henry, Knt., 
 copykt. Was the youngest son of the fore- 
 going, and was brought up as an artist. 
 He made a careful drawing in water-colours 
 of Copley's ' Death of Chatham,' from which 
 Bartolozzi executed his engraving. His 
 copy was much praised, and the 100 guineas 
 he received was deemed only a small sum. 
 In 1781 he exhibited a ' Portrait of a Young 
 Nobleman' at the Academy. But he did 
 not meet with the encouragement he de- 
 served, and he accepted a commission in 
 the Huntingdonshire Militia, forsaking art. 
 Then he held a clerkship in the Treasury, 
 and the appointment of exon in the Corps 
 of Gentlemen Pensioners, and was knighted. 
 He died September 17, 1820. 
 
 CLACK, EicHARD Augustus, portrait 
 painter. He was the son of a Devonshire 
 clergyman, and studied in the schools of 
 the Eoyal Academy. He exhibited at the 
 Academy — commencing in 1830, when he 
 resided in London — domestic subjects and 
 portraits. In 1845 he practised at Exeter, 
 and continued to send portraits to the 
 Academy Exhibitions from that city up to 
 1856 ; and the following year, when he was 
 living at Hampstead, sent his last contri- 
 bution to the Academy Exhibition. 
 
 CLAEET, Wllliam, portrait painter. 
 Was a pupil of Sir Peter Lely, whose style 
 he successfully imitated. Several of his 
 portraits, dated 1670-80, were engraved by 
 E. White and E. Tompson. He died at 
 his house in Lincoln's Inn Fields in 1706. 
 His portraits are carefully finished and 
 tolerably drawn, hands good, but the ex- 
 pression weak. 
 
 CLAEK, W., aqua-tint engraver. He 
 was a corporal in a light dragoon regi- 
 ment, but was a clever draftsman, and pro- 
 duced some good plates in aqua-tint. He 
 died at Limerick in December 1801. 
 
 CLAEK, H!ekry, china painter. He 
 was an apprentice in the Water Lane Pot- 
 tery, Bristol, where he was employed nearly 
 50 years. He painty flowers and land- 
 
 9 
 
 scapes, and attained considerable ability. 
 He died about 1862. 
 
 CLAEK, John, landscape painter. Was 
 known as ' Waterloo Clark,' from his scenes 
 drawn on the field immediately after the 
 battle. He published, in 1827, 'Practical 
 Illustrations of Landscape Painting in 
 Water-colours,' with 55 well-executed co- 
 loured views from nature. He was an 
 ingenious man, and invented the toys called 
 ' The Myriorama ' and ' Urania's Mirror.* 
 He was also engaged in book illustration. 
 He died in Edinburgh in October 1863, in 
 his 92nd year. 
 
 CLAEK, Thomas, portrait painter. He 
 was born in Ireland, and educated in the 
 Dublin Academy. Then, about 1768, he 
 came to London, and on the introduction of 
 Oliver Goldsmith became the pupil of Sir 
 Joshua Eeynolds. He exhibited an oil 
 portrait at the Academy in 1769 and again 
 in 1770. He drew well, particularly the 
 head, but had no notion of colour or prac- 
 tice in painting, and he soon left Eeynolds, 
 to whom he was of little use. Neglected 
 and in difficulty, he died young. 
 
 CLAEKE, George, sculptor and mo- 
 deller. He practised at Birmingham in 
 1821, and then sent his first work, a bust 
 of Dr. Parr, to the Academy. In 1825 ho 
 had settled in London, and was then an 
 occasional exhibitor of busts in marble, 
 among them one of Dr. Maltby. He was 
 of much promise, which he did not live to 
 realise. He died suddenly at Birming- 
 ham, March 12, 1842, aged 46, leaving a 
 large family without provision. He mo- 
 delled a colossal bust of the Duke of Wel- 
 lington and the statue of Major Cartwright, 
 in Burton Crescent, which may be referred 
 to as his best work. 
 
 CLAEKE, Dr. George, LL.D., amateur. 
 Was educated at Oxford University, and 
 became eminent in architecture, of which 
 science Walpole says, 'he was classically 
 conversant.' He designed the library at 
 Christ Church, and jointly with Hawks- 
 moor the new towers in the quadrangle of 
 All Souls College. Walpole says also that 
 he built the three sides of the square called 
 Peckwater, at Christ Church, and the gate 
 of the Church of All Saints, in the High 
 Street. But Dallaway ascribes these works 
 to Dean Aldrich. He represented the Uni- 
 versity in Parliament for 15 sessions, and 
 in the reign of Queen Anne was one of the 
 Lords of the Admiralty. He died in 1736, 
 aged 76. He bequeathed his valuable col- 
 lections of architecture to the library of 
 Worcester College. 
 
 CLAEKE, Theophilus, A.E.A., portrait 
 painter. He was born in 1776 ; was a pupil 
 of Opie, and student in the schools of the 
 Eoyal Academy. He first appears as an 
 exhibitor in 1797. His works were chiefly 
 
 81 
 
CLA 
 
 CLA 
 
 portraits and domestic subjects, with some 
 marines and landscapes. Ho was elected 
 an associate of the Academy in 1803, and 
 last exhibited in 1810. The date of his 
 death is unknown. His^ name was con- 
 tinued on the list of associates till 1832. 
 
 CLAEKE, Benjamin, sculptor. He was 
 born in Dublin 1771. An artist of pro- 
 mising ability ; he was idle and neglected 
 to study, but was held in much estimation. 
 He died 1810. 
 
 CLARKE, John, engraver and drafts- 
 man. Born in Scotland about 1650. Prac- 
 tised in Edinburgh with much reputation ; 
 but Strutt says he worked chiefly with the 
 graver in a style which does him little cre- 
 dit as an artist. He executed profile heads 
 of William and Mary, Prince and Princess 
 of Orange, dated 1690 ; seven small heads, 
 on one plate, of Charles II., his Queen, 
 Prince Rupert, the Prince of Orange, Duke 
 of Monmouth, and General Monk ; and por- 
 traits of some of the chief persons in the 
 throe kingdoms. He also engraved, after 
 his own designs, * The Humours of Harle- 
 quin.' He died about 1697. 
 
 CLARKE, John, engraver. Lived in 
 Gray's Inn, and practised the latter part 
 of the 17th century. He engraved a por- 
 trait of Rubens and a picture of 'Her- 
 cules and Dejanira,' but did not attain any 
 eminence. 
 
 CLARKE, William, engraver and drafts- 
 man of the time of Charles II. He engraved 
 chiefly portraits, and mostly for frontis- 
 pieces — one of which for a book of devo- 
 tion, published in London 1635. There is 
 a small mezzo-tint by him of John Shower, 
 from a portrait by himself. His works are 
 dated as late as 1680. 
 
 CLARKSON, Nathaniel, portrait 
 painter. He practised in the latter half 
 of the 18th century, but commenced art 
 as a coach-panel and sign painter, and it 
 is said painted the elaborate Shakespeare 
 sign, for which Edward Edwards gives 
 Wale, R.A., the credit. He was a member 
 of the Incorporated Society of Artists. He 
 resided at Islington, and died there Sep- 
 tember 26, 1795, aged 71. He painted and 
 presented to the new church at Islington, 
 finished 1751, an altar-piece, 'The Annun- 
 ciation.' 
 
 CLATER, Thomas, suhject painter. He 
 was from 1820 a constant exhibitor at the 
 Royal Academy. He first contributed some 
 portraits, and then took up subjects from 
 domestic life. In 1824, ' The Morning Lec- 
 ture ;' in 1827, Christmas in the Country;' 
 in 1829, 'Scandal— only think;' in 1839, 
 • The Music Lesson ; ' in 1849, ' Sunday 
 Morning.' Clever in their quiet humour 
 and pleasing in colour, his works did not 
 find purchasers, and after a long career he 
 fell into difficulties. He exhibited for the 
 82 
 
 last time in 1859, and was assisted from 
 the funds of the Royal Academy. He died 
 February 24, 1867. 
 
 CLAY, Alfred Barron, history painter. 
 He was born June 3, 1831, at Walton-le- 
 Dale, near Preston, and was the second son 
 of the Rev. John Clay, who was distin- 
 guished as the chaplain of Preston Gaol. 
 He was educated at the Preston Grammar 
 School, and intended for the legal profes- 
 sion, was articled to a solicitor in that 
 town. Towards the latter part of his term 
 he became strongly attached to the study 
 of art, and though discouraged by his pa- 
 rents, he managed quietly to persevere in 
 the pursuit, and when the question arose of 
 further arrangements for his continuance in 
 the law, he was resolutely opposed, anxious 
 that some test should be made of his pre- 
 tensions in art; and with this view he 
 painted his mother's portrait, and upon the 
 favourable opinions expressed he was sent 
 to Liverpool, where he commenced his stu- 
 dies in the spring of 1852, and in the 
 autumn of the same year came to London, 
 and was admitted to the schools of the 
 Royal Academy. In 1855 he first exhi- 
 bited at the Academy, sending portraits of 
 his father and his sister, and their success 
 decided his career. From that time he was 
 a regular contributor. He painted several 
 subjects from Scottish history, thrice exhi- 
 biting ' The Imprisonment of Mary, Queen of 
 Scots.' In 1864 he exhibited 'Charles IX. 
 and the French Court at the Massacre of 
 St. Bartholomew;' in 1865, ' The Hugue- 
 not ;' and in 1867, his most important work, 
 ' The Return of Charles 11. to Whitehall in 
 1660.' His health gave way at this time, 
 in spite of every effort, and he gradually 
 sunk, dying at Rainhill, near Liverpool, at 
 the ])eginning of a career of much promise, 
 October 1, 1868. His 'Mary, Queen of 
 Scots, when a Prisoner, mending an old 
 Tapestry,' was exhibited at Suffolk Street 
 in the spring of that year. 
 
 CLAYTON, John, stilUlifepaimter. He 
 was brought up as a surgeon, but left that 
 profession for the arts. He was a member 
 of the Incorporated Society of Artists, and 
 known as a painter of fruit and still-life in 
 oil and water-colours at the exhibitions 
 which preceded the establishment of the 
 Royal Academy. He has left no remem- 
 brance of his works, some of the chief of 
 which were destroyed by fire in 1769. He 
 retired from the practice of art, and died at 
 Enfield, May 23, 1800, in his 73rd year. 
 
 CLAYTON, Joseph, architect. He prac- 
 tised at Hereford, where he built some 
 railway stations and residences, but is 
 better known by his published works — ' The 
 Churches of London and Westminster built 
 by Sir Christopher Wren,' 1848-49 ; ' The 
 Ancient-timbered Houses of England.' He 
 
CLE 
 
 CLE 
 
 was a fellow of the Institute of British 
 Architects, and read some papers at their 
 meetings. He died 1861. 
 
 CLENNELL, Luke, subject painter. 
 Born at Ulgham, near Morpeth, the son of 
 a farmer there, April 8, 1781. He was 
 placed at an early age with a relative who 
 was a grocer, and assisted in the shop till 
 he was 16. Then liis friends were induced 
 by his love of drawing and some attempts 
 at c^iricature, which led him into scrapes, 
 to apprentice him for seven years, in 1797, 
 to Bewick, the wood engraver ; but, be- 
 tween the grocer and the artist, he was for 
 a short time with a tanner, with whom it 
 was purposed to place him. With Bewick 
 he made great and rapid progress ; he soon 
 drew correctly and well, and was employed 
 to copy on the wood the designs of his 
 fellow-pupil, K. Johnson, for the tail-pieces 
 of the ' Water Birds,' and to cut them ; and 
 to these he added some J)eautiful little sea- 
 pieces and shore-views of his own design. At 
 this time his parents fell into difficulties, 
 and to assist them and provide himself with 
 a little pocket money, he disposed of some 
 drawings he had made by a ratHe. In 1804, 
 shortly after the termination of his appren- 
 ticeship, he came to London, and there 
 married the daughter of Charles Warren, 
 the engraver. He soon found full employ- 
 ment in wood engraving. Among his works 
 are the illustrations of Falconer's ' Ship- 
 wreck ; ' Eogers's ' Poems,' from Stothard's 
 designs, perhaps his best work, and full of 
 the very spirit and character of the painter ; 
 the diploma of the Highland Society, 
 from a design by West, P.R.A., for which 
 the Society of Arts gave him their gold 
 medal. All these works were eminently 
 distinguished by their free and artist-like 
 execution, and by their excellent effect. 
 
 But he now resolved to abandon wood 
 engraving. He had formed friendships 
 with artists of celebrity, and his ardent 
 genius led him to painting as a larger held. 
 He already drew beautifully in water- 
 colours, and had made the designs for 
 Walter Scott's ' Border Antiquities.' When 
 the Water-Colour Exhibition was thrown 
 open to the profession, he sent several 
 works in 1813-14 and 1815, and commenc- 
 ing in 1812, was a contributor at the same 
 time to the Royal Academy Exhibitions, 
 sending for the last time, in 1816, 'Bag- 
 gage Waggons in a Thunder Storm ' and 
 * The Pedlars.' He entered into competi- 
 tion for the premium of 1 50 guineas offered 
 by the directors of the British Institution 
 for the best sketch of the Decisive Charge 
 made by the Life Guards at Waterloo, 
 and was successful. In 1814 he received 
 from the Earl of Bridgewater a commission 
 for a large picture to commemorate the 
 dinner to the allied sovereigns at the Guild- 
 
 hall, London. He had great difficulty, as 
 all painters of such works have, in obtain- 
 ing the portraits of the distinguished 
 guests, and suffered from many anxieties in 
 the commencement of the wwk ; but when 
 he had succeeded, and was going on vigour- 
 ously with his picture, his mind suddenly 
 gave way, and in April 1817 he was found 
 to be insane, without any previous symp- 
 toms of his sad malady. After two or 
 three years' confinement in a lunatic asylum 
 in London, his mind so far recovered that 
 restraint became unnecessary. He was seijt 
 to his friends in the North, with whom ho 
 lived in a stato of harmless imbecility, and 
 amused himself with attempts at drawing 
 and wood engraving, and even poetry and 
 music, for he had a fine voice, and had 
 known Burns and sang his songs. But in 
 1831 his malady returned ; he was again 
 sent to a lunatic asylum, and continued to 
 amuse himself at intervals in the same way. 
 He never recovered his reason. He died 
 at Newcastle-on-Tyne, February 9, 1840, 
 aged 59. When seized with his insanity his 
 family were assisted by the Artists' Fund; 
 a subscription was also made for them, and 
 Bromley engraved his ' Charge of the Life 
 Guards,' which was published for their be- 
 nefit ; but the sufferings of his young wife 
 produced the same malady in her, soon 
 followed by her death. Clennell had grea.t 
 talent as a landscape painter, readiness of 
 composition — spirited, truthful, and power- 
 ful — his rustic groups admirable, full of 
 character and nature. 
 
 CLERISSEAU, Charles Louis, archi- 
 tectural draftsman. Was born in Paris in 
 1722. He painted chiefly in water-colours, 
 and was remarkable for extraordinary fa- 
 cility of execution. He studied many yefirs 
 at Rome, and his drawings of architecture 
 and ruins are highly esteemed, and are well 
 known here. He was induced by Robert 
 Adams to come with him to England, 
 and made many of the drawings for his 
 ' Ruins of Spalatro,' published in 1764. On 
 the bankruptcy of Adams he returned to 
 France, and published in 1778 his 'Anti- 
 quit^s de France,' followed by the ' Monu- 
 mens de Nimes.' In 1783 he was appointed 
 architect to the Empress of Russia. He 
 exhibited stained drawings, architectural 
 compositions, ruins, &c., at the Spring 
 Gardens Rooms in 1775-76 and 1790. He 
 died at Paris, January 20, 1820, in his 
 99th year. He was chevalier of the Legion 
 of Honour and member of the Academy at 
 St. Petersburg. 
 
 CLERK, John, Lord Eldin (one of the 
 Scotch Lords of Session), amateur. He 
 painted some clever landscapes, introducing 
 figures. Some of his works have been 
 engraved. He published a work on Naval 
 Tactics. He died in July 1812. 
 2 ^3 
 
CLE 
 
 CLE 
 
 CLERMONT, , decorative painter. 
 
 Born in Franco. Camo to England and 
 resided hero many years. He painted ceil- 
 ings and decorations for buildings, with 
 grotesques, foliage, birds, and animals. He 
 returned to France in 1754. 
 
 CLEVELEY, John, marine painter. He 
 was born in London about 1745, and was 
 brought up in the dockyard at Deptford, 
 whore early in life he held some appointment. 
 He showed an early taste for drawing, and 
 acquired considerable skill in painting 
 shipping and sea views. He became ac- 
 quainted with Paul Sandby, R.A., who then 
 taught at the Royal Military School at 
 Woolwich, and learnt from him the prac- 
 tice of water-colour painting. Continuing 
 to reside at Deptford, he drew the shipping 
 which floated past with every tide, and ac- 
 quired great facility and truth as a marine 
 painter. After exhibiting with the Free 
 Society of Artists from 1765, he first ex- 
 hibited at the Royal Academy in 1770, and 
 was a constant contributor to the year of 
 his death, and up to 1782 appears in the 
 catalogues as ' John Cleveley, junr.' Com- 
 mencing with views on the Thames, his 
 exhibited works comprised drawings of 
 Iceland, ' The King reviewing the Fleet at 
 Spithead,' views on the Tagus and of 
 Gibraltar, ' A Gale off Dover,' ' Greenland 
 Fishery,' one of the Friendly Islands, with 
 many others. He was appointed drafts- 
 man to Capt. Phipps's (afterwards Lord 
 Mulgrave) expedition of discovery to the 
 North Seas in 1774, and made the drawings 
 to illustrate the ' J ournal of the Voyage,' 
 which in the engravings bear his signature, 
 
 * John Cleveley, junr.' This would lead 
 to the assumption that his father was an 
 artist — possibly a naval draftsman in the 
 dockyard. He also accompanied Sir Joseph 
 Banks on his tour in Iceland. He was 
 awarded a premium for his drawings by the 
 Society of Arts. He never held any com- 
 mission in the Navy. He resided some 
 time in Pimlico, and died in London, 
 June 25, 1786. Ho painted occasionally in 
 oil, but chiefly in water-colours, in which 
 he excelled. His drawings are finished 
 with much skill and taste, spirited in exe- 
 cution, and in colour almost in advance of 
 his day. 
 
 CLEVELEY, Robert, marine painter. 
 It cannot bo traced that he was any relation 
 of the above. He first appears as an ex- 
 hibitor with the Free Society of Artists in 
 1767, and afterwards at the Royal Aca- 
 demy, where he was a contributor of works 
 both in oil and water-colours from 1780 to 
 1803. Up to 1788 he was classed as an 
 
 * honorary exhibitor,' but he early attained 
 distinction as a painter of naval actions, 
 and after that year took his place among 
 the artists. In 1782 his name appears 
 
 in the catalogue as R. Cleveley, of the 
 Navy,' and he is spoken of as a lieu- 
 tenant ; but a careful search of the re- 
 cords of the Admiralty makes it quite clear 
 that he never held a commission in the 
 Royal Navy. In 1783 he exhibited 'The 
 Relief of Gibraltar ; ' in 1784, ' The Ruby" 
 engaged with the " SolitaJ^ire," ' and ' The 
 " Solitaire" striking to the " Ruby ;" ' in 1 788, 
 ' A Calm ' and ' A Breeze on the Elbe ; ' in 
 1790,' The Reception of the Duke of Clarence 
 in Portsmouth Harbour ; ' in 1797, ' Commo- 
 dore Nelson boarding the San " Nicolas " and 
 the " San Josef." ' He had previously painted 
 the Morn and the Eve of Earl Howe's 
 Victory of June 1, pictures each 12 feet by 
 8 feet, which were much admired at the 
 time. There is a good portrait of him 
 painted by Beechey, and engraved by 
 Freeman, in the dress of a civilian, inscribed 
 ' Robert Cleveley, Esq., marine painter to 
 H.R.H. the Prince of Wales, and marine 
 draftsman to H.R.H. the Duke of Clarence.' 
 While on a visit to a relative at Dover, he 
 fell from the cliff September 29, 1809, and 
 died in a few hours. His paintings and draw- 
 ings of marine subjects possess much merit, 
 and he also painted a few good landscapes. 
 
 CLEYN, Francesco, ornamental painter. 
 Was born at Rostock, in Mecklenburg- 
 Schwerin, and retained in the service of 
 Christian IV., King of Denmark. He 
 travelled in Italy and studied there for four 
 years ; and then, on the recommendation 
 of the English minister at Venice, was 
 invited here by Charles I. when Prince 
 Charles. He arrived while the prince was in 
 Spain, and was received by James I., who, 
 with the King of Denmark's permission, 
 retained him in his service. He was first 
 employed in designing for the manufactory 
 of tapestry at Mortlake, which he assisted 
 in carrying to great perfection, and was 
 granted an annuity of 100^., which he held 
 till the rebellion. But he was not employed 
 exclusively on tapestry designs. He painted 
 some ceilings and decorations at Somerset 
 House, Bolsover ; Carew House, Parson's 
 Green ; and at Holland House. He designed 
 Charles II.'s Great Seal and illustrations 
 engraved by Hollar for Virgil andfor ^sop's 
 ' Fables,' for which he was paid 505. each. 
 He also designed some small books of orna- 
 mental foliage, and for goldsmiths' work, 
 and etched some plates in the manner of 
 Hollar. He died 1658. He is styled on a 
 small drawing by him, ' II famosissimo pit- 
 tore F. C, miracolo del secolo e molto 
 stimato del re Carlo della Gran Britannia.* 
 
 CLEYN, Francis, "| miniature 'painters. 
 
 CLEYN, John, / Sons of the above, 
 and brought up by him to his profession, 
 were distinguished as draftsmen and minia- 
 ture painters. Evelyn, in his ' Sculptnra,* 
 speaks of them as * hopeful but now deceased 
 
CLI 
 
 CLO 
 
 brothers,* and greatly praises their draw- 
 ings from the cartoons. Francis, born in 
 1625, died October 21, 1650 ; and John, the 
 youngest brother, also died young. Their 
 sister Penelope is said to have been a 
 miniature painter; and some miniatures, like 
 Cooper's in manner, with the initials P. C, 
 have been thought possibly her work. 
 
 CLINT, George, A.K.A., portrait painter 
 and engraver. Was born inBrownlow Street, 
 Holborn, where his father kept a hair- 
 dresser's shop, April 12, 1770. He was 
 apprenticed to a fishmonger, but left that 
 trade in disgust and found some employ- 
 ment in an attorney's office. Then his 
 conscience revolting against his work, he 
 tried house painting, and soon after mar- 
 ried. He next tried his hand at art, and 
 finally abandoning house painting, he with 
 a young family underwent acute privations ; 
 but he made rapid progress as a miniature 
 painter, and at last succeeded, his works pos- 
 sessing great skill in execution, with a deli- 
 cate feeling for beauty. After this he took 
 up engraving in mezzo-tint, and tried both 
 the chalk manner and outline. He engraved 
 
 * The Frightened Horse,' after Stubbs, an 
 entombment, many portraits, some prints 
 for Sir Thomas Lawrence, which resulted in 
 a disagreement, and in 1807, * The Death of 
 Nelson,' after Drummond, A.E.A. But he 
 did not find full employment, and to eke 
 out his means he made for sale copies by 
 the dozen from popular subjects by Morland 
 and others. About this time he engage'd to 
 mezzo-tint Harlow's ' Kemble Family,' and 
 produced a successful plate, which was so 
 popular that it was re-engraved three times. 
 He had painted a portrait of his wife, and 
 was greatly encouraged by the kind opinion 
 of Sir William Beechey, K. A. ; and the com- 
 pletion of Harlow's picture bringing him 
 into connection with many players and 
 lovers of the drama, he commenced a series 
 of dramatic scenes with portraits of favourite 
 actors, which gained him so much reputation 
 and were so popular that they led to his 
 election as associate of the Eoyal Academy 
 in 1821. Of these we may pQint to his 
 
 * Hamlet and Ophelia,' ' Paul Pry,' and the 
 
 * Honeymoon,' in the Sheepshanks Gallery ; 
 and his ' Falstaff and Mrs. Ford' in the Ver- 
 non Gallery at South Kensington. He also 
 painted the portraits of several persons of 
 distinction ; but he did not attain the higher 
 rank of academician. Young men pressing 
 on passed over his head — he thought him- 
 self slighted, and in 1835 he resigned his 
 position of associate, and became an angry 
 opponent of the Academy. Not long after 
 this he retired from his profession and lived 
 at Peckham, on the savings from his works 
 and some property derived from a second 
 marriage. Later he removed to Pembroke 
 Square, Kensington, where he died May 10, 
 
 1854, in his 85th year. He was successful 
 
 as a portrait painter, and in his subject 
 pictures has perpetuated a generation of 
 dramatic celebrities, cleverly grouped and 
 expressed. His colour was tame and lacked 
 richness and variety, and there was a cha- 
 racter of feebleness in his art. His mezzo- 
 tint was good, bold — perhaps wanting in 
 finish, but artistic. 
 
 CLINT, Scipio, medallist. Son of the 
 foregoing. He gained a medal at the Society 
 of Arts in 1824, and the following year 
 exhibited for the first time at the Academy. 
 In 1830 he exhibited his dies for a medal 
 of Sir Thomas Lawrence. He was appointed 
 medallist to the King, and was attaining 
 distinction in his art, when he died on 
 August 6, 1839, at the age of 34, just as 
 employment was beginning to promise a 
 successful career. 
 
 CLOOS, NiCHOiAs, ^ surveyor a term 
 synonymous with architect. Was of Flemish 
 extraction, and held the cure of the church 
 of St. J ohn the Baptist, Cambridge, which 
 was pulled down to make room for King's 
 College Chapel. Of this great example of 
 English art he was the architect ; and was 
 in 1443 one of the six fellows originally 
 placed on the foundation. He was also 
 for his services as architect empowered to 
 bear arms by a grant from the King. 
 In 1449-50 he !was appointed to the see 
 of Carlisle, and in 1452 was translated to 
 Lichfield. 
 
 CLOSE, Samuel, engraver. He was born 
 in Dublin, and was deaf and dumb from his 
 birth. Of intemperate habits, he was em- 
 ployed at small pay by others, whose names 
 were affixed to his works. He died 1817. 
 
 CLOSTERMAN, J ob2^, portrait painter. 
 Was born at Osnaburgh in 1656. In 1679 
 he went to Paris, and from thence, in 1681, 
 came to this country, and was employed 
 by Riley to paint his draperies ; and after- 
 wards painted portraits in conjunction with 
 him, Riley usually finishing the heads. 
 After Riley's death he finished many of 
 his uncompleted portraits, and obtaining 
 much notice, set up as a rival to Kneller. 
 In 1696 he went by invitation to Spain, 
 and painted the portraits of the King and 
 Queen. He also went twice to Italy, and 
 brought back some good pictures which 
 he purchased there. He painted a whole- 
 length of Queen Anne, now in the Council 
 Chamber, Guildhall; a family group of 
 the Duke and Duchess of Marlborough, 
 with their children ; and a portrait of 
 the Duke of Rutland. His colouring was 
 heavy, but not without power ; his works 
 entirely without grace ; yet, in the low 
 state of the arts which then prevailed, ho 
 might have realised wealth. But he be- 
 came infatuated with a young English- 
 woman, an artful girl, and it is said married 
 
 85 
 
CL O 
 
 COG 
 
 hor. When made poor by her extrava- 
 gance, sho robbed him and left him ; then 
 falling into a stat^ of dejection of body 
 and mind, ho died in 1713, and was buried 
 in Covent Garden Churchyard. He re- 
 gided some years in Piccadilly. His por- 
 traits haye been engraved by Faithorne, 
 Smith, and Shorwin. 
 
 CLOWES, Butler, engraver. Practised 
 in the latter half of the 18th century. 
 He scraped some portraits in mezzo-tint, 
 which have little claim to merit, and en- 
 graved after Hemskirk, Stubbs, Collet, and 
 others ; and also both designed and^ en- 
 graved some theatrical and genre subjects 
 of his own. He died 1782. 
 
 COCKBUKN, James Patteson, Major- 
 Gcnoral, aTnateur. He was of much ability, 
 and drew and published many views of 
 foreign scenery, but is reputed to have 
 made use of the camera lucida in sketch- 
 ing— 'The Route of the Simplon ' and 
 views of Mont Cenis, 1819-22; views of 
 the Coliseum, 1821 ; views in the Valley 
 of Aosta, 1822-23 ; and he also contributed 
 8omo drawings for 'Pompeii Illustrated,' 
 1819-27. 
 
 COCKERELL, Samuel Pepys, architect. 
 He was born about 1754, and was a pupil 
 of Sir Robert Taylor. In 1792 he was 
 first an exhibitor at the Royal Academy, 
 and from that year was a constant con- 
 tributor, chiefly of designs for mansions 
 and churches, up to 1803. In 1796-98 
 he rebuilt the church of St. Martin's Out- 
 wich, London. He built several hand- 
 pome residences, and was employed upon 
 some largo alterations. He held the ap- 
 pointment of surveyor to the East India 
 House, and filled some other important 
 professional offices, and had an extensive 
 practice towards the end of the century. 
 Ho died July 12, 1827. 
 
 COCKERELL, Charles Robert, archi- 
 tect. He was the son of the foregoing, 
 was born in London, April 28, 1788, and 
 was educated at Westminster School. He 
 Btudied his profession under his father, 
 with whom he continued about five years, 
 becoming a good draftsman, and about 
 1809 was engaged to assist Sir Robert 
 Smirko in the rebuilding of Covent Gar- 
 den Theatre. He was well fitted by his 
 studies for the pursuit of classic archi- 
 tecturo, and in 1810 he commenced his 
 travels to mature and improve his know- 
 ledge. He sailed direct to Constantinople, 
 and finding there many objects of study, he 
 stayed several months, and then went to 
 Athens, where ho passed the winter ; in 
 the spring visiting the Morea and other 
 parts of Greece, and then returning to 
 Athens. In 1811-12 ho travelled in Ionia, 
 Lycia, and Cilicia, and went from thence 
 to Malta and Sicily, where he remained 
 86 
 
 some time, visiting the ancient temples 
 and remains at Girgenti and Syracuse. In 
 1813 he returned to Greece, and after two 
 years' more study there — during which he 
 discovered the fine reliefs from the temple 
 of Phigalia, now in the British Museum — 
 he went to Naples in 1815, devoted his 
 chief attention to Pompeii, then passed 
 the winter in Rome, and after seeing the 
 other great Italian cities, returned to Eng- 
 land in 1817. 
 
 His reputation had preceded him, and 
 with the great advantages which he had 
 enjoyed, he commenced the practice of his 
 profession. In 1818 he first exhibited at 
 the Royal Academy, contributing in that 
 and the following years his restorations of 
 some of the great edifices of the ancients. 
 In 1825 he completed Hanover Chapel, 
 Regent Street ; and in 1829, St. David's Col- 
 lege, Lampeter, a Gothic design ; and was 
 in that year elected an associate of the 
 Royal Academy. About the same time he 
 was a competitor for the erection of the 
 Cambridge University Library, and was 
 eventually employed, but only one wing 
 of his design wae built. His next large 
 work was the Westminster Fire Office, in 
 the Strand. 
 
 In 1833 he was appointed architect to 
 the Bank of England, and he erected the 
 Dividend Office, and made some other alter- 
 ations, which were in his best manner, but 
 they have chiefly been since pulled down 
 to provide for some necessary enlarge- 
 ments. In 1836 he was elected a member 
 of the Academy, and in 1840 was ap- 
 pointed professor of architecture. Ho com- 
 peted for the erection of the Houses of 
 Parliament, the National Gallery, and the 
 London University, and later for the 
 Royal Exchange ; and failure was, in such 
 strong contests, no dishonour to any artist. 
 In 1840 he designed the Taylor and 
 Randolph Buildings at Oxford, a noble 
 work; and in 1845 was presented with 
 the honorary degree of D.C.L. He was 
 engaged during seven years in completing, 
 on the death of their designer, Mr. Elmes, 
 the Assize Courts and St. George's Hall, 
 Liverpool, which he had commenced. In 
 1848 he was awarded the first gold medal 
 given by the Institute of Architects, of 
 which he was the president. In 1857 he 
 completed at Liverpool, after his own de- 
 signs, the London Insurance Company's 
 offices, his last work. He had gained 
 European reputation, was a member of 
 several foreign orders and academies, and 
 after a long and active life died at his 
 house in Regent's Park, September 17, 1863, 
 and was buried in St. Paul's Cathedral. 
 
 He was only an occasional exhibitor at 
 the Academy, and then not of the works 
 he was executing, but rather his classic 
 
coc 
 
 COL 
 
 restorations and dreams of the great works 
 of antiquity, rendered valuable by his 
 great knowledge and study. Thus, in 1830 
 and 1831, ho exliibited restorations of the 
 Parthenon and of the theatre at Pom- 
 peii ; in 1838, 'A Tribute to the Memory 
 of Wren,' comprising a group of his chief 
 works ; in 1849, ' The Professor's Dream,' 
 a composition including the principal archi- 
 tectural monuments of ancient and modern 
 times ; in 1859, his last contribution to the 
 Academy Exhibitions, ' Study of the Mau- 
 soleum of Halicarnassus,' from the ancient 
 texts and fragments, with the then recent 
 measurements. He was also distinguished 
 as a lecturer and WTiter on his art. He pub- 
 lished, in 1830, his 'Antiquities of Athens' 
 and 'The Temple of Jupiter Olympus at 
 Agrigentum;' in 1851, 'The Iconography 
 of the West front of Wells Cathedral ; ' and, 
 in 1860, 'The Temples of Jupiter Pan- 
 hellenius and Apollo Epicurius.' 
 
 COCHRAN, Robert, architect. A na- 
 tive of Scotland. He was employed by 
 James III. of Scotland in the erection of 
 several large structures, and created Earl 
 of Mar, and treated with so much favour 
 by that monarch that the jealous nobles 
 seized him and hung him on the Bridge of 
 Lauder in the year 1484. 
 
 COCHRAN, AViLLiAM, 'portrait fainter. 
 He was born at Strathern, in Clydesdale, 
 N.B., on December 12, 1738, and com- 
 menced his art education in Eoulis's aca- 
 demy at Glasgow in 1 754. About the end of 
 1761 he went to Italy, where he remained 
 for five years, chiefly at Rome, and studied 
 under Gavin Hamilton. On his return he 
 settled at Glasgow as a portrait painter. 
 He was successful in his likenesses, and 
 his drawing was accurate. While at Rome 
 he painted ' Daedalus and Icarus,' ' Diana 
 and Endymion,' and some other historical 
 pictures ; but he was unambitious, and 
 satisfied to follow his art in Glasgow, where 
 his relatives dwelt. He died there Octo- 
 ber 23, 1785, aged 47, and was buried in 
 the Cathedral Church. 
 
 COCI^E, Henry, decorative painter. He 
 practised about the middle of the 17th 
 century. He travelled in Italy, and was 
 some time the pupil of Salvator Rosa ; on 
 his return he accompanied Sir Godfrey 
 Colley to Yorkshire, and decorated the 
 panels of his newiy-built mansion. He 
 afterwards wont again to the Continent, 
 where he remained seven years, and on 
 his return gained much employment. By 
 AVilliam III.'s orders he repaired the car- 
 toons at Hampton Court, and some other 
 paintings in the royal palaces. He painted 
 the equestrian portrait of Charles II. at 
 Chelsea College, the choir of the New 
 College Chapel at Oxford, and a staircase 
 at Ranelagh House. 
 
 COCKSON, Thomas, engraver and 
 draftsman. He worked exclusively with 
 the graver, in a neat, finished, stiff manner, 
 and engraved a great variety of portraits, 
 among them, of ' James I. sitting in 
 Parliament ; ' his daughter, the Princess 
 Elizabeth ; ' Charles I. in Parliament ; ' 
 Louis XIII. ; Mary de Medicis ; also the 
 ' Revels of Christendom,' and some sea- 
 pieces, with shipping. His best works arc 
 dated between 1620-30. 
 
 COLE, Humphrey, engraver, draftsman, 
 and goldsmith. Was born in the North of 
 England about 1530. Ho was an officer of 
 the Royal Mint, in the Tower. Ho on- 
 graved a frontispiece for Parker's ' Bible,' 
 published in 1572, in which he has repre- 
 sented a portrait of Queen Elizabeth, 
 with the Earl of Leicester as ' Goliah ' and 
 Lord Burleigh as • David.' 
 
 COLE, Peter, portrait painter , practised 
 in the reign of Queen Elizabeth, and was 
 some time director of the Mint. He is men- 
 tioned by Meres in his ' Wits' Common- 
 wealth,' 1752, and is supposed to have 
 been the brother of the above Humphrev 
 Cole. 
 
 COLE, John, engraver. He was much 
 employed by booksellers on works of a low 
 class, which he produced entirely with the 
 graver. He etched 136 plates for a 'His- 
 tory of Canterbury Cathedral and West- 
 minster Abbey,' published in 1727. 
 
 COLE, B., engraver. Practised in the 
 first half of the 18th century. He on- 
 graved chiefly portraits, among them Lords 
 Kilmarnock, Cromarty, Balmerino, and 
 Erazer of Lovat. 
 
 COLE, Sir Ralph, Bart., amateur. Was 
 the son of Sir Nicholas Cole, of Branspeth 
 Park, Durham, who was created a baronet 
 in 1640. When young he studied paint- 
 ing under Vandyke. He retained several 
 Italian painters in his own service, and 
 spent his fortune in his love for art. His 
 friend, Francis Place, executed a good por- 
 trait of him in mezzo-tint. He painted, 
 in 1677, a half-length portrait of Thomas 
 Wyndham, F.R.S., which is now in the 
 library at Petworth, and has been mezzo- 
 tinted by R. Tompson. 
 
 COLEBURN, Kristian, 'paynter.' Prac- 
 tised in London, and was engaged to paint 
 'in most fine, fairest and curious wise, 
 four images of stone — Our Ladye, St. Ga- 
 brielle, St. Anne, and St. George, for the 
 tomb of the Warwick family in Warwick 
 Church.' Time of Henry IV. (1439). 
 
 COLECHURCH, Peter of, architect. 
 He was chaplain of St. Mary, Colochurch, 
 and practised as an architect in the 12th 
 century. He rebuilt London Bridge of 
 timber in the year 1163. He died 1205. 
 
 COLEMAN, Edward, still-life painter. 
 He practised at Birmingham about 1830. 
 
 87 
 
COL 
 
 COL 
 
 He exhibited at the Koyal Academy, in 
 1819 and 1820, 'Dead Game;' and in 1822 
 a portrait, his last contribution. ^ His pic- 
 tures were well and rapidly painted, but 
 do not possess much merit as works of 
 art. 
 
 COLEMAN, William, engraver. He 
 was one of the early engravers on wood, 
 and was distinguished by several premiums 
 which he received from the Society of Arts, 
 1775-77. He died in Duke's Court, Bow 
 Street, December 1807- 
 
 COLLET, John, portrait painter. Little 
 is known of him. He retired from his 
 profession to Chelsea, where he died, 
 January 17, 177L He was distinguished 
 as * John Collet, senior.' 
 
 COLLET, John, subject painter. He 
 was born in London about 1725. Was a 
 pupil of George Lambert, and studied at 
 the St. Martin's Lane School. He was of 
 a respectable family, his father filling a 
 public office, and possessing a small inde- 
 pendence, and was by some styled an 
 amateur. He painted humorous subjects 
 and plagiarised Hogarth, but missed his 
 deep moral. He was a shy man, of grave 
 habits and conversation, yet his pictures 
 were sometimes displeasingly vulgar. His 
 
 * Female Bruisers ' is of this class. He 
 painted ' The Love Match,' a series of 
 designs ; ' The Kecruiting Sergeant,' a ser- 
 vile imitation of Hogarth, some of the 
 principal figures actually copied from him ; 
 
 * Picquet, or Virtue in Danger ; ' and * The 
 Tailor riding to Brentford,' by which he 
 was best known in his day. From 1765 to 
 1775 he exhibited with the Free Society of 
 Artists. Several of his works were en- 
 graved by Goldar and published by Car- 
 ington Bowles and Sayer, of Fleet Street, 
 and are not of the most pure character. 
 He acquired a considerable addition to his 
 property on the death of a relative, and 
 retired to Chelsea, where he lived several 
 years, and died August 6, 1780. He etched 
 Bome of his own designs, among others two 
 caricatures of antiquaries, and published 
 a Drawing-book, containing some academy 
 figures. 
 
 ^ COLLIER, John (known as ' Tim Bob- 
 bin '), comic draftsman. He was born near 
 Warrington, whore his father held a small 
 curacy and kept a school. He was intended 
 for the Church, but his father becoming 
 blind, he was put out apprentice to a Dutch 
 loom-weaver. Eccentric and full of spirits, 
 ho managed to obtain a release from his 
 master, and though very young, was able 
 to support himself as an itinerant teacher, 
 going from one small town to another, 
 generally keeping both a day and a night 
 school for reading, writing, and accounts, 
 and then found a place with a pay of 20^. a 
 year as usher in a school, to which he 
 88 
 
 eventually succeeded. He learned to play 
 on the hautboy, drew landscapes, attempted 
 some heads, and made some enemies by his 
 satirical verses. He added to his means 
 by painting signs in his vacant hours, and, 
 it is said, altar-pieces for chapels. At last 
 he found a more profitable employment in 
 drawing faces with grotesque expression, 
 of which he sold large numbers, leaving 
 them at inns, when the landlord disposed 
 of them ; so that with teaching, painting, 
 and his writings, he managed to live to the 
 age of 80. He published ' Shude Hill 
 Fight,' a poem, 1757 ; ' The Cobbler's Poli- 
 tics ; ' ' The Human Passions,' 25 plates ; 
 ' The Lancashire Dialect,' 1775, with seven 
 rudely clever copper-plates, apparently 
 from his own designs. Richard Townley 
 wrote 'The Life of Tim Bobbin, Esq.,' 
 1806. 
 
 COLLINGS, S., subject painter. He is 
 best known as a caricaturist, whose works 
 were engraved in the 'Wits' Magazine,* 
 1784. But he was also an exhibitor at 
 the Academy, contributing, in 1784, 'The 
 Children in the Wood,' followed by * The 
 Chamber of Genius, ' ' The Triumph of 
 Sensibility,' and in 1789, when his name 
 appears for the last time in the catalogue, 
 ' The Frost on the Thames, sketched on the 
 spot.' 
 
 COLLINS, Chaeles, still-life painter. 
 He painted birds, game, and works of this 
 class early in the 18th century. He has 
 introduced his own portrait, wearing his 
 hat, in a group with a hare and birds. He 
 died 1744. 
 
 COLLINS, Jacob, engraver. He prac- 
 tised in obscurity till the end of the 17th 
 century. He engraved portraits and frontis- 
 pieces for books. 
 
 COLLINS, James, engraver, chiefly of 
 views of buildings. Among his works is a 
 large -sized view of Canterbury Cathedral. 
 He practised about 1715. 
 
 COLLINS, John, ^ engraver. Practised 
 towards the end of the 1 7th century. There 
 are some indifferent portraits by him — ' The 
 Funeral Procession of George, Duke of 
 Albemarle ' — and some etchings. 
 
 COLLINS, John, landscape painter. 
 Some landscapes with figures by him, in a 
 scenic manner, from the ' Jerusalem Deli- 
 vered,' were finely engraved by Sandby and 
 Rooker. 
 
 COLLINS, Richard, tcpographical 
 draftsman. Was the son of a painter at 
 Peterborough. He studied under Dahl. 
 He was an antiquarian, and made many 
 topographical drawings. A drawing by 
 him of the front and grand vestibule of 
 Peterborough Minster was engraved by 
 Vander Gucht Two drawings by him 
 are also engraved in Buck's ' Lincolnshire 
 Views.' He died 1732. 
 
COL 
 
 COL 
 
 COLLINS, Samuel, miniature painter. 
 He was born at Bristol, the son of a clergy- 
 man, and was educated as an attorney. 
 There is no trace of the circumstances 
 under which he was led to art or of his art- 
 teaching. But about the middle of the 18th 
 century he was in practice at Bath as a 
 miniature painter ; and shortly after Ozias 
 Humphrey, afterwards so distinguished in 
 the profession, was articled to him as his 
 pupil. About 1762 he removed to Dublin, 
 and there enjoyed a very high reputation. 
 He practised both on ivory and in enamel. 
 The Royal Academy was founded shortly 
 after ; but if he then survived, he never 
 appears as an exhibitor. 
 
 COLLINS, Richard, miniature painter. 
 He was born in Hampshire, January 30, 
 1755, and commenced art as the pupil of 
 Meyer, R.A. In 1777 he was an exhibitor 
 of portraits at the Royal Academy, and con- 
 tinuing to exhibit, he was in 1787 appointed 
 principal enamel and miniature painter to 
 George III. He attained great excellence, 
 'and his miniatures are estimable in all the 
 finest qualities of the art. He had a large 
 share in the practice of his day, and gaining 
 a competence, gradually ceased to exhibit 
 about 1806, and retired to Pershore, in 
 Worcestershire, about 1811; but missing 
 the companionship of his art friends in his 
 old age, he returned to London about 1828, 
 where he died August 5, 1831, aged 77. 
 
 COLLINS, Charles, draftsman. He 
 published, in 1736, 12 large-sized folio 
 plates of British Birds, drawn by himself. 
 Each plate contains about 10 birds, fair 
 representatives both of the birds and their 
 natural action, with a background, and 
 tolerably grouped. An attempt has been 
 made to colour them, but the artist of that 
 time was sadly in want of the requisite 
 materials. 
 
 COLLINS, William, engraver. He en- 
 graved some of the plates for ' The British 
 Theatre,' and was of much repute in his 
 day. He died May 31, 1793. 
 
 COLLINS, William, sculptor and mo- 
 deller. Was one of the first members of 
 the St. Martin's Lane Academy, and a mem- 
 ber of the Incorporated Society of Ar- 
 tists. He modelled rustic subjects for the 
 friezes of chimney-pieces, many of them 
 taken from -S^sop's 'Fables,' which were 
 much in vogue, and his works were widely 
 known and admired. He modelled a pro- 
 totype bust for Frank Hayman's 'Don 
 Quixote.' He exhibited a bas-relief at the 
 Society of Artists in 1761, and was one of 
 the directors of the Incorporated Society in 
 1765. Gainsborough was his friend. He 
 resided in Tothill Fields, and died there 
 May 24, 1793. 
 
 COLLINS, William, R.A., suhject 
 painter. Was born September 18, 1787, 
 
 in Great Titchfield Street, London, where 
 his father, a native of Wicklow — who 
 among other works wrote ' A Life of George 
 Morland, the Painter' — was settled as a 
 picture-cleaner and dealer. He stood by 
 the easel of Morland, his father's friend, 
 and early imbibing a taste for drawing, 
 in 1807 he was admitted a student of the 
 Royal Academy, and exhibited two land- 
 scapes. In 1809 he gained a modal in the 
 life-school, and in the same year exhibited 
 his first work. Though occasionally painting 
 portraits, he chose for his subjects rustic 
 groups and landscape — ' Boy at Break- 
 fast,' 'Boy with a Cat;' in 1810, 'Cot- 
 tage Children blowing Bubbles;' in 1811, 
 ' Country Kitchen;' in 1813, 'The Sale of 
 the Pet Lamb,' a work which added greatly 
 to his growing reputation; but about 1816 
 he commenced painting coast scenes, which 
 he treated with great freshness and truth ; 
 his ' Coast of Norfolk,' 1818, finding a pur- 
 chaser in the Prince Regent. In 1814 he 
 was elected an associate, and in 1820 a 
 member, of the Royal Academy. He con- 
 tinued a constant exhibitor of such subjects ; 
 they were carefully painted, his colouring 
 and composition of rustic groups pleasing, 
 and his art popular. In 1836 he produced 
 two of his best works — ' Sunday Morning * 
 and ' Happy as a King ; ' and then, in order 
 to vary his subjects, he went to Italy, where 
 he travelled for two years, and on his return 
 commenced his pictures from Ita,lian life, 
 followed, in 1840, by attempts at a higher 
 style — ' Our Saviour with the Doctors in 
 the Temple,' ' The Two Disciples at Em- 
 maus,' and contemporaneously with such 
 works gradually returned to his first man- 
 ner, seeking his subjects on our own coasts. 
 His art was feeble, wanting in vigour and 
 power ; his best works will be prized, but 
 the high reputation which he enjoyed will 
 hardly be maintained, though from his 
 happy choice of subjects his pictures will 
 always be popular, and many of them have 
 been engraved and have had a large sale. 
 He sketched in water-colour, using tinted 
 paper with body colour for the high lights. 
 Some of his earlier sketches, which are of 
 small size, have much truth and brilliancy. 
 He etched some of his coast scenes, com- 
 bining mezzo-tint largely and elSectively. 
 He married, in 1822, Miss Geddes, the sis- 
 ter of Mrs. Carpenter, the portrait painter. 
 When in Italy he laid, by exposure, the 
 foundation of an illness which undermined 
 his constitution. He died in Devonport 
 Street, Hyde Park Gardens, February 17, 
 1847, and was buried at Paddington 
 Church. He left two sons, one of whom 
 followed his profession ; the other, a well- 
 known popular writer, published a life of 
 his father in 1849. 
 
 COLLINS, Charles Allston, subject 
 
 89 
 
COL 
 
 CON 
 
 painter. Younger son of the above. He 
 was born at Hampstoad, January 25, 1828, 
 and was brought up under his father, whose 
 wish it was that he should be an artist, 
 studying at the same time in the schools of 
 the Koyal Academy. He first exhibited at 
 the Aaidemy, in 1851, ' Convent Thoughts,' 
 followed in the next year by ' May in the 
 Eogent's Park,' with two others; in 1853, 
 by a subject from ' The Christian Year ; ' 
 and in 1855, ' The Good Harvest.' He had 
 commenced art rather as a duty than from 
 choice, and he then turned to literature. 
 He contributed to Dickens's 'Household 
 Words ' and ' All the Year Eound,' and be- 
 came the husband of Dickens's daughter. 
 Ho wrote a clever account of his wan- 
 derings, 'A Cruise upon Wheels,' 1863; 
 ' Stathearno,' a novel, and the ' Bar Sinister,' 
 in 1864 ; and 'At the Bar' in 1866. His 
 health had been for some time failing, and 
 ho became a confirmed invalid, and for 
 several years quietly bore sad paroxysms 
 of pain, and died April 9, 1873. He was 
 buried in the Brompton Cemetery. 
 
 COLLINS, Elizabeth Johanna, de- 
 signer. She practised in the middle of the 
 1 8th century. Six designs by her from 
 ' Jerusalem Delivered ' were engraved. 
 
 COLLYER, Joseph, A.E., engraver. 
 Born in London, September 14, 1748. His 
 father, who was an eminent bookseller, and 
 his mother had both literary tastes. The 
 latter translated Gesner's ' Death of Abel,' 
 which became very popular. Showing an 
 early love for art he was apprenticed to An- 
 thony Walker, who dying shortly after, he 
 is supposed to have continued with Walker's 
 brother. He was awarded in 1761 a pre- 
 mium by the Society of Arts, and in 1771 
 was admitted a student of the Royal Aca- 
 demy, and soon pursued his profession on 
 his own account. He had acquired a neat 
 manner, which was well suited to book 
 illustration, in which he was chiefly em- 
 ployed. In 1779 he exhibited with the 
 Free Society of Artists. He engraved some 
 of the portraits belonging to the Royal Aca- 
 demy, and gaining the notice of Sir Joshua 
 Reynolds, he allowed him to engrave his 
 • Venus ' and ' Una.' These he executed in 
 the chalk manner, and produced an excel- 
 lent imitation of the master, which was 
 much praised. He also engraved, after 
 Reynolds, 'The Girl with a Cat,' 'Miss 
 Palmer,' and a portrait of the painter 
 by himself. In the line manner he en- 
 graved for Boydoll 'A Flemish Wake,' 
 after Toniers, and ' The Irish Volunteers,' 
 after Wheatley, R.A., which are good ex- 
 amples of his manner. In 1786 he was 
 elected associate engraver of the Royal 
 Awidemy. He was appointed portrait on- 
 graver to Queen Charlotte, and was master 
 warden of the Stationers' Company. He 
 
 died December 24, 1827, in his 80th year. 
 His works were delicate, finished, and accu- 
 rately drawn. 
 
 COLMAN, , water-colotir painter. 
 
 He was a Norwich artist, and exhibited 
 there in 1824 some good water-colour 
 drawings — 'Yarmouth Bridge after Sun- 
 set,' and some other coast scenes. 
 
 COLONI, Adam, landscape and figure 
 painter. Was born at Rotterdam in 1634. 
 He came to England early, and passed the 
 greater part of his life in London. He was 
 reputed for his paintings of country wakes, 
 cattle-pieces in the manner of Berghem, 
 effects of firelight, and for his copies after 
 Bassan. He died in London 1685, aged 51, 
 and was buried at St. Martin's Church. 
 
 COLONI, Henry Adrian, landscape and 
 figure painter. Son of the foregoing. Was 
 the pupil of his father and of Vandiest, 
 his brother-in-law, into whose landscapes 
 he often painted the figures. He drew 
 well, and is known by his landscapes in 
 the manner of Salvator Rosa, whom he 
 imitated. He died in London 1701, aged 33, 
 and was buried near his father. 
 
 COLTE, Maximilian, architect and 
 sculptor. He was master sculptor to 
 James I., and was of some eminence. He 
 lived in St. Bartholomew's Close, and his 
 wife was buried in the church there. He 
 is reputed the architect of Wadham College, 
 Oxford. 
 
 COMBES, Peter, engraver. Practised 
 in mezzo-tint about 1700. His works are 
 chiefly portrait. 
 
 COMER, John, portrait painter. He 
 practised about 1760, and was an exhibitor 
 at the Free Society's Rooms, in the Strand. 
 
 COMERFORD, John, miniature painter. 
 Was the son of a flax dresser at Kilkenny, 
 where he was born. He came early in life 
 to Dublin, and studied in the Society's 
 Schools. He settled in the practice of his 
 art at Dublin, and in 1809 sent two minia- 
 ture portraits to the Academy Exhibition, 
 though he did not subsequently exhibit. 
 He attained a high reputation in Dublin, 
 and made money by his art. His miniatures 
 had much merit, particularly his male por- 
 traits. They were low in colour, carefully 
 finished, and well expressed, but without 
 elevation of character. He drew many 
 slight sketch portraits, which were both 
 popular and profitable. He died, of a 
 second attack of apoplexy, in Dublin about 
 1835, at the age of nearly 62. He strenu- 
 ously opposed the establishment of the 
 Royal Academy of Arts in Dublin. 
 
 CONDY, Nicholas Matthews, marine 
 painter. He was a native of Plymouth, 
 where he practised about the early part of 
 the 19th century. He first painted some 
 miniatures, and afterwards some landscapes 
 and marines in oil. In the years 1842-43 
 
CON 
 
 CON 
 
 and 1844 he was an exhibitor at the Eoyal 
 Academy. Some views on the Thames by 
 him were published. He died at Plymouth, 
 May 20, 1851, aged 52. 
 
 CONEY, John, draftsman and, engraver. 
 Was born at KatclifF Highway in 1786. 
 He was apprenticed to an architect, but did 
 not follow that profession, though at an 
 early age he distinguished himself as an 
 architectural draftsman. He exhibited a 
 ' View of Lambeth Palace ' at the Academy 
 in 1805, and continued to exhibit from 
 time to time, always views of old edifices. 
 In 1815 he published his first work, con- 
 sisting of eight views of the exterior and 
 interior of Warwick Castle, drawn and 
 etched by himself. He was soon afterwards 
 engaged in making drawings of the cathe- 
 drals and abbey churches of England, for 
 a new edition of Dugdale's ' Monasticon,' 
 a work which was his chief occupation 
 during 14 ye^irs. In 1829 he commenced a 
 series of engravings of ancient cathedrals, 
 hotels de ville, and other public buildings 
 of celebrity in Prance, Holland, Germany, 
 and Italy, which he drew on the spot and 
 engraved himself; and in 1831 this was 
 followed by a similar work, only less in 
 size, 'Architectural Beauties of Continental 
 Europe,' also from drawings made on the 
 spot and engraved by himself. He was 
 some time engaged by Cockerell, E.A., 
 ' to engrave a large general view of Rome ; 
 and ho also engraved some drawings of 
 the new Law Court-s at Westminster for 
 Sir John Soane. He drew in pencil and 
 water-colours, but with all his labours does 
 not appear to have done more than earn a 
 subsistence. He died of an enlargement of 
 the heart, in Leicester Place, Camberwell, 
 August 15, 1833, in his 47th year. He 
 was twice married, but had .no children. 
 Some of his drawings were sold by Messrs. 
 Sotheby soon after his death, and his view 
 of the ' Interior of Milan Cathedral ' was 
 published for the benefit of his widow. 
 His drawings were careful and elaborate, 
 but do not show that accurate knowledge of 
 the details of Gothic tracery which has been 
 ascribed to him. 
 
 CONSTABLE, John, R.A., landscape 
 painter. He was born at East Bergholt, in 
 Suffolk, June 11, 1776, and was the son of 
 a miller, the owner of several mills, who 
 had inherited a considerable property. 
 Originally intended for the Church, he soon 
 showed a preference for art. His father 
 then tried to make a miller of him, but 
 after a year loft him to follow his own bent. 
 He sketched the scenery of his own pic- 
 turesque neighbourhood, and his desire to 
 pursue art gaining strength, he came to 
 London for the purpose in 1795. But 
 unsettled as to his future he returned 
 home, and the love of art still holding the 
 
 mastery, he came again to the Metropolis, 
 and was in 1799 admitted a student of the 
 Royal Academy. Devoting himself then 
 to study, he received some assistance both 
 from Parington, R.A., and R. R. Reinagle, 
 R.A. He commenced his profession as a 
 portrait painter, then the only profitable 
 branch of art, and for several years occa- 
 sionally painted portraits, and made one or 
 two attempts at history ; but his art was 
 landscape. In 1802 he exhibited 'A Land- 
 scape,' his first ; and early gaining a con- 
 sciousness of his own power, resolved upon 
 the necessity of studying nature. He wrote, 
 in 1803, ' I feel now, more than ever, a de- 
 cided conviction tliat I shall some time or 
 other make some good pictures ; pictures 
 that shall be valuable to posterity, if I do 
 not reap the benefit of them ;' and he now 
 finally settled down as the painter of the 
 class of rural scenery in which he wa« bom. 
 In 1816, after a long attachment, he mar- 
 ried. He then resided in Charlotte Street, 
 Pitzroy Square, but in 1820 his love of 
 nature led him to take also a house at 
 Hampstead. In 1819 he exhibited his 
 large picture, ' A View on the River Stour,' 
 and was elected associate ; but he did not 
 till 1829, when in his 53rd year, gain his 
 election as a member of the Royal Academy. 
 
 Leslie, R.A., his friend and graceful bio- 
 grapher, speaks most highly of his works 
 at this period. 'I cannot but think,' ho 
 says, ' that they will attain for him, when 
 his merits are fully acknowledged, the 
 praise of having been the most genuine 
 painter of English landscape that has yet 
 lived;' yet at the same time he said of 
 himself — and the expressions are character- 
 istic of the man — in reference to the publi- 
 cation of his works, mezzo-tinted by Lucas, 
 ' The painter himself is totally unpopular, 
 and will be so on this side the grave ; the 
 subjects nothing but art, and the buyers 
 wholly ignorant of that.' Again, 'My art 
 flatters nobody by imitation, it courts 
 nobody by smoothness, tickles nobody by 
 petiteness, it is without either fal-de-lal or 
 fiddle-de-dee ; how can I then hope to be 
 popular ? ' He yearned for the appreciation 
 he so truly merited. His house was filled 
 with his unsold pictures, and courting 
 notice he advertised, ' Mr. Constable's 
 Gallery of Landscapes, by his own hand, is 
 to be seen gratis daily, by an application 
 at his residence.' He was first widely 
 esteemed in Prance ; some of his works 
 purchased by the Prench made a sensation 
 in Paris, and the king of the Prench sent 
 him a medal. His health had been for 
 some time uncertain, when on April 1, 
 1837, he died very suddenly, and the repu- 
 tation he sought in life soon ensued. His 
 admirers purchased his picture of * The 
 Cornfield,' and presented it to the National 
 
 91 
 
coo 
 
 coo 
 
 Gallery ; ' The Valley Farm,' his father's 
 house, is in the same collection. The 
 Sheepshanks Gallery cont<ains six of his 
 works, and purchasers now eagerly give 
 large prices for his paintings. His works 
 were purely original, his manner entirely 
 his own. He depicted with great truth 
 and power the freshness and variety of 
 English landscape. His reputation as one 
 of our first painters is now firmly estab- 
 lished, and is not likely to decrease. He 
 made many fine drawings in water-colour, 
 one of which, of a large size, ' Stonehenge,' 
 was exhibited in 1836. 
 
 COOK, Henry, portrait painter. Prac- 
 tised about 1640, and appears to have found 
 employment in the City, but at low prices. 
 The Ironmongers' Company possess some 
 portraits by him, for which the records of 
 the company show that, disputing his charge 
 of 5^. each, they paid him the reduced sum 
 of 3^. 55. ; but some of these are supposed 
 to be copies. 
 
 COOK, Henry, history fainter. Son of 
 the above. Born 1642. Travelled in Italy 
 to study the works of the great history 
 painters, and was for a time the pupil of 
 Salvator Rosa. On his return he was em- 
 ployed to paint the altar-piece for the new 
 College Chapel at Oxford, but met with 
 little encouragement, and lived for several 
 years in want and obscurity. He was at 
 last obliged to fly from England for the 
 murder of a man who courted his mistress, 
 whom he afterwards married. When this 
 affair was forgotten he came back, and his 
 talents gained him notice. He was com- 
 missioned by William III. to repair the 
 cartoons. He finished the equestrian por- 
 trait of Charles II. in the hall at Chelsea- 
 Hospital. As a decorative artist, he painted 
 the staircase at Ranelagh House and at 
 Lord Carlisle's in Soho Square. He also 
 tried portrait painting, but could not put 
 up with the caprice of his sitters. His 
 collection of pictures and drawings was 
 sold March 26, 1700. He died Nov. 18 
 in that year, and was buried in St. Giles's 
 Church. Eaithorne engraved after him. 
 
 COOK, Robert, portrait painter. He 
 also filled the office of clarencieux in 
 Henry VII.'s reign. He painted the por- 
 trait of that king, and of Henry VIII., 
 Queen Catherine, Charles Brandon, Duke 
 of Suffolk, Sir Anthony Wingfield, Sir 
 Robert Wingfield and his lady, with their 
 seven or eight sons. This latter painting 
 was, when Walpole wrote, at Boughton. 
 
 COOK, Richard, R.A., history painter. 
 Was born in London 1784, and entered the 
 schools of the Royal Academy in 1800. In 
 1802 he received the Society of Arts' gold 
 medal. He first appears as an exhibitor 
 at the Academy in 1808, and in that and 
 the succeeding years, up to 1811, sent land- 
 92 
 
 scapes —chiefly compositions ; but he also, 
 in 1808, sent two historical paintings to 
 the British Institution — ' The Agony of 
 Christ ' and ' Hector reproving Paris,' in 
 which latter the Helen introduced was 
 treated with great beauty. In 1812 and 
 the following year his works exhibited at 
 the Academy were portraits ; in 1814 he 
 sent 'Acis and Galatea;' in 1816, 'The 
 Lady of the Lake,' and was in that year 
 elected an associate of the Academy. His 
 remaining works were classic — ' Ceres dis- 
 consolate for the loss of Proserpine ; ' and, 
 in 1819, after two years' absence from the 
 walls of the Academy, another * Lady of 
 the Lake;' and though he was elected a 
 full member of the Academy in 1822, he 
 was not again an exhibitor. He possessed 
 an independence, and for many years before 
 his death had relinquished the practice of 
 his profession. He died in Great Cumber- 
 land Place, Hyde Park, March 11, 1857. 
 There is by him an illustrated edition of 
 the ' Lady of the Lake ' and of * Gertrude 
 of Wyoming.' 
 
 COOK, Thomas, line engraver. He was 
 a pupil of Ravenet, of great merit, and 
 rose to the very top of his profession. In 
 1771 he received a premium from the So- 
 ciety of Arts. He was employed by Boydell, 
 and executed many works, which are much 
 esteemed, both historical and architectural, 
 engraving the figure and landscape. He 
 spent many years of his life in repeating 
 the works of Hogarth, the same size as the 
 originals, which were published under the 
 title of ' Hogarth Restored.' He after- 
 wards reduced these engravings, comprising 
 160 plates, for Nichols and Stevens's edition 
 of ' Hogarth's Works,' in two volumes 4to. 
 In the 'Gentleman's Magazine' for May 
 1818 he is stated to have died lately, 
 aged 74. 
 
 COOK, J., engraver. Practised in the 
 latter part of the 18th century. He en- 
 graved some of the illustrations for the 
 editions of Bell's ' Shakespeare,' published 
 in 1774 and 1787. There are also many 
 portraits by him. He was chiefly employed 
 by the booksellers. 
 
 COOKE, Samuel, water-colour painter. 
 Was born 1806, at Camelford, where his 
 mother kept a bakehouse. He was taught 
 at the village school, and at the age of 9 
 was employed in a woollen factory. He 
 was the cause of some annoyance in the 
 factory from his propensity for scribbling, 
 which he afterwards developed into sign 
 painting and scene painting for travelling 
 peep-shows. He then went to Plymouth, 
 where he engaged himself to a painter and 
 glazier, and afterwards commenced busi- 
 ness on his own account, devoting all the 
 time he could spare to sketching on tho 
 coast and the quays. Gaining notice in 
 
coo 
 
 coo 
 
 the neighbourhood, though of a 'timid 
 nature, he was encouraged to submit his 
 drawings to the Committee of the Now 
 Water-Colour Society on its foundation in 
 1830, and was admitted a member. But 
 he continued to carry on his trade, not 
 caring to depend on art alone, though he 
 had attained much excellence. His works 
 were chiefly coast scenes in the neighbour- 
 hood of Clovelly and Plymouth — expressed 
 with much quiet, simple truth, and not 
 without some power. His seas were good 
 and well in motion. He died June 7, 1859. 
 
 COOKE, George, engraver. He was 
 born in London, January 22, 1781. His 
 father was a native of Frankfort-on-the- 
 Maine, and burgomaster of the free city, 
 who, coming to London, realised a compe- 
 tency as a large manufacturer of wholesale 
 confectionery. The son was apprenticed at 
 the age of 14 to James Basire ; and on the 
 conclusion of his apprenticeship, among 
 much work of a miscellaneous character, 
 he executed many of the plates for Brewer's 
 ' Beauties of England and Wales,' a publi- 
 cation then commenced. He was after- 
 wards engaged on a series of plates illus- 
 trating Pinkerton's ' Collection of Voyages 
 and Travels,' a laborious task, which did 
 not lead to much reputation. He con- 
 tributed three plates to ' The Thames,' a 
 publication commenced by his brother 
 William, which led to their joint publica- 
 tion of ' The Southern Coast of England,' 
 commenced in 1814, completed 1826 — a 
 work which was alike memorable from the 
 distinguished painters engaged upon it, 
 its influence upon the art and taste of the 
 day, and its well-merited success. He then 
 published an improved edition of his 
 
 * Thames,' for which he engraved himself 
 
 • The Launch of the Nelson,' * The Fair on 
 the Thames,' after Clennell ; and ' The Open- 
 ing of Waterloo Bridge,' after Keinagle. 
 Among works of less importance, he was 
 next engaged upon ' The Iron Bridge at 
 Sunderland,' for Surtees's ' History of Dur- 
 ham ; ' Bacon's statue at St. Alban's for 
 Clutterbuck's ' Hertfordshire ; ' and ' Gled- 
 house, Yorkshire,' after Turner, E.A. — 
 works which may be referred to as speci- 
 mens of his art. He also engraved some 
 plates for Hakewell's ' Italy,' and for ' The 
 Provincial and Picturesque Scenery of 
 Scotland ; ' and in the latter work his 
 'Edinburgh from the Castle Hill,' after 
 Turner, R.A., took a high rank. Among 
 his works of this period may be mentioned 
 five plates and the frontispiece for Alla- 
 son's ' Pola ;' some plates for the Dilettanti 
 Society, and forD'Oyley andMants's 'Bible.' 
 In May 1817 he commenced, in connec- 
 tion with Messrs. Loddiges, of Hackney, 
 *The Botanical Cabinet,' for which, up to 
 December 1833, he produced monthly 10 
 
 small plates, slight, but accurate and tAste- 
 ful. In 1825 he finished a fine plate of 
 ' Rotterdam,' after Callcott, R.A., but by tho 
 failure of his agent ho lost all the profit 
 of this work. He now began a work which 
 he had long projected — 'London and its 
 Vicinity ; ' but he was disappointed by the 
 appearance of a cheaper publication of the 
 same kind on steel, which admitted of 
 larger, though inferior, impressions. In 
 1833 he engraved the ' Old and Now Lon- 
 don Bridges' from drawings by his son 
 (Edward W. Cooke, R.A.), who also took a 
 part in the engraving. After a life so 
 actively spent, he died at Barnes, of fever, 
 February 27, 1834, aged 53, and was buried 
 there. 
 
 COOKE, William Bernard, line en- 
 graver. Was born 1778. Elder brother of 
 the foregoing, and engaged with him in 
 several of his more important under- 
 takings. Was a pupil of Angus, and 
 showed great ability and enterprise. He 
 published several of his own plates, but 
 did not succeed ; among them a work on 
 the Isle of Wight. He died of heart 
 complaint, August 2, 1855, aged 77. 
 
 COOKSON, Thomas, engraver. Prac- 
 tised in England. His works bear dates 
 from 1609 to 1624. 
 
 COOLEY, Thomas, architect. Was born 
 in England in 1740, and was apprenticed 
 to a carpenter. In 1763 he received a 
 premium from the Society of Arts. On a 
 competition in 1769 he was selected to build 
 the Royal Exchange in Dublin, a fine work, 
 which he completed in 1779, and then 
 settled there. He was also employed to erect 
 a tower to Armagh Cathedral, but his 
 foundations were bad and it was taken 
 down. He was not more fortunate in the 
 erection of Newgate Prison in Dublin, which 
 was not only defective in construction, but 
 badly planned. He also built the Record 
 Office, the Marine School, the Chapel in 
 the Park, and commenced the erection of 
 the Four Courts, but had only completed 
 the western wing when he died in Dublin, 
 of bilious fever, in 1784, aged 44. 
 
 COOPER, Alexander, miniature 'painter. 
 He was brought up under Hoskins, his 
 uncle. He painted miniatures both in oil 
 and water-colours, and was a good drafts- 
 man. He chiefly excelled in water-colour 
 landscapes. He followed his profession 
 in tho Low Countries, principally at Am- 
 sterdam, and was invited from that city to 
 Sweden, where he was appointed limner to 
 Queen Christina. He practised about 1650- 
 1660. 
 
 COOPER, Samuel, miniature painter. 
 Born in London 1609. He was instructed 
 by his elder brother Alexander, and as- 
 sisted by Hoskins, his uncle. He also im- 
 proved himself by the study of Vaudyck, 
 
 93 
 
000 
 
 000 
 
 and reached an eminence in miniature art 
 which has not yet boon surpassed. Tender 
 in execution, well drawn and coloured, 
 graceful and expressive, his miniature 
 heads wore known extensively on the Con- 
 tinent, and greatly prized in his own day as 
 in ours. He was an excellent musician and 
 linguist — a man of many attainments. He 
 lived much in France and Holland, and 
 was acquainted with the most eminent men 
 in those countries and in England. He 
 drew Charles II., his Queen, the Duke of 
 York, and most of the Court ; also several 
 portraits of Oliver Cromwell. His works 
 are numerous, and eagerly sought after by 
 collectors. He lived, in 1645,. on the south 
 side of Henrietta Street, Covent Garden, 
 then very fashionably inhabited. He died 
 May 6, 1672, aged 63, and was buried in 
 ♦ Pancras Church in the Fields,' where a 
 monument was set over him. His widow, 
 who was the sister of Pope's mother, re- 
 ceived a pension from the Crown. Pepys, 
 in his ' Diary,' enlarges upon his friend 
 Cooper's many excellent qualities. 
 
 COOPER, Edward, 'portrait painter. 
 Ho practised both as a painter and en- 
 graver. He was successful in his portraits, 
 and known also as a dealer. He engraved 
 after Albano and Kneller. A portrait, 
 lx)th painted and engraved by him, is dated 
 1779. The time of his death is unknown. 
 
 COOPER, George, architect. First ex- 
 liibited at the Academy, in 1792, a design 
 for a villa ; in 1794, a design for a church, 
 followed by similar designs in 1795 and 
 1799. He last exhibited in 1807. Pub- 
 lished, in 1C03, 'Architectural Reliques,' 
 from drawings made on the spot by him- 
 self, and both drew and etched the prin- 
 cipal plates for Wade's ' Walks in Oxford.' 
 
 COOPER, Richard, engraver. He was 
 born in Yorkshire, and about 1730 prac- 
 tised in Edinburgh, and was then tlie only 
 engraver beyond the Tweed. He lived for 
 many years in the Canongate, and in a 
 newspaper of the day is called ' Dick 
 Cowpar.' He had a good knowledge of 
 liis art, and practised both as a draftsman 
 and an engraver. His known works are 
 few, chiefly contemporary portraits. He is 
 remembered as the master of Sir Robert 
 Strange, w^io was apprenticed to him in 
 1735, and served out a term of six years. 
 Ho died in Edinburgh in 1764, and was 
 buried in the Canongate Churchyard. 
 
 COOPER, Richard, landscape painter. 
 Son of the foregoing. He is stated to have 
 been born in London. He originally studied 
 under his ftither in Edinburgh, and was 
 then a pupil of R. Edge Pine. Having 
 inherited some property he went to Italy, 
 whore he passed several years in the study 
 of the great masters, and acquired consi- 
 derable skill as a draftsman and painter. 
 
 In 1783 he exhibited views of Italy, 
 tinted drawings, and other work at thd 
 Spring Gardens Rooms. He afterwards 
 settled in Edinburgh, where he followed 
 his profession of landscape painter with 
 great success, and built for himself a hand- 
 some residence. In 1789 he appears to 
 have returned to London, and in that year 
 exhibited at the Academy * A View from 
 Richmond Hill,' followed by landscape 
 compositions and drawings. In 1800 he 
 exhibited ' Ruins of Vespasian's Amphi- 
 theatre, Rome;' in 1802, 'Solitude;' in 
 1808, ' Landscape, with Banditti ; ' and the 
 next year sent his last contribution to the 
 Academy. During this latter period he 
 held the office of drawing-master at Eton 
 School, and was teacher of drawing to the 
 Princess Charlotte. His landscapes are 
 clever — chiefly Italian scenes — loosely, but 
 vigorously handled. He died some time 
 after 1809. 
 
 COOPER, Richard, engraver and drafts- 
 man. Born in London about 1730. Studied 
 under Le Bas in Paris, and gained great 
 repute there as an engraver. He signed 
 his name to his works, ' Riccardus Cooper.* 
 They are much esteemed for their correct 
 drawing, grandeur, and brilliancy. Among 
 them are — ' The Children of Charles I., 
 with a large Dog,' 1762; 'King Wil- 
 liam III. and Queen Mary,' 'Frederick, 
 Prince of Wales, and his Sisters,' ' The Vir- 
 gin and Infant Jesus,' after Coreggio, 1763 ; 
 ' Rembrandt's Mistress,' 1777. Ho was 
 living in 1814. 
 
 COOPER, Robert, engraver. Employed 
 in the illustration of Scott's novels ; and 
 there are some interesting and characteristic 
 portraits by him for ' Old Mortality.' He 
 exhibited with the Associated Engravers in 
 1821, and was living in 1836. 
 
 COOPER, William, portrait painter. 
 He was known as a painter in the first half 
 of the 18th century. An old oil painting 
 on canvas, by a painter of this name, 
 ' Philadelphia from the River,' 7 ft. 9 in. 
 long, was communicated to the Society of 
 Antiquaries about 1750. 
 
 COOPER, Abraham, R.A., anirml 
 painter. Was born September 8, 1787, in 
 Red Lion Street, Holborn. His father was 
 a tobacconist, and afterwards an innkeeper. 
 At the age of 13 he was taken from school, 
 and under many hardships began life as an 
 assistant at Astley's Theatre, where he was 
 much employed among horses. When about 
 22 years of age he made his first attempt in 
 art, and painted with great success a fa- 
 vourite horse belonging to Sir Henry Meaux. 
 This encouraged him to continue. He was 
 employed to draw portraits of horses for 
 the ' Sporting Magazine,' and in 1812 was 
 an exhibitor at the British Institution. 
 In 1814 he sent his ' Tarn O'Shanter,' and 
 
COP 
 
 OOP 
 
 on a competition in 1816 the directors 
 awarded him a premium of 150 guineas 
 for his finished sketch of ' The Battle of 
 Ligny ; ' at the same time he was also a 
 contributor to the Water-Colour Exhi- 
 bition. He had now gained an assured 
 position in art, and in the following year 
 he was elected an associate of the Royal 
 Academy. In 1819 he exhibited his 
 
 * Battle of Marston Moor,' which greatly in- 
 creased his reputation. He was esteemed 
 the best battle-painter of the day, and in 
 1820 reached his full honours as a member 
 of the Academy. Ho was from this time a 
 constant exhibitor at the British Institution 
 and the Academy, contributing his last 
 work to the latter in 1868, when ho ac- 
 cepted the newly-created distinction of 
 
 • honorary retired academician,' but did 
 not long survive the practice of his art. 
 Ho died at Greenwich, December 24, 1868, 
 and was buried in Highgate Cemetery. He 
 had studied csirefully the horse and its 
 anatomy, and had a good antiquarian know- 
 ledge of arms of offence and defence. His 
 works were of small size, spirited and 
 truthful in their composition and execution, 
 but flat and leaden in colour. They were 
 very popular, and many were engraved. 
 
 COPLEY, John Singleton, R.A., history 
 fainter. Born July 3, 1737, at Boston, 
 United States, then a British colony, of Irish 
 parents, immediately after their arrival 
 there. He showed an early love for drawing, 
 and, out of the reach of instruction, was self- 
 taught. His first works were portraits and 
 domestic groups. In 1 760 he sent a picture — 
 his ' Boy with a Squirrel ' — to London for 
 exhibition, which must have formed part of 
 the collection then for the first time ex- 
 hibited at the Society of Arts, and for 
 several years continued to send his works 
 to the exhibitions of the London artists. 
 In 1767, while living at Boston, he was, on 
 the proposal of Benjamin West, elected a 
 fellow of the Society of Artists in Great 
 Britain, and in expressing his great sense 
 of this honour, he said : ' I cannot but 
 reflect upon my present situation, which 
 utterly deprives me of every opportunity 
 (but what nature has furnished me with) 
 of aiding in this laudable work, the pro- 
 motion of the arts.' Zealously pursuing 
 his art, he found good employment in por- 
 traiture at Boston, and was saving money ; 
 but restlessly desired to visit Europe, and 
 in 1774 set sail for England, and from 
 thence started for a Continental tour, his 
 first aim being to see Rome, which he 
 reached about the end of the same year. 
 Towards the end of 1775 he returned to 
 London, where he eventually settled. He 
 first resided in Leicester Fields, and in 
 1776 exhibited 'A Conversation' at the 
 Academy ; the following year, ' A Family,' 
 
 whole-length, with some other portraits ; 
 and in 1778, 'A Boy att^ickod by a Shark ' 
 and a whole-length family group. 
 
 Ho was now in the full practice of his 
 art, which was essentially portrait. He 
 had boon elected an associate of the 
 Academy in 1776, and in 1779 gained his 
 full membership. He had just completed 
 his great work, ' The Death of Chatham,' 
 a fine composition, which added largely to 
 his growing reputation. His next work 
 was ' The Death of Major Piorson,' again 
 finding his subject in a great incident of 
 the day, and confirming the fame he had 
 already acquired. In both theso works tho 
 principal figures wore portraits, and with 
 all the accessories wore rendered with great 
 truth. They both happily find a place in 
 our National Gallery. He then attempted 
 an historical incident, ' Charles I. demand- 
 ing in the House of Commons the five ^ 
 Impeached Members.' In this he grouped 
 no less than 58 of the most celebrated 
 personages of the Revolution, and took 
 great pains to portray them after tho best 
 authorities. These three pictures were highly 
 popular, were engraved, and large numbers 
 of impressions immediately sold. 
 
 Another recent event of great historical 
 importance was then the subject of his 
 pencil. He was commissioned by tho 
 Corporation of London to paint to a largo 
 scale ' The Repulse and Defeat of the 
 Spanish Batteries at Gibraltar.' In this ho 
 introduced the portrait of Lord Heathfield, 
 and also the portraits of the principal 
 officers who commanded at the siege, and 
 with his love of accuracy he went to 
 Hanover to sketch the heads of the German 
 officers who formed part of the garrison. 
 Of his other works of an historical char- 
 acter the principal are — ' King Charles 
 signing Strafford's Death-warrant,' ' The 
 Assassination of Buckingham,' ' The Battlo 
 of the Boyne,' * King Charles addressing 
 the Citizens of London,' 'The five Im- 
 peached Members brought back in Triumph,' 
 and 'The King's Escape from Hampton 
 Court.' Of his portrait compositions, a 
 group of the 'Royal Children playing in 
 a Garden,' which is now at Windsor Castlo, 
 must be mentioned as one of the most 
 attractive. 
 
 In his historical subjects, little influenced 
 by his study in Italy, Copley was original 
 and simple in composition and treatment ; 
 his drawing was good and intelligent, and 
 the scene treated with great nature and 
 individuality. In his best portraits his 
 action, colour, and expression were appro- 
 priate, and he showed a nearer approach to 
 Reynolds and Gainsborough than any of 
 his contemporaries. He had, soon after 
 1780, removed to George Street, Hanover 
 Square, and there, after a long residence, ho 
 
 95 
 
COR 
 
 COS 
 
 died, on September 9, 1815. He was buried 
 at Croydon Old Church. He was the 
 father of Lord Chancellor Lyndhurst. 
 
 COEBETT, , ^portrait painter. Born 
 
 in Cork, he was a pupil of Barry, K.A., 
 and practised portrait painting for a time 
 in London. On his return to his native 
 city ho found good employment. His por- 
 traits showed some power. He died, in 
 neglect and indigence, at Cork, February 20, 
 1815. 
 
 COKBOULD, Richard, portrait and 
 landscape painter. He was born in London, 
 April 18, 1757. His genius gave a wide 
 range to his art. He painted, both in 
 oil and water-colours, portraits^ and land- 
 scape, with a few historical subjects. His 
 time was divided between painting on 
 porcelain and miniatures in enamel and on 
 ivory. He was also much employed on 
 book illustration, in which he excelled. 
 His style of painting varied greatly, and 
 he showed great ability in imitating the 
 manner of the great masters, both of the 
 old school and our own. He first appears 
 as an exhibitor of 'Fruit' in 1776, at the 
 Free Society of Artists, followed by a 
 miniature at the Royal Academy in 1777. 
 He was then living in Moorfields, and 
 from that year continued to exhibit at the 
 Academy, his contributions being chiefly 
 landscape views and landscapes with 
 figures, and occasionally a portrait. In 
 1793 he sent to the exhibition 'Cottagers 
 gathering Sticks ;' in 1797, 'A Subject from 
 a Sonnet in 1802, ' Eve caressing Adam's 
 Flock' and ' The Angel Michael ;' in 1806, 
 * Ulysses's descent into Hell;' in 1808, 
 ' Hannibal passing the Alps with his 
 Soldiers,' with, in most of these years, 
 landscapes also. In 1811 he exhibited 
 for the last time. He died at Highgate, 
 July 27, 1831, and was buried in the parish 
 ground of St. Andrew's, Holborn, Gray's Inn 
 Road. 
 
 CORBOULD, George James, engraver. 
 Second son of the above. He was born 
 April 27, 1786, and was a pupil of James 
 Heath, A.E. Ho practised in the line 
 manner. Some of Smirke's ' Illustrations 
 of Shakespeare,* which ho engraved, are 
 fair representations of his art. He died 
 November 5, 1846. 
 
 CORBOULD, Henry, historical painter 
 and draftsman. Third son of the above. 
 Was born in London, August 11, 1787. 
 Studied under his father and in the schools 
 of the Royal Academy, where he gained a 
 silver medal. He commenced as an ex- 
 hibitor in 1807; his first contributions 
 were classic. In 1808, ' Coriolanus ; ' in 
 1809, ' The Parting of Hector and Andro- 
 mache,' ' Thetis comforting Achilles,' with 
 other designs. In 1811 ho exhibited de- 
 Bigns from the ' Lady of the Lake,' followed 
 96 
 
 by designs from * Rokeby,* and was at this 
 time engaged in designing for book illus- 
 tration. But, having attained great purity 
 of drawing, his chief occupation was in 
 drawing from antique marbles. He was 
 selected, on the highest authority, as the 
 artist most competent to be employed in 
 making the drawings, for the purpose of 
 engraving, of the Elgin and other marbles 
 in the British Museum. This work, upon 
 which he was employed nearly 30 years, 
 was placed entirely in his hands, as was 
 also the nomination of the engraver for 
 each plate. He drew also, for engraving, 
 from the Duke of Bedford's collection and 
 Lord Egremont's collection, and likewise 
 occasionally for the Dilettanti and Anti- 
 quarian Societies. He continued to ex- 
 hibit from time to time at the Academy 
 up to 1840. Suddenly attacked with apo- 
 plexy, when riding up from St. Leonard's, 
 he died at Robertsbridge, December 9, 1844, 
 and was buried in Etchingham Church, 
 Sussex. 
 
 CORBUTT, Charles, mezzo-tint en- 
 graver. See PuRCELL, Richard. 
 
 CORNELIS, Lucas, portrait painter. 
 Was born at Leyden 1495, and came with 
 his family to England on the invitation 
 of Henry VIIL, who appointed him his 
 painter. His art had great merit, and was 
 much esteemed. He is reputed to have 
 taught Holbein, when in England, to paint 
 in water-colours. He died in England, it is 
 supposed, in 1552. 
 
 CORNER, John, engraver. He engraved 
 in line and published, in 1825, 'Portraits 
 of Celebrated Painters.' This work was 
 rather tastefully arranged, grouping in a 
 small medallion the most celebrated work 
 of each painter with his portrait ; but the 
 heads were ill drawn, weak, and ineffective, 
 and the work, intended to be a serial, only 
 extended to 25 portraits. 
 
 CORNER, Peter, portrait painter. 
 Practised in the beginning of the 18th cen- 
 tury. Some of his works are engraved. 
 
 COSTELLO, Louisa Stuart, miniature 
 painter. She was of an old family, the 
 daughter of Colonel Costello, and born 1799. 
 For many years she lived in France, and 
 about 1820 came to London to practise 
 miniature painting, which she had studied. 
 She exhibited at the Academy in 1822-23 
 and 1825, and does not appear again till 
 1833, continuing yearly an exhibitor to 
 1839. She was so far successful as to be 
 able to assist her mother and to maintain 
 a brother at Sandhurst College; but she 
 at the same time tried literature, and be- 
 came best known as an author. She pub- 
 lished, in 1825, 'Songs of a Stranger;' 
 then 'Specimens of the Early Poetry of 
 France,' followed by several works on France 
 and French manners ; and the ' Rose Garden 
 
COS 
 
 COS 
 
 of Persia/ for which she herself drew the 
 illustrations. She retired to Boulogne upon 
 a small literary pension, and died there of 
 virulent cancer, April 24, 1870. 
 
 COSWAY, EiCHARD, E.A., miniature 
 fainter. Was born 1740, at Tiverton, where 
 his family had been long settled, and his 
 fothor was master of the public school. He 
 early showed great ability in drawing, 
 and was sent to London as the pupil of 
 Hudson, and also became a student in Ship- 
 ley's school. He received a premium for 
 drawing in 1755 at the Society of Arts. 
 He began his career by drawing heads for 
 the shops and fancy miniatures — sometimes 
 licentious in character — for snuff-boxes, 
 and soon made himself known as a portrait 
 miniaturist. He was a member of the In- 
 corporated Society of Artists in 1766, and 
 was admitted a student of the Eoyal Aca- 
 demy in 1769. In the following year he 
 was elected an associate, and in 1771 a full 
 member of the Royal Academy. His career 
 was rapid ; he had obtained a good know- 
 ledge of the figure, and was a refined and 
 powerful draftsman. His miniatures were 
 not only fashionable, but the fashion itself. 
 He drew small whole-lengths of the courtly 
 beauties of his day in black-lead pencil, in 
 an elegant easy style quite his own — the 
 faces painted in miniature, and frequently 
 higlily finished. His miniatures on ivory 
 are exquisite for their beauty and grace, 
 and are highly esteemed. He painted the 
 lovely Mrs. Fitzherbert, and gained the 
 favour and even the intimacy of the Prince 
 of Wales. The beauties of the prince's 
 coterie sat to him, and he enjoyed the full 
 tide of royal favour and good fortune which 
 his art truly merited. He occasionally pro- 
 duced a work in oil. Some angels' heads in 
 this medium are admirable for their pure 
 ideal beauty. He was only an occasional 
 exhibitor at the Academy, and sent his last 
 work in 1806. He gave one of his best 
 works in oil to the parish church of his 
 native town. His portraits have been en- 
 graved by Bartolozzi, R.A., and by Valen- 
 tine Green and others. 
 
 Cosway was mean in person. He assumed 
 great airs ; his vanity led him to deck his 
 portrait, ij)se jpinxit, in the most extrava- 
 gant costume. His studio was most inter- 
 esting, filled with the choicest specimens of 
 art and vertu — in which he was not un- 
 willing to deal — and he was in the habit of 
 purchasing old pictures, which he repaired 
 and sold. He left a very large collection 
 of drawings. He married, at St. George's, 
 Hanover Square, 1781, Maria Hadfield, a 
 handsome, clever woman, and an artist. 
 Together they kept a sumptuous house, 
 lived in great style on the verge of Carlton 
 House Gardens, and afterwards in Strat- 
 ford Place. They affected high society; the 
 
 prince was their visitor, and they made 
 themselves the wonder and whisper of the 
 town — the bitter mark for satirists and cari- 
 caturists. Cosway's eccentricities and vani- 
 ties were increased by his success. He be- 
 lieved in Swedenborgianism and in animal 
 magnetism; and whether he played the 
 charlatan, or felt himself inspired — most 
 probably the former — he professed his 
 ability to raise the dead ; and asserted to 
 Miss Coombc, his niece, that the Virgin 
 Mary had appeared to him, and had sat to 
 him several times for a half-length figure of 
 the Virgin which ho had just finished. Ho 
 had for. some time retired from the practice 
 of his profession. He died while taking an 
 airing in his carriage, July 4, 1821. He 
 desired to be buried near Rubens, at Ant- 
 werp, but rests in the vaults of the new 
 church, St. Marylebone, where there is a 
 tablet to his memory. 
 
 COSAVAY, Maria Cecilia Louisa, sub- 
 ject painter. Wife of the foregoing. She 
 was the daughter of an Irishman named 
 Hadfield, who kept an hotel at Leghorn, and 
 was born in Italy. She was educated in a 
 convent and studied art in Rome ; on her 
 father's death she came to England, and, 
 for a time at least, painted miniatures pro- 
 fessionally. She also painted many subject 
 pictures, and was a contributor both to Boy- 
 dell's ' Shakespeare Gallery ' and Macklin's 
 ' Poets.' She drew in chalk ' The Progress 
 of Female Dissipation ' and ' The Progress 
 of Pemale Virtue.' Her ' Going to the 
 Temple ' was engraved by Tomkins. She 
 etched some figures after Rubens. In early 
 life she had been betrothed to Dr. Parsons, 
 the composer, but in 1781 she married 
 Richard Cosway, R.A. In the same year 
 she was first an exhibitor at the Royal 
 Academy, and continued to exhibit up to 
 1 801. Her subjects were mostly of a classic 
 character, with now and then a portrait. 
 She is reputed to have maintained her own 
 family by her art. 
 
 She was in her day a notoriety, and was 
 the subject of much hostile remark. She 
 is said to have run away from her husband. 
 She was certainly long separated from him, 
 and at the beginning of the century was 
 living apart at Paris in much luxury, while 
 she was copying some works at the Louvro 
 for engraving. She made a pilgrimage to 
 the Shrine of the Virgin at Loretto in ful- 
 filment of a vow to do so if blessed with a 
 living child. Walpole mentions, in an un- 
 published letter, her great grief and her 
 avoidance of all society on the loss of her 
 daughter, which was probably the cause of 
 her retiring in 1804 to a religious house at 
 Lyons, of which she became the superior. 
 She was living in 1821, and was in London 
 in that year on the death of her husband ; 
 but returning again to Lyons, is believed to 
 
 97 
 
COT 
 
 COT 
 
 havo died there. Naglor gives a long de- 
 scription, in the most stilted language, of 
 her personal charms, her "v^'orks, and her 
 talents, and says the English galleries are 
 full of her exquisite works. She certainly 
 possessed groat talent as a musician, and 
 excelled as an artist. There are some etch- 
 ings by her, but in outline only, of a number 
 of her husband's works. ' The Progress of 
 Female Virtue' by her was published in 
 12 plates, 1800. 
 
 COTES, Feancis, K.A., portrait painter. 
 He was the son of the mayor of Galway, 
 who, on some political dispute, camo to 
 settle in London about 1720, and prac- 
 tised as an apothecary in Cork Street, Bur- 
 lington Gardens. Here the painter was 
 born in 1726, and commenced the study 
 of art as the pupil of George Knapton. He 
 became eminent for his portraits in crayons, 
 and also painted in oil with much ability. 
 Ho was a member of the Incorporated So- 
 ciety of Artists, and one of the founda- 
 tion members of the Eoyal Academy. He 
 painted, in 1767, * Queen Charlotte with the 
 Princess Eoyal on her lap ' — a pleasing 
 portrait, which was well engraved by Ey- 
 land. He was in considerable practice, and 
 for a time had so great a run that fashion 
 followed him from London to Bath, and 
 back again. He drew well, sketched his 
 subject freely, and was agreeable in his co- 
 louring. He occupied the house 32 Caven- 
 dish Square, afterwards tenanted by Eom- 
 ney, and then by Sir Martin Shoe, P.E.A. 
 He died there on July 20, 1770, in his 45th 
 year, having imprudently taken soap-lees as 
 a cure for stone, to which he was a martyr, 
 and was buried at Eichmond. His pre- 
 sentation picture to the Eoyal Academy — a 
 portrait of his father — is a good specimen 
 of his abilities. There is a full-length por- 
 trait by him of Admiral Lord Hawke in 
 the gallery of Greenwich Hospital ; but a 
 portrait-group of Mr. and Mrs. Joah Bates, 
 in the possession of the Sacred Harmonic 
 Society, is one of the best examples of his art 
 in oil — well grouped, and solidly and care- 
 fully painted. His prices for portraits were 
 — three-quarters, 20 guineas ; half-length, 
 40 guineas ; whole-length, 80 guineas. His 
 draperies were mostly painted by Toms. 
 
 COTES, ^K-Kum.^ miniature painter. Elder 
 brother to the foregoing. He was brought 
 up to medicine, but quitted that profession, 
 stimulated by his brother's success in art, 
 and was assisted by him in the study of 
 painting. He was a member of the Incor- 
 porated Society of Artists. His works in 
 crayons were much esteemed, and in minia- 
 ture, both enamel and on ivory, he ranked 
 among the first of the day. He exhibited 
 miniatures at the second Eoyal Academy 
 Exhibition in 1769, and continued an occa- 
 sional exhibitor. He married a Miss Sher>- 
 98 
 
 heard, who had great talent for painting, 
 and who died 1814. He had quitted the 
 profession for many years, when he died 
 in Paradise Eow, Chelsea, March 7, 1818, 
 aged 84. 
 
 COTMAN, John Sell, landscape and 
 marine painter. Was the son of a linen- 
 draper at Norwich, and born there June 11, 
 1782, and educated at the City Free School. 
 He was intended for his father's business, 
 but his early love of art prevailed, and he 
 came to London, where he remained from 
 1800 to 1806, and during that time he was 
 an exhibitor, chiefly of Welsh views, at the 
 Academy, and frequented the well-known 
 artists' meetings at the house of Dr. Monro. 
 In 1807 he was living at Norwich, and 
 became a member and the secretary of the 
 Norwich Society of Artists. He then styled 
 himself a portrait painter, and in that and 
 the following years was a large contributor 
 to the Society's Exhibitions, sending no less 
 than 67 works in 1808. He afterwards lived 
 for some time at Yarmouth, and having now 
 a wife and young family, he added to his 
 means by teaching drawing. In 1811 he 
 commenced a publication by subscription of 
 his 'Architectural Etchings;' and in 1816 
 his * Specimens of Norman and Gothic Ar- 
 chitecture, Norfolk Churches,' &c. ; and in 
 1817 he accompanied Mr. Dawson Turner, 
 the antiquary, on a tour in Normandy, and 
 again visited that country in 1818 and 1819. 
 In these two years he completed his ' Etch- 
 ings illustrating the Architectural Anti- 
 quities of Norfolk,' and his 'Engravings 
 from Sepulchral Brasses, Norfolk ' — works 
 which had been for several years in pro- 
 gress, and which are more antiquarian than 
 artistic in their character. The result of 
 his visits to Normandy appear in the illus- 
 trations to Dawson Turner's ' Architectural 
 Antiquities of Normandy,' published in 
 1822. 
 
 Though at that time residing in Nor- 
 wich, he was in 1825 elected an associate 
 exhibitor of the AVater-Colour Society ; and 
 was from that year a constant contributor 
 to the Society's Exhibitions. His works 
 were — 'Views in France and Normandy,' 
 ' Fishing-boats off Cromer,' ' Vessels off 
 Yarmouth' (where he found many of his 
 favourite subjects) ; landscape compositions, 
 and some sketches of figure subjects. In 
 1834 he was appointed drawing-master to 
 King's College School, and then removed 
 to London. Here his health began to 
 decline. He had long been subject to 
 great nervous depression, which became 
 more severe, and gradually terminated in 
 loss of reason. He died in London, July 
 28, 1842. He painted in water-colour 
 and oil, excelling in both. His light and 
 shade were good, the masses broad and 
 simple; the details in water-colours fre- 
 
COT 
 
 COX 
 
 quently added with a reed pen ; his colour 
 rich, but a hot yellow predominates ; his 
 figures were well placed, and the details of 
 his architecture well understood ; his treat- 
 ment of the subject highly artistic; but 
 many of his works are only slightly or half- 
 finished. 
 
 COTMAN, Miles Edward, water-colour 
 'painter. He was the eldest son of the fore- 
 going, and was brought up an artist. He 
 exhibited at Suffolk Street in 1835-38 and 
 1841, river and sea yiews, both in oil and 
 water-colours, and at the Academy in 1850 
 and 1851. He succeeded his father as 
 drawing-master to King's College, and was 
 chiefly occupied as a teacher. He died 
 January 23, 1858, aged 47. 
 
 COTTINGHAM, Lewis Nockalls, ar- 
 chitect. Born October 24, 1787, at Laxfield, 
 Suffolk, of a highly respectable family. He 
 was apprenticed to a builder at Ipswich, 
 and after several years, feeling a talent for 
 art, he came to London, and placed him- 
 self under a skilful architect and surveyor. 
 In 1814 he commenced his professional 
 career. He gained the appointment of ar- 
 chitect to Eochester Castle in 1825, and 
 carried out some extensive works, including 
 a new central tower. In 1829 he was the 
 successful competitor' for the restoration of 
 the exterior of the chapel of Magdalen Col- 
 lege, Oxford ; and in 1833 he was entrusted 
 with the repair of St. Alban's Abbey Church. 
 The successful execution of these works gave 
 him a reputation as a Gothic architect, and 
 he was employed to restore the cathedral 
 of Armagh, the greater part of which he 
 rebuilt, an undertaking which occupied se- 
 veral years, and gave room for his construc- 
 tive and mechanical skill. He zealously 
 promoted the restoration of the Lady Chapel 
 of St. Saviour's, Southwark; and in 1840 
 he promoted and afterwards assisted in the 
 restoration of the Temple Church. He made 
 important restorations at the church of 
 St. James's, Louth ; St. Mary's, Bury St. Ed- 
 mund's ; Ashbourne, Chelmsford, and many 
 other churches. He was also employed on 
 works at several country mansions. His 
 last work was iipon the restorations of 
 Hereford Cathedral. He published several 
 works on Gothic architecture, of which the 
 chief are ' Plans, Elevations, and Sections 
 of Henry VII.'s Chapel at Westminster,' 
 1822-29; 'Working Drawings for Gothic Or- 
 naments,' and ' The Smiths and Pounders' 
 Directory : Designs for Ornamental Metal- 
 work,' 1824. He made a valuable collec- 
 tion of architectural antiquities at his re- 
 sidence in the Waterloo Koad, Lambeth, 
 where he died October 13, 1847. He was 
 buried at Croydon Church. 
 
 COUSE, J., engraver. Supposed born 
 in England. Practised here about 1750. 
 His works are but little known. Strutt says 
 
 H 
 
 some views which he engraved prove him to 
 have been no indifferent artist. 
 
 COUSE, Kenton, architect. Was one of 
 the surveyors of the Board of Works. He 
 designed Botley House, Chertsey ; the church 
 of St. Paul, Clapham Common ; and the 
 bridge over the Thames at Kichmond. Died 
 October 10, 1790, aged 70. 
 
 CO WEN, W., landscape painter. His 
 name first appears as an exhibitor of some 
 clever Irish landscapes at the British Insti- 
 tution in 1823. In the following year ho 
 was living in London, and then sent to the 
 A.cademy some Swiss and Eoman views in 
 oil. He continued to exhibit Swiss and 
 Italian scenes up to 1836, and i 839 ex- 
 hibited a view in Normandy, after which ho 
 ceased to exhibit. He published, in 1824, 
 six views of Italian and Swiss scenery made 
 1819-22. 
 
 COWPEE, Douglas, subject painter. His 
 father was a merchant at Gibraltar, where 
 he was born May 30, 1817. He showed an 
 early talent for drawing. His family dis- 
 approved, but, out of the reach of instruction 
 or examples, he persevered, and on his 17th 
 birthday set out for London, and after a 
 short study was admitted to the schools of 
 the Eoyal Academy, and gained the silver 
 medal for the best copy in the painting 
 school. In 1837 he exhibited— his first 
 time — ' The Last Interview ' and a portrait ; 
 in 1838, 'Shylock, Antonio, and Bassanio ;' 
 and in 1839 his best work, ' Othello relating 
 his Adventures,' and a ' Capuchin Friar.' In 
 the same years he exhibited in Suffolk Street 
 'Ailsey Gourlay and Lucy Ashton,' 'The 
 proposed Elopement,' ' The Last Parewell,' 
 ' Kate Kearney,' and at the British Insti- 
 tution a subject from ' Taming the Shrew.' 
 At this time his health failed ; he was con- 
 sumptive. He visited his family, who were 
 at that time in Guernsey, and then tried the 
 South of Prance ; but his malady increased, 
 and he only was able to reach Guernsey to 
 die there on November 28, 1839 ; an artist 
 of great promise prematurely cut off. 
 
 COX, David, water-colour painter. Was 
 born April 29, 1783, at Birmingham, where 
 his father was a blacksmith, and owed 
 much to the early religious training of his 
 mother. He was of too delicate a consti- 
 tution to follow his father's trade ; and laid 
 up by an accident, a box of colours given 
 for his amusement was the source of un- 
 ceasing pleasure, and led to his being placed 
 for instruction under an artist in the neigh- 
 bourhood. He was afterwards apprenticed 
 to a locket painter, and was attaining 
 much proficiency when, at the end of 18 
 months, he lost his master, and not readily 
 finding other employment in art, to which 
 he clung, he engaged to prepare the colours 
 for the scene painters at the Birmingham 
 Theatre, and from his habits of obsers-ation 
 2 . 99 
 
cox 
 
 coz 
 
 gained a knowledge of their art and its 
 processes, and was soon employed to carry 
 on the less important parts of the scene 
 painters' work. He remained four years 
 with the Birmingham company; travelled 
 with the manager to Leicester and other 
 places, coming on the stage when required 
 in a subordinate character. Meanwhile, 
 this employment aroused in him a love for 
 landscape, and laid the foundation for 
 some of the finest qualities of his future 
 art. 
 
 Moving from place to place with the 
 company, the unsettled life had become very 
 distasteful to him, and he came in 1803 to 
 London, where he gained employment in 
 the scone-loft of Astley's Theatre. At- 
 tracted by the sight of some water-colour 
 drawings, he determined to try that art, 
 which was then making great progress. He 
 fortunately made the acquaintance of John 
 Varley, who gave him access to his studio, 
 and he soon made such progress in the new 
 art as to enable him to leave the scene-loft. 
 He added to his means by teaching, and 
 during his long art career was distinguished 
 as a teacher. In 1805 he made his first 
 visit to Wales, and on his return exhibited 
 some drawings from Welsh scenery. Ke- 
 siding on Dulwich Common, he improved in 
 his art by the diligent study of the sur- 
 rounding scenery, and learnt to render the 
 varied effects of nature and the aspects of 
 morning, noon, and close of day. In 1813 
 he was elected a member of the Society of 
 Painters in Water-Colours, and was a large 
 contributor to the Society's Exhibitions. 
 He was in the following year appointed a 
 teacher at the Military College, Bagshot, 
 but the duties were unsuited to his dis- 
 position, and he resignedafter a few months, 
 and in 1815 WT.nt to reside at Hereford, 
 where he lived till 1829, usually visiting 
 the Metropolis in the spring to keep up 
 his^ acquaintance with art and his brother 
 artists. 
 
 .Prom his admission to the Water-Colour 
 Society to the year of his death he was 
 a constant exhibitor, contributing a very 
 large number of works. His drawings were 
 chiefly from the scenery of his own country. 
 He was fond of the Thames, and painted 
 many views on that river — the vessels and 
 the scenery of its banks ; also views of the 
 Metropolis from the surrounding heights, 
 the operations of husbandry, ploughing 
 being a favourite subject. He painted the 
 mountain scenery of Wales and Scotland, 
 and the grand gloom of their passes, with 
 great effect ; and in 1829 extended his range 
 of subjects to the Continent, choosing his 
 subjects on the coasts and in the market- 
 places of Antwerp, Brussels, and the crowded 
 bridges of Paris, which he peopled with 
 clever groups. At this time he returned to 
 100 
 
 the Metropolis, and taking a house at 
 Kensington, resided there till 1840, when 
 he retired to Harbourne, a village near his 
 native town; and tired of teaching and 
 exhibitions, devoted himself almost entirely 
 to painting in oil. He died June 7, 1859. 
 
 He will always take very high rank as a 
 water-colour painter. His manner was 
 peculiar to himself. His fluent brush and 
 liquid tints gave great richness. He was 
 intent upon obtaining the exact tone and 
 colour of nature rather than in defining 
 form, and his drawing is loose. His light 
 and shade are good, his keeping excellent, 
 and his figures and cattle admirably placed. 
 He produced a highly artistic generalised 
 treatment of nature, with great breadth, 
 luminous freshness and breezy motion. 
 Many of his works are highly ima- 
 ginative, and impressed with the truest 
 sentiment. His sparkle of our English 
 summer in shower and sunshine has never 
 been surpassed. His latter works in oil 
 were little seen in London. He published, 
 in 1816, ' A Treatise on Painting in Water- 
 Colours,' and had prepared 100 drawings 
 in sepia for publication, but the work was 
 not proceeded with. 
 
 COZENS, Alexander, water-colour 
 painter. He was a natural son of Peter 
 the Great, by an Englishwoman from Dept- 
 ford, who accompanied the Czar on his 
 return to Eussia, where he was born. Ho 
 was sent by the Czar to Italy to study 
 painting ; and some studies he then made, 
 and lost during his journey, are now pos- 
 sessed by the British Museum. They are 
 of much interest, drawn with the pen with 
 great minuteness and care, excellent in 
 taste and composition. From Italy he 
 came to England in 1746, and settled here 
 as a landscape painter, but was chiefly 
 occupied in teaching. He was a member 
 of the Incorporated Society of Artists, a 
 contributor of landscape drawings to the 
 Spring Gardens Exhibitions; from 1763 to 
 1 7 68, he held the office of drawing-master at 
 Eton School, and gave some lessons to the 
 Prince of Wales. He practised some time 
 at Bath, where his teaching was popular. 
 He affected a plan of splashing a china- 
 plate with colour, and then instructing 
 his pupils to work the chance blot im- 
 pressed from it into a landscape composi- 
 tion, and published a small tract explaining 
 this method. He also published ' The 
 Principles of Beauty, in relation to the 
 Human Head,' with engraved, illustrations 
 by Bartolozzi, 1778; 'The various Species 
 of Composition in Nature,' and ' The Shape, 
 Skeleton, and Poliage of Thirty-two Spe- 
 cies of Trees,' 1771, reprinted 1786. He 
 was a frequent exhibitor at the Koyal 
 Academy between 1772 and 1781 ; and 
 Banks, R.A., the sculptor, exhibited, in 
 
coz 
 
 CRA 
 
 1783, * Head of a majestic Beauty, composed 
 on Mr. Cozens's principles.' He married a 
 daughter of Robert Edge Pine, the painter, 
 by whom he left one son. He died in 
 Duke Street, Piccadilly, April 23, 1786. 
 
 COZENS, John Robert, water-colour 
 'painter. He was the son of the foregoing, 
 and was born in England in 1752. Little 
 is known of his early teaching, but he pro- 
 bably learnt his art from his father. He 
 first exhibited at the Spring Gardens Ex- 
 hibition in 1767, and sent his only contribu- 
 tion to the Royal Academy in 1776, when 
 he was in Italy studying — ' A Landscape, 
 with Hannibal, in his March over the 
 Alps, showing his Army the fertile plains 
 of Italy.' He was taken to Italy by Mr. 
 Beckford, who employed him, and was the 
 first British artist w^ho successfully painted 
 in water-colours the romantic scenery of 
 that country. He returned in 1783, having 
 while there made many studies and acquired 
 qualities and modes of treatment which 
 peculiarly belong to water-colour art. Thus 
 he was the immediate predecessor of Turner 
 and Girtin, and the first who produced those 
 atmospheric effects which are the charm 
 of his works as of theirs. His works are 
 little more than tinted chiaroscuro, thinly 
 washed with colour. He compounded his 
 cloud tints and those for his distant moun- 
 tains of Indian red ; for his middle distance 
 he used a small portion of lake with indigo 
 and yellow ochre ; his foregrounds princi- 
 pally of black and burnt umber ; his distant 
 trees were tinted with warm washes, which 
 he used for the sky, and those nearer with 
 yellow ochre and indigo, enriched with 
 burnt sienna, using the same with greater 
 power in the foreground. With these simple 
 materials, which were all that could be 
 procured by the water-colour painter of his 
 day, he produced works of the highest 
 poetry and beauty. Constable, R.A., said 
 ' his works were all poetry,' and in enthu- 
 siastic admiration pronounced him * the 
 greatest genius that ever touched land- 
 scape.' Leslie, R. A., said ' ho had an eye 
 equally adapted to the grandeur, the ele- 
 gance, and the simplicity of nature, but 
 loved best her gentlest and most silent elo- 
 quence ;' and again, ' pensive tenderness 
 forms the charm of his evening scenes.' It 
 is sad to tell of one so gifted that he became 
 deranged in 1794. He was generously 
 attended by Dr. Monro, and supported by 
 Sir George Beaumont ; and in this state he 
 died in 1799. The drawings he made for 
 Mr. Beckford — chiefly views in the neigh- 
 bourhood of Rome and in other parts of 
 Italy — were sold at Christie's in 1805. They 
 were 94 in number, and produced 510^., 
 then considered a large sum. 
 
 CRADOCK, Luke, still-life and animal 
 pai7iter. Was born at Somerton, near II- 
 
 chester, about 1660, and was apprenticed 
 to a house painter in London, with whom 
 he served his time. Self-taught, he became 
 a skilful painter of still-life, birds and ani- 
 mals, his works possessing great freedom 
 and spirit. He was not appreciated in his 
 lifetime, but after his death his pictures 
 realised greatly enhanced prices. He died 
 in London in 1717, and was buried at 
 St. Mary's, Whitechapel. 
 
 CRAFT, William, enamel painter. He 
 practised in enamel towards the end of the 
 18th century, and was employed in the 
 Porcelain Works at Bow. He first exhi- 
 bited at the Royal Academy, in 1774, a 
 portrait in enamel, with several subject 
 pieces. In 1778 he exhibited, in enamel, 
 ' Boy on a Lion ' and ' Cupid Meditating,' 
 and continued an exhibitor till 1781. Ho 
 produced some large works in enamel, 
 which were very good in the manipulation 
 of his material, but very weak in art. 
 
 CRAIG, James, architect. He was a 
 pupil of Sir R. Taylor, and practised with 
 much reputation in Edinburgh. He de- 
 signed Princes Street and George Street, ' 
 parts of the new town, the Physician's 
 Hall, and some other public buildings. Ho 
 was a nephew of Thomson, the author of 
 ' The Seasons.' He died June 23, 1795. 
 
 CRAIG, William Marshall, miniature 
 painter. Said to have been brother to tho 
 above. He was painter in water-colours to 
 the Queen, and miniature painter to the 
 Duke and Duchess of York. He first ex- 
 hibited at the Academy in 1788, and was 
 then residing in Manchester. About 1791 
 he had settled in London, and in that year 
 exhibited two figure subjects. In the fol- 
 lowing year he commenced as a miniature 
 and portrait painter, occasionally exhibit- 
 ing rustic figures, landscape views, and 
 domestic scenes. After 1821 his contribu- 
 tions were few, and ceased in 1827. Ho 
 made most of the engraver's drawings for 
 ' The British Gallery of Pictures,' a serial 
 publication commenced in 1808, and is well 
 known as a draftsman on wood and book 
 illustrator. His drawings in water-colour 
 have much careful finish, and though fre- 
 quently tame and mannered, some of his 
 illustrations are not without merit. Ho 
 published, at the beginning of the 19th cen- 
 tury, ' A Wreath for the Brow of Youth,* 
 for which he designed the illustrations ; 
 'An Essay on the Study of Nature in 
 Drawing,' 1793 ; ' The Complete Instructor 
 in Drawing,' 1814 ; 'The Sports of Love,' 
 in six poems, 1818; and 'Lectures on 
 Drawing, Painting, and Engraving,' 1821. 
 
 CRANCH, John, amateur. AVas born 
 at Kingsbridge, Devon, October' 12, 1751. 
 Self-taught, as a boy he made great pro- 
 gress in drawing, WTiting, and music. He 
 first found employment as a clerk at 
 
 101 
 
ORE 
 
 Axminstcr, and received some kind instruc- 
 tion from a Catholic priest. He then went 
 into the office of an attorney, who on his 
 death left him 2,000/. With these means 
 he came to London, where he was noticed 
 and befriended by Sir Joshua Keynolds. 
 He painted portraits and sometimes tried 
 history, but was unable to secure a place 
 on the walls of the Academy, often suffer- 
 ing the rejection of his works ; but a 
 » Death of Chatterton' gained him some 
 notice, and gave a promise which was not 
 fulfilled. He excelled in what were called 
 * Poker pictures.' He lived many years at 
 Bath, and died unmarried in that city in 
 February 1821, aged 70. He published a 
 ^york — ' On the Economy of Testaments,' 
 1794 ; and wrote ' Inducements to Promote 
 the Pine Arts of Great Britain.' 
 
 CRANE, Tkomas, portrait painter. Born 
 at Chester 1808. Assisted by some friends, 
 ho came to London in 1824, and was ad- 
 mitted to the schools of the Royal Academy. 
 After two years' study he returned to 
 Chester, and at the age of 18 commenced 
 practice as a miniature painter. In 1832 
 he exhibited his first work at the Liverpool 
 Academy, and was soon after made an 
 associate, and in 1830 a member of that 
 society. Then marrying, he came to London, 
 but was compelled by weak health to leave 
 the Metropolis, and he tried Leamington 
 and some other places. Improved in health, 
 he came again to London in 1844, and 
 again compelled to leave, he settled at 
 Torquay, where he remained 12 years ; 
 and in 1857 he removed to Bayswater, but 
 his health again failed, and gradually sink- 
 ing, he died there in July 1859. He 
 painted some domestic subjects — ' The De- 
 serted Village,' ' The Cobbler,' * Masquer- 
 ading' — and was an occasional exhibitor 
 at the Academy. Though successful in 
 his portraits, both in oil and water-colours, 
 his reputation was only provincial, and 
 his works were little known in the Metro- 
 polis. 
 
 CRANKE, James, portrait painter. He 
 practised in London, where he enjoyed some 
 repute, about 1750 ; and was from 1775 to 
 his death an occasional exhibitor at the 
 Royal Academy. He died at Urswick, near 
 Ulverston, in 1780, aged 73. 
 
 CRAWFORD, William, A.R.S.A., por- 
 trait and subject painter. He was born at 
 Ayr, N.B. He studied his art at the 
 Trustees' Academy, Edinburgh, where he 
 was a pupil of Sir AVilliam Allan, made 
 good progress, and gained a travelling 
 studentship, which enabled him to continue 
 his study for several years in Rome. On his 
 return to Scotland, he conducted the draw- 
 ng classes in the Trustees' Academy till 
 1835. Ho painted portraits and small sub- 
 ject pictures, and his small crayon portraits 
 102 
 
 were much esteemed. He was elected an 
 associate of the Royal Scottish Academy 
 in 1862. Settled in Edinburgh, he was 
 from 1853 a frequent exhibitor, almost ex- 
 clusively of portraits, at the Royal Academy 
 in London. He is best remembered by 
 his 'Highland Keeper's Daughter,' 1865; 
 'More Free than Welcome,' 1867; and 
 ' Return from Maying.' He died after a 
 short illness, August 2, 1869. 
 
 CREED, Carey, engraver. He drew 
 and etched a number of plates, in a slight 
 but clever manner, in illustration of the 
 statues and busts at Wilton, which he pub- 
 lished in 1731. 
 
 CREED, Mrs. Elizabeth, amateur. Was 
 the only daughter of Sir Gilbert Pickering, 
 Bart., and nearly related to the poet 
 Dryden. She was born in 1642. She mar- 
 ried a county gentleman of Oundle, and 
 on his death employed herself in painting, 
 and gratuitously instructed young females 
 in fine needlework and other elegant arts. 
 Many churches in the neighbourhood of 
 Oundle were decorated with altar-pieces 
 and other works by her hands. There is 
 a portrait by her of, the first Earl of 
 Sandwich at Drayton; and her descend- 
 ants possessed many other portraits and 
 some pictures painted by her. She died 
 in May 1728. 
 
 CREGAN, Martin, R.H.A., portrait 
 painter. He was one of the members of 
 the Royal Hibernian Academy on its in- 
 corporation in 1823. He practised both in 
 Dublin and in London. He was residing 
 in London in 1812, and in that year, and 
 yearly up to 1821, when he contributed a 
 portrait of Miss Dance as 'Mrs. Haller,' 
 was a constant exhibitor at the Royal Aca- 
 demy. In the following year he returned 
 to Dublin, where he had some sitters of 
 distinction. 
 
 CRESWICK, Thomas, R.A., la^idscape 
 fainter. He was born at Sheffield in 1811, 
 and gained some early knowledge of art 
 in Birmingham, where he was a pupil of 
 Mr. J. V. Barber. In 1828 he came up to 
 London, where he settled, and at once com- 
 menced as an exhibitor at the British In- 
 stitution and the Royal Academy. His 
 first works were chiefly Welsh scenes, fol- 
 lowed, about 1840, by some views in Ire- 
 land ; and from that time he found his 
 best subjects in the North of England, 
 selecting with great taste the many beau- 
 tiful passages which occur in the domestic 
 scenery, and realising their details with 
 great truth. His art early became popular. 
 In 1842 the directors of the British Institu- 
 tion awarded him a premium of 50 guineas 
 for the general merit of his works, and 
 in the same year he was elected an asso- 
 ciate of the Royal Academy. The subjects 
 he loved to paint may be conceived by the 
 
CRI 
 
 CRO 
 
 titles lie gave them. Thus, on his election 
 he exhibited, 'The Old Foot Koad ; ' in 
 1846, 'The Hall Garden' and 'The Plea- 
 sant Way Home;' in 1849, 'A Glade in 
 the Forest;' in 1851, when he was elected 
 to his full membership, ' The Valley Mill ' 
 and 'Over the Sands;' in 1854, 'The 
 Blithe Brook;' in 1859, 'The Village 
 Bridge ; ' in 1861, ' In the North Countrie ; ' 
 in 1864, 'Across the Beck.' He painted 
 several works in conjunction with his 
 friend K. Ansdell, E.A. His health and 
 vigour had been for some time failing, but 
 he continued to exhibit, usually three or 
 four pictures, each season. He had for 
 many years lived in Linden Grove, Bays- 
 water, but his house being disturbed by a 
 new railway line, he built himself a resi- 
 dence in the Grove, which his rapidly de- 
 clining health scarcely permitted him to 
 enjoy, and he died there December 28, 1869. 
 He was buried at the Kensal Green Ceme- 
 tery. He painted the homely scenery of 
 his country, especially its streams, in all its 
 native beauty and freshness ; natural, pure 
 and simple in his treatment and colour, 
 careful and complete in his finish, good 
 taste prevailing in all his works, and con- 
 spicuously so in his charming contributions 
 to the works of the Etching Club, of which 
 he was a valued member, and also in his 
 many designs on wood. 
 
 CEISTALL, Joshua, water-colour 
 painter. AVas born at Cambourne, in 
 Cornwall, in 1767. His father was a na- 
 tive of Scotland, and the master of a small 
 trading vessel. An early love of art, which 
 he secretly pursued, was opposed by his 
 father ; and on the family coming to settle 
 in Rotherhithe, he was apprenticed to a 
 china-dealer. Hating this business he left 
 it, and also liis home, before the completion 
 of his apprenticesliip, and began a life of 
 great hardship. He found some employ- 
 ment as a china painter, and for a time 
 worked in the Potteries. But the work 
 was too mechanical ; he returned to London, 
 and seriously injured his health by at- 
 tempting to subsist for a year solely on 
 potatoes and water. Then secretly assisted 
 by his mother, he continued to study his 
 art, gained admission to the schools of the 
 Academy, and made rapid progress. Here 
 his classic tastes, which he imbibed from 
 his mother's teaching, were developed by 
 his diligent study of the antique ; and he 
 formed a style which he retained through 
 life, and which added a grandeur even to 
 common forms and rustic figures. He also 
 frequented the house of Dr. Monro, which 
 became a school for many of the rising 
 water-colour painters of the day. 
 
 He does not appear to have been an 
 exhibitor at the Academy, and it was not 
 till the foundation of the Water-Colour 
 
 Society in 1 805 that his works were pub- 
 licly seen. Of this society he was one 
 of the foundation members, was several 
 times president, and an earnest supporter. 
 He had established himself in art, and 
 during a long life was a constant exhibitor. 
 His subjects were chiefly classic or rustic 
 figures with landscape backgrounds, his 
 figures well grouped and drawn with great 
 refinement and taste, but with a tendency 
 to too great height in their proportions. 
 At the commencement of his career he 
 lived first at Kentish Town, then at Chelsea 
 and at Lambeth, and later at Paddington, 
 where, in 1813, he was fortunate in marry- 
 ing a lady of cultivated mind, whoso lively 
 manners and talents made his house the 
 resort of many friends. About 1821, his 
 health failing, he purchased a cottage at 
 Goodrich, on the Wye, and removed there 
 in 1822; but after some happy years, the 
 death of his wife after a lingering illness 
 rendered the neighbourhood distasteful ; 
 and in 1840 he returned to London, and 
 took up his abode in Eobert Street, Hamp- 
 stead Road, and afterwards in Circus Road, 
 St. John's Wood, where he died, October 18, 
 1847. He was, at his own request, buried 
 near his wife at Goodrich. 
 
 Among his early works, and fresh from 
 the schools, his classic tastes predominated, 
 and his exhibited works comprised, with 
 others, ' Lycidas,' ' The Judgment of Paris,* 
 ' Hylas and Nymphs,' ' Diana and Endy- 
 mion ; ' followed by rustic figures, fisher- 
 men, gleaners and cottage groups, with 
 landscapes. Soon after his marriage he 
 tried portrait painting for a while, usu- 
 ally small whole-lengths, introducing land- 
 scape backgrounds. His art was simple, 
 he used no body colour, and was free from 
 all trick. Original in manner and character, 
 entirely without insipidity and prettiness, 
 his works will always hold a high rank in 
 the water-colour school. He added some 
 classical figures to Barret's landscapes, and 
 some groups to Robson's Scotch scenery. 
 He was an early member of the Sketching 
 Society. 
 
 CROKER, John, medallist. Was bred 
 a jeweller, and afterwards became medallist 
 and engraver to the Mint. Commencing 
 with the accession of Anne, he engraved 
 all the medals of her reign, and also one 
 large medal of King William's reign. He 
 also engraved all the medals of George L, 
 and many of George II. He died in 1740. 
 His works have considerable merit, and 
 he was one of the chief medallists. The 
 original drafts of his medals are preserved 
 in the manuscript department of the British 
 Museum. 
 
 CROLL, Francis, engraver. Was born 
 in 1827, at Edinburgh, and served his ap- 
 prenticeship there. He became a good 
 
 103 
 
CRO 
 
 CRO 
 
 draftsman in tho schools of tlie Scottish 
 Academy, and attained proficiency in en- 
 graving. Ho engraved ' The Tired Soldier,' 
 after Goodall, A.E.A., for the Art Union, 
 and several portraits. His last work was 
 an illustration for the 'Cottar's Saturday 
 Night,' after Faed, a commission by the 
 Scottish Association for the Encouragement 
 of Art. When on the road to distinction 
 in his art, he died of heart-disease, at the 
 age of 27, February 12, 1854. 
 
 CEOME, John (known as ' Old Crome '), 
 landscape painter. Was born at Norwich, 
 December 21, 1769. He was tho son of a 
 poor weaver, and began life as a doctor's 
 boy, carrying out the medicine. AVhen of 
 a suitable age, moved by some love of 
 drawing, he became the apprentice of a 
 house and sign painter, and soon began to 
 sketch from nature, while following his 
 trade, the picturesque scenery which sur- 
 rounds his native city. He was poor, very 
 poor, but he persevered, and his persever- 
 ance gained him friends. He found some 
 resource as a teacher of drawing, yet he was 
 but an awkward and uninformed country 
 lad, gifted, indeed, with great natural 
 shrewdness. He married early, and his 
 efforts were doubly taxed to provide for a 
 family rapidly increasing. He had the 
 good fortune to obtain admission to a 
 neighbouring collection, where there were 
 some good examples of the Dutch school ; 
 and ho paid some hasty visits to London, 
 and thus gained greater art knowledge. 
 He earned after a time at least a local 
 reputation, and his works found occasional 
 purchasers, but at low prices. 
 
 In February 1803 he gathered round 
 him the artists of his native city for their 
 mutual improvement, and from this begin- 
 ning the Norwich Society of Artists arose, 
 founded in 1805. The Society held their 
 annual exhibitions, to which Crome was a 
 large contributor, rarely sending his pic- 
 tures to the Metropolis for exhibition. His 
 pupils and associates, among whom Vincent, 
 Stark, and Cotman were distinguished, 
 formed what is known as the ' Norwich 
 School,' whose art inspiration was derived 
 from Crome. He was not tempted to the 
 Metropolis, but continued to reside in his 
 native city, where he died, April 22, 1821, 
 after only a few days' illness. 
 
 Crome's art was founded on the Dutch 
 school, to the esteemed masters of which some 
 of his best works closely approximated. 
 He chose his subjects in the lanes, heaths, 
 and river-banks surrounding Norwich, and 
 was easily satisfied. They were painted in 
 his studio, from sketches, and were the 
 result of careful study and observation. 
 They charm by their sweet colour and tone, 
 their true rustic nature and fine sense of 
 generalised imitation. Little known, and 
 
 unduly esteemed in his lifetime, his works 
 have now greatly increased, and will con- 
 tinue to increase, in repute and value. 
 His picture of ' Mousehold Heath,' in the 
 National Gallery, is a good example of his 
 style and art. In 1834 a series of 31 
 etchings by him was published under the 
 title of ' Norfolk picturesque Scenery ; ' and 
 in 1838 a second issue appeared, with some 
 additional plates. 
 
 CEOME, John Bernay, landscape 
 painter. Eldest son of ' Old Crome.' He 
 was educated at the Free School, Norwich, 
 and afterwards under Dr. Valpy. Brought 
 up to art, he first exhibited at Norwich, 
 and in 1811 appears as an exhibitor at the 
 Eoyal Academy. In 1814 he exhibited 
 there ' Old Buildings on the Norwich 
 Eiver,' and continued to exhibit occasion- 
 ally up to 1843. Several of his later works 
 were moonlight scenes. He resided for 
 several years at Great Yarmouth, where 
 he died, September 15, 1842, in his 49th 
 year. His works were very unequal, and 
 he never took any place in art. His brother 
 was also brought up as an artist, and ex- 
 hibited at Norwich, but did not succeed, and 
 left the profession. 
 
 CEOMEK, Egbert Hartley, engraver. 
 Was born at Hull, June 1771. He was 
 intended for the law, but allowed to follow 
 his own inclination. Fond of literature 
 and art, he passed some time in study at 
 Manchester, and showing a taste for en- 
 graving, he was sent to London, and became 
 a pupil of Bartolozzi. He engraved many 
 book-plates after Stothard, but he was con- 
 stitutionally unfitted for the close applica- 
 tion required by his profession, and being 
 of an active disposition, took up the trade 
 of printseller and publisher. He induced 
 Blake to illustrate Blair's ' Grave,' and this 
 publication was his first venture. He lies 
 under the accusation of having seen Blake's 
 ' Canterbury Pilgrims,' and of then en- 
 gaging Stothard to paint the same subject 
 for him as an engraver's speculation — a 
 charge which was refuted by his son. 
 He certainly had a violent quarrel with 
 Blake, and probably gave him some grounds 
 for his epigrammatic scorn — 
 
 ' Cromek loves artists as he loves his 
 meat; 
 
 He loves the art, but 'tis the art to 
 cheat ! ' 
 
 He died of consumption, in Newman Street, 
 London, March 12, 1812, aged 42. 
 
 CEONE, Egbert, landscape painter. 
 Born in Dublin, wdiere he was educated 
 under a portrait painter named Hunter. 
 He afterwards turned to landscape art, 
 went to Eome, and studied there for a time 
 under Wilson, E.A. He exhibited at the 
 Eoyal Academy in 1772 'Morning' and 
 
CRO 
 
 CRO 
 
 * Evening * — two landscapes in oil — and two 
 landscape drawings, and continued in the 
 succeeding years to exhibit compositions of 
 the same class up to 1778, but his progress 
 was impeded by his bad health. He was 
 subject to epileptic fits, which at last caused 
 his death in London in the early part 
 of 1799. His landscapes were much es- 
 teemed, but are scarce. There are some 
 specimens in the royal collection. He exe- 
 cuted some of his drawings in the manner 
 of Wilson, in black and white chalk, upon a 
 bluish-grey paper. 
 
 CKOSS, John, history painter. Was 
 born May 1819, at Tiverton, where his 
 father superintended the works of a lace 
 factory, and on his father's removal to St. 
 Quentin, France, where a similar employ- 
 ment was offered him, he accompanied .the 
 family there ; and admitted to the School of 
 Design in that town, he was distinguished 
 by his progress, and gave so many proofs 
 of his ability, that he was induced to set 
 off for Paris, where he became a pupil of 
 M. Picot, a painter of the old French classic 
 school. Here he gained several of the 
 medals which are open to the students in 
 Paris. He was just completing his studies 
 when the competition was opened in 1843 
 for the decoration of the Legislative Palace 
 in Westminster ; and he sent a cartoon of 
 ' The Assassination of Thomas a Becket ' 
 to the first exhibition, but his work gained 
 little notice. With better success he was 
 again a competitor in the second exhibition, 
 sending an oil painting of ' Richard, Coeur 
 de Lion,' which gained a first premium of 
 300^., and was purchased by Her Majesty's 
 Commissioners for 1,000^. He at once gained 
 a reputation, but the labour and anxiety 
 he had undergone brought on a serious ill- 
 ness, from which he only slowly recovered. 
 In 1850 he exhibited at the Academy — his 
 first contribut ion — ' The Burial of the Young 
 Princes in the Tower ; ' in the next year, 
 ' Edward the Confessor leaving his Crown 
 to Harold,' followed by 'The Death of 
 Thomas a Becket,' 1853; ' Lucy Preston's 
 Petition,' 1856; and 'The Coronation of 
 William the Conqueror,' 1859. He proved, 
 however, quite unable to maintain the high 
 position his ' Coeur de Lion ' had given him. 
 His subsequent attempts were feeble and 
 weak ; he seemed unable to complete them. 
 His two pictures sent tothe Academy in 1860 
 were rejected. He fell again into ill-health, 
 and died in London, February 26, 1861. 
 The paintings he left were exhibited at the 
 Society of Arts, and an attempt was made 
 to raise a subscription for his family. His 
 friends purchased his ' Murder of Thomas 
 a Becket,' and placed it in Canterbury 
 Cathedral, and a small civil list pension 
 was granted to his widow in consideration 
 of his merits as a painter. 
 
 CROSS, Michael, copyist. Practised in 
 the reign of Charles I., who employed him 
 as a copyist in Italy. Ho is alleged to 
 have copied a celebrated 'Madonna' by 
 Raphael, in St. Mark's at Venice, and to 
 have substituted his copy for the original, 
 which he stole, and contrived to bring to 
 England ; and, it is added, that on the sale 
 of Charles I.'s pictures this work was 
 bought by the Spanish ambassador. Ho 
 ' was living in the reign of Charles 11. 
 
 CROSS, Thomas, engraver. Ho was 
 chiefly employed upon portraits and small 
 illustrations for booksellers, which he both 
 designed and engraved himself. His chief 
 works are dated between 1646 and 1680. 
 They are executed almost entirely with tho 
 graver, and are in a hard, tasteless stylo. 
 
 CROSSE, Richard, miniature painter. 
 He was born in Devonshire, and his name 
 first appears in 1758, when he received 
 premium at the Society of Arts. He was 
 in 1763 a member of the Free Society of 
 Artists. He had been an exhibitor at the 
 two previous exhibitions, and continued to 
 exhibit up to 1769. In 1770 he exhibited 
 at the Royal Academy, and continued to 
 contribute his miniatures, and occasionally 
 a small whole-length in water-colours, 
 in which manner he exhibited a portrait 
 of Mrs. Billington in 1788. In 1790 he 
 was appointed painter in enamel to the 
 King, but he painted very little in the 
 latter part of his practice, and did not ex- 
 hibit after 1795. He died at Knowle, near 
 CoUumpton, in 1810, aged 65. He appears 
 to have been the artist whom B. R. Haydon 
 describes in his memoirs as a dumb minia- 
 ture painter who made his fortune by his 
 art early in life, and lived many years at 
 Wells, having retired from society on the 
 marriage of Haydon's mother, to whom he 
 was a disappointed suitor. His portrait, 
 engraved by Thew, was published in 1791. 
 
 CROSSE, Lewis, miniature painter. He 
 fiourished in the reign of Queen Anne, and 
 painted many distinguished persons. He 
 also excelled in small copies in water-colour 
 from the old masters. He is reputed to 
 have repainted a small portrait of Mary, 
 Queen of Scots, belonging to the Duke of 
 Hamilton, who ordered him to make Mary 
 as handsome as he could. His work was 
 for many years believed to be original, and 
 many copies made from it. He possessed a 
 valuable collection of the works of our early 
 miniaturists, which he sold in 1722. He 
 died October 1724. 
 
 CROWLEY, Nicholas J., R.H.A., por- 
 trait painter. Born in Ireland, and in 1838 
 elected a member of the Irish Academy; 
 the last 20 years of his life were passed in 
 London. In 1835 he was living at Bel- 
 fast, and in that year, for the first time 
 I exhibited at the Royal Academy in London 
 
CRU 
 
 CUN 
 
 'The Evontful Consultation.' In 1838 he 
 came to reside in the Metropolis, and from 
 that time was a constant contributor to the 
 Academy Exhibitions— chiefly portraits— 
 and he became esteemed for his portrait- 
 gi'oups. He died in 1857, or early in 
 1858. 
 
 CEUIKSHANK, Isaac, caricaturist. His 
 father was one of the followers of the Pre- 
 tender in 1745 ; was impoverished, and came 
 to London with his son, whom he soon left an 
 orphan. Isaac tried his hand as a caricatu- 
 rist, and in 1796 published his first print in 
 defence of Pitt, then attacked by the pencil 
 of Gilray. Following this manner, he was 
 the author of the greater part of the humor- 
 ous designs published by Messrs. Lawrie 
 & AVhittle, illustrating Dean Swift, Joe 
 Miller, John Browne, and other works of this 
 class. Some of his water-colour drawings 
 are well finished, and are not without merit. 
 He exhibited at the Academy in 1789-90 and 
 1 792. He was the father of the well-known 
 artists George and Kobert Cruikshank. 
 
 CEUIKSHANK, Egbert Isaac, designer 
 for book illustration. Was the eldest son 
 of the above Isaac Cruikshank. He com- 
 menced life as a midshipman in the East 
 India Company's ship ' Perseverance,' and 
 early quitted the service, tempted possibly 
 by the rising fame of his brother George, 
 to follow the arts, and practised as a de- 
 signer ^in water-colours. His best works 
 are for the illustration of Cumberland's 
 * British and Minor Theatres.' Eor this he 
 was in some measure qualified by a long 
 familiarity with the stage both before and 
 behind the scenes. He was for many years 
 employed on the illustration of the comic 
 publications of the day; but his designs, full 
 of extravagant drollery, did not rise above 
 mediocrity. He had known the vicissitudes 
 of life, and died March 13, 1856, in his 
 66th year. 
 
 CUITT, George, landscajpe painter. Was 
 born at Moulton, near Eichmond, York- 
 shire, in 1743. Showing an early taste for 
 drawing, he was sent to Italy in 1769 by 
 Sir Lawrence Dundas, who had employed 
 him to draw the portraits of his family. He 
 vigorously pursued his studies at Eome, but 
 was tempted to pursue landscape art, which 
 was most congenial to him. He returned to 
 England in the latter part of 1 775, and in the 
 following year exhibited at the Eoyal Aca- 
 demy ' The Infant Jupiter fed with Goat's- 
 milk and honey.' He also exhibited some 
 portraits, most elaborately finished but very 
 thinly painted. Later his exhibited works 
 were landscape views, his last contribution 
 being in 1798. He painted some of the 
 scenery of Moor Park, intending to settle in 
 London. He, however, suffered from attacks 
 of low fever, which compelled him to return 
 to his native air, and he finally settled at 
 
 Eichmond. Here, secluded from the com- 
 panionship of artists, he found employment 
 in making drawings in the neighbourhood, 
 and during 40 years' practice there was 
 scarcely a park or a residence which he had 
 not been commissioned to paint. He fre- 
 quently worked in body colours ; his works 
 degenerated into mere imitations, with no 
 attempt at light and shade or composition. 
 He died February 3, 1818, in his 75th 
 year. 
 
 CUITT, George, etcher. Only son of the 
 foregoing. Was born at Eichmond, York- 
 shire, in 1779. He devoted himself to his 
 profession from his earliest years, and was 
 led to etching by the works of Piranesi. 
 He resided some time at Chester, and in 
 1810-11 he published his first etchings — 
 ' Six Etchings of Saxon and other Buildings 
 remaining at Chester ; ' followed by ' Six 
 Etchings of old Buildings at Chester,' and 
 ' Six Etchings of picturesque Buildings at 
 Chester.' He was also occupied as a teacher, 
 and at the age of 40, by that and the sale 
 of his etchings, he had realised a small 
 independence. He then gave up the more 
 laborious part of his profession, and retired 
 to Masham, near Eichmond, where he built 
 himself a house. Here he published his 
 ' Yorkshire Abbeys,' and in 1848 his col- 
 lected works, under the title of ' Wander- 
 ings and Pencillings amongst the Euins of 
 Olden Times ; ' and here he died July 1 5, 
 1854, in his 75th year. His etchings are 
 well and vigorously drawn, and have much 
 spirit and truth. 
 
 CUMING, William, E.H.A., portrait 
 painter. He practised at Dublin early in 
 the 1 8th century, and was highly esteemed, 
 especially for his female portraits. In 1823 
 he was one of the three artists selected to 
 elect 1 1 others to form with themselves the 
 members of the body then incorporated. 
 
 CUNDY, James, scidjptor and modeller. 
 He was employed by Messrs. Eundell & 
 Bridge, the silversmiths. He had a good 
 knowledge of anatomy, and drew and mo- 
 delled the figure well. He also executed 
 some good monumental works. He was run 
 over and died a few days after, on May 2, 
 1826. 
 
 CUNDY, Thomas, architect. Was born 
 1790, in Pimlico, where his father carried 
 on an extensive business as a builder, to 
 which he was brought up, and about 1826 
 succeeding to the connection, from that time 
 he practised only as an architect. He erected 
 several large mansions, and the house and 
 gallery, with iliQfagade, in Upper Grosvenor 
 Street, for the Marquis of Westminster ; 
 also several churches — the Holy Trinity, 
 Paddington ; St. Paul's, St. Michael's, and 
 St. Barnabas's, Pimlico. He died 1867. 
 
 CUNNINGHAM, Edmund Erancis, 
 portrait painter. He was born of a good 
 
CUN 
 
 DAH 
 
 family about 1 742, it is said, in Kelso. After 
 the defeat of the Pretender in 1745, his 
 father fled from Scotland and took his son 
 with him, who, as he grew up, studied art 
 sedulously at Parma, then at Rome, and in 
 1764 at Venice, afterwards at Paris. Soon 
 after this he inherited the family property, 
 and then laid down his pencil ; but his in- 
 heritance and a second property which fell 
 to him were soon dissipated. He was then 
 induced to go to Russia in the train of the 
 Duchess of Kingston. Soon quitting her 
 grace he found employment as a painter at 
 the Russian Court. Restless and unsettled 
 in habit, in 1788 he was well employed in 
 portrait painting at Berlin. At length he 
 returned to London, where he earned large 
 sums ; but he was improvident and always 
 in difficulties ; he squandered his gains, 
 and died very poor in London in 1795. 
 His portraits, which had merit, were many 
 of them engraved. He also painted some 
 historical subjects. He is said to have 
 assumed the name of ' Calze.' 
 
 CUNYNaHAM, Dr. William, amateitr. 
 He practised as a physician at Norwich. 
 He engraved many illustrations on wood, 
 chiefly emblematical figures, with a large 
 bird's-eye map of Norwich, for his work 
 called ' A Cosmographical Glass,' published 
 in 1559. 
 
 CURE, William, architect. He was 
 master-mason to James I. He built the 
 tomb to Queen Mary, erected by James in 
 
 Westminster Abbey, and the monument 
 with seven kneeling figures at Cranford, 
 Middlesex, to Sir Roger Aston, 1611. 
 
 CURRAN, Miss, amateur. Was daughter 
 of the Irish statesman. She painted some 
 portraits in oil. A portrait by her of 
 Percy Bysshe Shelley was exhibited at tho 
 National Portrait Exhibition in 1868. 
 
 CURTIS, John, landscape painter. He 
 was a pupil of William Marlow. He first 
 exhibited at the Royal Academy in 1790 
 ' A View of Netley Abbey,' and sent some 
 views in the following years ; but in 1797 ho 
 contributed a naval subject — ' Sir Edward 
 Pellew's Action with tho Prench Seventy- 
 four, "Les Droits del'Homme," ' which ap- 
 pears to have been the last work he ex- 
 hibited. 
 
 CURTIS, Sarah, portrait painter. She 
 was a pupil of Mrs. Beale, and esteemed as a 
 portrait painter; but her art is weak, heavy 
 in expression and colour. There is a por- 
 trait of Whiston by her and another of her 
 husband. She quitted her profession on 
 her marriage with Dr. Hoadley, who be- 
 came Bishop of Winchester. She died in 
 1743. Her portrait of Bishop Burnet is 
 engraved by Paithorne. 
 
 CURTIS, Charles M., draftsman. Prac- 
 tised in London, and was chiefly engaged 
 on subjects of natural history, which he 
 rendered with much accuracy. He died 
 October 1 6, 1839, aged 44. He was brother 
 I to the author of ' British Entomology.' 
 
 D 
 
 D'AQ-AR, Jacopo, portrait painter. Born 
 in Prance, he came earl^ to England. He 
 followed Kneller, was contemporary with 
 Dahl, and was largely employed as a 
 portrait painter in the reign of George 1. 
 He was afflicted with gout, and died in May 
 1723, aged 54. His portrait is placed in 
 the gallery at Plorence. He left a son, 
 whom he had brought up to his profession, 
 and who visited England and painted many 
 distinguished persons in the reign of Queen 
 Anne, but did not settle here. 
 
 DAGLEY, Richard, subject painter. 
 Was an orphan, and was educated at 
 Christ's Hospital. He began life as an 
 apprentice to a jeweller, whose daughter 
 he married, and was employed in enamelling 
 the miniatures and allegorical subjects with 
 which jewellery was then ornamented. In 
 this he showed much taste ; and also be- 
 came a good painter in water-colours and a 
 tolerable medallist. He first exhibited at 
 the Academy in 1784, and continued a con- 
 tributor of domestic subjects up to 1806. 
 
 In 1804 he published a work on Gems, 
 and subsequently made the designs for 
 ' Plimfiams,' a production of the elder 
 D' Israeli. But all these pursuits did not 
 yield him a living, and he was induced to 
 go to Doncaster, where he hoped to find 
 employment as a teacher of drawing ; and 
 for nearly 10 years his name disappears 
 from the Exhibition catalogues. He had, 
 however, no better pecuniary success, and 
 after a long struggle he returned to London 
 in 1815, and resided at Brompton. He 
 then resumed his contributions to the 
 Academy, and up to 1833 was a constant 
 exhibitor of domestic subjects and por- 
 traits, some of them in character. He 
 also designed for several publications, wrote 
 reviews on art, and in 1822 published a 
 second volume of his ' Select Gems from 
 the Antique,' followed, in 1826, by a set of 
 designs styled 'Death's Doings ;' and so he 
 managed to live, struggling on for 25 years. 
 He died 1841. 
 
 DAHL, Michael, portrait painter. He 
 107 
 
DAL 
 
 DAM 
 
 was born at Stockholm in 1656, and eclu- 
 Ciited there in art. Ho came to England 
 at the age of 22, remained here about 
 twelvemonths, and then travelled, staying a 
 year in France and about three years, visit- 
 ing the chief cities, in Italy. In 1688 he re- 
 turned to London, where he settled, and 
 acquired considerable reputation as a por- 
 trait painter. He became a competitor of 
 Kueller, and gained the favour of Queen 
 Anne, whose whole-length portrait and the 
 portrait of Prince George were painted by 
 him. He left many good portraits in the 
 royal collections and the mansions of the 
 nobility. At Petworth there are eight whole- 
 length portraits of ladies by him. He died 
 October 20, 1743, aged 87, and was buried 
 in St. James's Church, Piccadilly. He had 
 acquired property by his art, which was 
 exclusively limited to portraiture. If he 
 excelled, it was only in the mediocrity by 
 which he was surrounded. His likeness 
 was good, and so was his colouring ; but 
 his draperies w^ere tasteless and his art 
 without refinement or grace. He left two 
 dauglrters. His son, who was brought up 
 to art, but was a very inferior painter, died 
 about three years before him. 
 
 DALL, Nicholas Thomas, A.E.A., land- 
 scape painter. He was by birth a Dane, 
 and came to London, where he settled about 
 1760, and the following year exhibited 'A 
 Piece of Euins ' at the Society of Artists, 
 of which body he was a member. He 
 probably had some instruction from Vivares. 
 In 1768 he obtained the first premium of 
 the Society of Arts for landscape painting. 
 In 1771 he was elected an associate of the 
 Eoyal Academy, and from that year till his 
 death was an exhibitor. He was chiefiy 
 employed as the scene painter to Covent 
 Garden Theatre, but after his election he 
 exhibited some landscape views in York- 
 shire, where he was employed by the Duke 
 of Bolton, Lord Harewood, and some others. 
 He died in Great Newport Street, in the 
 spring of 1777, leaving a widow and a 
 young family, for whom the managers of 
 the theatre gave a benefit. 
 
 D ALTON, Ei CHARD, draftsman and en- 
 graver. Porn about 1720, at Deane, in 
 Cumberland, of which place his father was 
 the rector. He was apprenticed to a coach 
 painter in Clerkenwell. After quitting his 
 master he went to Eome to study art, with 
 the intention to practise as a portrait 
 painter. Here meeting Lord Charlemont, 
 he agreed to accompany him to Greece in 
 1749. Upon his return he was appointed 
 librarian to the Prince of AVales. In 1763 
 George III. sent him to Italy to make a 
 collection of drawings, medals, &c., and on 
 his return appointed him keeper of the royal 
 drawings and medals, an office for which he 
 was well fitted. On the death of Knapton 
 108 
 
 in 1778 his Majesty appointed him sur- 
 veyor of the royal pictures. He never pos- 
 sessed much power as an artist or contri- 
 buted to the Academy Exhibitions, though 
 ho was an exhibitor . with the Society of 
 Artists at Spring Gardens. He drew and 
 engraved some views to illustrate his travels, 
 and made some engravings from the Hol- 
 bein drawings in the royal collection. He 
 published a collection of prints from the 
 antique statues, a few of which, some dated 
 1 744, he etched himself. He also published 
 the ' Ceremonies and Manners of the Turks,' 
 and there is by him an etching ad vivum of 
 Sir Joshua Eeynolds when young. He was 
 an active, but not, it is said, an estimable 
 man. He was a member of the Artists' 
 Committee appointed in 1755 to establish a 
 royal academy. He was also treasurer and 
 director of the Society of Artists in 1765, 
 but did not long hold that office. He died 
 at his apartments in St. James's Palace, 
 February 7, 1791. 
 
 DAMEE, The Hon. Anne Seymour, 
 amateur. She was 'the only child of Field- 
 Marshal the Eight Hon. Henry Seymour 
 Conway, brother to the first Marquess of 
 Hertford, and was born 1748. She married, 
 in 1767, the Hon. John Darner, the eldest 
 son of the first Lord Milton, but her mar- 
 riage proved unhappy. Her eccentric, rest- 
 less husband shot himself in 1776, and from 
 that time his childless widow devoted her- 
 self to the study of art, to which she became 
 enthusiastically attached, and was distin- 
 guished by her attainments as a sculptor. 
 She was taught by Ceracchi — who was after- 
 wards guillotined in Paris as an accom- 
 plice in a plot to assassinate Buonaparte — 
 and by the elder Bacon, and travelled in 
 France, Italy, and Spain for her improve- 
 ment. She was a frequent honorary . ex- 
 hibitor at the Eoyal Academy from 1785 
 to 1818. She modelled her designs herself, 
 and also, it is admitted, worked on the 
 marble with her own hands ; but the finish 
 of her work in this material shows that 
 she must have been assisted by a skilled 
 artist. Her best works are a statue 
 of George III., 8 ft. high, at the Eegister 
 Office, Edinburgh ; her own statue, and a 
 bust of Sir Joseph Banks, at the British 
 Museum ; and the colossal heads of the 
 ' Thames ' and ' Isis ' at Henley Bridge. She 
 executed also many clever busts — that of 
 the Countess of Aylesbury, her mother, in 
 Sunbridge Church, Kent, and of Viscountess 
 Melbourne, at Panshanger. She was mis- 
 tress of the French and Italian languages, 
 and had some knowledge of Latin ; and was 
 distinguished by her talent as an amateur 
 actress. She was also a determined politician 
 of the Liberal school. She died in Upper 
 Brook Street, in her 80th year, on May 28, 
 1828, and by her own desire was buried 
 
D AX 
 
 at Sunbridge, ^vith. her sculptor's tools and 
 apron and the ashes of a farourito dog in 
 her coffin. Lord Orford, her cousin, left 
 hor Strawberry Hill, where she resided till 
 1810, with a legacy of 2,000/. a year for its 
 maintenance. In her early travels she had 
 made notes of what she had seen, with the 
 intent to publish them ; but on her death 
 these, her correspondence with Lord Orford, 
 and her other papers and correspondence, 
 including her fother's letters — which she 
 had also purposed to publish — were, by her 
 order, destroyed. 
 
 DANBY, Francis, A.K.A., landscape 
 painter. Was born November IG, 1793, 
 near Wexford, the son of a small proprietor 
 and farmer in that neighbourhood. AVhen 
 he was of an age to be trained to some oc- 
 cupation his family had removed to Dublin, 
 and he had lost his father. He became a stu- 
 dent in the Koyal Dublin Society's Schools, 
 and, showing a great desire to follow art, ho 
 obtained the approval of his widowed mother. 
 He studied for a time with O'Connor, and 
 in 1812 exhibited at Dublin his first pic- 
 ture, 'Landscape, Evening.' Li 1813, ac- 
 companied by George Petrie, the future 
 president of the Hibernian Academy, both 
 having made some small savings, deter- 
 mined to visit London. O'Connor was 
 also of the party; but their means were 
 soon exhausted, and they started on foot, 
 penniless, for Bristol, on their way home. 
 By the sale of some drawings there he en- 
 abled his friend O'Connor to return to Dub- 
 lin ; but he determined to remain, and up 
 to 1824 appears to have resided at Bristol. 
 
 He exhibited in 1817 his first work at 
 the Koyal Academy ; in 1821, his 'Disap- 
 pointed Love ;' in 1822, ' Clearing up after 
 a Shower;' and in 1824, his 'Sunset after 
 a Storm at Sea.' His ' Upas, or Poison-tree 
 of Java,' a highly poetic work, appeared in 
 the British Institution in 1820, and is now 
 in the South Kensington Museum. In 1825 
 he exhibited at the Academy ' The Delivery 
 of the Israelites out of Egypt ;' and the same 
 year was elected an associate of the Aca- 
 demy, and came to reside in the Metropolis. 
 His ' The Opening of the Sixth Seal,' ex- 
 hibited at the Institution in 1828, gained 
 him a premium of 200 guineas, and was 
 followed at the Academy in 1829 by two 
 pictures from the Eevelation — fine works, 
 fully maintaining his reputation in the 
 grand style of landscape art which he had 
 made his own. But in this latter year a 
 rupture took place between him and the 
 Academy, which unhappily never healed, 
 and was one among other causes which led 
 him to leave England for the Continent. 
 
 During the next 11 years he resided 
 principally in Switzerland, boat-building 
 and yachting on the Lake of Geneva, making 
 small studies and drawings, and painting 
 
 some few works on commission. We lose 
 sight of his works in the London Exhibi- 
 tions, with the exception of his ' Golden 
 Age,' which appeared in the Academy in 
 1831, and his 'Rich and rare were, the gems 
 she wore,' in 1837 ; and it is not till 1841, 
 when he returned to England, that his name 
 occurs as an exliibitor ; and from that year 
 with the omission of 1852 and 1856, ho 
 was a contributor to the A&idemy Exhibi- 
 tions, and occasionally to the British Insti- 
 tution ; the ' Evening Gun,' exhibited at the 
 former in 1848, ranking among his best 
 works. He had resided at Exmouth since 
 1847, and died there February 9, 1861, his 
 life no doubt saddened by a long exile and 
 the loss of many art friendships. He left 
 two sons, James and Thomas, who follow 
 the profession of landscape painters. 
 
 Danby will always take high rank with 
 the lovers of art and genius. His imagi- 
 nation was of the highest class, his land- 
 scapes of the truest poetry ; he studied the 
 grandest and saddest aspects of nature, 
 combining her largest truths in his ideal 
 creations, avoiding all mere imitative little- 
 ness, and conjuring up scenes of volup- 
 tuous beauty. Several of his finest works 
 have been well engraved. 
 
 DANCE, George, architect. He was ap- 
 pointed surveyor and. architect to the city 
 of London. He built the Mansion House 
 in 1739 ; the church of St. Botolph, Aid- 
 gate, which has little merit, in 1741-44 ; 
 St. Leonard, Shoreditch ; and the old Ex- 
 cise Office in Broad Street, finished in 1768. 
 He died January 11, 1768, and was buried 
 at St. Luke's, Old ^reet. There is a collec- 
 tion of his drawings in the Soane Museum. 
 
 DANCE, George, R.A., architect. Son 
 of the foregoing. He was born 1 740, and 
 was brought up in his father's office. In 
 pursuit of his art he travelled in France 
 and Italy, studying some time in Eome. 
 He was a member of the Incorporated So- 
 ciety of Artists, and in 1761 sent to their 
 exhibition his design for Blackfriars Bridge. 
 In 1768 he succeeded, by purchase, his father 
 in the office of city architect. In 1770 he 
 commenced the rebuilding of Newgate, and 
 distinguished himself by the characteristic 
 appropriateness of its exterior. He also 
 built the Giltspur Street Prison, St. Luke's 
 Hospital — a very creditable work — and the 
 front to the Guildhall. He was one of the 
 foundation members of the Royal Academy, 
 and in 1798 was appointed the professor of 
 architecture, but he resigned the office in 
 1805, having never fulfilled his duty as 
 lecturer. He was also a poor contributor 
 to the Academy Exhibitions. He sent archi- 
 tectural designs in 1770 and 1771 ; again 
 in 1785 and 1795. He next sent, in 1798 
 and 1800, small chalk portraits — probably 
 part of his work published in 1808-14 — 72 
 
 109 
 
DAN 
 
 DAN 
 
 portraits in profile of eminent men, drawn 
 from tlic life, which he said had formed a 
 great relaxation from his severer studies. 
 These portraits arc slightly sketched in 
 chalk, life-like, but exaggerated, wanting 
 in drawing and refinement. In 1815 he re- 
 signed his office of city surveyor, and after 
 a lingering illness of many years, died Ja- 
 nuary 14, 1825, in his 84th year, and was 
 l)uried in St. Paid's Cathedral. He was the 
 last survivor of the foundation members of 
 the Eoyal Academy. 
 
 DANCE, Nathaniel, K.A. (afterwards 
 Sir Nathaniel Dance-Holland, Bart.), 'por- 
 trait and subject 'painter. Brother of the 
 above. He was born in 1734, and brought 
 up to art, studied for some years under 
 Frank Hajonan ; afterwards he spent eight 
 or nine years in Italy, and while there, hope- 
 lessly enamoured of Angelica KaufFtnann, 
 followed her, it is said, from place to place. 
 He was in 1761 a member of the Incorpo- 
 rated Society of Artists, and in 1763 sent 
 to their exliibition from Eome his 'Dido 
 and JEneas.' On his return to England he 
 commenced portrait painting, occasionally 
 producing an historical subject. In 1768 
 he was one of the foundation members of 
 the Eoyal Academy, and contributed to the 
 first exhibition some good portraits, includ- 
 ing two fine whole-lengths of George III. 
 and his young Queen, now at Up Park, 
 Sussex. In 1770 he exhibited ' The Inter- 
 view between Helen and Paris after his 
 Combat with Menelaus,' with some por- 
 traits ; in 1771, a full-length of 'Garrick as 
 Eichard III.;' in 1774^' Orpheus lament- 
 ing Eurydice;' in 1776, 'Death of Mark 
 Antony ; ' and then for the next 1 3 years 
 he was not an exhibitor. In 1790 he re- 
 signed his academic distinction, on his mar- 
 riage with Mrs. Dummer, a widow lady, who 
 possessed a life-interest in estates valued at 
 18,000^. a year, and took the name of Hol- 
 land. He represented the borough of East 
 Grins tea d in Parliament for many years, 
 and was created a baronet in 1800. He 
 died suddenly at Carnborough House, near 
 AVinchester, October 15, 1811. He had 
 amassed above 200,000/., of which he left 
 30,000/. to his relatives and the remainder 
 to his widow. He drew the figure well; 
 his likenesses were good, but stiff; his 
 colouring agreeable. There is by him a 
 portrait of Captain Cook at Greenwich Hos- 
 pital ; ' Timon of Athens,' a subject picture, 
 in the royal collection. His 'Garrick as 
 Eichard ;ill.' has been engraved in mezzo- 
 tint by Dixon ; and a 'Death of Virginia,' 
 which he exhibited at the Society of Artists 
 in 1761, by Gottfried Haid, and some other 
 of ^ his works, have been engraved. It is 
 said that after his marriage he collected 
 and destroyed his works ; but this seems 
 very improbable, especially as he was an 
 110 
 
 honorary exhibitor of landscapes, which 
 showed much skill, in 1792-94 and 1800. 
 
 DANCKEES, Henby, landscape painter. 
 Born about 1630, at the Hague, where he 
 was bred an engraver, but taught paint- 
 ing. He then turned landscape painter, 
 and studied some time in Italy. He was in- 
 vited to England by Charles II., who em- 
 ployed him to paint views of the sea -ports, 
 the royal palaces, and the Welsh coasts, 
 some of which subjects he afterwards 
 engraved. Hollar also engraved after his 
 designs. Pepys records having commis- 
 sioned him to execute some works of this 
 class, which were painted in distemper. 
 Some of his works are in the royal collec- 
 tions. He followed his profession for 
 many years in London, but being a Eoman 
 Catholic, he left England at the time of the 
 Popish plot, and soon after died at Am- 
 sterdam. His works are marked by their 
 neat execution and finish. 
 
 DANDEIDGE, Bartholomew, portrait 
 painter. He was the son of a house 
 painter, but turning to art, he practised in 
 the reign of George II., and gained much 
 reputation and employment in portraiture 
 from his great facility in taking likenesses 
 and the merit of his small conversation- 
 pieces, which aimed much both at power 
 and colour. Some good portraits, painted 
 by him about 1750, were engraved by 
 McArdell and others. His portrait of 
 Hook, the historian, is in the National Por- 
 trait Gallery. He died in the vigour of his 
 age. 
 
 DANIELL, Thomas, E.A., landscape 
 painter. Was son of an innkeeper at Chert- 
 sey, and was born at Kingston-on-Thames 
 in 1749. He served his time to a herald 
 painter. In 1773 he was admitted a stu- 
 dent of the Eoyal Academy and practised 
 landscape painting. He first exhibited 
 at the Academy in 1774, and continued 
 to contribute fiower-pieces and landscape 
 views up to 1784. He then went to India, 
 accompanied by his nephew William 
 Daniell, and during 1 0 years they pursued 
 their profession, gathering stores in a re- 
 gion then unvisited by artists. At Cal- 
 cutta they published a series of views of 
 that city. They returned together to 
 England, and commenced the publication 
 of their ' Oriertal Scenery,' which was 
 completed in six volumes in 1808. In 
 1795 Thomas renewed his contributions to 
 the Academy Exhibitions, and his works 
 now consisted almost exclusively of In- 
 dian views, temples, tiger hunting, and 
 sports. In 1796 he was elected an asso- 
 ciate, and in 1799 a full member, of the 
 Eoyal Academy. He was also distinguished 
 as a fellow of the Eoyal Society and of 
 the Asiatic and Antiquarian Societies. He 
 had secured a competency by his Oriental 
 
DAN 
 
 DAR 
 
 works, and after the completion of his pub- 
 lications he led a quiet and retired life, 
 occasionally contributing a picture to the 
 Academy Exhibitions up to 1828. He died, 
 unmarried, at Earl's Terrace, Kensington, 
 March 19, 1840, aged 91, and was buried 
 at the Kensal Green Cemetery. His works 
 are characterised by great Oriental truth 
 and beauty; the customs and manners of 
 India are well rendered. His painting was 
 firm, but sometimes thin ; his colouring 
 agreeable. He seldom painted any but 
 Oriental subjects. His publications were— 
 'Oriental Scenery,' 144 views, 1808; 
 
 * Views in Egypt,' 'Hindoo Excavations at 
 Ellora,' 24 plates ; and * Picturesque Voyage 
 to China by Way of India.' . 
 
 DANIELL, William, K.A., landscape 
 painter. Born in 1769. At the age of 14 he 
 accompanied his uncle Thomas to India, 
 as described above, and assisted in making 
 drawings and sketches. On their return 
 he worked zealously in preparing for pub- 
 lication the materials they had collected, 
 and of the six volumes in which they were 
 comprised, five were engraved in mezzo-tint 
 by his own hand, or under his superinten- 
 dence. He first exhibited at the Koyal 
 Academy in 1795, and for several years his 
 pictures were Indian views; but in 1802 
 and the following five ye'ars he sent some 
 clever views in the Northern counties of 
 England and Scotland. He continued an 
 exhibitor to the year of his death. He 
 published * A Picturesque Voyage to India,' 
 'Zoography,' 'Animated Nature,' 1807; 
 'Views of London,' 1812; and ' Views of 
 Bhootan,' from the drawings of Samuel 
 Daniell. He then planned and commenced, 
 in 1814, another extensive work, ' A Voyage 
 Round Grreat Britain.' He spent his sum- 
 mers in making the drawings and collecting 
 his materials, and completed the work, en- 
 tirely with his own hands, in 1825. In 1826 
 a sum of 100/. was awarded to him by the 
 British Institution for his sketch of the 
 
 * Battle of Trafalgar.' He painted, in 1832, 
 in conjunction with Mr. E. T. Parris, a 
 Panorama of Madras, and afterwards, with- 
 out assistance, ' The City of Lucknow and 
 the Mode of Taming Wild Elephants.' He 
 had entered the Eoyal Academy as a stu- 
 dent in 1799, and in 1807 was elected an 
 associate, gaining his full membership in 
 1822. He died, after severe suffering, in 
 New Camden Town, August 16, 1837- His 
 engraved views of 'Oriental Scenery,' his 
 drawings for ' The Oriental Annual,' and 
 his panoramas, made his art widely known. 
 
 * A View of the Long Walk, Windsor,' in 
 the royal collection, is one of his best pic- 
 tures. 
 
 DANIELL, Samuel, landscape painter. 
 Was the brother of William Daniell and 
 nephew of Thomas Daniell, the two fore- 
 
 going painters. He first appears as an 
 exhibitor at the Academy in 1792 and 1793, 
 and was then probably a pupil of Medland. 
 He went to the Cape early in life, and after 
 some stay there, travelled into the interior 
 of Africa, and made many drawings, which 
 he afterwards published in his 'African 
 Scenery.' In 1804 he returned to England 
 with a large collection of drawings of the 
 natives, the animals, and the scenery. 
 In 1806 he sent to the Academy ' African 
 Animals and Scenery,' and the same year 
 he took an opportunity which was offered 
 to him of visiting Ceylon, and in a resi- 
 dence there of six years he added greatly 
 to his collection of drawings, part of which 
 he now published under the title of ' The 
 Scenery, Animals, and Native Inhabitants 
 of Ceylon.' But his constitution had suf- 
 fered by his travels, his residence in forests 
 and swamps in pursuit of his art, and he 
 died at Ceylon, after a few days' illness, in 
 December 1811, aged 36. He had sent 
 home a painting of ' The Talipot Tree of 
 Ceylon,' which was exhibited in the follow- 
 ing year. In his drawings he showed great 
 fidelity and taste, and as an intelligent 
 traveller and naturalist he was indefati- 
 gable. 
 
 DANIELL, Abraham, miniature painter. 
 He practised at Bath in the latter part of 
 the last century, and died there, after a long 
 illness, August 29, 1803. He does not ap- 
 pear to have exhibited at the Eoyal Aca- 
 demy. His miniatures are marked by great 
 simplicity and truth, and were justly much 
 esteemed. • 
 
 DANLOUX, H. P., portrait painter. 
 Born in Paris in 1745. He practised 
 in London, and was an occasional ex- 
 hibitor at the Royal Academy in 1792- 
 1800. His works were chiefly in chalk, 
 small size, and well drawn. He had many 
 sitters, including two members of the 
 Royal Academy. He died in his native 
 city in 1809. 
 
 DARCEY, , miniature painter. He 
 
 is mentioned as one of the youthful com- 
 panions of Stothard. In 1778 he lived 
 at Portsmouth, and had begun success- 
 fully to practise his profession there. He 
 was afterwards induced to accompany the 
 embassy to China, and brought home 
 with him a large collection of drav/ings 
 illustrating the Court and manners of the 
 country. 
 
 DARLY, Matthew, engraver. He kept 
 a shop in the Strand in the latter part of 
 the 18th century, and was better known as a 
 caricaturist than an engraver. In the early 
 part of his career he advertised to teach 
 ladies and gentlemen the use of the dry 
 needle, engraving, &c., and was then 
 living in Cranbourne Alley, Leicester 
 Square. He was also one of the first who 
 
 ^111 
 
DAS 
 
 DAV 
 
 Isold prepared artists' colours and materials. 
 Ho published some of the earliest of Henry 
 W. Bunburj's humorous sketches, and 
 two numbers of 'Caricatures by several 
 Ladies, Gentlemen, and Artists,' also some 
 marine and other subjects, and is known to 
 have produced altogether above 300 cari- 
 catures, and to have thriven upon the per- 
 sonalities of the day. In 1778 he adver- 
 tised his 'Comic Exhibition,' admittance 
 Is. For a time he resided in Bath. An- 
 thony Pasquin was apprenticed to him to 
 learn the art of engraving. 
 
 DASSIER, James Anthony, medallist. 
 Was the nephew of the celebrated medallist, 
 John Dassier, of Geneva, and the son also 
 of a medallist working in steel. He came 
 to this country some time before 1740, and 
 was in that year appointed second engraver 
 to the Royal Mint. He is mentioned as 
 filling the office of engraver on that es- 
 tablishment in 1755; but Walpole states 
 that he returned to Geneva in 1745. He 
 engraved, while in England, a fine series of 
 medals, 36 in number, of the English kings, 
 showing great taste and spirit ; also some 
 good medals of illustrious men. 
 
 DAVENPORT, , portrait painter. 
 
 Was a pupil of Sir Peter Lely, and ar- 
 rived at some eminence in his art, his 
 works showing much feeling for colour ; 
 but he did not depart from the manner of 
 his master, and had no claim to originality. 
 He had also a talent for music. He died 
 about 1695, at the age of 50. 
 
 DAVENPORT, Samuel, line engraver. 
 Was born December 10, 1783, in St. John's 
 parish, Bedford. Came with his faniily in 
 infancy to London, where his father then 
 practised as a land-surveyor and architect. 
 On completing his education he was articled 
 to Charles Warren, then in much repute, 
 and from him gained a good knowledge of 
 the art of engraving in copper. His early 
 works were chiefly for book illustration, 
 from the designs of Shenton, Corbould, and 
 others ; but he subsequently became spe- 
 cially known as an engraver of portraits, 
 from the large number which he produced 
 in outline for biographical works, having 
 engraved no less than 700 for one publi- 
 cation alone. On the introduction of steel 
 plates, he was one of the first to practise in 
 tnat metal. He was largely engaged en- 
 graving on steel for the annuals, and among 
 the illustrations for these and some other 
 publications the best examples of his care- 
 ful finish and refined art will be found. He 
 died July 15, 1867. 
 
 DAVIDSON, J., portrait painter. Prac- 
 tised in Edinburgh in the middle of the 
 last century. Koubiliac modelled, after a 
 portrait by him, the statue of President 
 Duncan Forbes, now in the Parliament 
 House, Edinburgh. 
 
 DAVIS, KiCHARD Babrett, animal 
 painter. Born at Watford in 1782. Hisfather 
 was huntsman to the royal harriers. King 
 George III., who was pleased with some of 
 his drawings^ placed him under Sir William 
 Beechey, E.A., and at the age of 19 he 
 was admitted to the schools of the Royal 
 Academy. He first exhibited there in 1802 
 a landscape, but in 1806 sent 'Mares and 
 Eoals from the Koyal Stud at Windsor ' and 
 
 * The Portrait of an Old Hunter.' Continuing 
 to exhibit, he sent, in 1814, 'Going to 
 Market;' in 1821, a 'Horse Fair;' in 1831, 
 
 * Travellers attacked by Wolves,' and was 
 in that year appointed animal painter to 
 William IV., and painted for his Majesty 
 the cavalcade which formed his coronation 
 procession. He joined the Suffolk Street 
 Society in 1829, and became one of its in- 
 fluential members and exhibitors. He died 
 in March 1854. 
 
 DAVIS, Edward, suhject painter. He 
 was born at Worcester in 1833, and studied 
 at the School of Design in that city, where 
 he gained several prizes. He first ex- 
 hibited at the Academy, in 1854, * Medi- 
 tation,' a small domestic subject, and 
 continued an exhibitor of works of that 
 class; in 1858, 'Granny's Spectacles;' in 
 1859, 'Doing Crochet Work;' in 1861, 
 'Words of Peace;' in 1867, 'The Little 
 Peg-top.' He died at Kome, June 13, 
 1867. 
 
 DAVIS, J. P. (called 'Pope Davis'), 
 
 portrait painter. He first exhibited at the 
 Academy in 1811, and in that and the next 
 10 years his contributions were exclusively 
 portraits in oil. In 1 824 he went to Rome, 
 and while there painted a very large pic- 
 ture of ' The Talbot Family receiving the 
 Benediction of the Pope,' frona which his 
 cognomen arose, and the following year he 
 was awarded 50^. by the directors of the 
 British Institution. In 1826 — he had then 
 returned to London — he exhibited at the 
 Academy ' Canova Crowned by the Genius 
 of Sculpture* and ' A Trasteverina Pandora ;' 
 and after that a portrait in 1827, and again 
 in 1830; in 1842, an ' Infant Bacchus ;' and 
 the following year a portrait, his last con- 
 tribution. He was a great friend of B. R 
 Haydon, and joined with him in bitter 
 animosity to the Academy. He published, 
 in 1858, ' The Royal Academy and the 
 National Gallery. What is the State of 
 these Institutions ? ' After his death his 
 friends published, in 1866, his ' Thoughts 
 on Great Painters.' 
 
 DAVIS, John Scarlett, suhject painter. 
 Was the son of a shoemaker at Hereford. 
 He took early to art, studied for some time 
 in the Louvre, and was remarkable for his 
 great facility. He made his first contri- 
 bution to the Academy Exhibition in 1825, 
 
 112 
 
D AV 
 
 DAW 
 
 'My Den.' In 1830 he sent ' Interior of a 
 Library.' He then went to the Continent. 
 He painted the interior of the gallery at 
 Florence in 1 834, a successful interior of the 
 Louvre, and afterwards became noted for 
 his interiors of libraries, galleries, andw^orks 
 of that class. In 1841 he was at Am- 
 sterdam, and sent to the Academy * Jack, 
 after a successful Cruise, visiting his old 
 Comrades at Greenwich.' He married early 
 in life, became drunken and of demoralised 
 habits — got into prison and died before 
 the age of 30. His works were of much 
 promise, but wanted completeness and 
 finish. He lithographed and published 12 
 heads from sketches by Kubens ; also, in 
 1832, some views of Bolton Abbey, drawn 
 by him from nature on the stone. In 1831 
 Lord Farnborough gave him a commission 
 to paint an interior of the Vatican and of 
 the Escorial, but it does not appear that 
 these works were executed. 
 
 DAVIS, W. H., animal painter. He ap- 
 pears in 1835 as an exhibitor at the Eoyal 
 Academy of ' A Heath Scene, with a Group 
 of Asses,' and in the succeeding years ex- 
 hibited ' A Group of celebrated Greyhounds,' 
 * Girl with Cows,' ' Shepherd Boy,' and con- 
 tinued a contributor up to 1849, when his 
 name no longer appears in the catalogues. 
 
 DAVIS, M., wood engraver. Was well 
 known as an engraver of woodcuts for 
 printers. Kesided in Salisbury Court, 
 Fleet Street, where he practised nearly 50 
 years, and died January 28, 1784, aged 74. 
 
 DAVIS, William, landscape painter. 
 Born in 1812, in Dublin, of an old family, 
 he studied in the Dublin Academy. He 
 afterwards practised during the greater part 
 of his life at Liverpool, and was a member 
 of the Liverpool Academy and the professor 
 of painting. From 1851 he was an occa- 
 sional exhibitor at the Eoyal Academy of 
 landscapes and still-life. His subjects, 
 drawn from rural nature, were marked by 
 truth of character and highly finished. He 
 died in London, April 22, 1873. 
 
 DAVISON, Jeremiah, portrait painter. 
 He was born in England, of Scotch parents, 
 in 1695, and was a pupil of Lely, and after- 
 wards employed by Vanaken. He became 
 noted for his power of imitating the texture 
 of satin. He was patronised by the Duke 
 of Athol, whose portrait, with the portrait 
 of the Duchess, he painted. He accompanied 
 his patron to Scotland, and then practised 
 in Edinburgh, where he met with great 
 encouragement as a portrait painter. He 
 painted the portrait of Frederick, Prince of 
 Wales, in 1730. He died at the latter part 
 of 1745, aged about 50. His works are 
 weak both in drawing and colour. In the 
 gallery of Greenwich Hospital there is a 
 full-length by him of Admiral Byng, the 
 first Lord Torrington, who died 1733. 
 
 DAVY, Egbert, portrait painter. Was 
 born at Collumpton, Devon.. He began art 
 as a portrait painter, and went early to 
 Eome for his improvement. On his return, 
 about 1760, he settled in London, and waa 
 admitted a member of the Incorporated 
 Society of Artists. He painted chiefly 
 portraits, but met with little success. Ho 
 obtained the appointment of under drawing- 
 master at the Woolwich Academy, and also 
 taught in other schools. He was knocked 
 down and robbed in the street, brought 
 home speechless, and died September 28, 
 1793. 
 
 DAVY, Henry, architect. He published 
 at Southwold, in 1827, 'Etchings illustrat- 
 ing the Antiquities of Suflfolk,' comprising 
 70 large-sized folio plates, drawn and 
 etched by himself. They are carefully and 
 artistically executed, and form an im- 
 portant work. He afterwards published 
 ' Views of the Seats of the Noblemen and 
 Gentlemen in Suffolk ; ' but this work is 
 weakly engraved^ and of a very different 
 character. 
 
 DA WE, Philip, mezzo-tint engraver. 
 Was the natural son of a City merchant, and 
 was articled to Henry Morland. He was 
 the intimate friend through life of George 
 Morland, and wrote his life. He about 
 1 760 worked under Hogarth as an engraver, 
 and at the same time was an unsuccess- 
 ful competitor for the premium offered by 
 the Society of Arts for the best historical 
 painting. He exhibited some subjects of a 
 humorous class at the Society of Artists in 
 1761, and also exhibited at the first Eoyal 
 Academy Exhibition in 1768. Among his 
 paintings were the Cavern scene in ' Mac- 
 beth,' ' Captain Bobadil cudgelled,' and per- 
 haps his best work, ' The Drunkard reprov- 
 ing his disorderly Family.' As a mezzo-tint 
 engraver, he produced several plates after 
 his master, Henry Morland, and some por- 
 traits after Gainsborough, Eeynolds, and 
 Eomney. He is said by most authorities to 
 have died about 1780 ; but from the date of 
 his son's birth, and some other circum- 
 stances, he probably died later. His pictures 
 were common and vulgar in their humour, 
 and he is best known as a mezzo-tintist. 
 
 DAAVE, George, E.A., portrait and 
 history painter. Son of the above Philip 
 Dawe ; born in London, February 8, 1781. 
 He was brought up as an engraver, and 
 several engravings by him were published. 
 Entering the Academy Schools in 1 794, ho 
 was an assiduous student. He also studied 
 anatomy ; and aspiring to higher things in 
 art, he abandoned engraving on attaining the 
 age of 21. In 1803 he gained the Academy 
 gold medal for his ' Achilles frantic for the 
 loss of Patroclus.' In the following year 
 he exhibited ' Naomi and her two Daugh- 
 ters-in-law ; ' and in 1809, at the British 
 
 113 
 
DAW 
 
 DAY 
 
 Institution, ' A Scene from Cymboline/ for 
 which ho was cawarded by tho directors a 
 premium of 50^., and in 1811 a second 
 premium of 122^. for his 'Negro over- 
 powering a Buffalo.' But he did not con- 
 tinue historical subjects; from 1809 to 
 1818 his exhibited works wore chiefly 
 portraits. In 1816 ho painted a whole- 
 length of Miss O'Neill as ' Juliet,' which 
 ho exhibited by lamplight, to produce the 
 usual scenic effect. He had, in 1809, gained 
 his election as associate of the Koyal 
 Academy, followed by full membership in 
 1814. 
 
 His chief art was portraiture, at v/hich 
 ho laboured carefully, requiring numerous 
 sittings. After the battle of Waterloo, he 
 trayelled in the suite of the Duke and 
 Duchess of Kent, and painted several of 
 the officers distinguished in the battle. On 
 the marriage of the Princess Charlotte 
 with Prince Leopold, he painted their por- 
 traits several times, and engravings of them 
 became very popular. While travelling he 
 was engaged by the Emperor of Eussia to 
 paint, at St. Petersburg, his officers who 
 had been prominent in the wars with 
 Napoleon, and after a short visit to London 
 he started for Kussia in January 1819, and 
 during a residence there of nine years he 
 is said to have painted for the Emperor 
 400 portraits, which decorate a large gal- 
 lory in his palace, called ' The Hermitage,' 
 besides some other works. He paid a visit 
 of several months to England early in 1828, 
 and set out again for Kussia in September, 
 staying at Berlin to paint the portrait of the 
 King. On the journey he caught a violent 
 cold, which undermined his health, and de- 
 termined him to return home. He left St. 
 Petersburg in the spring of 1829, travelled 
 slowly back, reached London at the end of 
 August, and died on October 15. He was 
 buried in St. Paul's Cathedral. He was re- 
 puted to have amassed 100,000^. by his art, 
 but his gains were dissipated by his greed in 
 money-lending, which was followed by liti- 
 gation and losses, and his property dwindled 
 to 25,000/. Prom expressions in his will, 
 he appears to have been disgusted with the 
 Russian character and the Catholic religion. 
 There is a biography of him in Arnold's 
 'Library of the Fine Arts,' 1831. 
 
 DAWE, Henry, erigraver and fainter. 
 Younger brother of the foregoing. He was 
 born in Kentish Town, September 24, 1790 ; 
 was taught engraving by his father, and 
 studied in the schools of the Royal Aca- 
 demy. On tho foundation of the Society 
 of British Artists, he became an exhibitor, 
 and in 1880 was elected a member of the 
 Society. Practising in mezzo-tint, his en- 
 gravings were much esteemed; among 
 them were a large number of Russian 
 officers, from his brother's portraits ; John 
 114 
 
 Kemble, after Sir Thomas Lawrence, 1828 ; 
 Mrs. Siddons as the ' Tragic Muse,' after Sir 
 Joshua Reynolds. He also contributed to 
 tho ' Liber Studiorum ; ' and Turner, R.A., 
 entrusted him with the superintendence of 
 the plates, which were re-engraved. He 
 was an exhibitor of portraits and subject 
 pictures — ' Christmas Fare,' ' The Philan- 
 thropist,' ' Holiday, or Granny in a Rage.' 
 Some sensational subjects by him were en- 
 graved, and had a large sale. He retired 
 to Windsor about 1845, and died there 
 December 28, 1848. 
 
 DAY, Alexander, miniature fainter. 
 Resided in Italy during his early life, and 
 there imbibed a love of art, and pursued 
 both painting and sculpture, excelling in the 
 former. He was settled at Rome in 1794, 
 and during the war with Naples he was 
 detained by the French for some years, 
 which he employed in the practice of his 
 art, and produced some good medallions. 
 Ho had meanwhile been lost sight of by 
 his countrymen — his works were unknown, 
 his early associates believed him dead. 
 On his return to England he brought with 
 him some of the finest works which now 
 enrich our National Gallery ; and his judg- 
 ment of art will always rank very high. 
 Among these works were — ' The Descent 
 of Bacchus, ' ' The Ganymede,' and the 
 ' Venus and Adonis,' by Titian ; the * St. 
 Catherine ' and portrait of Pope Pius, by 
 Raphael ; the ' Ecce Homo,' by Coreggio ; 
 'The Flight of St. Peter,' by Carracci ; ' The 
 Land Storm,' by Salvator Rosa ; ' Abraham 
 and Isaac,' by Gaspar Poussin ; and the 
 ' St. Ambrose and the Emperor Theodosius,' 
 by Vandyck. He died at Chelsea, in his 
 69th year, January 12, 1841. His minia- 
 tures, particularly of females, were painted 
 with great grace and sweetness of execu- 
 tion, but rarely went farther than tho 
 head. He does not appear to have been 
 an exhibitor at the Royal Academy. 
 
 DAY, Thomas, miniature-painter. Was 
 a constant exhibitor at the Royal Academy 
 between 1772 and 1778, when he con- 
 tributed for the last time. In 1777 he 
 sent ' Cupid,' a miniature ; ' Musidora,' in 
 crayons. He also exhibited occasionally 
 some water-colour landscapes and views, 
 and some crayon portraits. 
 
 DAYES, Edward, water-colour painter. 
 Was a pupil of William Pether. Ho painted 
 in miniature in a graceful, simple, finished 
 manner, scraped a little in mezzo-tint, and 
 afterwards practised landscape drawing. 
 He first exhibited at tho Royal Academy 
 in 1786, sending miniature portraits and 
 views, and continued to exhibit with littlo 
 intermission till his death. In 1798-99 
 he sent some classic and scriptural sub- 
 jects, with views, and the same in 1803. 
 His works were in water-colours, chiefly 
 
DBA 
 
 DBA 
 
 topographical, T^oll drawn, neatly laid in 
 with Indian ink, and tinted. Ho drew the 
 figure well. His ' Royal Procession to St. 
 Paul's on the Thanksgiving for the King's 
 Recovery in 1789 ' is a work crowded with 
 figures; also, of the same class, 'The 
 Trial of Warren Hastings in Westminster 
 Hall,' both of which wore engraved ; and 
 there is by him an interesting drawing of 
 old Buckingham House, with large, well- 
 executed groups in the foreground. He 
 mezzo-tinted several works — 'Rustic Court- 
 ship ' and ' Polite Courtship,' after Hogarth ; 
 • A Landscape,' after J. R. Smith. He wrote 
 an 'Excursion through Derbyshire and 
 Yorkshire,' 'Instructions for Drawing and 
 Colouring Landscapes,' 1808 ; and 'Profes- 
 sional Sketches of Modern Artists.' After 
 his death his works were published for 
 the benefit of his widow, edited by E. W. 
 Brayley. He was also a teacher of draw- 
 ing. He is best known by his topogra- 
 phical views, which are of much merit. He 
 died by his own hand, at the end of May 
 1804. His wife painted miniatures, and 
 during his life was several times an ex- 
 hibitor at the Academy. 
 
 DEACON, James, miniature 'painter. 
 He was gifted with great talent both for 
 drawing and music. He took Zincke's 
 house in Covent Garden, and painted 
 miniatures professionally. He produced 
 some masterly portraits. In the print- 
 room of the British Museum there are by 
 him miniature portraits of Samuel Scott, 
 the marine painter, and his wife. They 
 are well drawn and tinted with Indian 
 ink, elaborately careful, full of expression 
 and character — the faces only finished. He 
 had scarcely embarked in his profession, 
 when, attending the Old Bailey as a wit- 
 ness, he caught the gaol fever, and died 
 young. May 1750. 
 
 DEAN, J OHN, draftsman and mezzo-tint 
 engraver. Born about 1 750. Was a pupil 
 of Valentine Green. Engraved both por- 
 trait and historical subjects. There are 
 good plates by him after Reynolds, Gains- 
 borough, Ramsay, Hoppner, Morland, and 
 one or two after the old masters. He ex- 
 hibited at the Academy, in 1789, 'Lavinia,' 
 and some others ; in 1790, ' Journey to the 
 Watch-house ; ' and, for the last time, in 
 1791, 'Dutiful Children.' He died in 
 London 1798. 
 
 DEAN, Hugh Primrose, landsca'pe 
 painter. Born in Ireland. He was called 
 the ' Irish Claude.' He was very poor and 
 unprincipled. Of insinuating address and of 
 some ability in art, he was assisted by Lord 
 Palmerston to visit Rome, where he settled, 
 abandoning his wife and child. He had 
 exhibited landscapes at the Free Society 
 in 1765 ; and at the Spring Gardens Exhi- 
 bition, in 1768, a 'View of the Danube.' 
 
 1 In the following year he was elected a 
 member of the Society, and in 1775 he sent 
 from Rome to the same exhibition a view of 
 Naples. In 1776 he was at Florence, and 
 was elected a member of the Academy in 
 that city ; in the same year his wife and child 
 were sent out to him, and surprising him 
 there, he ran away from them. In 1777 he 
 was at Naples, and sent a picture to the Aca- 
 demy. In 1778 he sent for exhibition from 
 Rome, where ho then was, two landsciipes, 
 'Morning' and 'Evening;' and the next 
 year returned to London ; but he did not 
 meet with much encouragement, from his 
 misconduct, and lost the support of Lord 
 Palmerston. He exhibited at the Academy, 
 in 1779, an ' Eruption of Mount Vesuvius,* 
 and the following year — his last contribu- 
 tion — ' The Banks of the Tiber.' He pro- 
 duced at the same time his ' Eruption of 
 Mount Vesuvius,' treated as a transparency, 
 which he exhibited in a large room in Great 
 Hart Street, Covent Garden. It is not 
 supposed that this speculation was very 
 successful, for a year or two after he ap- 
 peared in a new charact<3r, as a Methodist 
 preacher ; but he did not long survive. Ho 
 died about 1784. 
 
 DEAN, Richard, gem engraver. Ho 
 practised in the last quarter of the 18tb 
 century, and in 1777-78 was an exhibitor 
 at the Royal Academy, but he did not 
 attain any eminence. 
 
 DEANE, Sir Thomas, Knt., architect. 
 Born 1792. He was the son of a builder 
 at Cork, and on his father's death managed 
 to carry on the business for his family, and 
 eventually to realise a fortune for himself. 
 He became mayor of Cork, and was knighted 
 in 1830, the year of his mayoralty, by the 
 lord-lieutenant of Ireland. He then com- 
 menced practice as an architect, and in his 
 native city built the Bank of Ireland, the 
 Savings' Bank, and the Queen's College, 
 and added a well-conceived classic portico 
 to the Court House. Extending his prac- 
 tice, he built the lunatic asylum at Kil- 
 larney, and made a good addition to Trinity 
 College, Dublin. He was for some years in 
 partnership with Mr. B. Woodward. With 
 the assistance of his son, Thomas Deane, 
 who has succeeded him in his profession, 
 he built the museum at Oxford. He was 
 for several years president of the Institute 
 of Irish Architects. He died near Dublin, 
 aged 80, September 2, 1871. 
 
 DEANE, WiLXiAM Wood, water-colour 
 painter. He was educated as an architect, 
 and was in 1844 admitted to the schools of 
 the Royal Academy. In that and the fol- 
 lowing year premiums were awarded to 
 him by the Institute of British Architects. 
 About this time he travelled in Italy, and 
 in 1853 exhibited at the Academy a view 
 of St. Petjer's, Rome, followed in 1854 and 
 
 2 115 
 
DBA 
 
 DEO 
 
 1855 by views of churches in Capri and 
 Venice, and continued an occasional ex- 
 hibitor of works in which architecture 
 pictorially treated formed the prominent 
 feature. In 1863, turning more exclusively 
 to art, he was chosen an associate of the 
 Institute of Water-Colour Painters, and in 
 1867 a full member, exhibiting with the 
 Society till 1870, when he resigned, and 
 was in 1871 elected an associate of the 
 old Society of Painters in Water-Colours, 
 and exhibited in that year a view of Santa 
 Maria della Salute, Venice, and of the 
 north porch of Chartres Cathedral, and a 
 number of works in each of the two fol- 
 lowing years. He died prematurely, on 
 January 18, 1873, aged 47. 
 
 DEARE, John, sculptor. Was born at 
 Liverpool, October 18, 1760. He showed 
 early proofs of genius, and at 1 0 years of 
 age carved a human skeleton with his pen- 
 knife. He was articled to a carver in 
 London, and at 16 produced works of so 
 much ability that he was induced to turn 
 his attention to art. He was admitted a 
 Btudent of the Royal Academy, and in 1780 
 obtained the gold medal for a model of 
 •Adam and Eve.' He continued to work 
 for his master ; his reputation meanwhile 
 rapidly increasing, he left him in 1783, and 
 was then employed by Bacon, R.A., and by 
 Cheere. Commissions now crowded upon 
 him, and he worked till far into the night. 
 In 1785 ho was elected travelling student 
 of the Academy, and in May set out for 
 Florence on his route to Rome. For the 
 exhibition in the following year he had 
 completed a large bas-relief — ' The Judg- 
 ment of Jupiter,' containing 30 figures, 
 but it does not appear to have been ex- 
 hibited. At Rome, where he was joined 
 by Flaxman and Howard, he studied closely 
 from the antique marbles, and made a large 
 collection of careful drawings. He sent 
 from Rome to the Academy Exhibition in 
 1788 his 'Edward I. and Queen Eleanor.' 
 He was fortunate in receiving commissions, 
 and in the midst of success was suddenly 
 cut ofif. He was eccentric. He thought it 
 right to say his prayers stripped of all 
 clothing ; and his death is attributed to his 
 having slept all night on a block of marble 
 he was about to carve, that he might re- 
 ceive inspiration in his dreams. He died 
 at Rome, of bilious fever, August 17, 1798, 
 and was buried in the Protestant Burial- 
 ground. He left a young widow, an Italian, 
 of poor origin, enceinte, and a daughter 
 about 3 years of age. He was of much 
 promise, and a great loss to art. He drew 
 with great power and correctness, had much 
 fertility of invention, and possessed un- 
 flinching application. 
 
 DEARE, Joseph, sculptor. Nephew of 
 the above John Deare. He studied in the 
 116 
 
 schools of the Royal Academy, and in 1826 
 gained the Academy gold medal for a very 
 original group of * David and Goliah,* 
 which was much admired at the Academy 
 Exhibition in the following year, when he 
 was for the first time a contributor. In 
 three succeeding years he exhibited por- 
 trait busts, and in 1831 a group in marble 
 of 'Virginius and Virginia,' and in that 
 year also and the following year two male 
 busts. He had changed his dwelling four 
 times in the last four years. After 1832 
 he ceased to exhibit at the Academy, and 
 the traces of him disappear. 
 
 DEARMAN, J., animal painter. He was 
 an exhibitor at the Royal Academy from 
 1842 to 1856. He painted landscapes, 
 which formed the backgrounds to groups of 
 cattle and figures. His works were well 
 coloured and strong in their imitation of 
 nature. He lived at Shiere, near Guildford, 
 and died in 1856 or 1857. 
 
 DE BRIE, Theodore, engraver. Was 
 born at Li^ge in 1528, and for several 
 years practised in London. While here he 
 engraved ' The Grand Funeral Procession 
 and Obsequies of Sir Philip Sydney, 
 1586,' in 34 plates, and the illustrations 
 for Harlot's ' Newfoundland of Virginia.' 
 He had two sons, John Theodore and 
 Israel, who assisted him in his art. He 
 died 1595. 
 
 DE BRUYN, Theodobe, landscape 
 'painter. Born in Switzerland; settled in 
 England about 1 7 60, and practised his art 
 here. He painted in a variety of styles, 
 but chiefly landscapes with cattle and 
 figures, and was for about 20 years an 
 occasional exhibitor at the Royal Academy. 
 He is principally known as an imitator of 
 bassi-rilievi in monochrome, and by his 
 decorations in this manner in the chapel at 
 Greenwich Hospital. He died in London, 
 in the early part of 1804, leaving a son, 
 who was then a student at the Academy, 
 and was afterwards two or three times an 
 exhibitor. 
 
 DE CAUX, Solomon, architect. He was 
 a Gascon, and practised in England in the 
 reign of James I., and in 1612 designed 
 a picture gallery at Richmond Palace for 
 Prince Henry. 
 
 DECKER, John, medallist. Was graver 
 to the Mint in the reign of James I. 
 
 DE CORT, Henry, landscape painter. 
 He was born at Antwerp in 1742, and 
 studied his art there, Omenganck frequently 
 painting his figures. He was induced to 
 come to London, where he settled. He first 
 exhibited at the Royal Academy in 1790, 
 and continued for several years an exhi- 
 bitor, chiefly of English landscape views. 
 After many years' practice in London, ho 
 died here, June 28, 1810. His early land- 
 scapes were chiefly compositions of cities 
 
DEO 
 
 DEL 
 
 and ruins in the Italian manner, agreeably 
 coloured, not possessed of any high merit. 
 
 DE CRITZ, John, decorative painter. 
 He was serjeant-painter to James I. and 
 Charles I., and enjoyed a great contempo- 
 rary reputation. Walker, the painter, said 
 he was the best painter in London. He is 
 reputed to have painted scenes for the 
 masques then in fashion, ceilings, and 
 many of the decorations of the time, of 
 which only, and of some few portraits, the 
 record remains. He speculated largely in 
 purchases on the sale of Charles I.'s col- 
 lections. He died 1642. 
 
 DE CRITZ, Emanuel, 'I decorative paint- 
 
 DE CRITZ, Thomas, j ers. Brothers 
 of the foregoing, practising at the same 
 period, and both painters, though inferior, 
 of the same class. Emanuel succeeded to 
 the office of serjeant-painter to Charles I., 
 and Thomas was probably the officer of 
 that name who was mace-bearer to the 
 Parliament. 
 
 DEERINGr, John Peter, R.A., architect. 
 His paternal name was Candy. He was 
 younger brother of Joseph Gandy, A.R.A., 
 and was born in 1787. In 1805 he was 
 admitted a student of the Royal Academy. 
 He first contributed to the Academy Ex- 
 hibition in 1806 — ' Leading to the Apart- 
 ments of the Dead ; ' in the following year, 
 ' A Design for a Royal Academy ; ' in 
 1810, 'An Ancient City' and 'The Envi- 
 rons of an Ancient City.' His early designs 
 were of a highly imaginative character, 
 and proved his power as a draftsman. He 
 began life under the patronage of the 
 Dilettanti Society, for which, in 1811, he 
 undertook a mission to Greece, where he 
 obtained the friendship of Lord Elgin, and 
 afterwards built Broom Hall, his lord- 
 ship's seat in Scotland. During the years 
 1811-13 he continued his researches in 
 Greece, and on his return he exhibited at 
 the Academy, in 1814, ' The Mystic Temple 
 of Ceres,' and then for the following 10 
 years his name disappears as an exhibitor. 
 He designed, in conjunction with Wilkins, 
 R.A., a tower 280 feet high, to commemo- 
 rate the victory at Waterloo, which, though 
 it appears an extravagant design, was 
 adopted by the Committee of Taste, but was 
 never executed. In 1826 he was elected an 
 associate of the Royal Academy, and in 
 1827 he changed his name to Deering, on 
 acquiring a large estate in Buckingham- 
 shire. Though fond of his art, he from 
 this time devoted himself chiefly to the 
 care And improvement of his property. 
 The works he exhibited were designs for 
 buildings he was erecting; and though 
 elected a full member of the Academy 
 in 1838, he did not again contribute to 
 the Academy Exhibitions. He was elected 
 member for Aylesbury on the passing of 
 
 the Reform Bill, and in 1840 served as 
 high sheriff for Bucks. He had gained a 
 high place in his profession. His chief 
 works are — Exeter Hall, Strand ; St. Mark s 
 Chapel, North Audley Street ; the Phoenix 
 Fire Office, Charing Cross ; part of the 
 University College, London ; and jointly 
 with Wilkins, the University Club, Pall 
 Mall East. He died at Lee, near Missen- 
 den, Bucks, March 22, 1860. He published, 
 in 1805, 'The Rural Architect;' and in 
 1817, 'Pompeiana,' in conjunction with Sir 
 William Gell. He was well studied in the 
 architecture of Greece, an excellent drafts- 
 man, and his works were marked by great 
 refinement. 
 
 DE ESSEX, John, » marhler: Was the 
 architect and mason employed, in the reign 
 of Henry VI., upon the great tomb of the 
 Warwick family in Warwick Church, the ar- 
 chitectural portions of which display great 
 variety, richness, and delicacy of design and 
 execution. 
 
 DE EARLEIGH, Richaed, architect. 
 He is styled ' builder,' and is supposed to 
 have designed, if not executed, the spire 
 and part of the tower of Salisbury Cathe- 
 dral, 1334. He was also employed on certain 
 works at the Priory Church, Bath, and at 
 Reading Abbey. 
 
 DE HEERE, Lucas, portrait painter. 
 Was born at Ghent in 1534, of a family 
 noted for their skill in art. He was placed 
 under Erancis Eloris, and made great pro- 
 gress. His first employment was in de- 
 signing for tapestry and for the glass 
 painters. Erom Ghent he went to France, 
 where he was employed as a designer by 
 the Queen and Queen-mother, and resided 
 some time at Fontainebleau, where he mar- 
 ried. He then returned to his native city, 
 and was employed in painting for several 
 churches. His inducement to visit England, 
 or the time of his coming, is not known, 
 but it was probably soon after the accession 
 of Elizabeth, whose favour he gained. He 
 painted many portraits in this country, 
 and several of the Queen. He returned to 
 Ghent, and died there in 1584. He was 
 not only a clever painter, refined and deli- 
 cate in his finish, but a poet. He wrote 
 ' The Orchard of Poesie.' He translated 
 from the French the ' Temple of Cupid,* 
 and had begun, in verse, the ' Lives of the 
 Flemish Painters.' 
 
 DE LA MOTTE, William, water-colour 
 painter. Born in 1780. He studied at the 
 Royal Academy, and was for a time a 
 pupil of West, P.R.A., but eventually de- 
 voted himself to landscape art, and towards 
 the end of the century made himself a 
 name by his Welsh landscapes in water- 
 colours. His early works were in the 
 manner of Girtin. Later, his landscapes 
 were chiefly drawn with the pen and 
 
 117 
 
DEL 
 
 DEL 
 
 tinted, and were peculiar in style. He was 
 a contributor to the Academy Exhibitions 
 from 1796 to 1848. He drew architecture 
 with accuracy, and landscape and marine 
 views, introducing animals and cattle, but 
 ho ncTcr attained a thorough mastery over 
 his art. He resided at Oxford in 1798-99, 
 and repaired Streeter's work in the theatre 
 there. Ho was, in 1803, appointed draw- 
 ing-master at the Koyal Military Academy 
 at Great Marlow. In 1806 he contributed, as 
 ' fellow exhibitor,' to the Water- Colour Ex- 
 hibition, and also in the two following years, 
 but not longer. He died at St. Giles's, near 
 Oxford, February 13, 1863, aged 83. His 
 collection of drawings was sold at Sotheby's 
 in the following May. There is a large 
 drawing by him — a fine example of his early 
 manner — in the South Kensington Museum. 
 He published ' Thirty Etchings of Rural 
 Subjects,' 1816. 
 
 DE LANE, Solomon, landscape painter. 
 Was born in Edinburgh in 1727. He studied 
 landscape, and, self-taught, worked from 
 nature. He travelled in France and Italy, 
 and painted many of their finest scenes. 
 In 1771 he sent from Rome two large 
 landscapes to the Academy Exhibition. 
 He continued in Rome till 1777, and about 
 1780 was residing near Augsburg. In 1782 
 he was living in London. He was an ex- 
 hibitor at the Royal Academy from 1777 
 to 1784, after which his name is lost sight 
 of. He had a correct knowledge of per- 
 spective, was a good colourist, and much 
 esteemed as a landscape painter. 
 
 DELANY, Mrs., amateur. See Gran- 
 ville, Mary. 
 
 DELARAME, Francis, engraver. Prac- 
 tised in London in the reigns of Elizabeth 
 and James I. He was contemporary with 
 William and Simon de Passe and Elstracke, 
 and engraved in the stiff, neat manner of 
 that day. His works are chiefly portraits, 
 among them Henry VIII., Queen Mary and 
 Queen Elizabeth, James I., Henry, Prince 
 of Wales, and many of the notables of that 
 day. His works are rare, and command 
 high prices. At Sir Mark Sykes's sale, in 
 1824, a print by him of Charles, when 
 Prince of Wales, with Richmond Palace 
 in the background, fetched 46^. 45., and a 
 portrait of James L, with a view of London, 
 34/. 135. 
 
 DELATTRE, Jean Marie, engraver. 
 Was born at Abbeville in 1746. He worked 
 Fomotime in Paris, and then, in 1770, came 
 to London, where he practised in the chalk 
 manner, and was employed under Barto- 
 lozzi. He engraved many historical sub- 
 jects and portraits — ' Penelope,' ' Dido,' and 
 'Beauty led by Prudence,' after Ange- 
 lica Kauflfman ; and also after Wheatley, 
 Stothard, and Hamilton, and for Bell's 
 ♦ British Poets.' A * St. Cecilia,' after Guer- 
 118 
 
 cino, is esteemed one of his best works. 
 He brought an action against Copley, R.A., 
 in 1801, for a plate which he had executed 
 for him, and gained the full amount of his 
 claim, 600 guineas. He was one of the 
 governors of the Society of Engravers, 
 founded in 1803, to assist infirm members 
 of the profession. He was living, at a 
 very advanced age, in 1836, and was then 
 a pensioner on Peter Herve's Society. 
 
 DE LOUTHERBOURG, Philip 
 James, R.A., landscape painter. Was born 
 at Strasburg on October 31, 1740. His 
 father, who was of a noble Polish family, 
 practised as a miniature painter. He was 
 educated at the college at Strasburg for 
 the Lutheran Church, but his genius made 
 him a painter. Following his own strong 
 inclinations, after some previous study, he 
 went to Paris and became the pupil of Carl 
 Vanloo. His works, exhibited at the Louvre, 
 gained him a reputation, and in 1762 he 
 was, at the age of 22 — thirty being the pre- 
 scribed age — elected a member of the French 
 Academy. He then visited Switzerland, 
 Germany, and Italy, and painted portraits, 
 landscapes, and battle-pieces. About 1771 
 he came to England. His fame had pre- 
 ceded him, and he was engaged by Garrick, 
 at a salary of 500/. a year, to superintend 
 the scenery and machinery of Drury Lane 
 Theatre. Here he was employed many 
 years, and showed surprising powers and 
 invention. He painted with his own hand 
 the whole of the scenery of * The Christmas 
 Tale,' and introduced so much novelty and 
 effect as formed a new er^ in scene paint- 
 ing. At the same time he painted easel 
 pictures, and on canvases of a large size 
 commemorated some of the naval and mili- 
 tary victories of Britain — 'Lord Howe's 
 Victory of the 1st of June,' * The Siege of 
 Valenciennes,' and * The Review of Warley 
 Camp.' 
 
 He first exhibited at the Academy in 
 1772, and from that year till his death was 
 a constant and large contributor. His sub- 
 jects were always of a stirring character. 
 His landscapes and marines chiefly treated 
 of the storms and violence of nature ; his 
 figure subjects of battles and the attacks 
 of banditti. He was never tame. There 
 are also some theatrical groups by his hand. 
 He was elected an associate of the Royal 
 Academy in 1780, and a full member in the 
 following year. At this time Sheridan, 
 who had succeeded to the management of 
 the theatre, attempted to reduce his pay, 
 and he quitted the scene -loft. He now 
 planned his ' Eidophusicony which all the 
 world went to see, and were astonished by 
 the illusion — his effects of calm and storm, 
 sunset and moonlight, the accurate imi- 
 tation of nature's sounds, the approaching 
 thunder, the dash of the waves on the 
 
DEL 
 
 DER 
 
 pebbly beech, and the distant minute-gun. 
 His charges for admission were 55. and 
 25. Qd. He had used music to entertain 
 during the shifting and preparation of his 
 scenes, and he was proceeded against be- 
 fore the justices, who, refusing to convict, 
 granted him a licence. 
 
 Soon after his arrival in London he took 
 a house at 45 Titchfield Street, where he 
 lived 12 years, and then removed to Ham- 
 mersmith Terrace. Here his eccentricities 
 broke out. He was the dupe of a German 
 charlatan in the search for the philoso- 
 pher's stone ; but a female relative broke 
 in upon their nocturnal studies, and de- 
 stroyed their crucible. He was a disciple 
 of the prophet Brothers, and, like him, fan- 
 cied himself inspired by faith to heal the 
 lame and the blind ; but his patients, who 
 received no relief, mobbed his house and 
 broke his windows. In 1789 some zealous 
 •friend published ' A List of a few Cures 
 performed by Mr. and Mrs. De Louther- 
 bourg without medicine ; by a lover of the 
 Lamb of God.' The writer says ' that Mr. 
 De L. has received a most glorious power 
 from the Lord Jehovah, viz. the gift of 
 healing all manner of diseases — deafness, 
 lameness, cancer,' with many others, of which 
 he gives some very miraculous details ; 
 and in the same year a popular clergy- 
 man advertised a meeting to debate the 
 question, ' Is it consistent with reason or re- 
 ligion to believe that Mr. De Loutherbourg 
 has performed any cures by a divine power, 
 without any medical application ? ' He died 
 March 11, 1812, and rests in Chiswick 
 Churchyard, under these pompous lines — 
 
 • De Loutherbourg, repose thy laurelled 
 head, 
 
 While art is cherished thou canst ne'er 
 be dead. 
 
 Salvator, Poussin, Claude, thy skill com- 
 bines, 
 
 And beauteous nature lives in thy designs.* 
 
 De Loutherbourg's art was peculiarly suited 
 to the stage. He was a good draftsman. He 
 painted from sketches, rarely from nature. 
 His colouring is bad, his manner conven- 
 tional ; but he had great vigour and in- 
 vention. In his battle-pieces the various 
 incidents are well conceived, painted with 
 fire and animation, and have great sem- 
 blance of truth. His subjects were noble 
 and grandly treated, and he deserved the 
 reputation he enjoyed. He etched a few 
 plates, chiefly of a humorous character. 
 
 DELVAUX, Laurent, sculptor. Came 
 to this country from the Continent, and was 
 assistant to Bird in the reign of George II. 
 He then went to Italy with Scheemakers 
 in 1728, and returning with him after 
 an absence of four or five years, they 
 found employment together on monumental 
 
 works. The monument of Dr. Chambers, 
 and that to the Duke of Buckingham, both 
 in Westminster Abbey, are their joint 
 work. The bronze lion on Northumberland 
 House is by Delvaux, who was the abler 
 of the two; and there is a 'Venus,' in bronze, 
 after the antique, by him at Holkham. He 
 also copied some other antique statues in 
 bronze. He returned to the Continent, to 
 enjoy the property he had earned hero. 
 
 DE MAYNE, John, ge7n engraver. 
 Practised in England in the reign of Henry 
 VIII., cutting heads and engraving seals. 
 
 DENHAM, Sir John, K.C.B., archi- 
 tect. Born at Dublin 1615. His father, 
 one of the barons of the Exchequer in 
 Ireland, was in 1617 appointed to the 
 same office in England, and in that year 
 brought his son to London with him. Ho 
 received a good education, took his bache- 
 lor s degree at Oxford, and then studied 
 the law in Lincoln's Inn. In 1641 he 
 gained celebrity by his tragedy of * Tho 
 Sophy,' which was confirmed by his poem of 
 ' Cooper's Hill,' by which he is now best 
 known. In 1647 he performed some im- 
 portant services for Charles I., then a pri- 
 soner, which becoming known, ho fled to 
 France, but in 1652 returned to England, 
 and on the restoration of Charles II. was 
 appointed surveyor-general of his Ma- 
 jesty's buildings, and created a Knight of 
 the Bath. It does not appear what quali- 
 fication he possessed for this office, in which 
 he was for a time associated with Wren, 
 who was appointed assistant surveyor- 
 general in 1661. He had charge of tho 
 repair of old St. Paul's after the great firo 
 in 1666. He designed part of Burlington 
 House, Piccadilly, and after the designs of 
 Inigo Jones, part of theriver front of Green- 
 wich Hospital. He also made some ad- 
 ditions to Windsor Castle. His mind had 
 been for some time impaired by domestic 
 troubles, when he died March 19, 1687-88. 
 He was buried in Westminster Abbey. His 
 name survives as a poet rather than as an 
 architect. 
 
 DENNING, Stephen Poyntz, miniature 
 painter. Born in 1795 ; and was a pupil 
 of Mr. J. Wright, portrait painter. He 
 first exhibited at. the Koyal Academy in 
 1814. In 1821 he was appointed curator 
 of the Dulwich Gallery, but he continued 
 without much intermission to exhibit minia- 
 tures up to 1851. He died at Dulwich Col- 
 lege in June 1864. 
 
 DERBY, William, miniature painter. 
 Was born at Birmingham, January 10, 1 786. 
 He was taught drawing in that town. In 
 1808 he tried to establish himself in London, 
 and engaged to make the reduced drawings 
 of the Stafford Gallery for the engravers. 
 He at the same time practised portrait and 
 miniature painting, occasionally making 
 
 119 
 
DER 
 
 DEV 
 
 water-colour drawings of portraits and 
 pictures. In 1825 ho undertook to make the 
 drawings for Lodge's 'Portraits of Illus- 
 trious Persons,' and lie also made for Lord 
 Derby copies, in water-colour, of all the 
 known portraits of his family from the time 
 of Henry VII. which are to be found in 
 the different collections. He was an occa- 
 sional exhibitor at the Koyal Academy, 
 commencing in 1811. In 1838 he was at- 
 tacked with paralysis, but rallied and re- 
 sumed the pencil with his usual vigour. He 
 died in Osnaburgh Street, Kegent's Park, 
 January 1, 1847, leaving a widow and eight 
 children. His copies were executed with 
 extreme minuteness ; careful imitations of 
 the original, both in manner and spirit. 
 Alfred T. Derby, his son, who practised 
 miniature painting and had assisted him in 
 his works, died, after a long illness, April 19, 
 1873, aged 52. 
 
 DE KEYNE, John, history and ^portrait 
 painter. He was born at Antwerp, about 
 1610, and when young became the pupil of 
 Vandyck, whom he accompanied to Eng- 
 land, and was content to work for, unknown 
 and unnoticed. His copies from Vandyck's 
 works were so good that these repetitions 
 have often passed for the originals. He 
 continued in Vandyck's employment till his 
 death in 1641, when he went to France and 
 settled at Dunkirk. Here he was principally 
 employed in painting subjects for churches, 
 but he painted some portraits, which were 
 much admired. He died 1678. 
 
 DERICK, Antony, medallist. Was 
 granted a patent as graver to the Mint, 6th 
 Edward VI., and held the same office from 
 the 2nd to the 18th of Elizabeth. 
 
 DERYKE, William, history painter. 
 Born at Antwerp in 1635; he was bred a 
 goldsmith and jeweller, became a pupil of 
 Quellin, and then tried history painting. He 
 came to England in the reign of William 
 III. and settled here. His historical sub- 
 jects were painted life-size, and in a large, 
 bold manner ; but he never attained any 
 eminence in his profession. He died in 
 London in 1697. He left a daughter, 
 Katharine, who had been brought up to art, 
 in which she excelled. 
 
 DE TABLEY, Lord, amateur. Was born 
 April 4, 1762, and was well known as Sir 
 John Fleming Leicester, one of the first who 
 made a collection of the works of English 
 painters. He had instruction from several 
 eminent artists, and sketched in water- 
 colours with much freedom and ability. He 
 also painted a few slight sketches in oil. He 
 executed a set of lithographic prints from 
 his own drawings. He was created Baron 
 De Tabley in 1826, and died June 18, 1827. 
 
 DEUCHAR, David, seal engraver. He 
 practised in Edinburgh, and in 1803 pub- 
 lished three volumes of ' Etchings from Mas- 
 120 
 
 ters of the Dutch and Flemish Schools,' 
 with some after original designs by himself. 
 
 DEVIS, Arthur, portrait painter. Was 
 born at Preston about 1711, and was the 
 pupil of Peter Tillemans. He painted por- 
 traits and small conversation-pieces. He 
 lived for some time in Great Queen Street, 
 Lincoln's Inn Fields, and was considered a 
 respectable artist. In 1761 he exhibited 
 at the Free Society's Rooms in the Strand, 
 and became a member of the Society in 
 1763. A few years before his death he was 
 employed to restore Sir James Thornhill's 
 paintings in the hall at G-reenwich, and 
 was paid for this work 1,000^. He painted 
 a small group of ' The Pretender and his 
 Friends,' and is said to have borne so re- 
 markable a likeness to the prince that, in a 
 period of political excitement, he found it 
 prudent to leave Preston in disguise. A 
 whole-length portrait by him of Miss Cham- 
 bers is engraved. He died at Brighton, July 
 24, 1787, leaving a daughter and two sons. 
 
 DEVIS, Antony T., landscape painter. 
 Brother to the above. Was born March 18, 
 1729. He received a premium at the 
 Society of Arts in 1763, and appears as an 
 exhibitor at the Academy in 1772, and again 
 in 1781. Ha retired to Albury, near Guild- 
 ford, in 1780, and died there unmarried in 
 1817, aged 87. He was much reputed as 
 an artist, and was a teacher of drawing. 
 His manner was in the very early style of 
 water-colour art. Some of his drawings 
 were made in black chalk, tinted with a gay 
 prettiness of colour. His figures were weak 
 in drawing. 
 
 DEVIS, Arthur William, portrait and 
 history painter. Son of the foregoing Arthur 
 Devis. Was born in London, August 10, 
 1763. He showed an early genius for art, 
 was educated by his father and studied in 
 the schools of the Royal Academy, where 
 he gained a silver medal. When about 20 
 years of age he was appointed draftsman 
 on a voyage projected by the East India 
 Company, and was wrecked in the ' Ante- 
 lope ' on the Pelew Islands. There the crew 
 took part in the wars of the natives — in 
 which he was twice wounded — and finally 
 built themselves a vessel, which they were 
 enabled to navigate to Macao. He passed 
 one year in China, then sailed to Bengal, 
 from whence he sent a portrait for exhi- 
 bition at the Academy in 1791, and arrived 
 in England in 1795. He resumed his pro- 
 fession with much zeal, and produced several 
 works which gave him a reputation. He 
 painted ' The Conspiracy of Babington, in 
 the Reign of Queen Elizabeth,' ' Cardinal 
 Langton and the Barons forcing King John 
 to sign Magna Charta,' 'Lord Cornwallis 
 receiving the two Sons of Tippoo Saib as 
 Hostages,' ' Miss O'Neill as " Belvidera." * 
 After the battle of Trafalgar, he went out to 
 
DEW 
 
 DIB 
 
 meet Nelson's ship, the ' Victory,' and made 
 a facsimile of the cockpit, with portraits of 
 the officers and attendants who surrounded 
 their dying admiral. From these studies he 
 painted the ' Death of Lord Nelson,' a fine 
 work, which hangs appropriately in the 
 gallery at Greenwich Hospital. On the death 
 of the Princess Charlotte he painted a com- 
 memorative picture. From 1796 to 1821 he 
 exhibited at the Academy. His contributions 
 were chiefly portraits. His works were 
 many of them engraved, and he enjoyed a 
 large reputation. His colour, composition, 
 and finish were good, but his works do not 
 hold a first place in art. He was a generous, 
 thoughtless man, and his life was marked 
 by many vicissitudes. He died of apo- 
 plexy, February 11, 1822, and was buried in 
 St. Giles's Churchyard. He left two orphan 
 daughters without provision. His brother, 
 Thomas Antony Devis, followed his pro- 
 fession, and was an occasional exhibitor of 
 portraits between 1776 and 1789. 
 
 DE WALSINGHAM, Alan, architect 
 He was sub-prior of Ely in 1321 and prior 
 in 1341. On his first appointment . he is 
 assumed to have made the designs for 
 St. Mary's Chapel in Ely Cathedral, and to 
 have subsequently commenced the choir. On 
 the fall of the tower he erected the elegant 
 octagon tower and lantern, a work of great 
 constructive skill. He was originally an 
 ingenious ' fabricator ' in gold and silver ; 
 and has been styled ' vir venerabilis et 
 artificiosus frater.' 
 
 DE WESTON, William, architect. He 
 built St. Stephen's Chapel, Westminster, 
 4th Edward III. 
 
 DE WILDE, Samuel, portrait fainter. 
 He was chiefly devoted to dramatic portrai- 
 ture, practising both in oil and water-colours. 
 He contributed some small portraits to the 
 Spring Gardens Exhibitions in 1776-77-78, 
 and first exhibited theatrical portraits at the 
 Academy in 1 788. He contributed a ' Scene 
 from the Children in the Wood,' 1794; 
 from ' The Village Lawyer,' in 1795 ; and in 
 the following year, from ' The Way to get 
 Married.' He continued to exhibit chiefly 
 theatrical portraits in character up to 1821. 
 There are a number of his portraits in the 
 Garrick Club. Many of his works were also 
 exhibited with the works of the deceased 
 masters at Suffolk Street in 1833. He died 
 on January 19, 1832, aged 84. 
 
 DE WINT, Peter, water-colour painter. 
 Was descended from an old and wealthy 
 merchant family at Amsterdam, some mem- 
 bers of which emigrated to America. His 
 grandfather resided near New York, and his 
 father was sent to the University at Leyden, 
 where he studied as a physician and took his 
 degree ; but having, contrary to his father's 
 wishes, married a young English lady of good 
 family, he was disinherited and left to his 
 
 own resources. He came to England, and 
 settling at Stone, in Staffordshire, practised 
 tlioro as a physician. Here Peter, his fourth 
 son, was born January 21, 1784. He was in- 
 tended for his father's profession, but dislik- 
 ing the study of medicine, he was permitted 
 to follow art, his own choice ; and in 1 802 was 
 placed under John Kaphacl Smith, the crayon 
 painter and engraver, whore he was a fellow- 
 pupil with Hilton, R.A.jWitli whom he formed 
 a life-long friendship, and whose sister he 
 married. In 1807 he entered the schools of 
 the Royal Academy, and was an exhibitor at 
 the Academy in the same year, sending three 
 landscapes, and continuing at some intervals 
 an exhibitor up to 1828. In 1810 he first 
 appears as an ' associate exhibitor ' at the 
 Water-Colour Society, his contributions 
 showing the early bent of his art — * A Hay 
 Field' and 'A Corn Field.' In 1812 he 
 was elected a member. For nearly 40 years 
 he contributed almost exclusively to its 
 exhibitions, and was also distinguished 
 as a teacher, makings many true friendships 
 among those who had been his pupils. He 
 loved to paint direct from nature, and 
 was never so happy as when in the fields. 
 His subjects are principally chosen in 
 the Eastern and Northern counties, and 
 though often tempted to extend his studies 
 to the Continent, the love of home and 
 home scenery was so strong that, except a 
 short visit to Normandy, he never left Eng- 
 land. He formed a style of his own ; his 
 colouring was good and harmonious, his light 
 and shade broad and simple, his figures well 
 introduced ; but he was an indifferent drafts- 
 man, deficient in executive handling. His 
 works have much freshness and purity. He 
 objected to the use of body colours, and was 
 of the middle period of water-colour art. He 
 died of disease of the heart, June 30, 1849, 
 and was buried in the ground of the Royal 
 Chapel in the Savoy. Good specimens of his 
 art will be found in the galleries of the South 
 Kensington Museum. His views in the South 
 of France and the Rhone were published in 
 1830. 
 
 DE WITTE, , portrait painter, 
 
 classed by Walpole as a Scottish painter. 
 He was the painter of the apocryphal Holy- 
 rood portraits, having been engaged in 1684 
 to paint 'the pictures of the haill kings 
 who have reigned over Scotland from King 
 Fergus, the first king, to King Charles II., 
 to completely finish and perfect them, and 
 to make them like the originals, which are 
 to be given to him.' 
 
 DIBDIN, Charles, amateur. Born at 
 Southampton 1745. Educated at Winchester, 
 and intended for the Church, but seduced by 
 a love of music, he came to London. He 
 played at the Richmond Theatre in 1762, and 
 afterwards in London in ' The Maid of the 
 Mill.' He was well known as the writer and 
 
 121 
 
DIG 
 
 DIX 
 
 composer of popular sea-songs. He had a 
 taste for painting, and produced some pleas- 
 ing views of Lake sconory, which were en- 
 graved in aqua-tint by John Hill, an artist 
 who afterwards emigrated to America. He 
 is said also to have assisted in scene painting. 
 He wrote above 1,300 songs and 30 dramatic 
 pieces. For the inspiriting influence which 
 his songs had on the navy, he was granted 
 a Government pension, which he lost on a 
 change of ministry. He was saved from in- 
 digence by an annuity purchased by public 
 subscription. He died July 25, 1814. 
 
 DICKINSON, William, mezzo-tint and 
 dot engraver. Born in London in 1746. 
 He was awarded a premium at the Society 
 of Arts in 1767, and engraved after West, 
 Morland, Angelica Kauffman, Stubbs, Bun- 
 bury, and numerous portraits after Reynolds, 
 which he rendered with great truth and power. 
 He was a good draftsman, greatly distin- 
 guished in his art ; his colour good, his en- 
 graving like the master. His best works are 
 purchased at large prices. He retired to 
 Paris, where he died in 1823. 
 
 DICKINSON, William, architect. He 
 was surveyor to Westminster Abbey in the 
 early part of the 18th century ; and the de- 
 sign for the Rose Window of the north porch, 
 the glass of which is dated 1722, has been 
 ascribed to him. He superintended, 167 1-80, 
 the erection of St. Bride's Church, London, 
 designed by Sir Christopher Wren. 
 
 DIEPENBECK, Abraham, 'painter and 
 draftsman, WasbornatBois-le-Ducin 1607, 
 and was the pupil of Rubens, under whom he 
 studied wdth much industry, and then went 
 to Italy, returning to work in his master's 
 atelier. He first devoted himself to glass 
 painting, completed some fine windows for 
 the Antwerp churches, and gained the repu- 
 tation of the first glass painter of his day, 
 but his process in the furnace often failed. 
 In the reign of Charles I. he came to Eng- 
 land and painted some windows here. He 
 was chiefly employed, however, by the Duke 
 of Newcastle. He drew the Duke's managed 
 horses, and engraved them for his Grace's 
 book on Horsemanship. Also views of Wel- 
 beck and Bolsover, and the portraits of the 
 Duke and Duchess, and of their children. 
 He died at Antwerp in 1675. 
 
 DIGHTON, Robert, portrait painter and 
 drawing -master. Wasaman of many talents 
 — painter, acto?, dramatic writer, singer, and 
 withal a great humorist. He styled himself 
 •drawing-master.' He first appears as an 
 exhibitor with the Free Society of Artists in 
 1 769, and in that year and up to 1 773 contri- 
 buted small portraits in chalk. At the Royal 
 Academy in 1775 he exhibited a frame' of 
 Btained drawings ; in 1777 he sent ' A Con- 
 versation,' small whole-lengths, and *A 
 Drawing of a Gentleman from Memory.' In 
 1799 he published a 'Book of Heads,' sa- 
 122 
 
 tirical portraits of the leading counsel then 
 at the bar — a work full of character ; and 
 afterwards gained a sort of celebrity by his 
 portraits and comicalities of this class. He 
 also painted some scenery. He died at 
 Spring Gardens in 1814, aged 62. Some very 
 early caricatures have been attributed to 
 Richard Dighton, but it seems most pro- 
 bable that the christian name is an error. 
 
 DIGHTON, Denis, battle painter. Son of 
 the foregoing. Was born in London in 1792. 
 He was admitted a student of the Royal 
 Academy, and drew some caricatures in his 
 father's manner, yet better drawn ; but gain- 
 ing the notice of the Prince of Wales, the 
 Prince gave him a commission in the 90th 
 Regiment. This he soon resigned and mar- 
 ried, settling in London. He was in 1815 ap- 
 pointed military draftsman to the Prince, and 
 continuing to study art, found in his royal 
 highness a purchaser for his pictures. He 
 was a constant exhibitor at the Royal Aca- 
 demy, where his works attracted notice. Com- 
 mencing in 1 8 1 1 , he sent one picture annually 
 up to 1825. His works were almost exclu- 
 sively battles or military subjects. When 
 changes took place at the palace, he lost his 
 access to his royal patron, and the sale of his 
 works, the chief source of his income, was 
 stopped. This, combined with other misfor- 
 tunes, affected his health, and by degrees his 
 reason. His wife took him to Brittany, where 
 at St. Servan he was assisted from the Ar- 
 tists' Fund till his death there, August 8, 
 1 827, aged 35. There is a * Death of Nelson ' 
 by him intheBridgewater collection, a clever 
 water-colour drawing ; 'A Cavalry Skirmish' 
 at the South Kensington Museum, and a 
 'Battle of Waterloo' in the Queen's collection. 
 His wife painted fruit and flowers, and be- 
 tween 1824 and 1835 was a frequent exhi- 
 bitor at the Academy. She was appointed 
 flower painter to the Queen. 
 
 DIGHTON, W. Edward, landscape 
 painter. He exhibited English scenes at 
 the Royal Academy from 1844 to 1850, and 
 afterwards visited the East. On his return 
 he exhibited, in 1853, ' Ruins of the Temple 
 of Luxor ' and ' Bethany,' and died in the 
 September of that year. He was a young 
 artist of promise. 
 
 DIXEY, John, sculptor. Born in Dublin, 
 Came to London at an early age, and studied 
 at the Royal Academy. He exhibited there 
 in 1788, and was on the point of leaving for 
 Italy, when prospects, which were opened to 
 him in America, induced him to emigrate 
 there in 1789. He assisted greatly to pro- 
 mote art in that country. Resided many 
 years in New York, and then removed to 
 Pennsylvania on being elected vice-presi- 
 dent of the Academy of Fine Arts in that 
 city. He died 1820. 
 
 DIXON, Cornelius, architect. Was of 
 some repute. He resided at Pimlico, London, 
 
DIX 
 
 DOB 
 
 in 1770. He designed the Royalty Theatre 
 in Wellclose Square, which was completed 
 in 1787, and destroyed by fire in 1826. 
 
 DIXON, John, miniature and crayon 
 painter. He was a pupil of Lely, and 
 painted in water-colour with much skill 
 nymphs, satyrs, cupids, and pictorial sub- 
 jects. A great number of these works exist. 
 He painted chiefly in miniature, and also 
 di'ew in crayons. He was appointed by 
 William III. ' keeper of the king's picture 
 closet.' In 1698 he was concerned in a 
 bubble lottery, which turned out ill ; he fell 
 into debt and retired to a small property 
 near Bungay, where he died in 1715. 
 
 DIXON, John, mezzo-tint engraver. Was 
 born in Ireland about 1740, and came to 
 London in early life, but not till he had 
 dissipated a small patrimony. Originally 
 a silver engraver, he studied under West 
 in Dublin, and was well grounded in 
 anatomy, and sketched and drew with cor- 
 rectness. He was a member of the Incor- 
 porated Society of Artists in 1766, and was 
 early distinguished. Some of his best mezzo- 
 tint portraits date soon after 1770, and are 
 excellent in their execution and artist-like 
 in their treatment ; brilliant, but occasionally 
 rather black. His most numerous and best 
 works are after Reynolds, and have never 
 been excelled ; but he also engraved after 
 Grain sborough, ZofPany, Stubbs, Dance, and 
 others. He was a handsome man, and 
 married a young lady of ample fortune, 
 with an understanding that ho should only 
 thenceforth follow his profession as an 
 amusement, to which he was unfortunately 
 only too well disposed. He retired to Rane- 
 lagh, kept his carriage and entertained his 
 friends. He afterwards removed to Ken- 
 sington, where he died about 1780. 
 
 DIXON, Robert, landscape painter. 
 Published, in 1810-11, 'Norfolk Scenery,' 
 comprising 36 views drawn and etched by 
 himself. He was also an exhibitor at the 
 Norwich Exhibitions — re-appearing, after 
 Bome lapse, in 1818. His subjects were 
 varied — compositions, landscapes, architec- 
 ture, rural scenes, cottage-doors — and his 
 manner had some resemblance to Westall, 
 R.A. 
 
 DOBBS, Arthur, architect. He was ap- 
 pointed, in 1733, surveyor-general in Ireland, 
 and completed the Parliament House, which 
 had been commenced by his predecessor in 
 that office. 
 
 DOBSON, Alexander R., architect. Was 
 the son of an architect in Newcastle-on-Tyne, 
 and was brought up in his father's office. 
 At the age of 21 he came to London, and 
 studied under Mr. Sidney Smirke. In 1852 
 he returned to Newcastle, where he lost his 
 life in attempting to save the lives of others 
 from fire. He died in his 26th year, on 
 October 6, 1854, He was favourably known 
 
 in his profession by some clever drawings, 
 and was a member of the Institute of 
 British Architects. 
 
 DOBSON, William, portrait painter. 
 Was born in St. Andrew's parish, Holborn, 
 1610. His father was a gentleman of some 
 consideration at St. Alban's, who, having 
 squandered his estate, was appointed master 
 of the Alienation Office, probably by Lord 
 Bacon, who was his friend. Necessity made 
 the son a painter. He was apprenticed to 
 Sir Robert Peake, and soon gave proofs of 
 his genius in portraiture. He also had some 
 instructions from Prancis Cleyn. He ap- 
 pears to have worked in obscurity till 
 Vandyck chanced to see his work, gene- 
 rously befriended him, and introduced him to 
 Charles I., with whom he found favour. On 
 the death of Vandyck he was appointed the 
 king's serjeant-painter and groom of the 
 Privy Chamber. He followed the Court to 
 Oxford, and painted there the King's por- 
 trait, the Prince of Wales's, also Prince 
 Rupert's, but the decline of the royal cause 
 and the disordered state of the country were 
 a bar to his fortunes. At Lord Craven's, 
 Coombe Abbey, there is a portrait of 
 Charles II. by him ; at Mr. Howard's, Gatton, 
 a portrait of Milton; at Wilton, a large 
 work, the ' Beheading of St. John ; ' at 
 Hampton Court, a portrait-group of him- 
 self and his wife. His best works are care- 
 fully drawn and painted, though his colour 
 is sometimes hot and crude, his hands 
 very good, expression weak, drapery well 
 studied, and altogether his portraits are 
 life-like and characteristic. Sir Joshua 
 Reynolds bestowed much praise upon his 
 works. Dobson was careless to avail himself 
 of his opportunities of saving money. He 
 was a man of ready wit and pleasing con- 
 versation, but of a loose and irregular way 
 of living, and when the impending unhappy 
 times came to a climax he was in debt. 
 Eventually he was thrown into prison, and 
 when released by a friend, he enjoyed hia 
 freedom only a short time. He died in 
 poverty at the age of 36, on October 28, 
 1646, and was buried at St. Martin's Church. 
 
 DOBSON, John, architect. Was born at 
 Chirton, North Shields, December 9, 1787, 
 and was articled to a builder at Newcastle. 
 He afterwards studied for a time under 
 John Varley, and commencing practice in 
 Newcastle, was the only architect then in 
 the county. He soon gained employment, 
 and in the intervals of his labour travelled 
 in England and Prance. He erected several 
 fine mansions and some churches in his 
 locality, and gradually extended his practice 
 to the neighbouring counties. His works 
 showed good constructive ability, and he 
 was employed upon some of the railway 
 works in Newcastle. The Central Rail- 
 way Station there is perhaps one of his 
 
 123 
 
DOD 
 
 DON 
 
 most important erections, and the design, 
 exhibited in Paris in 1855, gained him a 
 *m6daille d'honneur.' He died in January 
 1865. 
 
 J)0'DD,'RoBBRT, marine pain ter. He lived, 
 early in life, at Wapping Wall, and begin- 
 ning art as a landscape painter when only 
 23 years of age, had produced some good 
 works. He then commenced marine subjects, 
 storms, sea-fights, and in these he attained 
 much excellence. In 1781 he painted ' Ad- 
 miral Parker's Nayal Victory;' in 1782, 
 * The Jamaica Fleet and Convoy in the Great 
 Storm;' in 1785, 'The Loss of the "Cen- 
 taur," ' followed by ' The Action between 
 the English ship " St. Margaret" and French 
 "Amazon,"' 'The English Frigate "La 
 Magicienne " encountering two French Fri- 
 gates,' ' Kodney's Naval Victory ; '^ in 1796, 
 on an immense canvas, ' The British Fleet 
 at Spithead getting under sail to escape the 
 Ship-of-the-line " Boyle," ' which had caught 
 fire; and in 1806, 'The Commencement of 
 the Battle of Trafalgar.' Between 1782 
 and 1788 he was a constant exhibitor of 
 naval subjects at the Eoyal Academy, and 
 occasionally up to 1809, when his name 
 cannot be traced farther. His storms at sea 
 were highly impressive. His works had 
 great truth and reality, and were extensively 
 engraved and very popular. A view of the 
 Eoyal Dockyard, Woolwich, in 1789, was 
 both painted and engraved by his hand. 
 
 DODD, Daniel, miniature and subject 
 painter. Practised in the last half of the 
 1 8th century. He was an influential member 
 of the Free Society of Artists in 1763, and 
 a contributor of oil and crayon portraits to 
 their exhibitions. For several years his 
 works were of a small size. He painted 
 ' The Eoyal Procession to St. Paul's,' a com- 
 position crowded with figures ; and there is 
 by him a good ' Eepresentation of the Eoyal 
 Academy, Somerset House,' the figures well 
 drawn, which is engraved by Angus. His 
 portraits of Leveridge, the actor, and of 
 Buckhorse, a noted boxer, are also engraved. 
 He also designed many of the illustrations 
 for Harrison's Novelists, and for some other 
 w^orks. 
 
 DODWELL, Edward, topographical 
 draftsman. Travelled in Greece in 1801 
 and 1805, and made drawings of some of 
 the most memorable places. He published, 
 in 181 1, a classical and topographical ' Tour 
 in Greece,' and in 1819 a larger work on the 
 same subject, illustrated by 30 views from 
 his own drawings, which, though careful 
 and not badly drawn, cannot lay claim to 
 much art merit. 
 
 DOLLE, William, engraver. Born in 
 England about 1600. He engraved chiefly 
 portraits for the booksellers. They are in 
 a weak, stiff manner, and most probably from 
 his own designs. Among such portraits are 
 124 
 
 Sir Henry Wootton, George Villars, Duke of 
 Buckingham, and Eobert, Earl of Essex. 
 
 DONALDSON, Andrew, water-colour 
 painter. Born at Comber, near Belfast. 
 His father was an operative weaver, and 
 brought him in childhood to Glasgow. Here 
 he was employed in a manufactory as a 
 piecer, but meeting with an accident, which 
 caused a w^eak state of health, he was ap- 
 prenticed to a haberdasher, and seized 
 opportunities for developing a love of art 
 by sketching the picturesque buildings by 
 which he was surrounded in the old city. 
 He then found employment as a teacher of 
 drawing and improvement in sketching the 
 scenery of the neighbouring country, and 
 eventually took high rank among the Scot- 
 tish landscape painters in water-colours. 
 He afterwards studied in the most pictur- 
 esque parts of Great Britain and Ireland, 
 where he found subjects for his pencil. He 
 died at Glasgow, August 21, 1846. 
 
 DONALDSON, John, miniature painter. 
 Born in Edinburgh in 1837, where his 
 father was a glover, and but in narrow cir- 
 cumstances. He was fond of drawing as a 
 child, and while yet very young supported 
 himself by miniature portraits in Indian 
 ink. After some years he came to London, 
 where he gained a premium at the Society 
 of Arts in 1765, and again in 1768, when 
 he was living at Newcastle, for an histo- 
 rical painting in enamel. In 1764 he was a 
 member of the Incorporated Society of 
 Artists, and had tolerable success as a por- 
 trait painter. But he had imbibed notions 
 that the world was going wrong in religion, 
 morals, and politics, and in his abstraction 
 he wandered aside, dreaming that he could 
 set all things right. His friends fell olf, he 
 lost his facility of execution, and then be- 
 came disgusted wdth his art. He painted 
 two subjects in enamel, a ' Death of Dido* 
 and a ' Hero and Leander,' for which he re- 
 ceived premiums from the Society of Aj^ts, 
 but could not be persuaded to follow up his 
 success. He also etched some small plates 
 of beggars in the manner of Eembrandt ; 
 but withal he wanted perseverance, was of 
 unsettled habits, and tried many schemes. 
 He cultivated chemistry, and patented a 
 mode of preserving vegetables and meat. 
 He published a volume of Poems in 1786, 
 which are not without some merit ; and an 
 'Essay on the Elements of Beauty,' 1780. 
 Yet, notwithstanding his many endowments, 
 the last 20 years of his life were full of 
 suffering, and he was sometimes without 
 necessaries. At last, however, some friends 
 made such provision as preserved him from 
 destitution. He died October 11, 1801, and 
 was buried in Islington Churchyard. 
 
 DONOWELL, John, architectural 
 draftsman. He was a member of the Incor- 
 porated Society of Artists in 1 776. He ex- 
 
DOR 
 
 DOW 
 
 hibited views and designs in the Academy 
 1778-86. He built Lord Le de Spencer's 
 house at Wycombe, the designs for which 
 were printed in Wolfe and Gandon's work. 
 His elevation is but mean and poor. Several 
 other engravings after his designs were 
 published in 1753, and there is an excellent 
 plate by him of the well-known Marylebone 
 Gardens, published in 1761, full of well- 
 drawn and characteristic figures. 
 
 DOKIGNY, Sir Nicholas, Knt., engraver. 
 Born at Paris 1657- He was brought up 
 to the bar, which at the age of 30 his 
 deafness compelled him to abandon. Hav- 
 ing a brother a painter, he turned to art, 
 and went to Kome, where for several 
 years he studied painting. He then' tried 
 etching, and produced some plates after 
 Kaphael, the success of which tempted him 
 to use the graver, and after lesser works he 
 engraved plates of Kaphael's ' Crucifixion ' 
 and ' Transfiguration ' — the latter work of 
 great excellence. Some English travellers, 
 with whom he was acquainted, then induced 
 him to come to England to engrave the car- 
 toons, and after nearly 25 years' residence 
 in Eome, he left that city and arrived in 
 London in the summer of 1711. He applied 
 himself at once to raise the funds for this 
 undertaking, which he commenced in the 
 following Easter, upon a subscription of 
 four guineas for the set, and with the pa- 
 tronage of Queen Anne, who assigned him 
 an apartment at Hampton Court. He was 
 in his 55th year, and hopeless of com- 
 pleting the work with his own hand, he 
 availed himself of the assistance of two 
 engravers whom he brought over from 
 Paris, and with this help ho w^as enabled, 
 in April 1719, to present a complete set of 
 the work to George L, who, in the following 
 year, conferred on him the honour of knight- 
 hood. He had passed his best days before 
 he even began the work. He must have 
 been much helped by inferior assistants, 
 and his cartoons do not rank with his earlier 
 productions. While in England he painted 
 some portraits, but did not meet with much 
 success. His eyesight had failed. In 1723 
 he sold his collection of drawings, and in the 
 next year returned to Paris, where he died 
 in 1746, aged 89. 
 
 D 0 K R E L L , Edmund, water-colour 
 painter. Born at Warwick in 1778, and was 
 brought up by his uncle, who had a good 
 medical practice there, and intended him for 
 his own profession, but yielded, however, 
 to his love for drawing and etching, and 
 assisted him to study art. He soon attained 
 some proficiency, and for many years prac- 
 tised in London as a water-colour painter. 
 He was an occasional exhibitor at the Aca- 
 demy from 1807 to 1828. He contributed 
 to the Water-Colour Society in 1809 as 
 ' fellow exhibitor,' and the following year 
 
 as a member. In 1814 he seceded from the 
 Society, but sent^some drawings, 1816-18, 
 as an outside exhibitor. He painted land- 
 scape scones, sometimes with effects of storm. 
 Among his contributions was a view of 
 Eanelagh Gardens. He died in London in 
 1857, in his 80th year. 
 
 DOUGHTY, William, painter and en- 
 graver. Was born at York, and in 1775 
 became, on the introduction of the poet 
 Mason, the pupil of Sir Joshua Reynolds, 
 with whom, and in his house, ho continued 
 for three years. He then went to Ireland, 
 and though possessed of good ability and 
 recommended by Sir Joshua, did not suc- 
 ceed. He returned to London greatly 
 dispirited, and in 1779 lived in Little Titch- 
 field Street, Cavendish Square. He prac- 
 tised for a short time in his native city, and 
 in 1780 sot sail for Bengal, accompanied by 
 a servant girl he had just before married 
 from Reynolds's house. The vessel was 
 captured by the combined French and 
 Spanish squadrons, and he was carried into 
 Lisbon, where he died. He exhibited a 
 good three-quarters portrait of Reynolds in 
 1778, and in the following year a ' Circe,' 
 but is best known by his mezzo-tints after 
 Reynolds, and some others, which are very 
 effective and artist-like. He also left a few 
 etchings. 
 
 DOUGLAS, William, miniature painter. 
 He was brought up in Edinburgh, and was 
 a pupil of Robert Scott, the engraver. He 
 practised with great ability as a miniature 
 painter about 1825. 
 
 DOY/NES, Bernard, portrait painter. 
 He practised in London, and occasionally 
 in the provinces. He was a member of the 
 Incorporated Society of Artists in 1766, and 
 appears as an exhibitor at the Royal Aca- 
 demy in 1770, continuing till 1775, when 
 he ceased to exhibit, and died shortly after. 
 He tried landscape as well as portraits, but 
 his works were without merit. 
 
 DOWNMAN, John, K.'R.A.., portrait and 
 subject painter. He was born in Devonshire, 
 and' coming early to London, was the pupil 
 of Benjamin West, P.R.A. He studied in 
 the schools of the Royal Academy. He 
 first exhibited with the Free Society of 
 Artists in 1767, and in 1770 sent to the 
 Academy Exhibition a kit-cat portrait of ' A 
 Lady at Work,' followed by another portrait 
 in 1772, and in the next year by * The Death 
 of Lucretia.' In 1 777 he was practising as a 
 portrait painter at Cambridge, and in the 
 two succeeding years exhibited small por- 
 traits and subject pictures. He then re- 
 turned to London, and up to 1802 continued 
 to contribute a large number of portraits, 
 with an occasional domestic subject, to the 
 exhibition. In 1795 he was elected an as- 
 sociate of the Academy. He then visited, 
 in 1806, Plymouth. In 1807-8 he practised 
 
 125 
 
DOY 
 
 DUB 
 
 at Exeter, and after some years' stay in Lon- 
 don, was for about two years, 1818-19, at 
 Chester, continuing to exhibit the same class 
 of subjects. He died at Wrexham, Denbigh- 
 shire, December 24, 1824. His portraits, 
 which are very numerous, are drawn with 
 the pencil, and a little tint used. They are 
 frequently in profile, correct, but hard. 
 His compositions were in water-colours, and 
 though weak, were much esteemed. He 
 painted ' Kosalind ' for the Shakespeare Gal- 
 lery. His portrait-group of Miss Farren and 
 Mr. King, in character, is engraved, as are 
 some other of his works. 
 
 DOYLE, John, caricaturist (known as 
 • H. B.'). Was born of a respectable family 
 in Dublin, and, fond of art, became a student 
 in the Dublin Society's Schools. He soon 
 gained notice as a portrait painter, and about 
 1822 came to London, and between 1825-35 
 occasionally exhibited a portrait at the Aca- 
 demy, but from the difficulty which he ex- 
 perienced in making a connection as a por- 
 trait painter, he was led to lithograph and 
 publish likenesses of some of the most pro- 
 minent of the public characters of the day. 
 They became popular, and gaining thus a 
 power of seizing with his pencil the promi- 
 nent peculiarities of face and action, he was 
 led to caricature. His drawing was stiff and 
 formal, wanting in vigour and abandon. His 
 subjects were political, always treated with 
 a gentlemanly feeling of propriety, never 
 descending to any approach to vulgarity. 
 He was, for the eventful period from 1829 to 
 1840, recognised as the caricaturist of the 
 day, the events of which he doubtless in some 
 way influenced by his graphic comments. He 
 died January 2, 1848, aged 70. 
 
 DRAKE, Nathan, portrait painter. He 
 was son of a vicar of the Cathedral at York, 
 in which city and at Lincoln he chiefly prac- 
 tised. He exhibited with the Society of 
 Artists, of which he was a member, between 
 1760-80, and among his contributions were 
 — 'A Family in little,' views of Seats in 
 Yorkshire, subjects from Thomson's ' Sea- 
 sons,' 'A Madonna and Child.' He pub- 
 lished, in 1751, 'A View of the Town of 
 Boston,' engraved by Muller. 
 
 DRAPENTIERE, John, engraver. Sup- 
 posed to have been born in France. He re- 
 sided in London towards the end of the 
 17th century, and practised as an engraver. 
 There are some neatly engraved portraits 
 and frontispieces by him, but they are badly 
 drawn. He also etched some portraits, one 
 of which is dated 1691. A satirical print of a 
 lady shaving a gentleman is also his work. 
 
 DRAX, Miss, subject painter. Made some 
 drawings and designs in the last quarter of 
 the 18th century. One of her designs is en- 
 graved by Tomkins, and printed in colours. 
 
 DROESHOUT, John, \ engravers, 
 
 DROESHOUT, Martin, / They re- 
 126 
 
 sided in London about the middle of the 
 17th century, and were employed by the 
 booksellers, chiefly upon portraits and 
 frontispieces, which have little merit. 
 
 DRUELL, John, architect. Brought up 
 to the Church. He was the joint architect 
 of All Souls College, Oxford, commenced in 
 1437, and was employed as surveyor and 
 architect by Archbishop Cliicheley. He 
 afterwards became archdeacon of Exeter. 
 
 DRUMMOND, Samuel, A.R.A., portrait 
 and history painter. He was born in 
 London, December 25, 1763. His father 
 fought for the Pretender in 1745, and was 
 for some time obliged to leave England. 
 The son, at the age of 14, ran oflf to sea, 
 and was in the service for six or seven 
 years. Then, having fostered some love of 
 art, he determined to try painting. He first 
 drew portraits in chalk, afterwards in oil, 
 but without having had any instruction. 
 Gaining some facility, he was engaged to 
 draw for the ' European Magazine,' on which 
 he was employed for several years. He first 
 exhibited at the Academy in 1791. In 1793 
 he sent two sea-views, with some portraits ; 
 in 1801, ' The Woodman ; ' in 1804, 'The 
 Drunken Seaman Ashore' and ' Crazy Jane.' 
 These works gained him some repute, and 
 in 1808 he was elected an associate of the 
 Royal Academy, and was afterwards ap- 
 pointed curator of the painting school. He 
 painted a 'Battle of Trafalgar ' and a 'Death 
 of Nelson,' which were engraved ; and on 
 a large canvas, ' Admiral Duncan receiving 
 the Sword of the Dutch Admiral De Winter,' 
 a commission from the directors of the Bri- 
 tish Institution, who presented it to Green- 
 wich Hospital. He continued to exhibit 
 both at the Academy and the British Insti- 
 tution, where he received a premium of 50?. 
 in 1827. His later works were chiefly sacred 
 subjects and from the poets. He died in 
 August 1844. His early m.anner was marked 
 by a neat execution, but he grew careless in 
 his finish, and his colour was crude and 
 chalky. In the National Portrait Gallery 
 the portraits of Mrs. Fry and Sir Isambard 
 Brunei are by him. 
 
 DRURY, Susannah, landscape painter. 
 Practised about the middle of the 18th 
 century. Vivares engraved 'The Giant's 
 Causeway ' after her. 
 
 DUBOIS, Edward, landscape painter. 
 Was born at Antwerp in 1622, and studied 
 there under a landscape painter. He passed 
 eight years in Italy, and was employed by 
 the Duke of Savoy. He then came to Eng- 
 land in the reign of William III., and settled 
 here, practising landscape, and occasion- 
 ally history. He died, aged 77, in 1699, and 
 was buried at St. Giles's Church, London. 
 
 DUBOIS, Simon, portrait painter. 
 Younger brother of the foregoing. Was a 
 pupil of Philip Wouvermans, He came to 
 
DUB 
 
 DUN 
 
 England in 1685, and commenced practice 
 as a portrait painter. He excelled in battle- 
 pieces, and afterwards painted with great 
 minuteness figures, horses, and cattle. Ho 
 was an imitator of the manner of others, 
 and sold his pictures under assumed names, 
 several of them as originals by the Itidian 
 masters. He lived in Co vent Grarden, with 
 his brother, in a miserly way, both heaping 
 up their gains together. On his brother's 
 death he became acquainted with Vande- 
 velde, and married his daughter. He died 
 in May 1708, the year after his marriage, 
 and was buried at St. Giles-in-the-Pields. 
 He left his hoarded money and a large col- 
 lection of pictures to his widow. He painted 
 the portrait of the Lord Chancellor Somers, 
 and many distinguished persons sat to him. 
 There is a whole-length portrait by him of 
 Archbishop Tenison at Lambeth Palace. 
 
 DU BOSC, Claude, engraver. Was 
 born in France, and brought to England by 
 Dorigny in 1712, to assist in engraving the 
 cartoons, but left him upon some difference, 
 and engaged to engrave them himself for 
 the publishers. He also undertook to en- 
 grave the Duke of Marlborough's battles, 
 and, with the assistance of Baron and 
 Beauvais, whom he brought from Paris, 
 completed them in 1717. He then set up 
 as a printseller, and in 1733 published an 
 English translation of Picart's 'Religious 
 Ceremonies,' with illustrations, part of 
 which he engraved himself. He also en- 
 graved some plates after eminent masters, 
 the best of which was ' The Continence of 
 Scipio,' after Nicholas Poussin. His drawing 
 of the figure, particularly the nude form, 
 was weak and incorrect ; his style black and 
 heavy. 
 
 DUDLEY, Thomas, engraver. He was 
 born about 1634, and was esteemed one of 
 Hollar's best pupils. In style he closely 
 imitated his master. He etched some good 
 plates, and his best work was a set of etch- 
 ings, after Barlow, for the ' Life of ^sop.' 
 
 DUFFIELD, William, still-life fainter. 
 He was born and educated at Bath, where 
 his father was the proprietor of the Eoyal 
 Union Library. When a boy he was fond 
 of drawing, and was placed as a pupil with 
 G-eorge Lance, and studied in the schools of 
 the Royal Academy. For a time he prac- 
 tised portrait painting at Bath, sending 
 from thence, in 1849, a fruit-piece, his first 
 contribution to the Academy Exhibition, and 
 in 1856 a similar work. He then studied 
 for a season at Antwerp, and in 1857 settled 
 at Bays water, and continued with increas- 
 ing reputation to exhibit at the Academy 
 and in Suffolk Street. He painted dead game, 
 flowers, and still-life with great ability, and 
 was of much promise. He had lost the sense 
 of smell, and painting in his room from a dead 
 deer, was insensible to its dangerous state of 
 
 putrefaction, which caused an illness, of 
 which he died September 3, 1863, aged 46. 
 
 DUFFIN, Paul, jportrait painter. His 
 father kept a mad-house in Chelsea. He 
 for some time towards the middle of the 
 1 8th century practised as an itinerant artist, 
 and painted several portraits in the neigh- 
 bourhood of Canterbury; afterwards he bo- 
 came a picture-cleaner and dealer. There 
 is a ' Country Wake ' painted and etched by 
 him, but it is entirely founded upon Teniers. 
 He was living about 1755. 
 
 DU GUERNIER, Lewis, engraver and 
 draftsman. Born at Paris in 1677. Was 
 a pupil of De Chatillon. He came to Eng- 
 land in 1708, and greatly improved by his 
 studies in the Artists' Academy, of which ho 
 was chosen^ the director, and continued in 
 that office till his death. His chief employ- 
 ment was in engraving book frontispieces. 
 He assisted Du Bosc in engraving the Duko 
 of Marlborough's battles ; engraved the 
 portrait-heads of the Duke and Duchess of 
 Queensborough, after Kneller, and a ' Lot 
 and his Daughters,' after Caravaggio. He 
 never attained much skill with his graver, 
 but he was a good draftsman, and some 
 small figures engraved by him are of great 
 merit. He died of smallpox at the age of 
 39, on September 19, 1716. 
 
 DUNCAN, Thomas, R.S.A., A.R.A., his- 
 tory and portrait jpainter. Was born at Kin- 
 claven, Perthshire, May 24, 1807. While 
 at school he painted the scenery for the play 
 of 'Rob Roy,' which was got up by his 
 schoolfellows, and had a desire to be an 
 artist, but his parents placed him in the office 
 of a writer to the signet, whose profession 
 they deemed more advantageous. When ho 
 had finished his engagement, and was in his 
 20th year, his desire still prevailed, and he 
 went to Edinburgh, and entering the Scottish 
 Academy made rapid progress in his ele- 
 mentary art studies. His early works — ' Sir 
 JohnFalstaff' and 'Sweet Anne Page' — hav- 
 ing gained him a reputation in Edinburgh, ho 
 was chosen a member of the newly-founded 
 Royal Scottish Academy in 1830. He ex- 
 hibited at the Royal Academy, London, in 
 1840, his picture of 'Prince Charles Edward 
 and his Highlanders entering Edinburgh 
 after the Battle of Preston Pans;' in 1841, 
 his ' Auld Robin Gray;' in 1842, his 'Deer- 
 stalkers;' and in 1843 he was elected an 
 associate of that Institution. He after- 
 wards painted ' Prince Charles asleep, con- 
 cealed, after CuUoden.' The above two 
 pictures of Prince Charles, which are his 
 best productions, were well engraved, and 
 confirmed his reputation. His last exhibited 
 works were in 1844 — a 'Cupid' and 'The 
 Martyrdom of John Brown of Priesthill, 
 1 685.' He was attacked by a tumour affect- 
 ing the brain, of which he died at Edin- 
 burgh, May 25, 1845, aged 38, leaving 
 
 127 
 
DUN 
 
 a widow and family without provision. 
 His works show considerable ability in 
 drawing, composition, and colour, but his 
 premature death prevented the full develop- 
 ment of talents which promised still higher 
 things. 
 
 DUNCANNON, Viscount, amateur. 
 Painted in water-colours. Four views by 
 him are engraved in Angus's ' Views of the 
 Seats of the Nobility and Grentry in Great 
 Britain,' commenced in 1787. He died in 
 1793. 
 
 DUNKAKTON, Egbert, mezzo-tint en- 
 graver. Born in London in 1744. He was 
 a pupil of Pether, and in 1762 was awarded 
 a premium by the Society of Arts. He first 
 commenced as a portrait painter, and exhi- 
 bited portraits at the Spring Gardens Ex- 
 hibitions in 1768-69, and at the Koyal 
 Academy, commencing in 1774 — portraits 
 in crayons, small whole-lengths, theatrical 
 portraits, and others, discontinuing to ex- 
 hibit after 1779. But his chief art was as 
 a mezzo-tintist, in which he was rarely sur- 
 passed. He engraved portraits after Key- 
 nolds, West, Mortimer, Pether, and some 
 historical subjects — ' The Disciples at 
 Emmaus,' 'Joseph's Cup found in Benja- 
 min's Sack,' ' Joseph sold by his Brothers,' 
 * The Interpretation of the Dream.' He 
 died towards the end of the century. 
 
 DUNSTALL, John, emgraver. He prac- 
 tised in the reign of Charles IL, and lived 
 in the Strand, where he taught drawing. 
 He designed, engraved, and etched a set of 
 prints on natural history — birds, beasts, 
 flies, worms, fruit, and flowers, which is 
 dated 1662. He engraved, in the manner 
 of Hollar, portraits and frontispieces for 
 books, and portraits of Mary of Modena 
 and of King William and Queen Mary. 
 
 DUNTHOENE, John, 'portrait painter. 
 Practised as a painter and draftsman at 
 Colchester in the latter part of the 18th 
 century, and exhibited a portrait at the 
 Academy in 1784. Several of his works 
 were engraved, among them ' Stella ' and 
 the companion ' Eosina,' and a ' Catherine.' 
 
 DUNTHOENE, John, subject painter. 
 Son of the above ; practised at Colchester. 
 He first exhibited at the Academy in 1783, 
 and continued an exhibitor up to 1792. 
 His works were 'Death Preaching,' 'A 
 Smithfield Bargain,' ' The Hypochondriac 
 and the Lunatic,' 'Eustic Dinner,' 'A 
 Farmer and his Family of the last Century,' 
 and others of the same class. 
 
 D U P 0 N T , Gainsborough, portrait 
 painter. Was born in 1767, and was the 
 maternal nephew of Gainsborough, E.A., in 
 imitation of whom he painted some land- 
 scapes. He exhibited for the first time at 
 the Eoyal Academy, in 1790, a 'Cottage 
 Girl,' with five portraits, and continued an 
 exhibitor up to 1795. His chief employ- 
 
 ment was in portraiture. His principal 
 work is a group of the masters of the 
 Trinity House, for which he received 500/., 
 now in the court-room of that corporation. 
 His portraits partook of the manner of his 
 uncle. He died at his house in Fitzroy 
 Square, after a few days' illness, January 20, 
 1797. 
 
 DUPONT, Peter, engraver. Born in 
 1730, in Paris, and completed his study 
 there. He then came to London, where he 
 settled. He engraved, after Gainsborough, 
 a portrait of General Conway and of Colonel 
 St. Leger, and other works. He died in 
 London about the end of the century. 
 
 DUPPA, EiCHARD, draftsman and copyist. 
 Practised in London. Towards the end of the 
 18th century studied some time in Eome, and 
 copied some of the finest heads in Michael 
 Angelo's 'Last Judgment.' These he pub- 
 lished under the title of ' Twelve Heads from 
 the Last Judgment of Michael Angelo ;' and 
 afterwards, in 1803, ' Heads from the Fresco 
 Paintings of Eafaello in the Vatican.' In 
 1807 he published the 'Life of Michael An- 
 gelo,' with 50 etched plates, and in 1816 
 a ' Life of Eafaello Sanzio d'Urbino.' He 
 also published several works unconnected 
 with art. 
 
 DUE ANT, J. L., engraver. Practised in 
 London towards the end of the 1 7th century. 
 He was chiefly employed upon portraits and 
 ornamental frontispieces for books. There 
 is a portrait by him of Mary, Queen of 
 William III. 
 
 DUEANT, Miss Susan, sculptor. She 
 was of a respectable Devonshire family, and 
 flrst practised art as an amateur, but her 
 success led her to take it up as a profession. 
 She was a frequent exhibitor of busts at 
 the Eoyal Academy, commencing in 1847, 
 and occasionally sent also a group — in 1850, 
 ' Statue of a Girl ;' in 1 856, ' Statue of Eobin 
 Hood ;' in 1858,' Negligent Watch -boy catch- 
 ing Locusts;' in 1863, 'The Faithful Shep- 
 herdess,' commissioned by the corporation 
 of London; in 1866, 'Constance,' from 
 Chaucer's ' Man of Lawe's Tale.' She was 
 much employed by the Queen, and modelled 
 busts and medallions of the royal family. 
 The Princess Louise was her pupil. She 
 was a pupil of Baron H. de Triqueti, and 
 died in the prime of life, after a few days' 
 illness, when on a visit at his house in 
 Paris, January 1, 1873. 
 
 DUENO, James, history painter. Born 
 about 1750. Was the son of a brewer at 
 Kensington. He was pupil of Casali, an 
 Italian painter who visited England ; and 
 he also received some instruction from West, 
 P.E.A., whom he assisted in preparing du- 
 plicates of his works. He was a member of 
 the Incorporated Society of Artists in 1766, 
 and contributed classic subjects to the Spring 
 Gardens Exhibitions in 1768-69 and 1772. 
 
DUS 
 
 DTC 
 
 Commencing his art as a history painter, he 
 gained premiums at the Society of Arts in 
 1766, 1770 and 1773, the last of 100 guineas. 
 He assisted Mortimer in painting the ceiling 
 at Brocket Hall. In 1774 he went to Eome, 
 where from that time he chiefly resided, 
 and died of putrid fever, September 13, 
 1795. He painted at Eome two pictures for 
 Boydell's ' Shakespeare,' but they are very 
 poor productions, saying little for his art. 
 
 DUSIGN, , portrait painter. His 
 
 father held the rank of colonel in the regu- 
 lar army. He became a pupil of Sir J oshua 
 Keynolds, and for a time ^practised portrait 
 painting at Bath, where his family dwelt. 
 He went to Eome for his improvement in 
 art, and soon after died there of consump- 
 tion in 1770. 
 
 DUVAL, Philip, history painter. Born 
 in France ; was a pupil of Charles Le Brun. 
 Settled in England in the reign of Charles II. 
 and practised several years in London. 
 He was much encouraged, and painted in 
 1672 the celebrated Mrs. Stuart, afterwards 
 Duchess of Eichmond, as ' Venus receiving 
 from Vulcan armour for her Son.' He had 
 some knowledge of chemistry, and lost his 
 small fortune in its pursuit. His art falling 
 off at the same time, he was allowed 50^. a 
 year by Mr. Boyle, on whose death he fell 
 into great distress, and his mind gave way. 
 He died in London in 1709, and was buried 
 at St. Martin's Church. 
 
 DUVAL, C. A., portrait and subject 
 painter. He practised at Manchester, where 
 he was known and esteemed. From 1836, 
 when he first exhibited a portrait at the 
 Eoyal Academy, he was with some inter- 
 missions an exhibitor till his death. In 
 1842 he exhibited ' The Giaour;' in 1855, 
 
 * Columbus in Chains ;' in 1858, ' The Dedi- 
 cation of Samuel to the Lord;' in 1861, 
 
 * The Morning Walk ; ' at the same time 
 also sending portraits. He died suddenly, 
 June 15, 1872, aged 64. 
 
 DWYEE, John, architect. He had from 
 1845 exhibited occasionally at the Academy 
 designs for interior arrangements and fit- 
 tings, and was at once distinguished as one 
 of the successful competitors in the designs 
 for the Government offices in 1857. But 
 he died suddenly, of sea-sickness, on land- 
 ing at Dover, August 31, 1858, aged 39. 
 
 DYAS, Edw^ard, wood engraver. He was 
 a clever, self-taught artist, who lived near 
 Madeley, Shropshire. He executed the 
 woodcuts for the illustration of 'Alexander's 
 Expedition,' a poem by Dr. Beddoes, printed 
 in 1792, but not published. 
 
 DYCE, William, E.A., history "painter. 
 He was the son of a physician at Aberdeen, 
 where he was born in 1806; educated at the 
 Marischall College, he took there his M.A. 
 degree, and early distinguished himself 
 by his attainments. Led by a love of art, 
 
 when in his 17th year he entered the schools 
 of the Eoyal Scottish Academy; afterwards 
 he came to London and became a proba- 
 tionary student at the Eoyal Academy, but 
 did not like the course of study, and before 
 the ago of 20 went to Italy and studied the 
 works of the great masters at Eome and 
 Florence. In 1826 ho returned to Scotland, 
 and in 1827 exhibited his first picture at 
 the Eoyal Academy, 'Bacchus nursed by 
 the Nymphs.' He. soon after revisited the 
 Continent to mature his earlier studies. He 
 sent home for exhibition a ' Madonna and 
 Child,' which gained much notice, and after 
 about twoyears returned and settled in Edin- 
 burgh. Here he continued about eight j^ears, 
 devoted in spirit to historic art, in which 
 he ^ did not find encouragement, and prac- 
 tising chiefiy as a portrait painter. In 1835 
 he was elected an associate of the Eoyal 
 Scottish Academy. 
 
 He had paid much attention to ornamen- 
 tal design, which he had studied in the 
 palaces and churches of Italy; and in 1837 
 published a pamphlet on 'Schools of Design 
 as a part'of State Education.' The considera- 
 tion of the president of the Board of Trade 
 was at the time directed to the subject, and 
 he was offered and accepted the superin- 
 tendence of the schools established by the 
 Government; and was in the first place 
 commissioned to investigate and report upon 
 the Continental systems of art education. 
 He made a satisfactory report, which was 
 printed as a parliamentary paper. In 1842 
 his office was changed to that of inspector 
 of Provincial Art Schools, which he re- 
 signed in 1844, and was then made a mem- 
 ber of the Council of the Government 
 Schools, and gave his useful aid till 1848, 
 when he finally resigned. He had failed 
 to carry out his views for the establishment 
 of schools of design, and the successful 
 completion of his work was left to others. 
 
 While engaged in such matters he had 
 continued to exhibit, chiefly portraits, at 
 the Academy; but in 1836 his 'Descent of 
 Venus' attracted much notice, and in 1844 
 he was elected an associate of the Academy. 
 He had also been one of the successful 
 competitors in the Fresco Exhibition in 
 Westminster Hall, and employed by the 
 Eoyal Commission he completed in 1845 the 
 first fresco, ' The Baptism of St. Ethelbert,' 
 on the walls of the palace of the Legislature. 
 For this style of decoration he was pecu- 
 liarly fitted by his previous studies and the 
 character of his art, and was deemed very 
 successful. In 1848 he received the im- 
 portant commission to decorate the Queen's 
 Eobing-room with designs from the legend 
 of King Arthur. Of these he only lived to 
 complete five, one principal and four lesser 
 subjects, of unequal dimensions. The first, 
 ' The Admission of Sir Tristram to the 
 
 129 
 
DYC 
 
 EAR 
 
 Fellowship of the Round Table/ typifies 
 Hospitiility; the second, 'The Vision of 
 Sir Galahad and his Company/ Religion 
 or Faith; the third, 'Sir Gawain swear- 
 ing to be merciful, and never to be against 
 the Ladies,' Mercy ; the fourth, ' King Arthur 
 unhorsed, spared by Sir Launcelot,' Gene- 
 rosity ; the fifth, ' Sir Tristram harping to 
 La Reine Isonde/ Courtesy. 
 
 During the whole of his career he had con- 
 tinued to exhibit easel pictures at the Royal 
 Academy. Of these, his peculiar art will 
 be best remembered by his 'King Joash 
 shooting the Arrow of Deliverance,' 1844 ; 
 and his sketch for the fresco, ' Neptune as- 
 signing to Britannia the Empire of the Sea,' 
 1847, painted for the Queen at Osborne 
 House ; and of his later works, by his ' J acob 
 and Rachel,' 1853 ; ' St. John leading Home 
 the Virgin,' 1860; and 'George Herbert, of 
 Bemerton,' 1861. He also painted a series 
 of frescoes in the church of All Saints, Mar- 
 garet Street, Cavendish Square, completed 
 in 1859, in which he has strictly followed 
 out the theories of his art. It is greatly to 
 be lamented that he did not live to complete 
 his great epic legend of King Arthur, the 
 delay upon which, and the controversy to 
 which it gave rise, no doubt accelerated his 
 death, which happened on February 15,1864. 
 He had passed the latter part of his life at 
 Streatham, and was buried at the parish 
 church. 
 
 He drew the figure correctly and with 
 grace, but without much originality of style, 
 founding himself rather on the old masters 
 he had made his study. His colour was 
 positive,not graced by the refinements of tint, 
 but was well suited to the character of his art. 
 His works were more learned than original, 
 marked rather by refinement of taste than 
 an appeal to the feelings. To his great at- 
 tainments in art he added the accomplish- 
 ments of a scholar and of a musician well 
 skilled in the science of music. He published, 
 in 1842-43, 'The Book of Common Prayer, 
 
 with the Ancient Music set to it at the Re- 
 formation,' for which the King of Prussia sent 
 himagold medal; 'An Essay on Magnetism/ 
 which gained him the Blackall prize at Aber- 
 deen; in 1844,'TheTheory of the Fine Arts ;' 
 in 1851, ' Notes on Shepherds and Sheep : a 
 Letter to J. Ruskin ; ' in 1853 ' The National 
 Gallery, its formation and management ; ' in 
 1858, ' On the Connection of the Arts with 
 General Education ' and ' On the Position of 
 Art in the proposed Oxford Examinations.' 
 
 DYER, John, amateur. Was bom at 
 Aberglasney, in Carmarthenshire, in 1700. 
 He was the son of a lawyer, and was edu- 
 cated at Westminster School, and intended 
 for the law ; but his inclinations led him 
 to the arts, for which he was professionally 
 instructed, and wandered through South. 
 Wales and the adjacent counties, painting 
 the ancient ruins and picturesque features 
 of the scenery. In 1727 he distinguished 
 himself as a poet by his beautifully descrip- 
 tive poem of ' Grongar Hill,' and about 
 that time went to Italy, and again his stu- 
 dies of nature were described with his pen, 
 instead of his pencil, in his poem of 'The 
 Ruins of Rome,' 1740. Yet he spent much 
 time in sketching in the environs of Rome 
 and Florence. On his return to England 
 he entered the Church, and held the living 
 of Calthorpe, in Leicestershire, which he 
 exchanged for Belchford, in Lincolnshire, 
 and was afterwards presented to Co^ 
 ningsby, where, in 1757, he published ' The 
 Fleece,' his last -^ork. He died of con- 
 sumption, July 24, 1758. Several of his 
 landscapes exist. 
 
 DYER, Charles, architect. Was born 
 1794, the son of a surgeon at Bristol. His 
 principal works are at Clifton, where he 
 built the Victoria Rooms, the Bishop's Col- 
 lege, and the Female Orphan Asylum. Ho 
 was also the architect of several churches 
 in the AVest of England, and in London of 
 the hall of the Dyers' Company, He died 
 January 13, 1848. 
 
 E 
 
 EAGLES, The Rev. John, amateur. He 
 was a clever painter of water-colour land- 
 scapes, who resided in Bristol, and was in 
 1809 an unsuccessful candidate for admis- 
 sion into the Water-Colour Society. He had 
 the reputation of being a good etcher, and 
 was the author of a paper, ' The Sketcher,' 
 published in ' Blackwood's Magazine.' He 
 also -wTote ' Felix Farley's Rhymes,' a maca- 
 ronic satire on the inhabitants of Bristol, 
 and ' The Bristol Riots : their Causey, Pro- 
 gress, and Consequences.' 
 130 
 
 EARLE, A., marine and landscape 
 painter. He practised in London, and first 
 exhibited at the Academy, in 1806, 'The 
 Judgment of Midas ;' in the following year, 
 ' The Battle of Poictiers ;' in 1 81 1 and i812, 
 'Banditti/ in 1814, 'Man-of-war's Boats 
 cutting out a French Barque.' In 1815 he 
 exhibited for the last time, his subject ' The 
 Harbour and Town of Calais.' Two views 
 by him have been engraved — ' Malta, with 
 the Harbour,' aftd the ' City and Harbour of 
 Valetta/ 
 
EAR 
 
 EAS 
 
 EARLOM, Richard, engraver. He was 
 
 son of the vestry clerk of St. Sepulchre, 
 London, and born there 1743. In 1757 he 
 was awarded a premium by the Society of 
 Arts. He showed an early taste for art, 
 and made copies of Cipriani's allegorical de- 
 signs on the panels of the lord mayor's State 
 carriage. This led to his becoming the 
 pupil of Cipriani. He soon acquired a power 
 of drawing, and mastered the technicalities 
 of engraving. Alderman Boy dell employed 
 him to make drawings from the Houghton 
 collection, and afterwards to engrave the 
 chief of them in mezzo-tint. In this branch 
 of his art he was self-taught, and introduced 
 many improvements in the mode of execu- 
 tion. 
 
 He produced some etchings and some plates 
 in the chalk manner, but his chief excel- 
 lence is as a mezzo-tint engraver. His works 
 show great technical skill, and are marked 
 by brilliancy, spirit, and truth ; powerful, 
 yet delicate in a high degree, the drawing 
 good, and the imitation of the master accu- 
 rate ; yet, possessing these high qualities, 
 they want keeping, the lights being too much 
 scattered ; and they fail in the textures, which 
 are not in all cases natural. He engraved 
 subjects, landscapes and portraits, both 
 after the old masters and after his contem- 
 poraries, and was noted for his groups of 
 flowers after Van Huysam and Van Os. His 
 * Liber Veritatis,' comprising mezzo-tint 
 engravings after 200 drawings by Claude, 
 published in 1777, is well known. 
 
 He possessed a moderate property, yet he 
 quietly pursued his profession, retiring only 
 from practice towards the end of his long 
 life. He died in Exmouth Street, Clerken- 
 well, on October 9, 1822, in his 80th year, 
 and was buried in the lower burial-ground 
 of St. Mary, Islington. His son, William 
 Earlom, showed great talent for art, but 
 died at the age of 17, in 1789. 
 
 EARLOM, Richard, engraver. He is said 
 to have been born in 1728, in Somersetshire, 
 and to have died in 1794. He is mentioned 
 both by Joubert and Bassan as distinct from 
 the foregoing Richard Earlom. 
 
 EAST, Thomas, die engraver. He was a 
 pupil of Thomas Simon, the great medallist. 
 He was appointed engraver of the seals to 
 James II., and practised in London in the 
 latter half of the 17th century. 
 
 EASTLAKE, Sir Charles Locke,P.R. A., 
 historical painter. He was the son of a 
 lawyer of good standing at Plymouth, who 
 filled the office of judge-advocate and so- 
 licitor to the Admiralty, and was born in 
 that town November 17, 1793. He com- 
 menced his education at the Borough Gram- 
 mar School, and was then removed to the 
 Charter House, where he acquired a sound 
 education. While here he made up his mind 
 to be a painter, and wrote a boyish but 
 
 grave letter to his father explaining his fixed 
 intentions, which were probably influenced 
 by the career Hay don was then entering 
 upon. He had received some early instruc- 
 tions from Prout, and in 1809 became a stu- 
 dent in the Academy Schools, where he 
 worked industriously ; attended Sir Charles 
 Bell's anatomical lectures, and early culti- 
 vated a sound judgment. Supported by 
 an adequate allowance from his father, he 
 visited Paris, where he studied industriously 
 for some months. He then settled at Ply- 
 mouth, where he painted some portraits, and 
 when the deposed Emperor Napoleon was 
 brought into port there on board the 'Belle- 
 rophon,' he managed to paint a portrait of 
 him, surrounded by his officers, which gained 
 him notice, and by its sale assisted him in 
 1816 to set off for Italy and to extend his 
 tour to Greece. Taking Malta and Sicily 
 on his way home, he returned after nearly 
 twelvemonths' absence. 
 
 After only a temporary stay at Plymouth, 
 he visited the Low Countries and Germany, 
 and then went again to Rome, purposing 
 only to make a short stay ; but more and 
 more attracted by the love of Italian art, 
 and the facilities for study, from time to time 
 protracting his stay, he continued about 12 
 years. In 1823 he sent from Rome his first 
 contribution, comprising three views in that 
 city, to the Academy Exhibition ; in 1825, 
 * A Girl of Albano Reading a Blind Woman 
 to Mass,' and at once made himself known. 
 In his next work, exhibited in 1827, aiming 
 at the highest style in art, he represented 
 ' The Spartan Isadas rushing undraped 
 from the Bath to meet the Enemy,' and was 
 elected the same year an associate of the 
 Academy. This was followed in 1828 by 
 another important work, ' Pilgrims arriving 
 in sight of Rome,' which, with slight altera- 
 tions, he repeated several times. In 1829 
 he exhibited ' Byron's Dream ; ' in 1 830, ' Una 
 delivering the Red Cross Knight ;' and in 
 this and some works that followed, he aimed 
 to attain a richer style in his colour. 
 
 In 1830 he was elected a full member of 
 the Academy. During his long residence 
 at Rome he had become used to the customs 
 of the city, and had always been received 
 into the best society ; but on his election a 
 feeling of duty to his colleagues induced 
 him, though with great reluctance, to return 
 to England, and in the following year he had 
 settled in London, and exhibited two Italian 
 subjects, with his ' Hai'dee, a Greek Girl.' 
 In 1833 his ' Greek Fugitives ' was his prin- 
 cipal work; and in 1834, 'The Escape of 
 Erancesco di Eerrara,' with ' The Martyr ' 
 and some portraits. He was at this time, and 
 for the next few years, entirely devoted to 
 his art, painting chiefly Italian subjects, 
 with a few portraits. In 1839 he exhibited 
 his * Christ blessing littlo Children,' and ii^ 
 2 13J 
 
EAS 
 
 EDB 
 
 1841, * Christ weeping over Jerusalem.' 
 But he was now led to undertake some pub- 
 lic employments of high responsibility, but 
 of great interest and utility in the cause of 
 art, for which his varied acquirements, good 
 judgment, and kindly impartiality rendered 
 him peculiarly well fitted. 
 
 He was, in 1841, appointed secretary"tothe 
 Royal Commission for the decoration of the 
 Houses of Parliament ; in 1 842, the librarian 
 of the Royal Academy; in 1843, keeper of 
 the National Gallery; and in 1850 he was 
 elected the president of the Royal Academy 
 and received the honour of knighthood. 
 He had been subjected to some groundless 
 attacks, and had resigned his appointment 
 at the National Gallery in 1847 ; but on the 
 reorganisation of the management of that 
 Institution in 1855, he was appointed to the 
 newly-created office of director, with an an- 
 nual salary of 1,000^. In fulfilling this in- 
 vidious trust, he year by year journeyed on 
 the Continent to acquire pictures, and added 
 139 to the Gallery, including many fine works 
 of the early Italian school. While occupied 
 with these onerous engagements, and with 
 his literary works and investigations on the 
 principles of his art, he had little thought 
 or leisure for its practice. He exhibited in 
 1850 a replica of his ' Escape of Francesco di 
 Ferrara,' which combines some of the finest 
 qualities of his art, and has happily found 
 a place in the National Gallery. In the fol- 
 lowing years he contributed only three un- 
 important works, and after 1855 did not 
 again exhibit. 
 
 His constitution had long been weakly, 
 and broke down at Pisa, where he died De- 
 cember 24, 1865. His body was brought to 
 England. A public funeral, which the Royal 
 Academy proposed to give him, was declined 
 by his widow, and he was carried to his grave 
 in the Kensal Green Cemetery, surrounded 
 by his friends. He received the honorary 
 degree of D.C.L. at Oxford, was a chevalier 
 of the Legion of Honour, and an honorary 
 member of some foreign academies. As a 
 painter, he fell short in his maturity of the 
 early promise of his youth. His works have 
 great refinement of feeling and idea, beauty 
 of expression and graceful arrangement, but 
 were over-finished, and did not exhibit any 
 largeness of manner or execution. He seemed 
 unable to realise the promptings of his cul- 
 tivated genius. In office he was a painstak- 
 ing and conscientious administrator, anxious 
 to adapt the usefulness of the Academy over 
 which he presided to the wants of the time. 
 As a writer and critic, he was earnest in the 
 promotion of art and the interests of its pro- 
 fessors. His chief published works are — 
 
 * Materials for a History of Painting,' 1847 ; 
 
 * The Schools of Painting in Italy,' trans- 
 lated from Kugler, 1851 ; ' Kugler's Hand- 
 book of Painting,' edited with notes, 1855 ; 
 
 132 
 
 and to these may be added some writings 
 on subjects of passing interest, with re- 
 ports, and addresses to the students of the 
 Academy. 
 
 EBDON, Christopher, architect and to - 
 jpographical draftsman. He was one of the 
 early painters of tinted views, and a mem- 
 ber of the Incorporated Society of Artists 
 in 1766. He contributed to the Society's 
 Exhibitions in 1767 and 1770. An interior 
 view of Durham Cathedral by him was en- 
 graved and published in 1769. 
 
 ECCARDT (or Eckhardt), John Giles, 
 portrait painter. Born in Germany. Came 
 to England when young, and was the pupil 
 of J. B. Vanloo. He settled in London, 
 where he gained some reputation as a por- 
 trait painter. He painted Sir Robert Wal- 
 pole and his first wife, Catherine Shorter ; 
 Peg Woffington, in 1745; Dr. Middleton ; 
 and others. There were several whole- 
 lengths by him in the Strawberry Hill col- 
 lection. His works were carefully painted, 
 but showed little of the genius of a master. 
 Walpole addressed to him, in 1746, 'The 
 Beauties,' a little poem. His collection was 
 sold by auction at Langford's in 1770, and 
 he retired to Chelsea, where he died in 
 October 1779. 
 
 ECKSTEIN, John, modeller and 'portrait 
 painter. Was born in Germany ; studied 
 art in this country, and was a pupil of the 
 Royal Academy. In 1762 and in 1764 he 
 gained a premium at the Society of Arts for 
 a basso-rilievo in Portland stone. In 1770 
 he exhibited at the Academy portraits 
 modelled in wax, and in 1780 was an un- 
 successful competitor for the Academy gold 
 medal for a model of * Adam and Eve.' He 
 was employed by Mr. Carter, and carved 
 the two figures in basso-rilievo, which were 
 greatly admired by Flaxman, R.A., for the 
 Townshend monument on the south wall of 
 Westminster Abbey. He practised for a time 
 in Birmingham, and sent from thence, in 
 1792, portraits for exhibition at the Aca- 
 demy. In 1796 he resided in London, and 
 then exhibited * The Soldier's Return ' and 
 a portrait-group of a lady and children, both 
 paintings in oil. In 1798 he exhibited both 
 models and paintings, and these were his 
 last contributions. 
 
 EDEMA, Gerard, landscape painter. 
 Born at Friesland (or, as some state, at 
 Amsterdam) in 1652. He was a pupil of 
 Everdingen, and came to England in 1670. 
 He then made voyages to Norway, New- 
 foundland, and the British Colonies in 
 America, collecting subjects for his pictures. 
 He delighted in the wild scenery of rocks 
 and waterfalls. He could not paint the 
 figure, and was assisted by Wyck. He 
 lived some time at Mount Edgecumbe, and 
 painted many views in that neighbourhood. 
 He was intemperate in his habits, by which 
 
EDM 
 
 EDW 
 
 his early death, which took place at Kich- 
 mond in 1700, was accelerated. 
 
 EDMONSTONE, Egbert, subject painter. 
 Was born at Kelso, N.B., in 1795, of re- 
 spectable parents, and was apprenticed to a 
 watchmaker, but he was so attached to art, 
 that under many difficulties he found means 
 to pursue it. He brought his first works to 
 Edinburgh, and received such encourage- 
 ment that he was induced to come to London, 
 as a larger field in which to pursue his 
 studies, determined to follow art as his pro- 
 fession. He became a student at the Aca- 
 demy, and also received some assistance 
 from Harlow. He exhibited some portraits 
 at the Academy in 1818, and again in 1819, 
 when he managed to visit the Continent. 
 He remained abroad some years, diligently 
 following his studies in Eome, Naples, 
 Venice, Florence, and other cities. He re- 
 turned to London and commenced practice 
 as a portrait painter, exhibiting from 1821 
 to 1829 portraits and portrait-groups, but 
 his chief thoughts were directed to subject 
 pictures, works of imagination, into which 
 he introduced children with great truth and 
 grace. In 1830 he exhibited 'Italian Boys 
 playing at Cards.' He was in Italy a second 
 time in 1831-32, and on his return exhibited, 
 in 1833, ' Venetian Water-carriers,' and in 
 1834, some portraits of children. His works 
 were marked by a refined sentiment; the 
 composition and action of the figures treated 
 with much simplicity. His career seemed 
 one of much promise, but his constitution 
 had suffered under a severe attack of fever 
 at Rome. His health gave way. He tried 
 his native air, but without relief, and died 
 at Kelso, in his 40th year, on September 21, 
 1834. He painted at Rome, ' Kissing the 
 Chains of St. Peter.' His last work was 
 * The White Mouse.' 
 
 EDRIDG-E, Henry, A.R.A., miniature 
 painter. He was born at Paddington in 
 August 1769, the son of a tradesman in 
 St. James's, Westminster, who died young, 
 leaving a widow and five children with scant 
 provision. He showed an early attachment 
 to art, and at the age of 14 became the pupil 
 of William Pether, the mezzo-tint engraver 
 and landscape painter. Two years after the 
 expiration of his apprenticeship he was ad- 
 mitted a student of the Royal Academy, 
 and in 1786 gained the silver medal, and 
 with it the notice of Sir Joshua Reynolds, 
 who permitted him to make miniature copies 
 from his works. Prom this time he laid 
 aside engraving, and studying miniature 
 successfully, established himself as a por- 
 trait painter, and marrying, settled in 
 Dufour's Place, Golden Square. He first 
 exhibited at the Academy, in 1786, * The 
 Weary Traveller,' a miniature ; in 1803, 
 portraits of the King and the Queen. His 
 earliest works were on ivory, afterwards on 
 
 paper drawn with black-lead or Indian ink. 
 Then later he abandoned this method, and 
 drawing the figure in a slight, spirited 
 manner, finished the face of his sitter ela- 
 borately in water-colour. He had a great 
 feeling for landscape art, which he acquired 
 from a study of Hearne, whom he surpassed 
 in colour and power. In 1817, and again 
 in 1819, ho visited Franco and sketched 
 many picturesque subjects in Paris and the 
 Norman cities. In 1820 he exhibited some 
 of these drawings at the Royal Academy, 
 and was elected an associate the same year. 
 There are by him two small landscapes in 
 oil. He lost his daughter when in her 17th 
 year, and soon after his remaining child, a 
 boy of the same age. His constitution gave 
 way under this last blow; he died in 
 Margaret Street, Cavendish Square, where 
 he had resided during the previous 20 
 years, on April 23, 1821, and was buried 
 by his friend Dr. Monro, in Bushey Church- 
 yard. 
 
 EDWARDS, Edward, A.R.A., portrait 
 and subject painter. Was the son of a 
 chair maker and carver, and born in Castlo 
 Street, Leicester Square, March 7, 1738. 
 He had some ability for drawing, and 
 in 1764-65 received premiums at the 
 Society of Arts. He became a student in 
 the Duke of Richmond's Grallery and the 
 St. Martin's Lane Academy, and a member 
 of the Incorporated Society of Artists. For 
 some time he taught drawing in an evening 
 school to support himself and his widowed 
 mother, with a brother and sister. He was 
 successful in gaining three of the Society 
 of Arts' premiums, and was employed by 
 Alderman Boy dell in making drawings for 
 his publication of engravings from the old 
 masters. In 1770 he resigned his member- 
 ship with the Incorporated Society, and 
 first exhibited at the Academy, in 1771, 
 *The Angel appearing to Hagar and 
 Ishmael;' in 1773, 'Bacchus and Ariadne,' 
 followed by portraits, landscape and Shake- 
 speare subjects, continuing to exhibit to the 
 year of his death. In 1773 he was elected 
 an associate of the Royal Academy, and in 
 1788 was appointed teacher of perspective. 
 In 1775 he managed to visit Italy, it is 
 said with the assistance of Mr. Udney, by 
 whom he had been employed, and on his 
 return settled down in the practice of his 
 profession. He painted a subject from the 
 ' Two Grentlemen of Verona,' for the Shake- ' 
 speare Gallery, but his works were not of a 
 character to attract notice, and such success 
 as he had was due to persevering labour 
 rather than to genius. He possessed some 
 knowledge of architecture, and was a toler- 
 able musician and violin player. He pub- 
 lished 'A Treatise on Perspective' in 1803, 
 and ' Anecdotes of Painters,' a sort of sup- 
 plement to Walpole's work, by which alone 
 
 133 
 
ED W 
 
 EGA 
 
 he is now remembered ; also, in 1792, a 
 series of 62 etchings on various subjects. 
 Weakly in frame and in constitution, he 
 died December 10, 1806, and was buried in 
 old St. Pancras's Churchyard. A memoir 
 of him is prefixed to his 'Anecdotes of 
 Painters,' published after his death. 
 
 EDWAKDS, George, draftsman. Born 
 at Stratford, Essex, 1694. Was apprenticed 
 to a tradesman in London, but having a 
 distaste for his business, he managed to 
 get to Holland in 1716, and to improve a 
 feeling for art. Two years after he made 
 a voyage to Norway, and explored the rocks 
 and precipices, the haunts of numerous 
 birds in that arid region. He passed through 
 Paris on his return to London, and now, with 
 the materials he had collected, applied him- 
 self to the study of natural history, and 
 made coloured drawings of birds and 
 animals. In furtherance of this study he 
 went, in 1731, to Holland and Brabant. 
 His abilities led to his appointment, in 1733, 
 as librarian to the College of Physicians, 
 and he became, by means of the valuable 
 collections placed in his charge, one of the 
 most eminent ornithologists of his day. 
 His drawings give him a claim to a place 
 in this work; of these, above 900 were sold 
 to Lord Bute, about 1759, for 300^. In 1764 
 he completed a history of birds and animals, 
 and then in his 70th year, his sight failing, 
 he retired to Plaistow, in his native county, 
 and died there July 23, 1773, in his 80th 
 year. 
 
 EDWARDS, Sydenham, draftsman. 
 Born about 1768. He was an accurate 
 botanical and animal draftsman, his works 
 highly finished. He exhibited at the Aca- 
 demy, in 1792, a pair of goldfinches, and 
 continued to exhibit, but at distant inter- 
 vals, up to 1813, dogs, horses, birds, and 
 flowers. He attracted notice by his work 
 * Cynographia Britannica,' coloured engra- 
 vings of the various breeds of British dogs, 
 with observations on their properties and 
 uses, and became the first botanical drafts- 
 man of the time, constantly resorting to 
 nature. He drew for Rees's 'Encyclopaedia,' 
 the ' Elora Londinensis,' the ' Botanical 
 Magazine,' the ' Sportsman's Magazine,' 
 and in 1809 published, himself, 'Represen- 
 tations of 150 Rare and Curious ornamental 
 Plants.' He died at Queen's Elm, Brompton, 
 February 8, 1819, in his 51st year. 
 
 EDWARDS, William, bridge builder. 
 Born at Eglivysilan, Glamorganshire, in 
 1719, the son of a farmer, who died when 
 he was only 2 years old. He lived with 
 his mother on a small farm till he was 
 about 16, and showed a natural skill in 
 repairing the stone fences which are used in 
 that county; built some workshops and 
 mills, and then, with great reliance upon his 
 untaught skill, undertook the difficult task 
 134 
 
 of throwing a bridge over the Taaf, a river 
 that is subject to violent floods. His first 
 bridge, constructed in three arches, was 
 soon after its completion carried away by a 
 furious flood. He commenced a second 
 with one arch of 140 feet span, which in 
 the progress of the work sprung on the 
 crown, forcing out the key-stones ; not 
 daunted, however, he lightened the pressure 
 on the haunches of the arch by cylindrical 
 openings. It was completed in 1753, and 
 stands to our day a proof of the self-reliant 
 skill of the builder. At the time the arch 
 had the greatest known span, and intro- 
 duced its able constructor at once to notice 
 and employment. He built some other 
 bridges in Wales, and greatly improved the 
 art of construction. He was called in his 
 own locality ' the bridge builder.' 
 
 He did not learn English till he had 
 passed his 20th year. He studied the man- 
 ner of hewing and dressing his stones from 
 the masonry of the old Welsh castles. He 
 was a man of great probity, was of the sect 
 of Calvinistic Independents, and about 1750 
 was ordained their minister. He had six 
 children, and his son David was skilful in 
 bridge building, and erected several flne 
 bridges. He died near Caerphilly, August 7, 
 1789. 
 
 EDWARDS, Francis, architect. Was 
 born in Southwark, September 3, 1784. He 
 was apprenticed to a cabinet-maker, and 
 cultivating his taste for drawing, was em- 
 ployed in Sir John Soane's office in 1806, 
 and gained admission to the schools of the 
 Royal Academy. In 1809 and 1810 he 
 exhibited at the Academy architectural de- 
 signs, and in 1811 was successful in compe- 
 tition for the Academy gold medal for archi- 
 tecture in his design for a theatre. At this 
 time he left Sir J. Soane's office and was 
 employed as a draftsman, continuing to 
 exhibit at the Academy. He sent in 1813 
 a design for a theatre, and in 1816 a design 
 for a cathedral. About 1823 he formed 
 some connection, and was employed in valu- 
 ations and arbitrations, and did not exhibit 
 after 1830. He built one or two mansions, 
 but had little opportunity to realise his early 
 ability in design. He died in Bloomsbury, 
 August 15, 1857. 
 
 EGAN, James, mezzo-tint engraver. Was 
 born in 1799, in the county of Roscommon, 
 of humble parents. In 1825 he was em- 
 ployed by Mr. S. W. Reynolds, and was little 
 better than his errand-boy. Being set by 
 his master to prepare his mezzo -tint grounds, 
 he learnt the first step in his future art. 
 Quitting this service he commenced his 
 career by laying grounds for engravers, and 
 without money, or indeed friends, he relied 
 for success upon his own industry and 
 ability. His application and desire to im- 
 prove interested all to whom he became 
 
EGE 
 
 EGL 
 
 known. He worked hard, suffered many 
 privations, but concealed his necessities, 
 while he educated himself in his art. Then, 
 when he was about to reap the fruits of his 
 perseverance, his health failed under the 
 great exertions he had undergone, and he 
 sunk gradually, labouring to the end. His 
 latest work, finished under such trying diffi- 
 culties, was 'English Hospitality in the 
 Olden Time,' after Cattermole. He died at 
 Pentonville, October 2, 1842, aged 43, and 
 left a family, to assist whom a subscription 
 was raised by his friends. 
 
 EGEKTON, D. T., landscape painter. 
 He was one of the foundation members of 
 the Society of British Artists, and exhibited 
 with the Society some landscape views and 
 compositions in 1824 and 1829. He was 
 next a contributor, in 1838 and the following 
 year, of landscapes in Mexico, introducing 
 characteristic groups of figures, which gained 
 him great notice. In 1840 he exhibited his 
 last work, ' Niagara.' He was murdered in 
 Mexico, at a village a few miles from the 
 capital, in 1842. 
 
 EGrGr, Augustus Leopold, E.A., subject 
 painter. He was the son of an eminent 
 gunsmith in Piccadilly, and was born there 
 May 2, 1816. Showing considerable ability 
 in drawing, he entered Sass's Art School in 
 1834, and the following year was admitted 
 a student of the Eoyal Academy. In 1837 
 he exhibited, at the Suffolk Street Gallery, 
 his first picture ; in the following year his 
 
 * Spanish Girl,' at the Eoyal Academy, and 
 from that time he became a constant ex- 
 hibitor. His * Buckingham Eebuffed,' in 
 1 844, gained him much notice. His ' Woo- 
 ing of Catherine,' in 1846, and 'Lucretio 
 and Bianca,' in 1847, gave him a high rank 
 as a painter; and in 1848 he was elected 
 an associate of the Academy. In 1850 he 
 produced his ' Peter the Great and Cathe- 
 rine ;' and in 1857, 'The Knighting of 
 Esmond,' a work of very great grace and 
 feeling ; in 1858, a painful subject, in three 
 parts, representing a seduction and its sad 
 consequences. 
 
 He was never a robust man, and his 
 health had been seriously affected so early 
 as 1852 or 1853, but he continued busily 
 engaged in his art. In 1860 he exhibited 
 
 * The Dinner Scene ' from ' Taming the 
 Shrew,' a favourite subject, from which he 
 painted an excellent picture, and the same 
 year was elected a full member of the Aca- 
 demy. His health was at this time de- 
 clining; for its re-establishment he was 
 ad\dsed to winter at Algiers, where he found 
 so much benefit that he was soon able to 
 resume his w^ork. Perhaps with renewed 
 health he was too confident, for imprudently 
 taking a long ride in the face of a bleak 
 wind, all his unfavourable symptoms re- 
 turned, and he died of an attack of asthma 
 
 [ on March 25, 1863. He was buried at the 
 top of a high hill near Algiers, a spot which 
 his friends chose in preference to a crowded 
 cemetery. He had married unhappily a few 
 years before his death, and it was a great 
 pain to him — perhaps an aggravation of his 
 ill-health — that liis wife was not received by 
 his friends. His father left him a good 
 property, wliich ho had increased by his art. 
 His works were sold at Christie's in May 
 1863. His early pictures were painted with 
 a broad, free pencil, marked by great ease 
 and facility — later by more laborious com- 
 pletion, his execution in either case excel- 
 lent. His sense of colour showed a refined 
 and delicate appreciation of tint. His sub- 
 jects were well conceived, his story well told, 
 but too often representing sadness and 
 sorrow. 
 
 EGINTON, Feancis, glass painter. 
 Brought up at Handsworth, near Birming- 
 ham, he was celebrated for his improvements 
 in glass painting, of which art he has been 
 called the reviver. He executed numerous 
 works, of which above 50 are known. In 
 1794 he restored the great west window at 
 Magdalen College, Oxford, and put up eight 
 windows in the ante-chapel, containing 
 whole-length portraits of the bishops, 
 painted in bistre. Eeynolds's * Eesurrection ' 
 at Salisbury is by him, and a ' Eesurrection ' 
 at Lichfield. * Solomon's Banquet to Queen 
 Sheba,' at Arundel Castle, and a window at 
 Stationers' Hall, were also his works. He 
 died at Handsworth, March 25, 1805, in his 
 68th year. 
 
 EGINTON, William Eaphael, glass 
 fainter. Was known by his numerous works 
 in painted glass. He died near Worcester, 
 September 17, 1834. 
 
 EGINTON, Harvey, architect. Son of 
 the foregoing. Studied Gothic architecture 
 in Worcester, where he resided, and was 
 engaged in the restoration of several parish 
 churches. He died at AYorcester, aged 40, 
 February 21, 1849. 
 
 EGINTON, J., engraver. There is a 
 * Hebe ' engraved by him, after Hamilton, 
 E.A., in 1791. 
 
 EGLETON, William Henry, engraver. 
 Practised in London. Engraved landscape 
 illustrations for the Waverley novels, 
 1833, and illustrations for Heath's *Book 
 of Beauty,' 1836. 
 
 EGLEY, William, miniature painter. 
 He was born in 1798, at Doncaster, 'where his 
 family had removed from Nottingham. He 
 was first employed in the house of a London 
 publisher, but soon determined to try his 
 fortune as an artist, and entirely self-taught, 
 had to contend for several years with many 
 difficulties. He first exhibited miniatures 
 at the Academy in 1824, and improving in 
 his art and his connection had an extensive 
 practice, and was for many years a large 
 
 135 
 
EHR 
 
 ELL 
 
 contributor to the exhibition up to 1869. 
 His works were almost exclusively minia- 
 tures, which were marked by careful finish, 
 truth, and simple purity of colour. He died 
 in London, March 19, 1870. 
 
 l^B.RET,GEonGEDioiJYSivs, flower painter. 
 Born at Baden in 1 7 1 0, the son of a gardener. 
 He early beciime celebrated for his ability 
 as a botanical draftsman. He visited France, 
 and was employed by Jussieu. After this 
 lie came to London, but not succeeding here, 
 he returned to the Continent. About 1740 
 he again came to London, settled in Eng- 
 land, and married the sister of the well- 
 known gardener and botanist, Philip Miller. 
 He was much esteemed and employed by 
 our eminent botanists. He made drawings 
 for Trew's 'Plantse Selectse' and Brown's 
 * History of Jamaica,' and was chosen F.K.S. 
 in 1767. He painted for the Duchess of 
 Portland above 300 English and 500 exotic 
 plants. By these labours, and by teaching, 
 he realised a moderate independence. He 
 died September 1770. 
 
 ELDER, William, engraver. Was born 
 in Scotland, but practised chiefly in London 
 towards the end of the 17th century. He 
 worked mostly with the graver in the me- 
 chanical manner of that time, and was 
 employed by the booksellers. He engraved 
 Archbishop Saner oft. Bishop Pearson, 
 Dr. Mayerne, Dr. Morton, Eay, the na- 
 turalist, Ben Jonson, his own portrait, and 
 many others, with several of the heads for 
 Rycaut's ' History of the Turks.' Eaithorne 
 drew his portrait. 
 
 ELDER, Charles, history painter. His 
 exhibited works prove him to have at- 
 tempted the higher branches of art. He first 
 contributed to the Academy a ' Sappho ' in 
 1845; 'Florimel Liiprisoned,' in 1846; 
 'The Death of Mark Antony,' in 1847; 
 ' Ruth Gleaning,' with other works, in 1848 ; 
 and continued to exhibit till his death, 
 December 11, 1851, aged 30. 
 
 ELFORD, Sir William, Bart., amateur. 
 He was of a Devonshire family, and was 
 created a baronet in 1800. For many years, 
 commencing in 1784, he was an occasional 
 honorary exhibitor at the Royal Academy, 
 contributing landscape views and effects of 
 sunset and shower up to his death at Totnes, 
 in his 90th year, November 30, 1837. 
 
 ELIZABETH, The Princess, amateur. 
 Daughter of George III. ; born May 27, 1770. 
 She drew with much correctness and taste. 
 Iler ' Birth and Triumph of Cupid ' was en- 
 graved by Tomkins, in 24 plates, and a 
 companion work, ' Cupid turned Volunteer,' 
 was engraved by Gardiner in 1804. She 
 also designed 'The Progress of Genius,' 
 published in 1816. She married the Prince 
 of Hesse-Homburg in 1818, and died 
 January 10, 1840. 
 
 ELLIOT, William, engraver. Born at 
 13C 
 
 Hampton Court in 1727. He engraved with 
 the point some landscapes in a free and 
 graceful manner. His best works are after 
 Cuyp, Rosa da Tivoli, and Polemberg, but 
 he engraved largely after the Smiths, of 
 Chichester. He also engraved a portrait 
 of Helena Forman, after Rubens. He died 
 in Church Street, Soho, in 1766, aged 39. 
 
 ELLIOT, William, marine painter . He 
 painted marine subjects and sea-fights, a little 
 in the manner of Serres. ' The Loss of the An- 
 dromeda,' 1770, and some other of his works, 
 are engraved. There are some landscapes 
 by his hand. Two tame-looking sea-pieces by 
 him are at Hampton Court Palace. He died 
 towards the end of the 18th century. 
 
 ELLIOTT, Archibald, architect. Born in 
 Roxburghshire, and brought up as a joiner. 
 He made his way up to London, where he 
 found employment as a designer of cabinet 
 work. While employed at Douglas Castle, 
 a difference arose between the owner and the 
 architect, and he undertook to complete the 
 work. He was next the contractor for build- 
 ing Mona Castle, Isle of Man, and his suc- 
 cess was the beginning of his career. He 
 designed Londown Castle, erected in Ayr- 
 shire, 1804 ; the Regent's Bridge, an im- 
 posing work, in Edinburgh, 1815-19; fol- 
 lowed by the City Prison, on the Calton 
 Hill ; St. Paul's Chapel, and other edifices. 
 He died at Edinburgh, June 16, 1823, 
 aged 62. 
 
 ELLIOTT, Capt. Robert, R.N., amateur. 
 He was, from 1784 to 1789, an honorary 
 exhibitor of marine subjects of some pre- 
 tension, painted in oil. In 1784, 'A Frigate 
 and a Cutter in Chase ; ' in 1785, ' The Fleet 
 in Port Royal Harbour ; ' in 1786, ' View of 
 the City of Quebec;' in 1787? 'Breaking the 
 French Line, Lord Rodney's Action ; ' in 
 
 1788, ' Fire at Kingston, Jamaica ; ' and in 
 
 1789, three naval actions. He sketched 
 during his travels many landscape views, 
 from which Prout, Stanfield, and others 
 made drawings — chiefly views in the East, 
 in India, Canton, and the Red Sea. These 
 were engraved and published in parts, 
 1830-33. 
 
 ELLIS, Joseph F., marine painter. He 
 was born in Ireland, and came to London 
 about 1818. He was only twice an exhibitor 
 at the Royal Academy — in 1819,' Entrance to 
 a Harbour ;'and in the following year, 'Morn- 
 ing, the Departure.' One of his early works 
 was exhibited at the British Institution, and 
 was sold for 60^., but he never found such 
 patronage again. He was duped out of 
 several of his best pictures, and, following 
 this loss, a series of reverses left him in the 
 hands of unscrupulous men. For them he 
 laboured at endless views of Venice, which 
 found their way to the auction room, under 
 the name of Canaletti. During the last 
 seven years of his life he resided with a 
 
ELL 
 
 ELM 
 
 house-agent, who dabbled in pictures ; and 
 in an ill- ventilated bed-chamber, living on 
 a weekly pittance, he worked incessantly in 
 manufacturing copies of Canaletti and Ver- 
 net, from originals brought to London for 
 the purpose ; and these, when dried and 
 doctored, were placed in the market. His 
 best pictures, the fruits of his own study 
 from nature, are original in manner, but are 
 rarely met with. He was frugal in his habits, 
 unassuming, and notwithstanding his trials, 
 full of good humour and good nature. He 
 died at Kichmond, Surrey, in his 65th year, 
 May 28, 1848. 
 
 ELLIS, John, scene jpainter. He was 
 born in Dublin, and was apprenticed to a 
 cabinet-maker there. Towards the end of 
 the 18th century he practised as a scene 
 painter in Dublin, and for a time in London, 
 and was noted for his valuable knowledge 
 of perspective. He also produced some good 
 landscapes in body colours. 
 
 ELLIS, William, engraver. Born in 
 London 1747. Son of a writing engraver. 
 Was a pupil of Woollett. Engraved many 
 fine plates, chiefly landscapes, and worked 
 in conjunction with his master. He is known 
 by his plates after Sandby and Hearne, and 
 a set of five ' Views of the Battle of the 
 Nile,' 1800, admirably aqua-tinted, after 
 Anderson. 
 
 ELLYS, John (called ' Jack Ellys '), por- 
 trait jpainter. Born 1701. At the age of 15 he 
 was placed under Sir J. Thornhill, and after- 
 wards for a short time under Schmutz. He 
 was an imitator of Vanderbank, and became 
 eminent among the portrait painters of the 
 middle of the century, and one of the few 
 remaining painters of the Kneller school. 
 Several of his portraits in George II.'s reign 
 are engraved. He took A^anderbank's house, 
 succeeded him in his connection, and was 
 allowed to purchase his office of tapestry- 
 weaver to the Crown. He also obtained the 
 post of master-keeper of the lions in the 
 Tower, and in these easy circumstances did 
 not do much at his profession. He is said 
 to have called upon Eeynolds, P.K.A., to see 
 his works on his return from Italy, and to 
 have advised him, ' Ah, Eeynolds ! this will 
 never answer. Why, you don't paint in the 
 least degree in the manner of Kneller ; ' and 
 on Eeynolds's expostulations to have flounced 
 out of the room in a great rage, exclaiming, 
 'Shakespeare in poetry, and Kneller in 
 
 painting, d me ! ' His portraits are 
 
 well drawn, solidly painted, and quiet in 
 character. There is a good life-sized por- 
 trait-group by him of Lord Whitworth and 
 his Nephew, and also a portrait, engraved, of 
 * Eigg, the mighty Combatant.' He was a 
 m-ember of the Artists' Committee appointed 
 in 1755 to frame the plan of a royal 
 academy. 
 
 ELMEE, Stephen, A.E.A., 'painter of 
 
 still-life. He resided at Earnham, where he 
 dealt as a maltster, but not much is known of 
 his early life. He tried art, and painted 
 dead game and some rural subjects, in which 
 he said he found more pleasure than profit. 
 His work was painted in a bold, free manner, 
 and wdth great truth to nature. In 1 763 he 
 was a member of the Eree Society of Artists. 
 He first exhibited at the Eoyal Academy in 
 1772, sending nine paintings, and was in 
 the same year elected an associate. Erom 
 that year he was a constant exhibitor. In 
 1775 he sent 'The Death of a Eox ; ' in 
 1784, ' An Alarmed Poacher.' He continued 
 to exhibit up to his death, at Earnham, in 
 1796. He left (with other property) a Lirgo 
 collection of paintings to his nephew, who 
 made an exhibition of them for sale at the 
 great room in the Haymarket, in the spring 
 of 1799. This exhibition, which was called 
 'Elmers Sporting Exhibition,' contained 
 148 of his own works, with some others he 
 had collected. They consisted of dead game 
 and still-life, and many of them realised very 
 good prices. In 1801 a number of his works 
 were destroyed by fire, and an insurance 
 of 3,000/. was recovered for them. Some 
 partridges by him were well engraved by 
 J. Scott. His son was an artist. He 
 painted fruit and game, and practised in 
 Dublin and other parts of Ireland about 
 the end of the 18th century. He exhibited 
 at the Academy in 1783-84 and 1799. 
 
 ELMES, James, architect. Born in Lon- 
 don 1782. He was educated at the Mer- 
 chant Taylors' School. Was pupil of George 
 Gibson and a student of the Koyal Academy, 
 where he gained the silver medal for an ar- 
 chitectural design in 1805. He exhibited 
 some designs at the Academy between 
 1808-14, and designed and erected several 
 buildings in the Metropolis. He was vice- 
 president of the Eoyal Architectural Society 
 in 1809,, and was appointed surveyor of the 
 port of London, but is better known as a 
 writer on the arts. He died at Greenwich, 
 April 2, 1862, aged 79. He published 
 'Lectures on Architecture,' 'Memoirs of the 
 Life and Works of Sir Christopher Wren,' 
 1823; 'The Arts and Artists,' 1825;' 
 'Bibliographical Dictionary of the Eine 
 Arts,' 1826 ; with some others, more or less 
 connected with art ; and was a large con- 
 tributor to the periodical art-literature of 
 his day. 
 
 ELMES, Harvey Lonsdale, architect. 
 Was the son and pupil of the foregoing 
 James Elmes, and was afterwards placed 
 with a surveyor at Bedford, and then with 
 Mr. Goodridge, who practised as an archi- 
 tect at Bath. He was early looked upon 
 as of great promise, and in 1836, in com- 
 petition with 85 candidates, was selected to 
 erect St. George's Hall for the Corporation 
 of Liverpool, and afterwards the Collegiate 
 
 137 
 
ELS 
 
 Institution and the Assize Courts in that 
 town; and tho County Lunatic Asylum 
 for West Derby. With reputation and for- 
 tune before him, he died of consumption in 
 Jamaica, November 26, 1847, at tho early 
 age of 34. His designs were left to the com- 
 pletion of others ; his great hall at Liver- 
 pool, to the care of C. K. Cockerell, K.A., 
 who said the work surpassed every archi- 
 tectural production of this country in the 
 century. He had commenced this fine work 
 in 1838, and the Prince Consort was so 
 pleased with it, on his visit to Liverpool in 
 1846, that he presented him with his gold 
 medal as a mark of esteem. He left a widow 
 and one child, for whom a subscription of 
 1,400/?. was raised, which, on their decease, 
 was to be invested to found two ' Elmes 
 Scholarships ' for architectural students. 
 
 ELSTRACKE, Reginald, engraver. 
 Born in England; he flourished in the reigns 
 of Elizabeth and James I. He engraved 
 chiefly for booksellers, after his own designs. 
 His best works are portraits, which, though 
 neat in execution, are hard and tasteless 
 in manner. Portraits of some of the most 
 important persons of the time are from 
 his graver, and these works are greatly 
 prized for their rarity by collectors. At 
 Sir Mark Sykes's sale in 1824, his plate of 
 Lord Darnley and Queen Mary, two whole- 
 length figures, sold for 81^. 18^., and single 
 heads fetched 10/. 155. each. One of his 
 later plates is dated 1611. His ' True and 
 lively Effigies of all our English Kings' was 
 dated 1618. 
 
 ELVINS, Thomas, architect. Practised 
 with some reputation at Birmingham, and 
 died there, August 23, 1802. 
 
 EMES, James, engraver and draftsman. 
 He engraved JelFerey's large picture of 'The 
 Destruction of the Spanish Batteries before 
 Gibraltar,' exhibited in 1783. There are 
 also some clever water-colour drawings by 
 him, broadly treated and pleasing in colour. 
 He exhibited some tinted views of gentle- 
 men's seats at the Academy in 1790, and 
 some views of the Cumberland Lakes in the 
 following year. 
 
 EMLYN, Henry, E.S.A., architect. He 
 practised in the latter part of the 18th 
 century. George III. confided to him some 
 alterations in St. George's Chapel, Windsor, 
 which were executed entirely after his de- 
 signs, and preserved a due harmony with 
 the original work. He published drawings 
 for a new order of architecture, founded on 
 the idea of a twintree, connecting a double 
 pillar on a single pedestal. He died at 
 Windsor, in his 87th year, December 10, 
 1815. 
 
 EMMET, William, sculptor. The only 
 record of him is that he succeeded his uncle, 
 one Philips ; and was sculptor to the Crown 
 in the reign of Charles 11. A very poor 
 138 
 
 mezzo-tint portrait of him by himself is 
 known to collectors. 
 
 EMMETT, AViLLiAM, engraver. He prac- 
 tised in London at the beginning of the 18th 
 century, and worked with the graver in a 
 neat manner. He engraved an interior and 
 an exterior of St. Paul's Cathedral, and two 
 views also of the western exterior bear his 
 name. 
 
 ENGLEHEART, Thomas, sculptor and 
 modeller in wax. He was a student of the 
 Royal Academy, and gained in 1772, in 
 competition with Flaxman, the Academy 
 gold medal for a bas-relief, 'Ulysses and 
 Nausicaa.' He exhibited at the Academy, 
 in 1773-74, busts, portraits modelled in 
 wax, and continued to exhibit medallions 
 and portraits in wax up to 1780, and once 
 again in 1786, when his name disappears 
 from the catalogues. 
 
 ENGLEHEART, George, miniature 
 painter. Was an early exhibitor, com- 
 mencing in 1773, of miniature portraits at 
 the Royal Academy, and in 1790 was ap- 
 pointed * miniature painter to the King.' 
 He sometimes painted in enamel, but his 
 chief works are on ivory, and are marked 
 by very great character — well drawn and 
 coloured, and full of power. He occa- 
 sionally exhibited a group, but rarely any 
 fancy subject. He is said to have made a 
 fortune by his art, and to have died at the 
 end of the 18th century, but he certainly 
 exhibited as late as 1812. 
 
 ENGLEHEART, Erancis, engraver. 
 Born in London 1775 ; was the nephew of 
 the above George Engleheart. He was ap- 
 prenticed to Joseph Collyer, and was after- 
 wards assistant to James Heath. He com- 
 menced by some plates after Stothard, R.A., 
 but first gained notice by his works after 
 R. Cook, R.A. About the beginning of the 
 1 9th century he engraved the portraits for a 
 collection of the English poets. He then 
 engraved after Smirke, R.A., including 
 nearly 30 of his designs for ' Don Quixote.* 
 His most important works are his ' Duncan 
 Gray,' after Wilkie, and his ' Sir Calepine 
 rescuing Serena,' after Hilton. Several of 
 the small plates for the annuals are by 
 him. After practising nearly half a century, 
 he died February 15, 1849, in his 74th year. 
 
 ENGLEHEART, J. D., miniature painter. 
 He first exhibited at the Royal Academy 
 in 1802, and continued with little inter- 
 mission to exhibit, enjoying a good practice, 
 up to 1828, after which year there is no 
 further trace of him. 
 
 ENGLISH, JosiAs, amateur. He was a 
 gentleman of easy fortune, who lived at 
 Mortlake, and was fond of etching. He 
 imitated the works of Hollar, but without 
 much success, and etched several small plates 
 after Erancis Cleyn, to which his name, 
 fecit 1654, is attached. He also etched the 
 
ENN 
 
 ETT 
 
 *Four Seasons,' a portrait of Dobson, the 
 painter, and a ' Christ and the Disciples at 
 Emmaus,' after Titian, reputed his best pro- 
 duction. He died at Mortlake in 1718. 
 
 ENNIS, W., history fainter. He was 
 born in Ireland and studied in Dublin under 
 the elder West. About the year 1754 he 
 was assisted to visit Italy and made some 
 stay in Kome ; on his return to Dublin he 
 practised both in history and portrait, but 
 his art was weak. He was master in the 
 Dublin Art School for teaching the figure, 
 and held that office till his death in 1771, 
 in the county of Wicklow, caused by a fall 
 from his horse. 
 
 ENSOM, William, engraver. There are 
 by his grayer some historical subjects. He 
 died at Wandsworth, September 13, 1832. 
 
 ESSEX, James, architect. Was the son 
 of a builder at Cambridge, and born there 
 in 1723. He early distinguished himself by 
 his knowledge of the principles of Grothic ar- 
 chitecture, and was engaged in 1757 to make 
 drawings for Bentham's ' Ely Cathedral.' 
 He was entrusted with extensive repairs 
 of King's College Chapel, Cambridge, the 
 additions to Corpus Christi and Emmanuel 
 Colleges, and the repairs of several of the 
 colleges there. He also repaired the chapel 
 of Ely Cathedral, Lincoln Minster, and the 
 tower of Winchester College Chapel. He de- 
 signed, in the Italian style, the Shire Hall, 
 Cambridge, 1774, and the Gruildhall, 1782. 
 He published ' Kemarks on the Antiquity 
 of different Modes of Brick and Stone 
 Buildings in England,' 'Observations on 
 Lincoln Cathedral,' ' On the Origin and 
 Antiquity of Round Churches, and in par- 
 ticular of the Round Church at Cambridge,' 
 
 * On Croyland Abbey and Bridge,' and 
 
 * Designs for the new building of Benet's, 
 King's, and Emmanuel Colleges, Trinity 
 Hall, and the Public Library at Cambridge.' 
 He ranks among the earliest of the practical 
 revivors of Grothic. He died of paralysis at 
 Cambridge, aged 61, September 14, 1784, 
 and was buried in St. Botolph's Churchyard. 
 
 ESSEX, John, ^marbler' Was employed 
 to make the figures for the tomb of the 
 Earl of Warwick, in Warwick Church, temp. 
 Richard II. 
 
 ESSEX, Richard Hamilton, water-colour 
 painter. He was elected an associate ex- 
 hibitor of the Water-Colour Society in 1823, 
 and from that year to 1836 was a constant 
 contributor to the Society's Exhibitions. 
 His works were all of an architectural cha- 
 racter, almost exclusively Gothic, with some 
 few architectural designs ; among them 
 were, in 1823, ' The Quadrangle of Magdalen 
 College, Oxford,' and the 'Interior of Beau- 
 champ Chapel, Warwick;' in 1825, ' Views 
 of the Interior and Exterior of Ely Cathe- 
 dral;' in 1831, of some Belgian edifices; 
 about 1835, drawings of several churches. 
 
 He was also an occasional exhibitor at the 
 Royal Academy of works of the same cha- 
 racter, his last contributions being some 
 interiors of Canterbury Cathedral in 1853. 
 He died at Bow, February 22, 1855, aged 53. 
 
 ESSEX, William, enamel painter. His 
 name first appears in the Academy cata- 
 logues in 1818. He was then living in 
 Clerkenwell, and exhibited a ' Dog's Head ' 
 in enamel, and in the two following years 
 some animals in enamel. In 1824 he ex- 
 hibited a head of the Empress Josephine, 
 after Isabey ; and the next year some groups 
 of flowers and a landscape, also in enamel. 
 In the succeeding years, continuing to paint 
 in enamel, he exhibited portraits after Jack- 
 son, R.A., Lawrence, P.R.A., with an occa- 
 sional scripture or history subject after the 
 old masters. In 1839 he was appointed 
 enamel painter to the Queen (by whom he 
 was much employed), and in 1841 to Prince 
 Albert. In the latter part of his career he 
 painted one or two miniature enamels from 
 the life. He exhibited for the last time in 
 1862, and died at Brighton, December 29, 
 1869, aged 85. He improved the texture of 
 his art, and his works were greatly esteemed. 
 He was one of the last of several well- 
 known and eminent enamel painters who 
 flourished in the present century. His son, 
 William B. Essex, was brought up in the 
 practice of his father's art. He died at 
 Birmingham in 1852, aged 29. 
 
 ETHERIDGE, William, architect. He 
 practised about the middle of the 18th cen- 
 tury, and among other public works he is 
 distinguished as the designer of the bridge 
 at Walton-on-Thames, 1767. The credit of 
 this work gained him the appointment of 
 surveyor of Ramsgate Harbour. He died 
 October 3, 1776. 
 
 ETTY, William, R.A., history painter. 
 He was born March 10, 1787, at York, 
 where his father, a respectable man, carried 
 on the business of a miller, and also made 
 gingerbread, which his mother sold. He 
 early showed a predilection for drawing, 
 and scribbled over every plain surface that 
 fell in his way. He learnt little more 
 during his short schooling than to read and 
 write, but picked up what he could among 
 an intelligent family at home, and was 
 piously taught by his parents, who were 
 Methodists. Of a reserved, shy, and affec- 
 tionate disposition, he was sent from homo 
 in his 12th year, and apprenticed to a 
 letter-press printer in Hull, where, notv/ith- 
 standing hard work and long hours, he 
 found time to cherish his love of drawing 
 and otherwise to gain knowledge — for seven 
 ypars drudging conscientiously on, all the 
 while dreaming of becoming a painter. Tlien 
 his prentice work done, an uncle in London, 
 moved by his entreaties, invited him to 
 the Metropolis, where he arrived in 1805, and 
 
 139 
 
ETT 
 
 ETT 
 
 after two or three weeks' work as a journey- 
 man printer, was assisted by his uncle to 
 study as an artist. He drew from prints 
 and everything that came in his way, and 
 having finished from the round a drawing 
 of ' Cupid and Psyche,' he took it to Opie, 
 •who gave him an introduction to Fuseli, 
 and he gained admission as a student of the 
 Eoyal Academy in 1807, and was a most 
 diligent attendant in the schools. 
 
 He first thought to paint landscape, then 
 inclined to heroic subjects, and then to de- 
 vote himself, as he said, to ' God's most 
 glorious work, Woman.' In this uncer- 
 tainty of aim he was attracted by the 
 works of Lawrence, then at the head of his 
 profession, and became, in 1808, by the 
 liberal help of his uncle, his indoor pupil 
 for one year; after a hard struggle, but 
 with little assistance, he acquired a power 
 of handling and some of the technical 
 manner of his master. He is an example 
 of that perseverance which long waited its 
 reward. He was an unsuccessful competitor 
 for the Academy medals, and his works 
 sent for exhibition were rejected year after 
 year ; yet he continued a constant worker in 
 the life-school, his art was slowly developed 
 by his unremitting study; and in 1811 his 
 * Sappho,' the first of his works exhibited, 
 found a purchaser at the British Institution 
 for 26 guineas ; and the same year one of 
 his pictures, ' Telemachus rescuing Antiope,' 
 was hung at the Royal Academy ; and from 
 that time his works found a place both at 
 the Academy and at the British Institution. 
 In 1816, assisted by his brother, he set out 
 on a long contemplated journey to see the 
 Continental schools. He reached Paris, 
 and crossed the Alps to Florence. But ill- 
 health and spirits, depressed by home- 
 sickness, sent him home in less than three 
 months. 
 
 His works now gained some notice, and 
 his genius, aided by so many years' hard 
 study, began to develop itself. In 1820 his 
 'Pandora 'at the British Institution, fol- 
 lowed by his ' Coral Finders ' and * Venus 
 and her youthful Satellites arriving at the 
 Isle of Paphos,' at the Royal Academy, 
 gave him a name; and his 'Cleopatra's 
 Arrival in Cilicia,' in the following year, 
 added to his reputation, and found a pur- 
 chaser. Then his temporary success revived 
 his desire to see the works of the great Italian 
 schools, and in 1822 he visited Rome, 
 Naples, Florence, and Venice, and copied 
 some of the works of the great masters, 
 especially of the Venetian school. Seduced 
 l^y the love of the fine works by which 
 he was surrounded, he tarried in Italy 
 about 18 months, and then returned reluc- 
 tantly home, bringing with him about 50 
 studies. He had hitherto lived in Lambeth ; 
 he now removed to Buckingham Street, 
 140 
 
 Adelphi, and here he began and ended his 
 great career. 
 
 In 1824 he was elected an associate of the 
 Royal Academy, and then commenced the 
 first of his long-contemplated series of large 
 pictures, 'Woman pleading for the Van- 
 quished,' 1825. But he painted before the 
 second of the series, 'The Judgment of 
 Paris,' for which he had accepted a commis- 
 sion, and then commenced his ' Judith,' the 
 story of the delivery of the Jewish people, 
 a triptych, commenced in 1827 and com- 
 pleted in 1831, of great grandeur, both in 
 conception and execution, and full of poetry. 
 While engaged in this great work, which 
 was a commission from the Royal Scottish 
 Academy, he was in 1828 elected a royal 
 academician. In 1830 he again visited 
 Paris. He painted away at the Louvre, 
 boasting that he was a true Englishman ; 
 was present during the Revolution, and on 
 his return gave a vivid description of the 
 scenes he had seen, saying he had had 
 enough of the Continent, and hoped never 
 to leave England again. From this time he 
 vigorously pursued his art and his art- 
 studies, constantly attending the life-school 
 of the Royal Academy till 1848, when his 
 health declining, he retired to York, where 
 he died of congestion of the lungs, Novem- 
 ber 13, 1849. In the previous June of 
 that year 130 of his paintings were collected 
 and exhibited at the Society of Arts. He 
 was present at the opening of the exhibition, 
 but in very depressed spirits, and was quite 
 overcome by the congratulations of his 
 friends. He was of a gentle, amiable nature, 
 and lived a long bachelor life, though 
 always falling in love. He had realised 
 about 17,000^. of funded property, and the 
 sale of his paintings and studies produced 
 about 5,000^. more. He left the bulk of his 
 property to his niece and the remainder to 
 his brother Walter. His life by A. Gilchrist 
 was published in 1845; and a simple, un- 
 assuming autobiography appeared in the 
 'Art Journal,' 1849. 
 
 His evenings were always spent, when in 
 the height of his career, in the Academy 
 Life -School, his whole life in the continuous 
 ^tudy of his art. His earnest study from 
 the nude gave him an unequalled power of 
 imitating flesh, both in colour and texture. 
 His progress was slow, and he waited long 
 for the hope of encouragement — but his love 
 of art was enduring and his perseverance at 
 last crowned with well-earned fame. He 
 delighted in painting the beauty of the 
 female form, and while it cannot be denied 
 that his subjects were of a voluptuous cha- 
 racter, pure-minded himself, he was hurt 
 that they should be so deemed by others. 
 Though a close student from nature, his 
 imitation was general rather than individual. 
 His colour and tone were fine, marked by a 
 
EVA 
 
 EWB 
 
 peculiar grandeur, and well in harmony 
 with his noble conceptions. His landscape 
 backgrounds never fail to be well in cha- 
 racter with his subjects. 
 
 EVANS, David, glass stainer. Born in 
 Montgomeryshire in 1793. He came early 
 in life to Shrewsbury, and was apprenticed 
 there to Mr. (afterwards Sir John) Betton, 
 who in 1815 admitted him into partnership. 
 He painted the windows, which were of 
 elaborate design and execution, for Lord 
 Hill's mansion, Hardwicke Grrange, near 
 Shrewsbury; and restored some fine win- 
 dows in Lincoln Cathedral and the East 
 AVindow in Winchester College. He died at 
 Shrewsbury, aged 68, on November 17, 1861. 
 He was a clever student of his art, and at- 
 ttiined a prominent place in his profession. 
 
 EVANS, George, portrait ^painter. Was 
 a student in the St. Martin's Lane Academy. 
 He painted portraits occasionally, and was 
 known in his day. He exhibited in 1764 
 and 1766 with the Incorporated Society of 
 Artists, of which body he was a member, 
 and died some time before 1770. 
 
 EVANS, KiCHARD, copyist. He was for 
 awhile an assistant to Sir Thomas Law- 
 rence, and painted drapery and backgrounds, 
 and also painted a few portraits. He lived 
 many years in Eome, where he was chiefly 
 employed in copying. The Eaphael ara- 
 besques in the South Kensington Museum 
 are his copies. Ketired from art, he resided 
 at Southampton, where, after several years, 
 he died in November 1871, aged 87. 
 
 EVANS, William, engraver and drafts- 
 man. About 1800 he assisted Benjamin 
 Smith. He engraved ' The Grandmother's 
 Blessing,' after Smirke. About 1805 he 
 finished some works for Alderman Boydell, 
 and in 1809 engraved with much ability 
 part of the ' Specimens of Ancient Sculp- 
 ture.' He soon after sank into a state of 
 morbid melancholy, impressed with doubts 
 of his future state, and traces of him dis- 
 appear. 
 
 EVANS, William, water-colour 'painter. 
 Known as ' Evans of Bristol.' He lived for 
 many years in North Wales, and painted the 
 mountain scenery, the cottages, and their 
 interiors, with great originality and success. 
 He afterwards visited Italy, and made many 
 fine sketches of the mountain and lake 
 scenery of that country, wintering succes- 
 sively in Genoa, Kome, and Naples. He 
 was from 1845 till his death an associate 
 member of the Water-Colour Society. His 
 first contributions to its exhibitions were 
 exclusively Welsli scenes, but after 1852, 
 for the next six years, as exclusively Italian ; 
 but at all times his contributions were few. 
 He died in Marylebone Road, London, after 
 a long illness, December 7, 1858, aged 49. 
 
 EVELYN, ZoYi-^^^ amateur. He was born 
 at Wootton, Surrey, where his family had 
 
 settled in the reign of Elizabeth, on Octo- 
 ber 31, 1620. He was educated at the Ereo 
 School, Lewes, afterwards at Balliol College, 
 Oxford, and then became a student of the 
 law in the Middle Temple. On the out- 
 break of the Civil War he joined the King 
 at Oxford, but, with his Majesty's consent, 
 travelled abroad, and wont to Kome, where 
 ho made some sketches, which were en- 
 graved by Hoare. On his return in 1651, 
 he became by marriage possessed of Sayo's 
 Court, near Deptford, where he lived in 
 close retirement, and was the author of 
 several works. In 1660 he published his 
 ' Sculptura,' after that his 'Sylva.' He in- 
 troduced Gibbons, the carver, to the notice 
 of the King, and from Hollar having etched 
 several views in the vicinity of AVootton, is 
 supposed to have befriended him. He was 
 a distinguished lover of the fine arts. He 
 etched five small plates from his own draw- 
 ings made on his journey from Rome to 
 Naples, which bear his cypher, 'J. E., ft.' 
 He died February 27, 1706, aged 86, and 
 was buried at Wootton. 
 
 EVESHAM, Epiphanius, sculptor. AVas 
 the pupil of Steevens, a Fleming, and prac- 
 tised in the reign of James I. He is men- 
 tioned as the first native sculptor whose 
 name has been rescued from oblivion, but 
 his works are unknown. 
 
 EWBANK, John AV., E.S.A., landscape 
 painter. He was born at Gateshead about 
 1779, and was adopted by a wealthy uncle. 
 Intended for the Roman Catholic ministry, 
 he absconded from his college, and in 1813 
 engaged himself as apprentice to an orna- 
 mental painter in Newcastle. He removed 
 with his master to Edinburgh, and showing a 
 talent for art, was allowed to study under 
 Alexander Nasmyth, and soon distinguished 
 himself both as a teacher and a painter. 
 His sketches from nature showed much 
 freedom and truth ; and a series of views of 
 Edinburgh by him were engraved in 1823 
 by Lizars. He painted the banks of rivers, 
 coast scenes, and marine subjects of a ca- 
 binet size. About 1829 he tried works of 
 greater pretensions, and was nominated in 
 1830 one of the foundation members of the 
 Royal Scottish Academy. He painted ' The 
 Visit of George IV. to Edinburgh,' * The 
 Entry of Alexander the Great into Babylon,' 
 and ' Hannibal crossing the Alps,' and was 
 at this time at the height of his reputation. 
 Fame and wealth were before him, but he 
 gave way to habitual intoxication — his wife 
 and family were reduced to penury, and 
 during the last 12 years of his life he 
 worked in the most abject misery, selling 
 his pictures wet and unvarnished for a few 
 shillings, to be spent in sensual gratification. 
 He died of typhus fever in the Infirmary 
 at Edinburgh, November 28, 1847. His 
 works are little known in London. He 
 
 141 
 
BXS 
 
 PAI 
 
 made the drawings, 51 in number, for James 
 Browne's ' Picturesque Views of Edinburgh,' 
 published in 1825. 
 
 EXSHAW, , history painter. Born 
 
 in Dublin; studied some time in Kome. 
 About 1758 he was in London, and at- 
 tempted to establish a drawing school, but 
 he had no success either as an artist or a 
 teacher. He painted, in competition for the 
 Society of Arts' premium, 'The Black Prince 
 entertaining the captive Erench Monarch 
 after the Battle of Cressy.' He died early 
 
 in 1771, and his studies [and pictures 
 were sold by auction in the April of that 
 year. 
 
 EYEE, James, landscajpe painter. He 
 was born at Derby in 1802, and was brought 
 up for the profession of the law, but was 
 led by his inclination to art. He had somo 
 assistance from Creswick, E.A., and De 
 Wint, and studied both in oil and water- 
 colour. He excelled in cottage and lane 
 scenes, and his works were of some promise, 
 but he died prematurely in 1829. 
 
 FABER, John, engraver. Born in Hol- 
 land, where he drew portraits from the life 
 on vellum, and also practised mezzo-tint en- 
 graving. He came to England about 1687, 
 some accoimts say later, and settled in Lon- 
 don, residing for a long time in Fountain 
 Court, Strand. His engraved portraits were 
 many of them drawn from the life, and his 
 works, though not distinguished by taste or 
 execution, are no less held in some estima- 
 tion by collectors. Among them are 25 
 portraits of the Pounders of the Oxford 
 Colleges, the Heads of the Philosophers, 
 after Eubens, and many portraits of the 
 time. He died at Bristol in May 1721. 
 
 FABEE, John, engraver. Son of the 
 foregoing. Born in Holland in 1684, and 
 when only 3 years old, brought to London 
 by his father, by whom he was instructed. 
 He was also a student in Vanderbank's 
 A&idemy. His art was confined to mezzo- 
 tint engraving, in which he greatly excelled, 
 his manner being at once bold and free, 
 with great finish and beauty. He was pa- 
 tronised both by Lely and Kneller, and his 
 works are very numerous. Among them 
 are the 48 portraits of the Kit-Cat Club, 
 published in 1735 by Jacob Ton son ; the 
 * Hampton Court Beauties,' ' Charles XL in 
 his State Eobes,' ' The Taking of Namur.' 
 His collected works, comprising 165 plates, 
 were published in two folio volumes. He 
 died of gout, May 2, 1756, at his house in 
 Bloom sbury. 
 
 FACIUS, George Sigmund,"! engravers. 
 
 FACIUS, John Gotlieb, / Two bro- 
 thers, who were born at Eatisbon about 
 1750. Their father was the Eussian consul 
 at Brussels, and both studied engraving in 
 that capital. They were induced by Alder- 
 man Boydell to come to London in 1766, 
 and settling hero in his employment, they 
 executed a great number of plates, chiefly 
 etched, which wore much esteemed. Among 
 these works are a set of plates from Sir 
 Joshua Reynolda's window at New College, 
 }42 
 
 Oxford. They both died, it is said, at the 
 latter part of the last century ; but there is 
 an engraved plate after Eeynolds, dated 
 1802, which bears their name. 
 
 P'AGAN, Egbert, portrait 'painter. 
 Studied for some years in Eome, and was 
 in that capital 1794-98. He purchased the 
 celebrated Altieri Claudes, and on the 
 entry of the French troops he suffered im- 
 prisonment on this account, but he suc- 
 ceeded in getting the pictures out of Eome, 
 and brought them to this country, where 
 one of them is now an ornament of the. 
 National Gallery. 
 
 FAIEAM, John, portrait painter. Prac- 
 tised in London in the first half of the 18th 
 century. Many of his portraits are engraved. 
 
 FAIEFIELD, Charles, copyist. He imi- 
 tated with great skill the works of the 
 Flemish and Dutch schools, and practised 
 in London during the latter part of the 18th 
 century. He was of a retired, diffident 
 temperament, and during a needy and la- 
 borious life passed in seclusion, was in 
 the hands of dealers, who availed them- 
 selves of his powers, and purchased his 
 exquisite copies for small sums, which by 
 their means found their way into many 
 collections, where they are esteemed as 
 originals. He, however, left behind him 
 some few original works, which are evi- 
 dence of his ability. He died in Brompton 
 in 1804, aged about 45. 
 
 FAIEHOLT, Frederick William, 
 F.S.A., antiquarian draftsman. Was born 
 in London of German parents in 1818, and 
 brought up in the heart of the city to his 
 father's trade as a tobacco manufacturer. 
 He had, however, a taste for literature, and 
 when about 15 years of age contributed two 
 papers to Hone's 'Every Day Book.' He 
 then tried art, and commenced his career 
 as a teacher of drawing, also gaining some 
 employment in scene painting. He was 
 next engaged in book illustration, and made 
 some of the designs for the 'Pictorial Bible,* 
 
FAI 
 
 FAL 
 
 ' Palestine,* * The History of England,* and 
 an edition of Shakespeare. From 1839 he 
 was engaged as an antiquarian draftsman, 
 and is better known as an antiquary than 
 as an artist. The Percy Society published 
 his 'History of the old City Pageantry.' 
 He also wrote 'A History of Costume in 
 England,' 'A Dictionary of Terms in Art,' 
 and several other works, and contributed 
 the drawings in illustration of some im- 
 portant publications. In the latter part of 
 his life he suffered from spasmodic asthma, 
 which ended in consumption, of which he 
 died April 2, 1866, at Brompton, and was 
 buried in the cemetery there. He left to the 
 Society of Antiquaries a collection of books 
 on pageants, and an unfinished manuscript 
 by himself on the pageants of the middle 
 ages; to the Stratford Museum a Shake- 
 spearian collection, a few scarce books to 
 the British Museum, and to the Literary 
 Fund the proceeds of the remainder of his 
 library. 
 
 EAIELAND, Thomas, engraver^ litho- 
 grapher, and portrait painter. As a boy he 
 was fond of drawing, and practised from 
 nature in Kensington Gardens. He after- 
 wards entered as a student at the Eoyal 
 Academy, and obtained the silver medal in 
 the antique. He first tried line engraving, 
 and became a pupil of Warren, and then, 
 taking up the new art of lithography, pro- 
 duced some very good works after the 
 painters of that time, but from the com- 
 petition in this art was induced to turn his 
 attention to portrait painting, and had 
 many sitters. His perseverance did not, 
 however, meet with success, and though he 
 was employed by the Queen, he was unable 
 to secure for his family more than the wants 
 of the day. Ill-health could not overcome 
 his resolute application, and he died pre- 
 maturely in October 1852, aged 48. 
 
 FAIKLESS, Thomas Kerr, landscape 
 painter. Was born at Hexham, Northum- 
 berland, and was a pupil of Nicholson, a 
 wood engraver at Newcastle, but he was un- 
 settled, and eventually came to London, de- 
 termined to study art as his profession. 
 From 1848 to 1851 he was an exhibitor at 
 the Eoyal Academy. He painted landscape 
 in a free, bold manner, and was a teacher of 
 drawing. He died in his native town in his 
 28th year, on July 14, 1853, before he had 
 time to develop his art. 
 
 FAITHOENE, William, engraver and 
 draftsman. Was born in London in 1616, 
 and was brought up under Eobert Peake, 
 the well-known engraver. After working 
 with him for three or four years, on the 
 outbreak of the Civil War, he was induced 
 by his master to join the royal army, and 
 was one of the defenders of Basing House, 
 and on its surrender became the prisoner of 
 the Parliamentarians, He was for ^ time 
 
 imprisoned in Aldersgate, and during his 
 confinement resumed his profession, till the 
 solicitations of his friends obtained his re- 
 lease on condition of leaving the country, 
 and ho made his way to Paris. Here he is 
 said to have been assisted in his art by 
 both Nanteuil and Champagne, but this is 
 doubtful. 
 
 About 1650 he obtained permission to re- 
 turn to England, and soon after married 
 and set up a print-shop near Temple Bar. 
 He at the same time followed his art, and 
 was much employed by the booksellers upon 
 the portrait frontispieces in vogue at that 
 time. About 1680 he left his shop, and do- 
 voted himself more exclusively to drawing 
 and engraving portraits, the former chiefly 
 in crayons from the life. At this time he 
 removed to Printing House Square, and here 
 he died, when well advanced in life, in May 
 1691, and was buried at St. Anne's Church, 
 Blackfriars. His early manner was founded 
 on the Dutch and Flemish schools, but he 
 made considerable improvement while in 
 France. His best portraits are finished 
 with the graver in a free and delicate style, 
 with much force and colour. He did not 
 draw the figure well, and confined himself 
 chiefly to the head ; but there are some his- 
 torical plates from his graver, among them 
 four subjects engraved for Taylor's ' Life of 
 Christ.* Of his numerous portraits. Lady 
 Paston, probably after Vandyke, is con- 
 sidered his chef-d'cBuvre ; an impression sold 
 at Sir Mark Sykes's sale in 1824 for 54^.125. 
 He published his 'Art of Graving' in 1662. 
 His friend Flatman says of him — 
 
 ' A Faithorne sculpsit, is a charm can save 
 From dull oblivion and a gaping grave.' 
 
 FAITHOENE, William, engraver. Son 
 of the preceding ; born in London 1656, and 
 instructed by his father. He practised solely 
 in mezzo-tint, and produced a few works of 
 some merit ; but Walpole tells that ' he was 
 negligent and fell into distress, involving 
 his father in much care.' He died prema- 
 turely in 1686, and was buried in St. Mar- 
 tin's Churchyard. About 30 plates by 
 him are known ; of these, perhaps the most 
 prominent are ' Mary, Princess of Orange,* 
 after Hanneman ; ' Sir William Eeade, tho 
 Oculist;' and 'Thomas Flatman showing 
 a Drawing of Charles II.' 
 
 FALCONET, Peter, portrait painter. 
 Was born in Paris, the son of Falconet, 
 the sculptor, who executed the large eques- 
 trian statue of Peter the Great at St. Peters- 
 burg. He came to London, where he prac- 
 tised some years as a portrait painter. He 
 was a member of the Incorporated Society 
 of Artists in 1766, and found considerable 
 employment between 1767-73, exhibiting 
 in the latter year two small whole-lengths 
 in tho Academy, He drew the portraits 
 
 143 
 
PAN 
 
 FAU 
 
 of the 12 most reputed artists in London, 
 which were engraved, and the portrait of 
 Granger, which forms the frontispiece 
 to his 'Biographical Dictionary.' Seve- 
 ral of his portraits were also engraved by 
 Val. Green, Dixon, Earlom, and others. 
 He composed some historical subjects, which 
 were extravagant in their manner, and 
 painted the decorations of a Chinese temple 
 for the Baroness de Grey at her seat in Bed- 
 fordshire. He is said to have returned to 
 France soon after 1773, but probably not 
 much before 1780. 
 
 FANSHAWE, Catherine Maria, ama- 
 teur. Born in London about 1775. She 
 etched about 20 historical and figure sub- 
 jects with much ability. She died about 
 'l834. 
 
 FAKINGTON, George, history fainter. 
 Ho was of an ancient Lancashire family. 
 His father was rector of Warrington, where 
 he was born in 1754. In 1770-71 he 
 gained premiums at the Society of Arts 
 for landscape views. He received his first 
 instruction in art from his brother Joseph, 
 and then became the pupil of Benjamin 
 West, P.K.A., and an industrious student 
 of the Koyal Academy, where he gained 
 the silver medal in 1779, and the gold 
 medal for ' Macbeth ' in 1 780. He exhi- 
 bited a portrait at the Academy in 1773, 
 and again in 1783. He was employed by 
 Alderman Boydell, for whom he made some 
 excellent drawings from the Houghton col- 
 lection. In 1782 he was induced to visit 
 the East Indies, where he painted many 
 pictures, and while engaged on a large work 
 representing the Durhar of one of the native 
 princes, he imprudently exposed himself to 
 the night air, and was seized with an ill- 
 ness which terminated his life in a few days 
 in 1788. 
 
 EAKINGTON, Joseph, K.A., landscape 
 'painter. Was the elder brother of the fore- 
 going, and was born at Leigh, Lancashire, 
 on Nov. 21, 1747. He chose the profession 
 of a painter, and in 1763 was placed under 
 Richard Wilson, with whom he continued 
 for several years, and was esteemed one of 
 his best pupils. He gained several premiums 
 at the Society of Arts, and at the age of 21 
 he was elected a member of the Incorporated 
 Society of Artists. He worked with his 
 brother upon the drawings of the Houghton 
 collection, and on the completion of this 
 work he returned to his own county, and 
 studied the landscape scenery of the lake 
 districts of Cumberland and Westmoreland. 
 He returned to London in 1781, where he 
 then settled. He was one of the first stu- 
 dents of the Royal Academy, and from 1778 
 to 1813 was a constant exhibitor there of 
 landscapes and landscape views. He was 
 elected associate in 1783, and full member 
 in 1785, and then gave much time and ex- 
 144 
 
 ercised great influence in the Academy 
 councils. On the suspension of the five 
 members of the council in 1804, Copley, 
 R.A., says 'he was the avowed and active 
 member of the confederacy which led to this 
 schism.' In his landscapes he has not shown 
 much poetry or grandeur ; his composition 
 is poor ; his colouring is better, often pos- 
 sessing power and brilliance ; his pencilling 
 is free and firm, but with a tendency to 
 hardness. He made numerous topographic 
 drawings, using the reed pen with much 
 spirit, and slightly washing in the breadths 
 with sepia or Indian ink. Many of his views 
 of the English lakes were engraved by 
 Byrne, Medland, Pouncey, and others, and 
 published in 1816; and 76 views by him, 
 in illustration of the history of the river 
 Thames, were published in 1 794. He died 
 of a fall from his horse in returning from 
 church, December 30, 1821. 
 
 EARNBOROUGH, Lady, Amelia, ama- 
 teur. Daughter of Sir Abraham Hume, 
 Bart. She married in 1793 Sir Charles 
 Long, who was in 1826 created Lord Earn- 
 borough. As an amateur, she was dis- 
 tinguished by her very clever water-colour 
 drawings, works of great truth and feeling. 
 She exhibited ' The Boulevards of Paris ' at 
 the Royal Academy in 1819, and had from 
 1807 been an honorary exhibitor of many 
 drawings of considerable merit. She died 
 June 15, 1837. 
 
 FARRER, Nicholas, portrait painter. 
 Born at Sunderland in 1750. He studied 
 art under Robert E. Pine and in the schools 
 of the Society of Artists, and was admitted 
 to the friendship of Reynolds and North- 
 cote. He practised as a portrait painter, 
 and imitated the manner of Reynolds. Ho 
 was much patronised by the Duke of Rich- 
 mond, and painted the portraits of the Duke 
 and his family. He died 1805. 
 
 EAULKNER, Joshua Wilson, portrait 
 painter. Was a native of Manchester, and 
 practised in that city. He exhibited at the 
 Royal Academy in 1809 the portrait of a 
 lady in character, and two other works. 
 Soon after he became a member of the 
 Liverpool Academy, and exhibited at that 
 Institution. He settled in London about 
 181 7, and in that and the two following 
 years exhibited portraits at the Academy. 
 In 1820 he exhibited there for the last time, 
 sending some portrait-groups and 'A Boy 
 with a Butterfly.' 
 
 EAULKNER, Benjamin Rawlinson, 
 portrait painter. Brother of the above. 
 Was born in 1787, at Manchester, and in 
 early life engaged in a commercial house, 
 and had charge of a branch establishment 
 at Gibraltar, where he lost his health from 
 an attack of the plague, and returned to 
 England about 1813. During his conval- 
 escence he dereloped a taste for drawing, 
 
FAY 
 
 FEB, 
 
 and, assisted by his brother, devoted him- 
 self to study from the antique. He then 
 came to London and established himself in 
 Newman Street. In 1821 he first exhibited 
 at the Academy, and continued an exhibitor, 
 exclusively of portraits, till his death. His 
 works were distinguished by quiet taste and 
 finish, but he did not gain much patronage. 
 Some of his best portraits are at Man- 
 chester. He died October 29, 1849, aged 62. 
 With great musical talent, he had the gift of 
 a fine voice, and was for some time organist 
 at Irving's church in Hatton Garden. 
 
 FA YE AM, J., Ia7id scape painter. He 
 practised about the middle of the 18th cen- 
 tury. One of his landscapes is engraved 
 by Major, and there are some etchings by 
 him of views about Chelsea and Battersea, 
 and one of the Hermitage in Kew Grardens. 
 
 FEAE.Y, John, landscape painter. Prac- 
 tised in London. He gained a premium at 
 the Society of Arts in 1775, and painted 
 views of gentlemen's seats and parks. He 
 exhibited at the Academy, first time, in 
 1772, and continued, with little intermission, 
 an exhibitor up to 1788. 
 
 FELLOWES, James, portrait painter. 
 Practised with some repute in the reigns of 
 Greorge I. and Greorge II. He was the re- 
 puted painter of ' The Last Supper,' an altar- 
 piece, at St. Mary's, Whitechapel, which gave 
 great offence from the assumed represen- 
 tation of Judas by the portrait of Dean 
 Kennet. This work, which has also been 
 ascribed to Sir James Thornhill, was said to 
 have been removed to the Abbey Church 
 at St. Alban's. It was engraved, and the 
 Society of Antiquaries possessed a print 
 of it. 
 
 FERG, Francis Paul, landscape painter. 
 Born in Vienna 1689, the son of an obscure 
 artist. He studied under several masters 
 in that capital, and gained a name by his 
 small landscapes with figures, which he 
 painted chiefly on copper. Invited by the 
 Court to Dresden, he passed several years 
 there, and after a short stay at Brunswick, 
 he came to London in 1718, and at once 
 found employment and settled. His cir- 
 cumstances became depressed by an impru- 
 dent marriage, and he was always poor, not 
 from excess but from indolence. His works, 
 though sought after by purchasers, were no 
 sooner hurriedly finished than they were 
 taken to the pawnbroker, and were rarely 
 redeemed. He is said to have died in the 
 street, near the door of his lodging, and to 
 have been in want of common necessaries. 
 This happened in 1740, at the age of 51, 
 and he was buried by a subscription raised 
 for the purpose. His landscapes were pleas- 
 ing, combining picturesque ruins and small 
 figures well drawn. His ' Four Seasons ' 
 were engraved by Major in 1754, and Vivares 
 and others engraved after him. He etched 
 
 eight plates, which he inscribed * Capricci 
 fatti, per F. P. F. * 
 
 FERGUSON, William G., stilUife 
 painter. Born in Scotland, he learned the 
 rudiments of art there, and then greatly im- 
 proved himself by travel in France and Italy. 
 He painted still-lifo with great skill, his 
 composition good, and light and shade ef- 
 fective. His principal subjects were dead 
 birds, particularly pigeons and partridges, 
 sometimes hares, rabbits, and other objects. 
 He died in London about 1690. 
 
 FERGUSON, James, 'portrait draftsman. 
 He was born in Banffshire, of very poor 
 parents, in 1710, and learned to read by 
 hearing his father teach his elder brother. 
 He had no other instruction, no books ; and 
 servant to a farmer he discovered a peculiar 
 aptitude for mathematics, and studied the 
 stars while he minded his master's sheep, 
 gaining a knowledge of astronomy by his 
 own contemplation of the heavens. He had 
 also cultivated some power of drawing. 
 Finding at last some friends, he was sent by 
 them to Edinburgh to study, and there, and 
 afterwards in England, supported himself 
 for several years by drawing miniature por- 
 traits in black lead while pursuing his more 
 serious studies, which have given him a 
 well-known name as an astronomer. Seve- 
 ral of these portraits existed at Bristol. 
 He died in 1776, aged 66. 
 
 FERNELEY, J., animal painter. Was 
 born in 1781, and brought up as a wheel- 
 wright ; but, urged by a desire to try art, he 
 abandoned his trade and studied, with some 
 success, to paint animals. He settled among 
 the sporting men at Melton Mowbray, and 
 his first sitter was Mr. Assheton Smyth, of 
 fox-hunting celebrity. Others soon followed, 
 and from 1818 to 1849 he exhibited at the 
 Royal Academy portraits of huntsmen and 
 their horses, dogs and fox-hunting, and 
 hunting-groups. He died June 3, 1860, 
 aged 79. 
 
 FERRERS, Benjamin, portrait painter. 
 He was deaf and dumb, and practised about 
 the middle of the 18th century. There is 
 a portrait by him of Bishop Hoadly, said to 
 have been his kinsman, which is painted 
 with a good deal of rude vigour, and in the 
 Bodleian Library a small oval portrait of 
 Bishop Beveridge. Several of his portraits 
 are engraved. 
 
 FERRIERE, F., miniature painter. Ho 
 is believed to have been a native of Switzer- 
 land. He came early to this country, and 
 practised both in oil and water-colours. 
 He first exhibited at the Academy in 1793, 
 and continued an exhibitor up to 1822. In 
 1819 he was appointed portrait painter 
 to the Dowager Empress of Russia. His 
 water-colour miniatures were executed with 
 much power^ and were greatly esteemed. 
 
 FERRIERE, L., miniature painter, 
 U5 
 
FIB 
 
 FIL 
 
 Lived ill the same house with the fore- 
 going, and was probably his son. He ex- 
 hibited miniature portraits at the Academy 
 in 1817, and again in 1826-27-28, when 
 there is no further trace of him. 
 
 FIELDING-, Theodore Nathan, portrait 
 painter. Kesidcd near Halifax ; painted in 
 oil, and enjoyed a considerable local repu- 
 tation about the middle of the 1 8th century. 
 His works were marked by an elaborately 
 minute finish, and he was much patronised 
 by the gentry of Yorkshire and Lancashire. 
 He was the fother of four artist sons — 
 Theodore, Copley, Thales, and Newton. 
 
 FIELDING-, Theodore Henry Adol- 
 PHUS, water-colour painter. He was the 
 eldest son of the above, and was educated 
 in art by his father. He exhibited a ' View 
 on the Eiver Tyne ' at the Academy in 1779, 
 and continued an occasional exhibitor, chiefly 
 of landscape views, for some years. He was 
 appointed teacher of drawing and per- 
 spective at the Military College at Addis - 
 combe, and resided in the neighbouring 
 town of Croydon, where he died July 11, 
 1851, aged 70. He published a 'Treatise 
 on the Ancient and Modern Practice of 
 Painting in Oil and Water-Colours,' with 
 some other works on art-teaching. 
 
 FIELDING, Mrs. T. _water-colour 
 painter. She was wife of the above. She 
 was elected a member of the Water-Colour 
 Society in 1821, and from that year to 1835 
 was a constant contributor to the Society's 
 Exhibitions. She painted flowers, birds, 
 and insects. 
 
 FIELDING, Anthony Vandyke Copley, 
 water-colour 'painter. Was the second and 
 most distinguished son of the foregoing 
 Theodore Nathan Fielding. He was born 
 in 1787, and became early in life the pupil 
 of John Varley, and was one of the talented 
 party of young men who were accustomed 
 to meet at Dr. Monro's. He devoted him- 
 self to water-colours, and his name is flrst 
 met with as an associate exhibitor of the 
 Water-Colour Society in 1810, from which 
 time he became a regular exhibitor, and 
 occasionally also sent a painting in oil to 
 the Koyal Academy. In 1 8 1 3 he was elected 
 a member of the Society ; in 181 7, treasurer ; 
 and in the following year, secretary. In 
 1831 he was elected the president, and held 
 this office till his death. His works are very 
 numerous ; for several years his contribu- 
 tions to the Water-Colour Society's Exhi- 
 bitions averaged between 40 and 50. He 
 was at the same time a fashionable teacher, 
 largely employed. 
 
 Such an amount of labour, added to his 
 teaching, naturally produced mannerism — 
 slight dexterous works, in which execution 
 prevailed over individuality and truth ; yet 
 his art was very popular, his style agreeable 
 and pleasant, and his works fetch high 
 146 
 
 prices. Some of his early drawings possess 
 great breadth and space, with good colour ; 
 and with them his marine drawings, effects 
 of clouds and storm, may be classed as his 
 best works. He exhibited some Italian 
 views on several occasions, which were from 
 the sketches of others. It does not appear 
 that he ever visited the Continent. His 
 career was successful, and he amassed some 
 property. He had been in the habit of 
 visiting Brighton, where latterly he chiefly 
 resided. He died there on March 3, 1855, 
 in his 68th year, and was buried at Hove. 
 
 FIELDING, Thales, water-colour painter. 
 He was a younger brother of the foregoing. 
 He drew the flgure well, and was a clever ar- 
 tist. In the years 181 6-20, when the Water- 
 Colour Exhibition was open to the pro- 
 fession, he was a contributor, sending classic 
 compositions, which were well grouped and 
 coloured, and landscapes, introducing cattle 
 in the foreground, with some well-known 
 line of scenery or buildings in his back- 
 ground. He was for many years teacher of 
 drawing at the Woolwich Military Academy. 
 He died in Newman Street, London, Decem- 
 ber 20, 1837, aged 44. 
 
 FIELDING, Newton, engraver and water- 
 colour painter. He was the youngest of 
 the four brothers. He was an exhibitor 
 of some views at the Water-Colour Society 
 in 1815, and of some cattle in 1818. Ho 
 chiefly painted animals, but without much 
 ability. He produced some works in aqua- 
 tint, and is best known as an engraver. 
 He engraved Sir Humphry Davy, after 
 Lawrence, 1829-, and worked also as a litho- 
 grapher. He taught the family of Louis 
 Philippe, and was well esteemed in France. 
 He died June 13, 1856. 
 
 FIELDING, John, engraver. Was born 
 about 1758, and was the pupil of Ky land 
 and also of Bartolozzi. He worked so much 
 for Kyland, that the plates which bear his 
 own name are very few ; of these are ' Jacob 
 and Rachael,' after Stothard, and ' Moses 
 saved by Pharaoh's Daughter ; ' also some 
 plates after Angelica KaufFman. His best 
 works are between 1780-90. 
 
 FILLANS, James, sculptor. Was born in 
 Lanarkshire in 1808, and was apprenticed 
 to a stonemason at Paisley. He was after- 
 wards employed there in modelling small 
 groups, by which he eventually made him- 
 self known, and by his ability as a bust 
 modeller found employment. In 1835 he 
 was enabled to visit Paris, where he studied 
 for a time in the Louvre. On his return ho 
 exhibited at the Royal Academy in 1837, 
 was a contributor up to 1850, and became 
 successful as a portrait sculptor. He visited 
 Vienna, and from thence Italy, and ma- 
 turing his art he produced some good 
 groups — 'Blind Girls reading the Scrip- 
 tures,' ' Rachael weeping for her Children ; ' 
 
FIL 
 
 PIS 
 
 but his forte was as a bust modeller. Ho 
 died of rheumatic fever at Glasgow, Septem- 
 ber 27, 1852, leaving a widow and a large 
 family, for whom in his short career he 
 had been unable to make provision. 
 
 FILLIAN, John, engraver. He was a 
 pupil of Faithorne, and practised towards 
 the latter part of the 17th century, but died 
 young, about 1680. Evelyn speaks of him 
 as a hopeful young man. There are a few 
 portraits by him — a head of his master, 
 Faithorne; of Thomas Cromwell, Earl of 
 Essex; and of Paracelsus. He imitated 
 the manner of Faithorne, and had he lived 
 might have attained some excellence. 
 
 FINCH, Francis Oliver, water-colour 
 fainter. Was born November 22, 1802, the 
 son of a merchant in Cheapside. A weakly 
 child, he passed his boyhood at Stone, a 
 little \allage near Aylesbury. When of a 
 proper age he was articled to John Varley 
 for three years, but continued with him for 
 five years. He then made a sketching tour 
 in the Highlands. For a time he painted 
 portraits and made some study of the figure. 
 He also painted some landscapes in oil, but 
 returning to his first art, he was in 1822 
 elected an associate, and in 1827 a member, 
 of the Water-Colour Society. The profits of 
 art were at that time small, and he regretted 
 being so much drawn aside from his art by 
 the necessities of teaching. He was fre- 
 quently depressed by a want of confidence 
 in his abilities, and was slow in his execution. 
 His landscapes were chiefly compositions, 
 palaces, gardens, and stately terraces, 
 painted in the early pure manner, but 
 laboured in their execution and following 
 too much the style of Barret. His love of 
 twilight and moonlight scenes, in which he 
 excelled, was acquired by his rambles when 
 a young man, frequently extended through 
 the night, with some fellow-student, sketch- 
 book in hand. He exhibited at the Water- 
 Colour Society from 1820 till his death ; but 
 between 1817 and 1828 he was also an oc- 
 casional exhibitor at the Koyal Academy. 
 He died August 27, 1862, after a lengthened 
 illness. He possessed a fine voice, and was 
 a good musician. He had also some poe- 
 tical tastes, and printed a small collection 
 of sonnets and ' An Artist's Dream.' His 
 widow wrote an affectionate memoir of him, 
 published in 1865. 
 
 FINDEN, Ed WARD. Francis, "1 engravers. 
 
 FINDEN, William, / Two bro- 
 
 thers, both pupils of James Mitan, who 
 practised their art together, and were 
 largely assisted in their work by their 
 pupils. They first engaged in the illustra- 
 tions for the ' Arctic Voyages ' published by 
 Murray. Next they projected and published 
 the landscape illustrations of Byron, fol- 
 lowed by ' The Landscape Bible,' ' Beauties 
 of the Poets,' and some others. Realising 
 
 a profit by these undertakings, the brothers 
 commenced their most important work, * The 
 Gallery of British Art,' which, by its failure, 
 involved them in difficulties they hardly 
 ever surmounted, though the work was both 
 well planned and ably executed. Their 
 next attempt was ' The Beauties of Thomas 
 Moore,' and this too was unhappily unsuc- 
 cessful. Edward, the younger brother, died, 
 after a long illness, February 9, 1857, aged 
 65. He worked chiefly in conjunction with 
 the pupils and assistants, and did not com- 
 plete any important plates with his own 
 hand. William died in his 65th year, Septem- 
 ber 20, 1852. The best works from his own 
 graver are, ' The Highlander's Return' and 
 ' Naughty Boy,' after Edwin Landseer, R.A., 
 and 'The Village Festival,' after Wilkie, R.A. 
 
 FINLAYSON, John, draftsman and 
 mezzo-tint engraver. Was born about 1730, 
 and practised his art in London. He was a 
 member of the Free Society of Artists in 1763, 
 and in 1764 and 1773 was awarded a pre- 
 mium by the Society of Arts. He engraved 
 a considerable number of portraits after 
 Hone, Cotes, Zoflfany, and Reynolds, and 
 died about 1776. He also engraved two or 
 three subject pictures, one of them, ' Can- 
 daules showing his Wife as she is leaving the 
 Bath,' after his own design. 
 
 FINNEY, Samuel, miniature fainter. 
 He was born in Cheshire, of an old county 
 family, and practised his art, both on ivory 
 and in enamel, with much success in Lon- 
 don. He exhibited his miniatures with the 
 Society of Artists, of which he was a mem- 
 ber, 1761-66. He was appointed portrait 
 painter to Queen Charlotte, and exhibited a 
 portrait of her Majesty in 1765. He quitted 
 his profession on inheriting some family 
 property, and retired to his native county, 
 where he died in 1807, aged 86. 
 
 FISHER, Jonathan, landscajpe fainter. 
 He was born in Dublin, and was originally 
 a draper in that city. Self-taught in art, 
 he was patronised by Lord Portarlington. 
 His works did not go beyond the mechanical 
 imitation of nature, were cold in colour, and 
 wanting in all the higher qualities of art ; 
 nor did they enable him to gain a mainte- 
 nance. This he owed chiefly to a situation 
 in the Stamp Office, Dublin, which he held 
 till his death, in 1812. He published, in 
 1782, a set of views of the Lake of Killarney, 
 aqua-tinted, from his paintings, by Mazell, 
 and some illustrations of Irish scenery. 
 
 FISHER, Edward, mezzo-tint engraver. 
 Born in Ireland in 1730 ; he was originally 
 apprenticed to the trade of a liatter. He 
 then took to engraving, and was dis- 
 tinguished by his plates, . after Reynolds, 
 which were brilliant, and the expression 
 well rendered. Some of his best are Lady 
 Elizabeth Keppel, Lady Sarah Bunbury, and 
 Lord Ligonier. His works are distinguished 
 % 147 
 
FIS 
 
 PLA 
 
 by great breadth and delicacy of finish. 
 Keynolds said of him that he was ' injudi- 
 ciously exact/ and wasted as much time in 
 giving the precise shape to every leaf as 
 he bestowed on the features of a portrait. 
 He was amember of the Incorporated Society 
 of Artists, 1766, and resided in London, 
 where he died about 1785. 
 
 FISK, William H., ^portrait and history 
 painter. He was born 1796-97, at Thorpe- 
 le-Soken, Essex, in which county his family, 
 a long race of yeomen, had possessed some 
 property in land. Educated at Colchester, 
 he came to London at the age of 19, 
 and for 10 years had some mercantile em- 
 ployment. He had always felt a desire 
 towards art, and when past 30 he turned 
 earnestly to its study. He first gained a 
 place on the Academy walls in 1829, and 
 then, and for several years, exhibited por- 
 traits ; but from 1835, with a higher aim, he 
 exhibited historical works — in 1836, 'The 
 Coronation of Kobert the Bruce ; ' in 1838, 
 ' Lionardo da Vinci expiring in the arms of 
 Francis 1.;' in 1839, 'Attempt to Assassinate 
 Lorenzo de Medici,'for which he was awarded, 
 in 1840, the gold medal at the Manchester 
 Exhibition. In 1842 he exhibited 'The 
 Trial of Charles I. ; and in 1843, ' Charles I. 
 on his Way to the Scaffold.' From that time 
 his subjects were of a more domestic cha- 
 racter, and he was only an occasional ex- 
 hibitor ; but towards the end of his career 
 he exhibited two or three subjects from 
 Scripture. He purchased some property in 
 Essex, to which he had for some years re- 
 tired, and died at Danbury, in that county, 
 Novembers, 1872. Several of his works 
 are engraved. 
 
 FITTLER, James, A.E., engraver. He 
 was born 1758, in London, and in 1788 en- 
 tered the Academy Schools, where he studied 
 his art and attained much distinction. He 
 engraved portraits, landscapes, marine sub- 
 jects, and topographical views, and was 
 appointed marine engraver to George III. 
 He was employed on the illustrations for 
 Bell's 'Theatre' and Dibdin's ' -Sides Althor- 
 pianse.' His ' Lord Howe's Victory ' and 
 ' Battle of the Nile,' both after De Louth er- 
 bourg, are his most important works. He 
 published ' Scotia Depicta,' from drawings 
 by Claude Nattes, and an 'Illustrated 
 Bible.' He was elected an associate en- 
 graver of the Royal Academy in 1800. He 
 died at Turnham Green, December 2, 1835, 
 aged 79, and was buried in Chiswick Church- 
 yard. He worked in the line manner ; was 
 powerful in light and shade, hard and not 
 agreeable in manner. 
 
 FITZ-OTTO, William, medallist. He 
 is styled ' goldsmith,' and was engraver of 
 the dies for the Royal Mint in the reign of 
 Henry I., having been confirmed to that 
 ofl&ce, ' the mystery of the dyes,' which his 
 148 
 
 father, in Domesday-book, is described to 
 have held, and which it appears was at that 
 time hereditary. 
 
 FITZ-OTHO, Thomas, \ medallists. They 
 FITZ-OTHO, Hugh, J were engravers 
 to the Mint in the reign of Edward I. 
 Thomas was styled ' Die graver in fee.' 
 
 FLATMAN, Thomas, miniature painter. 
 He was the son of a clerk in Chancery, and 
 born in London about 1633. Educated at 
 Winchester School, he went from thence to 
 New College, Oxford, where he was elected 
 a fellow in 1654, but left, without taking 
 his degree, to study the law in the Inner 
 Temple, and was called to the bar, but it 
 does not appear that he ever followed the 
 profession. He early took up the study of 
 art, and distinguished himself as a miniature 
 painter. His works are somewhat larger 
 in scale than those of his predecessors, 
 and he used more body colour. They are a 
 little after Cooper's manner, but deficient 
 in his refinement of drawing, expression, 
 and finish, and are greatly behind him in 
 grace, though they are far from wanting in 
 merit, and are highly esteemed. Some por- 
 traits in oil by him also exist. They are 
 pleasing in colour, well painted, with no ap- 
 pearance of littleness in manner. He was 
 also a poet, and a small volume of ' Poems 
 and Songs' by him, published in 1674, 
 reached a third edition in 1688. His 
 miniatures were, however, preferred to his 
 writings by his contemporaries, for Lord 
 Rochester says of him : 
 
 ' Flatman, who Cowley imitates with pains. 
 And rides a jaded muse whipt with loose 
 reins.' 
 
 And Granger, ' One of his heads is worth a 
 ream of his pindarics ; ' and it is said alsd 
 that his art was highly esteemed by Vertue. 
 He lived in Three-leg Alley, St. Bride's, Lon- 
 don, where he died, December 8, 1688, and 
 was buried in the parish church. He pos- 
 sessed a small estate at Tishton, near Diss. 
 
 FLAXMAN, John, modeller. He was of 
 an old Buckinghamshire race, originally 
 from Norfolk, and four brothers of the 
 family fought on the side of the Parliament 
 at Naseby. He was descended from the 
 youngest son, who settled in Buckingham- 
 shire. Roubiliac and Scheemakers both 
 employed him as a modeller. He kept a 
 shop for the sale of plaster casts in Covent 
 Garden, and afterwards in the Strand, 
 where he died about 1795. 
 
 FLAXMAN, William, modeller. He was 
 the eldest son of the above, and practised 
 towards the end of the last century. He 
 exhibited a ' Venus ' with the Free Society 
 of Artists in 1768, and at the Academy for 
 the first time in 1781, sending a portrait of 
 his brother in wax, and contributed a por- 
 trait in wax to three subsec^uent exhibitions, 
 
FLA 
 
 PLA 
 
 the last in 1793. He is said to have been 
 distinguished as a carver in wood. 
 
 FLAXMAN, John, K.A., sculptor. 
 Second son of the above John Flaxman. 
 Was born in York city, July 6, 1755. He 
 was a delicate boy, in very weakly health, 
 and finding his amusement at home, pro- 
 bably received his first inspirations in art 
 from the classic models in his father's shop. 
 For this his taste had been quickened by a 
 fair knowledge of Latin and Greek. He 
 exhibited at the Free Society of Artists, as 
 early as 1767, ' Models from the Antique ;' 
 in the next year, busts; and in 1769, ' The 
 Assassination of Julius Csesar,' a model; 
 probably the first idea of his completed 
 work in 1781. In 1769 he was admitted a 
 student of the Eoyal Academy. He had 
 acquired the technicalities of his art from 
 his father, and was diligent in his studies. 
 In 1770-71 he exhibited portraits in wax 
 at the Eoyal Academy; and in 1772 was 
 an unsuccessful competitor for the gold 
 medal, and could not refrain from tears 
 when the decision was announced. The 
 same year he exhibited a ' Figure of His- 
 tory ; ' the following year, ' A Figure of Gre- 
 cian Comedy,' with, at the same time, some 
 wax portraits. Continuing to exhibit with 
 little intermission, in 1777 he contributed 
 a clay model of ' Pompey ' and of ' Agrip- 
 pina;' in 1778, 'Hercules tearing his hair 
 after having put on the poisoned Shirt ;' in 
 1781, ' The Death of Julius Caesar' and 
 * Acis and Galatea,' two bas-reliefs ; in 1782, 
 a bust of Venus; in 1784, 'Prometheus;' 
 followed in 1785-86 by some monumental 
 groups, including that to the poet Collins 
 at Chichester Cathedral and to Mrs. Morley 
 at Gloucester Cathedral; and in 1787, 
 'Venus and Cupid.' During these years 
 he was largely employed by Messrs. Wedg- 
 wood, and added greatly to his means by 
 his designs for their celebrated pottery, and 
 then for the next seven years he sent no 
 work to the Academy Exhibitions. 
 
 His early art companions were Stothard, 
 R.A., and Blake, and at this time, leaving 
 his home, he lived in Wardour Street, where 
 he worked zealously, modelling in wax and 
 clay, and occasionally making a study in 
 oil. In 1782 he married Anne Denman, an 
 accomplished young lady of a family in the 
 City, and in 1787, taking his wife, his help- 
 mate ever by his side, as the companion of 
 his travels, visited Italy, where he pursued 
 his studies for seven years. At Rome, 
 while he had to support himself by his 
 work, he attracted great notice. He exe- 
 cuted for the Earl of Bristol, but for a price 
 which proved very inadequate, a marble 
 group of four figures above life-size from 
 Ovid's 'Metamorphosis,' representing the 
 fury of Athamas. He began his designs in 
 illustration of the great poets — the ' Iliad ' 
 
 and 'Odyssey,' 80 designs, 1793; from 
 -^Eschylus, 1795; and Dante, 1797; and 
 these works were engraved at Eome under 
 his supervision by Piroli. On his return 
 home, he was presented with the diplomas 
 of the academies of Florence and Verona, and 
 later he made the designs from 'Hesiod,' 
 which were engraved in 1816. 
 
 Ho returned to England in 1794, and in 
 the following year took a house in Bucking- 
 ham Street, Fitzroy Square, where he re- 
 sided till his death. His first work was 
 his monument to Lord Mansfield, in West- 
 minster Abbey — a fine monumental group 
 — the great judge represented seated in his 
 full robes, with figures of Justice and 
 Mercy, and an emblematic figure, said to 
 be of Death. Following this work, he was 
 elected in 1797 an associate, and in 1800 
 a full member, of the Academy. He after- 
 wards completed his monument to Captain 
 Montague, in St. Paul's, and the monuments 
 to Sir Joshua Eeynolds, Earl Howe, and 
 Lord Nelson ; and anxious to distinguish 
 himself, proposed to erect a statue of 
 Britannia, 200 feet high, on Greenwich Hill, 
 as a naval trophy. 
 
 Weakly in frame and constitution, and 
 of a gentle spirit, he quietly pursued his 
 art during a long career. Of the numerous 
 works from his chisel, these should be 
 specially noticed — 'Michael and Satan,* 
 executed for Lord Egremont ; a monument 
 to the Baring family at Micheldever Church, 
 Hants ; to Mary Lushington, at Lewisham, 
 Kent ; Earl Howe, in St. Paul's ; and his 
 drawings and model for the 'Shield of 
 Achilles,' completed in 1818, comprising 
 upwards of 100 figures, besides animals. 
 He was elected, in 1810, professor of sculp- 
 ture to the Eoyal Academy, and delivered 
 from the professor's chair 10 lectures, 
 which are published. Simple in all his 
 tastes and habits, his art was founded on 
 the highest Greek examples. His imagin- 
 ative genius is shown in his numerous 
 drawings and designs, full of poetry and 
 sentiment in their conception, but never 
 sensual ; classic and poetical, religious and 
 monumental, his groupingwas distinguished 
 by its grandeur of style. Skilled in the 
 use of his modelling tool, he was weak and 
 ineffective when he took his chisel in hand. 
 He was of some reputation as a writer on art 
 subjects. He published, in 1799, 'A Letter 
 to the Committee for raising a Monument to 
 the Duke of Gloucester.' He contributed a 
 sketch of Eomney's career to 'Hayley's 
 Life.' He wrote for Eees's ' Encyclopsedia ' 
 the articles 'Armour,' ' Basso-rilievo,* 
 ' Beauty,' ' Bronze,' ' Bust,' ' Composition,' 
 ' Cast,' and ' Ceres.' His health declined 
 gradually towards the end of his life, and 
 a bad cold caught at the beginning of De- 
 cember terminated in a few days in his 
 
 149 
 
FLA 
 
 ^OG 
 
 death. Ho was buried in the ground be- 
 longing to St. Giles-in-the-Fields, adjoin- 
 ing the old church of St. Pancras, where 
 his tombstone tells that ' his angelic spirit 
 returned to the Divine Giver, December 7, 
 1826, in the 72nd year of his age.' His 
 wife, who died in 1820, and his sister rest 
 in the same grave. His property was 
 sworn under 4,000^. Miss Denman, his 
 wife's sister, and his adopted daughter, 
 founded the Flaxman Gallery at the Lon- 
 don University College. 
 
 ELAXMAN, Miss Mary Ann, amateur. 
 Sister of the above. Her name first appears 
 in art as an exhibitor at the Koyal Academy, 
 both of models and drawings. In 1786 she 
 was an ' honorary ' contributor of ' Turkish 
 Lfidies;' in 1789, of 'Ferdinand and Miranda 
 playing Chess ' and a portrait in wax ; in 
 1790, of a drawing from Miss Burney's 
 * Cecilia ;' and then, after an absence of six 
 years, she again contributes — 1797-1800, 
 designs from the poets; in 1802, a por- 
 trait of Mrs. Billington. She was, probably 
 at this time, governess in a family, with 
 whom she travelled in Germany. In 1810 
 she had returned to London and was living 
 with her brother, and then resumed her 
 contributions to the Academy, exhibiting in 
 that year ' Sappho ;' in 181 1, portrait of her 
 friend, Miss Porden; in 1817, designs for 
 the old ballad, 'The Beggar's Daughter;' 
 in 1819, 'Maternal Piety,' her last exhibited 
 work. She died April 17, 1833, in her 65th 
 year. Her designs for 'Robin Goodfellow' 
 were engraved ; and six illustrations by her 
 for Hayley's ' Triumphs of Temper,' en- 
 graved by Blake, were published in 1803. 
 They are very simple in design, with much 
 original feeling, and though weakly, are not 
 badly drawn. 
 
 FLETCHER, Henry, engraver. Prac- 
 tised in London in the second quarter of 
 the 1 8th century. He was chiefly employed 
 upon portrait heads for frontispieces, but 
 is best known as the first engraver of 
 flowers in this country. Of these his 
 'Flowers of each Month' (some copies of 
 which were coloured) are good examples. 
 There is a plate by him of the story of 
 ' Bathsheba,' after Sebastian Concha. 
 
 FLETCHER, Henry, engraver. Born 
 at the beginning of the 18th century, and 
 about 1750 engraved several views of An- 
 cient Rome, after Canaletti. 
 
 FLITCROFT, Henry, architect. Born 
 September 3, 1697. His father was gar- 
 dener to William III. at Hampton Court. 
 He began life as a carpenter, but falling 
 from a scaflfold at Lord Burlington's about 
 1717-18, the accident gained him the notice 
 of that nobleman, by whose patronage and 
 his own merit ho attained celebrity and 
 wealth. He held several offices at the 
 Board of Works, succeeding to the appoint- 
 150 
 
 ment of comptroller in 1758. He built the 
 church of St. Giles-in-the-Fields, opened 
 1734, and rebuilt St. Clave' s, Southwark, 
 and also, about 1745, the church at Hamp- 
 stead, where he built a house for himself, 
 and dwelt some time. He also made some 
 extensive alterations at Woburn Abbey, 
 almost rebuilding the mansion, and adding 
 an elevation of much pretension. He was 
 elected sheriff for London and Middlesex 
 in 1745, but declined to serve, and paid 
 the fine. He died March 5, 1769, and was 
 buried at Teddington. He was nicknamed 
 ' Burlington Harry.' 
 
 FLOWER, Bernard, ^ glazier.^ He 
 contracted to paint the windows of 
 Henry VII.'s Chapel, Westminster Abbey, 
 but died about the 4th Henry VIII., before 
 the completion of the work. 
 
 FLYNTE, Nicholas, die sinJcer. Was 
 sculptor of the irons for the Royal Mint. 
 'Sculptor de et pro Ferris,' 2nd Henry 
 VII. 
 
 FOGGO, James, history 'painter. Was 
 born in London, June 11, 1790. His father 
 was a warm advocate for the emancipation 
 of the negroes, and during the suspension 
 of the Habeas Corpus Act in 1799 thought 
 it prudent to leave England, and went with 
 his family to Paris. The son was educated 
 in the schools of the French Academy, and 
 adopted art as his profession. In 1815, on 
 the return of Napoleon from Elba, he 
 hastily left Paris and came to London with 
 small means, which were soon exhausted. 
 But he did not want perseverance. He 
 painted his 'Hagar and Ishmael,' which 
 was exhibited at the British Institution, 
 and gained favourable notice. He was also 
 fortunate in obtaining some teaching, which 
 proved his chief means of support. In 
 1819 he was joined by his brother George, 
 who was educated in art with him, and 
 from that time they worked together, their 
 pictures being the effort of their combined 
 talent. In 1822 they completed their large 
 work, ' Christians at Parga preparing to 
 Emigrate;' in 1824, 'Christ healing the 
 Impotent Man at the Pool of Bethesda ;' in 
 1826, 'The Entombment of Christ;' but 
 they exhibited very few works, and those 
 generally at the British Institution. In 
 1840-43 they were competitors in the 
 Westminster Hall Exhibitions for the deco- 
 rations of the Houses of Parliament, but 
 were not successful. The works they pro- 
 duced were chiefly Scripture subjects, and 
 from their unusually large dimensions and 
 treatment, were hardly of a class to find 
 purchasers ; but the two brothers, working 
 harmoniously together for nearly 45 years, 
 followed the bent of their own genius, 
 undeterred by the want of public appre- 
 ciation, while they found by teaching 
 their chief means of living. James died in 
 
FOG 
 
 FOR 
 
 London, September 14,1860, and was buried 
 in the Highgate Cemetery. 
 
 FOGGO, George, histo?^ painter. Born 
 April 14, 1793. He was younger brother 
 of the above, and was associated with him 
 in his principal works, and like him, drew 
 the figure well. He was an energetic, active 
 man, and was associated with many plans 
 for the advancement of art. He drew and 
 lithographed the Eaphael cartoons, and 
 was the author of ' A Letter to Lord 
 Brougham on the History and Character of 
 the Koyal Academy,' 1835 ; the ' Keport of 
 a Meeting to promote the free Admission to 
 St. Paul's and Westminster Abbey,' 1837 ; 
 ' Eesults of the Parliamentary Inquiry on 
 the new Schools of Design and the Royal 
 Academy,' 1837; 'A Catalogue of the 
 National Gallery, with Critical Notes,' 1847. 
 He died September 26, 1869, aged 76. 
 
 FOLDSONE, John, portrait painter, also 
 styled himself history painter. He practised 
 in the latter half of the 18th century. He 
 painted small heads in oil; rapid in his 
 execution, his practice was to attend his 
 sitters at their own houses early in the 
 morning, generally to dine with them, 
 finish his work in the day, and to retire 
 with his honorarium. He exhibited por- 
 traits at the Spring Gardens Exhibition in 
 1769, and small whole-length portraits, 
 with two portrait-groups, at the Academy 
 in 1771, a classic subject in 1773, and con- 
 tinued to exhibit up to 1783. He died, 
 early in life, soon after. His daughter 
 (Mrs. Mee) was a successful miniature 
 painter. 
 
 FOOTTIT, Harrison, nwiiature painter. 
 He exhibited at the Eoyal Academy in 
 1772 and the two following years, and 
 practised till towards the end of that cen- 
 tury, though he does not appear again as 
 an exhibitor. 
 
 FORD, M., mezzo-tint engraver. Pro- 
 duced several fine portrait plates early in 
 the latter half of the 1 8th century. 
 
 FORD, Richard, amateur. He was the 
 son of Sir Richard Ford, chief magistrate 
 of Bow Street, and was born in London in 
 1796. Educated at Winchester School and 
 at Trinity College, Oxford, he was called to 
 the bar at Lincoln's Inn. He then travelled, 
 visiting the chief of the great European 
 capitals. He cultivated the arts, was a 
 very able sketcher, and had a knowledge 
 and judgment of pictures, of which he made 
 a good collection. His sketches were used 
 in the illustration of Lockhart's ' Spanish 
 Ballads ' and several other works. He 
 wrote a ' Handbook for Travellers in Spain,' 
 1845 ; ' Gatherings from Spain,' 1846 ; and 
 • Tauromania; or, The Bull-fights of Spain,' 
 1852; and contributed several articles to 
 the ' Quarterly Review ' on the art and lite- 
 rature of Spain. He died September 1, 1858, 
 
 FORD, Samuel, history painter. He was 
 born at Cork, April 8, 1805. Weak in con- 
 stitution, he was by his father's improvi- 
 dence early inured to privation, and with 
 his pencil and books passed many a sad day 
 in want; yet persevering, he acquired a 
 knowledge of Latin, French, and Italian, 
 and studied drawing in the Cork School, 
 where he was a fellow- student with Ma- 
 clise. In 1828 he was chosen the master 
 of the Cork Mechanics' Institute. He had 
 often been without the means to procure 
 materials for his work, and full of cLreamy 
 aspirations of great poetic subjects, he now 
 tried to realise them. He finished and 
 exhibited ' The Genius of Tragedy,' and in 
 1827 commenced a large cartoon of the 
 ' Fall of the Angels ' (purchased by the 
 Earl of Shannon), by which he hoped to 
 establish a name ; but he took cold, which 
 led to consumption, of which ho died, 
 July 28, 1828. 
 
 FORREST, , glass painter. Was the 
 
 pupil of Jarvis, whom he assisted in the 
 completion of the window in St. George's 
 Chapel, Windsor, after Wes.t's design of 
 ' The Resurrection ; ' and was afterwards 
 engaged there, from 1792-96, on three 
 other windows by West — ' The Angel's Ap- 
 pearance,' ' The Nativity,' and ' The Wise 
 Men's Offering.' Later, he painted several 
 windows with Eginton, of Birmingham. 
 
 FORREST, Robert, sculptor. Born in 
 Lanarkshire, and bred a stonemason in the 
 Clydesdale quarries. He was self-taught 
 in art. In 1817 he cut a statue of Wallace, 
 and was subsequently employed to cut a 
 colossal figure of Lord Melville for tho 
 pillar in St. Andrew's Square, Edinburgh. 
 He also executed the ' John Knox ' in the 
 Glasgow Necropolis, and in 1843 completed 
 a good portrait statue of Mr. Ferguson, of 
 Raith. He does not appear to have exhi- 
 bited in London; but in 1832 he opened 
 an exhibition of about 30 groups, executed 
 by himself, which attracted much notice. 
 His works were original, and had merits 
 both of proportion and conception. He died 
 at Edinburgh, December 29, 1852, in his 
 63rd year. 
 
 FORREST, Theodosius, amxiteur. He 
 was the son of a solicitor, and followed his 
 father's profession. In early life he was a 
 pupil of Lambert, and from 1769 to 1775 
 was a yearly exhibitor of tinted drawings at 
 the Royal Academy, views of buildings and 
 landscapes, with one or two attempts at 
 classic subjects, but he is distinguished as 
 one of the party who left a record of their 
 ' Five Days' Peregrinations,' with illustra- 
 tions by Hogarth. He was wealthy, was 
 a member of the Beef-steak Club, and uni- 
 versally known by the artists of his day — 
 a jovial companion, who wrote and sang his 
 own songs. He wrote 'The Weathercock' 
 
 151 
 
FOR 
 
 POU 
 
 for the Covent Garden stage. He died 
 November 5, 1784. 
 
 FOKRESTER, Alfred Henry (pseu- 
 donym 'Alfred Crowquill'), comic draftsman. 
 He was born in London in 1805, of a family 
 long members of the Stock Exchange, and 
 was educated with a view to that business. 
 He was, however, more attached to litera- 
 ture than to the money transactions of the 
 City, and at the age of 16 he made a begin- 
 ning as an anonymous periodical writer. 
 Under his assumed name he first wrote in 
 the ' New Monthly Magazine,' and in 1828 
 he became a permanent contributor; and 
 from that time he took a large share in the 
 periodical literature of the day, but did not 
 retire from the Stock Exchange till 1839. 
 His writings were illustrated by his own 
 comic designs, executed with great facility 
 and power, and his works were among the 
 most popular. In 1845-46 he was an 
 exhibitor at the Royal Academy — 'The 
 Huntsman's Rest,' ' The Picnic,' and some 
 other of his designs. He was a constant 
 contributor to the 'Illustrated London 
 News,' and published ' Alfred Crowquill's 
 Sketch-Book,' 'Eccentric Tales,' 'Leaves 
 from my Memorandum-Book,' ' Wanderings 
 of the Pen and Pencil,' ' Comic Arithmetic,' 
 and * Comic Grammar.' He died in May 
 1872, and was buried in the Norwood 
 Cemetery. 
 
 FORRESTER, James, engraver. Prac- 
 tised about 1760. He resided some time in 
 Italy, and in 1761 sent a large landscape 
 from Rome to the Academy Exhibition. 
 He etched some Italian scenes, whose chief 
 merit is their neat execution. 
 
 FORSTER, Thomas, miniature drafts- 
 man. He practised at the beginning of the 
 18th century. He drew on vellum with the 
 black-lead pencil, and many well-finished 
 miniatures in this manner, carefully drawn 
 and expressed, are known. They are dated 
 and signed with his name, which is well 
 worthy of record, though no other particu- 
 lars respecting him can he traced. 
 
 FOSTER, Thomas, jportrait 'painter. 
 Born in Ireland. Came to England at the 
 age of 15 or 16, and entered as a student of 
 the Royal Academy in 1818, and the next 
 year, and in each succeeding year to 1825, 
 contributed to the Academy Exhibitions. 
 He copied several of Lawrence's portraits, 
 and made rapid advance as a portrait 
 painter. He painted a picture of ' Mazeppa,' 
 which gained him notice ; and in 1823 ex- 
 hibited ' Domestic Quarrels ' and a portrait 
 of Miss Tree and of Mr. J. Wilson Croker, 
 in whom he found a friend and patron. 
 In 1825 he exhibited 'Paul and Virginia.' 
 His connections were respectable, his man- 
 ners and person agreeable, but his love 
 of society interfered with his art, in which 
 he no less continued to make good pro- 
 162 
 
 gress. He is said, however, to have de- 
 sponded over an ambitious work he had 
 commenced, or, as was hinted, to have fallen 
 hopelessly in love with a young lady whose 
 portrait he was painting. From whatever 
 cause, he unhappily committed suicide in 
 March 1826, in his 29th year. He left a 
 note sajdng that his friends had forsaken 
 him, that he knew no cause, and that he 
 was tired of life. 
 
 FOULIS, Andrew, "1 amateurs. Two 
 
 FOULIS, Robert, j brothers, who 
 were eminent printers in Glasgow, remark- 
 able for the beauty and elegance of their 
 editions of the classics. Their taste for the 
 fine arts induced them to establish an aca- 
 demy of painting and sculpture in Glasgow, 
 and to undertake, at their own charge, the 
 instruction of young artists, and even to 
 provide for the continuance of their studies 
 in Italy. This generous undertaking par- 
 tially succeeded, mainly in the branches of 
 drawing and engraving, but for want of 
 support the efforts of the two brothers were 
 unsuccessful, and the fortunes which they 
 had realised by printing were swallowed up 
 by the charges of their academy, which led 
 to their ruin. Andrew died September 15, 
 1775, Robert in the following year. Men- 
 tion will be too frequently made in this 
 work of eminent artists who studied in 
 Foulis's Academy to permit of the omission 
 of their names. 
 
 FOULSTON, John, Was born 
 
 in 1772, and was a pupil of Thomas Hard- 
 wick. In 1796 he commenced practice for 
 himself, and in 1811 was a successful com- 
 petitor for a large building at Plymouth, 
 comprising the Royal Hotel, Assembly 
 Rooms, and Theatre. This induced him 
 to settle in Plymouth, and establishing a 
 reputation there, he was the architect of 
 several public and private buildings of great 
 merit in the West of England. He died 
 near Plymouth, January 13, 1842. He pub- 
 lished his chief designs, ' Public Buildings 
 erected in the West of England,' 1838. 
 
 FOUNTAIN, , portrait painter. 
 
 There are engravings of portraits painted 
 by him in the reigns of George I. and of 
 George II. 
 
 FOURDRINIERE, Peter, engraver. 
 Born in France. He came to this country 
 and settled in London. He was chiefly em- 
 ployed upon plates for the illustration of 
 books, and engraved the ' Four Ages of 
 Man,' after Lancret ; also the plates for a 
 folio volume of ' The Villas of the Ancients,' 
 published in 1728, and the plans and eleva- 
 tions of Houghton Hall. These architec- 
 tural plates are carefully executed, but his 
 manner was weak and black. He died in 
 London, February 3, 1758, leaving many 
 descendants. 
 
 FOURDRINIERE, Peter, engraver, 
 
FOU 
 
 FO W 
 
 Born in England. He excelled in architec- 
 tural engraving, and was also largely em- 
 ployed upon illustrated frontispieces by the 
 booksellers. He died about 1769. 
 
 FOUENIER, Daniel, engraver. He is 
 believed to have been originally an engraver 
 by profession, but eventually he was of 
 many occupations. He was shoemaker, 
 kept an a-la-mode beef shop, painted, en- 
 graved, modelled in wax, and taught draw- 
 ing. He published, in 1764, 'The Theory 
 and Practice of Perspective, on the Prin- 
 ciples of Brooke Taylor,' which he illustrated 
 by movable diagrams and 50 plates. With 
 all his undertakings he was seldom free 
 from difficulties. He died about 1766. 
 
 POWKE, Captain Erancis, R.E., archi- 
 tect. Was born at Ballysinnin, near Bel- 
 fast, July 7, 1823. When about 12 years 
 of age he was sent to Dungannon College, 
 where he gained a gold medal for mathe- 
 matics in a competition open to the whole 
 school. In 1839, at the age of 16, he entered 
 the Woolwich Academy, and passed his 
 probationary examination in 1840, his theo- 
 retical in 1841, and his practical examina- 
 tion, coming out sixth, in 1842. The great 
 ability he had shown, added to his talent 
 in drawing, secured him the third out of the 
 four engineer commissions only which were 
 given in that year, and he was at once sent 
 to Chatham. In December 1843 he returned 
 to Woolwich, and in the following April 
 was quartered at Limerick, from whence, in 
 April 1845, he sailed for Bermuda, and was 
 stationed at Ireland Island, and was soon 
 after employed in designing the Bermuda 
 Barracks in St. George's Island. In 1849 
 he returned to England, and, quartered at 
 Devonport, he designed theEaglan Barracks 
 there, in the construction of which great 
 regard was paid to the health and comfort 
 of the men. In 1853 he was attached to 
 the South Kensington Museum, as inspector 
 of science and art ; and in the following 
 year was charged with the machinery of 
 the English department at the Paris Exhi- 
 bition of 1855, and subsequently appointed 
 secretary to the British Commission. He 
 was made chevalier of the Legion of Honour 
 in recognition of his services. He wrote 
 two able reports in connection with this 
 duty — one on Civil Construction, the other 
 on the Strength of Materials, including the 
 results of valuable experiments upon colo- 
 nial woods. He was afterwards appointed 
 the architect of the South Kensington 
 Museum, and built the fine picture galleries, 
 which are admirably constructed with re- 
 gard to light and convenience ; the great 
 north court, whose widespread roof is sus- 
 pended without support from the floor ; and 
 the south court, with its elegant metal 
 galleries. He was also the architect of the 
 National Gallery of Ireland (interior), a 
 
 work most pure and unpretentious in its 
 style, and of the Edinburgh Museum of 
 Science and Art. 
 
 In 1858 he was appointed a member of 
 the International Technical Commission, 
 and made a separate report on the scheme 
 for the navigation of the Danube. He 
 planned the arcades and conservatory of the 
 Horticultural Gardens, the latter highly de- 
 corative and original in its design ; and the 
 Prince Consort's Library at Aldershot. The 
 building for the International Exhibition 
 of 1862, a work of great constructive power, 
 was also designed by him, the permanent 
 galleries connected with which were admir- 
 ably adapted for the exhibition of paintings. 
 One of his last designs was for a Natural 
 History Museum, and was unanimously 
 adopted, in an open competition, by the 
 judges appointed by the Government ; but, 
 from changes with regard to the intended 
 site, has not been carried out. 
 
 He was a man of great invention and 
 constructive power. He invented the col- 
 lapsing pontoons, made improvements in 
 drawbridges and conical shot and shell, 
 and in gun-carriages. He constructed on a 
 metal framework the large canvas tent 
 used in the Horticultural Gardens; intro- 
 duced with great skill terra cotta in his 
 architecture, and other new material, with 
 many other useful inventions. After a short 
 illness, he died suddenly, December 4, 1865, 
 and was buried in the Brompton Cemetery. 
 He wrote in the ' Cornhill Magazine,' No. 3, 
 'The National Gallery Difficulty solved,* 
 and No. 6, ' London the Stronghold of Eng- 
 land.' 
 
 EOWLER, Charles, architect. He was 
 born in May 1792, at Collumpton, Devon, 
 where his family had lived for many gene- 
 rations, and was apprenticed for five years 
 to a surveyor and builder at Exeter. On 
 the completion of his apprenticeship in 1814 
 he came to London, and was employed in 
 the office of Mr. D. Laing, where he re- 
 mained three or four years, and then com- 
 menced practice for himself. His first work 
 was the Court of Bankruptcy, in Basinghall 
 Street, finished 1821. In the following 
 year he competed in the designs for the 
 new London Bridge, and gained the first 
 premium, but was not employed to carry 
 out his design. He afterwards made some 
 designs for other bridges, and in 1826 was 
 the architect of the bridge over the Dart, at 
 Totnes. He built Covent Garden Market, 
 1830, and Hungerford Market, 1831, a 
 work of great skill, both in design and in 
 the arrangement of the plan on two levels, 
 but since pulled down ; also Exeter Lower 
 Market, 1835, and in the same year Char- 
 mouth Church and Honiton Church, and 
 in 1838, Brickley Church ; also the Devon 
 Lunatic Asylum, 1848, and the London 
 
 153 
 
FO W 
 
 PRA 
 
 Fever Hospital, 1852. He was for many 
 years honorary secretary of the Institute 
 of British Architects, and afterwards vice- 
 president. In 1832, his health failing, he 
 retired into the country and died at Great 
 Marlow, September 26, 1867, in his 76th 
 year. 
 
 FOWLER, "William, draftsman and en- 
 graver. He was brought up as a carpenter 
 at AVinterton, in Lincolnshii-e ; and was, by 
 his ingenious and laborious perseverance, a 
 solf-tiiught and trustworthy draftsman. He 
 drew and engraved ' The principal Mosaic 
 Pavements discovered in Britain,' ' The 
 Stained Glass in York Minster,' published 
 in 1805, and some other architectural 
 antiquities. He lived at AVinterton during 
 a long life, and died there September 22, 
 1832, aged 73. 
 
 FOX, Charles, modeller. Executed from 
 nature groups of animals, modelled with 
 fidelity and taste. In 1847 he gained the 
 Society of Arts' medal for a ' Group of Chil- 
 dren.' He resided at Brighton, and died 
 there in 1854. 
 
 FOX, Charles, enqrmer. He was born 
 March 17, 1794, at Cossey Hall, Norfolk, 
 where his father was steward to Lord Staf- 
 ford, and was brought up in the gardens at 
 Cossey. He was then apprenticed to an 
 engraver at Bungay, Essex ; on the comple- 
 tion of his term he came to London and 
 engaged himself as an assistant to John 
 Burnet, with whom he remained some time. 
 His best plates are — 'Village Recruits,' after 
 Wilkie, R. A. ; Sir George Murray, after 
 Pickersgill, R.A. ; and ' Queen Victoria's 
 first Council,' also after Wilkie. He en- 
 graved for the annuals, and to illustrate 
 Cadell's edition of Walter Scott's works. 
 He left an unfinished plate of Mulready's 
 * Fight Interrupted.' He engraved in the 
 line manner. He was a man of refined 
 tastes, and painted some water-colour por- 
 traits, chiefly of his friends, which have 
 great merit. He died at Leyton, Essex, 
 where he was on a visit, in his 55th year, 
 on February 28, 1849. 
 
 FOX, Charles, landscape and portrait 
 painter. Born at Falmouth in 1749. De- 
 voted to literature from a child, he also 
 showed a taste for drawing. He began 
 life as a bookseller, but losing all his pos- 
 sessions by a fire, he then tried art, and 
 travelled on foot through Norway, Sweden, 
 and a part of Russia, sketching the wild 
 scenery of those countries. On his return 
 he painted pictures from his sketches, and 
 also had recourse to portraiture as a means of 
 subsistence, but he never was much known 
 as a painter. Later in life he studied the 
 oriental languages, and in 1797 published 
 a volume of poems from the Persian, ' The 
 Plaints, Consolations, and Pleasures of 
 Ahmad Ardabeli, a Persian Exile.' In 1803 
 154 
 
 he had prepared for the press two other 
 volumes of translations from the Persian, 
 and a Journal of his Travels, but these two 
 latter works have not found a publisher. He 
 died at Bath in 1809. 
 
 FRADELLE, Henry Joseph, history 
 painter. He was born at Lisle about 1778, 
 and came early to England, where he 
 studied in the Academy Schools. He painted 
 subject pictures, and occasionally portraits. 
 He exhibited at the Academy, in 1817, 
 'Milton dictating "Paradise Lost" to his 
 Daughter,' and continued an occasional ex- 
 hibitor up to 1855 ; but he principally 
 exhibited at the British Institution. His 
 art was not of a high class, but was popular, 
 and his 'Mary, Queen of Scots, and her Se- 
 cretary,' ' Rebecca and Ivanhoe,' ' The Earl 
 of Leicester's Visit to Amy Robsart,' and 
 some other subjects of this class, were en- 
 graved. He died March 14, 1865. 
 
 FRAMPTON, Richard, illuminator. The 
 name of this artist is only known as having 
 illuminated a fine manuscript in the time of 
 Henry V. 
 
 FRANCIA, Fran(^'ois Louis Thomas, 
 water-colour painter. Was born at Calais, 
 December 21, 1772, and came early in life 
 to London, where he settled in the practice 
 of water-colour art. He first exhibited 
 at the Royal Academy in 1795, and con- 
 tinued to exhibit, with some intermission, 
 up to 1822. He attained much excellence, 
 painting landscape, but chiefly marine sub- 
 jects. He was member, and for a time 
 secretary, of the Water-Colour Society, and 
 was appointed painter in water-colours to 
 the Duchess of York, for whom he made a 
 great many drawings. In 1816 he was 
 a candidate for the associateship at the 
 Royal Academy. The following year he 
 returned to France, settled at Calais, and 
 died there on February 6, 1839. His marine 
 subjects were treated with great poetry. 
 His works possessed power, breadth, and an 
 harmonious simple richness of colour. His 
 son sent a picture to the Academy Exhibi- 
 tion in 1841, and again in 1842. 
 
 FRANCIS, John, sculptor. Was born 
 September 3, 1780, in Lincolnshire, and 
 brought up to farming. He made some 
 early attempts at carving, and his success 
 led his friends to advise him to try the 
 study of art in London. In the Metropolis 
 he became the pupil of Chantrey, and re- 
 ceived much friendly assistance from him. 
 He succeeded as a bust modeller, and had 
 very distinguished sitters — among them, 
 William IV., the Queen and the Prince 
 Consort. He exhibited at the Academy a 
 bust of Mr. Coke in 1820, his first contri- 
 bution, and was then living in Norfolk. He 
 continued an occasional exhibitor of busts, 
 never trying any higher subject, up to 1857. 
 He died, aged 81, at Albany Street, Regent's 
 
PRA 
 
 FRY 
 
 Park, August 30, 1861. There is a bust 
 of the Duke of Wellington by him in the 
 National Portrait Gallery. Mrs. Thorney- 
 croft, the well-known sculptress, is his 
 daughter. 
 
 PKASER, Alexander, A.R.S.A., sttb- 
 ject fainter. He was born in Edinburgh, 
 April 7, 1786, and studied his art under 
 John G-raham, at the Trustees' Academy. 
 In 1810 he sent his first picture, 'A Green 
 Stall,'' to the Royal Academy, followed by 
 two domestic subjects in 1812; and in 1813 
 he came to reside in London, and was from 
 time to time an exhibitor ; and trusting to 
 his profession for his support, soon gained 
 a fair position. He then engaged as an 
 assistant to Wilkie, R.A., who had been 
 his fellow-pupil in Edinburgh, and for 
 20 years painted the details and still- 
 life into Wilkie's pictures, working usually 
 in his studio. The engagement did not, 
 however, preclude his painting pictures of 
 his own ; he continued to exhibit at the 
 Academy and the British Institution, and 
 at the latter received in 1842 a donation of 
 50 guineas for the general merit of his 
 works. He was elected an associate of the 
 Eoyal Scottish Academy. His pictures 
 were chiefly founded on Scottish incidents, 
 and he could scarcely avoid imitating 
 Wilkie, yet his story was well told and his 
 work well painted. For the last 10 years 
 of his life the state of his health pre- 
 vented him practising his profession. He 
 died at Wood Green, Hornsey, February 15, 
 1865. His 'Interior of a Highland Cot- 
 tage ' is in the South Kensington Museum. 
 His 'Robinson Crusoe reading the Bible 
 to Friday' has been engraved, as have 
 some of his designs in illustration of the 
 Waverley novels. 
 
 FREEBAIRN, Robert, landscape 
 painter. Born in 1765. He was Richard 
 Wilson's last pupil, and on his master's death 
 went to Italy to pursue his studies in land- 
 scape art. He continued there for 1 0 years, 
 studied in Rome 1 789-9 1 , and formed his art 
 upon the scenery and effects of the country, 
 returning to London in 1792. He painted 
 in oil. His subjects were almost exclusively 
 Italian, and from 1782 to 1807 ho was, 
 with little intermission, an exhibitor at the 
 Royal Academy. He was also a ' fellow 
 exhibitor 'in 1806 and 1807 at the then 
 newly-formed Water-Colour Society. His 
 works were carefully and neatly finished, 
 his colour brilliant and pleasing, yet they 
 never reached excellence. They were not 
 numerous, and were chiefly painted on com- 
 mission. He published, in 40 plates, 'Eng- 
 lish and Italian Scenery.' He died of de- 
 cline, in Buckingham Place, New Road, 
 January 23, 1808, aged 42, leaving awidow 
 and four children. 
 
 FREEBAIRN, Alfred 'Robis.i^t, engraver. 
 
 Ho was a student at the Royal Academy. 
 His chief work, which he only just lived 
 to finish, is an engraving from Flaxman's 
 ' Shield of Achilles.' He died suddenly, Au- 
 gust 21, 1846, aged 52, and was buried in 
 Highgate Cemetery. 
 
 FREEMxVN, John, history painter. He 
 practised in the latter half of the 17th cen- 
 tury, and was a rival of Isaac Fuller. Ho 
 went early in life to the West Indies, and 
 on his return was much employed. In the 
 latter part of his life he was scene painter 
 to the playhouse in Covcnt Garden. Wal- 
 pole^ says there are five paintings attributed 
 to him in the gallery of the Louvre. 
 
 FREEMAN, Samuel, engraver. He prac- 
 tised chiefly in portrait and history. Ho 
 died Fedruary 27, 1857, aged 84. 
 
 FREESE, miniature 'painter. Artist 
 to the Duke of Cambridge. He exhibited 
 miniatures at the Royal Academy from 1 797 
 to 1813, occasionally contributing a land- 
 scape in oil. 
 
 FRENCH, Thomas, scene painter. Prac- 
 tised towards the end of the 18th century 
 as an antiquarian draftsman and scene 
 painter. He resided chiefly at Bath, and 
 painted the scenery for the Bath Theatre. 
 He died there in September 1803. 
 
 FRENCH, Henry, history painter. Born 
 in Ireland. He went to Italy early in the 
 18th century, and studied many years in 
 Rome, where he gained a medal in tho 
 academy of St. Luke. Returning to Eng- 
 land, he painted some historical subjects, 
 but found no encouragement, and went back 
 to Italy. In 1725 he came again to Eng- 
 land, but was attacked by illness and died 
 the following year. 
 
 FROST, George, amateur. He was born 
 at Barrow (some accounts say Ousden), 
 Suffolk, where his father was a builder. 
 Brought up to this business, he was after- 
 wards employed in the office of the Ipswich 
 Coach, a connection which he continued till 
 within a few years of his death, and in which 
 he gained a competence. He early showed 
 a love of drawing, and without instruction 
 acquired by his own perseverance an artist- 
 like love of nature. He drew picturesque 
 buildings and landscape in a masterly man- 
 ner, finding his subjects in Ipswich and its 
 neighbourhood. He was an ardent admirer 
 and imitator of Gainsborough, and possessed 
 some good drawings and paintings by him. 
 In a note by Constable, R.A., he speaks of 
 him 'as my dear old friend Frost.' Ho 
 died at Ipswich, June 28,1821, aged 77, and 
 was buried in St. Matthew's Churchyard. 
 
 FRYE, Thomas, portrait painter. He 
 was born near Dublin in 1710, and was but 
 poorly educated. He came to London early 
 in life with Stoppelaer, the artist, and com- 
 menced painting portraits. In 1734 he 
 painted a full-length portrait of Frederick, 
 
 155 
 
PRY 
 
 FUS 
 
 Prince of Wales, for the Saddlers' Hall. 
 Some years later he took the management 
 of the china manufacture established at 
 Bow, and devoting himself to this work, 
 spent 15 years among the furnaces, to the 
 great injury of his health. His ability was 
 shown in the improved elegance of form 
 and ornamentation, but the manufacture did 
 not succeed. He then journeyed to Wales 
 to restore his health, painting portraits with 
 success on the way ; and returning much 
 invigorated and with some money in his 
 pocket, he took a house in Hatton Gar- 
 den, and resumed the practice of his art. 
 He painted portraits in oil, crayons, life- 
 size in black and white chalk on coloured 
 paper, and miniatures. He was happy in 
 his likeness, and enjoyed contemporary re- 
 putation, particularly for his miniatures, 
 some of which were highly finished in black- 
 lead, and some very small in water-colours, 
 for the decoration of jewellery. He engraved 
 several portraits life-size and ad vivum 
 in mezzo-tint. These works are of great 
 power, the light and shade excellent, the 
 face finely moulded and well drawn, but the 
 hands, when introduced, are indifferent. Of 
 these works, the portraits of George III. and 
 his Queen, with Miss Pond and the artist's 
 own, are the most esteemed. A portrait by 
 him of Leveridge, the singer, exhibited in 
 1760, is mezzo-tinted by Pether. He was 
 very corpulent and subject to gout, and 
 confined himself to such a spare diet that, 
 added to his close application to his art, a 
 complication of disorders ensued, ending in 
 consumption. He died April 2, 1762, in 
 his 62nd year, it is said insolvent. He 
 left a son and two daughters, who died in 
 obscurity. 
 
 FEYER, Leonard, serjeanUpainter to 
 Queen Elizabeth, He held the office till 
 his death. 
 
 PULLER, Isaac, history and portrait 
 painter. Born 1606. Little is known of 
 his early life, except that he studied art in 
 France under Perrier. He practised in the 
 reign of Charles II., and painted 'wall- 
 pieces,' which were rather ornamental than 
 artistic, decorating thus several London 
 taverns, as was then the custom ; and both 
 in this manner and in portraiture, it appears, 
 he found much employment, more especially 
 at Oxford. In the chapel at Wadham Col- 
 lege he painted his ' Children of Israel 
 gathering Manna.' An altar-piece by him 
 at Magdalen was praised by Addison ; but 
 Walpolo speaks slightingly of a similar 
 work at All Souls, which he attributes to 
 him, though it is, in fact, by Thornhill. He 
 also painted, in five large pictures, 'The 
 King's Escape after the Battle of Worces- 
 ter.' They were presented to the Irish Par- 
 liament, and finally came into Lord Roden's 
 possession. His own portrait of himself at 
 156 
 
 Queen's College is a vulgar painting of a 
 vulgar man, but not wanting in power and 
 rich in colour. He etched a set of prints 
 from his own designs, which have little 
 merit. He died in Bloomsbury Square, 
 July 17, 1672. He left a son, who was 
 brought up to his art, and was clever but 
 idle, and died young. 
 
 FUSELI, Henry, E.A., history painter. 
 Was born at Zurich, February 7, 1741. 
 The second son of John Caspar Fiiessli, who 
 was himself a painter of landscapes and 
 portraits, a man of learning and a writer on 
 art. Henry Fuseli was educated for the 
 Church, took his M.A. degree and entered 
 into holy orders in 1761, and it is recorded 
 preached his first sermon at Zurich from 
 St. Paul's text — ' What will this babbler 
 say.' His strong early predilection for art 
 had probably only been stifled, yet he might 
 have continued in the Church had he not 
 united with his friend Lavater in exposing 
 some peculation by the chief magistrate of 
 the canton, who proved eventually too strong 
 for him, and he was, with his friend, com- 
 pelled to quit Zurich. Then he travelled, 
 visiting several German cities, and at Ber- 
 lin contributed eight designs to a work 
 which was published there. He had, while 
 pursuing his theological studies, among other 
 acquirements, learnt English and read 
 Shakespeare, whose ' Macbeth,' with ' Lady 
 Mary Wortley Montague's Letters,' he trans- 
 lated into German. He was induced by 
 the British Minister to the Prussian Court 
 to come to London, where he arrived at the 
 close of the year 1765, his object being to 
 promote some scheme of literary union 
 between England and Germany. He first 
 found employment in translating, occasion- 
 ally making some designs for book illustra- 
 tion, and then accepted the office of tutor to 
 travel with a nobleman's son, for which he 
 was little suited, and soon resigned. 
 
 On his return to England in 1767, intend- 
 ing to devote himself to literature, he gained 
 an introduction to Sir Joshua Reynolds, 
 whose warm appreciation of his drawings 
 induced him to devote himself at once to art. 
 He was now nearly 26 years of age. He 
 had not attained even the rudiments of his 
 adopted profession, which require great ap- 
 plication; but he looked to Italy as the 
 source of all art inspiration, and set out for 
 that country, arriving at Rome in the spring 
 of 1 770. There he studied earnestly from the 
 antique, and from the works of Michael An- 
 gelo, whose great manner he appears to have 
 followed, but not by devoting himself to 
 that laborious attendance at the schools 
 which is essential to excellence. He was 
 absent nearly nine years from England. 
 From Rome he sent to the Spring Gardens 
 Exhibition, in 1775, 'Hubert and Prince 
 Arthur;' in 1778, 'Caius Gracchus;' and 
 
FUS 
 
 FUS 
 
 in 1783, ' The Pangs of Mona.' Meanwhile, 
 he had sent to the Royal Academy, in 1774, 
 his ' Death of Cardinal Beaufort ; ' and in 
 1777, his ' Scene from Lady Macbeth.' He 
 set off on his return in 1778, visited Zurich 
 on his way, where he stayed some time with 
 his father, and reached London early in 1779, 
 having made both friends and a reputation 
 in Italy. 
 
 In 1782 he exhibited his 'Nightmare,' 
 which was multiplied by engravings, and soon 
 became very popular, the publisher having, 
 it is said, realised 600^. from the plate. Zea- 
 lously following art, he did not abandon 
 literature. He edited the English transla- 
 tion of Lavater's work 'on Physiognomy, 
 and contributed an occasional paper to the 
 * Analytical Review.' In 1786 Boydell's 
 scheme of the Shakespeare Gallery was set 
 on foot. Fuseli's co-operation was thought 
 important, and he entered warmly into the 
 undertaking, painting no less than eight 
 large and one small subject for the gallery. 
 He was elected an associate of the Royal 
 Academy in 1788, and a full member in 
 1790 ; and the same year married a discreet 
 young woman, who had sat to him as a 
 model. About this time he projected his 
 own Milton Gallery. In this he persevered 
 under some difficulties during nine years ; 
 and though assisted both by the purses and 
 the influence of his friends, his scheme 
 proved, when opened to the public in 1790, 
 in a pecuniary sense at least, a sad failure ; 
 yet it was a great undertaking, comprising 
 47 pictures by his own hand, most of them 
 of large dimensions. 
 
 His knowledge and literary attainments 
 made him well fitted for the office of lec- 
 turer on painting ; and to this post he was 
 elected in 1799. He compiled twelve lec- 
 tures : viz. on Ancient Art, on Modern Art, 
 Invention (two), Composition, Chiaroscuro, 
 Design, Colour (two). Proportions of the 
 Human Frame, History Painting, and the 
 Modern State of Art. These he delivered 
 with great effect, and they have since been 
 published. He vacated the office in 1804, 
 when he was elected keeper of the Royal 
 Academy, but was subsequently re-elected 
 to the lectureship by the suspension of the 
 bye-laws of the Academy, which made the 
 two offices incompatible ; and he then pro- 
 duced three additional lectures, completing 
 the above series. In 1802 he visited Paris, 
 and collected some materials for a work on 
 the art-treasures in the Louvre, which was 
 not gone on with, probably interrupted by | 
 
 the outbreak of war; and in 1805 he pTb- 
 
 pared for publication an enlarged edition 
 of Pilkington's 'Dictionary of Painters.' He 
 had also commenced a ' History of Modern 
 Art,' and had completed between 500 and 
 600 pages in manuscript, bringing his sub- 
 ject down to Michael Angelo ; and he left 
 many fragmentary papers connected with 
 art and artists. Among his acquirements 
 are reckoned the Greek, Latin, French, Eng- 
 lish, German, Dutch, Danish, and Spanish 
 languages. 
 
 He died while on a visit to the Countess of 
 Guildford, at Putney Heath, April 16, 1825. 
 As a teacher he was a great f^ivourite with 
 the students, and had considerable influence 
 over them. His energetic manner, his wild 
 enthusiasm, his caustic wit, and the irritable 
 cynicism with which even his instruction 
 was conveyed, took deep hold upon their 
 young minds ; and tales of him are still, and 
 will long continue, rife in the schools. His 
 pupils presented him on his retirement with 
 a handsome silver vase, designed by Flax- 
 man. That his instruction was not only 
 appreciated by them, but was sound, is 
 evidenced by the many very distinguished 
 men who passed through the antique school 
 during his keepership. The enthusiastic 
 poetry of his art was hardly for the multi- 
 tude, though he was made largely popular 
 by the many engravings from his works. 
 He was a congenial student of Michael 
 Angelo ; terrible often in his bold energetic 
 style and the wild originality of his inven- 
 tions — never tame or commonplace — the 
 action of his figures violent and over- 
 strained, very mannered, yet often noble and 
 dignified. His females were without beauty — 
 all framed on the same model — unfeminine 
 and coarse. The critics did not spare him, 
 nor he them. Dayes said ' he had no con- 
 ception of female beauty ; his women were 
 the devil ; ' and Peter Pindar, that ' he was 
 the fittest artist on earth to be appointed 
 hob-goblin painter to the devil ; ' while 
 Barry, criticising his art, said, ' Talk of the 
 beau ideal — it is the beau frightful you 
 mean.' Yet as an illustrator of Shake- 
 speare he stands far before all his contempo- 
 raries. "Wanting in elementary knowledge 
 and the proper training of his profession, 
 he has no refinement or accuracy in draw- 
 ing, and in some cases his attitudes are im- 
 possible. He is equally defective with re- 
 gard to the laws of colour and the processes 
 of painting, and many of his works are fast 
 going to decay. 
 
 157 
 
G 
 
 GAIIAGAN, Sebastian, sculptor. He 
 was born in Ireland, and coming to England 
 was an assistant to Nollckens, E.A. From 
 1802 lie was an occasional exhibitor at tlie 
 Eoyal Academy. His contributions were 
 chiefly monumental designs ; among them, in 
 1816, the * Victory,' which forms part of Sir 
 Thomas Picton's monument, by him, in 
 St. Paul's; in 1819, 'The Cradle Hymn,' 
 portraits, with sometimes a bust. He last 
 exhibited, in 1835, the model of a statue to 
 Earl Grey. In 1810 the directors of the 
 British Institution awarded him a premium 
 of 50 guineas for his model, ' Samson break- 
 ing his Bonds.' The figures of 'Isis' and 
 * Osiris,' in the front of the Egyptian Hall, 
 Piccadilly, and the Duke of Kent's statue, 
 at the top of Portland Place, are by him. He 
 was one of a family of modellers. One of his 
 brothers, an assistant to Westmacott, R.A., 
 was killed by the fall of Canning's statue, 
 on which he was working. 
 
 GAINSBOROUGH, Thomas, R.A., por- 
 trait and landscape painter. He was born 
 in 1727 (the day unknown, but baptised 
 May 14), at Sudbury, Suffolk, where his 
 father, a clothier, possessed a small pro- 
 perty, which was soon lessened by a liberal 
 disposition and the charges of a large 
 family. He was early addicted to sketching 
 from the rustic scenery of the neighbour- 
 hood, and at the age of 1 5 came to London 
 for instruction, and gaining an introduction 
 to Gravelot, the engraver, was assisted by 
 him in his early studies, and entered the 
 St. Martin's Lane Academy, He afterwards 
 became the pupil of Frank Hayman, with 
 whom he continued nearly four years, and 
 having acquired some skill in drawing and 
 the technical processes of his art, he found 
 nothing more to be gained in the insipid 
 conventionalities which then prevailed, and 
 returned to his native town, where he began 
 practice as a portrait painter, and occa- 
 sionally painted a small landscape, for 
 which he usually found a purchaser, at a 
 low price, among the dealers. 
 
 At the age of 19 he married, in London, 
 a young lady who possessed an annuity of 
 200^., and then witli his wife took up his 
 residence at Ipswich. After practising there 
 some time he was induced to visit Bath, 
 where the fashionable world then used to 
 congregate, and settling there he com- 
 menced, about 1758, painting three-quarters 
 portraits at five guineas, which he was soon 
 enabled to raise to eight. In his day he was 
 chiefly employed and esteemed as a portrait 
 painter, while his landscapes were dis- 
 158 
 
 regarded. Later, it may be eclipsed by 
 the reputation of Reynolds, his landscapes 
 were deemed his chief works. It is said 
 that Sir Joshua at an Academy dinner 
 gave, ' The health of Mr. Gainsborough, the 
 greatest landscape painter of the day,' to 
 which Richard Wilson, R.A., probably 
 nettled, retorted, 'Aye, and the greatest 
 portrait painter, too ' — an assertion which 
 has now become the opinion of many. 
 Gainsborough's portraits, particularly of 
 females, possess some of the sweetest qua- 
 lities, fresh in colour, pure and silvery 
 in tone, graceful without affectation, the 
 backgrounds excellent. His rustic figures 
 no less delight by their charms of simple 
 nature ; and his landscapes, into which 
 cattle and figures are introduced with great 
 art, are filled with nature's truths by a 
 clever, facile generalisation which, while far 
 from individualised imitation, satisfies by 
 his purely original view and rendering. Ho 
 has the great merit of having discarded all 
 the conventionalities of the schools, and de- 
 voted himself to the study of natare — of the 
 scenery of his own country, beyond wiiich 
 he never wandered. 
 
 In 1766 he was a member of the Incor- 
 porated Society of Artists, and occasionally 
 sent his pictures to London for exhibition. 
 He was chosen one of the foundation mem- 
 bers of the Royal Academy; and in 1774, 
 increasing in reputation and confidence, he 
 came to London and first lived in Hatton 
 Garden, but from 1777 till his death he 
 resided in the western wing of Schomberg 
 House, Pall Mall. He had never shown 
 much interest in the affairs of the Royal 
 Academy, but had been a constant con- 
 tributor of portraits and landscapes to 
 the exhibitions from 1769 to 1784 (except 
 in the years 1773 to 1776), sending in 1783 
 portraits of the King and Queen and 
 13 of their children (probably the beau- 
 tiful series of small portraits arranged 
 in the Queen's private apartments at 
 Windsor). Upon some disagreement with 
 the council as to hanging his portrait-group 
 of the three Princesses, a full-length, but 
 now unhappily cut down, he withdrew that 
 picture, with 17 others he had sent to 
 the exhibition, and did not again exhibit 
 or take any share whatever in the Academy 
 business. 
 
 Northcote, R.A., says : 'He was a natural 
 gentleman, and with all his simplicity he 
 had wit too.' His own portrait has per- 
 petuated his prepossessing countenance ; his 
 sprightly conversation and humour made 
 
GAM 
 
 GAN 
 
 him a welcome favourite in all society. He 
 was surely a genius ; possessed of great 
 taste, passionately fond of music, which, 
 with art, formed his favourite topic. Dr. 
 Walcot, a good judge, was once in an 
 adjoining room, and hearing him play, ex- 
 claimed, ' That must be Abel ' (at that time 
 a distinguished musician), ' for, by God, no 
 man besides can so touch the instrument ! ' 
 He had gained both fame and fortune when 
 a complaint in the neck, to which he had 
 paid little attention, developed itself into a 
 cancer, which baffled the skill of his phy- 
 sicians, and settling his affairs, he com- 
 posed himself to meet death. He expired 
 August 2, 1788, and by his own desire was 
 buried as privately as possible in Kew 
 Churchyard, where a plain, flat stone simply 
 records his name, age, and date of death. 
 Ee3molds, P.K.A., was one of the pall- 
 bearers. He had visited him on his death- 
 bed, and some coolness having existed, the 
 dying man, who wished to be reconciled to 
 his brother painter, said, ' We are all going 
 to heaven, and Vandyck is of the party.' 
 After his death his paintings were exhibited 
 for sale by private contract, at his house in 
 Pall Mall. The admission was at first 
 2s. 6d.f afterwards Is. His elder brother 
 showed a talent for the arts ; a younger 
 brother was a Dissenting minister at 
 Henley-upon-Thames, and possessed much 
 mechanical genius. His daughter Margaret 
 died unmarried, at Acton, in 1820. He will 
 always occupy one of the highest places in 
 the English school, and his works now com- 
 mand almost fabulous prices. Some fine 
 examples of his art will be found in the 
 National Gallery; among them his por- 
 trait of Mrs. Siddons and the ' Watering- 
 Place at the National Gallery, Edinburgh, 
 portrait of Mary Graham ; at the Dulwich 
 Gallery, portrait-group, ' Mrs. Addison and 
 Mrs. Tickel ; ' in the Westminster Gallery, 
 the portrait of a youth, 'The Blue Boy,' 
 and Mrs. Siddons as the 'Tragic Muse;' 
 at Windsor Castle, the lovely collection 
 of the family of George III., head size. A 
 ' Sketch of his Life and Paintings,' by Philip 
 Thicknesse, was published in 1788. 'His 
 Life,' by Fulcher, 2nd ed., 1856 ; and a 
 life of him is included in Cunningham's 
 ' Lives of the Painters.' 
 
 GAMMON, James, engraver and drafts- 
 man. He practised in London about 1660. 
 His works are tame and poorly engraved ; 
 among them is a portrait of Catherine of 
 Braganza and of Eichard Cromwell. The 
 latter is sup]DOsed to have been drawn by 
 him from the life, and to have been the 
 portrait from which Samuel Cooper painted 
 the well-known miniature. 
 
 GANDON, James, architect. He was born 
 in London, February 29, 1742, and was de- 
 scended from a good French refugee family. 
 
 He was well educated in classics and ma- 
 thematics, and developed an early tasto 
 for drawing. A loss of property by his 
 father led him earnestly to adopt the study 
 of art, and entering the St. Martin's Lane 
 Academy, he became a constant attendant. 
 In 1757 he was awarded a premium by the 
 Society of Arts, and on the arrival of Sir 
 William Chambers in London, he found 
 employment in his office, and afterwards 
 became his articled pupil; and about 1765 
 he commenced practice on his own account, 
 and was a member of the Free Society of 
 Artists. Soon after he proposed to publish 
 a continuation of Campbell's ' Vitruvius 
 Britannicus,' and associating himself with 
 Mr. Woolfe, of the Board of Works, ho 
 undertook the greater part of the labour, 
 engraving many of the plates himself. Ho 
 contributed to the Spring Gardens Exhi- 
 bition in 1765 and the succeeding years. On 
 the foundation of the Koyal Academy he en- 
 tered as a student, and was a successful com- 
 petitor for the first gold medal awarded in ar- 
 chitecture (1769), and from 1774 to 1780 was 
 a contributor to the Academy Exhibitions. 
 
 He sent in designs in 1769 for the Dublin 
 Royal Exchange, and gained the second 
 premium; and in 1776 the first premium 
 for a lunatic asylum in London, but to his 
 great disappointment he was not employed 
 in its erection. He continued to labour in 
 his profession in London up to 1781, when 
 he went to Dublin on an invitation to erect 
 the new Custom House and docks, relin- 
 quishing an olFer of Court employment in 
 Eussia ; and under many difficulties and 
 vexatious interruptions, he at once com- 
 menced his extensive undertaking, which 
 occupied him during 10 years. At the same 
 time he was engaged upon a new gaol and 
 court-house at Waterford, and upon the 
 erection of the east portico and ornamental 
 circular screen to the Parliament House. In 
 1788 he commenced the Dublin law courts, 
 still harassed by an opposition, which was 
 carried into the Irish Parliament. Con- 
 tinuing to reside in Dublin, he commenced 
 his last great work in that city, laying the 
 first stone of the King's Inns, 1795. 
 
 In 1797 he came to London, warned by 
 the treasonable dangers which were then 
 impending, and did not return till 1799 to 
 complete his Inns of Court. He did not find 
 less difficulties than before, and about 1806 
 Lord Chancellor Eedesdale expressing dis- 
 satisfaction at the progress of these works, 
 he wrote a justificatory letter of explanation, 
 and resigning his employments he retired, 
 in 1808, after an arduous career of nearly 
 60 years, to Lucan, near Dublin, where he 
 had purchased some property, and passed 
 the remainder of his days. He was a 
 martyr to gout, and died December 24, 
 1823. He was buried in Drumcondra 
 
 159 
 
GAN 
 
 GAR 
 
 Churchyard, it is said, in the same grave 
 with his friend Grosse, the antiquary. His 
 great public buildings and the street im- 
 provements which he carried out in Dublin 
 with great skill and ability, will always 
 perpetuate his name in that city. He etched 
 several plates, after landscapes by Wilson, 
 K.A., and wrote an ' Essay on the Progress 
 of Architecture in Ireland ' and ' Hints for 
 erecting Testimonials.' His ' Life,' by his 
 son, was edited by T. J. Mulvany, E.H.A., 
 1846. 
 
 GANDY, James, portrait fainter. Born 
 at Exeter in 1619. He received some in- 
 struction from Vandyck, made many copies 
 from his works, and imitated his manner. 
 His portraits possessed much merit. He 
 was retained in the service of the Duke of 
 Ormond, whom he accompanied to Ireland, 
 where many of his portraits are much 
 prized. Sir Joshua Beynolds owned that, 
 at the commencement of his career, Gandy's 
 works made a great impression on him. He 
 died in Ireland in 1689. His chief works 
 will be found in that country; a few in the 
 West of England. 
 
 GANDY, William, portrait painter. 
 Son of the foregoing. Said to have been 
 instructed by ' Magdalen Smith.' He settled 
 in Exeter about 1700, and travelled in 
 Devonshire and Cornwall, painting por- 
 traits. Some good portraits by him exist 
 in these counties, but there are many more, 
 which are very loosely finished. He rarely 
 indeed finished more than the head and the 
 hands. His best works possessed great 
 force and power, and have been deemed 
 like Eeynolds's. He was of a proud, intract- 
 able disposition, careless of his reputation, 
 in his latter days only painting when pressed 
 by necessity. He was at Plymouth in 1714. 
 He affected to be too deep in the confidence 
 of the Duke of Ormond, who was implicated 
 in the rebellion of 1715, to render it safe 
 to venture up to London. He is supposed 
 to have died at Exeter, but the date is un- 
 known. 
 
 GANDY, Joseph M., A.E.A., architect. 
 Born in 1771. Was a student of the Royal 
 Academy and a pupil of James Wyatt. He 
 gained the Academy gold medal in 1790 for 
 his design for a triumphal arch. He went 
 to Rome in 1794, and the following year 
 received the Pope's medal in the first class 
 for architecture. He was a frequent ex- 
 hibitor at the Academy, and was much em- 
 ployed by Sir John Soane ; a man of great 
 imagination and genius, and an excellent 
 draftsman, he was elected an associate of 
 the Academy in 1803. He made the drawings 
 for Britten's architectural publications, and 
 some others, and built the Assembly Rooms 
 at Liverpool and some mansions. He pub- 
 lished 'Designs for Cottages, Farms, and 
 other rural Buildings,' 1805; 'The Rural 
 160 
 
 Architect,' 1806 ; and was connected with Sir 
 William Gell in his ' Pompeiana,' published 
 1817. He was brother to Gandy Deering. 
 Odd and impracticable in disposition, his 
 life was one of disappointment and poverty, 
 and is said to have ended in insanity. He 
 died in December 1843. 
 
 GANDY, Michael, architect. Was born 
 in 1778, and was the younger brother, and 
 for some time the pupil, of Joseph M. 
 Gandy. Afterwards he was employed in 
 James Wyatt's office, which he left to enter 
 the Indian Navy, and served in India and 
 China. On his return he was employed in 
 the office of the civil architect to the Navy. 
 From that service he became assistant to 
 Sir Jeffery Wyattville, remaining with him 
 till his death, or nearly 30 years. He only 
 appears to have been an exhibitor at the 
 Academy in 1795-96-97. In 1842 he 
 published 'Architectural Illustrations of 
 Windsor.' He died in April 1862. 
 
 GANDY, John Peter, R.A., architect. 
 See Deering, which name he afterwards 
 assumed. 
 
 GARDELLE, Theodore, miniature 
 'painter. Was born in Geneva 1722, and 
 was apprenticed to an engraver there. He 
 ran away at the age of 1 6 and went to Paris, 
 but, persuaded to return, he came back and 
 served out his time. In 1744 he again 
 went to Paris, and studied painting there 
 till 1750, when, returning to Geneva, he 
 practised for a while in his native city, but 
 his immoral conduct was a bar to his suc- 
 cess, and in 1756 he was again in Paris. 
 From thence he went to Brussels and to 
 London, arriving probably in the winter of 
 1759. Here, practising as a miniature and 
 portrait painter, his career was short. He 
 lodged on the south side of Leicester Fields. 
 His landlady was a woman of light cha- 
 racter, and on her resisting his advances and 
 violence he murdered her, and after robbing 
 her, cut her body in pieces and burnt it. 
 Convicted, he attempted suicide in prison. 
 He was executed in the Haymarket, April 4, 
 1761. Hogarth is said to have made a 
 sketch of him on the day of his execution. 
 
 GARDINER, William Nelson, engraver. 
 He was born at Dublin, June 11, 1766. His 
 parents were of the lower class, but he 
 managed to get a good education. Some 
 friends enabled him to pursue an early 
 taste for art, and he studied for three years 
 at the Dublin Academy, where he gained a 
 medal. After a while he made his way as 
 an adventurer to London, and supported 
 himself by taking in black shade profile 
 miniatures, but was ill-paid, and he then 
 associated himself with some strolling 
 players, and became their scene painter, 
 yet with little better success. Meeting 
 accidentally with Captain Grosse, he was 
 befriended by him and placed with an 
 
GAR 
 
 GAR 
 
 engraver. Afterwards he worked for Bar- 
 tolozzi, whose manner he imitated, and 
 made great progress in the art. He exe- 
 cuted some good plates, several of which bear 
 Bartolozzi's name, among them a portion 
 of Lady Diana Beauclerc's illustrations of 
 Dryden's ' Fables.' He was employed on the 
 illustrations for Harding's edition of Shake- 
 speare and De Gramont's 'Memoirs,' and 
 might have gained independence ; but he 
 left his business and went to Dublin, where 
 he spent all the money he possessed. Re- 
 turning to England, he was seized with a 
 conscientious desire to enter the Church, 
 and was admitted to Emmanuel, and after- 
 wards to Corpus Christi College, Cambridge. 
 He remained about five years, with a view 
 of qualifying for holy orders, and was 
 candidate for a fellowship, and then again 
 turned to art. He copied portraits in water- 
 colours with much skill, yet with small 
 gains. Possessing a considerable know- 
 ledge of books, he next set up as a book- 
 seller in Pall Mall. There, plagued with 
 ailments and a restless spirit, and afflicted 
 witli the loss of his wife and child, he wrote 
 some sophistical reflections on the pains of 
 life and the sweetness of death, and com- 
 mitted suicide on June 21, 1814. 
 
 GARDNER, Thomas, engraver. Prac- 
 tised in the early part of the 18th century, 
 and was chiefly engaged for the booksellers. 
 He engraved a set of plates for the Book 
 of Common Prayer, 1735. 
 
 GARDNER, Daniel, portrait painter. 
 Born at Kendal. Came to London early in 
 life, and was admitted a student of the Royal 
 Academy. Was noticed and assisted in his 
 art by Reynolds, P.R. A., and became fashion- 
 able for his small portraits, both in oil and 
 crayons. He exhibited at the Academy 
 in 1771, but rarely afterwards. Thomas 
 Watson engraved 'Abelard and Heloise' 
 after him, 1776, and there are several mezzo- 
 tint engravings after his portraits. He had 
 a nice perception of beauty and character, 
 and composed with elegance. He realised 
 some property by his art and retired from 
 its practice. He died in Warwick Street, 
 Golden Square, July 8, 1805, aged 55. 
 Hayley did not think his talents beneath 
 his verse — 
 
 ' Nor Gardner, shall the muse in haste forget 
 Thy taste and ease, tho' with a fond regret.' 
 GARDNOR, The Rev. James, amateur. 
 He was for many years vicar of Battersea, 
 and both drew and engraved with some 
 ability. In 1767 he received a Society of 
 Arts' premium of 25 guineas. He was a 
 frequent contributor to the Academy Exhi- 
 bitions, but is not classed with the honorary 
 exhibitors. He exhibited from 1782 to 1796 
 landscapes in oil and water-colours, views, 
 and at the latter part of the time, subjects 
 on the Rhine. He also painted some por- 
 
 traits. He died at Battersea in January 
 1808, aged 79. He contributed some of 
 the illustrations for Williams's ' History of 
 Monmouthsliiro,' and published, in 1788, 
 ' Views on the Rhino.' 
 
 GARNER, Thomas, engraver. Was born 
 in Birmingham 1789, and was apprenticed 
 to an engraver in that town, whore he prac- 
 tised during the greater part of his life. 
 His chief works were in the line manner 
 and on a small scale, some of the best for 
 the annuals, and generally for book illus- 
 tration. He died at Birmingham, July 14, 
 1868. ^ ' J » 
 
 GARRARD, Marc, portrait painter. 
 Son of an animal painter at Bruges, and 
 born there 1561. He practised history, 
 landscape, portrait, and architecture ; also 
 engraved, illuminated, and designed for 
 glass painting. His etchings for ^Esop's 
 ' Fables ' and a view of Bruges are still es- 
 teemed. He came to England soon after 
 1580, and was appointed painter to Queen 
 Elizabeth and Queen Anne of Denmark, 
 and passed the rest of his life here. His 
 works are numerous, and exist in the man- 
 sions of our old families. They are painted 
 with a neat, facile pencil — the draperies 
 formal, and enriched with carefully finished 
 jewels and ornaments. His drawing is 
 good, his flesh tints thin and silvery, but 
 pleasing in colour. His 'Procession of 
 Queen Elizabeth to Hunsdon, surrounded 
 by her Officers of State and Ladies,' was 
 engraved by Vertue, as was also his ' Pro- 
 cession of the Queen and the Knights of 
 the Garter, 1584.' He painted both Prince 
 Henry and Prince Charles. He died in 
 England in 1635. 
 
 GARRARD, J., topographical drafts- 
 man. He practised towards the latter part 
 of the 18th century. R. Pollard engraved 
 after several of his drawings. He does not 
 appear to have exhibited his works. He is 
 believed to have died suddenly, in October 
 1815. 
 
 GARRARD, George, A.R.A., animal 
 fainter and modeller. He was born May 31, 
 1760. Was a pupil of Gilpin, R.A., and in 
 1778 a student of the Academy. In 1781 
 he first exhibited at the Royal Academy, 
 his earliest works being portraits of horses 
 and dogs. In 1784 he exhibited a 'View 
 of a Brewhouse Yard,' with which Rey- 
 nolds, P.R.A., was so much pleased that he 
 gave him a commission to paint another 
 picture of the same class. Continuing to 
 exhibit such works, in 1793 he sent ' Sheep- 
 shearing;' in 1796, some models ; in 1800, 
 models of ' Fighting Bulls ' and an ' Elk 
 pursued by Wolves.' In 1802, with other 
 paintings, he exhibited ' A Peasant attacked 
 by Wolves in the Snow,' and was in that year 
 elected an associate of the Academy. About 
 this time his works were largely composed 
 M ' 161 
 
GAR 
 
 GED 
 
 of models, portrait-busts, and some medal- 
 lions, but ho also continued to paint both 
 in oil and water-colours. In the Woburn 
 collection there is a clever picture by him, 
 'An Agricultural Show,' full of portrait 
 figures and animals, luminous and powerful 
 in colour; and in Sir Walter Fawkes's col- 
 lection some good examples of his water- 
 colour art. lie died at Brompton, October 8, 
 1826. 
 
 GARRET, William, wood eyigraver. 
 Lived in Newcastle. He cut on wood, and 
 published 13 very small designs. They are 
 in the rudest manner ; the last of the series, 
 • Death leading a Female to the Grave on a 
 Stir-lit Night,' has a wild originality. They 
 are without date, but were probably exe- 
 cuted towards the end of the 18th century. 
 
 GARVEY, Edmund, R.A., landscape 
 painter. At the commencement of his 
 Cixreer he exhibited at the Dublin Exhi- 
 bitions, and is supposed to have been of 
 Irish parontjige. He painted landscapes, 
 both in oil and water-colour, in a hard, dry 
 manner. His early works were* hot in 
 colour, his later have more imitation of 
 nature. Ho exhibited views in Italy with 
 the Free Society of Artists in 1767, and 
 was a constant exhibitor at the Royal 
 Academy from its foundation up to 1808. 
 He gained a Society of Arts' premium of 
 20 guineas in 1769, and from that year to 
 1777 he lived at Bath, and then came to 
 London, where ho settled. He was elected 
 an associate of the Academy in 1770, and a 
 full member in 1783, when his preference 
 gave great offence to Wright, of Derby. He 
 painted chiefly views, and, on a small 
 sGile, scenes from Rome, the Alps, and of 
 gentlemen's seats. He died in 1813. Many 
 of his works were sold by auction in 1816. 
 
 GASPARS, John Baptist, portrait 
 painter. Born at Antwerp, and studied his 
 art there. He came to England during the 
 great Civil War, and was patronised by 
 General Lambert, who was himself known 
 as an amateur. He afterwards became 
 assistant to Lcly, and then to Kneller. He 
 was , a good draftsman, possessed much 
 taste, and was employed in designing 
 for tapestry. He painted a portrait of 
 Charles. II. for Painters' Hall, where it still 
 hangs, and a second for St. Bartholomew's 
 Hospital. There is also a portrait of 
 Hobbes by him. at the Royal Society. He 
 died in London in 1691, and was buried at 
 St. James's Church, Piccadilly. 
 
 GATLEY, Alfred, sculptor. AVas de- 
 scended from an old Chsfchire family. Ho 
 studied under Bailey, R.A., and first ex- 
 hibiting at the Academy in 1841, continued 
 an exhibitor of busts, monumental designs, 
 and some other works, for several years. 
 Ho exhibited some fine works at the Inter- 
 national Exhibition in 1862— a noble bas- 
 
 m 
 
 relief in marble of * Pharaoh and his Host,' 
 and ' Night' and 'Echo.' He had studied in 
 Rome for several years, and unknown in Eng- 
 land, he came here during the Exhibition, but 
 was unappreciated, and finding his works 
 little noticed he returned to Rome, disap- 
 pointed and depressed. He was attacked 
 with dysentery in July 1863, and died 
 there after a short illness, aged about 40. 
 He expressed a wish that a fine lion which 
 he had carved should be placed over his 
 grave. His statues of ' Night ' and ' Echo,' 
 with some African and Nubian lions, were 
 sold at Christie's in February 1871. 
 
 GAUGAIN, Thomas, engraver. Born at 
 Abbeville, France, 1748. Came very young 
 to London, and was the pupil of Houston. 
 He engraved many plates in the dot and 
 line manner, chiefly after Reynolds, North- 
 cote, Cosway, Henry Morland, and Hoare. 
 Died at the beginning of the 19th century. 
 
 GAWDTE, Sir John, Bart, amateur. 
 Born in 1639, the second son of Sir William 
 Gawdie, of West Harling, Norfolk. He was 
 deaf and dumb, and became a pupil of 
 Lely, intending to follow portraiture as a 
 profession ; but, on the death of his elder 
 brother, succeeding to the family inheritance, 
 he continued art only as an amusement. 
 He died 1708. Evelyn, in his diary, speaks 
 of him as 'a fine painter,' praises his many 
 courteous qualities, and adds, ' that it was 
 not possible to discern any imperfection in 
 him.' 
 
 GAYFERE, Thomas, architect. His 
 father was the master mason employed in 
 the erection of Westminster Bridge. He 
 was appointed, in 1802, jointly with his 
 father, master mason to Westminster 
 Abbey, and was charged with the restora- 
 tions of Henry VIL's Chapel, commenced in 
 1809, a work requiring great skill and in- 
 genuity, and for which he made the whole 
 of the drawings. He also restored, 1819-22, 
 the north front of Westminster Hall. Ho re- 
 tired from his employments in 1823, and died 
 at Burton-upon-Trent, October 20, 1828. 
 
 GAY WOOD, Richard (or Robert), 
 engraver. Born about 1630. Pupil of 
 Hollar. His works are chiefly portrait — ■ 
 Mary, Queen of Scots; Drummond of 
 Hawthorndon, Sir Bulstrode Whitelocke, 
 Holbein, and many others. He also en- 
 graved Titian's ' Crouching Venus,' a set of 
 animals and birds after Barlow, and of lions 
 and leopards after Rubens. A view of Stone- 
 henge, drawn by him, was published in 1664 
 by Camden. His birds and animals are en- 
 graved with much spirit, but his manner was 
 hard and laboured. He died about 1711. 
 
 GEDDES, Andrew, A.R.A., portrait and 
 suhjcct paiater. Was born about 1789, in 
 Edinburgh, where his father, a man of taste, 
 was an auditor of assize. He was sent to 
 the High School, and afterwards to the 
 
GEI 
 
 GEN 
 
 University of Edinburgh, and was then 
 taken into his father's office. An early 
 love of art had been checked, but on the 
 death of his father it prevailed. He had 
 risen with the sun to draw, and he now 
 resigned an employment he had held nearly 
 five years, and coming to London, was 
 admitted in 1807 to the schools of the 
 Koyal Academy. After a few years' close 
 study, he returned to Edinburgh and com- 
 menced practice. He exhibited for the first 
 time at the Koyal Academy in 1808, while 
 he was residing in Edinburgh, and in 1810, 
 when pursuing his studies in London, his 
 'Draught Players.' In 1813, having com- 
 menced practice, he sent four portraits from 
 Edinburgh for exhibition. 
 
 In 1814 he returned to London, where 
 from that time he annually spent several 
 months. In 1815 he visited Paris, and in 
 that and the following three years exhibited 
 portraits in the Academy, followed in 1821 
 by ' The Discovery of the Scottish Regalia, 
 with portraits of the Commissioners,' a 
 work which made him known and was 
 engraved. About this time he put down 
 his name for the associateship of the 
 Academy, but disappointed, he did not 
 renew it for many years. Ho was for 
 several seasons an occasional contributor to 
 the exhibition, but exclusively of portraits. 
 In 1828 ho visited Italy, and remaining 
 some time in Rome he painted the portrait 
 of Gibson, R.A., Cardinal Weld, and a 
 young lady in Italian costume, which, with 
 others, he sent home to the Academy Exhi- 
 bitions. 
 
 Ho returned to London in January 1831, 
 and the following year was elected an as- 
 sociate of the Academy. At this time he 
 painted ' Christ and the AVoman of Samaria,' 
 an altar-piece, for the Church of St. James, 
 Garlick Hill, and with a subject picture, 
 ' Devotion,' continued to exhibit portraits 
 at the Academy. In 1839 he visited Hol- 
 land. Soon after his health began to give 
 way, and symptoms of consumption ap- 
 peared in 1843, which recurred, and he 
 died in London, May 5, 1844, aged 55. 
 His small full-length portraits, several of 
 which were engraved, are his best works. 
 He was a good etcher, and some etched 
 portraits by him showing much power were 
 exhibited at the International Exhibition, 
 1862. 
 
 GEIKIE, Walter, R.S.A., subject 
 painter. Was the son of a perfumer, and 
 born in Edinburgh, November 9, 1795. He 
 became deaf and dumb when a child, yet 
 he managed to acquire much useful know- 
 ledge, and he betook himself to a pencil for 
 his amusement. He was educated in the 
 Trustees' Academy, and painted scenes of 
 every-day life with much truthful humour. 
 He first exhibited in 1815, was elected an 
 
 associate of the Royal Scottish Academy 
 in 1831, and a member in 1834. He had 
 no feeling for colour, but was a clever 
 draftsman, and made drawings in Indian 
 ink, filled with small figures animated with 
 character. He also etched the same subjects, 
 and he published, in 1829-31, a series of 
 ' Etchings illustrative of Scotch Character,* 
 to which a short memoir of him is prefixed. 
 He died August 1, 1837, and was buried in 
 the Grey Friars' Churchyard, Edinburgh. 
 
 GELDORP, George, portrait painter. 
 Was born at Antwerp. He practised in this 
 country, but did not show much ability. Ho 
 became keeper of the pictures to Charles I. 
 When Lely first arrived in England ho 
 was employed by him. His works are not 
 known, but a portrait by him of the Earl of 
 Lindsay was engraved 1642, and also one 
 of the Duke of Richmond. There are, how- 
 ever, several notices of him. He rented a 
 large house and garden in Drury Lane, 
 which Walpole hints was used for assigna- 
 tions and intrigues. Rubens was his guest 
 in 1637, and Vandyck, on his first arrival 
 in England, lodged in his house. He lived 
 till after the restoration, and was buried at 
 Westminster. 
 
 GELL, Sir AVilliam, Knt., architect and 
 draftsman. Born 1774. He studied in 
 the schools of the Royal Academy, then 
 travelled in Greece, and made drawings of 
 some of the celebrated antiquities. In 
 1804 he published 'Topography of Troy 
 and its Vicinity,' with illustrations ; in 
 1807,' Geography and Antiquities of Ithaca 
 in 1810, 'Itinerary of Greece;' in 1817, 
 'Attica ;' in 1818, ' Itinerary of the Morea;' 
 in 1817-19, in conjunction with Gandy, 
 'Pompeiana;' and in 1823, ' Narrative of 
 a Journey to the Morea.' He does not 
 appear to have exhibited at the Royal Aca- 
 demy, and is best known as an archseologist 
 and a scholar. He resided many years in 
 Italy, and was for some time chamberlain 
 to Caroline, Princess of Wales. He died 
 February 4, 1836. 
 
 GEMINUS, Thomas, amateur. An early 
 English writer and illustrator of his own 
 works. He published, in 1545, a translation 
 of Vesalius's 'Anatomy,' and copied the wood- 
 cuts on copper. He also published a book 
 on the Weather, the phenomena of the 
 heavens, &c., which he ornamented with a 
 number of plates engraved by himself ; and 
 a book on Midwifery, similarly illustrated, 
 is attributed to him. 
 
 GENDALL, John, landscape painter. He 
 practised, commencing about 1820, and was 
 largely engaged in the picturesque publica- 
 tions and views then published — ' Pictur- 
 esque Views of the Seine,' in conjunction 
 with A. Pugin, 1821; 'Views of Country 
 Seats,' with Westall and T. H. Shepherd, 
 1823-28. He painted many oil and water- 
 2 163 
 
GEN 
 
 GIB 
 
 colour ruins in DoTonshire, where he was 
 well known, and of these he was a constant 
 exhibitor at the Eoyal Academy from 1846 
 to 1863. He resided chiefly at Exeter, and 
 died there March 1, 1865, aged 75, when a 
 large collection of his works were sold by 
 his executors. 
 
 GENTILES CHI, Horatio, historij 
 painter. Was born at Pisa in 1563, and 
 studied at Rome under the best masters. 
 He was invited to England by Yandyck to 
 paint the ceilings and wall decorations then 
 in fashion. King Charles I. assigned him 
 apartments and a considerable salary, and 
 employed him in the decoration of Green- 
 wich and his other palaces. He also painted 
 a ceiling at York House and at Cobham 
 House, Kent. There is a picture by him, 
 at Hampton Court, of 'Joseph and Potiphar's 
 Wife.' He attempted portrait painting, but 
 with little success. He resided in England 
 about 12 years, and died here in 1647, at 
 the age of 84. He was buried at the chapel 
 in Somerset House. 
 
 GENTILESCHI, Artemesia, portrait 
 painter. Daughter of the above. Born in 
 1590. She came to England and painted 
 both history and portrait, excelling in the 
 latter. She drew some of the royal family 
 and several distinguished persons. Graham 
 says ' she was famous for her amours as 
 for her painting.' Charles I. possessed 
 several of her works. Her portrait, painted 
 by herself, is at Hampton Court. She died 
 about 1642. 
 
 GERBIER, Sir Balthasar, Knt., painter 
 and architect. He was born at Antwerp 
 about 1591, and came to England in 1613 
 as a retainer of the Duke of Buckingham. 
 He practised miniature painting, but styled 
 himself 'painter and architect,' visited Italy 
 and gave himself airs of importance, at- 
 tended the young prince and the Duke to 
 Spain in 1623, ostensibly as a miniature 
 painter, and painted the portrait of the 
 Infiinta, but was employed in the marriage 
 negotiations. On the accession of Charles 1. 
 he was employed in Flanders to negotiate 
 a treaty with Spain. In 1628 he enter- 
 tained the King and Queen at supper, and 
 was knighted the same year. In 1641, 
 continuing in favour at Court, he was ap- 
 pointed master of the ceremonies. He is 
 said subsequently to have been neglected at 
 Court, and to have gone to Surinam with 
 the intention to settle there, but to have 
 been arrested and sent to Holland by the 
 Dutch. During the Commonwealth he ap- 
 pears again in London. He was a purchaser 
 of some of the King s pictures wliich were 
 then sold, and next the founder, in 1648, of 
 a short-lived sort of universal academy, 
 opened the following year at Bethnal Green, 
 where ho proposed to teach everything — an 
 expedient probably in his days of poverty. 
 
 On the restoration of Charles II. he was 
 again in the ascendant, and prepared the 
 triumphal arches to welcome the King's 
 return. He was appointed to succeed Inigo 
 Jones as the surveyor of the royal palaces, 
 and was naturalised by statute in 1664. 
 He commenced Hempstead Marshal, a large 
 mansion, for Lord Craven, which was burnt 
 down, and before the completion of his 
 work died, and was buried there in 1667. 
 His miniatures are well drawn and finished, 
 his ornamental and architectural drawings 
 not without merit. He wrote an ' Encyclo- 
 paedia of Art ' and treatises and suggestions, 
 but of a superficial character, on several 
 subjects, and published, in 1662, 'The 
 Three chief Principles of magnificent Build- 
 ing;' in 1663, 'Caution and Advice to all 
 Builders.' Walpole calls him architect, 
 author, lecturer, diplomatist, quack. He 
 styled himself ' Baron d'Ouvilly,' and ap- 
 pears to have been an unscrupulous, clever 
 schemer. 
 
 GESSNER, Solomon, subject painter. 
 Born in Switzerland in 1730. Practised in 
 England with some reputation, chiefly for 
 the illustration of books, and was in advance 
 rather of the manner of the time. He died 
 in 1788. His son Conrad also practised 
 for a while both in England and Scotland. 
 
 GIBB, Robert, U.S.A., landscape painter. 
 Was born in Dundee. His landscapes are 
 truthful and carefully finished. On the 
 foundation of the Royal Scottish Academy 
 in 1830, he was chosen one of the first 
 members. He died, after a short career, 
 in 1837. Some of his works are in the 
 Royal Academy and Royal Institution in 
 Edinburgh. 
 
 GIBBON, Benjamin Phelps, engrav(r. 
 Born in 1802. Son of the vicar of Penally, 
 Pembrokeshire. He was educated in the 
 Clergy Orphan School, and apprenticed to 
 Scriven, an engraver in the chalk manner. 
 On the completion of his time he placed 
 himself with J. H. Robinson, under whom he 
 soon attained great proficiency as a line 
 engraver. He worked both in the line and 
 in a mixed manner. His style is simple, 
 refined, and finished, but wanting in power. 
 He engraved, after Landseer, ' The Twa 
 Dogs,' ' Jack in Office,' ' Shepherd's Chief 
 Mourner ; ' after Mulready, ' The Wolf and 
 the Lamb.' He also engraved some por- 
 traits, among them a full-length of the 
 Queen. He died unmarried in London, 
 July 28, 1851, in his 49th year. 
 
 GIBBONS, Grinling, carver in wood. 
 The accounts of his birthplace are conflict- 
 ing. He is said to have been born at Rot- 
 terdam, April 4, 1648 ; of Dutch parents, at 
 Star Alley, in the Strand ; and of English 
 parents in Holland. Evelyn tells that he 
 lived in Belle Sauvage Court, Ludgate Hill, 
 and afterwards removed to Deptford, where 
 
GIB 
 
 GIB' 
 
 he accidentally met with him, discoA'cred 
 his groat talent, and made him known, in 
 1671, to Charles II. The King employed 
 him in decorating several of the royal 
 palaces, and gave him an office under the 
 Board of AVorks. Fine examples of his 
 work in wood, finished with the greatest 
 truth, refinement, and skill, will be found at 
 "Windsor, St. Paul's Cathedral, Chatsworth, 
 Petworth, Burleigh, and Trinity College, 
 Oxford. In the later part of his career he 
 produced some fine works in marble. The 
 pedestal of Charles IL's statue at Charing 
 Cross in stone is by him, and is a rich and 
 tasteful work. The statue of James II. in 
 bronze at the back of Whitehall Chapel 
 cannot be placed among his successful 
 works. He was master carver to Charles II., 
 James TI., William III., and George I. He 
 lived in Bow Street, Covent Garden, from 
 1678 till his death, August 3, 1721, and was 
 buried in St. Paul's, the parish church. His 
 carvings, paintings, and art works were 
 sold by auction in the November following. 
 He married and had five daughters. 
 
 GIBBS, James, architect. Born 1674, 
 near Aberdeen, the son of a merchant of 
 repute in that city. He was educated in 
 the Marischal College, had a strong inclina- 
 tion to mathematics, and took his M.A. 
 degree. His father, who was a Roman 
 Catholic, sold his property in 1688, and 
 dying early, his son's education was con- 
 tinued by an uncle and aunt. There was 
 probably little to induce him to stay in his 
 native town, and resolving to seek his for- 
 tune abroad, about 1694 he left Aberdeen, 
 to which he never returned. He went to 
 Holland, where he spent some years in the 
 service of an architect and builder, and 
 there, about 1700, he was introduced to the 
 Earl of Mar, who had a great taste for 
 architecture, and assisted him with money 
 and introductions to enable him to visit 
 Italy, where he pursued his studies, in- 
 cluding sculpture and architecture, under 
 the best masters for nearly 10 years. 
 
 About 1710 he came to England. His 
 patron, who was then in the ministry, and 
 high in Court favour, recommended him to 
 the trustees under the Act for Building new 
 Churches, but he was not employed by them 
 till 1720-21, when he commenced the parish 
 church of St. Martin-in-the-Fields, and soon 
 after the church of St. Mary-le-Strand, 
 completed in 1726. He also built and 
 repaired scA^eral other churches, and rose 
 to much professional distinction. He built 
 at Oxford the Eadcliffe Library, his greatest 
 work, and the Gothic quadrangle of All 
 Souls; and at Cambridge, the King's Col- 
 lege Library and the Senate House. He 
 also built St. Bartholomew's Hospital ; 
 Dytchley House, Oxfordshire ; East An- 
 tony House, Cornwall ; Braemar, Scotland ; 
 
 and the mansions of many other families 
 of distinction. The monument to the Duke 
 of Newcastle in AVestminster Abbey is after 
 a design by him. He fell upon an oppor- 
 tune time, and with much work to be done, 
 had few rivals. His works are marked 
 by a propriety of character, heavy in their 
 outline and details, and wanting in genius. 
 His St. Martin's Church, which occupies a 
 very commanding site, lias perhaps been 
 over-praised, but though marked by heavi- 
 ness, is not without grandeur. St. Mary's, 
 though lighter in outline, is over orna- 
 mented. He published ' The Book of Ar- 
 chitecture,' a large folio of his designs, 1 728 ; 
 ' Rules for Drawing the several Parts of 
 Architecture,' 1732; and a 'Description of 
 the Radcliffe Library, with plans,'&c. 1747. 
 
 He was afflicted with gravel and stone, 
 and went to Spa in 1749, but without find- 
 ing much relief. He died in London, 
 August 5, 1754, and was buried in St. 
 Marylebone Church. He lived a Roman 
 Catholic and a bachelor. He left about 
 15,000Z. among his friends, and an estate 
 of 280/. per annum, with his plate and 
 1,000/., to Lord Erskine, the only son of 
 his patron, who had plunged into the Civil 
 War and was ruined. His books he be- 
 queathed to the Radcliflfe Library. 
 
 GIBSON, Richard (known as 'The 
 Dwarf), 'portrait 'painter. Born 1615, it is 
 supposed in Cumberland. He was origin- 
 ally page to a lady at Mortlake, and show- 
 ing a taste for drawing was placed under 
 F. Cleyne, who had the management of the 
 tapestry works established there. He after- 
 wards studied Lely's works and imitated 
 his manner. His water-colour drawings 
 were well esteemed, but he was best known 
 as a copyist of Lely. His works were good 
 in colour, spiritedly painted, yet wanting 
 in finish and refinement. He gained the 
 notice of Charles 11. , who appointed him 
 one of his pages. He married Ann Shep- 
 herd, the Queen's dwarf, the height of each 
 being the same — 3 ft. 10 in. She was given 
 away by the King. Lely painted their por- 
 traits hand in hand, and Waller wrote some 
 verses on the occasion. He drew Crom- 
 well's portrait several times. He instructed 
 Queen Anne in drawing, and went to Hol- 
 land to teach her sister Mary, when Princess 
 of Orange. He died July 23, 1690, in his 
 75th year, and was buried in Covent Gar- 
 den Church. The little couple had nine 
 children, five of whom lived to maturity 
 and attained the natural size. 
 
 GIBSON, Edw^aed, portrait painter. 
 Kinsman of Gibson the Dwarf, Walpole 
 says his son. Instructed by him. He 
 painted portraits in oil and in crayons, and 
 found encouragement, particularly in the 
 latter manner. He was of some promise, 
 but died in his 33rd year. 
 
 165 
 
GIB 
 
 GIBSON, Susan Penelope, miniature 
 painter. Daughter of Gibson tliG Dwarf. 
 Painted miniatures and in water-colours. 
 A portrait of Bishop Burnet, in his robes as 
 chancellor of the Order of the Garter,^ is 
 one of her most reputed works. She died 
 in 1700, in her 48th year. 
 
 GIBSON, William, miniature painter. 
 Nephew of Gibson the Dwarf,) by whom 
 and also by Lely he was taught. He at- 
 t^iined eminence as a miniaturist, and some 
 eminent persons sat to him. Ho was also 
 an excellent copyist of Lely, part of whose 
 collection he purchased after his death. 
 He also brought into this country a number 
 of fine works from the Continent. He died 
 in 1702, aged 58. 
 
 GIBSON, Thomas, portrait painter. 
 Born about 1680. Practised in the first 
 part of the 18th century. He had for many 
 years full employment, but his health fail- 
 ing, he disposed of his pictures about 1730, 
 and retired to Oxford. Probably regaining 
 health, he returned to London, where he died 
 April 28, 1751, aged about 71. His por- 
 traits are well drawn and painted, the ex- 
 pression good, and also the hands and 
 drapery. Highmore said that when Sir 
 James Thornhill had a figure in difficult 
 action ho always applied to Gibson, who 
 sketched it in for him. There is a portrait 
 by him of Vertue, the engraver, dated 1723, 
 at the Society of Antiquaries, and of Plam- 
 stead, the astronomer, at the Koyal Society. 
 Many of his portraits are engraved by C. 
 White, J. Paber, Johnston, J. Simon, and 
 one of Sir Eobert Walpole, by Bookman. 
 
 GIBSON, David C, subject painter. He 
 was of much promise. His first work which 
 gained notice was ' The Little Stranger,' 
 which, with 'Kustic Education,' were his 
 first exhibited works, and appeared at the 
 Koyal Academy in 1855. The following 
 year he sent ' Un Corrillo Andaluz pelando 
 la Para;' and in 1857, after his death, his 
 * Gypseys of Seville ' appeared on the walls 
 of the Academy. His works showed much 
 careful finish, and were strong in character. 
 He painted some scenes in the East, and 
 afterwards went to Spain to recruit his 
 declining health, the result of his irregu- 
 larities. He died 1856. 
 
 GIBSON, George, architect. Studied 
 his art in Italy, and practised in the middle 
 of the 1 8th century. James Elmes was his 
 pupil. 
 
 GIBSON, Jesse, architect . Practised in 
 London towards the end of the 18th cen- 
 tury. He designed the church of St. Peter- 
 Ic-Poor, City, a mediocre erection, finished 
 in 1792 ; and rebuilt, 1822, the hall of the 
 Sadlers' Company. He held two or three 
 district surveyorships. Died June 24, 1828, 
 aged 80. 
 
 GIBSON, Thomas, glass stainer. He is 
 166 
 
 GIB 
 
 chiefly known as a glass stainer, though he 
 showed some talent as an artist. His works 
 on glass decorate several of the churches at 
 Newcastle-on-Tyne and in the surrounding 
 parishes. He was a member of the Town 
 Council, and served the office of sheriff. 
 He died at Newcastle, November 25, 1854, 
 aged 60. 
 
 GIBSON, John, sculptor. Was born at 
 Gyffin, near Conway, in 1790. His father, 
 poor but honest, lived by his daily labour 
 as a gardener. As a child he spoke only 
 the Welsh language. When 9 years of 
 age the family purposed to emigrate to 
 America, and with this object went to Liver- 
 pool, but there his mother s resolution failed, 
 it is said under the influence of a dream. 
 The family settled in Liverpool and he w^is 
 put to school. His first attention was at- 
 tracted by the printsellers' windows. He 
 was fond of drawing, and for his invete- 
 rate habit of scribbling in school he was 
 punished. At 14 he was apprenticed to a 
 cabinet-maker, and at the end of a year 
 managed to get transferred to a carver, 
 whose trade he thought somewhat allied to 
 art. Then still unsettled, and moved by 
 some marble works he saw on the premises 
 of Samuel Prancis, he tried, at the end of 
 another year, to get his indentures trans- 
 ferred to him, and by his dogged resolution 
 at last succeeded. 
 
 He was now on the right road. Some 
 works he had designed gained him the notice 
 of Mr. Koscoe, whose patronage assisted him 
 in every way. He studied anatomy and the 
 works of the great Greek sculptors, and under 
 their influence modelled a life-size ' Pysche,' 
 which was exhibited at Liverpool, and his 
 dawning talent brought him many friends. 
 His ambition was inflamed by a desire to 
 study in Kome, and he made a drcming of 
 ' Psyche borne by Zephyrs,' which he ex- 
 hibited at the Eoyal Academy, with two 
 busts, in 1816. Early in 1817 he came to 
 London, and with his introductions again 
 found friends. He exhibited two busts that 
 season ; but haunted by the idea of Eome, he 
 set out for that capital in the September of 
 the same year, and managed to reach his 
 destination, travelling by Paris and Florence, 
 in the following month. Introduced to Ca- 
 nova, he was kindly received and^'admitted 
 to study with his other pupils. Hitherto 
 he had been without any instruction, and 
 did not know how to set about his work ; 
 but getting over the first difficulties, he was 
 admitted to the life academy, where, both 
 assisted and depressed by the works of his 
 fellow students, who had attained a masterly 
 style of drawing, he never flagged ; while in 
 his lonely lodgings he thought of home. 
 
 By the advice of Canova he tried a figure 
 life-size from his own design, which ho 
 called ' The Sleeping Shepherd ; ' and in 
 
GIB 
 
 GIB 
 
 1819 he began a large group, 'Mars and 
 Cupid,' and was, after some months' labour, 
 commissioned by the Duke of Devonshire 
 to execute his group in marble. The work 
 is now at Chatsworth, but he had named so 
 low a price that he was barely remunerated 
 for his materials. In 1821 he commenced 
 his model for ' Psyche borne by Zephyrs,' 
 and when his group was well advanced, Sir 
 George Beaumont gave him a commission 
 for it in marble, and the Duke of Devon- 
 shire a second commission for a basso-ri- 
 lievo, ' The Meeting of Hero and Leander.' 
 Other commissions followed. In 1826 he 
 commenced his 'Hylas surprised by the 
 Nymphs,' now in the National Grallery ; and 
 es'tiiblished and happy in his art, was daily 
 inspired with fresh enthusiasm. 
 
 In 1827 his ' Psyche borne by Zephyrs' 
 was exhibited at the Koyal Academy, 
 and his friends urged his return to 
 England, but the temptation of becom- 
 ing rich did not weigh with his ambi- 
 tion for fame, which he thought would 
 be best gained in Rome. In. 18 30 he ex- 
 hibited a ' Nymph seated,' and a monu- 
 mental statue, his first portrait work ; and 
 afterwards, from the 'Aminta' of Tasso, 
 modelled * Love disguised as a Shepherd,' 
 of which he produced no less than seven 
 repetitions. Next, meeting with a beautiful 
 boy, he conceived and modelled after him, 
 'Cupid tormenting the vSoul,' which he 
 deemed one of his best works. Tlius pur- 
 suing his art, in which all his thoughts were 
 centred, and sending his works home to the 
 Academy Exhibitions, that they might be 
 known to his countrymen, though they were 
 the constant subject of hostile criticism by 
 the press, he was in 1833 elected an asso- 
 ciate of the Academy, and that year ex- 
 hibited ' A Sleeping Shepherd Boy ' and a 
 'Paris.' In 1838 he contributed a 'Nar- 
 cissus,' and in 1840 was elected a full mem- 
 ber of the Academy, exhibiting that year 
 two bassi-rilievi. His powers were now 
 at their height, and enjoying the fame of 
 which he was ambitious, his days passed 
 happily in the pursuit of art, by which he 
 was surrounded. 
 
 After a long sojourn at Rome, with little 
 relaxation, his whole thoughts bent on his 
 own art — for he had little sympathy with the 
 painters — he passed several successive sum- 
 mers at Innsbruck, and on his first visit 
 there said that ' he felt as if he were new 
 modelled.' On the death of Mr. Huskisson 
 in 1831, ho was asked to compote for the 
 erection of a statue to him at Liverpool, 
 but declining to do so, the commission was 
 unreservedly given to him ; and a second 
 statue, not a replica, was commissioned for 
 the custom-house there, by Mrs. Huskis- 
 son, who induced him, after 24 years' 
 residence abroad, to return to England in 
 
 the summer of 1844 to superintend, tho 
 erection of his work, and in 1847, he came 
 again for the same purpose, and from that 
 time was almost a yearly visitor. On his 
 first visit the Queen sat to him for the 
 statue of her Majesty, now in Buckingham 
 Palace. In his endeavours to give tho 
 highest finish to this work, he first employed 
 a little colour, using slight tints of blue 
 and yellow. He met the clamorous critics 
 with, ' Whatever the Greeks did was right,* 
 and submitted his tinted st;itue at the Aca- 
 demy Exhibition to the opinion of the public. 
 But he only exhibited again on two occa- 
 sions — in 1851 sending his marble statue of 
 George Stephenson, and in 1854 his bust of 
 the Prince of Wales. 
 
 Tho effects of the tumultuous period of 
 1848-49 did not fail to reach him. Tho 
 successful English sculptors in Rome, and 
 their exemption from enrolment, were tho 
 subject of dangerous remarks. When tlio 
 French troops neared Rom.e he fled to 
 Florence, returning in 1850, when tho Pope 
 again took possession of his palace. He was 
 then engaged to model a group of the Queen 
 for the new palace at Westminster, into 
 which he introduced the typical figures of 
 Wisdom and Justice. About the same time 
 he commenced his ' Venus,' which he deemed 
 his most ideal and highly finished work, and 
 carrying out his idea of colour, he gave tho 
 flesh the tint of warm ivory, made the eyes 
 a pale blue and the hair blonde, enclosed 
 in a golden net. This was evidently his 
 cherished work. On the tortoise at the foot 
 he inscribed, ' Gibson made me at Rome ; ' 
 and he tells how long and often he sat in 
 contemplation of his ' Venus,' and asks how 
 he was ever to part with her. This figure 
 was itself a replica, and was followed by 
 three more. He was in apparent health, 
 though his power was declining, arid was 
 in Rome, where he had dwelt for 48 
 years, when he was suddenly attacked l)y 
 paralysis, and died January 27, 1866. His 
 aiFections were with the arts and artists 
 of his own country, and by his will he loft 
 to the Royal Academy the models both of 
 his executed and his unfinished works, in* 
 eluding several in marble, with the earnings 
 of his life (32,000^.), for he had outlived 
 his two brothers, his only relations. He 
 passed a quiet and equable life in the pur- 
 suit of an art on which his happiness was 
 fixed, unwearied in his earnestness and 
 activity. He was entirely without know- 
 ledge of the classic languages, and had 
 little intellectual cultivation, yet he made 
 the works of the great Greek sculptors his 
 life-long models, and to approach them was 
 the object of his most earnest study. AVhilo 
 Flaxman imbibed the spirit of the Greeks, 
 he is accused of having imitated them. He 
 did not seek invention or aim at novelty. 
 
GIB 
 
 GIL 
 
 He said, 'It is the desire of novelty that 
 destroys pure taste. What is novel diverts 
 us ; truth and beauty instruct us.' He was 
 a memhcr of the principal European art 
 academics, and also of the French Legion of 
 Honour and the Prussian Order of Merit. 
 The son of a Welsh gardener, he rose to the 
 liighest honours in art. His life, in which 
 an autobiography is embodied, was edited 
 by Lady Eastlake, and published 1870. 
 
 GrIBSON, Benjamin, sculptor. He was 
 born at Liverpool, and was brother to the 
 foregoing, and chiefly employed as his as- 
 sistant. He was also his inseparable com- 
 panion, and having studied the classics, 
 was the authority to whom he constantly 
 referred. He wTote some papers on the 
 antiquities of Italy, and sent to the Anti- 
 quarian Society communications on the 
 'Ionic Monuments of Zanthus' and on 
 ' Fresco Painting.' He died at the Baths of 
 Lucca, August 13, 1851, aged 40. 
 
 GIBSON, Patrick, K.S.A., landscape 
 fainter. Was born in Edinburgh in De- 
 cember 1782. His parents were respectable, 
 and he received an excellent classical edu- 
 cation. He showed an early taste both 
 for literature and art, and wishing to follow 
 the latter he was placed under Alexander 
 Nasmyth, and at the same time studied in 
 the Trustees' Academy. He also extended 
 his studies to architecture, mathematics, 
 and other branches of knowledge connected 
 with the fine arts. By these acquirements 
 he fitted himself for a critic and witer on 
 art, and came to London early in his career 
 for further improvement. In 1805 and 
 the two following years he exhibited land- 
 scape views at the Academy. He contri- 
 buted to the ' Encyclopaedia Edinensis ' an 
 article on ' Design,' and to the ' Edinburgh 
 Encyclopaedia' the articles 'Drawing,' 
 ♦ Engraving,' and ' Miniature Painting.' For 
 the 'Edinburgh Annual Register,' 1816, 
 he wrote a ' View of the present State of 
 the Art of Design in Britain,' and after- 
 wards for the ' New Edinburgh Review ' an 
 article ' On the Progress of the Fine Arts in 
 Scotland.' In 1818 he published 'Etchings 
 of select Views in Edinburgh,' with letter- 
 press descriptions ; and in 1822 a remarkable 
 jeu d' esprit on the works of the artists then 
 exhibiting in Edinburgh, but the publica- 
 tion was anonymous, and he remained 
 silent under the indignant remarks of his 
 brother a rtisti>. In 182-1 he left Edinburgh, 
 accepting the office of teacher at Dollar. 
 Ho found this sphere a very narrow one, 
 but he remained there till his death, after 
 three years' illness, on August 26, 1829, in 
 his 46th year. His landscapes were chiefly 
 compositions introducing architecture, and 
 much in the style of the early masters. 
 
 GIFFORD, George, engraver. He prac- 
 tised about 1640, and engraved, chiefly for 
 168 
 
 the booksellers, small portrait heads, which 
 have little merit. 
 
 GILBERT, John Graham, P.R.S.A., 
 portrait painter. Born at Glasgow in 1794, 
 he was the son of a West India merchant, 
 and was for a time placed in his father's 
 counting-house, but was determined to be 
 an artist. In 1818 he came to London, 
 and was admitted into the schools of the 
 Roj-al Academy, where in 1821 he gained 
 the gold medal for his original painting of 
 ' The Prodigal Son.' He afterwards tra- 
 velled in Italy, where during two years he 
 pursued his studies of the old masters, 
 especially of the Venetian school. On his 
 return he x'^^^^ctised portrait painting in 
 London, and was an exhibitor at the Aca- 
 demy. In 1827 he went to reside in Edin- 
 burgh, where he was very successful, had 
 many sitters, and in 1833 was elected a 
 member of the Scottish Academy. In 1834 
 he married and settled in Glasgow, adding 
 the name of Gilbert to his paternal name 
 of Graham, which he had borne hitherto. 
 Possessed of ample means he continued the 
 practice of his art, and in 1843 renewed 
 his contributions to the Academy Exhi- 
 bitions in London, sending in that year 
 ' The Pear-tree AVell,' a romantic well near 
 Glasgow, with a portrait; in 1 845, 'Females 
 at a Fountain;' in 1846, 'Christ in the 
 Garden;' in 1853, 'The Young Mother,' 
 with occasionally a portrait up to 1864, 
 when 'A Roman Girl' was his last contri- 
 bution. He was this year elected president 
 of the Royal Scottish Academy, and was 
 appointed by the Queen her Majesty's 
 limner for Scotland, but did not long enjoy 
 these distinctions. He died at Glasgow, 
 June 5, 1866. He was greatly distinguished 
 as a portrait painter ; his drawing good, 
 the pose of his figure natural, and the ex- 
 pression characteristic; his colour rich but 
 sober, his backgrounds simple, and the 
 whole carefully and conscientiously finished. 
 
 GILBERT, Joseph Francis, landscape 
 painter. Born 1792. In the midst of many 
 family difficulties, he took up art and wns an 
 occasional exhibitor at the Royal Academy 
 and the British Institution. He resided 
 for many years at Chichester. Several of 
 his early works were engraved — his 'Good- 
 wood Racecourse,' ' Priam winning the 
 Gold Cup,' and ' View of the Ruins of Cow- 
 dray.' He was a competitor at the West- 
 minster Hall Exhibition. He died Sep- 
 tember 25, 1855, in his 64th year. 
 
 GILES, James William, R.S.A., land- 
 scape painter. He was born in 1801, at 
 Glasgow, and in his boyhood was taught by 
 his father, who was an artist. He early 
 settled in Aberdeen and devoted himself with 
 much success to portraiture. At the com- 
 mencement of his career he passed a short 
 time in Italy, and then painted chiefly land- 
 
GIL 
 
 GIL 
 
 scape. In 1830 he was chosen a member of 
 the Scotch Academy, and in that and the 
 following year sent for exhibition at the 
 Royal Academy in London ' The Errand 
 Boy ' and some landscapes, and on some 
 other occasions, at long intervals, was an 
 exhibitor. He is best known by his ' High- 
 hind Scenery,' in which sporting subjects are 
 prominently introduced ; and a keen angler, 
 the result of a good day's sport often proved 
 a tempting subject. He lived principal!}' 
 at Aberdeen, where he died October 6, 1870. 
 
 GrlLL, Chaeles, portrait painter. Son of 
 a pastry-cook at Bath. In 1749 he became 
 a pupil of Reynolds, P.R.A. He exhibited 
 portraits at the Royal Academy in 1772, 
 two in 1774, a whole-length and two others 
 in 1775, but does not appear again as an 
 exhibitor. He suffered an injury to the 
 leg, which deprived him of the use of the 
 limb. 
 
 GILLRAY, James, caricaturist. His 
 father was born in 1720, in Lanarkshire, en- 
 tered the army, lost an arm at Fontenoy, 
 and was for many years a;i out-pensioner of 
 Chelsea Hospital. He was born about 1757, 
 and was apprenticed to an heraklic engraver 
 on plate, but ran away and joined a com- 
 pany of strolling players. Disgusted with 
 this life, he returned to London, and soon 
 after was admitted as a student of the Royal 
 Academy, and acquired a power of correct 
 drawing. His first attempts were as an 
 engraver. In 1784 he published some en- 
 gravings, after his own designs, in illustra- 
 tion of Goldsmith's 'Deserted Village,' and 
 among other works of this period he en- 
 graved a portrait of Dr. Arne, after Bar- 
 tolozzi, whose pupil, but more probably as- 
 sistant, he is said to have been. He also 
 engraved some plates after Lady Spencer's 
 drawings. Several of his known plates have 
 fictitious names to them. 
 
 His genius, however, led him to caricature. 
 His first known essay was in 1779, and 
 straying more and more from the higher 
 branches of art, in which his knowledge, 
 taste, and feeling qualified him to succeed, 
 he devoted himself entirely to the graphic 
 satire of the politics and morals of the day. 
 He attacked the ' No Popery' rioters in 1780 ; 
 in 1784, Pitt and his Government; then 
 the Westminster election and the attendant 
 riots, followed by the doings of the Prince 
 of Wales, with numerous hits at the lesser 
 follies of the time. His political partisan- 
 ship led to an attack upon his house in 1794. 
 His works were the amusement of the day. 
 He seized with ready wit and great power 
 of delineation the points he attacked, and, 
 however grotesque his caricature, preserved 
 the features and character of those he repre- 
 sented, frequently etching his designs at 
 once upon the copper. Upwards of 600 of 
 his engraved works have been collected. 
 
 Mr. Bohn has published a large selection 
 from them. 
 
 He was a man of intemperate habits, and 
 the vice grew upon him. For many years 
 he lived in the house of Mrs. Humphreys, 
 his publisher, in St. James's Street, who 
 supplied all his wants on condition that ho 
 should not work for any other publi slier. 
 Gossip said there was a more tender connec- 
 tion between them, but this scandal had no 
 foundation. His latest work is dated in 
 1811. Soon after this his excesses brought 
 on imbecility, with fits of delirium, during 
 an attack of which he threw himself out of 
 window. He died June 1, 1815, aged 58, 
 and was buried in St. James's Churchyard, 
 Piccadilly. 
 
 GILPIN, Sawrey, R a., animal imiiitcr. 
 He was a descendant of Bernard Gilpin, the 
 eminent English divine, called the ' Apostle 
 of the North,' and was born at Carlisle, 
 November 11, 1733. He was intended 
 for business, and with that view sent to 
 London, but a predilection for art led to his 
 engagement, in May 1749, as a pupil of 
 Samuel Scott, the marine painter, who then 
 lived in Covent Garden. Here he was di- 
 verted from his master's art to sketch the 
 horses bringing supplies to the market and 
 the groups assembled there. In 1758 he 
 left Mr. Scott to devote himself to animal 
 painting, and went to Newmarket to acquire 
 a knowledge of the horse and of animal ana- 
 tomy. He was patronised by the Duke of 
 Cumberland, then ranger of Windsor Park, 
 who gave him apartments, with every fa- 
 cility for his improvement. He was for 
 a time president of the Incorporated Society, 
 and exhibited at the Society's Rooms, in 
 1763-64, portraits of horses; and in 1770, 
 an oil sketch of 'Darius obtaining the 
 Persian Empire by the neighing of his 
 Horse;' and in the next year, 'GulliA^er 
 taking leave of the Houyhnyms,' followed 
 by other subjects of the same class. 
 
 These works gained him a reputation. 
 From 1786 to 1807 he was an exhibitor at 
 the Royal Academy, and was elected an as- 
 sociate in 1795, and a full member in 1797. 
 His horses were well drawn, his wild animals 
 spirited and truthful. He painted in conjunc- 
 tion with Barret, R.A. ; and Zoffany, R.A., 
 painted some figures into his pictures. He 
 etched a small book of horses, a set of 
 etchings of oxen, some heads for his 
 brother's ' Lives of the Reformers,' and the 
 examples of his ' Forest Scenery.' His own 
 'Death of the Fox,' an excellent work, was 
 well engrav^ed by John Scott. He lived 
 many years at Knightsbridge. On the death 
 of his wife, he gave up his house and went 
 to live with his generous friend Mr. Samuel 
 Whitbread, at his seat in Bedfordshire. 
 His health declining, he returned to pass the 
 remainder of his life with his daughters 
 
 169 
 
GIL 
 
 GIR 
 
 at Brompton, where he died March 8, 1807, 
 aged 73. 
 
 GILPIN, The Kev. William, M.A., 
 amateur. Brother of the foregoing. He 
 was bettor known as a writer on landscape 
 beauty than as an artist. Though his 
 sketches are by no means without ^ merit, 
 tlioy are, however, mere vigorous tintings 
 of picturesque nature, with little drawing 
 or topographical correctness. He for many 
 years kept a largo school at Cheam. In ad- 
 dition to several religious works, he pub- 
 lished the following on art-subjects — 'Tour 
 down the Wye,' 1782; 'An Essay on Prints,' 
 last edition, 1792; ' Northern Tour,' 1792, 
 dedicated to the Queen ; ' Scotch Tour,' 2nd 
 edition, 1792; 'Forest Scenery,' 1794; 
 ' Three Essays on picturesque Beauty,' 1794; 
 'Western Tour,' 1798; and the following 
 were published after his death, ' Tour on the 
 Coasts of Hants, Sussex, and Kent,' 1804 ; 
 'Two Essays on the Author's Mode of 
 Sketching,' 1804; ' Observations on parts of 
 Cambridgeshire, Norfolk,' &c., 1809. For 
 the chief of these publications the illustra- 
 tions wore both drawn and engraved by 
 himself. His works were at the time very 
 popular, and passed through several edi- 
 tions. Ho was vicar of Boldre, in the New 
 Forest, and appropriated a large collection 
 of his sketches, which, sold by Christie in 
 1802, realised 1,560^., to the endowment of 
 his parish school. He died at Boldre in his 
 80th year, April 5, 1804. 
 
 GILPIN, William Sawrey, water-colour 
 pai7iter. He was the son of the foregoing 
 Sawrey Gilpin, K. A. His name first appears 
 as an exhibitor at the Academy in 1797, 
 when, and in 1799 and 1801, he contributed 
 some landscape views. On the foundation of 
 the Water-Colour Society in 1804, he was 
 elected the Society's first president, but re- 
 signed the office in 1806, on his appoint- 
 ment as drawing-master at the Eoyal Mili- 
 tary College at Great Marlow, and his 
 necessary residonco in the neighbourhood. 
 Though very weak in art, he appears to have 
 made the Society a useful president. He 
 was a teacher of drawing, and his connections 
 had insured him a great practice, which was 
 seriously injured by his poor appearance on 
 the walls of the exhibition. He continued 
 a member of the Society, and exhibited up 
 to 1814, when he removed with the estab- 
 lishment of tho college to Sandhurst, and in 
 1816 his name is no longer in the catalogue. 
 
 GIRLING, Edmund, amateur. Clerk in 
 the Bank at Yarmouth. He produced some 
 good imitations of Rembrandt's etchings, 
 ' The Three Trees,' ' Goldweigher,' ' Descent 
 from the Cross,' and other works. He also 
 etched after Crome and the Dutch school, 
 and was an exhibitor with the Norwich So- 
 ciety of Artists. His first workis dated in 
 1817, arid he practised towards the end of 
 170 
 
 the first quarter of the 19th century. His 
 brother, Richard Girling, was also an 
 etcher, and made some good copies. 
 
 GIRTIN, Thomas, water-colour painter. 
 Was born February 18, 1773, inSouthwark, 
 where his father was an extensive rope 
 and cordage manufacturer. He received 
 some instruction from a drawing-master in 
 Aldersgate Street, and was then for a short 
 time the pupil of Dayes. He commenced 
 art as a water-colour painter, and first 
 studied subjects in the neighbourhood of 
 London — • the Savoy ruins, the water- 
 gate of the palace, the picturesque shores 
 and potteries of Lambeth ; and on the op- 
 posite bank of the Thames, the bowered 
 road, old church and hospital at Chel- 
 sea. He then made a tour in Scotland, 
 and visited York, Durham, Cumberland, 
 and Westmoreland. Afterwards he ram- 
 bled to Ely, Peterborough, Lichfield, and 
 Lincoln, sketching their grand cathedrals 
 and ruins. He first exhibited at the Ac^i- 
 demy in 1794, and in that and the follow- 
 ing year sent view« of Ely, Peterborougli, 
 and Lincoln Cathedrals, Warwick Castle, 
 and some others. In 1797-98 he was a large 
 exhibitor, sending four views of the city 
 of York, an interior of St. Alban's, and 
 afterwards views in Devonshire, Scotland, 
 and Wales. In 1801 he exhibited for tho 
 last time — one work only — a view in oil of 
 ' Bolton Bridge, Yorkshire.' He visited 
 France about twelve months before his 
 death, and his last and best drawings were 
 views in Paris. From two of these views 
 he painted scenes for Covent Garden Theatre. 
 He also painted a panorama of London, 
 which was on view when he died. 
 
 His name will be for ever associated with 
 the progress of water-colour art in this 
 country. His manner wn s bold and vigorous; 
 suppressing details by his clever generali- 
 sation, he gave a gloomy grandeur to his 
 picture. He chose for his subjects the 
 picturesque ruins of our old abbeys and 
 castles, and the hilly scenery of the North, 
 to which, by his skilful treatment, he gave 
 both sentiment and power. Using a full 
 and flowing pencil, he appreciated the tones 
 which truly harmonise with each other and 
 were best suited to his subject, which was 
 wrought with the greatest ease and mastery. 
 A good example of his art is exhibited in 
 the South Kensington Museum — ' Rivaulx 
 Abbey,' painted 1798. His death, which 
 has been attributed to his irregularities, 
 took place at his lodgings in the Strand, 
 at the early age of 27, on November 9, 
 1802. He was buried in the churchyard of 
 St. Paul, Covent Garden. Twenty of his 
 views in Paris were published. He etched 
 the outline himself on soft ground, and the 
 effects were slightly put in in aqua- tint from 
 his drawings. 
 
GIS 
 
 GOL 
 
 GISBRANT, John, history painter. An 
 English artist of the 17th century. He 
 passed manyyears of his life at Lisbon, where 
 he was living in 1680. He painted an alUar- 
 piece for the church of St. Mary Magdalen 
 in that city. 
 
 GLOVEE-, George, engraver. Born about 
 1618, he practised in the middle of the 
 1 7th century. He was chiefly employed for 
 the booksellers upon portraits, frontispieces, 
 and emblematical subjects. His portraits 
 are produced entirely with the graver, and 
 in a bold, powerful manner ; the face often 
 finely rendered in line. He apparently en- 
 graved from his own designs; his heads are 
 larger t]ia,n was usual at the period. Many 
 of his portraits of eminent persons are of 
 much interest. 
 
 GLOVER, John, water-colour painter. 
 Born at Houghton-on-the-Hill, Leicester- 
 shire, where his father was a small farm^er, 
 February 18, 1767. He received a plain 
 education. As an artist he was self-taught, 
 when a child scribbling his designs over 
 every scrap of paper he could appropriate. 
 In 1786 he was chosen master of the Free 
 School at Appleby ; and besides combining 
 the study of art, cultivated music with great 
 success. In 1794 he removed to Lichfield, 
 and gave himself up to drawing and art 
 teaching. He had hitherto only used water- 
 colours, but now began to practise in oil, 
 and made many etchings. His style pleased, 
 his works became known and appreciated, 
 and he was induced to come to London, 
 where he settled. 
 
 He was one of the promoters and first 
 members of the AVater-Colour Society, and a 
 large contributor to their first and the fol- 
 lowing exhibitions, and was in 1815 elected 
 president of the Society, filling the office 
 only for the twelvemonths. The same year 
 he visited Paris, and afterwards Switzer- 
 land and Italy, returning with his sketch- 
 book stored with the scenery of those 
 countries. At this time he painted some 
 large works in oil. His ' Durham Cathedral ' 
 sold for 500 guineas, and his 'Loch Katrine,' 
 and some other large works of the same 
 class, were sold for liberal prices. In 1818 
 ho withdrew from the Society to become a 
 candidate for admission to the Royal Aca- 
 demy, but did not succeed ; and in 1 824 was 
 one of the founders and a member of the 
 Society of British Artists. He exhibited 
 with , the Society from that year to 1830, 
 but not afterwards, though he continued a 
 member up to 1850. In 1820 he made an 
 exhibition of his works, both in oil and 
 water-colours, in Old Bond Street ; and for 
 several years continued in the pursuit of 
 his profession, contemplating his retirement 
 to Ulswater, where he had purchased a 
 house and some land. 
 
 This scheme was never realised. He 
 
 suddenly adopted the intention to emigrate — 
 on wliat inducement docs not appear — and 
 sUirting for Australia, he arrived at the 
 Swan River Settlement in March 1831, and 
 there, in scenery new alike to him and to art, 
 he set vigorously to work, and sent home 
 some of his colonial pictures, but they did 
 not find a ready sale. For several of his 
 latter years he painted little, passing his 
 time in reading, chiefly religious works. 
 He died at Launccston, Tasmania, Dec. 9, 
 1849, aged 82. 
 
 Glover s art, which was exclusively land- 
 scape, including views and an occasional 
 marine, was mannered, and the stylo his 
 own. His execution was rude and blotted, 
 his foliage produced by splitting tho 
 hair of his brush, giving great apparent 
 facility of handling ; his atmospheric elToct 
 and general aerial perspective were good, 
 his colour pleasing. His oil pictures are 
 less satisfrictory than his water-colour, and 
 have not improved with ago, but appear 
 smooth and painty. He was in his early 
 career a fashionable teacher, and received 
 very la.rge sums for his lessons. 
 
 GLOVER, Moses, architect and painter. 
 He practised in the time of James 1. He 
 was associated with Gerard Christmas in 
 rebuilding (1605) the Charing Cross front 
 of Northumberland House (then called 
 Northampton House), and between 1604-13 
 was much cm-ployed at Sion House. A plan, 
 dated 1615, for rebuilding Petworth is pre- 
 served at that mansion, which is attributed 
 to him. His name is attached to a surA^ey of 
 Syon, Middlesex, with views of the neigh- 
 bouring royal palaces and mansions. 
 
 GODBY, James, engraver. Practised in 
 London at the beginning of the 19tli century. 
 In 1812 he engraved the illustrations for 
 ' The Fine Arts of the English School,' 
 also ' The miraculous Draft of Fishes,' after 
 Raphael. 
 
 GODDARD, John, engraver. Practised 
 about the middle of the 1 7th century. He 
 produced some book portraits and other 
 works for book illustration. 
 
 GODFREY, Richard B., engraver. Born 
 in London in 1728, he practised towards 
 the latter half of the 18th century. His 
 chief works were views, antiquities, and 
 some few portraits. He engraved for the 
 'Antiquarian Repository' and for Bell's 
 'British Theatre.' 
 
 GODFREY, Roj^ERT S., ^^55 'painter. 
 Practised ^in the last half of the 18th 
 century. His colours were brilliant and 
 well arranged, and ho claimed to have 
 revived and rivalled the art of the old 
 painters. 
 
 GOLD, Captain Charles, R.E., amateur. 
 An officer of the East India Company's 
 Service. He was a tolerable draftsman, and 
 in 1806 published, in folio, an interesting 
 
 171 
 
GOL 
 
 GOO 
 
 collection of 'Oriental Drawings, sketched 
 between the Years 1 791-98,'representing the 
 costume ?ind customs of the different castes 
 in Coromandel and the neighbouring coasts ; 
 but his drawing is very rude and weak. 
 
 GOLD, James, architect. He built St. 
 Botolph Without, Dishopsgate, London, 
 1725-28. 
 
 GOLDAE, John, engraver and draftsman. 
 Born at Oxford 1729. He was employed 
 by Boydell, and exhibited with the Free 
 Society of Artists a proof engraving in 1765. 
 His works, which are little esteemed, are 
 chiefly of a humorous character. He en- 
 graved a series of four plates, called 
 * Modern Love,' after Collett ; and ' Ships 
 after an Engagement,' after Wright. He 
 died suddenly, of apoplexy, in Hyde Park, 
 August 16, 1795. 
 
 GOLDICUTT, John, architect. Born 
 1793. He was a pupil of J. Hakewell, and 
 studied in the schools of the Eoyal Academy, 
 and afterwards in Paris. He then travelled 
 in Italy, studied in Eome in 1817, and on 
 his return in 1819 exhibited at the Aca- 
 demy a coloured drawing of the interior of 
 St. Peter's, made from measurement, for 
 which he had received the Pope's gold 
 medal. He was active in his competitions 
 for public buildings — in 1820, for the new 
 Post Office, when he gained the third pre- 
 mium ; in 1823, for the new buildings at 
 King's College, Cambridge ; in 1829, for the 
 Middlesex Lunatic Asylum, gaining a pre- 
 mium ; in 1830, for Fishmongers' Hall ; and 
 in 1839, for the Eoyal Exchange. He was 
 one of the secretaries of the Institute of 
 British Architects and a member of the 
 academies of Eome and Naples. He died 
 October 3, 1842, aged 49. He published, 
 in 1825, ' An Account of the ancient Paint- 
 ings and Mosaics discovered at Pompeii.' 
 
 GOLDING, El CHARD, engraver. He 
 was born in London, of humble parents, 
 August 15, 1785, and apprenticed to an en- 
 graver in 1799 ; but on some disagreement 
 he arranged to leave him at the end of five 
 years, and his indentures were transferred 
 to James Parker, who, dying in 1805, he 
 completed his master's unfinished plates. 
 Gaining by his art an introduction to 
 West, P.E.A., who employed him to engrave 
 his 'Death of Nelson,' he w^as soon after 
 engaged to engrave, after Smirke, E.A., 
 some of the illustrations for ' Gil Bias ' 
 and ' Don Quixote,' and completed these 
 plates with great power and delicacy. In 
 1810 he assisted William Sharp in some 
 of his works, among which were two fine 
 portraits. His reputation continued steadily 
 to increase, and in 1818 he produced, after 
 30 retouchings by the artist, his fine plate 
 of Sir Thomas Lawrence's portrait of the 
 Princess Charlotte, which was greatly ad- 
 mired both here and on the Continent. 
 172 
 
 Commissions were offered to him on all 
 sides, among them Lawrence's portrait of 
 Sir William Grant, which he executed, with 
 some other good works, for which he neither 
 asked or received a sufficient price ; and he 
 was then engaged upon some plates which 
 were not from subjects worthy of his art. 
 
 Prom this cause, probably, he became 
 apathetic, and fell into a desponding state. 
 At the latter end of 1842 he had been in- 
 duced to commence a work after Maclise, 
 E.A., for the Irish Art Union. He had at 
 this time, he said, ' been without work for 
 several years, and had given up all further 
 thoughts of practice.' He commenced the 
 work unwillingly, his powers and eyesight 
 diminishing, and at the end of 10 years it 
 was still unfinished. Of shy and reserved 
 habits, unmarried, able to subsist upon 
 small earnings, there was nothing to rouse 
 him from his desponding indolence. He 
 found some amusement in angling, a solitary 
 sport suited to his secluded habits, but 
 seems to have neglected all friendly ad- 
 vances. He died in an upper floor in 
 Lambeth, where he had for some months 
 cooked and performed all domestic offices 
 for himself ; and here, though he was not 
 without the means to provide himself with 
 all proper comforts, he ended his days in 
 neglect and dirt, December 28, 1865. He 
 was buried at Highgate Cemetery, and in 
 the following September his body was ex- * 
 humed, and an inquest held on some entirely 
 unfounded allegations that he had been 
 improperly treated by his medical attendant, 
 who had possessed himself of his property. 
 His art was of a high class, his line free 
 and powerful. Proofs of his works are 
 extremely scarce, and of great value. 
 
 G OOCH, T., animal painter. He chiefly 
 painted portraits of horses and dogs, occa- 
 sionally grouping them with a portrait of 
 their owner. He exhibited at the Spring 
 Gardens Exhibitions, and first appears at 
 the Academy in 1 781. In 1783 he exhibited, 
 with other works, ' The Life of a Eacehorse, 
 in six different stages,' from the birth to 
 the death. He continued an exhibitor, with 
 some intermissions, up to 1802, when he 
 left theMetropolis and retired toLyndhurst, 
 in Hampshire. His art, with small excep- 
 tion, did not extend beyond the mere por- 
 traiture of animals. 
 
 GOOD, Joseph Heney, architect. Was 
 born November 13, 1775, at Sambrook,. 
 Somersetshire, of which place his father 
 was rector, and was a pupil of Sir John 
 Soane. He early entered into several public 
 competitions, and in 1803 gained both the 
 first and second premiums for his designs 
 for the conversion of the Dublin Parlia- 
 ment House into the uses of the Bank of 
 Ireland. In 1810, in conjunction with Mr. 
 Lochner, he gained the first premium for a 
 
GOO 
 
 GOR 
 
 design for Betlilehem Hospital. In 1829 
 he was appointed surveyor to the Pavilion 
 at Brighton, and made several additions to 
 that palace ; and in 1826 the Commissioners 
 for Building new Churches selected him for 
 their architect. He afterwards held the 
 offices of clerk of the works to the Tower 
 of London, the Royal Mint, and Kensington 
 Palace. He died November 20, 1857, and 
 was buried at the Kensal Green Cemetery. 
 
 GOOD ALL, Edward, cm] raver. He was 
 born at Leeds, September 17. 179o, and was 
 early attached to art. He first tried land- 
 scape painting, and in 1822-23 exliibited 
 a landscape in oil at the Royal Academy. 
 He was, however, induced by Turner, R A., 
 to devote himself to engraving, and in this 
 art was self-taught, and was eminently 
 successful. He was largely employed by 
 Turner in engraving his works, and from 
 him must have received much valuable 
 advice. Among the works of Turner which 
 he engraved are the ' Florence,' ' Cologne,' 
 ♦ Tivoli,' ' Caligula's Bridge,' ' Oxford,' 
 ' Richmond Hill,' and ' Old London Bridge.' 
 He also engraved after Turner for his 
 ' England and Wales ' series, his ' South 
 Coasts,' Rogers's ' Italy,' and Campbell's 
 'Poems ;' and after Stanfield, R.A., ' Views 
 in Italy, Switzerland, and the Tyrol,' with 
 some landscapes after Cuyp and Claude. 
 Later in his career he executed several 
 works for the ' Art Journal.' But his fame 
 will surely rest upon his fine rendering of 
 the great landscape works of Turner. He 
 die 1 at his house in the Hampstead Road, 
 April 11, 1870. 
 
 GOODALL, Erederick Trevelyan, suh- 
 ject painter. He was the son of Mr. Goo Aall, 
 R.A., and was a student in the schools of 
 the Royal Academy. He exhibited some 
 studies at the Academy in 1868-69, and at 
 the close of that year gained the gold medal 
 of the Academy for his original picture, 
 ' The Return of Ulysses.' He then went to 
 Italy, and unhappily lost a life of much 
 promise by an accident at Capri, April 11, 
 1871, when he had only attained his 23rd 
 year. 
 
 GOODRIDGE, H. E., architect. He prac- 
 tised at Bath, where some of his works 
 show him to have possessed both invention 
 and taste. He erected for Mr. Beckford 
 the well-known Lansdowne Tower at Eont- 
 hill. He died at Bath in 1863 or 186i, 
 aged 63. 
 
 GOODWIN, Francis, architect. He was 
 born at Kings Lynn, May 23, 1784, and 
 gained much employment on public build- 
 ings in the early part of the 19tli century. 
 He built new churches at the follow- 
 ing places : Bordesley, near Birmingham, 
 1820-23 ; Hulme, 1822-24 ; Derby, Walsall, 
 Ashton-under-Lyme, Kidderminster, Bil- 
 ston, Burton-on-Trent, Portsea, Oldham, 
 
 and West Bromwich ; and rebuilt and mado 
 extensive repairs to several other churches. 
 He also erected the town hall at Man- 
 chester and at Macclesfield ; the market at 
 Leeds and at Salford ; the exchange at 
 Bradford ; the county prison at Derby, and 
 several mansions. He was the architect 
 for Hungerford Bridg) (of which Captain 
 Browne, RdC., was tlie engineer), a very 
 elegant work, which has been lately re- 
 moved. He exhibitDd at the Royal Academy, 
 between 1820-30, the designs of many of 
 his executed works. He published ' Rural 
 Architecture' and 'Cottage Architecture,' 
 and the designs whicli he prepared in com- 
 petition for the new Houses of Parliament. 
 He died in London, suddenly, of apoplexy, 
 August 30, 183,). 
 
 GOODAVIN, EnwARD, landscape painter. 
 He practised chiefly in water-colours, and 
 painted with some ability, in tlie early tinted 
 manner, at the beginning of the 19th cen- 
 tury. He exhibited at the Royal Academy, 
 from 1802 to 1808, chiefly views in Wales, 
 and was in 1806 an unsuccessful candi- 
 date for admission to the AVater-Colour 
 Society, but contributed to its exhibitions 
 in 1814-15-16, when they were open to 
 painters generally. 
 
 GOODYEAR, Joseph, engraver. He was 
 born at Birmingham, and for many years 
 found employment there as an engraver on 
 plate. He was encouraged to come to Lon- 
 don, where he found employment, and in 
 1802 placed himself under Charles Heath 
 for three years, and was soon competent to 
 work upon book plates. Continuing to im- 
 prove by the zealous practice of his art, his 
 last and best work was 'Greek Fugitives' 
 for Finden's ' Gallery of British Art.' His 
 health failed over this work, and after a 
 lingering illness, he died in Camden Town, 
 October 1, 1839, aged 41, and was buried 
 in Highgate Cemetery. 
 
 GORDON, Sir JohnAVatsox. Knt., R.A., 
 P.R.S.A., 'portrait painter. Was born in 
 Edinburgh in 1790, the son of Captain 
 Watson, R.N., of an old Berwickshire family. 
 Interest was made to gain his admission 
 to the Military Academy at Woolwich, and 
 he was meanwhile placed in the Trustees' 
 Academy, Edinburgh, under John Graham, 
 to improve himself in drawing. Here he 
 remained four years, and having made some 
 progress in his art, and perhaps disappointed 
 in his expectation of a soldier's career, he 
 tried history painting, but found his true 
 place as a portrait painter. Settled in Edin- 
 burgh, he painted most of the eminent men 
 in that capital, and on the death of Raeluirn 
 in 1823, monopolised the chief practice; 
 and in 1826 became a member of the Royal 
 Scottish Academy, then recently founded. 
 
 His works and his reputation were, how- 
 ever, mainly confined to Scotland, and it 
 
 173 
 
GOR 
 
 GOU 
 
 was not till 1827 that he began to exhibit at 
 the Eoyal Academy in London. Continuing 
 to improve in his art, in 1841 he was 
 elected an associate, and in 1850 a full 
 member, of that body, and the same year 
 succeeded to the presidency of the Scottish 
 Ac<idemy. He was at the same time ap- 
 pointed the Queen's limner for Scotland, 
 and knighted. Enjoying the society and 
 friendship of many distinguished men, he 
 lived a single life in his native city, where 
 he died rather suddenly on June 1, 1864. 
 His portraits are vigorous and manly. He 
 seized with great success the character of 
 his sitters, uniting frequently great intellect 
 and expression ; his aim was rather tone 
 than colour ; his compositions simple, with 
 no attempt at making up or backgrounds. 
 Ho succeeded best with his male heads. 
 His works were greatly admired when ex- 
 hibited at Paris in 1855, and won for him 
 a medal. 
 
 GORE, Charles. Probably an amateur. 
 Drew in pen and ink marine subjects with 
 much freedom, well coloured, and not with- 
 out power. His shipping is well understood 
 and very spirited. There are many of his 
 drawings in the Cacherode collection at 
 the British Museum, chiefly dated between 
 1790-94. 
 
 COSSET, Isaac, waxmodeller. Descended 
 from a Eronch Huguenot family who took 
 refuge in Jersey. He invented a composition 
 of wax, in which he modelled portraits with 
 much ability. He was a contributor to the 
 first Artists' Exhibition in 1760, and was 
 a member of the Incorporp.ted Society of 
 Artists. His works are numerous, and 
 include the royal family and many dis- 
 tinguished persons from the reign of 
 George 11. to 1780. He died at Kensing- 
 ton, in his 88th year, November 28, 1799. 
 
 GOTT, Joseph, sciiljptor. Ho was a 
 student of the Royal Academy, and in 1819 
 gained the gold medal for his group of 
 'Jacob wrestling with .the Angel,' which 
 he exhibited with two other works the fol- 
 lowing year; and in 1821, his sketch for 
 ' Babes in the Wood,' a ' Eawn and Nymph,' 
 and ' Sisyphus.' He did not exhibit again 
 till 1826, when he sent to the Academy a 
 'Sleeping Nymph' and 'A Gleaner.' By 
 the kindness of Sir Thomas Lawrence, and 
 assisted by a gentleman of his own name, 
 but unconnected with him, he was enabled to 
 go to Rome, from whence he sent to the 
 exhibition, in 1830, 'Devotion; ' and in 1831 
 his finished work, ' Babes in the Wood,' in 
 marble. He next appears in 1837, with a 
 marble group, ' Sylvia and the wounded 
 Stag; ' and continued an occasional contri- 
 butor of a work from Rome, where he had 
 settled, up to 1848, when he exhibited, for 
 the last time, ' Mary Magdalene,' a marble 
 group. He died at Rome soon after, leaving 
 
 in 
 
 to his son, who took up his residence there, 
 a competence he had secured by his art. 
 Several of his chief works are at Armley 
 House, Yorkshire ; and in the village church 
 there two life-size statues, * Resignation ' 
 and ' Grief,' and a recumbent figure of 
 Mr. B. Gott. At Chatsworth and at Went- 
 worth there are some of his works. 
 
 COUGH, Alexander D., architect. He 
 was born November 3, 1804. Was at the 
 age of 1 9 a pupil of Mr. B. Wyatt ; on leav- 
 ing him, joining a partner, he commenced 
 practice. He erected several schools, 12 
 churches, of which the chief are, St. Saviour's, 
 Camberwell, and St. John's, with a parson- 
 age at Tunbridge Wells. He died Septem- 
 ber 8, 1871. 
 
 GOULDSMITH, Harriet, landscape 
 painter. She first appears as an exhibitor 
 at the Royal Academy in 1809, and with 
 some long intervals continued to exhibit up 
 to 1854. In 1813 she was elected a member 
 of the Water-Colour Society, and contributed 
 to the Society's Exhibitions up to 1 820. She 
 also exhibited on one or two occasions in 
 Suffolk Street. Her works were chiefly 
 landscape views, but she painted two or 
 three portraits, and one subject picture 
 from ' Don Quixote.' Her landscapes were 
 pleasing and well esteemed. She published 
 in 1819 four landscape .etchings of Clare- 
 mont, and in 1824 four lithographic views, 
 drawn on stone. About 1839 she married 
 Captain Arnold, R.N., and from that time 
 exhibited in her married name. She died 
 January 6, 1863, aged 76. 
 
 GOUPY, LouLS, mmiatiire painter. He 
 was a nephew of Bernard Lens, to whom ho 
 probably owed his instruction in his art. 
 He practised several years in London early 
 in the 18th century, and painted some 
 clover miniatures. He was also a good 
 copyist. 
 
 GOUPY, Joseph, water-colour draftsman. 
 He was a relative of the foregoing, and was 
 born at Nevers, Erance. He came to Eng- 
 land when very young and settled here. 
 In conjunction with Tillemans he painted a 
 set of scenes for the opera. He was a clever 
 copyist of the Italian masters, and was very 
 fashionable as a drawing-master. He taught 
 Erederick, Prince of Wales, who employed 
 him at Kew and at Clieveden House. 
 George III., whom he had also taught, on 
 his accession allowed him a small pension. 
 He drew small figure subjects and miniature 
 portraits in body colours with great truth 
 and fidelity. He also drew landscapes and 
 etched some spirited plates, both from his 
 own drawings and the old masters. Among 
 the latter, a set of eight landscapes, after 
 Salvator Rosa. He quarrelled with Handel, 
 and drew a caricature of him with a pig's 
 snout, playing an organ. He died in London, 
 at an advanced age, in 1763. His collection 
 
GOW 
 
 GEA 
 
 was sold by auction in 1765. His brother, 
 Bernhaed Goupy, practised in London 
 about tho same period, and was a clover 
 miniature painter. 
 
 GOWER, George, portrait painter. Ho 
 was appointed, 26th Elizabeth, her Majesty's 
 serjeant-painter in oil for life, tho patent 
 granting to him or his deputy the sole 
 privilege Ho make or causo to be made 
 purtraictes of Our person, phisiognomy and 
 proporcon of our body in oyle cullers on 
 bourdes or canvas, or to grave tho same 
 in copper or to cutt the same in woode, or 
 to printe the same, beinge cutt in copper or 
 woode or otherwise ; ' making an exception 
 in favour of Nicholas Hilliard in respect to 
 portraits ' in small compasso in lymnyngo 
 only, and not otherwise.' 
 
 GRACE, Mrs., portrait painter. She was 
 tho daughter of a shoemaker ; her maiden 
 name Hodgkiss. She was uninstructed in 
 art, but gained much skill and considerable 
 employment as a copyist, and also painted 
 portraits. She exhibited with the Society of 
 Artists, and in 1707 sent an historical sub- 
 ject, 'Antigonus, Seleucus, and Stratonice.' 
 Two years afterwards, her husband dying, 
 she left off practice with the enjoyment of a 
 competency she had made, and removed to 
 Homerton, where she died, well advanced 
 in years, about 1786. There is an engraved 
 portrait of her, published in 1785. 
 
 GRAFTON, William, mezzo-tint en- 
 graver. He practised in the first half of 
 the 18th century. 
 
 GRAHAM, G., engraver of portraits and 
 other works. Practised in the last half of 
 the 18th century, in the dot manner; and 
 some of his works, as was then the custom, 
 are printed in colours. He engi-aved several 
 of the illustrations of 'The Pleasures of 
 Hope,' published in 1799;- and also some 
 of Rowlandson's works. 
 
 GRAHAM, John-, history painter. He 
 was an English artist, but passed the 
 greater part of his life in Holland. After 
 studying there for some time he travelled 
 to Paris, London, and afterwards visited 
 Italy to complete his studies. He then re- 
 turned to the Hague, and practised there 
 about the middle of the 18th century, 
 painting, we are told, historical subjects. 
 
 GRAHAM, John, history painter. He 
 was born in 1754, and was apprenticed to 
 a coach painter in Edinburgh. He after- 
 wards came to London, where he followed 
 the same trade, but aiming at higher things 
 he gained admission to tho schools of the 
 Royal Academy, and about this time man- 
 aged to visit Italy. In 1780 he appears as 
 an exhibitor of ' Daniel in the Lion's Den,' 
 and from that year he was a regular con- 
 tributor. His subjects, with occasionally 
 a portrait, were, in 1783, 'Una,' from 
 Spenser; in 1786, 'Ceres in Search of 
 
 Proserpine ;' in 1788, ' The Escape of Mary, 
 Queen of Scots, from Lochlevon Castle,' 
 which was presented by Alderman Boydell, 
 with a portrait of himself, also by Graham, 
 to St<ationers' Hall. In 1792 he exhibited 
 ' Mary, the Morning before her Execution ; ' 
 and in 1797, his last contribution, 'King 
 David instructing Solomon,' and is said to 
 have used young Mulready (afterwards R. A. ) 
 as his model for the boy. In 1788 ho was 
 appointed the joint master, and soon after, 
 master of the Trustees' Aciidemy at Edin- 
 burgh, and went to reside there. He was 
 most successful in his office of teacher, which 
 he held till his death, several of tho painters 
 who became most distinguished in the next 
 generation having studied under him. Ho 
 died in Edinburgh in November 1817. 
 
 GRAHAM, James Gillespie, architect. 
 He was born about 1777, at Dumblane. Ho 
 practised in Edinburgh, and erected many 
 fine mansions in Scotland, whore ho was 
 extensively employed.' He designed a 
 Roman Catholic chapel, erected in' Edin- 
 burgh 1813, and another in Glasgow. Ho 
 built Murthley House, Perthshire; the 
 halls for tho General Assembly in Edin- 
 burgh ; and made the designs for Hamilton 
 Square, Birkenhead. In conjunction with 
 Mr. A. W. Pugin he was a competitor for 
 the erection of the Houses of Parliament 
 at Westminster, and they were united in 
 some other designs. He died March 21, 
 1855, aged 77, and was buried at tho Grey- 
 friars, Edinburgh. 
 
 GRANGER, David, engraver. Practised 
 in London about tho beginning of tho second 
 quarter of the 17th century. There is by 
 him a ' St. George,' after Raphael, and a 
 companion plate. 
 
 GRANGER, Robert, architect. Born 
 at Newcastle-on-Tyne. He was educated 
 in a charity school, and by his own energy 
 and industry raised himself in the world, 
 and his marriage with a lady of property 
 enabled him to enter into a large building 
 scheme in his native town, much in advance 
 of the provincial street architecture of that 
 day. He also designed and built there tho 
 new market, the exchange, the theatre, 
 dispensary, and some other edifices, which 
 were of much merit. His works gave a 
 character to the town, but it is most pro- 
 bable that he was not without assistance in 
 the architectural character of his buildings. 
 He died July 4, 1861, in his 63rd year. 
 
 GRANT, William James, history painter. 
 Was born at Hackney in 1829, and in 1844 
 was admitted into the schools of the Royal 
 Academy. In 1847 ho exhibited his first 
 work, ' Rabbits,' and in the following year, 
 with higher aim, ' The Black Prince enter- 
 taining the French King after the Battle 
 of Poictiers.' This work was followed, 
 both at the Academy and at the British 
 
 175 
 
GR A 
 
 Institution, by some sacred subjects. In 
 1852 he exhibited at the Academy a 'Sam- 
 son and Delilah,' a work of large size and 
 much pretension ; and in 1858 his 'Eugene 
 Beauharnais refusing to give up his 
 Father's Sword,' and 'The last Trial of 
 Madame Palissy,' attracted much notice. 
 In 1860 he exhibited ' The Morning of the 
 Duel,' a work of painful interest. His 
 works continued of much promise. He ex- 
 hibited for the last time in 1866, and died 
 on June 2 in that year, aged 37. 
 
 GRANVILLE, Mary (Mrs. Delany), 
 amateur. She was born May 14, 1700, 
 and was a descendant of Sir Beville Gran- 
 ville. She was first married to Mr. Pen- 
 darves, of Roscrow, and after his death, to 
 Dr. Delany, Dean of Down, in 1743. She 
 copied in oil very cleverly many portraits, 
 and some original portraits by her are very 
 good, among them the Duchess of Queens- 
 berry, Prior's ' Kitty, beautiful and pretty.' 
 She completed a Flora, comprising 980 
 plants. She was much in favour with 
 George III. and his Queen. She died in 
 1 788. Lady Llanover published her ' Auto- 
 biography and Correspondence,' 1862. There 
 is a portrait of her by Opie, R.A., at the 
 Hampton Court Galleries. 
 
 GRANVILLE, , engraver. Practised 
 
 early in the second half of the 18th cen- 
 tury. He engraved some landscapes after 
 Thomas Smith, of Derby. 
 
 GRATTON, George, subject fainter. 
 The Dublin Society awarded to him, in 
 1807, 100 guineas for the purchase of his 
 * Beggar Woman and Child,' painted in the 
 Society's Schools. He exhibited in Dublin 
 again in 1809. In 1812 he was residing 
 in London, and that year exhibited three 
 pictures at the Royal Academy — ' The 
 Guard Room,' The Gathering,' and 'Noon- 
 tide.' But he does not again appear as an 
 exhibitor. 
 
 GRAVE, Thomas, architect. Practised 
 in London in the reign of Elizabeth, and 
 though his name frequently appears, no 
 reference can be made to his works. 
 
 GRAVELOT, Henry, engraver and 
 draftsman. He is known in England by 
 his assumed name of Gravelot. His real 
 name was D'Anville, and he was the brother 
 of the well-known geographer D'Anville. 
 He was born in Paris, March 26, 1699. 
 After receiving his art education in that city, 
 he obtained employment in the suite of the 
 French ambassador at Rome, but loitered 
 at Lyons on his way, and then returned to 
 Paris, where he spent in dissipation the 
 money given to him for his journey. He 
 then went with the governor to St. Domingo, 
 at that time a French colony, and assisted 
 in making a map of the island. A ship in 
 which a remittance was made to him by his 
 father was lost. Sickness and trouble fol- 
 176 
 
 lowed, and he got back to Paris destitute. 
 He tried painting for his support, and 
 afterwards designing and etching. In 1733 
 he was invited to England by Claude Du 
 Bosc to assist him in the plates for Picart's 
 ' Religious Ceremonies,' and was on his 
 arrival here suspected as a spy. 
 
 He was at once employed by the book- 
 sellers, and gained some repute by a 'Treatise 
 on Perspective' which he published. He 
 was the first who noticed the talent of 
 Gainsborough, R.A., and taking him as his 
 pupil, he employed him in designing the 
 ornamental borders to Houbraken's en- 
 graved portraits. In 1745, on the breaking 
 out of the war, he returned to France, where 
 he chiefly employed- himself in drawing, 
 but after a time was induced to come again 
 to England, and assisted Hogarth in some 
 of his early plates. He drew for Vertue 
 the 'Monuments of the Kings,' and was 
 also engaged in Gloucestershire in drawing 
 the churches and antiquities of the county. 
 He both designed and etched the plates for 
 Theobald's 'Shakespeare.' He is also known 
 as one of the earliest caricaturists — the at- 
 tacks on Sir Robert Walpole and Lord Bur- 
 lington, 'The State Coach,' 'The Funeral of 
 Faction,' and some others, are by him. He 
 attempted small compositions and conver- 
 sation-pieces, and is said to have been a 
 designer by choice, an engraver by necessity. 
 He for a time kept a drawing school in 
 the Strand. During a second residence 
 here of several years he had saved some 
 money, and in 1754 he returned to settle 
 in Paris, and was employed there in illus- 
 trating some of the best works at that 
 time published. He died in Paris, April 20, 
 1773. He was gifted with great facility 
 and taste, and finished his drawings with 
 much minuteness, but his numerous illus- 
 trations are not of a character to maintain 
 his reputation in the present day. 
 
 GRAVES, Robert, A.E., engraver. He 
 was born in St. Pancras, May 7, 1798, and 
 was a member of the oldest established 
 family of printsellers in London. He be- 
 came in 1812 a pupil of John Romney, the 
 engraver, and studied in the life-school, 
 then held in Ship Yard, Temple Bar, and 
 gained a thorough knowledge of his art, 
 practising in the line manner. Among 
 his first works he engraved for the illustra- 
 tion of the Waverley novels, and was soon 
 largely employed. In 1836 he was elected, 
 it is said by a unanimous vote, an associate 
 engraver of the Royal Academy, and com- 
 menced a series of important works, among 
 which maybe distinguished,' The Abbotsford 
 Family,' after Wilkie, R.A. ; ' The Highland 
 Whisky Still,' after Edwin Landseer, R.A.; 
 ' The Slide,' after Webster, R.A. ; ' The Child- 
 ren of George III.,' after Copley, R.A. ; ' The 
 Sisters,' after Eastlake, P.R. A. Latterly, he 
 
aEA 
 
 GEE 
 
 ms engaged upon engraving from the 
 portraits of Keynolds, P.K.A., and Gains- 
 borough, R.A. Of industrious habits and 
 zealously working to the end, his engravings 
 are very numerous and are highly esteemed. 
 He died at Higligate Koad, February 28, 
 1873, and was buried in the cemetery at 
 Highgate. 
 
 GRAY, Paul, wood engraver and designer. 
 Was born in Dublin, May 17, 1842. He 
 came to London in 1863 or 1864, and found 
 employment as a draftsman on wood. He 
 designed some book illustrations, but is 
 best' known by his cartoons for ' Fun,' a 
 comic weekly periodical. His health failing, 
 he was sent to Brighton in the hope to 
 restore it, but died there of consumption, 
 November 14, 1866. 
 
 GREEN, Benjamin, mezzo-tint engraver. 
 Was born at Hales Owen, Shropshire, of 
 poor parents, about 1736. He was a member 
 of the Incorporated Society of Artists in 1766, 
 and exhibited with the Society for several 
 years. He was appointed engraver to 
 George III. He also held the appointment 
 of drawing-master to Christ's Hospital. 
 He possessed a considerable knowledge of 
 drawing, and his engravings are vigorous 
 and powerfully executed. Some of his 
 plates after Stubbs, A.R.A., are good ex- 
 amples of his art — ' The Horse before the 
 Lion's Den,' 1768; 'The Lion and Steg,' 
 1770 ; ' The Horse and the Lioness,' 1774. 
 He also engraved the illustrations for 
 Morant's 'Essex,' and published many plates 
 of antiquities, both drawn and etched by 
 himself ; and he was a painter as well as an 
 engraver. He died in London about 1800. 
 
 GREEN, Amos, flower pai7iter. Brother 
 to the above. Born at Hales Owen. He 
 practised in the latter half of the 18th cen- 
 tury. Though he chiefly excelled in flowers, 
 there are some landscapes by him which 
 are brilliant in colour and well composed, 
 and some engravings which he executed at 
 the commencement of his career. He retired 
 about 1757 to Bath, where he lived with a 
 friend, and then did little more in art. He 
 died at York in June 1807. 
 
 GREEN, John, e^igraver. Another 
 brother of the above. Born at Hales 
 Owen. About 1724 was pupil of the elder 
 James Basire. He excelled both in land- 
 scape and portrait. He engraved some of 
 the plates for Borlase's 'Natural History 
 of Cornwall,' including the seats of the prin- 
 cipal nobility and gentry ; and was for many 
 years employed on the plates for the Ox- 
 ford almanacs. He died young, about 1757. 
 
 GREEN, John, draftsman and -picture 
 dealer. He was well known as ' Johnny 
 Green.' Practised 1749-63. 
 
 GREEN, James, engraver. He was born 
 in 1755. He practised in mezzo-tint. His 
 works are beautifully drawn and expressed, 
 
 his tints excellent. He produced some 
 fine engravings after Reynolds, P.R.A., in 
 which the character of the painter is well 
 imitated. He died about 1800. 
 
 GREEN, .Tames, portrait painter. He 
 was born March 13, 1771, at Leytonstone, 
 Essex, where his father was a builder. Ho 
 was early distinguished by his water-colour 
 portraits, and later more especially by his 
 paintings in oil. In 1808 he was a member 
 and the treasurer of the short-lived ' Asso- 
 ciated Society of Artists in Water-Colours.' 
 He was also for several years, up to 1826, 
 an exhibitor at the British Institution, 
 and in 1808 the directors awarded him a 
 premium of 60/. Later he frequently exhi- 
 bited at the Royal Academy, and in 1820 
 sent a good sul)ject picture of large size, 
 ' A Lady preparing for a Masked Ball.* 
 His works are graceful and harmonious in 
 colour ; they possess a characteristic ori- 
 ginality, of which his portrait of Stothard, 
 R.A., in the National Portrait Gallery, is a 
 fair example. He died at Bath, March 27, 
 1834, and was buried in Wolcot Church. 
 Several of his portraits are engraved. There 
 is a memoir of him in Arnold's ' Magazine 
 of the Fine Arts' for May 1834. 
 
 GREEN, Mrs. Mary, miniature painter. 
 Born in 1 776; she was the second daughter 
 of William Byrne, the landscape engraver, 
 and married in 1805 to the above James 
 Green. She was a pupil of Arland, and 
 became eminent as a miniature painter, 
 regularly exhibiting her works at the Royal 
 Academy, from 1796 till her husband's 
 death in 1834, when she retired from her 
 profession. She made some excellent studies 
 after Reynolds and Gainsborough, faith- 
 fully rendering the great qualities of both. 
 A portrait by her of Queen Adelaide is 
 engraved, and also one of Lady Alicia Peel. 
 She died October 2, 1845, and was buried 
 at the Kensal Green Cemetery. 
 
 GREEN, Valentine, A.E., mezzo-tint 
 engraver. Born at Hales Owen, Salop, 
 1739. Intended for the law, he was placed 
 under a solicitor at Evesham, but after two 
 years he was led by his tiiste for drawing 
 to abandon the law, and, unknown to his 
 family, to place himself with an obscure 
 line engraver at Worcester ; making little 
 progress and dissatisfied, he came to London 
 in 1765, and without further help attempted 
 mezzo-tint. Ho exhibited two mezzo-tint 
 works at Spring Gardens in 1766, and self- 
 taught, was original in his treatment in 
 that style of engraving, and attained emi- 
 nent success. Hitherto mezzo-tint had chiefly 
 been practised for portraiture, and he was 
 among the first who used it for historical 
 subjects. He gained a great reputation 
 by his plates after Benjamin West's ' Re- 
 turn of Regulus to Carthage' and 'Hannibal 
 swearing Enmity to the Romans ; ' and 
 
 177 
 
GRE 
 
 GRE 
 
 engraved some good plates after E. Morton 
 p.iyo— 'The Sulky Boy, 'the companion pic- 
 ture, ' The Disaster of the Milk-Pail,' and 
 ' The Child of Sorrow,' 1783. 
 
 Ho was a member of the Incorporated 
 Society of Artists in 1767, and was from 
 1774 an occasional exhibitor of drawings 
 and engravings at the Koyal Academy, and 
 in 1775 was elected an associate engraver, 
 and appointed engraver to George III. In 
 1789 he was granted the exclusive privilege 
 of engraving and publishing from the Dus- 
 seldorf Gallery, and by 1795 he had com- 
 pleted and published 22 plates from that 
 collection ; but the disturbances caused by 
 the Continental war, added to the want of 
 support which the undertaking met with, 
 involved both him and his son, Kobert 
 Green, an engraver, who also painted some 
 miniatures, in serious loss ; they were nearly 
 ruined. Probably this and advancing years 
 induced him, on the foundation of the British 
 Institution in 1805, to accept the office of 
 keeper, which he held till his death. 
 
 His works are very numerous. During 
 a practice of nearly 40 years ho produced 
 about 400 plates, many of them subject 
 pictures. He engraved after West, Eey- 
 nolds, Komncy, Zoffany, Mortimer, and 
 after Vandyck, Eubens, and the Italian 
 masters. He died in London, July 6, 1813, 
 in his 74th year. He published, in 1782, 
 a ' Eeview of the Polite Arts in France, as 
 compared with their present State in Eng- 
 land,' addressed to Sir Joshua Eeynolds; 
 a 'History of the City of AVorcester,' 1796 ; 
 and some other writings of an antiquarian 
 character. 
 
 GEEEN, William, engraver and drafts- 
 man. Born at Manchester in 1761, he was 
 in early life engaged to a surveyor prac- 
 tising there, but dissatisfied with his occupa- 
 tion, he came to London, where ho studied 
 aqua-tint , engraving, and produced some 
 good plates. His health failing, he settled 
 in the North of England, and made in- 
 numerable drawings from the beautiful lake 
 scenery, which are distinguished by their 
 careful finish and fidelity. For these works, 
 which he exhibited at Keswick and Amble- 
 side, he found a ready sale among the 
 tourists till the peace opened the Continent 
 to them. He published, in 1809, 78 studies 
 from nature in Cumberland, Westmoreland, 
 and Lancashire, drawn and engraved by 
 himself; and in the following year 60 
 studies of the same localities, etched on soft 
 ground; also, in 1822, 'The Tourist's new 
 Guide.' He died at Ambleside, April 28, 
 1823, aged 62. 
 
 GEEENBUEY, , portrait painter. 
 
 He was employed by Charles I. as a copyist; 
 and Walpole mentions two of his copies after 
 Albert Diirer as much admired. He died 
 about 1670. Tliergis at New College, Oxford, 
 J78 
 
 a half-length portrait by him of Lake, Bishop 
 of Bath and Wells, dated 1626. Sir Theo- 
 dore de May erne named him among the 
 distinguished painters to whom he dedicated 
 his MSS. on painting and other arts, 1 620. 
 
 GEEENE, Edward, die engraver. He 
 held the office of graver to the Mint 5th 
 Charles I., and was a good medallist. He 
 engraved the Irish seals of office for Lord 
 Straffi)rd. 
 
 GEEENHILL, John, portrait painter. 
 He was born at Salisbury, of a good family, 
 in 1649, and was a pupil of Sir Peter Lely, 
 whose style he imitated, both in oil and 
 crayons ; but was jealously, it is said, kept 
 from the knowledge of some of his master's 
 methods. He at first followed his art with 
 great devotion, and has left a few portraits, 
 which will maintainhis reputation ; but he be- 
 came of dissolute habits, and returning from 
 a tavern he fell into the kennel, and carried 
 home, died in his bed the same night, May 19, 
 1676. Graham says, ' He was the most ex- 
 cellent of the disciples of Lely. He was 
 finely qualified by nature for both the sister 
 arts, painting and poetry, but death taking 
 advantage of his loose and unguarded man- 
 ner of living, snatched him away betimes, and 
 only suffered him to leave us enough by his 
 hand to make us wish that he had been 
 more careful of a life likely to do great 
 honour to his country.' He left a young 
 widow, reputed of great beauty, with seve- 
 ral young children, who were assisted by an 
 annuity of 40/. a year from Lely ; but sho 
 died soon after, insane. There is a good 
 portrait of him, painted by himself, at Dul- 
 wich, and also by him a portrait of Bishop 
 Seth Ward, in the town hall at Salisbury. 
 An etching by him of his brother is known 
 to collectors. 
 
 GEEENAVOOD, John, engraver. He 
 was born in 1729, at Boston, America, and 
 was self-taught in art. He was for some 
 time in Surinam, where he practised paint- 
 ing, and collected some objects , of natural 
 history. He afterwards went to Holland, 
 where for a time he dealt in works of art. 
 From thence he came to England and prac- 
 tised as a mezzo- tint engraver and painter. 
 He was a member of the Incorporated So- 
 ciety of Artists, and exhibited with the 
 Society from his arrival in 1763 to 1773, 
 when he abandoned art and became an auc- 
 tioneer. He died at Margate, September 1 6, 
 1792, aged 63. He engraved portraits 
 after Hone and others, and. some subject 
 pictures after Eembrandt, Teniers, Metzu. 
 He engraved ' The curious Maid,' from a 
 picture by himself, 1768. 
 
 GEEENWOOD, Thomas, scene painter. 
 Son of the foregoing. Was a scene painter 
 and artist of much eminence. He was for 
 many years the head scene painter to Drury 
 Lane Theatre, died October 17, 1797t 
 
GEE 
 
 GRI 
 
 ' GEEESE, John Alexander, water-colour 
 painter. Born in London 1741. Son of a 
 Genevese. He commenced drawing under 
 Gerard Scotin, engraver, and in 1755 re- 
 ceived a Society of Arts' premium for a 
 drawing in chalk. He was afterwards 
 under Major, and then for several years 
 worked for Cipriani, during which time he 
 received some instruction from Zuccarelli. 
 He also studied in the Duke of Kichmond's 
 Gallery and the St. Martin's Lane Academy, 
 and in both these schools he gained. pre- 
 miums. But with all this, and with good 
 ability, he wanted perseverance to succeed 
 in the higher branches of art. He was 
 a member of the Incorporated Society of 
 Artists in 1776, and in that and several fol- 
 lowing years exhibited some miniatures and 
 drawings. He became a teacher and the 
 most fashionable drawing-master of the 
 day. In 1777 he was appointed to teach 
 the princesses, and George III. often found 
 some amusement in his gossip. He was 
 corpulent, and his companions called him 
 ' Jack Grease.' He executed several draw- 
 ings for Boydell, and etched the figures 
 for Kennedy's account of Wilton and four 
 other plates. He was a collector as well as 
 an artist, and his effects were sold by auc- 
 tion, occupying six consecutive days, in 
 1 704. His father, after whom Greese Street, 
 Ratlibone Place, is named, left him a com- 
 fortable property. He died February 19, 
 1794, in his 53rd year, and was buried at 
 St. Anne's, Soho. 
 
 GKEGAN, John Edgar, architect. Was 
 born at Dumfries, December 18, 1813. He 
 settled at Manchester, and built in that 
 neighbourhood several churches, school- 
 houses, and residences, with some public 
 buildings, including Messrs. Heywood's 
 bank, deemed one of his best works. His 
 designs contributed to the improvement of 
 Manchester. He died there April 29, 1855, 
 and was buried at Dumfries. He was the 
 honorary secretary to the Manchester Koyal 
 Institution, and a fellow of the Royal 
 Institute of British Architects. 
 
 GEEIG, G. M., water-colour painter. 
 Practised in Edinburgh. There are some 
 good interiors by him of the old buildings 
 in that city picturesquely treated. He ex- 
 hibited some interiors of Holyrood Palace 
 at the Eoyal Academy in 1865, and held an 
 acknowledged place among the artists of 
 Scotland. Died at Edinburgh, May 3, 1867. 
 
 GEELLIEE, William, architect. Was 
 born at Peckham, May 24, 1807. He was 
 articled to his profession and studied in the 
 schools of the Eoyal Academy. He gained 
 an Academy silver medal, and in 1829 the 
 gold medal for his design for a 'British 
 Senate House.' He was awarded the first 
 premium for his design for the new Eoyal 
 Exchange, London, 1839, but was not em- 
 
 N 
 
 ployed. In 1846-48 he built the Eoyal 
 Exchange Insurance Offices in Liverpool— 
 his most important work. He died Janu- 
 ary 7, 1852, and was buried in the cemetery 
 at Norwood. 
 
 GEENVILLE, Jones, engraver. Born 
 in Dublin 1723. He engraved landscapes 
 after several masters. Two by him, after 
 Poussin, were published in London. 
 
 GEEVILLE, Lady Louisa Augusta, 
 amateur. She was sister to the ninth Earl 
 of Warwick, and made some good etchings 
 after Sal va tor Eosa, Annibalo Caracci, and 
 others. She was awarded three gold medals 
 by the Society of Arts in 1758 and 1759 for 
 a landscape drawing, and in 1760 for a 
 coloured figure subject after Guercino. 
 
 GEIBELIN, Simon, engraver. Born at 
 Blois 1661. He came to England 1 680, but 
 was for nearly 20 years with little employ- 
 ment. He attracted notice by his engraving 
 of ' The Tent of Darius,' published in 1707, 
 and then executed with great success the 
 first set published of engravings after 
 Eaphael's cartoons. He afterwards pub- 
 lished six historical subjects from the Ken- 
 sington Palace collection, and, in three large 
 plates, Eubens's ' Ceiling of the Banqueting 
 House,' also several portraits and small 
 plates for books. He died in England in 
 1733, aged 72. He left a son, who practised 
 as an engraver. His own works were exe- 
 cuted entirely with the graver in a cold, 
 neat style, weak in drawing and expres- 
 sion. 
 
 G EI EVE, John Henderson, scene 
 painter. His family had been distinguished 
 in the art from the time of De Louther- 
 bourg, and he formed another distin- 
 guished link. He died of apoplexy, April 16, 
 1845, aged 75. 
 
 GEIEVE, William, scene painter. Son 
 of the above. He was born in London in 
 1800, and as a boy began his career in the 
 scene-loft at Drury Lane Theatre, and both 
 at that house and at the Italian Opera 
 House he made great improvements in 
 scenic effects and arrangements. He raised 
 the reputation of the Opera House by his 
 scenery. The ballet of ' Masaniello ' was 
 greatly indebted for its success to his in- 
 ventive talent ; and on the performance of 
 'Eobert le Liable' in 1832, the audience 
 called him before the curtain — an unprece- 
 dented event — to receive their approving 
 testimony to his success. His moonlights 
 were excellent and his delusions marvellous 
 in effect. He died at South Lambeth, 
 October 24, 1844, aged 44. He left some 
 small pictures and water-colour drawings, 
 but his art shone only on the stage. 
 
 GEIFFIEE, John (called 'Old Griffier '), 
 landscape painter. He was born at Amster- 
 dam 1645, and apprenticed to a carpenter, 
 but learning to paint on earthenware, ho 
 2 179 
 
GRI 
 
 GRI 
 
 was allowed to follow his own inclination, 
 and placed himself with a flower painter. 
 He came to England about 1667, and his 
 landscapes were much esteemed. His colour 
 and execution are good, his figures well in- 
 troduced, and, with his cattle, correctly 
 drawn. Excelling in his views on the 
 Thames, he purchased a vessel, in which 
 his whole family passed their time between 
 Gravesend and Windsor. Having amassed 
 some money, he sailed in his vessel for 
 Rotterdam, was wrecked, and lost all his 
 possessions, and but for a few guineas his 
 daughter had sewed into her girdle, would 
 have been reduced to beggary. Then, after 
 10 or 12 years' stay, returning to England, 
 he took a house on Millbank, where he died 
 in 1718. His collection was sold by auction 
 after his death. He etched several small 
 plates of birds and animals after Barlow, 
 and five large half-sheet plates of birds. 
 
 GRIFFIER, Robert, marine painter. 
 Son of the foregoing. Was born in London 
 in 1688, bred under his father, and made 
 good progress in art. He painted river and 
 marine subjects, and in some of his sketches 
 excelled his father. His colour and draw- 
 ing was very good. When, after his ship- 
 wreck, his father returned to London, he 
 went to Amsterdam, where he settled and 
 died at a good old age. 
 
 G-RIFFIER, John, landscape painter. 
 Younger son of ' Old Griffier.' He was noted 
 for his great power as a copyist of Claude. 
 He practised in London as a landscape 
 painter, and died in Pall Mall about 1750. 
 
 GRIFFITH, Moses, topographical drafts- 
 man. He was born in Carmarthenshire, 
 April 6, 1749, and became the servant of 
 Pennant, the antiquarian. Travelling with 
 his master he picked up some knowledge of 
 drawing, and improved by study in the 
 school of the Artists' Society in 1771, was 
 ultimately employed by his master, first as 
 draftsman, later as an engraver also. He 
 made some of the drawings for Pennant's 
 ' Journey from Chester to London,' 1 782, and 
 ornamented the margins of his ' Tour in 
 Wales,' 2nd volume. His works have little 
 art merit. They are washed in rather 
 heavily with Indian ink, and very slightly 
 tinted. He accompanied his master on all 
 his journeys, and on receiving his 'manu- 
 mission' retired to Wales, where he pub- 
 lished, in 1781, some etchings, his first 
 attempts, as supplemental plates to the 
 * Tour in Wales.' He was living in 1809. 
 
 GRIGNION, Charles, portrait and 
 histori/ painter. He was born in 1754, in 
 Russell Street, Covent Garden, where, his 
 father was a watchmaker of some celebrity. 
 Was pupil of Cipriani and a student of 
 the Royal Academy. At 15 he gained the 
 Society of Arts' premium for a drawing from 
 the human figure, and in 1776 the Academy 
 
 gold medal for his ' Judgment of Hercules.* 
 In 1782 he was sent to Rome with the Aca- 
 demy pension. He painted at Rome a large 
 picture of the ' Death of Captain Cook,' and 
 made a number of drawings, some of which 
 were engraved, and was residing in Rome 
 in 1794. Later in life he devoted himself 
 to landscape and produced some works of 
 much excellence. Lord Nelson sat to him 
 for his portrait at Palermo in 1798. On 
 the French entering Rome he was com- 
 pelled to leave, and retired to Leghorn, 
 where he died of a bilious fever, Novem- 
 ber 4, 1804, and was buried in the ground of 
 the English Factory there. He was an ex- 
 hibitor of portraits and classic subjects at 
 the Academy from 1770 to 1784. He pur- 
 chased several fine pictures in Italy during 
 the French invasion, and sent them to Lon- 
 don, among others the Altieri Claudes. 
 Two drawings by him, * A Roman Assassi- 
 nation ' and * A Dancing Group,' were en- 
 graved. 
 
 GRIGNION, Reynolds, engraver. He 
 was much employed by the booksellers. 
 He engraved, from Hayman's designs, the 
 illustrations for Baskerville's edition of 
 Addison's works, some of Frederick the 
 Great's battles and sieges, and was employed 
 upon Pennant's 'Scotch Tour' and a 'His- 
 tory of England,' for which he engraved a 
 series of full-length portraits, mostly fic- 
 titious, of the Kings and Queens, with many 
 other works of this class. He does not take 
 much rank in his profession. He died in 
 the King's Road, Chelsea, October 14, 1787. 
 
 GRIGNON, Charles, engraver. He is 
 reputed to have been born in Covent Gar- 
 den, of foreign parents, in 1716. In early 
 life he studied in Paris under Le Bas for a 
 short time. He was a member of the St. 
 Martin's Lane Academy. He was employed 
 by Hogarth, and engraved his ' Garrick in 
 the Character of Richard III.,' and assisted 
 in engraving the four election pictures. He 
 also engraved many of Gravelot's illustra- 
 tive designs. In 1755 he was a member of 
 the Committee of Artists appointed to es- 
 tablish a royal academy. There are some 
 good examples of his art in the illustrations 
 to Bell's 'Poets,' particularly those after 
 Stothard, about 1778. Though not engaged 
 on works of large size or high importance, 
 his art is distinguished by a masterly ease 
 of style and purity of execution. But as 
 he advanced in years he was superseded by 
 the more finished and powerful manner of 
 the school which then grew up, and after 
 nearly 50 years' labour, was subjected to 
 poverty, with its sufferings and trials. He 
 had arrived at the great age of 90 years, 
 past the practice of his art, and had a wife 
 with a daughter nearly blind dependent 
 upon him, when in 1808 subscriptions for 
 his relief were solicited by advertisement, 
 
GEI 
 
 GEO 
 
 and some pi*ovision was made for his few 
 remaining days. He died at Kentish Town, 
 November 1, 1810, aged 94, and was buried 
 in the churchyard of St. John the Baptist. 
 
 GEIMALDI, W., enamel and miniature 
 painter. He was born in Middlesex in 
 1751, and claimed descent from the great 
 Geneva family whose name he bore. He 
 studied his art under Worledge, and after- 
 wards in Paris. He first exhibited at the 
 Free Society of Artists in 1768-69, and 
 afterwards at the Academy in 1786, and 
 then as De Grimaldi, but soon omitted the 
 prefix. He practised in London, chiefly 
 in enamel, had many sitters of distinction, 
 and was largely employed. He was minia- 
 ture painter to George III., to the Duke 
 and Duchess of York, and in 1824 to 
 George IV., but did not continue to exhibit 
 after that year. He resided many years 
 in Albemarle Street, but died in Pimlico, 
 May 27, 1830. 
 
 GEIMBALDSON, Walter, landscape 
 painter. He practised early in the 18th 
 century. There was a sale of his works, 
 which do not appear to have been much 
 esteemed, in 1738. 
 
 GRIMM, Samuel Hieronymus, water- 
 colour draftsman. Born at Burgdorf, Berne, 
 the son of a clever miniature painter there, 
 of whom he learnt his art. He came to 
 London, where he settled, about 1778, and 
 in that and the following year exhibited 
 some views in the Spring Gardens Rooms. 
 He drew with the pen and in water-colours, 
 was much employed in topographical works, 
 and sketched numerous views in Sussex, 
 Derbyshire, Nottinghamshire, and other 
 counties. He made above 100 sketches in 
 Northumberland and Durham for Sir R. 
 Kaye, and the drawings for Sir "William 
 Burrell's 'Sussex.' He was occasionally 
 employed by the Society of Antiquaries, 
 and the Society published his views of 
 Cowdray House for their ' Vestusta Monu- 
 menta.' Above 500 of his drawings were 
 sold by auction in July 1795. They were 
 chiefly executed with the pen and shaded 
 with bistre, but some were tinted and more 
 highly finished. His buildings were cor- 
 rect, his skill in architecture and perspective 
 respectable, but his trees and foliage stiff 
 and weak. He also was known by his 
 caricatures and humorous subjects, many 
 of which were published by Carington 
 Bowles. He exhibited at the Royal Aca- 
 demy in 1769 and several following years. 
 His subjects were 'Falstaff Recruiting,' 'A 
 Swiss Fair,' 'Mortlake Fair,' and several 
 from Shakespeare. There are also some 
 etched plates by him. He died April 14, 
 1794, aged 60, in Tavistock Street, Covent 
 Garden, and was buried in the parish church. 
 
 GROG AN, Nathaniel, landscape painter. 
 Was born in Cork, and apprenticed to a 
 
 wood turner. Was fond of art, gained some 
 assistance from John Butts, and then taught 
 drawing in Cork. He served in the army 
 during the American War, and afterwards 
 returned to Cork, where he tried to gain 
 a livelihood as an artist. He painted land- 
 scapes and some humorous subjects illus- 
 trating Irish character. His best known 
 works of this class are an ' Irish Fair ' and 
 an ' Irish Wake.' He published views in 
 the neighbourhood of Cork, aqua-tinted by 
 himself, and a large plate of the ' Country 
 Schoolmaster.' He died at Cork about 
 1807. Though highly extolled by his 
 countrymen, his works are coarse, and have 
 not much art merit. He left two sons, who 
 practised as artists, struggling to earn the 
 means of living. 
 
 GROOMBRIDGE, William, t^«/cr-co^of<r 
 painter. He practised in the tinted manner 
 in the last quarter of the 18th century, 
 when his works were well esteemed. Ho 
 painted landscapes and moonlight scenes, 
 introducing figures and cattle, and was 
 from 1777 to 1790 an exhibitor at the 
 Royal Academy. In the latter part of his 
 career he resided at Canterbury. 
 
 GROSE, Captain Francis, amateur. He 
 is generally believed to have been born in 
 1731. His father, who left him an inde- 
 pendent fortune, was a jeweller at Richmond, 
 and was employed to fit up the coronation 
 crown of George II. His brother became a 
 judge of the Court of King's Bench. He 
 received a good classical education, but was 
 never at college. He studied art in Shipley's 
 drawing school, and was in 1766 a member 
 of the Incorporated Society of Artists, and 
 in 1768 exhibited with the Society, * High 
 Life below Stairs,' a stained drawing. 
 Early in life he devoted himself to sketch- 
 ing the ruins of the old edifices in England. 
 He afterwards visited Scotland and studied 
 the ancient architecture of that country, 
 where he made the acquaintance of Burns. 
 He was 'the chiel amang ye taking notes' 
 of the poet, who wrote some verses upon 
 him, concluding — 
 
 ' Now by the pow'rs o' verse and prose, 
 Thou art a dainty chiel, 0 Grose ! 
 Whae'er o' thee shall ill suppose, 
 They sair misca' thee.' 
 
 He next carried his antiquarian researches 
 into Ireland, visiting several parts of that 
 country in 1790, to collect the materials 
 for a work on Irish Antiquities, returning 
 again in 1791. He was noted for his cor- 
 pulency, it was a constant theme, and the 
 hospitality of Dublin was too much for 
 him. He had, as he said, ' been going it 
 too hard for three or four days,' when after 
 a convivial dinner he died suddenly, on 
 May 18, 1791. He had a good taste, drew 
 well, and the figure very creditably. Ho 
 
 181 
 
GEO 
 
 GWI 
 
 -was an honorary exhibitor at the Academy 
 of tinted drawings, chiefly of architectural 
 remains, in 1769 and for several following 
 years. But he was eminent as an antiquary, 
 and is well known by his able researches. 
 His chief published works are—' The Anti- 
 quities of England and Wales,' 1773-87; 
 ' The Antiquarian Eepertory,' 1775 ; 'Advice 
 to Officers of the British Army,' a satire, 
 1782; 'Guide to Health,' 1783; 'Military 
 Antiquities,' 1786-88; ' Treatise on Ancient 
 Armour and AVeapons,' 1786-89 ; ' The An- 
 tiquities of Scotland,' 1789-91; 'The Anti- 
 quities of Ireland,' 1791 ; 'Kules for drawing 
 Caricatures,' 1791. He held a captain's 
 commission in the Surrey Militia and was 
 paymaster to the regiment, also fram 1755 
 to his resignation in 1763 the office of 
 Richmond herald. 
 
 GROVES, John Thomas, arcliitect. Was 
 one of the contributors to the Academy's 
 first exhibitions. He travelled in Italy, 
 and on his return in 1791, exhibited the 
 'Sybils' Temple.' In 1794 he was ap- 
 pointed clerk of the works to St. James's 
 Palace, and in 1807 architect to the General 
 Post Office. The baths at Tunbridge Wells 
 were designed by him. He died in Great 
 Scotland Yard, August 24, 1811. There is 
 a good drawing by him of the exterior of 
 Westminster Abbey, which was engraved 
 to a large scale in 1779. 
 
 GROZER, James, engraver. Practised in 
 London the greater part of the last half of 
 the 18th century. His works were well 
 drawn and effisctively finished in mezzo-tint. 
 He engraved, after Sir Joshua Reynolds, 
 'Dido,' 'Shepherds with a Lamb,' 1784; 
 * Innocence,' 1788; 'Miss Johnson, as a 
 girl, Dancing,' 1792 ; and some others. 
 
 GRUBB, Edward, stone carver and 
 ipainter. He executed some busts in a rude 
 manner, but with ability. His figures of a 
 boy and a girl at the Bluecoat School, Bir- 
 mingham, are examples of his art. He had 
 a local reputation, and painted some family 
 portraits, of which the family of the Can- 
 nings, at Stratford, possess several. He 
 died at Stratford-upon-Avon, April 8, 1816, 
 aged 76. 
 
 GRUNDY, Thomas Deeming, engraver. 
 Born at Bolton, Lancashire, January 6, 1808, 
 the son of Lieut. Grundy. He was appren- 
 ticed to a Avriting engraver at Manchester, 
 but, aspiring to higher work, at the end of 
 his apprenticeship he came to London, and : 
 was employed upon some plates for the 
 annuals, after Liversege and Stanfield, R. A. 
 Ha^dng attained some power in the line 
 manner, he was then employed by Mr. Doo, 
 and afterwards by Mr. Goodal], the land- 
 scape engraver. He possessed great taste, 
 and was of some promise in his art, when 
 he was attacked by inflammation, and died 
 in Camden Town, March 10, 1841. He en- 
 182 
 
 graved the portraits of several clergymen, 
 and produced some clever etchings. 
 
 GUEST, Douglas, historij 'painter. He 
 studied in the schools of the Royal Academy, 
 and first appears as an exhibitor of a por- 
 trait in 1803. In 1804 he sent * A Madonna 
 and Child ; ' in the next year he gained 
 the Academy gold medal for his ' Bearing 
 the dead body of Patroclus to the Camp, 
 Achilles's Grief;' in 1806 he exhibited 
 ' Penelope unravelling the Web ; ' in 1811, 
 ' Cupid and Psyche.' He had at the same 
 time occasionally exhibited a portrait, and 
 he contributed a portrait in 1816-17, and 
 then he ceased to exhibit up to 1834, when 
 he sent two works to the Academy — ' The 
 second Appearance of the Messiah' and 
 ' The Judgment of Hercules.' He exhibited 
 once 'more in 1838, 'Phaeton driving the 
 Chariot of the Sun,' his last exhibited work. 
 He painted 'The Transfiguration,' an altar- 
 piece 40 feet high, for St. Thomas's Church, 
 Salisbury. In 1829 he published an 'In- 
 quiry into the Causes of the Decline of 
 Historical Painting.' 
 
 GULSTON, Elizabeth, amateur. Wife 
 of Joseph Gulston, Esq., of Ealing Grove, 
 Middlesex, who possessed a good collection 
 of British portraits. Of these she repro- 
 duced several by her etchings, which arc 
 enumerated in Bromley's 'Catalogue.' She 
 was an honorary exhibitor at the Academy 
 in 1801, but her name does not appear 
 subsequently. 
 
 GWILT, Geoege, arcliitect. Appointed in 
 1 770 surveyor of the county of Surrey. Built 
 Horsemonger Lane Gaol, completed 1790, 
 and later the Sessions House, Newington, 
 since pulled down. In 1800 he was ap- 
 pointed architect of the West India Dock 
 Company, and built the company's ware- 
 house in the Isle of Dogs. Died Dec. 9, 
 1807, in his 62nd year. 
 
 GWILT, George, architect. Son of the 
 foregoing. Born May 8, 1775. Brought 
 up to his father's profession. Restored, 
 between 1822-25, the choir and tower of 
 St. Mary Overy's Church, Southwark, and 
 after a visit to Italy in 1825, the Lady 
 Chapel, which he completed in 1834. He 
 also designed the first 10 of the alms- 
 houses of ' Cure's College,' in that parish. 
 His restorations were made with skill and 
 accuracy. He communicated some interest- 
 ing papers to the Society of Antiquaries. 
 Died May 26, 1856. He had two sons, who 
 gave promise of ability in his profession, 
 but died young. 
 
 GWILT, Joseph, architect. Born Janu- 
 ary 11, 1784. Younger brother of the fore- 
 going. Studied in his father's office and in 
 the schools of the Academy. He travelled 
 in Italy during 1816-18, and on his return 
 was engaged in the erection of some resi- 
 dences. The rectory at East Woodhay, 
 
GWI 
 
 G YL 
 
 Hants ; Mackree Castle, Sligo ; and a cliiircli 
 at Charlton, are his principal works. He 
 exhibited at the Academy on one or two 
 occasions only. He was much employed as 
 a surveyor, and is chiefly known by his 
 professional writings. He is the author 
 of the ' Encyclopaedia of Architecture ' and 
 some other useful works. 
 
 GWINN, James, designer and engraver. 
 Was born in the county of Kildare, and is 
 believed to have been self-taught. He was 
 originally a coach painter. Ho came to 
 London about 1755, and lodged at a public- 
 house in the Broad Sanctuary, Westminster. 
 He painted some marine subjects and was a 
 neat draftsman. He gained his livelihood by 
 his designs for the lids of snulf-boxes for the 
 Battersea manufactory of enamels. But he 
 was an eccentric man, worked at his art only 
 for a mere subsistence, and secluding himself 
 from everybody, devoted every spare hour 
 to the study of the occult sciences. He fell 
 into great distress, was so absent as often 
 to forget his food, and was found dead in 
 his chamber, probably, it was thought, the 
 victim of a rude joke, April 26, 1769. 
 
 GWYNN, John, K.A., architect. Was 
 born at Shrewsbury, but the date of his 
 birth is unknown. He was distinguished 
 as a well-educated man. It is not known 
 that he was originally brought up as an 
 architect, but his name fi.rst appears as a 
 writer on subjects connected with that pro- 
 fession. In 1734 he published an ' Essay 
 on Harmony to Situation and Building ; ' in 
 1 7-12, 'The Art of Architecture, a Poem,' 
 followed by two non- professional works ; and 
 in 1749, his 'Essay on Design.' In this 
 essay, which is the work of a scholar, he 
 vindicates the genius of his countrymen, 
 shows the necessity that drawing and de- 
 sign should bo extensively taught, and 
 suggests the foundation of a public academy. 
 In 1752 ho published, in conjunction with 
 Samuel Wale, a clever transverse section 
 of St. Paul's Cathedral. While engaged in 
 measuring outside on the top of the dome 
 for this section, and intent upon his work, 
 he missed his footing and slid down the 
 vast convex surface until he was arrested 
 by a small projecting piece of lead, where 
 he remained until he was discovered and 
 rescued by his assistants. He was an 
 unsuccessful competitor in 1759 for the 
 proposed new bridge at Blackfriars, and on 
 the controversy that ensued as to the use of 
 circular or elliptical arches, he was sup- 
 orted by the influence of his steady friend 
 
 Dr. Johnson. He travelled in the Northern 
 counties, and made numerous drawings. 
 He was a contributor to the first Artists' 
 Exhibition in 1760. In 1764 he published 
 his ingenious work, ' London and Westmin- 
 ster Improved,' and at that time .projected 
 several main lines of streets, since carried 
 out. He was in 1768 nominated one of tho 
 foundation members of the Eoyal Academ}^ 
 having been one of the members of a small 
 committee who, 12 years before, had a.t- 
 tempted to found an institution of the 
 same kind. Ho was a contributor to the 
 early exhibitions, sending,in 1771, 'Designs 
 for erecting the British Museum opposite 
 the Horse Guards by adding to Whitehall 
 Chapel.' He built two bridges over tho 
 Severn, one near Shrewsbury in 1774, tlio 
 second at AVorcester in 1781. He carried 
 out many improvements at Oxford, and 
 built the new bridge over the two arms of 
 the Cherwell at Magdalen Hall ; also the 
 market and the workhouse. He passed tho 
 latter part of his life at Worcester, where 
 he died Eebruary 27, 1786, and was buried. 
 He left his property to a natural son, and 
 in case of his death, to the Eoyal Academy 
 and the Eoyal Society. Many of his designs 
 are preserved in the British Museum. Mr. 
 Wyatt Papworth contributed a very in- 
 teresting memoir of him to ' The Builder,' 
 1863. 
 
 GYFFOED, Edward, architectural drafts- 
 man. He studied in the schools of the Eoyal 
 Academy, and in 1792 gained the Academy 
 gold medal for his design for a ' House of 
 Lords and Commons.' He exhibited somo 
 drawings at the Academy, the last in 1799, 
 when he appears to have held a commission 
 in the West London Militia. He published, 
 in I8O7, ' Designs for small picturesque Cot- 
 tages and Hunting-boxes.' He was a rapid, 
 clever draftsman, but managed only to gain 
 a poor subsistence by his profession. He 
 died about 1834. 
 
 GYLES, Henry, glass 'painter. Practised 
 chiefly at York, where he resided from 1640 
 to 1 700. He painted the oast window at Uni- 
 versity College, Oxford, in 1687, and somo 
 other windows at Oxford. He also painted 
 some historical subjects and landscapes. 
 His own portrait in crayons, by himself, 
 in the print-room of the British Museum, 
 shows a power of drawing and somo taste 
 for colour. He established a school of glass 
 painters at York, which maintained a re- 
 putation for nearly a century. There is a 
 letter by him in the Ashmolean collection. 
 
 183 
 
H 
 
 HABERSHON, Matthew, architect. He 
 was born in 1789, of a Yorkshire family, 
 and was articled to an architect. He built 
 a church at Belper, Derbyshire, in 1824, 
 with two other churches in the same county, 
 and a church at Kimberworth, Yorkshire. 
 At Derby he built the town hall, since 
 burnt down, the county courts and the 
 market, and Hadsor House at Droitwich. 
 He was an occasional exhibitor at the 
 Eoyal Academy from 1807 to 1827. He 
 published 'The Ancient Half-timbered 
 Houses of England,' with 36 plates, in 1836, 
 and several works on the prophetical Scrip- 
 tures and on the prophecies. He died in 
 London in 1852. 
 
 HACKERT, JoHANN Gottlieb, land- 
 scape painter. Born 1744, in Germany, of 
 a family of painters. Was pupil of Le 
 Soeur in Berlin, and studied some time in 
 Home. In 1766 he was in Paris, and in 
 1771 again at Rome, when he sent some 
 views in water-colours to the Spring Gar- 
 dens Exhibition. In 1772 he accompanied 
 some English gentlemen to London, where, 
 finding encouragement, he settled. In the 
 following year he exhibited some Italian 
 views in oil and water-colours — his first 
 and only contributions to the Royal Aca- 
 demy — and a picture of four hounds, which 
 was engraved and published by Boydell. 
 His constitutional weak health soon after 
 failed. He went to Bath for his recovery, 
 and died there, in his 29th year. 
 
 HACKETT, David, architect. An Irish 
 architect of this name is reputed to have 
 designed the great church of Batalha, 
 erected by King John of Portugal in 1430, 
 a work of the pure Gothic of that era. 
 
 HADFIELD, Geoege, architect. Was 
 the brother of Maria Cosway. He studied 
 in the schools of the Royal Academy, and 
 in 1784 gained the Academy gold medal for 
 his ' Design for a National Prison,' a strange 
 subject. Elected in 1790 to the travelling 
 studentship, he went to Rome in that year, 
 accompanied by Mrs. Cosway, and was 
 studying there in 1794. He made drawings 
 of the temples of Palestrina, Mars, and 
 Jupiter Tonans, which ho exhibited at the 
 Academy on his return in 1795. A drawing 
 by him of the interior of St. Peter's was 
 much praised at the time. He was soon 
 after invited to America to assist in the 
 erection of the capitol at Washington, and 
 arrived in that city about 1800. He did 
 not long continue in this employment, but 
 leaving it, practised on his own account, 
 181 
 
 and erected several buildings there. He 
 died in America in 1826. 
 
 HAID, JoHANN GoTTFEiED, cvgravir. 
 Born in Wurtemberg in 1730, the son of 
 an artist, by whom he was taught. Ho 
 painted portraits, but chiefly practised as a 
 mezzo-tint engraver. He came to London 
 when young and was much employed by 
 Alderman Boydell, engraving after Rey- 
 nolds, Dance, and, with some others, ' Eooto 
 as Major Sturgeon,' after Zoffany. He 
 afterwards returned to Germany. Died 
 1776. 
 
 HAINES, William, miniature painter. 
 He was born in 1778, and was from 1808 
 to 1830 a constant exhibitor at the Royal 
 Academy. Among his numerous sitters 
 were many military officers. A notable 
 work by him in miniature was a full-length 
 portrait of Earl Stanhope, which was en- 
 graved to the same size by S. W. Rey- 
 nolds. He succeeded to a considerable 
 property and retired to East Brixton, 
 where he resided several years, and died 
 July 24, 1848. 
 
 HAKEWELL, John, landscape and 
 portrait painter. His father was foreman 
 to James Thornhill, son of Sir James. 
 He commenced art as a pupil of Wale, R.A., 
 and was a student in the Duke of Richmond's 
 Gallery. In 1763 he gained the Society of 
 Arts' premium for a landscape painting, 
 and m 1764 for a figure from the antique. 
 He exhibited at the Spring Gardens Rooms, 
 in 1769 and the two following years, por- 
 traits and landscapes. He painted many 
 designs in arabesque, and though continuing 
 to paint an occasional landscape or a por- 
 trait, he found his chief employment in 
 designs for house decoration. He died 
 September 21, 1791, aged about 50. 
 
 HAKEWELL, Henry, architect. Born 
 October 4, 1771. Son of the above. He 
 was a pupil of Yenn, R.A., and a student 
 in the Academy Schools. Was a frequent 
 exhibitor at the Academy. He was the 
 architect of Rendlesham, Suffolk, 1801, and 
 of Cave Castle, Yorkshire, 1804, and was 
 employed upon alterations and additions to 
 several fine mansions. He was architect to 
 the Society of the Middle Temple, and was 
 in 1809 appointed architect to the Rugby 
 Schools, where he designed the new chapel 
 and residences, which he exhibited at the 
 Academy in that year. He built the church 
 at Wolvcrton, and St. Peter, Euston Square, 
 since burnt down. He published an ac- 
 count of a Roman villa discovered at North- 
 
H AK 
 
 HAL 
 
 leigli, Oxfordshire. He died March 13, 1830, 
 and was buried at North Cray, Kent. 
 
 H A K E W E L L, James, architect. 
 Younger brother of the foregoing. Born 
 November 25, 1778. He was brought up 
 as an architect, and exhibited some designs 
 at the Academy on one or two occasions, 
 but preferred painting, and is best known 
 by his publications on art, which are 
 chiefly of an architectural character. In 
 1813 he published a 'History of Windsor 
 and its Neighbourhood,' the illustrations of 
 which, including the plans of the castle, 
 were drawn by himself. On the peace he 
 travelled in Italy, and during 1816-17 
 collected the materials for his ' Picturesque 
 Tour in Italy,' published in parts, 1818-20 ; 
 in 1825, a ' Picturesque Tour in the Island 
 of Jamaica.' In 1828 he published ' Plans 
 of the Abattoirs of Paris,' with a proposal 
 for their adoption in London, and in 1835 
 a small tract on ' Elizabethan Architecture.' 
 He was one of the competitors for the 
 erection of the new Houses of Parliament. 
 He exhibited at the Eoyal Academy in 
 1826-27 some architectural designs, and in 
 1833-34 the drawings of some works he 
 was then executing. He was engaged in 
 collecting materials for a work on the 
 Khine, which was interrupted by his death, 
 in London, May 28, 1843, in his 65th year. 
 In addition to his art writings, he was the 
 author of ' Coelebs Suited.' 
 
 HAKEWELL, Mrs. James, portrait 
 painter. Wife of the above. She accom- 
 panied her husband to Italy, and passed 
 there the greater part of the years 1816-17. 
 She exhibited some studies at the Eoyal 
 Academy in 1808-9, and from that time, 
 with a lapse from 1816 to 1825, was an 
 exhibitor of small portraits in oil up to 
 1838, when she exhibited for the last time. 
 She also exhibited on one or two occasions 
 at Suffolk Street. Her portraits were pleas- 
 ing and well painted. 
 
 HAKEWELL, Arthur William, archi- 
 tect. Eldest son of the above. He was 
 born in 1808. Was educated under his 
 father, and in 1826 became a pupil of Mr. 
 Decimus Burton, and at this time exhibited 
 two or three designs at the Eoyal Academy. 
 But he preferred literature to his pro- 
 fessional studies, which became distasteful 
 to him, and his spirits giving way he went 
 for a time to Italy, but returned without 
 much permanent benefit. He had much 
 professional taste and judgment, and his 
 inclination led him to employ his knowledge 
 in literature. In 1848 he was appointed 
 lecturer to the Architectural Society. He 
 published ' An Apology for the Architectural 
 Monstrosities of London,' 1835; 'Modern 
 Tombs, Gleanings from the Cemeteries,' 
 1851 ; ' Illustrations of Thorpe Hall, Peter- 
 borough,' 1852 ; ' Thoughts on the Stylo to 
 
 be Adopted in rebuilding the Houses of 
 Parliament,' 1836; 'The Architecture of 
 the 18th Century,' measured, drawn, and 
 etched (with a weak hand) by himself, 
 1856; and some other professional worlis. 
 He died June 19, 1856. 
 
 HAKEWELL, Henry James, sculj)tor. 
 He was a younger son of the foregoing 
 James Hakcwell, and was born at St. 
 John's Wood, April 11, 1813. His early 
 love of art tempted him to that profession 
 in preference to another, to which he had 
 been destined. He was admitted a student of 
 the Eoyal Academy in 1830. In 1832 he ex- 
 hibited a statue in armour of the time of 
 Eichard I., and in the following year a 
 basso-rilievo from 'Mazeppa.' Ho also 
 modelled a design for a proposed statue to 
 Earl Grey, and was engaged on other works, 
 when a career of some promise was cut olf 
 by his death, March 13, 1834, in his 21st 
 year. 
 
 HAKEWELL, Edward Charles, archi- 
 tect. He was a student in the schools of 
 the Eoyal Academy, and in 1831 was placed 
 under P. Hardwick, E.A. Practising for 
 himself, he built several churches — Stonham, 
 Asfall,andGrandesburgh. He was appointed 
 one of the metropolitan district surveyors, 
 but resigning the office in 1867, he retired 
 and settled in Suffolk, where his professional 
 assistance was sought. He was a fellow of 
 the Institute of British Architects. Died 
 October 9, 1872. 
 
 HALES, , portrait painter. Practised 
 
 in the middle of the 17th century. Pepys 
 sat to him in 1666, and this portrait, 
 answering to Pepys's description, was sold 
 by auction in 1848 at Christie's for 50^., 
 and is now in the National Portrait Gallerj^ 
 
 HALFPENNY, William, architect. Prac- 
 tised in London in the first half of the 18th 
 century. He published ' The Marrow of 
 Architecture,' 1722; 'The Art of sound 
 Building,' 1725; 'Practical Architecture,' 
 1730-48; ' Twelve Designs for Farm Houses,' 
 1750; ' Useful Architecture,' 1760; and also 
 a work on Eural Architecture, 1752. 
 
 HALFPENNY, Joseph, topographical 
 draftsman. Was born in Yorkshire, at 
 Bishopsthorpe, where his father was the 
 gardener, October 9, 1748. He was ap- 
 prenticed to a house painter, and followed 
 that trade in York for several years. Then 
 he became a teacher of drawing, and made 
 himself known as a draftsman. He pub- 
 lished, in 1795-1800, his 'Gothic Orna- 
 ments,' drawn and etched by himself 
 from the cathedral at York; in 1807, his 
 ' Fragmenta Vetusta.' He died July 11, 
 1811. 
 
 HALL, , glass painter. He practised 
 
 in London in the early part of the 17th 
 century, and was much esteemed for the 
 rich brilliancy of his colour. The stained 
 
 185 
 
HAL 
 
 glass window of Lincoln's Inn Chapel, con- 
 secrated 1623, is by him. 
 
 HALL, Charles, engraver. Born about 
 1720. Ho was brought up a letter engraver, 
 but improved himself in art, and found em- 
 ployment in engraving portraits, medals, 
 coins, and other antiquities. His portraits 
 are liis best works, respectable in exe- 
 cution and faithful copies. He engraved 
 after Holbein, Passe, Hertocks, and others. 
 He practised in London, where he died, 
 February 5, 1783. 
 
 HALL, John, engraver. Horn near Col- 
 cliester, December 21, 1739. Ho came to 
 London early in life, but not being designed 
 to follow art, he was led to its pursuit by his 
 own tastes. In 1756 he w\as awarded a 
 premium by the Society of Arts. He was 
 a pupil of Kavenet, was employed for a time 
 in painting on china in the great works at 
 Chelsea, and soon became distinguished. 
 He engraved after West, P.E.A., ' The 
 Battle of the Boyne ' and ' Oliver Cromwell 
 dissolving the Long Parliament,' and em- 
 ployed then by Boydell, he engraved for 
 him the same artist's picture of ' Venus 
 relating to Adonis the story of Hippomenes 
 and Atalanta,' in which he succeeded by a 
 new method in giving great softness and 
 flexibility to the flesh — the difficulty of the 
 engraver's art. His principal works are 
 after Carlo Maratti, Keynolds, Gains- 
 borough, West, Hoare, and Dance. On 
 the death of Woollett he succeeded to his 
 place in the profession, and also as his- 
 torical engraver to the King. He was a 
 member of the Pree Society of Artists in 
 1763. He ranks among our best historical 
 engravers : his line is good, his work care- 
 ful, but has a tendency to blackness. He 
 died in Berwick Street, Soho, Api'il 7, 1797, 
 and was buried in Paddington Churchyard. 
 
 HALLIDAY, Michael Prederick, ama- 
 teur. His father was a captain in the 
 Royal Navy. He held an appointment in 
 the House of Lords, and v/hen past middle 
 life cultivated a taste for painting. He 
 exhibited at the Royal Academy in 1853 a 
 landscape, and in 1856, 'The Measure for 
 the Wedding Ring,' which was engraved 
 and brought him into notice. In 1857 he 
 exhibited 'The Sale of a Heart;' in 1864, 
 *A Bird in the Hand;' and in 1866, his 
 last work, ' Roma vivente e Roma morta.' 
 He died after a short illness, June 1, 1869. 
 His wwks were sold at Christie's in 
 January 1871. 
 
 HALLS, J. J., portrait and history painter . 
 He lived for some time at Colchester, of 
 which town he was probably a native. He 
 first appears as the exhibitor of a landscape 
 at the Academy in 1791, and again in 1798, 
 when he exhibited ' Fingal assaulting the 
 spirit of Loda.' In the following year he 
 came to London, and from that time was a 
 186 
 
 HAM 
 
 constant exhibitor of portraits, and had 
 many distinguished sitters. He also occa- 
 sionally contributed a subject picture ; in 
 1802, 'Lot's Wife turned into a Pillar of 
 Salt;' in 1808, 'Hero and Leander;' in 
 1811, 'Danae.' In 1813 he gained at the 
 British Institution a premium of 200 
 guineas for his 'Raising of Jairus's Daugh- 
 ter.' But from this time he exhibited only 
 portraits, and was a large contributor. His 
 last exhibited work was in 1827. 
 
 HALPEN, Patrick, engraver. Practised 
 in Ireland in the line manner 1778-86, and 
 was the only engraver of his class then in 
 Ireland. He was principally employed on 
 vignette illustrations for books. 
 
 HALPEN, , portrait painter. Son 
 
 of the above. Studied in the Dublin 
 Academy, and then commenced art as a 
 miniature painter. Not succeeding, he tried 
 the stage, and appeared at the Crow Street 
 Theatre in Dublin. But again unsuccessful 
 he camo to London, and in a new field re- 
 sumed his art. 
 
 HAMILTON, Sir James, Knt., architect. 
 He was a natural son of James, first Earl of 
 Arran, and received letters of legitimation 
 1512. He was comptroller of the house- 
 hold and the favourite of King James V. 
 of Scotland, and was afterwards appointed 
 the master of the king's works, and em- 
 ployed in the repairs and alterations of 
 the palaces at Stirling and Linlithgow, and 
 some other works of importance. He was 
 charged in 1539 with inventing engines to 
 assassinate the King, and with embezzle- 
 ment in his office, treasons which he could 
 not be brought to confess, and was after a 
 trial beheaded at Edinburgh, in Septem- 
 ber 1540. 
 
 HAMILTON, Gavin, history and por- 
 trait painter. He was descended from the 
 Hamiltons of Murdieston, Pifoshirc, an 
 ancient Scotch family, but was born in the 
 town of Lanark. There is no account of his 
 education. He went early in life to Rome, 
 where he spent the greater part of his days, 
 and was looked up to in all matters of 
 art. He was for a short time resident 
 in London about 1752, and was in 1755 
 a member of the Artists' Committee ap- 
 pointed to establish a royal academy. He 
 was devoted to the study of historic art, but 
 was persuaded to try portrait, and about 
 this time painted the Duchess of Hamilton 
 and her sister, the Countess of Coventry, 
 two celebrated beauties. These portraits are 
 engraved in mezzo-tint; and his portraits 
 of Dawkins and Wood, the discoverers of 
 Palmyra, are engraved by Hall. Soon after 
 he went back to Rome, only returning to 
 England, after many years' absence, to take 
 possession of a considerable family estate, 
 which he inherited in 1783 on the death of 
 his elder brother. His tastes were pure 
 
HAM 
 
 HAM 
 
 and founded on classic study, his drawing 
 good, but timid ; his colour and light and 
 shade weak. He painted several large 
 historical subjects, among them — ' Achilles 
 dragging the body of Hector at his Chariot 
 wheels,' ' Andromache weeping over the 
 body of Hector,' both pictures engraved ; 
 and an ' Apollo,' presented to^ the city of 
 London by Alderman Boydell, a single 
 figure, above life-size, well and solidly 
 painted, but heavy in colour, which was 
 exhibited at the International Exhibition, 
 1862. He also painted, about 1794:, an 
 apartment in the Villa Borghese at Kome, 
 in compartments, representing the story of 
 Paris. While residing at Kome he sent 
 classical subjects for exhibition at the 
 Royal Academy in 1770-72-76, and for 
 the last time in 1788. He was engaged at 
 Rome in excavating for antiquities, com- 
 mencing the diggings at Hadrian's villa, 
 about 1769, and was fortunate both there 
 and in other places to find some fine spe- 
 cimens of antique sculpture, which for 
 some time graced the Townley and other 
 galleries, and are some of them now in the 
 collections at the British Museum. He 
 published a volume containing 40 prints, 
 ' Schola Italica Picturae,' from the works of 
 the great Italian masters. Many of his 
 own pictures are also engraved. He died 
 at Rome in the summer of 1797, his death 
 occasioned, it is said, by anxiety on the entry 
 of the French. 
 
 HAMILTON, James, still-life painter. 
 Born at Murdieston, Fifeshire, and probably 
 of the same family as Gavin Hamilton. He 
 practised in the time of Charles 1. and ex- 
 celled in still-life, painting birds and fruit. 
 On the usurpation of Cromwell he left this 
 country and settled at Brussels, where he 
 lived till nearly 80 years old. He had 
 three sons, born and educated on the Con- 
 tinent, who were painters. John George 
 was an animal painter of great ability, whose 
 works will be found in the Berlin Gallery 
 and the galleries of the Belvidere Palace at 
 Vienna. Philip Ferdinand, a painter of 
 cattle and still-life, whose works are also 
 in the Belvidere Palace ; and Charles 
 William, several of whose paintings are in 
 tlie royal collections of the King of Bavaria. 
 In the Vienna catalogues these artists are 
 distinguished as ' Von Hamilton.' They 
 cannot be claimed as of the English school. 
 
 HAMILTON, Hugh Douglas, R.H.A., 
 jyortrait painter. He was born in Dublin 
 about 1734, and studied under James Man- 
 ning in the art schools of the Dublin Aca- 
 demy. He commenced practice there early 
 in life, and was successful in his crayon 
 portraits, drawn in a slight but pleasing 
 manner. Tempted by his success he came 
 to London, took lodgings in Pall Mall, and 
 was extensively employed, the King and 
 
 the Queen sitting to him. His portraits 
 
 were of small size, oval, the prevailing tone 
 grey, finished with red and black chalk, and 
 distinguished by the clever expression of 
 the eyes ; his usual price nine guineas. 
 In 1765 he gained a Society of Arts' pre- 
 mium of 60 guineas, was admitted a 
 member of the Incorporated Society of 
 Artists, and exhibited 12 chalk por- 
 traits at tlieir gallery in Spring Gardens. 
 After a very successful practice in London, 
 he went to Rome in 1778, and settling 
 there, painted many of tlio English and 
 Irish visitors to that city. AVhilc tlicre, by 
 the advice of Flaxman, R.A., he tried oil, 
 and from that time confined his art to that 
 material, which he soon mastered. In 1 787 
 he was in Florence, and sent home two por- 
 traits, which were exhibited at the Aca- 
 demy, and in 1791 a portrait from Rome. 
 On his return, soon after, he settled in 
 Dublin, where he was elected a member of 
 the Academy, and practised there as a por- 
 trait painter up to 1800. He had many 
 eminent sitters, and in oil maintained his 
 early reputation. His works were marked 
 by truth of outline, agreeable expression 
 and good grouping, yet wore feeble and 
 wanting in effect. ' Dean Kirwin Preach- 
 ing,' in the Dublin Royal Society, is a good 
 example of his art. His best portraits 
 were of females, some of them treated 
 historically. Of his historical attempts, a 
 colossal head of 'Medusa,' ' Prometheus,' and 
 ' Cupid and Psyche ' are mentioned as his 
 best. Ho died in Dublin in 1806. Earlom 
 and Houston engraved after him, the latter 
 his portrait of Mrs. Hartley. 
 
 HAMILTON, Thomas, R.S.A., architect. 
 Was born in 1785. He practised in Edin- 
 burgh ; designed the Burns's Memorial, Ayr, 
 1820, and erected there the High Scliool, 
 1825-29, a clever adaptation of Grecian art ; 
 and planned the grand lines of approach 
 on the north side of the town ; also [the 
 fagade of the Physicians' Hall, 1845, and 
 several churches and mansions. He was 
 one of the foundation members in 1830, and 
 treasurer of the Royal Scottish Academy, 
 and received a gold medal at the Paris 
 Universal Exhibition, 1855. He died Feb- 
 ruary 24, 1858. He was the author of * A 
 Letter on the present State of the Fine Arts 
 in Scotland,' 1850. 
 
 HAMILTON, John, amateur. He painted 
 some landscapes, and in 1766 was a mem- 
 ber of the Incorporated Society of Artists. 
 About 1773 he was secretary to the Society, 
 and later became vice-president. He etched 
 in a painter-like manner the illustrations 
 for his friend Grose's ' Treatise on Ancient 
 Armour and Weapons,' 1785. 
 
 HAMILTON, David, architect. Born in 
 Glasgow, May 11, 1768. He was brought 
 up as an artificer, but he distinguished 
 
 187 
 
HAM 
 
 HAN 
 
 himself early by his superior abilities, and 
 in 1804 was employed as the architect of 
 the Queen Street Theatre in that city. In 
 1806 lie designed the monument erected 
 there to Nelson, and afterwards several 
 churches; in 1830 the Royal Exchange, 
 in the Corinthian order ; and in 1835, St. 
 Paul's Church, in the Ionic order. He was 
 also the architect of several mansions and 
 other important works in Scotland. On 
 the competition for the Houses of Parlia- 
 ment in 1830, he was awarded the third 
 premium. He died at Glasgow, December 5, 
 1843. 
 
 HAMILTON, William, R.A., history 
 and portrait painter. He was born at 
 Chelsea in 1751, the son of a Scotchman, 
 who was employed by R. Adam, the archi- 
 tect, who early in life assisted him to visit 
 Italy, where he studied under Zucchi, but 
 was too young to take full advantage of 
 this opportunity. On his return he entered, 
 in 1769, as a student at the Royal Academy. 
 He practised in history, and sometimes 
 painted subject pictures and portraits. He 
 designed for Boydell's ' Shakespeare,' and 
 for Macklin's ' Bible ' and edition of the 
 Poets ; also for Tomkins' edition, in 4to, 
 of Thomson's 'Seasons;' and was gene- 
 rally much employed in book illustration. 
 He was popular in his day, and many of his 
 paintings were engraved. Some of his 
 water-colour drawings possess much bril- 
 liancy and merit. His style was light and 
 pretty, but wanting in all the essential cha- 
 racteristics of historic art. His male figures 
 were effeminate and tall ; his females, dolls 
 draped in the costume of the stage, and 
 tawdry. His Shakespeare pictures pos- 
 sessed little of the character of the poet 
 or his time. He received 600 guineas for 
 painting the panels of Lord Fitzgibbon's 
 state carriage, now in the South Kensington 
 Museum ; and painted some antique deco- 
 rations for the Marquis of Bath's seat in 
 Hampshire. He was elected associate in 
 1784, and R.A. in 1789. He was a con- 
 stant exhibitor at the Academy, commencing 
 in 1774, and took a wide range of subjects. 
 From 1783 to 1789 he exhibited portraits ; 
 and, at the latter part, theatrical portraits. 
 He died in Dean Street, Soho, of fever, after 
 a few days' illness, December 2, 1801, and 
 was buried in the parish church of St. Anne. 
 His widow became a pensioner of the Aca- 
 demy. 
 
 HANCOCK, J. G., medallist. Towards 
 the end of the 18th century he executed 
 several good medals. He excelled in his 
 portrait dies. There is a fine medal by 
 him of Lord Nelson. 
 
 HANCOCK, Robert, engraver. Was 
 born in Staffordshire. He was first engaged 
 at Battersoa, and later in the pottery works 
 of his native county, where he was chiefly 
 188 
 
 employed as an engraver, and saved about 
 6,000^. Losing this sum by the failure of 
 a bank, he commenced as an artist, and 
 practised, in the latter part of the 18th 
 century, in mezzo-tint. His works are 
 chiefly after Sir J. Reynolds, Wright, of 
 Derby, Miller, and some others. He re- 
 sided some time at Worcester, and the latter 
 part of his life at Bristol, where he drew in 
 crayons some small portraits, several of 
 which, among them Samaiel Taylor Cole- 
 ridge, dated 1796, are engraved in Cottle's 
 ' Early Recollections.' 
 
 HAND, Thomas, landscape painter. He 
 was a pupil of George Morland, and became 
 one of the companions of his excesses. He 
 acquired his master's free manner, and was 
 a facile copyist of his works, to which he 
 did not scruple to add his master's name. 
 He exhibited a small landscape at the 
 Spring Gardens Gallery in 1790, and at 
 the Royal Academy, commencing in 1792, 
 rustic and sporting subjects, but after 1804 
 his name disappears. 
 
 HAND, Richard, glass painter. He was 
 born in AVarwick shire, and for a time prac- 
 tised in Ireland, painting landscapes and 
 fruit, and was also employed in copying 
 pictures. About the end of the 18th cen- 
 tury he learnt the art of staining glass from 
 a clever chemist in Dublin, and he then 
 applied himself to glass painting. He was 
 an ingenious artist, and succeeding, he made 
 many improvements in his art. He prac- 
 tised at the early part of the 19th century, 
 and had then settled in England, and was 
 residing in Belgrave Place, Pimlico. He 
 painted some glass for Carlton House, 
 Arundel Castle, and Donnington Hall. He 
 died shortly before 1817. 
 
 HANDASYDE, Charles, miniature and 
 enamel painter. Practised towards the end 
 of the 19th century. In 1765 he received 
 a Society of Arts' premium for an historical 
 painting in enamel. He lived in Covent 
 Garden between 1770-80. He exhibited 
 with the Society of Artists in 1761 and at 
 the Royal Academy in 1776, but not sub- 
 sequently. 
 
 H ANN AN, William, decorative painter. 
 Born in Scotland. Commencing life as an 
 apprentice to a cabinet-maker, he encouraged 
 a love of drawing, and was employed by 
 Lord Le de Spencer at West Wycombe, where 
 he painted several ceilings, which were 
 chiefly copies from the designs of others. 
 He, however, produced some original works, 
 and some drawings made by him in the 
 gardens at West Wycombe were engraved 
 by Woollett, and published in 1757. His 
 name appears in the Exhibition catalogue 
 of 1769 and the following years. He died 
 at AVest Wycombe about 1775. 
 
 HANNEMAN, Adrian, portrait painter. 
 Born at tlie Hague in 1611. He painted 
 
HAN 
 
 HAR 
 
 portraits and occasionally history. Studied ' 
 the manner of Vandyck, and came to Eng- 
 land in the reign of Charles I., and during ] 
 a residence here of 1 6 years, part of which 
 he was employed under Mytens, he painted 1 
 many persons of distinction, whose portraits ] 
 are preserved in family collections. He ] 
 returned to the Hague, and there became ] 
 the favourite painter of Mary, Princess of 
 Orange, and was in 1665 director of the , 
 Academy. He died in 1680. His heads were 
 very well drawn, coloured and expressed, 
 his hands good, and his portraits gene- 
 rally agreeable. Sanderson speaks of him 
 as the first who vamped up copies of the 
 old masters and passed them off as the 
 originals. 
 
 B.A'N^^M.A'N ,Wi'Li.iAM, portrait painter. 
 Son of the foregoing. Was esteemed as a 
 portrait painter in the reign of Charles I. 
 He . died young, and was buried in the 
 church of St. Martin-in-the-Fields. 
 
 HARCOURT, George Simon, Earl of, 
 amateur. About 1780 he etched several 
 landscapes and four views of his mansion at 
 Stanton Harcourt. He presented to the 
 Bodleian Library a landscape painted by 
 himself. Died April 19, 1809, aged 73. 
 
 HARDING, J. W., engraver. Practised in 
 the latter half of the 1 8th century, working 
 in the dot manner, and was chiefly employed 
 upon the works of Angelica Kauffman and 
 some of her contemporaries. Six plates of 
 • Sketches in North Wales,' coloured to re- 
 present drawings, and published in 1810, 
 are probably by him. 
 
 HARDING, Sylvester, oniniature painter. 
 He was born at Newcastle-under-Lyme, 
 July 25, 1745. Sent to an uncle in London 
 at the age of 10 years, he was placed by 
 him to a trade which he disliked — it is said 
 to a hair-dresser — and at 14 he ran away 
 and was not heard of for several years. He 
 had joined a company of strolling players, 
 and under an assumed name had played at 
 Edinburgh, Glasgow, and London, but with- 
 out any hope of success. His first attach- 
 ment had been to art, and he left the players 
 in 1775, began practice as a miniature 
 painter, and came to London to follow that 
 branch of the profession. From 1777 to 1787 
 he exhibited his miniatures at the Royal 
 Academy. He was also a copyist in water- 
 colour of old family portraits. A drawing 
 by him, ' Portraits of Printsellers,' was en- 
 graved. He then engaged upon a publica- 
 tion of some portraits in illustration of 
 Shakespeare, 1793, many of which he en- 
 graved, and establishing himself in Pall 
 Mall, he published, in 1795, 'The Biographi- 
 cal Mirror,' a work entirely got up by him- 
 self and his brother (who was afterwards 
 appointed librarian to the Queen at Windsor). 
 He also published the * Memoirs of Count 
 de Grammont,' and made the designs for 
 
 ' The Economy of Human Life.' He was 
 well known to the collectors of his day. 
 He died in Pall Mall, August 12, 1809. 
 
 HARDING, Edward, engraver. Son of 
 the above. He engraved some of the works 
 published by his father, and was rising in 
 his profession, when, at the ago of 20 years, 
 he died September 11, 1796. 
 
 HARDING, George Perfect, water- 
 colour painter. Another son of the fore- 
 going Sylvester Harding. He commenced 
 art as a portrait painter, and from 1811 to 
 1840 was an occasional exhibitor of por- 
 traits at the Royal Academy. But he was 
 distinguished by his minute and faithful 
 copies in water-colours of many portraits 
 in our public and private collections, which 
 possess historical and antiquarian interest ; 
 of these, some were published by the 
 * Granger Society,' and the publication was 
 continued, by subscription, by him for fivo 
 years after the expiration of the Society. 
 He also copied portraits for several his- 
 torical publications, the series of portraits 
 of the Deans of Westminster, for Neal and 
 Brayley's ' History of the Abbey,' 1822-23; 
 and 'The Sepulchral Brasses in West- 
 minster Abbey,' 1825. He married late in 
 life and had a large family. Much reduced 
 in means, his chief resource was in the dis- 
 posal of his accumulated works, which were 
 sold by auction. He died in Lambeth, 
 December 23, 1853. 
 
 HARDING, James Duffield, water- 
 colour painter. Was born at Deptford in 
 1798. His father was an artist, and had 
 been a pupil of Paul Sandby. Ho was 
 articled to an attorney, but ho very early 
 connected himself Avith art, and was an ex- 
 hibitor of some views at the Royal Aca- 
 demy. In 1818 he gained the Society of 
 Arts' medal for an original landscape, and 
 the same year first appears as an exhibitor 
 at the Water-Colour Society, sending 'Green- 
 wich Hospital, Sunset,' and ' Windsor from 
 the Great Park.' Continuing to exhibit, ho 
 was in 1821 elected an associate exhibitor, 
 and the following year a member of the 
 Society. He had begun life as a teacher of 
 drawing, and at this time found full em- 
 ployment. In connection with his teaching 
 . he published ' Lessons on Art,' a ' Guide 
 and Companion to Lessons on Art,' and 
 ; ' The Principles and Practice of Art.' In 
 1830 he visited Italy, and on his return 
 
 • exhibited some Italian scenes. In 1836 
 i* he published ' Sketches at Home and 
 
 • Abroad ; ' and in 1842, ' The Park and the 
 I Forest.' He had painted in oil, and com- 
 ■ mencing in 1843, was for several years an 
 - exhibitor of landscapes in oil at the Aca- 
 5 demy, contributing also to the exhibitions 
 . of the Water-Colour Society up to 1847, 
 : when ho withdrew from the Society to be- 
 r come a candidate for Academy liDnours; but 
 
 189 
 
H AR 
 
 H AR 
 
 failing in this, he was re-elected a member 
 of the Water-Colour Society in 1857. In 
 1861 he published 'Selections from the 
 Picturesque/ He also lithographed a series 
 of sketches after Bonington, an excellent 
 work. lie died at Barnes, December 4, 1863, 
 and was buried at the Brompton Ceme- 
 tery. He was a skilful and rapid drafts- 
 man, but mannered and feeble, with a tend- 
 ency to a meretricious style. He was much 
 connected with lithography, which his many 
 publications stimulated and improved. 
 
 HAEDWICK, Thomas, architect. Was 
 born June 1752, at New Brentford, where 
 his father carried on the business of a 
 builder. He studied architecture under 
 Sir William Chambers and in the schools 
 of the Koyal Academy. He exhibited at 
 the Koyal Academy 1772-76, and in the 
 latter year visited the Continent, being 
 absent about three years and passing some 
 time in Kome. On his return in 1799, he 
 commenced the practice of his profe^ision, 
 and resuming his contributions to the 
 Academy, which continued to the end of 
 the century, he exhibited many important 
 designs — among them, for a palace, a 
 senate house, a public museum, and a 
 public library. In 1790 he was employed 
 to build the church of St. Mary, Wanstead. 
 In 1795 he rebuilt, after the original design 
 by Inigo Jones, the Tuscan church of St. 
 Paul, Covent Garden, which had been de- 
 stroyed by fire ; and was afterwards en- 
 gaged in the erection and repair of several 
 churches, among which the new church 
 of St. Marylebone, a classic structure, was 
 conspicuous. It cost 60,000/., and was built 
 1813-17. In 1810 he vv^as appointed clerk 
 of the works for Hampton Court Palace. 
 He died January 16, 1829, and was buried 
 at Brentford. 
 
 HARDWICK, Philip, R.A., architect. 
 He was born in St. Marylebone, June 15, 
 1792, the son of the above, and was 
 brought up in his office, and in 1808 was 
 admitted a student in the schools of the 
 Poyal Academy. He was an exhibitor in 
 1812-13 - 14, his principal works being a 
 design for the lodge entrance of the Mill- 
 bank Penitentiary and for a royal palace. 
 In 1815 he visited the Continent, and after 
 three years' study returned to England in 
 1818, andat once commenced the active prac- 
 tice of his profession. One of his first works 
 was the large warehouses, with the dock 
 house, for the St. Katharine's Dock Company, 
 the designs for which he exhibited at the 
 Academy in 1825 and 1830. This was fol- 
 lowed by his works for the North -Western 
 Railway Company, including the principal 
 station in Euston Square and in Birming- 
 ham. One of his best works was com- 
 menced soon after — the new hall of the 
 Goldsmiths' Company, a fine piece of Ita- 
 190 
 
 lian architecture. Of this he exhibited a 
 portion of the interior in 1839 and 1842. 
 
 He was then engaged upon the erection of 
 I a new hall and library at Lincoln's Inn, 
 which his failing health compelled him to 
 leave to the charge of his son, Mr. P. C. Hard- 
 wick. Among his other works may be 
 mentioned the Euston and Victoria Hotels, 
 the Globe Insurance Office, and the City 
 Club. He was elected an associate of the 
 Academy in 1840, and a full member in 
 1841. He received the gold medal of the 
 Institute of British Architects, and a gold 
 medal at the Paris Exhibition of 1855. He 
 was the architect of Bridewell and Bethle- 
 hem Hospitals, of the Goldsmiths'Company, 
 and of the Commissioners of Greenwich 
 Hospital. His infirm health had long pre- 
 cluded him from any active duty, when he 
 died December 28, 1870, and was buried in 
 the Kensal Gr^en Cemetery. 
 
 HARDY, ^'.yjportrait fainter. He prac- 
 tised in London towards the end of the 
 18th century. Several of his portraits are 
 engraved, among them ' Lady Cavendish, 
 when a child, plajdng with her Dog.' 
 
 HARGRAVE, John, sculptor. Was one 
 of the assistants to Nicholas Stone, the 
 master-mason to James I. 
 
 HARGRAVE, — , mezzo-tint engraver. 
 He practised early in the second half of the 
 18th century. 
 
 HARG REAVES, Thomas, miniature 
 fainter. He was born at Liverpool in 1775, 
 the son of a woollen draper. He early at- 
 tempted miniature painting, and Sir Thomas 
 Lawrence being shown one of his works 
 advised him to come to London, and he was 
 the president's articled assistant for tv/o 
 years, from May 1793, at a small weekly 
 pay. He worked in oil and continued his 
 employ for several years after the termina- 
 tion of the original engagement. But his 
 health failing he returned to Liverpool, 
 and devoting himself to miniature met 
 with great encouragement. He sent some 
 of his works to the Academy Exhibitions 
 in 1808 and 1809. In 1811 he was a mem- 
 ber of the Liverpool Academy, and from 
 that year a large contributor to its exhibi- 
 tions. He joined the Society of British 
 Artists on its foundation, and was an 
 influential member and one of its exhibitors. 
 After many years of weak health he died 
 December 23, 1846. His miniatures were 
 well and carefully drawn and finished, but, 
 imitations of the Lawrence manner, were 
 without any marked character. Three of 
 his sons succeeded him as miniature 
 painters at Liverpool. One of them, G. 
 Hargreaves, joined the Society of British 
 Artists. 
 
 HARLOW, George Henry, portrait 
 fainter. He was born in St. J ames's Street, . 
 June 10, 1787, the posthumous son of an 
 
HAR 
 
 English merchant residing at Canton. His 
 mother, a young and handsome widow, left 
 with a competence, spoiled her good-looking 
 boy. He had an early inclination for art, 
 and was first placed under De Cort, then 
 with Drummond, A.R.A., and finally, for 
 about 18 months, in the studio of Sir Thomas 
 Lawrence. Here he quarrelled with the 
 mechanical art to which he was set and 
 the cold courtesy of his master, and on 
 leaving him (it is said he was dismissed) 
 had to depend upon his own industry and 
 ability. He painted at a low price small 
 portraits of many of the actors of the day, 
 and thus fell into their society, and being 
 of an easy, careless disposition, soon became 
 embarrassed in his affairs. 
 
 He first appears as exhibitor of a portrait 
 at the Koyal Academy in 1805, and from 
 that time till his death was a constant con- 
 tributor, his exhibited works, with three 
 exceptions, being portraits. He met with 
 full encouragement, and gradually raised 
 his price to 40 guineas for a three-quarters 
 portrait. In June 1818 he set off for Italy, 
 and stayed some time in Rome, where he 
 was much noticed and flattered. He arrived 
 in England on January 13, 1819, and a few 
 days after was attacked by the mumps, 
 which having been checked and neglected, 
 swelling and ulceration of the glands of the 
 throat ensued, followed by mortification. 
 He died on February 4, and was buried in 
 a vault at St. James's Church, Piccadilly. 
 After his death a collection of about 150 of 
 his works was exhibited. 
 
 Harlow's chief excellence will be found 
 in his portraits. In 1815 he commenced a 
 series, of small size, of the eminent painters 
 and some of the notorieties of the day ; 
 they are refined yet broadly finished, and 
 full of character. He also made portrait- 
 sketches in chalk, slightly tinting the face, 
 many of them admirable in taste and 
 manner. Several of his portraits were en- 
 graved ; of these, Miss Stephens, the singer, 
 Matthews in character, and Northcote, R.A., 
 were very popular. Two small groups of a 
 portrait character, ' The Proposal ' and ' The 
 Congratulation,' were also engraved, and 
 had an extensive sale. Of his historical 
 attempts, the best known is his ' Trial of 
 Queen Catherine,' in which the portraits of 
 the members of the Kemble family are intro- 
 duced, a work which was finely produced in 
 mezzo-tint by Clint, A.R.A. This painting 
 is clever, but more a tableau than a picture, 
 reminding rather of the stage, the persons 
 represented addressing an audience, than an 
 historical event. His colouring and exe- 
 cution were good, but his drawing weak, 
 owing to a neglect of early study. It is 
 probable that his art would not have im- 
 proved or his reputation have been in- 
 creased had his life not been prematurely 
 
 HAE 
 
 closed. There is a memoir of him in 
 Arnold's 'Library of the Fine Arts,' 1831. 
 
 HARPER, John, arcJiitect. Born near 
 Blackburn, Lancashire, November 11, 1809. 
 He practised for some years at York, where 
 he resided, and then travelled in Italy for 
 his improvement. At Rome he was attacked 
 with fever, and rallied sufficiently to set 
 out for Naples, but he suffered so much 
 from sea-sickness on the voyage that ho 
 died on reaching that city, October 18, 1842. 
 He was a skilful draftsman, and left many 
 clever sketches of architecture, antiquities, 
 and landscape scenery. During his short 
 career he built the Roman Catholic chapel 
 at Bury, Lancashire, the Freetown church, 
 and Elton Church in the same town, tho 
 York Collegiate School, and several man- 
 sions. 
 
 HARRADEN, J. B., draftsman and 
 engraver. He produced very finely, in 
 aqua-tint, several of Girtin's views of Paris, 
 published 1802, and made the drawings for 
 the 'CantabrigiaDepicta,' published in 1809 
 by his father, a bookseller at Cambridge. 
 He does not appear to have exhibited in 
 London. 
 
 HARRIS, J., water-colour painter. He 
 was one of the early artists who practised 
 water-colours in the tinted manner. Ho 
 made some designs illustrating a Bible 
 published by Reeves in 1802, and from 
 that year to 1813 was an exhibitor at tho 
 Royal Academy of birds, insects, and rural 
 and domestic subjects. He died 1834. 
 
 HARRIS, J., engraver. Practised towards 
 the end of the 17th century. Works by 
 him bear date from 1686 to 1700. His 
 best plates illustrate a volume of ' Vitruvius 
 Britannicus,' published in 1739. He was 
 engaged with John Kip in engraving some 
 views of gentlemen's seats. 
 
 HARRIS, Moses, amateur. He was a 
 member of a society of entomologists called 
 the ' Aurelians,' and was engaged for 20 
 years, as a labour of love, in drawing, 
 engraving, and colouring insects, chiefly 
 moths and butterflies, which he published 
 under the title of ' The Aurelian ; or. Natural 
 History of English Insects,' 1766. Tho 
 insects wore all drawn by him from the life, 
 the engraving was his first attempt with 
 the graver, and the colouring is very 
 brilliant. The work is exceedingly well 
 done, and considering the date is remark- 
 able for its art. He afterwards published 
 ' An Essay intended as a Supplement to 
 the Aurelian,' 1766; 'The English Lepi- 
 doptera,' 1775-78; 'An Exposition of 
 English Insects,' 1776; and a 'Natural 
 System of Colours,' 1811. He exhibited a 
 frame of English insects at the Academy 
 in 1785. 
 
 HARRIS, Henry, medallist. He was 
 employed in tho Mint in the latter part of 
 
 191 
 
HAR 
 
 HAS 
 
 the reign of Charles II., and on the acces- 
 sion of James II. was appointed one of the 
 die engravers. He was distinguished by 
 liis ability as an artist, but Walpole, con- 
 founding him with Joseph Harris, an actor 
 and dramatic writer at the Royal Theatre, 
 says he was ignorant of art and incompetent. 
 He died 1690. 
 
 HARRIS, W., gem sculptor. He exhibited 
 at the Royal Academy, 1788-92, engraved 
 gems. ' The Parting of Achilles and 
 Briseis,' ' The Judgment of Paris,' ' The 
 Entrance of Alexander into Babylon.' He 
 was appointed gem sculptor to the Dukes 
 of York and Clarence. 
 
 HARRISON, George H., water-colour 
 pai7iter. Was born at Liverpool in March 
 1816, where his mother practised as a 
 flower painter. He was early taught in 
 art, and at the age of 14 came up to Lon- 
 don, with some unsettled notions of being 
 an engraver, and for a time supported 
 himself by the sale of his drawings to the 
 dealers. Afterwards he was engaged in 
 making anatomical drawings and illustra- 
 tions, and studied at the Hunterian Museum 
 in Windmill Street. At this time he gained 
 the notice of Constable, R.A., who advised 
 him to sketch from nature. He was also a 
 teacher, leading his pupils into the open 
 fields. He was an exhibitor at the Royal 
 Academy, chiefly in water-colours, from 1 840 
 till his death. His works were chiefly 
 landscape and domestic scenes. He had 
 tried most subjects and many mediums, and 
 was settling down to landscape. His foliage 
 was luxurious and true, his figures well 
 introduced. He was elected an associate of 
 the Water-Col our Society in 1845, and was 
 improving as an artist when, after much suf- 
 fering, he died of aneurism, October 20,1846. 
 
 HARRISON, Thomas, architect. Was 
 born at Richmond, Yorkshire, 1744. He 
 early showed a taste for drawing, and about 
 1769 was assisted by Lord Dundas to visit 
 Italy, and studied for several years at Rome. 
 While there he made some designs for the 
 embellishment of the square of Santa 
 Maria del Popolo, for which the Pope pre- 
 sented him with a gold and a silver medal. 
 He was also elected a member of the aca- 
 demy of St. Luke. He travelled home 
 through Italy and Prance, arriving in 1776, 
 and was at that time an occasional exhi- 
 bitor at the Royal Academy. Soon after he 
 engaged to build a bridge of five arches 
 over the Lune, a Lancashire river, and 
 constructed the first level bridge erected in 
 England. Having settled at Lancaster, 
 he was employed to execute several exten- 
 sive alterations at the old castle in that 
 town, and afterwards built, on the panop- 
 ticon principle, the gaol at Chester, and the 
 court-house. He designed the bridge over 
 tlie Dee, with an arch of 200 feet span, a 
 
 dimension then unequalled. He also designed 
 the Athenseum and the St. Nicholas's Tower 
 in Liverpool, and the theatre ; and in 1809 
 the Exchange Buildings in Manchester, 
 the latter an early attempt at classic design 
 in this country. He built several mansions 
 in Scotland, among them Broomhall, in 
 Pifeshire, for Lord Elgin, then minister 
 t ) the Porte, to whom he suggested to 
 obtain casts of the marbles now in the 
 British Museum, and known as the ' Elgin 
 Marbles,' not supposing that the originals 
 could be removed. After attaining much 
 local reputation, he died at Chester, on 
 March 29, 1829, aged 85. 
 
 HARRISON, Stephen, architect. He 
 held the appointment of architect to James I. 
 Some triumphal arches, which he erected on 
 the entry of that king into London, have 
 been engraved ; but there is no record of 
 any work by which he is distinguished. 
 
 HARRISS, D., water-colour draftsman. 
 He practised in the early tinted style, imi- 
 tating the manner of Malton, and his 
 works possessed much merit. He exhibited 
 a 'View of a Country Seat' at the Academy 
 in 1799, and was then residing at Oxford. 
 
 HARTLEY, Miss M., amateur. She is 
 remembered as having produced some clever 
 etchings, among them a landscape dated 
 1701, and a portrait, from the life, of Bux- 
 ton, an arithmetician, dated 1764. 
 
 HARVEY, William, wood engraver and 
 designer. Born at Newcastle-on-Tyne, 
 July 13, 1796. He was apprenticed to 
 Thomas Bewick at the age of 14, and 
 chiefly employed during his apprenticeship 
 upon common trade-work on copper and 
 wood. He also assisted on his master's 
 woodcuts for ^sop's ' Fables.' For his im- 
 provement he came to London in 1817, and 
 placed himself under B. R. Haydon, con- 
 tinuing to work all the time as a wood 
 engraver. In 1821 he cut Haydon's 'Den- 
 tatus,' a work which at once, from its ability 
 and unusual size, gave him a reputation. 
 Later he devoted himself to designing for 
 illustrations both on wood and copper ; and in 
 1824 abandoned wood engraving and at once 
 found full employment in designing, his 
 drawings on wood being especially adapted 
 to the wood engraver's art. He designed 
 for the illustration of the 'Babes in the 
 Wood,' ' The Blind Beggar of Bethnal Green,' 
 Hood's ' Eugene Aram,' and many other 
 works. In 1840 he became largely em- 
 ployed for the illustration of works published 
 by Charles Knight. Among his best designs 
 may be cited his ' Arabian Nights ' and the 
 tasteful vignettes for Northcote's ' Fables.' 
 He died at Richmond, where he had long 
 resided, on January 13, 1866. 
 
 HASSALL, J., draftsman and engraver. 
 He practised about the end of the 18th cen- 
 tury. He drew and engraved 16 tinted 
 
HAS 
 
 HA V 
 
 aqua-tints for a 'Picturesque Guide to Bath 
 and Bristol Hotwells,' 1793. To several of 
 themlbbetson added the figures and cattle, 
 giving some spirit to an otherwise tame 
 performance. He published, 1790, a ' Tour 
 of the Isle of Wight,' with many aqua-tint 
 plates, engraved by himself, and in 1820 
 a ' Progressive Drawing-Book,' in water- 
 colours. 
 
 HASSEL, William, ^;orz*r<7i7 painter. 
 Practised in miniature and oil towards the 
 end of the 17th century. One of his por- 
 traits is engraved by Peter Vanderbank ; 
 and John Smith mezzo-tinted a portrait 
 painted by him in 1707. He sat to 
 Kneller for his own likeness. George 
 Lambert was his pupil. 
 
 HASSELL, Edavard, landscape painter. 
 He was the son of an engraver. For several 
 years he w-as an exhibitor at the Society of 
 British Artists, chiefly of interiors of Gothic 
 edifices. In 1841 he was elected a member 
 of the Society, and exhibited the 'Interior of 
 Gloucester Cathedral' and the ' Interior of 
 Winchester Cathedral, William and Mary 
 returning from the Altar.' In 1842 he 
 contributed 'The Mountain Torrent;' in 
 1843 and 1844 he was a large exhibitor; 
 in 1850, 'Thames Craft, Moonlight,' and 
 'Winter Evening;' in 1852, ' Eochcster, 
 from Stroud.' This was his last exhibited 
 work. He died shortly after. Eor some 
 time he filled the office of secretary to the 
 Society. 
 
 HASTINGS, Captain Thomas, amateur. 
 He was an associate of the Liverpool 
 Academy. He held the office of collector of 
 customs, and amusing himself as an etcher 
 produced some good plates. In 1813 he 
 published his etchings from St. Augustine's 
 and other buildings at Canterbury, under 
 the title of ' Vestiges of Antiquity ; ' and in 
 1825 his collection of etchings (39 in num- 
 ber) from the works of Richard Wilson, R. A. 
 
 HAUGHTON, Moses, enameller. He 
 was born at Wednesbury, Staffordshire, in 
 1 734, and brought up as an enameller. Em- 
 ployed in ornamental wmk at a manufactory 
 in Birmingham, he was led by his abilities 
 to try art, and produced some good works, 
 excelling in his still-life, dead game, &c., 
 which w^ere chiefly in water-colours, and 
 close imitations of nature. He resided the 
 greater part of his life at Wednesbury, and 
 died at Ashted, near Birmingham, Decem- 
 ber 23, 1804. 
 
 HAUGHTON, Moses, portrait and sub- 
 ject-painter. Nephew of the foregoing. Was 
 born at Wednesbury about 1772. Came to 
 London, where he w^as the pupil of Stubbs, 
 and, admitted a student of the Royal 
 Academy, he gained there a competent 
 knowledge of the figure. He exhibited two 
 small subject pictures in 1792. He com- 
 menced his art as a portrait painter, chiefly 
 
 practising in miniature. In this manner 
 he showed much vigour and power, and his 
 likenesses were marked by gre;it character. 
 He was an early friend of Euseli, of whom 
 he painted and engraved a-portrait in 1808. 
 He attempted some scriptural and rural 
 subjects in oil. Two of his works, ' The 
 Love Dream' and 'The Captive,' w^ere en- 
 graved. He engraved himself (but it does 
 not appear how tar he practised this art) 
 Euseli's 'Death and Sin,' 'Eve's Dream,' 
 and some other plates. He was a largo 
 exhibitor of miniatures at the Royal Aca- 
 demy, and continued to contribute to the 
 Academy Exhibitions till 1848. 
 
 HAVELL, William, landscape painfer. 
 One of 14 children, he was born at Reading, 
 February 9, 1782. His father was a dra w- 
 ing-master there, and to make some addition 
 to his professional gains kept a small shop. 
 The son gained a good clissical cducniion 
 at the well known graunnnr school in the 
 town. His father Avishod him to pursue tha 
 more certain gains to be made in the slioj), 
 but he longed to follow art, and soizini!; 
 every opportunity to improve, surprised his 
 father by his ability. Then allowed to t ako 
 his own course, he made his way to AValcs, 
 and returned with a well-filled sketch-l)0( k. 
 He first exhibited at the Royal Academy in 
 1804, and in the same year Avas one of the 
 foundation members of the Water-Col on r 
 Society. To study mountain scenery he 
 went to Westmoreland in 1807, whcrc^ he 
 remained for nearly two years, gatliering 
 rich stores for his future w^orks. 
 
 He had now attained distinction .'is a 
 w^ater-colour painter, and practised his art 
 with success, exhibiting at the Water-Col our 
 Society, notwithstanding his secession on 1 1 lO 
 alteration of the constitution of the Sociely 
 in 1813, and also occasionally, sometimes 
 in oil, at the Royal Academy. During this 
 time he resided awhile at Hastings, going 
 to Reading to assist his father when his 
 uncertain health prevented his professional 
 teaching, till 1816, when he Avas a]-)pointed 
 draftsman to Lord Amherst's embass3\ and 
 sailed for China in the 'Alceste.' But he 
 did not continue long in this office ; an un- 
 fortunate quarrel led him to accept the 
 opportunity of going, in 1 81 7, to India, Avhere 
 he continued in the practice of his profession 
 up to 1825, and realised a small property. 
 
 On his return he rejoined tlie Water- 
 Col our Society, and in 1827 visited Florence, 
 Rome, and Naples. But during his long 
 absence in the East, added to his Italian 
 travel, his art had become forgotten, his 
 place filled by younger men, and after three 
 years we miss his name in the Society's 
 catalogues. Probably to regain his place 
 in art he tried oil, and became a constant 
 exhibitor at the Royal Academy of works 
 in that medium, his subjects chiefly Italian, 
 
 193 
 
HAV 
 
 HAY 
 
 with occasionally one of his old English 
 hill scenes in Wales or Westmoreland, or 
 a Chinese subject. He had, however, to 
 struggle hard to maintain his position; 
 he was obliged to trench upon his small 
 sayings, and his trials were aggravated by 
 the failure of an Indian bank in which they 
 were invested. He, however, gained some 
 relief as a recipient of the Koyal Academy 
 ' Turner Fund.' His long declining health 
 ga ve way at last, and he died at Kensing- 
 ton, December 16, 1857. 
 
 Ha veil was one of the real founders of 
 our water-colour school ; his manner ori- 
 ginal, true to nature and characteristic, 
 grand and massive in treatment, his colour 
 powerful and good, his figures and cattle 
 well drawn and grouped. His oil pictures 
 show much excellence, and though rather 
 yellow in tone and monotonous, the effect 
 of sun and sunshine is admirably expressed. 
 
 HAVELL, John, engraver. He was born 
 and practised in London. His works evinced 
 much talent, but when gaining a rank in 
 his profession he suddenly suffered a loss 
 of his reason some years before his death, 
 which took place in 1841. 
 
 HAVENS, Theodore, architect and 
 ■pai7iter. Practised in the reign of Charles II. 
 There is in Caius College, Cambridge, a por- 
 trait of him painted by himself, and another 
 portrait by him which bears the date 1653. 
 
 HAWAKD, Francis, A.E., engraver. He 
 was born April 19, 1759, and in 1776 was 
 admitted to the schools of the Eoyal Aca- 
 demy. He first exhibited in 1783, and 
 from that year was an occasional exhibitor. 
 His early and best works were in the pure 
 mezzo-tint manner, but led aside by the 
 popularity of Bartolozzi, E.A., he adopted 
 the mixed style of that artist. He engraved 
 chiefly after Keynolds, P.E.A., and Angelica 
 Kauflfinan, K.A. His ' Mrs. Siddons as the 
 Tragic Muse,' ' Cymon and Iphigenia,' and 
 ' Infant Academy,' are fine works, the latter 
 in the stipple manner. He died in 1797, in 
 Marsh Street, Lambeth, wdiere he had dwelt 
 many years. His widow received the Aca- 
 demy pension during 42 years. 
 
 HAWKER, Ed-ward, portrait pamier. 
 He succeeded to Sir Peter Lely's house and 
 studio, but never enjoyed much reputation 
 as an artist. A portrait by him of Titus 
 Gates is engraved in mezzo-tint, as is also 
 a full-length of the Duke of Grafton, and 
 some others. He was admitted a Poor 
 Knight of AVindsor, and died about 1723, 
 aged above 80. 
 
 HAWKSMGGE, Nicholas, architect. 
 He was born in Nottinghamshire 1661, 
 and at the age of 17 became the domestic 
 clerk and assistant to Sir Christopher AVren, 
 who employed him during the whole time 
 of the building of St. Paul's, and in the 
 erection of the many churches rebuilt at 
 194 
 
 that time. He was also deputy surveyor at 
 the building of Chelsea College, 1682-90, 
 and clerk of the works of Greenwich Hos- 
 pital, 1698. He overlooked the works at 
 Kensington, Whitehall, and St. James's. 
 Under George I. he was chief surveyor of 
 the new churches then building, and on the 
 death of Wren, of the works at Westminster 
 Abbey. 
 
 Several of Queen Anne's intended 50 
 new churches were designed by him — St. 
 Mary, Woolnoth ; Christ Church, Spital- 
 fields; St. George, Middlesex; St. Anne, 
 Limehouse (1724) — one of his best works, 
 unfortunately destroyed by fire in 1850; 
 and St. George, Bloomsbury. In this latter 
 he aroused the critics by placing the King's 
 statue on the apex of the steeple — an ec- 
 centric piece of originality, surely — which 
 gave rise to a contemporary epigram : 
 
 ' When Henry the Eighth left the Pope in 
 the lurch 
 
 The Protestants made him the head 
 of the Church ; 
 But George's good subjects, the Blooms- 
 bury people, 
 
 Instead of the Church, made him head 
 of the steeple.' 
 
 He also built the library and quadrangle at 
 Queen's College, Oxford; the towers and 
 quadrangle of All Souls College, Oxford, 
 1734; and several noble mansions, among 
 them Easton Neston, in Northamptonshire. 
 
 He was an able constructor, learned in 
 every science connected with his art; his 
 buildings not without dignity ; but in 
 striving to be original, his novelty was 
 scarcely architectural. He died at West- 
 minster, March 25, 1736, and was buried 
 at Shenley, Herts. 
 
 HAWTHORNE, Henry, architect. Was 
 appointed clerk of the works at Windsor 
 Castle in 1575, and designed, in the Italian 
 style, the gallery now forming the library. 
 He also planned alterations on the terrace, 
 and made some other improvements. 
 
 HAY, James, sculptor. Was originally 
 a pupil of President West, but showing a 
 stronger inclination to sculpture than paint- 
 ing, he placed himself under Flaxman, R.A., 
 and during two years made great progress 
 in art. He also studied anatomy. He be- 
 came the prey of a lingering illness, and 
 died prematurely at Portsea, April 26, 1810, 
 aged 28. A good portrait -group, believed 
 to be by him, is engraved as the frontispiece 
 to the 8th volume of Nichols's ' Anecdotes.' 
 
 HAY, Ramsay David, ornamental painter. 
 He was born at Edinburgh in March 1798, 
 and was apprenticed there to a heraldic 
 and decorative painter. He tried some 
 pictures, but was advised to confine his 
 practice to ornamental art, which he 
 adopted and followed all his life. He 
 
HAY 
 
 gained notice by his work ' On the Laws of 
 harmonious Colouring,' 1828, which went 
 through several editions. He afterwards 
 published several other works on the Prin- 
 ciples of Harmony, Form and Colour, and 
 upon the Science of Beauty. Hd died at 
 Edinburgh, September 10, 1866. 
 
 HAYDON, Benjamin Egbert, history 
 2)ainter. Was born at Plymouth, January 26, 
 1786, the son of a bookseller there, wdio 
 claimed descent from an old county family. 
 He was educated at the grammar school of 
 the borough and at Plympton, and gained 
 some small share of classical learning. He 
 early attached himself to drawing, for which 
 he showed some ability and great enthu- 
 siasm, and disliking bookselling, his father 
 at last consented that he might come up to 
 London to study as a painter, and in May 
 1 804 he entered as a student at the Royal 
 Academy. His aims were high art, his 
 views inflated, his nature self-willed and 
 obstinate. In 1807 he exhibited his first 
 picture, ' Joseph and Mary.' Then visiting 
 Plymouth for a time, he made a purse by 
 painting portraits among his friends. 
 
 Returning to London, he gained per- 
 mission, which he used most vigorously, to 
 study from the Elgin Marbles, and inspired 
 by those great works, produced his ' Den- 
 tatus,' a commission from Lord Mulgrave. 
 He believed that his picture was to produce 
 a new era in art, and wounded by the place 
 assigned to it in the Exhibition of 1809, he 
 quarrelled with the Academy. In 1810 he 
 began his ' Lady Macbeth,' a commission 
 from Sir George Beaumont, which he for- 
 feited; and irritated, in debt, and refused 
 further assistance by his family, he was 
 plunged into difficulties, when he was 
 partially relieved by a prize of 100 guineas 
 awarded to him for his ' Dentatus ' by the 
 British Institution, and he commenced his 
 ' Judgment of Solomon,' which he finished 
 under great privations, and sold for 600 
 guineas, the Institution again awarding him 
 100 guineas for this work. 
 
 He now (1814) paid a visit to Paris, to 
 study the great works in the Louvre. No 
 commissions awaited him on his return; 
 but not cooled in his enthusiasm, he com- 
 menced his great picture, 'Christ's Entry 
 into Jerusalem,' to which he devoted himself 
 with the seclusion of an ascetic, and was 
 compelled to solicit assistance to enable 
 him, under great privations, to continue 
 his work. He had, in 1817, established a 
 painting school at his residence in Lisson 
 Grove, and had several pupils who rose 
 to eminence. Resolutely presuming on the 
 sensation created by his works, his ambi- 
 tion was to obtain distinction as a great 
 historical painter ; but he failed to gain 
 either the good opinion or the judgment 
 of the public. His ' Christ's Entry into 
 
 HAY 
 
 Jerusalem' was completed in 1820, and its 
 exhibition, at the Egyptian Hall, Piccadilly, 
 produced him 1,700/. Though the picture 
 did not find a purchaser, he at once com- 
 menced another great work, 'The raising 
 of Lazarus,' comprising 20 figures, on a 
 scale 9 feet high. This picture was ex- 
 hibited in 1823, and attracted considerable 
 attention. The composition is imposing, 
 the incidents and grouping well conceived, 
 the effect of colour good, in some parts ex- 
 cellent ; but he had been arrested for debt 
 during its progress, and the money received 
 from ^day to day for its exhibition barely 
 supplied each day's wants. 
 
 He was not yet 40 years old. He had 
 produced his greatest works under painful 
 difficulties, and the future offered no better 
 prospect. In 1826 he finished his ' Venus 
 appearing to Anchises,' followed by 'Alex- 
 ander taming Bucephalus' and 'Euclus,' 
 the latter a very good, pleasing work. 
 But his difficulties again overcame him. 
 He was thrown into a debtors' prison, 
 and he appealed to the public for help. 
 He said, 'My "Judgment of Solomon" 
 is rolled up in a warehouse in the Bo- 
 rough ; my " Entry into Jerusalem," once 
 graced by the enthusiasm of the rank and 
 beauty of the three kingdoms, is doubled 
 up in a back room inHolborn ; my "Laza- 
 rus " is in an upholsterer's shop in Mount 
 Street ; and my " Crucifixion " in a hay-loft 
 in Lisson Grove.' His appeal produced a 
 subscription which restored him to his art 
 and his family. He commenced portrait 
 painting, for which he was ill-suited both 
 in art and character, and w^as reduced almost 
 to actual want; and he painted his 'Mock 
 Election ' from a burlesque scene which oc- 
 curred in the prison; andthen, asa'companion 
 picture, his ' Chairing the Member.' 
 
 He had grown apathetic, his enthusiasm 
 was damped, his misfortunes beginning to 
 tell upon him, when the King purchased 
 his ' Mock Election ; ' and the exhibition of 
 that and the companion picture produced 
 him a good sum ; nevertheless he was, in 
 1830, a second time in prison for debt. On 
 his release the excitement of the Reform 
 Bill prevailed, and he fell in with the public 
 feeling by painting ' Waiting for the Times,' 
 and then ' The Reform Banquet,' a large 
 portrait subject, a commission by Earl 
 Grey. In 1835 his difficulties seem to have 
 culminated ; and in the following year he 
 was, for the third time, a prisoner. He was 
 assisted by tlie proceeds of a raffle for his 
 ' Zenophon,' and took a prominent part before 
 the committee upon the Royal Academy, 
 of which institution he was a bitter oppo- 
 nent. About the same time he commenced 
 a series of lectures on art, and for the next 
 two or three years by this means gained 
 some help for the maintenance of his family. 
 2 196 
 
HAY 
 
 HAY 
 
 Ho had been long a claimant for State I 
 patronage; and, as a means, had persistently 
 advocated the decoration of our public 
 ])uildings. When, therefore, a royal com- 
 mission was issued for the decoration of the 
 Houses of Parliament, he dreamt that his 
 plans would be realised ; and he eagerly 
 entered into the cartoon competition in 1842. 
 But he was doomed to disappointment, and 
 as one young artist after another received 
 some employment, and he was passed by, 
 his spirits sank. He struggled to complete 
 six designs for the House of Lords, as a sort 
 of appeal ; but the effort was too much for 
 him ; his mind gave way, and on June 26, 
 1846, he died by his own hand, after 
 making this sad notice in his journal, ' God 
 forgive me ! Amen. Finis. — B. E. Haydon. 
 " Stretch me no longer on the rack of this 
 rough world." — Lear.' 
 
 Haydon was from the first an enthusiast ; 
 he aspired to the first place in the highest 
 walks of historic art; his attempts were 
 unchilled by the severest trials. His works 
 are marked by great merits and many 
 faults. Commenced without due study, in 
 the fervour of a first conception, and truly 
 original, they are often wanting in compo- 
 sition and arrangement. With much know- 
 ledge of anatomy, his figures are frequently 
 defective in proportion and drawing. His 
 colouring was powerful and harmonious, 
 sometimes brilliant; his execution hurried 
 and incomplete, yet rapid and powerful. 
 All must no less admit his great merits as 
 a painter. He was a frequent contributor 
 on matters connected with art. He wrote 
 an essay on painting, in 1848, for the ' En- 
 cyclopsedia Britannica,' which cannot claim 
 the merit of a well-considered theme ; and 
 lectures on Painting and Design, which were 
 ■published. His diary shows much of the ex- 
 citement of an erratic genius and a painful 
 record of trials and sufferings ; it was evi- 
 dently a record intended for the world, and 
 was published in 1853. His widow was 
 granted a pension by the Crown, and some 
 additional provision made for his family by 
 a public subscription. 
 
 HAYES, William, animal jyainter. An 
 industrious artist of the latter part of the 
 1 8th century. He published, in Lirge folio, 
 1775, 'The Natural History of British 
 Birds, accurately drawn and coloured from 
 Nature;' and in 1794, 'Portrait's of the 
 rare Birds in Osterley Park,' in 41 numbers, 
 containing 81 plates ; but he never realised 
 enough to keep a large family, and lived in 
 much distress and difficulty. 
 
 HAYES, John, fOTtrait 'painter. He 
 liad considerable employment, and from 
 1820 was a constant exhibitor of portraits 
 at the Academy. In his latter years he 
 exhibited some subject pictures. He died 
 June 14, 1866, aged 80. 
 
 196 ' 
 
 I H A YLEY, Robert, a?2i;?2«Z^«mif^r. He 
 was born in Ireland, and was a pupil of 
 the elder West in the Dublin Schools. 
 He drew in black and white chalk in an 
 original manner, having the appearance of 
 mezzo-tint, both cattle and the human 
 figure. His animals were freely and cor- 
 rectly drawn, and had much spirit. He 
 died in Dublin about 1770, from a cold 
 caught while sketching out of doors. 
 
 HAYLEY, Thomas, sculptor. The 
 natural, or adopted son, of Hayley, the 
 poet, who styled him 'his poetic child,' 
 ' his youthful Phidias.' He was the pupil of 
 Elaxman, and showed much ability, but 
 died young, at Eartham, Sussex, May 2, 
 1810. 
 
 HAYLS, John, portrait painter. Born 
 in England. He was the contemporary, 
 and in some degree the rival, of Lely. He 
 practised both in oil and in water-colours. 
 Some of his best known portraits are of 
 the Bedford family, and in the Woburn 
 collection. He was an excellent copyist of 
 Vandyck, and was employed by Pepys, who 
 was pleased witli his work. He died in 
 Bloomsbury, 1679, and was buried in St. 
 Martin's Church. 
 
 HAYMAN, N., portrait painter. There 
 is a portrait by an artist of this name, of 
 Tallis, the musician, who died 1585. It is 
 engraved. 
 
 HAYMAN, Francis, R.A., Jdstory 
 pai7iter. Born in Exeter in 1708; he 
 was descended from a respectable family. 
 He commenced his art education as a 
 pupil of Eobert Brown, a portrait painter ; 
 came to London while young, and was 
 employed by Fleetwood, the manager of 
 Drury Lane, as scene painter. He was 
 also much employed in the illustration 
 of books, and designed for Sir Thomas 
 Hanmer's edition of Shakespeare, 1744, 
 and for editions of Milton, 1749, Pope, 
 and Cervantes. He painted a series of 
 historical designs for Vauxhall Gardens, 
 which gained him a great reputation, and 
 he was considered the first historical 
 painter of his day. He was a tolerable 
 draftsman, but was quizzed for his long 
 noses and shambling legs. His colour was 
 weak and ineffective. He was a member 
 of the St. Martin's Lane Academy, for a 
 short time president of the Incorporated 
 Society of Artists, and a contributor to 
 their exhibitions in 1760-61 and 1764. On 
 leaving that body he became one of the 
 foundation members of the Royal Academy, 
 contributing Scripture subjects to the 
 exhibitions from 1769 to 1772, and was 
 in 1771 appointed librarian. He was a 
 member of the Beef-steak Club, the Old 
 Slaughter's Club, and several other clubs ; 
 the friend of Hogarth and companion of 
 the fast men of the day — a ban vivant^ 
 
HAY 
 
 HAY 
 
 esteemed a good fellow, fond of athletic 
 exercises. In his latter days he was 
 a martyr to gout. He died in Dean 
 Street, Soho, I'ebruary 2, 1776, and was 
 buried in the parish church. There is a 
 painting of the ' Finding of Moses ' by him 
 at the Foundling Hospital, which he 
 presented to the Institution ; and in 
 the National Portrait Gallery, a por- 
 trait of himself painting the portrait of 
 Sir K. Walpole. He etched a few small 
 plates. 
 
 HAYNES, William, engraver. Born in 
 Sussex ; he was about 1800 in practice as 
 an engraver in London. He engraved after 
 Komney * The Introduction of Slop into 
 Shandy's Parlour,' and there is also a good 
 plate by him of Louis XVI. and of Marie 
 Antoinette. He afterwards painted some 
 tolerable pictures. 
 
 HAYNES, John, engraver. Many of 
 the illustrations for Drake's 'Eboracum,' 
 published 1736, are by him; but they are 
 most formal in their treatment and with- 
 out merit. 
 
 HAYNES, John, 'painter and eiclier. 
 Born at Shrewsbury in 1760. He came to 
 London early in life, and studied under 
 Mortimer, A.E.A., and on his death was 
 some time engaged in etching from his 
 works, among them, ' Paul preaching to the 
 Britons ' and ' Eobbers and Banditti.' He 
 was afterwards known to Sir Joshua Rey- 
 nolds, who allowed him to copy from his 
 paintings. Later, he made an unsuccessful 
 visit to Jamaica, and on his return retired 
 to Shrewsbury, and afterwards to Chester, 
 where he found his chief employment in 
 teaching, and died Dec. 14, 1829. 
 
 HAYNSWORTH, William, engraver. 
 Practised in the time of the Common- 
 wealth, working with the graver. His 
 manner was dark and stiff. An impres- 
 sion of his, ' Richard, Lord Protector of 
 the Commonwealth,' a large whole-sheet 
 print, sold for 42/. — rather from its rarity 
 than its art — at Sir F. Sykes's sale in 
 1824. 
 
 HAYTER, Charles, portrait 
 Practised about the beginning of the cen- 
 tury in crayons and miniature, and was 
 esteemed for the correctness of his likeness. 
 His portraits were pleasing, but weak in 
 drawing. He was teacher of perspective 
 to the Princess Charlotte, and in 1813 pub- 
 lished 'An Introduction to Perspective.' 
 He was for many years an exhibitor of 
 miniatures at the Royal Academy, contri- 
 buting for the last time in 1832. 
 
 HAYTER, Sir George, Knt., portrait 
 and history painter. Son of the above. 
 He was born in London, December 17, 
 1792, and when very young was admitted 
 a student of the Royal Academy. In 1808 
 he was rated as a midshipman in the 
 
 Navy, but in the following year he re- 
 turned to his art, and made rapid progress. 
 For his picture of the 'Prophet Ezra,' in 
 1815, the directors of the British Institu- 
 tion awarded him a premium of 200 guineas. 
 He practised miniature, and in 1815 was 
 appointed painter of miniatures and por- 
 traits to^ the Princess Charlotte and the 
 Prince of Saxe-Coburg ; and the same year 
 he went to Italy, and studied at Rome 
 nearly three years. In 1820 he exhibited 
 the portraits of some distinguished per- 
 sons at the Academy, with a classic sub- 
 ject, ' Venus, supported by Iris, complaining 
 to Mars;' and in 1825, his 'Trial of Lord 
 William Russell, 1683,' a work full of 
 figiires, carefully grouped, and painted, 
 which was engraved, and made his art 
 widely known. He afterwards painted 
 ' The Trial of Queen Caroline ' and ' The 
 Meeting of the first reformed Parliament,' 
 both pictures filled with portrait-groups. 
 In 1826 he went a second time to Italy, 
 returning in 1831, when he again appears 
 as the contributor of portraits to the 
 Academy Exhibitions. On the accession 
 of Queen Victoria in 1837, he was ap- 
 pointed her portrait and history painter, 
 and painted a large picture of her coro- 
 nation in Westminster Abbey. The fol- 
 lowing year he exhibited her Majesty's 
 portrait at the Academy, his last exhibited 
 work, and in 1842 he was knighted. 
 During his career he had a long list of 
 very distinguished sitters. His portraits 
 were pleading and carefully painted, but did 
 not possess any high art qualities. He 
 was member of the academies of Rome, 
 Florence, Bologna, Parma, and Venice, but 
 did not gain admission to the Royal Aca- 
 demy. He died in Marylebone, January 18, 
 1871. He wrote an appendix to the 
 ' Hortus Ericseus Woburnensis ' on the 
 classification of colours. 
 
 HAYTLEY, portrait painter. Prac- 
 tised in the middle of the 18th century. 
 He exhibited some three-quarters portraits 
 with the Society of Arts in 1761. There is 
 by him at the Foundling Hospital a view of 
 Greenwich Hospital and a view of Chelsea 
 Hospital, which he presented. These works, 
 dated 1746, are of small size, powerful in 
 light and shade, agreeable in colour, and 
 with figures well introduced. A very good 
 whole-length portrait by him of ' Peg 
 AVoffington as Mrs. Ford ' was mezzo-tinted 
 by J. Faber in 1751. 
 
 HAYWARD, Richard, statuary. He 
 was much employed towards the end of the 
 18th century, and exhibited some bas-reliefs 
 with the Society of Arts in 1761. He died 
 August 11, 1800. 
 
 HAYWARD, J. S., amateur. He was an 
 occasional honorary exhibitor at the Hoyal 
 Academy from 1805 to 1812, sending ' Diaua 
 
 197 
 
HAZ 
 
 HEA 
 
 and Actaeon/ 'Breaking up the Camp, 
 Southsea Common,' 'Mounts Bay, Even- 
 ing, Fisherman preparing to go out;' 
 and many views in Italy. His works were 
 in water-colours, sketchy and powerful; 
 his figures well drawn. 
 
 HAZLEHUKST, Thomas, miniature 
 painter. He practised at Liverpool in the 
 last half of the 18th century. Some of his 
 earliest works are dated in 1760, and he 
 continued to practise up to 1818, and ex- 
 hibited at the Liverpool Exhibition. His 
 miniatures are cleverly and highly finished, 
 and are frequently signed with his initials, 
 ' T. H.' 
 
 HAZLITT, John, miniature painter. 
 He was born at Wem, in Sliropshire, the 
 son of a Unitarian minister. He came to 
 London shortly before 1788, and exhibited 
 at the Koyal Academy from that year to 
 1819. His works were confined exclusively 
 to miniature. Some few of his latter works 
 were in oil, and there is an oil miniature by 
 him of Joseph Lancaster in the National 
 Portrait Grallery. He did not attain to much 
 excellence in his art. He died at Stock- 
 port, May 16, 1837, in his 70th year. 
 
 HAZLITT, William, artist and critic. 
 Younger brother of the above. He was born 
 in 1778, and educated at the Unitarian 
 College, at Hackney. He commenced life 
 as an artist, and in some of his early studies 
 showed much ability. He appears at the 
 Academy in 1802 as an exhibitor of a por- 
 trait of his father, but he early renounced 
 art for literature. He was distinguished b}" 
 his numerous critical wti tings. Of those 
 bearing upon art the chief were — ' The Con- 
 versations of Nortlicote, E.A.,' ' Criticisms 
 on Art,' ' A Translation of Quatremere de 
 Quincy's work on the Madonnas of Kaphael,' 
 and Duppa's ' Lives of Michael Angelo and 
 Eaphael.' He died in Frith Street, Soho, 
 September 18, 1830, and was buried in St. 
 Anne's Churchyard, where a monument is 
 erected to him. 
 
 HEAD, Guy, portrait painter. Born 
 at Carlisle, where his father was a house 
 painter. He was instructed in drawing, and 
 showing much ability, he came to London 
 and entered as a student of the Koyal 
 Academy, where he was noticed by Eey- 
 nolds, and assisted by a friend to study in 
 Italy. He contributed to the Spring Gar- 
 dens Exhibition, in 1780, 'The Fire at 
 London Bridge Waterworks,' and some 
 small whole-length portraits. He resided 
 many years at Rome, where he was settled 
 in 1794, and was employed largely in copy- 
 ing ; but he painted some original works, 
 which are not without merit. He returned 
 home shortly after the breaking out of the 
 French Revolution, and exhibited at the 
 Academy two classic works and a portrait. 
 He died suddenly in London, December 16, 
 
 1800. He is best known as a copyist. His 
 works were sold by auction in 1805, but did 
 not attract much notice. C. Turner en- 
 graved a horse's head after him. 
 
 HEAPHY, Thomas, water-colour painter. 
 He was born in London, December 29, 1775. 
 His father was descended from a French 
 family. He commenced life as an appren- 
 tice to a dyer, disliking which trade, he was 
 transferred to an engraver, but his inclina- 
 tion was rather to painting, and he employed 
 his extra hours in its pursuit, and attended 
 an art school of some repute in Finsbury. 
 He married before his apprenticeship ex- 
 pired, and had recourse to colouring prints 
 to assist in his young wife's maintenance, 
 and tried his hand at portrait painting. In 
 1800 he exhibited at the Academy, for the 
 first time, two portraits, and became a student 
 in the schools. He continued an exhibitor, 
 chiefiy of portraits, till 1804, when he pro- 
 duced a subject picture, ' The Portland Fish 
 Girl.' 
 
 He had made some successful attempts 
 in water-colours, and was already popular 
 in that art. In 1807 he was admitted an 
 associate exhibitor of the Water-Colour 
 Society, and in the following year a mem- 
 ber. His ' Hastings Fish Market,' exhibited 
 with the Society in 1809, was sold for 500 
 guineas, and raised him to the first rank in 
 his art. He was appointed portrait painter 
 to the Princess of Wales, whom he painted 
 in miniature, and also many other distin- 
 guished persons ; but his subject pictures 
 gained less attention, and many remained 
 unsold. He soon after (1812) left the 
 Water-Colour Society, and, giving himself 
 up to portraiture, he quitted England for 
 the British camp in the Peninsula, where 
 he was employed in painting the portraits 
 of the officers, and continued with the 
 army till the end of the war. On his return 
 to England he painted a large picture of the 
 Duke of Wellington and his Staff*, a portrait 
 composition, which was engraved, and had 
 great success. 
 
 For some time after this he occupied him- 
 self in a building speculation at St. John's 
 Wood, and his art was only practised occa- 
 sionally. When he wished to resume it 
 more actively, he was aware that his long 
 absence had quite severed him from the 
 Water-Colour Society, and he began to agi- 
 tate most actively to found the Society of 
 British Artists, and when formed was elected 
 its president. He contributed nine works 
 to the first exhibition in 1824, but from 
 some misunderstanding left the Society in 
 1829. In 1831 he paid a short visit to 
 Italy, and on his return he engaged actively 
 in the formation of the new Water-Colour 
 Society, and was one of its first members, 
 but he did not long survive. He died 
 November 19, 1835. 
 
HEA 
 
 HBB 
 
 Heaphy ^yas restless and intractable ; 
 always a zealous opponent of the Academy, 
 though friendly with several of its members. 
 His paintings were appreciated from their 
 direct reference to nature, which he repre- 
 sented as it appeared to him. Though his 
 subjects were not always agreeable, they 
 never failed in character and expression. 
 His colouring was good, his works sweetly 
 and highly finished. 
 
 HEAENE, Thomas, water-colour jpainter. 
 Born at Brinkworth, near Malmesbury, in 
 1744. He came to London young, and was 
 intended for a trade, but an early taste for 
 art gained him a premium at the Society of 
 Arts in 1763, and led to his being appren- 
 ticed, in 1765, to Woollett, the engraver, 
 with whom he continued six years, and 
 assisted in many of his wmks. In 1771 he 
 engaged to accompany the newly -appointed 
 governor to the Leeward Islands, and 
 during three years and a half was employed 
 in making drawings of the islands under 
 his government, their harbours, forts, and 
 other characteristic features, and for nearly 
 two years after his return was engaged in 
 the completion of the work. 
 
 This employment gave a new direction to 
 his art. He entirely gave up engraving, 
 and devoted himself to water-colour paint- 
 ing. He was eminently a topographic 
 draftsman. In 1777 he engaged with Wm. 
 Byrne on their well-known work, ' The 
 Antiquities of Great Britain,' and for this 
 purpose made an extensive tour in England 
 and Scotland, and exhibited his drawings 
 for the work at the Spring Gardens Eooms. 
 The drawings are 52 in number, and are 
 dated from 1777 to 1781; the latter draw- 
 ings exhibiting more artistic feeling, and 
 all are of the highest interest. From this 
 time, but at intervals, he contributed up to 
 1802 many drawings of views and anti- 
 quarian remains to the Academy Exhibitions. 
 Following Sandby and Eooker, and next in 
 succession to them, he greatly advanced the 
 new art in water-colours. Though weak in 
 colour, his truth and correctness of drawing, 
 his tasteful finish and composition, added 
 a new charm to the art. He used the pen, 
 but less obtrusively than his predecessors, 
 sometimes so tenderly in tint that, while 
 adding greatly to the minute beauty of 
 his architectural forms, it gives a most 
 delicate sharpness and completion. He died 
 at Macclesfield Street, Soho, April 13, 1817, 
 aged 73, and was buried by his friend 
 Dr. Monro in Bushey Churchyard. 
 
 HEATH, James, A.E., engraver. Born in 
 London, April 19, 1757. Was articled to 
 Collyer, then an engraver of eminence. His 
 first works were several portraits to illus- 
 trate Lord Orford's Works and Corre- 
 spondence. He was afterwards engaged 
 upon the illustrations for Bell's 'Poets,' 
 
 the designs of Stothard for the ' Novelist's 
 Magazine,' and other works ; and making 
 this artist his especial study, he gained a 
 great reputation, and by his talent and 
 tasteful execution gave a great impulse to 
 book illustration. Ho also engraved many 
 small plates after Smirke. Among his 
 larger works are 'The Death of Major 
 Pierson,' after Coplev ; ' The Eiots of 1 780,' 
 after Whcatley ; ' The Dead Soldier,' after 
 Wright, of Derby ; and ' The Death of Nel- 
 son,' after AVcst, P.E.A. In 1780 heexhibited 
 engravings at the Spring Gardens Eooms. 
 He was elected an associate engraver of 
 the Eoyal Academy in 1791, and appointed 
 engraver to the King in 1794. He lost a 
 large property by fire in 1789, and nearly 
 his own life in rescuing his infant child. 
 He had long retired from his profession, 
 when he died in Great Coram Street, No- 
 vember 15, 1834, in his 78th year. He left 
 two sons, one of wdiom rose to the head of his 
 profession ; and a daughter, Mrs. Hamilton, 
 who had some skill as an engraver. 
 
 HEATH, Charles, engraver. Youngest 
 son of the foregoing. Excelled in his 
 small plates, and was well known by his 
 ' Annuals ' and ' Book of Beauty.' He was 
 one of the early members of the Society of 
 British Artists, but soon left the Society. 
 In his latter years he was chiefly engaged 
 in arrangements connected with publica- 
 tions of this class, in which his own graver 
 had only a small share. He engraved after 
 Newton, E.A. ; Lady Peel, after Lawrence ; 
 and ' Europa,' after Hilton, E.A. Mr. Doo 
 and Mr. AVatts were his pupils. He died 
 November 18, 1848, in his 64th year, leav- 
 ing a large family. One son was brought 
 up as an engraver. 
 
 HEATH, William, draftsman. Many 
 humorous domestic subjects by him arc 
 published, with some military costumes, and 
 he drew and etched the illustrations for 
 Sir John Bowring's 'Minor Morals,' 1834, 
 but his works were of a very mediocre 
 class. He died at Hampstead, April 7,1840, 
 aged 45. 
 
 HEAVYSIDE, John Smith, wood en- 
 graver. Was the son of a builder at 
 Stockton-upon-Tees. He did not try art till 
 in his 26th year, and then after practising 
 a short time in London he settled in 
 Oxford, and was chiefly employed in the 
 illustration of archaeological works, espe- 
 cially those published by Mr. Parker. He 
 died in Kentish Town, October 3, 1864, 
 aged 52. His two brothers practised as wood 
 engravers. 
 
 HEBEET, William, engraver. He was 
 a pupil of Vivares, gained a premium at / ^ " 
 the Society of Arts in 1760, and practised _^ , 
 in London in the latter half of the 18th "^V'^'*'-* 
 century. Six small landscapes, with build- 
 ings, by him were published in 1750. >Lv^^ f 
 
HEI 
 
 HER 
 
 HEIGH WAY, R., miniature painter. 
 Ho was an occasional exhibitor at the 
 Hoyal Academy between 1787 and 1793. 
 He sent some miniatures and some rustic 
 h^ubjects. Some very clever miniatures on 
 glass, painted on the reverse, are attributed 
 to him. He used the reverse of the glass 
 for an apparently rude painting, which had 
 a good effect on the other side. During the 
 above period he practised in London, Lich- 
 field, and Shrewsbury. 
 
 IIYI'^^, J)., portrait painter. A native 
 of Germany, who settled in Norwich, and 
 practised there towards the middle of the' 
 1 8th century. He painted the portraits of 
 several members of the corporation, and 
 scraped some mezzo-tint plates, but without 
 nuich merit. There are also some etchings 
 by him. There was in the National Por- 
 trait Exhibition, 1868, a small, carefully- 
 finished miniature in oil by him of the 
 mother of Cowper, the poet. 
 
 HEINS, John, ^portrait painter. Son 
 of the foregoing. Born at Norwich about 
 17^:0; apprenticed to a stuff manufacturer, 
 but led by his inclination, he followed his 
 father's profession. He painted portraits 
 both in oil and in miniature, but his chief 
 excellence was in etching. His plates were 
 executed entirely in dry point, without the 
 use of aqua fortis, and were etched directly 
 from nature. The views and monuments 
 for Bentham's ' History of Ely ' were by 
 him, also a ' Cat and Kittens,' after Collet, 
 and some portraits. He died of a decline 
 at Chelsea early in 1771. His art collec- 
 tion was sold by auction at Exeter Change 
 in May of that year. 
 
 HEKEL, Atjgtjstin, chaser and painter 
 in water-colours . Born at Augsburg. Was 
 the son of a chaser and brought up to that 
 art. After working in several of the Con- 
 tinental cities he came to London, where he 
 settled. He understood the figure, and had 
 the reputation of being one of the best 
 chasers of his time. Having acquired a 
 competence he retired to Richmond, and 
 amused himself by painting landscape and 
 flowers in water-colour, and occasionally sold 
 tliese works, some of which were engraved 
 by Bowles and Sayer. He also etched eight 
 plates of Richmond and its environs, a 
 ' Horse,' after Wootton, and a ' Book of 
 Flowers.' A drawing of the ' Battle of Cul- 
 loden ' by him was engraved by Sullivan. 
 He died at Richmond in 1770, at nearly 80 
 years of age. His sister, who was unmarried, 
 drew the figure correctly, and engraved in 
 a neat style many of the plates for Kilian's 
 ' Bible.' 
 
 HEMSKIRK, Egbert, subject painter. 
 Born at Haerlem in 1645. Studied there 
 and came early to England, where he was 
 patronised by Lord Rocliester. He painted 
 pieces of Dutch humour, fairs, drunken 
 200 
 
 scenes and the like. He died in London 
 1704, leaving a son Avho followed the 
 same profession, but turned a singer at 
 Sadler's AVells, and became a dissolute 
 fellow. 
 
 HENDERSON, John, architect. He was 
 born at Brecliin 1804, and was a pupil of 
 T. Hamilton. He was much connected with 
 the revival of church building in Scotland. 
 He built St. Mary's Chapel, Dumfries, 1837, 
 three churches at Edinburgh, and St. John's, 
 Glasgow, 1848. His best work is Trinity 
 Church, Glenalmond. He died at Edin- 
 burgh, June 27, 1862, aged 58. 
 
 HENDERSON, John, engraver. Was 
 born in London 1747- He commenced life 
 as an artist. He was a student in Shipley's 
 School, and for a time a pupil of the eccen- 
 tric Daniel Eournier, for whose ' Theory of 
 Perspective ' he etched many of the illustra- 
 tions. In 1762 he gained, for a drawing, 
 the Society of Arts' medal. But soon after 
 abandoning his art, he went upon the stage, 
 and became one of the most distinguished 
 tragedians of his day. He died 1785. 
 
 HENNING, John, sculptor. Was tlie 
 son of a carpenter at Paisley, where he was 
 born May 2, 1771, and was brought up to 
 that trade. He cultivated a love of art, 
 and in 1799 went to Glasgow, where he met 
 with encouragement, and then removed to 
 Edinburgh. Here he studied in the Trus- 
 tees' Academy under Graham, and made 
 many distinguished friends, of whom his 
 busts and medallions are remembrances. 
 In 1811 he came to London, where his admi- 
 ration of the Elgin Marbles gained him per- 
 mission to copy them, and determined his 
 stay in the Metropolis. After a diligent 
 labour of 12 years he completed a restora- 
 tion of the Parthenon andPhygalian friezes. 
 He afterwards modelled in relief, in the 
 same manner, the cartoons of Raphael. He 
 was one of the founders, and for many years 
 an influential member, of the Society of Bri- 
 tish Artists. He died in 1851. His works 
 are plaster miniatures, modelled with great 
 skill and minute accuracy. 
 
 HERBERT, Alfred, water-colour 
 painter. He was the son of a Thames water- 
 man, and as a boy began life in his father's 
 boat. He was apprenticed to a bookbinder, 
 but an early love of art prevailed, and he cast 
 in his lot as an artist. He drew vigorous coast 
 scenes, with groups of figures and vessels 
 under the influence of calm and storm, but 
 his works only found a sale at a very small 
 price, through a friendly dealer, who was 
 almost his sole purchaser. Yet he was a 
 frequent exhibitor. He first appears in 
 1844 and 1845 as a contributor of water- 
 colour drawings to the Suffolk Street Exhi- 
 bition, and in 1847 exhibited at the Royal 
 Academy. His favourite subjects were found 
 on the Tliames— hay -barges, smacks, tugs, 
 
HER 
 
 HIC 
 
 Woolwich Reach, Barking Reach; and fishing 
 boats on the Dutch and Norfolk coasts. His 
 last contribution to Suffolk Street was in oil, 
 'French Boats Mackerel fishing, 'in 1855 ; 
 but he continued a yearly exhibitor at tlio 
 Academy up to 1860, and died in 18fil. 
 Though he worked earnestly, and under the 
 influence of true genius, he was unknown, 
 and never made an income exceeding 50/. 
 a year ; and it was not till his illness, which 
 was followed by his death, that any brighter 
 prospect opened to him. In the last year 
 of his life his income rose to 200/. 
 
 HERBERT, Arthur John, subject 
 painter. Son of J. R. Herbert, R.A. Studied 
 under his father and in the schools of the 
 Academy, where he first exhibited, in 1855, 
 ' Don Quixote's first impulse to lead the life 
 of a Knight-Errant ; ' and in the next year, 
 ' Philip IV. of Spain knighting Velasquez.' 
 He was a young artist of much promise. 
 Died of fever in Auvergne, September 18, 
 1856, aged 22. 
 
 HERNE, William, serjeant-pamter. He 
 was appointed to that office by Patent of 
 Uth Elizabeth, July 12, 1572. 
 
 HERRING, John Erederick, animal 
 painter. He was the son of American 
 parents, who had settled in London, where 
 his father followed a trade. Born in Surrey 
 in 1795, he began his art on signboards and 
 the heraldry of coach panels ; and after a 
 time tried his fortune in Yorkshire. Led by 
 his love of animals to Doncaster, he was 
 employed in a stable, and afterwards, while 
 still a young man, drove the coach between 
 Wakefield and Lincoln, and then between 
 York and London. All this time he devoted 
 his leisure to painting, and the horses he 
 drove were often his subjects. He soon 
 gained notice, and then painted the hunters 
 of the gentry and their racehorses. After 
 receiving some help in the studio of A. 
 Cooper, R.A., he established himself as an 
 animal painter. Eor many years he painted 
 the winner of the Derby, and combining 
 some subject with his art, painted 'Return- 
 ing from Epsom on the Derby Day,' ' Market 
 Day,' ' The Horse Pair,' and other works 
 of the same class, several of which were 
 engraved and were very popular. Prom 
 1826 his works, chiefiy portraits of horses, 
 found at intervals a place in the exhibitions 
 of the Royal Academy. He was also an occa- 
 sional exhibitor with the Society of British 
 Artists, and in 1841 was elected a member 
 of the Society, and exhibited with them 
 ' A Mail Coach in the time of George IV.,' 
 ' Bait Stables,' ' Country Stables,' and con- 
 tinued to exhibit up to 1852, when he 
 ceased to be a member. He died at Tun- 
 bridge Wells, September 23, 1865, aged 70. 
 He held the appointment of animal painter 
 to the Duchess of Kent. 
 
 HERTOCKS, A., engraver. Born in the 
 
 Netherlands. He practised in London 
 towards the middle of the 17th century, 
 his chief works being dated between 1626 
 and 1659. He engraved for the booksellers 
 portrait frontispieces. His best works are 
 portraits produced with the graver, but in 
 a hard, sti If manner. There are also some 
 miniatures by him. He was very weak in 
 the figure. His works, known to collectors, 
 are valued for their rarity alone. 
 
 HEWITSON, CiiRisTOPHEij, sculptor. 
 He was born in Ireland, and went to Rome 
 to complete his studies. He sent a bust to 
 the Academy Exhibition in 1786, and again 
 in 1790 ; and continued to reside in Rome 
 in 1794, but did not exhibit further in 
 London. There is a fine monument by him 
 to Dr. Baldwin, at Trinity College, Dublin. 
 
 HEWLETT, J., flower painter. He 
 practised at Bath at the beginning of the 
 19th century. His works were esteemed in 
 his day. He exhibited fiowers and fruit at 
 the Royal Academy from 1802 to 1807. His 
 colour was good, his flowers well drawn, and 
 botanically correct. 
 
 HEYWOOD, , portrait painter. 
 
 Practised in the time of the Common- 
 wealth, and painted the portraits of the 
 distinguished men of that time ; among 
 them, General Pairfax. 
 
 HIBBART, AViLLiAM, portrait painter. 
 He practised chiefly at Bath, about the 
 middle of the 18th century. There are 
 several heads by him etched in the man- 
 ner of Worledge, and a very fine head of 
 Lawrence Delvaux in AValpole's 'Anecdotes,' 
 excellently treated. 
 
 HIC KEY, John, sculptor. Born in 
 Dublin 1756. He was apprenticed to an 
 eminent wood carver. After practising 
 some time in Dublin, he gained the pat- 
 ronage of Mr. Burke, came to London, 
 and was admitted a student of the Royal 
 Academy. In 1778 he gained the gold 
 medal for a bas-relief, ' The Slaughter of 
 the Innocents.' In 1780 he exhibited for 
 the first time at the Academy, and the 
 same year was appointed sculptor to the 
 Prince of Wales. He was greatly lauded 
 by Burke, was of much promise, and had 
 nearly completed a model for the Garrick 
 monument, when he died, from the effects 
 of intemperance, at his lodgings in Oxford 
 Street, January 12, 1795. 
 
 HICKEY, Thomas, portrait painter. 
 Brother to the above. Born in Dublin. 
 Studied in the Academy there, and after- 
 wards visited Italy. Returning to London 
 in 1771, he was appointed to accompany 
 Lord Macartney's embassy to China. He 
 practised in London in the latter part of 
 the 18th century. He exhibited at the 
 Academy, in 1775, a small whole-length of 
 the Duke of Cumberland, and was a con- 
 stant exhibitor at that time. There is a 
 
 201 
 
HIO 
 
 HIL 
 
 portrait of Mrs. Abingdon by him at the 
 Garrick Club, and a good whole-length 
 at the Magdalen Hospital. ^ J. Watson 
 mezzo-tinted a portrait after him. 
 
 HICKFOKD, , an English artist, 
 
 who resided in Florence about 1730-40, and 
 was the first teacher of Cipriani, E.A. He 
 was the brother of a well-known dancing- 
 master, who built a large music-room in 
 Brewer Street, Golden Square. 
 
 HIGHMOKE, Thomas, engraver. He 
 was born in Suffolk, and was brought up 
 as an engraver. His chief works were of 
 an architectural character. He was em- 
 ployed upon a portion of the plate of ' The 
 Coronation of Queen Victoria.' He died at 
 Islington, January 3, 1844, aged 48. 
 
 HIGHMOKE, Thomas, serjeant-painter 
 to William III. He was connected with the 
 Thornhill family, and Mr. (afterwards Sir 
 James) Thornhill served his apprenticeship 
 to him, and succeeded him as serjeant- 
 painter, 1719-20. 
 
 HIGHMOKE, Joseph, portrait painter. 
 He was the son of a coal merchant and 
 nephew to the preceding, and was born in 
 London, June 13, 1692. He had an early 
 taste for the fine arts, which was discouraged 
 by his family, who placed him, in 1707, 
 with a solicitor ; but at the age of 17 he 
 abandoned the law, and marrying the fol- 
 lowing year, trusted to art for the future. 
 He was for 10 years a student in the 
 Painters' Academy in Great Queen Street, 
 and attended the lectures of Cheseldon, the 
 great anatomist, and made the drawings 
 for his ' Anatomy of the Human Body,' 
 published in 1722. He resided at first in 
 the City, and was much employed in paint- 
 ing family groups. Then, his practice 
 increasing, he removed to Lincoln's Inn 
 Fields. 
 
 Upon the revival of the Order of the Bath 
 in 1725, on a commission from Pine, the 
 engraver, he painted the portraits of several 
 of the knights, some of them whole-lengths ; 
 and a portrait of the Duke of Kichmond, 
 attended by three Esquires, which is now at 
 Goodwood. He also painted, for the King, 
 a portrait of the Duke of Cumberland, which 
 was mezzo-tinted by Smith. In 1732 he 
 visited the principal galleries in Holland, 
 and in 1734 made an excursion to Paris. 
 In 1742 the Prince and Princess of Wales 
 sat to him. He also produced some subject 
 pictures, ' Ha gar and Ishmael,' which he 
 presented to the Foundling Hospital ; • The 
 Finding of Moses,' ' The Good Samaritan,' 
 and others. He made the designs for the 
 original edition of his friend Kichardson's 
 'Pamela,' published in 1745, and painted 
 the portraits of the author and his wife, 
 which hang in Stationers' Hall. They are 
 good specimens of his art ; in the Jarvis 
 manner, they are better in colour and more 
 202 
 
 powerful, less hard in the face painting, 
 the hands good, and well drawn. 
 
 He continued in practice as a portrait 
 painter for 46 years, painting many persons 
 of distinction, and in 1761 retired from the 
 profession. His art collection was sold in 
 the following year. He lived in his retire- 
 ment at Canterbury, never revisiting the 
 Metropolis, and died there March 3, 1780, 
 in his 88th year ; he was buried in the south 
 aisle of the cathedral. He was a keen geo- 
 meter, and had some distinction as a writer. 
 He published 'A Critical Examination of 
 Kubens's Paintings at the Banqueting House, 
 Whitehall,' 1754; 'Observations on Dods- 
 well's Pamphlet against Christianity,' ' The 
 Practice of Perspective,' ' Moral and Keli- 
 gious Essays,' and a translation ' On the 
 Immortality of the Soul.' 
 
 HIGHMOKE, Anthony, landscape 
 painter. Was the son of the foregoing, and 
 educated by his father for his profession, 
 but his works are now unknown. Some 
 views by him of Kensington and Hampton 
 Court were engraved by John Tinney. 
 
 HILL, Thomas, portrait painter. Born 
 in 1 66 1 . Was taught drawing by Faithorne, 
 and practised in London as a portrait 
 painter about the beginning of the 18th 
 century. There is a good portrait by him 
 in the Bodleian Library, and a full-sized 
 three-quarters portrait of Humphrey Wanley, 
 dated 1711, in the possession of the Society 
 of Antiquaries. He died at Mitcham in 
 1734. Many of his portraits are engraved ; 
 they are well coloured and painted, full of 
 character and expression, but not elevated. 
 His work has been attributed to Hogarth. 
 
 HILL, John, engraver. He was a clever 
 artist, and produced some good plates in 
 mezzo-tint, among them some lake views, 
 after Charles Dibdin. He emigrated to 
 America, where he was living in 1822. 
 
 HILL, David Octavius,K.S.A., landscape 
 painter. He was born in 1802, at Perth, 
 where his father was a bookseller, and 
 showing a taste for art was sent to Edin- 
 burgh to be the pupil of Andrew Wilson. 
 Here he settled in the practice of his art, 
 and painted the scenery of his own country. 
 In 1830 he was one of the foundation mem- 
 bers of the Koyal Scottish Academy, and 
 was elected to the office of secretary, which 
 he filled till shortly before his death. His 
 early pictiires were illustratiA^e of the man- 
 ners of the Scottish peasantry. In 1843 he 
 painted a large picture containing 470 por- 
 traits — ' The Establishment of the Free 
 Kirk.' His works were chiefly exhibited in 
 Edinburgh, and were little known in London, 
 He exhibited at the Koyal Academy for the 
 first time in 1852, 'Edinburgh, from Mons 
 Meg, on the Queen's Birthday;' in 1861, 
 ' The Castle of Dunure, Ayrshire Coast ; ' 
 in the following year, ' The Kiver Tay, with 
 
HIL 
 
 HIL 
 
 the Lower Grampians, Evening ; ' and for 
 the last time, in 1868, ' The Vale of the 
 Forth.' He took an active share in the 
 warm controversy which arose as to the 
 body by whom the Government art-patron- 
 age should be dispensed in Scotland. He 
 published, in 1841, ' The Land of Burns,' a 
 series of 60 landscapes. He had long been 
 in failing health, and died at Edinburgh, 
 May 17, 1870, aged 68. 
 
 HILLIAKD, Nicholas, mmiature painter. 
 Was born at Exeter 1547. His father was 
 high sheriff of that city and county in 1560, 
 and was reputed to have been descended 
 from an old Yorkshire family, though his 
 father and grandfather resided in the West 
 of England. He was a younger son, and 
 was apprenticed to a goldsmith ; and carry- 
 ing on that business he studied miniature 
 painting, especially from the works of ' 
 Holbein. He was appointed goldsmith, 
 carver, and portrait painter to Queen Eliza- 
 beth, to make pictures of 'her body and 
 person in small compasse in lymnynge only,' 
 and the same office was continued to him by 
 the patent of James L, who also gave him 
 during 12 years the exclusive privilege 'to 
 mint, make, grave, and imprint any pictures 
 of our image or our royal family.' This 
 right he was empowered to sell and to 
 enforce. He employed Simon Pass as his 
 assistant in these works. He painted seve- 
 ral portraits of Queen Elizabeth, one, we 
 are told, a whole-length, in her state robes ; 
 a portrait of Mary, Queen of Scots, at the 
 age of 1 8 ; and many of the notables of his 
 time. He engi'aved the Great Seal of Eng- 
 land in 1587. He died January 6, 1619, 
 and was buried at St. Martin-in-the-Eields. 
 He was the first English painter whose con- 
 temporary reputation has been maintained 
 to our day. His drawing was minutely 
 careful and true, his colouring — the flesh 
 tints particularly — was feeble, but has pro- 
 bably faded. He used opaque pigments 
 largely, and gold occasionally in his drape- 
 ries and jewelled ornaments, w^hich were 
 exquisitely finished and truthful. 
 
 HILLIARD, Lawrence, miniature 
 j^ainter. He was the only son of the above, 
 and followed the same profession. That he 
 was of good ability appears from a warrant 
 of the Council in 1624, ordering the pay- 
 ment to him of 42/. for ' five pictures by 
 him drawn.' He was living in 1634. 
 
 HILLS, Robert, water-colour painter. 
 AVas born at Islington, June 26, 1769. He 
 received some instruction in drawing from 
 John Greese; but little is known of him 
 till he appears as an exhibitor at the Royal 
 Academy in 1791, wh-en he contributed 'A 
 Wood Scene, with Gipseys,' and the follow- 
 ing year a landscape. His name is next 
 mentioned as one of the six artists who 
 met in 1804, at Shelley's Rooms, to estab- 
 
 lish the Water-Colour Society. Of this body 
 he was one of the first members, and for 
 many years the secretary. To its exhibi- 
 tions he was a constant contributor till 
 1818, when his name disappears in the 
 catalogue for five years, during which time 
 he exhibited six or seven drawings yearly 
 at the Royal Academy. Then resuming his 
 membership with the Society, ho continued 
 an exhibitor till his death. 
 
 Hills was most industrious in his labours. 
 He exhibited at the AVater-Colour Society 
 alone 599 drawings. He made numerous 
 etchings of animals, of which there is a 
 collection in the print-room of the British 
 Museum amounting to 1,240. He x^ublished, 
 in 1816, in quarto, 'Sketches in Flanders 
 and Holland,' with some account of a tour 
 through those countries, illustrated by 36 
 aqua-tinted engravings, etched by himself. 
 He died at 17 Golden Square, May 14, 1844, 
 and was buried in Kensal Green Cemetery. 
 
 He was an animal painter, confining him- 
 self exclusively to water-colours, but he 
 placed his animals in sweet bits of appro- 
 priate scenery. He was a most painstaking 
 sketcher of animals from nature, chiefly in 
 pencil, with frequent indications of sur- 
 rounding park or rural scenery. Many of 
 his sketches are covered with hieroglyphic 
 notes, apparently a sort of shorthand. Erom 
 these stores he made up his pictures, seldom 
 painting direct from nature. This deprives 
 his work of that clear, vigorous execution, 
 the freshness, and the incidents, which no 
 amount of knowledge can give in the studio. 
 Yet there is great merit in the composi- 
 tion, character, and careful finish of his 
 works. His later drawings, however, be- 
 came woolly in appearance and over-wTought, 
 hot, and disagreeably foxy in colour. His 
 etchings show great character, but do not 
 usually extend beyond the outline, with 
 some slight indications of light and shade. 
 He often worked in connection with Robson 
 and sometimes with Barret. 
 
 HILTON, William, portrait painttr. 
 Born at Newark. He painted the scenery 
 for a company of actors who played at the 
 chief towns in the Eastern counties, and 
 afterwards practised as a portrait painter 
 at Norwich, and for a time at Lincoln 
 and in London. He exhibited portraits at 
 the Academy in 1776 and 1783. He died 
 1822. 
 
 HILTON, William, R.A., history 
 painter. Son of the above. Was born at 
 Lincoln, June 3, 1786. His father pur- 
 posed to apprentice him to a trade, but he 
 showed an early attachment to art, and 
 upon his earnest entreaties, and by the 
 assistance of friends, he was taught draw- 
 ing, and became the pupil of Raphael 
 Smith, the mezzo-tint engraver. In 1806 
 he entered the Academy Schools, and at 
 
 203 
 
HIL 
 
 HIO 
 
 the same time studying anatomy, he soon 
 mastered the figure. His first known 
 works are a series of well-finished designs 
 in oil for an edition of ' The Mirror' and 
 for ' The Citizen of the World.' He painted 
 the portraits of one or two friends, but did 
 not seek to eke out his means by portraiture, 
 though they were evidently straitened. 
 
 He first appears as an exhibitor as early 
 as 1803, and continued to contribute a 
 classic or historic work up to 1811, when 
 he appears with an 'Entombment of 
 Christ,' for which he was awarded a 
 second premium by the British Institution, 
 haying received a premium of 50 guineas 
 in the previous year. This work was 
 followed by ' Christ restoring sight to the 
 Blind,' and ' Mary anointing the feet of 
 Jesus,' and for this latter work he was 
 fortunate to find a sale to the directors of 
 the Institution, who in 1825 purchased 
 also his fine work, ' Christ crowned with 
 Thorns.' Though his art was not of a 
 class to be popular, his great merit was 
 early recognised by his professional breth- 
 ren. In 1813 he was elected an associate 
 of the Academy. In 1818 he visited Italy, 
 and saw the art of Kome ; and in 1820 he 
 gained his full membership. At this time 
 he produced some of his best works, ex- 
 hibiting one picture annually — in 1821, 
 ' Nature blowing Bubbles for her Chil- 
 dren;' in 1823, ' Comus, the Lady in the 
 Enchanted Chair; ' in 1825, ' Christ crowned 
 with Thorns ; ' in 1827, ' The Crucifixion.' 
 
 He was, both by his acquirements and 
 disposition, well fitted as a teacher, and in 
 1827 was selected for the office of keeper, 
 and continuing to paint great works, he 
 exhibited, in 1831, his 'Sir Calepine res- 
 cuing Serena' and 'The Angel releasing 
 St. Peter from Prison ; ' in 1832, his * Una' 
 (engraved for the Art Union) ; in 1834, 
 his ' Editha seeking the dead body of 
 Harold,' for which the directors of the 
 Institution awarded him a complimentary 
 sum of 100/.; and in 1838 his last work, 
 ' Herod.' He had in 1 828 married the 
 sister of his friend and pupil, Peter de 
 Wint, but had the misfortune to lose his 
 wife in 1835. Naturally reserved and 
 silent, shunning all notoriety, the loss 
 fell heainly upon him; it aggravated an 
 asthmatic complaint of which he suffered. 
 He lost vigour and spirits, and though 
 eager to work, he became unable to finish 
 anything ; and wasting away, he died 
 December 30, 1839, in his 54th year. He 
 was buried in the Savoy Chapel, Strand. 
 
 The neglect and want of appreciation 
 of his works must have weighed heavily 
 upon him, and it is probable prevented 
 the full development of his powers. On 
 his death several of his finest works re- 
 mained unsold, and the students of the 
 204 
 
 Academy expressed their regard for him by 
 purchasing and presenting to the National 
 Gallery his ' Sir Calepine.' This, and other 
 works, will not fail to maintain his repu- 
 tation if they will endure ; but they are 
 suffering from the unfortunate pigments, 
 chiefly asphaltum, which he employed. 
 The ' Sir Calepine ' and his ' Editha,' also 
 in the National collection, are falling into 
 hopeless decay. His great triptych, ' The 
 Crucifixion,' at Liverpool, is also in a state 
 of dilapidation. It is a noble work, grand 
 in its conception and treatment ; the action 
 of his figures fine, the drawing good, and 
 more original than his Scripture subjects 
 generally, which have a leaning to pre- 
 cedent. 
 
 HINCHLIFFE, John Elley, sculptor. 
 Was for the 20 years preceding the death 
 of Elaxman, E.A., his chief assistant, and 
 after his death completed several of his 
 unfinished works ; among them the statue 
 of John Kemble, in Westminster Abbey. 
 He exhibited at the Academy, commencing 
 in 1814, many groups in high art — ' Christ 
 fighting with Apolyon,' ' Leonidas at Ther- 
 mopylae,' ' Venus and Aurora as the Morning 
 and Evening Stars.' About 1818 he tried 
 a few busts, but after 1820 his contribu- 
 tions, which ceased about 1850, were en- 
 tirely monumental figures or bas-reliefs for 
 monuments. He died, aged above 90, about 
 1867. 
 
 HINCKS, William, engraver and painter. 
 He was born at A¥aterford, and was ap- 
 prenticed to a blacksmith. Self-taught, he 
 tried art, and practised towards the latter 
 part of the 18th century. While in Ireland 
 he drew and engraved in the dot manner a 
 series of designs representing the progress 
 of the linen manufacture, published in 
 1782. On coming to London, he designed 
 some illustrations for an edition of ' Tris- 
 tram Shandy.' He first exhibited at the 
 Academy in 1781, and was an occasional 
 exhibitor, sending in 1784 an allegorical 
 painting. He tried both history and por- 
 trait, and from 1785 to 1790 exhibited 
 miniatures. He exhibited for the last 
 time in 1797, and was living in London at 
 the close of the century. 
 
 HINDE, T., engraver. He practised 
 about the middle of the 17th century, 
 chiefly in portraits. 
 
 HIOKNE, ¥nA^ CIS, architect. A¥as born 
 at Warwick in 1741, and was reputed 
 one of the early students of Grothic. His 
 church at Tetbury, Gloucestershire, is an 
 instance of his ability. He also built, 
 1776, the church at Stony Stratford. The 
 mansion at Eoremark, Derbyshire, and 
 the gaol, sessions house, and town hall, 
 at Warwick, are designed by him. He 
 died December 9, 1789, at Warwick, and 
 was buried there. 
 
HIX 
 
 HOD 
 
 HIXON, James Thompson, water-colour 
 painter. He was in 1866 elected an asso- 
 ciate member of the Institute of Water- 
 Colour Painters, and in the following year, 
 whilst residing at Algiers, he sent six 
 Algerine scenes to the Society's Exhibition. 
 He Avas of promising abilities, but died of 
 pubnonary consumption, at Capri, July 30, 
 1868, aged 32, and was buried in the Pro- 
 testant Cemetery at Naples. 
 
 HOADLEY, JVIrs., portrait painter. See 
 Curtis, Sarah. 
 
 HOARE, William, R.A., portrait and 
 history painter. Was born at Eye, in 
 Suffolk, 1706. He received a liberal edu- 
 cation, and then studied art under Grisoni, 
 an Italian, practising in London. He 
 afterwards went to Eome, where he availed 
 liimself of the opportunities for improving 
 in art; and, after nine years spent on the 
 Continent, returned to England and settled 
 at Bath, where he established himself as a 
 portrait painter, practising both in oil and 
 in crayons, and finding among his sitters 
 some of the most distinguished visitors. 
 He wished to follow the grand style, but 
 met with no encouragement. He painted, 
 however, an altar-piece for St. Michael's 
 Church, Bath, and also for the Octagon 
 Chapel in that city, as well as a picture 
 for the hospital there ; but these works, if 
 they still exist, do not possess much merit. 
 He was one of the foundation members of 
 the Royal Academy, and contributed to 
 its exhibitions portraits (full-lengths) and 
 groups, with some classic designs in crayons, 
 exiiibiting for the last time in 1779. He 
 died at Bath in December 1792. There are 
 a few known etchings by him. 
 
 HOARE, Prince, portrait and history 
 painter. Son of the foregoing. AVas born 
 at Bath in 1755, and studied art there 
 under his father. In 1772 he gained a 
 Society of Arts' premium, and at the age of 
 1 7 came to London and entered the schools 
 of the Academy. In 1776 he was sent to 
 Rome, where he was the pupil of Mengs, 
 and was diligent in copying the great works. 
 He returned to London in 1780, and for a 
 time practised his profession, exhibiting at 
 the Royal Academy in the following year ; 
 and in 1782, a classical attempt, ' Alceste, 
 devoted to death, recommends her children 
 to Vesta.' He also painted a portrait of 
 Sir Thomas Lawrence, when a child, which 
 was engraved by Sherwin ; and up to 1755 
 exhibited a portrait and a subject picture 
 at the Academy. But it seems his return 
 had been heralded by expectations he did 
 not fulfil. He ceased to exhibit, and ill- 
 health, probably added to want of success, 
 induced him to make a voyage to Lisbon. 
 He returned in 1788, and when he again 
 settled in London, he tried literature, and 
 wrote some successful comic operas, pro- 
 
 ducing, between 1788 and 1799, 20 plays, 
 chiefly musiciil farces, one of which at least, 
 ' No Song, no Supper,' continues to hold it-s 
 place on the stage. 
 
 In 1799 ho was appointed to tlie honorary 
 office of foreign corresponding secretary 
 to the Royal Academy. He Avrote several 
 works connected witli the fine arts — ' Aca- 
 demic Annals,' 'Inquiry into the present 
 State of the Arts of Design in I^ngland,' 
 1806 ; ' The Artist,' a collection of essays, 
 1809; and in 1813, 'The Epochs of the 
 Fine Arts.' He died at Brighton, aged 80, 
 December 22, 183-1. 
 
 HOARE, Sir Richard Colt, Bt., amateur. 
 Born in 1758, and succeeded to the baro- 
 netcy in 1787. Ho drew many of the views 
 to illustrate Coxo's ' Historical Tour in 
 Monmouthshire,' published in 1801 ; but 
 was known by his landscapes as early as 
 1780. He went to Rome with Lord de 
 Tabley, and with him sketched the antique 
 ruins and scenery. He died 1841. 
 
 HOARE, , engraver. He practised 
 
 in the time of Charles 1. He engraved 
 some of the sketches made in Italy by Mr. 
 Evelyn, and was of some repute. 
 
 HOBDAY, William Armfield, minia- 
 ture and, portrait painter. He was born in 
 1771, at Birmingham, where his father had 
 realised a good property in manufacture. 
 An early talent for drawing was encouraged, 
 and he was placed under an engraver ; but 
 he did not like the art, and left his 
 master in the sixth year of his time, and at 
 once commenced painting small portraits 
 in water-colours and miniatures, which he 
 exhibited at the Academy in 1794-95-96. 
 He came to London, and though ho met 
 with good encouragement, and added con- 
 siderably to the allowance made to him by 
 his father, yet he rushed into society and 
 expense, to the neglect of his art, and in his 
 falling fortunes he married, and increased 
 in extravagance. He went yearly to Bristol 
 and to Bath, where he found much employ- 
 ment, and eventually, about 1802, settled 
 at Bristol, where he painted during 14 
 years, was well supported, and made largo 
 gains. But in 1818 he returned penniless 
 to London, and took a large house. His 
 art could not, however, maintain his ex- 
 travagance ; he sold pictures by commis- 
 sion, and engaged in other speculations, 
 finishing by bankruptcy in 1829; but his 
 property did not realise a dividend, and, 
 ruined in fortune and in spirit, he died 
 February 17, 1831. He painted many por- 
 traits and portrait-groups of large size, 
 and some subject pictures, and he received 
 large prices for his pictures. Several of his 
 works are engraved. 
 
 HODGES, Charles Howard, portrait 
 painter. Born in England in 1774. He 
 passed the greater portion of his life in 
 
 205 
 
HOD 
 
 HOF 
 
 Holland, and did not exhibit his works at 
 the London Exhibitions. His portraits were 
 life-like, well drawn, and possessed much 
 merit in tone and colour. He was also a 
 good mezzo-tintist, and imitated Reynolds 
 with great tenderness and expression. He 
 produced some clever plates, vigorously 
 treated, after the Dutch masters. He died 
 at Amsterdam in 1837, aged 63. 
 
 HODGES, John, engraver. He was one 
 of the early mezzo-tint engravers, and ex- 
 celled in that art. His best plates are 
 after Sir Joshua Reynolds's 'Beggar Boy 
 and Child,' 'Boy reading,' 1794; and, 
 jointly with Walker, 'Hercules strangling 
 the Serpents.' He died in August 1802. 
 
 HODGES, William, R.A., landscape 
 painter. Born in London 1744, the son 
 of a blacksmith, who kept a small shop 
 in Clare Market. He gained some instruc- 
 tion in Shipley's drawing school, where 
 he was originally employed as errand boy, 
 and was noticed by R. Wilson, R.A., who 
 took him to be his assistant and pupil. He 
 made rapid progress, and quitting his master 
 he found some employment as scene painter 
 to the theatre at Derby, where he continued 
 some time. He exhibited at the Spring 
 Gardens Rooms in 1 770 and 1772, and in the 
 latter year was appointed the draftsman to 
 Captain Cook's second expedition : return- 
 ing after three years' absence, he was engaged 
 by the Admiralty in completing his drawings 
 and superintending their engraving. In 1 776 
 ]ie first exhibited at the Royal Academy, 
 and then and in the two following years sent 
 views in Otaheite and New Zealand, with 
 some English views. About this time he 
 married, but losing his young wife he was 
 induced to go to India under the patronage 
 of Governor Hastings. Here he acquired 
 some money, and in 1784, on his return, he 
 exhibited views in India, to some of which 
 Gilpin added the animals. He also married 
 a second time, and again, after a few months, 
 losing his wife, he married a third time. 
 
 In 1786 he was elected an associate, and the 
 following year a full member, of the Royal 
 Academy. He made a tour on the Conti nent 
 in 1790, and collected some sketches on the 
 Rhine, and also visited St. Petersburg. 
 When the Pantheon was converted into a 
 theatre for operas, on the destruction of the 
 Opera House by fire, he was appointed the 
 scene painter, but did not show much ability 
 for this art. His works are mostly from 
 nature ; with some appearance of power, they 
 are loose and unsatisfactory in their execu- 
 tion, and monotonous in colour. His best 
 productions are the views he brought from 
 India, and a view of Windsor from the Great 
 Park. ^He painted several subjects for 
 Boydell's ' Shakespeare,' but they are mere 
 landscapes,with Shakespeare incidents intro- 
 duced. Two of his pictures of this class— 
 206 
 
 * The Effects of Peace and War,' are in the 
 Soane Museum. He continued to exhibit 
 many works up to 1794, when his contribu- 
 tions to the Academy ceased. He published 
 four views of India, engraved by different 
 artists ; a collection of views in India, in 
 great part aqua-tinted by himself ; and his 
 travels in India, illustrated by his drawings. 
 A collection of 25 of his paintings was exhi- 
 bited in Bond Street, which did not meet 
 with support, and on its close he retired 
 from the profession. His works were then 
 sold by auction, but produced only an incon- 
 siderable sum. 
 
 He endeavoured to retrieve his fortune, 
 which had become impaired, it was said 
 by his publications, by establishing a bank 
 at Dartmouth, where he settled in 1795, 
 but completely ruined himself in this under- 
 taking. His losses impaired his health, 
 and he died atBrixham, February 27, 1797, 
 leaving a wife and family without any 
 provision. 
 
 HOD GINS, Henry, scene painter. Born 
 in Dublin. Was a pupil of Robert Carver, 
 and was for many years engaged at Covent 
 Garden Theatre as one of the principal 
 scene painters. Died at Maidstone, Sep- 
 tember 11, 1796. 
 
 HODGSON, Chaeles, draftsman. An 
 artist of the Norwich School, who was prin- 
 cipally occupied in teaching early in the 
 19th century. He was a contributor, chiefly 
 of interiors, by which he is best known, to 
 the exhibitions of the Norwich Society, as 
 was also his son David. 
 
 HODGSON, Thomas, wood engraver. He 
 gained a premium at the Society of Arts in 
 1 775, and was employed in 1776 by Bewick, 
 who was then in London. His name appears 
 to one of the plates to Hawkins's ' History 
 of Music' He was also a publisher. 
 
 HODGSON, Edward, flower painter. 
 Born in Dublin. He pi*actised in London, 
 painting with much ability both fruit and 
 flowers, in the last half of the 18th century. 
 He exhibited with the Free Society in 1782 
 and 1783, also at the Royal Academy in 
 1781 and 1782, and again in 1788. He was 
 treasurer to the Associated Artists of Great 
 Britain. He died in Great Newport Street, 
 London, in 1794, aged 75. 
 
 H 0 F L A N D, Thomas Christopher, 
 landscape painter. Was born at Worksop, 
 Nottinghamshire, December 25, 1777. His 
 father was a cotton manufacturer there, and 
 removed with him to Lambeth about 1790, 
 and soon after failed. He was then in his 
 19th year, and self-instructed, tried land- 
 scape. Devoting himself to the study of 
 his art, he was assisted for a few months by 
 Rathbone, and then had recourse to teach- 
 ing as a means of existence. He was a 
 volunteer in the King's Own Company at 
 Kew, where he resided from 1799 to 1806, 
 
HOG 
 
 HOG 
 
 and having attracted his Majesty's notice, 
 he gave him a commission to make drawings 
 of the rare plants in the royal collection ; 
 and afterwards made some other attempts 
 to promote his interests. He had during 
 the above period exhibited at the Eoyal 
 Academy; and about this time he went 
 to the North of England, and then 
 became a member of the Liverpool Art 
 Academy. An opening for a teacher at 
 Derby led him to that town, w^here he 
 resided for some short time. But coming 
 up to London to copy as a student at the 
 British Institution, his love of art prevailed, 
 and in 1811 he returned to the Metropolis 
 at the close of that year, resumed his con- 
 tributions to the Academy Exhibitions, and 
 was successful in his works. 
 
 In 1814 he received the award of 100 
 guineas by the governors of the British 
 Institution for his painting, 'A Storm off the 
 Coast of Scarborough,' which was purchased 
 by the Marquis of Stafford ; and the copies 
 he made from the great masters in landscape 
 found ready purchasers. About 1815 he 
 removed to Kichmond, and in 1817 to 
 Twickenham. At this time he received a 
 commission from the Duke of Marlborough 
 to paint a series of pictures of his seat of 
 White Knights. To this he devoted him- 
 self for several years, and also made himself 
 responsible to the engravers employed upon 
 the work, to his sad disappointment and 
 loss. Driven back to London by this in 
 1823, he again engaged in teaching, but not 
 leaving his easel he painted several pictures 
 carefully from nature, and produced some 
 of his best landscapes — 'A Lake view of 
 Windermere,' 'Jerusalem at the time of 
 the Crucifixion,' with some moonlight and 
 lake views; ' Windsor Castle by Moonlight,' 
 1823; 'Llanberris Lake,' 'Twilight,' 1833. 
 He was now in his 63rd year,and was enabled 
 by the sale of his works to visit Italy. He 
 made some good sketches, but unfortunately 
 attacked by fever at Florence, he hastened 
 home, quite broken in health. He was no 
 less a foundation member and active sup- 
 porter of the Society of British Artists, and 
 a large contributor to the Society's Exhibi- 
 tions. He lived successively at Kensington, 
 Hammersmith, and Eichmond, where he 
 lingered for about two years, and then went 
 to Leamington, and died there January 3, 
 1843, aged 65. His art was peculiar. His 
 aim was to convey poetical impressions, but 
 he never rose to the first rank, probably kept 
 back by the many struggles and difficulties 
 which he had to encounter. An enthusiastic 
 angler, he wote, ' The British Angler's 
 Manual,' 1839 ; and was generally a well- 
 read man. His widow, who did not long 
 survive him, was well known by her literary 
 abilities. 
 
 HOGtAN, John, scidftor. He was born 
 
 in October 1800, at Tallow, Co. Waterford, 
 where his father was a builder. His mother 
 was a descendant of the Irish Lord Chief 
 Justice Cox. He was placed in 1812 in an 
 attorney's office at Cork, but he had found 
 means to draw in the Academy there, and 
 at the end of two years he quitted his em- 
 ployment and gained admission to an archi- 
 tect's office. Almost untaught in art, ho 
 produced at this time a wood carving in 
 basso-rilievo, ' The Triumph of Silenus,' a 
 group of 15 figures. Studying anatomy 
 he improved in his power, nnd executed 
 several other carvings, both in wood and 
 stone. In 1823 he modelled a ' Minerva' 
 of so much promise that his friends in Ire- 
 land attempted to raise a fund to take him 
 to Eome. The subscription was headed by 
 the Eoyal Irish Institution and the Dublin 
 Society, and 250/. were raised, to which Sir 
 John Fleming Leicester added an allowance 
 of 50/. a year for three years. He set off 
 for Eome in November of the same year. 
 His first production there was his 'Eve 
 picking up a dead Bird,' which was fol- 
 lowed by his monumental group to the 
 memory of Dr. Doyle, a fine work, which 
 gained him admission as an associate of the 
 College of Art at Eome. He next completed 
 his statue of O'Connell, now in the Exchange 
 at Dublin, and ' The Drunken Eaun.' After 
 some stay his funds failed him, and he was 
 again, and unsolicited, assisted by his Irish 
 friends and Sir John Fleming Leicester. 
 On his return he practised in Dublin, Irish 
 in all his associations, he was called ' The 
 Irish Sculptor.' He only exhibited at the 
 Eoyal Academy on two occasions, in 1833, 
 when he sent a ' Marble figure of the Ee- 
 deemer after Death,' and in 1850 two busts 
 and the model of a mural monument. He 
 died in Dublin, March 27, 1858, in his 57th 
 year, and was buried in the Glasnevin 
 Cemetery. He left an Italian lady, whom 
 he had married, unprovided for, a widow 
 with 1 1 children. The Queen granted her 
 a pension of 100/. on the Civil list. 
 
 HOGtAETH, William, subject fainter. 
 His father, Eichard Hogarth, was educated 
 at St. Bees, Durham, and kept a school 
 in that county. He was a man of some 
 learning, came to London early in life, and 
 opened a school in the Old Bailey. He was 
 also employed as a corrector of the press. 
 He published, in 1712, 'Grammatical Dis- 
 quisitions,' styling himself ' Schoolmaster ; ' 
 compiled a Latin Dictionary, and some other 
 works. He died about 1721. Of his son 
 William's early life only scant particulars 
 exist. He was born in London, Dec. 10, 
 1697, and was baptised at the church of 
 St. Bartholomew, Smitlifield, and appren- 
 ticed to a silversmith, to learn the art of 
 engraving arms and cyphers on plate. But 
 he was a youth of a strong and original 
 
 207 
 
HOG 
 
 HOG 
 
 mind, and soon showed indications of a 
 genius a1)0ve such work. 
 
 On the completion of his apprenticeship 
 lie became a student in the St. Martin's 
 Lane Aaidemy, where he gained such a 
 knowledge of drawing as enabled him to 
 express his ideas. Al)out 1720 he engaged 
 in business for himself, which at first was 
 confined to his master's trade ; but in 1723 
 he both designed and engraved 12 plates 
 for De la Mottraye's ' Travels.' This work 
 was followed by seven small plates for 
 Apuleius's ' Grolden Ass,' and in 1725, by the 
 head-pieces for Beaver's ' Military Punish- 
 ments of the Ancients.' He also designed 
 and engraved the illustrations for an edition 
 of ' Hudibras,' with a portrait of Butler. At 
 the same time he painted portraits, for 
 which he had shown an aptitude by his 
 power of seizing a graphic likeness, and 
 gave a novelty to his work by producing 
 small characteristic groups, which obtained 
 the designation of 'conversation-pieces.' 
 The spirit of art was soon aroused in him, 
 and, self-reliant and determined on his 
 pursuits and opinions, he was destined to 
 produce an entirely original art, casting 
 aside all the old traditions, and to lay the 
 broad foundations of the English school. 
 
 His disposition is shown in the incidents 
 of his life. He ran away, in 1730, with Sir 
 James Thornhill's daughter, when in her 
 19th year. He resolutely maintained his 
 own original style of painting against his 
 professional brethren — even influencing 
 them to turn to nature for their art. He 
 successfully asserted his rights in a court 
 of law, and was the means of obtaining 
 from Parliament a copyright act, to defend 
 the property of art. He did not fear to aim 
 his graphic attacks at Wilkes, Churchill, 
 Pope, AVarburton, Kent, and others who 
 could retaliate. He is said to have drawn 
 his brush across his friend Garrick's 
 portrait on some dispute about the like- 
 ness ; and there is another well-known 
 portrait, through which, on some similar 
 provocation, he had run his knife. Stevens 
 says he had not received a liberal educa- 
 tion, yet it is hardly probable that his 
 father, who was both a scholar and a 
 teacher, left him without such knowledge 
 as could be gained before his prentice 
 days. Opposed to academies and to the 
 foundation of a Eoyal Academy, he be- 
 came a member in 1760 of the Society 
 of Artists, which, on his motion, was 
 entitled ' The Free Professors of Painting, 
 Sculpture, and Architecture.' But it does 
 not appear that he showed any further 
 interest in the young society, and his name 
 does not continue on the list of members in 
 the following year. 
 
 At the time of his marriage, Hogarth 
 had commenced his 'Harlot's Progress,' 
 208 
 
 and the work, which was completed in 
 17/3, is said to have appeased his wife's 
 father. The painter here invented his own 
 story, and first carried out, as he tells us 
 he wished, his desire 'to compose pictures 
 on canvas, similar to the representations 
 on the stage, and that they should be 
 tried ]>y tli'^ same test and criticised by the 
 same criLcrioJi.' This truly original work, 
 both in conception and execution, he 
 followed up by another story of the same 
 class, ' The Rake's Progress ; ' and in 1745 
 he completed his ' Marriage a la Mode,' in 
 which his art culminated. Divided into 
 six acts or tableau, the story of youth 
 sacrificed to rank, with its sad moral, is 
 well and touchingly depicted. Every inci- 
 dent tends to the climax ; every accessory, 
 even the smallest, contributes its share to 
 the story; the background itself studiously 
 combines to fill its part in the drama. 
 
 Such was Hogarth's true art, on which 
 his imperishable fame will surely rest. 
 But he was tempted to enter into com- 
 petition with the other painters of his 
 day, and to try subjects of high art. Eor 
 this he was unsuited, and brought upon 
 himself much severe criticism by his 
 ' Paul before Felix,' ' Moses brought to 
 Pharaoh's Daughter,' ' The Good Sama- 
 ritan,' ' Sophonisba,' and some others, 
 which possess none of the qualities of this 
 class of art, and into which some marring 
 incident was sure to creep. Hogarth found 
 his engravings more saleable than his 
 pictures. He was from his education used 
 to the graver, and assisted by others he 
 published many plates, which had deser- 
 vedly a large sale, and spread the know- 
 ledge of his art. The serial pictures be- 
 fore mentioned were engraved, so also 
 'A Modern Midnight Conversation,' 
 'Southwark Fair,' 'The Four Times of 
 the Day,' ' Strolling Actresses in a 
 Barn,' ' The enraged Musician,' ' Industry 
 and Idleness,' 12 plates ; ' The March to 
 Finchley,' four election prints, and many 
 others. 
 
 Hogarth's power of drawing, though it 
 did not qualify him for high art, enabled 
 him admirably to imitate the forms within 
 his own range of art — to seize their expres- 
 sion and character — and to endow them 
 with truth and nature. In this he was 
 surely a master. His colour was simple 
 and pleasing, not wanting in harmony ; 
 his works well and carefully finished. He 
 died childless at his house in Leicester 
 Fields, October 26, 1764, and was buried 
 in Chiswick Churchyard. That he had 
 not amassed money by his art, appears from 
 the fact that the Royal Academy, founded 
 after his death, at once granted his widow 
 a pension of 40^. a year. When his tomb 
 was opened to receive her, November 21, 
 
HOG 
 
 HOL 
 
 1789, his coffin was not to be seen, which 
 led to some conjectures ; but it was after- 
 wards remembered that he was buried in a 
 grave, and the tomb subsequently erected 
 over him. 
 
 nOGENBERGH, Remigitis, engraver. 
 There are only scant accounts of him. 
 He was one of the engravers who was 
 employed at Lambeth Palace about the 
 middle of the 16th century, by Archbishop 
 Parker, of whom there exist by him two 
 engraved portraits. He worked with the 
 graA'er only, and the rarity of his works 
 forms their chief value. 
 
 HOGG, Ja-Cob, e7igraver. Practised in 
 the last half of the 18th century, usually 
 in the dot manner. He engraved several 
 works after Angelica Kauffman, R.A., 
 after Kirke for the Shakespeare Gallery, 
 and some others of the English painters of 
 his time. 
 
 HOLBEIN, Hans, 'portrait and subject 
 painter. He was of an artist family, and 
 was the son of an artist. Born at Augs- 
 burg, authorities have differed as to the 
 time of his birth, which has been variously 
 placed between 1495 and 1498, but the first 
 year seems most consistent with the ascer- 
 tained date of some of his earliest works. 
 Taught by his father, and imitating his 
 manner, he painted some portraits and 
 other works in his native city ; and about 
 1515 removed to Basle, where, in 1520, he 
 was invested with the freedom of the city, 
 and was induced to settle, probably from 
 the greater liberty enjoyed there. There 
 also he gained the friendship of Erasmus. 
 He very early attained great technical skill, 
 and evinced a rare power of drawing — life- 
 like, full of character, and truthful. He 
 painted the ' Meier Madonna,' one of his 
 finest works, in 1522; the 'Passion of 
 Christ,' in eight compartments ; with many 
 portraits, among them his patrons, Amerbach 
 and Erasmus, and the frescoes in the town 
 hall. At Basle he also made many of his 
 inimitable designs for wood engraving, his 
 satirical marginal sketches, full of humour, 
 to Erasmus's ' Praise of Folly,' his ' Alpha- 
 bet of Death,' ' Initial Letters,' and ' Dance 
 of Death.' 
 
 While at Basle also he had visited and 
 executed some works at Lucerne and Altorf. 
 But the disorders which befel in 1525 at 
 Basle, followed by the plague, must have 
 rendered art stagnant. Poverty possibly 
 urged him to listen to overtures made to 
 him to try his fortune in England, and in 
 1526 he came to this country, bringing his 
 portrait of Erasmus, with a letter of intro- 
 duction from that renowned scholar to Sir 
 Thomas More, who at once received him 
 into his house at Chelsea. He had begun 
 as a portrait painter, and this was the class 
 of art in which he now found employment. 
 
 He was in the full ngour of life and of his 
 art. ^ One of his first works was a portrait 
 of his patron, followed by Archbishop 
 Warham, 1527; Fisher, Bishop of Koch- 
 ester, Sir Henry Guildford, and his large 
 picture of the More family. 
 
 He had come to England with small 
 means, possibly ill-provided even for his 
 journey, and had left his wife and children 
 at Basle. Neither country liad in the mean- 
 while been without serious troubles, times 
 were hard in both, and in the autumn of 
 1529 he returned to Basle, where he re- 
 mained for about two years, and in that 
 time completed his frescoes in the town 
 hall. On coming back to England he found 
 his friend Sir Thomas More removed from 
 his high office, and Archbishop Warham 
 dead. He had satisfied the claims upon 
 him as a citizen of Basle, and with the 
 intention to settle in England had pro- 
 bably made some provision for his family, 
 whom he had left behind. He had gained 
 a reputation here, saw a career open to him, 
 and between this time and 1535 painted 
 many fine portraits, of which may be men- 
 tioned the so-called ' Ambassadors,' at Long- 
 ford Castle; John Reskemer, at Hampton 
 Court; Sir William and Lady Butts, at 
 Antony. 
 
 It has been generally stated circumstan- 
 tially, that he was introduced to Henry VIII. 
 by Sir Thomas More, but there is no con- 
 firmation of this, nor of the date at which 
 he entered the King's service, other than 
 that the first payment made to him by the 
 Crown was in March 1538, and from that 
 year must be dated many of the works 
 by him in the royal collections — several 
 portraits of Henry VIII., the Duke 
 of Norfolk, Sir Henry Guildford, Ed- 
 w^ard VI. when a child, a numbert'of fine 
 miniatures, and a large collection of draw- 
 ings, including 86 portraits. The British 
 Museum also possesses several of his 
 drawings. Many of his works will also be 
 found in private collections. A very fine 
 full-length portrait of the Duchess of Milan 
 is at Arundel Castle ; a large painting of 
 ' The King presenting the Charter ' in the 
 possession of the Barber Surgeons' Com- 
 pany, but much injured ; a cartoon of part 
 of the large picture of Henry VIT. and 
 Henry VIII., with the two Queens, destroyed 
 at AVhitehall, is at Hardwick Hall ; and at 
 Longford Castle, the ' Ambassadors ' already 
 mentioned, and the portraits of Egidius 
 and Erasmus. 
 
 Unsurpassed in many of the highest 
 qualities of portrait art, especially in his 
 life-like character, he was no less so in the 
 originality, variety, and power of his designs, 
 whether drawings for the wood engraver, 
 for jewellery and ornament, or for works of 
 an architectural character. He has been 
 
 209 
 
HOL 
 
 HOL 
 
 generally stated by his biographers to have 
 died in England, of the plague, in 1554, m 
 his 56th year. But the discovery in 1861 
 of the will of ' John Holbeine, servaunte to 
 the Kyngc's-Magestye,' with some other cor- 
 roboratory circumstances, have led to the 
 adoption of 1543 as the year of his death. 
 
 HOLDERNESSE, , portrait painter. 
 
 Practised in the time of Charles I.^ His 
 works are now unknown, but they did not 
 bear any reputation 
 
 HOLDING, Henry James, landsca'pe 
 'painter. He was of an artist family, and 
 practised both in oil and wvater-colours at 
 Manchester, where he exhibited and en- 
 joyed a local reputation. He died of con- 
 sumption, in Paris, August 9, 1872, aged 39. 
 An exhibition was formed at Manchester 
 for the benefit of his widow. 
 
 HOLE, Henry, wood engraver. He was 
 a pupil of Bewick, for whose ' British Birds ' 
 he engraved some of the blocks. He also 
 engraved some of the illustrations for 
 McCreevy's poem, 'The Press,' and for 
 Felicia Browne's 'Poems.' He resided at 
 Liverpool, was a member of the Liverpool 
 Academy, and at the exhibition there, in 
 1814, contributed 'An Attempt to restore 
 the old Method of Cross-lining on AVood,' 
 engraved by himself. But succeeding to 
 an estate early in life, he abandoned en- 
 graving. 
 
 HOLE, William, engraver. Practised, 
 but without much ability, in the early part 
 of the 17th century. He was chiefly em- 
 ployed upon portrait frontispieces for the 
 booksellers. His works find a place in the 
 folios of collectors. He published a copy- 
 book called ' The Pen's Excellencie.' 
 
 HOLL, William, engraver. AVas a pupil 
 of Benjamin Smith. His works are chiefly 
 in the chalk manner. He engraved several 
 portraits and historical subjects, and was 
 engaged in the engraving of the antique 
 marbles in the British Museum. In 1816 
 he ran the risk of severe penalties by con- 
 cealing, without any sympathy with his 
 opinions, young Watson, one of the leaders 
 of the Spa Fields rioters, for whose appre- 
 hension a large reward was offered by the 
 Government. He died in London, Decem- 
 ber 1, 1838, aged 67. His sons William 
 and Francis were brought up to his pro- 
 fession. 
 
 HOLL, AViLLiAM, engraver. He was the 
 eldest son of the above, and was born at" 
 Plaistow, in Essex, February 1807. He 
 studied his art under his father, and became 
 eminent as a portrait engraver, attaining 
 great excellence in the stipple manner. He 
 engraved for Lodge's 'Portr.iits of illustrious 
 Personages,' Knight's 'Portrait Gallery,' 
 and some portraits published by Messrs, 
 Finden ; also after Frith, R.A., ' An Eng- 
 lish Merry-making,' 'The Village Pastor,' 
 210 
 
 and ' The Gleaner and his AVife,' with a 
 number of portrait drawings after G. Rich • 
 mond, R.A. He died in London, after a 
 long illness, January 30, 1871. 
 
 HOLLAND, Henry, architect. Was 
 born about 1740. One of his first works 
 was the erection of Clermont House, 
 Esher, 1763-64, followed by some large 
 alterations at Trentham Hall, Staffordshire. 
 He was afterwards much employed in the 
 Metropolis. He designed Brooks's Club, 
 St. James's Street, 1778 ; added the portico 
 and vestibule to Dover House, Whitehall, 
 1786; and the fine Corinthian portico and 
 Ionic colonnade to Carleton House, Pall 
 Mall, since removed. He rebuilt, in 1794, 
 Drury Lane Theatre, which was burnt 
 down 1809. He designed the Pavilion, 
 Brighton, 1800, and the Albany, Piccadilly, 
 1804. He also made some alterations at 
 Woburn Abbey and Althorp, and built 
 Lord Spencer's mansion at Wimbledon. He 
 held the appointment of surveyor to the 
 India House. Died in Hans Place, June 1 7, 
 1806. His nephew, Richard Holland, 
 was brought up to his profession, and ex- 
 hibited some architectural designs at Spring 
 Gardens 1770, and at the Academy in 1771. 
 
 HOLLAND, John, amateur. Practised 
 in London in the reign of Queen Elizabeth, 
 and is mentioned by AValpole as an ingenious 
 painter. 
 
 HOLLAND, John, engraver. Practised 
 in London in the second half of the 1 8th 
 century. He engraved some caricatures, 
 but was chiefly engaged on portraits. 
 
 HOLLAND, James, water-colour 'painter. 
 Born October 17, 1800, at Burslem, where 
 his father was employed in the pottery 
 works, and his family had long been en- 
 gaged ; and he was very early set to work as a 
 flower painter on porcelain and pottery, and 
 in 1819 came to London, w^here he tried 
 flower painting, and supplemented his small 
 earnings by teaching, extending his art to 
 landscapes, in which he introduced archi- 
 tecture, and to marine subjects. Making 
 some progress, he first exhibited a group of 
 flowers, in 1824, at the Royal Academy, and 
 continued to exhibit flowers up to 1829. 
 About 1830 he visited France, where he 
 made some architectural studies, and on his 
 return produced some works of greater pre- 
 tension, exhibiting at the Academy, in 1833, 
 his ' London, from Blackheath.' In 1835 he 
 first appears as an ' associate exhibitor ' at 
 the AVater-Colour Society. In 1 843, leaving 
 that Society, he was elected a member 
 of the Society of British Artists, and 
 remained a member till 1848, but con- 
 tinued to exhibit occasionally at the Roj^al 
 Academy. In 1856 he was re-elected an 
 associate of the AVater-Colour Society, and 
 then exhibited with them, and was in 
 1858 a full member. He was largely em- 
 
HOL 
 
 HOL 
 
 ployed upon illustrations by publishers, and 
 produced many works for the Annuals ; 
 for this purpose, in 1836, he visited Venice, 
 returning by Milan, Geneva, and Paris. In 
 1838 he made a journey to Portugal, and 
 in 1839 exhibited at the Eoyal Academy a 
 fine painting of Lisbon. He afterwards 
 visited ' Holland and Normandy, and again 
 Venice. He died February 12,1870. His 
 works were marked by great delicacy and 
 poetry, his views of Venice glowing with 
 tender colour. 
 
 HOLLAND, Sir Nathaniel, Bart., K.A., 
 portrait and history 'painter. See Dance, 
 Nathaniel. 
 
 HOLLAR, Wenceslas, engraver. Was 
 born in 1607, at Prague. His femily were 
 of the higher order of gentry ; as Protestants 
 they had suffered in fortune, and their ruin 
 was completed by the confiscations which 
 followed the battle of Prague in 1619. Ho 
 was educated for the law, but having a love 
 for drawing, he began to study art as a 
 means of maintenance at Frankfort, where 
 he had found a refuge. In 1625 he pub- 
 lished a ' Virgin and Child ' and an ' Ecce 
 Homo,' his two first plates. He then tra- 
 velled to Antwerp, Cologne, and some of 
 the German cities, returning to Cologne. 
 Here the Earl of Arundel saw some of his 
 drawings, took him under his protection, 
 treated him with great respect, and brought 
 him, on his return, to England in 1637. 
 
 His first works in England were his 
 plates of Greenwich and a 'portrait of his 
 patron, the earl, on horseback. He had 
 apartments in Arundel House, studied un- 
 interruptedly from the noble collection 
 there, was liberally remunerated, and had 
 the good fortune to marry a young gentle- 
 woman, who was under the protection of 
 the countess. His merits were soon recog- 
 nised, and in 1640 he was appointed to 
 teach the prince drawing. In the same 
 year appeared his fine work, in 28 plates, 
 • Ornamentus Muliebris Anglicanus,' small 
 full-length figures of the costume of women 
 in England, followed in 1642-43-44 by 
 similar works on the Dresses of Women of 
 other European countries. The Civil War 
 now broke out. He was, from his con- 
 nections, obnoxious to the Parliamentarians, 
 and entered the ranks of the royal army 
 under the Marquis of Winchester. Made 
 prisoner on the surrender of Basing House, 
 he escaped to Antwerp, where his patron 
 had already fled, and settled there in 1645. 
 Here he laboured for some years, but not 
 meeting with much encouragement after 
 Lord Arundel left, he was again in diffi- 
 culties, and in 1652 he returned to England. 
 
 He now found full employment in en- 
 graving heads and title-pages for book 
 illustrations. In 1654 he w^as employed by 
 Faithorne, who took him into his house, his 
 
 p 
 
 wife having died, and employed him upon 
 plates for Dugdalo, Virgil, and other publi- 
 cations. The Restoration, however, brouglit 
 no brighter prospects for him. He wanted 
 enterprise, was most inadequately paid for 
 his labour, and was content to remain in 
 quiet obscurity, while others gained tlio 
 profit of his laborious work. The times 
 were unfortunate for art. The Fire of 
 London and the Great Plague added to tlio 
 perplexities of all, and he fell into absolute 
 want, when about this time (1669) he was 
 sent to Tangiers by the King to make 
 drawings of the forts and defences, and of 
 the surrounding country. For his two years' 
 labour and his valuable drawings, some of 
 which are now in the British Museum, ho 
 only received 100^. after many supplications 
 and long delay; and on his return his 
 vessel had to encounter a serious attack by 
 Algerine corsairs. 
 
 His life had been one long series of trials, 
 and things did not now mend. He lost his 
 only son, a youth of much promise, and 
 his sorrows were full. He died a Roman 
 Catholic, March 28, 1677, in his 70th year, 
 in Gardiner's Lane, Westminster, now a 
 niost miserable place, and was disturbed on 
 his death-bed, which he prayed to retain 
 for the few hours "he had to live, by bailiffs, 
 who entered his apartment, to seize his 
 only remaining piece of furniture. He was 
 buried in the churchyard of St. Margaret 
 hard by. That he was laboriously indus- 
 trious his etchings and engravings testify. 
 They have been calculated to number nearly 
 2,400 — costumes, portraits, history, anti- 
 quity, views, and landscapes, and a catalogue 
 has been made of his works, which extends 
 to 132 quarto pages. He worked with the 
 point with extraordinary minuteness of 
 finish, yet with an almost playful freedom. 
 His drawings are equally truthful and 
 finished ; many of his views of our cathe- 
 drals and antiquities are excellent. Walpole 
 feelingly says of him, ' To have passed a 
 long life in adversity, without the errors to 
 which many men of genius have owed it, 
 and to have ended that life in destitution 
 of common comforts, merely from the insuf- 
 ficient emoluments of a profession, and with 
 a strictly moral character, such was the fate 
 of Hollar!' Virtue published, in 1745, a 
 description of Hollar's works, with some 
 account of his life. 
 
 HOLLINS, John, A.R.A., portrait and 
 subject painter. Born at Birmingham, where 
 his father was a glass painter, June 1, 
 1798. He was early devoted to art, and first 
 exhibited portraits in 1818. In 1822 he 
 came to London, where he practised paint- 
 ing in oil and occasionally in miniature. In 
 1825 he travelled to Italy, and studying 
 there two years, returned in 1827. He re- 
 sumed portrait painting, contributed largely 
 2 211 
 
HOL 
 
 HOL 
 
 to tlio Academy Exhibitions, and from this ^ 
 time till his death was a constant exhibitor 
 of portraits, portrait-groups, and subjects, 
 chiefly from the poets and novelists. His 
 likenesses were accurate, his drawing and 
 grouping good, and he excelled in colour. He 
 Avas elected an associate of the Royal Aca- 
 demy in 1 842. He died, unmarried, in Ber- 
 ners'Street, March 7, 1855, in his 57th year. 
 
 HOLLINS, William, architect and sculp- 
 tor. Cousin of the above. Was a self-taught 
 man, and for nearly three-quarters of a 
 century practised at Birmingham. He ex- 
 hibited at the Eoyal Academy, commencing 
 in 1821, some busts, and a head of Thetis 
 and of Christ. His last contribution to 
 the exhibition was in 1824, 'Model of the 
 Garden of Gethsemane.' He erected in Bir- 
 mingham the public office and prison, the 
 old library, and dispensary. He also made 
 some alterations in the mansion at Alton 
 Towers. He designed the Royal Mint at 
 St. Petersburg, but declined to go to Russia 
 to superintend its execution. He died in 
 1843, in his 80th year. 
 
 HOLLIS, George, engraver. Born at 
 Oxford in 1793. He was a pupil of George 
 Cooke, and was largely employed on topo- 
 graphical works — Hoare's ' History of Wilt- 
 shire,' Warner's ' Glastonbury Abbey,' Or- 
 merod's' Cheshire,' &c. In 1818 he published 
 six views of Chudleigh, from drawings by 
 De Cort. He also engraved a series of 
 plates of the Oxford colleges and halls, 
 some of them from his own drawings. He 
 practised in the line manner, and contri- 
 buted some of the plates on steel for the 
 ' Oriental Annual,' 1834. In 1837 he finished 
 a large plate after Turner, R.A., which was 
 exhibited at the Academy tlie following 
 year. He died at Walworth, January 2, 
 1842, aged 49. 
 
 HOLLIS, Thomas, draftsman. Only son 
 of the foregoing. Entered the schools of 
 the Academy in 1836, and became a pupil 
 of Pickersgill, R.A. In 1839 he commenced, 
 in conjunction with his father, who etched 
 the greater number of the plates, a work on 
 Sepulchral Effigies, on the plan of Sto- 
 thard's, for which he made the drawings. 
 The first part was published in 1840. Some 
 of the etchings were by. him, and showed 
 much spirit. His health gave way soon 
 after, and he died October 14, 1843, aged 25. 
 
 HOLLO WAY, Thomas, engraver. Born 
 in London 1748. His father was in easy 
 circumstances, and gave him a useful edu- 
 cation ; of a Dissenting family, he was him- 
 self a Baptist. He was apprenticed to a 
 steel engraver, and soon showed his ability 
 in the ornaments in that material which 
 were then worn. But this fashion passed 
 away, and after trying several branches of 
 engraving he adopted the copper-plate, and 
 produced some portraits and embellishments 
 212 
 
 for magazines. He was at the same time a 
 student, both drawing and modelling, at the 
 Royal Academy. He first made himself 
 known by the engravings for Lavater's 
 ' Essays on Physiognomy,' an extensive 
 work, containing 700 illustrations. He was 
 also employed on the publications of Boy- 
 dell, Macklin, and Bowyer, and on editions 
 of the British classics. He painted some 
 portraits in oil and miniatures, which were 
 exhibited, with some life-size crayon por- 
 traits. But he is chiefly known as the 
 engraver of the cartoons of Raphael. He 
 desired to produce a more finished series 
 than those of Dorigny, and having obtained 
 from the King the exclusive use of the car- 
 toons, he removed to Windsor, where they 
 were then deposited, to commence his 
 work, of which he had scarcely considered 
 the full magnitude. Here, with the assist- 
 ance of two former pupils and of Joseph 
 Thompson, he worked for many years, the 
 labour and expense of his undertaking be- 
 coming more and more apparent ; and as 
 his work proceeded, his original inadequate 
 price of 3 guineas for the set was increased 
 to 10 guineas. The cartoons, during the 
 progress of the w^ork, were removed to 
 Hampton Court, and, with his assistants 
 and family, he followed them. After many 
 more years' labour, careful drawings being 
 completed, the artists moved in a body to 
 Edgefield, in Norfolk; and then, not finding 
 sufficient convenience, to Coltishall, near 
 Norwich. Here the sixth plate was in ad- 
 vanced progress, and the seventh and only 
 remaining plate commenced, when Hollo- 
 way died, in February 1827, aged 79. 
 George III. felt much interest in the work, 
 and appointed him his historical engraver. 
 He had suffered an early disappointment, 
 and never married. A brief memoir of him, 
 in small octavo, was published in 1827, but 
 contains little of interest connected with his 
 art. His careful drawings for the cartoons 
 were sold by auction in 1862. His engrav- 
 ings were neatly and carefully finished, but 
 lack the drawing and spirit of the ruder 
 works of Dorigny. 
 
 HOLM AN, Francis, marine painter. He 
 exhibited yearly at the Royal Academy, com- 
 mencing in 1774, and enjoyed a contem- 
 porary reputation. He painted storms and 
 sea-fights. In 1778, ' Action between the 
 French and English Fleets in 1759;' in the 
 following year, ' The Attack upon Rhode 
 Island ' and ' A Storm at Sea ; ' in 1 782, ' Ad- 
 miral Parker s Fight with the Dutch Fleet,' 
 from a sketch made during the action; in 
 ] 783, ' Lord Rodney's Engagement with the 
 French Fleet under the Count de Grasse ; ' 
 and in 1784, a naval action, his last exhi- 
 bited work. 
 
 HOLME, Arthur, architect. He prac- 
 tised in Liverpool, where he enjoyed a local 
 
HO L 
 
 HOM 
 
 reputation. He built St. Paul's Church, 
 St. Matthew's Church, All Souls' Church 
 and Schools, St. Andrew's Church and 
 Schools, St. Aidan's Church and Schools, 
 All Saints' Church, some warehouses, and 
 other buildings in that borough. He died 
 early in December 1857. 
 
 HOLMES, James, miniature painter. 
 Born 1777. He showed an early talent for 
 drawing, and was apprenticed to an en- 
 graver, with whom he made rapid progress, 
 but on the termination of his apprentice- 
 ship he turned to the practice of water- 
 colours, and in 1813 joined the Watcr- 
 Colour Society. He exhibited, with some 
 portraits, rural subjects, generally treated 
 with humour — ' Hot Porridge,' 'Cinderella,' 
 ' Michaelmas Dinner,' ' Going to School,' 
 'The Doubtful Shilling' — which was en- 
 graved, and was very popular — ' Girl pro- 
 tecting Chickens from a Hawk,' ' The un- 
 skilful Carver' (purchased by the King). 
 In 1822 he left the Society. He had in 
 1819 first exhibited at the Eoyal Academy, 
 and was soon after led to attempt oil paint- 
 ing, and in this medium, as well as in 
 water-colour, was for many years an occa- 
 sional exhibitor of portraits and portrait- 
 groups. He was an active promoter of the 
 foundation of the Society of British Artists, 
 and in 1829 became a member and an ex- 
 hibitor, sending a portrait of George IV. 
 in water-colours, with, from time to time, 
 a portrait up to 1850, when he resigned 
 his membership. Soon after he retired 
 from London, and spent the greater part 
 of his latter years in Shropshire. He died 
 February 24, 1860. His chief practice was 
 in miniature, and he met with great en- 
 couragement, and had many distinguished 
 sitters, among them several members of the 
 royal family and Lord Byron, who preferred 
 his work to any other. He was clever in 
 the choice of a subject, and his works were 
 always most carefully finished and good in 
 colour. Genial and buoyant in spirit, he 
 was gifted with great musical talent. He 
 became a favourite with George IV., and 
 was in the habit of joining both in singing 
 and playing with his Majesty. 
 
 HOLMES, P., engraver. Practised in 
 London at the end of the 17th century. He 
 worked with the graver only, but never 
 attained any excellence. The greater part 
 of the illustrations of Quarles' ' Emblems ' 
 are engraved by him. 
 
 HOLTE, Thomas, architect. Was a native 
 of York. Practised in the time of James I. 
 The revival of Gothic architecture at Oxford 
 is greatly due to him. He built in that city, 
 the square of the public schools, which 
 is of some grandeur and fine in its propor- 
 tions. The groined vault under the eastern 
 wing of the Bodleian Library is an example 
 of his skill, as is also the quadrangle of 
 
 Merton College. The whole of Wadliam 
 College is attributed to him. He died at 
 Oxford, September 9, 1624, and was buried 
 there in Holywell Churchyard. 
 
 HOLWORTHY, James, icatcr-coJonr 
 painter. He was an occasional exhibitor at 
 the Royal Academy about the beginning of 
 the 19th century, and made himself known 
 by his Welsh views. He was in 1804 one 
 of the foundation members of the Water- 
 Colour Society, and from thattime to 1813 a 
 constant contributor to its exhibitions, send- 
 ing views chiefly in Wales, the Lake districts 
 of England, and in Yorkshire. He continued 
 to practise in London up to 1822. He mar- 
 ried in 1824 a niece of Wright, of Derby, 
 who was also known as an artist, and then 
 retired to reside upon some property, the 
 Brookfield estate, which he purchased, near 
 Hathersedge, in that county. He died in 
 London in June 1841, and was buried in 
 Kensal Green Cemetery. 
 
 HOME, Robert, portrait and subject 
 iminter. Was the son of an apothecary in 
 London. He studied under Angelica Kauif- 
 man, R.A., and for a time in Rome. He first 
 appears in the Academy catalogue as the 
 exhibitor of a portrait in 1770. He went 
 early to practise in Dublin, and exhil)itcd 
 there in 1780 no less than 22 portraits and 
 an allegorical picture. He also sent portraits 
 from thence for exhibition at the Royal Aca- 
 demy in 1781-82, and returned to London 
 in 1789, from whence, at an early age, he 
 went to India. He first settled at Lucknow, 
 and was appointed portrait and historical 
 painter to the King of Oude. He afterwards 
 resigned that office and retired to Cawnpoor, 
 having realised a considerable fortune by 
 the practice of his profession. When a pic- 
 ture pleased by the recognised fidelity of 
 the likeness or the faithful rendering of the 
 costume, with the jewellery and the rich ac- 
 coutrements, the generosity of the roya 
 sitter frequently knew no bounds. In some 
 of his groups of large ceremonials he had to 
 encounter great difficulties from the ignor- 
 ance of the King, and had frequently, when 
 his Majesty deposed his ministers or be- 
 headed them, to make corresponding changes 
 in his pictures. In 1797 he sent home for 
 exhibition at the Academy, 'The Reception 
 of the Mysore Princes as Hostages by the 
 Marquis Cornwallis,' and ' The Death of 
 Colonel Morehouse at the Storming of 
 Bangalore.' He died about the year 1836. 
 There is a large picture of • The King of Oude 
 receiving Tribute,' by him, at Hampton 
 Court. Hi s pictures were carefully and accu- 
 rately painted, his colouring rich and harmo- 
 nious. He prepared his colours himself, and 
 his pictures stand well. Several of his works 
 are engraved. He published a ' Description 
 of Seringapatam,' 1796, and ' Select views in 
 Mysore,' which represent the chief scenes of 
 
 213 
 
HON 
 
 HOO 
 
 the campaign against Tippoo Sultan in 1797. 
 His two sons were in the Indian army, and 
 one of them was killed at the head of his regi- 
 ment at the battle of Sobraon. Sir Everard 
 Home, Bt., was his brother. 
 
 HONDIUS, JoDocus, engraver. Born at 
 Ghent about 1563. Studied there the 
 classics and mathematics, and when about 
 20 years of age fled to England, where he 
 made mathematical instruments and en- 
 graved charts and maps. Besides these, 
 he engraved some portraits, among them 
 Queen Elizabeth, Thomas Cavendish, famed 
 as a sailor, a large print of Sir Francis 
 Drake, &c. He married in London in 1586, 
 and had a family. Kemoved to Amsterdam, 
 he died there in 1611. 
 
 HONDIUS, Henry, engraver. Was born 
 in London about 1588. The son of the 
 above, by whom ho was instructed. There 
 are many known portraits- by him, neatly 
 but stiffly executed. Among them, portraits 
 of Queen Elizabeth, James I., and Charles I. 
 He died about 1658. 
 
 HONDIUS, Abraham, animal fainter. 
 Son of the foregoing. He was born, ac- 
 cording to some authorities, at Kotterdam, 
 in 1638, and came to England in the reign 
 of Charles II. He painted hunting-pieces 
 and animals, and greatly excelled in his 
 vigorous and characteristic treatment of 
 dogs. There are a few good etchings by 
 him. He died in London 1695. 
 
 HONE, Nathaniel, portrait fainter. 
 Born in 1718, at Dublin, where his father 
 was a merchant. He early acquired a love 
 of painting, and (self-taught) practised por- 
 traiture. He came to England when young, 
 and followed his profession in several parts 
 of the 'country, particularly at York, where 
 ho married a lady of some property. Shortly 
 after he came to London and settled in 
 St. James's Place. For some years, with 
 increasing reputation, he painted both in 
 oil and miniature, and more especially in 
 enamel, in which ho excelled, and became 
 the first artist of his day. He was a mem- 
 ber of the Incorporated Society of Artists 
 and one of the foundation members of the 
 Koyal Academy, but some pique against the 
 president, Reynolds, led him into collision 
 with that body. 
 
 He painted a picture of ' The Conjurer,' 
 which was considered, though not very 
 apparent, a covert attack upon Reynolds, 
 and a second work attacking, it was so con- 
 strued, Angelica Kauffman. These works 
 the academicians refused to exhibit, and, 
 angry at their rejection, he made in 1775 
 an exhibition of his own works, about 60 
 or 70 in number, including the two which 
 had given offence. He was a constant 
 exhibitor of portraits at the Academy from 
 its foundation to his death. Sometimes he 
 sent a portrait in character, as 'A Fair 
 214 
 
 Penitent,' ' St. Cecilia,' ' Hebe,' and one or 
 two subject pictures, ' David when a Shep- 
 herd/ ' A Spartan Boy,' ' Nathan and David.' 
 He died at Rathbone Place, London, August 
 14, 1784, in his 67th year, and was buried 
 at Hendon. His portraits were good, but 
 hot and unpleasant in colour. He drew occa- 
 sionally in crayons, and scraped some good 
 mezzotints from his own pictures, particu- 
 larly from his own portrait, painted in 1782, 
 which is in the Royal Academy collection. 
 There are also a few etchings from his hand. 
 He had collected many prints and drawings, 
 which he distinguished by the mark of a 
 human eye. These he sold during his life- 
 time. His pictures and the materials of his 
 art were sold in 1785. 
 
 HONE, Camillus, portrait painter. 
 Younger son of N. Hone, R. A. He was an 
 exhibitor at the Royal Academy from 1777 
 to 1780, and then practised his art with 
 success for several years in the East Indies. 
 On his return he settled in Dublin, and was 
 appointed to a situation in the Stamp Office 
 there. He died in 1 837, at a very advanced 
 age. 
 
 HONE, Horace, A.R.A., miniature 
 painter. Son of the above. He practised 
 both in water-colour and in enamel, and 
 occasionally in oil. From 1772 to 1782 he 
 exhibited at the Royal Academy, and was 
 in 1779 elected an associate. He then went 
 to Dublin, where he settled, and was re- 
 siding in 1791, when his reputation brought 
 him more commissions than he could exe- 
 cute. In 1795 he was appointed miniature 
 painter to the Prince of Wales, and that 
 year exhibited a number of miniatures at 
 the Academy. But on the Union his fashion- 
 able sitters fell off, and he soon followed 
 them to London. He resided then in Dover 
 Street, Piccadilly, had a large practice, and 
 resuming his contributions to the Academy, 
 he continued to exhibit up to 1822. He 
 died after a short illness. May 24, 1825, in 
 his 70th year, and was buried in St. George's 
 Chapel Yard, Oxford Road. Many of his 
 miniatures are engraved. 
 
 HOOD, Thomas, humorous draftsman. 
 Was born in the Poultry, a * Cockney,' as 
 he said. May 23, 1799 ; the son of a book- 
 seller, and apprenticed to his uncle as an 
 engraver, by whom he was transferred to 
 one of the Le Keux. He early abandoned 
 this art for literature, in which his first 
 attempts had been made. But he had much 
 ability for drawing, and the quaintness of 
 his illustrations to his writings added to 
 their just celebrity. His chief works so 
 embellished were his ' Whims and Oddities/ 
 ' Hood's Magazine, ' and ' The Comic Annuals.' 
 He also etched and published a large plate 
 full of humour and character, called ' The 
 Progress of Cant.' His memory, however, 
 belongs to literature. He was a most ori- 
 
HOO 
 
 HOP 
 
 ginal and powerful genius ; a poet, serious 
 and comic ; a novelist, a humorist writing 
 under the pressure of pecuniary difficulties 
 and of bodily suffering. As ho desired, it 
 was recorded on his tomb in the Kensal 
 Green Cemetery, ' He wrote the Song of the 
 Shirt.' This song consisted of a few pain- 
 fully serious verses, of which the moral 
 elFect was inconceivable. After a lingering 
 illness of several years, aggravated by many 
 trials, he died in the Adelphi, May 3, 18o5. 
 A pension of 100/. a year granted by the 
 Queen to his wife just before his death, then 
 fast approaching, was his last solace. 
 
 HOOD, John, mari7ie loainter. He was 
 a ship^\Tight, living at Limehouse, and 
 practised in water-colours soon after the 
 middle of the 18th century. In 1765 ho 
 ^exhibited ' Shipping ' at the Spring Gardens 
 Rooms. Houston engraved after him, in 
 mezzo- tint, ' A Naval Engagement.' 
 
 HOOKE, Dr. Robert, architect. He 
 was born July 18, 1635, at Ereshwatfr, Isle 
 of Wight, of which parish his father was 
 the minister. He was for a short time a 
 pupil of Sir Peter Lely, but was early re- 
 moved to Westminster School, and from 
 there to Christ Church, Oxford, where he 
 took his M.A. degree about 1662. A good 
 mechanician, he tried many astronomical 
 and mechanical iuA^entions, and was one 
 of the promoters of the foundation of the 
 Rojal Society ; and became the curator in 
 1662 and the secretary in 1677, and read 
 many philosophical papers at the Society's 
 meetings. He was also Gresham professor 
 of geology. For some time he was an 
 assistant to Sir Christopher Wren, and after 
 the Great Eire in 1666 was his competitor, 
 having submitted a model for rebuilding 
 the City. He was appointed one of the 
 commissioners for surveying and adjusting 
 the sites of the diiferent owners ; and was 
 the designerof several well-known buildings, 
 the chief of which have been taken down to 
 make way for modern improvements. He 
 built, in 1663, the Duke of Montague's house 
 in Bloomsbury, which was burnt down in 
 1686 ; part of the old College of Physicians, 
 Warwick Lane ; Aske's Hospital, Hoxton ; 
 and Bethlehem Hospital, on its removal to 
 Moorfields, in 1675. After a life of great 
 activity, he died, quite worn out, March 3, 
 1702-3. His works, and a record of his 
 inventions, with a memoir of him, were pub- 
 lished 1705. In his own day he was known 
 as a great astronomer and miser. 
 
 HOOPER, S., topographical draftsman. 
 He practised in the latter part of the 18th 
 century, and made many of the drawings 
 used by Gough in his 'Monumental An- 
 tiquities,' but they are of an inferior cha- 
 racter. 
 
 HOPKINS, Thomas, enameller and en- 
 araver. He was chiefly employed in enamel- 
 
 ling and chasing watches and jewellery at 
 a time when such work was fashionable, 
 and when Bono, R.A., found the same em- 
 ployment. He died in London, August 4, 
 1794. 
 
 HOPLEY. Edward W. J., suhjcct painter. 
 He practised at Lewes in the early part of 
 his life, but in 1850 came to London, and 
 from that yejir to his death was a frequent 
 exhibitor at the Academy. In 1 851 , 'Psyche ;' 
 in 1853, 'A Little Bit of Scandal ;' in 1860, 
 ' Sappho ;' in 1863, ' The Spanish Coquette.' 
 His last exhibited work was a portrait of 
 Professor Owen. He was also an exhibitor 
 at the British Institution. He died in London, 
 April 30, 1869, in his 53rd year. 
 
 HOPPER, Thomas, architect. Was the 
 son of a surveyor, <'ind was brought \\\) 
 under him. He gained the notice of Walsh 
 Porter, who enjoyed the reputation of a 
 man of taste, and was introduced by him 
 to the Prince Regent, who became his patron. 
 He built Slane Castle, Ireland, altered and 
 added largely to Pcnrh^-n Castle, Bangor, 
 and was engaged in the alteration or erection 
 of several other fine mansions. In the 
 Metropolis he built Arthur s Club-house, 
 St. James's Street; the Atlas Eire Office, in 
 Cheapside ; the Legal and General Eire 
 Office, in Elect Street ; and St. Mary's Hos- 
 pital, Paddington. He was for nearly 40 
 years surveyor of the county of Essex, and 
 adapted the large county gaol at Springfield 
 to the cellular system. He made designs 
 for a national gallery for works commemo- 
 rative of British victories ; competed for 
 the erection of the General Post Office, and 
 published his designs ; and also for the 
 new Houses of Parliament. Erom the year 
 1833 he was a frequent exhibitor at the 
 Royal Academy. He died August 11, 1856, 
 aged 79. 
 
 HOPPER, Humphrey, sculptor. Studied 
 in the schools of the Royal Academy, and 
 in 1803 gained the Academy gold medal for 
 his original group, ' The Death of Meleagar.' 
 He was, commencing in 1799, an occasional 
 contributor to the Academy Exhibitions. 
 His first works were of an ornamental 
 character, but in 1807 he exhibited designs 
 for the Pitt and Nelson monuments ; then 
 some classic figures, 'Venus,* 'Bacchus,' 
 'A Bacchante.' In 1815 and the following 
 years he was an exhibitor of busts, with 
 sometimes a monumental figure. He ex- 
 hibited for the last time in 1834. The 
 public monument in St. Paul's to Major- 
 General Hay, a group of three figures, is by 
 him. 
 
 HOPPNER, John, ^.k., portrait painter. 
 Was born at Whitecliapel, April 4, 1758. 
 His mother was one of the German attend- 
 ants at the palace, and his father, notwith- 
 standing some mystery has been made with 
 respect to his parentage, also a German, had 
 
 215 
 
HOP 
 
 HOR 
 
 for some time been settled here. He com- 
 menced life as a chorister in the Chapel 
 Royal ; afterwards showing a strong incli- 
 nation for art, the King made him some 
 small allowance, and in 1775 he was ad- 
 mitted a student of the Eoyal Academy. 
 Continuing to study diligently, he gained 
 the gold medal in 1782 for an original 
 paintingfrom ' King Lear,' and the same year 
 married Miss Wright, whose mother was 
 celebrated for her small portraits modelled 
 in wax. 
 
 His early devotion was to landscape, but 
 he soon adopted portrait as his profession, 
 and had many sitters. In 1780 he first 
 appears as an exhibitor at the Academy, 
 and for some years he continued to send 
 portraits of ' A Lady ' or ' A Gentleman,' it 
 not then being the custom to give the name 
 of the person represented. He retained 
 some friends in the palace, for in 1785 he 
 exhibited the portraits of three of the prin- 
 cesses, and in 1789 is distinguished as 
 portrait painter to the Prince of Wales, and 
 then painted the portraits of the Prince and 
 the Duke and Duchess of York. He had 
 attained a high position in his profession, 
 and rank and fashion surrounded his easel. 
 His contributions to the Academy Exhibi- 
 tions were numerous. Lawrence recognised 
 in him his most powerful competitor, and 
 the public looked upon the two as rivals. 
 His art was confined to portraiture ; he made 
 few higher attempts. He was elected in 
 1793 an associate, and in 1795 a member, of 
 the Royal Academy. 
 
 Hoppner succeeded best in his portraits 
 of ladies and children." His handling was 
 free, his execution unlaboured, but his 
 drawing often faulty. His colouring was 
 deemed brilliant by his contemporaries ; it has 
 become hard and horny by time, and from 
 the use of defective materials many of his 
 pictures have fallen into a sad state of 
 decay. The best examples of his art are 
 in the State apartments at St. James's 
 Palace. He was an imitator of Reynolds, 
 to whom some of his best works owe their 
 inspiration. He continued to exhibit, but 
 later with some intermission, up to 1807. 
 A chronic state of ill-health, aggravated 
 by restless irritability, shortened his days. 
 He died January 23, 1810, aged 51, and 
 was buried in the cemetery of St. James's 
 Chapel, Hampstead Road. He published, 
 in 1803, 'A Select Series of Portraits of 
 Ladies of Rank and Pashion,' painted by 
 him; and in 1806, 'Oriental Tales trans- 
 lated into English Verse.' 
 
 HOPPNER, Lascelles, subject painter. 
 Son of the above. He was a student in the 
 Royal Academy, and in 1807 gained the 
 Academy gold medal for his painting, ' The 
 Judgment of Solomon.' He exhibited por- 
 traits at the Academy from 1811 to 1815. 
 ?16 
 
 There is a spirited picture by him, ' The 
 Market-place, Seville,' at Holland House, 
 Kensington, and a fine crayon sketch of 
 ' The Apotheosis of Santa Clara,' after 
 Murillo. 
 
 HOPWOOD, James, engraver. Born 
 about 1752, at Beverley. He was without 
 any help to knowledge in his profession, but 
 was found surrounded by a family of six 
 children, and was then, at the mature age of 
 45, making a second attempt on copper, 
 having already by great industry engraved 
 and published a plate by subscription. By 
 the sale of these two plates, which he had 
 finished under great privations, he w^as en- 
 abled to make his way to London. Mr. Heath 
 kindly permitted him to work in his house, 
 and, struggling with difficulties, by his great 
 assiduity he made up for the deficiency of 
 his early training. In 1813 he was elected 
 secretary to the Artists' Fund, and held this 
 office till 1818, when he resigned, and during 
 illness was assisted from the Fund. He died 
 September 29, 1819. 
 
 HOPWOOD, James, engraver. Son and 
 pupil of the foregoing. He was born in 1795. 
 He engraved in the dot manner, chiefly por- 
 traits, a collection of which was published 
 in Paris. He both designed and engraved 
 some clever book illustrations. 
 
 HORNE, Gklyoi^, glass painter. Described 
 as of the parish of St. Mary Magdalen, 
 glazier. He was one of four contractors, 
 in Henry YIII.'s reign, for completing 18 of 
 the painted windows of the upper story of 
 King's College Chapel, Cambridge. 
 
 HORNEBAND, Gerard Lucas, portrait 
 painter. Born at Ghent in 1498. He came 
 to London, where he practised as a portrait 
 painter, was employed by Henry VIIL, 
 and died in 1558. His sister, Susannah 
 HoRNEBAND, a miniature painter, also came 
 to England, and is said to have married an 
 English painter named Worstley, and to 
 have died at Worcester. 
 
 HORSBURGH, John, engraver. He was 
 a pupil of Burnet, and also received some 
 instruction from James Stewart and Robert 
 Scott. He practised in the line manner, and 
 was much engaged in book illustration. His 
 chief works are Mackie, the actor, as ' Baillie 
 Nicol Jarvey,' after Sir William Allan, and 
 ' Prince Charles reading a Despatch,' after 
 William Simson. He died in Edinburgh, 
 September 25, 1869, aged 79. 
 
 HORWELL, Charles, sculptor. He was 
 a student in the Royal Academy, and in 
 1788 gained the gold medal for his group, 
 ' The Grief of Achilles at the Death of Pa« 
 troclus.' He had previously exhibited at 
 the Academy, and in 1789 sent a 'Cupid 
 and Psyche,' with some other designs ; in 
 1791, 'The Murder of Duncan, King of 
 Scotland.' He did not exhibit again till 
 1799, when, trying portrait art, he exhibited 
 
HOS 
 
 HOW 
 
 busts of his son and daugliter. In 1807 lie 
 exhibited a design for Nelson's monument, 
 and from that time the trace of his art is 
 lost. 
 
 HOSKING, William, architect. He was 
 born in 1800, at Buckfiistleigh, Devon, and 
 was taken when young to New South Wales, 
 where he w^as apprenticed to a builder and 
 surveyor. He returned to England in 1819, 
 and the following year articled himself to an 
 architect, and subsequently spent a year in 
 Italy to improve in his profession. He ex- 
 hibited, but on one occasion only, a drawing 
 at the Eoyal Academy. In 1834 he was 
 appointed engineer to the West London Eail- 
 way, and in 1840 ta a professorship of con- 
 struction and architecture at the Kings 
 College. In 1844 ho was appointed one of 
 the referees under the Metropolis Building 
 Act. He built Trinity Chapel, Poplar, and 
 the chapels and other edifices in the Abney 
 Park Cemetery ; but he is little known in 
 the actual practice of his profession. He 
 published, in 1827 (in connection with J. 
 Jenkins), ' A Selection of Architectural and 
 other Ornaments;' in 1842, 'Abstract of 
 Eeports concerning the Restoration of St. 
 Mary's, Redcliffe, Bristol,' 'A Treatise on 
 the Principles and Practice of Architec- 
 ture;' and his 'Lectures at King's College;' 
 in 1848, ' A Guide to the proper Building 
 of Towns ;' and in 1849, 'Healthy Homes.' 
 He wrote the articles 'Architecture,' ' Build- 
 ings,' ' Masonry,' and some others, for the 
 7th edition of the ' Encyclopaedia Britannica.' 
 He died in London, August 2, 1861, and was 
 buried in the Highgate Cemetery. 
 
 HO SKINS, John, onmiature fainter. 
 Commenced the practice of his art in oil, 
 afterwards took to miniature, in which his 
 chief excellence lies. Charles I., his Queen, 
 and many of the nobility sat to him. His 
 works are truthful and well drawn, but his 
 flesh tint has a tendency to hotness. Sir 
 KenelmDigby, in his ' Discourses,' says 'that 
 by his paintings in little he pleased the pub- 
 lic more than Vandyck.' Samuel and Alex- 
 ander Cooper were his pupils. He affixed 
 his initials to his works, grouping the I 
 within the H. He died in Pebruary 1664, 
 and was buried in Covent Garden Church. 
 
 HOSKINS, John, miniature jpainter. Was 
 a son of the foregoing, and excelled in the 
 same art. His works are greatly prized. 
 He painted a portrait of James II. in 1686, 
 for which he was paid 10/. 05. He signed 
 the initials ' I. H.' separately. 
 
 HOUSTON, Richard, engravfr. He was 
 born in Ireland, and was apprenticed to 
 John Brooks, in Dublin. He settled in Lon- 
 don when a youth, and ] ractised in mezzo- 
 tint with great success. His works are 
 highly esteemed. They rre chiefly portrait, 
 and those after Reynolds, P.R.A., have 
 rarely, been excelled. His 'Duchess of 
 
 Marlborough and Child' is a fine work, and 
 his plates after Rembrandt and some run- 
 ning horses are excellent. He also painted 
 a few miniatures. He was of very dissi- 
 pated habits. Sayer, the printseller, ad- 
 vanced him some money, and was then 
 avoided by him. Sayer then arrested him, 
 and confined him in the Pleet Prison, that 
 he might, as he s;iid, liave him under his 
 own eye and know where to find him, and 
 in this state he continued for many years. 
 He was released on the accession of George 
 III. Ho died August 4, 1775, in his 54tli 
 year. 
 
 HOWARD, Henry, R.A., history and 
 portrait painter. Born in London, Jan. 31, 
 1769. He received an average education, 
 and intended for the arts, at the age of 17, 
 he became the pupil of Philip Reinagle, R .A. 
 In 1788 he was admitted a student of the 
 Academy, and in 1790 gained the first two 
 medals of the year — the first silver medal 
 in the life school, and the gold medal for his 
 original painting of ' Caractacus recognising 
 the deadbody of his Son.' Thus distinguished, 
 he set off for Italy in the following year, 
 A^isited the principal cities, and sent home, 
 in competition for the travelling student- 
 ship, a large painting of ' The Death of 
 Abel,' but was unsuccessful. Returning 
 home by Vienna and Dresden, he reached 
 London in 1794. 
 
 He had, while in Italy, made many careful 
 drawings of the antique sculptures, and was, 
 on his return, employed by the Dilettanti 
 Society upon a series of similar drawings 
 for their publications. His tastes led him 
 to the poetic and the classic rather than to 
 the more severe style, and his works were 
 chiefly from the poets. Prom 1795 he was 
 a large contributor to the Academy Exhibi- 
 tions, sending classic, and exceptionally 
 sacred subjects, with, from 1798 to 1824, a 
 considerable number of portraits. But from 
 the latter year his exhibited works were more 
 of his own peculiar class. He continued an 
 exhibitor till his death. He married, in 
 1801, Miss Reinagle, the daughter of his 
 old master, and the same year was elected 
 an associate, and in 1808 a member, of the 
 Academy. In the latter year he exhibited 
 his ' Christ blessing little Children,' which 
 now forms the altar-piece of the chapel in 
 Berwick Street, St. James's. He made some 
 designs for book illustration, and for the 
 ornamentation of AVedgwood's pottery. In 
 1811 he was appointed secretary to the 
 Academy. In 1814 he gained the premium 
 for designing a medal for the Patriotic 
 Pund. He also prepared the designs for 
 the Great Seals and other medals. About 
 this period he produced some of his best 
 works — ' Sunrise,' for which the British 
 Institution awarded him 100 guineas; in 
 1815, 'The Birth of Venus,' 'The Story of 
 
 217 
 
HOW 
 
 - — / Ti r\ 
 
 Pandora ;' his ' Lady in a Florentine Dress,' 
 exhibited 1824. Ho was elected professor 
 of painting in 1833, but as a lecturer he 
 showed little originality of thought, and his 
 manner and matter both failed to interest 
 the student. In 1843 he was awarded one 
 of the 100/. premiums at the Westminster 
 Hall competition. He died at Oxford, when 
 on a visit to his son, October 5, 1847. 
 
 Distinguished at the outset of his career 
 by the highest Academy honours to be gained 
 by a student, Howard fills only a second 
 rank in art. His works are graceful and 
 pretty, pleasing in composition, correct in 
 drawing, but cold and feeble in style. 
 Painted to a small scale, and suited to the 
 taste of the day, they have found a place 
 in many collections. His art did not, how- 
 ever, meet with much encouragement, and 
 he was glad to add to his income by por- 
 traiture and as a designer. His lectures 
 were published, with' a short introductory 
 memoir, by his son. 
 
 HOWAKD, Feank, designer and drafts- 
 man. Son of the above. Born 1805. He 
 showed an early love of art, and was his 
 father's pupil and a student in the Academy. 
 He commenced his career as an assistant 
 in the studio of Sir Thomas Lawrence, and 
 afterwards painted a number of small-sized 
 portraits, and designed for work in gold and 
 silver. He first exhibited at the Academy 
 in 1825, and in that year and up to 1833 
 sent subjects from the poets and from Scrip- 
 ture. From that time he only exhibited in 
 1839, 1842, and 1847. He was gifted with 
 some ability as a lecturer. About 1842 he 
 went to Liverpool, where he settled, but 
 managed to gain only a scanty livelihood 
 by painting and making drawings, which 
 he sold for a small price, added to teaching 
 and lecturing, and some trifiing pay as thea- 
 trical critic for one of the local newspapers. 
 Ho died at Liverpool in much distress, 
 June 30, 1866. He published 'Lessons on 
 Colour;' ' The Spirit of the Plays of Shake- 
 speare,' a series of outline designs, 1827 ; 
 'The Sketcher's Manual,' 1837; 'Colour, 
 a means of Art,' 1838; 'The Science of 
 Drawing,' 1839; ' Imitative Art,' 1840; 'A 
 Course of Lectures on Painting,' and his 
 father's Lectures, with a memoir, 1848. 
 
 HOWAKD, Hugh, portrait fainter. Born 
 in Dublin, February 7, 1675. His father 
 practised there as a doctor, and driven from 
 Ireland by the political troubles which 
 followed the Revolution, he brought his 
 son with him to England. The young lad 
 showed a talent for drawing, which he im- 
 proved by a journey through Holland to 
 Italy, in the suite of the Earl of Pembroke, 
 in 1697. He returned home in 1700, and 
 after passing some years in Dublin, settled 
 in England, and practised portrait painting ; 
 but his friends obtaining for him the office 
 218 
 
 HOW 
 
 of keeper of the State Papers and pay- 
 master of the Eoyal Palaces, he abandoned 
 the professional practice of his art, and 
 amused himself by making a collection of 
 books, prints, and medals. He died in Pall 
 Mall, March 17, 1737, and was buried at 
 Richmond. He bequeathed his collection 
 to his brother, the Bishop of Elphin, whose 
 eldest son was created Baron Clonmore and 
 Earl of Wicklow. There are one or two 
 etchings by him. 
 
 HO WARD, William, engraver. Practised 
 in the latter half of the 17th century. There 
 is a set of sea-views, with shipping, by him, 
 dated 1665. His works, though very in- 
 ferior in merit, are in Hollar's manner. 
 
 HOWES, John, miniature and enamel 
 painter. First exhibited at the Royal Aca- 
 demy in 1772, and continued a contributor 
 of portraits for several years. In 1780 he 
 exhibited ' The Death of Lucretia,' an ena- 
 mel, and occasionally a classic subject in 
 the same material, ' Cleopatra sailing down 
 the Cydnus,' 1789; 'Imogen discovered in 
 the Cave,' 1790; and in 1793, 'Venus at- 
 tended by the Graces,' his last exhibited 
 work. 
 
 HO WISON, William, A.R.S. A., engraver. 
 Born at Edinburgh in 1798. He was edu- 
 cated at Heriot's Hospital and apprenticed 
 to an engraver. He worked in comparative 
 obscurity for many years after the termina- 
 tion of his apprenticeship. He first gained 
 notice by his plate of ' The Curlers,' after 
 Harvey, R.S.A. He then undertook ' The 
 Polish Exiles,' after Sir William Allan, fol- 
 lowed by the ' Covenanter's Communion,' 
 after Harvey, works which gave him a re- 
 putation. He was elected an associate of the 
 Scottish Academy. He died at Edinburgh, 
 December 20, 1850. 
 
 HO WITT, Samuel, animal painter. Born 
 about 1765. He was self-taught in art, 
 but there is little record of his early life. 
 He first exhibited at the Spring Gardens 
 Rooms in 1783, and at the Royal Academy 
 in 1793, ' Jaques and the Deer ' and 'A Fox 
 Hunt ;' and in the following year, ' Smug- 
 glers Alarmed.' His name then disappears 
 as an exhibitor. He went to India and 
 passed many years in Bengal, where he made 
 numerous drawings, particularly of the wild 
 hunting of that country. From these he pub- 
 lished 50 engravings in 1801 ; ' The British 
 Sportsman,' 70 coloured plates, 1812; in 
 1814, his groups of animals in illustration of 
 ^sop's ' Fables,' and ' Foreign Field Sports,' 
 100 plates; in 1827, 'British Preserves,' 
 36 plates, etched by himself from his own 
 drawings. In 1814-15 ho was again an ex- 
 hibitor at the Academy, but only in these 
 two years. He died suddenly, in Somers 
 Town, in 1822. His drawing was marked 
 by spirit and character; his etchings are 
 carefully finished and truthful. His works 
 
HOW 
 
 HUL 
 
 almost entirely relate to animals and the 
 sports connected witli their pursuit. 
 
 HOWLETT, Bartholomew, engraver 
 and draftsman. He was born at Louth, 
 and came to London, where ho was ap- 
 prenticed to Heath. Ho was much em- 
 ployed in topographical and antiquarian 
 works. He engraved, in 1805, a selection of 
 views in Lincolnshire, a work of some note, 
 and was engaged on Wilkinson's 'Londina 
 Illustrata,' Bentham's ' Ely,' Frost's ' Notices 
 of Hull,' and other works. In 1817 he com- 
 menced a topographical account of Clapham, 
 for which he had made the drawings, but 
 only one number was published. He left a 
 series of drawings of the church of St. Katha- 
 rine, near the Tower, which he had just 
 completed, and above 1,000 finished draw- 
 ings from the seals of the monastic and reli- 
 gious houses in this kingdom. His latter 
 days were embittered by pecuniary distress. 
 He died at Newington, December 18, 1827, 
 aged 60. 
 
 HOWSE, Gr., water-colour 'painter. He 
 painted landscape, views of towns, and coast 
 scenes. He was from 1837 a member of the 
 Institute of Water- Colour Painters, and a 
 large contributor to their exhibitions. He 
 died about the end of the year 1860. 
 
 HUDSON, Thomas, 'portrait painter. 
 Born in Devonshire in 1701. He was the 
 pupil of Eichardson, and became a member 
 of the Incorporated Society of Artists. He 
 drew the face well, and his unaffected repre- 
 sentations pleased the gentry of his time, 
 but he had little ability to paint more than 
 the face, the rest was left to the drapery man. 
 He liA^ed for many years in Great Queen 
 Street, Lincoln's Inn Fields, and, succeed- 
 ing Jervas, became the fashionable portrait 
 painter of his day, and was the first English 
 painter who gained that distinction. He 
 was soon, however, eclipsed by Eeynolds, 
 who had been his pupil, and he retired con- 
 tentedly to Twickenham. Celebrated in his 
 own day, scant justice has been done him 
 in the present. He is only spoken of as the 
 master of Reynolds. His first wife was the 
 daughter of Richardson, who had been his 
 teacher ; and towards the close of his life he 
 married a second time, a lady of good for- 
 tune. There is a portrait of Handel by him 
 in the National Portrait Gallery. He had 
 a large collection of drawings, many of them 
 probably came into his possession from Rich- 
 ardson. Ho diedatTwickenham, January 26, 
 1779. 
 
 HUDSON, Henry, engraver. He prac- 
 tised in mezzo-tint about the end of the 18th 
 century, but little is known of him. He 
 engraved ' Belshazzar's Feast,' after Rem- 
 brandt; ' David and Bathsheba,' after Cas- 
 telli ; and Sir William Hamilton and some 
 other portraits, after Sir Joshua Reynolds. 
 
 HUGFOED, Ignatio, history painter. 
 
 Born in England. He settled early in life 
 at Florence, where ho practised as an his- 
 torical painter. Some of his works are in 
 the Ducal collection, and the altar-piece of 
 Sta. Felicita, in that city, is by him. His 
 works have not much merit. He is chiefly 
 remembered as the master of Bartolozzi, 
 R.A. He died 1778, aged 75. 
 
 HUGGINS, William John, marine 
 2X(inter. Began life as a sailor, and passed 
 his early days at sea in the service of the 
 East India Company. Of the circumstances 
 and opportunities which made him an artist 
 little is known, but he was early in life settled 
 in Leadcnhall Street, painting the portraits 
 of ships, some of his first being those in the 
 East India Company's service. In this ho 
 found remunerative employment, and gra- 
 dually improving his work was admitted to 
 the Academy Exhibition, and he continued 
 for several years an occasional exhibitor. 
 In 1834 he was appointed marine painter to 
 William IV., who esteemed his work rather 
 for its correctness than its art. He painted 
 for his Majesty three large pictures of the 
 'Battle of Trafalgar,' which are now at 
 Hampton Court. His works are tame in 
 design, skies bad in colour, seas thin and 
 poor. He died May 19, 1815, aged 64. 
 Several of his paintings are engraved. 
 
 HUGHES, Henry, wood engraver. Born 
 about 1796. He practised his art in Lon- 
 don, and engraved the illustrations for many 
 works, among others, ' The Beauties of Cam- 
 bria,' the landscape views of which arc cut 
 with much ability. 
 
 HUGHES, Robert Ball, sculptor. Stu- 
 dent of the Academ}^ Gained the gold 
 medal in 1823 for his group of ' Mercury 
 and Pandora.' He exhibited a bust at the 
 Academy in 1822, his gold medal group in 
 1824; in 1825, 'Achilles;' in 1826, two 
 busts; and in 1828, his ' Shepherd Boy ;' 
 after which he went to America, and his 
 name no longer appears in the catalogues. 
 
 HUGHES, AVilliam, wood engraver. 
 Was a native of Liverpool, and apprenticed 
 to Henry Hole. His earliest works were 
 for the illustration of Gregson's ' Fragments 
 of Lancashire ;' some of his most finished 
 for Rutter s ' Delineations of Fonthill.' He 
 also engraved for Dibdin's * Decameron e,' 
 1817, and Johnson's ' Typographia,' 1824. 
 He had great power of imitation, and two 
 blocks after Holbein and some of his illus- 
 trations for Ottley's ' History of Engra^dng' 
 are excellent. He died in Lambeth, Feb- 
 ruary 11, 1825, aged 32. His works are 
 neat in finish, and though dry and hard 
 possess much merit. 
 
 HUGO OF St. Alban's. He is recorded 
 as the master painter of St. Stephen's 
 Chapel, AVestminster, temp. Edward I. 
 
 HULETT, J., engraver. He practised in 
 London in the reign of Charles I., and found 
 
 219 
 
HUL 
 
 HUM 
 
 his chief employment with the booksellers. 
 There is, both drawn and engraved by him, 
 a portrait of Eobert Devereux, Earl of 
 Essex, and of Sir Thomas Fairfax. 
 
 HULETT, James, engraver. Towards 
 the middle of the 1 8th century he practised 
 in London, and was chiefly employed by 
 the booksellers. He executed the cuts for 
 an edition of ' Joseph Andrews,' and many 
 of the plates for Coetligon's ' Dictionary of 
 Arts and Sciences,' and for a ' Life of Queen 
 Anne.' He died in Eed Lion Street, Cler- 
 kenwell, January 1771. 
 
 HULL, Thomas H., miniature painter. 
 First exhibited at the Koyal Academy in 
 1775, and continued to contribute up to the 
 year 1800. 
 
 HULLMANDEL, Charles Joseph, litho- 
 grapher. Son of a German musician. He 
 was born in London, and devoted himself 
 to art ; travelled, and made on the Continent 
 many sketches and studies. In the year 
 1818 he tried lithography, and printed 
 many of his own drawings. He was so 
 successful that his instruction was sought 
 both by artists and amateurs ; and he deter- 
 mined to devote himself to the new art, 
 which was indebted to him for great im- 
 provements. He succeeded in producing a 
 graduated tint, and in the use of white for 
 the high lights. He was engaged in the 
 fine folio works of Stanfield, Koberts, 
 Harding, Nash, Haghe, and others. After 
 many experiments, he invented the litho-tint 
 process, the use of liquid ink on the stone 
 with a brush, and in this manner published 
 the works of Cattermole, and afterwards 
 gave greater variety in the art by the use 
 of the stump on the stone. He died in 
 G-reat Marlborough Street, November 15, 
 1850, in his 62nd year. 
 
 HULSBERG, Henry, engraver. Was 
 born at Amsterdam. He practised in 
 London many years, but the time of his 
 arrival here is not known. His chief works 
 are portraits. Some architectural plates by 
 him in the ' Vitruvius Britannicus ' and a 
 large Anew of St. Peter's, Rome, are well 
 engraved ; but his works, though neat, are 
 tasteless in manner. He was paralysed for 
 two years before his death, and was assisted 
 by a Dutch club, and by the community 
 belonging to the Lutheran Church in the 
 Savoy, where, on his death, in 1.792, he was 
 buried. 
 
 HUMPHREY, OziAs, R.A., miniature 
 painter. Born at Honiton, September 8, 
 1742, and educated at the Grammar School 
 there. His love of drawing induced his 
 parents to send him to London, and under 
 the advice of Reynolds, P.R.A., he studied 
 at the St. Martin's Lane School and the 
 Duke of Richmond's Gallery. At the end 
 of about two years the death of his father 
 led to his return home, and he was then 
 220 
 
 placed under Samuel Collins, the well- 
 known miniature painter at Bath, and on 
 his master's removal to Dublin he succeeded 
 to his Bath connection. In 1764, en- 
 couraged by Reynolds, he settled in Lon- 
 don, and in 1766 a miniature, which he 
 exhibited in the Spring Gardens rooms, 
 w^as purchased by the King, who gave him 
 a commission to paint the Queen and other 
 members of the royal family. He was a 
 member of the Incorporated Society of 
 Artists, and now occupying an eminent place 
 in his profession, he continued to practise 
 with success till, in 1772, his system suf- 
 fered severe injury from the effects of a fall 
 from his horse, and he sought relaxation 
 and relief by a visit to Italy. He left 
 England in Slarch 1773, accompanied by 
 Romney, and made his way to Rome, where 
 he studied the works of the great masters 
 and drew in the French Academy established 
 in Rome. He also visited Naples, Florence, 
 Venice, and Milan. 
 
 He returned in 1777, reaching London in 
 September. He settled in Newman Street, 
 and hoping to profit by his earnest studies 
 in Italy, where he had practised in oil, he 
 tried the higher walks of art, but without 
 encouragement. He exhibited portraits 
 at the Academy in 1779-80, whole-lengths 
 and others, and again in 1783. His at- 
 tempts on large canvases did not, however, 
 realise the hopes promised by his early 
 miniatures ; and with some sense of his 
 disappointment he went to India, to find a 
 competence at the native courts. He em- 
 barked for Bengal in the beginning of 1785, 
 and there, and subsequently at Calcutta, 
 Moorshedabad, Benares, and Lucknow, he 
 painted the miniatures of the native princes 
 and persons of distinction, and realised 
 some property. 
 
 In 1788 ill-health compelled his return, 
 and he resumed miniature painting in St. 
 James's Street. He had been elected in 
 1779 an associate, and in 1791 was made 
 a full member, of the Academy. He 
 found plenty of employment, and among 
 other engagements he undertook to orna- 
 ment a cabinet, for the Duke of Dorset, 
 with miniatures from the portraits at 
 Knowle. He had finished 50, when, from 
 the excessive application, added to his 
 weak health, his sight failed. He then di- 
 rected his attention to crayon portraits, 
 and was in 1792 appointed portrait painter 
 in crayons to the King. His success in 
 this manner gained him sitters, and he 
 exhibited many portraits at the Royal 
 Academy. In 1797 the Prince and Prin- 
 cess of Orange sat to him. But these 
 were nearly his last works ; he did not 
 exhibit after that time. His sight sud- 
 denly and entirely failed, and he retired 
 to Knightsbridge, He died in Thornhaugh 
 
HUM 
 
 HUN 
 
 Street, Bedford Square, March 9, 1810, 
 aged 67. As a miniaturist ho was emi- 
 nently successful. Though without loss 
 of originality, he possessed more of the 
 character of Keynolds than any other 
 painter. Simply composed, well drawn, 
 sweetly coloured, and graceful, not wanting 
 in character or resemblance, his miniatures 
 possess a charm which will always main- 
 tain for them a high place among works 
 of art. He signed his initials in Roman 
 capitals, H. within the 0. 
 
 HUMPHREYS, William, engraver and 
 draftsman. Born about 1740. He ob- 
 tained, in 1765, the Society of Arts' pre- 
 mium for an engraving after Rembrandt. 
 He practised towards the end of the 18th 
 century, and excelled in mezzo-tint, but 
 used also the graver and the needle. His 
 mezzo-tints after Reynolds, P. R. A., possess 
 very high merit, and were esteemed among 
 the best of the time. 
 
 HUMPHRYS, WiLLTA:\r, line engraver. 
 Born at Dublin. He went early in life to 
 America, and was much employed in Phila- 
 delphia on vignettes for banker's notes, 
 adopted for their art excellence as a security 
 against imitation and forgery. On his re- 
 turn to London he had some similar em- 
 ployment, and engraved the head of Queen 
 Victoria for our postage stamps. Among his 
 more important works are Leslie's * Sancho 
 and the Duchess,' the Dresden 'Magdalen,' 
 after Correggio ; Reynolds's ' Coquette ;' and 
 La'svrence's ' Master Lambton.' He also en- 
 graved for ' The Bijou,' ' Forget-me-not,' 
 and some other of the annuals. He died 
 at Genoa, where he had gone for the re- 
 storation of his health, January 21, 1865, 
 aged 71. 
 
 HUNNEMAN, Christopher William, 
 miniaUire painter. He had a good practice 
 in London in the last quarter of the 18th 
 century, and was from 1777 till his death 
 an exhibitor of portraits at the Academy in 
 oil and crayons, but chiefly in miniature. 
 He died November 21, 1793. 
 
 HUNT, H., engraver. Practised in the 
 latter part of the 17th century. He worked 
 for the booksellers, and there are some 
 slight engravings of natural history by 
 him, dated 1683. 
 
 HUNT, Thomas P., architect. He was 
 the labourer in trust attached to Kensing- 
 ton Palace, and was an exhibitor on one or 
 two occasions at the Royal Academy. He 
 designed the Burns Mausoleum at Dumfries. 
 He published 'Hints for picturesque Do- 
 mestic Architoeture,' 1825; 'Designs for 
 Parsonage Houses, Almshouses,' &c., 1827; 
 ' Architettura Campestra, Lodges, Garden- 
 ers' Houses,' &c. ; ' Exemplars of Tudor 
 Architecture, adapted to Modern Habita- 
 tions,' 1829. He died at Kensington, Jan. 4, 
 1831, aged 40. 
 
 HUNT, William, water-colour ])ainter. 
 Born March 28, 1790, in Bolton Street, 
 Long Acre, where his father kept a shop 
 as a tin-plate worker. His education was 
 but scanty. A sickly child, he amused 
 himself in drawing, and, overcoming his 
 father's objections, he was apprenticed to 
 John Varley, and in 1808 was admitted 
 a student of the Royal Academy. He had 
 the previous year exhibited there three 
 oil pictures, and continued an exhibitor 
 yearly to 1811. He became a visitor to 
 Dr. Monro's, and the associate of the rising 
 water-colour painters of the day. He often 
 stayed with the doctor for a month at a 
 time, and was paid by him 75. 6rf. per 
 day for the drawings he produced. In 
 1814 he first connected himself with the 
 Water-Colour Society as an exhibitor, and 
 contributed occasionally to the exhibitions. 
 In 1824 he was elected an associate, and in 
 1827 a member, of the Society. 
 
 From 1824 he was a large and constant 
 exhibitor, for many years his contributions 
 ranging between 20 and 30 works. He 
 will always maintain a very high place 
 in the school of water-colour art. Com- 
 mencing his practice when that art was in 
 its infancy, his early drawings are in the 
 tinted manner, some of them drawn in with 
 the reed pen ; yet in these the original 
 qualities of his matured art may be traced. 
 As this was developed, all the resources 
 and methods are employed to give texture, 
 brilliancy, and power, and in all these he 
 excelled. His best works are wonders of 
 colour and imitative execution ^ — his fruit 
 and flowers unrivalled in truth and com- 
 pleteness of finish ; his rustic groups well 
 drawn, full of life and humour, the real 
 children of the soil, redolent of country 
 nature ; his landscapes no less truthful 
 and excellent. 
 
 Sickly from infancy, he was during his 
 long life more or less an invalid, and lived 
 much at Hastings. He never married. 
 Always indefatigable in his art, he con- 
 tinued to work to the last, and his numerous 
 drawings from their varied and life-like 
 character and artistic excellence will never 
 fail to be esteemed and valued. He caught 
 cold, which terminated in apo^^lexy, and 
 died in Stanhope Street, London, Peb. 10, 
 1864, in his 74th year. 
 
 HUNTER, William, ^oortrait painter. 
 Practised in London the latter part of the 
 18th century. He made some attempts at 
 history. 
 
 HUNTER, Robert, portrait ^painter. 
 Was born in Ulster, and studied under 
 Mr. Pope, senior. He practised in Dublin 
 about the middle of the 18th century. He 
 had a large and profitable practice. His 
 likenesses were good, his colouring studied 
 and harmonious, and his art generally re- 
 
 221 
 
HUQ 
 
 HUS 
 
 spcctable. Ho was deemed the first portrait 
 painter in Ireland, and maintained that 
 position till the arrival of Mr. Home, about 
 1780. Ho had great knowledge of all 
 matters of interest relating to the fine arts 
 in his country, and readily concurred in the 
 plan for founding tho Dublin Society's Art 
 School. His portrait of the Eev. L. Madden, 
 1745, is mezzo-tinted by E. Purcell. 
 
 HUQUIEK, James Gabriei., 'portrait 
 ixdnter. Son of a French painter, who 
 came to England late in life. He practised 
 his art in London, and obtained some cele- 
 brity as a painter of small portraits in 
 crayons. He exhibited occasionally at the 
 Academy from 1770 to 1786, and about 
 1783 resided for a time at Cambridge. He 
 died at Shrewsbury, far advanced in years, 
 June 7, 1805. 
 
 HURDIS, John Henry, amatmr. De- 
 scended from an old Warwickshire family. 
 He finished his education in France, and 
 then, by his own wish, became a pupil of 
 James Heath, the engraver. His property 
 did not necessitate his following art pro- 
 fessionally, but he was well known by his 
 etchings as an amateur. He long resided 
 near Lewes, and both by his portrait and 
 topographical etchings has left many memo- 
 rials of that neighbourhood. He died at 
 Southampton, November 30, 1857, aged 57. 
 
 HUELSTON, Etchard, 'portrait painter. 
 Practised in London the latter part of the 
 18th century. In 1764 he was awarded a 
 premium at the Society of Arts. He con- 
 tributed portraits to the Eoyal Academy 
 Exhibitions in 1771-72-73, and in the 
 latter year went to Italy with Wright, of 
 Derby. Immediately after his return to 
 England he was killed by lightning, while 
 riding across Salisbury Plain in a storm. 
 He was an artist of some promise. A por- 
 trait by him was mezzo-tinted by Dean. 
 His picture of Sterne's 'Maria' was also 
 engraved. 
 
 HUELSTONE, Frederick Yeates, por- 
 trait and history painter. He w^as the 
 grand-nephew of the above, and was born 
 in London in 1800. He was early engaged 
 in the office of the ' Morning Chronicle,' of 
 which paper his father was one of the pro- 
 prietors, but attached himself to art, and 
 was admitted to the schools of the Eoyal 
 Academy in 1820. He became a pupil of 
 Sir William Beechey, and also received 
 some instruction from Sir Thomas Lawrence 
 and B. E. Haydon. He first exhibited at the 
 Academy, in 1821, ' Le Malade Imaginaire ; ' 
 and the following year, ' The Prodigal Son,' 
 with a portrait-; in 1823, portraits ; in 1824, 
 portraits, with ' The Contention between the 
 Archangel Michael and Satan for the body 
 of Moses,' a work which had gained the 
 Academy gold medal in the competition of 
 the preceding year, and from that time to 
 222 
 
 1830 he exhibited several portraits yearly. 
 In 1824 ho was also an exhibitor at the 
 newly-founded Society of British Artists, 
 and continuing an occasional exhibitor, was 
 in 1831 elected a member of the Society, 
 and for the following 14 years exhibited 
 exclusively with its members, sending a 
 large number of portraits and occasionally 
 a subject picture. In 1835 he was elected 
 president of the Society, and in that year he 
 first visited Italy. In 1844 he resumed his 
 contributions to the Academy Exhibition, 
 sending his 'Prisoner of Chillon,' with 
 some portraits, and exhibiting there again 
 in the following year, but then for the 
 last time. 
 
 He visited Spain in 1851-52, and in 
 1854 Morocco; and at this time, greatly 
 influenced by the art of Spain, he painted 
 some Spanish subjects, boys half-clad, in 
 the manner of Murillo, and some Moorish 
 scenes. He became much opposed to the 
 Eoyal Academy, and was one of the party 
 who gave evidence against the constitution 
 and management of that institution in the 
 parliamentary enquiries instituted in 1835. 
 He filled the office of president of the So- 
 ciety of British Artists nearly 30 years. He 
 had a knowledge of foreign literature, made 
 several visits to Italy, and studied in Spain 
 the works of the great Spanish painters. 
 He was in 1855 awarded a gold medal at 
 the Paris Exhibition, but his latter works 
 did not maintain his reputation. Of those 
 most esteemed may be mentioned 'Armida,' 
 from Tasso ; ' Eros,' ' Constance and Arthur,' 
 ' Card-players in a Posada in Andalusia,' 
 ' Bobadil el Chico, mourning over the Fall 
 of G-ranada, reproached by his Mother,' and 
 ' Monks at the Convent of St. Isidore dis- 
 tributing Provisions.' He died June 10, 
 1869, in his 69th year, and was buried in 
 Norwood Cemetery. 
 
 HUE TEE, John Henry, miniature 
 painter. Was born at Schaffhausen, Septem- 
 ber 9, 1734. He was induced to visit this 
 country by Lord Dartrey, and was much 
 employed here practising in enamel, and 
 chiefly as a copyist. He exhibited at the 
 Academy about 1 782. He returned to Swit- 
 zerland. J. F. C. HuRTER, believed to have 
 been his brother, worked with him. 
 
 HUSSEY, GfiisES, portrait painter. Was 
 descended from an old Dorsetshire family, 
 and was born at Marnhull, in that county, 
 February 10, 1710. Educated at Douai 
 and St. Omer, where he acquired a taste 
 for drawing, he was, in op]oosition to the 
 wishes of his family, permitted to follow 
 art, and placed with Eichardson, the por- 
 trait painter, as his pupil. But he soon left 
 Eichardson, and placed himself under Da- 
 mini, a Venetian painter then in England, 
 and after four years' study went with him 
 to Italy. On their arrival at Eome the 
 
HUS 
 
 IBB 
 
 master decamped, robbing his unsuspecting 
 pupil of all his money and the best of his 
 clothing. Assisted by the English Minister, 
 he remained several years in Italy, chiefly 
 at Bologna, and returned to England in 
 1737. 
 
 He did not, however, settle in London 
 till 1742. He then was obliged to submit 
 to what ho called the drudgery of portrait 
 painting for his subsistence, and worse than 
 that, he for some time earned his scanty 
 meals by making copies of a likeness of the 
 Pretender, which he had painted at Rome. 
 He imagined that, after having long sought 
 the unerring principles of art, they had been 
 mysteriously revealed to him in Italy ; that 
 the drawing of the human face, on a ruling 
 principle of concord in nature, should be 
 corrected by the musical scale, and that after 
 the key-note had been obtained, the propor- 
 tions of the face should be determined by it. 
 He was wounded by the jealousy, as he 
 deemed it, with which his discovery and his 
 art were received, and he complained that 
 his spirits were depressed, his ardour cooled, 
 and he conceived a disgust for the world and 
 a dislike for his profession. His temper was 
 soured, and in October 1768 he retired into 
 the country, to recover the wounds inflicted 
 on a too sensitive mind. In 1773, his elder 
 brother dying, he succeeded to the family 
 estate at Marnhull, where he amused him- 
 self with his favourite studies and in garden- 
 ing, till 1778, when, from religious motives, 
 he resigned all his worldly possessions to a 
 near relative, and retired to Beeston, near 
 Ashburton, where he died suddenly in June 
 1788. There is a memoir and portrait of 
 him in the 8th volume of Nichols's ' Literary 
 Anecdotes.' 
 
 His portraits are simple and character- 
 istic, and have much elegance. His draw- 
 ings are chiefly in pencil, pure and free in 
 line ; many of them are preserved in the 
 Academy at Bologna. Reynolds praised his 
 pure, classic taste. Barry, who defended 
 him against what he called his mean de- 
 tractors, said few could conceive the perfec- 
 tions that were possible in him ; and he 
 
 placed his portrait behind that of Phidias 
 in his 'Elysium' at the Society of Arts. 
 West also possessed some of his chalk 
 heads, which he declared had never been 
 surpassed. 
 
 HUSSEY, Philip, portrait painter. Ho 
 was born at Cork, and beginning life as a 
 seaman, he was five times shipwTeckod. He 
 commenced art by drav/ing the figure-heads 
 of ships' sterns, and, self-tanglit, was in 
 time able to gain a practice in Dublin as 
 a portrait painter. Ho painted some fair 
 whole-lengths. He was a clever man, and 
 made himself a tolerable florist, botanist, 
 and musician, and his house was the rendez- 
 vous of the artists and literary men of 
 Dublin. He died there at an advanced age 
 in 1782. 
 
 HUSSEY, ' , anbnal painter. He is 
 
 said to have been a surgeon and apothecary, 
 practising in Covent Garden, to have left 
 that profession for the arts, and to havo 
 excelled particularly as a painter of race- 
 horses ; but there appears no known trace 
 of his works. He died in Southwark, 
 August 26, 1769. 
 
 HUTCHINSON, Henry, architect. He 
 was of some promise, and designed and 
 executed the additions to St. John's College, 
 Cambridge ; but his career was short. Ho 
 died at Leamington, November 22, 1831, 
 aged 31. 
 
 HUYSMANN (or HOUSEMAN), Jacob, 
 portrait painter. Born at Antwerp in 1656, 
 he came early in life to England, and prac- 
 tised portrait painting, and occasionally 
 history, in the reign of Charles II. He 
 painted several portraits of Catherine of 
 Braganza, one of which, a work of much 
 pretension — a full-length seated figure, 
 surrounded by cupids and a lamb — is at 
 Buckingham Palace. The altar-piece at 
 the German Chapel, St. James's, is by him, 
 as is also a portrait of Isaac Walton, in 
 the National Portrait Gallery. He died in 
 London in 1 696, and was buried at St. James's 
 Church, Piccadilly. His heads are well 
 drawn and coloured, the character and ex- 
 pression good. 
 
 IBBETSON, Julius Caesar, landscapte \ 
 and figure painter. His father was one of ' 
 the first who joined the Moravian fraternity 
 at Fulneck, Y'orkshire, but, marrying, was 
 expelled the society. His mother, in con- 
 sequence of a fall, died in premature labour, 
 and he was brought into the world De- 
 cember 29, 1759, by the Caesarian operation, 
 hence his Christian name. He was educated 
 
 for a time by the Moravians, and then sent 
 to a Quaker school at Leeds. Showing an 
 early inclination for art, he was apprenticed 
 to a ship painter, and thouglir he could only 
 learn from him the mechanical part of his 
 art, his invention soon showed itself in his 
 appropriate ornaments. When only 1 7 years 
 of age he painted the scenery for a piece 
 acted at the York and Hull Theatres, which 
 
 223 
 
IBB 
 
 ILL 
 
 gained liim a local celebrity. He says: | 
 ' HaA^ng from my earliest youth had a most ; 
 violent propensity for art, without ever 
 meeting with instruction or encouragement, 
 I at last, on making my way up to London, 
 found myself safely moored in a picture - 
 dealers garret.' This was in 1777, and 
 without money or friends he laboured un- 
 known and in durance for several years. 
 In 1785 he first appears as an exhibitor at 
 the Academy, contributing in that and the 
 two following years views in the suburbs of 
 the Metropolis. 
 
 He had in the interim married, and 
 managed to remove to Kilburn, where he 
 devoted himself to the study of nature, 
 painting both cattle and rustic figures. 
 Many of these works were of much merit, 
 but were sold at very inadequate prices to 
 the dealers. But while so employed he ac- 
 quired knowledge, particularly of the Dutch 
 and Flemish masters, as well as of the 
 tricks of the picture-dealing trade, as then 
 carried on. He became acquainted, too, with 
 Captain Baillie, the well-known amateur, 
 formed a better connection, and improved 
 his fortunes ; and as he was a man of 
 extensive reading and of acute observation, 
 he found his way into much good society. 
 In 1788 he accompanied, as draftsman, 
 Colonel Cathcart's embassy to China, but 
 the ambassador dying on the voyage the 
 vessel returned to England. He had been 
 arrested by his quondam master on arranging 
 to accompany the embassy, and a long delay 
 arising before only a part of his claim was 
 settled, he was in great difficulties, and he 
 had gained little by his voyage but a know- 
 ledge of sailors and ships, which appears in 
 his works from this time. On his return 
 he was for many years a large contributor 
 in oil and water-colours to the exhibitions 
 at the Academy. His works at first were 
 chiefly coast scenes, but later, landscapes, 
 introducing cattle and figures, with rustic 
 incidents. 
 
 He found employment in painting for a 
 publisher the animals for the ' Cabinet of 
 Quadrupeds,' which are rendered interesting 
 by their characteristic incidents and pic- 
 turesque backgrounds. In 1794 he lost his 
 wife ; he had previously lost eight children 
 in succession, and his excessive grief brought 
 on brain fever, on recovering from which 
 he found he had been robbed of everything 
 that could be removed ; and, disposing of 
 the little that was left, he put his three 
 remaining children to school and broke up 
 his household. Then, led into convivial 
 society and increasing embarrassments — 
 driven to seek his amusement in doubtful 
 company, he accepted bills and became 
 surety for payments far beyond his means, 
 and at last, as the only means of escape, 
 left London in 1798 for Liverpool, where an 
 224 
 
 art commission was procured for him, and 
 from thence visiting AVestmoreland, Hull, 
 and Edinburgh, returning to London in 
 1800. 
 
 In June 1801 he married a second time, 
 and a few months later was attacked by 
 his old creditors, with whom he believed a 
 friend had settled, and he was again plunged 
 into hopeless embarrassments. He had, 
 however, many commissions to execute, and 
 managed to escape to his own quiet native 
 village of Masham, in Yorkshire, where, 
 out of the way both of duns and parasites, 
 who had preyed upon him, he was, by 
 pinching economy, enabled to live. Erom 
 thence he sent some pictures to the Academy 
 Exhibition — his last in 1812 ; and there he 
 died, from the effects of a cold which settled 
 on the lungs, October 13, 1817. He painted 
 both in oil and water-colours. His works 
 possess considerable merit, but did not find 
 purchasers. His manner was clear and 
 firm, his colouring subdued, having a ten- 
 den cy to a clayey hue ; his landscape pleasing, 
 with cattle and figures well introduced. He 
 published, in 1803, ' An Accidence or Gamut 
 of Painting in Oil and Water-Colours,' 
 treating solely of the mediums and colours 
 to be used, exemplified by examples ; but 
 in a short introduction, illustratecl by some 
 clever head and tail pieces etched by him- 
 self, he shows himself a humorist and a 
 clever writer. He advises artists to avoid 
 picture -dealers as serpents ; says they are 
 to living painters as hawks to singing-birds, 
 and he proposes to publish a work, for 
 which he says he has collected a prodigious 
 quantity of materials, to be entitled ' Hum- 
 buggologia ' — anecdotes of picture-dealers, 
 picture cleaning, and pictures ; but this, like 
 a promised second part of his ' Gamut of 
 Painting,' has never appeared. The boon 
 companion of George Morland, his follies 
 and failings were of the same class. 
 
 ILLIDGE, Thomas Henry, jportrait 
 'painter. Descended from a highly respect- 
 able Cheshire family, he was born at Bir- 
 mingham, September 26, 1799. His father 
 removed to Manchester when he was a 
 child, and dying early left his family with 
 only scanty provision. He was educated 
 at the Manchester Grammar School, and 
 showing a taste for art, was taught draw- 
 ing, and afterwards became successively 
 the pupil of Mather Brown and William 
 Bradley. His inclination would have led 
 him to landscape, but he had married early, 
 and with a young family he thought it more 
 prudent to try portraiture. His abilities 
 were assisted by many kind friends, and 
 he found full employment in the manufac- 
 turing districts of Lancashire. He was an 
 exhibitor in Liverpool in 1827; and from 
 1842, when he came to reside in London, 
 he was a constant exhibitor at the Koyal 
 
1MB 
 
 INW 
 
 Academy. On the death of H. P. Briggs, 
 R.A., in 1844, he purchased the lease of 
 Ill's house in Bruton Street. Of a cuUi- 
 vated mind and refined manners, in the 
 middle of a career of great promise, he 
 died there of fever, after a short illness, 
 May 13, 1851. A portrait of Colonel Clay- 
 ton by him hangs in the court-house at 
 Preston ; of Sir Joshua Walmesle}^ at the 
 Collegiate Institution, Liverpool, presented 
 by the artist ; and one of the late Earl of 
 Derby, in the board-room of the college. 
 
 IMBER, Lawrence, master carver. AVas 
 employed in that c<apacity on the erection 
 of Henry VII.'s Chapel, AYestminster. 
 
 INCE, Joseph Mureay, water-colour 
 ])ainter. He was born about 1806. His 
 parents resided at Presteign. In December 
 1823 he became a pupil of David Cox, and 
 continued with him until early in 1826. 
 He then came to reside in London, and ex- 
 hibited landscapes at the Royal Academy. 
 About 1832 he was living at Cambridge, 
 where he made many drawings of the archi- 
 tecture of the place, for which he found 
 purchasers there; and then, about 1835, 
 resided for a time at Presteign. He con- 
 tinued an occasional exhibitor at the Aca- 
 demy of landscapes, both in oil and water- 
 colours, up to 1847, and up to 1858 at the 
 Society of British Artists. He inherited 
 some property on the death of his parents, 
 and died shortly before 1860, probably at 
 Presteign. His small drawings were well 
 and carefully coloured, and are among his 
 best works. 
 
 INGALTON, William, subject 'painter. 
 "Was the son of a shoemaker, and painted 
 domestic and rustic scenes, living the 
 greater part of the time at Eton. He 
 exhibited at the British Institution, 1818, 
 ' Preparing for the Pair ' and ' The Vestry ; ' 
 and yearly, from 1816 to 1823 — after which 
 his name no longer appears — he contributed 
 to the exhibitions at the Royal Academy 
 subjects of a domestic character — ' The 
 Wedding Ring,' 'Skittle Players,' 'Bar- 
 gaining for China,' and ' The Battle Inter- 
 rupted.' 
 
 INSKIPP, James, siihject painter. Ho 
 was from 1820 a constant contributor, with 
 one or two periods of absence, to the Aca- 
 demy Exhibitions. His first works were 
 landscapes, followed by some portraits and 
 domestic subjects. He was also, from 1825, 
 an exhibitor with the Society of British 
 Artists of works both in oil and water- 
 colours, and up to 1835 was a large con- 
 tributor ; but from that time he exhibited 
 at the Academy only, sending in 1839 'An 
 Italian Vineyard ; ' in 1840, ' A Hencoop,' 
 which was highly spoken of at the time ; 
 and in 1841, ' Zingarella,' his last exhibited 
 work. About this time he retired to Godal- 
 ming, where he did not altogether lay aside 
 
 his art, practising for his amusement. He 
 died there, March 15, 1868, aged 78, and 
 was buried in the Codalming Cemetery. He 
 published ' Studies of Heads from Nature.' 
 
 INGLIS, Hester, ornamental designer. 
 She was celebrated for her great skill in 
 caligraphy, but has claims to a place among 
 the artists for her embellishments and clever 
 head and tail pieces. She practised in the 
 reigns of Elizabeth and James I. To the 
 Queen she presented a copy, in Prench, of 
 the Psalms of David, in her own writing, 
 now in the Library of Christ Church, Oxford. 
 Her manuscripts are highly curious. She 
 wrote 'Les Proverbes de Salomon' in 1599, 
 every chapter of which is in a different hand. 
 There are two manuscripts by her in the 
 Bodleian Library, Oxford. In the Royal 
 Library there is a collection of 50 emblems 
 by her, finely drawn and written. 
 
 INGRAM, John, engraver. Born 1721, 
 in London, where he learnt his art. In 1725 
 he went to Paris, and greatly improved 
 his style ; and settling, was residing there 
 in 1755. He produced several plates after 
 Boucher, but was chiefly employed on small 
 plates for book illustration, most of them 
 vignettes, engraved in a neat, formal manner. 
 
 IN WOOD, William, architect and sur- 
 veyor. AA^as born about 1 771, near Highgate, 
 where his father was bailiff to Lord Mans- 
 field. He designed several country mansions, 
 and in 1819-22, assisted by his sons, he de- 
 signed and erected the fine new church at 
 St. Pancras. In 1821 he planned the new 
 galleries for St. John's Church, Westmin- 
 ster, and in 1832-33, the new Westminster 
 Hospital. Prom 1813 he was for several 
 years an exhibitor of architectural designs 
 at the Royal Academy. He died in London, 
 March 1 6, 1843. He published ' Tables for 
 purchasing Estates,' 1819, which has run 
 through 18 editions. 
 
 INWOOD, Hekry William, architect. 
 Born May 22, 1 794. Son of the above. He 
 was educated under his father, and in 1819 
 travelled in Greece, where his studies are 
 CAanced by the classic church at St. Pancras, 
 the joint work of his father and himself. He 
 was also connected with his father in the 
 erection of St. Martin's Chapel, Camden 
 Town, 1822-24 ; Regent's Square Chapel, 
 1824-26; Somers Town Chapel, 1824-27. 
 He sailed for Spain in March 1843, and the 
 vessel was lost with all on board. He was for 
 many years, commencing in 1809, an exhibi- 
 tor at the Royal Academy. He published 
 ' The Erechtheion at Athens,' 1 827, and com- 
 menced ' The Resources of Design in the Ar- 
 chitecture of Greece, Egypt, and other coun- 
 tries,' but of this two parts only appeared. 
 
 INWOOD, Charles Frederick, architect. 
 Born November 28,1 798. Younger brother 
 of the above. He was brought up in his 
 father's office, and was his special assistant, 
 
 225 
 
IRE 
 
 JAO 
 
 He designed All Saints' Church, Great Mar- 
 low, opened 1835, and the St. Pancras Na- 
 tional Schools. Ho exhibited some designs 
 from time to time at the Koyal Academy. 
 Ho died June 1, 18-10. 
 
 IRELAND, Samuel, engraver and drafts- 
 onan. AVas originally a mechanic in Spital- 
 fields. He commenced dealing in prints and 
 drawings, and in 1760 he gained a Society 
 of Arts' medal, and soon attained some skill 
 in drawing and engraving. He exhibited at 
 the Eoyal Academy in 1782 — the only occa- 
 sion — some water-colour landscapes and a 
 drawing of * Children,' and was able, never 
 having travelled, to compile and publish, in 
 1 790, ' A Picturesque Tour through Holland, 
 Brabant, and part of France.' Encouraged 
 by this fiction he produced, in 1792, 'Pic- 
 turesque Views on the River Thames ; ' and 
 in 1793, * Picturesque Views on the River 
 Medway,' followed by 'Picturesque Views 
 on the River Severn.' These works were 
 produced in mezzo-tint by his own hand, 
 from his own sketches, and pleased the 
 taste of his day. In 1794 he published an 
 ingenious work, * Graphic Illustrations of 
 Hogarth,' which must not be confounded 
 
 with the work edited by John Ireland, with 
 whom he was in no way connected. His last 
 work, published after his death, was ' Pic- 
 turesque Views, with an Historical Account, 
 of the Inns of Court,' His son has a bad 
 reputation for his Shakespeare forgeries, and 
 he was unable to defend himself successfully 
 from the suspicion of complicity in this 
 daring fraud. He published two angry, ill- 
 judged pamphlets on the subject. He died 
 in Norfolk Street,'^Strand, in July 1800. 
 
 IVORY, James, architect. Was self- 
 educated in his profession. He practised in 
 Dublin, and on the foundation of the Dublin 
 Society's School was the first professor of 
 architecture, and held the office till his death 
 in 1 786. He built the Blue-Coat Hospital, 
 Dublin, commenced in 1773, an important, 
 well-proportioned Ionic structure, and the 
 only monument of his ability. 
 
 IVORY, Thomas, architect. Practised at 
 Norwich about the middle of the 18th cen- 
 tury. He built the Assembly House in that 
 city, and the Octagon Chapel in Colegate 
 Street, surmounted by a dome supported 
 by Corinthian columns, 1754-56, and the 
 theatre, 1757. He died 1780. 
 
 JACKSON, Robert, engraver. There 
 are some early mezzo -tint portraits and a 
 woodcut by an artist of this name in the 
 reign of James II. 
 
 JACKSON, John, R.A., portrait fainter. 
 Was the son of the village tailor at Lasting- 
 ham, in the North Riding of Yorkshire,where 
 he was born, May 31, 1778, and was ap- 
 prenticed to his father, who could not for 
 some time be induced to let him follow his 
 strong predisposition for art, saying, 'He 
 is as good a tailor as ever sat on a shop- 
 board, and how can he do better?' He 
 soon, however, made himself known by his 
 attempts to draw the likenesses of his com- 
 panions, and was rescued from his appren- 
 ticeship by the contributions of some friends 
 when he had still two years to serve. His 
 portraits had been slight attempts in pencil, 
 Aveakly tinted, but a portrait by Reynolds 
 was lent him to copy in oil, in which his 
 success led to his going to London, in 1804, 
 to study art as his profession. In this he 
 was assisted by the generosity of Sir George 
 Beaumont, and in 1805 he was admitted a 
 student of the Royal Academy. The fol- 
 lowing year he exhibited a portrait-group 
 of Lord Mulgrave and the Hon. Mr. Phipps, 
 and continued to exhibit his works at the 
 Academy for several years, the names of his 
 226 
 
 J 
 
 sitters showing how largely he was sup- 
 ported by Lord Mulgrave's family. 
 
 He pursued his studies with assiduity, 
 but his portraits in oil did not afford much 
 promise. His water-colour portraits were, 
 however, as he gained power, greatly ad- 
 mired — they were faithful in resemblance, 
 well drawn, and carefully finished. Many 
 of the heads in Cadell's 'Portraits of Illus- 
 trious Persons of the 18th Century' were 
 drawn by him in this manner, and his 
 practice in water-colour was extensive, and 
 produced him a handsome income. But he 
 aimed at distinction in oil, and soon attained 
 complete success. In 1815 he was elected 
 an associate of the Academy, and travelled 
 through Holland and Flanders, studying the 
 works of the Dutch and Flemish masters. 
 In 1817 he became a full member, and the 
 same year the directors of^ the British In- 
 stitution awarded him a premium of 200^. 
 for the general merit of his pictures. In 
 1818 he visited the chief cities of Northern 
 Italy and Rome, and was elected a member 
 of the Academy of St. Luke. He continued 
 to exhibit at the Academy, but exclusively 
 portraits, up to 1830. He had many men 
 of great distinction as sitters, and several 
 of his most eminent contemporaries in the 
 Academy. 
 
JAO 
 
 JAC 
 
 As a portrait painter he occupies a high 
 rank. His works were faithful in resem- 
 blance, but wanting elevation of character ; 
 solidly and powerfully painted, avoiding 
 meretricious graces. He particularly ex- 
 celled in subdued richness of colour, and 
 liad great facility of execution. He was 
 of the Methodist persuasion, and of deep 
 religious feeling. In the two last years of 
 his life he fell into a low, desponding state 
 of health. He died at St. John's Wood, 
 June 1, 1831. He was twice married, and 
 though his professional earnings had been 
 large, he left his second wife, the daughter 
 of James Ward, K.A., and three infant 
 children, without any provision. There is 
 a memoir of him in the ' Library of the 
 Fine Arts,' 1831. 
 
 JACKSON, John, wood engraver. He 
 resided for many years in Smithfield, and 
 was much employed, in the latter part of the 
 1 8th century, in engraving illustrations for 
 children's books. He was a man of eccen- 
 tric habits, of whom little can now be 
 learnt. 
 
 JACKSON, John Baptist, wood engraver. 
 AYas born in 1701, and was apprenticed to 
 Kirkall, from whom he learnt his art. 
 From want of employment at home, he 
 went to Paris about 1726, where he applied 
 to Papillon, then eminent as a wood en- 
 graver, who says, in his ' Traite de la 
 Gravure en Bois,' that he gave him a few 
 things to execute to supply him with the 
 means of subsistence, and charges him with 
 ungratefully attempting to sell a duplicate, 
 which he had dishonestly made, of a design 
 entrusted to him to execute. For some 
 time he finished works on speculation, and 
 was glad to sell them for what he could 
 get, till, disgusted with his position, and 
 almost destitute, he was induced to accom- 
 pany a painter to Kome about 1731, and 
 from thence to Venice. He resided there 
 till 1742, and in that year published 17 
 large woodcuts in chiaroscuro, chiefly from 
 the great Venetian masters. After 20 years 
 spent in France and Italy he returned to 
 England, and finding no employment, he 
 engaged himself in a paper-hanging manu- 
 factory at Battersea, where he continued 
 in 1754, after which time no further record 
 of him appears. He was employed upon 
 vignettes and ornamental cuts for books, 
 produced a fine ' Descent from the Cross,' 
 after Kembrandt, and published six land- 
 scapes, printed in colours, of which process 
 he claimed to be the inventor. 
 
 JACKSON, John, wood engraver. Was 
 born at Ovingham, April 19, 1801. He was 
 a pupil of Armstrong, and afterwards of 
 Bewick ; but, disagreeing with his master, 
 after about twelve months he came to 
 London, and was for a time under Harvey. 
 He soon commenced on his own account, 
 
 Q 
 
 and was largely employed on Mr. Charles 
 Knight's publications, especially upon his 
 ' Shakespeare.' He employed many assist- 
 ants, and his works, if not of the first class, 
 were suited to the publications for which 
 they were required. Some of his engravings 
 of cattle, after Harvey, may be referred to 
 as among his best works, as also some of 
 his blocks for Northcote's 'Fables.' He 
 published, with Chatto, 'A Treatise on Wood 
 Engraving, Historical and Practical' — a 
 work which is due to his enterprise. After 
 four years of declining health and suffering, 
 he died March 27, 1848. Ho was buried in 
 Highgate Cemetery. 
 
 JACKSON, ^KMvmj^ water -colour 'painter. 
 He was born at Bristol, where his father, 
 a merchant, brought him up in his office. 
 He travelled in Scotland and Ireland, and 
 made a voyage to the West Indies to esta- 
 blish his failing health. In his travels 
 the contact with nature developed a love of 
 art, and at the age of 30 he commenced its 
 study as a profession, and was the pupil of 
 Danby, A.E.A., who was then residing at 
 Bristol. He formed a friendship with Prout, 
 Pine, and some others ; and gaining a footing 
 in art, was in 1832, while still residing at 
 Bristol, elected an associate exhibitor of 
 the AVater-Colour Society, and from that 
 time was a yearly contributor of views in 
 Wales and landscape compositions up to 
 1848, when he withdrew from the Society. 
 In 1853 he exhibited at the Eoyal Academy 
 a ' Koadstead after a Gale, Twilight,' and 
 ' Towing a dismasted Vessel into Port,' 
 both in water-colours ; and the following 
 year a ' Coast Scene, a Calm.' When well 
 advanced in life, he made a tour in Switzer- 
 land, and painted some of his most success- 
 ful pictures. Well versed in the techni- 
 calities of his art, he successfully studied the 
 treatment of landscape, which he rendered 
 with much poetry and effect. He died in 
 1870, aged 75. His son, Mr. S. P. Jack- 
 son, is a member of the AVater- Colour 
 Society. 
 
 JACKSON, William, amateur. He was 
 born in 1730, at Exeter, the son of a trades- 
 man in that city, and became distinguished 
 as a musician and teacher of music. He 
 was a friend of Gainsborough, had a good 
 taste for art, and was known in his day by 
 his clever landscapes. In 1771 he was an 
 honorary exhibitor at the Academy; but 
 his chief merit was as a copyist, particularly 
 of the works of Gainsborough, of whose 
 life he wrote an interesting sketch. He also 
 published some works on music and on some 
 miscellaneous subjects. He died July 12, 
 1803. 
 
 JACOBSEN, Theodore, architect. Was 
 descended from a family who possessed con- 
 siderable property in London at the time of 
 the Great Fire. He built the Foundling 
 , 2 227 
 
JAG 
 
 JAM 
 
 Hospital, London, and the Koyal Hospital 
 at Gosport. He was a fellow of the Koyal 
 Society and of the Antiquarian Society. 
 He died in May 1772, and was buried in 
 AUhallows' Church, Thames Street. His 
 portrait is in the Foundling Hospital, of 
 which institution he was a governor. 
 
 JAGG-ER, Charles, onmiature painter. 
 Practised at Bath, and does not appear to 
 have exhibited in London. His works are 
 marked by peculiar breadth and character, 
 and are esteemed for their ability. A por- 
 trait by him of the Duke of Clarence is en- 
 graved. He died at Bath, after two days' 
 fllness, in 1827, aged 57. 
 
 JAMES, John, architect. He was, in 
 1705, appointed clerk of the works, and 
 afterwards surveyor, of Greenwich Hospital, 
 and being much employed at Greenwich, he 
 settled there in 1718, and built the parish 
 church. In 1710 he built Orleans House, 
 Twickenham, and in 1713-15 added a new 
 body to the church, leaving the ancient 
 tower standing. In 1721 he built a large 
 mansion at Blackheath for Sir Gregory 
 Page, since pulled down. He also built 
 Canons for the Duke of Chandos, and the 
 church of St. George, Hanover Square, 
 finished in 1724, and St. Luke's, Middlesex. 
 He was partner in Ged's scheme of block 
 printing, and sunk a considerable sum of 
 money, which he lost. He translated 
 Perrault's ' Ordonnance des cinque Especes 
 de Colonnes selon la Methode des Anciens,' 
 1712, and wrote ' The Theory and Practice 
 of Gardening,' 1737, and a pamphlet on the 
 schemes for rebuilding Westminster Bridge. 
 He died early in 1746. 
 
 JAMES, George, A.K. A., portrait painter. 
 Was born in London, and went early to 
 Kome to study art. On his return he settled 
 in Dean Street, Soho, to practise his pro- 
 fession, but did not meet with much en- 
 couragement, and then removed to Bath, 
 where he had little better success. He was 
 a member of the Incorporated Society of 
 Artists, and in 1764 exhibited with them 
 the 'Death of Abel,' a large picture, 
 followed, in the succeeding years, up to 
 1768, by portraits. He exhibited portraits 
 at the Royal Academy, some of them whole- 
 lengths, from 1770 to 1777; and in 1771, 
 ' Cupid stung by a Bee.' He afterwards 
 resided at Bath, from whence he sent some 
 small subject pictures to the Academy Ex- 
 hibition in 1789 and 1790. His works, 
 though carefully painted and designed, 
 possess little merit. He was elected an 
 associate of the Academy in 1780. His 
 grandfather built Meard's Court, Soho, and 
 he inherited this property. He also married 
 a lady of some fortune, so that he was 
 independent of his profession. He had the 
 reputation of being a hon vivant, a clever 
 comic singer, and a good mimic. He went 
 228 
 
 to reside at Boulogne, and was thrown into 
 prison by Robespierre. His constitution 
 suffered, and he died early in 1795. 
 
 JAMES, William, landscape painter. 
 Practised in the latter part of the 18th 
 century, and was in 1766 a member of the 
 Incorporated Society of Artists. He also 
 dealt in pictures. When Canaletti was in 
 London he was his pupil, or rather, perhaps, 
 his assistant, and an imitator of his manner. 
 He exhibited at Spring Gardens, from 1761 
 to 1768, views of London from the bridges 
 and in the parks ; and at the Royal 
 Academy some Egyptian temples and 
 Oriental scenes in 1769 and 1770 ; and in 
 the following year (after which his name 
 disappears), two views of London and West- 
 minster. There are some views by him in 
 the Hampton Court Galleries. They are 
 very literal, and entirely without art. 
 
 JAMESON, Mrs. Anna, amateicr. She' 
 was born in Dublin in 1796, and was the 
 eldest daughter of Mr. Murphy, an artist 
 of some repute, who filled the appointment 
 of painter in ordinary to the Princess Char- 
 lotte. She married, in 1823, a gentleman 
 who held the office of vice-chancellor of 
 Canada, but the marriage was not a happy 
 one, and a separation soon followed. In 
 1834 she published anonymously her 'Diary 
 of an Ennuyee,' which was written during 
 a tour in Italy ; and from that time, en- 
 couraged by the success of her work, com- 
 menced a literary career. She visited 
 Germany in 1837, and America in 1839. 
 She died at Ealing, after a few days' illness, 
 March 17, 1860. Among her numerous 
 publications, those more immediately re- 
 ferring to art are, 'Sketches of Germany, 
 Art, Literature,' &c., 1837; 'Handbook of 
 the Public Galleries of Art in and near 
 London,' 1842; 'Memoirs of the Early 
 Italian Painters,' 1845; 'Memoirs and 
 Essays, illustrative of Art, Literature,' &c. 
 1846 ; ' Decorations to the Garden Pavilion, 
 Buckingham Palace,' 1846; 'Sacred and 
 Legendary Art,' 1848; 'Legends of the 
 Monastic Orders, as represented in the Pine 
 Arts,' 1850 ; 'Legends of the Madonna, as 
 represented in the Eine Arts,' 1852 ; 
 ' Hand-book to the Art of Modern Sculp- 
 ture, Crystal Palace,' 1854; 'History of 
 Our Lord, as exemplified in Works of Art,' 
 1864. Several of these works are pro- 
 fusely illustrated by careful drawings, made, 
 and some of them etched, by herself. 
 
 JAMES ONE, George, portrait painter. 
 He was the son of an architect and member 
 of the guild at Aberdeen, and was born 
 there in 1586. He was sent — it is not 
 known under what influences — to study 
 art under Rubens, at Antwerp, where he 
 was a fellow-pupil of Vandyck. He returned 
 to Aberdeen in 1620, married therein 1624, 
 and his continued residence in that city 
 
JAM 
 
 JEA 
 
 may be traced up to the end of 1630. In 
 1635 he is described as dwelling in Edin- 
 burgh, and later, as a burgess of tlie citj. 
 On settling in Aberdeen he applied himself 
 to portraiture, practising in oil, but there 
 are some historical subjects and landscapes 
 in his hand. He also painted some minia- 
 tures. His portraits are usually rather 
 under life-size. His oil paintings are deli- 
 cately finished and well coloured, remark- 
 able as the works of a native painter of his 
 time. We are told that when Charles I. 
 held a parliament in Edinburgh, in 1633, 
 and rode with his nobles from the palace to 
 the Parliament House, the magistrates, to 
 please the King's well-known love of art, 
 collected all the paintings by Jamesone they 
 were able, and hung them on either side 
 the Nether Bowport, through which the 
 King had to pass ; and that the King's 
 attention being attracted, he stopped his 
 horse a considerable time, and admired the 
 paintings and the fidelity of the likenesses. 
 This introduced the painter to the King, 
 who sat to him for a full-length portrait. 
 He died at Edinburgh in 1644, and was 
 buried in the Greyfriars' Church, but with- 
 out a memorial stone. Walpole tells, that by 
 his will, dated in July 1 641 he provided for 
 his wife and children.' Other authorities 
 state that his sons met early deaths, and 
 that one daughter alone survived him. She 
 inherited some of her father's genius, and 
 executed several large Scripture subjects in 
 worsted-work for the decoration of the 
 church of St. Nicholas, Aberdeen. 
 
 JAMESON, Alexander, engraver. He 
 was a descendant of the above, and engraved 
 the family group of 'Jameson, with his Wife 
 and Son,' in 1728. He is supposed to have 
 practised as an engraver at Edinburgh, but 
 nothing is known of him. 
 
 JANSEN, Bernaed, architect. Eittle is 
 known of his early life. He is believed to 
 have been a Eleming. He lived in South- 
 wark in the reign of James I., and was 
 employed on several extensive works. He 
 built Audley Inn, 1616 ; the Lord Treasurer 
 Howard's palace in Essex, an enormous 
 pile, near Saffron Walden, also attributed 
 to Thorpe; Northumberland House, Charing 
 Cross, except the Strand front ; and other 
 mansions, but the best information respect- 
 ing him and his works is scarcely authentic. 
 
 JANSSEN, Cornelius, jpor^r«??^ ])cdnteT. 
 Born in 1590, at Amsterdam, but some 
 writers say in England, of Elemish parents. 
 His first works in England are dated in 1 618, 
 and at that time he lived at Blackfriars, 
 and was fully employed. Between 1 630-40 
 he resided much in Kent, near Barham 
 Down. He was engaged in the service of 
 James I., and painted several fine portraits 
 of him and the royal family. Industrious 
 by habit, during a residence of nearly 30 
 
 years in this country, many eminent persons 
 were his sitters. His reputation faded on 
 Vandyck's arrival, and the Civil War break- 
 ing out he left England in October 1648, and 
 died at Amsterdam in 1665. His works will 
 be found in many old family collections. 
 He is distinguished by the careful finish 
 and calm truth of his portraits. His tints are 
 quiet and delicate ; his draperies frequently 
 black, and relieved by some tasteful bit of 
 colour. He painted sometimes to a smnll 
 size, and occasionally copied his own works 
 in that manner. His son Cornelius was bred 
 to his profession, and followed him to 
 Holland, where he died poor. 
 
 JARMAN (or JERMAN), architect. Was 
 surveyor to the city of London at the time 
 of the Great Eire in 1666. He rebuilt the 
 Exchange, destroyed by fire in 1638, at a 
 cost of 58,962/. ; also the Drapers' Hall, the 
 Eishmongers' Hall, since pulled down, and 
 Merchant Taylors' Hall. He died 1668. 
 
 JAR VIS, Thomas, glass 'painter. He was 
 born in Dublin,and originally practised there. 
 Advised to try his fortune in London, he was 
 on his arrival employed by Lord Cremorne 
 upon some small works for his house at 
 Chelsea. He made an exhibition in 1776 
 of his works in stained glass, comprising 
 effects of moonlight, firelight, frost, &c. 
 In 1777 he commenced the west windows 
 for New College, Oxford, after Raphael's car- 
 toons, and introduced Reynolds's 'Nativity' 
 and several allegorical figures. He also 
 painted AVest's 'Resurrection' (lately re- 
 moved) for St. George's Chapel, AA^indsor. 
 He is said to have introduced great improve- 
 ments in his art, but he tried effects and a 
 realistic manner, which are quite unsuited 
 to glass painting. He died at Windsor, after 
 some years' retirement from his profession, 
 August 29, 1799. 
 
 JAR VIS, John, glass painter. Born at 
 Dublin about 1749. He was engaged with 
 the foregoing Thomas Jarvis in most of his 
 works, and was probably his brother. Ho 
 commenced his art in Dublin, where he was 
 assisted in his chemical studies by Dr. 
 Cunningham. He came early in life to 
 London, where he gained some distinction, 
 and died in 1804. 
 
 JEAN, P., miniature x>ciinter. AVas born 
 at Jersey, and brought up in the Navy. On 
 the peace which followed the American War 
 he studied miniature painting, and practised 
 with much skill. He also painted in oil, 
 and executed a whole-length of the Queen, 
 but it was without any original merit. He 
 exhibited miniatures, with, on one or two 
 occasions, an oil portrait, at the Royal 
 Academy from 1787 to 1802. He died at 
 Hempstead, in Kent, September 12, 1802, 
 aged 47. 
 
 JEAA^ONS, Thomas, engraver. He was 
 born in 1816; and became of som.e repute 
 
 229 
 
JBF 
 
 JOH 
 
 as a landscape engraver, working in the line 
 manner. * Dutch Boats in a Calm,' 1849, 
 is a good work by him, after E. Cook, K.A. 
 He retired to Welshpool, where he resided 
 many years, and died November 26, 1867. 
 
 JEFFEKEYS, James, marine painter, 
 Born at Maidstone 1 757, the son of a ]Dainter 
 there of coach panels, and occasionally land- 
 scapes. He was placed under WooUett, the 
 engraver, but became a student of the Royal 
 Academy, and studied painting. In 1773 
 he obtained the Academy gold medal for the 
 best historical painting ; the following year 
 the gold palette at the Society of Arts ; and 
 in 1775 was selected to go to Eome by the 
 Academy, on the allowance provided by the 
 Dilettanti Society. He returned at the end 
 of four years, but was careless of himself, 
 and died of a decline, January 31, 1784, 
 aged 27. His picture of the 'Destruction of 
 the Spanish Batteries before Gibraltar,' his 
 only contribution to the Academy, was ex- 
 hibited in 1783, and was engraved by James 
 Emes. 
 
 JENKINS, D., engraver. Practised in 
 London towards the end of the 1 8th century. 
 He engraved several plates after Angelica 
 KaufFman. There are two plates by him 
 of horse races, dated 1786. 
 
 JENKINS, Thomas, history painter. 
 Born in Devonshire, he studied in London 
 under Hudson, and accompanied Eichard 
 Wilson to Rome, where he was residing in 
 1763. He studied historical painting, but 
 does not appear to have ever exhibited ; and 
 not succeeding, he became a dealer in anti- 
 quities, and also the chief English banker 
 in Rome, where he amassed a considerable 
 fortune. He was instrumental to the pur- 
 chase of many works of antique sculpture 
 brought home by his countrymen. On the 
 occupation by the French, they confiscated 
 his property, and he escaped to England. 
 He died at Yarmouth in 1798, immediately 
 upon landing after a storm at sea. 
 
 JENNER, , engraver. Practised in 
 
 the latter part of the 18th century. He 
 engraved Sir J. Reynolds's ' Girl with a 
 Muff,' 1777. 
 
 JENNINGS, Robert, -^^zasifer mason. Was 
 employed in the erection of Henry VII.'s 
 Chapel, Westminster. 
 
 JERVAS, Charles, fortrait painter. 
 Born in Ireland about 1675. He received 
 a good education, and showing a decided 
 taste for art, was placed under Sir Godfrey 
 Kneller, in London, for about a year. 
 He copied the cartoons in little, and sold his 
 copies to Dr. Clark, of Oxford, who assisted 
 him to visit Paris and Italy. At Rome, 
 when 30 years old, he studied art— Walpole 
 says ' drawing.' On his return, he found 
 full employment, married a widow lady 
 a fortune of 20,000^., and was ap- 
 pointed principal painter to George I., and 
 
 afterwards to George 11. He was the head 
 
 of the art of his time, and was a gentleman, 
 a man of letters, and a wit; the intimate 
 friend of Pope and Addison, by whom his 
 natural vanity was inflamed. The former 
 addressed a complimentary epistle to him ; 
 but he was sadly wanting in all the art 
 qualities for which he was so unmeaningly 
 praised. His portraits are slight, both in 
 drawing and character, but his art has been 
 unjustly depreciated. That he was not 
 without merit will be evident from his 
 portrait of the Duchess of Queensbury, 
 recently added to the National Portrait 
 Gallery, and his other portraits in that 
 collection. He affected to be violently in 
 love with Lady Bridgewater, and after 
 finding a fault in her ear, as the only 
 feature short of perfection, pointed to his 
 own as a perfect model. He is known by 
 his English edition of 'Don Quixote;' but 
 his friend, evidently referring to him, says 
 he translated this work without under- 
 standing Spanish. In 1 738 he visited Italy 
 a second time for his health, but only 
 survived a short time, djing November 2, 
 1739, at his house in Cleveland Court. 
 Here, in the following year, his collections, 
 the fruits of 40 years, were sold by auction. 
 His paintings, statues, china, Raphael-ware, 
 and other works of art, occupied nine days ; 
 his drawings followed, in 2,275 separate 
 lots, and occupied 25 more days. There is 
 a portrait of Pope by him in Lansdowne 
 House, and of Newton at the Royal Society. 
 
 JEAVETT, Thomas Orlando Sheldon, 
 wood engraver. He was born in Derby- 
 shire, of a family known in literature, in 
 1799, and as a boy attempted wood en- 
 graving. In his 16th year he illustrated 
 in wood his elder brother's ' Wanderings of 
 Memory ; ' and, later ' The Northern Star ; 
 or, Yorkshire Magazine,' which was pub- 
 lished by his father. He then devoted 
 himself to the pursuit of art, and becoming 
 known, he connected himself with Mr. 
 Parker, of Oxford, in his architectural publi- 
 cations, producing the illustrations for the 
 ' Memorials of Oxford,' the first editions 
 of the ' Glossary of Architecture,' ' Domestic 
 Architecture of England,' and some other 
 works. In 1838 he removed to Oxford, 
 and gaining a name by his architectural 
 engravings, was employed upon Murray's 
 ' Cathedrals,' Scott's ' Westminster Abbey,' 
 Street's works on Spain and on Venice, 
 and many other publications of the same 
 class. He was a good naturalist, and 
 illustrated Harvey's 'Sea Weeds,' Bentham's 
 ' British Flora,' Reeves's ' Land and Fresh- 
 water Mollusks,' and in the latter drew 
 many of the specimens himself from nature. 
 He died at Camden Town, May 30, 1869. 
 
 JOHNS, Ambrose Bowden, landscape 
 painter. Was born at Plymouth in 1776, 
 
JOH 
 
 JOH 
 
 and was apprenticed there, as a bookseller, 
 to the father of B. E. Haydon. He with- 
 drew from that business early in life, to 
 seek success in the neighbourhood as a 
 landscape painter, residing there, and but 
 little known beyond the locality. His 
 works possessed some originality, both in 
 their composition and treatment. He was 
 an exhibitor at the Royal Academy in 1822, 
 when he contributed 'Evening, Pirates 
 landing their Cargo and a Eemalo Captive,' 
 and exhibited views in the neighbourhood 
 of Plymouth in 1828, 1836, and 1838. 
 Some of his landscapes are in LordMorleys 
 collection at Saltram, and in several other 
 Devonshire mansions. He died at Plymouth, 
 December 10, 1858. 
 
 JOHNSON, C, engraver. He was one 
 of the few who early practised the art in 
 England. His works, which are chiefly 
 portraits, have little merit. There is by 
 him a head of the queen of James I. 
 
 JOHNSON, Geeard, modeller. A Hol- 
 lander, who lived in the parish of St. Thomas 
 the Apostle, London, and is stated, in 
 Dugdale's ' Diary,' to haye made the 
 monumental bust and tomb of Shakespeare 
 at Stratford-upon-Avon. 
 
 JOHNSON, Isaac, antiquarian drafts- 
 man. Was a resident at Woodbridge, and 
 practised as a surveyor. He made many 
 drawings of antiquities, which were es- 
 teemed for their fidelity, and between the 
 years 1799 and 1816 drew nearly every 
 church in the county. Some of his drawings 
 are engraved in Gough's ' Monumental Anti- 
 quities ' and in Loder's ' History of Fram- 
 lingham.' 
 
 JOHNSON, James, engraver. Practised 
 in London about the middle of the 1 8th cen- 
 tury. His works, both portrait and history, 
 are chiefly in mezzo-tint. He engraved after 
 Coreggio, Le Brun, Rubens, and others. 
 
 JOHNSON, John, architect. Born at 
 Leicester in 1754. He left his native town 
 early in life, and by his strong natural 
 abilities made himself known in his pro- 
 fession. He was for 26 years architect and 
 surveyor to the county of Essex. He built, 
 at Chelmsford, in 1787, the handsome one- 
 arch stone bridge, and in 1792 the county 
 hall. He enlarged and improved the 
 county prison, and in 1806 built the new 
 house of correction. He died in 1814, 
 aged 60. 
 
 JOHNSON, John, wood engraver. Was 
 a pupil of Bewick. He showed much taste 
 for drawing, but died at Newcastle about 
 1797, shortly after the termination of his 
 apprenticeship. A few of the tail-pieces 
 to the ' British Birds ' are by him. Ho was 
 cousin of the following Robert Johnson. 
 
 JOHNSON, Law^rence, engraver. Prac- 
 tised at the beginning of the 17th century. 
 Engraved the heads for ' The General 
 
 History of the Turks,' 1603. He worked 
 entirely with the graver, but was without 
 merit. 
 
 JOHNSON, Martin, medallist. Prac- 
 tised in the first half of the 17th century. 
 He began art as a painter of English views, 
 and his works showed much taste, freedom 
 of execution, and colour. He then turned 
 medallist, and was an assistant and a 
 worthy rival of Simon. Ho died about the 
 beginning of James II.'s reign. Evelyn 
 mentions him in his 'Sculptura' as excel- 
 ling in medals and intaglios. 
 
 JOHNSON, Robert, 'painter and en- 
 graver. Was born at Shotley, a village in 
 Northumberland, in 1770, and was appren- 
 ticed to Bewick as a copper-plate engraver. 
 He was led aside from this laborious art, 
 in which he did not excel, by his love of 
 sketching from nature in water-colours. 
 During his apprenticeship he made, in 
 water-colours, with admirable finish, the 
 designs for some of the tail-pieces in 
 Bewick's ' Water Birds,' and for most of 
 the woodcuts in his 'Pables.' Some of 
 these were copied on the block by AVilliam 
 Harvey, the rest by Bewick himself. A 
 number of the original drawings were pur- 
 chased by the Earl of Bute. On the com- 
 pletion of his apprenticeship, he left his 
 work on copper, and devoted himself to 
 water-colour drawing. In 1796 he was 
 employed to copy the portraits by Jamesone 
 at Taymouth Castle ; and neglecting a severe 
 cold caught there, it terminated in fever, 
 under which his delicate constitution sank, 
 and he died at Kenmore, Perthshire, Oct. 26, 
 1796, in his 26th year. 
 
 JOHNSON, Thomas, architect. Was born 
 at Stone, Staffordshire, December 24, 1794. 
 He had a talent for drawing, and after 
 an apprenticeship in Lichfield, he came to 
 London, and was employed in the office of 
 Mr. Shaw, the architect. Returning in 
 1825 to Lichfield, he established himself 
 there, and was the architect of churches at 
 Longton and Stoke, and of a club-house in 
 Manchester. In Lichfield he built Christ 
 Church, the corn exchange and market, and 
 some other public edifices. He died May 7, 
 1865, at Lichfield, and was buried there. 
 
 JOHNSON, Thomas, draftsman and en- 
 graver. Practised in London in mezzo-tint 
 in the latter part of the 18th century. 
 There are several good mezzo-tint portraits 
 by him, some from the life ; also, after 
 his own drawing, 'A A^iew of Canterbury 
 Cathedral,' in Dugdale's ' Monasticon.' 
 Strutt says that Eaber adopted Johnson's 
 name to engravings to which he did not 
 choose to affix his own. 
 
 JOHNSTON, Andrew, engraver. There 
 are a few mezzo-tint portraits by this artist. 
 A portrait of Henry Sacheverell, after Gib- 
 son, is by him. 
 
 231 
 
JOH 
 
 JON 
 
 JOHNSTON, Fr.'^ncis, R.H.A., architect. 
 Born in Ireland. Practised at Armagh 
 1786-93, and superintended the erection 
 of the cathedral tower. He resided after- 
 wards for some time in Dublin, and com- 
 pleted there the Castle Chapel, St. George's 
 Church, 1802, a good example of the Ionic 
 order, the steeple, elegant and original 
 in its design. The cashier's office of the 
 Bank of Ireland, 1804; thePost Office, 1817; 
 and tlie Richmond Oeneral Penitentiary, are 
 also by him. In 1824 he commenced, at 
 his own expense, the erection of the Royal 
 Hibernian Academy, including the exhibi- 
 tion rooms, schools, and keeper's residence, 
 which he completed in 1826, at a cost of 
 14,000^., and presented to that institution 
 in perpetuity. He was the same year 
 elected the president. He held the office 
 of architect to the Dublin Board of Works. 
 Died March 14, 1829. 
 
 JOHNSTON, Richard, architect. Born 
 in Ireland. Practised with some repute 
 in Dublin in the latter half of the 18th 
 century. He built the Dublin Assembly 
 Rooms, a fine suite of apartments. 
 
 JOHNSTONE, William Borthwick, 
 'R.^.K., landscape and history painter. AVas 
 brought up as a solicitor, but allured by a 
 love of art, he at last turned to its study 
 with great enthusiasm. He tried both his- 
 tory and landscape, and in 1843 went to 
 Rome, and, led by the art which sur- 
 rounded him, he tried some works in the 
 early Italian style. In 1840 he was elected 
 an associate, and in 1848 a member, of the 
 Scottish Academy. Here his chief works 
 were exhibited, and he became the curator 
 of the National Oallery for Scotland on its 
 establishment in 1858, an office for which 
 he was well fitted by his knowledge of the 
 history of his art and of archaeology. After 
 his first manner he tried an elaborate finish, 
 and later relapsed into a more free and 
 larger treatment. He does not appear as an 
 exhibitor at the Royal Academy in London. 
 He died in Edinburgh, June 5, 1868, in his 
 o6th year. 
 
 JONES, Charlotte, miniature painter. 
 She was an exhibitor at the Royal Academy, 
 commencing in 1801, and held the appoint- 
 ment of miniature painter to the Princess of 
 AVales, and her portrait of the princess is 
 engraved. She continued to exhibit until 
 1823, when her name appears for the last 
 time in the catalogue. She died Sept. 21, 
 1847. 
 
 JONES, Emma (Madame Soyer). Born 
 in London 1813. She is reputed to have 
 drawn likenesses with great fidelity before 
 tlic age of 13 years, and devoted herself to 
 tlic study of art. She painted portraits and 
 groups of children, and was a frequent 
 contributor to the Suffolk Street Exhibition ; 
 one of lier groups is engraved in mezzo-tint. 
 232 
 
 In 1836 she married M. Soyer, the well- 
 known chef de cuisine oi the Reform Club. 
 She died in child-bed, August 29, 1842, and 
 was buried in the Kensal Grreen Cemetery. 
 Her works are hard and black, with little 
 feeling for colour or light and shade, but 
 are not ill-drawn, and are good in their 
 expression. 
 
 JONES, Inigo, architect. Was born near 
 St. Paul's, London, about 1572, the son of 
 a citizen and cloth-worker, a respectable 
 man, in religion a Catholic. He was appren- 
 ticed to a joiner, early distinguished himself 
 by his pencil, and gained notice for his 
 landscape skill and his designs. He was 
 evidently well educated for his station in 
 life. His talents introduced him to friends, 
 and the Earls of Pembroke and Arundel, it 
 is said, though doubtful, assisted him to 
 visit Italy. He studied sometime at Rome, 
 and then for several years at Venice. Here 
 the reputation he had acquired gained him 
 the notice of Christian IV., King of Denmark, 
 who appointed him his architect, and em- 
 ployed him at Copenhagen. It seems most 
 probable, between conflicting accounts, that 
 he accompanied the King on a visit to this 
 country in 1606, and that soon after his 
 arrival Queen Anne, the sister of the King 
 of Denmark, appointed him her architect, 
 and he was granted the office of surveyor- 
 general in reversion ; and Prince Henry 
 also appointed him his architect. He first 
 shewed his ingenuity and skill in the pre- 
 paration of the Court masques, then the 
 fashion. 
 
 On the untimely death of the young prince 
 in 1612, he again went to Italy, where he 
 remained some years, maturing his powers 
 by study. Then his reversionary office fell 
 vacant and he returned to England. He 
 commenced the Banqueting House, in White- 
 hall in 1619, and designed for James I. the 
 magnificent palace of which it was to form 
 a part ; but the time passed, James died, and 
 the great designs, which his son inherited, 
 were set aside in the sad times which followed. 
 They are, however, preserved by Kent in 
 the volumes published by Lord Burlington. 
 He was appointed in 1620 one of the com- 
 missioners for the repair of St. Paul's, but 
 did not commence the work till 1633. He 
 renewed the sides with the bad Gothic which 
 then prevailed, adding to the western en- 
 trance a Roman Corinthian portico, which 
 must have possessed much stately grandeur, 
 but was no less incongruous and unsuited 
 to the ancient parts of the building. At 
 AVinchester, in the same manner, he intro- 
 duced into the Gothic cathedral a Roman 
 screen. On the accession of Charles I., who 
 esteemed him as a man of genius, he was 
 continued in his office of Crown surveyor, 
 and as architect to the Queen. Meanwhile 
 his restoration of old St. Paul's went on, 
 
JON 
 
 JON 
 
 including the erection of the far-famed 
 stately Corinthian portico. Among his other 
 chief works are — the quadrangle of St. John's 
 College, Oxford; the Queen's Chapel, St. 
 James; the Piazzas and Church, Covcnt 
 G-arden ; Lincoln's Inn Chapel ; the Queen's 
 House, Greenwich ; and Surgeons' Hall. To 
 tliese works must be added several fine 
 mansions — Gunnersbury, Coleshill, Cobham 
 Hall, Kent ; The Grange, Hants ; and others 
 imputed to him, but of which little certain 
 is known. 
 
 He also designed the movable scenery 
 and contrivances for the Court masques, 
 and was thus associated with Ben Jonson, 
 with whom a quarrel arose, which ended 
 only with life ; and the poet satirised him 
 without mercy as 'Lantern Leatherhead' 
 and 'Inigo Marquis Would-be.' He had 
 made a handsome fortune, but was a great 
 sufferer at the Ke volution. In November 
 1640, upon tlie complaint of the parish of 
 St. Gregory, London, he was brought before 
 the House of Lords, for damages done to 
 the church of that parish. He was not 
 only a favourite of his deposed royal 
 master, but also a Eoman Catholic, and in 
 1646 he was compelled to pay 545/. for his 
 delinquency, and sequestration. He had 
 buried his accumulation of ready money in 
 Scotland Yard, but on a proclamation en- 
 couraging informers, he removed it to 
 Lambeth, where he again concealed it. 
 On the Eestoration, Charles II. continued 
 him in his post. He did not long survive ; 
 grief, misfortunes, and old age ended his 
 life, and he died at Somerset House, July 21, 
 1651. But the accounts of the date both 
 of his birth and death are very conflicting. 
 He was buried at St. Bonnet's, Paul's Wharf. 
 His only daughter and heiress married John 
 Webb, his pupil and executor. 
 
 JONES, John, engraver. Born about 
 1740. He devoted himself to mezzo-tint 
 and the dot manner. He practised in London, 
 and his mezzo-tint plates have gained him 
 much reputation both in portrait and 
 history. He engraved many fine works 
 after Keynolds, Gainsborough, Eomney, 
 Hone, Mortimer, and others. His works 
 are dated between 1774 and 1791. They 
 are powerful, but black ; his flesh defective 
 in colour. He died 1797. 
 
 JONES, George, E.A., battle andsuhjcct 
 'painter. Son of the foregoing. He was 
 born January 6, 1786. In 1801 he was 
 admitted a student of the Eoyal Academy, 
 and was an exhibitor for the flrst time in 
 1803. During the Peninsular War he 
 joined the South Devon Militia, afterwards 
 held a lieutenantcy in the Staffordshire 
 Militia, and was promoted to a company in 
 the Montgomeryshire Militia. He after- 
 wards, with his company, volunteered for 
 active service, and in 1815 joined the Army 
 
 of Occupation in Paris. On the termina- 
 tion of the war he resumed the practice of 
 his art, and in 1820 was elected an associate 
 of the Eoyal Academy, in 1824 a full 
 member. In 1820, and again in 1822, he 
 received premiums from tlie British Institu- 
 tion. He was appointed the librarian to 
 the Academy in 1834, which ho resigned to 
 fill the office of keeper in 1840, and con- 
 tinued to hold the latter appointment till 
 1850. He painted the picturesque towns 
 of the Continent, filling them with charac- 
 teristic groups and incidents. Later he 
 painted several battles. His 'Battle off 
 Cape St. Vincent, Nelson Boarding,' was 
 purchased by the directors of the British 
 Institution and presented to the gallery at 
 Greenwich Hospital. The directors also 
 commissioned him to paint the ' Battle of 
 Waterloo,' which they presented to Chelsea 
 Hospital. Several other of his works are 
 in the Vernon Gallery, now in the South 
 Kensington Museum. He died in London, 
 September 19, 1869, aged 83. He was one 
 of the executors of the will of Turner, E.A. 
 He wrote ' Eecollections of the Life of 
 Prancis Chantrey, E.A.' 
 
 J ONES, Thomas, landscape painter. Was 
 born about 1730, and practised in London, 
 In 1750 he was studying in Eome, where 
 he appears to have continued till 1768, 
 when he was awarded a premium at the 
 Society of Arts. He first exhibited at the 
 Eoyal Academy in 1784, and continued to 
 exhibit Italian and Welsh views up to 
 1788, but did not exhibit again till 1798, 
 when he contributed four Italian views. 
 His name does not again occur. AVoollett 
 engraved after him, in 1776, the 'Merry 
 Villagers ; ' and Bartolozzi and others en- 
 graved his works. Mortimer, A.E. A., painted 
 the figures in some of his landscapes. 
 
 JONES, John E., sculptor. AVas born 
 in Dublin in 1806. He studied in that 
 city as a civil engineer, but having a taste 
 for sculpture, he came to London to study 
 for that profession, and practised here. He 
 first exhibited at the Eoyal Academy in 1844, 
 his contributions in that year being busts of 
 'Daniel O'Connell' and other eminent Irish- 
 men ; and settling in London, found great 
 encouragement, and had many eminent 
 sitters — the Queen, the Prince Consort, 
 Lord Brougham, the Emperor of the French, 
 the Duke of Cambridge, Duke of Wellington, 
 Louis Philippe, the King of Holland, and 
 others. He died in Dublin, July 1862. 
 His art was confined to busts, and was well 
 esteemed. 
 
 JONES, AViLLiAM, landscape painter. 
 He was a native of Ireland, and practised 
 there in the latter part of the 18th century. 
 His views of the 'Waterfall' and the 
 ' Salmon Leap,' county of Wicklow, have 
 been engraved. 
 
 233 
 
JOS 
 
 JUD 
 
 JOSEPH, George Francis, k.'R A., por- 
 trait and history painter. He was born 
 Novomber 25, 1764, and in 1784 entered 
 the schools of the Koyal Academy. He 
 first appears as an exhibitor in 1788, 
 and then contributed a portrait family 
 group and 'A Bacchante,' an impression 
 from a gem, and, on a subsequent occasion, 
 a work of the same class. He continued 
 to exhibit portraits, with, in 1792, a subject 
 picture, ' Eve met by Adam,' and in that 
 year gained the Academy gold medal for 
 his original painting, 'A Scene from "Corio- 
 lanus." ' Shortly after he exhibited minia- 
 tures, and for some time continued a large 
 contributor of them, with sometimes an oil 
 portrait or a subject picture. In 1797 he 
 painted ' Mrs. Siddons as the Tragic Muse ; ' 
 in 1808, 'Elora dispensing her Sweets to 
 Zephyr.' He was also an exhibitor at the 
 British Institution, and was awarded by 
 the directors two premiums — in 1811, 122?., 
 for ' The Eeturn of Priam with the dead 
 body of Hector;' and the next year, 100 
 guineas, for his 'Procession to Mount 
 Calvary.' This success was followed by 
 his election, in 1813, as an associate of the 
 Academy. He drew the illustrations for a 
 serial publication of Shakespeare's works, 
 commenced in 1824. But his practice was 
 as a portrait painter, and he found his 
 chief employment in that branch of art. 
 There is a portrait by him of Mr. Spencer 
 Percival in the National Portrait Gallery. 
 He died in London in 1846, having con- 
 tinued an occasional exhibitor at the Aca- 
 demy up to that year. 
 
 JOSEPH, Samuel, E.S.A., sculptor. He 
 was a son of the treasurer of St. John's, Cam- 
 bridge, and cousin to the foregoing. Com- 
 menced art as a pupil of P. Kouw, and studied 
 at the Academy, in 1815 obtaining the gold 
 medal for his group of ' Eve supplicating 
 Forgiveness.' After practising for some 
 time in London, exhibiting yearly at the 
 Academy busts and portrait medallions, he 
 removed in 1823 to Edinburgh, where he 
 met with great encouragement, and was 
 elected a member of the Koyal Scottish 
 Academy. He was induced in 1828 to 
 return to London, and settled in Great 
 George Street, but did not meet with the 
 support he had been led to expect. After 
 the first year his contributions to the 
 Academy were few, and ceased altogether 
 after 1846. He died in London in 1850. 
 He found his chief employment as a 
 modeller of busts, and executed by com- 
 mand in 1830 a bust of George IV. His 
 likenesses were accurate, and his work 
 tasteful and well finished. There is a fine 
 full-length characteristic statue by him of 
 Wilberforce, in Westminster Abbey, and a 
 statue of Sir David Wilkie, K.A., in the 
 vestibule of the National Gallery. 
 234 
 
 JOSI, Christian, engraver. Was born in 
 Holland, and coming early to this country, 
 he studied his art under J. E. Smith. He 
 engraved and published many fac-similes 
 of Dutch drawings, but early abandoned 
 the more active pursuit of art, and pos- 
 sessing great knowledge, found profitable 
 employment as a restorer and dealer in 
 engravings and drawings. He died in 
 London about 1825. His son, Henri Josi, 
 was appointed keeper of the prints and 
 drawings in the British Museum, and held 
 that office till his death, in 1845, in his 
 43 rd year. 
 
 JOY, Thomas Mtjgrave, subject painter. 
 Was born in 1812, at Boughton Minchelsea, 
 Kent, where his father possessed property. 
 An only son, fond of art, and allowed to 
 choose for himself, he came to London, 
 and was the pupil of Drummond, A.K.A. 
 He first exhibited at the Society of British 
 Artists in 1832, and at the Academy in 
 1833, and continuing to exhibit at both 
 these institutions, he early made himself 
 known. In 1841 he received some com- 
 missions from the Queen, and painted for 
 her Majesty portraits of the Prince and 
 Princess of Wales. With occasionally a 
 portrait, in 1842 he exhibited at the Aca- 
 demy, ' Le Bourgeois Gentilhomme ;' in 1853, 
 ' A Medical Consultation ;' in 1863, ' Prayer ;' 
 and among his last works — an important 
 attempt — ' The Meeting at Tattersall's be- 
 fore the Eace,' 1 864. He died of bronchitis, 
 after a short illness, April 7, 1866. 
 
 JOY, William, '\onarine painters. 
 
 JOY, John Cantiloe, / Their father was 
 guard to the Yarmouth coach. William 
 was born in 1803, John Cantiloe in 
 1806. They practised for many years in 
 Yarmouth, working almost invariably 
 together, and painting both in oil and 
 water-colours, but chiefly in the latter. 
 Self-taught and independent, they tho- 
 roughly understood the trim and rigging 
 of vessels, and their works are deservedly 
 esteemed. Leaving their native town, where 
 many of their works are treasured, they 
 lived some time in London, and then re- 
 moved to Chichester, where they both died, 
 within a short time of each other, in 1857. 
 
 JUDKIN, The Eev. T. K., amateur. He 
 was for many years minister of the Epis- 
 copal Chapel at Somers Town, and was 
 known in art by his clever landscapes, 
 usually painted direct from nature. He 
 was an occasional exhibitor at the Aca- 
 demy from 1822 to 1848. He died in 
 October 1871, aged 83. 
 
 JUDKINS, Elizabeth, me2zo-tint en- 
 graver. Practised in London in the second 
 half of the 18th century. She engraved 
 some fine works after Eeynolds— Mrs. Ab- 
 ingdon, 1772 ; 'The careful Shepherd,' 1775 ; 
 and also after Cotes. 
 
JUK 
 
 KAU 
 
 JUKES, ¥ra^cis, pai7itcr' and engraver. 
 Born at Martley, Worcestersliire. He began 
 art as a topographical landscape painter, 
 but by great perseverance raised himself to 
 much distinction as an aqua-tint engraver. 
 This art he brought to great perfection; 
 and by tinting his impressions, gave them 
 the effect of drawings. His works, wliich are 
 principally sea-pieces and landscapes, are 
 very numerous. He died in 1812, in his 66th 
 year. He engraved Walmesley's ' Views in 
 Ireland,' Nicholson's ' Views in England,' 
 and was employed on Gilpin's works. 
 
 JUNE, J., engraver. Practised about 
 the middle of the 18th century. He en- 
 graved some portraits and portrait frontis- 
 pieces for books ; also some landscapes after 
 Collet, and some scenes after Hogarth. 
 
 JUPP, EiCHARD, architect. He was ap- 
 pointed architect to the East India Com- 
 pany, and designed the new fagade to the 
 India House in Leadenhall Street, since 
 pulled down; a work simple in its pro- 
 portions, with an Ionic portico well in- 
 troduced. He also added the front to the 
 Skinners' Hall. In 1762 and 1763 he ex- 
 hibited with the Society of Artists, and 
 also contributed to the early exhibitions 
 of the Royal Academy. He was one of the 
 original members of the Architects' Club, 
 founded in 1791. He died in London, 
 April 17, 1799. 
 
 JUPP, William, architect. Brother of 
 
 the foregoing. He was a member of the In- 
 corporated Society of Artists. He rebuilt 
 the ' London Tavern,' Bishopsgate Street, 
 1765, and designed the entrance hall and 
 staircase of the Carpenters' Company's Hall, 
 1780. Ho died 1788. 
 
 JUPP, AViLLiAM, architect. Son of the 
 foregoing William Jupp. Was an occa- 
 sional exhibitor at the Academy, 1794-1804. 
 Held the appointment of architect to the 
 Skinners' Company, and designed the ex- 
 terior of their hall, Dowgate Hill, 1808. 
 He was also architect and surveyor of the 
 Merchant Taylors', Ironmongers', and Apo- 
 thecaries' Companies. He died at Upper 
 Clapton, April 30, 1839. 
 
 JUTSUM, Henry, landscape jpainter. He 
 was born in London in 1816. Sent to school 
 in Devonshire, he imbibed a love of land- 
 scape, and on his return made Kensington 
 Gardens a place of study. He first exhi- 
 bited at the Academy in 1836, and in 1839 
 became a pupil of James Stark. Then trying 
 water-colour painting, he was in 1843 elected 
 a member of the new Water-Colour Society; 
 but he continued a contributor to the Aca- 
 demy Exhibitions, and in 1847 left the 
 Society, determined to devote himself to 
 painting in oil. He was also an exhibitor 
 at the British Institution. He painted ex- 
 clusively the scenery of his country, and 
 was distinguished by his pleasing style. 
 I He died at St. John's Wood, March 3, 1869, 
 
 KAUPPMAN, John Joseph, portrait 
 painter. He was born in Switzerland, and 
 practised in this country for several years, 
 but was a very indifferent painter. He 
 contributed sacred and poetic subjects, with 
 an occasional portrait, to the exhibitions 
 of the Eoyal Academy, from 1771 to 1779, 
 and in the following year retired with his 
 daughter to Rome. 
 
 KAUPPMAN, Angelica Maria Cathe- 
 rine, R.A., history and portrait painter. 
 She was daughter of the above, and was 
 born October 30, 1740, at Coire, the capital 
 of the Grisons. She very early developed 
 a talent for music and drawing, and when 
 between 10 and 11 years of age drew por- 
 traits in crayons. Brought up to art from 
 a child, she was taken by her father to 
 the Academy in boy's clothes, to improve in 
 drawing. In 1754, when in her 15th year, 
 she went with him to Milan, and there 
 painted the portraits of some eminent per- 
 sons. She afterwards spent about a year in 
 Florence, and then, in 1759, accompanied 
 her father to Rome. She had made herself 
 
 complete mistress of the German, Prench, 
 Italian, and English languages, and highly 
 excelled both in vocal and instrumental 
 music. With these advantages she had 
 many sitters, and her reputation as a painter 
 greatly advanced. 
 
 In 1764 she removed to Venice, and there 
 became acquainted with the wife of the 
 English ambassador, whom she accom- 
 panied to England in 1765. Learned, 
 refined, and amiable in manner, she was 
 introduced to the young Queen, and her 
 talents, joined to her elegant person, at- 
 tracted general notice. In 1769 she was 
 nominated one of the foundation members 
 of the Royal Academy, and the same year 
 she was unhappily deceived into a secret 
 marriage with the valet of Count de Horn, 
 who contrived to pass himself off" as his 
 master. Ill-treated by this fellow, he was 
 at last induced, by a payment of 300^., to 
 take himself off" to Germany, and she was 
 relieved of him for ever. She contributed 
 to the first and every subsequent exhibition 
 of the Academy up to 1782, sending in that 
 
 235 
 
KAY 
 
 KEA 
 
 year a work from ' Abroad.' She usually 
 exhibited three or four classic subjects and 
 one or two portraits. After settling at 
 Kome she exhibited a classic picture in 1788, 
 1789, 1796, and in 1797, a portrait of a 
 lady of quality, her last contribution. She 
 decorated a room for the Queen at Frog- 
 more, still called the ' Flower Koom,' where 
 some of her flower-groups remain. She 
 married a second time, in 1780, Signor 
 Antonio Zucchi, a Venetian painter, who 
 had long resided in England, and in 1782, 
 retaining her maiden name, after travelling 
 with him in Italy, and making some stay 
 in Naples, she retired with him to Kome, 
 accompanied by her father. Here she 
 resided 25 years in the full enjoyment of 
 her popularity, and died after a long and 
 painful illness, November 5, 1807, in her 
 67th year. 
 
 Her works are numerous, and will be 
 found in many of the collections which date 
 from her time, though they are now held in 
 little esteem. Her reputation was widely 
 spread by the numerous engravings from 
 her works. Kyland, Bartolozzi, and Schia- 
 vonetti engraved after her, and Alderman 
 Boydell published no less than 60 of her 
 works. Yet, though her paintings were gay 
 and pleasing in colour, they are weak and 
 faulty in drawing, and lack life and origin- 
 ality. They are chiefly taken from the 
 classics and our own poets, and all partake 
 of the same eifeniinate stamp. There are 
 some slight etchings by her. 
 
 KAY, John, miniature painter and cari- 
 caturist. He was born near Dalkeith, in 
 April 1742. His father was a stonemason, 
 and destined him for the same business, but 
 dying early, he w^as placed with some rela- 
 tives, who treated him with much cruelty. 
 At the age of 13 he was apprenticed to a 
 barber in Dalkeith, and after serving with 
 him six years came to Edinburgh and setup 
 for himself. The trade was a lucrative one 
 in those days, and he throve in his shop. 
 He had, as a boy, made some attempts at 
 drawing, and he now in his leisure tried 
 some miniatures. His likenesses were 
 faithful, and a wealthy customer assisted 
 him to pursue art, and dying in 1782, his 
 son settled upon him an annuity of 20^. a 
 year ; and with this help he abandoned his 
 trade, and depended upon his limning, to 
 which he added etching. 
 
 His principal employment was as a minia- 
 ture painter. His works were minutely 
 finished, and he managed to seize a like- 
 ness strong in the peculiarities of his sitter 
 — full of individuality, but without art, 
 of which he was ignorant, or flattery. In 
 1784 he published an etched caricature of 
 a well-known crazed individual, which 
 attracted notice, and led him to attempt 
 others. These possessed the same qualities 
 236 
 
 as his miniatures — caricatures, but extreme 
 in their resemblance, humorous, exagger- 
 ating, and intensifying little points of cha- 
 racter, they gave offence. Many were bought 
 and destroyed. The artist was cudgelled 
 and charges brought against him before the 
 magistrates. Yet his works are only the 
 exaggeration of truths, and are not offensive. 
 They are highly interesting, elaborately 
 minute in finish, but, like his miniatures, 
 make no attempt at art — the offspring of 
 great natural, but untaught genius. He died 
 1830. 
 
 He etched nearly 900 plates, perpetuating 
 the characters, during nearly half a century, 
 of persons of every class in Edinburgh, and 
 his small shop-window w^as filled with these 
 productions. His etchings are published in 
 two quarto volumes, under the title of 
 ' Kay's Edinburgh Portraits.' 
 
 KAY, Joseph, architect, AVas born in 
 1775, and was a pupil of Cockerell, R.A. 
 About 1802 he went to Italy, and studying 
 some time in Rome returned in 1805. The 
 east side of Mecklenburgh Square was de- 
 signed by him in 1812. He was appointed 
 architect to the General Post Office in 1814, 
 and designed the new Post Office in Edin- 
 burgh. In 1823 he received the appoint- 
 ment of architect to Greenwich Hospital, 
 and designed several alterations which have 
 greatly improved the hospital approaches. 
 He was also architect to the Foundling 
 Hospital. He died in Gower Street, De- 
 cember 7, 1847. 
 
 KEAN, Michael, miniature painter. He 
 was born in Dublin, and studied in the 
 Dublin Academy, where he gained the gold 
 medal in 1779. He was originally a pupil 
 of Edw. Smith, the sculptor, but he turned 
 to miniature painting, practising at the 
 same time in crayons. He came to London, 
 and between 1786-90 exhibited crayon por- 
 traits at the Eoyal Academy. At the early 
 part of the 1 9th century he became a partner 
 in the Derby china works. He died in 
 London in 1823. 
 
 KEANE, John B., architect. He held an 
 appointment in the Dublin Office of Works, 
 and practised for many years in Dublin. 
 He sent a * Design for a Temple ' to the 
 Academy Exhibition in London in 1840, 
 but was not again a contributor. He de- 
 signed two large Roman Catholic churches, 
 and in 1846-50, the Queen's College, Gal- 
 way. He died October 7, 1859. 
 
 KEARNEY, William Heney, water- 
 colour fainter. His works were chiefly 
 landscape, though he sometimes tried 
 figures. He was one of the foundation 
 members and a vice-president of the In- 
 stitute of Painters in Water-Colours. His 
 works, which were well esteemed, were 
 careful, simply coloured, and painted in the 
 early pure manner. One of his last ex- 
 
KEA 
 
 KEN 
 
 hibited works was ' Love's young Dream,' 
 He died June 25, 1858, in his 58tli year. 
 
 KEARSLEY, T., 'portrait imintcr. He 
 practised in London with some repute about 
 the end of the 18th century. He exhibited 
 at the Royal Academy from 1792 to 1802. 
 He painted several theatrical portraits, 
 some of them whole-lengths. 
 
 KEATE, George, amateur. He was born 
 at Trowbridge, of a good family, about 1729. 
 Educated for the Bar, he travelled, became 
 fond of art, and was admitted a member of 
 the Incorporated Society of Artists. He was 
 an honorary exhibitor at the Academy from 
 1770, with some intermission, to 1789, his 
 contributions being chiefly coast views. He 
 published his ' Sketches from Nature, taken 
 and coloured in a journey to Margate,' in two 
 volumes, 1779. The illustrations were on 
 wood, and the writing a weak imitation of 
 Sterne's style. He was a F.R.S. and F.S. A. 
 He died June 28, 1797. 
 
 KEATING, George, engraver. Born in 
 Ireland, he practised in London towards 
 the end of the '18th century, both in the 
 mezzo-tint and the dot manner, and was 
 well esteemed. He worked after Reynolds, 
 Gainsborough, Henry Morland, and others. 
 
 KEEBLE, William, jportrait painter. 
 Practised in London about the middle of 
 the 18th century. He was a member of 
 the St. Martin's Lane Academy in 1754. 
 A whole - length portrait by him of Sir 
 Crisp Gascoyne, lord mayor of London in 
 1753, was mezzo-tinted by McArdell. 
 
 KEEFE, Daniel, miniature painter. He 
 practised in London, and exhibited minia- 
 tures at the Royal Academy from 1771 to 
 1783. 
 
 KEELING, M., portrait painter. He 
 practised his art in Staffordshire, where his 
 works were well esteemed. He exhibited 
 portraits on two or three occasions at the 
 Royal Academy, 1800-1809. He died near 
 Stone, Staffordshire, in 1820. 
 
 KEEN AN, J., portrait painter. He first 
 appears as an exhibitor at the Royal Aca- 
 demy in 1 792, and was then residing at Bath. 
 From 1791 to 1799 he was practising in 
 Exeter, and was a regular exhibitor, and in 
 1801 he came to London. He had several 
 sitters of distinction, and was esteemed for 
 his portrait-groups of children. In 1806 
 he went to reside at Windsor, and about 
 that time painted many miniatures. In 
 1809 he was appointed portrait painter to 
 Queen Charlotte, and continued to live at 
 Windsor and contribute to the Academy 
 Exhibitions up to 1815, when further trace 
 of him is lost. His wife was an occasional 
 exhibitor of landscapes. 
 
 KEENE, Henry, architect. Practised 
 about the middle of the 18th century, and 
 was surveyor to the Dean and Chapter of 
 Westminster. He was also for about 20 
 
 years the architect to Magdalen College, 
 Oxford. He designed the new building at 
 Balliol College, which forms a liandsome 
 front of street architecture, 1769 ; also the 
 hall, chapel, and quadrangle of Worcester 
 College, and was much employed in Oxford. 
 He died 1776. 
 
 KELLY, Richard, arcliitect. He built 
 Hill Hall, Essex, a large quadrangular edi- 
 fice, commenced in 1548, for Sir Thomas 
 Smith, who was principal secretary to King 
 Edward VI. and to Queen Elizabeth. 
 
 KELSEY, Richard, architect. He was 
 a student of the Royal Academy, and in 
 1821 gained the Academy gold medal for his 
 ' Design for a Theatre.' He became prin- 
 cipal assistant to Mr. D. Laing, who built 
 the custom-house. But his name does not 
 appear as an exhibitor, and there is no 
 further trace of his art career. 
 
 KEMP, George Meikle, arcliitect. He 
 was born in 1794, the son of a shepherd on 
 the Pentland Hills, and was apprenticed to 
 a joiner. He had acquired a knowledge of 
 construction, and, of an unsettled disposi- 
 tion, his love of Gothic buildings led him 
 to visit the great cathedral towns of Scot- 
 land and England, finding the means by 
 working at his trade. He then returned 
 to Glasgow, and after a time removed to 
 Edinburgh in 1817, and continued there, 
 still working as a mechanic, till 1824, when 
 he made his way to London, and visited 
 France and Belgium, where, gaining em- 
 ployment, he managed to remain during 
 two years, sketching and measuring the 
 ecclesiastical edifices and antiquities. He 
 afterwards settled in Edinburgh, and com- 
 menced business as a master joiner, but 
 being unsuccessful, he was compelled to re- 
 turn to journey work. 
 
 He also gained some employment as an 
 architectural draftsman, and was engaged 
 for two years in making a model of Dal- 
 keith Palace. This led to other engage- 
 ments. He made the drawings for the 
 ' Ecclesiastical Antiquities of Scotland ; ' 
 among these were included Glasgow Cathe- 
 dral, and on the question of the restoration 
 of this edifice, he made, 1837-39, a careful 
 model, representing his project and design 
 for its repair. While so employed, and 
 unknown, the proposal for Sir Walter Scott's 
 monument afforded him an opportunity of 
 distinction. Among numerous competitors 
 his design was selected. He was appointed 
 the architect, and his work was rapidly 
 rising, when the career which had just 
 opened to him was suddenly closed. Re- 
 turning home on a dark night from a 
 professional engagement, he was acciden- 
 tally drowned, March 6, 1844, in his 50th 
 year. He left a widow and children, for 
 whom a subscription was raised. 
 
 KENDAL, John, engraver and drafts- 
 237 
 
KEN 
 
 KEN 
 
 man. Practised in the first half of the 18th 
 century. His works are mostly portraits in 
 mezzo-tint. 
 
 I^^NDALE, John, architect. AVas super- 
 visor of all the King's works throughout 
 the realm in the reign of Edward IV. 
 
 KENDALL, John, architect. He was 
 engaged from 1805 to his death upon the 
 new works at Exeter Cathedral, where he 
 made several important restorations, which 
 brought him much repute. He died at 
 Exeter in October 1829, aged 63. He pub- 
 lished ' An Elucidation of the Principles of 
 English Architecture, usually denominated 
 Gothic,' 1818. 
 
 KENDKICK, JosEPHus, sculptor. He 
 was a student in the Royal Academy 
 Schools, and in 1813 gained the gold medal 
 for his group of ' Adam and Eve lamenting 
 over the dead body of Abel,' and from that 
 time was a contributor to the Academy Exhi- 
 bitions. In 1815 he sent a 'Model for a 
 National Monument in St. Paul's ; ' in 1817, 
 ' Prometheus Chained ;' in 1819, ' Adam and 
 Eve ; ' and in that and the following year, a 
 * Model for a National Monument.' With 
 these works he exhibited busts, and was a 
 frequent competitor for public works. Two 
 of the public monumental tablets in St. 
 Paul's are by him', but he appears to have 
 met with little encouragement. He ex- 
 hibited for the last time in 1829. 
 
 KENDKICK, Miss Emma Eleonoea, 
 miniattire painter. Daughter of the above. 
 She first exhibited at the Academy in 1811, 
 andbecame successful as a miniature painter, 
 and was a large contributor to the Academy 
 Exhibitions for many years. She was also, 
 between 1815 and 1820, an 'exhibitor' at 
 the AVater-Colour Society, sending with her 
 miniatures ' Cupid and Psyche,' ' Cleopatra 
 dissolving the Pearl,' ' Dido expiring on 
 the Euneral Pile.' In 1831 she was ap- 
 pointed miniature painter to the King. After 
 1835 she exhibited only on two or throe 
 occasions, the last in 1840. She also occa- 
 sionally exhibited classic subjects and por- 
 traits at the Society of British Artists down 
 to 1841. She published, in 1830, a work on 
 Miniature Painting. She died April 6, 1871, 
 aged 83. 
 
 KENNEDY, AVilltam Denholm, land- 
 scape and figure painter. Was born at 
 Dumfries, June 16, 1813. He went to 
 Edinburgh early in life, and was well 
 educated there. In 1830 he came to Lon- 
 don, and in 1833 entered the schools of the 
 Royal Academy, where he gained the friend- 
 ship of Etty, R.A., by whom his future art 
 was influenced. In 1835 he was a successful 
 
 competitor for the Academy gold medal 
 
 the subject ' Apollo and Idas,' and in 1840 
 he was elected to the travelling studentship 
 He went at once to Italy, w^here he studied 
 about two years, returning with a laro-e 
 
 9QQ ° 
 
 collection of studies and sketches. He first 
 exhibited at the Academy in 1833, com- 
 mencing with domestic subjects, and was a 
 regular contributor up to 1841, when^^ie 
 went to Rome. In 1844, after his return, 
 he exhibited some landscape compositions 
 with figures, and thenceforth the infiuence 
 of his Italian studies was apparent. With 
 the exception of the years 1855, 1856, and 
 1857, he was an unwearied contributor to 
 the Academy Exhibitions up to his death. 
 He tried every class of subject, except por- 
 traiture, but his chief works were classic 
 landscape compositions, founded upon Ita- 
 lian scenery — freely painted, rich in colour, 
 and with groups of figures well introduced. 
 But he was unable to maintain his early 
 promise, and did not gain good places on 
 the walls of the exhibition. His health 
 also failed, and he fell into a state of despon- 
 dency and neglect. He had sulFered about 
 two years from dropsy, and was also tried 
 by the loss of his brother, when on June 2, 
 1865, having the previous evening been left 
 in his usual state of health, he was found 
 dead in his bed. On an inquest, he was 
 shown to have died from natural causes. 
 
 KENT, William, architect and painter. 
 He was born of poor parents in Yorkshire, 
 in 1685. After receiving the rudiments of 
 a common education, he was apprenticed to 
 a coach painter, but ran away from his 
 master and came to London about 1704. 
 He had at least learnt the use of his colours, 
 and tried to support himself as a por- 
 trait painter, making some attempts at 
 history. It is said his genius gained him 
 friends, who made a purse and sent him to 
 Rome in 1710. There he studied painting, 
 and gained a second-class medal. Con- 
 tinuing to devote himself to his studies, his 
 first resources became exhausted, and one 
 of his countrymen allowed him 40/. a year 
 for seven years. Afterwards he gained the 
 notice of Lord Burlington, who assisted and 
 patronised him. He returned to England 
 for a short time and made a second journey 
 to Rome, and then coming back in 1719 he 
 settled in London, and had an apartment in 
 Lord Burlington's house. He first, through 
 his patron's influence, found employment 
 as a portrait painter, but his likenesses 
 had no individuality, and were in every 
 respect meretricious. He painted an altar- 
 piece for St. Clement's Church in the Strand, 
 which Hogarth, who did not spare him on 
 other occasions, caricatured ; and the bishop 
 ordered its removal in 1725. He ventured 
 to design the conceited monument of Shake- 
 speare in Westminster Abbey. He then 
 undertook ornamental design, to which his 
 tastes were better suited. He decorated 
 Wanstead House, Rainham, and several 
 ceilings for Sir Robert Walpole at Hampton, 
 in the usual allegorical style of the period, 
 
'KEE 
 
 KEY 
 
 and the praises bestowed upon some of the 
 architecture in these painted designs in- 
 duced him to try that art, with which he 
 comjbined landscape gardening, but his chief 
 works are in architecture. Ho assisted 
 Lord Burlington, who was an amateur in 
 that art. He built Devonshire House, 
 Piccadilly ; the Earl of Yarborough's house 
 in Arlington Street; the Horse Guards, 
 Whitehall ; and altered and decorated Stowe, 
 Houghton, and Holkliam, his favourite 
 work — the elevation of which is mean and 
 poor in its parts. He made another journey 
 to Italy in 1730. 
 
 He had great influence on the taste of his 
 day, and was consulted on every description 
 of furniture, utensil, and even dress. He 
 designed some of the illustrations for an 
 edition of Gray s ' Fables,' Pope's Works, 
 and Spenser's ' Faerie Queen,' all of them 
 very poor. As an ornamental gardener he 
 enjoyed great repute. Following the first 
 attempts of Bridgman, he introduced a new 
 style of gardening, and quitting the clipped 
 forms, the prude lines, the trim terraced 
 and walled gardens, which had till then 
 prevailed, he displayed the natural and pic- 
 turesque beauty which has since charac- 
 terised English gardens ; grouping the fine 
 varieties of trees, and instead of the formal 
 canal and basin, produced streams and lakes 
 in their own true forms. By the patronage 
 of his friends he was appointed master car- 
 penter, architect, keeper of the pictures, and 
 principal painter to the Crown. He died 
 at Burlington House, April 12, 1748, in his 
 64th year, and was, in compliance with his 
 wish, buried in Lord Burlington's vault at 
 Chiswick. He left about 10,000^. which he 
 had accumulated. 
 
 KERRICK, The Rev. Thomas, amateur. 
 He was born in 1747, and educated at Mag- 
 dalen College, Cambridge, where he held 
 tlie office of librarian to the University. 
 He had a talent for art, and in 1776 received 
 the gold medal of the Academy of Painters, 
 at Antwerp. He drew in black and red 
 chalk many of the distinguished members 
 of the University. These works possessed 
 much character, and were highly finished. 
 Many of them were engraved. He also 
 etched a few plates of monuments. He died 
 May 10, 1828. 
 
 KERSEBOOM, Frederic, ijortrait and 
 history painter. Was born at Solingen, Ger- 
 many, in 1632. He studied painting at 
 Amsterdam, and in 1650 went to Paris, and 
 for several years worked under Le Brun. 
 He then went to Rome, where he was main- 
 tained for 14 years by the French Chan- 
 cellor. He came to England to practise as 
 a history painter, but not meeting with 
 encouragement he tried portraiture, with 
 more success ; but his colour was black 
 and his drawing weak and loose. He died 
 
 in London in 1690, and was buried at St. 
 Andrew's, Holborn. There is a portrait by 
 him of Robert Boyle at the Royal Society. 
 
 KETEL, Cornelius, 'portrait painter. 
 He was born 1548, at Gouda. When about 
 18 years of age he went to Delft, and studied 
 there and atFontainebleau, where he worked 
 some time, and then returned to Gouda. In 
 1573 he came to England, where he married 
 a Dutch woman, and found good employ- 
 ment as a portrait painter. He gained an 
 introduction to Court by an allegorical pic- 
 ture of ' Strength vanquished by Wisdom,' 
 and then painted Sir Christopher Hatton, 
 the portrait now at Ditchley ; Lord Pem- 
 broke, Lord Arundel, and in 1578, the 
 Queen. He practised in England till 1581, 
 when he went to Amsterdam, settled, and 
 painted several important works. Then he 
 laid aside his brushes, and painted only 
 with his fingers ; and Walpole says that, 
 increasing in his folly, he next tried his 
 toes. He died 1602. 
 
 KETTLE, Tilly, portrait painter. He 
 was born in London about 1740, the son of 
 a coach painter, from whom he learnt the 
 first rudiments of his art. He studied in 
 the Duke of Richmond's Gallery and the 
 St. Martin's Lane Academy, and for some 
 years practised in London as a portrait 
 painter. In 1762 he repaired Streeter's 
 great ceiling picture in the theatre at 
 Oxford. He was a member of the Incor- 
 porated Society of Artists in 1765, and a 
 constant contributor to the Society's Exhibi- 
 tions. Afterwards he went to the East 
 Indies, where he stayed from 1772 to 1776, 
 and acquired a fortune in the practice of his 
 art. He returned to London about 1777, 
 where he settled and married, and the same 
 year he first appears as an exhibitor of 
 portraits at the Royal Academy. In 1781 
 he exhibited ' The Mogul of Hindostan re- 
 viewing the East India Company's Troops,' 
 with some portraits ; and in 1783 exhibited 
 for the last time. He built himself a large 
 house in Bond Street ; but, unsuccessful in 
 his art, he became bankrupt. He then 
 left London for Dublin, but did not remain 
 long in that city. He resolved to revisit 
 the East Indies, the scene of his first suc- 
 cess ; but, taking the overland journey, he 
 died at Aleppo, on his way to Bengal, in 
 1786. His portraits, though weak in draw- 
 ing, are agreeable in colour, and the like- 
 ness good. 
 
 KEYES, Roger, architect. He practised 
 early in the 15th century, and was the joint 
 architect of All Souls College, Oxford, and 
 was employed as surveyor and architect by 
 Archbishop Chicheley. 
 
 KEYSE, Thomas, still-life painter. He 
 contributed to the first exhibition in 1760, 
 and was in 1763 a member of the Free 
 Society of Artists, continuing an occasional 
 
 239 
 
KID 
 
 KIN 
 
 exhibitor. He was for 30 years keeper of 
 the Bermondsey Spa, a sort of tea-garden, 
 and had great repute as a painter of still- 
 life. In 1768 the Society of Arts awarded 
 him a premium of 30 guineas for a method 
 of setting crayon drawings. He showed a 
 gallery of his own works, in which the 
 master-piece was a butcher's-shop, with its 
 contents admirably imitated. He boasted 
 of a visit from Sir Joshua Eeynolds, and a 
 critic wrote of him — 
 
 ' Keyse's mutton 
 Sliow'd how the painter had a strife 
 With nature, to outdo the life.' 
 
 He died at his tea-gardens, February 8, 
 1800, in his 79th year. 
 
 KIDD, William, E.S.A., subject painter. 
 Was born in Scotland, and was apprenticed 
 to a house painter and decorator in Edin- 
 burgh. He came to London early in his 
 career and practised as an artist, painting 
 numerous subjects embodying the pathos, 
 but more frequently the humour, of Scottish 
 life, several of which have been engraved. 
 He first exhibited at the Koyal Academy in 
 1817, and for many years was a constant 
 contributor. About 1840 his contributions 
 fell off. In 1849 he was elected an honorary 
 member of the Scottish Academy, and only 
 exhibited again at the Koyal Academy in 
 1851 and the two following years. He was 
 also an occasional exhibitor at the Society 
 of British Artists. He was a genius, quite 
 incapable of managing his worldly affairs, 
 was never well off at any period of his life, 
 lived from hand to mouth, and towards the 
 end of his days fell into hopeless difficulties. 
 He was assisted by his friends, and was a 
 pensioner of the Royal Academy. He died 
 in London, December 24, 1863. 
 
 KIDD, John Bartholomew, R.S.A., 
 hmdscape pain ter. He was a pupil of Thom- 
 son, of Duddingstone, and one of the original 
 members of the Royal Scottish Academy. 
 He resided at Edinburgh for a w^hile, and 
 left that city about 1836, and then settled 
 as a teacher of drawing at Greenwich. He 
 resigned his membership of. the Scottish 
 Academy in 1858. There are a few etchings 
 of liighland scenery by him. 
 
 KILLIGREW, Anne, amateur. Was 
 born in 1660. Her father, Dr. Henry 
 Killigrew, was master of the Savoy, and 
 one of the prebendaries of AVestminster. 
 She painted landscapes and portraits in the 
 manner of Lely, and drew James II. and 
 Mary of Modena, and some pieces of still- 
 life and history. She died in London of 
 smallpox, June 16, 1685, and was buried 
 in the Savoy Chapel. Her portrait, after a 
 painting by herself, was engraved by Becket, 
 the early mezzo-tintist. Three pictures by 
 her were sold at Admiral Killigrew's sale 
 in 1727. She was maid of honour to the 
 240 
 
 Duchess of York, and is highly praised by 
 Antony AVood, who said ' she was a Grace 
 for beauty, and a Muse for wit ; ' and Dryden 
 celebrated her genius in poetry and paint- 
 ing. Her poems were published after her 
 death, in 1686. 
 
 KING, Daniel, amateur. Practised about 
 the middle of the 1 7th century. He worked 
 in the manner of Hollar, and probably 
 learnt his art from him. He executed some 
 works for the 'Monasticon' of Dugdale, who 
 called him an ignorant, silly knave. He 
 wrote 'Miniatura; or, The Art of Limning,' 
 and published, in 1656, a thin folio of ' The 
 Cathedral and Conventual Churches of 
 England and Wales,' drawn by himself, 
 comprising 50 plates, of which three or 
 four are by Hollar. He also published, in 
 1656, ' The Vale Royal of Cheshire,' illus- 
 trated by engravings from his own drawings. 
 He etched, besides many views of castles, 
 churches and ancient buildings. 
 
 KING, Captain John Duncan, amateur. 
 Painted landscapes with much ability, and 
 was an occasional honorary exhibitor at the 
 Royal Academy between 1824 and 1851 — 
 his subjects, views on the coasts of Spain 
 and Portugal, and later, of Ireland. He 
 had seen much service in the early part of 
 his life, and was for many years of his 
 latter life a military knight of AVindsor. 
 He died there August 21, 1863, aged 74. 
 
 KING, Giles, engraver. Was born in 
 England, but settled in Dublin, and prac- 
 tised there for many years about the middle 
 of the 18th century. He engraved views of 
 the 'Salmon Leap' and 'Waterfall,' AVick- 
 low, ' The taking of Cape Breton,' and 
 some other works. 
 
 KING, George, engraver. Practised in 
 the reign of Queen Anne. His works were 
 chiefly for book ornamentation. He en- 
 graved a few portraits, some from the life, 
 but they are poor in manner. 
 
 KING, John, history and fortr ait painter . 
 Was born at Dartmouth in 1788, and show- 
 ing talent for drawing, he came to London 
 at the age of 20 and gained admission to 
 the schools of the Academy. He first ex- 
 hibited at the Royal Academy in 1817. He 
 aimed to excel in history, and under much 
 difficulty and discouragement painted several 
 pictures — ' Christ in the Garden,' ' Christ 
 Bound,' ' Abraham and Isaac,' ' Lear and 
 Cordelia,' ' Ferdinand and Miranda,' but he 
 met with no encouragement. About 1826 
 he tried portrait, and might have succeeded 
 better, but he disliked this branch of art. 
 He continued to exhibit up to 1845, and 
 died at Dartmouth, July 12, 1847. His 
 works, most of which remained on his 
 hands, were sold by auction the same year, 
 and produced only small sums. 
 
 KING, Margaret, portrait fainter. 
 Practised in the latter part of the 18th 
 
KIN 
 
 KIR 
 
 century. She exhibited crayon portraits at 
 the Koyal Academy in 1779, and continued 
 an exhibitor up to 1786. 
 
 KING", Thomas, 'portrait painter. Was 
 a pupil of Knapton, and attained consider- 
 able ability, but was eccentric, restless, and 
 dissipated. He died about 1769, and was 
 buried in Marylebone Churchyard. Tiiere 
 is a mezzo-tint of his portrait of Matthew 
 Skeggs playing on a broomstick ; and Hous- 
 ton engraved after him the portrait of 
 Maddox, a celebrated dancer. 
 
 KING, Thomas, a^itiquarian draftsman 
 and engraver. He lived at Chichester, and 
 published a series of plates of the cathedral 
 and other antiquities of the city. He died 
 August 9, 1845. 
 
 KINGSBUEY, Henry, draftsman and 
 engraver. He practised in London between 
 1750-80, engraving in the mezzo-tint and 
 dot manner, chiefly subject plates. 
 
 KIP, William, engraver. Practised in 
 London at the beginning of the 17th cen- 
 tury. There are some triumphal arches en- 
 graved by him, dated 1603. 
 
 KIP, John, engraver. Was born at 
 Amsterdam, and came to England soon 
 after the Revolution. He was employed to 
 engrave views of the royal palaces and the 
 mansions of the nobility and gentry for the 
 'Britannia Illustrata,' published in 1714. 
 He engraved the architectural and topo- 
 graphical views in Strype's edition of 
 * Sto we' s Survey,' 1720; and also, on a large 
 scale, the mansions of Gloucestershire, for 
 Atkyn's history of that county. These 
 are bird's-eye views, most minutely and 
 curiously executed. He also engraved some 
 portraits, birds after Barlow, and other 
 plates. He died in Westminster in 1722, 
 when nearly 70 years of age, leaving a 
 daughter, whom he had brought up to 
 painting. 
 
 KIRBY, Richard, arcliitcct. Built Hill 
 Hall, Essex, a stately structure, in the latter 
 part of the 17th century, for Sir Thomas 
 Smith. 
 
 KIRBY, John, amateur. Was originally 
 a schoolmaster at Orford, in Suffolk, and 
 afterwards occupied a mill at Wickham 
 Market, his native place. He then resided 
 some time at Ipswich, where he published, 
 1735, ' The Suffolk Traveller,' a road-book 
 with antiquarian notices, from an actual 
 survey he made of the whole county in the 
 years 1732-33-34. He died December 13, 
 1753, aged 63, and was buried at Ipswich. 
 
 KIRBY, Joshua, E.R.S., topographical 
 draftsman. Son of the foregoing. Was born 
 at Parham, Suffolk, in 1716, and settled at 
 Ipswich as a coach and house painter about 
 1738. He was induced by an early friend- 
 ship with Gainsborough to try landscape 
 painting. He made a number of drawings 
 for an intended county history, and of these 
 
 he published 12, with some descriptive 
 letter-press, in 1748, the plates etched by 
 himself, followed by a series engraved by 
 J. Wood. He also studied linear perspec- 
 tive, and lectured on that science at the 
 St. Martin's Lane Academy. He was ap- 
 pointed teacher of architectural drawing to 
 the Prince of Wales, afterwards George III., 
 whose favour he enjoyed, and by whom ho 
 was appointed clerk of the works at Kew 
 Palace. He edited, in 1754, a second edition 
 of Brook Taylor's ' Perspective ; ' and in 1 76 1 
 published ' The Perspective of Architecture,' 
 which was printed at the expense of the 
 King. He was secretary, and was in 1770 
 elected president, of the Incorporated Society 
 by the faction which had excluded Frank 
 Hayman from that office ; but the same 
 year, on the plea of ill-health, he resigned 
 the post, which he had little claim to occupy. 
 He exhibited with the Society, 1765-70, 
 views in Richmond Park, Kew, &:c. His 
 views of Kew Palace were engraved by 
 WooUett in 1763. He died June 20, 1774, 
 aged 58, and was buried in Kew Church- 
 yard. William Kirby, probably his son, 
 who was in 1766 a member of the Incor- 
 porated Society of Artists, died suddenly at 
 Kew in 1771. 
 
 KIRK, John, medallist. He was a pupil 
 of Dassier, on whose death he was much 
 employed. In 1762 and 1763 he receiA^ed 
 premiums from the Society of Arts. He 
 was a member of the Incorporated Society 
 of Artists, and exhibited medals of the King, 
 Queen, &c., 1773-75-76. He died in Lon- 
 don, November 27, 1776. 
 
 KIRK, Thomas, painter and engraver. 
 Studied under Cosway, R.A., and practised 
 during the last half of the 18th century. 
 He was an eminent artist. He painted 
 well-chosen subjects in history with great 
 fancy and vigour, the drawing good and 
 the colour agreeable. His vignette illus- 
 trations to Cooke's ' Poets ' are excellent 
 He first exhibited at the Academy, in 1785, 
 ' Venus presenting Love to Calypso,' and 
 continued to exhibit in alternate years up 
 to 1791. Then, after two years' interval, 
 he exhibited, in 1794, some scriptural sub- 
 jects, a portrait and a frame of fancy minia- 
 tures ; and in the following year 12 sub- 
 jects, evidently designed for book illus- 
 tration. In 1796 he exhibited, for the last 
 time, ' Evening ' and ' A Dream.' Some few 
 miniatures which he painted are full of 
 feminine elegance, his children also sweet 
 and well coloured. His engravings were 
 in the chalk manner, and of great merit. 
 Supported in his chair to touch a proof 
 the day before he died, he was cut off by 
 consumption, November 18, 1797, and was 
 buried at St. Pancras. Dayes said, 'He 
 passed like a meteor through the region of 
 art.' ' Titus Andronicus,' for the Shakes - 
 i ' 241 
 
KIR 
 
 KNE 
 
 pcaro Gallery, was both painted and en- 
 graved by him. 
 
 KIRK, Thomas, R.H.A., sculptor. ^ Was 
 born in Cork in 1784, and studied in the 
 schools of the Eoyal Dublin Society. He 
 practised his art in Dublin, and was an ex- 
 hibitor at the Dublin Exhibition in 1810. 
 On the foundation of the Royal Hibernian 
 Academy in 1823, he was one of the first 
 members. One of his earliest public works 
 was the colossal statue of Nelson for the 
 memorial pillar erected to him in Sackville 
 Street, Dublin. The statue of George IV. 
 and of the Duke of Wellington are also 
 by him, as are the figures of Justice 
 and Clemency in the court-house, Lon- 
 donderry ; the statue of Lord Monteagle, 
 Limerick ; and several of the busts in the 
 library of Trinity College, Dublin. His 
 ' Orphan Girl ' and ' Young Dog Stealer ' 
 were much esteemed in Ireland; and his 
 marble statue of Admiral Sir Sydney Smith 
 in the Painted Hall, Greenwich Hospital, 
 was one of his last works. He exhibited at 
 theRoyal Academy in London, in 1825, busts 
 of Mr. Wilson Croker and his daughter, and 
 was also an exhibitor in 1839, 1845, and 
 1846. He died in Dublin in 1845. 
 
 KIRK ALL, Edward, engraver. Was 
 the son of a locksmith at Sheffield, and 
 born there about 1695. He was instructed 
 in drawing in his native town, and came to 
 London, w^here he found employment as an 
 engraver of arms, stamps, and ornaments 
 for books. He is supposed by the initials 
 to have engraved the plates, which have 
 much merit, for an edition of 'Terence,' 
 published in 1713. In 1722 he published 
 by subscription 12 mezzo-tints, produced 
 by a method he had invented — a combi- 
 nation of etching and mezzo-tint with wood 
 blocks — the outlines and darks printed from 
 copper, the tints printed afterwards from 
 wood blocks; but though the process had 
 merit, he does not appear to have been able 
 to perfect it. In 1724 he published 17 
 tinted engravings after Vandevelde. He 
 engraved on copper the illustrations to 
 Rowe's translation of 'Lucan's Pharsalia,' 
 1718; and to Inigo Jones's ' Stonehenge,' 
 1725. In mezzo-tint he engraved the eight 
 cartoons of Raphael. 
 
 KIRKALL, L., engraver Practised about 
 the beginning of the 18th century. There 
 are by him three large engravings; — 'A 
 Bear Hunt,' ' Wild Boar Hunt,' and ' Stag 
 Hunt.' 
 
 KITCHEN, George, engraver. He prac- 
 tised about the middle of the 1 8th century. 
 There are some clever heads, elaborately 
 engraved, by him, and some views ; he 
 also engraved some maps. He was chiefly 
 employed upon book illustration. Thomas 
 KiTCHEX practised about the same time, but 
 was mostly engaged on map engraving. 
 242 
 
 KITCHINGMAN, John, miniature 
 fainter. He was a pupil of Wm. Shipley, 
 and was admitted a student of the Academy, 
 where he gained a good knowledge of the 
 figure. He obtained several premiums at the 
 Society of Arts. He exhibited miniatures 
 at the Eree Society of Artists 1766-68, and 
 commencing in 1770 at the Academy, some 
 of these works theatrical portraits in cha- 
 racter. He also painted in oil some genre 
 subjects, marines, and landscapes. Eond 
 of the water, he gained in 1777 the silver 
 cup at the Thames sailing match ; and he 
 painted four pictures, which were engraved 
 by Pouncey, to illustrate the progress of a 
 cutter. These he exhibited at the Academy, 
 his last contribution, in 1781. He married 
 early in life a girl as young as himself, and 
 separated from her after a few years. He 
 then fell into habits of intemperance and ir- 
 regularity, and died, aged about 40, Dec. 28, 
 1781, immediately after the amputation of 
 his leg, the bone of which was diseased. 
 
 KNAPTON, George, portrait painter. 
 Born in London in 1698, the son of a 
 bookseller. He was the pupil of Richard- 
 son, and his early works were in crayons. 
 In 1740 he went to Italy, and wrote an 
 interesting account of the discoveries at 
 Herculaneum. He held the office of painter 
 to the Dilettanti Society, and, in 1765, of 
 keeper of the King's pictures. He wasi^*.^ 
 associated with Arthur Pond in engravingj^'^'*^ 
 and publishing engravings from the draw-l&<jjtj 
 ings of eminent masters. At Hampton 
 Court there is a large and pretentious group 
 by him of the family of Erederick, Prince 
 of Wales. The widowed princess forms the 
 centre, with the child born after its father's 
 death in her lap, surrounded by her four 
 other daughters and four sons, and in the 
 background a full-length portrait of her 
 late husband. All the figures are life-size 
 and in action, the portraits, dresses, and 
 draperies carefully painted, and every part 
 defined with a scrupulous care that defied 
 art. The grouping is formal and unpleasant, 
 all the figures cut out from the background. 
 But some of his portraits in the Dilettanti 
 Society give a better opinion of his art, 
 which is by no means without merit. He 
 died in 1778, aged 80, and was buried at 
 Kensington. 
 
 KNAPTON, Charles, engraver and pub- 
 lisher. Brother of the foregoing. Pub- 
 lished, in 1734-35, some aqua-tin t imita- 
 tions of drawings in bistre ; a^d a number 
 of other works are ascribed t\ him. He 
 died in 1760, aged 60. ^ ^.^-kA^tJi^ 
 
 KNELLER, Sir Godfrey, Bart., portrait 
 painter. Was born of an ancient family, 
 at Lubeck, in 1648. Designed for the army, 
 he was sent to Leyden to study mathe- 
 matics and fortification ; but a love of art 
 predominated, and he was for a time th§ 
 
KNB 
 
 KYT 
 
 pupil of Bol, at Amsterdam, and had some 
 instruction from Eembrandt. In 1672 he 
 went to Italy, visited Rome, made some 
 stay in Venice, and in 1674 came to Eng- 
 land. He did not purpose to remain here, 
 but gaining the patronage of the Duke 
 of Monmouth, who introduced him to 
 Charles II., he was engaged to paint the 
 King's portrait, and the work pleased so well 
 that he was induced to stay. Charles was 
 interested in him, sat to him several times, 
 and sent him to Paris to paint the portrait 
 of Louis XIV. He was equally in favour 
 with James II., and the death of Lely left 
 him without a rival. He painted the por- 
 traits of all who were most eminent in his 
 day — the 43 celebrities of the Kit-Cat Club, 
 the ten ' Beauties,' at Hampton Court ; and 
 no less than ten sovereigns, were his sitters. 
 He held the office of state painter to 
 Charles II., James II., William III. (who 
 knighted him in 1692), Queen Anne, and 
 G-eorge I., by whom, in 1715, he was created 
 a baronet. He was lauded in the verse of 
 Pope, Dryden, Addison, Steele, Tickell, and 
 Prior ; and though he lost 20,000/. in the 
 South Sea scheme, he left an estate of 2,000/. 
 a year. He lived in Covent Garden from 
 1681 to 1705, and afterwards at Kneller 
 Hall, near Twickenham. He died from the 
 effects of a violent fever, November 7, 1723, 
 and was buried at Twickenham Church. 
 There is a monument to him in Westminster 
 Abbey. 
 
 His portraits have great freedom, and 
 are well drawn and coloured, but are slight, 
 and have much sameness and want of 
 completeness. The great number of his 
 works was a bar to their excellence. Their 
 great fault is the absence of all simplicity 
 and nature — steeped in a vicious, common- 
 place allegory, which deprives them of truth 
 and character. Yet to him is due, during 
 a practice of 30 years in England, the re- 
 membrance of our greatest men of his time. 
 
 KNELLER, John Zachary, ornamental 
 painter. Born at Lubeck in 1635. Was 
 the elder brother of the foregoing, and 
 came with him to England in 1674. He 
 painted architectural decorations in fresco, 
 and still-life in oil, and copied some of his 
 brother's portraits in water-colours. He 
 died in Covent Garden in 1702, aged 67, 
 and was buried in the church there. 
 
 KNIGHT, Charles, engraver. Practised 
 in London in the second half of the 18th 
 century. There are many works by him 
 after Kauffman, Wheatley, Bunbury, Single- 
 ton, Hoppner, and others. He was one of 
 the governors of the Society of Engravers, 
 founded in 1803 for the relief of members 
 of the profession. 
 
 KNIGHT, Mary Anne, miniature painter. 
 Was born in 1776, and was a pupil of 
 Andrew Plimer. She was a good minia- 
 turist. She first exhibited at the Academy 
 in 1807, and from that time was for many 
 years an occasional exhibitor. She was 
 unmarried, and died in 1851. 
 
 KNIGrHT, William Henry, subject 
 painter. Born September 26, 1823, at 
 Newbury, where his father kept a school. 
 He was placed under a solicitor, but he had 
 an early love of drawing, and encouraged 
 by the exhibition of two pictures at the 
 Society of British Artists, and disliking his 
 profession, he came up to London in 1845 
 to try his fortune as a portrait painter, and 
 entering the schools of the Academy, just 
 managed to live. In 1846 he exhibited for 
 the first time at the Academy, 'Boys playing 
 at Draughts ; ' and getting over his first 
 difficulties, continued to exhibit at the 
 Academy and the British Institution till 
 his death. His chief paintings are — ' Boys 
 Snow-balling,' 1853 ; ' The Young Natural- 
 ist,' 1857 ; 'The Lost Change,' 1859 ; with 
 ' Peace versus War,' and ' a Troublesome 
 Neighbour,' 1862. His works are of small 
 size, truthfully painted, usually introducing 
 children. He died July 31, 1863, leaving 
 a widow and young family. 
 
 KYSELL, Edward, engraver. Practised 
 in London, chiefly in portraits, about the 
 middle of the 17th century. There is an 
 equestrian portrait of Oliver Cromwell by 
 him. 
 
 KYTE, Francis, mezzo-tint engraver. 
 He occasionally painted portraits, and there 
 are several by him rather loose and un- 
 finished, but agreeable for tone and colour. 
 He was convicted in 1725 of uttering a 
 forged banknote, and sentenced to the pil- 
 lory ; from that time he assumed the trans- 
 lated name of Milvius. He engraved two 
 portraits of Gay, the poet ; to the first is 
 attached his real, to the second his assumed 
 name. 
 
 ?43 
 
LABEL YE, Charles, architect. Was a 
 native of Switzerland, and naturalised in 
 England. He is said to have first gained 
 his living as a barber. He had no less a 
 great skill in geometry and architecture, 
 and was for a time employed by Hawksmoor, 
 the architect. He built Westminster Bridge, 
 upon whicli he was occupied from 1739 to 
 1747. In 1744 he planned a harbour be- 
 twoon Sandwich Town and Sandown Castle, 
 a scheme which was brought under the con- 
 sideration of Parliament. He afterwards 
 retired to France for his health, and died 
 at Paris, Pebruary 18, 1762. He published 
 an account of the method he used in laying 
 the foundations of the bridge. 
 
 LACON, , portrait painter. He 
 
 painted water-colour portraits, and set up a 
 puppet-show at Bath, which was much the 
 fashion. He died about 1757. 
 
 LADBKOOKE, Egbert, landscape 
 painter. AVas apprenticed to a printer, but 
 turned to art, which he began by painting 
 portraits at 5^. each. He lived at Norwich, 
 was early associated with old Crome, and the 
 two painters married sisters. He was a mem- 
 ber of the Norwich Society of Artists from 
 its foundation in 1805, and a contributor to 
 its exhibitions, his works comprising the pic- 
 turesque localities in Norwich and views in 
 North Wales. Between 1809 and 1816 he 
 exhibited several landscapes in oil at the 
 Royal Academy. He gained a small com- 
 petence, and died at Norwich, October 11, 
 1842, in his 73rd year, leaving sons who 
 followed the arts. 
 
 LADBEOOKE, Henry, landscape 
 painter. Second son of the above. He was 
 born at Norwich, April 20, 1800. He was 
 well educated and intended for the Church, 
 but at the desire of his father he reluc- 
 tantly turned his energies to the study of 
 art, to which by degrees he became attached, 
 and pursued with unflagging energy. He 
 painted landscape with great truth to nature, 
 quiet in harmony of colour. He ex- 
 celled in his moonlight scenes, and enjoyed 
 a local reputation, but does not appear to 
 have exhibited at the Eoyal Academy. He 
 died November 18, 1870. His brothers, 
 E. Ladbrooke and J. B. Ladbrooke, exhi- 
 bited landscape views at the Academy 
 on one or two occasions, about the year 
 1820. 
 
 LADD, Anne. Painted portraits and 
 fruit-pieces. She died unmarried, of small- 
 pox, in London, February 3, 1770, aged 24. 
 
 LAOUEEEE, Louis (called 'Old La- 
 guerre'), history painter. Born in 1663, 
 at Paris, where his father was master 
 244 
 
 of the Eoyal Menagerie. He was godson of 
 Louis XIV. and intended for the Church, 
 but having an impediment in his speech, 
 was allowed to follow the bent of his own 
 inclination, and was placed under Le Brun, 
 with whom he studied art for some time, 
 as also in the academy at Paris. In 1683 
 he came to England, and was engaged 
 by Verrio, for whom he painted a large 
 part of the work Verrio was then engaged 
 upon at St, Bartholomew's Hospital. He 
 soon rose into great esteem, and was em- 
 ployed on his own account to decorate the 
 halls, staircases, and ceilings of many fine 
 mansions. King William gave him lodgings 
 at Hampton Court, where he painted the 
 ' Labours of Hercules,' and repaired Man- 
 tegna's great work, ' The Triumph of Caesar.' 
 He also painted the ceilings and staircases 
 at Burleigh, Devonshire House London, 
 Petworth, Marlborough House St. James's, 
 Sir Godfrey Kneller's, Whitton, and others. 
 He was chosen by the Commissioners for 
 repairing St. Paul's to decorate the interior 
 of the cupola, but was set aside by the infiu- 
 ence of Thornhill. Queen Anne commis- 
 sioned him to design tapestry in commemo- 
 ration of the Union, and he made the 
 drawings, but the intention was carried no 
 farther. In 1 7 1 1 he was elected the director 
 of an academy of painting, then established 
 in London. There is an etching by him of 
 ' Midas sitting in Judgment between Pan 
 and Apollo.' He died suddenly in Drury 
 Lane Theatre, where he had gone to be pre- 
 sent at his son's benefit, April 20, 1721, 
 and was buried in St. Martin's Church- 
 yard. As an artist he must take high rank 
 with his cotemporaries. His compositions 
 are good, his drawing vigorous ; his tone of 
 colour subdued, but pleasing. His large 
 works on the staircase of Marlborough 
 House, which have just been released from 
 the coats of paint under which they have 
 so long been hidden, are proofs of his great 
 ability. 
 
 LAGUEEEE, John (called ' Jack La- 
 guerre '), decorative painter . Was the son of 
 the above. He was born in London, and 
 educated as an artist under his father. He 
 worked for a time for Hogarth, but having 
 a good voice he tried the stage. He was 
 engaged as a singer both at Lincoln's Inn 
 Fields and Covent Garden Theatres, and^ 
 ho also painted some of the scenes. He 
 assisted Verrio in the plafonds at Windsor 
 Castle. He engraved some plates himself 
 and published a set of plates from the farce 
 of 'Hob in the Well,' which, though indilFer- 
 ently executed, had a large sale. He wanted 
 
LAI 
 
 LAM 
 
 application, not talent. He was a knowing 
 fellow, known to everyone worth knowing, 
 a great humorist, singer, mimic, and wit, 
 the founder of a school of caricaturists ; but 
 withal he died in indigent circumstances, in 
 March 1748. 
 
 LAINGr, John Joseph, wood engraver. 
 Born in Grhisgow, and practised for some 
 time there. Later he came to London, 
 where he found employment. His chief 
 works were architectural subjects for ' The 
 Builder.' He died at Grlasgow in December 
 1862, aged 32. 
 
 LAINGr, David, architect. Was born 
 1774, the son of a London merchant, and 
 became the pupil of Sir John Soane. In 1 81 0 
 he was appointed surveyor of buildings to 
 the Custom House, and soon after was com- 
 missioned to prepare designs for a new cus- 
 tom-house, which was just commenced west 
 of the old building, when that edifice was 
 destroyed by fire. The new building, erected 
 after his designs, was completed between 
 1814-17, when a few years after the centre 
 failed, either from a defect in the founda- 
 tion or the construction, and the repair 
 and necessary alteration were transferred to 
 Sir Robert Smirke. Some litigation fol- 
 lowed, and Laing retired from practice. He 
 exhibited at the Eoyal Academy from 1814 
 to 1822, chiefly designs for the custom- 
 house, exterior and interior, and views of 
 St. Dunstan-in-the-East, which he was at 
 that time rebuilding. He died at Brompton, 
 March 27, 1856, at the age of 82. He pub- 
 lished, in 1800, a small work, 'Hints for 
 Dwellings;' and in 1818, his 'Plans of 
 Buildings, Public and Private, including 
 the New Custom-house.' 
 
 LAMB, Edw^ard Buckton, architect. He 
 was very early an exhibitor of designs at 
 the Academy, commencing in 1824, and 
 about 1830 found active employment in his 
 profession. He gained a reputation for the 
 correct propriety of his Gothic designs, but 
 does not appear to have been engaged in 
 any works of magnitude. The design for 
 the Smithfield Martyrs' Memorial Church 
 in Clerkenwell was one of his last works. 
 He died August 30, 1869, aged 63. 
 
 LAMBERT, General John, amateur. 
 He was of a good family, and was brought 
 up to the Bar. On the breaking out of the 
 Civil War he entered the army of the 
 Parliament, and gained great distinction; 
 was a personal friend of Cromwell, and 
 the first president of his council. He had 
 l)een instructed in art by Baptiste Caspars, 
 and when banished for life to Guernsey on 
 the Restoration, he found a solace in flower 
 painting, in which he excelled. There is 
 at Goodwood a small portrait of Cromwell 
 at an alehouse door, which is traditionally 
 said to be after an original by General 
 Lambert ; a portrait of him, se ijpse joinxit, 
 
 is mezzo-tinted by J. Smith. After a 
 residence of nearly 30 years in Guernsey, 
 he died in the Roman Catholic faith in 1692. 
 He loft some fruit and flower pieces which 
 he had painted. 
 
 LAMBERT, John, amateur. Son of the 
 above. He painted portraits and left several, 
 which are said to be known in some English 
 collections. He died at his estate in York- 
 shire. 
 
 LAMBERT, George, landscape and scene 
 fainter. He was born in Kent in 1710, 
 and was the pupil of Hassel and Wootton. 
 In his art he was an imitator of Caspar 
 Poussin, and his landscapes have much 
 grandeur, excelling those of his contempo- 
 raries. He did not succeed in his figures, 
 some of which are attributed to Hogarth, 
 with whom he was a convivial friend. He 
 was a mannerist, and his manner was scenic, 
 some of his best works being painted for 
 the stage. He was first employed as a 
 scene painter at the Lincoln's Inn Eields 
 Theatre, and so early as 1736 was engaged 
 as the principal scene painter at Covent 
 Garden Theatre, an office he held many 
 years, and assisted Manager Rich in carrying 
 out great scenic improvements. He was 
 the first president of the Incorporated 
 Society of Artists, and was one of the jovial 
 party at Old Slaughter's, a merry companion 
 at all times, and the founder of the ' Beef- 
 steak Club,' which first held its meetings 
 in the scene-room at Covent Garden, called 
 the ' Thunder and Lightning ' loft. His 
 portrait was engraved in mezzo-tint by the 
 younger Eaber. He died November 30, 1 765. 
 In conjunction with Samuel Scott he painted 
 some views of the Indian settlements for 
 the East India Company's house in Lea- 
 denhall Street, now pulled down. There is 
 a good landscape by him at the Foundling 
 Hospital. Vivares and Masson engraved 
 after him ; and two etchings by him are 
 known, one an upright landscape and ruins, 
 with three small figures, coarse in execution. 
 Some of his best scenery was destroyed 
 when Covent Garden Theatre was burnt 
 down in 1808. 
 
 LAMBERT, James, landscape painter. 
 He practised in the latter part of his life 
 at Lewes. He gained a premium of 25 
 guineas at the Society of Arts in 1770, and 
 was an exhibitor at the Royal Academy in 
 1774, and continued to exhibit landscape 
 views till his death. He died near Lewes 
 in 1779. His son, James Lambert, during 
 the same period exhibited still-life, fruit, 
 and flowers. 
 
 LAMBERT, Mark, engraver. Appren- 
 ticed at Newcastle-on-Tyne, and became an 
 assistant to Thomas Bewick. He was 
 distinguished for the truth and carefulness 
 of his drawings. In the latter part of his 
 life he was employed chiefly in ornamental 
 
 245 
 
LAM 
 
 LAN 
 
 engraving of a mechanical character. He 
 died at Newcastle, September 28, 1855, 
 aged 74. 
 
 L A M B 0 E N E, Peter Spendelowe, 
 engraver and miniature 'painter. Born in 
 London 1722. He practised at Cambridge 
 about the middle of the century, and was 
 employed in drawing and engraving archi- 
 tectural and other antiquities. He also 
 painted miniatures and etched portraits. 
 He etched a head of Cromwell after Samuel 
 Cooper, and of Dr. Johnson from his own 
 drawing. He engraved many of the plates 
 for Bentham's ' History of Ely Cathedral,' 
 printed at the Cambridge University Press 
 in 1771. His architectural drawings and 
 views are elaborately careful, washed in 
 with Indian ink, and tinted. He was a 
 member of the Incorporated Society of 
 Artists in 1766. He died at Cambridge in 
 November 1774. 
 
 LANCASTEE, Hugh, marine painter. 
 He exhibited at the Academy in 1836, and 
 about the same time with the Society of 
 British Artists, of which body he was elected 
 a member in 1841. He continued to exhibit 
 with both Institutions up to 1849, con- 
 tributing scenes chiefly on the French and 
 Dutch coasts, with some landscapes in 
 Normandy, and views on the Scheldt. His 
 abilities were checked by his domestic 
 troubles, which were a bar to his progress in 
 art. He had lived for some time at Erith, 
 Kent, and died there July 3, 1850. 
 
 LANCE, George, still-life painter. He 
 was born at Little Easton, near Colchester, 
 March 24, 1802. His father was then 
 adjutant of the Essex Yeomanry, and after- 
 wards for many years an inspector of the 
 Bow Street horse patrol. He was intended 
 for manufacture, and was placed with a 
 relative at Leeds, but he disliked his occu- 
 pation, and came to London, where he tried 
 art, and became the pupil of B. E. Haydon 
 and a student of the Eoyal Academy. He 
 first exhibited with the Society of British 
 Artists in 1824 — ' The Mischievous Boy' and 
 two fruit-pieces. In 1828 he sent his first 
 work, ' Still-life,' to the Academy, but did 
 not exhibit there again till 1835, in the 
 interim exhibiting, in 1830 and 1831, with 
 the Society of British Artists. Continuing 
 to paint still-life, in 1839 he sent to the 
 Academy ' Eolando showing Gil Bias the 
 Treasures of the Cave ;' but in this and some 
 succeeding subject pictures the motive was 
 found in the rich accessories to which they 
 lent themselves. Soon after 1845 he re- 
 turned exclusively to still-life, exhibiting 
 principally fruit, and for the last time in 
 1862. His imitation of fruit, flowers, with 
 the A^ried accessories of plate and rich 
 textures, was excellent, as was the skill with 
 which they were grouped. His feeling for 
 colour was good, but rather gay. He died 
 246 
 
 at Sunnyside, near Birkenhead, June 18, 
 1864. 
 
 LANDELLS, Ebenezer, wood engraver. 
 Born at Newcastle-on-Tyne in 1808, where 
 his family carried on a draper's business. 
 He was a pupil of Bewick. Came to London 
 when 21 years of age, and was employed 
 in the illustration of several of the perio- 
 dical publications. He was connected with 
 'Punch' from its origin. In 1842 he was 
 commissioned to sketch and engrave the 
 Queen's visit to Scotland for the 'Illus- 
 trated London News,' and afterwards several 
 of her Majesty's visits, both at home and on 
 the Continent. He originated the ' Illumi- 
 nated Magazine.' He worked in a broad, 
 clever manner, but wanted delicacy and re- 
 finement both in his line and his drawing. 
 He died at Brompton, September 1, 1860, 
 aged 51. 
 
 LANDSEEE, John, A.E., engraver. 
 Was born at Lincoln in 1769, the son of 
 a jeweller. Was apprenticed to William 
 Byrne, the landscape engraver, and, through 
 him, was connected by pupilage with a long 
 line of eminent engravers. Among his 
 first works were his vignettes after De 
 Loutherbourg for Macklin's ' Bible ' and 
 Bowyer's ' History of England,' which were 
 of great merit. In 1795 he engraved 20 
 views of the South of Scotland. He was an 
 active supporter of his profession by his 
 pen also; and in 1806 he lectured at the 
 Eoyal Institution upon engraving, and as- 
 serted the high position of the art. An 
 opponent of the Eoyal Academy, on the 
 ground of the exclusion of the engravers, 
 he was, in 1806, elected an associate en- 
 graver, but did not cease to complain of 
 the unfair position in which the engravers 
 were placed by being deemed ineligible for 
 the full membership, and he never ceased 
 to agitate upon this question; and since 
 his death the first honours of the Academy 
 have been conceded. He commenced a 
 ' Periodical Eeview of the Pine Arts,' 
 which lived only to the second volume, 
 and at a later period he published ' The 
 Probe,' a weekly periodical, in which the 
 artists were sharply handled, but it did not 
 continue above half a year. He engraved 
 in a large, bold manner, making much use 
 of the needle. His works were highly 
 esteemed. He died February 29, 1852, in 
 his 83rd year, leaving three sons, who had 
 become eminent in art. In addition to the 
 two periodical works above mentioned, he 
 published, in 1807, ' Lectures on the Art of 
 Engraving; ' in 1817, ' Observations on the 
 engraved Gems brought from Babylon ; ' in 
 1823, ' Saboean Eesearches : Essays on the 
 engraved Hieroglyphics of Chaldea, Egypt, 
 and Canaan;' in 1833, 'Engravings illus- 
 trating the Holy Scriptures ; ' in IS 34, ' A 
 Descriptive Catalogue of Fifty of the earliest 
 
LAN 
 
 LAN 
 
 Pictures in the National Gallery ' and ' Some 
 Account of the Dogs and the Pass of St. 
 Bernard.' 
 
 LANDSEER, Sir Edwin Henry, Knt., 
 R.A., animal fainter. He was the third 
 and youngest son of the foregoing, and is 
 stated to have been born in Queen Ann 
 Street, London, 7th March 1802, the date 
 which was placed on his coffin, though 
 there is some question, even in his family, 
 as to the year of his birth. Surrounded 
 by art associations, he seemed destined 
 to be an artist, and his young genius 
 was very early developed under his father's 
 teaching, and he received a premium for 
 his drawing of 'A Horse for Hunting' 
 at the Society of Arts. Fond of animals 
 and of the sports to which this attach- 
 ment naturally led, as a boy he haunted 
 the itinerant wild beast shows, and, sketch- 
 book in hand, watched the action of 
 dogs when matched to fight or at rat- 
 killing. So trained, at the age of 14 he 
 was admitted to study in the Academy 
 schools, and was also an exhibitor at tlie 
 Academy Exhibition, sending 'The Heads 
 of a Pointer Bitch and Puppy ;' and in 
 1817, to the Water-Colour Society, which 
 then admitted works in oil, his ' Mount St. 
 Bernard Dogs ; ' and in 1818, 'Fighting 
 Dogs getting Wind ;' and at the same time 
 he exhibited at the Academy, ' Brutus,' the 
 portrait of a dog, with the portrait of an 
 * Old Horse.'^ 
 
 Up to this time his studies had been 
 chiefly from nature, and his father now 
 introduced him to B. R. Haydon, who super- 
 intended his progress, though he did not 
 become his pupil, and advised him to dissect 
 and make anatomical studies of animals. In 
 this course, taking advantage of the death 
 of a lion in one of the menageries, he studied 
 carefully its anatomy, which gave him a 
 power in the drawing of that animal notable 
 in his future works. Making rapid progress, 
 in 1820 he exhibited at the British Insti- 
 tution ' Alpine Mastiffs Reanimating a Dis- 
 tressed Traveller;' in 1821, at the Aca- 
 demy, a 'Prowling Lion ;' in 1822, a ' Lion 
 Disturbed ; ' and at the Institution, the 
 same year, ' The Larder Invaded,' for which 
 the directors awarded him 150/. ; and in 
 1824, 'The Cat's Paw,' a monkey seizing 
 the cat's paw to take the roasting chestnuts 
 from the fire, one of the first of his paint- 
 ings in which a well-known moral was so 
 happily combined with humour. 
 
 By these works he had already established 
 a reputation. In 1825 he exhibited at the 
 Academy a ' Portrait of Lord Cosmo Rus- 
 sell,' a boy on his rough little pony scam- 
 pering over the heather, followed, in 1826, 
 by the ' Interior of a Highland Cottage ' and 
 ' Chevy Chase ;' and having reached the pre- 
 scribed age of 24 years, he was at once elected 
 
 an associate of the Academy, and now com- 
 menced the exhibition of a series of fine 
 works, addressed to the comprehension and 
 tastes of all, fully confirming the high 
 opinion so early formed of his art, and 
 highly popular — in 1827, he exhibited at 
 the Academy ' The Monkey who had seen 
 the World,' a careful work, full of genius 
 and sly humour; in 1832, 'The Pets,' a 
 sweet picture of a child feeding a fawn. At 
 the British Institution, in the same year, 
 'Lassie Feeding Sheep; and in 1833, at 
 the Academy, a ' Jack in Office,' and ' The 
 Hunted Stag.' 
 
 As he matured his art, the field before 
 him widened, and attracted by the talk of 
 Highland sport and the allurements of deer- 
 stalking, he was led to visit the Highlands, 
 where, in his yearly succeeding visits, he 
 found so many attractive subjects for his 
 pencil. In 1834 he exhibited at the Aca- 
 demy a ' Highland Breakfast,' a young 
 mother suckling her babe, with a group of 
 eager dogs, one with a litter of pups at its 
 teats, feeding at her feet, and ' Bolton 
 Abbey in the Olden Time.' In 1835 he 
 sent to the Institution 'The Sleeping 
 Bloodhound,' a simple but probably one 
 of his best coloured and most vigorous 
 works; and to the Academy, in 1835, a 
 ' Highland Drover's Departure for the 
 South,' a fine and elaborate work, crowded, 
 perhaps overcrowded, with his fertile con- 
 ceptions, incidents so full of feeling that 
 not one would willingly be spared. In the 
 meantime he had been elected a full member 
 of the Academy in 1831, and had now 
 reached the highest rank in his profession. 
 His works were justly esteemed by all, the 
 theme of popular admiration, yet he received 
 only very inadequate prices for them, and 
 then not even promptly paid, he suffered 
 pecuniary inconveniences painful to his 
 susceptible nature. 
 
 Of the works which he now exhibited at 
 the Academy, maintaining the high reputa- 
 tion he had gained, the following may be 
 mentioned: — In 1837, 'The Return from 
 the Chase,' with ' The Old Shepherd's Chief 
 Mourner,' his faithful dog watching beside 
 the coffin, its action, and the whole of the 
 accessories of the picture, forming a work 
 of almost human pathos; 1838, 'A Dis- 
 tinguished Member of the Humane Society,' 
 represented by a noble Newfoundland dog; 
 and 'There's Life in the Old Dog yet; 
 1839, ' Tethered Rams ;' in 1841, 'Peace,' 
 and the companion picture, 'War;' 1842, 
 'The Highland Shepherd's Home; 1847, 
 ' The Drive, Shooting Deer on the Pass,' 
 one of his largest works, purchased by the 
 Queen; 1848, ' Alexander and Diogenes,' two 
 dogs ; 1850, 'A Dialogue at Waterloo,' the 
 aged Duke of Wellington with his daughter- 
 in-law visiting the field ; 1851, ' Scene from 
 
 247 
 
LAN 
 
 LAN 
 
 the Midsummer Night's Dream,' which may 
 be esteemed his last great work; 1856, 
 * Highland Nurses ;' 1858, ' The Maid and 
 the Magpie ;' 1860, ' Flood in the Highlands ;' 
 1861, ' The Shrew Tamed ' and the ' Fatal 
 Duel.' During the whole of these years, 
 while as a member of the Academy he sent 
 his chief works to their exhibitions, he con- 
 tinued to exhibit at the British Institution, 
 and probably from early associations sup- 
 ported that body by the contribution of his 
 works till its final collapse. 
 
 Up to this time his deserved prosperity 
 and success had, to the world, appeared 
 unclouded, but it was not so. A lively 
 companion, gifted with all that made his 
 company desirable, he was admitted and 
 esteemed in the first society, even the 
 Queen's. But from his youth painfully sen- 
 sitive, nervously alive to censure, he had suf- 
 fered occasionally from long periods of men- 
 tal depression, and then felt most acutely the 
 slights, no doubt purely imaginary, of his 
 distinguished friends. In 1851-52 he was 
 attacked by illness, arising from these causes, 
 and in those years he did not exhibit. He 
 had when so young reached, and so long 
 maintained, such great excellence in his art 
 that his friends, seeing now some falling off, 
 feared, after his 40 years' practice, they 
 must be prepared to find his place on the 
 Academy walls a blank ; but it was not yet. 
 He happily rallied, and again his works 
 appeared, yet in faded excellence. In 1864 
 he exhibited, with other works, his ' Piper 
 and Pair of Nutcrackers;' in 1886, ' The 
 Stag at Bay,' a model ; in 1868, ' Rent-day 
 in the Wilcls,' the concealed tenants paying 
 their rents for their exiled chief; in 1869, 
 two 'Studies of Lions,' with 'The Swannery,' 
 a work which had long laid unfinished in 
 his studio ; and continuing to send two or 
 tliree pictures in the following years, in 
 1873 he exhibited his last work, 'An Un- 
 finished Sketch of the Queen.' He produced 
 a number of etchings which are highly 
 prized, and modelled the four noble lions 
 which ornament the base of the Nelson 
 column in Trafalgar Square, a commission 
 which he kept many years in hand. 
 
 Towards the end of his life his nervous 
 state of health was aggravated from the 
 effects of a railway accident in the north, 
 in November 1868, which left a scar on the 
 forehead visible in his coffin. From this 
 his failing memory became more affected, 
 and for the last two or three years he was 
 a great sufferer. He had lived, since 1825, 
 all his days in the same house at St. John's 
 Wood Road. He was unmarried, but was 
 surrounded by his family, and also by his 
 many dogs and animals,whose natures, facul- 
 ties, and actions,were his amusement and the 
 object of his continual, almost unconscious, 
 study ; and here he died on October 1, 1873, 
 248 
 
 and was buried in St. Paul's Cathedral, his 
 funeral attended by his family and friends, 
 the president and members of the Royal 
 Academy, with many persons of distinction 
 and eminence, and distinguished by many 
 marks of public sympathy. His art will 
 fill a permanent place in the memories 
 of all. His skUl endowed animals with 
 something more than instinct — sometimes 
 highly pathetic, sometimes of the most 
 subtle humour. His fertile invention and 
 happy incidents were unsurpassed, the 
 titles of his works so cleverly, sometimes 
 wittily, chosen ; his drawing truthful and 
 correct; his power of execution dextrous 
 and rapid in the extreme ; the facile treat- 
 ment of his textures — wool, fur, skin, or 
 feathers — unsurpassed; and all that the 
 Dutch painters reached by the most elabo- 
 rate skill ; his composition without effort, 
 yet always good. But his colour was often 
 heavy, and latterly grey and leaden. His 
 portraits, of which he painted several, 
 when his subject was evidently his own 
 choice and his own taste, bore all the 
 successful impress of his art ; not so, how- 
 ever, when he was oppressed with the 
 sense of a task, uncongenial and perhaps 
 too good-naturedly undertaken. 
 
 His works have been so largely circu- 
 lated by the numerous excellent engravings 
 of them, including almost without excep- 
 tion all those mentioned here, that they 
 have become known and have found a 
 place in the affections of all. Eminently 
 happy in the engravers employed, his 
 ' Bolton Abbey,' and ' Midsummer Night's 
 Dream,' are especially distinguished by the 
 happy talent with which they are rendered ; 
 and ' The Mothers,' a collection of small 
 designs admirably etched, and the 'Mon- 
 keyana,' are tributes no less to the engraver 
 than the painter. 
 
 He was fortunate in receiving all the 
 honours which art could give him. He was 
 knighted in 1850, was awarded the large 
 gold medal at the Exposition Universelle 
 in Paris, 1855, and on the death of Sir C. 
 Eastlake, in 1865, was formally offered, 
 but refused, the office of President. He 
 realised, in the latter part of his life, 
 largely from the sale of the copyrights of 
 his pictures, a handsome fortune. The 
 Queen, his gracious patron, possesses many 
 of his works. The nation is fortunate in 
 the number of his best paintings which 
 were bequeathed to it by the munificence 
 of Mr. Sheepshanks, Mr. Vernon, and Mr. 
 Jacob Bell, and are now open to the public 
 in the galleries of the South Kensington 
 Museum. 
 
 LANE, John Bryant, history painter. 
 He was born in Cornwall, and brought up 
 to the medical profession, but turning to 
 art he was noticed and assisted by Lord de 
 
LAN 
 
 LAN 
 
 Dunstanville. He exhibited some sacred 
 and classic subjects at the Eoyal Aca- 
 demy — in 1808, an 'Altar-piece ;' in 1810, 
 ' Artemesia preparing to Drink the Ashes 
 of her Husband ; ' in 1811, 'Christ mocked 
 by Pilate's Soldiers;' in 1813, ' Eutychiis 
 restored to Life by St. Paul.' Ho then 
 went to Rome, and after a time it was 
 known that he was engaged upon a large 
 and important work. Year after year passed 
 away. He was continually increasing the 
 size of his canvas, and continuing his 
 labours, refused all requests to see his 
 work. Then, at the end of 14 years, he 
 announced the completion of his picture, 
 ' The Vision of Joseph.' The work was 
 crowded with figures, full of errors, and 
 when seen by his artist friends, pronounced 
 an utter failure. It was also ofFenaive to 
 Eoman Catholic prejudices, and the artist 
 had to leave Rome with his work. He went 
 to Dresden to study Coreggio, and sent his 
 great picture to London, and in 1828 it was 
 exhibited at Charing Cross in a part of the 
 Royal Mews. He exhibited some portraits 
 of his patrons at the Academy in 1831-32 
 and 1833, and for the last time in 1834, when 
 his name disappears. His picture was for 
 some years deposited at the Pantechnicon 
 in Belgravia, and was eaten up by rent and 
 destroyed by dust. 
 
 LANE, Samuel, portrait painter. Was 
 born at King's Lynn, July 26, 1780, of a 
 respectable Staffordshire family. Prom an 
 accident when a child he became deaf, and 
 nearly dumb also. This misfortune, added 
 to a taste for art, determined his profession. 
 He was placed for a time under Parington, 
 R.A., and afterwards under Sir Thomas 
 Lawrence. He became known as a portrait 
 painter chiefly from the accuracy of his 
 likenesses, and though wanting in the 
 higher qualities of his art, he had some 
 distinguished sitters. He first exhibited 
 at the Academy in 1804, and for nearly 
 60 years was a constant and large contri- 
 butor of his portrait works. Soon after 
 1853 he retired to Ipswich, and sent from 
 thence, in 1856, his last contribution to the 
 Academy Exhibition. He died at Ipswich, 
 July 29, 1859. 
 
 LANE, Theodore, subject 'painter. Was 
 born in 1800, at Isleworth, where his father, 
 a drawing-master, had retired. He was 
 apprenticed to an engraver, and studied 
 assiduously, but his genius tempted him to 
 original design. He exhibited at the Aca- 
 demy, as early as 1816, the portrait of a 
 dog; and in 1819, 1820, and 1826, female 
 portraits. Then, in 1827, finding the true 
 bent of his genius, ' The Christmas Present, 
 or Disappointment ; ' and the following 
 year, ' Disturbed by the Nightmare.' This 
 latter picture, and ' The Enthusiast,' two 
 humorous works, which are well known, 
 
 are engraved, and he was rising into 
 notice, when, falling through a skylight, 
 he was killed on the spot. May 21, 1828. 
 He left a widow and three children, for 
 whose benefit his 'Enthusiast' — a gouty 
 old man fishing in a tub in his chamber — 
 was published. There are also some cari- 
 catures drawn and etched by him. 
 
 LANE, William, portrait painter. He 
 commenced art as a gem engraver, and 
 from 1778 to 1784 exhibited at the Aca- 
 demy classic heads on cornelian and other 
 precious stones. In 1785 he exhibited a 
 head of Mrs. Siddons in crayons, and from 
 that year occasionally sent a portrait, but 
 from 1797 established himself as a popular 
 portrait draftsman. His works were slight, 
 and cleverly drawn in hard coloured chalks. 
 He was a large contributor of portraits and 
 portrait-groups up to 1815. He died at 
 Hammersmith, January 4, 1819, in his 73rd 
 year. Anna Louisa Lane, apparently his 
 wife, also exhibited some portrait drawings 
 in 1778-81 and 1782. 
 
 LANE, Richard James, A.E., engraver. 
 He was the son of the Rev. Dr. Lane, pre- 
 bendary of Hereford. His mother was the 
 niece of Grainsborough, R.A. Born in 1800, 
 he was at the age of 16 articled to Charles 
 Heath, the line engraver, and made good 
 progress in his art ; but on the completion 
 of his pupilage, the higher branches of 
 engTaving suffered great discouragement 
 from the attempts to widen its diffusion by 
 greater cheapness, and in 1824 he vv'as 
 tempted to try the new art of lithography, 
 to which, after many struggles, he finally 
 devoted himself, and soon attained great 
 excellence, standing foremost in delicacy 
 of finish and perfection of style. Among 
 his first works were a charming series of 
 'Sketches by Gainsborough,' 1823 ; followed 
 by 'Imitations of British Artists,' among 
 which are works that stand unrivalled in 
 photography. His imitations of ' Sketches 
 by Sir Thomas La^"VTence, P. R.A.,' are no less 
 distinguished by their extreme tenderness 
 and delicacy, and are quite deceptive in 
 their imitative power. He executed for 
 the Queen, wdio appointed him her litho- 
 grapher, many prints of the members of 
 the Royal family after Winterhalter, and 
 also some excellent prints after his friend, 
 Alfred Chalon, R.A. In 1827 he was elected 
 an associate engraver of the Royal Academy. 
 In 1864 he was appointed director of the 
 etching class at the South Kensington 
 Museum, an ofl^ice for which he was pecu- 
 liarly fitted by his large knowledge of art, 
 and his patient, gentle temper. He died at 
 Kensington, November 21, 1872. He wrote 
 ' Life at the Water-cure.' 
 
 LANGLEY, Batty, eirchitect. Was the 
 popular architect of his day. He preten- 
 tiously attempted to adopt the proportions 
 
 249 
 
LAN 
 
 LAR 
 
 of the Gothic to the EomaD, and invented 
 five orders of his new style. These he 
 published, also ' An accurate Description of 
 Newgate,' 1724; and a ' Design for a new 
 Bridge at Westminster,' 1736. He also 
 published a useful 'Builders' Price-book,' 
 successive editions of which have continued 
 to the present time ; and a ' Survey of "West- 
 minster ' which he had made ; and on some 
 squabble with the city authorities, who 
 preferred the Swiss architect (Labelye) to 
 him, in a vignette to his work, introduced 
 his foreign rival hung by the neck under 
 an arch. He had sufficient assurance and 
 influence to corrupt the taste of the time. 
 He died March 3, 1751. Walpole calls him 
 a ' barbarous architect ; ' but he was one 
 of those who, in his day, helped to keep 
 alive a taste for Gothic architecture. 
 
 LANGTON, John, glass painter. He 
 was originally a writing-master at Stamford, 
 and presented to Queen Anne specimens of 
 his penmanship. He made some experi- 
 ments in glass painting, and painted the 
 east window of the church at Stamford, 
 'Christ blessing the Elements,' in 1700; 
 and claimed to have revived the art of 
 painting on glass. 
 
 LANIEKE, Nicholas, portrait painter. 
 Was one of the sons of Jerome Laniere, an 
 Italian, who came to England with his 
 family in the latter part of Queen Eliza- 
 beth's reign, and belonged to her Majesty's 
 band. He was painter and musician, and 
 skilled in both these arts. Charles I. 
 employed him as his agent in the purchase 
 of pictures, and sent him to Italy, where 
 he laid out large sums on the commission 
 given by his Majesty. A¥hen the royal 
 collection was sold by the order of Parlia- 
 ment, he was a large purchaser, and de- 
 posited his acquisitions in his father's apart- 
 ments at Greenwich, and, taking care to 
 remove them before the Eestoration, none 
 could be recovered. He wrote the music 
 and painted the scenes for a masque by 
 Ben Jonson, which was performed in 1617 ; 
 also a vocal composition for a funeral 
 hymn on his royal master. As a musician, 
 he had a pension of 200/. a year for life, 
 and he also held the office of closet-keeper 
 to the King. His portrait by himself, in 
 the music school at Oxford, proves him to 
 have possessed great powers as an artist ; 
 it is well drawn and coloured, the composi- 
 tion and expression excellent. He died 
 November 4, 1646, and was buried at St. 
 Martin - in - the - Fields. He published a 
 Drawing-book, in which the examples were 
 engraved by himself, and there are also 
 some etchings by him. 
 
 LANKRINK, Prosper Henry, landscape 
 painter. Born in Antwerp in 1628. He 
 was the son of a German soldier in the 
 Dutch service. His mother had devoted 
 250 
 
 him to the Church, but sho\^ng a talent 
 for painting, she sent him to the academy 
 at Antwerp, where he made rapid progress. 
 On his mother's death, he came to England 
 in the reign of Charles II., after having 
 visited the chief galleries in Italy. He 
 had copied much from Salvator Rosa, and 
 was an able imitator of his works. His 
 own landscapes, into which he introduced 
 small figures, were much admired ; and Sir 
 Peter Lely employed him on his land- 
 scape backgrounds. Many of his works 
 were lost in a fire. As he advanced in life 
 he became idle and dissipated. He resided 
 several years in Piccadilly, and dying in 
 Covent Garden in 1692, was buried in 
 the church there. J. Smith mezzo-tinted 
 ' Nymphs Bathing' after him. 
 
 LAINT, Thomas, amateur. He was port- 
 cullis poursuivant to Queen Elizabeth, and 
 a gentleman in the service of Sir Philip 
 Sydney. He drew the funeral procession 
 and obsequies of his master, which were 
 engraved in 34 plates by De Brie. 
 
 LAPIDGE, Edward, architect. He 
 was the son of the gardener at Hampton 
 Court Palace. He exhibited some designs 
 at the Academy in 1808 and following 
 years, but was rarely an exhibitor. He 
 was the architect of Kingston Bridge, com- 
 pleted in 1828, and in the following year 
 built St. Peter's Church, Hammersmith ; 
 also a chapel on Ham Common. He was a 
 competitor, sending in a set of designs, for 
 the new Houses of Parliament in 1836. 
 He exhibited at the Academy, in 1850, a 
 design for a suspension bridge on a new 
 principle. He died in March 1860. 
 
 LAPORTE, John, water-colour painter. 
 He first appears as an exhibitor at the 
 Royal Academy in 1785, and from that 
 year, with few exceptions, was a constant 
 contributor of landscape scenery. He was 
 one of the masters at the Military Asylum 
 at Addiscombe, and was greatly engaged 
 also in private teaching. He painted land- 
 scapes, introducing cattle, with effects of 
 sunset and morning, of rain and showers, 
 and some views of lake scenery. There 
 are some attempts by him in oil, which he 
 exhibited at the British Institution. He 
 died in London, July 8, 1839, aged 78. 
 
 LAROON, Marcellus (known as ' Old 
 Laroon'), subject painter. He was born at 
 the Hague in 1653, and taught by his father, 
 who was an artist. With him he came, 
 when young, to England, where he studied 
 closely from nature, and formed a style of 
 his own. He lived several years in York- 
 shire, and on returning to London was 
 employed by Sir Godfrey Kneller as his 
 drapery painter. He drew correctly, and 
 painted history, subject and conversation 
 pieces, and landscape. He had great power 
 in imitating the styles of the great masters, 
 
LAR 
 
 LAU 
 
 and both engraved in mezzo-tint and etched. 
 He drew and engraved Tempesta's well- 
 known ' Cryes and Habits of London' and 
 'The Coronation Procession of William and 
 Mary.' There is also a book upon Fencing 
 by him. He resided in Bow Street, Covent 
 Garden, from 1680 till his death, of con- 
 sumption, March 11, 1702, which took place 
 at Kichmond, where he was buried. 
 
 LAEOON, Marcelltjs (known as 'Cap- 
 tain Laroon '), subject 'painter. Son of the 
 above. He was born in Bow Street, Covent 
 Garden, April 2, 1679. He early gained 
 power as a rapid draftsman. At the age 
 of 18 he went as a page to Sir Joseph 
 Williamson, one of the pleni]ootentiaries to 
 the Congress at Rys^\yck ; and from thence 
 travelled in the suite of the Earl of Man- 
 chester, the ambassador to Venice, being 
 absent altogether about a year. He had 
 studied both painting and music, and quar- 
 relling with his father, went on the stage 
 as an actor ; and at the end of two years 
 turned again to his painting till 1707, when 
 he obtained a commission and joined the 
 army in Holland, where he fought at the 
 battle of Oudenarde and the sieges of 
 Ghent and Toiirnay. In 1710 he was with 
 the army in Spain, served a campaign 
 as deputy quartermaster- general, marched 
 with the army to Madrid, and, taken pri- 
 soner, was detained till 1712. On the Ke- 
 bellion, in 1715, he was again on service 
 with the royal army at Preston. There 
 he Avas placed on half-pay till 1724, when 
 he was appointed to a troop of dragoons, in 
 which he served till 1734. His art is now 
 known by his drawings — music parties, 
 groups in couA^ersation, sometimes intro- 
 ducing portraits, and camp sketches. These 
 are freely drawn with a reed pen, with some- 
 times a slight shadow washed in. About 
 1740 he was living at Worcester. He died 
 at York, some accounts say Oxford, June 2, 
 1772. He had a great genius both for 
 painting and music. He sold a collection 
 of his own works, with many of his father s, 
 in 1725. 
 
 LATHAM, Zl-we.^, portrait painter. Born 
 in Tipperary. Studied his art at Antwerp, 
 and practised in Ireland about 1725-40. 
 He was one of the earliest of Ireland's 
 painters, and was greatly esteemed. He 
 practised for a time in London. He painted 
 in a pure style, and among his works left 
 an excellent portrait of Peg Woffington. 
 His portraits are frequently met with in 
 the old Irish mansions, and some of them 
 are engraved. He died in Dublin about 
 1750. 
 
 LATILLA, EuGENio, subject 'painter. 
 After exhibiting for several years with the 
 Society of British Artists, he was in 1838 
 elected a member, and in that and the two 
 following years was a large contributor 
 
 to their exhibitions. In 1842 he went to 
 Eome, and sent from thence a Piflferaro,^ 
 ' Abraham dismissing Hagar and Ishmael,' 
 ' Preparing for the Carnival,' and other 
 works. In 1847-48 he was at Florence, 
 and returning to London in 1849, he exhi- 
 bited ' Jane Shore's Penance ' and some 
 others. In 1851 he resigned his member- 
 ship and went to America, where he died. 
 
 LATOMUS, Henry, architect. Practised 
 at the beginning of the 14th century. In 
 1319 he rebuilt the church at Evesham. 
 
 LAUD EE, James Eckford, E.S.A., 
 subject painter. He was born in 1812, at 
 Silvermills, near Edinburgh, and was 
 younger brother of the following, by whose 
 help his early love of art was rapidly deve- 
 loped. He studied at the Trustees' Academy, 
 and in 1834 joined his brother in Italy, 
 where he studied zealously nearly four years. 
 On his return he settled in Edinburgh, where 
 he was a yearly contributor to the exhi- 
 bition, sending, among other works, ' The 
 Unjust Steward ' and ' The Ten Virgins,' 
 which latter was engraved. His works yearly 
 attracted much notice, and in 1839 he was 
 elected an associate of the Scottish Academy, 
 and in 1846 a full member. He was also 
 an occasional exhibitor at the Eoyal Aca- 
 demy in London, where he exhibited, in 
 1841 * A Scene from The Two Gentlemen of 
 Verona;' followed by, in 1842, 'Cherries;' 
 in 1843, 'Hop-Scotch ;' in 1845, ' Night and 
 Day ; ' making his last contribution in 1846. 
 In 1847 he was awarded, in the competition 
 at Westminster Hall, a premium of 200^. 
 for his ' Parable of Forgiveness.' He had 
 continued to practise in Edinburgh, and 
 died there March 27, 1869. He enjoyed a 
 reputation in Scotland, and for a long 
 period his works filled an important place 
 on the walls of the Scottish Academy. 
 
 LAUDEE, Egbert Scott, E.S.A., subject 
 'painter. He was born at Silvermills, near 
 Edinburgh, in 1802. Stirred by an early 
 love of art, on leaving school he gained 
 admission to the Trustees' Academy in 
 Edinburgh, and after three years' study 
 there he came to London, and for about 
 three years drew at the British Museum 
 and in a private life academy. In 1820 
 he returned to Edinburgh and renewed 
 his studies at the Trustees' Academy, and 
 was elected an associate of the Eoyal Insti- 
 tution, and on the foundation of the Eoyal 
 Academy in 1830 he became one of the first 
 members. At this time he painted a number 
 of small portraits, and in 1833 visited the 
 Continent, where he remained for five years, 
 chiefly studying at Eome, and at Bologna, 
 Florence, and Venice. He returned in 1838, 
 and from that time resided mostly in Lon- 
 don. In 1839 he exhibited at the Eoyal 
 Academy his 'Bride of Lammermuir' and 
 ' Eose Bradwardine ; ' in 1 840, ' The Trial of 
 
 251 
 
LAW 
 
 LAW 
 
 Effie Deans ; '> in 1842, ' Eutli,' and 'Meg 
 Merrilies and the dying Smuggler in 1845, 
 ' Hannah presenting Samuel to Eli ; ' and in 
 1848, 'Mother and Child,' with, during the 
 same years, occasional portraits. In 1847 
 he exhibited at the "Westminster Hall com- 
 petition, ' Christ walketh on the Sea.' He 
 afterwards returned to Edinburgh, and 
 painted his ' Christ teaching Humility,' 
 which was purchased by the Society for pro- 
 moting the Fine Arts in Scotland. Struck 
 with paralysis in 1861, he was unable to 
 continue his art, and died at Edinburgh, 
 April 21, 1869. His colour and light and 
 shade are rich and powerful, his expression 
 and character good, his aspirations lofty and 
 original. 
 
 LAWLESS, Matthew James, subject 
 painter. He first appears at the Koyal 
 Academy as an exhibitor in 18f)8. In 1860 
 he exhibited ' The King's Quarters at Wood- 
 stock ; ' in 1 861 , ' AA^aiting for an Audience ; ' 
 in 1862, ' The Widow of Hogarth selling 
 her Husband's Prints;' and in 1863, his 
 last contribution, ' A Sick Call,' the visit of 
 a priest, probably suggested by his own 
 failing health. He died at Bayswater, 
 in the autumn of 1864, in his 28th year. 
 His works were carefully finished, and his 
 latest works showed an improvement in 
 character and refinement. He made many 
 designs for wood engraving, which have 
 great merit. 
 
 LAAVKANCE, Eichard, amateur. He 
 was a veterinary surgeon, and a friend of 
 B. K. Haydon. He published, in 1818, 
 ' Eifty Outlines from the Elgin Marbles,' 
 drawn and etched by himself. 
 
 LAWKANSON, Thomas, portrait painter. 
 An Irish artist, of whom little is known. He 
 practised in London about the middle of the 
 18th century, and was a member of the 
 Incorporated Society of Artists, exhibiting 
 with them portraits, whole-lengths, and 
 some miniatures, in 1764-73. He painted 
 chiefly in oil, and drew and published a 
 large engraving of Greenwich Hospital. 
 There is a portrait of O'Keefe by him in 
 the National Portrait Gallery. He died after 
 1778. 
 
 LAAVEANSON, William, portrait 
 painter. Son of the foregoing. He painted 
 subject pictures and portraits in London in 
 the latter part of the 18th century. He 
 gained premiums at the Society of Arts in 
 1760 and 1761. He was a member of the 
 Incorporated Society of Artists, and ex- 
 hibited with them crayon portraits 1 765-70, 
 and first appears as an exhibitor of crayon 
 portraits at the Eoyal Academy in 1774, 
 and continued to contribute in the succeed- 
 ing years. His portrait of ' Nan Catley as 
 Euphrosyne,' is engraved by Dunkerton, 
 and there are many fine mezzo-tints after 
 his works ; of these are ' Palemon and 
 252 
 
 Lavinia,' ' Eosalind and Celia,' ' Cymon and 
 Iphigenia,' ' Lady Haymaking,' 1 780, his last 
 contribution to the Academy Exhibition. 
 
 LAAVEENCE, Andrew, engraver. He 
 was born in AVestminster in 1708, and was 
 the natural son of Andrew Lawrence, 
 apothecary to Queen Anne. He learnt draw- 
 ing under Mons. Eegnier, who then taught 
 in Soho. He became a good linguist and 
 musician. He also drew in crayons and 
 painted in oil. On the death of his father 
 he tried alchemy, and soon lost the fortune 
 left him. Then a ruined man, he made his 
 way to Bologna and from thence to Paris, 
 where he was employed by Le Bas, and 
 etched for him many plates, receiving about 
 a franc and a half a day. Among the works 
 so executed are the ' Halte d'Officiers,' ' Les 
 Sangliers forces,' after Wouvermans ; * Le 
 Soir,' after Berghem ; and some others. After- 
 wards he worked for A. Pond. Salvator 
 Eosa's 'Saul and the Witch of Endor' is 
 engraved wholly by him, as'' are also somo 
 plates after De Loutherbourg and Wouyer- 
 mans. He etched with great taste,- was 
 also a clever painter, and possessed much 
 professional knowledge. He died at Fwris, 
 July 8, 1747. ■ ! 
 
 LAWEENCE, Mary, /o?i^^r painter. eShe 
 first exhibited at the Academy in 1794,^nd 
 continued with small exception a yearly 
 contributor up to 1814, when she becAue, 
 by marriage, Mrs. Kearse, and in that njame 
 exhibited up to 1830. She published, in 
 1797, 'The Various Kinds of Eoses culti- 
 vated in England,' which she drew *'and 
 coloured from nature, and engraved with 
 great tenderness. 
 
 LAAVEENCE, Sir Thomas, Knt., P.E.A., 
 portrait painter. AVas born at Bristol, 
 May 4, 1769. His father, the son of a 
 clergyman, tried many means to gain a 
 livelihood. At the time of his son's birth 
 he kept the 'White Lion Inn,' and his 
 business failing there about three years 
 after, he took another inn at Devizes. Young 
 Lawrence was a handsome boy, and both 
 repeated poetry and drew likenesses with a 
 very precocious taste : two years' schooling 
 and a few lessons in Erench were the sum 
 of his education. His family removed suc- 
 cessively to Oxford, AVeymouth, and Bath, 
 where he receii^cd some art-help from AVm. 
 Hoare, E.A., and commenced his career by 
 cbawing chalk heads in ovals at one guinea 
 and one and a half guinea each. He gained 
 a premium from the Society of Arts in 1785, 
 and his sitters increasing he doubled his 
 prices, and he made some attempts at histo- 
 rical subjects, though probably only in chalk. 
 
 In 1787 he came with his family to 
 London, and was admitted a student of the 
 Eoyal Academy. He exhibited there in 
 that year four female portraits — ' Mad 
 Girl,' ' A Vestal Virgin,' and ' Mrs. Esteu 
 
LAW 
 
 LAW 
 
 as Belvidera ; ' in the following year, six 
 portraits ; in 1789, 13 portraits, one of them 
 of the Duke of York; and in 1790, the 
 Queen, the Princess Amelia, and 1 1 other 
 portraits. He was not long in gaining 
 public patronage and royal favour. In 
 
 1791, though under the academic age, he 
 was elected an associate of the Academy, 
 and ^ith 10 portraits, exhibited a classic 
 subject, 'Homer reciting his Poems.' In 
 
 1792, when in his 23rd year only, he was 
 appointed by the King his painter in ordi- 
 nary, on the death of Sir Joshua Keynolds, 
 and that year exhibited his Majesty's por- 
 trait; and in 1794 w^as admitted to his 
 full honours as member of the Academy. 
 Eeynolds's death had left the profession 
 open ; he soon distanced his competitors, 
 and stood first in the front rank, enjoying 
 the chief honours and profits of his profes- 
 sion. In 1801 an incident occurred which, 
 for a short tiijie, diminished the number 
 of his female sitters. He was required to 
 paint the portrait of the Princess of Wales, 
 and f6r a time occupied a room at her 
 Eoyal Highness's residence, which was 
 made a subject of scandal and of enquiry 
 before the Commission of 1806, then called 
 ' The Delicate Investigation,' but no allusion 
 whatever was made to Lawrence in the 
 report. 
 
 On the opening of the Continent in 1814, 
 he hastened to Paris to see the great art 
 collection in the Louvre, but was recalled 
 to receive an important commission from 
 the Prince Regent, who had not before em- 
 ployed him. He was appointed to paint 
 the portraits of the eminent statesmen and 
 soldiers who had aided in the restoration 
 of the Bourbons (many of whom were then 
 expected to visit London), to form a com- 
 memoration gallery at Windsor. In 1815 
 the Prince Regent sat to him and conferred 
 on him the honour of knighthood, and in 
 1818 he visited Aix-la-Chapelle, where the 
 Congress sat, and • afterwards Vienna and 
 Rome, for the completion of the Prince's 
 commission, returning in 1820, after an 
 absence of 18 months, during which he had 
 seized the opportunity to visit the principal 
 Italian cities. 
 
 The president of the Academy had died 
 during his absence, and on the very day of 
 his arrival in London he was unanimously 
 elected the new president. Fortune seems in- 
 variably to have favoured him. He continued 
 to paint the portraits of the most distin- 
 guished of his countrymen and country- 
 women. In 1825 he went to Paris to paint 
 for the King, Charles X., and the Dauphin, 
 and had the Legion of Honour conferred 
 upon him. At the height of his fame, 
 favoured in every respect, and not in the 
 least anticipating the termination of his 
 career, after only a few days' illness, lie died 
 
 of ossification of the heart on January 7, 
 1830, and after lying in state at the Royal 
 Academy, was buried with great ceremony 
 in St. Paul's Cathedral. In the spring of 
 the same year a fine collection of his works, 
 which included 91 pictures, was exhibited 
 at the British Institution, and the proceeds, 
 wliich amounted to 3,000^., were presented 
 to his nieces by the directors. 
 
 La^vrence had never married ; an early 
 engagement to the daughter of Mr. Siddons 
 was broken off by the lady's father, on the 
 ground of the inadequacy of the young 
 painter's income ; and fond of female society, 
 on one or two other occasions he is said 
 to have entered into engagements which, 
 however, still left him a bachelor. The pro- 
 fits of his profession must have been large. 
 His last list of prices was— head, 210/. ; 
 kit-cat, 315/.; half-length, 420/.; Bishop's 
 half-length, 525/. ; full-length, 630/. ; extra 
 full-length, 735/. Por the portrait of Lady 
 Gowor and child he received 1,500 guineas, 
 and for his Master Lambton 600 guineas. 
 Upon a fine collection of drawings which 
 he made, he is estimated to have expended 
 60,000/. On his death they did not realise 
 20,000/. He could not resist the tempta- 
 tion of a fine drawing, if he could command 
 the money. But he was during his whole 
 career needy, and sometimes compelled to 
 seek payment for his works before they 
 were finished. His only extravagance was 
 in the purchase of works "of art, and he 
 had a family of sisters and brothers, who 
 depended largely upon him. 
 
 Lawrence early adopted a style of his own, 
 and made little change in his manner, 
 seeking no new methods of execution. Beside 
 his great predecessor's works, his appear 
 thin and weak, his colouring tinty and 
 artificial ; his drawing, though refined, 
 effeminate ; and his works marked by an 
 artificial look approaching insipidity. His 
 compositions want variety, and his back 
 grounds were too frequently mere common- 
 place. He painted some large historical 
 subjects — in 1797, his 'Satan,' which was 
 severely criticised ; next ' Coriolanus,' which 
 he called a half-history picture ; followed 
 by ' Rolla,' ' Cato,' and ' Hamlet,' which he 
 placed above all his works, except the 
 ' Satan.' His art was highly esteemed by his 
 contemporaries ; and as much as he had 
 risen above his true rank in his lifetime, 
 on his death he fell beneath it. But time, 
 which has failed to place him in the position 
 he once enjoyed, has nov/ assigned to him 
 his true place ; yet this is not in the front 
 rank. A life of him by D. E. Williams was 
 published in 1831, but it is a verbose 
 performance. 
 
 LAWRIE, Robert, engraver. Was born 
 in London about 1740, and practised in 
 mezzo-tint ; and was also a printseller. 
 
 253 
 
LEA 
 
 He was awarded a Society of Arts' premium 
 in 1771, and in 1776 for an invention in 
 mezzo-tint engraving, which facilitated 
 working the plates in colours. There are 
 some good plates by him after Eembrandt, 
 Rubens, Vandyck, Ostade ; and portraits 
 after the English artists of his own day, 
 including Greorge III. and his Queen. He 
 died about 1804. 
 
 LEA, Richard, architect. Practised with 
 much reputation in the reign of Henry VIII. 
 He is said to have mixed the Gothic and 
 the classic in a strange manner, which pro- 
 bably refers to what is now termed the 
 ' Tudor style.' 
 
 LEADER, William, engraver. Practised 
 in London, in mezzo-tint, about the middle 
 of the 18th century, working chiefly after 
 the old masters. 
 
 LEAKY, Edward D., 'portrait painter. 
 He was born in London, and is said to have 
 received some instruction from Sir J. 
 Reynolds. He first appears as an exhibitor 
 at the Academy in 1820, when he contri- 
 buted ' Mrs. Yates as Meg Merrilies ; ' and 
 continued an exhibitor of portraits, with 
 an occasional subject picture, up to 1853. 
 In 1830, ' Jacques and the wounded Stag ; ' 
 in 1837, 'Escape of Mary, Queen of Scots, 
 from Lochleven Castle ; ' in 1 844, ' Lady Jane 
 Grey summoned to Execution;' in 1852, 
 ' Un piccolo Pifferaro.' 
 
 LEAKE, Henry, portrait painter. He 
 was the son of an eminent bookseller at 
 'Bath, and a pupil of Hoare, R. A. He came 
 to London about 1764, and exhibited por- 
 traits in 1765-66, remaining about two 
 years. He then went to the East Indies, 
 but did not long survive. 
 
 LEAHY, James, portrait and miniature 
 painter. Was born at Exeter in 1773 ; and 
 early in the present century painted with 
 much success portraits and miniature in 
 oil, which were well coloured and finished 
 with great care. He was established at 
 Exeter, and well known, was employed in 
 the Western counties, where his miniatures 
 were held in esteem. He resided in London 
 in 1821-22, and in those years exhibited 
 at the Royal Academy ' The marvellous 
 Tale,' ' The Fortune Teller,' and two Devon- 
 shire landscapes. In 1838, while residing 
 at Exeter, he sent to the Academy three 
 portraits, with two landscapes. He died 
 at Exeter, February 16, 1865, aged 92. 
 
 LEBANS, John, master mason. Was 
 employed in this capacity in the erection of 
 Henry VII.'s chapel at Westminster. 
 
 LE BLOND, Christopher James, en- 
 graver. Was born at Erankfort in 1670. 
 Studied in Italy under Carlo Maratti, and 
 afterwards practised as a miniature painter 
 in Amsterdam. He was fond of mechanics, 
 and discovered a process of printing mezzo- 
 tint plates in colours. He came to England , 
 254 
 
 LEE 
 
 and executed several plates by this process, 
 but they were not much esteemed, and he 
 disposed of them by lottery. He published 
 his process under the title of 'Coloretto.' 
 He then set on foot a project for working 
 the Raphael cartoons in tapestry, made the 
 drawings, and erected looms for the work at 
 Chelsea, but he did not meet with support, 
 and suddenly disappeared. He went to 
 Paris, where he died in a hospital in 1740. 
 His coloured j)rints, though the colours were 
 flat and dirty, had some merit. Among 
 them were the portraits of George II., 
 Louis XIV., and Vandyck. 
 
 LE BLUND, Ralph, die engraver. Was 
 presented to the office of 'cutter of the 
 king's dies,' 52nd Henry III. 
 -j^LE CAVE, P., water-colour painter. He 
 practised in the early tinted manner, paint- 
 ing landscapes with cattle and figures, 
 pleasing but weak imitations of Berghem, 
 and was employed in teaching. There are 
 also by him some small works of the same 
 class in oil. In 1769 he was an applicant 
 for assistance to the Incorporated Society of 
 Artists, and he is again heard of in 1803, 
 when, much in debt, he left his lodgings, 
 promising to return, but no further trace 
 of him could be gained. 
 
 LE DAVIS, Edward, painter and en- 
 graver. Born in Wales about 1640. He 
 was apprenticed to Loggan, but soon left 
 him, and entered service as a domestic. 
 Accompanying his master to Paris, he found 
 there the means of pursuing his art, and 
 practised both as a painter and engraver, 
 but is best known by his engraved works, 
 which are chiefly portraits. He died about 
 1684. 
 
 ^ LEDBEATER, S., architect. He prac- 
 tised in the early part of the 18 th century. 
 The mansion of Nuneham Courtenay, Ox- 
 fordshire, was erected by him, the elevation 
 plain and well proportioned. It is engraved 
 in Woolfe and Gandon's work. 
 
 LEE, Anna, botanical painter. Was a 
 pupil of Parkinson, and practised in London 
 with much repute in the latter part of the 
 18th century. She painted and drew plants, 
 shells and insects with great perfection. 
 She died in the prime of life about 1790. 
 
 LEE, J., wood engraver. Between 1 794-98 
 he engraved the cuts for ' The cheap Repo- 
 sitory,' which, though coarsely executed, had 
 great merit. 
 
 LEE, James, wood engraver. Son of the 
 foregoing. When young he practised some 
 time in Paris, returning 1786. He executed 
 the portraits in Hansard's ' Typographia,' 
 1805 ; also, after Craig's designs, the illus- 
 trations to a reading-book, ' A Wreath for 
 the Brow of Youth,' for the Princess Char- 
 lotte of Wales, and was largely employed 
 in the illustration of books for children, 
 He died 1804, 
 
LEE 
 
 LEG 
 
 LEE, A., portrait painter. Practised in 
 the reign of Greorge II. Some of his works 
 are engraved. 
 
 LEE, Joseph, enamel painter. He was 
 an occasional exhibitor of enamel minia- 
 tures from the life, as well as copies, at 
 the Academy, commencing in 1809. In 
 1818 he was appointed enamel painter to 
 the Princess Charlotte, and that year ex- 
 hibited her portrait, and again exhibited 
 her Koyal Highness's portrait in 1823, after 
 Dawe. In 1832 he was appointed enamel 
 painter to the Duke of Sussex, whose por- 
 trait, after Phillips, K.A., he exhibited, and 
 also George IV.'s, after Lawence, P. P. A. 
 After a career of 44 years, which does not 
 appear to have been successful, he exhi- 
 bited for the last time in 1853. There is 
 a clever example of his art at the South 
 Kensington Museum. He died at Graves- 
 end, December 26, 1859, aged 79. 
 
 LEE, Wi'LJ.iAM, water-colour pai7iter. His 
 chief subjects were English rustic figures, 
 and later, French coast figures. He was 
 long a member of the Institute of Water- 
 Colour Painters, and continued a contributor 
 to the Society's Exhibitions up to his death. 
 Among his last works were ' The Long 
 Sermon,' 'The Drinking Eountain,' 'The 
 Pustic Beauty,' ' Thoughts of the Euture.' 
 He died in London, Jan. 22, 1865, aged 55. 
 
 LEECH, John, humorous designer. Of 
 Irish descent, he was born in the city of 
 London in 1817, and sent very early to 
 the Charter-house, where he remained eight 
 years. He drew in his childhood, and had 
 only a school -boy teaching in drawing. On 
 leaving the Charter-house,, he studied medi- 
 cine and surgery, and entered St. Bartholo- 
 mew's Hospital. Though he qualified for 
 practice, the love of art grew too strong, and 
 upon the commencement of ' Punch' he was 
 among its first graphic contributors, and for 
 20 years continued the life of its weekly 
 illustrations. Then the unceasing nature 
 of the work proved too much for him, his 
 system fell into a state of exhaustion and 
 nervous irritability, and he died suddenly, 
 without any alarming premonitory symp- 
 toms, at Kensington, October 29, 1864. He 
 was buried at Kensal Green Cemetery. His 
 humour was universal, without the least 
 taint of ill-will, and was enjoyed by all — 
 amiable, aiming at truth and goodness, 
 and illustrating every phase of life ; his 
 females incomparably ladies, and his chil- 
 dren inexpressibly childish ; his landscape 
 backgrounds, fresh and charming, were 
 evidences that he was an ardent horseman 
 and fisherman ; his sketch-book was filled 
 with notes from the life while the objects 
 were before him, and was a mine for bits of 
 every description. 
 
 LEEEBVEE, Claude, portrait painter. 
 He was born at Fontainebleau in 1663, and 
 
 studied in the gallery there. He painted 
 flowers, history, and portraits, in which 
 lattfer he chiefly excelled. He came to 
 England, and settled here in the reign of 
 Charles II., and was well esteemed, but 
 little is known of his works. He practised 
 for some years in London, where he died in 
 1675. He etched his own and his mother's 
 portraits, and some other plates. 
 
 LEFEVEE, Poland (known as ' Lefevre 
 of Venice '), j^oi'trait painter. Was born 
 at Anjou in 1608. He painted portraits 
 and small historical groups, and came to 
 England, where he was patronised by 
 Prince Eupert. He is known by a method 
 of staining which he adopted, and was not 
 much esteemed as a painter. He died in 
 Bear Street, Leicester Fields, in 1677, and 
 was buried at St. Martin's Church. 
 
 LEGAT, Francis, engraver. Born in 
 Scotland in 1755, he was educated in Edin- 
 burgh under Alexander Eunciman. He 
 came to London in 1780, when about 16 
 years of age, and was employed by the pub- 
 lishers, but chiefly by Boydell. He en- 
 graved the ' Continence of Scipio,' after 
 Poussin, in 1784; and 'Mary, Queen of 
 Scots, resigning her Crown,' after Hamilton, 
 in 1786 ; followed by Northcote's 'Children 
 in the Tower.' About the end of the cen- 
 tury he engraved ' Ophelia before the King 
 and Queen,' which procured him the ap- 
 pointment of engraver to the Prince of 
 Wales. AVishing to try a plate on his own 
 account, he bespoke Stothard's ' Sir Ealph 
 Abercrombie ; ' but when far advanced he 
 was unable to publish it successfully, and 
 his spirits gradually gave way under the 
 disappointment. He died soon after, on 
 April 7, 1809, in his 55th year, and was 
 buried in old St. Pancras's Churchyard, leav- 
 ing the world in debt, which a friend dis- 
 charged. He engraved in a finished style, 
 imitating the manner of Strange, and was 
 distinguished by his correct drawing. 
 
 LEGEEAV, James, sculptor. Was born 
 in 1803, at Caterham, Surrey, of which 
 place his father was the rector. He was 
 well educated ; had a knowledge of Latin, 
 Greek, Hebrew, and Syriac, as well as of 
 French, Italian, and German, and to these 
 acquirements he added a love for the arts, 
 which led to his being placed under Sir 
 Francis Chantrey, E.A. He at the same 
 time entered the schools of the Academy, 
 and, after gaining the silver medal in 1824, 
 was awarded the gold medal in 1829 for 
 his group of ' Cassandra dragged from the 
 Altar of Minerva.' He had exhibited some 
 groups at the Academy, commencing in 
 1824; in 1830 exhibited his gold medal 
 group ; and in the following years con- 
 tributed busts, with an occasional group. 
 Between 1840 and 1842 he travelled in 
 Italy, studying for a time in Eome. On 
 
 255 
 
LEI 
 
 LEL 
 
 his return, after first living in Pimlico, 
 he settled in Kensington, and produced 
 * Samson breaking his Bonds,' ' The Mur- 
 der of the Innocents,' 'Eachael mourning 
 for her Children,' ' Milton dictating to his 
 Daughters,' a * Sea Nymph,' ' Musidora,' 
 ' Venus,' with several monumental works. 
 In 1844 he sent to the Westminster Hall 
 competition ' The last Prayer of Ajax,' a 
 work of great merit. He had been for 
 some time affected with mental delusions, 
 which, though mitigated, he had never 
 recovered from, and on the loss of his father 
 and a brother, he suffered a succession of 
 attacks, under which, in spite of medical 
 assistance and the affectionate watching of 
 his relations, he committed suicide at Ken- 
 sington, September 15, 1857. 
 
 LEICESTEK, Sir John Fleming, Bart., 
 amateur. Born in 1762. He was taught 
 both by Vivares and Paul Sandby, and 
 travelled in Italy with Sir E. Colt Hoare. 
 He drew in Indian ink, and tinted with 
 bistre, and is described as an occasional 
 honorary exhibitor at the Eoyal Academy ; 
 but his name does not appear in the cata- 
 logues, unless he exhibited under initials. 
 He was distinguished for his knowledge 
 and patronage of English art, and was 
 one of the earliest to form a collection of 
 the works of his countrymen, to whom he 
 readily threw open his gallery. He was 
 one of the originators of the British Insti- 
 tution in 1805, of the Calcographic Society 
 1810, and of the Irish Academy 1813. He 
 was created Baron de Tabley in 1826, and 
 died June 18, 1827. 
 
 LEIG-H, T., portrait jpamter. He prac- 
 tised with some repute about the middle of 
 the 17 th century. There is a portrait by 
 him of Eobert Davis, of Grwysaney, a dis- 
 tinguished royalist, dated 1643. 
 
 LEIGH, Jared, amateur. He was a 
 proctor in Doctors' Commons, who painted 
 for his amusement — chiefly landscapes and 
 sea views. He exhibited at the rooms of 
 the Incorporated Society in Spring Gardens. 
 He died about 1769, in the prime of life. 
 
 LEIGH, James Mathews, history iminter . 
 Was born in 1808, the son of a publisher 
 in the Strand. He showed a taste for art, 
 and in 1828 became a pupil of Etty, E.A., 
 and was from 1830, when he exhibited 
 ' Joseph presenting his Brethren to Pha- 
 raoh ' and ' Jephthah's rash Vow,' an occa- 
 sional exhibitor at the Academy. He early 
 made a visit to the Continent, seeing the 
 principal art galleries in France, Italy, and 
 Germany. On his return he was occupied 
 more with literature than art, and then he 
 travelled, again, principally to see Spain. 
 In 1840 he resumed his contributions to 
 the Academy, and continued to exhibit 
 chiefly sacred subjects, and in the later 
 years some portraits, up to 1849. He made 
 256 
 
 many good sketches in a vigorous style, 
 and, establishing an art school, became 
 well known as a teacher. He died in Lon- 
 don, April 20, 1860. He wrote ' Cromwell : 
 a Drama,' 1838 ; and ' The Ehenish Album.' 
 
 LE KEUX, John, engraver. Was born 
 in Bishopsgate, June 4, 1783, and was ap- 
 prenticed to his father, a large pewter 
 manufacturer. At about 17 years of ago 
 he tried engraving on copper, and being 
 encouraged by Basire, he was turned over 
 to him for the remaining term of his ap- 
 prenticeship. Under Basire he imbibed his 
 master's taste for architectural subjects, 
 and working in the line manner, refined 
 upon his style, attaining both greater 
 minuteness and freedom. ' Easby Abbey * 
 and ' Eome,' after Turner, E.A., are pro- 
 bably his best works. He contributed, by 
 his ability and taste, to the success of 
 many of the publications of his day, and 
 was largely engaged with Britton. He 
 engraved for his 'Architectural Antiquities,' 
 ' Cathedrals,' and other works ; for Pugin's 
 ' Antiquities of Normandy,' ' Gothic Speci- 
 mens and Gothic Examples ; ' for Neale's 
 ' Memorials of Oxford ; ' and other works 
 of this class. His works are distinguished 
 by great truth and refinement of finish. 
 He died April 2, 1846. His eldest son, 
 J. H. Le Keux, followed his art. 
 
 LE KEUX, Henry, engraver. Younger 
 brother of the foregoing. AVas born in 
 1787, and was articled to James Basire. 
 He was first engaged upon Basire' s large 
 plates for the Society of Antiquaries and 
 the ' Oxford Almanacs,' and afterwards on 
 the illustrations for the ' Beauties of Eng- 
 land and Wales ; ' and took a part with his 
 brother in Britton's 'Cathedrals.' Later, 
 with Blore, he produced the ' Monumental 
 Eemains.' He also engraved for the ' For- 
 get-me-not,' and some other of the annuals, 
 after Martin and Prout, and after Turner 
 for Eogers's ' Poems.' He was a member 
 of the Associated Society of Engravers, 
 and one of his last works was Claude's 
 ' Embarkation of St. Ursula ' for that 
 Society. He left his profession about 1838, 
 and retired to Bocking, in Essex, where he 
 joined in a crape manufactury ; and after 
 30 years died there, October 11, 1868. He 
 worked in the line manner, was unassisted 
 by pupils, and his productions are models 
 of industrious painstaking. 
 
 LELY, Sir Peter, Knt., 'portrait painter. 
 Was born 1617, in Westphalia, the son of 
 a captain of infantry, and studied art under 
 Peter de Grebber at Haerlem. He came 
 to England at the age of 24, and painted 
 history and landscape ; but Vandyck had 
 just then died, and he soon found there was 
 a place open for him, and much better en- 
 couragement, as a portrait painter. He 
 was introduced to Charles I., whose portrait 
 
LEN 
 
 LEO 
 
 he painted. He also painted Cromwell's 
 portrait ; and on the Restoration was fa- 
 voured by Charles II., who made him his 
 principal painter, knighted him in January 
 1079-80, and was pleased by his conversa- 
 tion. For more than 30 years he stood 
 alone as the popular painter, and all that 
 were eminent and distinguished sat to him. 
 By this great practice he acquired a con- 
 siderable fortune. He married an English 
 lady of family, but her name cannot now 
 be traced. He had a town house and a 
 house at Kew, where he had purchased an 
 estate. He kept a handsome table, and is 
 described by Pepys as ' a mighty proud 
 man, and full of state.' His society was 
 sought by men of the greatest eminence. 
 He lived for some years in Drury Lane, 
 and from 1662 to 1680 in the Piazza, 
 Covent Garden. Here he died of apoplexy, 
 November 30, in the latter year, and was 
 buried in the adjoining church of St. Paul. 
 His monument, with a bust by Gibbons, 
 was destroyed by fire when the church was 
 burnt down in 1795. He left a son and a 
 daughter, who died under age. His large 
 collection of pictures and drawings were 
 sold by an auction which lasted 40 days, 
 and produced 26,000/. The drawings in 
 his collection were all marked ' P. L.' His 
 estate was worth 900/. a year, and went to 
 a nephew in Holland. Prom the records of 
 the Pree Society of Artists, it appears that 
 the widow of John Lely, his grandson, 
 who was a face painter, fell into great 
 distress, and solicited the charity of the 
 Society ; and that she afterwards found a 
 refuge in Megg's Almshouses, Mile End. 
 
 His portraits, though meretricious and 
 slight, had many good qualities. They are 
 pleasing in colour, freely executed, and 
 well drawn, particularly the hands; but 
 they want individuality and character, are 
 affected, and too frequently revel in un- 
 meaning allegory. The eyes of his females 
 have a drowsy languor, which became quite 
 a mannerism. He designed in Indian ink, 
 touching in the high lights with white. 
 There are some drawings by him in crayons 
 and a few in water-colour. His ' Beauties ' 
 at Hampton Court are well known, and are 
 good examples of his art. There are some 
 historical subjects by him — a 'Magdalen' 
 and a ' Sleeping Venus,' at Windsor ; 
 ' Susanna and the Elders,' at Burleigh ; a 
 ' Judgment of Paris,' engraved by Lens ; 
 and some others. 
 
 LENEY, William S., engraver. Was 
 born in London, and apprenticed to Tom- 
 kins. He established himself as a stipple 
 engraver, practised towards the end of the 
 18th century, and produced a large plate 
 of ' The Descent from the Cross,' after 
 Rubens. He also engraved after Downman 
 and Smirko for the Shakespeare Gallery, 
 
 and after Westall. His work was but in- 
 different, and afterwards he emigrated to 
 America, where he made some money by 
 engraving bank-notes, and purchased a 
 farm up the St. Lawrence, to which he 
 retired, and was living there in 1808. 
 
 LENS, Bernard, enamel fainter. He 
 did not attain much excellence, and little is 
 known of him. He died February 5, 1708, 
 aged 77, and was buried in St. Bride's 
 Church, Fleet Street. 
 
 LENS, Bernard, mezzo-tint engraver and 
 draftsman. Son of the foregoing. Born in 
 London 1659. He was instructed in art 
 by his father, and made many drawings for 
 other engravers, and also taught drawing. 
 He excelled in mezzo-tint, and engraved in 
 this manner Lely's ' Judgment of Paris ' and 
 a number of portraits, landscapes, and his- 
 torical subjects. There are also some good 
 etchings by him. He drew, in Indian ink, 
 views and topographical sketches. Died 
 April 28, 1725, aged 66. He published, in 
 1697, in connection with the well-known 
 J. Sturt, a .broad-sheet prospectus of their 
 drawing-school in St. Paul's Churchyard, 
 which sets forth, quite in the style of the 
 present day, the value which drawing will 
 prove to all classes — mechanics, profes- 
 sional men, and others. 
 
 LENS, Bernard, miniature painter. 
 Born in London 1680. Son of the above, 
 and taught by him. He was considered 
 one of the best miniaturists of his day, 
 and was appointed enameller and minia- 
 ture painter to George II. He excelled 
 also in his water-colour copies from Rubens, 
 Vandyck, and other great masters. He 
 was drawing-master to William, Duke of 
 Cumberland, and the Princesses Mary and 
 Louisa, and to Horace Walpole. He also 
 held the appointment of drawing- master to 
 Christ's Hospital. His ' New and Complete 
 Drawing-book ' (published after his death) 
 'for curious young Gentlemen and Ladies that 
 study and practice the noble and commend- 
 able Art of Drawing, Colouring,' &c., con- 
 tains 62 plates etched by himself, with full 
 instructions and recipes. He also scraped 
 some mezzo-tint plates. He died at Knights - 
 bridge, December 30, 1740, leaving three 
 sons ; two followed his profession, one of 
 whom was living in 1780. He made two 
 sales of his pictures and works. 
 
 LENS, Andrew Benjamin, miniature 
 fainter. He was the son of a miniature 
 painter — most probably of the above. He 
 exhibited with the Incorporated Society of 
 Artists from 1765 to 1770, and in the latter 
 year was in Antwerp. His collection of 
 miniatures by himself and his father was 
 sold in 1777. He used the monogram 
 ' A.B.L.' 
 
 LEONI, Giacomo, architect. Born in 
 Venice. He was for some time architect 
 
 257 
 
LEP 
 
 LBS 
 
 to the Elector Palatine, but came to this 
 country, where he settled in the practice of 
 his profession, in the early part of the 18th 
 century. He built the Duke of Queens- 
 bury's house in 1726, on the site now occu- 
 pied by the branch of the Bank of England 
 in Burlington Gardens ; the mansion in 
 Moor Park, Herts, which has great preten- 
 sions to magnificence; Lyme Hall, Cheshire, 
 and Bodecton Park, Sussex. He super- 
 intended Lord Burlington's edition of 
 'Palladio,' published 1725, and afterwards 
 published Alberti's ' Architecture,' to which 
 he added many of his own designs. He 
 died June 8, 1746, aged 60, and was buried 
 in old St. Pancras's churchyard. 
 
 LE PIPEK, Erancis, designer and etcher. 
 Of Elemish extraction. His family settled 
 at Canterbury in the reign of Elizabeth, and 
 he was born in Kent about 1698. His 
 father was wealthy, gave him a good edu- 
 cation, and he was intended for commerce ; 
 but idle and fond of pleasure he rambled on 
 foot over the greater part of Europe. He 
 sketched landscapes and humorous groups ; 
 and, a jovial fellow, his performances were 
 done in taverns, where he etched droll 
 figures on his friends' snuff-boxes. Having 
 dissipated his patrimony, he tried in the 
 latter part of his life to turn his abilities to 
 some account, and made some drawings for 
 Becket to execute in mezzo-tint, and designs 
 for Eycaut's ' History of the Turks ; ' but on 
 the death of his mother, who left him a 
 fortune, he relapsed into his old ways, fell 
 again into a life of dissipation, and bled for 
 fever by an ignorant surgeon, who pricked 
 an artery, he died in 1740. He was 
 buried at St. Mary Magdalen, Bermondsey. 
 Eaithorne drew his portrait in crayons, and 
 Lutterel engraved a good portrait of him. 
 
 LERPINIERE, Daniel, (ngravcr. He 
 was a pupil of Vivares and practised in 
 London, working after the manner of his 
 master, both with the needle and the graver. 
 He engraved many fine landscapes, views, 
 sea-fights, which have much merit, and 
 some historical subjects. Among his works 
 are three landscapes after Claude, six sea- 
 fights after Paton, and after Vernet a ' Calm ' 
 and a ' Storm.' He exhibited in 1778 some 
 architectural engravings with the Free 
 Society of Artists. He died in 1785, 
 aged 40. 
 
 LESLIE, Charles Robert, R.A., sub- 
 ject fainter. Was born in Clerkenwell, of 
 American parents, October 11, 1794. The 
 family left England for Philadelphia in 
 1799, and settling there, the future artist, 
 the eldest of a young family, was at the age 
 of 10 years left to the charge of a widowed 
 mother. His earliest wish was to be a 
 painter, but his mother's straitened means 
 led to his apprenticeship to a bookseller and 
 publisher. His wish, though repressed, clung 
 258 
 
 to him ; a likeness he sketched from recol- 
 lection showed so much ability that a fund 
 was raised by his friends to enable him to 
 visit Europe to improve himself, and pro- 
 vided with letters of introduction, he arrived 
 in London in 1811. 
 
 He was in 1 8 1 3 admitted a student of the 
 Academy, and devoting himself to the study 
 of his profession, the same year appears as 
 an exhibitor of 'Murder,' with a quotation 
 from Macbeth, and the following year of 
 the ' Witch of Endor.' He next exhibited, 
 in 1816, ' The Death of Rutland.' He added 
 to his means at this period by painting 
 the portraits of his friends, and in 1817 
 visited Paris, Brussels, and Antwerp, and 
 after enlarged study he found the true bent 
 of his genius in humorous comedy, and 
 painted his ' Slender and Anne Page.' In 
 1819 he exhibited 'Sir Roger de Coverley,' 
 which made a great impression, and was in- 
 duced to follow this walk in art, apparently 
 determined to settle in England. He was 
 fortunate to make, about this time, the 
 friendship of Lord Egremont, for whom he 
 painted ' Sancho Panza in the Apartment of 
 the Duchess,' a work which led to numerous 
 commissions and enabled him to marry 
 in 1825. 
 
 He had been elected an associate of the 
 Academy in 1821, and in 1826 was admitted 
 to his full membership. In 1831 he ex- 
 hibited a large group, upon which he had 
 been for some time engaged, ' The Dinner at 
 Page's House,' from the ' Merry AVives of 
 Windsor,' one of his finest works. In 1833 
 his brother, without his knowledge, asked 
 and obtained for him the appointment of 
 teacher of drawing at the American Military 
 Academy at AVest Point, on the Hudson, 
 and induced him to accept it and remove 
 with his family to America ; but it was a 
 mistake, the regret at leaving his art and 
 art friends in England could not be 
 overcome, and he returned early in the 
 following year, in the full vigour of his 
 powers, and resumed his art and his old 
 friendships. He painted from Shakespeare, 
 Cervantes, Sterne, Goldsmith. In 1838 he 
 painted, by command of her Majesty, ' The 
 Coronation of the Queen ; ' and in 1841, ' The 
 Christening of the Princess Royal.' He was 
 a constant exhibitor at the Academy, and 
 his works never failed to please and attract 
 the public. A family and a happy house- 
 hold surrounded him. He had been ap- 
 pointed the x^rofessor of painting in 1 847, but 
 resigned the office in 1852 on the ground of 
 delicate health. The loss of a daughter, 
 shortly after her marriage, was a shock too 
 great for him ; he gradually declined, and 
 died May 5, 1859. 
 
 Leslie entered into the true spirit of the 
 writer he illustrated. His characters appear 
 the very individuals who have filled our 
 
LES 
 
 LEW 
 
 minds. Beauty, elegance, and refinement, 
 varied and full of character, or sparkling 
 with sweet humour, were charmingly de- 
 picted by his pencil, Avhile the broader 
 characters of another class, from his fine 
 appreciation of humour, are no less truth- 
 fully rendered, and that with an entire 
 absence of any approach to vulgarity. The 
 treatment of his subject is so simple that 
 we lose the sense of a picture, and feel that 
 we are looking upon a scene as it must have 
 happened. He drew correctly, and with an 
 innate sense of grace. His colouring is 
 pleasing, his costume simple and appro- 
 priate. Leslie was also a pleasant, intelli- 
 gent, and kindly writer. He published, in 
 1845, 'The Memoirs of John Constable, 
 K.A.,' and the substance of his lectures in 
 his ' Handbook for young Painters ' in 1855. 
 Some 'Autobiographical Eecollections ' of 
 him, edited by Mr. Tom Taylor, were pub- 
 lished in 1860, and his materials for a life 
 of Keynolds, on which he was engaged, con- 
 tinued and concluded by the same writer, 
 were published in 1 865. A collection of 30 
 of his works was exhibited with the works 
 of the old masters at the Eoyal Academy in 
 1870. 
 
 LE SOEUE, Hubert, modeller and 
 sculptor. Born in France. He studied 
 under John of Bologna. Was a Huguenot 
 refugee, and settled in England, where he 
 was much employed by the Court and the 
 nobility. He was living in St. Bartholo- 
 mew's Close in 1630, when his son Isaac 
 died, who was buried in the adjacent church 
 of that name. The bronze statue of William, 
 Earl of Pembroke, in the picture gallery 
 at Oxford, is by him, as is also the fine 
 statue of Charles I. at Charing Cross. The 
 latter was cast in 1633, for the space in 
 front of the church in Covent Garden, and 
 was removed to Charing Cross in 1678. 
 In Westminster Abbey, the figure of Sir 
 George Villi ers and the bust of Sir Thomas 
 Eichardson, dated 1635, are also by his 
 hand. Many of his works, particularly those 
 in bronze, have disappeared. He died in 
 England about 1652. 
 
 LE STEANGE, Henry, amateur. He 
 was born at Hunstanton Hall, Norfolk, 
 January 25, 1815, and was the representa- 
 tive of an old family in that county. He 
 undertook to decorate with his own hand 
 the nave of Ely Cathedral. As a labour of 
 love he devoted himself for several years 
 to this self-imposed task, and had painted on 
 the vault some of the subjects of the 'His- 
 tory of Man,' but died suddenly in London, 
 when in the prime of life, July 27, 1862. 
 His work has been carried on in the same 
 spirit by Mr. Gambler Parry. 
 
 LETHBEIDGE, W. S., miniature painter. 
 He practised in London for many years, and 
 was from 1801 to 1829 an exhibitor at the 
 
 Eoyal Academy. Several popular actresses 
 sat to him, some in character ; and in 1817 
 he exhibited a miniature of Dr. Wolcot, 
 which is now in the National Portrait 
 Gallery. 
 
 LEVEETON, Thomas, architect. He had 
 a considerable practice in the last quarter 
 of the 18th century, residing in the Metro- 
 polis, and building many villa residences in 
 the adjoining counties. Between 1771 and 
 1803 he was a constant exhibitor of his 
 designs at the Eoyal Academy. In 1783, 
 when the improved construction of our pri- 
 sons was under the consideration of the 
 Government, he received a premium for his 
 designs for penitentiary houses. Grocers' 
 Hall may be mentioned as one of his chief 
 works. 
 
 LEWIN, William, amateur. He does 
 not appear to have been professionally an 
 artist, but in 1789 he published, drawn and 
 engraved by himself, seven quarto volumes 
 of the ' Birds of Great Britain,' exceedingly 
 well delineated ; followed, in 1795, by the 
 ' Insects of Great Britain,' executed in the 
 same manner. 
 
 LEWIS, Chables, still-life painter. Was 
 born at Gloucester in 1753, and was appren- 
 ticed to a Birmingham manufacturer, in 
 whose employ he excelled in the decoration 
 of japanned tea-boards. In 1776 he went 
 to Dublin, where, on the failure of an engage- 
 ment, he went upon the stage ; but not suc- 
 ceeding, he again tried the arts. In 1781 
 he visited Holland, and from thence came 
 to London, where he practised for a time, 
 painting fruit and birds, which were well 
 finished and grouped. He was then invited 
 by a kind patron to Scotland, and died in 
 Edinburgh, July 12, 1795. 
 
 LEWIS, George Egbert, portrait 
 painter. Born in London, March 27, 1782. 
 He entered the schools of the Eoyal Aca- 
 demy, where he studied under Euseli. In 
 his early days he was an ardent and patient 
 student of the figure, as well as of outdoor 
 nature. In 1818 he accompanied the Eev. 
 Dr. Frognall Dibdin on his ' Bibliographical 
 and Picturesque Tour through France and 
 Germany,' for which work he made all the 
 illustrations, combining in them a very wide 
 range of subject, which subsequently gained 
 him the eulogium of all connoisseurs. Ho 
 also executed the illustrations to Dr. Dibdin's 
 ' Decameron,' and was the author of a series 
 of ' Groups of the people of France and Ger- 
 many.' He was, commencing in 1820, an 
 exhibitor of portraits at the Academy, and 
 had some distinguished sitters, and sent also, 
 occasionally, a subject picture. Among the 
 latter were some connected with his tour — 
 in 1820, 'Pilgrimage to the Monastery' 
 and a ' View in the Temple Gardens ;' 
 in 1825, 'Baby with Playthings;' in 1845, 
 'Austrian Pilgrims, Tyrol;' in 1850, 'Bou- 
 2 259 
 
LEW 
 
 LIN 
 
 levard Italienne ; ' and his last works in 
 1854, 1856, and 1859, landscapes. He also 
 published his work on the ' Muscles of the 
 Human Frame,' the plates engraved by 
 himself, after drawings made from his 
 own dissections ; ' Illustrations of Kilpeck 
 Church, with an Essay on Ecclesiastical 
 Design;' * Shobden Church,' 'The Early 
 Fonts of England,' ' British Forest Trees,' 
 and some other works. He had resided the 
 last six years of his life at his son's, at 
 Hampstead, and died there. May 15, 1871, 
 in his 90th year. His works are evidence 
 of his varied powers and his great devotion 
 to art. 
 
 LEWIS, Frederick Christian, engraver 
 and draftsman. Brother of the above. Born 
 in London, March 14, 1779, he was appren- 
 ticed to Stadler, a German engraver, settled 
 in London, and studied in the schools of 
 the Eoyal Academy. He was first employed 
 to make the engravings for Mr. Young 
 0 ttley's 'Italian School of Design,' and during 
 the five years he was so employed he lived 
 at Enfield, and sketched early and late from 
 nature. Soon after Sir Thomas Lawrence 
 engaged him to engrave, in the stipple 
 manner, some of his chalk portrait draw- 
 ings, and until the death of Sir Thomas in 
 1830, he was almost wholly employed on 
 this work, for which he was especially fitted 
 by the refinement and delicacy of his art. 
 He had studied landscape, which he painted 
 with great ability, and was a frequent ex- 
 hibitor from 1815 to 1820 at the Water- 
 Colour Society, and up to 1853 at the Koyal 
 Academy. He was also a contributor to 
 the British Institution. His first exhibited 
 works were his studies made in the neigh- 
 bourhood of Enfield ; his more matured 
 works, scenes from the valleys and streams 
 of Devon ; while engaged on which he made 
 the acquaintance, ending in friendship, with 
 Mr. Calmady, of Langdon Hall ; and on his 
 introduction, Sir Thomas Lawrence painted 
 his favourite portraits of ' The Calmady 
 Children.' In 1821 he published, sketched 
 and engraved by himself, ' Picturesque 
 Scenery of the Kiver Dart;' in 1823, 
 ' Scenery of the Tamar and Tavey ;' in 1 827, 
 his 'Scenery of theExe.' Almost his last large 
 work was from the drawings by Claude in 
 the British Museum, comprising 100 plates. 
 He held the appointment of engraver to 
 the Princess Charlotte ; to Leopold, King of 
 the Belgians; to Greorge IV., William IV., 
 and Queen Victoria. He died at Enfield, 
 December 18, 1856. Two of his sons are 
 distinguished in art, one a member of the 
 Royal Academy, the other eminent as an 
 engraver. 
 
 LEWIS, William, engraver. Brother of 
 the above. He held some office in the 
 Carpenters' Company, and from 1815 to 
 1838 was an exhibitor at the Koyal Aca- 
 260 
 
 demy of landscapes and cottage scenes in 
 oil and water-colour*. 
 
 LEYLAND, Joseph Bentley, scul])tor. 
 He was the son of a well-known naturalist 
 at Halifax, where he was born March 31, 
 1811. He showed a talent for modelling, 
 and exhibited at Manchester a greyhound 
 and a colossal statue of ' Spartacus.' In 
 1843 he sent to London for exhibition a 
 colossal head of ' Satan ; ' and soon after 
 came to reside in the Metropolis, and studied 
 under B. R. Hay don. He next produced 
 the ' Sinless Maiden ' from Hogg's ' Queen's 
 Wake,' which was purchased by the Literary 
 Society of Halifax. His latest works were 
 a statue of Dr. Beckwith, of York, and an 
 ' Anglo-Saxon Chief.' He does not appear 
 to have been an exhibitor at the Koyal 
 Academy; but in 1834, and again in 1839, 
 he sent a group of hounds, modelled from 
 life, to the Suffolk Street Galleries. He 
 died at Halifax in his 40th year, January 26, 
 1851. 
 
 LIAKT, Matthew, engraver. Was born 
 about 1736, in Compton Street, London 
 (not, as is usually said, in Paris). He was 
 of French extraction, but both his grand- 
 father and his father were shopkeepers in 
 Soho. In 1764 he received a premium 
 from the Society of Arts. He was the pupil 
 of Kavenet, and a student in the schools of 
 the Society of Artists and of the Koyal 
 Academy, gaining the silver medal in the 
 life school of the latter. He engraved after 
 the old masters, but his two best works are 
 the ' Venus and Adonis ' and ' Cephalus and 
 Procris,' after West. He died about the 
 year 1782, and was buried at Paddington. 
 
 LIGHTFOOT, William, engraver and 
 draftsman. Practised in the latter half of 
 the 17th century. He was a good perspec- 
 tive draftsman, and painted some landscapes 
 in oil. Wren employed him in the decora- 
 tions for the Koyal Exchange. He also 
 engraved some plates ; and Evelyn, in his 
 ' Sculptura,' speaks of his special talent for 
 this art. He died 1761. 
 
 LILLY, Henry, limner. In James I.'s 
 reign he was rouge dragon and poursui- 
 vant of the College of Arms, and possessed 
 great skill in limning and illuminating. He 
 completed a fine genealogy of the Howard 
 family, enriched with portraits, armorial 
 bearings, and tasteful compositions. Died 
 1638. 
 
 LILLY, E., 'portrait 'painter. There is by 
 him at Blenheim a large full-length portrait 
 of Queen Anne. It is an indifferent work, 
 weak in drawing and expression, cold and 
 grey in colour. It is dated 1703. 
 
 LINCOLN, Anna Maria Stanhope, 
 amateur. She painted about 1780, and C. 
 White engraved after her, in the dot man- 
 ner, a plate representing two females placing 
 a wreath on the bust of Diana. 
 
LIN 
 
 LIV 
 
 LINDSAY, Thomas, water-colour painter. 
 He was from ]837 till his death a memhcr 
 of the new "Water-Colour Society. His pic- 
 tures were chiefly of Welsh scenery, feeble 
 in colour, and, though pleasing, not of a 
 high character. He resided from about 
 1848 at Hay, near Brecon, and died there 
 January 23, 1861. 
 
 LINES, Samvkl, landscape 2^ainter. Was 
 born near Coventry 1778, and was for 
 many years employed as a designer in 
 Birmingham. His son, Samuel Lines, en- 
 joyed a local reputation as a painter and 
 teacher of drawing, and was one of the 
 founders of the Birmingham School of Arts. 
 Lied in 1863, aged 29. 
 
 LINNEL, , uood carver. Was a 
 
 member of the St. Martin's Lane Academy. 
 He practised about the middle of the 1 8th 
 century, and excelled in his art. 
 
 LINTON, J., portrait painter. Practised 
 in the reign of William III. Several of his 
 portraits are engraved ; among them one 
 of Sir William Athurst, lord mayor in 
 1694. 
 
 LIN WOOD, Miss Mary, ornamentist in 
 needlework. She was born at Birmingham 
 in 1755, and early in life removed to 
 Leicester. She opened an exhibition of her 
 work in worsted at the Hanover Square 
 Kooms in 1798, which she removed to 
 Leicester Square, and afterwards to Edin- 
 burgh, Dublin, and the chief provincial 
 towns. Her collection comprised above 100 
 works from originals by the great masters. 
 She enjoyed a great reputation and popu- 
 larity in her lifetime, and died in her 90th 
 year, March 2, 1845. Her collection, sold 
 by auction, fetched only a trifling sum. 
 
 LIOTAED, John Stephen, miniature 
 painter. Born at Geneva in 1702. Was 
 intended for a merchant, but had a desire 
 for art, and when in Paris in 1725 he found 
 the means of stud}^ and drew portraits in 
 chalk and in miniature. In 1738 he accom- 
 panied the Neapolitan ambassador to Pome, 
 and while there was induced by two Eng- 
 lish noblemen to visit Constantinople with 
 them. He adopted the Eastern dress, grew 
 a long beard, and was called 'the Turk.' 
 After a stay of four years, he travelled b}^ 
 Jassy to Vienna, where Maria Theresa and 
 the imperial family sat to him. He then 
 went to Paris, and from that city came to 
 London with powerful introductions, and 
 painted the Princess of Wales and her sons. 
 About 1756 he went to Holland, where he 
 married; and in 1772 he came again to 
 London, bringing with him a collection of 
 pictures, which he sold by auction. He 
 exhibited at the Eoyal Academy crayon 
 portraits in 1773 and in the following year. 
 He returned to Switzerland in 1776, and is 
 said to have died about 1790. He painted 
 miniatures well, both in water-colour and 
 
 enamel, but his best works are in crayons. 
 His likenesses are exact and literal, yet very 
 stiff and graceless in manner ; his minia- 
 tnres laboriously finished, the colour good. 
 He met with great encouragement in Eng- 
 land, and was for a time deemed no mean 
 rival of Eeynolds, a proof of the false taste 
 of the day. He etched his own portrait 
 and some others. He taught drawing in 
 many families of rank. Ho was the con- 
 vivial associate of our artists, and his name 
 repeatedly occurs in connection with the 
 art of this country. His brother, John 
 Michael Liotahd, practised as an engraver 
 in Paris and in Venice. 
 
 LISTEE, Martin, M.D., amateur. He 
 originally practised at York. He became 
 physician to Queen Anne, and was a learned 
 naturalist. He published, among other sci- 
 entific works, a ' Synopsis Conchyliorum,' the 
 drawings for which were made by himself, 
 and, with the assistance of his daughters, 
 engraved also. He died Eebruary 2, 1711. 
 LISTEE, Anna, ^ amateurs. Two sis- 
 LISTEE, Susanna, / ters, daughters of 
 the above, whose etchings are not without 
 merit. Some of their etchings are pub- 
 lished in his ' Historia Conchyliorum,' 1688. 
 
 LITTLE, Thomas, architect. Born in 
 Eebruary 1802. Was the pupil of Eobert 
 Abrahams. He exhibited at the Eoyal Aca- 
 demy in 18.32, and again in 1 840, after which 
 he continued an occasional exhibitor, his 
 designs being chiefly residential. In 1844 
 he was successful in a competition for the 
 chapels at the Nunhead Cemetery, which 
 he erected, and was then employed upon 
 several churches. He built All Saints', 
 St. John's Wood, 1845 ; St. Mark's, Eegent's 
 Park, 1852 ; St. Saviour's, Paddington ; 
 Eairlight, near Hastings ; also the paro- 
 chial schools of St. Marylebone and Bishop 
 Duppa's Almshouses, Eichmond. He died 
 December 20, 1859. 
 
 LIVEESEEGE, Henry, subject painter. 
 Was born in 1803, at Manchester, where 
 his father held some employment in a 
 cotton mill. He was fond of drawing as 
 a child, and early employed himself in 
 painting portraits for a very small remu- 
 neration. He then tried some composi- 
 tions, which showed a feeling for romance 
 and poetry, and exhibited at Manchester, 
 in 1827, three small pictures of Banditti, 
 which gained him notice. He came about 
 the end of the same year to London, and 
 in 1828 exhibited at the Academy ' Wild- 
 rake presenting Col. Everard's Challenge 
 to Charles II.' Making rapid progress, he 
 exhibited, in 1830, his 'Black Dwarf,' 
 from Sir Walter Scott's romance. His prac- 
 tice was to come to London occasionally 
 for three or four months, when he studied 
 at the British Museum, and the British In- 
 stitution. He exhibited the ' Grave Diggers,' 
 
 261 
 
LIY 
 
 LOO 
 
 from ' Hamlet ;' * Catherine Seyton,' ' Ham- 
 let and his Mother,' with other composi- 
 tions. He also exhibited occasionally at 
 Manchester, and painted several subject 
 pictures in water-colours. He was of a 
 weakly constitution from an organic defect 
 in the chest, always ailing, despondent in 
 temperament, and died suddenly at Man- 
 chester, January 13, 1832. His style was 
 dramatic, his colouring brilliant and power- 
 ful, but his works wanted refinement and 
 beauty. He had no conception of land- 
 scape. His works, ' Recollections of Liver- 
 seege,' were published in mezzo-tint, in 12 
 parts, 1832-35. 
 
 LIVESAY, Richard, portrait painter and 
 engraver. He practised in London towards 
 the latter part of the 18th century, and 
 about 1781 lodged some time with Hogarth's 
 widow in Leicester Fields. He was a pupil 
 of President AVest, who employed him in 
 copying some pictures at Windsor Castle, 
 and subsequently in assisting on his own 
 works. This induced him to remove to 
 Windsor, where he settled and was resid- 
 ing in 1790. He was appointed to teach 
 George III.'s family drawing, and many of 
 the Eton boys sat to him for their portraits. 
 There is by him a group of ' Eton Boys 
 going to Montem,' containing many por- 
 traits, and also a group of George III. with 
 his Queen and family, to whom the Duchess 
 of Gloucester is being introduced ; and his 
 portrait of the Earl of Charlemont, not a 
 good specimen of his art, is in the National 
 Portrait Gallery. His portraits, some of 
 them whole-lengths, are usually of small 
 size, and he also painted some miniatures 
 in oil and some domestic scenes. He was 
 appointed drawing - master to the Royal 
 Naval College at Portsmouth, and removed 
 to Portsea in 1796. He exhibited at the 
 Academy in 1802, and about this time 
 painted the six prize ships taken by Admiral 
 Lord Howe from the French, with some 
 other marine subjects. He died at Southsea 
 about 1823. There are several portraits by 
 him, engraved by himself, and 16 plates after 
 Hogarth. 
 
 LIZARS, AViLLiAM Home, engraver and 
 subject fainter. He was born in 1788, in 
 Edinburgh, where his father, Daniel Lizars, 
 was well known as an engraver and cop- 
 perplate printer. Brought up under him 
 he also studied from 1802 to 1805 in the 
 Trustees' Academy, was industrious and soon 
 showed marks of talent. He engraved, about 
 1807,' The Escape of Queen Mary from Loch- 
 leven Castle,' and soon after painted some 
 portraits and subject pictures, 'Reading 
 the Will ' and 'A Scotch Wedding,' exhibited 
 at the Royal Academy in 1812, where they 
 gained favourable notice, and were engraved. 
 The loss of his father at this time left a 
 widow and large family dependent upon the 
 262 
 
 business, and he sacrificed his higher hopes 
 in art to carry it on. He died in Edin- 
 burgh, March 30, 1859. 
 
 LLOYD, Mrs. Mary, 'R.A.., flower 'painter. 
 See MosER, Mary, R.A. 
 
 LOAT, Samuel, architect. Was a student 
 at the Royal Academy, and in 1827 gained 
 the gold medal for his design for a National 
 Gallery. He was awarded the travelling 
 studentship, and went to Rome in the fol- 
 lowing year; returning in 1832, he exhibited 
 that year a design for an Italian palace, 
 after which there are no traces of his art. 
 
 LOCHNER, W. C, arc^zYecz^. He studied 
 in the Royal Academy Schools, and first 
 exhibited some designs at the Academy in 
 1803 and 1804, and in 1805 gained the 
 gold medal for his 'Design for a Villa.' 
 In 1808 he exhibited a design for a 
 ' Triumphal Building;' and in 1810, in con- 
 junction with J. H. Good, he was awarded 
 the first premium for his design for Beth- 
 lehem Hospital, in St. George's Fields, which 
 he exhibited in that year, his last contribu- 
 tion to the Royal Academy. 
 
 LOCKE, William (of Norbury Park), 
 amateur. He was distinguished as a col- 
 lector and the associate of artists. He 
 was at Rome in 1760, and brought to this 
 country the ' Discobulus,' ' Alcibiades's Dog,' 
 and the ' St. Ursula,' by Claude, now in the 
 National Gallery. He died October 5, 1810, 
 aged 78. 
 
 LOCKE, William (of Norbury Park), 
 amateur. He painted several allegorical 
 subjects. He is best known by a ' Death 
 of Wolsey,' which is engraved. Madame 
 D'Arblay records in her Diary — 'Mr. W. 
 Locke, ma'am,' said Mrs. Delany (address- 
 ing the Queen), ' I understand is now 
 making the same wonderful progress in 
 painting that he has done before in draw- 
 ing.' 'I have seen some of his drawings,' 
 said the Queen, ' which were charming.' 
 This was in 1785, when he was 18 years 
 old. There is by him a good allegorical 
 design, the nude figures well drawn, en- 
 graved by Legat as a frontispiece to AVebb's 
 ' Memorials,' 1802. Fuseli, R.A., inscribed 
 to him his ' Lectures on Painting.' Captain 
 Locke, of the same family, an amateur of 
 much talent, was drowned on the Lake of 
 Como, April 15, 1832, aged 28. 
 
 LOCKE Y, Row^LAND, portrait painter. 
 He practised at the end of the 16th cen- 
 tury. He was a pupil of Hilliard, ' was 
 skilful in limning, and in oil-works and 
 perspectives,' and is reputed (see Nichols's 
 ' History of Leicestershire') to have painted 
 in one table, ' portraits of Sir John Moore, 
 a judge of the Court of King's Bench, 
 temp. Henry VIIL, and of his Avifo, and 
 of Sir Thomas Moore, lord chancellor, his 
 son and his wife, and of all the lineal heirs 
 male descended from them, together with 
 
LOC 
 
 LON 
 
 each man's wife, unto that present year 
 living,' a description which appears to re- 
 semble the well-known group generally 
 attributed to Holbein. 
 
 LOCKIE, Nicholas, portrait painter. 
 Practised in the reign of Queen Elizabeth. 
 A portrait by him of King, bishop of Lon- 
 don, who died in 1621, is engraved by 
 Simon Pass. 
 
 LOCKLEY, David, engraver. Practised 
 early in the 18th century, but did not 
 attain any excellence. There is a large 
 plate by him of the new church in the 
 Strand. He also engraved portraits. 
 
 LODGE, , engraver. He was born 
 
 in l6-i9, and became eminent in his art 
 during the reign of William and Mary. 
 He died 1699. 
 
 LODGE, John, engraver. Practised in 
 the last half of the 18th century, and both 
 drew and engraved with some spirit, but 
 in a slight, unfinished manner. He died 
 April 4, 1796. 
 
 LODGE, William, amateur. Was born 
 at Leeds, July 4, 1649, the son of a mer- 
 chant, from whom he inherited an estate of 
 300^. a year. He was educated at Jesus 
 College, Cambridge, and was afterwards a 
 law student at Lincoln's Inn. He accom- 
 panied Lord Bellasis on his embassy to 
 Venice, and translated there Barri's ' Viaggio 
 Pittoresco,' published in 1679, with por- 
 traits etched by himself. He also etched 
 several drawings of views whichhe had made 
 in his travels, and some views of London, 
 York, and other places. On his return to 
 England he etched some portraits, and also 
 assisted Dr. Lister in drawings of natural 
 history, which were presented to the Koyal 
 Society, among them 34 different species of 
 spiders. He was the friend of Erancis 
 Place, with whom he made long sketching 
 excursions. He died at Leeds, August 27, 
 1689. On carrying him to the grave, the 
 hearse broke down near Harewood, and so 
 he was buried in the church there. His 
 portrait is engraved by G. White. 
 
 LOGGAN, David, draftsman andengraver. 
 Was born at Dantzic about 1630. He had 
 some instruction there from the younger 
 De Passe, and afterwards in Holland, under 
 Hondius. He came to England before the 
 Restoration, and made himself known in 
 London by his drawings. Later, he went to 
 Oxford, where he matriculated as Univer- 
 sity engraver, and published in 1672, drawn 
 and engraved by himself, ' Habitus Acade- 
 micorum Oxonise a Doctore usque ad Servi- 
 entum;'and in 1675, ' Oxonia Hlustrata,' 
 in 44 plates. This latter work the Uni- 
 versity granted him a license for selling 
 for 15 years. He then went to Cambridge, 
 where he stayed some time, drew the col- 
 leges, and published, in 1688, ' Cantabrigia 
 Hlustrata.' He appears to have had a little 
 
 dealing in pictures. He drew portraits in 
 black-lead with great delicacy and truth, 
 and was the best portrait engraver of his 
 time. He engraved the illustrations for 
 Morrison's ' History of Plants,' which was 
 not published till 1715. An excellent por- 
 trait by him of Bishop Mew belongs to the 
 see of Worcester — well painted, the finish 
 and expression in the best manner. He 
 married an English lady of good family, 
 and left a son, who was fellow of Magdalen 
 College, Oxford. He lived the latter part 
 of his life in Leicester Eields, where he 
 was settled in 1675, and let his lodgings to 
 persons of quality. He died there in 1693. 
 There is a half-length portrait in oil by him 
 of Sheldon, archbishop of Canterbury, in 
 the Earl of Home's collection, 
 
 LOMBART, Peter, engraver. Born in 
 Paris 1612. A Huguenot refugee, he 
 came to England some time before the 
 Revolution, and found employment chiefly 
 in book frontispieces. His 12 half-lengths 
 after Vandyck, known as ' The Countesses/ 
 are considered his best works. He engraved 
 ' Charles I. on Horseback,' after Vandyck ; 
 afterwards he erased the face and substi- 
 tuted Cromwell's, and, as times changed, 
 again inserted the King's. The latest 
 known work by him is dated 1672. He 
 returned to Paris, where he died. 
 
 LONG, J. St. John, engraver. He was 
 born in Ireland and claimed a high descent, 
 but was believed to have been the son of a 
 poor basket-maker, named O'Driscoll. On 
 the introduction of an Irish nobleman, he 
 received some kind assistance from John 
 Martin, who formed a poor opinion of 
 his art abilities. Though brought up as an 
 engraver, he did not follow that profession. 
 A mere sketcher, he tried painting, and in 
 1825 exhibited at Suifolk Street, 'Elijah 
 comforted by an Angel,' 'The Temptation 
 in the Wilderness,' and 'Abraham enter- 
 taining an Angel ; ' and in the following 
 year, at the British Gallery, ' His Majesty's 
 Entrance into Cowes Castle ; ' essays per- 
 haps of some merit, which attracted notice. 
 He soon after took up the profession of a 
 chiropodist, and then professed to cure 
 consumption, but a patient dying under his 
 care, he was tried for manslaughter at the 
 Old Bailey in Eebruary 1831, but was 
 acquitted. Not depressed by this misadven- 
 ture, he continued to reside at his house in 
 Harley Street and to keep his carriage. He 
 died of the complaint he had professed 
 to cure, July 2, 1834, aged 37- He had 
 managed to save a property, surely not by 
 his art, and he directed by his will that 
 1,000^. should be expended upon his tomb. 
 He is buried in Kensal Green Cemetery, 
 where a handsome temple of Greek design, 
 decorated with Esculapian emblems, covers 
 his remains, and sets forth that it is intended 
 
 263 
 
LON 
 
 LOW 
 
 to record the benefits derived from his 
 ' remedial discovery.' 
 
 LONGMATE, Babak, engraver. Born 
 in Westminster. He engraved some topo- 
 graphical drawings, but he was particularly 
 distinguished as a heraldic engraver. He 
 edited an edition, in eight volumes 8vo., of 
 * Collins's Peerage ' in 1779, and the supple- 
 mental volume in 1784. Died July 23, 
 1793, in his 56th year. His son, Barak 
 LoNGMATE, succeeded him in his profession, 
 and died in 1836, aged 68. 
 
 LONSDALE, James, portrait painter. 
 Was born in Lancashire, May 16, 1777. 
 Tried art there and then came early in life 
 to London. He was received into Komney's 
 house as his pupil, and entered the schools 
 of the Academy. On the death of Opie, K.A., 
 he purchased his house in Berners Street, 
 and resided there the rest of his life. He 
 was largely employed in portraiture, and had 
 many distinguished sitters, chiefly gentle- 
 men. He was appointed portrait painter in 
 ordinary to the Duke of Sussex. He ex- 
 hibited a fine picture of ' Talma as Hamlet,' 
 at the Koyal Academy in 1818, and painted 
 for the Duke of Norfolk a large historical 
 subject — 'King John signing the Magna 
 Charta.' He was one of the founders of 
 the Society of British Artists, where he ex- 
 hibited from 1824, with some intervals, to 
 1837. He died in Berners Street, Jan. 17, 
 1839, aged 62. His art was bold and 
 natural, his portraits with little attempt at 
 flattery. 
 
 LOTEN, John, landscape painter. Born 
 in Switzerland (some writers say Holland), 
 he came early in life to England in the 
 reign of Charles II. Settled here, he studied 
 landscape from nature with great success. 
 He painted, frequently of a large size, cloudy 
 effects, storms, and rocky subjects. His 
 colouring was cold and had a tendency to 
 blackness ; his light and shadow well 
 mastered ; his execution spirited, yet well 
 finished. He died in London 1681. 
 
 LOUND, Thomas, amatQur. He was 
 engaged in a large brewery at Norwich, 
 but was devoted to art and excelled as a 
 landscape painter both in oil and water- 
 colours, painting with great freedom and 
 power. Erom 1846 to 1855 he was a fre- 
 quent contributor to the Academy Exhibi- 
 tions, chiefly of works in oil, river and coast 
 scenes. He died at Norwich, January 18, 
 1861, age 58. 
 
 LOVELACE, Francis, amateur. Held 
 a commission as colonel in the army. He 
 painted a portrait of his brother Richard 
 Lovelace, the poet, who died 1658; a good 
 head, which Hollar engraved in 1660, and 
 is prefixed to the poet's 'Lucasta.' 
 
 LOVELL, Peregrine, engraver. Prac- 
 tised his art about the middle of the 17th 
 century. There are some spirited heads 
 264 
 
 etched by him in Delia Bella's * Drawing- 
 book,' published in 1634 ; and some small 
 engravings of Flemish soldiers are by his 
 hand. He etched in Hollar's manner, and 
 is said to have imitated him. 
 
 LOVER, Samuel, R.H.A., miniature 
 painter. He was born February 24, 1797, 
 at Dublin, where his father was a member 
 of the Stock Exchange. He began art at 
 an early age, and both sang and wrote songs 
 professionally. He practised miniature 
 painting in Dublin, and had some distin- 
 guished sitters ; and in 1822 was elected a 
 member of the Royal Hibernian Academy. 
 In 1834 he first exhibited at the Academy 
 in London, and continued to contribute 
 yearly up to 1843, when, tempted by the 
 success of his ' Irish Evenings,' which had 
 become a popular entertainment, he visited 
 the United States, returning in 1848. At 
 this time he appears to have devoted him- 
 self chiefly to literature, and only was an 
 occasional exhibitor at the Academy. In 
 1851 he sent a ' Drawing on the Ohio ; ' in 
 1852, 'Rapids and Falls of the Niagara,' 
 followed by some paintings in oil ; in 1858, 
 ' The Thames at Chiswick ;' in 1861, 'The 
 Chesil Beach ; ' and in 1862, 'The Kerry 
 Post on Valentine's Day.' But he will be 
 best remembered by his writings — his novels 
 ' Rory O'More,' 1841, and ' Handy Andy,' 
 1842, both illustrated by designs etched by 
 himself ; and his tender and graceful songs, 
 ' The Angel's Whisper,' the ' Four-leaved 
 Shamrock,' ' Molly Carew,' and some others. 
 He was granted a pension of 100/. a year 
 on the Civil list, and during the last four 
 years of his life resided at Jersey, where 
 he died July 9, 1868. He was buried in 
 Kensal Green Cemetery. In addition to 
 the above works and some ballad poetry, 
 he published ' Legends and Tales of Irish 
 Character,' 1832; 'Irish Sketches,' 1837; 
 ' Treasure Trove,' 1844 ; 'Lyrics of Ireland,' 
 1858. 
 
 LOW, William, portrait painter. Prac- 
 tised in Edinburgh about the middle of the 
 18th century. 
 
 LOWE, Mauritius, history painter. He 
 was reputed a natural son of Lord Sunder- 
 land, from whom he had a small annuity, 
 and was a student of the Royal Academy 
 and a pupil of Cipriani, R.A. He exhi- 
 bited miniatures at the Spring Gardens 
 Rooms in 1776, and 1779, and in the latter 
 year a ' Venus ' also. He gained the first 
 gold medal awarded by the Academy for 
 his historial painting, ' Time discovering 
 Truth,' and was elected in 1771 to receive 
 the Academy travelling pension for three 
 years. He went to Rome, but was indolent 
 and spent his time in dissipation, and not 
 sending home a picture to the Academy, 
 as required by their laws, he forfeited his 
 pension in the second year. He exhibited 
 
LOW 
 
 LUC 
 
 historical works at the Academy, and in 
 1783 sent his ' Deluge,' ' There were Giants 
 on the Earth in those Days,' a large picture, 
 which was rejected, and subsequently ad- 
 mitted at the solicitation of Dr. Johnson, 
 and placed alone in the Antique Academy. 
 The Doctor said of the picture, ' It is both 
 noble and probable.' Northcote, ' that the 
 manner of painting was execrable,' and that 
 the painter ' was too idle and inattentive to 
 attain any excellence.' The picture was 
 in 1835 in the hall of Sutton Place, near 
 Guildford. His best work was a drawing, 
 exhibited 1777, of ' Homer singing his Hiad 
 to the Greeks.' He married a servant girl, 
 by whom he had a large family. Dr. John- 
 son stood godfather to one of his children, 
 befriended him, and left him a small legacy. 
 Some of his conversations are recorded by 
 Boswell ; but Fanny Burney, in her diary, 
 tells most about him : * There is a certain 
 poor wretch of a villainous painter, one Mr. 
 Lowe, who is in some measure under Dr. 
 Johnson's protection, and whom therefore 
 he recommends to all persons he thinks 
 can afford to sit for their pictures.' Among 
 these he made Mr. Seward, and then applied 
 to Mr. Crutchley, who was also obliged to 
 go to the painter's. He says, ' I found him 
 in such a condition ! A room all dirt and 
 filth, brats squalling and wrangling, up two 
 pair of stairs, and a closet of which the 
 door was open, that Seward well said was 
 Pandora's box. It was the repository of 
 all the nastiness and stench and filth and 
 
 food and drink, and Oh ! it was too 
 
 bad to be borne ! And ^' Oh ! " says I to Mr. 
 Lowe, " I beg your pardon for running away, 
 but I have just recollected another engage- 
 ment ; " so I poked three guineas in his hand 
 and told him I would come again another 
 day, and ran away with all my might.' He 
 was living in 1778, in Hedge Lane, now 
 AVhitcombe Street, and died in an obscure 
 lodging in Westminster, September 1793. 
 He was the reputed writer of the 'Ear- 
 Wig,' an abusive art periodical, published 
 in 1787. 
 
 LOWKY, Strickland, portrait painter. 
 Was born at AVhitehaven, and about 1768 
 went to Ireland, where he practised and 
 then returned to his native town, where 
 he lived by painting portraits. He also 
 practised in various parts of Shropshire, 
 Staffordshire, and Worcestershire. He had 
 some local repute, and his portraits were 
 simple and broadly treated. There are 13 
 views of churches engraved by him for a 
 * History of Shrewsbury,' published 1779. 
 
 L 0 W R Y , Wilson, engravir. Born 
 January 24, 1762, at Whitehaven. Son of 
 the above, and when a child was taken by 
 his parents to Ireland, and some years later 
 returned with them. While yet a boy he 
 removed to Worcester, found some employ- 
 
 ment as a house painter, and commenced 
 engraving. When 17 he came to London, 
 and was admitted to the schools of the 
 Eoyal Academy. Persevering, but poor, 
 he worked hard. His early plates do not 
 bear his name. He engraved most of the 
 machinery for the illustrations to Rees's 
 ' Encyclopsedia,' Crabbe's ' Technological 
 Dictionary,' and the ' Philosophical Maga- 
 zine.' His art was purely mechanical, but 
 his great scientific attainments eminently 
 fitted him for this class of work. He was 
 a good mathematical draftsman, had a know- 
 ledge of anatomy, surgery, mineralogy, and 
 geology, and was learned in the qualities 
 and values of precious stones. About 1790 
 he invented his celebrated ruling machine, 
 and etched with the diamond and other 
 hard stones, instead of the steel point, 
 which gave an unexampled beauty to his 
 ruling. Some of his best specimens as an 
 architectural engraver will be found in the 
 illustrations of Murphy's ' Batalha,' Nichol- 
 son's ' Architecture,' and Gandon's ' Designs 
 for the Dublin House of Commons.' He 
 died in London, June 22, 1824, after a 
 lingering illness, during which he was 
 assisted by the Artists' Fund. His son, 
 Joseph Lowry, was brought up to his 
 profession. 
 
 LOWRY, Robert, engraver. Born 
 about 1740. Practised towards the latter 
 part of the 1 8th century in mezzo-tint. 
 There are several plates by him after 
 Rubens, and portraits of George III., the 
 Prince of Wales, and Duke of York, after 
 Zoffany, R.A. 
 
 LUARD, John Dalbiac, subject painter. 
 Was born in Lincolnshire in 1830, the son 
 of an officer in the army, and was educated 
 at the Royal Military School, Sandhurst. 
 He obtained a commission in the 82nd Foot, 
 and served five years in the regiment. 
 Then led by a love of art, he left the 
 army to study painting as a profession, 
 was for a time a pupil of Philip, R.A., 
 and exhibited his first picture at the Aca- 
 demy in 1855. Later in the same year he 
 joined his brother, who was serving in the 
 Crimea, returning to England in February 
 1856. In 1857 he exhibited a Crimean 
 subject, 'The Welcome Arrival;' the fol- 
 lowing year, ' Nearing Home ' and ' The 
 Girl I left behind Me ;' and in 1859 com- 
 menced another work, but his health failed. 
 He tried a voyage to America and back, 
 which had only a temporary effect, and re- 
 tiring to the house of a relative near Salis- 
 bury, died there in August 1860, leaving 
 much promise of a reputation in art. 
 
 LUCAN, Margaret, Countess of, amatevr. 
 Was well known as a clever copyist of the 
 early miniature painters — Hoskins, the 
 Olivers, and Samuel Cooper. She also 
 painted some good original miniatures, low 
 
 265 
 
LUC 
 
 LUT 
 
 in colour, with landscape backgrounds well 
 introduced. She undertook the illustration 
 of Shakespeare's historical plays by means 
 of portraits, tombs, landscapes, heraldic 
 devices, flowers, birds, and insects. This 
 work, in five vols., which occupied her 16 
 years, is preserved in the library at Althorp. 
 She died in 1815, aged 66. Walpole, who 
 flattered her, is thus addressed by Peter 
 Pindar — 
 
 * Do not to Lady Lucan pay such court. 
 Her wisdom will not surely thank thee 
 for't ; 
 
 Ah ! don't endeavour thus to dupe her, 
 By swearing that she equals Cooper.' 
 LUCY, C, portrait painter. Was born 
 in London in 1692. He commenced the 
 study of art when 13 years of age. Was 
 for eight years the pupil of Cignani, and 
 studied at Kome and Bologna. His por- 
 traits are graceful and well drawn. Dr. 
 Pepusch and Parinelli, by him, are en- 
 graved by Van Hacken. 
 
 LUCY, Cha-rles, historical painter. He 
 was born at Hereford, and was appren- 
 ticed to his uncle, a chemist there ; but he 
 turned to art, and became a student in the 
 Ecole des Beaux Arts at Paris. He exhi- 
 bited a portrait at the Eoyal Academy in 
 1838, and was then living at Hereford; 
 followed, in 1840, by the 'Interview be- 
 tween Milton and Galileo,' and from that 
 time he devoted himself purely to his- 
 torical art. In 1844 he exhibited 'The 
 Good Samaritan' with 'Burns and his 
 Mary ; ' and for the Westminster Hall com- 
 petition he commenced a series of large his- 
 torical works, which first made him known, 
 exhibiting there, in 1844, 'Agrippina in- 
 terceding for the Family of Caractacus,' for 
 which a premium of lOOZ. was awarded 
 to him; in 1845, ' Eeligion supported by 
 Paith, Hope, and Charity;' and in 1847, 
 ' The Departure of the Pilgrim Fathers.' 
 In 1848 he exhibited at the Eoyal Aca- 
 demy ' The Landing of the Pilgrim Fathers 
 in America;' in 1849, 'Mrs. Claypole's 
 Death-bed at Hampton Court;' in 1850, 
 ' The Parting of Charles I. and his Chil- 
 dren ;' in 1852, ' The Parting of Lord and 
 Lady Eussell in 1683 ;' and continued an 
 exhibitor of subjects chiefly connected with 
 the history of his country up to the year of 
 his death. He had for many years taught 
 in a drawing-school established in Camden 
 Town, and had visited France in 1858-60, 
 and again in 1862. His health had long 
 been failing. Devoted to the highest branch 
 of art, his works, important by their sub- 
 ject and the scale on which he painted, 
 failed to gain the attention they merited, 
 yet many of them have been engraved — 
 ' The Pilgrim Fathers,' ' The Death of Mrs. 
 Claypole,' 'Shakespeare before Sir Thomas 
 Lucy,' ' Nelson in the Cabin of the Victory.' 
 
 He died at Notting Hill, May 19, 1873, 
 aged 59. 
 
 LUMLEY, George, amateur. Was a 
 solicitor settled at York, where he was born. 
 He was a friend of Francis Place, and pro- 
 duced in mezzo-tint several portraits to- 
 wards the middle of the 18th century. He 
 died at York, October 12, 1768, aged 60. 
 
 LUNY, T-ROM.k.s, marine painter. Prac- 
 tised in London in the second half of the 
 18th century, and for some time lived in 
 EatclifFe Highway. He first exhibited at 
 Spring Gardens in 1777-78, at the Academy 
 in 1780, continuing to exhibit naval actions, 
 coast scenes, and views of the dockyards, 
 up to 1793 ; after which he only exhibited 
 again in 1802, when, stirred by the battle 
 of the Nile, he exhibited a painting of that 
 victory. Four pictures by him of the ' Essex,' 
 East Indiaman, on her stormy passage to 
 Bombay, are engraved in aqua-tint. His 
 ' Burning the Spanish Batteries before Gib- 
 raltar ' and ' Admiral Eodney's Action ' are 
 also engraved. He died at Teignmouth, 
 September 30, 1837, aged 79. At the 
 Foundling Hospital there is a painting by 
 him of ' Vessels attacking Land Batteries,' 
 which is carefully painted and truthful, but 
 without any attempt at effect. In 1863, 17 
 paintings by him were sold at Christie's — 
 sea-pieces and coast scenes, with ' Lord Ex- 
 mouth's Bombardment of Algiers,' and a 
 companion picture, ' The British Fleet leav- 
 ing Algiers.' 
 
 LUPTON, Thomas Goff, engraver. He 
 was the son of a working goldsmith in 
 Clerkenwell, and was born in 1791. Hebe- 
 came the pupil of G. Clint in 1805, and on 
 the completion of his articles he was able 
 to establish himself in his profession. He 
 produced some good plates after Sir T. 
 Lawrence and the most esteemed portrait 
 painters of his day. In 1822 he received 
 the gold Isis medal of the Society of Arts 
 for his application of soft steel to the pro- 
 cess of mezzo-tint engraving. He was suc- 
 cessful in establishing the use of steel, and 
 worked both in that metal and copper. 
 Among his more notable works are the 
 ' Infant Samuel,' after Sir J. Eeynolds ; 
 ' Belshazzar's Feast,' after John Martin ; 
 with many fine plates after Turner, E.A. ; 
 ' Newcastle-on-Tyne,' 'Warkworth Castle,' 
 and ' Dartmouth,' for the ' Eivers of Eng- 
 land.' He re-engraved a selection of 1 5 plates 
 for the ' Liber Studiorum,' 1858. He died 
 May 18, 1873. 
 
 LUT TEE EL, Henry, engraver and 
 painter. Was born at Dublin about 1650, 
 and came early in life to London. He 
 studied the law at New Inn, but the love 
 of art tempted him to change his profes- 
 sion. He became the pupil of Ashfield, and 
 applied himself to portraiture in crayons, in 
 which he excelled. He designed a series of 
 
LYN 
 
 McO 
 
 heads for Kennet's ' History of England/ 
 which were engraved by Vanderbank. On 
 the invention of mezzo-tint, he took up 
 the new art, and joining Isaac Becket, they 
 were the earliest English engravers in that 
 manner. But Becket soon left him, and 
 he brought out a print which had a large 
 sale, and forming an acquaintance with 
 Vansomer, by his help soon mastered the 
 whole process. He tried a method of laying 
 the ground with a roller, and discovered a 
 means of drawing crayon portraits on copper. 
 He finished many heads, and assisted Becket, 
 his former colleague, in giving better com- 
 pleteness to his work. He died about 1710. 
 
 LYNCH, German, die engraver. Was 
 master of the Mint in Ireland and graver 
 of the puncheons 39th Henry VI. 
 
 LYNE, KiCHARD, engraver. Was eminent 
 in his day as a painter, and was also a good 
 engraver. He was engaged by Archbishop 
 Parker, about 1570, as one of his engravers 
 at Lambeth Palace. 
 
 LYSAEDE, Nicholas, history painter. 
 He had been in the service of Henry VIII. 
 and Edward VL, and was appointed serjeant- 
 painter 2nd and 3rd Philip and Mary, and 
 afterwards to Queen Elizabeth. He was a 
 painter of historical subjects, and as the 
 custom then was, presented a picture to the 
 
 Queen on her birthday. He died in 1570, 
 and was buried at St. Martin's on April 5. 
 
 LYSONS, The Rev. Daniel, amateur 
 He was born in 1760. He drew and etched 
 many of the illustrations for his ' Environs 
 of London,' published 1792-96, and for his 
 ' Magna Britannica.' He died January 3, 
 1834. 
 
 LYSONS, Samuel, amateur. Brother of 
 the above. He was born in Gloucestershire 
 in 1763, studied at the Middle Temple, and 
 was called to the Bar. Between 1785 and 
 1796 he was an occasional exhibitor at the 
 Royal Academy of views of old buildings. 
 He etched the plates for his 'Account of 
 the Roman Ruins discovered at AVood- 
 chester,' 1797, and for his ' Reliquae Britan- 
 nico Romanse,' 1813. He assisted his brother 
 on the 'Magna Britannica.' He was distin- 
 guished as an antiquary, and was appointed 
 keeper of the records in the Tower of 
 London. His studies were principally di- 
 rected to the Roman antiquities in Britain. 
 He died June 29, 1819. 
 
 LYTTELTON, Lady, amateur. Second 
 wife to the third Lord Lyttelton. She both 
 painted and drew in crayons the portraits of 
 her friends, and between 1774-80, was an 
 honorary exhibitor at the Spring Gardens 
 Rooms and the Royal Academy. 
 
 M 
 
 McALISTER, George, glass jpainter. 
 Was born in Dublin 1786, and brought up 
 as a jeweller, but devoted himself to study 
 and experiment in glass painting, and at 
 the age of 21 his great ability in this art 
 was recognised by the diploma of the 
 Dublin Society. He finished a fine window 
 for the cathedral at Lismore, and had 
 commenced another of larger dimensions 
 for Tuam, but anxiety and the heat of the 
 furnace at which he worked produced in- 
 flammation of the brain, of which he died, 
 June 14, 1812, in his 26th year. This last 
 work was completed from his designs by 
 his three sisters, to whom he had communi- 
 cated his processes. 
 
 McARDELL, James, mezzo-tint engraver. 
 Was born about 1710, in Dublin, and ap- 
 prenticed in that city to John Brooks. At 
 the age of 17 he came with his master to 
 London. He attained great excellence in 
 his art, and has left numerous fine works 
 from his hand. His portraits are admir- 
 able for expression, accuracy, and force. 
 He engraved many after Reynolds, with 
 whom he was a great favourite ; also after 
 Hogarth, Hudson, Zoffany, and Cotes, R.A. 
 
 Reynolds, whose fame has been so widely 
 spread by his works, is said to have ex- 
 claimed that he should be immortalised by 
 him. His historical works, after Rubens, 
 Vandyck, Rembrandt, Murillo, and others of 
 the great masters, are admirable. He was 
 also a publisher, a jolly companion at the 
 artists' clubs, and well known in the green- 
 room ; a sworn brother of Quin, whom he 
 painted in the character of Falstaff, and 
 engraved after his own painting. He died 
 in London, June 2, 1765, and was buried at 
 Hampstead. 
 
 McCULLOCH, Horatio, R.S.A., land- 
 scape painter. AVas Ijorn in November 
 1806, at Glasgow, whore his father was a 
 weaver. He managed to gain a good edu- 
 cation, and was instructed in art by a 
 painter settled in his native city, in the 
 neighbourhood of which he painted for 
 some time. AVhen in his 20th year he was 
 first an exhibitor, and continuing the suc- 
 cessful practice of his landscape studies, 
 he was in 1834 elected an associate, and in 
 1838 a member, of the Scottish Academy, 
 where he was a constant exhibitor. He 
 only appears to have exhibited at the Royal 
 
 267 
 
McD 
 
 MAC 
 
 Academy in London, -where his art was too 
 little known, in the year 1844, when he con- 
 tributed two of his native landscape scenes. 
 He devoted his art to the fine ecenery of 
 his own country, and painted with great 
 brilliancy, freshness, and truth its cha- 
 racteristic lochs, forests, and mountainous 
 wilds, with their mists and poetic effects of 
 light and shadow, spring and autumn. For 
 the last 20 years of his life he resided in 
 Edinburgh, and died there June 24, 1867. 
 
 McDowell, Patrick, K.A., sculptor. 
 He was born August 12, 1799, the son of a 
 tradesman at Belfast, who died while he 
 was an infant, leaving his family with very 
 limited means. His schoolmaster had been 
 an engraver, and encouraged his love for 
 drawing. When about 12 years old, his 
 mother came to England, and he was placed 
 for two years under a schoolmaster in 
 Hampshire. He was then apprenticed to a 
 coachmaker in London, and his master be- 
 coming bankrupt at the end of four years, 
 his indentures were cancelled. He found 
 lodgings in the house of Peter Chenu, a 
 well-known sculptor, and in his leisure 
 hours strove to acquire a knowledge of the 
 art, and was fortunate in selling some re- 
 duced copies which he made. He exhibited 
 at the Koyal Academy, in 1822, a posthu- 
 mous bust, and in 1826 six busts and a 
 model for a monument, and in the three 
 following years was an exhibitor, sending 
 in 1829 a 'Bacchus.' 
 
 He had thus, self-taught, found himself 
 a profession, and in 1830 was admitted a 
 student in the Academy Schools. He con- 
 tinued to get employment upon busts, but 
 his first ideal work which gained notice was 
 from Moore's 'Loves of the Angels,' and found 
 a purchaser in a fellow townsman at Belfast. 
 In 1837 his 'Statue of a Girl reading,' which 
 was greatly admired, was also purchased 
 by a gentleman who became a liberal 
 patron, for whom, in 1840, he finished 
 another work, ' Girl going to Bathe,' which 
 he exhibited in that year ; in the next 
 year 'Prayer;' and in 1841 he gained his 
 election as an associate of the Academy. 
 In 1842 he exhibited ' Cupid ' and his 'Girl 
 going to Bathe' in marble. In 1844, ' Love 
 Triumphant,' a marble group. In 1846 he 
 completed a monumental statue of Viscount 
 ExmoutJi for Greenwich Hospital, and was 
 elected a full member of the Academy. 
 
 Continuing to exhibit a bust from time 
 to time, he sent, in 1 847, ' Early Sorrow,' 
 a marble statue, and ' Virginius and his 
 Daughter,' an importart work, which he 
 executed in marble in 1850. In 1849 he 
 exhi])ited 'Cupid and Psyche ' in basso-ri- 
 lievo, and an 'Eve;' in 1853, 'The Day 
 Dream ; ' in 1856, a fine statue in bronze of 
 the Earl of Belfast; and in 1858, a bronze 
 figure of Viscount Fitzgibbon, for the city 
 268 
 
 of Limerick. He executed also for the 
 palace at Westminster some bronze statues 
 and a marble statue of AVilliam Pitt and 
 of the Earl of Chatham. He continued to 
 exhibit, but for the latter years chiefly busts, 
 up to 1869, and, having completed his 
 'Europe' for the Albert Memorial, had just 
 accepted the position of retired academician 
 when he died in London, December 9, 1870. 
 His works are carefully studied and masterly 
 in execution, graceful in their form and com- 
 position, his female forms full of delicacy 
 and beauty. His busts were simple in their 
 design and truthful in their portraiture. 
 
 MACDUFF, Aechibald, amateur. Born 
 in England about 1750. There are by him 
 some drawings, and plates produced by the 
 union of etching and aqua-tint, but he is 
 supposed to have worked only as an. 
 amateur. Of his etchings there are, after 
 Barry, E.A., ' The Temptation of Adam,' 
 'Job and his Friends,' 'The Birth of Venus,' 
 ' King Lear,' dated in 1776 and 1777, and 
 a ' Holy Family,' after Kaphael. 
 
 McIAN, EoBEBT EoNALD, A.E.S.A., sub- 
 ject painter. AVas born in Scotland in 
 1803, of an ancient Highland race. His 
 early life was passed on the stage, and 
 after having been for some years a member 
 of the Bath and Bristol company, he 
 appeared in London in ' Eob Eoy,' and 
 gained a reputation for his clever perform- 
 ance of the ' Dougal Creature.' But he 
 was cultivating a love for the arts, and 
 during his engagement at the English 
 Opera House he was, in 1835 and 1837, an 
 exhibitor at Suffolk Street; and in 1836 
 and 1838 at the Academy. In 1839 and 
 1840, when engaged at Drury Lane, he 
 exhibited a ' Highland Cateran ' and the 
 ' Covenanter's AVedding.' About this time 
 he retired from the stage to try his fortune 
 in art, and painted, 1842, 'Harold the 
 Dauntless;' 1843, 'Highlander defending 
 a Pass,' 'The Battle of Culloden,' 'An 
 Encounter in Upper Canada,' and other 
 works, treated with great earnestness and 
 vigour, and founded almost exclusively on 
 incidents of Highland courage and charac- 
 ter. He died at Hampstead, December 13, 
 1856, in his 54th year, and was buried in 
 the cemetery at Highgate. His widow, an 
 artist, was for many years mistress in the 
 Government School of Design. 
 
 MACKENZIE, Alexander Macdonal, 
 architect. Was for more than 30 years 
 architect to the city of Perth, and designed 
 and executed many churches, public build- 
 ings, and mansions. He died near Perth, 
 February 15, 1856. 
 
 MACKENZIE, Frederick, water-colour 
 painter. Was a pupil of John A. Eepton, 
 and became distinguished by his careful 
 drawings of our ancient edifices, in which 
 the architecture and perspective are well 
 
MAC 
 
 MAC 
 
 understood. He exhibited at the Royal 
 Academy in 1801 and 1809, and with the 
 Water-Coloiir Society in 1820, and was 
 elected an associate exhibitor in 1822, 
 when he contributed ' The Coronation of 
 George IV. in Westminster Abbey.' In 
 1823 he was chosen a member of the 
 Society, and in 1835 the treasurer. He 
 continued an exhibitor till his death. His 
 contributions were usually only one or two 
 each year; his subjects the interiors of 
 cathedrals and ancient churclies, and had 
 almost entirely their inspiration from the 
 Gothic ecclesiastical edifices. He published, 
 1812, 'Etchings of Landscapes,' intended 
 as progressive lessons for students ; ' Speci- 
 mens of Gothic Architecture,' 1825, selected 
 from the ancient buildings at Oxford ; and 
 in 1844, 'Architectural Antiquities of St. 
 Stephen's Chapel, Westminster.' He made 
 all the drawings for Britton's ' Salisbury 
 Cathedral.' He died April 25, 1854, aged 
 67, and was buried in Highgate Cemetery. 
 
 MACKENZIE, Samuel, R.S.A., 'portrait 
 painter. He was a native of Cromarty, 
 North Britain, and commenced life as a 
 stone carver. Coming to Edinburgh he was 
 struck with the works of Sir Henry Rae- 
 burn, and was inspired with the desire to 
 be himself a portrait painter ; and devoting 
 himself zealously to art he succeeded, and 
 gaining a reputation, was in 1830 chosen 
 a member of the newly-formed Eoyal 
 Scottish Academy. His female heads, 
 though deficient in force, were generally 
 very successful, and his art popular. He 
 died in 1847, aged 62. 
 
 MACKLIN, Thomas, engraver. He under- 
 took in 1793 the publication of Bunbury's 
 ' Shakespeare,' illustrated by 48 plates, for 
 which Bunbury made the drawings. He 
 engraved ' Peace and AVar,' after Guercino, 
 in 1779, and some other plates. 
 
 MACLEOD, John, animal painter. He 
 practised in Edinburgh, and painted with 
 much success portraits of favourite horses, 
 dogs, &c. He died February 17, 1872. 
 
 MACLISE, DANIEL, R.A., subject and 
 history painter. Born at Cork, January 25, 
 1811, he was the son of an officer of the 
 Elgin Fencibles, a Scotchman of an old 
 race. His mother was the daughter of a 
 Cork merchant, whom his father first met 
 with while serving in Ireland. This state- 
 ment has been generally received ; the date 
 is that given by the artist himself, and the 
 whole has been adopted by his biographer 
 and friend. But, on the contrary, it is 
 stated, and supported by public documents, 
 that 'Alexander McLish, a soldier in the 
 Elgin Fencibles, was married in the Pres- 
 byterian Church, at Cork, to Rebecca, 
 daughter of Mrs. Buchanan, Almshouse, 
 December 24, 1797/ and the birth of their 
 son, Daniel McLish, is recorded February 2, 
 
 1806 ; and this child, who afterwards spelt 
 his name McClise, is identified with the 
 artist. On an inquiry, the Secretary of 
 State for War says, and so far verifies the 
 latter statement, ' that no officer of the 
 name of Maclise or McLish can be traced 
 as having served in the Elgin Fencibles 
 about the period referred to.' Brought up 
 in his native city he received a plain edu- 
 cation. He had an early desire to be an 
 artist, but his father thought him better 
 placed as a clerk to a banker in Cork. At 
 the age of 16 he managed to leave this 
 employment, and gaining admission to the 
 Cork School of Art he at the same time 
 made a practical study of anatomy, and 
 had the character of an intelligent and 
 industrious student. The 14th Dragoons 
 were then stationed in the city, and making 
 some friends among the officers, he first 
 found profitable employment in sketching 
 their portraits. In 1826 he made a sketch- 
 ing tour in Wicklow, and then resuming 
 his portrait practice in Cork, he saved a 
 purse of his own, and was enabled in July 
 1827 to make his way to London, where 
 in 1828 he entered the schools of the 
 Royal Academy, and rapidly improving in 
 his power of drawing, he gained successively 
 the silver medals in the life school and in 
 the painting school, and in 1831 the gold 
 medal for his ' Choice of Hercules.' 
 
 He had brought to London some friendly 
 introductions, and made the acquaintance 
 of influential men engaged in literature. 
 On his first arrival he produced a happy 
 sketch in the theatre of Cliarles Kean, 
 which was published, and brought him a 
 handsome sum. And his talents, aided by 
 his friends, opened to him a career in that 
 branch of art. But he was not anxious to 
 devote himself to portraiture. In 1 829 he 
 first appears on the walls of the Academy 
 with his ' Malvolio affecting the Count.' 
 In the following year he exhibited several 
 portraits, among them one of his friend 
 Miss L. E. Landon ; and at the same time 
 he visited Paris, with the intention of 
 reaching Madrid, but when near the Pyre- 
 nees he was attacked by illness, and obliged 
 to return. In 1831 his exhibited Avorks 
 were portrait drawings, and the same in 
 the next year, with his ' Puck disenchanting 
 Bottom.' In the autumn ho visited Ire- 
 land, and enjoying All Hallow Eve at the 
 house of the parish priest, he sketched the 
 scene for the picture he exhibited in 1833, 
 so well known by the popular engraving. 
 
 Arising out of a dispute with Sir John 
 Soane, R.A., who was annoyed by Maclise's 
 portrait of him — afterwards destroyed by 
 a friend — there appeared an etched full- 
 length sketch of Sir John in ' Eraser's 
 Magazine,' by 'Alfred Croquis,' (a name 
 assumed by Maclise), which was so popular 
 
 269 
 
MAC 
 
 MAD 
 
 that it was followed Ly a series extending 
 to 72 numbers of the magazine, of winch 
 it became a feature, representing the emi- 
 nent literary and scientific men of the day. 
 From his connection with the magazine he 
 was led to contribute a clever poem, which 
 occupies nine pages, ' Christmas Bevels,' 
 an epic rhapsody. Continuing to find em- 
 ployment in portraiture, he exhibited, in 
 1834, his 'Installation of Captain Kock;' 
 and in 1835, his great work, ' The chivalric 
 Vow of the Ladies and the Peacock,' which 
 fully established his power as an artist, 
 and gained him his well-deserved election 
 as an associate of the Academy in the same 
 year. From this time his exhibited works 
 were confined to subject pictures, his por- 
 traits to an occasional oil picture of a 
 literary friend, with some scenes from 
 *Gil Bias' and the 'Vicar of Wakefield.' 
 He exhibited, in 1838, ' Merrie Christmas in 
 the Baron's Hall;' in 1840, when he was 
 elected a member of the Academy, the 
 * Banquet Scene in " Macbeth ; " ' in 1841, 
 ' The Sleeping Beauty ; ' in 1842, the ' Play 
 Scene in " Hamlet," ' now in the South 
 Kensington Museum; in 1844, 'A Scene 
 from " Comus " ' and ' A Scene from " Un- 
 dine ;" ' in 1846, 'An Ordeal by Touch ; ' 
 a succession of works by which his art will 
 be best known. 
 
 At this time he entered the lists as a 
 competitor for the great works offered in 
 the decoration of the palace at Westminster, 
 for which his art and his powers of execu- 
 tion eminently fitted him. He was, with 
 others, selected by her Majesty's Commis- 
 sioners, and after many wearying delays 
 received a commission for two frescoes — 
 the ' Spirit of Justice ' and the ' Spirit of 
 Chivalry.' His chief thoughts from this 
 time must have been occupied with these 
 engagements ; his contributions to the 
 Academy fell off; but in 1850, while en- 
 gaged on the above two works, he exhibited 
 there the ' Gross of Green Spectacles ; ' in 
 1851, ' Caxton showing his Printing-press 
 to Edward IV.;' in 1854, 'The Marriage 
 of Strongbow and Eva,' an important pic- 
 ture, which the commissioners wished him 
 to repeat on the walls of the palace, but 
 proposed a very inadequate remuneration. 
 He had visited Paris again in 1844, and he 
 now (1855) made his third visit, and ex- 
 tended his journey to Turin, Genoa, Flo- 
 rence, Naples, and Rome. 
 
 He had in 1851 expressed a wish to 
 undertake the decoration of the Eoyal 
 Gallery, which resulted in the commis- 
 sioners offering, as a commencement of that 
 work, two subjects — ' The Meeting of Wel- 
 lington and Blucher after the Battle of 
 Waterloo ' and ' The Death of Nelson.' The 
 spaces these two pictures were to occupy 
 were each 48 ft. long ; and he commenced 
 270 
 
 his designs for them in 1858, and in the 
 following year he completed an elaborate 
 cartoon of the first, full of the most careful 
 detail, which is now possessed by the 
 Royal Academy. But on commencing the 
 work in fresco he found so many insur- 
 mountable difficulties that he resigned the 
 task in that material, yet was willing to 
 make a trial of it in oil. To remove this 
 difficulty, at the request of Prince Albert, 
 the president of the commission, he went 
 to Berlin in 1859 to inform himself of the 
 water-glass process, and consented to com- 
 mence his subject on this principle. Work- 
 ing incessantly in the gloomy gallery it was 
 to occupy, utterly abstracted from all else, 
 depressed and plagued, he finished his great 
 work in December 1859, representing accu- 
 rately even the smallest details of portrait, 
 costume, and the minor accessories ; and 
 was then commissioned to commence the 
 companion picture, which, under the most 
 discouraging and depressing circumstances, 
 he completed in 1864, abandoning all claim 
 to the amount of remuneration which he 
 might justly have claimed. 
 
 Between 1857, when he completed an out- 
 line series of designs, ' The Story of the 
 Norman Conquest,' for the Art Union, and 
 1865, while engaged on the works of the 
 Royal Commission, he had only exhibited 
 one unimportant picture at the Academy. 
 In each of the following years, including 
 the year of his death, he exhibited, his pic- 
 tures chiefiy from Shakespeare; but his 
 energies, great as they were, had been ex- 
 hausted, and he succumbed after a short 
 illness, dying at his house in Cheyne Walk, 
 Chelsea, on April 25, 1870. He was buried 
 at the Kensal Green Cemetery, his grave 
 surrounded by his friends. He illustrated 
 Moore's ' Irish Melodies,' Lord Lytton's 
 ' Pilgrims of the Rhine,' and some other 
 works, and designed the Swiney Cup for 
 the Society of Arts, the Medal for the Inter- 
 national Exhibition, 1862, and the Turner 
 Medal for the Royal Academy. 
 
 Of a high and generous nature, fertile in 
 invention, of great power of execution, and 
 an excellent draftsman, but deficient in 
 colour, he was always original and pleasing 
 in his art. As a man he was modest, gentle, 
 and frank-hearted. AVedded to his art, he 
 died unmarried. Indifferent and almost 
 careless in money matters, his will was 
 proved under 40,000/. personalty. A memoir 
 of him was published in 1871 by his friend 
 Justin O'Driscoll. 
 
 MADDEN, Thomas, sculptor. There is 
 a fine tomb to Sir Hugh Hamersley by this 
 unknown artist in the church of St. Andrew 
 Undershaft, London. The knight is repre- 
 sented kneeling under a canopy, and behind 
 him his wife, with two finely- conceived 
 cavalier figures on each side, 1636. 
 
MAD 
 
 MAL 
 
 MADDEN, Wyndham, portrait painter 
 of the last half of the 18th century. 
 Dickenson mezzo-tinted a portrait by him. 
 
 MADDOX, George, architect. He was 
 an exhibitor at the Koyal Academy in 1796, 
 1807, and 1819, afterwards he became a 
 member of the Society of British Artists, 
 and contributed to their exhibitions chissical 
 compositions in architecture, fragments of 
 sculpture, and ornaments in the antique 
 taste. Cockerell, K.A., Decimus Burton, 
 and Professor Hosking were his pupils. He 
 died October 9, 1843, in his 83rd year. 
 
 MADDOX, Willis, portrait and history 
 painter. Was born at Bath in 1813. Was 
 noticed by Mr. Beckford, of Fonthill, for 
 whom he executed several works — ' Christ's 
 Temptation on the Mount ' and ' Agony in 
 the Grarden.' And from him he probably 
 received an impulse towards oriental sub- 
 jects. He first exhibited at the Academy 
 in 1844, his early contributions being still- 
 life. He painted the portraits of several 
 distinguished Turks, and was invited to 
 Constantinople, where he painted the Sultan. 
 He exhibited at the Academy, in 1849, a 
 portrait of Eisk Allah ; and in 1850, of 
 Aina Felleck, the 'Light of the Mirror.' 
 The chief subject picture which he exhi- 
 bited is his ' Naomi, Euth, and Orpah,' 1847. 
 There is a portrait of the Duchess of 
 Hamilton by him, painted in 1846, and at 
 Bath many of his portraits, which are 
 truthful and vigorous. He died of fever, 
 atPera. near Constantinople, June 26, 1853. 
 
 MAINAVAEING, William, medallist. 
 Practised in England towards the end of the 
 18th century. 
 
 MA JOE, Thomas, A.E., engraver. Born 
 in 1720. In the early part of his life he 
 resided several years in Paris, and was 
 eventually imprisoned there, as a reprisal 
 for some Erench troops captured at CuUoden. 
 He engraved, while in Paris, several plates 
 after Berghem, Wouvermans, and others. 
 On his return to England he engraved por- 
 traits, landscapes, and subject pictures. He 
 united a free style of etching to a more 
 finished manner than had been practised in 
 landscape engraving. His foliage is grace- 
 ful. He held for 40 years the office of seal 
 engraver to the King, and in 1770 was 
 elected associate engraver of the Eoyal 
 Academy, and was the first engraver who 
 received that distinction. He published, 
 in 1768, a set of 24 plates of the ' Euins of 
 Psestum.' Died in Tavistock Eow, Covent 
 Garden, December 30, 1799, in his 80th 
 year, and was buried in Camberwell Church- 
 yard. 
 
 MALCOLM, James Peller, draftsman 
 and engraver. Was born in Philadelphia, 
 August 1767. He came to England, to 
 improve himself in art, some time in 1 788 
 or 1789, and entered the schools of the 
 
 Academy, where he studied three years. 
 He was assisted by Benjamin AVcst, P.E.A., 
 and ])y Wright, of Derby, but did not suc- 
 ceed as a painter, and then tried engraving, 
 in which he was self-taught. He is sup- 
 posed at this time to have gone back to 
 America, but to have returned shortly to 
 England. He found employment in con- 
 nection with the ' Gentleman's Magazine,' 
 in which work a well-etched design appeared 
 in 1792, and was engaged in works chiefly 
 of a topographical character. Some of his 
 best and most finished productions will be 
 found in his 'Excursions through Kent,' 
 and in Nichols's ' History of Leicestershire,' 
 to which he devoted himself both as drafts- 
 man and engraver for nearly 20 years. He 
 engraved also for Granger's ' Biographical 
 History of England,' a ' History of Carica- 
 turing,' and he published, in 1808, 'Anec- 
 dotes of the Manners and Customs of London 
 during the 18th Century,' with 50 views, 
 chiefly of buildings, drawn and etched by 
 himself. He died in London, April 5, 1815, 
 after a long illness, leaving a destitute wife 
 and family, for whom a subscription was 
 raised. 
 
 MALTON, James, architect and drafts- 
 man. Practised towards the end of the 
 18th century, his topographical drawings 
 showing great accuracy and merit. He pub- 
 lished ' Picturesque Views of the City of 
 Dublin,' from drawings taken 1791-95 ; in 
 1798, an 'Essay on British Cottage Archi- 
 tecture;' in 1800, 'The Young Painter's 
 Maulstick,' being a practical treatise on 
 perspective. He died of brain fever, in 
 Norton Street, Marylebone, July 28, 1803. 
 
 MALTON, Thomas, architectural drafts- 
 man. Born in 1726. Originally kept an 
 upholsterer's shop in the Strand. In 1 769 he 
 was in Dublin, and is said to have left Lon- 
 don under some pecuniary embarrassments. 
 Here he continued several years, teaching 
 perspective for a living, in great poverty. 
 He was one of the early exhibitors at the 
 Eoyal Academy, contributing, in 1772, a 
 drawing in water-colour of ' The Queen's 
 Palace from St. James's Park ;' and in 1774, 
 ' The Interior of Walbrook Church.' In the 
 same year he published ' The Eoyal Eoad 
 to Geometry;' and in 1775, 'A Treatise on 
 Perspective on the Principles of Dr. Taylor.' 
 His drawings were finished in indian ink, 
 slightly tinted. He lived for some time in 
 Porter Street, Newport Market, and after- 
 wards in Poland Street, where he advertised, 
 in 1775, a course of lectures on Perspec- 
 tive. He died in Dublin, February 18, 
 1801, in his 75th year. 
 
 MALTON, Thomas, architecturcd drafts- 
 man. He was born in 1748, the son of the 
 above. He received a premium at the 
 Society of Arts in 1774, and a student in 
 the schools of the Eoyal Academy, he gained 
 
 271 
 
MAN 
 
 MAR 
 
 the gold medal in 1782 for his 'Design for 
 a Theatre.' He was for a time in Dublin 
 with his father, and for three years was 
 employed in the office of Gandon, the archi- 
 tect, who was satisfied with his ability, but 
 was compelled to dismiss him for his irre- 
 gularities. He exhibited at the Academy, in 
 1774, some stained drawings, views on the 
 Thames from the Adelphi ; in 1 780, views of 
 Bath, where he was then living; in 1790 
 and 1798, views of St. Paul's ; and in 1803, 
 three views of Oxford. He painted several 
 successful scenes for Covent G-arden Theatre. 
 In 1792 he published 'A Picturesque Tour 
 through the Cities of London and West- 
 minster,' with 100 illustrations drawn and 
 aqua- tinted by himself ; and in 1802, ' Pic- 
 turesque Views of the City of Oxford.' There 
 are also many aqua-tint engravings by him 
 of some of the chief buildings of the city of 
 London. He died in Long Acre, March 7, 
 180L His brother, William Malton, was 
 also a draftsman. 
 
 MANBY, Thomas, landscape ^painter. 
 He painted in the reign of Charles IT. He 
 paid several visits to Italy, and his best 
 works are in the Italian manner. Several 
 notices of him appear ; he is mentioned by 
 Beale as putting in the background to a por- 
 trait, and that a good collection of pictures 
 which he brought from Italy were sold 
 about 1672. He died in London about 1691. 
 
 MANN IN, James (frequently spelt 
 Manning), painter. He was born and 
 educated in France, and came over to Dub- 
 lin, where he settled, and was appointed in 
 1746 to fill the office of master in the class 
 of ornament and flower painting in the 
 Dublin Society's Schools, then established ; 
 several artists, who afterwards distinguished 
 themselves, were trained under him. He 
 died 1779. 
 
 MANNIN, Mrs., miniature painter. She 
 exhibited at the Academy from 1829 to 
 1832 in her maiden name as Miss Milling- 
 ton, and from that year, under her married 
 name, she was a constant exhibitor up to 
 1859. She died at Brighton in October 1861. 
 A clever artist, she was largely employed, 
 excelling in her portraits of children. 
 
 MANNING-, Samuel, sciUj^tor. AVas a 
 pupil of Bacon, R A., and studied in the 
 Academy Schools. He first exhibited a bust 
 in 1819, and the next year a statue of the 
 Princess Charlotte; followed in 1821 by a 
 marble bust of Warren Hastings for his 
 monument in Westminster Abbey ; in 1825, 
 a model of a statue of Charles Wesley, and 
 from that time occasionally busts and a por- 
 trait statue. In 1845 he exhibited 'Prome- 
 theus,' his only classic work ; and in 1846, 
 a bust, his last contribution. Three of the 
 small tabular public monuments in St. 
 Paul's are by him. He died December 7, 
 1847. 
 
 272 
 
 MARCHANT, Nathaniel, R.A., ge^n 
 engraver and medallist. Was born in Sussex 
 in 1739, and was a pupil of Burch, R.A. 
 In 1766 he was a member of the Incor- 
 porated Society of Artists. He visited Rome 
 for his improvement, was there in 1773, 
 and studied there during several years, both 
 from the antique gems and the most cele- 
 brated antique groups in marble, send- 
 ing impressions from intaglios to the 
 Royal Academy from 1781 to 1785. On 
 his return to London some time before 
 1789, he gained great reputation, especially 
 for his gems, which have rarely been ex- 
 celled. He was appointed probationary 
 engraver to the Royal Mint in 1782, and 
 afterwards first engraver, holding the office 
 till 1815, when he resigned. He was also 
 gem engraver to the King. He was elected 
 an associate of the Royal Academy in 1791, 
 and academician in 1809, and continued an 
 exhibitor up to 181 1. Died in Somerset Place, 
 London, in April 1816, aged 77. He was a 
 member of the academy at Stockholm and 
 at Copenhagen. He published a catalogue 
 of 100 impressions from gems, engraved by 
 himself. 
 
 MARCHI, GriusEPPE Pilippo Liberati, 
 portrait painter. Born in Rome. Brought 
 to England in 1752, when about 15 years 
 of age, by Sir Joshua Reynolds, he studied 
 for a time at the St. Martin's Lane Academy, 
 and was in 1766 a member of the Incor- 
 porated Society of Artists. He was em- 
 ployed by Sir Joshua to set his palette, 
 paint draperies, and forward his numerous 
 copies and duplicates — being his ready 
 assistant in all matters connected with his 
 studio. About 1770 he attempted to estab- 
 lish himself as a portrait painter in the 
 Metropolis, and then in Wales, but not 
 succeeding, he returned, and continued 
 with Sir Joshua till his death. Reynolds 
 painted a fine portrait of him in an oriental 
 dress. From his knowledge of his master's 
 manner of painting he was skilful in repair- 
 ing and restoring his works, after several 
 of which he executed mezzo-tint plates of 
 some merit. He had saved enough while 
 with Reynolds to provide for his old age. 
 He died in London, April 2, 1808, aged 73. 
 
 MARCUARD, Robert Samuel, drafts- 
 man and engraver. Was born in England 
 1751. Was the pupil of Bartolozzi, and 
 esteemed one of his best scholars. He 
 practised in the dot manner, but occasionally 
 in mezzo-tint, and chiefly from the works 
 of his contemporaries — Cipriani, Angelica 
 Kauffinan, W. Hamilton, Hoppner, Flax- 
 man, Reynolds, and Stothard. He died 
 about 1792. 
 
 MARLOW, M., engraver. He practised 
 towards the last quarter of the 17th century, 
 aadwas chiefly employed by the booksellers, 
 but his works are little known or esteemed. 
 
MAR 
 
 MAR 
 
 MARLOW, William, landscape fainter. 
 Was born in Southwark in 1740. Studied 
 under Scott, the marine painter, and at the 
 St. Martin's Lane Academy, and became a 
 member of the Incorporated Society of 
 Artists. Exhibited at the Spring Gardens 
 Rooms 1762-63-64. He painted several 
 noblemen's seats in England, and then, by 
 the advice of the Duchess of Northumber- 
 land, who admired his works, he travelled 
 in France and Italy from 1765 to 1768. On 
 his return he again exhibited at the Spring 
 G-ardens Rooms, and established himself 
 in London, living several years in Leicester 
 Square. In 1788 he was residing at 
 Twickenham, and that year exhibited at 
 the Royal Academy for the first time, and 
 continued to exhibit yearly to 1796. In 
 1807 he exhibited again, and for the last 
 time contributing ' Twickenham Ferry by 
 Moonlight.' He painted from his Italian 
 sketches, some of which he etched, and also 
 views of London, chiefly on the Thames. 
 His landscapes are pleasing, his colour good, 
 but he aimed little at picturesque effect, 
 and his trees, which he rarely introduced, 
 are weak. His Italian sketches are slight 
 and weakly tinted, but his works possess 
 a quiet truth. Some of his works are at 
 the Foundling Hospital, and have also a 
 place in several collections. He realised a 
 moderate competence, and died at Twicken- 
 ham, January 14, 1813, in his 73rd year. 
 His ' View of Westminster Bridge ' and of 
 ' Blackfriars Bridge ' with some other of his 
 works, are engraved. 
 
 MARMION, Sir Edmund, amateur. 
 He etched in the time of Charles I. and 
 Charles II. There are some portraits by 
 him, in the manner of Vandyck, etched 
 wdth much freedom, and some slight etchings 
 of domestic scenes, after his own designs. 
 
 MAROCHETTI, Baron Charles, R.A., 
 sculptor. Was born at Turin, of French 
 parents, in 1805, and in early life went with 
 his family to Paris, where his father prac- 
 tised as an advocate. He was educated in 
 the Lycee Napoleon ; and at the age of 17 
 went to Rome, where he studied about eight 
 years. In 1827 he returned to Paris, and 
 exhibited there 'A Girl playing with a 
 Dog,' which gained him a medal at the 
 Beaux Arts. He afterwards went to Turin, 
 and produced several statues and smaller 
 works, which made him widely known. 
 He also presented to the City his noble 
 equestrian statue of Emmanuel Philibert, 
 and the King conferred upon him the title 
 of Baron. An equestrian statue by him of 
 Charles Albert also decorates his native 
 city. Going back again to Paris, he was 
 employed there on many fine works, and 
 was made a chevalier of the Legion of 
 Honour in 1839. On the death of his 
 father he inherited a mansion in the suburbs 
 
 of Paris, where he resided till 1848, when, 
 on the Revolution, he came to England. 
 Here he was at once noticed by the Queen, 
 and was employed upon several public 
 works, and completed an equestrian statue 
 for her, erected at Glasgow. He exhibited 
 for the first time at the Academy in 1840, 
 ' Sappho,' a statue in marble, and in the 
 following year, a bust of Prince Albert ; 
 and continuing to exhibit, chiefly busts, 
 sent in 1856, a bust of the Queen. His last 
 exhibited work was a bust of Sir Edwia 
 Landseer, presented, as his diploma work, to 
 the Academy. In 1851 his equestrian statue 
 of ' Richard, Coeur de Lion,' made him widely 
 known ; and this group has been since 
 executed in bronze, and placed on the west 
 front of the Houses of Parliament. Before 
 coming to England he executed an equestrian 
 statue of the Duke of Wellington for the 
 city of Glasgow, and afterwards completed 
 a second for Strathfieldsaye. He also 
 designed the vScutari Monument for the 
 Crimea and the monument to the Guards* 
 Officers at Inkermann ; Lord Melbourne' s 
 tomb in St. Paul's ; and Lord Clyde's statue 
 (his last work) in Waterloo Place. He was 
 elected an associate of the Royal Academy 
 in 1861, and a full member in 1866. He died 
 suddenly at Passy, near Paris, December 28, 
 1867. 
 
 MARQUIS, portrait painter. He 
 
 practised in the reign of James I. His 
 portraits were on a small scale. 
 
 MARRABLE, Frederick, architect. He 
 was the son of the secretary of the Board 
 of Green Cloth. Articled to Mr. Blore, 
 upon the termination of his pupilage he 
 pursued his studies on the Continent, and 
 then set up in his profession, competing for 
 such works as offered. In 1856 he was 
 appointed architect to the Metropolitan 
 Board of Works, and designed and carried 
 out the great plan of the Holborn Viaduct, 
 which unfortunately proved defective in 
 its construction. He was also the architect 
 of the new churches, St. Mary Magdalen, 
 at St. Leonard's ; and St. Peter, Deptford ; 
 of the Garrick Club and the adjoining 
 dwelling-houses ; of the offices of the 
 Metropolitan Board, at Spring Gardens ; 
 and of Archbishop Tenison's School, in 
 Leicester Square. In 1862 he resigned his 
 appointment under the Metropolitan Board. 
 He died suddenly, June 22, 1872. He was 
 a frequent exhibitor at the Royal Academy 
 of designs for works he was executing. 
 
 MARSHAL, Alexander, water-colour 
 painter. Practised in the latter half of 
 the 17th century. He drew some of Mr. 
 Tradescant's choicest flowers and plants, 
 and made very careful copies after Van- 
 dyck. 
 
 MARSHAL, Edward, sculptor. He 
 practised towards the middle of the 17th 
 T 273 
 
MAR 
 
 MAR 
 
 century. There is a monument by him at 
 Derby, dated 1628, of William, Earl of 
 Devonshire, and his countess ; another at 
 Tottenham, dated 1644, of Sir Kobert 
 Barkham, his wife, and eight children ; and 
 at Chatham a third, of Sir Dudley Digges, 
 consisting of an Ionic column supporting 
 an urn, with four females, life-size, repre- 
 senting the cardinal virtues. There is also 
 a monumental work by him at Stavesey, 
 Cambridgeshire. 
 
 MAKSHAL, Joshua, sculptor. Probably 
 the son of the above, with whom he was 
 for some time employed. A¥as master 
 mason to Charles II., the successor of 
 Stone, and was much employed at the time 
 of the Kestoration. There is a monument 
 by him at Campden, in Gloucestershire, 
 dated 1664, to Edward, Lord Nevil, and 
 his lady. The figures are of white marble, 
 life-size, and are represented standing in 
 their winding-sheets within a cabinet, with 
 folding doors of black marble thrown 
 open. 
 
 MAESHALL, Benjamin, animal pamter. 
 He practised both at Newmarket and in 
 London, and drew the portraits of horses 
 for the ' Sporting Magazine.' There are 
 several portraits of horses by him in the 
 Stud Park. He was an occasional exhibitor 
 at the Academy, commencing in 1801, of 
 horses, and from time to time of a portrait. 
 Two celebrated racehorses were carefully 
 engraved after him by George and William 
 Cooke. He died in 1835, aged 68. 
 
 MAESHALL, George, portrait painter. 
 Was a native of Scotland, and a pupil of 
 the younger Scougal; also studied under 
 Kneller. He painted awhile in York, and 
 after a long practice in Scotland, at the bo- 
 ginning of the 18th century he went to 
 Italy, but did not much improve by travel. 
 He died about 1732. 
 
 MAESHALL, William, engraver. His 
 early works date in the reign of James I., 
 and he appears to have practised for 50 
 years. His works are very numerous ; they 
 are chiefly portraits, many of them of great 
 interest from the persons represented, and 
 are probably executed by him from the life ; 
 among these is a portrait of Milton at the 
 age of 21. They are stiff and poor in style. 
 The dates of his works range from 1591 to 
 1646. 
 
 MAESHALL, William, engraver and 
 dealer in art. He edited in 1 7 7 1 , Desgodet's 
 fine work, ' The Ancient Edifices of Eome.' 
 
 MAESHALL, Peter. He practised as 
 an artist, and is remembered as the iuA^entor 
 of the peristrephic panoroma. He died in 
 Edinburgh, January 27, 1826, aged 64. 
 
 MAETIN, David, portrait painter and 
 engraver. Born at Anstruther, Fife, in 
 1736, was pupil of Allan Eamsay, and 
 when very young went with him to Eome. 
 274 
 
 On his return he studied in the St. Martin's 
 Lane Academy, and gained premiums for 
 his drawing from the life. He was a mem- 
 ber of the Incorporated Society of Artists, 
 and in 1773 the Society's treasurer. About 
 1775 he was in Edinburgh, and had the 
 chief practice in that city. He was ap- 
 pointed principal painter to the Prince of 
 Wales for Scotland, and was held in repute. 
 He practised also as an engraver, and 
 scraped some mezzo-tint plates, among them 
 a good portrait of Eoubiliac, the sculptor ; and 
 from his own paintings, a portrait of Lord 
 Bath and a full-length of Lord Mansfield. 
 He married a lady of some property, was 
 living in 1779 in Dean Street, Soho, and 
 resided there some years. On her sudden 
 death he retired to Edinburgh, where he 
 died in 1798. 
 
 MAETIN, Elias, A.E.A., subject andland- 
 scape painter. AVas born in Sweden about 
 1 740, and having gained some skill in draw- 
 ing, he travelled to improve himself. He was 
 in England in 1 769. In that year he gained 
 admission to the schools of the Academy, 
 and also contributed to the exhibition a 
 'View of Westminster Bridge, with the 
 King of Denmark's Procession,' and a water- 
 colour view in Sweden. In 1770 he was 
 elected an associate of the Academy. He 
 painted portraits, several of which are 
 engraved in mezzo-tint, subjects and land- 
 scapes, and practised both in oil and water- 
 colours. He has also been styled an en- 
 graver, in support of which it appears from 
 the catalogue that he exhibited at the Aca- 
 demy in 1773, ' The tender Mother educat- 
 ing her Daughter from her Birth to her 
 Marriage,' six prints in imitation of red 
 chalk. After having passed 14 years in 
 England, he is said to have returned to 
 Stockholm in 1780, on the in^ntation of 
 the King, who appointed him his Court 
 painter. His contributions to the Academy 
 cease in that year. But he appears again, 
 and for the last time an exhibitor, in 1790, 
 when he gave his address at Bath, and sent 
 eight pictures, chiefly subjects. His repu- 
 tation is founded on his early works ; he 
 became, later, vain and careless. ' He died 
 in 1804, but his name was not removed 
 from the list of associates till 1832. His 
 brother, Johann Friedrich Martin, an 
 engraver, passed 10 years in London, and 
 then returned to Stockholm. He engraved 
 after his brother, in 1787, a ' Group of Elias 
 Martin and his Family.' 
 
 MAETIN, F. B., engraver. Practised in 
 the second half of the 18th century. There 
 is by him a portrait of Maria Cos way, after 
 Cosway, E.A., and of Sophia Western, after 
 Hoppner, E.A. 
 
 MAETIN, John, landscape painter. Was 
 born at Haydon Bridge, near Hexham, 
 July 19, 1789. Having a taste for drawing, 
 
MAE 
 
 MAR 
 
 he was intended for a herald painter ; and 
 he says of himself * he began as a coach 
 painter, then as a china painter.' After 
 running away from coach painting, he 
 was placed by his father under an Italian 
 at Newcastle (the father of Charles Muss, 
 the well - known enamel and miniature 
 painter), and, a few months after, came to 
 London in September 1806. He supported 
 himself for a time by painting on china and 
 glass and by teaching, and meanwhile he 
 was a diligent student 'of perspective and 
 architecture. At 1 9 years of age he married, 
 and necessitated to work and ambitious for 
 fame, he produced, in 1812, his first picture, 
 ' Sadak in search of the "Waters of Oblivion,' 
 which at once found a purchaser ; followed 
 in 1813 by 'Adam's first Sight of Eve;' 
 and in 1814, by his ' Clytie.' 
 
 The exhibition of this last picture, which 
 he thought inadequately hung, was the com- 
 mencement of his rupture with the Royal 
 Academy, of which he was through life an 
 angry opponent ; but it did not prevent his 
 continuing to exhibit on the Academy walls. 
 In 1816 he sent his 'Joshua commanding 
 the Sun to stand still,' which gained him 
 great notice, and in the following year, at 
 the British Institution, a premium of 100/. 
 He was at the same time appointed ' his- 
 torical landscape painter to the Prin- 
 cess Charlotte and Prince Leopold.' In 
 1819 he sent his large picture, ' The Pall 
 of Babylon,' to the British Institution ; and 
 in 1821, his 'Belshazzars Peast,' which 
 gained the premium of 200 guineas, and is 
 by many deemed his best work. On the 
 foundation of the Society of British Artists 
 he became a zealous supporter of that body, 
 and exhibited at their rooms in Suffolk Street, 
 from 1824 to 1831, and again in 1837-38 ; 
 but in the latter year he withdrew from them, 
 and from that time his best and more im- 
 portant works were sent to the Academy, 
 though he did not abate his opposition. 
 There he exhibited his ' Deluge' in 1837, 
 his ' Eve of the Deluge ' in 1840, his ' Pan- 
 demonium' in 1871, and continued to ex- 
 hibit regularly till 1853. 
 
 He painted many clever views in water- 
 colour, in which his peculiar manner is 
 apparent. The valley of the Thames, the 
 Wandle, and the Brent, the Surrey Hills, 
 and the eminences round the Metropolis, 
 were the subjects of his pencil. Many of 
 his works are engraved, some by his own 
 hand. Of these are the ' Belshazzar's Peast,' 
 the ' Ascent of Elijah,' ' Christ tempted in 
 the Wilderness,' the ' Joshua,' ' Marcus 
 Curtius,' 'The Pall of Nineveh,' 'The Pall 
 of Babylon,' and some others. The popu- 
 larity of his works also led to his being 
 engaged in the illustration of books. In 
 1832-33 he received 2,000/. for his designs 
 for ' Paradise Lost,' which show great poetic 
 
 t 
 
 grandeur ; and in 1^33 commenced, with 
 Westall, the illustrations of the Bible. He 
 was active, too, in schemes for the improve- 
 ment of the Metropolis — the water supply, 
 the sewage, and the docks. 
 
 In the midst of his occupations, and while 
 at his easel, he was attacked by paralysis. 
 He thought a remedy might be found in 
 abstinence, and refusing nourishment, ex- 
 cept in the smallest quantities, ho at last 
 gradually sank, and died on Pebruary 17, 
 1854, in the Isle of Man, where he had 
 gone for the restoration of his health. The 
 public were surprised by Martin's works, 
 which they were unable to judge ; the artists 
 were disposed to call them meretricious, 
 tricky, scenic ; but it must be admitted that 
 they were highly original and full of poetic 
 imagination, embodying visions of art not 
 hitherto displayed, though the manner be- 
 came tedious by its repetition ; but his 
 colouring was hot and disagreeable, his 
 figures sadly wanting in drawing. He was 
 a knight of the order of St. Leopold of 
 Austria. The unfortunate lunatic who set 
 fire to York Minster was his brother. 
 
 MARTIN, William, history/ painter. He 
 was a pupil of Cipriani, and in 1766 was 
 awarded a gold palette by the Society of Arts. 
 His name first appears in the Academy 
 catalogue in 1775, when, and in several suc- 
 ceeding years, during which he continued to 
 exhibit, he was living with Cipriani, R. A., 
 to whom he was a pupil. The works which 
 he exhibited up to 1784 were almost exclu- 
 sively classic— 'Antiochus and Stratonice,' 
 ' Perseus and Andromeda,' ' Thetis com- 
 forting Achilles,' ' Venus attended by Iris,' 
 with an occasional portrait. Then for the 
 following seven years he did not exhibit, 
 but in 1791 he contributed 'Lady Macbeth 
 surprised in her Castle ;' in 1800, sketches 
 for paintings he was executing at AVindsor 
 Castle. Among his latter works he exhi- 
 bited, in 1810, ' Celadon and Amelia,' a 
 sketch; in 1812, 'Serena falls into the 
 Hands of the Savages;' and in 1816, an 
 ' Allegorical sketch for a Picture in memory 
 of Nelson,' his last work. He held the 
 appointment of history painter to George III. 
 Bartolozzi engraved after him ' Edward 
 and Eleanor,' ' Lady Jane Grey,' ' Imogen's 
 Chamber ;' and J.Watson, ' The Confidants,' 
 * Colibert,' ' Louise and the Gardener.' 
 
 MARTINEAU, Robert Braithwaite, 
 subject painter. Was born in London, 
 January 19, 1826. He was educated in 
 the London University School, and in 1842 
 adopted the law for his profession, but after 
 four years' study under articles, he gave it 
 up and devoted himself to art. During 
 two years he laboured in a drawing school, 
 and then gained admission to the schools of 
 the Academy, and was for a short time the 
 pupil of Mr. Holman Hunt. He first exhi- 
 2 275 
 
MAS 
 
 MAS 
 
 bited, in 1852, 'Kit's Writing Lesson,' and 
 althoiigli some lessor works occupied him in 
 the interval, liis mind was chiefly engaged 
 upon his ' Last Day in the old House,' exhi- 
 bited at the International Exhibition in 
 1862. This work was a highly laboured 
 production, a drama of the artist's own 
 invention, and attracted great notice ; but 
 he was unable to produce another Avork of 
 equal importance or power. He died Feb- 
 ruary 13, 1869, of heart disease, after only 
 a short illness. 
 
 MASCALL, Edw^4.rd, fortrait jminier. 
 He practised during the Commonwealth, 
 and there is a portrait of Cromwell by him. 
 His portrait of himself is engraved by J ames 
 Gammon. He made some of the drawings 
 for Dugdale's ' Monasticon,' and there is an 
 etching of Viscount Falconberg by him, 
 dated 1643. 
 
 MASON, Abraham John, wood engraver. 
 Born in London, April 4, 1794. He lost 
 both his parents early in life. Educated 
 in Devonshire, he was articled to Eobert 
 Bramston in 1808, and at the end of his 
 seven years' apprenticeship was employed 
 by him for five years further. In 1821 he 
 commenced on his own account. He also 
 gave some lectures on his art at the 
 London Mechanics' Institution, the Royal 
 Institution, and the London Institution. In 
 November 1829 he sailed for New York, 
 and settling there was elected an asso- 
 ciate of the New York Academy of Design 
 and professor of wood engraving. George 
 Cruikshank's 16 illustrations to 'Tales of 
 Humour and Gallantry,' 1824, are engraved 
 by him. 
 
 MASON, George Hemming, A.R. A., sub- 
 ject "painter. He was born at Witley, in 
 Staffordshire, of a good family, possessing 
 property in the county, and was intended 
 for the medical profession, for which he 
 studied during five years at Birmingham. 
 But he was attracted to art, and quitting his 
 profession he travelled on the Continent in 
 1844, visiting France, Germany, Switzer- 
 land, and Italy, and finally settled at Rome, 
 where he resided several years. He sent 
 his first picture, 'Ploughing in the Cam- 
 pagna,' to the Academy in 1857, and re- 
 turned to England in the following year, 
 when he exhibited ' In the Salt Marshes, 
 Campagna ; ' in 1862, ' Mist on the Moors ; ' 
 in 1864, ' Returning from Ploughing;' in 
 1865, 'The Gander' and 'The Geese;' in 
 1867, ' The Unwilling Playmate ; ' in 1868, 
 ' The Evening Hymn,' which was followed 
 by his election as an associate of the Royal 
 Academy. Then in 1869 he exhibited his 
 ' Dancing Girls ' and ' Only a Shower ; ' 
 in 1871, ' The Milkmaid' and 'Blackberry 
 Gathering;' and in 1872 his last and 
 greatest work, 'The Harvest Moon.' He 
 had for many years suffered from heart 
 276 
 
 disease, to which he fell a victim October 22, 
 1872, aged 54. His early Roman scenes 
 are powerful and full of rich colour, the 
 climate finely studied. His English scenes 
 are equally fine as studies of climate, 
 tender in mists ; his ' Dancing Girls ' and 
 ' The Gander ' lovely bits of nature ; his 
 ' Harvest Moon ' full of sweet poetry. 
 
 MASON, William, animal painter. He 
 practised in the latter half of the 18th 
 century. J. Jenkins and R. Pollard en- 
 graved horse-races after him ; and Val. 
 Green produced in 1783 a fine mezzo-tint of 
 his ' Scene in a Country Fair at Race Time.' 
 
 MASON, James, engraver. Born in 1710. 
 He gained a reputation as a clever artist, 
 and particularly in landscape — to which his 
 art was almost confined— representing the 
 effect of colour with much skill. He was 
 in 1766 a member of the Incorporated 
 Society of Artists. Employed by Boydell, 
 he produced for him some plates jointly 
 with Vivares, Canot, and others. He en- 
 graved after Claude, Poussin, and some of 
 the Dutch masters ; and after George 
 Lambert and several of his own contem- 
 poraries. He died about 1780. 
 
 MASQUERIER, John James, portrait 
 painter. Was born at Chelsea, of French 
 Protestant parents, in October 1778, and 
 returned with them in 1789 to Paris, and 
 studied art in that capital. He became a 
 favourite pupil of Vernet, and was a witness 
 of the frightful scenes of the revolution of 
 1792. He then found the means of getting 
 to England, and was • admitted a student of 
 the Academy. In 1796 he first exhibited 
 a portrait, with ' The Incredulity of St. 
 Thomas,' which is still the altar-piece of 
 the chapel in Duke Street, Westminster; 
 and was from that time a frequent con- 
 tributor to the Academy Exhibitions at 
 the commencement of the 19th century 
 His works were almost exclusively por« 
 traits, but in 1800 he exhibited 'The 
 Fortune Teller;' in 1803, 'The First 
 Meeting of Petrarch and Laura ; ' in 1808, 
 January and May ; ' with, occasionally, a 
 portrait in character. In 1800 he visited 
 Paris, and was enabled to make a sketch 
 of the First Consul, of which he made an 
 exhibition himself in London in the fol- 
 lowing year, and being the first genuine 
 likeness seen here, produced him a profit of 
 1,000/. He then commenced a successful 
 career as a portrait painter, and in 1812 
 married a lady of good connections. Ho 
 had in 28 years' practice painted about 400 
 portraits, and in 1823 he retired upon a 
 competence he had earned by his profession 
 to Brighton. But he continued an occasional 
 exhibitor of portraits at the Academy, and 
 in 1831 exhibited 'A Marriage in the 
 Church of St. Germain I'Auxerrois, Paris ; ' 
 followed in 1838 by ' Buonaparte and Marie 
 
MAT 
 
 MED 
 
 Louise viewing the Tomb of Charles the 
 Bold at Bruges,' his last exhibited work. 
 He died at Brighton, after 30 years' resi- 
 dence, March 13, 1855. Baroness Burdett 
 Coutts has a full-length portrait by him of 
 Miss Mellon as ' Mrs. Page ' in the ' Merry 
 Wives of Windsor,' which he exhibited in 
 1804. 
 
 MATHIAS, Gabriel, subject 2^cnnter. 
 AVas long a student in art. He exhibited 
 in 1761 and during the two or three fol- 
 lowing years. One of his pictures, * A 
 Sailor splicing a Rope,' is engraved by 
 McArdell. But he was unsuccessful in 
 art, and retired from his profession on 
 obtaining an appointment in the office of 
 the Keeper of the Privy Purse. He after- 
 wards became deputy paymaster to the 
 Board of Works. He resided chiefly at 
 Acton, where he died, at a very adA^anced 
 age, in 1804. 
 
 MAUBERT, James, portrait painte7\ Was 
 a pupil of ' Magdalen Smith,' and practised 
 in the reign of George II. He painted 
 small portraits, and there are by him por- 
 traits of the English poets, copied in small 
 ovals and surrounded with flowers ; and in 
 the National Portrait Gallery a portrait of 
 Dryden. He did not attain to much ex- 
 cellence. He died 1746. 
 
 MAUCOURT, Charles, portrait painter. 
 Born in Germany. Practised portrait 
 painting in London for several years, both 
 in oil and water-colours, and also in minia- 
 ture. He was a member of the Incorpo- 
 rated Society of Artists, and an exhibitor 
 from 1761 to 1767, sending in the former 
 years full-length portraits. He also prac- 
 tised in mezzo-tint. Some of his works have 
 much merit. He died in London in January 
 1768, leaving a child quite destitute. 
 
 MAXJRER, J., draftsman and engraver. 
 Practised in the first half of the 18th cen- 
 tury. He drew several views and occur- 
 rences of the time, usually with the pen, in 
 a careful manner, and engraved them on 
 copper. There is by him a view of Rosa- 
 mond's Pond and the Parade, St. James's 
 Park, 1742; a view of Vaiixhall Gardens, 
 1744 ; Tower Hill and place of execution 
 of Lords Kilmarnock and Balmerino, 1746 ; 
 with other views of London. 
 
 MAY, Hugh, architect. He was the 
 brother of ' Bab May,' keeper of the Privy 
 Purse to Charles II., and practised in that 
 reign. He built, about 1665, Berkley 
 House, Piccadilly, which was greatly lauded 
 by Evelyn, and occupied the site where 
 Devonshire House now stands. He was 
 the architect of Cashiobury, and surveyor 
 of the works at AVindsor Castle. He is 
 introduced in Yerrio's picture of ' Christ 
 healing the Sick,' costumed in a long 
 periwig, as one of the spectators of the 
 miracle. 
 
 MAYNARD, John. An English painter 
 of this name practised in the reign of 
 Henry VIIL, and was employed upon the 
 tomb of Henry VII. in Westminster Abbey. 
 
 MAYNARD, T., portrait painter. He 
 practised in London, was well employed, 
 and exhibited portraits in oil at the Royal 
 Academy from 1780 to 1812. 
 
 MAYOR, Barnaby, engraver and painter. 
 He was a member of tlio Incorporated 
 Artists' Society, and practised early in the 
 last half of the 18th century. A picture 
 of AVenlock Abbey by him is engraved by 
 Valentine Green. He died July 8, 1774. 
 
 MAZELL, Peter, engraver. Practised 
 his art during the last half of the 18tli 
 century. He was a member of the Incor- 
 porated Society of Artists 1774, and ex- 
 hibited with them his engravings during 
 several years. He was employed in the 
 illustration of some scientific publications ; 
 and by Pennant, who calls him his engraver. 
 He produced some plates for Boy dell, after 
 G. Smith, of Chichester, published 1763 ; 
 and engraved all the illustrations for Cor- 
 diners's ' Remarkable Ruins and Romantic 
 Prospects in North Britain,' published 
 1792. 
 
 MEADOWS, Robert Mitchell, engraver. 
 Practised his art chiefly in the latter half 
 of the 18th century, engraving in the stipple 
 manner, and attained much distinction in 
 his profession. He engraved for Boydell's 
 ' Shakespeare Gallery,' and after Westall, 
 Hamilton, and others. He published, in 
 1809, three lectures on Engraving, and died 
 some time before 1812. 
 
 MEDINA, Sir John Baptist, Knt., por- 
 trait painter. Was the son of a captain in 
 the Spanish service, and born in 1660, at 
 Brussels, where he studied painting. He 
 married young, and came to England in 
 1686. After practising portrait painting 
 in London for several years, he was in- 
 duced to visit Edinburgh, where he settled, 
 and painted the portraits of many of the 
 Scotch nobility and of the professors in 
 Surgeons' Hall, Edinburgh. He occasion- 
 ally painted history, and he designed the 
 illustrations for an edition of Milton's 
 'Paradise Lost,' folio, 1688. There are also 
 some landscapes by him, but he found his 
 best encouragement in portraiture. His 
 manner was firm and bold, better suited to 
 his male than his female sitters ; the ex- 
 pression and character good. He worked 
 with great facility and industr}'-. He was 
 knighted by the Lord High Commissioner 
 to the Scotch Parliament. He died in Edin- 
 burgh in 1711, and was buried at Grey- 
 friars. Some of his portraits are engraved. 
 
 MEDINA, ^ oim.portrcdt painter . Grand- 
 son of the foregoing. Practised liis art in 
 Edinburgh, where he is supposed to ]iave 
 been born, and for a time in London, where 
 
 277 
 
MED 
 
 MET 
 
 ho exhibited in 1772 and 1773. Little is | 
 known of his works, but he was much em- 
 ployed as a copyist and a picture cleaner. 
 He repaired the collection at Holyrood 
 Palace, and made many copies of a valued 
 portrait of Mary, Queen of Scots. He died at 
 Edinburgh, in his 76th year, Sept. 27, 1796. 
 
 MEDLAND, Thomas, engraver. Prac- 
 tised in the latter half of the 18th century, 
 and excelled in the delicate truth and 
 finish of his Landscape engravings. He 
 exhibited some topographical views of the 
 Metropolis, in water-colours, in 1777-78-79, 
 and was an occasional exhibitor for many 
 years. He engraved several plates in con- 
 junction with William Byrne — ' Mount 
 Etna,' in 1788 ; ' Views in Cumberland and 
 Westmoreland,' publishedjin 1789 ; ' Cities 
 and Castles of England,' 1791. He engraved 
 with much spirit Stothard's illustrations to 
 ' Kobinson Crusoe,' which were afterwards 
 engraved by Heath ; the illustrations to 
 Barrow's ' Embassy of Lord Macartney to 
 China,' 1804 ; two of Lord Howe's sea- 
 fights, after E. Cleveley ; 45 plates to Sir 
 W. Gell's 'Topography of Troy.' About 
 1808 he appears to have been appointed 
 an art teacher at the East India College, 
 Hertford, and went to live in that neigh- 
 bourhood, and from thence sent his works 
 occasionally to the Academy Exhibitions up 
 to 1822. 
 
 MEDLEY, Samuel, portrait and animal 
 fainter. He was born about 1748, and 
 commenced art by attempts at historical 
 painting. He exhibited ' The Last Supper' 
 at the Academy in 1792, followed by some 
 historical and classical subjects. About 
 1797 he tried portraiture, and settled in 
 the practice of a portrait and animal painter, 
 in which he became known as a clever artist. 
 He exhibited at the Academy, with some 
 intermission, up to 1805. A good group of 
 portraits by him, ' The Medical Council of 
 London' was engraved in 1801. He died 
 at Liverpool about 1810. 
 
 MEE, Mrs. Anne, miniature 'painter. She 
 was the eldest daughter of John Eoldsone, 
 an artist, who died young. She received a 
 good education in a well-known school kept 
 by a Erench lady, in Queen Square, West- 
 minster, and was deemed clever as a musi- 
 cian, poetess, and painter. She must have 
 commenced practice very early as a minia- 
 ture painter, to assist in the wants of the 
 family, and had formed a large and influ- 
 ential connection. Miss Berry, in her me- 
 moirs, says of her, ' She has a mother and 
 eight brothers and sisters to support,' and 
 intimates that it is dangerous to pay for 
 her portraits before they are finished. The 
 Prince of Wales, afterwards George IV., 
 gave^ her many commissions, and a number 
 of miniatures she painted for him are in the 
 royal collection at Windsor. She married 
 278 
 
 a man who pretended to family and for- 
 tune, and had neither. Her name first ap- 
 pears in the Academy catalogues in 1815, 
 and then as Mrs. Mee. Erom that year 
 she continued an occasional exhibitor up to 
 1836, about which time she retired from 
 practice. She died at a very advanced age, 
 May 28, 1851. 
 
 MEEN, Margaret, flower painter. She 
 practised in water-colours, and first appears 
 as the exhibitor of a small landscape at the 
 Koyal Academy in 1775, and from that year 
 to 1785 was a contributor of flowers and 
 groups of flowers. She painted with much 
 ability in a large, vigorous manner. 
 
 MEHEUX, Erancis, engraver. Born at 
 Dover in 1644, and practised till the end of 
 that century, both with the graver and in 
 mezzo-tint. 
 
 MEHEUX, John, painter. Practised in 
 the second half of the 18th century. Wil- 
 liam Blake engraved after him ' Clorinda ' 
 and 'Kobin Hood.' 
 
 MELLISH, Thomas, marine painter. He 
 practised about the middle of the 18th cen- 
 tury, painting seaside scenes with figures, 
 shipping, &c. 
 
 MEKCIER, Philip, portrait painter. 
 Was born at Berlin, of a French refugee 
 family, in 1689, and educated in the aca- 
 demy of that city. He studied in France 
 and Italy, and afterwards went to Hanover, 
 where Frederick, Prince of Wales, appointed 
 him his portrait painter and brought him 
 to England, retaining him in his service. 
 After nine years he lost the prince's favour, 
 and was dismissed. He then talked of 
 abandoning his profession, and bought a 
 small property in the country, but he soon 
 returned to London, and took a house in 
 Covent Garden, where he painted portraits 
 and subjects of familiar life. He after- 
 wards went to York, where he met with 
 encouragement, and for a short time to 
 Portugal and Ireland. There is a portrait 
 by him of Queen Anne, and at the Garrick 
 Club of Peg Woffington. Houston mezzo- 
 tinted his ' Avarice ' and ' Innocence,' and 
 Fa her and McArdell also engraved after 
 him. He died July 18, 1760. 
 
 MERCIER, Charlotte, painter and en- 
 graver. She was the daughter of the above, 
 and, brought up to art, was skilled both 
 as a painter and engraver. Her 'Four 
 Ages : Childhood, Youth, Womanhood, and 
 Decrepid Age,' were engraved by Eavenet. 
 She was unmarried, and abandoning her- 
 self to a vicious life, she died in the work- 
 house of St. James, Westminster, Feb. 21, 
 1762. 
 
 METZ, Miss Caroline M., subject 
 painter. She was the daughter of Conrad 
 Metz, a German artist, wdio came to Lon- 
 don. She first exhibited fiowers and fruit 
 at the Academy in 1773-74, and in 1780 
 
MEV 
 
 MID 
 
 contributed drawings, and from that time 
 finished designs in chalk — in 1781, 'An- 
 tony and Cleopatra;' in 1782, 'Boadicea;' 
 in 1783, 'A Spartan Youth charged with 
 Intemperance ; ' in 1788, ' The Feast of the 
 Gods and continued to exhibit subjects of 
 the same class, with occasionally a portrait 
 or a landscape, up to 1794. Her ' Country 
 School ' is engraved by C. Turner. In 1772 
 Miss Gertrude Metz exhibited fruit and 
 flowers at the Spring Gardens Eooms. 
 
 MEVES, Augustus, miniature fainter. 
 He practised early in the 19th century, but 
 does not appear to have exhibited. He 
 died suddenly at Shoreditch, where he was 
 living, in 1818 ; and founded on some am- 
 biguity in his will, and the statements of 
 his widow, his son, then 33 years of age, 
 assumed to be the Dauphin of France, pro- 
 bably with less ground of claim than other 
 pretenders. 
 
 MEYEE, Jeremiah, K.A., miniature 
 fainter. Was born at Tubingen, Wurtem- 
 berg, 1735, and came to this country with 
 his father at the age of 14. He entered as 
 a student in the St. Martin's Lane Aca- 
 demy, of which he was for many years a 
 member. He studied under Zincke 1757-58, 
 paying 200^. for the two years' pupilage. 
 In 1761 he gained the Society of Arts' pre- 
 mium for a profile of the King, to be used 
 for a die. In 1762 he was naturalised, and 
 was in 1764 appointed miniature painter 
 to the Queen and enameller to the King. 
 In 1769 he was one of the foundation mem- 
 bers of the Eoyal Academy, and was a con- 
 stant exhibitor, his works including several 
 portraits of the King and Queen, the Prince 
 of AVales and Duke of York. He last ex- 
 hibited in 1783. He painted in oil and 
 water-colours, and also in enamel, but his 
 miniatures on ivory were unrivalled in his 
 day. By his study of Eeynolds he attained 
 great power and elegance, and his works 
 please by their life-like truth and expres- 
 sion, added to a quiet refinement of colour. 
 He married Barbara Marsden, a young lady 
 of great art talent, who gained several pre- 
 miums from the Society of Arts. He lived 
 many years in Covent Garden. At the 
 latter part of his life he retired to Kew, 
 where he died (January 20, 1789, in his 
 54th year) and was buried. Hayley com- 
 plimented his art — 
 
 'Though small its field, thy pencil may 
 presume 
 
 To ask a wreath where flowers eternal 
 bloom.' 
 
 MEYEE, H., landscape painter. Was a 
 native of Holland, and obliged to leave his 
 country, being involved in the revolution 
 of 1788. He came to London, and gained a 
 reputation as a landscape painter in water- 
 colours, exhibiting at the Academy, chiefly 
 Dutch scenes, 1790-91 and 1792. His works 
 
 are usually of a small size, painted in the 
 manner of Ostade, and highly flnishcd. Ho 
 introduced figures into his landscapes, which 
 were drawn with great care and neatness. 
 Some of his works are in tempera. He died 
 in Berners Street, February 1793. 
 
 MEYEE, Henry, engraver. Was born 
 in London about 1783, and was the nephew 
 of Hoppner, E.A. He was the pupil of 
 Bartolozzi, and following his style, his 
 chief works are in the dot manner, but he 
 also worked in mezzo-tint. He was princi- 
 pally engaged upon portraits, and engraved 
 many. They are worked in the dot man- 
 ner, the drawing good, and the expression 
 and likeness well preserved. Latterly he 
 occasionally drew portraits, and was very 
 successful in his likeness. He was active 
 in the foundation of the Society of British 
 Artists, one of the foundation members, 
 and a large contributor to their first ex- 
 hibition in 1824, and an occasional con- 
 tributor up to 1831. Among other works, 
 he engraved the 'Princess Charlotte and 
 Prince Leopold,' after A. Chalon, E.A. ; 
 ' Miss O'Neill as Belvidera,' after Devis ; 
 ' Sir Eoger de Coverley,' after Leslie, E.A. 
 He died May 28, 1847, aged 64. 
 
 MIDDIMAN, Samuel, engraver and 
 draftsman. Was a pupil of Byrne. He 
 appears as an exhibitor of landscape draw- 
 ings at the Free Society in 1771, and at 
 Spring Gardens in 1773 and 1775. In 1780 
 he exhibited ' stained drawings ' at the 
 Eoyal Academy, and continued an occa- 
 sional exhibitor of views up to 1797. He 
 practised his art in London, and was em- 
 ployed as an engraver by Alderman Boy- 
 dell. He was greatly distinguished for his 
 etching, and was engaged by Pyne, con- 
 tent to receive a weekly wage without 
 ambition ; but his great skill and taste 
 soon made him known. He engraved after 
 the old masters, and after Smirke, Far- 
 ington, Gainsborough, Barret, Hearne, 
 Cipriani, and finished his numerous works 
 with scrupulous care. He excelled in land- 
 scape, and engraved ' Select Views in Great 
 Britain,' published 1784-92 ; 'Picturesque 
 Views and Antiquities of Great Britain,* 
 published 1807-11. He died in Cirencester 
 Place, December 18, 1831, aged 81. 
 
 MIDDLETON, John, landscape painter. 
 He was born at Norwich in 1828, and de- 
 veloped a love of art. Practising in his 
 native city, he first appears as an exhibitor 
 at the Eoyal Academy in 1849, and from 
 that year was a constant contributor. He 
 painted effects of the seasons, particularly 
 the early spring. He died at Norwich, 
 November 11, 1856. 
 
 MIDDLETON, Charles, arcJiitecturcd 
 draftsman and engraver. He was in 1766 
 a member of the Incorporated Society of 
 Artists, and on the establishment of the 
 
 279 
 
MID 
 
 MIL 
 
 Koyal Academy, and up to 1790, contributed 
 to its exhibitions. He made many designs 
 for country residences and garden deco- 
 rations, and published some professional 
 works — ' Designs in Architecture, Cottages,' 
 &c., 'Designs for Park Gates, Fences,' &c., 
 ' Design for Coldbath Fields Prison,' 1788 ; 
 and the same year, ' Design for the Pavilion 
 at Brighton.' He was appointed architect 
 to George III. He engraved several of his 
 own designs. Died about 1818. 
 
 MIDDLETON, J , J draftsinan and 
 landscape painter. He practised at the be- 
 ginning of the 19th century, his subjects 
 being chiefly architectural views and views 
 of towns. He was also engaged in panorama 
 painting. His views of the remains of 
 ancient buildings in Kome were published 
 in 1820. 
 
 MILBOUKN, John, p)ortraU pain ter. 
 Pupil of F. Cotes, K. A. He gained a Society 
 of Arts' premium in 1764, and practised in 
 the latter half of the 18th century. He 
 exhibited small whole-length and crayon 
 portraits at the Eoyal Academy in 1773-74. 
 A picture of ' Matrimony and Courtship,' by 
 him, was engraved by Gaugain in 1789. 
 
 MILES, Edwabd, miniature painter. He 
 was a native of Yarmouth. He practised 
 in London in the latter part of the 18th 
 century, and exhibited at the Eoyal Aca- 
 demy yearly, from 1786 to 1797. He was 
 miniature painter to the Duchess of York and 
 to Queen Charlotte. He died at Yarmouth. 
 
 MILLAE, James, water-colour drafts- 
 man. He was one of the early painters in 
 water-colour, and there are some good works 
 of the time by him. He practised in the 
 last quarter of the 18th century, and exhi- 
 bited at the Academy landscapes, intro- 
 ducing figures and cattle, 1773-75. 
 
 MILLEE, Andrew, mezzo-tint engraver. 
 He was born in London, it is believed, of 
 Scotch parents, and was taught his art under 
 Faber. He practised many years in Dublin, 
 and was in that city in 1740. He is erro- 
 neously stated by Strutt to have been born 
 there. Ho engraved, in mezzo-tint, Dean 
 Swift, 1743; Eobert Boyle, the chancellor 
 of Ireland, 1747 ; and other works. He 
 engraved Frank Hayman's designs, was 
 one of his boon companions, and was much 
 addicted to drinking, which accelerated his 
 death. He died in Dublin about the middle 
 of the century. 
 
 MILLEE, William, history and portrait 
 painter. Born about 1740. Had much 
 reputation in his day as a painter of his- 
 torical subjects, and was engaged on Boy- 
 dell's 'Shakespeare Gallery.' He also painted 
 Fome portraits, which were solidly and faith- 
 fully executed. He wa s an exhibitor at the 
 Academy from 1790 to 1803. He contri- 
 buted whole-length portraits occasionallv. 
 In 1792, 'Ariadne;' in 1801, 'Death of 
 280 
 
 Adonis,' and subjects of a lower class. 
 Many of his works are engraved, among 
 them — 'Mrs. Jordan as The Eomp,' by 
 Carey ; Scenes from ' Werther,' by Laurie ; 
 ' Last Moments of Louis XVI.', by SchiaA^o- 
 netti ; and ' Louis XVI. at the Bar of the 
 Convention,' by Gaugain. He died about 
 1810. 
 
 MILLEE, John, engraver. He gained a 
 premium from the Society of Arts in 1764, 
 and practised about the middle of the 18th 
 century. He had considerable merit, and 
 among other works by him are portraits 
 of George III. and his Queen from the 
 life. 
 
 MILLEE, John, architect. He had 
 studied in Italy, and practised in London 
 in the last half of the 18th and the be- 
 ginning of the 19th century. He exhi- 
 bited at the Eoyal Academy, 1781-87, some 
 drawings of London houses and architec- 
 tural views in the Metropolis. He pub- 
 lished ' Elements of Architecture restored to 
 its original Proportion ' and ' The Country 
 Gentleman's Architect,' 1787. He designed 
 in the Palladian style. 
 
 MILLEE, John, flower painter and 
 engraver. Born in London about 1750. He 
 practised as a flower painter, and in 1766 
 received a premium from the Society of 
 Arts. His flowers are natural, careful, and 
 correct in their botanical details. He pub- 
 lished, 1770-77, ' Illustratio systematio sex- 
 ualis Linnsei,' the plates for which are 
 drawn, etched, and coloured by himself. 
 
 MILLEE, J., miniature fainter. In the 
 middle of the 18th century he practised in 
 London, with some reputation. He died 
 in Southampton Street, Bloomsbury, Jan. 8, 
 1764. 
 
 MILLS, Alfred, wood engraver. He was 
 for above 40 years engaged in designing 
 and cutting works for the illustration of 
 children's books, in which he showed much 
 ability. He died at Walworth, December 7, 
 1833, aged 57. 
 
 MILLS, George, medallist. He recei^^ed 
 three gold medals from the Society of Arts, 
 and was distinguished by his medals of 
 General Moore, Watt, West, Admiral Duck- 
 worth, George IV., and SirF. Chantrey, E.A., 
 his last work. He was an exhibitor at the 
 Eoyal Academy from 1816 to 1823, and 
 died at Birmingham, January 28, 1824, 
 aged 31. 
 
 MILN, EoBERT, engraver. There are by 
 him some plates, in a weak manner, of 
 Scottish antiquities, published at Edinburgh 
 in 1710. 
 
 MILTON, AViLLiAM, engraver. Practised 
 in London, and was chiefly employed by the 
 booksellers on illustrations. Ho died in 
 1790, and was buried at Lambeth. 
 
 MILTON, John, medallist. He was one of 
 the engravers of the Eoyal Mint and medal- 
 
MIL 
 
 MON 
 
 list to the Prince of Wales. He was an ex- 
 hibitor at the Academy from 1785 to 1802, 
 but his contributions do not seem to have 
 been works of a high class. 
 
 MILTON, Thomas, landscape engraver. 
 Was born about 1 745. Ho practised his art 
 in London, and for several years in Dublin. 
 He gained a great reputation. He engraved 
 for ' Views of Gentlemen's Seats,' 1779;' The 
 Stafford Collection of Pictures,' ' Views of 
 Castles in Ireland,' 1787; and 'Views in 
 Egypt.' His grandfather was brother to 
 the author of 'Paradise Lost.' He was 
 a governor of the Society of Engravers. 
 Died at Bristol, February 27, 1827, aged 84. 
 
 MILTON, John, marine and landsca'pe 
 'painter. Practised in the last half of the 
 18th century as a painter of landscapes, 
 marine views, and animals, excelling in 
 dogs. He exhibited with the Pree Society 
 of Artists, 1769 to 1771, shipping, storms, 
 rocks, &c. Several of his works were en- 
 graved — 'A Strong Gale,' in mezzo-tint, by 
 R. Laurie, 1774; 'The English Setter,' by 
 J. Cook; six dockyard views, by J. Canot. 
 
 MI TAN, James, engra ver. Born in Lon- 
 don, February 13, 1776. He Vas appren- 
 ticed in 1790 to a writing engraver, and was 
 assisted in drawing by Agar, then by Cheese- 
 man, and aspiring to be an artist, entered 
 as a student in the Poyal Academy. On the 
 expiration of his apprenticeship he gained 
 employment with some of the best engravers, 
 and became distinguished by his ability as a 
 line engraver. His best works are the illus- 
 trations of Inchbald's ' Theatre,' Stothard's 
 vignettes to the 'Irish Melodies,' Smirke's 
 ' Don Quixote,' Dibdin's ' Bibliographical 
 Tour,' and a plate of Leslie's 'Anne Page.' 
 He made some attempts at architectural 
 design, produced an elaborate drawing for a 
 chain bridge over the Mersey, and was a 
 competitor for the proposed Waterloo monu- 
 ment. His health became impaired. He 
 suffered an attack of paralysis, and died 
 August 16, 1822. 
 
 MIT AN, S., engraver. Was brother and 
 pupil of the above. He engraved for Batty's 
 ' Views of France,' and was employed upon 
 Messrs. Ackerman's publications. 
 
 MITCHELL, John, engraver. Born in 
 1791. He was distinguished by the finish 
 and style of his works in the line manner. 
 He engra ved, after Wilkie, ' Alfred in the 
 Neatherd's Cottage,' 1829; 'The Rat- 
 catchers,' 1830. He died 1852. 
 
 MITCHELL, Robert, architect. He was 
 nn exhibitor at the Royal Ac;\demy from 
 1782, contributing in that year designs for 
 a church, and in 1798, the last occasion- of 
 his exhibition, ' Design for the Front of a 
 Cathedral.' He erected several fine resi- 
 dences — Selwood Park, Berkshire; Moor- 
 place, Herts ; Heath-lane Lodge, Twicken- 
 ham ; Cottesbrooke, Northamptonshire ; 
 
 Preston Hall, Edinburghshire; and pub- 
 lished, 1801, plans and views of the build- 
 ings he had erected. 
 
 MITCHELL, Edward, scidptor. He ex- 
 hibited at the Academy in 1854 a medallion 
 bust; in 1863, ' Venus surprised,' a marble 
 bas-relief; followed, in 1864, by two busts. 
 He was employed upon two colossal figures 
 for Sir Arthur Guinness — -'Erin' and the 
 ' Archangel Michael,' when, owing to de- 
 pression, caused by the loss of his wife, 
 he committed suicide, April 17, 1872, 
 aged 41. 
 
 MOGFORD, Thomas, portrait painter. 
 He was a native of Devonshire, and prac- 
 tised for many years in that county, residing 
 at Exeter. From 1838 to 1854 ho was an 
 occasional exhibitor of portraits, with some- 
 times a subject picture, at the Royal Aca- 
 demy — in 1838, 'Caught in the Fact;' in 
 1844, 'The Sacrifice of Noah;' in 1846, 
 ' Loves of the Angels.' He had been for 
 several years in failing health, and died at 
 Guernsey in 1868. 
 
 MONAMY, Peter, marina painter. Born 
 about 1670 in Jersey. His parents were 
 poor, and he was sent to London when a 
 boy and apprenticed to a house painter on 
 London Bridge. He was clever, and gra- 
 dually improving himself in art, became a 
 good painter of marine subjects, exhibiting 
 his paintings in his windows to the many 
 seafaring men who congregated in the neigh- 
 bourhood. He was an imitator of the Van- 
 develdes, his execution good, his vessels 
 well drawn, and his knowledge of art consi- 
 derable. There is a large picture by him 
 in Paper Stainers' Hall, dated 1726, and 
 a sea-fight at Hampton Court, luminous 
 and carefully painted, the colour good, but 
 tame in its treatment of the subject. He is 
 reputed to have excelled in calms. There 
 are some pen drawings by him in Indian ink. 
 He decorated a carriage for the unfortunate 
 Admiral Byngwith ships and naval trophies. 
 He died at Westminster in the beginning of 
 the year 1749. 
 
 MONNOYER, John BAPTisTE,/ow^r and 
 ornamental painter. BornatLisle,;1635; edu- 
 cated at Antwerp, where he studied as a his- 
 tory painter. But returning to Lisle he applied 
 himself to flower painting, and with so much 
 success that he was employed by Le Brun 
 in the ornamental part of his work at Ver- 
 sailles, and in 1663 made a member of the 
 French Academy. He was brought to Eng- 
 land by the Duke of Montague to embellish 
 his house in Bloomsbury, and was afterwards 
 employed by several of the nobility, and by 
 Queen Mary. He commenced the publica- 
 tion of a large collection of flowers and fruits, 
 which he etched himself in a bold, free style. 
 He died in London in 1099, aged 61. 
 Anthony Monnoyer, his son and pupil, 
 painted flowers and fruits with much skill. 
 
 281 
 
MON 
 
 MOR 
 
 MONKO, Henry, 'portmit and subject 
 fainter. Born in London, August 30, 1791. 
 Was the son of Dr. Monro, who was well 
 known as a physician and by his friendship 
 with the early painters in water-colours. He 
 was educated at Harrow, and entered the 
 navy, which he quitted before he was 
 formally placed on the books of the frigate 
 he had joined. For a short time he had a 
 wish to enter the army; but he at last 
 decided upon art, and in 1806 was admitted 
 a student of the Koyal Academy. When 
 a little advanced he attempted portraiture, 
 chiefly in crayons, and there is a portrait by 
 him of his father in this manner at the 
 College of Physicians of more than ordinary 
 merit. He then vigorously commenced 
 painting in oil, making studies for some 
 great works which he projected, and occa- 
 sionally sketching from nature. In 1811 
 he exhibited at the Academy ' A Laughing 
 Boy,' ' Boys at Marbles,' and some portraits 
 and works of the same class in the follow- 
 ing year. In 1811 he visited Scotland, and 
 falling from his horse was seriously injured, 
 and from this and subsequent neglect suf- 
 fered a dangerous illness. On his restora- 
 tion to health in 1812, he painted ' Othello, 
 lago and Desdemona,' exhibited at the 
 Academy in the following year ; and at the 
 British Institution, ' The Disgrace of AVolsey,' 
 for which the directors awarded him a 
 premium of 100 guineas. These were the 
 only pictures of a high class he painted ; 
 but he left some clever drawings on grey 
 paper in black and white chalk, and some 
 etchings. In January 1814 he was seized 
 with a fatal malady, of which he died on 
 March 5 following, in his 23rd year. 
 
 MOOEE, Jacob, landscajpe jpainter. Born 
 1 740, in Edinburgh, where he was appren- 
 ticed, and studied art under Alexander 
 Ilunciman. He went to Eome about 1773, 
 and acquired his reputation in landscape 
 there. He laid out for Prince Borghese the 
 grounds adjoining his villa on the Pincian 
 Hill, giving the Eomans the first specimen 
 of an English garden ; and decorated a room 
 in the prince's villa. He painted, in the 
 manner of Claude, subjects from the Cam- 
 pagna and in the suburbs of Eome ; and 
 though of much repute in his day, was weak 
 and poor in manner and colour. But the 
 ambitious character of his art is evidenced by 
 the works which, between 1784 and 1789, 
 he sent from Eome to the Eoyal Academy 
 for exhibition. Eor instance, in the former 
 year, ' The Eruption of Mount Vesuvius, in 
 which the elder Pliny lost his life'; in 1788, 
 ' The Deluge,' and other works of this class. 
 He resided chiefly in Eome, where he died 
 of bilious fever in 1793. Miss Berry men- 
 tions in her journal having visited his 
 studio there in 1783 ; and Goethe, in 1787, 
 speaks with high praise of the works then 
 282 
 
 in his studio. He left some property ; and 
 some plates of his works, with other effects, 
 were sold in London after his death. John 
 Landseer engraved after him, in 1795, 20 
 views of the South of Scotland. 
 
 MO OEE, Alexander Poole, architectural 
 draftsman. He was an accurate and faithful 
 draftsman, and from 1793 till his death a 
 constant exhibitor at the Eoyal Academy. 
 His first contributions were drawings of the 
 City churches. About 1797 he was employed 
 in the office of the Surveyor of Christ's 
 Hospital. In 1801 he exhibited the eleva- 
 tions at St. Paul's, and of St. Peter's, at 
 Eome. He died young, July 11, 1806. 
 
 MOOEE, Mary, amateur. Mentioned by 
 Walpole as having painted some portraits 
 about the middle of the 17th century. 
 There is a portrait by her, in the Bodleian 
 Library, of Cromwell, Earl of Essex, but 
 believed to be a copy only. 
 
 MOOEE, Francis John, sculptor. Born 
 in Hanover; settled in London. In 1766 
 he was awarded a premium by the Society 
 of Arts for an allegorical bas-relief. He 
 was a successful competitor for the Beckford 
 monument, erected in the Guildhall. There 
 is also a monument by him to Dr. Thomas 
 AVilson, in St. Stephen's, Walbrook. But 
 neither of these works say much for his 
 ability. He died in York Place, New Eoad, 
 January 21, 1809. 
 
 MOOEE, James, engraver. Practised 
 about the middle of the 18th century, and 
 was in 1763 a member of the Free Society 
 of Artists. There are by him a portrait of 
 Whitfield, after Jenkins, ' The Four Quar- 
 ters of the World,' ' Joseph and Potiphar's 
 Wife.' 
 
 MOOEE, Samuel, amateur. Was em- 
 ployed in the Custom House in the reign 
 of Queen Anne, and as an amateur drew 
 and etched several laborious works, among 
 them ' The Coronation Procession of William 
 and Mary ; ' and some medleys, imitating 
 paintings, drawings, prints, and other objects 
 grouped together. He engraved some of 
 the plates for a series of ' Costumes a la 
 Mode.' His work was coarse and heavy in 
 manner. He practised about 1715. 
 
 MOEIEE, David, portrait and animal 
 painter. Born at Berne about 1705; he 
 came to England in J 743, and was intro- 
 duced to the Duke of Cumberland, who 
 settled upon him a pension of 200/. a year. 
 He painted portraits, horses, dogs, and 
 battle-pieces, and met with great encou- 
 ragement, both George I. and George II. 
 sitting to him. He was in the Fleet Prison 
 in 1769, without hope of release. He died 
 in January 1770, and was buried in St. 
 James's, Clerkenwell, at the expense of the 
 Incorporated Society of Artists, of which he 
 was a member. 
 
 MOEISON, Douglas, water-colour 
 
MOR 
 
 MOR 
 
 'painter. Was pupil of Mr. Frederick Tayler, 
 and was admitted an associate exhibitor 
 of the Water-Colour Society in 1 843. He died 
 young in 18-46 or 1847. He is known by some 
 views of Hadden Hall, which he published. 
 
 MO ELAND, H., portrait painter. 
 Bromley catalogues portraits painted by 
 an artist of this name in the reign of 
 William III. 
 
 M 0 K L A N D , George Henry, subject 
 painter. Born the beginning of the 18th 
 century. He lived on the south side of St. 
 James's Square, painted genre subjects, and 
 found encouragement. He was assisted, 
 in 1760, by an advance of money by the 
 Society of Artists. Many of his works are 
 engraved, among them — The Pretty Ballad 
 Singer,' by Watson, 1769 ; ' The Fair Nun 
 unmasked,' 1769; 'The Oyster Woman,' 
 by Philip .Dawe. He died some time after 
 1789. 
 
 M 0 E L A N D, Henry Egbert, portrait 
 painter. Son and pupil of the above. He 
 painted portraits both in oil and crayons, 
 chiefly the latter. He also scraped in 
 mezzo-tint, and was a picture cleaner and 
 picture dealer ; but with all these means 
 of living he became bankrupt. He was a 
 man of unsettled habits, frequently changing 
 his residence. At the latter part of his life 
 he dwelt in Stephen Street, Eathbone Place, 
 where he died November 30, 1797, aged 85. 
 His chief works were in crayons. He 
 left numerous drawings, which are usually 
 signed, and though his works aimed no 
 higher than the mere domestic incidents of 
 life, they are not without merit. He ex- 
 hibited in 1772-74 and 1776 at the Free 
 Society, in the latter year no less than 26 
 works, and was from 1771 to 1793 an exhi- 
 bitor of portraits and domestic subjects at 
 the Academy. He painted a portrait of 
 George III., which was engraved by Hous- 
 ton ; a portrait of Garrick as 'Eichard III.,' 
 which is in the Garrick Club ; and at Lord 
 Mansfield's, Caenwood, are portraits in oil 
 by him, called the two beautiful Miss Gun- 
 nings, but are more probably from his own 
 daughters. They are both, as was his 
 manner, employed, the one in washing, the 
 other ironing ; carefully drawn, and labo- 
 riously finished, expressive but cold, thin, 
 and starved in colour, and possess none of 
 the essential qualities of an oil painter's 
 art. Maria Morland, his wife, was an 
 exhibitor at the Academy in 1785-86. 
 
 MOELAND, George, animal and subject 
 painter. Son of the above. AVas born in 
 the Haymarket, June 26, 1763. He very 
 early showed a talent for drawing. He was 
 carefully, even strictly brought up, receiving 
 the elements of a fair education, and in art 
 his dawning abilities were most assiduously 
 cultivated and encouraged by his father. In 
 ] 773 the name of ' Master George Morland ' 
 
 first appears as an honorary exhibitor of 
 sketches at the Eoyal Academy, and he was 
 very early admitted to the Academy schools, 
 where he studied during several years. 
 Copying also from the masters of the Dutch 
 and Flemish schools, he made great progress. 
 He continued to exhibit occasionally at the 
 Academy, but as he became conscious of 
 his own powers, he rebelled against the re- 
 straints of home, and shortly broke entirely 
 loose. His innate dislike to work was soon 
 apparent. He gave himself up to idle folly 
 and extravagance, and fell into the hands 
 of a picture dealer, in whose house he 
 boarded. After a time he escaped from this 
 bondage, went to Margate, where he found 
 employment in painting miniatures, and 
 from thence to France, where he might have 
 earned a subsistence, but reckless and unable 
 to settle to any continuous occupation, he 
 returned to his idle companions. 
 
 Soon after he went to live at Kensal 
 Green, where he painted his ' Idle and Indus- 
 trious Mechanic,' which were engraved and 
 published and had a large sale. Upon this 
 success he married, in 1786, the sister 
 of his friend, William Ward, the mezzo- 
 tint engraver, and again living quietly for 
 awhile he improved in his art ; but his hand- 
 some young wife losing her first child, and 
 a long illness succeeding, he was tempted 
 from his home, and allured by his love of 
 company and passionate fondness for music, 
 again fell into idle and unprofitable connec- 
 tions, and became confirmed in habits of 
 intemperance and dissipation, from which 
 he never after was able to disentangle him- 
 self. Painting from hand to mouth, sur- 
 rounded by a class of unprincipled men, who 
 made a traffic of his art, the victim of 
 chicanery and fraud, hunted from place to 
 place by his creditors, and always at hide 
 and seek, his art was debased and degraded. 
 Yet in 1791-93 and 1794 he sent some pic- 
 tures to the Academy, and struggled for a 
 time to give some completeness to his works ; 
 but a rapid pencil was required to meet his 
 constantly recurring wants, and he was fast 
 exhausting his memory, on which he relied, 
 and his powers. 
 
 His toil was nevertheless excessive. 
 He seldom left his painting-room, and his 
 complaints of the slave-like labour to which 
 he was subjected are truly touching. Be- 
 tween 1800 and 1804 he painted for his 
 brother alone, who was a dealer in his 
 works, no less than 192 pictures, and pro- 
 bably as many more for other persons. 
 Such was his life. His excesses increased. 
 Taking his meals by his easel, drinking 
 strong liquors all day long, surrounded by 
 dogs, pigs, birds, and other animals, living 
 in constant dread of a prison, in November 
 1799 he was arrested, and taking a house 
 within the rules, it was a rendezvous for 
 
 283 
 
MOR 
 
 MOR 
 
 all his profligate companions. He was 
 intoxicated, frequently lay the night through 
 on the floor, and the ruin of his health and 
 character was complete. In 1802 he was 
 released under the Insolvent Act, but 
 was broken-hearted, downcast, harassed by 
 diseased fears, and his sight and intellect 
 both impaired. In this state he was soon 
 a prisoner again for a publican's score, and 
 overwhelmed with misfortune and despair, 
 died in a spunging-house on October 29, 
 1804. His neglected, wronged wife died 
 three days after, and both were biiried 
 together in the new ground attached to 
 St. James's Chapel, Hampstead Road. 
 
 His works were founded upon the every- 
 day life about him, and were over and over 
 again repeated, his boon companions fre- 
 quently his models. His pictures, hastily 
 conceived, were painted with little thought 
 or previous study. They display little 
 mind or invention, yet, easily understood 
 by all, they were popular, and he enjoyed a 
 reputation in his day which has not been 
 maintained. In his colour the greys and 
 ochres predominate ; his landscape is want- 
 ing in atmosphere; his painting slight, 
 and frequently slovenly. He was largely 
 assisted by his pupils, and his works have 
 been the prey of many copyists. There is 
 a spirited etching by him of ' A Fox with 
 a Pullet.' His life was written, with critical 
 observations on his works, by J. Hassell, 
 1804; by his friend, G. Dawe, 1807; by 
 Blagdon, with list of the possessors of his 
 principal pictures, and 20 large tinted 
 illustrations, 1806; and in the 'Memoirs 
 of a Painter,' by William Collins, 1805. 
 
 MORLEY, Prances, Countess, amateur. 
 Daughter of Thomas Talbot, Esq. Mar- 
 ried, in 1809, to the first Earl of Morley. 
 vShe made many good copies from the old 
 masters, which decorate the drawing-room 
 and other apartments at Saltram. 
 
 MORRIS, Robert, architect. Practised 
 in the early part of the 18th century. He 
 built Wimbledon House for Lord Spencer, 
 a well-balanced, neat elevation, published 
 by Wolfe and Gandon ; a small mansion for 
 Mr. T. AVyndham, on the Thames, at Ham- 
 mersmith, of a simple and pleasing eleva- 
 tion ; ;ind the Duke of Argyll's seat at 
 Cooml)ank, Kent. He published, 1728, 
 ' An Essay in Defence of Ancient Archi- 
 tecture ; ' 1734, ' Lectures on Architecture ; ' 
 1754, 'Rural Architecture.' 
 
 MORRIS, Thomas, engraver. Born about 
 1750. Was the pupil of Woollett, and 
 much employed by Alderman Boydell. He 
 died towards the end of the century. 
 Among other works, he engraved two 
 large-sized street views, after Marlow — 
 M'iew of St. Paul's' and 'View of the 
 Monument,' 1795, both boldly executed and 
 crowded with figures ; ' Skiddaw,' after Do 
 284 
 
 Loutherbourg ; * Landscape and River,' 
 after R. A¥ilson; 'Hawking and Eox 
 Hunting,' after Gilpin; 'La Eemme rusee,' 
 after Collet. 
 
 MORRISON, Sir Richard, Knt., arcU- 
 tect. Was the son of an architect at Cork, 
 and originally intended for the Church, but 
 became a pupil of Gandon, the well-known 
 architect of Dublin. He then had a civil 
 appointment in the Ordnance, which he 
 held only a short time, when, taking up 
 the practice of his profession as an archi- 
 tect, he obtained considerable employment. 
 He built the Clinical Hospital at Dublin, 
 and several of the county court-houses. 
 He acquired a good property, and was 
 knighted by the Lord Lieutenant of Ire- 
 land in 1841. Died at Dublin, aged 82, 
 October 31, 1849. 
 
 MORTEN, Thomas, subject 'painter. Was 
 born at Uxbridge in 1836. He studied at 
 Mr. Lee's art school, and was largely em- 
 ployed in designing for the illustration of 
 periodical and other works. His designs 
 for an edition of ' Gulliver's Travels ' 
 showed much invention and humour. He 
 exhibited at the Royal Academy, in 1863, 
 ' Conquered, but not Subdued ; ' and in 
 1866, his last work, 'Pleading for the 
 Prisoner,' which was of much promise. 
 But greatly embarrassed in his affairs, he 
 unhappily committed suicide, September 23, 
 1866. 
 
 MORTIMER, John Hamilton, A.R.A., 
 history painter. Born in 1741, at East- 
 bourne, where his father owned a mill, and 
 afterwards held the office of collector of 
 customs. He imbibed a love of art from his 
 uncle, who was a painter of some ability, and 
 was sent to London, and placed for three 
 years under Hudson, studying at the same 
 time in the Duke of Richmond's Gallery, 
 and later at the St. Martin's Lane Academy. 
 He is also said to have studied under Edge 
 Pyne and Reynolds. With such teaching 
 he acquired a good knowledge of the figure, 
 and obtained several premiums from the 
 Society of Arts for his drawings from the 
 antique. In 1 763 he gained the Society's 
 first premium, and in 1764, in competition 
 with Romney, the award of 100 guineas for 
 his ' St. Paul preaching to the Britons.' 
 
 He was a member of the Incorporated 
 Society of Artists, and exhibited with them 
 occasionally from 1763 to 1773. In the 
 latter year he was vice-president of the 
 Society, and was looked upon as of much 
 promise, though he did not gain employ- 
 ment. He disliked portraiture, and was 
 not happy in his likenesses. His portrait, 
 however, painted by himself, is in the 
 National Portrait Gallery. He lived in the 
 neighbourhood of Covent Garden, made 
 acquaintance with the wits of the day, was 
 fond of company and sports, and a great 
 
MOR 
 
 MOS 
 
 cricketer, a fascinating and dangerous com- 
 panion, he became extravagant and dissi- 
 pated. His strong frame and handsome 
 person were shattered by his excesses, and 
 his progress in art no longer justified the 
 early expectations entertained of him. 
 But in 1775 he married, and was happily 
 able to abandon his vicious habits. Quitting 
 the temptations of his London life, he 
 went to reside at Aylesbury, and while 
 there painted ' The Progress of Vice ' and 
 ' The Progress of Virtue,' and a few por- 
 traits ; also a ceiling at Brocket Hall, for 
 Lord Melbourne. 
 
 With restored health and vigour his en- 
 thusiasm for his art returned. He exhibited 
 at the Academy for the first time in 1 778, con- 
 tributing a small whole-length family group, 
 a subject from Spenser, and some land- 
 scapes, and was elected an associate of the 
 Academy in the November of that year. He 
 returned to London in the same month, and 
 resided in Norfolk Street, Strand. Here, 
 after an illness of only 12 days, he died 
 of fever, February 4, 1779, in his 38th year. 
 He was buried at High Wycombe, where 
 his picture of SSt. Paul,' which gained the 
 Society of Arts' premium, is the altar-piece 
 of the parish church. Eight works by him 
 were exhibited as, it is said he intended, 
 at the Academy in 1779 — they comprised 
 ' The Battle of Agincourt,' ' Vortigern and 
 Eowena,' a small landscape, and some 
 washed drawings. 
 
 Mortimer possessed an unbridled imagi- 
 nation. He loved to paint the grotesque 
 and horrible — banditti and monsters. His 
 attempts at character from Shakespeare, 
 though praised at the time, are extravagant 
 and unreal. He was not successful as a 
 colourist. He devoted his time to trifles, 
 and is better known by his drawings than 
 his pictures ; they possess much spirit and 
 are good in composition. He etched many 
 of his own designs, of which 11 large plates 
 were published in 1768 and nine in 1778, 
 but many more were finely etched by Blyth. 
 VaL Green mezzo-tinted a portrait of him 
 by himself. Kyland engraved his ' Battle 
 of Agincourt.' He designed the 'Elevation 
 of the Brazen Serpent ' for the great window 
 at Salisbury Cathedral, and made the car- 
 toons for the stained glass at Brascnoso 
 College, Oxford. He designed also for 
 Bell's ' Theatre,' Bell's ' Poets,' and other 
 publications. 
 
 MOETON, Andrew, portrait fainter. 
 Born at Newcastle-on-Tyne, July 25, 1802. 
 He was a student in the schools of the Royal 
 Academy, gained a silver medal in the life 
 school in 1821, and the same year exhibited 
 a portrait, his first contribution. Prom that 
 time he was a constant exhibitor of portraits, 
 with occasionally a portrait-group. He was 
 of some name in his art, which did not extend 
 
 beyond portraiture, and had many sitters of 
 distinction. He was assisted by the Pitz- 
 Clarence family, and there is by him a good 
 portrait of William IV. in tlie gallery of 
 Greenwich Hospital. He died August 1, 
 1805. 
 
 MOSER, George Michael, R.A., ena- 
 mcller and modeller. Was born in 1701, the 
 son of a sculptor at St. Gall, and came to Eng- 
 land at an early age. Soon attracting notice 
 by his ability as a chaser, he was employed by 
 an eminent cabinet-maker as a cliaser for the 
 brass-work with which the furniture of that 
 day was decorated. He also distinguished 
 himself as a carver and enameller,and found 
 employment in the decoration of trinkets in 
 the manner then in vogue. He painted in 
 enamel, for the watch of George IIL, the 
 portraits of his two eldest sons. He was 
 also an excellent medallist and designed the 
 King's Great Seal. 
 
 He was for many years a member of the 
 St. Martin's Lane Academy, and was elected 
 the treasurer and manager, and was also, 
 1766, a member of the Incorporated Society 
 of Artists. He was one of the most active 
 of the founders of the Royal Academy, and 
 became the first keeper, an office for which his 
 knowledge of the figure made him well quali- 
 fied. In 1769 and 1770 he exhibited some 
 chasings and medals, his only contributions 
 to the Academy. He had high merits as an 
 artist, excelling not only as a chaser but as a 
 medallist, and he painted in enamel with great 
 beauty and taste. He died in his apartments 
 at the Royal Academy, January 23, 1783, 
 aged 78, and was buried at St. Paul's, Co vent 
 Garden. His large collection of works of 
 art were sold by auction by Mr. Langford 
 in the same year. 
 
 MOSER, Mary, R.A. (afterwards Mrs. 
 1a.oyd), flower jpainter. Was the only child 
 of the above. She showed an early inclina- 
 tion to art, and gained the Society of Arts' 
 premiums for her drawings in 1758 and the 
 following year. She exhibited at the Spring 
 Gardens Rooms in 1761 and 1762, and dis- 
 tinguished herself by the admirable way in 
 which, with great taste, she painted fiowers, 
 well composed, sweetly coloured, and most 
 carefully finished. She was elected a mem- 
 ber of the Royal Academy on its foundation 
 in 1768, and was, from its first exhibition 
 up to 1790, a constant contributor, except 
 in the years 1786 and 1 787. Her works were 
 chiefly flowers, with an occasional portrait 
 or classic subject. In 1789 she exhibited 
 ' Atalanta and Hippomenes : ' in 1 790, 'Pro- 
 serpine gathering Flowers ; ' in 1792, a land- 
 scape, and her name next appears in 1798 as 
 Mary Lloyd. In that year, and in 1800 and 
 1802, her last contribution, she exhibited 
 a classic or historic work. Queen Char- 
 lotte employed her to paint a room at Frog- 
 more, where her work still exists, for which 
 
 285 
 
MOS 
 
 MOS 
 
 she received above 900/., and her Majesty 
 for many years showed a friendly interest 
 in her. She was very near-sighted, an 
 amiable, clever, lively woman, and is charged 
 with a passionate flirtation with Fuseli, E.A. 
 After many years' practice in her profession, 
 she married Captain Hugh Lloyd, and then 
 painted as an amateur. She was left a 
 widow, and Nollekens, K.A., bequeathed her 
 100/. She died in Upper Thornhaugh Street, 
 Bedford Square, May 2, 1819, and was 
 buried at Kensington. 
 
 MOSER, Hans Jacob. Was the brother 
 of the foregoing George Michael Moser. 
 He came to England at the age of 9 years, 
 and practised here as an artist, towards the 
 middle of the 18th century ,with some success. 
 
 MOSER, Joseph, enaineller. Born in 
 Greek Street, Soho, in June 1748, son of 
 the above Hans Jacob Moser. He was in- 
 tended for a painter, and studied art during 
 15 years. He was a constant exhibitor at 
 the Academy from 1774 to 1782, chiefly of 
 enamel heads from the antique for jewellery, 
 with an occasional portrait in enamel, and, 
 after a lapse of four years, exhibited for 
 the last time in 1787. Then marrying, he 
 was enabled to lay down his palette and 
 retire into the country. Later in life he 
 was appointed a police magistrate, and sat 
 at the old Queen Square Court, and after- 
 wards at AVorship Street. 
 
 MOSES, Henry, engraver. He com- 
 menced practice early in the 19th century, 
 and passed a long life in the pursuit of his 
 art, in which he attained great skill and 
 accuracy, and was one of the engravers at- 
 tached to the British Museum. Among his 
 chief w^orks, which were mostly in outline, 
 are ' The Gallery of Pictures painted by Ben- 
 jamin West,' in outline, 1811; a 'Collec- 
 tion of antique Vases,' 1814; 'Picturesque 
 Views of Ramsgate,' 1817; 'Vases from 
 Sir H. Englefleld's Collection,' 1819-20; 
 and in parts, ' Sketches of Shipping,' drawn 
 and etched by himself, 1825, followed by 
 the ' Marine Sketch-book.' There are also 
 engravings by him after Barry, R.A. ; 
 Northcote, E.A. ; Opie, R.A. ; Retsch, and 
 others. He died at Cowley, Middlesex, 
 February 28, 1870, in his 89th year. 
 
 MOSLEY, Charles, engraver. Practised 
 in London about the middle of the 18th 
 century. He was chiefly engaged on por- 
 traits, and employed by the booksellers. 
 But he both designed and engraved some 
 political caricatures, 1745. There is a fine 
 plate by him after Vandyck's ' Charles I. on 
 Horseback.' He died about 1770. 
 
 MOSNIER, Jean Laurent, portrait 
 painter. Was born in Prance, and became 
 painter to Louis XVI. and member of the 
 academy in Paris. He fled to this country 
 on the Revolution, settled here as a portrait 
 painter, and met with encouragement, many 
 
 distinguished persons sitting to him. He 
 exhibited at the Royal Academy from 1792 
 to 1795, and was at that time living in 
 London. 
 
 MOSS, William, architectural draftsman. 
 He was a student of the Royal Academy, 
 and exhibited there from 1775 to 1782. In 
 1778 he received the Academy gold medal 
 for his design for a church in the Corin- 
 thian order. He did not exhibit after 1782, 
 in which year he contributed a design for 
 a cathedral, a work of great merit. Ho 
 painted some landscapes, and both drew 
 and etched. Two views of Somerset House 
 by him were aqua-tinted by P. Jukes. 
 
 MOSSMAN, AViLLiAM, sculptor. He was 
 a Scotch artist, and coming to London, was 
 for some time employed by Sir Francis 
 Chantrey, R.A. He practised for a time 
 in London, and afterwards both in Glasgow 
 and Edinburgh. He died 1851. 
 
 MOSSMAN, George, sculptor. He was 
 younger brother of the above, and was born 
 in Edinburgh. He removed to Glasgow, 
 and studied in the art school there. After- 
 wards he came to London and entered the 
 Academy Schools, gaining the medal in the 
 life school. In 1846, while in London, he 
 exhibited at the Academy ' The Guardian 
 Angel forsaking Paradise,' a basso-relievo,, 
 and ' Prince Charles after Culloden.' His 
 health failing in London, he returned to 
 Glasgow, and assisted in his brother's 
 studio. His chief work was a life-size 
 figure of ' Hope.' He died at Glasgow, in 
 1863, aged 40. 
 
 MOSSOP, William, medallist. He was 
 born in Dublin in 1751, and early in life 
 found employment in cutting stamps for 
 the linen manufacture. Attempting better 
 things, he produced in 1784 a medal of 
 Ryder, the comedian, which gained him 
 employment on works of a higher class. 
 He died of apoplexy, in 1804, aged 53. 
 
 MOSSOP, William Stephen, R.H.A., 
 medallist. Son of the above. Was born in 
 1788, educated in Dublin, and at the age 
 of 14 years was admitted to the art schools 
 of the Dublin Society. He was the private 
 pupil of Francis West, and had at the same 
 time the assistance of Edward Smith. Be- 
 fore completing his 17th year he produced 
 his first medal, a work of much promise. 
 He made his designs in wax, always 
 larger than his intended medal, and first 
 undraped. From these he commenced his 
 die in metal. He had attained great purity 
 of taste, and about 1820 he began a series 
 of Irish medals, of which he finished six — \ 
 Usher, Swift, Charlemont, Sheridan, Grat- 
 tan, Moore. On the visit of George IV. to 
 Ireland he published a medal, the reA^erse a 
 figure of Hibernia, and though finely exe- 
 cuted, it did not remunerate him. He was 
 a partisan, and party stood in his way. He 
 
MOU 
 
 M UL 
 
 soon after began a medal of ' Hercules 
 slaying the Hydra,' whose heads repre- 
 sented those of three prominent political 
 agitators in Dublin ; but the work never 
 got beyond the model. He died in the 
 early part of 1827, aged 39. 
 
 MOUNTAGUE, William, architect and 
 surveyor. He was a pupil of George Dance, 
 K.A., and for many years his chief assist- 
 ant. In 1812 he was appointed surveyor 
 to the Improvement Committee, and was 
 charged with the formation of the Pave- 
 ment, Finsbury, and also with the erection 
 of the Debtors' Prison in Whitecross Street. 
 He had continued Mr. Dance's assistant, and 
 on his resignation of the office of ' clerk of 
 City's wwks,' he succeeded him in 1816. 
 He was also one of the district surveyors 
 of the City, and had besides an extensive 
 private practice. He died April 12, 1843, 
 aged 70, and was buried in the Bunhill- 
 fields Burial-ground. His employment was 
 more that of surveyor than architect. 
 Among his chief works, in addition to 
 the above, are the Guildhall Courts of 
 Law, 1821 ; Farringdon Market, 1824 ; the 
 library, Guildhall, 1825, since removed ; 
 the committee-rooms and lobbies, Guild- 
 hall, 1841. 
 
 MOUNTSTEPHEN, E. G., wax modeller. 
 Was born in the county of Meath. Ht) 
 came to London about 1781, and settling 
 in the Metropolis, commenced practice as a 
 portrait modeller in wax, and arrived at 
 great excellence. He was an exhibitor at 
 the Royal Academy from 1782 to 1791, in 
 1789 exhibiting a very fine head of the 
 Duke of Orleans. He afterwards went on 
 to the Continent, where he died. 
 
 MtiLLER, William John, landscape 
 and figure painter. Born at Bristol in 
 1812. His father, a German clergyman, 
 w^as the curator of the Bristol Museum, 
 and published some scientific works. He 
 was an apt scholar, and had a taste for 
 botany and natural history. He was in- 
 tended for an engineer, but gave earty 
 indications of a genius for drawing and 
 adopted art. He received his first instruc- 
 tions in art from J. B. Pyne, a fellow- 
 townsman, but he soon turned to nature 
 as his guide. He exhibited at the Eoyal 
 Academy, for the first time, in 1833, 'The 
 Destruction of Old London Bridge, Morn- 
 ing.' In 1833-34 he visited Germany, 
 Switzerland, and Italy, and returning to 
 Bristol, he commenced his professional 
 career there, without finding much encou- 
 ragement. In 1 836 he exhibited both at the 
 Royal Academy and in the Suffolk Street 
 Gallery ; at the former his ' Peasants on 
 the Rhine waiting for the Eerry Boat,' and 
 at the latter continued to exhibit in the 
 two following years. In 1838 he visited 
 Greece and Egypt, and again returned to 
 
 Bristol. About the end of 1839 he came 
 to reside in London, and his works soon 
 found purchasers. He sent his pictures 
 again to the exhibitions, and exhibited 
 yearly at the Academy till his death. 
 
 On the Government expedition to Lycia 
 in 1841, ho asked and obtiiined permission 
 to join it, and that he might freely follow 
 his own art, he defrayed his own expenses. 
 He made a valuable collection of sketches, 
 from which his ' Burial-ground, Smyrna,' 
 exhibited at the Academy, 1844, and his 
 ' Tent Scene, Xanthus,' were painted. His 
 merits were now fully recognised. He 
 received many commissions, but he was 
 unequal to the task. His heart was di- 
 seased ; he was greatly reduced in strength 
 by a continued hsemorrhage from the nose ; 
 he returned to Bristol, seeking rest and 
 advice, and though he continued to paint 
 occasionally, he gradually succumbed to his 
 disease, and died there September 8, 1845. 
 His manner was original. He painted in a 
 simple and broad style, rich and glittering 
 in colour; his figures were characteristic 
 and well introduced, and his Eastern land- 
 scapes well studied and true to nature, 
 yet his art somewhat approached scene 
 painting. He published, in 1841, 'Pictur- 
 esque Sketches of the Reign of Francis I.' 
 At a three days' sale of his works at Chris- 
 tie's, in May 1846, they realised 4,600/. 
 
 MULLINS, George, landscape 'painter. 
 He was born in Ireland, and studied in the 
 Dublin Schools under James Manning. He 
 found employment in a manufactory at 
 Waterford, where he painted snuff-boxes 
 and trays in imitation of the Birmingham 
 ware. He came to London, where he prac- 
 tised landscape painting for several years. 
 His works are spoken of as excelling in 
 tone and colour, and showing much painter- 
 like feeling. He is stated to have died in 
 Dublin about 1771, but it seems probable 
 he was living in London several years later. 
 
 MULREADY, William, R.A., siihject 
 painter. Was born at Ennis, Co. Clare, 
 April 30, 1786. His father was a master 
 leather-breeches maker, and soon after 
 the birth of his son removed to Dublin 
 with his family, and carried on his business 
 there for two or three years, and then came 
 to London, and resided in Compton Street, 
 Soho. Here the son was put to school, 
 and was afterwards placed under a Romish 
 priest, and gained some knowledge of Latin. 
 He had early showed an aptitude for draw- 
 ing, and at the age of 15 was admitted to the 
 schools of the Royal Academy. In 1807 he 
 illustrated a child's penny book — ' The But- 
 terfly's Ball ; or. The Grasshopper's Feast,' 
 which was so popular that it was followed 
 in the same year by ' The Lion's Masquerade,' 
 ' The Peacock at Home,' and ' The Lioness's 
 Ball ;' and in the following year by ' The 
 
 287 
 
MUL 
 
 MU L 
 
 Elephant's Ball, ' The Lobster's Voyage to 
 the Brazils/ ' The Cat's Concert,' ' The 
 Fishes' Grand Gala,' 'Madame Grimalkin's 
 Party,' ' The Jackdaw at Home,' ' The Lion's 
 Parliament,' ' The Water-king's Levee ;' and 
 in 1809 by ' Think before you Speak,' which 
 concluded the interesting little series. 
 
 These works show what were some of his 
 early employments in art, which it is well 
 knownwere very various. He drew portraits, 
 taught drawing, which indeed he continued 
 to do all his life, and assisted in some pano- 
 rama painting. In 1 803 he exhibited his first 
 picture, 'The Crypt in Kirkstall Abbey,' at 
 the Koyal Academy, followed in 1806 by 
 some views in York city; in 1807, 'Old 
 Caspar,' his first figure subject, at the Bri- 
 tish Institution ; and in 1808 by some old 
 houses in Lambeth, and ' Tl'x? Battle ' at the 
 Academy. About this time, when he was only 
 18 years of age, and was literally earning his 
 daily bread, he married, but early in life 
 separated from his wife. His early works 
 were landscape, but he soon found the true 
 bent of his genius, and studying devotedly 
 the Dutch masters, his progress was un- 
 usually rapid. His first important work 
 was ' The Carpenter's Shop,' exhibited in 
 1809 at the British Institution, a quiet 
 scene of everyday life, with no other story. 
 In 1811 he exhibited ' The Barber's Shop' — 
 a loutish boy brought to the village barber 
 to be shorn of his unkempt locks ; and still 
 showing marked improvement — with more 
 attempt at character and expression — con- 
 tinuing to make boys the foundation of his 
 subject, he painted, in 1813, ' Boys Fishing ;' 
 in 1815, ' Idle Boys,' which secured him his 
 election as associate of the Academy in that 
 year, and in 1816, 'His Fight interrupted,' 
 the big bully of the school vanquished by a 
 little hero, over whom he had attempted to 
 tyrannise. This work added to his growing 
 reputation, and he was in 1817 elected a 
 full member of the Academy. 
 
 He was now the father of four boys ; he 
 had gained the full honours of his profes- 
 sion, and also, with the favour of the public, 
 confidence in his own powers, and from 
 this time a gradual change took place in his 
 art, and he became more original in his 
 manner. He painted ' The Village Buffoon,' 
 ' The Dog with two Minds,' and another 
 popular work, ' The Wolf and the Lamb,' 
 exhibited 1820. Continuing in this course, 
 his 'Interior of an English Cottage,' 1828, 
 was a work of high finish and great art 
 merit. His ' Seven Ages ' had more of sub- 
 ject and design than is usual with him, and 
 was followed by his ' Giving a Bite,' ' The 
 Sonnet,' and 'First Love;' and in 1838, 
 * All the World's a Stage,' in which works 
 the peculiarities and power of his art are 
 fully displayed. In 1840 his illustrations 
 on wood to an edition of the 'Vicar of 
 288 
 
 Wakefield ' were published, and from these 
 graceful designs he painted some of his 
 most perfect pictures — ' The Whistonian 
 Controversy,' ' Burchell and Sophia,' and 
 ' The Wedding Gown.' In 1818 a fine col- 
 lection of his pictures and drawings was 
 exhibited at the Society of Arts, intended 
 as the first of a series of the works of our 
 eminent living artists. 
 
 His life was passed in constant study. 
 He said, when examined by the Koyal 
 Academy Commission, ' I have, from the 
 first moment I became a visitor in the life 
 school, drawn there as if I were drawing 
 for the prize ; ' and to this his chalk studies, 
 which are inimitable for their drawing 
 and exquisite finish, are a witness, and a 
 proof of his remarkable powers. His 
 choice of subject was feeble, but if on this 
 ground his works lack the interest of those 
 of some of his contemporaries, they will 
 always possess a charm to the lover of art 
 from his beautifully minute execution, the 
 brilliant harmony of his colour, and the 
 extreme completeness of every part of his 
 work. In all these he has left a great 
 example to the students of the English 
 school. His life was a solitary one, but 
 was devoted to the last to his art. His 
 last evening was spent at the Academy; 
 on the following morning, July 7, 1863, he 
 was no more. He was buried in the Kensal 
 Green Cemetery, where his friends raised a 
 monument to his memory. The nation is 
 enriched in his works by the bequests of 
 Sheepshanks and Vernon, now at the South 
 Kensington Museum. 
 
 MULVANY, Thomas James, K.H.A., 
 landscape 'painter. He was born in Ireland, 
 and practised there early in the 19th cen- 
 tury. He exhibited at the Exhibition held in 
 Dublin in 1809 ; was a strenuous advocate for 
 the grant of a charter of incorporation to 
 the artists of Ireland, and was one of the 
 members of the body when incorporated in 
 1823, and was appointed the keeper of the 
 academy in 1841. His works were well 
 esteemed in Dublin, but he does not appear 
 to have exhibited in London. He edited 
 the ' Life of James Gandon, Architect,' and 
 died, about 1845-46, before the entire com- 
 pletion of this work. 
 
 MULVANY, George F., R.H.A., subject 
 painter. Son of the foregoing. He was 
 born in Dublin in 1809. He studied in 
 the schools of the academy there, and 
 afterwards in Italy. In 1832 he was 
 elected an associate of the Royal Hibernian 
 Academy, and succeeded as keeper on his 
 father's death. He was greatly instru- 
 mental in the foundation of the National 
 Gallery in Dublin, of which he afterwards 
 became the director. He sent to the Royal 
 Academy, London, in 1836, an 'Infant 
 Bacchus;' and in 1839, 'Various Attrac- 
 
MUN 
 
 MUR 
 
 tions, a Scene in the Louvre.' Among his 
 works may be mentioned his ' White Man 
 cast upon the Ked Man's Shore,' ' First 
 Love,' ' The Peasant's Grave.' He died in 
 Dublin, February 6, 1869. 
 
 MUNN, Paul Sandby, water-colour 
 'painter. His name first appears as an 
 exhibitor at the Royal Academy, in 1798, 
 of views in the Isle of Wight. He was 
 then living at Greenwich, and continued to 
 exhibit Welsh and other views up to 1805, 
 when he became an associate exhibitor of 
 the Water-Colour Society ; and from that 
 time to 1813 exhibited with that body 
 views, chiefly in the North of England, and 
 once again, in 1815, when the Society was 
 open to the whole profession. His works, 
 partaking of the early manner, are clever, 
 but weak. Some of them have been en- 
 graved. He died at Margate, February 11, 
 1845, aged 72. James Munn, probably a 
 relative, exhibited with both the Incor- 
 porated and the Free Society landscape 
 drawings, 1767-73. 
 
 MUNRO, Alexander, sculptor. He was 
 born in 1825, in Inverness, where he early 
 made himself known by his abilities, and 
 with a friendly introduction he came to 
 London in 1848, and was employed on 
 the stone carving for the Houses of 
 Parliament. He first exhibited at the 
 Royal Academy, in 1849, some busts ; and 
 continuing to exhibit from that time, his 
 chief work was portrait sculpture, busts, 
 medallions, and occasionally a group. In 
 1852 he exhibited 'Paolo and Francesca,' 
 a marble group ; and in 1853, a portrait- 
 group of children, which was greatly praised. 
 For the Houses of Parliament he executed 
 a statue of Queen Mary ; for Birmingham, a 
 colossal statue of Watt ; and a nymph, 
 serving as a fountain, in Berkeley Square, is 
 by him. For many years his constitution, 
 which was always weak, was quietly failing, 
 and without giving, up his London studio, 
 he resided much at Cannes, where he had 
 built himself a studio, and died there on 
 January 1, 1871. Of true genius and feel- 
 ing, his works are graceful and spirited, but 
 are sketchy in their execution. 
 
 MUNTZ, J. H., landscape yainter. He was 
 much employed by Lord Orford. He ex- 
 hibited at Spring Gardens, in 1762, a land- 
 scape painted in encaustic ; and published, 
 1760, a small volume describing the process, 
 which he claimed as his invention. But 
 neither his process nor his drawings, of 
 which there were several in the Strawberry 
 Hill collection, had much merit. He ex- 
 hibited in 1763 for the last time. Little 
 is known of him, but he is said to have 
 married a servant of Lord Orford's, and to 
 have left his lordship abruptly. 
 
 MURPHY, D. B., miniature painter. An 
 artist of some note, who lived in Dublin at 
 
 the end of the 18th century, and who sub- 
 sequently held the appointment of painter 
 in ordinary to the Princess Charlotte. By 
 her orders he copied Lely's ' Windsor 
 Beauties' (now at the South Kensington 
 Museum), which were afterwards engraved 
 from his copies. From 1800 to 1827 he 
 was an occasional exhibitor, at the Royal 
 Academy, of miniatures on ivory and in 
 enamel, but they were not of a high class. 
 He was the father of Mrs. Jamieson, the 
 well-known writer on art. 
 
 MURPHY, G., portrait painter. There 
 is by him in the National Portrait Gallery 
 a portrait of Plunket, archbishop of Ar- 
 magh, who was executed 1681. Bromley 
 catalogues portraits by him painted about 
 that time. 
 
 MURPHY, John, engraver and drafts- 
 man. Born in Ireland about 1748. He 
 practised in London, both in the dot manner 
 and in mezzo-tint, and had the reputation 
 of an able artist. Towards the end of the 
 century he executed a number of plates in 
 mezzo-tint, good impressions of which are 
 prized by collectors. He engraved after 
 the old masters, also after Northcote, and 
 some portraits after Reynolds and Romney. 
 In 1787 he finished a plate of 'The Royal 
 Family,' after Stothard, R.A. His works 
 are well drawn, light and shade good, 
 general eiFect of his best plates brilliant. 
 
 MURPHY, James Cavanagh, architect. 
 Was born at Blackrock, near Cork, and was 
 originally a bricklayer. He showed a talent 
 for drawing, and made his way to Dublin, 
 and afterwards to Portugal, and later held 
 some diplomatic office from that country to 
 Spain. He pursued his art study in Spain, 
 and published two works on the buildings, 
 arts, and antiquities of that kingdom, 
 1789-90. He also made plans, elevations, 
 and sections of the Portuguese church and 
 monastery of Batalha, which he published 
 in London 1792-96. He died in London, 
 September 12, 1814. His 'Arabian An- 
 tiquities of Spain' were published 1813, 
 * History of the Mahometan Empire in 
 Spain,' 1816. He also published ' Travels 
 in Portugal,' 1795 ; and a 'General View of 
 the State of Portugal,' 1798. 
 
 MURR4.Y, John, portrait painter. In 
 the ' Gentleman's Magazine ' there is an 
 obituary record of an artist of this name, 
 as ' of Southampton Row, a famous face 
 painter, worth 40,000/. ; died June 1, 
 1735.' 
 
 MURRAY, 'R:, portrait and subject 
 painter. Practised in London about the 
 middle of the 18th century. He painted 
 portraits, genre, and history. There is a 
 mezzo-tint by J. Watson of 'The En- 
 chantress ' after him. 
 
 MURRAY, James, architect. Was born 
 at Armagh, December 9, 1831. He was 
 u 289 
 
MUR 
 
 M YT 
 
 articled to an architect at Liverpool in 
 1845, and on the completion of his articles 
 ho practised in that town. Later, he came 
 to London, and was associated in some 
 works with Welby Pugin. Afterwards he 
 settled at Coventry, where he died in 1862. 
 He built churches at AVarwick, Bolton, 
 Sunderland, Newcastle, Birmingham ; some 
 provincial justice-rooms, and other works 
 of this character. 
 
 MUEKAY, Thomas, portrait 'painter. 
 Was born in Scotland in 1666, and came to 
 London at an early age. Studied under 
 Kiley. He was remarkable for his good looks 
 and elegance of manner, and following his 
 master, he had great success in portraiture. 
 There are portraits of King William and 
 Queen Mary by him at the Fishmongers' 
 Hall ; of Sir Hans Sloane, at the College 
 of Physicians ; of Halley, the astronomer, at 
 the Royal Society ; and many of his works 
 at Oxford ; also his portrait, by himself, in 
 the Florence Gallery. Many of his portraits 
 were engraved by the best contemporary 
 artists. He had accumulated property, and 
 died in 1724, aged 68. His portraits are 
 poor and timid in drawing, in a low but 
 not agreeable tone of colour, and were reputed 
 good likenesses ; but they do not rank high 
 in art merit. 
 
 MUSS, Chaeles, enamel and glass painter. 
 Born 1779. Was the son .of Boniface 
 Musso, an Italian artist, who followed his 
 profession at Newcastle-on-Tyno, and was 
 an exhibitor at the Spring Gardens Rooms. 
 He was employed in Mr. Collins's well-known 
 glass works, near Temple Bar, and struggled 
 through many difficulties to eminence in 
 his art. He painted several large enamels 
 for George III., and was appointed enamel 
 painter to George IV. ' His Holy Family,' 
 after Parmcgiano, is an enamel of unusual 
 size, and one of his best works. He was 
 in 1802 an exhibitor at the Academy of two 
 miniature portraits, and the following year 
 of a 'Psyche,' and then did not exhibit 
 a^gain till 1817, from which year he was 
 chiefly a contributor of miniature enamels 
 after the old masters, but a few from the life. 
 His last contribution was 'Duncan Gray,' 
 after AVilkie, R.A., in 1823. The stained- 
 glass window at St. Bride's, Fleet Street — a 
 copy of Rubons's ' Descent from the Cross' — 
 is by him. Thirty-three original designs 
 from Gay s ' Fables,' drawn and etched by 
 him, were published in 1825. He died in 
 1824. His early works are dirty in the 
 shadows and defective in drawing ; but he 
 overcame these defects, and his later works 
 are well coloured. 
 
 MYLNE, John, arcJiiiect. Was the 
 King's principal master mason in Scotland, 
 1648. The steeple of St. George's Church, 
 Edinburgh, is by him. 
 
 MYLNE, Robert, architect. Was the 
 290 
 
 King's master mason in Scotland, 1671. 
 He made some additions to Holyrood Palace, 
 and built several other edifices. 
 
 MYLNE, Robert, architect and engineer. 
 Was born January 4, 1733-4, at Edin- 
 burgh, where his father, a descendant of 
 the above, practised as an architect, and 
 was one of the city magistrates. With a 
 desire to improve in his profession he visited 
 Paris, and from thence went to Rome, 
 where he studied five years ; and in 1768 
 gained the first prize for architecture in the 
 academy of St. Luke. He afterwards went 
 to Naples and Sicily, and on his road home- 
 wards saw Florence, Bologna, Venice, and 
 the Lombard cities. On his arrival in 
 London he was a competitor for the erection 
 of Blackfriars Bridge, and his designs, 
 which were distinguished by the first em- 
 ployment of the elliptical arch, were, after 
 much contention, accepted. This work, the 
 first stone of which was laid in 1761, was 
 completed in 1765, for the estimated sum 
 of 153,000^. He was appointed the surveyor 
 of St. Paul's Cathedral and of the exten- 
 sive works of the New River Company; 
 and was for 15 years clerk of the works to 
 Greenwich Hospital. He built the assembly 
 rooms at St. James's, known as Almacks, 
 and many private residences ; but notwith- 
 standing his numerous employments, did 
 not amass property. He died May 5, 1811, 
 and was buried in St. Paul's Cathedral. 
 He married in 1770 the daughter of Mr. 
 Home, the surgeon, and left four daughters 
 and one son, who succeeded him as surveyor 
 to the New River Company. 
 
 ^MYNDE, J., landscape engraver. He 
 practised about the middle of the 18th cen- 
 tury, chiefly in London, and was employed 
 by the booksellers. He lived to a good age, 
 and was but an inferior artist. 
 
 MYTENS, DA.mmj, portrait painter. Was 
 born at the Hague about 1590, and was a 
 pupil of Rubens. He came to this country 
 early, but the date is not known. He, how- 
 ever, lived in St. Martin's Lane from 1622 
 to 1634. On the accession of Charles L, he 
 was in 1625 appointed one of his Majesty's 
 painters. On the arrival of Vandyck, and 
 his appointment to be the principal painter, 
 he wished to retire, but the King kindly 
 solicited him to remain, and he stayed some 
 time longer. None of his known works in 
 this country are dated later than 1630. He 
 returned to Holland. The time of his death 
 is uncertain, and mistakes have arisen from 
 a confusion of facts between him and his 
 son, who was a painter, and bore the same 
 Christian name. Many of My tens' s portraits 
 exist in the Royal, Delawarr, Bodleian, and 
 other collections in this country. They are 
 noble works, fine in tone and colour, bearing 
 the impress of truth ; with good l)ack- 
 grounds, usually landscape. 
 
NAI 
 
 NAS 
 
 N 
 
 NAISH, William, miniature painter , He 
 was born at Axbridge, Somersetshire, and 
 practised his art in London, where he had 
 many sitters, including some of distinction. 
 He was a constant exhibitor of his minia- 
 tures at the Royal Academy from 1783 to 
 1800. His brother, John Naish, was also 
 an artist. 
 
 NASH, EdW'Ard, 7nimature painter. He 
 was, between 1811 and 1818, the pupil and 
 assistant of Samuel Shelley, and from 1811 
 to 1820 an occasional exhibitor *at the Royal 
 Academy. He afterwards went to India, 
 where he made some money by the practice 
 of his profession, and the trace of him 
 disappears. 
 
 NASH, FuEDERiCK, water -colour painter. 
 He was born in 1782, in Lambeth, where 
 his father was a builder, and aspiring to be 
 an artist, was placed under Malton, and was 
 occasionally employed as a draftsman by 
 Sir R. Smirke, R.A. He first exhibited in 
 1 800, at the Academy, ' The North Entrance 
 to Westminster Abbey,' and continued an 
 occasional contributor up to 1847. In 1808 
 he was elected a member of the Water- 
 Colour Society, and was soon after ap- 
 pointed draftsman to the Society of Anti- 
 quaries. On the change in the constitution 
 of the Water-Colour Society in 1813 he was 
 one of the seceders ; but he contributed to 
 their Exhibition in 1817 and 1820, and in 
 1824 was re-elected a member. His art 
 consisted in the pictorial treatment of archi- 
 tecture, with the introduction of groups of 
 figures. His chief exhibited works were 
 views of Paris and Versailles, and in 1824- 
 25 he was engaged in the drawings for a 
 work on the French palaces. Continuing 
 to exhibit till his death, his best works 
 were French, their inspiration in the archi- 
 tecture of the French cities. Later he made 
 drawings in Switzerland, Normandy, and on 
 the Moselle and the Rhine. Some of his 
 works produced prices unusually high at 
 the time. He retired to Brighton in 1834, 
 and the pictures he afterwards exhibited 
 were found in the scenery and incidents of 
 that neighbourhood. He died at Brighton, 
 December 5, 1856. Among his published 
 works are 12 views for ' The Illustrations 
 of London,' 1810; the illustrations for 
 Akerman's ' History of Westminster Abbey 
 and its Monuments ; ' and for the ' History 
 of the University of Oxford,' 1814; the 
 series of drawings for a work known as 
 'Nash's Paris,' commenced in 1819, fol- 
 lowed, in 1824, by his ' Environs of Paris.' 
 
 NASH, John, architect. Was of Welsh 
 extraction, and born in London in 1752. 
 
 He was a pupil of Sir Charles Taylor. 
 Commencing about 1795 he designed and 
 erected some important cottage and villa 
 residences, and several large mansions. 
 He made alterations at Corsham House, 
 Wilts, and at Bulstrode. He was an ex- 
 hibitor at the Royal Academy from 1797 to 
 1814, after which year his contributions 
 ceased. He was one of the architects 
 attached to the Board of Works, and was 
 employed on the important improvement 
 in the metropolis, which carried Regent 
 Street through a mass of poor buildings to 
 the Regent's Park, which was formed at 
 the same time ; and he designed the dwell- 
 ings and shops in this important thorough- 
 fare,with the church of All Soul's ; also York 
 Terrace, and Sussex Terrace ; but with a 
 great opportunity, which rarely happens, 
 he produced nothing great. He was the 
 private architect of George IV., and high 
 in the royal favour; and for the king he 
 designed Buckingham Palace, though it was 
 not completed by him or after his designs, 
 with the Marble Arch, since removed to 
 Cumberland Gate; and he was engaged in 
 the decoration of the Palace at Brighton. 
 He also built the church of St. Mary, 
 Haggerstone, and a new church at Shore- 
 ditch. His architecture is mean and want- 
 ing in character ; marked only by its absence 
 of invention. He made a large fortune, 
 chiefly by his undertakings as a speculative 
 builder. He was the butt of the critics 
 and caricaturists of the day. He died at 
 his seat. East Cowes Castle, Isle of Wight, 
 a mansion he had built for himself. May 13, 
 1835, in his 83rd year. He published, in 
 1825, ' Illustrations of the Palace at Brigh- 
 ton.' His collections of books, prints, and 
 drawings were sold by auction. 
 
 NAS MYTH, Alexander, landscape 
 fainter. Born at Edinburgh in 1758, and 
 educated there. He came early in life to 
 London, and commenced art as the pupil of 
 Allan Ramsay. He then visited Italy, 
 where he studied during several years both 
 historical and landscape painting; but 
 his inclination led him imperceptibly to 
 landscape, and he filled his folio with 
 elaborate drawings of the picturesque 
 scenery of the country. On his return he 
 settled in Edinburgh and commenced prac- 
 tice as a portrait painter. He had many 
 distinguished men as his sitters ; but was 
 more successful in his landscapes, and 
 eventually abandoned portraiture. He was 
 an occasional exhibitor of Scotch landscape 
 scenery at the Royal Academy, London, 
 between 1813 and 1826. Assisted by his 
 2 291 
 
N AS 
 
 NBA 
 
 family he painted the stock scenery for the 
 theatre at Glasgow. He devoted also much 
 of his time to teaching, and adopted land- 
 scape gardening as a profitable part of his 
 profession. His landscapes are carefully 
 coloured and finished, but are timid and 
 wanting in the true characteristics of art 
 and genius. He published, in 1822, 16 
 views of places described by the author of 
 Waverley. He was a member of the 
 original Society of Scottish Artists, and an 
 Associate of the Koyal Institution. The 
 Society of Arts possess a large 'River 
 Scene ' by him. He died at York Place, 
 Edinburgh, April 10, 1840, aged 82. 
 
 NASMYTH, Patrick, landscape pahitcr. 
 Son of the foregoing. Was born in Edin- 
 burgh, January 7, 1787. Christened Peter, 
 he persisted in calling himself Patrick, and 
 is known by that name. He had an early 
 love of nature, and played truant to wander 
 in sunny fields, and attempt to sketch from 
 the surrounding scenery. An early injury 
 compelled him to learn the use of his left 
 hand in painting, and an illness resulted in 
 deafness. He came to London at the age of 
 20, and his talents were soon appreciated. 
 In 1809 he exhibited his first picture at the 
 Koyal Academy, and was from that time an 
 occasional exhibitor up to 1830. He be- 
 came a member of the Society of British 
 Artists on its foundation in 1824, and was 
 an exhibitor till his death. His first 
 exhibited works were chiefly from Scotch 
 scenery ; his latter works from the domestic 
 scenery of the English counties. In his 
 art he imitated the Dutch school, painting 
 our lane scenes, hedgerows, village-suburbs, 
 and commons, and chosing the dwarfed oak 
 in preference to other trees. Hie manner 
 has a tendency to meanness, his foliage is 
 over- detailed, his work black in the shadows. 
 Adopting a low tone, his skies look brilli- 
 ant. He painted English nature in her 
 simplest moods, without any attempt at the 
 poetry of art, yet with great force and 
 truth. His loss of hearing threw him too 
 much on his own resources, and in his soli- 
 tude he was prone to indulge in excess. His 
 constitution became undermined, and catch- 
 ing cold in sketching, when scarcely re- 
 covered from influenza, his weak frame gave 
 way. He died at Lambeth, where he had 
 for some time lodged, August 17, 1831, 
 during a thunder storm which, at his own 
 request, he had been raised in his bed to 
 contemplate. He was buried at St. Mary's 
 Church, and the Scottish artists in London 
 placed a gravestone over him. 
 
 NASON, E., portrait painter. He ac- 
 companied Charles 11. to England in 1660, 
 and practised in the latter half of the 1 7th 
 century. He painted a portrait of Charles II., 
 which is engraved by Van Dalen, and some 
 other portraits, which are exquisite in finish. 
 292 
 
 NATTER, Lawrence, gem engraver. 
 Born at Biberach, Suabia. Studied in Italy, 
 and afterwards resided several years in 
 England. In 1743 he was in Denmark, 
 and in 1744 he went to Holland to make a 
 medal for the Prince of Orange. He pub- 
 lished in London, in 1755, a treatise com- 
 paring the antique with the modern method 
 of engraving precious stones. He held the 
 office of engraver to the Mint, and was a 
 fellow of the Royal Society and of the Anti- 
 quarian Society. He died Dec. 27, 1763, at 
 St. Petersburg, where he had gone the 
 preceding year on the invitation of the 
 empress. There is a medal of Sir Robert 
 Walpole by him. 
 
 NATTES, John Claude, water-colour 
 ^painter. Was born in England about 1765, 
 and was a pupil of Hugh Deane. An early 
 draftsman of the water-colour school, 
 his works wore mostly connected with 
 topography, on which his art was founded. 
 Between 1797 and 1800 he travelled in 
 Scotland, making the drawings which he 
 published in 1804 under the title of ' Scotia 
 Depicta.' In 1802 he published 'Hibernia 
 Depicta in 1805, 'Select Views of Bath, 
 Bristol, Malvern, Cheltenham, and Wey- 
 mouth ; ' and in 1806, ' Bath Illustrated.' 
 He was one of the foundation members of 
 the Water-Colour Society in 1804, but was 
 expelled in 1807 for having exhibited, in 
 his own name, drawings not by his own 
 hand, to increase his share of the profits of 
 the exhibition. At the Academy he was 
 an exhibitor from 1782 to 1804, and from 
 1807 to 1814, when he exhibited for the last 
 time. His early contributions were almost 
 exclusively views in Italy, but later Scotch 
 and English. He drew in a loose style, 
 and his works are in the tinted manner, 
 weak and poor. 
 
 NEAGLE, John, engraver. Was born 
 in London about 1760. Some accounts 
 call him an Irish artist. He produced a 
 considerable number of works ; among them 
 ' The Royal Procession to St. Paul's,' 1789. 
 For the Shakespeare Gallery scenes from 
 ' The Comedy of Errors ' and ' Love's Labour 
 Lost,' after Wheatley, R.A., and two sub- 
 jects from the first part of 'Henry IV.,' 
 after Smirke, R.A. ; also the illustrations 
 for Murphy's ' Arabic Antiquities of Spain,' 
 1816. He practised in the line manner. 
 His works were greatly esteemed, and he 
 took high rank among the engravers of 
 his day. 
 
 NEALE, John Preston, water-colour 
 draftsman. Was born in 1771, and began 
 life as a clerk in the Post-office. He early 
 attached himself to topographic art, and 
 appears to have been the son of a painter 
 of insects, who exhibited at the Academy 
 at the end of the 18th century. He painted 
 a few works in oil, but his chief works are 
 
NEA 
 
 NEW 
 
 in water-colours, drawn in with a pen and 
 tinted. To give greater truth to his buil- 
 dings he studied architecture. He was, com- 
 mencing in 1801, a contributor from time 
 to time to the Academy exhibitions, and 
 in 1 81 7-1 8 to the Water-Colour Society. He 
 made the elaborate and artistic drawings 
 for ' The History and Antiquities of the 
 Abbey Church at Westminster,' published 
 1818-23. He travelled through Great Bri- 
 tain, and made the drawings for the ' Views 
 of the most interesting Collegiate and Paro- 
 chial Churches,' published 1824-25; and 
 also made the drawings for two series of 
 'Views of the Seats of the Nobility and 
 Gentry of the United Kingdom' — the first 
 series published 1822-24, the second 1829 ; 
 and drew and designed for many other pub- 
 lications. He died near Ipswich, Nov. 14, 
 1847. 
 
 NEALE, Thomas, engraver. Practised 
 in London towards the middle of the 17th 
 century. He is said to have been a pupil 
 of Hollar, and worked in his manner. He 
 engraved the 24 plates of Holbein's 'Dance 
 of Death,' published in 1657 ; some of 
 Barlow's 'Birds,' 1659 ; and is assumed to 
 have been employed upon the plates for the 
 eighth edition of Ogilvy's edition of ' j^^sop.' 
 
 NEELE, Samuel John, engraver. Was 
 employed on antiquarian illustrations and 
 engineers' plans, but chiefly as a map and 
 writing engraver. He amassed a fortune 
 by his profession. Died in 1824, aged 66. 
 
 NELSON, John, sculptor. Was known 
 in Shropshire and the neighbouring counties 
 for his skill as a statuary. Sir Rowland 
 Hill's statue, on the column to his memory 
 in Hawkstone Park, and the statue of Sir E. 
 Montgomery, in Shrewsbury Castle, are by 
 him. He died at Shrewsbury, April 17, 
 1812, aged 86. 
 
 NELSON, John Heney, sculptor. He 
 is believed to have been born in Ireland. 
 Resided some time in Dublin. Executed a 
 fine statue of ' Venus Attiring,' which he 
 exhibited at Manchester in 1847. He died 
 there December 26, 1847, aged 47, leaving a 
 widow and four children without provision. 
 
 NESBITT, Charlton, wood engraver. 
 Born in 1775 at Swalwell, Durham. He 
 was, at the age of 14, apprenticed to Beilby 
 and Bewick, and was one of their first 
 pupils. He gained the Society of Arts 
 premium for his view of the church of St. 
 Nicholas, Newcastle, which was executed on 
 no less than 12 distinct blocks. He engraved 
 a few of the tail-pieces for the ' British Birds ' 
 during his apprenticeship ; and, except two, 
 all the tail-pieces to the poems by Gold- 
 smith and Parnell, published 1795. On 
 the completion of his apprenticeship he 
 engraved a large cut (15 in. by 12 in.), from 
 a drawing by his fellow-pupil Johnson, and 
 was again rewarded by the Society of Arts 
 
 premium. About 1799 became to London, 
 where he settled, and found full employ- 
 ment. Ho engraved many of Thurston's 
 designs ; also, for a history of England, 
 publislied by Scholey ; and for the ' Reli- 
 gious Emblems,' published by Akerman, 
 1808. In 1815 he retired to his native 
 village, where he continued till 1830, and 
 though he did not abandon his art, his works 
 were comparatively few. In that year ho 
 returned for a time to London. He died at 
 Brompton, while on a visit to the Metro- 
 polis, November 11, 1838, aged 64. Among 
 his best works are the ' Illustrations of 
 Hudibras,' ' Sir Egerton Bridge's Works,' an 
 edition of Shakespeare, and Northcote's 
 ' Eables.' He attained a broad, clever style, 
 his textures were variously and truly ren- 
 dered, and great brilliancy of effect pre- 
 served. His figures well drawn and simply 
 treated. 
 
 NEVE, Cornelius, portrait painter. 
 Practised in the time of Charles I. Several 
 of his works, though not of much excellence, 
 have survived. There was a group of 
 himself, his wife and children at Petworth. 
 
 NEWCOURT, Richard, topographical 
 draftsman. He practised in the middle of 
 the 17th century. Several views of old 
 Religious Houses by him are engraved for 
 Dugdale's ' Monasticon Anglicanum,' by 
 Hollar. 
 
 NEWENHAM, Frederick, portrait 
 'painter. He was an occasional exhibitor of 
 portraits at the Royal Academy, with some- 
 times a domestic subject, from 1844 to 
 1 855. He painted a portrait of the Queen 
 for the Junior United Service Club, and 
 exhibited, in 1845, ' The Mother's Letter 
 in 1849, a Spanish subject; in 1855, 'The 
 Toilette.' He died March 21, 1859, aged 52. 
 
 NEWMAN, John, architect. The Roman 
 Catholic Chapel in Moorfields, commenced 
 in 1817, is by him. Prom that time to 
 1838, in which year he sent a design for 
 the Roman Catholic Church proposed to be 
 erected in St. George's Fields, he was an 
 occasional exhibitor at the Royal Academy. 
 He died at Paris, January 3, 1859, aged 72. 
 
 NEWNHAM, Simon Ha rcourt. Vis- 
 count (afterwards Earl Harcourt), amateur 
 etcher. There are by him some landscape 
 views, dated about 1760, among them 
 several after Paul Sandby. He exhibited 
 some etchings at the Spring Gardens' Rooms 
 in 1763, and the same year published four 
 views of the ' Ruins at Stanton Harcourt,' 
 drawn and etched by himself. Walpole 
 speaks of them in extravagant terms, for 
 which there is little warrant. He died in 
 1777. 
 
 NEWTON, Francis Milner, R.A., por- 
 trait 'painter. Born in London in 1720. 
 He was pupil of Marcus Tuscher, and a 
 member of the St. Martin's Lane Academy. 
 
 293 
 
NEW 
 
 NEW 
 
 He acted, in 1755, as secretary to the 
 Artist's Committee, to found an academy ; 
 afterwards he was secretary to the Incor- 
 porated Society of Artists, and on the foun- 
 dation of the Koyal Academy was the first 
 secretary. He w^as a very indifferent artist, 
 but had many sitters, and exhibited his 
 portraits at the Academy from 1769 to 1774. 
 He resigned his office of secretary to the 
 Academy in 1788, when his powers were 
 declining. Soon after a large fortune was 
 left to him by an acquaintance, who dis- 
 approving of the marriage of his only 
 son, disinherited him. To this estate, 
 near Taunton, he retired, and died there, 
 August 14, 1794. He held for some time 
 the office of ' Muster Master ' for England, 
 and generally wore the Windsor uniform. 
 
 NEWTON, Gilbert Stuart, K.A., sub- 
 ject painter. Was born at Halifax, Nova 
 Scotia, September 2, 1795, the son of a 
 British officer who was driven from Boston 
 when that city was occupied by the troops 
 under General Washington. He was the 
 nephew of Gilbert Stuart, who was distin- 
 guished in America as a portrait painter, 
 and after his father's death, his mother 
 returned with him, in 1803, to Charleston, 
 near Boston, where he was placed with a 
 merchant and intended for a commercial 
 life, but art prevailed. He had some little 
 art instruction from his uncle, but did not 
 long agree with him, yet was soon spoken 
 of as a lad of much promise. In 1817 
 he visited Italy, where he remained some 
 months, and then went to Paris. Here 
 he met his countryman Leslie, afterwards 
 E.A., and came with him to England by 
 Brussels and Antwerp, arriving in London 
 the same year. 
 
 He was admitted a student of the Eoyal 
 Academy, and though fond of society, was 
 diligent in his studies, and soon made him- 
 self known. In 1821 he exhibited at the 
 British Institution his small head called 
 'The Forsaken,' with 'Lovers' Quarrels,' 
 and ' The Importunate Author.' He also 
 at this time painted some portraits, but his 
 subject pictures were so eminently suc- 
 cessful that he was led to continue them, 
 and was a regular exhibitor at the Royal 
 Academy. He contributed, in 1823, 'Don 
 Quixotte in his Study ;' in 1824, ' Monsr. 
 de Pourceaugnac ;' in 1826, ' Capt. Macheath 
 upbraided by Polly and Lucy ;' and in 1828, 
 the ' Vicar of Wakefield reconciling his Wife 
 to Olivi-a,' a work of touching interest and 
 beauty, and was the same year elected an 
 associate of the Academy. This was suc- 
 ceeded by his finest works. In 1830, 
 ' Yorick and the Grisette,' ' Shylock and 
 Jessica,' 'Abbot Boniface;' and in 1831, 
 ' Portia and Bassanio,' with ' Cordelia and 
 the Physician.' These great works secured 
 his election in 1832 as Eoyal Academician. 
 294 
 
 The same year he visited America, where 
 
 he married, and came back to England with 
 his wife within the twelvemonth. During 
 his stay in America he had shown some 
 slight signs of insanity, which unhappily 
 increased after his return. His last exhi- 
 bited work was in 1833, 'Abelard in his 
 Study;' but he painted no picture of im- 
 portance after his election as academician. 
 His mind became seriously affected, con- 
 firmed insanity ensued, and he was confined 
 in a private lunatic asylum in Chelsea, 
 where his life was terminated by rapid 
 consumption on August 5, 1835. He was 
 buried in Wimbledon churchyard. His 
 widow and son returned to America shortly 
 after his death, and she soon afterwards 
 married again. Dunlap, his American bio- 
 grapher, says, ' That he congratulated him- 
 self upon being born a subject of the King 
 of Great Britain, and that on one occasion 
 at New York, at a large dinner-party, he 
 got up and disclaimed being a citizen of the 
 United States.' 
 
 His works are marked by a refined sense 
 of colour and a great feeling for female 
 beauty, with a pure sweetness of expression 
 and character, but they are wanting in 
 drawing and executive power. His sub- 
 jects are well chosen; his story, whether 
 quiet humour or pathos predominate, is 
 simply and well told. His pictures are very 
 few in number, but are alw^ays agreeable 
 and full of interest, and the chief of them 
 are well known from their engravings. 
 
 NEWTON, James, engraver. Was the 
 son of Edw^ard Newton, an engraver, of 
 whom there is no record, and was born in 
 London in 1743. He practised in London 
 in the latter part of the 18th century chiefly 
 in portrait, but there are landscapes by him 
 after Zuccarelli and Claude, and some sub- 
 jects after Cipriani and Eeinagle. 
 
 NEWTON, William, architect. Brother 
 to the above James Newton. Was clerk 
 of the works of Greenwich Hospital, and 
 designed some of the additional buildings. 
 In 1766 he was a member of the Incor- 
 porated Society of Artists, and in 1776 and 
 1780 was an exhibitor at the Eoyal Aca- 
 demy. He published ' The Architecture of 
 Vitruvius,' 1772, and superintended the 
 publication of the third volume of Stuart's 
 ' Antiquities of Athens.' Died at Sidford, 
 Devon, in July, 1790. 
 
 NEWTON, Sir William John, Knt., 
 miniature fainter. Was born in London 
 1785, and was the son of the above James 
 Newton. He practised miniature painting 
 with success, first exhibiting at the Aca- 
 demy in 1808, and from that year con- 
 tinuing a large contributor. His art was 
 popular, and he had many distinguished 
 sitters. He was appointed miniature pain- 
 ter to Queen Adelaide, and in 1837 received 
 
NEW 
 
 NIC 
 
 tho honour of knighthood. He died in 
 London, January 22, 1869. He was a weak 
 draftsman, his works graceless, and wanting 
 in composition and taste. He tried some 
 groups of miniatures of a large size on a 
 plan of his own for uniting several pieces 
 of ivory. 
 
 NEWTON, Richard, caricaturist and 
 miniature painter. He gave promise of 
 ability, but his works were chiefly convivial 
 and licentious. He died in London at the 
 early age of 21, December 9, 1798. The 
 'Bhie Devils,' 1795, drawn and etched by 
 him, is a clever design. 
 
 NEWTON, Mrs. Mary, amateur. She 
 was the daughter of Mr. Joseph Severn, 
 her Majesty's Consul at Rome, who is well 
 known as an accomplished artist. She 
 married Mr. Charles J. Newton, of the 
 British Museum, and her early taste for 
 art was assisted by Mr. Richmond, R.A. 
 She drew the figure accurately, received 
 several commissions from the Queen, and 
 drew portraits in crayons and water-colours. 
 She exhibited at the Royal Academy in 
 1855, 'Chess;' in 1866, 'Summer and 
 Winter;' in 1864, ' Letty ; ' and in 1865, 
 three portraits. She died of measles, 
 January 2, 1866, aged 33. 
 
 NICHOLLS, Sutton, engraver. Prac- 
 tised in London early in the 18th century. 
 He was chiefly employed upon plates for 
 booksellers. Some slight etchings of shells 
 and other objects are among his best works. 
 He engraved the views in London for 
 Stowe's 'Survey,' and published in 1725, 
 * Prospects of the Most Considerable 
 Buildings about London,' both drawn and 
 engraved by himself. 
 
 NICHOLS, Joseph, topographical pain- 
 ter. Painted, in 1738, 'A View of Stocks' 
 Market,' in the City, since removed; and 
 a companion picture, ' A View of the Foun- 
 tain in the Temple,' both of which were 
 engraved. In tho first some well-painted 
 figures were introduced, and the work was 
 for some time attributed to Hogarth. Of 
 the painter nothing is now known. 
 
 NICHOLSON, Francis, water-colour 
 painter. Was born at Pickering, Yorkshire, 
 where his family possessed a small pro- 
 perty, November 14, 1753. He showed an 
 early disposition to the arts, and had 
 Bome lessons from an artist at Scarborough. 
 After two visits to London, he settled at 
 Whitby in 1783, married there, and was 
 employed in painting portraits of horses, 
 dogs, and dead game, and was also engaged 
 in teaching. In 1789 he exhibited for the 
 first time at the Academy. He left Whitby 
 in 1792, and resided for a time at Knares- 
 borough, then at Ripon, and from thence, 
 approaching the Metropolis, at Weybridge, 
 and finally came to London, where he estab- 
 lished himself as an artist. He was one of 
 
 the founders of tho Water-Colour Society in 
 1804, and continued a member and exhi- 
 bitor up to 1815. His subjects, frequently 
 waterfalls or rushing streams, were found 
 in Wales and the hilly country of the north 
 of England, and in Scotland. He became 
 distinguished in the new art, though he 
 never attained excellence. Later ho de- 
 voted much of his time to lithography, and 
 made above 800 drawings upon the stone, 
 and had much influence in the advance- 
 ment of the art. About 1822 he published 
 a work on 'The Practice of Drawing and 
 Painting Landscape from Nature.' He dis- 
 covered a process of treating the high lights 
 in water-colours, which consisted in secur- 
 ing them with a composition, not soluble 
 in water, but which might bo readily re- 
 moved with a highly rectified spirit, leaving 
 the lights pure. Having acquired a com- 
 petency, he gave up the practice of his own 
 art, and amused himself by experiments, 
 painting in various oil vehicles, sometimes, 
 unfortunately, upon the best of his own 
 drawings in his possession, and continued 
 to the end of his long life in these occupa- 
 tions. He was a man of various attain- 
 ments, and much practical knowledge. He 
 died in London, March 6, 1844, aged 90. 
 His collection of pictures, drawings and 
 sketches were sold at Christie's in the same 
 year. 
 
 NICHOLSON, Alfred, water-colour 
 painter. Son of the above Francis Nichol- 
 son. Was born in Yorkshire, and early in 
 life entered the Royal NaA^y, and saw some 
 service on the coasts of Holland and Por- 
 tugal. After a few years he left the Navy, 
 and commenced his career as an artist. Ho 
 visited Ireland in 1813, resided there three 
 or four years, and made a large collection of 
 sketches elaborately finished. About 1818 
 he settled permanently in London, and was 
 almost exclusively employed as a teacher 
 of drawing. In 1821 he made an excursion 
 through North AVales and a part of Ireland, 
 adding largely to his collection of sketches, 
 and in the following summer visited 
 Guernsey, Jersey, and Yorkshire, assidu- 
 ously pursuing his art. His drawings com- 
 bine much graceful finish with force and 
 general eifect. His works are usually of a 
 small size. He died in London, November 
 23, 1833, aged 45, having suffered during 
 the last three or four years of his life from 
 a painful illness. He left a widow and two 
 infant children. 
 
 NICHOLSON, Isaac, wood engraver. 
 Was born at Melmerby, in Cumberland. 
 Was apprenticed to Bewick, and approaches 
 nearer to him in style than any of his other 
 pupils. He was clever and ambitious. He 
 engraved the illustrations for Flower's 
 'Heraldic Visitation of the County of 
 Durham,' Sharp's 'History of the Rebel- 
 
 295 
 
NIC 
 
 NIX 
 
 lion;' also, among others, for a History 
 of England, Watts's Hynms, * Robinson 
 Crusoe.' He died October 18, 1848, aged 59. 
 
 NICHOLSON, Peter, architect. Was 
 the son of a stonemason, and was born at 
 Preston Kirk, East Lothian, July 20, 1765. 
 He was taken from the parish school at 12 
 years of age to assist his father, but was 
 afterwards apprenticed to a cabinet-maker, 
 and then worked as a journeyman in Edin- 
 burgh and London. He commenced teach- 
 ing in an evening school in Soho, and, 
 abandoning journey-work, published in 
 1792, 'The Carpenter's New Guide,' for 
 which he himself engraved the plates. 
 Arising out of his teaching, he next pub- 
 lished ' The Student's Instructor,' ' The 
 Joiner's Assistant,' and ' The Principles of 
 Architecture,' a serial publication, com- 
 menced in 1794, and completed 1809. He 
 returned to Scotland in 1800, and settled in 
 Glasgow, where he gained employment as 
 an architect. His chief works are a wooden 
 bridge over the Clyde, and some modern 
 residences, which gave a new character to 
 the city buildings. He afterwards prac- 
 tised for a time at Carlisle, and was ap- 
 pointed architect to the county, and then, 
 after two years, he returned again to Lon- 
 don, and resumed his literary labour. He 
 published at this time his ' Architectural 
 Dictionary,' ' Mechanical Exercises,' ' The 
 Builder,' ' The Workman's New Director,' 
 with some other works of a scientific cha- 
 racter, and in 1827 commenced the publi- 
 cation of his ' School of Architecture and 
 Engineering,' of which only five out of the 
 twelve numbers proposed were issued. This 
 work failed, and disappointed by the failure 
 and the loss which it entailed, he removed 
 in 1829 to Morpeth, and in 1832 to New- 
 castle-upon-Tyne, where he was chiefly 
 occupied in teaching; but with all his 
 labours he was poor, and in old age, and 
 struggling with difficulties, a subscription 
 was raised for him in the town, and in 
 1835 a small pension was granted to him 
 from the privy purse. In 1841 he removed 
 to Carlisle, and died there June 18, 1844. 
 His son, Michael Angelo Nicholson, who 
 died in 1842, was the author of the ' Car- 
 penter and Joiner's Companion.' 
 
 NICHOLSON, Otho, architect. Prac- 
 tised in the reign of James 1. The old 
 conduit at Carfax, Oxford, a singular 
 structure, was by him, and bore his initials. 
 It was removed in 1787 to Nuneham Park, 
 and is engraved, forming the plate to the 
 Oxford Almanack, 1833. 
 
 NICHOLSON, Thomas Henry, wood en- 
 graver and modeller . He was at the com- 
 mencement of his career chiefly employed 
 on book illustrations, and was known by 
 his very clever drawings of the horse. 
 This gained him the notice of Count 
 296 
 
 d'Orsay, in whose studio at Gore House he 
 for some years found employment. He as- 
 sisted in modelling the small equestrian 
 statuettes, on which the Count gained some 
 reputation. And on the breaking up of the 
 establishment at Gore House in 1848, he 
 returned to his wood engraving ; but of a 
 shy and retired disposition, he did not enjoy 
 the credit which his works deserved. Ho 
 died at Portland, Hants, 1870. 
 
 NICHOLSON, James, glass stainer. 
 Lived in Southwark in the 16th century, 
 and was much employed. He was one of 
 the four contractors for the 18 painted 
 windows in the upper storey of King's 
 College Chapel, Cambridge, in the reign of 
 Henry VIII. 
 
 NICHOLSON, William, R.S.A. portrait 
 painter. He was born at Newcastle -on- 
 Tyne, 1784, and sent from thence, in 1813, 
 two portraits, his first contribution to the 
 Academy Exhibition, followed in 1816 by a 
 portrait of AV. Bewick. In 1820 he was 
 settled in Edinburgh, where he practised as 
 a portrait painter, and sent an occasional 
 portrait to the Academy Exhibition in Lon- 
 don. His best works were his water-colour 
 portraits, which were esteemed for their 
 faithful resemblance and true art merits. 
 He was one of the promoters and founders 
 of the Royal Scottish Academy, to which 
 his most mature works were contributed, 
 was active in securing the assistance of the 
 most influential of his brother artists, and 
 became himself the secretary, thus success- 
 fully opposing the lay directors of the 
 Royal Institution, where the Scottish artists 
 had previously exhibited. He etched and 
 published a series of portraits with short 
 biographical notices, and engraved some of 
 his own works with much painter-like feel- 
 ing. He died at Edinburgh, after a short 
 illness, August 16, 1844, in his 60th year. 
 
 NICHOLSON, William Adams, architect. 
 Was born in Southwark, and was pupil to 
 J. B. Papworth. In 1827 he settled at 
 Lincoln, and was much employed. He built 
 several mansions and churches in the neigh- 
 bourhood, and enjoyed some local reputa- 
 tion. Died at Boston, April 8, 1853, aged 
 49. 
 
 NIXON, John, amateur. Towards the 
 middle of the 18th century he was noted for 
 his humorous sketches and caricatures. He 
 died in 1818. 
 
 NIXON, Samuel, scid'ptor. Was em- 
 ployed on works of a decorative class, and 
 in portrait sculpture. He was an exhibitor 
 at the Royal Academy from 1824 to 1846, 
 contributing some works of high aim — ' The 
 Reconciliation of Adam and Eve,' 1828; 
 ' The Birth of Venus,' 1830. His later works 
 were chiefly portrait sculpture. The sculp- 
 tural decorations for the Goldsmiths' Hall, 
 especially the groups of the Four Seasons at 
 
NIX 
 
 NOL 
 
 the foot of tlie grand staircase are by him, 
 and are gracefully and finely carved, as is 
 also the statue of J ohn Carpenter, at the 
 City of London School ; and his chief work 
 the granite statue of William IV., erected 
 by the City Corporation in Cannon Street. 
 He died at Kennington, August 2, 1854, 
 aged 51. 
 
 NIXON, JAMES,A.E.A.,wmMi(i^re^Mmzfcr. 
 Born about 1741. He was a member of the 
 Incorporated Society of Artists, and was 
 one of the first students of the Koyal 
 Academy. He first exhibited at the Academy 
 in 1772, and was elected associate in 1778. 
 His works were chiefly miniatures, in which 
 he attained much excellence, sometimes 
 portraits of actresses and others in character, 
 with occasionally a portrait in oil, and a 
 few historical subjects. He also designed 
 some illustrations for books. He held the 
 appointment of limner to the Prince Kegent, 
 and of miniature painter to the Duchess of 
 York. Died at Tiverton, May 9, 1812, 
 aged 71. Some of his works were engraved. 
 
 NIXON, John, engraver. Born 1706. 
 His best works are small portraits executed 
 in a very neat style, the faces finished in 
 the dot manner; among them the Prince 
 of Wales, Duke of Cumberland, Lord 
 Granville. 
 
 NOBLE, George, engraver. He was 
 employed by Boydell, and enjoyed much 
 reputation at the beginning of the 19th 
 century. His chief works are for the Shake- 
 speare Gallery, and are after Wheatley, 
 Westall, Smirke and Tresham. He als.o 
 engraved some of the illustrations after 
 E. Cook, K.A. for Goldsmith's Miscellaneous 
 Works. His brother, S. Noble was em- 
 ployed on some of the same works. 
 
 NOBLE, William Bonneau, landscape 
 painter. Was the son of a bookseller, and 
 born September 13, 1780. He com- 
 menced life as teacher of drawing, and 
 exhibited at the Academy, in 1809, three 
 Welsh views which were of some promise ; 
 but disappointed by the rejection, in 1810, of 
 some works sent for exhibition on which he 
 had spent much labor, though his landscapes 
 were exhibited in 1811, and suffering at 
 the same time from a disappointmentin love, 
 he fell into despondency and habits of reck- 
 less irregularity, and in November, 1825, 
 made a desperate attempt on his life. He 
 died at Somers' Town, September 14, 1831. 
 He left behind him a long poem in manu- 
 script, called ' The Artist.' 
 
 NODDEK, R. P., flower and animal 
 fainter. He found his employment chiefly 
 as a painter of natural history, and held the 
 appointment of botanic pa inter to George III. 
 Prom 1786 to 1820 he was an occasional 
 exhibitor at the Royal Academy. His con- 
 tributions comprised flowers, and portraits 
 of horses and dogs. 
 
 NOLLEKENS, Joseph Eeancis, called 
 
 ' Old Nollckens,' portrait painter. Was the 
 son of a painter who had resided some 
 time in England, but was born at Antwerp, 
 June 10, 1702. He came to London in May 
 1733, and studied under Peter Tillemans. 
 He painted landscape, figure and conversa- 
 tion subjects, particularly children, and 
 copied after Watteau and Paulo Pannini. 
 He was employed on some decorative works 
 at Stowe by Lord Cobham, and was also 
 employed by Lord Tilney. He was a 
 Roman Catholic, and is said to have been so 
 much alarmed by the Rebellion in 1 745, that 
 he could not rally, and died in St. Anne's 
 parish, Soho, January 21, 1748, leaving a 
 widow with a large family, but not without 
 some provision. He was buried at Pad- 
 dington Church. A number of his paintings 
 for Lord Tilney were long preserved at 
 Wanstead House, but were sold by auction, 
 with the rest of the furniture, in 1822. They 
 were chiefly landscapes with figures, and 
 realised good prices — one of them, a ' Con- 
 verzatione,' fetching 127/. At Windsor there 
 is a small and very clever little portrait- 
 group by him of Frederick Prince of Wales 
 and sisters, the character and expression very 
 true and good, the group well composed, and 
 gaily but agreeably coloured. 
 
 NOLLEKENS, Joseph, R.A., sculptor. 
 Son of the foregoing. Was born in Dean 
 Street,Soho, August 11, 1737. His mother, a 
 French woman, soon after his father's death 
 married a modeller named Williams, who 
 was employed in the Chelsea Porcelain 
 Works, and went with her husband to Plan- 
 ders. Her son's education was neglected, but 
 he early set to work to fit himself for an 
 artist, and for a short time studied in Ship- 
 ley's school. At thirteen he was employed by 
 Scheemakers, and it is said that the drudgery 
 of his tasks, the little prospect before him, 
 and his natural disposition, led him into 
 dissipation, but that he was afterwards able 
 to resume habits of temperance and industry. 
 In 1759 and in 1760 he gained the pre- 
 miums of the Society of Arts, and he had at 
 that time by his industry saved the means 
 of getting to Rome, where he worked hard 
 to maintain and improve himself. In 1761 
 he was again successful and received a pre- 
 mium of 50 guineas from the Society of 
 Arts for a group in marble, and further, the 
 gold medal of the Roman Academy. He 
 executed some busts and some good groups, 
 sending home to the Pree Society's Exhibi- 
 tion ' Two Victors in the Panathenian 
 Games,' 1766, and some busts in 177^\ and 
 returned to London in that year with a 
 purse which he had saved, and soon after- 
 wards marrying a lady with a handsome 
 portion, he speedily acquired employment 
 and celebrity. 
 
 On his return he was a constant exhi- 
 297 
 
NOR 
 
 NOR 
 
 bitor at the Royal Academy. His contri- 
 butions consisted largely of busts, but he 
 no less exhibited classic groups, repeti- 
 tions of Diana, Juno, Venus, Adonis, Cupid, 
 Mercury, and other classic divinities. As 
 a restorer of antique marbles he was much 
 and advantageously employed, and he also 
 speculated very profitably in such restora- 
 tions on his own account. In 1771 he was 
 elected an associate, and the following year 
 a full member, of the Academy. He was 
 patronised by George III., with whom he 
 Avas in much favour. His bust of Fox 
 made a great impression upon the public. 
 Pitt's bust had equal notoriety. Of the 
 former he is said to have sold 100, and of 
 the latter 150 repetitions, at 100 guineas 
 each. To this profitable branch of his art 
 he chiefly devoted himself and gradually 
 raised his price to 150 guineas. He, how- 
 ever, occasionally produced a group. His 
 * Cupid and Psyche,' ' Bacchus,' ' Arria and 
 PtBtus,' and several Venuses — among them 
 his ' Venus with the Sandal,' esteemed his 
 best work. There are also some fine monu- 
 mental groups by him. His monument, 
 in Westminster Abbey, of the three cap- 
 tains who fell in Eodney's action, 1782; 
 Mrs. Howard, of Corby Castle, and his 
 statue of Pitt at Cambridge, for which he 
 was paid 3,000 guineas, are of great merit; 
 but his chief excellence is in his busts, which, 
 if wanting in vigour, are marked by great 
 simplicity and truth. 
 
 He carefully imitated nature. His like- 
 nesses were good, distinguished by exact 
 finish, and an absence of manner, but his gods 
 and goddesses wanted individuality and 
 freshness. He worked with the most perse- 
 vering industry till February 1819, when 
 he suffered from a sudden paralytic attack, 
 but partially recovering, he amused himself 
 in his studio for about two years, when 
 increasing infirmities rendered him incapa- 
 ble of any further labour. He died April 23, 
 1823, and was buried in Paddington church- 
 yard. Eccentric and singular in his habits, 
 shrewd in his dealings, given to petty eco- 
 nomies, he had amassed a large property, 
 and being without heirs, left 6,000/. to 
 his assistants and servants, and above 
 200,000/. between two of his friends. His life 
 — 'Nollekens and his Times' — was written 
 by John T. Smith, one of his executors, who 
 was for many years keeper of the prints in 
 the British Museum — a gossiping book full 
 of interest, but mixed with many petty do- 
 mestic affairs which a more tender bio- 
 grapher would liardly have recorded : also 
 by Allan Cunningham, in his 'British 
 Painters, Sculptors, and Architects.' 
 
 NOKDEN, John, engraver. Supposed to 
 have been born in Wiltshire in 1546. He 
 was educated at Oxford, and took there the 
 degree of Master of Arts in 1573. He 
 298 
 
 resided at Hendon, Middlesex, and was 
 patronised by Lord Burleigh and his son 
 the Earl of Salisbury, and was, in 1614, 
 Surveyor of the King's Lands. His prin- 
 cipal work as an engraver was his 'Specu- 
 lum Britannise,' a description of Middlesex 
 and Herts, with a frontispiece and maps. 
 He also engraved, in 1609, a view of 
 London, introducing the Lord Mayor's 
 show. 
 
 NORDEN, Friedrich Ltjdwig, tojpo- 
 graphical draftsman. Born in 1708, at 
 Grliickstadt, in Denmark, he was brought up 
 to the sea, and became a ship's captain. He 
 was employed by Christian VI. to travel in 
 Egypt and Nubia, and he took the oppor- 
 tunity to make drawings of the interesting 
 scenery and remains of antiquity, and on his 
 return they were engraved. He afterwards 
 came to England and published, etched by 
 his own hand, ' Ruins and Colossal Statues 
 at Thebes.' He died here in 1742. 
 
 NORG-ATE, Edward, limner. Was born 
 at Cambridge. Son of the Master of Bennet 
 College. He had a talent for limning and 
 heraldry, came to London to pursue this 
 branch of art, and was intimate with the 
 best painters of the time. He gained the 
 notice of the Earl of Arundel, who, in 1633, 
 appointed him Windsor Herald, and after- 
 wards illuminator of the Royal Patents. 
 His works of this class showed exquisite 
 taste and finish. His initial letters, grouped 
 portraits, and borders of appropriate designs, 
 were deemed unrivalled. In 1640 he held 
 the office of Clerk of the Signet and attended 
 the King to Scotland. He was deprived of 
 his office before the execution of Charles L 
 Fuller states that he died at the Herald's 
 College, December 23, 1650, and was buried 
 in the adjacent Church of St. Bennet ; but 
 Dallaway says that his work, ' Miniature, or 
 the Art of Limning,' in his own handwriting, 
 is dated July 8, 1654. 
 
 NORRIS, John, architect. He practised 
 early in the 18th century. Rebuilt Lord 
 Stamford and Warrington's seat in Che- 
 shire, 1730. 
 
 NORTHCOTE, James, R.A., historical 
 and portrait painter. Descended from a 
 respectable Devonshire family, claiming an 
 ancient pedigree, he was the son of a watch- 
 maker at Plymouth, where he was born, 
 October 22, 1746. Though he showed an 
 early attachment to art, his prudent father 
 bound him his own apprentice, and he 
 served his full time to the trade. During 
 these long seven years his spare hours were 
 spent in drawing, and on their termination 
 he devoted himself to art, and commencing 
 portrait painting, gained some notice in his 
 own town ; and then, at the age of 25, in 
 May 1771, he came to London furnished 
 with an introduction to Sir Joshua Reynolds. 
 The kind president not only admitted his 
 
NOR 
 
 NUT 
 
 young townsman to his studio, but to his 
 house, and he continued with him for five 
 years, picking up such knowledge as ho 
 could. He also became a student at the 
 Academy, and between the two must have 
 gained the technical power he most needed ; 
 but his progress was laborious and slow. 
 In 1775 he left Keynolds with mutual 
 r^et, and returning to Devonshire, soon 
 made a little purse by portrait painting. 
 
 In March 1777 he set out alone for Italy, 
 not knowing any language but his own, and 
 travelled by Lyons and Genoa to Eome, 
 where he spent the greater part of his 
 time in copying, occasionally on commission, 
 and in the study of the old masters, espe- 
 cially Titian. He returned home by way of 
 Flanders, at the end of three years arriving 
 in London in May 1780, and again had 
 recourse to portraiture, which he tried for 
 a time in his native county, and then set- 
 tled in London. From the first his desire 
 had been to paint subject pictures, and in 
 1783 ho exhibited some works of a domestic 
 class, one of which was engraved for Boydell 
 and had much success. This induced him to 
 continue, meeting at the same time, however, 
 good encouragement as a portrait painter. 
 But his impulses led him to a higher aim, 
 and for this the opportunity was afforded, 
 which he earnestly seized, when the great 
 scheme of the Shakespeare Gallery was 
 started. 
 
 He produced, in 1786, his first truly his- 
 toric work — ' The Young Princes murdered 
 in the Tower,' and was in the same year 
 elected an associate of the Eoyal Academy ; 
 in the spring of the next year a full member. 
 His success was followed by the ' Burial of 
 the Princes in the Tower,' and his great 
 work, the ' Death of Wat Tyler,' for the 
 Corporation of London. In the succeeding 
 years he continued to work for Boydell's 
 gallery, but did not abandon portraits, and 
 he commenced another series, the career 
 of two servant girls, a moral composition 
 in ten pictures — ' The Diligent Servant 
 and the Dissipated,' a female version of 
 Hogarth's ' Idle and Industrious Prentice.' 
 The work was published in 1796, and 
 though successful, yet, from the absence of 
 character and humour, the plainness of the 
 coarsely told incidents, and the omission of 
 all the minor graces, it did not approach the 
 work of his great prototype. He was suc- 
 cessful as a painter of animals. He intro- 
 duced them well into his pictures, and 
 painted some subjects of animals — 'The 
 Dog and Heron,' ' The Tiger and Crocodile,' 
 ' The Lion Hunt,' with others, and his fond- 
 ness for animals seems to have been an 
 inducement to commence his ' Fables,' pub- 
 lished in 1828, in which they are conspicuous. 
 In 1825 the directors of the British Insti- 
 tution purchased for 150 guineas his 'En- 
 
 tombment of our Saviour/ and presented 
 
 the picture to Chelsea new church ; and in 
 1827, his ' Christ's Agony in the Garden/ 
 which they presented to Hanover Chapel, 
 Regent Street. 
 
 He was a man of marked natural abilities. 
 Entering art late in life, unprepared by his 
 general education, he showed great energy 
 and industry in conquering the difficulties 
 of his position. Ho was observant in all 
 that related to his art, reflective by habit, 
 and able to express clearly his ideas both 
 orally and with his pen. His first literary 
 attempts were printed in ' The Artist,' a 
 periodical commenced in 1807. In 1813 he 
 published his ' Life of Sir Joshua Reynolds,* 
 to which his intimacy with Reynolds and 
 his knowledge of art, gave a peculiar cha- 
 racter and value. He had great conver- 
 sational powers, and in 1826 his conver- 
 sations, written by Hazlitt, who was his 
 constant visitor, appeared in the ' New 
 Monthly Magazine.' They were followed by 
 his 'Fables,' many of which were written 
 as well as illustrated by himself. His last 
 work was his ' Life of Titian,' published in 
 1830. He lived for nearly 50 years at 
 39 Argyll Street, where his sister kept his 
 house, and there he died on July 13, 1831, 
 in his 86th year, having amassed a fortune 
 by his profession. 
 
 His compositions were faulty and un- 
 studied. His light and shade conventional, 
 and frequently untrue. His processes of 
 painting careless. Yet his groups are often 
 happily conceived, bold and vigorous, free 
 from aJBfectation, and largely circulated by 
 engraving, became popular. He fairly takes 
 rank with the eminent men of his day, who 
 were following the same art. In manner 
 ho was eccentric, and is charged with an 
 habitual cynicism, which hardly belongs 
 to him. He was prudent in his habits, 
 benevolent to those who asked his help, 
 and courteous to the young painter who 
 sought his advice. 
 
 NORTON, Christopher, engraver. 
 Studied at St. Martin's Lane Academy. In 
 1760 he was at Rome, and the same year 
 gained a premium at the Society of Arts. 
 He practised in the second half of the 18th 
 century, and engraved after Yandevelde, 
 ' The Tempest,' and also after Pillement, 
 Canot, and others. 
 
 NUGENT, Thomas, engraver. Born in 
 Drogheda. He studied his art in Dublin, 
 and about the end of the 18th century 
 practised in London, sometimes in imitation 
 of chalk drawings, excelling in portrait. 
 
 NUTTER, William, draftsman and en- 
 graver. Born in 1754. Was the pupil of 
 I. Smith. He practised in the dot manner, 
 and finished a number of plates after West- 
 all, Morland, Bigg, Paye, and Wheatley, 
 with portraits after Hoppner, S. Shelley, 
 
 299 
 
NUT 
 
 ODO 
 
 and Russell. He resided in Somers' Town, 
 and died March 14, 1802, aged 43, and was 
 buried at St. John Baptist, Kentish Town. 
 
 NUTTING, Joseph, engraver. Practised 
 in London at the beginning of the tfth 
 century, and probably commenced engrav- 
 ing about the time of the Restoration. He 
 
 was chiefly employed on. book illustrations. 
 
 Some of his best works are his small por- 
 traits, among them one from the life of Dr. 
 Monk, Bishop of Hereford, who died in 
 1661 ; but their chief value arises from 
 their rarity. They are weak in line, and 
 laboured in manner. 
 
 O 
 
 OAKLEY, OcTAVius, water-colour painter. 
 Born in April, 1800. He began his artist 
 life as a portrait painter in water-colours, 
 and resided at Leamington, where he had 
 a considerable practice, and in Derby, and 
 while living there in 1826 and 1827, sent 
 portraits to the Academy exhibitions. He 
 also made occasional studies of rustic sub- 
 jects, and was reputed for his gipsy groups, 
 in which he depicted the character of the 
 race with great truth. In 1842 he came to 
 reside in London, and was elected an asso- 
 ciate, and ^in 1845 a member of the Water- 
 Colour Society. Latterly he painted pic- 
 turesque landscape scenery, introducing 
 figures with much ability. He was an 
 occasional contributor of a portrait to the 
 Academy exhibitions up to 1860. He died 
 at Bayswater, March 1, 1867. His works 
 were fairly drawn and truthful, but feeble 
 both in colour and light and shade. 
 
 OAKMAN, John, wood engraver. Was 
 born at Hendon, Middlesex, and towards 
 the middle of the 18th century was ap- 
 prenticed to a map engraver. He after- 
 wards cut the illustrations on wood for 
 many children's books with some ability. 
 But he fell into intemperate habits, and then 
 joining two of his boon companions, opened 
 a shop in the Haymarket for the sale of 
 humorous prints. This failing, he turned 
 song and ballad writer, and wrote some 
 cheap novels, in one of which, ' The Life of 
 Ben Brass,' he described some of the scenes 
 of his early career. His last novel, ' Wil- 
 liam Williams, the African Prince,' had a 
 good sale. He died in distress, December, 
 1793. 
 
 OCKS, , medallist. He was one of 
 
 the engravers of the Mint in the reign of 
 George I. He died in 1749. 
 
 OCKS, Ralph, medallist. Por many 
 years he was one of the engravers of the 
 Royal Mint. He died at Battersea in 1788, 
 aged 84. 
 
 O'CONNOR, James, landscape painter. 
 Was born in 1793, at Dublin, where his 
 father practised as an engraver, and brought 
 him up to the same profession, which he 
 left early in life for the easel, and gained 
 some proficiency as a landscape painter in 
 300 
 
 oil. In 1813 he made his way with his 
 friend Danby to try his fortune in London, 
 but his means were soon exhausted; he 
 walked back disappointed to Bristol and 
 got from thence to Dublin. After many 
 years of hard labour and neglect, he left 
 Ireland early in 1822, and came to reside 
 in London, and in that and the three fol- 
 lowing years was an exhibitor, chiefly of 
 Irish views, at the Royal Academy. During 
 this time his works found some purchasers 
 in the sale rooms, and by the intervention of 
 the dealers ; but the prices which he received 
 left him poor, and in May, 1826, he went 
 over to Brussels, where he remained about 
 twelve months, made many sketches, and 
 was unfortunately the victim of a swindling 
 transaction, by which he was a great suf- 
 ferer. Prom 1827 to 1833 he continued in 
 London, and then visited Paris, sending 
 some pictures he painted there to London, 
 where they realised fair prices. Prom 
 Paris he went into Rhenish Prussia, where 
 an illusory introduction and the loss of a 
 letter with remittances was the cause of 
 much difficulty. In November 1833 he 
 returned to London, and from that time 
 to 1839 he continued to labour, yet with 
 small remuneration, at his easel, and was 
 an occasional exhibitor at the Academy and 
 at Suffolk Street. But his health began to 
 fail. His income, which had at the best 
 been irregular and uncertain, now fell off, 
 embarrassment was added to illness, and 
 after a life which had been one long struggle, 
 he died at Brompton January 7, 1841, in 
 his 49th year. He left a widow, for whom 
 an appeal for assistance was made in the 
 'Art Journal,' in 1845. His landscapes 
 are boldly painted, show great feeling, and 
 are good in tone and colour, but rather 
 green. 
 
 O'DOHERTY, W. J., sculptor. Was 
 born in Dublin in 1835, and studied in the 
 schools of the Dublin Society, and after- 
 wards under Kirke, R.H.A. In 1854 he 
 came to London, and in 1862 exhibited at 
 the Academy ' Alethe,' a marble statuette ; 
 and the two following years some busts, 
 which were not without promise. About 
 1865 he set out for Rome, to complete there 
 
0GB 
 
 OLI 
 
 his design for * The Martyr,' and was lost 
 sight of till his death was announced as 
 haying taken place in February 1867, at 
 the Maison de Charite. in Berlin. He had 
 probably been taken ill, and, unknown, was 
 remoyed to that institution. 
 
 OGrBOKNE, John, engraver. Born in 
 London, about 1725. He was a pupil of 
 Bartolozzi, and practised in the dot manner, 
 engraving many works, chiefly after Smirke, 
 J. Boydell, Stothard, Hamilton, Westall, 
 Angelica Kauflfman, Lely, and also, after 
 his own designs, 'Music' and 'History.' 
 Two or three of his plates were for the 
 ' Shakespeare Gallery ;' and there is a good 
 engraving by him after Sir Francis Bour- 
 geois, ' Children at their Mother's Grrave.' 
 His engravings possess much power, and 
 are well drawn. Jn his later plates, by 
 introducing line, he produced more variety 
 of texture. He died about 1795. He was 
 assisted by Mary Ogborne on some of his 
 plates. 
 
 O'KEEFE, Daniel, miniature 'painter. 
 He practised both in Dublin and in London, 
 and was, from 1771 to 1786, a constant ex- 
 hibitor of miniatures at the Royal Academy. 
 He died at Brompton, June 22, 1787. 
 
 O'KEEFE, John, miniature fainter. 
 Brother of the above. Was born in Dublin, 
 in 1 748. He studied at the Dublin Academy, 
 and for a time in London, under Hudson. 
 He afterwards went upon the stage, and 
 performed low comedy in London and Dub- 
 lin with success, and left the arts. He was 
 the author of several popular dramatic 
 pieces. He died at Southampton in 1833, 
 in his 86th year. 
 
 OKEY, Samuel, engraver. He was 
 awarded premiums at the Society of Arts 
 in 1765-67. He practised towards the end 
 of the 18th century, working in mezzo-tint. 
 There is a plate by him after Sir J. Rey- 
 nolds ; also after Pine, and others. 
 
 OLIVER, Isaac, miniature fainter. Was 
 born in 1556. Lord Orford says he could 
 find no account of his family, and he is 
 supposed by some to have been of French 
 extraction, but Nichols, in his ' History of 
 Leicestershire,' quotes an authority which 
 relates that he was said to be of a family 
 holding lands in East Norton. It seems 
 also that he was a relative of John Oliver, 
 master-mason to James 1. He was a pupil 
 of Hilliard, and also studied under Zuc- 
 chero, and attained great excellence in 
 miniature art. That he was highly appre- 
 ciated is shown by his having received 40/. 
 for four miniatures, a considerable sum 
 at that time. He painted Queen Eliza- 
 beth, Mary Queen of Scots, Prince Henry, 
 Ben Jonson, a full-length of Sir Philip 
 Sidney, and many other persons of dis- 
 tinction. He sometimes worked in oil, but 
 his portraits in this medium are flat and 
 
 minutely finished, though full of character. 
 
 He painted in oil the portraits of himself, 
 his wife, and his children. He drew well 
 mth the pen, and made some historical 
 designs of small size, which evince much 
 power. He died at his house in Blackfriars 
 in 1617 (some accounts give a later date), 
 and was buried in the church of St. Anne's 
 there. His monument and bust, erected by 
 his son, were destroyed in the Great Fire. 
 He wrote a treatise on limning. His draw- 
 ings are usually signed 'Olivier;' his 
 miniatures with the monogram 
 
 OLIVER, Peter, miniature fainter. 
 Eldest son of the foregoing. Born in 
 London, in 1601. He was the pupil of his 
 father, and surpassed him in excellence. 
 Many fine portraits by him are cherished 
 in old family collections. He was also 
 distinguished for his miniature copies in 
 water-colours of the historical works of the 
 great masters. He etched some subjects of 
 the same class. He died, as appears by the 
 probate of his will, in 1660, aged 59, and 
 was buried near his father. 
 
 OLIVER, John, glass fainter. He was 
 born in London, in 1616, and was the 
 nephew and pupil of the above Peter 
 Oliver, and a descendant of John Oliver, 
 the master-mason to James I. He practised 
 as a glass painter during a long life. He 
 was appointed the city surveyor, and was 
 one of the three surveyors for regulating 
 the plan of rebuilding London after the 
 fire of 1666, and became possessed of a 
 great part of the MSS. designs of Inigo 
 Jones. The armorial bearings of the 
 Percys, in the great window of the chapel 
 at Petworth House, are by him ; and so is 
 also the window at Christ Church, Oxford, 
 representing the delivery of St. Peter 
 from prison, and is inscribed, 'J. Oliver, 
 setat. suae 84, anno 1 700 ; pinxit deditque.' 
 He died the following year. From the 
 discouragement of glass painting during 
 the Commonwealth, his long life had ren- 
 dered him almost the sole depository of 
 the art. 
 
 OLIVER, Isaac, engraver. Son of the 
 above John Oliver. There are mezzo-tint 
 portraits by him of James II. and of Lord 
 Chief Justice JefFeries, with some etchings, 
 but these works are also attributed to his 
 father 
 
 OLIVER, Archer James, A.R.A., for- 
 trait fainter. Was born in 1774, and was 
 admitted a student at the Royal Academy 
 in 1793, and in 1803 elected an associate. 
 He. had for a time a large and fashionable 
 practice, and from 1800 to 1820 was a large 
 contributor of portrait works to the Aca- 
 demy exhibitions. His practice soon after 
 falling off, he was appointed curator to the 
 painting school, but his health failing, he 
 was chiefly supported from the Academy 
 
 301 
 
OLI 
 
 OPI 
 
 funds. He continued to contribute to the 
 exhibitions till his death, in 1842, but his 
 latter works were mostly small pieces of 
 still-life, fruit, nuts, and an occasional 
 sketch. 
 
 OLIVEK, Samuel Euclid, portrait 
 modeller. He practised in wax, and ex- 
 hibited at the first opening of the Koyal 
 Academy in 1769, but his name does not 
 appear subsequently. 
 
 OLIVEK, William, water-colour painter. 
 He was a member of the New Water- 
 Colour Society. His works were chiefly 
 views of foreign scenery, and were slight 
 and unfinished. He painted a few works 
 in oil. Died iSTovember 2, 1853, aged 48. 
 
 OMER, Rowland, topographical drafts- 
 man. He was born in Ireland. He prac- 
 tised about the middle of the 1 8th century, 
 and drew many of the buildings in Ireland, 
 especially in Dublin, which were engraved 
 by May ell and others. 
 
 O'NEAL, Jeffery Hamet, landscape 
 painter. Born in Ireland. Practised in 
 London during many years. He painted 
 landscapes, birds, flowers, small conversa- 
 tion pieces, with sometimes a miniature, 
 and contributed for several years to the 
 Spring Gardens Exhibition. He lived up 
 to the end of the 18th century. 
 
 O'NEILL, Hugh, architectural drafts- 
 man. Born in Bloomsbury April 20, 1784, 
 the son of an architect who built part of 
 Portland Place. He was one of the young 
 artists who found a friend in Dr. Monro, 
 who gave him access to his collections. He 
 had a good knowledge of perspective. He 
 spent his early days chiefly in Oxford, but 
 was well known in Edinburgh, Bath, and 
 Bristol. In these cities he taught draw- 
 ing, and made many carefully-finished 
 drawings, and above 500 sketches of the 
 architectural antiquities of Bristol alone. 
 He died in that city April 7, 1824. Some 
 of his sketches of the ruins of Christ 
 Church, Oxford, were published 1809 ; and 
 50 of his 'Sketches of Antiquities in 
 Bristol,' were published in etching, by 
 J. Skelton, E.S.A., 1826. 
 
 OPIE, John, R.A., historical and portrait 
 painter. Was born at St. Agnes, near 
 Truro, in May, 1761, the son of the village 
 carpenter, a respectable man, who intended 
 him to continue the family trade. He gave 
 early proofs of a strong understanding, 
 and an attachment to drawing, which was 
 secretly encouraged by his mother, and, 
 though at first checked by his father, he 
 was at length allowed to follow. He soon 
 made sufficient progress to get employment 
 travelling about the neighbourhood as a 
 portrait painter, and at Truro attracted the 
 notice of Dr. AVolcot (Peter Pindar), who 
 befriended liim, and about 1780 brought 
 him to London, on an arrangement to divide 
 302 
 
 the profits of his work, and introduced him 
 as * The Cornish Wonder/ 
 * The Cornish boy in the tin mines bred, 
 Whose native genius like his diamonds 
 shone 
 
 In secret, till chance gave him to the sun.' 
 
 Opie's compact with Dr. Wolcot soon 
 came to end, and in December 1782 he 
 married his first wife, the daughter of a 
 respectable citizen, who proved unfaithful, 
 and he obtained a divorce in 1796. His 
 first works exhibited in London, commenc- 
 ing in ] 782, were studies of heads and por- 
 traits, and in 1786 he added three subject 
 pictures, ' The Assassination of James I. of 
 Scotland,' * A Sleeping Nymph,' and ' Cupid 
 Stealing a Kiss.' In the next year he ex- 
 hibited his great work, *The Murder of 
 David Rizzio.' His progress had been 
 marked and rapid. He was at once, 1787, 
 elected an associate, and in the following 
 spring, 1788, a full member of the Aca- 
 demy. How fully he was employed in 
 portraiture at this time appears from the 
 fact that in the following seven years he 
 exhibited at the Academy 20 pictures, all 
 of which were portraits. But from 1796, 
 without abandoning portraiture, he ex- 
 hibited many subject pictures, and was 
 engaged in Boydell's great series of Shake- 
 speare illustrations, to which he contri- 
 buted five pictures, increasing in power in 
 the progress of the work. On their com- 
 pletion he had again to rely more on por- 
 traiture for his chief means of support ; 
 and availing himself of some introductions 
 at Norwich, ho met there the clever Amelia 
 Alderson, who became his second wife, and 
 in her memoir of him tells of the painful 
 struggles, and the perseverance with which 
 he strove to gain a competence ; and that, 
 stimulated to efforts beyond his strength, 
 taking no rest, a disease affecting the brain 
 ensued. He died April 9, 1807, and was 
 buried with some pomp in St. Paul's 
 Cathedral. 
 
 He was a man of great natural intel- 
 lectual powers, and early devoted himself 
 to supply the defects of his education. 
 Literary men, highly qualified to judge, 
 were greatly impressed with his knowledge 
 and power of thinking and expressing him- 
 self in conversation. His first work was a 
 ' Memoir of Reynolds,' in Wolcot's edition of 
 Pilkington. He then published a letter on 
 the ' Cultivation of the Arts of Design in 
 England.' He delivered four lectures on 
 Art at the Royal Institution, and on his 
 election in 1805 as Professor of Painting at 
 the Royal Academy he lectured on design, 
 invention, chiaro-scuro, and colour. These 
 four lectures were published after his 
 death, with a memoir, by his widow, who 
 enjoyed a high literary reputation. As an 
 artist his works prove his great genius and 
 
OPI 
 
 OWE 
 
 original powers. His David Kizzio is full 
 
 of vigour and freshness, though course and 
 slovenly in execution, and marred by many 
 faults. Later his compositions were more 
 simple, his light and shade better under- 
 stood, and his works have a vigorous and 
 manly strength which contrasts with the 
 feeble inanities of many of his contem- 
 poraries. He had no feeling for female 
 beauty. His forte was the grand and 
 terrible. 
 
 OPIE, or Oppey, portrait painter. He 
 was born in Cornwall, and of humble origin, 
 but is believed not to have been any con- 
 nexion of the foregoing John Opie. He 
 was self-taught. He exhibited with the 
 Incorporated Society of Artists in 1780, 
 and is described ' Master Oppey, Penryn — 
 a boy's head, an instance of genius, not 
 having seen a picture.' His work was 
 stated at the time to have been good both 
 for colour and expression, and he attracted 
 some notice, but he died young in Maryle- 
 bone, November 25, 1785. 
 
 ORAM, William, called 'Old Oram,' 
 landscape ]^ainter. Was educated as an 
 architect, but took to landscape painting, 
 and practised in the manner of Wootton, 
 towards the middle of the 18th century. 
 In those sterile days he was of some dis- 
 tinction. Sir Edward AValpole had several 
 of his drawings and paintings, and by his 
 influence he was appointed Surveyor of the 
 Board of Works, and, in 1748, Master Car- 
 penter of all His Majesty's Works. He was 
 much employed in the decoration of halls, 
 staircases, and the panels over chimney 
 pieces, as was then the fashion. 
 
 ORAM, Edwaed, landscape painter. Son 
 of the above. He was an assistant to De 
 Loutherbourg, and practised in London in 
 the last half of the 18th century. He de- 
 signed a triumphal arch (which was en- 
 graved) for the coronation of George III., 
 and the scenery for the Well-close Square 
 Theatre. In 1766 he exhibited with the 
 Incorporated Society of Artists, and for the 
 first time at the Academy in 1775, and then 
 and in succeeding years contributed small 
 landscapes, views, and morning and even- 
 ing effects up to 1790, and again in 1798- 
 99, after which his name no longer appears 
 in the catalogues. He published, in 1810, 
 ' Precepts and Practice on the Art of Colour- 
 ing in Landscape Painting,' with plates. 
 
 ORCHYERDE, William, architect. Was 
 the architect of the extensive buildings 
 of Magdalen College, Oxford, 1473-1485, 
 under the direction of Bishop Waynfleet, 
 the founder. 
 
 ORDE, Thomas, amateur. When an 
 undergraduate at Cambridge he etched 
 some caricatures—' A Cambridge Concert,' 
 and some Cambridge characters. He also 
 etched some family portraits. He assumed 
 
 the name of Powlett in addition to Orde, 
 in 1795, and was created Baron Bolton in 
 1797. He died July 30, 1807. 
 
 OREWELL, John, medallist. He held 
 the office of graver to the Royal Mint from 
 the 10th to the 19th, Henry VI. 
 
 ORME, Daniel, engraver and miniature 
 painter. Practised in London about the 
 end of the 18th century. Commencing in 
 1797, he exhibited many miniature por- 
 traits, with one or two in oil, at the Aca- 
 demy, his last contribution being in 1801. 
 He engraved in the dot manner portraits 
 of the chief heroes of the time, with some 
 battle-pieces, and from a picture painted by 
 himself, * Alexander the Great and Thais.' 
 
 OSBORN, John, portrait painter. An 
 English artist of the 17th century, who 
 practised at Amsterdam. There is a por- 
 trait by him of Frederick Prince of Orange. 
 
 OTTLEY, William Young, amateiir. 
 Born August 6, 1771. Son of an officer in 
 the Guards. Erom his love of art became 
 a pupil of Cuitt, studied in the Academy 
 Schools, and in 1794 was pursuing the 
 study of art in Rome. But he is best 
 known as a writer on art, who illustrated 
 his works by his own etchings. He pub- 
 lished in 1816 'An Inquiry into the Origin 
 and Early History of Engraving upon Copper 
 and on Wood in 1818, ' The British Gal- 
 lery of Pictures,' twenty selected engravings 
 from the Stafford Gallery; in 1823, 'The 
 Italian School of Design,' with etchings by 
 himself; in 1825, 'Etchings by himself 
 after the Paintings and Sculpture of the 
 Florentine School;' in 1826, ' Fac-similes 
 of Rare Etchings by Celebrated Painters of 
 the Italian, German, and Flemish Schools.' 
 Some vigorous pencil and tinted drawings 
 by him, dated 1804, show much mastery of 
 drawing and imagination. He was an 
 honorary exhibitor at the Royal Academy 
 on one occasion only, in 1823 of a spirited 
 but unfinished drawing, ' The Battle of the 
 Angels,' and was the same year appointed 
 keeper of the prints in the British Museum. 
 He died May 26, 1836. 
 
 OWEN, Samuel, water-colour painter. 
 Born 1768. His name first appears as the 
 exhibitor of a sea view at the Academy in 
 1794, followed in 1797 by the ' British and 
 Spanish Fleets,' commanded by Sir John 
 Jervis, and by marine subjects in 1799 and 
 180 7. He was member cf the short-lived 
 Society of ' Associated Artists in" Water- 
 Colours,' founded in 1808. He chiefiy drew 
 marine subjects. His works are carefully 
 coloured and finished, and have much merit. 
 He made the 83 drawings illustrating Ber- 
 nard Cooke's 'The Thames,' which have 
 great pictorial interest, the shipping cor- 
 rectly drawn, and well introduced. He had 
 long left off the practice of his art, and 
 died at Sunbury, December 8, 1857. 
 
 303 
 
OWE 
 
 PAI 
 
 OWEN, Edward Pryce, amateur. He 
 was born in March, 1788, and was known 
 as a painter and etcher. He published, in 
 1852, 50 etchings of rustic scenery, views 
 in Shrewsbury, cattle, figures, &c. He 
 died at Cheltenham, July 15, 1863. 
 
 OWEN, William, E.A., portrait painter. 
 Was the son of a bookseller at Ludlow, 
 where he was born in 1769. He was edu- 
 cated at the grammar school of the town, 
 and gave early indications of his genius by 
 sketching the scenery of its environs. In 
 1786 he came to London, and was admitted 
 a student of the Academy in 1791. He was 
 at the same time a pupil of Catton, K.A. 
 In the following year he first exhibited, 
 sending a portrait, and a home remembrance, 
 a 'View of Ludford Bridge,' but his inclina- 
 tion was to rustic subjects, and we find him 
 exhibiting ' The Blind Beggar of Bethnal 
 Green,' ' The Village Schoolmistress,' ' The 
 Fortune-teller,' and works of this class. His 
 true art was, however, portraiture, and in 
 this his power increased with the number 
 of his sitters, of whom he had a distin- 
 guished list. He was at the height of his 
 practice in 1804, and was in that year 
 elected an associate, and in 1806 a full 
 member of the Academy. 
 
 In 1 8 1 0 he was appointed portrait painter 
 to the Prince of Wales, and in 1813 prin- 
 cipal portrait painter to the Prince as Prince 
 Regent. The appointment did not add 
 much to his income, which had now reached 
 3,000/. a year. He had for some time resided 
 in Pimlico, and had a studio in Leicester 
 Square, but in 1818 he removed to Bruton 
 Street and united the two. Soon after his 
 health failed ; an affection of the spine 
 ensued, and he was confined for several 
 years to his room, and in the latter years 
 unable to work. He died suddenly on Feb- 
 ruary 11, 1825, from the effect of laudanum, 
 taken through the mistake of a chemist's 
 assistant. To his natural genius he added 
 unwearied diligence. His drawing was 
 superficial, his painting not without power, 
 his colour, with a tendency to be hot and 
 monotonous, was good, his landscape back- 
 grounds showed feeling and taste, and the 
 truth and character of his portraits made 
 him popular, more especially in his male 
 portraits ; but the reputation of his own 
 day is not sustained in ours, and ho only 
 holds a good place in the second rank. 
 Some of his subject pictures were engraved 
 and were very popular. 
 
 PA AS, CoRKELius, engraver. Born in 
 Germany. Came early in life to London, 
 where he practised nearly 40 years. He was 
 appointed engraver to George III. Died in 
 Holborn, January 8, 1806, aged 65. 
 
 PACK, Christopher, portrait painter. 
 AVas born at Norwich in 1750, the son of a 
 Norwich merchant of an old family. He was 
 engaged there in trade and amused himself 
 by painting. His affairs suffering a reverse, 
 he sought his support from the practice of 
 art. He gained an introduction to Sir 
 Joshua Reynolds, and in 1781 made some 
 good copies from his works. But his health 
 failed, and he returned to Norwich, where 
 he practised as a portrait painter, and then 
 went to Liverpool, in 1787 returning to 
 London. He then went, on an invitation, to 
 Dublin, where he was successful as a por- 
 trait painter, and afterwards returned to 
 London about 1796, exhibiting at the Aca- 
 demy in that year, and continuing to prac- 
 tice with some repute ; but he does not 
 appear again as an exhibitor. 
 
 P A E S T , Henry, portrait paioiter and 
 copyist. He practised in the reign of 
 Charles 11. and found employment under 
 Barlow and Henry Stone. There is a copy^ 
 of Lucca Giordano's * Cyclops ' by him,' 
 304 
 
 which was in the royal collection at St. 
 James's Palace. 
 
 PAINE, James, architect. Was a student 
 in the St. Martin's Lane Academy, and 
 attained the power of drawing both the 
 figure and ornament well, and was the 
 designer of the ornament for his own works. 
 He was a member of the Artist's Committee 
 appointed 1755 to plan the establishment 
 of a Royal Academy. In 1765 he built an 
 exhibition room for the Society of Arts, 
 and about the same time rebuilt Salisbury 
 Street, Strand. He erected several fine 
 mansions, among his earliest, Nostell Priory, 
 Yorkshire, simple but heavy in character ; 
 also Wardour Castle, Wilts, Worksop, Notts, 
 Thornden Hall, Essex, and the mansion 
 at Whitehall known as Dover House. He 
 was clerk of the works at Greenwich Hos- 
 pital, and was appointed architect to the 
 King, but his office was one of those abo- 
 lished by Mr. Burke's act. He was an 
 influential member of the Incorporated 
 Society of Artists in 1765, afterwards pre- 
 sident, and for several years exhibited his 
 designs with the Society, but his presidency 
 was the cause of great recrimination and 
 ill-will. He exhibited in 1781 at the Royal 
 Academy his design for a national monu- 
 
PAI 
 
 PAR 
 
 ment to the Earl of Chatham. He published 
 in 1775, 'Plans of Doncaster andin 1783, 
 his 'Plans and Elevations of Noblemen's 
 and other Houses,' with 176 plates. Ho 
 lived in a spacious house which he had 
 built for himself in St. Martin's Lane, and 
 then removed to the neighbourhood of 
 Chertsey, where he had a fine collection of 
 drawings, and in 1783 was high sheriff for 
 Surrey. He retired to France and died 
 there in 1789, in his 73rd year. There is 
 a good portrait of him and his son in the 
 Bodleian Library. His daughter married 
 Tilly Kettle, the painter. 
 
 PAINE, James, water-colour draftsman. 
 Son of the above. Was a member of the 
 St. Martin's Lane Academy, and exhibited 
 stained drawings at the Spring Gardens 
 Exhibitions 1761-64-70, and his name 
 appears again in 1781 as the exhibitor of 
 the elevation of a design for a national 
 monument to the Earl of Chatham. 
 
 PALMEK, Sir James, amateur. Was 
 a favourite in the household of Charles I. 
 and Chancellor of the Order of the Grarter. 
 He copied several of the pictures in the 
 Eoyal collection ; among them, Titian's 
 ' Tarquin and Lucretia.' These copies were 
 probably 'limnings.' He is also said to 
 haA'e painted a 'Feast of Bacchus.' He 
 was an agent for the purchase of Sume 
 pictures for the King. 
 
 PAPWORTH, George, R.H.A., architect. 
 He was born in London about 1781, and 
 was first employed in the office of an elder 
 brother. In 1804 he went to Northampton, 
 and in 1806 to Dublin, where he settled. 
 He w-as for some time engaged to superin- 
 tend the manufacture of stone tubes for 
 piping, and made some inventions, which 
 were profitable to him; and from 1812-18 
 was employed as an architect and arbi- 
 trator. His reputation increased, and he 
 erected several public buildings ; among 
 them, the King's Bridge, a novel, light 
 iron structure, over the Liffey. In 1831 
 he was elected a member of the Royal 
 Hibernian Academy. In 1851 he built 
 the Museum of Irish Industry at Dublin. 
 Died there March 14, 1855. His son, 
 John Thomas Papworth, who died 1841, 
 w^as secretary to the Institute of Irish 
 Architects. 
 
 PAPWORTH, John Buonarotti, 
 architect. Elder brother of the foregoing. 
 His employment was chiefly in designs for 
 furniture and the embellishment of gardens. 
 He was an exhibitor at the Academy from 
 1816-41, chiefly of architectural designs. 
 About 1823 he was appointed architect to 
 the King of Wurtemberg, for whom he 
 designed and built a palace ; and on the 
 establishment of the Government School 
 of Design in 1837, he was appointed the 
 director, and ho fitted up and arranged 
 
 the schools. Was a vice-president of the 
 Royal Institute of British Architects. He 
 published an essay on ' The Dry Rot in 
 Timber,' 1803 ; ' Hints on Ornamental Gar- 
 dening,' 1834 ; 'Hints on Rural Architec- 
 ture.' After 50 years' practice he retired 
 to St. Neots, where ho died Juno 16, 1847. 
 
 PAPWORTH, John Woody, architect. 
 Son of the foregoing J. Buonarotti Pap- 
 worth, W71S born in Marylebone, March 4, 
 1820, and at the age of 16 entered his 
 father's office. On the opening of the now 
 Government School of Design, he filled for 
 twelve months the office of secretary to the 
 Council. In 1839 ho was admitted to 
 study in the schools of the Royal Aca- 
 demy, and from that time for many years 
 exhibited his architectural designs at the 
 Academy ; among them, a design for the 
 fagade of the Cathedral of Santa Maria at 
 Florence, and for improving the approach 
 to Westminster Abbey. He also made many 
 designs for art-manufactures, and wrote 
 many suggestions and papers connected 
 with art. He died July 6, 1870. 
 
 PAPWORTH, Edgar George, sculptor. 
 He was a student of the Royal Academy, 
 and first exhibited there in 1832. In the 
 following year he gained the Academy gold 
 medal for his group, ' Leucothea presenting 
 the Scarf to Ulysses,' and in 1834 was 
 elected to the travelling studentship. In 
 1836 he sent from Rome to the Academy 
 exhibition a 'Psyche.' In 1838 he had 
 returned, and that year exhibited a ' Flora ' 
 and a head of 'Psyche.' Soon after he 
 married a daughter of Baily, R.A., in 
 whose studio he was employed. He con- 
 tinued to exhibit chiefly busts, statuettes, 
 and sketch designs. In 1856 he sent a 
 marble figure, ' The Moabitish Maiden,' a 
 commission from Prince Albert; in 1859 
 his last works, 'The Young Emigrant' 
 and ' The Bride.' He died in 1860. 
 
 PARISET, D. P., engraver. Was born 
 at Lyons in 1740. He was a pupil of 
 Demarteau, the inventor of the chalk man- 
 ner. He came to England in 1769, and 
 etched for Ryland, and afterwards worked 
 for Bartolozzi. He engraved a series of 
 plates of the drawings of the great masters, 
 and portraits of English artists after Peter 
 Falconet. 
 
 PARK, Thomas, engraver. Was born 
 about 1750, and practised in mezzo-tint. 
 He engraved 'Mrs. Jordan as the Comic 
 Muse,' after Hoppner, 1786 ; 'Holman 
 and Miss Brunton as Romeo and Juliet,' 
 after Browne ; and also after Beechey, Paye, 
 and others. 
 
 PARK, Patrick, R.S.A., sculptor. Was 
 born at Glasgov/ in 1809. In the earlier 
 part of his career he studied in Italy. In 
 1840 he came to live in London, and then 
 was first an exhibitor at the Academy. In 
 
 305 
 
PAR 
 
 PAR 
 
 1841 he contributed a 'Warrior ; ' in 1843, 
 * Hector,' a colossal statue, sending also an 
 occasional bust; in 1850 he sent busts for 
 exhibition from Edinburgh; in 1853 and 
 the two next years from Manchester. He 
 excelled as a bust modeller, his works 
 embodying character and tenderness. He 
 was elected a member of the Koyal Scottish 
 Academy in 1850. He died in the prime of 
 life at Warrington, August 18, 1855. 
 
 PAEKE, Robert, architect. Practised 
 in Dublin, and between 1787-94 made con- 
 siderable additions to the exterior of the 
 Irish House of Commons, adding a fine 
 Ionic portico to the western entrance. 
 
 PARKE, Henry, architect. Was ori- 
 ginally intended for the bar and received a 
 good classical and mathematical education. 
 He then became the pupil of Sir John Soane, 
 and travelled to complete his studies, visit- 
 ing Italy and Egypt. He brought home 
 many original measured drawings of the 
 monuments of these countries. In 1830 he 
 exhibited at the Academy an ' Interior of a 
 Sepulchral Chamber,' a clever work, and 
 in 1831 an excellent drawing of the 'Tem- 
 ples in the Island of Philce.' He painted 
 both in oil and water-colours, and made 
 some elaborately finished views, which were 
 powerful both in effect and colour, and some 
 naval drawings of much ability. A large col- 
 lection of his drawings is deposited in the 
 Institute of British Architects. He was 
 engaged by his brother architects to design 
 the medal which they presented to Sir John 
 Soane. He died May 5, 1835, aged about 
 45. Many of his works were sold by auction 
 at Sotheby's in May 1836. 
 
 PARKER, Frederick, wood engraver. 
 Son of Mr. John Parker, the publisher. 
 Was of much promise. Died young, De- 
 cember 16, 1847. 
 
 PARKER, James, engraver. Born 1750. 
 Pupil of Basire. He joined William Blake 
 in a print shop in 1784, but on some dis- 
 agreement quitted him three years after. 
 He was chiefly employed in the illustration 
 of books and his plates were greatly es- 
 teemed. He engraved, after Stothard, for 
 the 'Vicar of Wakefield,' 1792, and 'Fal- 
 coner's Shipwreck,' 1795. He also engraved 
 after Elaxman, Smirke, Northcote, and for 
 Boydell's ' Shakespeare.' He worked chiefly 
 in the line manner, neat and careful in his 
 execution, but wanting in power. He was 
 one of the founders and a governor of the 
 Society of Engravers. He died suddenly 
 May 26, 1805, and was buried at St. Cle- 
 ment's Dane burial-ground. 
 
 PARKER, John, history and portrait 
 fainter. Born about 1730. He went to 
 Rome to study, resided there several years, 
 and painted an altar-piece for the Church of 
 St. Gregorio, Monte Celio ; about 1762 he 
 returned to England, and in the following 
 306 
 
 year exhibited with the Free Society of 
 Artists, of which he was a member, ' The 
 Assassination of Rizzio,' and his own por- 
 trait. He died soon after at Paddington, it 
 is said, in 1765. 
 
 PARKER, John, landscape painter. 
 Studied in the 'Duke of Richmond's gallery, 
 and received some instructions from the 
 Smiths of Chichester. In 1765-66 he ex- 
 hibited landscapes and flowers with the 
 Free Society. He went to Rome, where he 
 was about 1768. He had returned to Eng- 
 land in 1770, and then in the following 
 year exhibited landscapes at the Academy. 
 In 1776 he exhibited, for the last time, 
 three small landscapes, introducing subjects 
 from classic story. 
 
 PARKE S, David, amateur. Born at 
 Hales Owen, Shropshire, February 21, 1763. 
 He was educated in the village school, and 
 afterwards was a schoolmaster at Shrews- 
 bury. He sketched in water-colours the 
 churches and antiquities of the county with 
 much knowledge and correctness, and was 
 for many years a well-known contributor of 
 drawings and antiquarian papers to the 
 ' Gentleman's Magazine.' He died at Shrews- 
 bury, May 8, 1833. 
 
 PARKES, James, drafts7nan. Son of the 
 above. Practised as a drawing -master at 
 Shrewsbury. He etched 12 views of mo- 
 nastic and other remains in Shropshire, 
 which were published in 1829. Died 
 March 31, 1828, aged 34. 
 
 PARKINSON, Thomas, portrait a7id 
 subject _2:>amz^er. He practised in the last 
 quarter of the 18th century, and painted 
 portraits and theatrical groups. He exhi- 
 bited at the Academy, in 1775, a good 
 group from ' She Stoops to Conquer,' in the 
 manner of Zoffany (mezzotinted by R. 
 Laurie), followed by a scene from ' Cymon,' 
 1775, a scene from the 'Duenna,' 1776. 
 He was thenceforth chiefly employed in 
 portraiture, continuing an exhibitor up to 
 1789. 
 
 PARMENTIER, James, history and por- 
 trait jpcdnter. Born in France, 1658. Was 
 the nephew and pupil of Sebastian Bourdon. 
 He came to England in 1676 and was em- 
 ployed by La Fosse to assist in his works 
 at Montague House. William III. sent him 
 to Holland to ornament his palace at Loo. 
 But he quarrelled with the surveyor, and on 
 his return, not finding employment in Lon- 
 don, he went into Yorkshire, where he lived 
 several years, painting portraits and some 
 historical works, an altar-piece at Hull, 
 and another at St. Peter's Church, Leeds. 
 The staircase at Worksop is by him, and 
 at Painters' Hall, London, is his picture of 
 'Diana and Endymion.' On the death of 
 old Laguerre in 1721, he hoped to find more 
 encouragement, and then settled in Lon- 
 don, where ho died, in indifferent circum- 
 
PAR. 
 
 PAR 
 
 stances, December 2, 1730, and was buried 
 at St. Paul's, Covent Garden. 
 
 PARR, Remt, engraver. Born at Roches- 
 ter in 1723. Learnt the rudiments of his 
 art in London, and tlien studied on the con- 
 tinent. He engraved portraits and book 
 plates ; horses after Seymour, Wootton and 
 Tillemans, and many humorous plates, with 
 several works of an architectural character ; 
 ' Views of the remarkable Buildings in Elo- 
 rence,' 1750 ; 'Views of St. Paul's ;' ' A^iew 
 of London from under the Arch of West- 
 minster Bridge,' 1757, and a 'South-east 
 View from the Bridge.' 
 
 PARRY, William, A.R.A., porirait 
 'painter. He was born in London 17^:2. Son 
 of the celebrated blind harper. Studied at 
 St. Martin's Lane Academy and the Duke of 
 Richmond's gallery. He gained premiums 
 at the Society of Arts in 1760, and was one 
 of the first students in the Royal Academy 
 schools. He also became a pupil of Sir 
 Joshua Reynolds, and making good use of his 
 advantages, was looked upon as of consider- 
 able promise. In 1766 he was a member of 
 the Incorporated Society of Artists. By the 
 assistance of Sir W. W. Wynne he went in 
 17 70 to Italy, and returnedto London in 1775, 
 when he married. In the following year he 
 exhibited full and half-length portraits at 
 the Royal Academy, and was elected an 
 associate. Ho continued to exhibit por- 
 traits in 1777-8 and 1779, but did not 
 meet with the employment he hoped, and 
 involved in annoyances by the imprudence 
 of his wife's brother, he retired to Wales, 
 where his wife dying, twelve months after 
 he revisited Rome, about 1779. He was 
 again, and for the last time, an exhibitor at 
 the Academy in 1788. He had acquired a 
 small fortune with his wife, and finding 
 sufficient employment, remained at Rome 
 tiir his health failing he set off home and 
 arrived in London only in time to die, Feb- 
 ruary 13, 1791. He etched a benefit ticket 
 for his blind father, whose likeness it 
 bears. 
 
 PARS, William, A.R.A., portrait painte7\ 
 Was the son of a chaser, and born in Lon- 
 don in 1742. He studied in the St. Mar- 
 tin's Lane School, and also in the Duke of 
 Richmond's gallery. He exhibited at the 
 Society of Artists in 1761, a portrait and 
 miniatures, and was in 1763 a member of 
 the Pree Society of Artists, and in the fol- 
 lowing year obtained the Society of Arts 
 medal for a historical painting. He was, 
 in June of the same year, selected by the 
 Dilettanti Society to accompany as drafts- 
 man. Dr. Chandler and Mr. Revett to 
 Greece, and was absent till November, 
 1766. On his return he accompanied Lord 
 Palmerston to the Continent, and made 
 drawings at Rome, but chiefly in Switzer- 
 land and the Tyrol. He was afterwards 
 
 X 
 
 selected by the Dilettanti Society to com- 
 plete his studies at Rome on their student's 
 pension, and started in the summer of 1775, 
 remaining there till the autumn of 1782, 
 ■svlien ho died of fever. Ho was a con- 
 stant exhibitor at the Academy from its 
 establishment, chiefly of small whole-length 
 portraits, with some life-size ; and of draw- 
 ings, stained views of temples in Asia Minor 
 and Greece, his last contribution being 
 sent from Rome in 1776. AVoollett on- 
 graved the Mer de Glace and four other 
 Swiss views after him, Sandby several of 
 his views in aqua-tint, and AVilliam Byrne 
 a selection of his Greek drawings for the 
 Dilettanti Society. 
 
 PARS, Henry, draftsman and chaser. 
 Was the elder brother of the above. He 
 was brought up to his father's business as 
 a chaser. On the falling off of this trade, 
 he was employed, about 1763, to manage the 
 St. Martin's Lane School, which was then 
 called Pars' School, and in connexion with 
 which his name became well known. In- 
 this employment ho continued till his death, 
 in his 73rd year. May 7, 1806. His brother, 
 Albert Pars, was a successful modeller in 
 wax. 
 
 PARSONS, Francis, portrait painter. 
 Student in the St. Martin's Lane Academy. 
 He exhibited with the artists at Spring 
 Gardens Rooms, in 1763, a portrait of one 
 of the Indian Chiefs then in London, 
 and of a celebrated singer as Madge in 
 ' Love in a Village.' Ho was a member of 
 the Incorporated Society of Artists, 1766, 
 but had not much success as a painter, and 
 for many years kept a shop as picture dealer 
 and cleaner. McArdell engraved his Indian 
 chiefs, and Dunkarton a portrait by him of 
 Brindley, the engineer. 
 
 PARSONS, William, amateur. Born in 
 London, 1736. Was the son of a builder in 
 Bow Lane, and was educated at St. Paul's 
 School. At 14 he was apprenticed to an 
 architect, and took several premiums at 
 the Society of Arts. On the completion of 
 his apprenticeship, he took to the stage, 
 and became a very popular comic actor, but 
 he never entirely relinquished his art. Ho 
 painted architectural subjects, landscapes, 
 and fruit pieces, the latter his best produc- 
 tions. He died February 3, 1795. 
 
 PARTRIDGE, John, portrait painter. 
 He was born February 28, 1790. Little 
 can be traced of his early career. In 1815 
 he appears as an exhibitor at the Royal 
 Academy, sending portraits in that year, 
 and in 1817-18-19, and from that time was 
 a regular contributor to the exhibitions. 
 He sent on one or two occasions only a sub- 
 ject picture — in 1830, ' Titania, Puck and 
 Bottom; ' in 1836, ' Sketch of a Sketching 
 Society, the Critical Moment.' In 1843 he 
 exhibited two portraits, the Queen and 
 : 2 307 
 
PAS 
 
 PAT 
 
 Prince Albert, both of which were en- 
 graved ; and in 1845 he was appointed 
 portrait painter extraordinary to Her Ma- 
 jesty and the Prince. In 1846 he exhibited 
 for the last time, sending portraits of Lord 
 and Lady Beauvale. His portraits were 
 carefully drawn and painted, his likeness 
 good, and his portrait of the Queen was 
 popular. He for 30 years'occupied an ex- 
 cellent position as a portrait painter, and 
 made a property by his art ; but he did not 
 attain to the first rank. He was a member 
 of the Sketching Club. He die(i November 
 25, 1872, in his 83rd year. 
 
 PASSE (or De Passe), Crispin, engraver. 
 There is great uncertainty both as to the 
 place and time of his birth. He is gene- 
 rally stated to have been born at Utrecht, 
 or Arneminden, about 1560. He was a 
 man of letters, and early studied art. He 
 was invited to Paris to teach drawing, and 
 from thence came to England, where he 
 executed numerous works, both portraits 
 and subjects from his own designs and after 
 various masters. He drew the figure well, 
 and the extremities with much knowledge. 
 He worked entirely with the graver, in a 
 fine clear style, but hard. His portraits, 
 many of which he drew from the life, are 
 his best works. Among his English por- 
 traits are Queen Elizabeth in a sumptuous 
 dress ; James I., Henry Prince of Wales, 
 and his brother Charles, the Count Palatine 
 and Elizabeth his wife. Virtue supposes 
 he left England before 1635, as none of his 
 works dated here are after that year. He 
 published in four languages a book on 
 the art of painting and drawing. He also 
 illustrated with sixty plates, in folio, ' In- 
 struction du Koi en I'Exercise de monter a 
 Cheval.' 
 
 PASSE (or De Passe), Crispin, engraver. 
 Eldest son and pupil of the above. There 
 are a few plates by his hand ; but so little 
 is known of him — not even the fact that he 
 practised his art in England — that his place 
 in tliis work is questionable. 
 
 PASSE (or De Passe), Magdalen, 
 engraver. Daugliter of the elder Crispin. 
 Was born at Utrecht, 1583. She practised 
 about 1620 in the same manner as the rest 
 of her family, using the graver only, and in 
 a neat literal sjtyle. There is a portrait by 
 her of Catherine Duchess of Buckingham, 
 some plates after classic pictures, and 
 landscapes. She worked in Grermany and 
 Denmark as well as in this country. 
 
 PASSE (or De Passe), Simon, engraver. 
 Born at Utrecht, 1591. Son of the elder 
 Crispin, with whom he is supposed to have 
 come to England. His earliest work here 
 is dated 1613. He engraved the portraits 
 of many distinguished persons, among them 
 a whole-length of Queen Elizabeth ; seve- 
 ral portraits of James I. ; his Queen on 
 808 
 
 horseback, with a view of Windsor, dated 
 1617; Prince Henry; Villiers Duke of 
 Buckingham, 1617; Carr Earl of Somerset 
 and his Countess. He practised in England 
 about ten years, and then went to Copen- 
 hagen in the service of the King of Denmark, 
 and died there soon after 1644. 
 
 PASSE (or De Passe), William, engraver. 
 Was the eldest son of Crispin. Born at 
 Utrecht, about 1590. Some of his best 
 works are dated London, and were executed 
 between 1620-27. His works are very 
 numerous, some of them from the life, and 
 are rare and much esteemed. He engraved 
 James I., with his family; the Bohemian 
 family, signed ' Will. Pass, fecit ad vivum 
 figurator, 1621 ;' Frances Duchess of Eich- 
 mond and Lennox, 1625, with many others. 
 
 PASTOKINI, Benedict, engraver. An 
 Italian, who practised in London in the 
 latter part of the 18th century. He had 
 some instruction from Bartolozzi and en- 
 graved in his manner. He worked after 
 Angelica KaufFman, Kigaud, and others. 
 He was one of the governors of the Society 
 of Engravers, founded 1803. 
 
 PASTOEINI, ^ miniature painter. He 
 was an occasional exhibitor at the Royal 
 Academy from 1812 to 1826, and died in 
 Newman Street, August 3, 1839, aged 66. 
 
 PATCH, Cozens, subject 'painter. There 
 is at Petworth a painting in the Hogarth 
 manner, and of the same period, by an artist 
 of this name. 
 
 PATCH, Thomas, engraver and 'painter. 
 He went to Italy with Sir Joshua Reynolds, 
 and is supposed to have died there some 
 time after 1772. He engraved a series of 
 caricatures, dated 1768-70 ; 26 folio plates 
 after the frescoes of Massaccio ; Ghiberti's 
 Baptistry G-ates ; Studies from Era Barto- 
 lommeo, 1771; two landscapes after Poussin. 
 He also painted some landscapes and figures, 
 and there is a large plate of Florence, well 
 drawn and etched, by him. 
 
 PATON, David, portrait painter. Prac- 
 tised in Scotland about the middle of the 
 18th century. He painted miniatures in 
 black and white, drew many small portraits, 
 and copied likenesses from pictures, finish- 
 ing the draperies and accessories with great 
 minuteness. His portraits are simple and 
 pleasing, and he had for his sitters persons 
 of distinction. Some of his portraits are 
 engraved. Robert White engraved his por- 
 trait of Sir James Dalrymple of Stair, 
 president of the Court of Session. 
 
 PATON, Richard, marine painter . He 
 is said to have been born in a low sphere 
 of life, and found a poor boy on Tower Hill 
 by Admiral Sir Richard Knowles, who took 
 him to sea. How he gained a knowledge 
 of art is unknown. He painted the Lord 
 Mayor's Show by water, the figures by 
 Wheatley, a picture which is now in the 
 
PAT 
 
 PAY 
 
 Guildhall. Ho exhibited, 1762-68, with 
 the Incorporated Society of Artists, of which 
 ho was a vice-president, but after a very 
 angry correspondence, resigned his member- 
 ship in 1771. In 1774 he finished a set of 
 views, the figures by Mortimer, of Count 
 Orloff 's victory over the Turks. He also 
 painted four excellent views of the dock- 
 yards, broad and rich in colour, in one a 
 ship on fire, the effect cleverly managed. 
 These., four works are now in the Naval 
 Museum, lately removed to Greenwich. 
 From 1776 to 1780 he was a large con- 
 tributor to the exhibitions at tlie Eoyal 
 Academy. His works were engraved by 
 AVoollett, Fittler, Canot, and others, and 
 there are three marine views etched by 
 himself. He held for many years an office 
 in the Excise, and rose to be the general 
 accountant, but of early habits, he managed 
 to continue his art. He died in Wardour 
 Street, Soho, after a long and painful illness, 
 March 7, 1791, aged 74. 
 
 PATTEN, j)., ])ortrait fainter. Virtue 
 engraved his portrait of Archbishop Sharpe, 
 of St. Andrew's, 1710. 
 
 PATTEN, George, k.iK.K,,'portTait and 
 hhtory jpainter. Born June 29, 1801. He 
 was of a family of artists, and entering the 
 schools of the Academy in 1 816, studied first 
 as a miniature painter, and practise! that art 
 till 1 830. He then painted life-size portraits 
 in oil, and some subject pictures. In 1837 
 he went to Italy, and visited the chief art 
 cities, and was elected an associate of the 
 Academy in the same year. In 1840 he 
 visited Germany, and painted there the 
 portrait of Prince Albert, who subsequently 
 appointed him his portrait painter in ordi- 
 nary. He painted many full-length portraits 
 for presentation to different institutions, 
 and a number of classical, with two or 
 three scriptural, subjects. He was a large 
 contributor to the exhibitions of the Aca- 
 demy from 1819 to his death. Though he 
 had been a diligent and laborious student, 
 and had acquired great power as a painter, 
 he failed to attain that excellence which 
 would have gained him the membership of 
 the Academy. He had resided the latter 
 part of his life at Eoss, in Herefordshire, 
 but returned to the neighbourhood of the 
 metropolis, where he died, March 11, 1865. 
 
 PAUL, J. S., engraver. Practised in 
 mezzo-tint in the latter half of the 18th 
 century. There is a portrait by him of 
 Mrs. Barry, the actress, after Kettle, some 
 portraits after Peynolds, a ' Conversation' 
 after Jan Steen. 
 
 PAUL, KoBEUT, engraver. Studied at the 
 Glasgow Academy and practised in that 
 city, of which there are several views 
 slightly etched by him, and a north view 
 of the Cathedral Church, dated 1762. 
 
 PAXTON, John, portrait and history 
 
 painter. He is believed to have been in- 
 structed in Eoulis' Academy, at Glasgow. 
 He was a member of the Incorporated 
 Society of Artists, 1766, and sent from 
 Rome to their exhibition in that year, 
 ' Samson in Distress,' and in London in 
 
 1772 and 1773, was also a contributor. To 
 the first exhibition of the Royal Academy, 
 1769, he sent a small whole-length por- 
 trait, a boy in the character of Cupid, and 
 a girl playing on a musical instrument. 
 His portraits were well -painted and finished, 
 and gained him a reputation. He after- 
 wards went to the East Indies and died in 
 Bombay, in 1780. 
 
 PAYE, Richard Morton, mhject 
 painter. Was born at Botley, in Kent, 
 and first employed in London as a chaser. 
 He was soon distinguished by the fine 
 sculpturesque manner of his classic and 
 allegorical groups. He also occasionally 
 practised painting. His easel pictures were 
 carefully finished, his light and shade ex- 
 cellent, but his painting woolly. His sub- 
 jects were chiefly domestic and familiar, 
 for his feelings were now roused by family 
 cares, and he for a time enjoyed some 
 popularity. But few of his works are 
 known. His ' Miraculous Increase of the 
 Widow's Oil,' in which he introduced his 
 wife and some of his children, is said to 
 have been sold as a Velasquez, another 
 picture by him as a Wright of Derby. In 
 
 1773 he exhibited at the Royal Academy 
 both portraits in oil and wax models, and 
 the same in the following year. He was a 
 contributor in 1783 to the exhibition of the 
 Incorporated Society and of the Free Society. 
 In 1787 some emblematical designs by 
 him were published in the 'Artist's Re- 
 pository.' 
 
 When Dr. Walcot quarrelled with Opie 
 he took up Paye, lodged him in his house, 
 and praised and flattered him, but the con- 
 nection was soon dissolved. He painted a 
 loutish stupid lad, said to be a natural son 
 of the doctor, which he exhibited at the 
 Academy in 1785, as 'Portrait of a Sulky 
 Boy.' This was supposed one cause of 
 quarrel; and he satirised the doctor in a 
 sketch as a bear seated at an easel. His 
 employment was precarious. He tried 
 modelling, oil painting, miniature painting, 
 and engraving to procure a subsistence. 
 Shy and diffident in his habits, he did not 
 mix with his brother artists, or in any 
 other society. He was soon known to be in 
 difficulties. His powers began to fail. He 
 suffered from rheumatic fever, followed by 
 an attack which paralysed his right hand, 
 and, stimulated by necessity, he learned to 
 work with his left; but embarrassed by 
 poverty and neglect, he fell into obscurify. 
 He did not exhibit after 180^ and was lost 
 sight of by his friends. The date of his 
 
 309 
 
PAY 
 
 PEA 
 
 doatli even is uiiknov/ii, but it has been 
 traced with tolerable accuracy to have hap- 
 pened in December 1821. Many of his 
 pictures were engraved by J. Young, who 
 befriended him. Val. Green engraved, in 
 1783, his 'Child of Sorrow,' and two or 
 three others ; and he himself engraved, 
 after his own pictures, ' Puss in Durance,' 
 and ' No Dance, no Supper.' 
 
 PA YE, Miss, miniature painter. Lived 
 for several years with the above, and was 
 probably his daughter. She was an ex- 
 hibitor at the Koyal Academy, commencing 
 in 1798, and among her works were the 
 portraits of many persons of rank. She 
 exhibited in 1800 ' L'Allegro' ; 1801, ' Cu- 
 pid'; 1803, SSylvia'; 1805, 'Mrs. Sid- 
 dons,' with many others, but ceased to 
 exhibit in 1807. 
 
 PAYNE, John, engraver. Was a pupil 
 of Simon de Passe. His chief works are 
 frontispieces, book-plates, and portraits ; 
 but he also engraved landscapes, animals, 
 birds, fruit, and flowers. He is reputed to 
 have been the first English artist who prac- 
 tised line engraving. Evelyn commends his 
 portraits, and also a very large plate by 
 him of Phineas Pett's 'Koyal Sovereign.' 
 Walpole says he was an idle genius, who 
 neglected the fame and fortune which his 
 talent would have secured him, and died in 
 indigence, before the age of 40, shortly 
 before 1648. A plate by him is dated 
 ' London, 1620.' His works are prized by 
 collectors. 
 
 PAYNE, William, water-colour fainter. 
 Ho originally held a civil appointment in 
 the engineer's department at Plymouth, 
 and, having a love of art, pursued it him- 
 self, and, self-taught, struck out a new style. 
 He resided at Plymouth in 1786, and in 
 that year sent to the Academy exhibition 
 some views of the neighbouring scenery. 
 He had groat dexterity of hand, working 
 with the brush, almost excluding outline. 
 His colour was brilliant, his style marked 
 by vivid effects of sunshine and light and 
 shade produced by the opposition of warm 
 colours and grey aerial tints. He exhibited 
 at the Spring Gardens Rooms in 1776 and 
 in 1790, when he came to reside in London, 
 and was soon the fashionable teacher of the 
 day. But he was seduced further and 
 further from nature by his great facility, 
 and fell into a mere mannerist. He was, 
 in 1809, elected an associate exhibitor of 
 the AVator-Colour Society, but appears to 
 have withdrawn in 1 8 1 3, with other seceders, 
 when a change was made in the constitution 
 of the society. Sir Joshua Eeynolds spoke 
 in high terms of some small drawings made 
 by him of the slate quarries at Plympton. 
 
 PEACHAM, Hekry, amateur. Born at 
 South Mimms, near St. Albans. Studied 
 at Trinity College, Cambridge, and took 
 310 
 
 the degree of M.A. He was for a time a 
 teacher at the Eree School at Windham, 
 Norfolk, and then became tutor to the 
 children of Lord Arundel, and accompanied 
 him to the Low Countries. Afterwards he 
 visited Italy. He was distinguished for 
 his attainments in music, painting, and 
 engraving, and was deemed both a scholar 
 and an artist. He took likenesses, and 
 engraved a portrait after Holbein. He 
 published ' The Complete Gentleman,' 1634, 
 which, among other matters, gives instruc- 
 tion for drawing and painting, and was 
 much studied by the younger gentry of 
 that age, though it does not seem probable 
 that they would gain much art knowledge 
 from it. He also published ' The Gentle- 
 man's Exercise, or An Exquisite Practice 
 as well for Drawing all manner of Beasts 
 in their true Portraiture ; as also the 
 making of Colours for Limning, Painting, 
 Tricking "and Blazoning of Coats of Arms, 
 1630.' He is supposed to have died about 
 1650. 
 
 PEACKE, EdvmrdI engravers. Prac- 
 
 PEACKE, Robert j tised about the 
 middle of the 17th century, working to- 
 gether. There are by them several plates 
 of friezes and architectural ornaments. 
 
 PEACKE, William, engraver and 
 painter. There are some portraits by an 
 artist of this name, who practised in the 
 reign of James I. 
 
 PEAK, James, engraver and draftsman. 
 Was born about 1730, and brought up in 
 London. He was employed by Alderman 
 Boydell, and engraved landscapes after 
 Claude, R. Wilson, the Smiths of Chiches- 
 ter, Pillement, and others. There are also 
 several spirited painter-like etchings by him. 
 His numerous works are much esteemed. 
 He died about 1782. 
 
 PEAKE, Sir Robert, Knt., painter and 
 engraver. He was brought up as an en- 
 graver, and, as was common at that day, 
 was also a printseller. He Was a good 
 draftsman, and painted portraits in minia- 
 ture. He painted for King James, in 1612, 
 three portraits, for which he was paid 20/^. ; 
 and he engraved the portrait — supposed 
 from his own drawing — of Charles L, with 
 his family. In the revolutionary war he 
 took the royal side, and held a commission 
 as lieutenant-colonel under the brave Mar- 
 quess of Winchester. He was present at 
 the siege of Basing House, and was made 
 a prisoner. He was knighted by Charles 
 at Oxford, in March 1645. Ho died in 
 1667, aged about 75, and was buried in 
 St. Sepulchre's, London. Faithorne and 
 Dobson were his pupils. 
 
 PEARCE, William, portrait pednter. 
 Born in London, about the middle of the 
 18th century, and at its close exhibited one 
 or two portraits at the Academy. He also 
 
PEA 
 
 PEM 
 
 painted some rustic subjects, and C. Turner 
 engraved * The Milkmaid ' after him. 
 
 PEARCE, Sir Edwaed Lovett, architect. 
 He held the office of * engineer and surveyor- 
 general' in Dublin, and, in 1729, designed 
 and commenced the Parliament House, a 
 noble piece of architecture, though the 
 design has been attributed to Castells. He 
 also designed the theatre in Aungier Street, 
 a fine work. He died in 1733, and was 
 buried , in the old churchyard of Donny- 
 brook, near Dublin. 
 
 PEARSON, James, glass painter. Was 
 born in Dublin. Learnt his art in Bristol. 
 In 1776 he completed the window at Braze- 
 nose College, Oxford, of ' Christ and the 
 Four Evangelists,' after the designs by 
 Mortimer; and also painted, after the 
 same artist, ' The Raising of the Brazen 
 Serpent in the AVilderness,' for the great 
 window at Salisbury Cathedral. He also 
 painted some designs after Barry, R.A. 
 The altar-window in Aldersgate Church, 
 London is by him. He married a daughter 
 of Paterson, the well-known book auc- 
 tioneer. He died in 1805. 
 
 PEARSON, Eglington Margaret, glass 
 painter. Daughter of Samuel Paterson, 
 the bibliopolist auctioneer, and originator 
 of the noted Darien Scheme. She married 
 the foregoing James Pearson, and assisted 
 him in his paintings. She was much 
 reputed for her work, especially her copies 
 after the cartoons of Raphael. Of these 
 she made two sets, and commenced a 
 third in 1821, but her close application 
 brought on a complaint which ended in her 
 death on February 14, 1823. 
 
 PEARSON, Mrs. Charles, 2)ortrait 
 painter. Her maiden name was Dutton. 
 She married early in life Mr. Pearson, the 
 city solicitor, and later, member of Par- 
 liament. She exhibited portraits at the 
 Royal Academy from 1821 to 1837, sending 
 in the years 1836-37 a portrait of the Lord 
 Mayor, and exhibited once more in 1842, 
 again a portrait of the Lord Mayor. She 
 died April 15, 1871, aged 72. 
 
 PEART (or Paert), Henry, copyist and 
 portrait p>ai7iter. Pupil of Barlow, and 
 afterwards of Henry Stone. He was an 
 indifferent artist, chiefly employed as a 
 copyist, and copied most of the historical 
 pictures in the royal collections. He died 
 in 1697 or 1698. A portrait by him of 
 a Morocco ambassador, 1682, was en- 
 graved. 
 
 PEART, Charles, scul'ptor. His original 
 practice was as a modeller in wax. He 
 obtained the Royal Academy gold medal in 
 1782, for his group of 'Hercules and Om- 
 phale,' and from that time was an occasional 
 exhibitor at the Academy of a classic work 
 in plaster. In 1784, 'Prometheus;' 1787, 
 'Neptune and Amphitrite ;' but hi.s chief 
 
 practice appears to have been small por- 
 traits in wax. He was an exhibitor from 
 1778 to 1797. 
 
 PEAT, T., portrait painter. He prac- 
 tised in the latter half of the 18th century, 
 and was an imitator of Reynolds, but his 
 practice was chiefly as a painter in minia- 
 ture, sometimes in enamel. He exhibited 
 at the Academy from 1791 to 1805. Miss 
 M. Peat, his sister, painted miniature, and 
 was an exhibitor in 1796-97. 
 
 PECKITT, William (known as 'Peckitt 
 of York'), glass painter. Was born in 
 April 1731, at Hursthwaite, in the North 
 Riding, and was a pupil of Price. Ho was 
 inferior to his predecessors in the art, but, 
 a good chemist, he attained great brilliancy 
 of colour. He commenced glass painting 
 in York in 1751. Between 1765-77 he com- 
 pleted the windows ' of the north side of 
 new College Chapel, with apocryphal por- 
 traits. In 1767 ho put up at Oriel Col- 
 lege, ' The Presentation of Christ in tlie 
 Temple,' from the design of Dr. AVall, a phy- 
 sician, who amused himself by painting. In 
 the library at Trinity College he painted 
 from an allegorical design by Cipriani, a 
 window, consisting of 140 square feet of 
 glass, for which he was paid 500/. There 
 are also some specimens of his work in the 
 York Minster and in the City Town Hall. 
 Ho died at York, October 15, 1795, in his 
 65th year. 
 
 PELHAM, Henry, history and miniatiore 
 painter. He resided with Copley, R. A., was 
 most probably his pupil, and while under 
 him exhibited at the Academy, in 1777, his 
 first contribution, ' The Finding of Moses,' 
 which was finely engraved by W. Ward in 
 1787. At the same time, and in the fol- 
 lowing year, he exhibited some miniatures in 
 enamel and water-colour, after which there 
 is no further trace of his works, 
 
 PELHAM, Peter, engraver. Born in 
 London about 1684, and practised there 
 early in the following century. There are 
 many fine mezzo-tint plates by him, among 
 them Cromwell after Walker, George I. and 
 George 11. , and others after Kneller. He 
 died about 1738. 
 
 PELHAM, J. C, portrait pahitcr. Was 
 the son of the above, and was born about 
 1721. He practised in London, painting 
 portraits, and occasionally an historical 
 subject. 
 
 PELTRO, John, engraver. In 1779 he 
 exhibited with the Free Society some en- 
 gravings after Taverner and others. He 
 found his chief employment in engraving, 
 after the designs of Repton, the miniature 
 views of gentlemen's seats, for the annual 
 ' Polite Repository.' He died at Hendon, 
 August 5, 1808, aged 48. 
 
 PEMBROKE, Thomas, historical painter . 
 Born 1702, Was a pupil of Laroon, whose 
 
 311 
 
PEN 
 
 PER 
 
 manner he imitated. He painted several 
 pictures for the Earl of Bath, and J. Smith 
 mezzo-tinted after him ' Hagar andlshmael, 
 which was published by Boydell. He died 
 in 1730, aged 28. 
 
 PEN, Jacob, a Dutch fainter. A good 
 draftsman aud colourist, who came to this 
 country, where only his works are known, 
 and was chiefly employed by Charles II. 
 He died in 1678. 
 
 PENLEY, Aaron Edwin, water-colour 
 j^tainter. He first appears .in 1835 as an 
 exhibitor of portraits in water-colours at 
 the Eoyal Academy, and continued an occa- 
 sional contributor up to 1857, sending in 
 1842 a ' Elower Girl,' and in 1850 a ' Welsh 
 Peasant Girl.' He was elected a member 
 of the new AVater-Colour Society (now the 
 Institute) in 1838, and exhibited with them, 
 but feeling his works did not receive in the 
 exhibitions the place due to their merit, he 
 withdrew from the society in 1856. In 
 1851 he was appointed professor of drawing 
 at the Addiscombe East India College, and 
 filled that office till the dissolution of the 
 college. He also held, till his death, a 
 similar appointment at the Woolwich Mili- 
 tary Academy, and was water-colour painter 
 to William IV. and Queen Adelaide. In 
 1864 a reward was advertised in one of the 
 London daily papers for any information 
 respecting him, living or dead. What this 
 related to does not appear. His death 
 took place suddenly at Lewisham, Jan. 15, 
 1870, in his 64th year. His collection and 
 works were sold at Christie's in the fol- 
 lowing April. He was the author of ' The 
 Elements of Perspective,' 1851 ; ' The 
 English School of Painting in Water- 
 Colours,' 1861 ; and ' Sketching from 
 Nature in Water-Colours,' 1869. 
 
 PENNITHOKNE, Sir James, Knt., 
 architect. He was born at Worcester in 
 June 1801, and having been educated in 
 that city, he came to London in 1820, and 
 was placed under Augustus Pugin, and 
 afterwards under John Nash. In the 
 autumn of 1824 he visited Italy, and after 
 a careful course of study at Rome, he 
 visited the other great art cities, returning 
 to England at the end of 1826. He was 
 then employed in the office of Mr. Nash, 
 who was at the time largely engaged upon 
 Government works. In 1832 he was him- 
 self appointed by the Commissioners of 
 Woods to plan some of the Metropolitan 
 improvements then in contemplation, and 
 for many years was their adviser and ex- 
 ecutive officer, and in addition to extensive 
 street improvements, he designed Victoria, 
 Kennington, and Battersea Parks. From 
 1840 his entire services were required by 
 the Government, and in 1843 he visited 
 Ireland to report upon the construction of 
 the workhouses. In 1845 he commenced 
 312 
 
 the Museum of Economic Geology, a good 
 example of his ability, and its success led 
 to his employment on the Public Record 
 Office, a very important work, which, com- 
 menced in 1851, occupied nearly the re- 
 mainder of his life. Among his other 
 official works were the alteration of the 
 Quadrant, taking away the heavy colon- 
 nade ; the addition to the Ordnance Office, 
 Pall Mall, and of a new wing to Somerset 
 House, and the erection of the University 
 of London at the back of Burlington House, 
 his last and best work. Soon after, on 
 some changes made in the Office of Works, 
 he was with little notice removed, in 1870, 
 from an appointment he had so long and 
 with so much distinction held, by the abo- 
 lition of his office. He received, in 1 857, the 
 medal of the Institute of British Architects, 
 and was also presented by the members of 
 his profession with a special medal, in 
 recognition of his talent and services, fol- 
 lowed by the honour of knighthood by the 
 Queen on his quitting office. He died at 
 Maiden, Surrey, September 1, 1871. 
 
 PENNY, Edward, R.A., portrait and 
 subject painter. Was born at Knutsford, 
 Cheshire, in 1714, and showing an incli- 
 nation for art, was placed under Hudson, 
 and completed his studies in Rome, where 
 he was some time before 1748. On his 
 return to England he met with much em- 
 ployment, painting small portraits in oil. 
 He also produced some subject pictures, 
 several of which were engraved. Of these, 
 the chief were his 'Death of General 
 Wolfe,' the impressions of which had a 
 great sale; and 'The Marquis of Granby 
 Relieving a Sick Soldier,' He also designed 
 the illustrations for an edition of * The 
 Novelists,' which were engraved by R. 
 Houston. He was vice-president of the 
 Chartered Society of Artists, and was one 
 of the foundation members of the Royal 
 Academy, and the first professor of painting, 
 an office which he held till 1783. He was 
 an exhibitor at the first exhibition — his 
 early subjects from Shakespeare and por- 
 traits. But his art degenerated into the 
 lesser sentimentalities, and later he fell in 
 with the moral fashion of art at that time. 
 In 1774 he exhibited 'The Profiigate 
 Punished,' with its proper pendant, ' The 
 Virtuous Comforted ; ' in 1782, his last con- 
 tribution, 'The Benevolent Physician,' ' The 
 Rapacious Quack,' and ' The Distraint upon 
 a Widow's Cow.' About the same time he 
 married a lady of property, and retired to 
 Chiswick. He died November 15, 1791. 
 
 PERIGAL, Arthur, history painter. 
 Gained the Royal Academy gold medal 
 1811, for his historical painting, ' The- 
 mistocles taking Refuge at the Court of 
 Admetus.' He had previously exhibited 
 at the Academy, and in 1813 sent 'The 
 
PER 
 
 PET 
 
 Mother's last Embrace of her Infant 
 Moses before placing him in the Ark.' 
 In 1814-15 he did not exhibit. But in 
 1816 he painted again his subject exhi- 
 bited in 1813. In 1817 he exhibited a 
 portrait, and in 1821 he was living at 
 Northampton, and exhibited for the last 
 time, ' Going to Market.' 
 
 PERRY, Francis, engraver. Was born 
 at Abingdon, and brought up to the trade 
 of a hosier. Afterwards he was placed under 
 Vanderbank, the engraver, with whom he 
 learned little, and then under Richardson ; 
 but not making more progress as a painter 
 than as an engraver, he was employed as 
 clerk to a commissary, and going down with 
 him into Staffordshire, he made drawings of 
 Lichfield Cathedral, which he etched, and 
 from this time made many topographical 
 drawings, and resumed engraving. He was 
 employed for the magazines, but could 
 barely earn a liA^elihood by his industry. 
 There are by him two or three portraits, 
 a series of English silver medals and coins, 
 neatly engraved, and three or four numbers 
 of a gold series, which he had commenced. 
 He died in London, January 3, 1765. 
 
 PETER of Colechurch, architect. He 
 was the chaplain of St. Mary, Colechurch, 
 and the architect of the old London Bridge. 
 He died in 1205. 
 
 PETERS, The Rev. Matthew William, 
 ^.K., portrait and history 'painter. He was 
 born in the Isle of Wight, but his parents 
 removing to Ireland while he was an infant, 
 he has been supposed to have been born 
 there. His father held an appointment in 
 the Customs at Dublin. He was for a time 
 a pupil of West, the master of the Academy 
 of Design in that city. He gained a pre- 
 mium from the Society of Arts in 1759. 
 Originally intended for the Church, his 
 love of art led him twice to Rome, and he 
 passed some months at Venice in 1773-74. 
 While in Italy he copied the San Giero- 
 lomo at Parma, and his copy is over the 
 altar of the church at Saffron Walden. He 
 also copied, in 1782, for the Duke of Rut- 
 land, Le Brun's picture in the Carmelite 
 Church at Paris. He painted with success 
 both historical subjects and portraits. He 
 was engaged for Boydell's Gallery, and con- 
 tributed scenes from ' The Merry Wives of 
 Windsor ' and ' Much Ado about Nothing.' 
 There is a full-length portrait by him of 
 George IV. when Prince of Wales in Free- 
 mason's Hall. His works were engraved 
 by Bartolozzi, J. R. Smith, and others. 
 He was in 1771 elected an associate, and 
 in 1777 a full-member, of the Academy. 
 He had some years previously entered 
 Exeter College, Oxford, but he continued 
 to paint after he had taken his degree, and 
 in 1783, when he is first described as ' The 
 Reverend' in the catalogue, he exhibited 
 
 his first sacred subject, * An Angel carrying 
 
 the Spirit of a Child to Paradise.' He only 
 exhibited once again, in 1785. He held 
 successively three livings, was a preben- 
 dary of Lincoln Cathedral, and chaplain to 
 the Prince Regent. It does not appear whether 
 by conscientious, or what other reasons, ho 
 was led in 1790 to resign his Academy 
 honours, and to give up his professional 
 practice, but the few paintings he after- 
 wards produced as an amateur, and did not 
 exhibit, were of a religious class-. He died 
 at Brasted Place, Kent, March 20, 1814. 
 He married a niece of Dr. Turton, a physi- 
 cian of large practice, the bulk of whose 
 ample fortune went to the painter's second 
 son. He was an object of Peter Pindar's 
 merciless satire. 
 
 PETERSON, Frederic, enamel painter. 
 He was a pupil of Boit, and practised in 
 London at the beginning of the 18th cen- 
 tury. He died in 1729. 
 
 PETHER, Abraham, called ' Moonlight 
 Pether,' landscape painter. Was born at 
 Chichester in 1756. He early showed a 
 great genius for music, and then took a 
 turn for painting, and was instructed by 
 George Smith. He soon gained distinction 
 as an artist. He exhibited at the Academy 
 in 1784, a 'Moonlight;' next, in 1788, 
 ' Mount Vesuvius,' and the following year, 
 ' Ship on Fire at Night, in a Gale of Wind,' 
 and continued to exhibit at intervals up to 
 1811, when he sent his last work, an 
 ' Eruption of Mount Vesuvius.' He chose 
 rural scenes, selecting the beautiful. His 
 colouring was clear and good. He had 
 great power of handling ; his distances 
 treated with great truth and sweetness ; 
 but he had little idea of light and shade. 
 His favourite subjects were effects of arti- 
 ficial light and moonlight. A picture called 
 the 'Harvest Moon,' was the subject of 
 much contemporary praise. He was an 
 ingenious man, and good mechanic. He 
 made telescopes, microscopes, and lectured 
 on electricity, using instruments of his own 
 making, added to which he was an excellent 
 musician. He was a member of the Incor- 
 porated Society of Artists. Died at South- 
 ampton, April 13, 1812, aged 56, leaving a 
 widow and nine children. 
 
 PETHER, Sebastian, landscape painter. 
 He was the eldest son of the foregoing, and 
 painted subjects of the same class. He 
 first exhilnted at the Royal Academy in 
 1814, 'View from Chelsea Bridge,' the 
 * Destruction of Drury Lane Theatre,' and 
 then only once again till 1826, when it was 
 evident that friendly help was given to 
 him, as he painted on commission for Sir 
 John F. Leicester, Bart., 'A Caravan over- 
 taken by a Sand Storm in the Desert,' and 
 for the Royal Manchester Institution, the 
 ' Destruction of a City by a Volcano ; ' but 
 
 313 
 
PET 
 
 PET 
 
 these were his kst exhibited works. He 
 married very young, and had a large family, 
 whose support was a hard task for his pencil. 
 His only purchasers were the dealers ; but 
 the prices he received did not keep his 
 family from the most painful privations, 
 and his talent missed opportunity for suc- 
 cess. After a short illness he sank under 
 an inflammatory attack, and died at Batter- 
 sea, March 18, 1844, aged 54. He was a 
 well-educated man, and gifted with a me- 
 chanical talent, A subscription was raised 
 for his destitute family. 
 
 PETHEE, William, mezzo-tint engraver. 
 Was born at Carlisle in 1731, and was 
 cousin of the foregoing Abraham Pethor. 
 In 1756 he received a premium from the 
 Society of Arts. He was a member of the 
 Free Societ;]^ of Artists, 1763. He com- 
 menced art as a portrait painter, practising 
 both in oil and in miniature, and occasion- 
 ally exhibiting miniatures at the Koyal 
 Academy from 1781 to 1794; he also 
 painted some tolerable landscapes. But 
 his true art was mezzo-tint, which he 
 studied under Thomas Frye, and soon 
 gained great distinction. His portraits in 
 oil are rare ; they are firmly and power- 
 fully painted. His miniatures are spirited 
 works ; in mezzo-tint, his works are de- 
 servedly prized, well drawn, the expression 
 well maintained, but in treatment rather 
 cold and hard. He drew and mezzo-tinted 
 the portraits of the three Smiths of Chi- 
 chester, and produced mezzo-tint plates 
 after Rembrandt, Dow, Teniers, Wright of 
 Derby, and others. He died about 1795. 
 
 PETHEP, Thomas, wax onodeller. He 
 appears to have been a son of Abraham 
 Pether. He exhibited portraits iuAvax and 
 in crayons with the Free Society of Artists, 
 1772 to 1775. 
 
 PETIT, The Rev. Louis John, amatciiT. 
 Was educated at Cambridge, and took his 
 B.A. degree at Trinity College in 1823. 
 He was an honorary member of the Insti- 
 tute of British architects, and read some 
 papers at their meetings ; a member of 
 the Archaeological Institute, and a clever 
 sketcher in water-colours, illustrating many 
 of his antiquarian papers. He also pro- 
 duced some good etchings. He died at 
 Lichfield, December 1, 1868, aged 67. He 
 wrote ' Illustrations of Church Architec- 
 ture,' which he illustrated by 200 etchings, 
 1841 ; ' On the Principles of Gothic Archi- 
 tecture as Applied to Ordmary Parish 
 Churches,' 1846; 'A Description of the 
 Abbey Church, Tewkesbury,' 1848; 'Lec- 
 tures on Architectural Principles,' and 
 in 1854, 'Lectures on Architectural 
 Studies.' 
 
 PETITOT, John, enarael miniature 
 painter. He was born in 1607, in Geneva, 
 where his father practised as a sculptor 
 314 
 
 and architect. Intended for a jeweller, in 
 the practice of that trade, he attained great 
 ability in the use of enamel ; and united 
 with Bordier, who afterwards became his 
 brother-in-law, in its application to minia- 
 ture painting ; and went with him to Italy, 
 where they improved in their art by the 
 help of the best chemists, and in the study 
 of the works of the great painters. Then 
 coming to England, he was assisted by Sir 
 Theodore Mayerne, the chief physician to 
 Charles I., and the most distinguished 
 chemist of his day, and made great im- 
 provements in his scale of colours, and the 
 means of vitrifying them. 
 
 By Mayerne, who was his countryman, 
 he was introduced to the King, who gave 
 him employment, assigned him an apart- 
 ment in Whitehall, and, it is said, knighted 
 him. The time of his arrival is unknown, 
 but about 1640 he produced here some 
 works which are among the finest speci- 
 mens of his art. The civil war breaking 
 out destroyed his prospects at the English 
 Court, and he went to France; some ac- 
 counts say that he attended the royal 
 family to Paris. He was w^ell received by 
 the French king, who gave him a pension, 
 with a residence at the Louvre. But he 
 was a zealous Protestant, and on the revo- 
 cation of the edict of Nantes, in 1685, 
 then greatly advanced in years, he asked 
 the king's permission to return to Geneva, 
 but as he still continued to practise his art, 
 the king, though pressed by repeated me- 
 morials, was unwilling to part with him, 
 and appointed Bossuet to convert him. In 
 this position his anxiety brought on a fever, 
 and, obtaining his liberty, he made his 
 escape to Geneva. Here employment fol- 
 lowed him, and so great was the number of 
 liis visitors, that he retired to Vevay, 
 where he died suddenly, in 1691. He had 
 17 children, one of whom became a major- 
 general in the English service, and one 
 only followed his art. 
 
 Petitot's enamels excel in all the great 
 qualities of the art, and are unsurpassed in 
 the beauty of their drawing, in refinement 
 of expression, in tender sweetness of colour, 
 and the complete mastery of materials. A 
 large number of them are possessed in this 
 country. 
 
 PETITOT, John, miniature 2^aintcr. Son 
 of the foregoing, by whom he was taught 
 the art. He settled in London, and prac- 
 tised with much success. His miniatures 
 are hot in colour, and wanting in the exqui- 
 site character and finish of his father's. 
 He died in London, and after his death 
 his family removed to Dublin, where they 
 were settled in 1754. An inscription 
 on the back of one of his miniatures 
 shows him to have been 35 years of age 
 in 1685. 
 
PET 
 
 PHI 
 
 PETRIE, Jambs, port7'ait painter. Was 
 a native of Aberdeen. In the latter part 
 of the 18th century he settled in Dublin, 
 and practised his art there. In the dis- 
 turbed times which ensued he was a firm 
 loyalist ; but many of the patriot party 
 were his sitters, among them Lord Edward 
 Eitzgerald, Emmet, and Curran. 
 
 PETEIE, George, R.H.A., landscape 
 fainter. Son of the above. Was born at 
 Dublin, in 1789, and, allowed to follow the 
 bent of his own inclination, ho adopted 
 art, studied in the schools of the Dublin 
 Society, and, in his 14th year, gained a 
 silver medal. He early took an interest in 
 antiquarian studies, and in his sketching 
 expeditions made careful notes of anti- 
 quarian remains. Up to 1809 his studies 
 had been confined to the counties of Dublin 
 and Wicklow. In 1810 he visited Wales, 
 and in 1813 London, in company with 
 Danby, A.R.A., and O'Connor. In 1816 he 
 was an exhibitor at the Royal Academy, 
 and for the next few years was largely 
 engaged in landscape views, drawn chiefly 
 in monochrome, for the illustration of pic- 
 torial works on Ireland. These drawings 
 were careful, and truthfully accurate, show- 
 ing much poetry of treatment. In 1826 
 he became an associate of the Eoyal 
 Hibernian Academy, and was a contributor 
 to their first exhibition, held that year. In 
 1828 ho was elected a full member, and 
 was from that time a constant exhibitor of 
 landscape scenery illustrating the national 
 antiquities. In 1831 he was appointed 
 librarian to the Academy, and the same 
 year visited the Isles of Arran, led both by 
 art and antiquarian tastes. 
 
 His literary tastes were indeed developed 
 with his art, and his first essays on anti- 
 quarian subjects were contributed to the 
 ' Dublin Examiner ' and the ' Dublin Penny 
 Journal' as early as 1816; and, with a 
 growing love of Irish antiquities and his- 
 tory, literature gradually superseded art. 
 In 1833 he became connected with the 
 Ordnance Survey of Ireland, which, for the 
 next six years, with little intermission, 
 engaged his whole time and thought. He 
 was placed at the head of a stalF whose 
 duty it was to collect every possible in- 
 formation, antiquarian and topographical, 
 and to examine and compare all ancient 
 documents. But this work was suspended 
 in 1839 on a question of cost, and, return- 
 ing to his easel, he set vigorously to work, 
 and produced some of his best landscapes. 
 At the same time he was occupied in 
 bringing out his great work, ' On the 
 Ecclesiastical Architecture of Ireland.' In 
 1845 he visited Scotland. In 1847 the 
 University of Dublin conferred on him the 
 degree of LL.D., and in 1849 he was granted 
 a well-earned pension on the Civil List. 
 
 Ho was president of the Royal Hibernian 
 Academy, and in 1859 resigned the office. 
 He died in Dublin, January 17, 1866, and 
 was buried in the Cemetery Mount St. 
 Jerome. His 'Life and Labours in Art 
 and Archaeology ' was published by Dr. W. 
 Stokes, Dublin, 1868. 
 
 PETTIT, John, engraver and draftsman. 
 Practised in London, in the dot manner, in 
 the latter part of the IStli century. He 
 engraved a portrait of George Prince of 
 AValcs, and 'Yorick and the Grisette,' 
 1784. 
 
 PHELPS, Richard, portrait painter. 
 He practised in the first half of the 18th 
 century. J. Eabcr engraved after him a 
 portrait of Bampfield Moore Carew. 
 
 PHILIPS, R., 'portrait painter. He was 
 much employed towards the middle of the 
 18th century, and died in 1741. 
 
 PHILIPS, Charles, portrait painter. 
 He was the son of a portrait painter (pro- 
 bably of the foregoing), and painted many 
 persons of distinction, among them the 
 Princess Augusta of AValcs and Frederick 
 Prince of Wales. His portraits are usually 
 of a small size. Ho is also knoAvn as a 
 painter of conversation pieces. Earl Cath- 
 cart has a work of this class, a family 
 group of Lord and Lady A. Hamilton and 
 children, carefully finished, comprising 
 eight figures, looking like dolls, in a great 
 library, and all evidently posed for the 
 portrait painter ; faithful likenesses, no 
 doubt, and well painted, but very poor in 
 composition. It is signed and dated 1731. 
 There is also a portrait by him of P)ishop 
 Warburton in the National Portrait Gal- 
 lery. Several of his portraits are engraved. 
 He died early in life. 
 
 PHILLIP, John, R.A., sut^ject and por- 
 trait painter, AA^as born at Al)erdccn, the 
 son of an old soldier, April 19, 1817- He 
 early showed a great talent for painting 
 and produced a good likeness of his old 
 grandmother. To improve himself he got 
 employment with a house-painter, but was 
 injured by a fiill, and soon found his mis- 
 take. He then gained the notice of an 
 artist at Aberdeen, who gave . him some 
 advice and assistance. He earned a few 
 shillings by painting the portraits of his 
 acquaintance, and with the assistance of a 
 skipper trading to the Thames was enabled 
 to carry out a plan that possessed him, of 
 coming to London to see the exhibition. 
 He was then 17 years of age, and during 
 one week's stay he spent six days at the 
 Academy, and managed also to see the 
 works at the British Institution, and the 
 Elgin marbles at the British Museum. On 
 his return he set resolutely to work upon a 
 group of four figures, which being shown to 
 Lord Panmure, he sent him to London in 
 1836, placed him under T. M. Joy, and 
 
 315"^ 
 
PHI 
 
 rHi 
 
 provided him with the means to continue 
 his studies. 
 
 During the three following years he 
 studied in London, and jaintod some por- 
 traits. In 1837 he was admitted to the 
 schools of the Royal Academy, and in 1838 
 and 1839 he exhibited a portrait at the 
 Academy; in 1840 sending his first subject 
 picture, ' Tasso in Disguise, relating his Per- 
 secutions to his Sister,' and the same year 
 returned to Aberdeen. There he painted a 
 few portraits, and in 1841 came back to 
 settle in London, but did not exhibit at the 
 Academy till 1847, when he contributed 
 'Presbyterian Catechising,' and continued 
 to contribute Scotch subjects, his 'Baptism 
 in Scotland,' 1850, giving the first promise 
 of his future excellence. This was followed, 
 in 1851, by ' Scotch AVashing,' 'The Spae 
 Wife,' and ' A Sunbeam.' His constitution, 
 always weak, now showed signs of failure, 
 and, advised to try a warmer climate, he 
 determined to visit Spain, and in 1852 did 
 not exhibit. 
 
 At Seville, where he spent some months, 
 his health improved, and his art found a 
 new development. Pilled with admiration 
 for the works of the Spanish painters, espe- 
 cially Velasquez, and no less so with the 
 picturesque peasantry, their rural customs 
 and celebrations, and the glowing scenery 
 by which they were surrounded ; both his 
 art and his subject were thenceforth Spanish, 
 and his future works found their inspiration 
 in Spain, and rivalled the great master's 
 by whom it was incited, in its power and 
 freshness. In 1853, he exhibited at the 
 Academy, 'Life among the Gypsies at Se- 
 ville,' and at the British Institution, ' A 
 Spanish Gipsy Mother.' In 1854, at the 
 Academy, 'A Letter-writer of Seville ; ' the 
 next year, * El Paseo,' portraits of two sis- 
 ters, purchased by the Queen, and, return- 
 ing to a home subject, ' Collecting the Offer- 
 tory in a Scotch Kirk.' In 1856, 'Agua 
 Presca' on one of the bridle roads in Spain, 
 ' A Gipsy "Water-carrier in Seville,' and two 
 other Spanish scenes. In 1857, ' The Pri- 
 son-window in Seville,' a favourite picture, 
 and ' Charity,' Seville. 
 
 He was elected an associate of the Aca- 
 demy in 1857, and in the following year 
 exhibited several Spanish subjects, and a 
 portrait of the Prince Consort. In 1859 he 
 became a full member of the Academy. In 
 1860 he exhibited a picture painted for Her 
 Majesty. 'The Marriage of H.R.H. the 
 Prince of Wales ' — a group of portraits, glow- 
 ing with brilliant colour — and, continuing 
 Spanish scenes, he in 1863 also exhibited 
 his portrait subject, ' The House of Com- 
 mons,' and in the next year one of his greatest 
 works, 'La Gloria,' a Spanish wake. In 
 1865 and 1866, also Spanish subjects, with 
 one or two portraits, and then, with relapsed 
 316 
 
 health, his mind reverted to home scenes, 
 and two Scotch subjects were exhibited on 
 the walls of the Academy in that year. But 
 they were his last and were sent by his 
 friends. Before the exhibition he was struck 
 with paralysis, and though favourable ac- 
 counts were given of him, he died suddenly, * 
 about ten days after the attack, on Feb- 
 ruary 27, 1867, and was buried in Kensal 
 Green Cemetery. He had attained the first 
 rank in art. His subjects were well con- 
 ceived and full of truthful character — care- 
 fully studied, well composed, drawn with 
 great vigour, powerful, and broad in execu- 
 tion and light and shade, and brilliant in 
 harmonious colour. His works have secured 
 him a place among the best painters of the 
 English School. Several of his finest pic- 
 tures have been engraved in the best 
 manner. 
 
 PHILLIPS, Charles engraver. Was 
 born in 1737, and studied in London, He 
 was employed by Alderman Boydell, about 
 1 7 65. His best works are in mezzo-tint, but 
 there are some plates by him in the dot 
 manner. He engraved chiefly after the old 
 masters — Parmegiano, Spagnoletto, Eem- 
 brandt, Francesco Mola, and others. There 
 is a fine mezzo-tint by him of the daughter 
 of Hone, P. A., powerful and luminous in 
 colour. 
 
 PHILLIPS, Thomas, K.A., portrait 
 painter. Was born of respectable parents 
 at Dudley, in Warwickshire, October 18, 
 1770. He received a good education, and 
 shewing an early love for art, his inclina- 
 tion was encouraged by his parents, wdio 
 placed him with Mr. Eginton, the well- 
 known glass painter, at Birmingham. At 
 the end of 1790 he came to London to fol- 
 low art as a profession. He was admitted 
 a student of the Academy, and was for a 
 time employed by Benjamin West, P.E.A., 
 who was then designing the glass windows 
 for St. George's Chapel, Windsor. In 1792, 
 he first appears on the walls of the Aca- 
 demy, his work a 'View of Windsor Castle,' 
 follow^ed next year by an historical attempt, 
 ' The Death of Talbot, Earl of Shrewsbury,' 
 and ' Euth and her Mother-in-law.' In 
 1794 he exhibited attempts of the same 
 class, with one portrait. He soon appears 
 to have found the scope of his talent, and 
 from this time to 1804, portraiture was his 
 chief pursuit. In this he was not without 
 great rivals ; but he industriously made 
 his way. He removed to George Street, 
 Hanover Square, in the latter year, and 
 was elected an associate, and in 1808 a 
 member of the Eoyal Academy. His pre- 
 sentation picture, ' Venus and Adonis,' was 
 the last of his creative subjects. 
 
 Sitters of eminence now came to him. 
 In 1806 he painted the Prince of Wales, 
 the Marchioness of Stafford, the Stafford 
 
PHI 
 
 PID 
 
 family, and Lord Egremont, who was his 
 friend through life. He had established a 
 reputation. His portraits were numerous ; 
 they were characterised by simplicity of style, 
 and truthful finish, solid and carefully exe- 
 ^cuted, and he has preserved to us many 
 of the most distinguished in literature 
 and art, among them, perhaps the best 
 portrait of Lord Byron. In 1824 he was 
 elected the Academy Professor of Painting, 
 and visited Italy, in company with his 
 friend Hilton, K.A., to prepare for his new 
 duties. His lectures embraced a history of 
 painting, invention, design, composition, 
 colour, light, and shade, and the duty of 
 art as a teacher. These lectures were pub- 
 lished in 1832. He wrote several articles 
 connected with the fine arts for Kees' ' En- 
 cyclopedia.' He was one of the chief pro- 
 moters of the General Benevolent Institu- 
 tion. He died April 20, 1845, at his house 
 in George Street, where he had dwelt 41 
 years. He left two daughters and two 
 sons, one of whom followed successfully his 
 profession. 
 
 PHILLIPS, Henry Wyndham, portrait 
 'painter. Son of the above, and studied his 
 art under his father. He first appears an 
 exhibitor in 1839, and was from that year 
 to 1868 a constant contributor to the Aca- 
 demy exhibitions. His works were almost 
 exclusively portraits; but between 1845 
 and 1849 he tried some sacred subjects. 
 He was for several years the secretary to 
 the Artists' Benevolent Institution. He ac- 
 quired some repute as a portrait painter, but 
 died suddenly, December 5, 1868, aged 48. 
 
 PHILLIPS, Giles Pirman, landscape 
 painter. He painted almost exclusively 
 river scenes, introducing vessels, and these, 
 with hardly any exception, views on the 
 Thames, and in water-colours. He was an 
 exhibitor at the Koyal Academy from 1836, 
 when he was residing at Greenwich, to 
 1858. He died March 31, 1867, aged 
 87. 
 
 PHILLIPS, S., engraver. Practised in 
 London about the end of the 18th century. 
 He engraved ' The Birth of Shakespeare,' 
 after Westall, and ' The Guardian Angel,' 
 after Maria Cosway. 
 
 PICAET, G., engraver and draftsman. 
 Born about 1780, practised in London. He 
 engraved several dramatic portraits after 
 Clint and Wivell, and some of the illustra- 
 tions for the 'Description of the Ancient 
 Marbles in the British Museum.' 
 
 PICKEN, Andrew, litliograpJdc drafts- 
 man. Was the son of an author. Born 
 1815. When of sufficient age he was placed 
 under Louis Haghe to learn the art of 
 lithography. He distinguished himself by 
 his landscape and other illustrations, and 
 in 1835 exhibited at the Academy a ' Tomb 
 in Narbonne Cathedral.' He had long suf- 
 
 fered from delicate health from the rupture 
 
 of a blood vessel, and in 1837 was sent by 
 his physician to Madeira. During a two 
 years residence in the island, he devoted 
 himself to art, and made a series of draw- 
 ings which he afterwards published under 
 the title of * Madeira Illustrated,' a work 
 of great truth and skill. Keturning to 
 England in 1840, his failing health com- 
 pelled a second voyage to Madeira ; but his 
 disease gained ground, and he came back 
 to London, where he died June 24, 1845, in 
 his 30th year. His short life had been 
 chiefly devoted to lithography, and his pro- 
 ductions maintain a high rank in that art. 
 
 PICKERING, Henry, portrait painter. 
 Practised in the first half of the 18th cen- 
 tury. His portraits are after the allego- 
 rical manner of Kneller. Paber engraved 
 a ' Shepherdess ' after him, a portrait of 
 that class. 
 
 PICKERSGILL, Henry Hall, si^hject 
 and portrait painter. He was the eldest 
 son of Henry W. Pickersgill, R.A. He 
 studied in the Netherlands making careful 
 studies of the old masters, and afterwards 
 visited the art cities of Italy. He first 
 exhibited at the Royal Academy, in 1834, 
 ' The Troubadours ;' in 1837, ' Holy Water ;' 
 the following year, ' Charity ;' and continued 
 to exhibit works of this class. He was then 
 induced to visit St. Petersburg!!, and on his 
 return, after two years spent there, he exhi- 
 bited, in 1846, 'Fishermen of Rebatzky on 
 the Neva ; ' and in 1847, 'A Ferry on the 
 Neva.' Returning to his earlier subjects 
 he exhibited, in 1848, ' The Right of Sanc- 
 tuary ; ' in 1851, 'Cupid and Psyche,' and 
 ' The Finding of Moses ;' in 1852, ' Romeo 
 and Juliet.' Soon after he found his chief 
 employment as a portrait painter, prac- 
 tising almost exclusively in Manchester and 
 Wolverhampton, and in the adjacent coun- 
 ties, Shropshire and Herefordshire, from 
 1855 to 1860, exhibiting only portraits. Ho 
 died January 7, 1861. 
 
 PICKFORD, J., architect. He built 
 Sandon, in Staffordshire, a mansion of plain, 
 simply proportioned elevation, about 1770, 
 which is engraved in Woolfe and Gandon's 
 work. 
 
 PICOT, Victor Marie, engraver. Was 
 born in France, 1744, and studied his art 
 in Paris. He came to London to improve 
 his fortune, and his ability gained him 
 much notice. In 1766 he was elected a 
 member of the Incorporated Society of 
 Artists. He excelled in the then prevailing 
 dot manner, and engraved after Serres, Bar- 
 ralet, De Loutherbourg, and others. He 
 died about 1805. 
 
 PIDDING, Henry J., subject painter. 
 He chose humorous scenes and subjects 
 from still-life, excelling in his painting of 
 dead fish. He exhibited at the Royal 
 
 317 
 
PIE 
 
 PIN 
 
 Academy, commencing in 1824, works of 
 this class, and from tlie same year with the 
 Society of British Artists, of which body 
 he became a member in 1843, and con- 
 tinued an exhibitor till his death. He 
 enjoyed some reputation, and several of his 
 pictures were made popular by engraving. 
 Of these may be named, ' The Fair Penitent,' 
 a Negro in the Stocks, ' The Battle of the 
 Nile Ke-fought,' two Greenwich pensioners 
 laying out a diagram of the battle with 
 fragments of tobacco pipes, both of which 
 were engraved by himself. He died at 
 Greenwich, June 13, 1864, aged 67. 
 
 PIERCE, Edward, ornamental painter. 
 He practised in the reign of Charles I., and 
 was noted as a painter of history and land- 
 scape. He painted several ceilings and 
 altar pieces, and was skilled also in archi- 
 tectural design, but his chief works were 
 destroyed by the Great Eire. He was some 
 time employed by Vandyck as an assistant. 
 After the Restoration he was employed in 
 repairing the injuries done by the Puritans 
 to the altar-pieces in the London churches. 
 He died soon after this time, and was buried 
 at Stamford. He etched a book of designs 
 for friezes, 1640. 
 
 PI ERCE, Edward, statuary and architect. 
 Son of the above. Was pupil of Edward 
 Bird. He practised in the latter half of 
 the 17th century, and was some time 
 assistant to Sir Christopher Wren, under 
 whom he built the Church of St. Clement. 
 He executed the statue of Sir Thomas 
 Gresham and of Edward III. for the Old 
 Royal Exchange, the four dragons at the 
 angles of the pedestal of the monument 
 on Fish Street Hill, the busts of Newton 
 and Wren for the theatre at Oxford, a fine 
 vase for Hampton Court Palace, and, his 
 chief work, a large and pretentious monu- 
 ment to William, Lord Maynard, at Little 
 Easton, Essex. He died at Surrey Street, 
 Strand, 1698, and was buried in the Savoy. 
 
 PIERCE, John. Another son of the fore- 
 going, who was bred a painter, and is said 
 to have attained some eminence, but no 
 traces remain of his art. 
 
 PIETERS, John, history and portrait 
 painter. Was born at Antwerp, 1667, and 
 studied painting there. Came to England 
 in 1685. Was very poor, and not meeting 
 with the encouragement he had hoped as a 
 history painter, he engaged himself as an 
 assistant to Sir Godfrey Kneller, who em- 
 ployed him upon the draperies and back- 
 grounds of his portraits. In 1712 he left 
 Sir Godfrey and found the same employ- 
 ment with others. He was a good copyist 
 of the works of Rubens, but his chief busi- 
 ness was as a repairer. He became drunken 
 and imprudent, and died in London, 1 727. 
 He was buried in the churchyard of St. 
 Martin's. 
 
 318 
 
 PILKINGTON, Sir William, Bart., 
 
 amateur. He was of a very ancient family, 
 and succeeded to his title in 1811. He was 
 a good scholar, a man of taste, and a clever 
 landscape painter. He also showed some 
 skill in architecture, and Butterton Hall, 
 Staffordshire, was built after his designs. 
 He died near Wakefield, September 30, 1830, 
 aged 75. 
 
 PILLANS, R., marine painter. He prac- 
 tised in the second half of the 18th cen- 
 tury, and painted both storm and calm, 
 sea-shore views with fishermen, harbours, 
 and vessels. 
 
 PILLEMENT, Jean, landscajye and 
 marine painter. He was born and educated 
 at Lyons. Went to Paris for his improve- 
 ment, and then to Vienna. After the peace 
 of 1763 he came to London, and enjoyed 
 here a great reputation. Between 1773-80 
 he was an occasional exhibitor with the 
 Artists' Free Society. He painted land- 
 scapes, marines, subject-pictures, and also 
 flowers. His landscapes were greatly in 
 vogue, and he was the fashionable teacher 
 of his day. He worked both in oil and 
 pastil, but he was best known by his water- 
 colour drawings. He was fond of gay 
 colours and violent effects. His manner 
 was spirited, and his compositions pleasing. 
 Many of his works were engraved in Eng- 
 land, WooUett, Mason, Elliott, and others 
 working after him. He advertised the sale 
 of his paintings and drawings in 1773, 
 being, on account of his health, advised 
 to relinquish all business, and retire to 
 Avignon. He styled himself painter to 
 the King of Poland and to Marie An- 
 toinette, Queen of France. He died at 
 Lyons, where he passed his latter days, in 
 1808, in his 80th year. He was a clever 
 etcher. 
 
 PINE, John, engraver. Born 1690. He 
 kept a print shop in St. Martin's Lane, and 
 was the convivial friend of Hogarth, who 
 painted his portrait, and also introduced 
 him as the friar in his picture of ' Calais 
 Gate,' from which he obtained the nick- 
 name of ' Friar Pine.' He became known 
 by his series of engravings, published in 
 1725, representing the ceremonial of the 
 revival of the Order of the Bath by 
 George I., and established a high reputa- 
 tion by his fine engravings from the House 
 of Lords tapestry of the ' Destruction of 
 the Spanish Armada.' He designed and 
 engraved an illustrated edition of ''Horace,' 
 the text itself engraved on the plates, and 
 ornamented from gems and ancient bas- 
 reliefs. He also engraved some portraits, 
 an etching of himself, and a mezzo-tint of 
 Garrick. In 1743 he was appointed blue 
 mantle in the Herald's College, where he 
 went to reside, and died. May 4, 1756. He 
 was one " of the committee of artists who, 
 
PIN 
 
 PIS 
 
 in 1755, attempted to found a Eoyal 
 Academy. 
 
 PINE, Robert Edge, history and 'poy^- 
 tr ait painter. Born in London, 1742. Son 
 of the aboA^e. He early distinguished 
 himself in art. In 1760 he gained the 
 Society of Arts' first premium of 100 
 guineas for his ' Surrender of Calais,' 
 the figures in which were life size ; and in 
 1763 he again obtained the Society's first 
 prize for his ' Canute Reproving his Cour- 
 tiers.' He was a member and occasional 
 exhibitor of portraits at the Spring Gardens 
 exhibition, 1764-70, and at the Royal 
 Aciidemy, and contributed to that exhibi- 
 tion his last work, ' Lord Rodney in Action 
 on board the Formidable, attended by 
 his Principal Officers.' In 1771 he angrily 
 erased his name from the lists of the 
 Spring Gardens Incorporated Society, on 
 the ground of an insult by the president. 
 He wont to Rath at this time, and prac- 
 tised portrait painting there till 1779. In 
 the early part of 1782 he was in London, 
 and exhibited a collection of his pictures 
 from 'Shakespeare' in the great room at 
 Spring Gardens, but the exhibition was not 
 successful. Ho was a restless, morbidly- 
 irritable, little man, and about this time 
 went with his family to America, ostensibly 
 to paint the heroes of the Revolution, and 
 Washington, with others, sat to him ; but 
 little is known of him there. He died at 
 Philadelphia in 1790. His colour and 
 composition Avere agreeable, but his draw- 
 ing feeble. He took several of his historical 
 pictures to America, where they were un- 
 fortunately destroyed by fire. His ' Sur- 
 render of Calais' was placed in the Town 
 Hall at Newbury. There was a good whole- 
 length portrait of George II. by him at 
 Audley End ; and a whole-length of the 
 Duke of Northumberland at Middlesex 
 Hospital. His portrait of Garrick is 
 highly esteemed. Many of his theatrical 
 portraits were engraved by McArdell, Va- 
 lentine Green, J. Watson, Dickenson, and 
 C. Watson, and were very popular. 
 
 PINE, Simon, miniature 'painter. Brother 
 of the foregoing. He resided a few years 
 in London. He practised in Dublin and 
 Connaught, but chiefly at Bath, from 
 whence he sent miniatures to the Spring 
 Gardens exhibition from 1768 to 1771. He 
 also exhibited at the Royal Academy in 
 1772, and died in that year. 
 
 PINGO, Thomas, medallist. Born in 
 Italy, he came to England, and was ap- 
 pointed an engraver to the Royal Mint, 
 ii. George III. In 1763 he was a member 
 of the Eree Society of Artists. His best 
 works are dated between 1745 and 1764. 
 There is a good medal of the Pretender by 
 him, executed in 1750. He modelled for 
 Wedgwood, in 1769, the battles of Piassy 
 
 and Pondicherry. He died in December 
 1776. 
 
 PINGO, Lew^is, medallist. Son of the 
 above. Was appointed chief engraver to 
 the Royal Mint, xix. George III., and was 
 eminent for his art. Ho was a member of 
 the Eree Society of Artists, 1763. He 
 retired from his office in 1815, and went 
 to reside in Camberwell, where he died, 
 August 26, 1830, aged 87. 
 
 PINGO, John, medallist. Brother to 
 the above Lewis Pingo. He was appointed 
 assistant engraver to the Mint, xxvii. 
 George III., and in 1768 and 1770 ex- 
 hibited medals .and wax models with the 
 Eree Society of Artists. 
 
 PISTRUCCI, Benedetto, medallist. An 
 Italian. Encouraged by an English gentle- 
 man, he came to England in 1816. On his 
 way he was arrested in Paris as a spy and 
 confined many weeks in prison. Ho was 
 bringing with him some fine engraved 
 gems as specimens of his power, and was 
 compelled to part with them for his sup- 
 port. He alleged that his detention arose 
 from an intrigue to get possession of his 
 gems. Ho owed his release to his English 
 friends. On his arrival in London he olj- 
 tainod an introduction to the Prince Regent, 
 whose portrait he produced as a cameo on a 
 fine gem. He soon after received commis- 
 sions for the Royal Mint, and was employed 
 as an assistant on the new silv^er coinage. 
 On a vacancy in 1817 he was appointed the 
 chief engraver, with a salary of 500/. He 
 engraved the dies, using, it is said, tlio 
 wlieel of the gem engraver for the coins of 
 the end of George III.'s and the early part 
 of George IV.'s reign ; and about tho same 
 time produced three fine heads of the King, 
 cut in jasper. In 1820 he engraved tho 
 Coronation Medal, and in the following 
 year a medal in commemoration of the 
 King's visit to Ireland. He had refused 
 to use the portraits of this sovereign by 
 Sir Thomas Lawrence and Sir Francis 
 Chantrey as his models, and his continued 
 refusal, contrary to the King's wishes, to 
 use Chantrey's bust as his model for the 
 new coinage was, it is said, the chief cause 
 of the discontinuance of his services by the 
 Mint, and of an arrangement by which he 
 was retained as medallist with a reduced 
 salary of 350/. 
 
 This was tho cause of much irritation. 
 He felt his position a false one and ex- 
 pressed his discontent. He was then em- 
 ployed upon a Waterloo Medal, and com- 
 menced one on a large scale, but its 
 completion was delayed from time to time 
 and the public were dissatisfied. He was 
 at the same time engaged upon some private 
 medals. On the accession of Queen Victoria 
 he produced the Coronation Medal. It did 
 not, however, please. In 1849 he completed 
 
 319 
 
PIT 
 
 PLA 
 
 his Waterloo medal, which he deemed his 
 chef-d.mivre. It was no less than five inches 
 in diameter, and contained altogether 60 
 figures ; but he confessed his inability to 
 harden it, and no one else ventured upon 
 the responsibility, so the toil of so many 
 years was of no further use than to strike 
 a proof impression on soft metal. His 
 original appointment in the Mint was the 
 subject of much censure, and his conduct in 
 a difficult position left him open to anim- 
 adversion ; but his abilities as an artist, if 
 not exactly suited to his office, cannot be 
 questioned. He executed some marble 
 busts of a colossal size. He died at Engle- 
 field Green, near Windsor, September 1 6, 
 1835, aged 73. 
 
 PITTS, William, sculptor. Born 1790. 
 His father, to whom he was apprenticed, 
 was a chaser in silver. He gained a Society 
 of Arts Medal in 1812, and distinguished 
 himself by modelling part of Stothard's 
 * Wellington Shield,' and afterwards by 
 chasing Flaxman's ' Shield of Achilles.' He 
 also modelled in silver, with great ability, 
 Le Soeur's statue of Charles I. He married 
 at 19, and then, impelled by his genius and 
 his necessities, he set vigorously to work 
 and produced in rapid succession, first ex- 
 hibiting at the Academy in 1823, 'The 
 Deluge,' a sketch ; ' The Creation of Eve,' 
 ' Samson Killing the Lion,' ' Herod's 
 Cruelty,' ' Cupid under the Mantle of 
 Night,' ' Pandora brought to Epimetheus/ 
 and ' Puck.' In these varied yet truly 
 classic subjects he greatly excelled, and they 
 were admired and appreciated. They 
 brought him also plenty of employment. 
 He made many models of silversmith's 
 work. He executed a large proportion of 
 the bas-reliefs for Buckingham Palace and 
 sculpture for other buildings, besides several 
 monuments. 
 
 Among his later works were ' The 
 Shield of Eneas,' exhibited in 1828; 'The 
 Pleiades adorning the Night,' 1833; 'The 
 Shield of Hercules,' 1834; a bas-relief of 
 the Sovereigns of England from the Con- 
 quest to William IV,, with their several 
 attributes, 1837; and a 'Design for the 
 Nelson Memorial,' 1839. He also drew 
 with great facility, and projected a series of 
 outline illustrations of Virgil, two numbers 
 of which were published ; a series from 
 Ossian, of which ho completed two large 
 plates in mezzo-tint, which are unpublished, 
 and he made many drawings to illustrate 
 Horace and Euripides. In the midst of 
 such active labours a rash engagement, 
 relative to an elaborate and expensive work 
 is supposed to have preyed upon his mind, 
 and in a fit of depression, from which he 
 suffered much, he took poison and termi- 
 nated his existence, April 16, 1840. His 
 numerous works had produced him little 
 320 
 
 profit. He had been subject to ill-health, 
 and he left a widow and four children with- 
 out provision. 
 
 PIXELL, Miss Maria, landscape jpainter. 
 She was probably a pupil of S. Gilpin. 
 She practised both in oil and water-colours, 
 painting views and compositions. Erom 
 1796 to 1811 her works occasionally found 
 a place in the Academy exhibitions, and 
 were extravagantly praised by the press in 
 her day. 
 
 PLACE, EnANCis, amateur. Was born in 
 Yorkshire. He was descended from a Dur- 
 ham family, and was articled to a solicitor in 
 London, where he continued till the breaking 
 out of the Plague in 1665, when he left the 
 Metropolis, and found an excuse to abandon 
 a profession he disliked. He then amused 
 himself with art. He had some assistance 
 in etching from Hollar, and he painted, 
 etched, tried the new art of mezzo-tint, and 
 drew many local buildings and objects. His 
 drawings are done with the pen, slightly 
 shaded in the foreground with Indian ink 
 or bistre, mimite and weak in manner, and 
 chiefly dated between 1673 and 1713, signed 
 with his initials only. He etched some 
 animals and insects which were published, 
 and mezzo-tinted some portraits after Van- 
 dyck and Kneller. He tried an experi- 
 mental porcelain manufactory, and some 
 specimens of his work still exist. He re- 
 sided some time at Dimsdale, Durham. 
 Died at the Manor House, York, 1728. 
 
 PLACE, George, miniature fai^iter. Wa s 
 the son of a fashionable linen draper in 
 Dublin, and a student in the schools of the 
 Irish Academy. He came to London and 
 practised here with repute for several years, 
 exhibiting at the Academy yearly from 1791 
 to 1 797. Afterwards he went to Yorkshire, 
 where he followed his profession about the 
 end of the century. 
 
 PLAYEAIK, William Henry, K.S.A., 
 architect. Was born in London, in July 
 1780, the son of an architect known in his 
 day. He settled in Edinburgh, and in 1 829 
 became one of the foundation members of 
 the Royal Scottish Academy. His works 
 in Edinburgh are in the classic style, in 
 which he excelled. He was the architect 
 of St. Stephen's Church, the Royal Insti- 
 tution, the National Gallery, the Free Col- 
 lege, the Surgeons' Hall, and of Donaldson's 
 Hospital, an edifice in the Tudor style. He 
 died in Edinburgh, after a long illness, 
 March 19, 1857. 
 
 PLAYEORD, , miniature painter. 
 
 He practised in London with some ability 
 in the latter half of the 18th century. Died 
 in Lamb's Conduit Street, October 24, 1780. 
 
 PLAYTER, C. G., engraver. He prac- 
 tised in the dot manner in the second half 
 of the 18th century, and was employed on 
 the Shakespeare Gallery. He engraved after 
 
PLI 
 
 Kigaud, * A Scene from the Comedy of 
 Errors ;' after Hamilton, E.A., ' Lady 
 Godiva/ and two subjects after Samuel 
 Shelley. 
 
 PLIMER, Andrew, miniature painter. 
 He was born at Bridgwater, and first exhi- 
 bited at the Royal Academy, in 1786, some 
 miniatures in irory and on enamel, several 
 of them in character. His finish was ex- 
 cellent, his portraits powerful, admirably 
 drawn, and expressed. He resided at Exeter, 
 and continued to exhibit up to 1819. He 
 died at Brighton, January 29, 1837, aged 74. 
 
 PLIMER, Nathaniel, miniature painter. 
 Brother to the above. Born 1751, at Wel- 
 lington, Shropshire. He exhibited minia- 
 tures at the Academy for the first time in 
 1787, and from that year was an occasional 
 exhibitor. His works were carefully drawn 
 and finished, but weak in execution, and not 
 agreeable in colour. He died in 1822. 
 
 PLOTT, John, miniature painter. Born 
 at Winchester in 1732. ^ Commenced life as 
 clerk to an attorney and accountant. Had 
 a taste for painting, came to London in 
 1756, and was for awhile the pupil of 
 R. Wilson, R.A., and was afterwards with 
 Hone, R.A., whom he assisted in miniature, 
 both enamel and water-colour. On leaving 
 him he practised as a miniature painter, 
 and in 1777 was living in London, and 
 exhibited at the Academy, to which he con- 
 tinued an occasional contributor. Later 
 he went to reside at Winchester, and was 
 elected a member of the City Corporation. 
 He painted a few portraits in oil. He had 
 also acquired a knowledge of natural history, 
 and executed some drawings of natural 
 objects which had great merit. He com- 
 menced a history of ' Land Snails,' and had 
 made some of the drawings, which showed 
 great truth and beauty. He died at Stoke, 
 Winchester, October 27, 1803, aged 71. 
 
 P 0 C 0 C K, Nicholas, marine painter. 
 He was the son of a Bristol merchant of 
 good family, and when a young man com- 
 manded a merchant vessel sailing from 
 Bristol. He had a great taste for drawing 
 and illustrated his journal with sketches 
 which he met with on his voyages. Then 
 cultivating art, and entirely self-taught he 
 left the sea to adopt art as his profession. 
 He drew portraits, landscapes, and sea 
 pieces, devoting himself chiefly to marine 
 subjects. In 1780 Sir Joshua Reynolds 
 wrote him an encouraging letter criticising 
 his first picture in oil, which had arrived 
 at the Academy too late for exhibition. 
 Continuing to reside at Bristol, he was a 
 constant exhibitor of marine subjects from 
 1782 to 178 9, and at that time removed to 
 London, and continued to exhibit up to 
 1815. He early attained distinction, and 
 painted the chief naval battles of the war. 
 One of these is in the gallery at Greenwich 
 
 Y 
 
 POL 
 
 Hospital, and two others in the Hampton 
 Court Galleries. These latter are largo 
 pictures, careful and literal, but lifeless, 
 and wanting the interest and spirit of a 
 battle. He was one of the original mem- 
 bers of the water-colour society, and from 
 1805 to 1813, when he resigned his mem- 
 bership, a constant contributor of marines, 
 with an occasional Welsh landscape, to the 
 Society's exhibitions, and continued so up 
 to 1 8 1 7. He died at Maidenhead, March 1 9, 
 1821, aged 80. 
 
 POCOCK, Isaac, ^portrait and history 
 painter. AVas born at Bristol, March 2, 1 782, 
 son of the above. He showed great ability 
 for drawing when a child, and was, in 1798, 
 the pupil of Romney, and afterwards of Sir 
 William Beechey. He exhibited subject 
 pictures and portraits at the Academy in 
 1800-4 and 5, and was, on a competition, 
 awarded 100^. by the Directors of the 
 British Institution in 1807 for his picture 
 of ' The Murder of St. Thomas a Becket.' 
 He painted several historical subjects and 
 portraits. He was a member of the Liver- 
 pool Academy in 1812, and exhibited there 
 many designs, both in oil and water-colours. 
 From 1810 to 1819 he was also an occa- 
 sional exhibitor, chiefly of portraits, at the 
 Royal Academy; but he had before him 
 the prospect of an independent fortune, and 
 he relaxed in his pursuit of art. In 1815 
 he succeeded to a property left him by his 
 uncle, and soon after retired to Maidenhead, 
 and to the pursuits of a country gentleman 
 added literature in preference to art. He 
 produced several very successful farces 
 and melodramas. 'Yes or No,' a farce; 
 ' Twenty Years Ago,' a melodrama, ' Any 
 Thing New,' ' The Miller and his Men,' and 
 others. He died at Maidenhead, August 23, 
 1835, in his 54:th year. Hayley addressed 
 a sonnet to him : 
 
 ' Ingenious son of an ingenious sire ! 
 Pocock! with friendly joy I saw thee start 
 For honour's goal in the career of art.' 
 
 POCOCK, W. F., architect. He first 
 commenced art as a landscape painter, then, 
 turning to architecture, he was an ex- 
 hibitor at the Royal Academy from 1799 to 
 1827 of works, not of importance, which he 
 was executing ; but in 1806 he contributed, 
 a larger attempt, a ' Design for a Temple 
 of Fame.' He published ' Modern Finish- 
 ings for Rooms,' ' Architectural Designs for 
 Rustic Cottages, &c.' 1811. 
 
 POLACK, Solomon, miniature painter. 
 Was born at the Hague in 1757. He came 
 to England early in life and settled here. 
 He first appeared as an exhibitor at the 
 Royal Academy 1790, and was from that 
 time for above 40 years a constant con- 
 tributor. He practised for a time in 
 Ireland, towards the end of the cen- 
 tury. Died at Chelsea, August 30, 1839. 
 
 321 
 
POL 
 
 POR 
 
 He designed and etched the plates to a 
 Hebrew Bible. 
 
 POLLAED, KoBERT, engraver. Was born 
 at Newcastle-on-Tyne, and was apprenticed 
 to a silversmith in that town. He after- 
 wards became a pupil of Kichard Wilson. 
 He commenced art as a painter of land- 
 scapes and marine subjects, and later 
 practised as an engraver. He worked 
 with the point, etched, acqua-tinted, and 
 produced many plates from his own designs, 
 among these ' The Blind Beggar of Bethnal 
 Green,' and 'Lieut. Moody Eescues Him- 
 self from the Americans,' and a hunting 
 piece, ' At Fault.' Also after Serres, 
 Smirke, Wheatley, Paye, and, after Dayes, 
 the elaborate drawing of 'The Trial of 
 Warren Hastings,' crowded with figures. 
 He was the last surviving member of the 
 Incorporated Society of Artists, and in 
 1836 ho gave over to the Eoyal Academy 
 the books and papers of the Society. 
 After experiencing great privations and 
 vicissitudes, he died on May 23, 1838, 
 aged 83. 
 
 POND, Arthur, painter and engraver. 
 He was born about 1705, and was educated 
 in London. He travelled to Eome with 
 Eoubiliac, the sculptor. In his engravings 
 he worked with the needle, and also in the 
 chalk and crayon manners, and produced 
 several plates, in which ho admirably imi- 
 tated, by the means of etching and acqua- 
 tint, the manner of the Poussins, Salvator 
 Eosa, and others. In 1734-5 he published 
 imitations of the Italian masters ; and 
 afterwards, in connection with Knapton, 90 
 plates after the great painters ; also a set 
 of caricatures after the Cavaliere Ghizzi, 
 with some others. He painted several 
 portraits during George II. 's reign, and a 
 portrait of William Duke of Cumberland, 
 which was engraved by Eavenet. McArdell 
 and Grignion also engraved after him, and 
 ho engraved some fine plates himself, after 
 Eaphael, Parmegiano, Caravaggio. He 
 was elected a Fellow of the Eoyal Society 
 in 1752, and Fellow of the Society of Anti- 
 quaries the same year. He had a house in 
 Queen Street, Lincoln's Inn Fields. He 
 died September 9, 1758. His collection of 
 drawings by the old masters was sold in 
 the following year, and realised 1,449^. 
 
 POPE, Alexander, amateur. Born in 
 London, May 22, 1668. The celebrated poet. 
 He was an amateur painter, proud of his 
 attainments in art. He was from a child 
 fond of drawing, was for 18 months the 
 pupil of Jervas, and made considerable 
 progress. He painted and copied portraits 
 and worked hard to excel. He says, in a 
 letter to Gay, dated 1713, after his eyes 
 had been opened to the superior abilities of 
 his friend Jervas, 'I have thrown away 
 three Swifts, each of which was once my 
 322 
 
 vanity, two Lady Bridgewaters, a Duchess 
 of Montague, half-a-dozen Earls and a 
 Knight of the Garter.' Some proof, indeed, 
 that he had tried to succeed. When Jervas 
 went to Ireland we are told that Pope took 
 up his abode in the painters' London 
 house, and as a relaxation drudged away 
 at his easel morning, noon, and night. He 
 designed a fan, the Story of Cephalus and 
 Procris, which was purchased by Sir Joshua 
 Reynolds, and a frontispiece for a small 
 edition of his own ' Essay on Man.' A head 
 of Betterton by him, a copy after Sir 
 Godfrey Kneller, is in the possession of the 
 Earl of Mansfield. He died at Twickenham, 
 May 30, 1744. 
 
 POPE, SoMERViLLE Stevens, amateur. 
 Was the son of a miniature painter in 
 Ireland, under whom, and also under 
 Thomas Eoberts, he studied art about the 
 middle of the 18th century. He was chiefly 
 known as a devoted copyist of the works of 
 Vernet. But he became High Sheriff of 
 Dublin, and his practice of art was thence- 
 forth rather as an amateur than profes- 
 sional. 
 
 POPE, Alexander, miniature painter. 
 Was younger brother of the above. He was 
 born at Cork, and was a student in the 
 Dublin Art School, under West. He prac- 
 tised portrait painting in Cork with success, 
 and occasionally performed on the stage. 
 In 1783 he came to London, and made his 
 appearance on Covent Garden Theatre. He 
 succeeded in tragedy, and was well-known for 
 his performance of Othello, Henry the 8th, 
 and other characters. He first exhibited at 
 the Eoyal Academy in 1790, and was an oc- 
 casional exhibitor up to 1821. He died in 
 London in 1835. 
 
 POPE, Mrs., flower aiid miniature painter. 
 Her maiden name was Lee. She married at 
 an early age, Wheatley, E.A., and exhibited 
 at the Academy, in 1796, a portrait, and for 
 several years after portraits and little 
 domestic subjects, introducing children ; in 
 1804, 'A Eide in a Wheelbarrow.' About 
 this time, having become a widow in 1801, 
 she married the above Alexander Pope. 
 She painted both miniatures and flowers. 
 Her portrait of Madame Catalani became 
 very popular, but she excelled in her flowers, 
 for which she enjoyed a great reputation. 
 She was a frequent exhibitor at the Eoyal 
 Academy. She died December 24, 1838, at 
 an advanced age. 
 
 POEDEN, William, architect. He was 
 born at Hull, and was the grandson of Eoger 
 Pourden, of York, architect. He showed an 
 early attachment to drawing and poetry, 
 and gaining the notice of Mason, the poet, 
 was introduced by him to James Wyatt, 
 who admitted him into his office, where he 
 studied architecture for some time, and was 
 afterwards the pupil of Samuel P. Cockerell. 
 
POE 
 
 POW 
 
 He then became secretary to Lord Shef- 
 field, wlio appointed him paymaster to the 
 22d Dragoons, a regiment raised by his 
 lordship in 1770. After the reduction of this 
 regiment he turned again to architecture, 
 and in 1778 exhibited at the Academy de- 
 signs for a Gothic church, and continued 
 an occasional exhibitor. He was employed 
 by the parish of St. George, Hanover Square, 
 and superintended the fitting of West- 
 minster Abbey for the Handel Festival in 
 1785-86, and was afterwards appointed by 
 Earl Grosvenor surveyor of his estates in 
 the metropolis. He built the stables at 
 Brighton for the Prince of Wales, and Eaton 
 Hall, Cheshire, for Lord Grosvenor, but was, 
 for some cause, superseded in the latter em- 
 ployment. This preyed upon his spirits, 
 and he died two years after, on Septem- 
 ber 14, 1822, aged 67. He had a numerous 
 family, all of whom diedin infancy except two 
 daughters — the elder married Mr. Kay the 
 architect. The younger, Eleanor Anne, was 
 distinguished by her poetic talent. She pub- 
 lished 'Coeur de Leon,' in sixteen cantos, 
 with some other poems. She was a great 
 favourite of Elaxman, K.A., who called her 
 his daughter, and became the first wife of 
 Captain Franklin, E.N. , the arctic explorer. 
 She died young, in 1825. 
 
 POKTER, Sir Egbert Kerr, Knt., Ms- 
 tory painter. Was born at Durham in 1 777. 
 His father, descended from an old Irish 
 family, was surgeon to the 6th Enniskillen 
 Dragoons, and, dying young left his family in 
 very low circumstances, and his mother then 
 retired with them to Edinburgh. He made 
 early attempts at drawing, which induced 
 his mother to take him to West, P.R.A., by 
 whose advice he entered the schools of the 
 Royal Academy in 1790. He made rapid 
 progress and commenced art on a large scale. 
 In 1793 he painted ' Moses and Aaron,' an 
 altar-piece, commissioned for Shoreditch 
 Church, and, in 1794, presented ' Christ 
 stilling the Waves' to the Roman Catholic 
 Chapel at Portsea, and, 1798, 'St. John 
 Preaching' to St. John's College, Cam- 
 bridge. In 1800 he was employed in scene- 
 painting for the Lyceum Theatre, and then 
 undertook, when only 22 years old, to paint 
 'The Storming of Seringapatam,' 120 feet 
 long, which contained 700 life-size figures, 
 and was completed in ten weeks. This pano- 
 ramic effort was exhibited in the Theatre, and 
 was followed by two others of nearly equal 
 magnitude: 'The Siege of Acre' and 'The 
 Battle of Agincourt.' It has been said of him 
 that if he was not a great painter he surely 
 painted great pictures, which seems to be the 
 sum of his art merits. At this time he exhi- 
 bited some easel pictures at the Royal Aca- 
 demy, and of these, in 1801, ' Mr. and Mrs. 
 Harry Johnston as Hamlet and Ophelia.' 
 But he was of a restless as well as a vigorous 
 
 nature: in 1803 he was appointed a captain 
 in the Westminster Militia, and in 1804 was 
 invited to Russia, where he was appointed 
 historical painter to the Emperor. Ho was 
 employed in the decoration of the Admiralty 
 Hall, and painted several largo pictures. 
 He fell inlove with the Princess Schertakoff, 
 but left Russia, travelling through Finland to 
 Sweden, where he was knighted by the King. 
 Here he met General Moore, whom he ac- 
 companied to Spain and shared the hard- 
 ships of the campaign ending with Corunna. 
 He then went again to Russia, where he 
 married his princess, and, compelled to leave 
 the country, arrived in England in 1 813, and 
 was knighted by his Sovereign. From 1817 
 to 1 820 he was travelling in the East. While 
 there he was created Knight of the Lion 
 and Sun of Persia, and made many sketches, 
 which are now in the British Museum. In 
 1826 he was appointed consul at Venezuela, 
 where he resided till 1841, when he returned 
 on leave of absence, and visiting St. Peters- 
 burgh, he died suddenly of apoplexy on 
 May 4, 1842, aged 65, and was buried in 
 the foreign cemetery there. He was by turns, 
 during his active and adventurous career, 
 artist, soldier, author, and diplomatist. 
 Several of his pictures were engraved. He 
 designed the illustrations for an edition of 
 'Anacreon,' 1805; published 'Travelling 
 Sketches in Russia and Sweden,' 1808 ; 'Let- 
 ters from Portugal and Spain during the 
 March of the Troops under Sir John Moore,' 
 1809 ; ' Narrative of the late Campaign in 
 Russia,' 1813; and 'Travels in Georgia, 
 Persia, and Armenia,' 1821-2. His sisters, 
 Jane and Maria, were distinguished as no- 
 velists. There is a tablet to the memory of 
 the family in Bristol Cathedral. 
 
 POTT, John, engraver. He practised in 
 London in the latter half of the 18th cen- 
 tury, and engraved after Sir Joshua Rey- 
 nolds, Tilley Kettle, and others. 
 
 POUNCEY, B. J., engraver. Was the 
 pupil and brother-in-law of Woollett. Be- 
 gan art as an engraver of seals and anti- 
 quarian fac- similes, but soon showed great 
 ability in landscape, and in the latter part 
 of the 18th century engraved some fine 
 plates after R. AVilson, Hearne, Faring- 
 ton, and several others. He exhibited some 
 engraved landscapes at the Spring Gardens* 
 rooms, 1778, and architectural views at the 
 Academy in 1782-89, and good views of 
 English towns. He died in Pratt Street, 
 Lambeth, August 22, 1799. 
 
 POWELL, C. M., marine painter. He 
 commenced life as a sailor, and, used to the 
 sea and ships, was self-taught in art. He 
 was first able in 1809 to exhibit a painting 
 at the Royal Academy, and continued a 
 regular contributor up to 1820, of marine 
 subjects, calms and storms, in oil colours. 
 His works, which are numerous, were of 
 y 2 323 
 
POW 
 
 PRE 
 
 some promise, but he was an improvident 
 man, and fell into the hands of the dealers. 
 He died May 31, 1824, leaving a widow 
 and eight children in sad distress. 
 
 POWELL, John, fortrait 'painter. Was 
 an assistant to Sir Joshua Eeynolds, and 
 was much employed in copying his pictures 
 in small size in oil, which he did with much 
 fidelity and taste. He exhibited portraits 
 (chiefly small size) at the Academy in 1778, 
 and in two or three subsequent years, con- 
 tributing for the last time in 1785 — unless 
 some enamelled portraits, on china, exhi- 
 bited in the same name, between 1812 and 
 1822 are by him. 
 
 POWELL, John, landscape painter. 
 Born about 1780. Painted first in oil, 
 views in Wales and parts of England. He 
 exhibited at the Academy in 1797, and 
 several succeding years, in water-colours, 
 in which his abilities are best shown, and 
 was a candidate, but unsuccessful, for ad- 
 mission to the Water-Colour Society, on its 
 foundation. He was much engaged in 
 teaching, and published some etchings of 
 the different varieties of trees for the use 
 of his pupils. Also eight landscape etch- 
 ings, of much merit, from the old masters. 
 He continued an exhibitor at the Academy 
 up to 1829. 
 
 POWELL, Joseph John, history painter. 
 Was born of English parents, at Douai, 
 Prance, in January, 1834. He commenced 
 the study of art there, and continued his 
 studies at Lisle till 1851, when he came to 
 London, and entered the schools of the 
 Eoyal Academy. He was reserved in his 
 habits, had little assistance from his 
 friends, who could not afford him help, 
 and was subjected to much difficulty and 
 privation ; but neither poverty nor ill- 
 health damped his zealous application. At 
 the Academy, in 1852, he gained a silver 
 medal, and the following year two. In 
 1855 he was the successful competitor for 
 the gold medal, the subject ' The Death of 
 Alcibiades.' His work was of great pro- 
 mise, and he was preparing to compete for 
 the travelling studentship, when he was 
 seized with illness. A month's tour in the 
 Isle of Wight and Guernsey produced an 
 apparent improvement, and with exhausted 
 resources he was returning to his work, 
 when his illness recurred, he lingered a 
 a few weeks at Southampton, and died there 
 September 20, 1856. 
 
 POWIS, William Henry, wood engraver. 
 Was much esteemed in his art. There are 
 some excellent cuts by him in the ' Illus- 
 trations of the Bible,' 1833; and 'Scott's 
 Bible,' 1834. Also in some of the illustra- 
 tions of the 'Solace of Song,' 1837-8. He was 
 making good progress, but ruined his health 
 by his close and continuous labour, and 
 died in 1836, aged 28. 
 324 
 
 POWLE, George, engraver and drafts- 
 man. Was a pupil of Worledge, and en- 
 graved some portraits in his style, among 
 them Sir Richard Berkeley, Chief Justice 
 of the King's Bench. He exhibited some 
 portraits with the Free Society in 1776. 
 Several views by him of the City of Here- 
 ford are engraved by James Ross. He 
 practised about the middle of the 18th 
 century. 
 
 PRANKER, Robert, engraver. Was 
 chiefly employed for the booksellers. He 
 was a member of the Free Society of 
 Artists, 1763, and practised in London in 
 the latter half of that century. His work 
 was in the line manner, but was only of a 
 mediocre class. 
 
 PRATT, Sir Roger, Knt., architect. He 
 was employed by Charles II. with Mr. Wren 
 (afterwards Sir Christopher Wren) to sur- 
 vey the foundations of old St. Paul's, and 
 he obstinately opposed the plans of resto- 
 ration proposed by his distinguished col- 
 league. He built Clarendon House, Picca- 
 dilly, pulled down in 1683, for Lord Chan- 
 cellor Hyde, at a cost, it is said, of 40,000^. 
 He was knighted by the king for his exer- 
 tions connected with the rebuilding of Lon- 
 don after the Great Pire. 
 
 PRATTENT, T., engraver. Practised 
 about the end of the 18th century, chiefly 
 upon topographical landscape. There are 
 some good etchings of this class by him in 
 the ' Gentleman's Magazine,' which appear 
 to be from his own drawings. 
 
 PRENTIS, Edavard, subject painter. He 
 resided a time at Monmouth, and painted 
 scenes of domestic life, usually humorous, 
 and not without a moral. ' The Profligate's 
 Return from the Ale-house,' 1829 ; 'Valen- 
 tine's Eve,' 1835; 'The Hvpocrite,' 1838; 
 'Morbid Sympathy,' 1843 *i 'The Polly of 
 Extravagance,' 1850. Several of his works 
 are engraved. He was, in 1823 and 1824, 
 an exhibitor at the Royal Academy, and 
 became one of the early members of the 
 Society of British Artists, where he ex- 
 hibited from 1829 to 1850. He died in 
 December, 1854, aged 57, leaving a widow 
 and 11 children. 
 
 PRESTON, Thomas, engraver. He is 
 sometimes styled ' Captain Preston.' He 
 practised, without repute, in the reign of 
 George II. There is a head of Pope by 
 him, and a portrait of Admiral Blake, with 
 ships introduced under it. He died Oc- 
 tober 29, 1785. 
 
 PREWITT, William, miniature painter. 
 He was a pupil of Zincke, and practised in 
 London towards the middle of the 18th 
 century. His works are in enamel, bril- 
 liant in colour, and possess much merit. 
 There is a good whole-length group by 
 him in the miniature collection at the South 
 Kensington Museum. 
 
PRI 
 
 PRO 
 
 PRICE, John, architect. He built a 
 mansion for the Duke of Chandos in Mary- 
 lebone Fields in 1720, and the church of 
 St. George the Martyr, Southwark, 1733- 
 36, and practised for several years in the 
 metropolis. 
 
 PRICE, Joshua, ^^^55 'painter. He re- 
 stored in 1715, Van Linge's windows at 
 Christ Church, which were broken by the 
 Puritans. He also painted the Apostles 
 and prophets in the chapel at Magdalen, 
 nnd finished the windows at Queen's Col- 
 lege. 
 
 PRICE, WiLi.iAM, (/lass painter. Brother 
 to the above. Was the pupil of Henry 
 Gyles, of York, and succeeded him. He 
 painted the ' Nativity ' after Sir James 
 Thornhill, for Christ Church, Oxford, in 
 1696; the great east window of Merton 
 CoUepe, 1700; and the life of Christ in 
 six compartments, for the same College, in 
 1702. He also repaired the windows of 
 the chapel of Queen's College, 1715, and 
 painted the centre window in the chancel. 
 He died in 1722. 
 
 PRICE, William, glass painter. Son of 
 the above Joshua Price. Was employed 
 on the windows of Westminster Abbey, 
 1722-35, funds for the work being voted 
 by Parliament. He painted the 'Genealogy 
 of Christ,' for the chapel at Winchester 
 College, and repaired and completed several 
 of the Flemish windows from the designs 
 of Rubens, New College, Oxford. 'The 
 Herbert Family' at Wilton, is also by 
 him. Both his colour and his drawing 
 were good, and his ornament superior to 
 any of his predecessors. He enjoyed 
 a great reputation. Died unmarried in 
 Kirby Street, Hatton Garden, July 16, 
 1765. 
 
 PRIEST, Thomas, landscape painter. 
 Resided at Chelsea towards the middle of 
 the 18th century, and painted chiefly views 
 on the Thames. He published a set of 
 etchings of Chelsea, Mortlake, and other 
 places on the river's banks, executed in a 
 coarse but spirited manner. 
 
 PRITCHETT, J., architect. Was born 
 at St. Peter's, near Pembroke, of which 
 parish his ftither was the clergyman, Oc- 
 tober 14, 1788. He was articled to Mr. 
 Medland, in Southwark, and while with 
 him, in 1808 and 1809, exhibited designs 
 at the Royal Academy. He was afterwards 
 employed in the Government Barrack Office, 
 and in 1 812 commenced practice for himself, 
 the following year removing to York, where 
 he succeeded John Carr, the well-known 
 architect of that county. He gained a wide 
 field of practice in the northern counties. 
 In York city, he was the architect of the 
 deanery, the new art schools, and the sav- 
 ings bank. In the county, of the Wake- 
 field Asylum, the Court-house and Gaol at 
 
 Beverley, and many other works. He died 
 May 23, 1868, in his 80th year. 
 
 PROCTOR, Thomas, sculptor and history 
 painter. Was born at Settle, in Yorkshire, 
 April 22, 1753. His father, a man in 
 humble circumstances, apprenticed him to 
 a tobacconist in Manchester ; but, tired of 
 this occupation, he found his way to London, 
 and gained employment in a merchant's 
 counting-house, which, after some time, ho 
 quitted, to devote himself to the study of 
 art, but without losing the friendly assist- 
 ance of his late masters. He was admitted 
 a student of the Royal Academy in 1777, 
 and, incited by the works of Barry, he 
 painted a large picture of ' Adam and Eve.' 
 In 1782 he obtained a premium from the 
 Society of Arts; in 1783, the Academy 
 silver medal ; and, in 1784, the gold medal 
 for his original painting from ' The Tem- 
 pest,' and was carried round the quadrangle 
 of Somerset House on the shoulders of 
 his enthusiastic fellow-students, shouting, 
 'Proctor! Proctor!' 
 
 He then tried modelling, and, as a 
 sculptor, claims a high rank among British 
 artists. He first produced his ' Ixion, 
 which he exhibited at the Academy in 
 1785 ; and the work was so warmly praised 
 by the president of the Academy that it 
 was purchased by Sir Abraham Hume, Bt. 
 Thus encouraged, he set earnestly to work 
 upon a larger subject, ' Diomedes Devoured 
 by his Horses,' a noble work, which, exhibited 
 in 1786, attracted great admiration in the 
 Academy, but unfortunately was unsold. 
 It had cost him 12 months' labour. He 
 had spent his small patrimony in the study 
 of his profession, and not having the means 
 to pay for a place to deposit his model, he 
 destroyed it in a fit of sad despondency, 
 and abandoned sculpture in despair. His 
 first contributions to the Academy exhibi- 
 tions, in 1780 and 1783, had been portraits ; 
 and in 1789 he again sent a portrait. Then, 
 in 1790, continuing to paint, he exhibited 
 ' Elisha and the Son of the Shunamite ' 
 and ' The Restoration of Day after the Fall 
 of Phaeton,' a sketch. In 1791, 'Hannah 
 declines to accompany her Husband to the 
 Yearly Sacrifice.' In 1792, 'Pirithous, 
 the Son of Ixion, destroyed by Cerberus,' a 
 group in plaster, and two portraits. Then 
 reverting to painting, in 1793, ' The Final 
 Separation of Jason and Medea,' and three 
 portraits. In 1794, 'Venus approaching 
 the Island of Cyprus.' 
 
 The period had now arrived for the 
 Academy to elect a student to send to Rome, 
 and Proctor was chosen. But for the last 
 four years he had exhibited without giving 
 an address, and his very abode was ul- 
 known. This was in 1 793. The president. 
 West, humanely sought him. He was in a 
 miserable attic in Clare Market, had sub- 
 
 325 
 
PRO 
 
 PUG 
 
 sisted day by day on a penny roll with 
 water from a neighbouring pump, but, 
 unable to pay the pittance for his lodging, 
 had wandered about till health quite gave 
 way. The president immediately assisted 
 him, cheered him, told him to prepare for 
 his journey to Italy, and promised him kind 
 introductions. But all too late. The broken- 
 hearted man drooped, his mind was dis- 
 turbed, and a few days later he was found 
 in his solitary bed, where he had died un- 
 heeded. He was in his 41st year, and was 
 buried in Hampstead Churchyard. Pro- 
 fessor Westmacott, E.A., exhibited his 
 ' Ixion ' and his group of ' Pirithous ' at 
 his lecture to the students, and expatiated 
 upon them as the works of true genius. 
 
 PKOUT, Samuel, water-colour paiyiter. 
 Was born at Plymouth, September 17, 
 1783, and educated at the Grammar School 
 of the town, and in art by a drawing- 
 master established there. When a child 
 he had suffered from a sunstroke, and was 
 afterwards weak and ailing. A love of 
 drawing was predominant. Chance threw 
 him in the way of John Britton, who was 
 collecting materials for his ' Beauties of 
 England and Wales,' and the two went 
 together into Cornwall — the young artist's 
 expenses being defrayed in consideration of 
 the service he might render. But his first 
 attempts were very discouraging ; he cried 
 over his failures, and after several efforts 
 was compelled to return home. This was 
 in the autumn of 1801. In the following 
 May he sent Mr. Britton some sketches of 
 old buildings, which proved ho had made 
 considerable progress ; and it was eventu- 
 ally agreed that he should come to reside 
 with him in Clerkenwell for two years, 
 during which time he was employed in 
 copying after the best topographical drafts- 
 men of the day. 
 
 In 1805 he returned home, chiefly on 
 account of his ill-health. He had, in the 
 previous year, first exhibited at the Eoyal 
 Academy, and was, for the next 10 years, 
 an occasional exhibitor ; his works chiefly 
 views and coast scenes in Devonshire. In 
 1812 he came again to the metropolis, and 
 resided in Stockwell ; and, improving in 
 his art, he was, in 1815, an exhibitor, and, 
 in 1820, elected a member of the Water- 
 Colour Society. He at this period found 
 employment as a teacher; and in 1816 
 Ackermann published in parts his ' Studies,' 
 executed in lithography, followed by ' Pro- 
 gressiA' e Pragments,' ' Rudiments of Land- 
 scape,' ' Views in the North and West of 
 England,' with other works calculated to 
 assist in teaching. In 1818 he was induced 
 by increasing weak health to visit the 
 Continent. He seemed naturally to have 
 been led to marine subjects, but his early 
 architectural employment for Mr. Britton 
 326 
 
 had prepared him for the picturesque studies 
 afforded by Havre and Pouen, and deter- 
 mined his future path in art ; and he soon 
 became celebrated as the painter of the 
 cathedrals, churches, and market-places of 
 Normandy. 
 
 He was gifted with a strong feeling for 
 the picturesque, and did not fail to seize 
 the grand proportions of his buildings, but 
 he was without sufficient knowdedge to 
 detail their beautiful tracery, marking only 
 the general features with his broad reed- 
 pen ; but in the arrangement of his picture 
 — his groups of living figures, and various 
 accessories sparkling in colour — he was un- 
 rivalled. In 1824 he visited Venice, and 
 afterwards other parts of Italy and Ger- 
 man}^, making yearly excursions to the 
 Continent, and adding variety to his pic- 
 torial art. He published in lithography 
 facsimiles of sketches made in Planders 
 and Germany, views in Prance, Switzerland, 
 and Italy ; also a series of drawings from 
 antiquarian remains, etched by himself in 
 a simple large manner. He was a frequent 
 sufferer from ill-health during his latter 
 years, but continued a constant contributor 
 to the exhibitions of the Water-Colour 
 Society till the end of his life. He died at 
 Camberwcll, February 10, 1852, aged 68. 
 
 PRUDDE, John, of AVestminster, 
 ' glazier J Engaged to paint the windows 
 of Beauchamp Chapel, built for the great 
 tomb of the Warwick family, in the reign 
 of Henry VL 
 
 PRYKE, Robert, engraver. Pupil of 
 Hollar. He practised in the reign of 
 Charles II. Published Pierre le Muet's 
 'Architecture,' 1675. 
 
 PUGH, Edavard, miniature ijainter. Ho 
 practised in London, and from 1793 to 
 1806 was an occasional exhibitor of minia- 
 ture portraits at the Royal Academy. 
 In 1808 he sent a 'Welsh Landscape.' He 
 made the drawings to illustrate ' Modern 
 London,' published 1805; and for ' Cambria 
 Depicta.' He died at Ruthin, in 1813. 
 
 PUGH, Charles J., landscape painter. 
 He practised chiefly in water-colour, his 
 works only washed or tinted with colour. 
 He exhibited occasionally at the Academy 
 from 1797 to 1803, views in the Isle of 
 Wight and in Wales. 
 
 PUGH, Herbert, landscape painter. 
 Born in Ireland. Came to London about 
 1758. In 1765 he received a premium at 
 the Society of Arts. He was an early 
 exhibitor and was, in 1766, a member of 
 the Incorporated Society of Artists. There 
 was a large landscape by him in the Lock 
 Hospital. He tried two or three pictures 
 in Hogarth's manner, but they are only 
 mean representations of low scenes. They 
 were poorly engraved by Goldar. He dwelt 
 in the Piazzas, Covent Garden, and was 
 
PUG 
 
 PUG 
 
 living in 1788, but died shortly after, having 
 shortened his life by his intemperance. 
 
 PUGIN, Augustus, architectural drafts- 
 man. He was born in France in 1762, and 
 having fought a duel early in life he fled 
 suddenly to this country, in the troubled 
 times of the Eevolution. Not being under- 
 stood at the Post Office, he was placed in 
 great difficulty, for the want of remittances 
 which had been sent to him, until he met 
 with a French artist named Merigot, then 
 in this country, by whom he was assisted 
 both in his art and his pecuniary trials. 
 He had a talent for drawing, and was ad- 
 mitted to study in the schools of the Koyal 
 Academy, where, commencing in 1799, he 
 was an occasional exhibitor, contributing 
 chiefly views of Gothic buildings. Soon 
 after his arrival in London, replying to an 
 advertisement, he gained employment in 
 the office of Mr. Nash, the architect of 
 AVat^rloo Place and Regent Street, in whose 
 service he continued above 20 years. He 
 was, from 1807, an exhibitor at the Water- 
 Colour Society, and was, in 1821, elected a 
 member, but his contributions to the So- 
 ciety's exhibitions were very limited. He 
 sketched in a bold expressive style, and 
 was much employed by Mr. Ackermann 
 upon his publications. He added the 
 architecture and backgrounds to Rowland- 
 son s figures for that publisher's 'Micro- 
 cosm of London,' 1808-11, and made a 
 series of drawings for the ' Views in Isling- 
 ton and Pentonville,' 1813 ; also for the 
 Histories of Westminster Abbey, Oxford, 
 and Cambridge, many of which are finished 
 with great care and accuracy of detail. In 
 1821 he published his ' Specimens of Gothic 
 Architecture,' a work which was at once 
 appreciated for the accuracy of its details. 
 This was followed by his ' Antiquities of 
 Normandy,' ' Gothic Examples,' ' Orna- 
 mental Timber Gables,' and 'Paris and its 
 Environs.' These careful illustrations of 
 early architecture rendered important as- 
 sistance to students, and laid the founda- 
 tion of much that has since been achieved 
 in the revival of the Gothic style. He had 
 gained much practical knowledge during 
 his long engagement with Mr. Nash, and 
 was himself occasionally employed as an 
 architect, but the Diorama in the Regent's 
 Park and some country villas are the extent 
 of his executed works. He also educated 
 several pupils, who have risen to eminence in 
 art. He married an English lady, and long 
 resided in Great Russell Street, Blooms- 
 bury, where he died December 18, 1832. 
 
 PUGIN, Augustus Welby N., architect, 
 only son of the above. Was born in Lon- 
 don, March 1, 1812, and was educated 
 under his father. He was taught to draw 
 with readiness and accuracy the grand 
 forms, as well as the minute details, of 
 
 Gothic architecture, and became an en- 
 thusiast for mediaeval art. He was by 
 nature restlessly energetic. Before ho was 
 15 years of age ho was employed to make 
 designs for furniture and goldsmith's work. 
 He tried scene-painting, and gained a 
 knowledge of the machinery and contri- 
 vances which are the accessories of scenic 
 effects, and painted the complete scenery 
 for an opera. Then, his genius taking 
 another turn, he purchased a small vessel 
 and cruised about in the stormy Channel, 
 gathering archaeological and natural curi- 
 osities on the French and Belgian coasts, 
 and at last was wrecked penniless on the 
 Scotch coast. 
 
 He then commenced an extensive enter- 
 prise, founding and training an establish- 
 ment for the manufacture of carved orna- 
 ments, and Gothic decoration of every class. 
 He had married in the meantime. His 
 undertaking ended in loss, almost ruin. 
 His young wife died, and with such large 
 experience in life he was a father and 
 a widower, and yet not 20 years of age. 
 Sobered by his sorrows and his trials he 
 turned to architecture, and at once found 
 full employment, and having earned the 
 means, he built himself a large house in his 
 favourite style, married a second time, and 
 set eagerly to work. He visited many of 
 our cathedrals, and his fine taste was dis- 
 gusted by the neglected decay of some, and 
 the patched up attempts at restoration in 
 others ; and with the assumed conviction 
 that the Romish Church is the only one by 
 which the grand and sublime style of eccle- 
 siastical architecture can be revived, he, on 
 that ground quitted the Protestant faith, 
 which was possibly never very strong in 
 him, and entered the Romish Church. 
 
 Following this idea on his secession, he 
 published, in 1836, his 'Contrasts,' placing 
 in juxtaposition — most powerfully, but 
 most unfairly it must be added —the finest 
 mediaeval examples with the weakest mo- 
 dern attempts in stucco — and both in his 
 illustrations and his letter-press treated the 
 latter with indignant scorn. He was en- 
 gaged in the erection of several Roman 
 Catholic churches, and the large cathedral 
 in St. George's Fields. He entered enthu- 
 siastically into projects for the reform and 
 perfection of his adopted Church, occupied 
 his restless mind with all the adjuncts of 
 its architecture — painted glass, metal work, 
 and embroidery of all kinds. But even here 
 he met with mortification and disappoint- 
 ment. He was difficult to restrain, and was 
 alternately checked and flattered by the 
 heads of his Church. 
 
 He then set about the erection of a 
 church of his own at Ramsgate, which he 
 found consolation in decorating with a zea- 
 lous love, and piously joined in the daily 
 
 327 
 
PUR 
 
 PYN 
 
 services, and at times ran out with his vessel 
 into the Channel to meet the storms and 
 waves. He had, too, the charge of a house- 
 ful of children again motherless, and was 
 busied in battling for his cherished Gothic, 
 and now to all this was added the charge of 
 all the decorative fittings and designs, 
 under Sir Charles Barry, for the Houses of 
 Parliament — a work for which he was pecu- 
 liarly fitted. Thus, his busy mind crowded 
 with occupation, his time passed till 1851, 
 when he plunged into the great Papal effort 
 to establish a Hierarchy in England with his 
 'Earnest Address,' which astonished and em- 
 barrassed the holders of the newly-assumed 
 dignities. He was denounced as a doubtful 
 believer, and, mortified with grief, careworn 
 with his many labours, the news burst upon 
 his friends that he was in Bethlehem. The 
 circumstances connected with this confine- 
 ment are unknown ; but the generous, broken- 
 hearted man was only released by the efforts 
 of his friends, to expire in his own house. 
 He died at Ramsgate September 14, 1852. 
 
 His chief publications, omitting those of 
 a controversial character, are : * Grothic Pur- 
 niture, Style of 15th Century,' 1835; * Con- 
 trasts, a Parallel between the Noble Edifices 
 of the 14th and 15th Centuries and the Pre- 
 sent Day,' 1836; 'The True Principles of 
 Christian and Pointed Architecture,' 1841 ; 
 
 * Present State of Ecclesiastical Architecture 
 in England,' 1843 ; 'Apology for the Revival 
 of Christian Architecture inEngland,' 1843; 
 
 * Glossary of Ecclesiastical Ornament and 
 Costume,' 1844; ' Floriated Ornament,' 1849; 
 ' Treatise on Chancel Screens and Rood 
 Lofts,' 1851. His 'Life,' published 1861, was 
 written by his friend, Benjamin Perrey, 
 architect. 
 
 PURCELL, RiCHAED, mezzo-tint en- 
 graver. He was born in Ireland about 1736, 
 and studied in Dublin under John Brooks. 
 He for a while practised there, engraving 
 
 * Jenny Cameron,' a mere copy of Latham's 
 
 * Peg Woffington,' the ' Countess of Berke- 
 ley,' 'William at the Siege of Namur,' 
 after Wyke, which is, in fact, a copy after 
 Faber's print ; after Rembrandt, ' The Jew- 
 ish Bride.' He afterwards came to London 
 and engraved the works of Reynolds, Cotes, 
 Ramsay, Frye, and some of the most eminent 
 painters of the time. He was depraved in 
 habit and licentious in manner, and had the 
 character of being one of the wags of the 
 day, and, probably for concealment, adopted 
 the signature, ' C. Corbutt' — but neither the 
 cause nor the time of this change of name 
 are known. He died in London, in a state 
 of great distress, about the year 1765. His 
 engraving showed much ability, but was 
 weak in drawing. 
 
 PYE, Charles, engraver. He practised 
 at the beginning of the 19th century. There 
 are some plates by him in illustration of 
 328 
 
 Dibden's ' Bibliographical, Antiquarian, and 
 Picturesque Tour,' 1829. 
 
 PYLE, Robert, 'portrait painter. He 
 practised in London early in the last half 
 of the 18th century, and in 1763 was a 
 member of the Free Society of Artists. He 
 painted allegorical subjects, portraits, and 
 conversation pieces. His art was weak, his 
 figures stiff and poorly composed. The 
 ' Power of Music and Beauty,' by him, was 
 engraved by J. AVatson, and his ' The Four 
 Elements,' by C. Spooner. His portrait of 
 Queen Charlotte is also engraved. 
 
 PYM, B., 7?wiiature painter. He prac- 
 tised in London, and found much employment 
 about the end of the 18th century. For 
 some time he was a regular contributor to 
 the Royal Academy Exhibitions, but his 
 name does not appear after 1793. 
 
 PYNE, William Henry, water-colour 
 painter. Was the son of a leather-seller 
 in Holborn, and born 1769. His early 
 love of drawing induced his father to 
 place him under a clever draftsman, but he 
 disliked his master, and refused to be ap- 
 prenticed to him. He, however, managed 
 to attain a great facility with his pencil, 
 and showed much taste in the selection of 
 objects for his sketches. He practised only 
 in water-colour. He first appeared as an 
 exhibitor at the Royal Academy in 1790, 
 contributing 'Travelling Comedians,' 'Bar- 
 tholomew Fair,' and a ' Puppet Show,' and 
 in the succeeding years exhibited chiefly 
 rural subjects up to 1796. In his early 
 works his foregrounds are carefully drawn 
 with the pen and tinted with warm colour, 
 his middle distances put in with grey. In 
 his rural landscapes figures and animals 
 were cleverly introduced. He was one of 
 the original members of the Water-Colour 
 Society 1804, but he resigned in 1809, and 
 then once more, in 1811, exhibited at the 
 Academy. The first part of his ' The 
 Microcosm of London,' published in 1803, 
 and completed in 1806, contained 600 small 
 groups of well-drawn and characteristic 
 figures, and was followed, in 1808, by 
 ' The Costume of Great Britain.' He 
 became connected with Mr. Akermann, 
 the publisher, and suggested many of his 
 undertakings. His ' Royal Palaces ' was 
 one of these. The work, in three volumes, 
 comprised Windsor, St. James', Carlton 
 House, Kensington Palace, Hampton Court, 
 Buckingiiam House, and Frogmore, but he 
 undertook only the literary part, and the 
 latter part of his life was devoted almost 
 entirely to literature. He wrote ' Wine 
 and Walnuts,' and interesting gossip for 
 the ' Literary Gazette,' remarkable alike for 
 its stores of facts and its painstaking accu- 
 racy. The work was afterwards published 
 in two volumes. Then he edited the 
 • Somerset House Gazette,' a weekly perio- 
 
PYN 
 
 RAB 
 
 dic^il devoted to art and artists, -wliich 
 only existed for two years, tliongli its 
 merits should have ensured it success. 
 He contributed to * The Library of the Fine 
 Arts,' and to * Arnold's Magazine of the 
 Fine Arts ; ' and * The Greater and Lesser 
 Stars of old Pall Mall,' which appeared in 
 ' Fraser s Magazine,' is by him. Ho was 
 also the author of * The Twenty-ninth of 
 May: a Tale of the Eestoration.' He was 
 closely connected with the literary and 
 artistic world during the greater part of 
 his life, was a social and amusing com- 
 panion, full of clever projects, but wanting 
 in that steadiness and perseverance which 
 lead to wealth. He underwent many sad 
 difficulties, and died at Paddington, after a 
 long and depressing illness, May 29, 1843, 
 aged 74. 
 
 PYNE, James Baker, landscape painter. 
 He was born at Bristol in 1800, and was 
 originally intended for the law, but he 
 early abandoned that study, and, self- 
 taught, under many difficulties struggled 
 
 to make himself an artist. In 1835 ho 
 left Bristol to try his fortune in London, 
 and for the next four years was an exhi- 
 bitor at the Eoyal Academy. He was also 
 an exhibitor with the Society of British 
 Artists, and in 1842 was admitted a mem- 
 ber of the society, and then on one occasion 
 only was again an exhibitor at the Aca- 
 demy. In 1846 he visited Switzerland, 
 Germany, and Italy, and in 1851 revisited 
 Italy. He was a frequent contributor to 
 the 'Art Journal.' He published ' Windsor 
 and its Environs,' in 1838 ; ' The English 
 Lake District,' 1853 ; and * The Lako 
 Scenery of England,' 1859; and by these 
 picturesque works he was widely known. 
 He died July 29, 1870, aged 70, and was 
 buried in Highgate Cemetery. He chose 
 his subjects, as seen from the banks of 
 rivers, was fond of powerful contrasts both 
 of colour and light and shade, and had a 
 tendency to extravagance in his works, 
 which did not meet with appreciation. 
 
 Q 
 
 QUELLIN, Thomas, statuary . Was the 
 son of a statuary of great repute at Ant- 
 werp. He came to this country in the 
 reign of James IL, settled in London, and 
 was well employed. He carved the well- 
 known monument to Mr. Thynne in West- 
 minster Abbey, which is the only work 
 with which his name can be safely identified. 
 
 Died in St. Giles' in the last half of the 
 17th century, aged 33. 
 
 QUINTON, George, engraver. He was 
 born at Norwich in 1779, and was first 
 known when keeping sheep in the ad- 
 joining county. Self-taught as an engraver, 
 some works of his appear in the ' Gentle- 
 man's Magazine' 1796, and some portraits. 
 
 B 
 
 BADCLYFFE, William, engraver. Was 
 born at Birmingham, and practised his art 
 there during his life ; engraving in the line 
 manner, chiefly landscape. He was much em- 
 ployed for book illustration. * The Graphic 
 Illustrations of Warwickshire,' published 
 1829, were engraved by him ; also 'Eoscoe's 
 Wanderings in North and South Wales.' 
 Among his last plates were ' Miiller's Eest 
 in the Desert,' and Collins's ' Crossing the 
 Sands,' published in the 'Art Journal,' 
 1S47 and 1848. Some works by him, after 
 Turner, E.A., were exhibited at the Inter- 
 national Exhibition, 1862. In 1814 he was 
 associated with the founders of the first 
 school of art, in Birmingham. He died 
 there, December 29, 1855, in his 73rd year. 
 
 EADCLYFFE, Edw^ard, engraver. Son 
 of the above. Was born at Birmingham 
 
 about 1810, and sludied under his father. 
 His principal works were for the 'Art Union ' 
 and the 'Art- Journal,' for w^hich publication 
 he etched some plates after David Cox. He 
 was also much employed for the 'Annuals.' 
 He died at Camden Town, in November, 
 1863. 
 
 EADCLYFFE,AViLLiAM,^or/r«27^rtm^cr. 
 Brother of the foregoing. He practised 
 with some repute at Birmingham, and after- 
 wards in London, and on one or two occa- 
 sions w-as an exhibitor at the Eoyal Aca- 
 demy, but died young of paralysis, April 11, 
 1846. 
 
 EAEBUEN, Sir Henry, Knt., E,A.,^or- 
 trait peiinttr. Was born at Stockbridge, 
 near Edinburgh, March 4, 1756. He was 
 the son of a respectable manufacturer, and 
 at an early age was left an orphan. He 
 
 329 
 
RAE 
 
 RAM 
 
 gained a good education at Heriot's School, 
 and at 15 was apprenticed to an eminent 
 goldsmith in Edinburgh. His love of art 
 tempted him to try miniature painting, and 
 his success induced his master to encourage 
 him. He had no instruction, but David 
 Martin, who then held the first rank as por- 
 trait painter in Edinburgh, was kind to him, 
 praised his attempts, and lent him some of 
 his own paintings to copy. His miniatures 
 were much admired, and he soon gained so 
 much employment, that he arranged to give 
 up part of his earnings to his master for a 
 portion of his time. He made another step 
 during his apprenticeship — he] began to 
 paint in oil, and soon adopted this larger 
 medium in lieu of miniature ; on completing 
 his time he took up the profession of a por- 
 trait painter. His manner was spirited, 
 and he was successful in impressing on his 
 canvas the character of his sitters. He was 
 rising by the efforts of his own genius, and 
 fortune assisted him, when in his 22nd 
 year, with an estimable wife, who possessed 
 some property. 
 
 He then came to London, and introduced 
 himself and his works to Sir Joshua Rey- 
 nolds, who received him kindly, advised 
 him to visit Italy, and offered him intro- 
 ductions and even pecuniary help. The 
 latter was not needed, but he set out for 
 Eome with the president's introductions, 
 and spent two years in study in Italy ; on 
 his return, in 1787, he settled in Edinburgh, 
 and gained full employment. Both his art 
 and his society were esteemed. He was 
 surrounded by friends, and painted the 
 most distinguished of his northern country- 
 man. He paid only short visits to London, 
 and knew little of the art or the artists of 
 the metropolis. But honours fell thick upon 
 him in his native city. In 1812 he was 
 elected President of the Society of Artists in 
 Scotland ; in 1 8 1 3 an associate of the Eoyal 
 Academy, London, and the following year an 
 academician. He had been an occasional ex- 
 hibitor at the Academy from 1798, and from 
 1810, though still residing in Edinburgh, 
 he was a constant contributor to the Aca-r 
 demy exhibitions. He is said to have con- 
 sulted Sir Thomas Lawrence about settling 
 in London, but he was assuredly well 
 advised to remain where he held undis- 
 puted pre-eminence in art, and was sur- 
 rounded by friends, nor is it at all certain 
 that his peculiar manner of painting would 
 have pleased the fashionable world. On the 
 visit of George IV. to Edinburgh, in 1822, 
 he was knighted, and on a vacancy in the 
 following year was appointed His Majesty's 
 Limner for Scotland. He died at a house 
 he had built for himself in the suburbs of 
 Edinburgh, on July 8, 1823. His life seems 
 to have been one of great prosperity ; but 
 it is said that in his mid-career, his affairs 
 330 
 
 were sadly embarrassed, from having in- 
 cautiously become security for a near rela- 
 tion who was in the West India trade, 
 which swallowed up a little fortune he had 
 acquired by his pencil. This loss he, how- 
 ever, bore with great firmness. He worked 
 at his easel with increased zeal, so that he 
 not only completely re-established his affairs 
 but again secured an independence for him- 
 self and his family. His portraits were 
 distinguished by great breadth, and marked 
 by great individuality of character and 
 truthful expression, but they were simply 
 portraits, and do not possess any high in- 
 terest as works of art. 
 
 RAIMBACH, Abraham, engraver. Born 
 in Cecil Court, St. Martin's Lane, London, 
 1776, the son of a Swiss who had settled 
 here. He was the pupil of J. Hall, and 
 on the termination of his apprenticeship, 
 entered as a student of the Royal Academy. 
 He found at the same time some employ- 
 ment from the booksellers, and painted a 
 few miniatures, of which, from 1797 to 
 1805, he was a constant exhibitor at the 
 Academy. But he eventually devoted him- 
 self to engraving, and followed the lino 
 manner. His drawing was good, his line 
 pure, the expression and character well 
 defined. He engraved after Reynolds, a 
 'Venus,' and the * Ugolino.' About 1812 
 he commenced engraving after Wilkie, and 
 produced ' The Village Politicians,' followed 
 by the ' Rent Day,' ' The Cut Finger,' ' The 
 Parish Beadle,' ' Blind Man's Buff,' * The 
 Spanish Mother,' and some other of his 
 works. He died at Greenwich, January 17, 
 1843. His 'Memoirs and Recollections,' 
 edited by his son, were privately printed in 
 the same year. 
 
 RALPH, G. Keith, portrait 'painter. He 
 was an exhibitor of portraits at the Royal 
 Academy from 1778 to 1795, and also of an 
 occasional subject picture. He held the 
 appointment of portrait painter to the 
 Duke of Clarence. 
 
 RAMAGE, David, medallist. Was one 
 of the Corporation of Money ers of the 
 Mint, and was engaged by the Corporation 
 in 1649 to produce, with his own hand, 
 specimen coins, in competition with the 
 specimens of Blondeau, who was eventually 
 compelled, by the opposition of the 
 managers to leave England. These speci- 
 mens, which comprise the half-crown, 
 shilling, and sixpence, are now very rare, 
 and command large prices. 
 
 RAMBSRG, John Henry, subject painter 
 and engraver. Was born at Hanover in 1 763, 
 and came early in life to England. He is 
 reputed to have been for a time a pupil of 
 Sir Joshua Reynolds and of Bartolozzi, R. A. 
 From 1782 to 1788 he was a contributor to 
 the Academy exhibitions, and in 1789, 
 with the sanction of the King, he drew an4 
 
RAM 
 
 RAN 
 
 engi'aved the portraits of the princesses. 
 He painted many subjects for book illus- 
 tration, and was engaged on Boydell's 
 Shakespeare Gallery. He was employed 
 in the decoration of Carlton House. There 
 are some humorous caricatures also by 
 him. He engraved in aqua-tint, and in 
 the chalk manner, and etched. Among his 
 engravings are 20 allegorical subjects after 
 the Princess Elizabeth, then Princess of 
 Hesse Homberg, printed at Hanover, in 1 834. 
 He travelled in Italy, France, Holland and 
 Germany, and is supposed to have died at 
 Hanover, July 1, 18-10, but the accounts of 
 him are very conflicting. A clever picture 
 drawn by him of Sir J. Keynolds showing the 
 Prince the paintings in the Eoyal Academy 
 exhibition, 1 784, the room filled with pleasing 
 groups, is well engraved in line. 
 
 KAMSAY, Aja^ks, portrait painter. Son 
 of the author of * The Gentle Shepherd.' 
 33orn 1713, at Edinburgh. Churchill equi- 
 vocally says, — 
 
 ' Thence came the Kamsays, name of worthy 
 note. 
 
 Of whom one paints as well as t'other 
 wTote.' 
 
 His early love of art was encouraged by 
 his father, and when about 20 years of age 
 he visited London, became a member of the 
 St. Martin's Lane Academy, and after 
 studying there some time, he returned to 
 Edinburgh, and from thence set out for 
 Italy in May 1736. He pursued his art at 
 Rome under the best masters, confining 
 himself almost exclusively to portraiture. 
 On his return he practised chiefly in 
 London, where, in 1758, he had attained great 
 distinction ; but he also practised occa- 
 sionally in Edinburgh. In 1766 he was 
 Vice-President of the Incorporated Society 
 of Artists. He was introduced to the 
 Prince of Wales, afterwards George III., 
 by Lord Bute, and in' 1767 was appointed 
 principal painter to His Majesty. He 
 entirely engrossed the professional business 
 which properly belongs to his office. At 
 this time he was residing in Soho Square, 
 and his painting room was crowded with 
 portraits of the young King in every stage 
 of progress ; and with all the assistance he 
 could procure he could scarcely keep pace 
 with the demands for the Royal portrait. 
 Shortly after his return from a second visit 
 to Rome the Royal Academy was founded, 
 and, without any information on the sub- 
 ject, it seems strange that he did not become 
 a member. In 1775 he made a tour for his 
 health, and again visited Rome. He was at 
 the time at the height of his reputation. 
 His portraits are graceful and easy in pose, 
 possess a calm representation of his sitter, 
 expressive, without affectation of attempted 
 graces, but are deficient in power. He was 
 an agreeable man, of matured literary tastes. 
 
 good French, Italian, and Latin Bcholar, 
 and learnt Greek in his old age. Ho pub- 
 lished some essays on histor}^ politics, and 
 literature, under the title of ' Investigator.' 
 Sir J. Reynolds said 'he was the most sen- 
 sible man of all the living artists,' and 
 Johnson also praised him, saying, * You 
 will not find a man in whose conversation 
 there is more instruction, more information, 
 and more elegance.' ^ITe paid a fourth visit 
 to Italy, and died on his return at Dover, a 
 few days after landing, August 10, 1784, in 
 his 71st year. He was buried at St. Mary- 
 lebono Church. He left a son, who 
 attained the rank of general, and a daugh- 
 ter, born in Rome, who married Sir Archi- 
 bald Campbell. 
 
 RAMSAY, James, portrait painter. He 
 commenced his art in London, and exhibited 
 for the first time at the Royal Academy in 
 1803, and practising with success, and 
 having many eminent sitters, he w^as a 
 regular exhibitor. In 1837 he painted a 
 portrait of Earl Grey for the Town Hall at 
 Newcastle-on-Tyne, and in 1847 he retired 
 to that town, but continued an exhibitor 
 till his death there, June 23, 1854, aged 70. 
 There is a portrait of Thomas Bewick by 
 him in the National Portrait Gallery, and a 
 good portrait of Grattan by him is en- 
 graved. 
 
 RANDALL, James, draftsman and 
 pai?iter. Practised in London about the begin- 
 ning of the 19th century. He painted, in oil, 
 landscapes, introducing architecture, and 
 made, in water-colour, a series of drawings, 
 which were published in aqua-tint in 1806. 
 ' A Collection of Architectural Designs for 
 Mansions, Casinos, Villas, Lodges and Cot- 
 tages in the Greek, Gothic, and Castle 
 Styles.' He exhibited at the Royal Aca- 
 demy designs of this class from 1798 to 
 1814. 
 
 RANKLEY, Alfred, subject fainter. 
 He was born in 1819, and was a student in 
 the schools of the Royal Academy. His 
 name first appears in the Academy Cata- 
 logue in 1841, when he exhibited a ' Scene 
 from Macbeth ; ' next, in 1843, contributing 
 a portrait, and from that time he was a 
 constant exhibitor, seldom sending more 
 than one work and never exceeding two. 
 His paintings were generally domestic 
 subjects, conscientiously finished, and in- 
 culcating some healthful thought. Of some 
 of his best works may be mentioned ' The 
 Lonely Hearth,' 1857 ; ' The Return of the 
 Prodigal,' 1858 ; ' The Day is Done,' 1860; 
 ' The iDoctor's Coming,' 1864 ; ' Follow My 
 Leader,' 1867. His last exhibited works 
 were ' Following the Trail,' and ' The 
 Hearth of his Home,' 1870, with 'The 
 Benediction,' 1871. He died at Kensing- 
 ton, December 7, 1872. 
 
 RANSON, Thomas Frazee, engraver, 
 331 
 
R A S 
 
 RAW 
 
 Born at Sunderland in 1784 he was appren- 
 ticed to an engraver at Newcastle. In 1814 
 he received the Society of Arts medal for 
 an engraved portrait. In 1818 he entered 
 warmly into the controversy then existing 
 as to the prevention of the forgery of Bank 
 of England notes, and was himself tried 
 for having a forged bank note in his posses- 
 sion, but was acquitted, the jury believing 
 the note to be genuine. In 1821 he gained 
 the Society of Arts gold medal for a line 
 engraving, and in 1822 a second gold medal 
 for his engraving from Sir D. Wilkie's 
 'Duncan Gray.' 
 
 KASTELL, John, wood engraver, printer, 
 and mathematician. Was greatly reputed 
 in London in the first half of the 16th 
 century. He was brother-in-law of the 
 celebrated Sir Thomas Mooro He pub- 
 lished, in 1529, with many wo)d-cuts by 
 his own hand, which have been erroneously 
 attributed to Holbein, ' The Pastime of 
 the People, or the Chronicles of Divers 
 Kealmes, and more especially of the Realme 
 of England.' This work was republished 
 by Dibden in 1811. He died in 1536. 
 
 RATHBONE, John, landscape fainter. 
 Was born in Cheshire in 1750. Self- 
 instructed in art, he acquired some profi- 
 ciency, and practised both in oil and water- 
 colours. He was the boon companion of 
 George Morland, and of Ibbetson, who 
 painted figures into his landscapes, and 
 some others, birds of the same feather. He 
 exhibited at the Royal Academy from 1785 
 till his death. His contributions were 
 landscape views, with figures — chiefly lake 
 scenery — with effects of morning and 
 evening ; storms, wood scenes, with cattle. 
 He died 1807. 
 
 RAT TEE, James, carver. Born at 
 Funden Hall, Norfolk, and educated at the 
 village school. He was apprenticed to a 
 carpenter, and nourished an inborn love for 
 the beauties of Gothic carving, in which he 
 displayed great skill and ingenuity. He 
 was associated with A. Welby Pugin in 
 restorations at Cambridge, and G. G. Scott 
 at Ely. In 1852 he travelled for the im- 
 provement of his health, and to gain know- 
 ledge by visiting the great Gothic edifices 
 in Belgium, Cologne, and Hamburgh. On 
 his return, he was entrusted with the sole 
 charge of constructing the reredos at Ely, 
 composed of highly-chased stone and ala- 
 baster, and, a martyr to ill-health, he died 
 at Cambridge, from the effects of a cold, 
 March 29, 1855, aged 35. He had shortly 
 before been appointed wood carver to the 
 Cambridge Camden Society, and had erected 
 some extensive works at Cambridge. 
 
 RAVENET, Francois Simon, A.E., engra- 
 ver. Was born in Paris in 1706. He was a 
 pupil of Le Bas, and attained considerable 
 reputation. He came to England about 
 332 
 
 1750, and settled in London, where his 
 art was highly esteemed ; gained a Society 
 of Arts premium in 1761, and was in 1766 
 a member of the Incorporated Society of 
 Artists. He is said to have been invited 
 to this country by Hogarth, to assist in 
 engraving his ' Marriage a la Mode.' He 
 became one of his ablest coadjutors. He 
 was also employed by Alderman Boydell, 
 and he executed many plates for the book- 
 sellers. His engravings are remarkable for 
 imitation of colour, as well as for their 
 brilliancy and careful drawing. He Avas 
 elected an associate of the Royal Academy 
 in 1770, and exhibited there some proofs 
 of his works. He died April 2, 1774, at 
 Kentish Town, and was buried in St. 
 Pancras old churchyard. 
 
 RAVENET, Simon, engraver. Was born 
 in London about 1755, and was the son of 
 the above, by whom he was instructed in 
 his art. Soon after his father's death he 
 went to Paris, and studied there under 
 Boucher. He then went to Italy, and 
 finally settled at Parma, where he under- 
 took to engrave all the works of Correggio 
 in that city. This labour occupied him 
 from 1779-85, and gained him, on its 
 completion, the distinction of Chevalier. 
 He was living, according to some writers, 
 in 1813. 
 
 RAWLE, Samuel, engraver and drafts- 
 man. Practised in London about the begin- 
 ning of the 19th century. He exhibited a 
 landscape view at the Royal Academy in 
 1801, and again in 1806. There is an 
 artistic engraving, also drawn by him, of 
 the Middle Temple Hall, in the * Gentle- 
 man's Magazine ' for 1798. He engraved 
 some of the illustrations of Murphy's 
 'Arabian Antiquities of Spain,' published 
 in 1816. 
 
 RAWLINS, Thomas, gem and die en- 
 graver. Was born about 1610. He was 
 intended for a goldsmith, and early cut in 
 metal and precious stones heads and coats 
 of arms. Charles I. appointed him first 
 engraver to the Mint in 1648, and he was 
 again employed after the Restoration. The 
 dies for the coinage struck at Oxford are 
 by him, as well as several medals com- 
 memorative of the period, and are works 
 combining great spirit with careful de- 
 tails. Evelyn, in his 'Sculptura,' men- 
 tions him as excelling in medals and 
 intaglios. He wrote 'Rebellion, a Tragedy,' 
 and some other pieces for the stage, and 
 'Calanthe,' a book of poems, 1648. He 
 died 1670. 
 
 RAWLINSON, James, portrait painter. 
 He was a Derbyshire artist, and was a 
 pupil of Romney. In 1799 he exhibited at 
 the Academy, his only appearance there, 
 ' An Old Woman Knitting.' A portrait by 
 him of Darwin, the poet, is well engraved 
 
RE A 
 
 BED 
 
 by Heath. Hayley mentions him in his 
 ' Life of Komney.' He died July 25, 1848, 
 in his SOth year. ^ > 
 
 BEAD, Charles Dayid, draftsman. 
 Born 1790. He was a drawing-master at 
 Salisbury, and produced a number of land- 
 scape etchings, which he published in 1840, 
 but they possess little merit. He also 
 painted some landscapes in oil. He died 
 at Kensington, May 25, 1851. 
 
 KEAD, Miss Katherinb, 'portrait painter. 
 Practised in London, both in oil and crayons, 
 in the early part of George III.'s reign. She 
 lived in the neighbourhood of St. James's, 
 and gained considerable reputation. In 
 1765-68 she contributed crayon portraits 
 to the Free Society's exhibitions, and was 
 later an exhibitor at the Royal Academy. 
 About 1770 she went to the East Indies, 
 where she stayed some time, but probably 
 not long, as in 1771-72 she exhibited at the 
 Spring Gardens' Rooms. On her return, 
 resuming her practice in London, she painted 
 a portrait of Queen Charlotte, and a group 
 of Prince George and Prince Frederick when 
 children, with a large dog. Valentine Green 
 engraved after her, and Robert Lowry en- 
 graved her Elizabeth Duchess of Hamilton. 
 From 1773 to 1776 she exhibited crayon 
 portraits at the Royal Academy. Her best 
 works are in crayons, but her own portrait 
 in oil, still in the possession of her family, 
 is a very clever work. Her portraits are 
 well drawn and grouped, and are marked 
 by their pleasing natural expression. She 
 painted a miniature of Hayley, the poet, 
 when a boy ; and in his poetic epistles, he 
 commemorates ' the soft pencil of the graceful 
 Read.' She died, unmarried, in London, 
 December 15, 1778. 
 
 READ, Nicholas, sculptor. Was a pupil 
 of Roubiliac, and after his death occupied 
 his studio and premises in St. Martin's Lane, 
 succeeding also to much of his professional 
 connection. He showed some early ability, 
 and in 1762-63 gained premiums of the 
 Society of Arts, and in 1764 was awarded 
 the first premium of 150 guineas for a 
 marble statue. He is said to have cut the 
 skeleton figure of death in Mrs. Nightin- 
 gale's monument, which is remarkable for 
 its excellent tooling, but he was of a conceited, 
 vain disposition, and an annoyance to his 
 master, whose somewhat exuberant style he 
 exaggerated to an extravagance approaching 
 absurdity. In 1779 he exhibited with the 
 Free Society of Artists a very pretentious 
 design for Lord Chatham's monument. His 
 monument to Rear-Admiral Tyrrell in West- 
 minster Abbey, has been called ' the pan- 
 cake monument.' There are several other 
 monuments by him in the south aisle of the 
 Abbey. His mind, unfortunately, became 
 impaired in the prime of life, and a short 
 time before his death he was totally de- | 
 
 I prived of reason. He died at his house in 
 St. Martin's Lane, July 11, 1787. 
 
 READ, Richard, engraver. Was born 
 about 1745. He was a pupil of Caldwall, 
 gained a Society of Arts' premium in 1771, 
 and practised his art in London during the 
 latter part of the century. He worked 
 chiefly in mezzo-tint, but sometimes in the 
 dot manner. He engraved * The Dutch 
 Lady,' after Rembrandt, 'Moses in the Bull- 
 rushes,' after Le Soeur, ' The Queen of Scots,' 
 after Hamilton, R.A., and other works. He 
 died towards the close of the century. 
 
 READER, William, portrait 'painter. 
 Was born at Maidstone, the son of a clergy- 
 man, and practised his art in the 17th cen- 
 tury. Was for a long time in the service 
 of a nobleman. His portrait of Dr. Blow, 
 the musical composer, is engraved in mezzo- 
 tint. He died poor in the Charter Houi;e. 
 
 READING, Benjamin, eiigra ver. He 
 practised in London between 1770-90. 
 Working in the dot manner ; some of his 
 works, as was then the fashion, are printed 
 in red. There is by him, ' Charlotte at the 
 Tomb of Werther,' and after Bigg, R.A., 'La- 
 vinia and her Mother.' There is also a por- 
 trait of him drawn and etched by himself. 
 
 READING, Sarah, engraver. Practised 
 at the same time, and in the same manner 
 as the above. A small oval by her, ' Olivia 
 and Sophia,' is known. 
 
 REBECCA, BiAGio, A.R.A., history and 
 ornamental fainter. Of Italian extraction. 
 He became a student of the Royal Academy 
 in 1769, and an associate in 1771, in which 
 year he exhibited a picture of ' Hagar and 
 Ishmael,' and in the following year, ' A 
 Sacrifice to Minerva.' He contributed some 
 weakly drawn illustrations to Bell's poets. 
 He was principally employed in painting 
 staircases and ceilings with arabesques, and 
 during several succeeding years he does not 
 appear as an exhibitor. He probably be- 
 came known to the royal family by his 
 employment as a decorator, for it is said 
 that he contributed to their amusement at 
 Windsor by his facetious drawings and pro- 
 fessional freaks. He died at his lodgings 
 in Oxford Street, February 22, 1 808, aged 73. 
 
 REDE, William, architect. He was 
 bishop of Chichester in 1369, and deemed 
 the best mathematician of his age. He built 
 the first library at Merton College, and the 
 Castle at Amberley, Sussex. He died 138-). 
 
 REDMOND, Thomas, miniature painter. 
 Was the son of a clergyman at Brecon, 
 and was apprenticed to a house-painter at 
 Bristol. He came to London, studied a 
 short time at the St. Martin's Lane Academy, 
 and improved himself as an artist. In 1763 
 he was a member of the Free Society of 
 Artists. He then settled at Bath, where he 
 practised his art with success. He exhibited 
 portraits in miniature and in crayons at the 
 
 833 
 
REE 
 
 REM 
 
 Eoyal Academy from 1775 to 1779. He 
 died at Bath in 1785, aged about 40 years. 
 
 EE ED, Egbert, architect. He was born at 
 Edinburgh, November 8, 1774, and practised 
 in that city, where he designed and erected 
 several important public edifices. Among 
 them St. George's Church in Charlotte 
 Square, the Law Courts and Courts of Jus- 
 tice in Parliament Square, the Bank of 
 Scotland. He exhibited at the Eoyal Aca- 
 demy, in London, in 1 8 1 8-1 9-20, his designs 
 for several national works. He held the 
 appointment of Queen's architect for Scot- 
 land. He diedinEdinburgh,March21,1856. 
 
 EEINAGLE, Philip, E.A., animal and 
 I a7idscape painter. Was born 1749, and was 
 admitted to the Schools of the Eoyal Academy 
 in 1769. He was afterwards employed by 
 Eamsay, the court painter, and assisted him 
 in the numerous repetitions of the royal por- 
 traits he was commissioned to supply. In 
 1773 he first exhibited at the Academy, and 
 in that year and up to 1785 his contributions 
 were exclusively portraits. He then tried 
 animal painting with great success, and ex- 
 hibited some subjects, introducing animals 
 and birds, but from 1794 chiefly landscapes. 
 His haunting pieces, sporting dogs, and dead 
 game were excellent, and in 1787 he was 
 elected an associate of the Academy, but he 
 did not gain his election of Academician till 
 1812. He had great powers of imitation, and 
 copied the Dutch masters — Euysdael, Hob- 
 bema, Wynants, Wouvermans, and others, 
 with such careful accuracy, that many of 
 his copies pass for fine originals in good 
 collections. He painted birds well, the 
 plumage well coloured, and pencilled with 
 great lightness and truth, and towards the 
 end of the century exhibited some illustra- 
 tions for Thornton's 'Botany,' continuing an 
 exhibitor up to 1827. His 'Sportsman's 
 Cabinet,' a work comprising all kinds of 
 dogs used for sport, was engraved by Scott, 
 and published 1803. He died at Chelsea 
 November 27, 1833, aged 84. 
 
 EEINAGLE, Eamsay Eichard, E.A., 
 portrait and animal 2Minter. Born March 19, 
 1775. He was the son of the foregoing. 
 He painted both history and portrait, and 
 also animals and landscapes, but chiefly ex- 
 celled in the latter, exhibiting at the Aca- 
 demy at a very early age. Some of his 
 early life was passed in Italy, and in 1796 
 he was studying in Eome, and afterwards in 
 Holland from the Dutch masters. In 1806 he 
 exhibited with the Water-Colour Society 
 some Italian landscapes, and in 1807 was 
 elected a member of the Society, and con- 
 tinued to exhibit, mostly scenes in Italy, up 
 to 1 81 2, when he was appointed the treasurer, 
 but in the next year he left the Society on 
 the changes which then took place. He had 
 during this time been a regular exhibitor 
 also at the Academy and in 1814 he was 
 384 
 
 elected an associate and 1823 a full member. 
 In 1848, having purchased a landscape and 
 exhibited it at the Academy as his own, he 
 was, after a full inquiry, called upon to re- 
 sign his diploma. He did not, however, 
 cease to exhibit at the Academy, sending 
 for the last time two landscapes in 1857, 
 nor did the Academy withhold their assis- 
 tance from him ; he received till his death 
 a liberal allowance from the Academy funds. 
 He died at Chelsea November 17, 1862, 
 aged 87. 
 
 EEINAGLE, George Phillip, 7narine 
 'painter. Son of the above, by whom he was 
 instructed in art. Was a successful copyist 
 of the Dutch masters, particularly Backhuy- 
 sen and William Vandevelde, and probably 
 from them gained his feeling for marine sub- 
 jects. He first exhibited at the Academy in 
 1824, and in that and the three following 
 years contributed naval scenes. He accom- 
 panied the English fleet and painted with 
 great success ' The Battle of Navarino,' 
 which, with other subjects connected with 
 the battle, he exhibited in 1829-30-31 . He 
 was also with Admiral Napier's fleet in the 
 action with the Portuguese, and exhibited 
 ' Napier's Victory over the Miguelite Fleet,' 
 in 1835, his last contribution to the Aca- 
 demy. He painted both in oil and in water- 
 colours, had a good knowledge of shipping, 
 and was of much promise as a marine painter. 
 He died, prematurely, at Camden Town, 
 December 6, 1835, aged 33. 
 
 EEISEN, Charles Christian, medallist. 
 Was born in the parish of St. Clement's Dane, 
 London, the son of a Norwegian goldsmith 
 who had come to this country and settled in 
 London, 1666, practising as a seal engraver. 
 His genius soon gained him employment, 
 and his great ability becoming known on 
 the Continent, he received commissions from 
 Denmark, Germany and France. He was 
 greatly befriended by the Earl of Oxford. 
 He lived chiefly in the vicinity of Covent 
 Garden, and had also a house at Putney. 
 He was director of Kneller's Academy. He 
 made a large collection of medals, books, 
 and drawings. He died of gout, Decem- 
 ber 15, 1725, aged about 46, and was 
 buried in the churchyard of St. Paul's Co- 
 vent Garden. He left the bulk of a large 
 property which he had amassed to an un- 
 married sister who kept his house. 
 
 EEMSDYKE, John, draftsman. Was 
 born in Holland. Settled at Bristol, and 
 practised there in the latter half of the 
 18th century. His chief employment was 
 in drawing natural history. He made many 
 drawings for the publications of Dr. William 
 Hunter; and, with his son, Andrew Eems- 
 DYKE (who gained a medal at the Society of 
 Arts in 1767), published in London, in 
 1778, a volume of natural history, the 
 illustrations drawn and etched by himself 
 
REN 
 
 REV 
 
 and his son, from objects in the British 
 Museum. The son, who painted portraits, 
 died at Bath in 1786. 
 
 EENNIE, GrEORGE, sculptor. He studied 
 in the schools of the Royal Academy, and 
 afterwards pursued his studies in Italy. 
 He executed several groups in marble, 
 some of which have great merit. From 
 1828 to 1837 he was an exhibitor at the 
 Boyal Academy, sending, in the first year, 
 * A Gleaner ' and ' A Grecian Archer ; * in 
 1831, 'Cupid and Psyche;' and a marble 
 group of four figures, in 1837, after which 
 his name disappears. 
 
 EENNOLDSON, , engraver. Prac- 
 tised in mezzo-tint in London, about tlie 
 middle of the 18th century. * The Dancing 
 Mistress,' after J. Collet, is by him. 
 
 RENTON, John, portrait painter. He 
 was, commencing in 1821, an exhibitor of 
 portraits at the Royal Academy, and his 
 works were well esteemed. In 1827 he 
 exhibited ' King Charles setting up his 
 Standard at Nottingham,' a sketch. In 
 1839 a landscape, and, in 1840, some 
 intaglios, his last contribution. 
 
 REPTON, Umi'PKR^Y, landscape garde7igr. 
 Born, 1752, at Bury St. Edmund's, where 
 his father possessed a small estate. He 
 received a fair education, and became known 
 to the Rt. Hon. W. Wyndham, who, on 
 obtaining the appointment of Secretary of 
 State for Ireland, in 1783, took him to 
 Dublin, in the hope of finding some suitable 
 employment for him, which was prevented 
 by the short life of the administration. He 
 was a tolerable draftsman, and between 
 1788 and 1791 was an honorary exhibitor 
 of some landscape views at the Royal 
 Academy. He also tried landscape garden- 
 ing — introducing a more natural arrange- 
 ment — and architecture. Among other 
 gardens and parks laid out by him may 
 be named those at Cobham, Woburn, and 
 Richmond. He published numerous works, 
 his chief being ' Observations on Land- 
 scape Gardening and Architecture,' 1806, 
 and 'Fragments on Landscape Gardening, 
 with some Remarks on Grecian and Gothic 
 Architecture,' 1816. He also maintained a 
 smart disquisition, which was printed, with 
 Uvedale Price and R. Payne Knight, who 
 attacked the professional principles which 
 he adopted. ' The Bee,' an art publication, 
 1787, is attributed to him. Some of the 
 vignettes of the ' Polite Repository,' a small 
 pocket diary, are also by him. He died near 
 Romford, Essex, March 24, 1818, in his 
 66th year. 
 
 REPTON, John Adey, architect. Son 
 of the above. He was born at Norwich, 
 March 29, 1775, and was deaf from his 
 infancy. At the age of 14 he became the 
 pupil of Wilkins, the father of the Acade- 
 mician, who was then practising in Norwich, 
 
 In 1796 he was employed as an assistant 
 to John Nash, with whom ho continued four 
 years, and then joined his father. He ex- 
 hibited drawings and designs at the Aca- 
 demy, commencing in 1798, contributing 
 for the last time in 1805, when he is styled 
 an honorary exhibitor. In 1809 he gained 
 the first premium for a design for the public 
 buildings then proposed to form 'Parlia- 
 ment Square,' Westminster ; and, later, the 
 second premium for a design for Bethlehem 
 Hospital. He assisted his father in some 
 of his published works, and after his death 
 was consulted in professional matters. But 
 his deafness proved a great bar to the 
 pursuit of his profession, and he went to 
 reside at Springfield, near Chelmsford. From 
 this comparative retirement he was roused 
 to prepare drawings in competition for the 
 new Houses of Parliament, in 1835. He sent 
 several communications to the Antiquarian 
 Society, which appear in the Society's pub- 
 lications. He died unmarried, November 26, 
 1860, in his 86th year. 
 
 REPTON, John Stanley, architect. 
 Brother of .the above. He was a pupil of 
 Augustus Pugin, and afterwards an assist- 
 ant to Nash, under whom, in 1816-18, he 
 superintended the alteration of the Italian 
 Opera House ; and, in 1819, designed St. 
 Philip's Chapel, Regent Street. He married 
 privately, in 1817, Lady E. Scott, daughter 
 of Lord Chancellor Eldon ; and on a recon- 
 ciliation, soon after, with her family, re- 
 tired from his profession. 
 
 REVE, Thomas, 'glazier,^ or glass painter, 
 of St. Sepulchre's, London, was one of the 
 four contractors in the reign of Henry VIII. 
 who supplied the 18 painted windows in 
 the upper story of King's College Chapel, 
 Cambridge. 
 
 REVELEY, WiLLEY, architect. Was a 
 pupil of Sir William Chambers, and in 
 1781 first appears as a contributor of archi- 
 tectural designs to the Royal Academy 
 exhibition. In 1785 he was in Rome, and 
 from thence sent to the Academy a design 
 for a theatre. In 1789 he contributed a 
 design for a metropolitan church ; and in 
 1793 exhibited for the last time. He 
 travelled in Greece with Athenian Stuart, 
 and edited the third volume of Stuart's 
 ' Antiquities of Athens.' He made many 
 drawings and studies in Greece, had a 
 good knowledge of classic antiquity, and 
 great professional attainments, added to a 
 high opinion of his profession. But he 
 was eccentric, expressed his opinions sar- 
 castically, and did not succeed to the mea- 
 sure of his abilities. His principal work 
 was the new Church of All Saints, South- 
 ampton, in which his design was, however, 
 curbed of its full merits. He submitted to 
 Parliament plans for wet docks on the 
 Thames, which showed great professional 
 
 335 
 
REV 
 
 REY 
 
 ability. He died, after a few hours' illness, 
 in the prime of life, at his house in Oxford 
 Street, July 6, 1799. 
 
 EEVETT, Nicholas, architect. He was 
 descended from an old county family in 
 Suffolk, where he was born in 1721. He 
 had a fine natural taste, and had gained so 
 much knowledge of art that he determined 
 to follow it as a profession, and went to 
 Italy, in 1742, to pursue his studies. He 
 was practising as a painter in Rome when 
 he formed a friendship with Athenian 
 Stuart, and, in 1748, accompanied him to 
 Naples, and then to Greece, to study the 
 Greek monuments of art, which the Turks 
 seemed bent upon destroying. He arrived 
 at Athens, with Stuart, in 1751, and was 
 occupied there till 1754, measuring and 
 drawing the ancient remains, when he left 
 to pursue his studies in other parts of 
 Greece, and was seized by corsairs, to whom 
 he paid a ransom of 600 dollars, and was 
 able to continue his researches, but under 
 great difficulties, till 1755. He then re- 
 turned to London, and was occupied with 
 the arrangement of his materials till 1764, 
 when he was induced by the Dilettanti 
 Society to visit Ionia, with Dr. Chandler 
 and William Pars, A.R.A., where for two 
 years he was engaged in drawing the antiqui- 
 ties. His chief architectural work was the 
 Church of Ayott St. Lawrence, Herts, which 
 he designed after the style of the early 
 buildings of Asia Minor. The ' Antiquities 
 of Ionia,' in which he had so large a share, 
 was published, the first part in 1769, the 
 concluding part in 1797- He also pub- 
 lished ' Baalbec and Palmyra.' He died in 
 June 1804. 
 
 EEYNELL, Thomas, portrait fainter. 
 Born, 1718, of a good family, near Chud- 
 leigh, Devon. He was educated at the 
 Exeter Grammar School, and, showing some 
 genius for art, was sent to London as- the 
 pupil of Hudson. He returned to Exeter, 
 and, with a wife and family, settled, re- 
 siding there many years. His works found 
 admirers in the neighbourhood, and the 
 Duke of Kingston, attracted by his ability, 
 offered him some assistance to come again 
 to London for his improvement ; but he 
 was too indolent to avail himself of this 
 offer; and he then went to Dartmouth, 
 where he lived in great poverty. He was 
 known to have laid idly in bed for a week 
 together, with no other sustenance than a 
 bit of cake and water. He did little in art, 
 and he no sooner received any money for 
 his work than he purchased any stray 
 object that attracted him, though he was 
 at the time in want of both food and. 
 clothing. An asylum was at last provided 
 for him by the generosity of a friend. He 
 died at Dartmouth, October 19, 1788. He 
 painted portraits and some few indifferent 
 336 
 
 landscapes. His portrait of Dr. Huxham, 
 M.D., of Plymouth, was mezzo-tinted by 
 Fisher. He had several scientific acquire- 
 ments. He was a chemist, a musician, 
 and composed some pieces, and he published 
 some poetry. He also invented, and con- 
 structed himself, a musical instrument. 
 
 KEYNOLDS, Sir Joshua, Knt, P.K.A., 
 fortr ait 'painter, AVas born July 16, 1723, 
 at Plympton, where his father, who was in 
 the church, was master of the Free Gram- 
 mar School. He was educated under him, 
 but never made much progress in classics. 
 He was intended to be a physician, but a 
 love of art prevailed, and in 1741, at the 
 age of 18, he was sent to London and 
 placed under Hudson, the fashionable 
 painter of the day, with whom he con- 
 tinued three years. He then returned to 
 Plympton, and found employment in paint- 
 ing portraits at a low price. He does not 
 at this time appear to have gone much be- 
 yond the common-place manner of his 
 master, and he had a very weak knowledge 
 of drawing, which stood in his way during 
 his whole career ; but he had now a great 
 opportunity of improvement. He was in- 
 duced by Captain, afterwards Lord Keppel, 
 to accompany him in his vessel to the 
 Mediterranean, and landing at Leghorn in 
 1749, he proceeded at once to Rome, where 
 he studied nearly two years, and afterwards 
 visited Florence, Venice, and the other 
 great art cities of Italy. 
 
 The works of Titian, Correggio, Raphael, 
 Michael Angelo, were his favourite study, 
 but he made few copies, filling up his time 
 most probably in portrait painting, on 
 which he must have depended mainly for 
 his support. He returned to London in 
 October 1752, and in 1755 his name ap- 
 pears as a member of the St. Martin's 
 Lane Academy. After a short residence in 
 St. Martin's Lane, he removed to Great 
 Newport Street, and in 1761 to the west 
 side of Leicester Square, where he bought a 
 house, and added a painting room and 
 gallery. He was, on his return, immedi- 
 ately distinguished, and was soon looked 
 upon as the head of his profession. It 
 must surely have been a cause of mortifi- 
 cation, that, on a vacancy in the office of 
 court painter, he was passed over ; but he 
 never was a favourite of the Court, and the 
 king never sat to him but on one occasion, 
 that he might present the royal portrait to 
 the Academy. There must have been some 
 cause for this neglect, but whether from a 
 want of appreciation of his art, or a dislike 
 to the painter, there seems no sufficient ex- 
 planation. 
 
 He was one of the first members of the 
 Incorporated Society, wrote the preface to 
 the catalogue for 1762, and was a regular 
 contributor to its exhibitions up to 1768, 
 
RE Y 
 
 RET 
 
 and though he had little in common witli 
 the Society, he was, up to 1764, a member 
 of the managing committee, and apparently 
 gave such attendance as his engagements 
 would permit. On the foundation of the 
 Eoyal Academy, the artists unanimously 
 elected him their first president ; yet lie 
 was only very reluctantly induced to accept 
 the office. To add to its importance the 
 honour of knighthood was conferred upon 
 him. He had arrived at the height of his 
 practice. In the next 15 years he exhi- 
 bited no less than 147 works, these, though 
 chiefly portraits, included, in 1773, his 
 ' Ugolino,' and ' The Strawberry Girl ; ' in 
 1777,' The Fortune Teller ; ' in 1 779, ' The 
 Nativity.' 
 
 Up to this time he had, during his long 
 career, continued to paint almost without 
 interruption, when in 1782 he experienced 
 a slight shock of what he feared was para- 
 lysis, but he soon recovered from it, and 
 returned at once to his easel. In that year 
 he exhibited 15 works, the next year ten, 
 and in 1784 no less than 16, including 
 the ' Nymph and Cupid/ and his celebrated 
 portrait of Mrs. Siddons. In 1785 again 
 1 6, and in each of the two following years 
 13, and in 1788, 18 ; so that if, as is gene- 
 rally stated, he looked upon the attack he 
 had suffered as premonitory, he no less set 
 himself greater tasks, and worked harder 
 than ever. But these exertions were fol- 
 lowed by a more severe attack in 1789, and, 
 finishing what he was able of the works he 
 had in hand, he exhibited for the last time 
 in 1790, leaving a blank on the walls of 
 the Academy which has not yet been filled. 
 
 As a portrait painter Reynolds has in the 
 English school always been placed before 
 all others. He gave an interest and a 
 value to his works beyond the mere porti'ait, 
 breaking away at once from the stiff* air of 
 portraiture, he seized every new action, 
 every true expression that nature offered to 
 him. His children have all the artless 
 graces of childhood, his women are lovely, 
 his men endowed with dignity. Untram- 
 melled by rules of practice he ran a free 
 career, and aiming at beauties beyond the 
 reach of his materials, striving to attain a 
 higher excellence, he used indiscriminately 
 fading colours and fugitive mediums which 
 led to the premature decay of many of his 
 works, and have brought many more into 
 the hands of cruel restorers. His contem- 
 poraries eulogised him as a history painter, 
 but in that art he retains no rank in the 
 present day. His conceptions did not rise 
 to history, the form and character of his 
 creations never went beyond his model. 
 Yet in all his works we see great power, 
 luxuriant and glowing colour, excellently 
 treated draperies, and most appropriate 
 and beautiful backgrounds. 
 
 He was on terms of intimacy with the 
 most eminent literary men of his time, 
 and maint^iined an uninterrupted friendship 
 with Dr. Johnson to tlie end of liis life. 
 The doctor said of him, 'I know of no man 
 wlio has passed through life with more 
 observation than Reynolds ; ' and again, 
 ' when Reynolds tells me anything, I con- 
 sider myself as possessed of an idea the 
 more.' He was himself distinguished by 
 his literary abilities. He wrote, 1759-60, 
 three papers for ' The Idler,' No. 76, 'False 
 Criticisms on Painting,' No. 79, * On the 
 Grand Style in Painting,' No. 82, 'On the 
 True Idea of Beauty ;' some annotations to 
 DuFresney's 'Art of Painting,' and his ' Dis- 
 courses on Painting,' which formed his 
 yearly addresses to the students of the 
 Royal Academy, were not only so admirable 
 in their precepts and art teaching, but of 
 so high literary merit, that he was at the 
 time, though it is nowknown unjustly,denied 
 the full merit of their authorship. He paid 
 a short visit to Holland and Flanders in 
 1781, and again in 1783, and published an 
 account of his journey. He had returned 
 from Italy almost with a loss of hearing, 
 but during a long and particularly successful 
 life had enjoyed uninterrupted health. He 
 was of a mild and amiable temper, happy 
 in disposition, and possessing social quali- 
 ties which made his company desirable. 
 With a careless hospitality he drew round 
 him many of the most distinguished persons 
 of his time, and by his genius in his art no 
 less than by distinguished abilities and high 
 personal character, he gave a position to 
 the new Academy, and especially to his 
 profession, which it had never before en- 
 joyed. His name will never be forgotten in 
 the English school. 
 
 Following his last sad attack his sight 
 was suddenly affected, and he soon found 
 that he had lost the use of his left eye, and 
 dreading the loss of the other, he sorrowfully 
 determined, what was indeed too apparent, 
 that ho could paint no more. He was not, 
 however, without resources. He was sur- 
 rounded by friends, and able to enjoy their 
 society till the latter part of the year 1791, 
 when some painful symptoms recurring, ho 
 sank into despondency. His complaint had 
 now developed itself. After suffering about 
 three months from an enlarged liver, he 
 died, unmarried, at his house in Leicester 
 Fields, on February 23, 1792. His body 
 lay in state at the Royal Academy, and was 
 buried with unusual pomp at St. Paul's 
 Cathedral. He left a good collection of 
 pictures, many paintings of his own finished 
 and unfinished, and about 80,000^., the bulk 
 of which, on the death of his sister Frances, 
 reverted to his niece Miss Palmer, who be- 
 came by marriage, Marchioness of Thomond. 
 Farington, R.A,, published ' Memoirs of the 
 
 337 
 
RET 
 
 RIO 
 
 Life of Sir Joshua Eeynolds,' 1819; Malone, 
 an account of his life and writings ; Mr. 
 Cotton, in 1858, a list of his portraits ; and 
 in 1859, his notes and observations on 
 pictures ; and in 1865, Leslie, K.A., and Mr. 
 Tom Taylor, his 'Life and Times/ In 1813 
 the British Institution had a Eeynolds com- 
 memoration, and exhibited 1 13 of his works, 
 but in 1867, no less than 155, including 
 many of his finest, were included in the 
 National Portrait Exhibition of that year. 
 
 EEYNOLDS, Miss Erances, amateur. 
 Born at Plympton, May 10, 1729. Was 
 the youngest surviving sister of Sir Joshua 
 Eeynolds, and for many years kept his 
 house in Leicester Fields. She painted 
 miniatures, and found great pleasure in 
 copying her brother's pictures. It has been 
 said that she practised professionally, but 
 it seems more probable only as an amateur ; 
 and we learn that the Duke of Marlborough 
 made her a present of a gold snufF-box — not 
 a mode of professional payment — for her 
 copy in miniature of Sir Joshua's painting 
 of the Duke's children. Dr. Johnson wrote 
 of her, in 1758, 'Miss is much employed 
 in miniatures ; ' and many years later, in 
 1783, ' I sat for my picture, a three-quarter, 
 painted in oil, to Miss Eeynolds, perhaps 
 for the tenth time, and I sat for near three 
 hours with the patience of mortal born to 
 bear. At last she declared it finished, and 
 seems to think it fine ! ' But he did not 
 think so himself, for he told her it was 
 ' Johnson's grimly ghost.' Yet one of the 
 last occupations of his life was to sit to her. 
 She does not, indeed, seem to have met 
 with much encouragement, for Goldsmith 
 offended by telling her she loved pic- 
 tures better than she understood them ; 
 and Northcote says, ' Nothing made Sir 
 Joshua so mad as Miss Eeynolds' por- 
 traits, which were an exact imitation of 
 all his defects. Indeed, she was obliged 
 to keep them out of his way. He said 
 (jestingly) they made everybody else laugh 
 and him cry.' But upon his death she 
 took a large house in Queen Square, West- 
 minster, and here she exhibited her own 
 works, decorating her rooms with them. 
 She died November 1, 1807. 
 
 EEYNOLDS, Samuel William, en- 
 graver. He was born in 1774, was a 
 student in the schools of the Eoyal Aca- 
 demy, and a pupil of Hodges, E.A. He 
 commenced art as a painter, and painted 
 in oil many portraits, some genre subjects 
 and landscapes, contributing his works to 
 the Academy exhibitions from 1797 to 
 1811. His landscapes were spoken of by 
 his contemporaries as boldly painted and 
 rich in tone and colour. Afterwards he 
 tried engraving, and became distinguished 
 by his fine plates in mezzo-tint, as well 
 as by some excellent works in aqua-tint. 
 338 
 
 He engraved many portraits after Eeynolds, 
 Dance, Northcote, Jackson, Owen, Dawe, 
 Phillips, and some fine plates after Eem- 
 brandt; also some subject pictures after 
 Gr. Morland, Northcote, and Stephanoff. 
 In 1826 he went to Paris, and engraved 
 several important works after the French 
 painters. His engravings are spirited, 
 brilliant, powerful, excellent in expression 
 and drawing, but rather wanting in refine- 
 ment in the tints. He died in 1835. 
 
 EHODES, John li^. landscape and animal 
 painter. Was born at Leeds, in 1809, and 
 was the son of Joseph Ehodes, a self-taught 
 painter, who practised nearly half a century 
 in Leeds, and died there in 1854. He was 
 brought up to art under his father, and 
 painted with much fidelity rustic scenes 
 and groups of cattle. He exhibited in 
 London, and eventually settled here. At- 
 tacked by inflammation in the eyes, and 
 suffering generally from weak health, he 
 returned to Leeds, where he died in Decem- 
 ber 1842, aged 33. 
 
 EHODES, Eichard, engraver. Practised 
 in the line manner, in which he excelled. 
 He engraved some of the illustrations of 
 the 'Ancient Terra-cottas in the British 
 Museum,' 1810, and some illustrations of the 
 English poets. In the latter part of his 
 career he was for many years the principal 
 assistant to Charles Heath. He died at 
 Camden Town, November 1, 1838, aged 73. 
 
 EICHAEDS, John Inigo, E.A., land- 
 scape and scene painter. He chose as his 
 landscape subjects the ruins of old domestic 
 and ecclesiastical buildings, but was chiefly 
 distinguished as a scene painter. In 1 763-65 
 he exhibited views at the Spring Oardens 
 Eooms. He succeeded Dall, in 1777, as 
 the principal scene painter at Covent 
 Garden Theatre, and held that engagement 
 for many years. He was one of the foun- 
 dation members of the Eoyal Academy, 
 and a contributor of landscapes and figures, 
 from 1769, to the exhibitions. In 1788 
 he was appointed the secretary to the 
 Academy, and from that time was only 
 an occasional exhibitor. He repaired the 
 cartoon by Leonardo da Vinci, which belongs 
 to the Academy. After suffering many 
 years from ill-health, he died in his apart- 
 ments at the Academy, December 18, 1810. 
 His scenery for ' The Maid of the Mill ' 
 delighted the town, and in 1768 two of the 
 scenes were engraved by Woollett, and had 
 a large sale. Both Hearne and McArdell 
 engraved after him. 
 
 EICHAEDSON, George, architect. He 
 received a Society of Arts premium in 
 1765, and was in full professional practice 
 at the end of the 18th century. He pub- 
 lished, in 1794, 'A Complete System of 
 Architecture ; ' also ' A Supplement to 
 Vitruvius Britannicus,' and ' The New 
 
RIO 
 
 RIG 
 
 Vitruvius Britannicus : Plans and Eleva- 
 tions of Modern Buildings.' He lived 
 many years in Ticlifield Street, became very 
 distressed in his old age, and was often 
 assisted by the generosity of the sculptor 
 Nollekens. 
 
 KICHAKDSON, Jonathan, portrait 
 painter. He was born in 1665, and lost 
 his father when only five years of age. 
 His mother married a second husband, a 
 scrivener, to whom he was articled against 
 his inclination. But, released in the sixth 
 year of his apprenticeship by the death of 
 his father-in-law, he chose art for his pro- 
 fession, and became the pupil of John 
 Kiley, ^vith whom he continued four years, 
 and ended by marrying his niece. He ac- 
 quired enough of his master's manner to 
 support a solid and lasting reputation, even 
 during the lifetime of Kneller and Dahl ; 
 * and on their deaths he ranked with J ervas 
 as at the head of the profession. Walpole 
 says of him : 'His men want dignity, his 
 women grace ' — which, if true, is redeemed 
 by the honest character and great indi- 
 viduality of his portraits. His heads are 
 well and carefully drawn, and well coloured, 
 and some half-lengths by him may be 
 praised, but hardly his whole-lengths. He 
 etched a few portraits in a slight but 
 spirited manner. He was also distinguished 
 as a writer. Dr. Johnson said of him, 'He 
 is better known by his books than his pic- 
 tures,' a doubtful compliment for a painter, 
 which, if true in the Doctor's days, is 
 assuredly not in ours. He wrote ' An Essay 
 on the whole Art of Criticism in Relation 
 to Painting,' 1719; 'An Argument in be- 
 half of the Science of a Connoisseur,' 1719 ; 
 'An Account of some Statues, Bas-reliefs 
 in Italy, &c.,' 1722; 'Explanatory Notes 
 and Remarks on Milton's Paradise Lost, 
 ^\dth the Life of the Author,' 1734. In his 
 writings he was much assisted by the classic 
 attainments of his son, some witless allu- 
 sions to which in his preface to his ' Notes 
 on Milton,' led to a caricature of both 
 father and son by Hogarth, and to the 
 reply of Prior, when asked by him what 
 title he should give to one of his books, 
 'The memoirs of yourself and your son 
 Jonathan, with a word or two about paint- 
 ing.' We learn also that he inflicted upon 
 all comers to Old Slaughter's, Button's, and 
 AVills' his ' Notes on Milton,' which he per- 
 sisted in reading to them. He had many 
 years retired from the practice of his pro- 
 fession, when he died suddenly, at his house, 
 in Queen's Square, Bloomsbury, May 28, 
 1745. His collection was sold by an auc- 
 tion in Pebruary, 1747, which lasted 18 
 days. His drawings produced 2,060/., his 
 pictures about 700/. Hudson, who had 
 married one of his daughters, purchased 
 many of the drawings. 
 
 I RICHARDSON, Jonathan, portrait 
 fainter. Only son of the above. He 
 painted only as an amateur. Living with 
 his father in great harmony he assisted him 
 in all his pursuits, and shared in his 
 labours. An early portrait of Matthew 
 Prior by him is engraved. He died in 
 Queen Square, Bloomsbury, June 6, 1771, 
 aged 77, and was buried in the churchyard 
 of St. George-the-Martyr. 
 
 RICHARDSON, Thomas Miles, land- 
 scape painter. Was born at Ncwcastle-on- 
 Tyne, May 15, 1784. His family were 
 well-descended, and possessed property in 
 North Tynedale. He was apprenticed to 
 an engraver in Newcastle, and, on his 
 death, transferred to a cabinet-maker. On 
 the conclusion of his apprenticeship he 
 commenced business, which he carried on 
 for five years. On the death of his father 
 in 1806 he was appointed to succeed him 
 as master of the St. Andrew's Grammar 
 School, and then first directed his attention, 
 in his spare time, to drawing, and at the 
 end of seven years gave up his school to 
 devote himself wholly to art.- He prac- 
 tised both in oil and water-colours. His 
 first picture of any importance was a view 
 of Newcastle from Gateshead Pell, which 
 was purchased by the corporation of that 
 town. This was followed by many land- 
 scapes and marine views in the neighbour- 
 hood. He was an occasional exhibitor at the 
 Royal Academy from 1814, when he sent a 
 ' View of the Old Fishmarketof Newcastle,' 
 and in 1822 a ' View of Edinburgh Castle 
 from the Grass Market,' and, after a long 
 intermission, from 1841 to 1845, was a 
 yearly exhibitor of river views in the north. 
 He also exhibited at the British Institu- 
 tion, and later at the New Water-Colour 
 Society, of which he was a member. In 
 1816 he commenced, with a partner, an 
 illustrated work in aqua-tint, of the scenery 
 about Newcastle, but only a few numbers 
 were issued; and in 1833, in conjunction 
 with his brother, he began a work in mezzo- 
 tint, engraved entirely by himself— 'The 
 Castles of the English and Scottish Bor- 
 ders,' but this work was not completed. 
 He died March 7, 1848, leaving a widow 
 and large family. His eldest surviving 
 son is a member of the Old Water-Colour 
 Society. His landscapes were painted in a 
 bold and original manner. He excelled in 
 sunset effects, and enjoyed a good repute in 
 his profession. 
 
 RICHARDSON, Charles James, arcM- 
 tect. He was a pupil of Sir John Soane, 
 and first appears as an exhibitor at the 
 Academy in 1837, from which time he con- 
 tinued an occasional contributor. His ex- 
 hibited works were chiefly of a decorative 
 character, designs for Elizabethan ceilings, 
 and other interior fittings. He built a 
 z 2 339 
 
RIO 
 
 RIO 
 
 mansion for the Earl of Harrington in 
 Queen's Koad, Kensington, and a group of 
 five houses at Queen's Gate, in that neigh- 
 bourhood. He was much employed in the 
 literature of his art, and the author of 
 many illustrated works — ' Architectural 
 Eemains of Elizabeth and James I.,' 1840 ; 
 •Studies of Ornamental Design,' 1848; 'A 
 Popular Treatise on Warming and Ventila- 
 tion/ 1856; 'The Englishman's House, 
 from a Cottage to a Mansion,' 2nd edition, 
 1871; 'Cottage Architecture,' 'Village 
 Architecture,' ' Old Title Pages,' and some 
 others. He died at Kensington, Nov. 20, 
 1871, aged 65. 
 
 EICHARDSON, Edward, sculptor. He 
 first appears as an exhibitor at the Royal 
 Academy in 1836, and in that and the fol- 
 lowing years contributed classic works of 
 much pretension. Then his contributions 
 were chiefly busts, and in his later years 
 monumental works, mostly in relief. He re- 
 stored the effegies of the Knights Templars 
 in the Temple Church, and the recumbent 
 effigy of the Earl of Powis, at Welshpool. 
 He was an active member of the London 
 and Middlesex Archaeological Society. He 
 died in July, 1869, aged 57. 
 
 RICHMOND, Thomas, miniature painter. 
 He was born at Kew in 1771, and was a 
 pupil of George Engleheart, and a student 
 at the St. Martin's Lane Academy. He first 
 exhibited at the Royal Academy in 1795, 
 was well known in his day, and was for 
 many years an occasional exhibitor. His 
 works were well drawn and finished, but 
 formal and stiff in character. He died in 
 London, in 1837. Mr. Richmond, R.A., ig 
 his son. 
 
 RICHTER, Christian, portrait fainter. 
 Was the son of a silversmith at Stock- 
 holm, and came to England in 1702. He 
 painted in oil, studying the works of Dahl, 
 but he is best known by his miniatures. 
 Later in life he applied himself to enamel 
 painting, but did not live to attain much 
 proficiency. He died in November 1732, 
 at the age of 50. He had a brother a 
 medallist, several of whose medals, modelled 
 from the life, were produced in silver. 
 
 RICHTER, Henry J., water-colour 
 painter. He was of Grerman extraction. 
 He practised in London, and was, as early 
 as 1788, an exhibitor at the Royal Academy 
 of two landscapes, and continued for many 
 years a fitful contributor. In 1813 he was 
 elected a member of the Water-Colour 
 Society, but was a small and uncertain con- 
 tributor to its exhibitions, and no less un- 
 certain in his connection with the Society. 
 On the change which took place in its con- 
 stitution in the year of his election he 
 appears to have resigned his membership. 
 Next year, and up to 1 820, he was connected 
 with the Society as an 'exhibitor' only. 
 340 
 
 In 1821 he again became a member, but 
 did not exhibit in that or the following 
 year, and in 1823 he appears in the new 
 class of 'Associate Exhibitors.' In 1826 
 he is again a member, and in 1828 an 
 associate exhibitor. In 1829, once more 
 elected a member, he continued in that 
 rank, and contributed his works to the 
 exhibitions till his death. He painted ex- 
 clusively figure subjects, chiefly domestic 
 and well chosen, and popular in character. 
 Some of his subjects are from Shakespeare. 
 ' Christ giving Sight to the Blind,' ex- 
 hibited at the British Institution in 1813, 
 was purchased by the directors for 500 
 guineas. His ' School in an Uproar,' 
 ' Tight Shoe,' ' Brute of a Husband,' a work 
 in oil, exhibited at the Academy in 1827, 
 and others of his works have been en- 
 graved. He was an earnest disciple of 
 Kant, and published, in 1817, with this 
 singular title, ' Daylight, a Recent Dis- 
 covery in the Art of Painting, with Hints 
 on the Philosophy of the Pine Arts, and on 
 that of the Human Mind, as first dissected 
 by Emanuel Kant.' He died in Maryle- 
 bone, April 8, 1857, aged 85. 
 
 RICKARDS, Samuel, miniature painter. 
 Practised in London at the latter part of 
 the 18th century, and exhibited at the Royal 
 Academy in 1776 and 1777. 
 
 RICKMAN, Thomas, architect. Born of 
 an old Sussex family at Maidenhead, June 8, 
 1776. His father was a surgeon, and he 
 studied for that profession till 1797, when 
 he came to London and was for a time with 
 a chemist. He then completed his surgical 
 studies, and joined his father at Lewes, 
 where he practised medicine for two years. 
 In 1803 he returned to London, and was 
 clerk to a corn factor, and five years later 
 removed to Liverpool, where he was em- 
 ployed by one of the chief brokers ; and, 
 having spare time, devoted himself to the 
 study of architecture, minutely examining 
 the characteristics of the Gothic style. 
 After his somewhat erratic course, he seems 
 to have found a vocation suited to his tastes. 
 He began to design monumental and other 
 small works, and became a competitor for 
 some of the many new churches at that 
 time erecting. On one occasion he was suc- 
 cessful, and summoned to London to execute 
 his design, he at once abandoned the cer- 
 tainty which he held, to commence the new 
 career which his ability and perseverance 
 had opened to him. He continued, how- 
 ever, to reside in Liverpool, till finding his 
 engagements in many parts of the country 
 increase, he removed to Birmingham and 
 finally settled there. He was attacked by 
 apoplexy in 1834, and from that time his 
 constitution gradually gave way. He died 
 at Birmingham, in January 1841, aged 64. 
 Among his best works may be mentioned 
 
RID 
 
 RIP 
 
 the buildings of St. John's College, Cam- 
 bridge, a good example of Gothic design ; 
 the church at Oulton, near Leeds ; and 
 Hampton Lucy Church, Warwickshire. He 
 published ' An Answer to the Observations 
 on the Plans for a New Library at Cam- 
 bridge,' 1831 ; and * An Attempt to Discri- 
 minate the Styles of Architecture from the 
 Conquest to the Keformation,' 1848. 
 
 KIDDEL, John, marine draftsman. 
 Practised in the second half of the 18th 
 century. Ant. Walker engraved after him, 
 
 KIDLEY, AViLLTAM, engraver. Practised 
 witli some distinction about the close of the 
 18th century, and was much employed on 
 book illustration. Many of his portraits, 
 well drawn and expressed, appear in the 
 ' Evangelical Magazine.' He died at Addle- 
 stone, where he had for many years retired, 
 August 15, 1838, aged 74. 
 
 KIGAUD, John Francis, K.A., history 
 and 'portrait painter. Was born at Turin, 
 May 18, 1742, the son of a respectable mer- 
 chant, and descended from a French Pro- 
 testant family. He early studied art, was 
 appointed painter to the King of Sweden, 
 and travelled in Italy for his improvement, 
 making some stay at Kome, Bologna, and 
 J'arma ; and in 1766 was elected a member 
 of the Academy at Bologna. In 1 7 7 2 he went 
 to Paris and from thence came to London. 
 He was an exhibitor at the Royal Academy 
 for the first time in the same year, was soon 
 distinguished, was elected an associate of 
 the Academy in that year, and in 1784 
 a full member. His diploma picture of 
 * Samson,' presented to the Academy, was 
 much esteemed. He found employment 
 both in historical works and in portraiture, 
 continuing to practise and to exhibit yearly 
 in both styles up to 1810. He painted for 
 the Shakespeare, Historic, and Poet's Gal- 
 leries, and decorated several ceilings, among 
 them the ceiling of the Court Room in the 
 Trinity House, Tower Hill. He also painted 
 in fresco an altar-piece for the Parish 
 Church at Packington, and one for St. 
 Martin Outwich, London. He was found 
 dead in his bed at the house of hjs patron. 
 Lord Aylesford, at Packington, December 6, 
 1810. He translated into English Leonardo 
 da Vinci's ' Treatise on Painting,' 1806, and 
 was a contributor to * The Artist.' 
 
 RIG AUD, Stephen Francis, water-colour 
 painter. He was a student of the Royal 
 Academy, and first appears as an exhibitor 
 in 1797, and for many years was an occa- 
 sional contributor both of portraits and of 
 subject pictures, sacred and classic. In 1 801 
 he gained the Academy gold medal for his 
 historical painting, ' Clytemnestra Exulting 
 over Agamemnon ;' and in 1804 he was one 
 of the foundation members of the AVater- 
 Colour Society, and a regular contributor to 
 its exhibitions ; his works chiefly of a sacred 
 
 character. In 1805, ' Satan Discovered in 
 the Bower of Adam and Eve;' in 1806, 
 'Martha and Mary;' in 1807, 'Sin and 
 Death,' with an occasional subject from the 
 poets. In 1812 he was the treasurer of the 
 society, but on the change in its constitu- 
 tion, in the following year, he was one of 
 the secedors. In 1814 he exhibited a large 
 picture, which he had painted, of the ' In- 
 vasion of Franco in 1813,' with portraits of 
 the Duke of Wellington and his generals. 
 He last exhibited at the Royal Academy in 
 1815, 'David going forth against Goliah.* 
 But in 1849-50-51 ho exhibited some 
 classic subjects with the Society of British 
 Artists. 
 
 RILEY, John, portrait painter. Was 
 born in Bishopsgate parish, London, 1646, 
 and was the son of the Lancaster Herald, 
 who was also Record Keeper at the Tower. 
 He was the pupil of Soest and Fuller, and 
 practised his art in London ; little noticed 
 till the death of Lely, he then roso into 
 public estimation. He painted the portrait 
 of Charles II., who is said to have dis- 
 couraged the modest painter when looking 
 at his portrait by exclaiming, ' Is this like 
 me? Then, odd's fish, I'm an ugly fellow! ' 
 James II. and his Queen sat to him, and 
 he was appointed their state painter ; and 
 William and Mary were painted by him 
 several times. His art was original, founded 
 on his own observation of nature, his draw- 
 ing careful, expression natural and pleas- 
 ing, and his heads and hands well painted. 
 There are several of his portraits in the 
 National Portrait Gallery, a good example 
 of his work at Hampton Court, and his 
 portraits find a place in many old mansions. 
 He died of gout in 1691, aged 45, and was 
 buried in St. Botolph's Church, London. 
 Richardson married a near relation of 
 Riley, and inherited many of his pictures 
 and other effects. 
 
 RIPLEY, Thomas, architect. Was born 
 in Yorkshire, and came early in life to 
 London. He worked as a carpenter, and 
 also kept a coffee shop in Wood Street, 
 Cheapside. Improving his means by his 
 industry, he married a servant of Sir 
 Robert Walpole, and by his patronage 
 obtained employment under the Crown, and 
 a seat at the Board of Works, of which 
 department he became the comptroller. 
 He built Houghton Hall for Sir Robert, 
 but chiefly after the plans of Campbell, 
 and afterwards Wolterton ; and in 1718 he 
 rebuilt the Custom House, which had been 
 destroyed by fire in 1714. He built also the 
 Admiralty, Whitehall, except the fa^-ade, 
 1726. He died in 1758, and was buried at 
 Hampton, Middlesex. His work was with- 
 out invention, or taste in design ; but was 
 convenient in arrangement, and wtII con- 
 structed. His success was not without re- 
 
 341 
 
RIP 
 
 RIS 
 
 mark. He was said to have been raised 
 from a house carpenter to an architect by 
 the patronage of Walpole, and he fell 
 under the ridicule of Pope. 
 
 EIPPINaiLLE, Edward Villiers, 
 subject fainter. Was born at King's Lynn, 
 the son of a farmer, in 1798, and was, as 
 an artist, entirely self-taught. He exhibited 
 his first picture, ' Enlisting,' at the Koyal 
 Academy in 1813, a ' Scene in a Gaming 
 House ' in 1815, and in 1819 gained public 
 notice by his ' Country Post Office.' Stimu- 
 lated by his success, he devoted himself to 
 the representation of rural scenes, illustrat- 
 ing English manners and customs. The in- 
 ventor of his own subject and story, of his 
 works of this class may be distinguished his 
 ' Eecruiting Party,' ' Stage Coach Break- 
 fast,' now a recollection of the past, ' Going 
 to the Fair,' and, about 1834, 'The Pro- 
 gress of Drunkenness,' a series of six pic- 
 tures. In 1837 he went to Italy, and the 
 following year sent from Eome to the Aca- 
 demy exhibition, 'Eather and Son, Cala- 
 brian Shepherds.' He appears soon after 
 to have returned to London, and to have 
 been again in Eome, where he made a short 
 stay in 1841. Erom his first visit his sub- 
 jects and inspiration were Italian, and it 
 was not till 1846, that, returning to home 
 subjects, he commenced and continued to 
 exhibit English scenes up to 1857. 
 
 In 1843 he was a successful competitor 
 in the Cartoon Exhibition, Westminster 
 Hall, gaining one of the prizes. He was 
 also a writer and lecturer on art. In 1824 
 he commenced a series of lectures on the 
 necessity of art to manufactures, which he 
 deliA^ered at several of the large provincial 
 towns, and at the Eoyal Institution, Lon- 
 don. In 181:3 he commenced a monthly 
 periodical, ' The Artists and Amateurs' 
 Magazine,' but it was not supported, and 
 only existed 12 months. He was also the 
 author of several brigand tales in ' Bent- 
 ley's Magazine,' 'The Wanderings of a 
 Painter in Italy ; ' and in the ' Art Journal ' 
 ' Personal Eecollections of Great Artists.' 
 He sometimes quoted from a poem of his 
 own, * The Consolation of Hope,' but it 
 does not appear that it was ever printed. 
 He died suddenly April 22, 1859, at the 
 railway stntion, Swan Village, Staffordshire. 
 
 • EITCHIE, John, sculptor, Was born 
 at Musselburgh, near Edinburgh. His 
 father was a brick and tile maker, and 
 amused himself in modelling. In this art 
 the son soon became a proficient, and 
 struggled hard to distinguish himself in 
 his native city. Among the works by him 
 may be mentioned, as one of his best, his 
 statue at Glasgow of Sir Walter Scott. He 
 was a dreamer, and fond of telling his 
 dreams, and ho embodied one of them, in 
 his fine group in clay, 'The Delude,' ex- 
 342 
 
 hibited in Edinburgh, 1822, and at the 
 Eoyal Academy, London, his only contri- 
 bution there, in 1840. He for many years 
 assisted his more talented brother, Alex- 
 ander, and while so employed he received a 
 commission to execute his model of ' The 
 Deluge ' in marble. This induced him to 
 make a journey to Eome. He had hardly 
 reached that city, when he was attacked 
 by fever, and died there towards the close 
 of the year 1850, aged 41. 
 
 EITCHIE, Alexander Hendyside, 
 A.E.S.A., sculjptor. Brother of the fore- 
 going. He was born at Musselburgh, near 
 Edinburgh, in 1804, and of his own genius 
 became a modeller almost from his child- 
 hood. He was from 1830, at intervals, an 
 exhibitor at the Eoyal Academy, London, as 
 well as at the Scottish Academy, and was 
 elected an associate of the latter in 1846. 
 In the following year he was employed 
 upon some of the decorative sculpture for 
 the Houses of Parliament, and from that 
 time was chiefly devoted to architectural 
 sculpture, of which there are examples at 
 Edinburgh, in the Bank at St. Andrew's 
 Square, the pediment of the Commercial 
 Bank, and at Glasgow in the Duke of 
 Hamilton's monument. His principal works 
 exhibited in London were busts, but in 1857 
 he sent ' The Scottish Lassie,' a statue in 
 marble. He died early in May 1870. 
 
 EITSON, Jonathan, wood carver. Was 
 born at Whitehaven, about 1776, and 
 brought up to his father's trade of a car- 
 penter. He was employed upon the Duke 
 of Norfolk's estate, and attracted the Duke's 
 notice by his able carvings in wood. At the 
 Duke's request he removed to Arundel, and 
 executed the chief of the carvings in the 
 library and Baron's Hall of the Castle. In 
 1815, on his patron's death, he was employed 
 by the Earl of Egremont in completing the 
 work at Petworth, left unfinished by Gib- 
 bons. He showed great ability in com- 
 bining groups of birds, fruits, and flowers, 
 with much skill and natural lightness. 
 Treated here with too much indulgence, and 
 tempted by an inordinate love of strong 
 beer, he fell into habits of intemperance 
 and sought the lowest company. He died 
 at Petworth, April 9, 1846, aged 69. His 
 portrait by Clint hangs there as a pendant 
 to the portrait of Gibbons. 
 
 EI SING, John, fortrait and subject 
 painter. Practised in London, and was a 
 contemporary of Eeynolds. His portraits 
 aro vigorously painted, and his colour good. 
 He exhibited at the Eoyal Academy from 
 1785 to 1814, when his name disappears. 
 His works were chiefly portrait, but he occa- 
 sionally exhibited a domestic subject — ' Bal- 
 lad Singers,' ' Infant Piety,' ' A Match Girl,' 
 ' Girl with Grapes.' W. Ward mezzo- 
 tinted two plates — * Juvenile Amusement 
 
BOB 
 
 ROB 
 
 and Juvenile Employments,' painted by 
 J. Eising and J. Reynolds. 
 
 EGBERT, Charles, engraver. Born in 
 Edinburgh, in 1806, he was articled to an 
 engraver there, studying also in the Trus- 
 tees' Academy. His first works were chiefly 
 vignette portraits. He engraved ' The 
 Widow,' after Sir W. Allan ; ' The Rush- 
 plaiters,' after Sir Gr. Harvey ; ' The Ex- 
 pected Penny,' after A. Frazer ; and also 
 engraved after Noel Paton and Eckford 
 Lauder. About 1850 he-was engaged upon 
 the engravings for the London Art Union, 
 for which he produced some good plates. 
 He just lived to complete ' The Battle of 
 Preston Pans,' perhaps his most important 
 work. He died in Edinburgh, September 5, 
 1872. 
 
 ROBERTS, David, R.A., landscape 
 painter. Was born at Storkbridge, near 
 Edinburgh, October 2, 1796. His parents, 
 persons in humble life, his father a shoe- 
 maker, managed to give him some education, 
 and when at a suitable age, he was appren- 
 ticed to a house decorator in Edinburgh. 
 Here during seven years he learnt the use 
 of the materials of art, and attained a 
 power and readiness of hand ; and then 
 tried his skill as scene painter to a com- 
 pany of strolling players at Carlisle, and 
 had occasionally to take his part on the 
 stage. This led to his employment, in 1820, 
 in t'^e scene-room at both the Edinburgh 
 and Griasgow Theatres, and to his engage- 
 ment at Drury Lane Theatre in 1822. He 
 had, in 1820 and the following year, sent 
 pictures to the Edinburgh Exhibition, and 
 in 1824, having joined the Society of Bri- 
 tish Artists, he contributed to their exhi- 
 bition in Suffolk Street. In the same year 
 he strayed to France, and visited the coast 
 towns of Dieppe, Havre, and Rouen ; and in 
 the following spring exhibited scenes which 
 were taken from the fine Gothic of these 
 cities ; but he continued to hold an engage- 
 ment at Covent Garden, and did not abandon 
 scene painting. 
 
 In 1 826, his first work, 'Rouen Cathedral,' 
 appeared on the walls of the Academy. In 
 1828 he produced a work of another cha- 
 racter, ' The Departure of the Israelites 
 out of Egypt,' which he sent to Suffolk 
 Street, and for the next seven years sent 
 his easel pictures to this young society. 
 But gradually withdrawing himself, he re- 
 signed his membership in 1 836, and growing 
 in reputation sought the honours of the 
 Royal Academy. Of this body he was 
 elected an associate in 1838, and an acade- 
 mician in 1841. He had already, in the 
 pursuit of his art, visitedTrance, Belgium, 
 Germany, Spain, Morocco, and Holland ; and 
 seeking more distant scenes, in 1838, Egypt 
 and Syria. For the ten succeeding years 
 his works, with only an occasional excep- 
 
 tion, were eastern, and he had attained the 
 summit of his reputation, producing his best 
 pictures, and exhibiting almost exclusively 
 at the Royal Academy. 
 
 He visited Italy for the first time in 1851, 
 returning by the way of Vienna, and from 
 that year to 1860 his themes were Italian, 
 the decaying temples of Rome and the gran- 
 deurs of Venice, Pisa and Milan his inspira- 
 tions. Then, as ago crept on and travel 
 tired, he found subjects nearer home, and 
 commenced a fine series of views on th^ 
 Thames. He had completed six of these 
 views, and was actively engaged upon 
 another when, on the morning of Novem- 
 ber 25, 1864, he was seized with an apo- 
 plectic attack in the street, and died the 
 same evening. 
 
 His art was essentially scenic, his sub- 
 jects picturesque architecture, giving all the 
 splendour and magnificence of the ancient 
 structures, enriched by groups of accessaries. 
 His style was formed at the theatre. He 
 had no sympathy with realistic imitation. 
 Broad, simple, and conventional, agreeable 
 in his colour, though not like nature, his 
 pictures charm by their, ease and power. 
 He worked both in oil and in water-colour, 
 and his pictures have from first to last a 
 marked equality in excellence. His works 
 were eminently suited for publication. He 
 made for four years drawings for the ' Land- 
 scape Annual.' In 1837, he published in 
 lithography, his ' Picturesque Sketches in 
 Spain ;' and in 1842 commenced his well- 
 known work ' Sketches in the Holy Land 
 and Syria.' In 1859 his last work appeared, 
 ' Italy, Classical, Historical, and Pictu- 
 resque.' His paintings are numerous, and 
 by them and his publications he realised a 
 considerable fortune, which he left to an 
 only daughter. He was highly esteemed 
 by his countrymen, and was by them enter- 
 tained at Edinburgh, in 1842, at a banquet 
 given in his honour. In 1858 he received 
 the freedom of his native city. He was 
 appointed one of the Commissioners for 
 the Great Exhibition of 1851, and was a 
 member of several foreign art academies. 
 His life by James Ballantine, was published 
 in 1866. 
 
 ROBERTS, James, portrait jpainter. 
 Was born in Westminster, but brought up 
 in Oxford, where he commenced the prac- 
 tice of his art. He gained a premium at 
 the Society of Arts in 1766, and was an 
 exhibitor at the Royal Academy of three- 
 quarters portraits, and small whole-lengths, 
 commencing in 1773. A group of Lord 
 Charles and Lady Charlotte Spencer, in 
 character, painted by him in 1788, is en- 
 graved in mezzo-tint, but it is a poor, stiff 
 composition. A portrait of Sir John Hawkins, 
 in the Music School, Oxford, is by him. He 
 painted some scenery for private theatricals 
 
 343 
 
ROB 
 
 ROB 
 
 at Blenheim, engravings of which were 
 published, and he was similarly employed 
 at Windsor. Not meeting with sufficient 
 encouragement at Oxford, about 1793 or 
 1794 he returned to Westminster, where he 
 settled. He was about this time appointed 
 portrait painter to the Duke of Clarence, 
 and continued to exhibit up to 1799. There 
 are some water-colour drawings by him in 
 the British Museum, much laboured but 
 deficient in art. 
 
 EGBERTS, James, engraver. Was born 
 in Devonshire, in 1725. He practised in 
 landscape. There are by him a set of four 
 plates, ' Fox Hunting,' after Seymour ; two 
 small marine views, after Pillement, 1761; 
 four English views after Barrett, and others 
 after Smith of Chichester. 
 
 ROBERTS, George, landscape painter. 
 Born in London. Was the son of a wine- 
 merchant, and brought up to that business. 
 He early showed an ability for drawing, 
 and studied in Shipley's school, where his 
 drawings, especially of horses, for which he 
 received a premium in 1761, were much 
 admired. This gained him the notice of 
 Beckford, with whom he travelled in Italy, 
 and studied, chiefly at Rome, during several 
 years. He returned to London about 1770, 
 and though recommended in every way by 
 Beckford, he did not meet with much en- 
 couragement, and was induced to make a 
 voyage with him to Jamaica. He painted 
 some views in the island, and, coming back 
 again to England, exhibited them in 1775, 
 with the Incorporated Society of Artists, of 
 which body he was for some time the vice- 
 president. These views were engraved, 
 and created much interest ; but he received 
 no better encouragement than before. He 
 had married, and by teaching and drawings 
 which he made for the dealers and en- 
 gravers, he managed to support his family. 
 His health, always failing, was aggravated 
 by a fall from his horse, when he was 
 happily relieved by a small competency left 
 him by an uncle. He gave up his teaching, 
 took a modest house in Newington Butts, 
 and not surviving long, died there, Sept. 26, 
 1788, before attaining his 40th year. He 
 painted a few pictures in oil, aiming at the 
 ii^rand style, and his ' St. Martin dividing 
 his Cloak,' is in the Vintners' Hall ; but 
 his art was essentially landscape. His com- 
 positions were too scenic ; his trees, though 
 spirited, were fanciful and exuberant in their 
 forms, yet his works are by no means with- 
 out merit, and many of them are engraved. 
 He etched some of his own landscapes in a 
 very spirited manner. 
 
 ROBERTS, Thomas, landscape painter. 
 AVas tlie son of an architect, and was born 
 at Waterford. TTo was a pupil of George 
 Mullens, and his works had considerable 
 merit, possessing great freshness, and his 
 344 
 
 foliage, though rather hard, much beauty 
 of pencilling. He practised towards the 
 end of the 18th century. The Duke of 
 Leinster and Lord Powerscourt, who pat- 
 ronized him, possessed many of his best 
 works. His irregularities brought on con- 
 sumptive symptoms, and he went to Lisbon 
 for the recovery of his health, and died 
 there. His sister was a tolerable painter 
 of landscape, and painted several scenes for 
 the theatre at Waterford. 
 
 ROBERTS, Thomas Sotelle, R.H.A., 
 landscape painter. Younger brother of the 
 above. Was originally articled to James 
 Ivory, the architect. On the completion of 
 his time his tastes led him to landscape 
 painting. He practised for several years 
 in London, and from 1789 to 1811 was an 
 exhibitor, contributing largely at the Royal 
 Academy. He exhibited once more in 1818. 
 His name does not recur again. He was 
 engaged subsequently in making views of 
 the principal cities and towns in Ireland, 
 many of which are engraved. In 1823 he 
 was one of three artists chosen to select 11 
 others to be the members of the Incorpora- 
 tion of Artists in Dublin, founded in that 
 year, and was himself one of the first 
 members. 
 
 ROBERTS, Edward John, engraver. 
 Was pupil and assistant of Charles Heath, 
 and was much employed upon the 'Annuals' 
 under him. But the occupation in which 
 he most excelled was in etching the en- 
 graver's plates ; and as he was largely en- 
 gaged in this manner his name is little 
 known. The plates for Front's ' Continental 
 Annual,' 1832, were etched in by him; and 
 also for Bulwer's 'Pilgrims of the Rhine,' 
 after Roberts, R.A. ; but some few of the 
 plates for these works were completed by 
 him, and to these his name appears. He 
 died March 22, 1865, aged 68. 
 
 ROBERTSON, Andrew, miniature 
 painter. He was the son of a cabinet-maker 
 at Aberdeen, where he was born October 1 4, 
 1777. A clever lad, he commenced practice 
 as an artist at the age of 14, and for two 
 years was a pupil of Alexander Nasmytli. 
 When only 16 he was director of the con- 
 certs at Aberdeen — at the same time teach- 
 ing drawing, and painting scenes, portraits, 
 miniatures, and anything that offered. In 
 1794 he took his M.A. degree at the Aber- 
 deen University. He walked up to London 
 in 1801 to see the exhibition, and soon after 
 was noticed by AVest, then president of the 
 Academy, who sat to him for his portrait, 
 and during his protracted sittings advised 
 him on its art and complete finish, and 
 induced him to stay in London, He en- 
 tered the schools of the Academy in the 
 same year, and his miniature of West was 
 exhibited at the Academy in 1803, and was 
 noticed from its original manner and power- 
 
ROB 
 
 ROB 
 
 fill colour. By his abilities he gradually 
 made his way. Through West's kindness 
 he painted the Princesses at AVindsor, and 
 passing his life in the practice of his art, 
 had many distinguished sitters, among 
 them, in 1812, the Prince Regent, and at the 
 Peace visited France and Italy. He was 
 appointed miniature painter to the Duke of 
 Sussex. In 1808 he was a member and 
 the secretary of the short-lived Associated 
 Artists in Water-Col ours. He continued 
 his early love of music, and became distin- 
 guished as an amateur violin player, and 
 he was actively engaged in the business of 
 several charitable institutions, to which he 
 devoted much of his time. He had several 
 pupils, who afterwards were distinguished 
 in miniature art, and on his retirement from 
 his profession in 1841, after thirty years' 
 practice, with great reputation, the minia- 
 ture painters recognised him as the ftither 
 of their profession and presented him with 
 a piece of plate. He died at Hampstead on 
 December 6, 1845. His miniatures were 
 well finished and carefully drawn, but his 
 powerful masses of pure colour are somewhat 
 opposed to duo refinement. An elder bro- 
 ther, Archibald, went to New York in 
 1791, to practice portrait painting, and was 
 afterwards followed by another brother, 
 Alexander, a miniature painter and pupil 
 of Shelley. 
 
 ROBEETSON, George, landscape 
 painter. He was born in London and had 
 a natural talent for drawing. He was a 
 pupil of Mr. Shipley, gained a Society of 
 Arts' premium in 1761, and went early in 
 life to Rome, returning, with Mr. Beckford, 
 through Germany and Holland ; he made 
 many sketches on his way, and some copies 
 at Dresden, with many chalk studies from 
 Claude and other landscape painters. His 
 works are chiefiy in water-colours, very 
 carefully and sweetly drawn in Indian ink 
 and tinted — cattle well drawn and intro- 
 duced. His trees and cattle were equally 
 good. He was a vice-president of the In- 
 corporated Society of Artists, and contri- 
 buted to their exhibitions in Spring Gar- 
 dens. He died, , after a long illness, at 
 Newington Butts, September 27, 1788, aged 
 41. There are a scries of views in Jamaica 
 by him. 
 
 ROBERTS ON, AValter, miniature 
 painter. Was the son of a jeweller in Dublin, 
 and practised there about the end of the 
 1 8th century, holding for many years the 
 first place in miniature art in Ireland. He 
 went from Dublin to America in 1793 with 
 Gilbert C. Stuart, on his return, and was 
 called ' Irish Robertson.' He gained much 
 notice by his miniature copies of Stuart's 
 portraits. He afterwards went to the East 
 Indies, where he died. 
 
 ROBERTSON, Charles, miniature 
 
 painter. Younger brother of the above. 
 Practised in Dublin about the end of the 
 18th century, and gained much repute 
 for the extreme neatness of his finish. 
 He came to London about 1806, and in 
 that and several following years exhi- 
 bited miniatures and miniature groups at 
 the Royal Academy. Ho excelled in his 
 female portraits. Was a contributor to the 
 Dublin Exhibition in 1809, and a strenuous 
 supporter of the claims of Irish artists for 
 the grant of the charter obtained in 1823. 
 
 ROBERTSON, Mrs. J., miniature 
 painter. She was a niece of George 
 Saunders the miniature painter, and her art 
 was well-known. She was from 1824 an 
 exhibitor at the Royal Academy, sometimes 
 sending a portrait in oil, up to 1844, about 
 which time she went to Russia, where she 
 was elected a member of the Imperial Aca- 
 demy at St. Petersburg. 
 
 ROBINS, William, engraver. Practised 
 in mezzo-tint in the reign of George I. 
 There are several mezzo-tint portraits by 
 him dated about 1730. 
 
 ROBINSON, John, portrait painter. 
 Born at Bath in 1715. Was a pupil of Van- 
 derbank ; made good progress, and became 
 distinguished as a portrait painter. He mar- 
 ried a wife with a good fortune, and taking 
 Jervis' house in Cleveland Court, came at 
 once into an extensive practice, yet he was 
 weak and feeble in colour, and his attempts 
 to dress his sitters in Vandyck's costume 
 were in poor taste. He died in 1745, before 
 completing his 30th year. Eaber mezzo- 
 tinted ' The Amorous Beauty ' after him. 
 
 ROBINSON, Peter Frederick, archi- 
 tect. Was the pupil of Henry Holland. 
 From 1795 he was a frequent exhibitor at 
 the Academy. In 1 8 1 6 he travelled in Italy, 
 and on his return sent drawings of Italian 
 architecture to the exhibition, to which he 
 continued to contribute. His chief work 
 was the Egyptian Hall, in Piccadilly, 1811, 
 but ho was the author of many professional 
 works, ' Illustrations of Mickleham Church, 
 Surrey,' 1824; 'Rural Cottages,' 1834; 
 'Designs for Ornamental Villas,' 1836; 
 'Village Architecture,' 1837; 'Designs for 
 Earm Buildings,' 1837; ' Designs for Gate- 
 Cottages, Lodges, and Park Entrances,' 
 1837. He went to reside in Boulogne from 
 pecuniary difficulties, and died there in 
 June 1858, aged 82. 
 
 ROBINSON, William, architect. Was 
 secretary to the Board of Works, and from 
 1746 to 1775 clerk of the works to Green- 
 wich Hospital. In 1767 he rebuilt the west 
 side of the Old Royal Exchange. He was also 
 the architect of the Excise Office in Old 
 Broad Street, a work of much merit, since 
 pulled down, and of the additional west 
 wing to Castle Howard. 
 
 ROBINSON, William, portrait painter. 
 
 345 
 
ROB 
 
 ROB- 
 
 Was born at Leeds in 1799, and was ap- 
 prenticed to a clock dial enameller. Deter- 
 mined to follow art, he made his way to the 
 Metropolis in 1820, and with some intro- 
 duction was admitted by Sir Thomas Law- 
 rence to his studio, and became a student 
 of the Academy. In 1823 he was able to 
 return to his native town, and commence 
 practice as a portrait painter, and in that 
 and following years exhibited his portraits 
 at the Academy. He was well received, 
 and painted the portraits of several York- 
 shire celebrities. He also painted four 
 whole-lengths for the United Service Club 
 in London. For one of these the Duke of 
 Wellington gave him several sittings ; the 
 others were chiefly painted from well-known 
 portraits. He gained a local name and 
 repute. Died at Leeds in August, 1839, 
 aged 39. 
 
 KOBINSON, Thomas, portrait fainter. 
 He was descended from a good Leicester- 
 shire family, and practised in London, 
 living in Golden Square, early in the 1 8th 
 century. He visited Italy for his improve- 
 ment in art, made himself master of the 
 language, and was a good musician. He 
 became afflicted by a disorder in the eyes, 
 which ended in a total loss of sight, and 
 was then supported by the musical talents 
 of his daughter, the celebrated Anastatia 
 Robinson, who was secretly married to the 
 Earl of Peterborough, and died in 1750. 
 
 ROBINSON, R,, engraver. He practised 
 in mezzo-tint about the end of the 17th 
 century. There are by him portraits of the 
 seven bishops sent to the Tower, each in 
 a small oval. 
 
 ROBINSON, Thomas, 'portrait painter. 
 Was born at Windermere, became the pupil 
 of Romney, and resided with him about 
 1785. He was invited to Ireland, and 
 after visiting Dublin and the northern part 
 of the country, he settled at Belfast in 
 1801, where he remained till 1808, pat- 
 ronised by Dr. Percy, Bishop of Dromore, 
 and painting many portraits. A picture 
 of the ' Combat between the King's Troops 
 and the Peasantry at Ballynahinch,' which 
 he painted in 1799, was purchased by the 
 Marquis of Hertford. A large painting of 
 the ' Giants' Causeway' was disposed of by 
 raffle. His 'Military Procession at Belfast 
 in Honour of Lord Nelson,' is in the Har- 
 bour Office in that city. His portraits were 
 reputed good, and he had a fair knowledge 
 of art. He was president of the Society of 
 Artists in Dublin. Died there July 27, 1810. 
 
 ROBINSON, John Henry, R.A., en- 
 graver. He was born at Bolton, Lancashire, 
 in 1796, and was a pupil of James Heath. 
 He engraved some good works for the 
 illustration of books; among them, for 
 Rogers's ' Italy,' and a number of fine por- 
 traits. He engraved after Lawrence, P.R. A., 
 346 
 
 * Napoleon and Pius VII. ; ' after Wilkie, 
 R.A., 'Little Red Riding Hood;' after 
 Mulready, K.A., ' The Wolf and the Lamb,' 
 for the Artists' Pund, for which it is said to 
 have realised nearly 1,000/. ; after Leslie, 
 R.A., 'The Mother and Child ;' and after 
 Partridge, 'The Queen,' a very carefully 
 finished portrait. From the old masters he 
 engraved Murillo's ' Flower Girl ' and Van- 
 dyck's 'Emperor Theodosius Refused Ad- 
 mission to the Church,' with, one of his 
 latest works, Vandyck's fine portrait of the 
 Countess of Bedford. He was one of the 
 engravers who petitioned Parliament, in 
 1836, on the state of his art, and especially 
 upon the position of engravers in the Royal 
 Academy. In 1856 he was elected an asso- 
 ciate engraver of that body, and in 1867 a 
 full member. He had made money by his 
 profession, and late in life he married a 
 lady with some property, and soon after 
 retired to Petworth, where, after a long 
 state of declining health, he died, Oct. 21, 
 1871. He practised in the line manner, 
 and attained great excellence. He was one 
 of a great school of engravers, of whom he 
 left few his equals. 
 
 ROBSON, George Fennel, water-colour 
 painter. Was born at Durham in 1790; 
 the son of a wine merchant in that city. 
 He had an early propensity for drawing, 
 which school discipline could not check, 
 and he is said to have haunted the artists 
 who visited the locality, showing the 
 greatest interest in the progress of their 
 work. He got his first instruction from a 
 Mr. Harle, a drawing-master — and the only 
 one — in Durham. He came to London at 
 the age of 16 with only bl. in his pocket, 
 and in less than 12 months, by the sale 
 of his drawings, was able to return this 
 sum to his father. He was a most per- 
 severing student. In 1808 he published a 
 view of his native city, and the profits 
 enabled him to visit the Highlands of 
 Scotland, through which he wandered until 
 he became familiar with their changing 
 aspects, and had laid up a large stock of 
 materials. On his return, he published 
 ' Outlines of the Grampians.' He first ex- 
 hibited at the Royal Academy in 1807, and 
 continued a contributor till 1813, when, 
 under the altered laws, he was an exhibitor 
 at the Water-Colour Society, and was the 
 following year elected a member. He 
 published, in 1819, his 'Scenery of the 
 Grampian Mountains,' comprising 41 large 
 coloured plates. In 1820 he filled, for that 
 year, the office of president. He was at all 
 times a most zealous member of the society, 
 wrapt up in its success ; a very large con- 
 tributor to its exhibitions, sending in the 
 19 years which followed his election no less 
 than 620 pictures. In 1826 Britton pub- 
 lished from his drawings ' Picturesque 
 
ROC 
 
 ROE 
 
 Views of the English Cities.' He attained 
 great reputation in his art. His moun- 
 tain scenery was treated with much poetry, 
 skill, and power. R. Hills, who lived for 
 some time in the same house, was asso- 
 ciated with him in many of his works, 
 painting the animals in the foregrounds, 
 the two artists working together with great 
 skill. He embarked in excellent health on 
 board a steam-boat to visit his friends in 
 the north, and, being taken seriously ill, 
 was landed at Stockton-on-Tees. Medical 
 aid was procured ; his malady was not 
 stayed ; he was sent home to his house in 
 Golden Square, London, where he died, 
 eight days after being put on shore, Sept. 8, 
 1833. His last words were, ' I'm poisoned ; ' 
 but a yost mortem examination aiforded no 
 satisfactory solution. 
 
 ROCHARD, Eran^ois, miniature painter. 
 Was born in Erance, 1798, and studied his 
 art for several years in Paris. He first 
 tried some subject pictures, but shortly be- 
 fore 1820 he came to London, following his 
 brother, Simon James Rochard, who had 
 practised miniature art here successfully 
 since 1815, and whom he probably for some 
 time assisted. He had exhibited at the 
 Academy, commencing in 1819; but from 
 1823 appears to have practised on his own 
 account. His art soon became fashionable, 
 he had many sitters of distinction, and 
 continued to practise up to about 1850, 
 when he married, and retired upon his 
 savings to Notting Hill, where he died in 
 1858. He practised exclusively- in water- 
 colours, and was careful in his drawing and 
 finish. Some of his portraits have been 
 engraved. 
 
 ROCHE, Sampson Towgood, miniature 
 painter. Practised in Bath in the early 
 part of the 19th century. He sent some 
 miniatures from thence to the Academy ex- 
 hibition in 1817, the only occasion on 
 which he was an exhibitor. He painted a 
 good miniature, but his practice seems to 
 have been entirely local. 
 
 ROP^STRAETEN, Peter, portrait and 
 still-life painter. Was born at Haerlem, 
 in 1627, and was the pupil of Erank Hals, 
 whose daughter he married. He came to 
 England in the reign of Charles IL, was 
 well received, and practised portraiture, 
 painting many of the nobility ; but that art 
 was almost monopolized by Sir Peter Lely, 
 and he tried still-life, and painted many 
 good subjects in that style, particularly 
 wrought plate, in which he excelled. Erom 
 an injury he received at the fire of London, 
 he was lame during the rest of his days. 
 He died in James Street, Covent Garden, 
 in 1698, and was buried in the neighbour 
 ing church. 
 
 ' ROETTIER, John, called ' old Rotteer,' 
 medallist. Was the son of a goldsmith 
 
 and banker in Paris, who was supposed to 
 have supplied Charles II. with money dur- 
 ing his exile, and was on the Restoration 
 invited by the king to England. He came 
 over accompanied by his family, and was 
 employed in the Mint, superseding Simon, 
 who had made the dies for the Common- 
 wealth coinage. He was an excellent artist, 
 skilled in metal dies as well as in intaglios 
 in stone. An authentic account of the 
 family appears in the report of a commis- 
 sion appointed in 1697, by William III., 
 ' To inquire into the miscarriages of the 
 offices of the Mint.' The report states that 
 ' old Rotteer and his three sons were 
 brought over by Charles II., and 325^. 
 per annum allowed to the father, with the 
 addition of 450/. per annum to the three 
 sons — viz., 150/. a-piece for their several 
 lives, which hath been constantly paid him 
 that remained here, notwithstanding one of 
 them went several years since to Elanders, 
 and the other fled to Erance, where he now 
 is in the Erench king's service.' The report 
 also states that the master of the Mint 
 produced ' an agreement made by him and 
 the younger of the Rotteers, to pay to him 
 the said Rotteer, over and above the said 
 325/. per annum and 450/. annuity, the 
 further sum of 800/. yearly.' Then speak- 
 ing of their character, it sets forth that the 
 Rotteers were violent Papists, refused to 
 take the oaths required by law, and were 
 carrying on a treasonable correspondence 
 with Erance, and receiving a salary from 
 the Erench King, at the same time they 
 were paid the above salaries. Of the father 
 the report adds : ' That he was still con- 
 tinued in the graver's house in the Tower, 
 though he will not nor q\qv did own the 
 king, or do anything as a graver since the 
 Revolution, and that the Governor of the 
 Tower had declared him to be a dangerous 
 person to be in the Tower, and that he 
 would remove him if he could.' But it 
 seems he could not bear the close watch 
 kept upon him, and, leaving the Tower, he 
 retired to a house in Red Lion Square. He 
 had, as may be supposed from his large 
 salaries, amassed considerable wealth, and 
 old and infirm, was living on the succession 
 of Queen Anne, and was induced to com- 
 mence a medal on her accession, but died 
 in 1703, before its completion. He was 
 taken to his grave in the Tower, and was 
 buried there in the church of St. Peter ad 
 Vincula. A memoir of the Roettier family, 
 by Jacob Henry Burn, was read before the 
 Numismatic Society, and published in 1841. 
 ROETTIER, John, ] medallists. 
 ROETTIER, James, I Sons of the 
 ROETTIER, NoRBERT, J above, and 
 mentioned in the foregoing report. John, 
 who was born in Paris, 1661, came early to 
 this country, worked for his father, and 
 
 347 
 
ROE 
 
 ROM 
 
 was appointed one of His Majesty's engra- 
 vers. He died young. Jaimks, said to Lave 
 been born in London in 1663, was employed 
 by his father, and in other ways found much 
 employment. He was also appointed one 
 of His Majesty's engravers. He was hurt 
 by a fall from his horse at Bromley, and 
 died there in 1698. Norbert was born in 
 1665, at Antwerp, where his mother had 
 taken refuge during the plague. He also 
 received the same appointment as his 
 brothers, and continued in the service 
 of the Crown, receiving a large pay, till the 
 Revolution. He is erroneously stated to 
 have made the coronation medal for William 
 and Mnry. His art was very poor, and had 
 but little employment. He is believed to 
 have remained in this country till the early 
 part of 1695, when, disturbed by tlie in- 
 quiries made and the reports concerning 
 him, he left his office and went to Paris, 
 where he was employed by Louis XIV. He 
 died in May, 1727. 
 
 ROETTIER, Joseph, 1 medallists. 
 
 ROETTIER, Phillip, / Brothers of 
 ' Old Eotteer. Joseph accompanied him 
 to this country, and was appointed to an 
 office in the Mint, with a handsome salary, 
 and on his successful establishment here 
 was followed by Phillip, to whom is attri- 
 buted the King's medal, on the reverse of 
 which the face of the beautiful Mrs. Stuart 
 is engraved as Britannia. Discontented and 
 jealous of the greater favour shown to their 
 nephews, both the brothers left England, 
 Joseph, in 1672, to enter into the service 
 of the King of France ; and Phillip, in 1678, 
 went to Elanders, and was employed by the 
 King of Spain. 
 
 ROFEE, John, (7igravcr. Practised, with 
 some merit, in the early part of the 19th 
 century. He was chiefly engaged upon 
 architectural works, and engraved some of 
 the plates for the description of the mar- 
 bles in the British Museum, 1812; and for 
 Murphy's 'Arabian Antiquities of Spain,' 
 1816. He died at Upper Holloway, 
 December 14, 1850, aged 81. 
 
 ROGERS, Philip Hutchins, marine and 
 land sca2:e painter. Was born at Plymouth 
 in 1794, and educated there. His works, 
 some of which were close imitations of 
 nature, were views in that neighbourhood, 
 and find a place in the collection atSaltram. 
 Abont 1813 he painted a large picture, 
 ' The Bombardment of Algiers,' which was 
 engraved; and about 1820 some views on 
 the Spanish coasts. He was an occasional 
 exhibitor at the Royal Academy, up to 
 1835. In the latter part of his life he re- 
 sided on the Continent from motives of 
 economy, and died at Lichtenthal, near 
 Baden Baden, June 25, 1853. 
 
 ROGERS, George, landscape painter. 
 Practised only as an amateur. He exhibited 
 348 
 
 at the Spring Gardens exhibition in 1761 
 and 1762, and his works were said to 
 possess considerable merit. He resided at 
 the Isle of Wight and married a daughter 
 of Jonathan Tyers, the proprietor of Vaux- 
 hall. Died about 1786. 
 
 ROGERS, William, engraver. Was 
 born in London about 1545. Practised in 
 the reign of Elizabeth, of whom there is a 
 fine engraved portrait by him, and other 
 frontispiece portraits, in a neat formal 
 style, with some ornamental plates for book 
 illustration. He reached considerable per- 
 fection in his art, and was probably one of 
 the earliest English artists who was so 
 employed. There is also by him a whole- 
 length portrait of the Emperor Maximilian. 
 
 ROGERSON, R., portrait painter. Prac- 
 tised about the middle of the 1 7th century. 
 He painted a room in the Pope's Head 
 Tavern, in 1688, of which Pepys says, 'I 
 do not like it at all, though it be good for 
 such a public place.' 
 
 ROGIERS, Theodore, orname^itist. Prac- 
 tised as a chaser in the time of Charles L, 
 and designed and executed several pieces of 
 p)late for the King, ornamented with poetic 
 subjects, among them a silver ewer, with 
 the Judgment of Paris, after a design by 
 Rubens. Among the artists drawn by 
 Vandyck is a head of Rogiers. 
 
 ROLLES, John, medallist. Was chief 
 engraver to the Mint in the reign of 
 George IL He died May 20, 1743. 
 
 ROMA, Spiridone, portrait painttr. 
 Was born in Italy, but came to England 
 and settled here. He exhibited a portrait 
 at the Academy in 1774 and 1775, and in 
 1777 and 1778, his last contributions, de- 
 signs in water-colours. Among other works 
 the ceiling at the East India House, now 
 pulled down, was by him. It was, however, 
 a feeble work, and he was best known as 
 a picture cleaner. He died suddenly in the 
 street, some time in 1786. 
 
 ROMNEY, George, portrait painter. 
 Was born December 26, 1734, at Dalton-le- 
 Furness, Lancashire, where his father, a 
 man of many occupations and projects, was 
 builder, farmer of a small freehold, and 
 dealer. He was apprenticed to a cabinet- 
 maker and acquired some skill at his trade, 
 and also in wood carving. A clever lad he 
 showed a taste for music, made himself a 
 fiddle, and learnt to play upon it. He had 
 also an early notion of mechanics, and a 
 love of art. In 1755 he was still in the 
 workshop, but soon after falling in the way 
 of an itinerant artist, an unprincipled fel- 
 low, he became his pupil, continuing with 
 him about two years. Suffering from fever 
 he was nursed by a young girl, with whom, 
 in 1756 he contracted a hasty marriage. He 
 soon after left his young wife and rambled 
 about the northern counties, painting por- 
 
ROM 
 
 ROM 
 
 traits at two guineas a head, and small 
 whole-lengths at six guineas. Tluis em- 
 ployed he managed to save 100/., and giving 
 70/. to his unoffending wife, who was now 
 Lurthened with two children, he abandoned 
 his family, to seek his fortune in the 
 metropolis. 
 
 He arrived in London in 1762, and 
 making an attempt at historic art gained a 
 premium at the Society of Arts for his 
 ♦Death of General Wolfe.' In 1764 he 
 paid a short visit to France, and in the fol- 
 lowing year gained a second premium at 
 the Society of Arts for his ' Death of King 
 Edward.' In 1766 he was a member of the 
 Incorporated Society of Artists, and in 1769 
 was admitted to study at their schools. He 
 exhibited with them, 1770, 'Melancholy' 
 and 'Mirth.' In 1771, Mrs. Yates as the 
 ' Tragic Muse,' a whole-length portrait ; and 
 in 1772 some portraits. Ho was also an 
 exhibitor with the Free Society. He rapidly 
 established himself in public favour, and 
 we are told was making 1,200/. a year by 
 his profession, when he determined to visit 
 Italy, and in March 1773, set off in com- 
 pany with Ozias Humphrey, a brother artist. 
 Arrived at Eome he separated himself from 
 his fellow-traveller and led a recluse life, 
 holding no intercourse with his country- 
 men studying there. On his way homo he 
 made some stay at Venice and Parma, and 
 reaching London in July 1775, he with 
 much nervous anxiety settled himself in a 
 large house in Cavendish Square, and com- 
 menced practice as a portrait painter. 
 
 Charging 15 guineas for a head life-size, 
 and proportionately for whole and half- 
 lengths, he soon found himself surrounded 
 by sitters, and his labours were attended by 
 such success that, in 1785 he received 3,635/. 
 for his portraits. His prices had then risen 
 to — full-length, 80 guineas ; half whole- 
 length, 60 guineas ; half-length, 40 guineas ; 
 kit-cat, 30 guineas ; head, 20 guineas. Yet 
 he would have it believed that he disliked 
 portrait painting, for he wrote to his friend 
 Hayley, the poet, ' This cursed portrait 
 painting, how I am shackled with it, I am 
 determined to live frugally and cut it short 
 as soon as I can.' He was ambitious of 
 higher attempts, and having been successful 
 at the commencement of his career was 
 desirous to return to historic art. He had 
 made acquaintance with Hayley soon after 
 his return to London, visited him every 
 season at Eartham, in Sussex, where he 
 resided, was praised by him in florid verse, 
 and incited to paint classic subjects; but 
 he was imperfectly educated in art, could 
 have possessed little anatomical knowledge, 
 and impatient to see his conceptions on 
 the canvas, sadly wanted that perseverance 
 essential to the completion of a great 
 work. 
 
 He had become acquainted with Emma 
 Lyon, wlio sat as a model to painters, and, 
 after many vicissitudes, became notorious 
 as the wife of Sir William Hamilton. Her 
 graceful poses suggested many subjects, and 
 her attractions, to which he was not insensi- 
 ble, lured him to attempts at high art, but the 
 most of them were mere beginnings, not car- 
 ried further than the hasty sketch of the 
 first idea. When Alderman Boydell at this 
 time (1786) made known his scheme for the 
 'Shakespeare Gallery,' Komney entered 
 heartily into it, and commenced his picture 
 of ' The Shipwreck ' from the ' Tempest.' 
 He painted from his witching model Magda- 
 lenes, St. Cecilias, Sapphos, and Bacchantes, 
 but his best finished work is, probably, his 
 'Infant Shakespeare.' After an uninter- 
 rupted career of employment for above 20 
 years, he retired, in 1798, to Hampstead, 
 where he displayed more whim than taste in 
 the construction and decoration of his house ; 
 but soon after, his health declining, he dis- 
 posed of his house and his collection. 
 
 Since abandoning his family he had 
 visited them only once, in the year 1767. 
 He had, we learn, supported them and pro- 
 tected them from poverty — and now his 
 dream of ambition passed, his health and 
 youth gone, he selfishly determined to re- 
 turn to them. His forgiving wife, patient 
 under her protracted wrongs, received him 
 without reproach, and under her affectionate 
 care, having relapsed into the helpless state 
 of infancy, he died at Kendal November 1 5, 
 1802. 
 
 Komney was by nature an enthusiast — 
 morbidly shy in his associations — impul- 
 sively eloquent and silent by turns — abste- 
 mious—easily irritated, timid, full of pro- 
 jects, but conscious of a defective education 
 — associating little with his professional 
 brethren, rather shunning them while he 
 complained of their neglect, and never ex- 
 hibiting at the Royal Academy after his 
 return from Italy, he was not eligible to be 
 elected a member of that body. He was 
 highly popular as a portrait painter, dividing 
 for a time the fashion with Sir Joshua Rey- 
 nolds, yet his reputation, though still high, 
 has hardly been maintained in our day. He 
 was deficient in drawing, his colouring is 
 coarse and heaA^y, devoid of all the refine- 
 ment which tint gives — and his portraits want 
 individuality, yet they are pleasing, especi- 
 ally his female portraits, and endowed with 
 great breadth of treatment and originality. 
 His 'Life,' by Hayley, was published in 
 1809; a 'Memoir,' by his son, the Rev. 
 John Romney, 1830. There is also a me- 
 moir of him in the ' European Magazine,' 
 vol. 43, by Richard Cumberland, and a 
 memoir in Cunningham's ' Lives of the 
 Painters.' 
 
 ROMNEY, John, engraver and drafts- 
 
 349 
 
ROO 
 
 ROS 
 
 man. He engraved * Sunday Morning,— 
 the Toilette,' after Farrier, and in 1830 'The 
 Orphan Ballad Singer,' after Gill, also 
 some of Smirke's illustrations to Shakes- 
 peare. He was employed on the plates of 
 the ancient marbles in the British Museum, 
 and published some 'Views of Ancient 
 Buildings in Chester,' 1851. He died at 
 Chester February 1, 1863, aged 77. 
 
 KOOKER, Edward, engraver, and drafts- 
 man. Was born in London about 1712. 
 He was a member of the Incorporated 
 Society of Artists. He attained great ex- 
 cellence as an engraver of architecture, and 
 his ' Section of St. Paul's Cathedral,' after a 
 drawing by Gwynne, R.A., the figures by 
 Wale, E.A., has very great merit. The 
 plates for Sir William Chambers' 'Civil 
 Architecture ; ' several of the plates for 
 Stuart's ' Athens,' and Adams' ' Dioclesian's 
 Palace at Spalatro,' are by him. Many of 
 the headings of the Oxford Almanacks are 
 also by him, as are four views in Italy, six 
 views in London, and twelve views in Eng- 
 land. He commenced in 1779 and con- 
 tinued till 1786 'The Copper-plate Maga- 
 zine,' by which he made a considerable sum 
 of money. He etched in a bold free style, 
 in conjunction with Paul Sandby, a fine set 
 of illustrations to Tasso's ' Jerusalem.' He 
 had another talent. He played at the Drury 
 Lane Theatre, and was esteemed the best 
 harlequin of his time. He died Novem- 
 ber 22, 1774. 
 
 ROOKER, Michael Angelo, A.R.A., 
 water-colour painter and engraver. Was 
 the son of the foregoing, and was born 
 in London in 1743. Intended for an en- 
 graver, he was taught by his father, and 
 studied in the St. Martin's Lane Academy. 
 He also received some instructions in land- 
 scape painting from Paul Sandby. In 1769 
 he was admitted a student of the Royal 
 Academy, and the following year was elected 
 an associate. He attained much excellence 
 as an engraver, and for several years botli 
 drew and engraved the headings of the 
 ' Oxford Almanack,' proving himself also 
 an excellent topographical artist. His sight 
 becoming injured, he gave up engraving, 
 and obtained the appointment of principal 
 scene painter to the Haymarket Theatre, 
 but he continued his work for the Almanack. 
 About 1788 he began his autumn pedes- 
 trian tours, choosing the most romantic of 
 the English counties, and made views of 
 the picturesque ruins in Norfolk, Suffolk, 
 Somerset, Warwick, and other places. He 
 had from his admission as a student been a 
 constant exhibitor of his water-colour views 
 at the Academy, and contributed yearly up 
 to his death. His works are drawn with 
 conscientious accuracy, and shew a sweet 
 pencil, coupled with a fine taste and finish, 
 which give him rank among our early 
 350 
 
 water-colour painters. His animals and 
 figures are well introduced. He was a 
 well-read man, reserved in manner, shy to 
 shew his drawings, and being discharged 
 from his office of scene painter, it is said to 
 reduce the expenses of the establishment, he 
 fell into dejection of spirits, from which 
 he never rallied. He died March 3, 1801, 
 and was laid in the burial-ground of St. 
 Martin-in-the-Fields, in the Kentish Town 
 Road. In the following month his draw- 
 ings, &c., w^ere sold by Squib, and produced 
 1,240^. He contributed some of the illus- 
 trations to an edition of Sterne's works, 
 1772. 
 
 ROOM, Henky, portrait fainter. Prac- 
 tised chiefiy in Birmingham, and enjoyed a 
 reputation there. He was residing in Pen- 
 tonville in 1826, and exhibited a portrait at 
 the" Academy, and in 1827-28 sent portraits 
 from Birmingham for exhibition. In 1830 
 he came to London, and continued to ex- 
 hibit his portraits, and while practising here 
 painted ' The Interview of Queen Adelaide 
 with the Madagascar Princes at Windsor,' 
 and ' The'Caffre Chief's Examination before 
 the House of Commons' Committee.' Many 
 of his portraits are engraved for the ' Evan- 
 gelical Magazine.' He did not exhibit at 
 the Academy between 1840-47, but in 1848 
 sent his last work. He died August 27, 
 1850, aged 48. 
 
 ROOS, John, die engraver. He suc- 
 ceeded Thomas East, his uncle, as one of 
 the engravers of the Royal Mint, and held 
 that office till the accession of George I. 
 
 ROPER, , animal fainter. He was 
 
 a student at the St. Martin's Lane Academy, 
 and painted sporting pieces, race-horses, 
 dogs, and dead gamer He exhibited at 
 the Spring Garden exhibition in 1761, and 
 the succeeding years, but did not survive 
 long after. His art powers were not more 
 than sufficed to gratify the gentlemen of 
 the turf and the stable. 
 
 ROSE, Susan Penelope, miniature 
 painter. Was a daughter of Gibson, the 
 dwarf, and married a jeweller. She painted 
 in miniature with great freedom, and had 
 several eminent sitters. She died in 1700, 
 aged 48, in Co vent Garden, and was buried 
 in the church there. 
 
 ROSE, William S., landscape painter. 
 He practised exclusively in oil, and painted 
 chiefly the rural scenery of the home 
 counties. He was a constant exhibitor 
 from 1853 at the Royal Academy, and 
 exhibited occasionally at the British In- 
 stitution. To the former he sent, 1853, 
 'Kentish Heath Scene;' 1857, 'Road to 
 a Farm, Bucks;' 1859, 'Clover Time;' 
 1863, 'A Rustic Village;' 1866, 'Rough 
 Pastures ; ' 1870, ' Ashdown Forest ; ' and 
 in 1873, 'Holiday on the Heath, Summer 
 Day.' After long suffering from illness, he 
 
EOS 
 
 EOS 
 
 died at Edenbridge, May 25, 1873, in his 
 63rd year. 
 
 KOSENBERG, George E., water-colour 
 painter. He was elected an associate of 
 the Water-Colour Society in 1849, and 
 exhibited from that year landscapes, chiefly 
 mountain scenery, painted with much ability, 
 with usually a fruit or a flower-piece. About 
 1862 he contributed many Norwegian scenes, 
 and towards the end of his career some good 
 Scotch landscapes. He introduced into his 
 foregrounds watery pools, with their luxuri- 
 ous sward and weeds. He resided at Bath, 
 where he died September 17, 1869. 
 
 ROSLANEY, Wells, ornamental painter. 
 An ingenious designer, who practised in 
 London. He died October 1, 1776. His 
 widow, inconsolable for his loss, starved 
 herself to death. 
 
 EOSS, H., miniature painter. His father 
 was of a Ross-shire family, and became 
 gardener to the Duke of Marlborough. He 
 exhibited at the Royal Academy from 1809 
 portraits and portrait groups in miniature. 
 
 ROSS, Mrs. Maria, portrait painter. 
 Wife of the above. Practised in London, 
 and also tried history. She was sister to 
 Anker Smith, the engraver. She was an 
 occasional exhibitor at the Academy, com- 
 mencing in 1811, and contributed portraits 
 in oil. In 1814 'The Adoration of the 
 Shepherds.' Died in Charlotte Street, 
 Eitzroy Square, March 20, 1836 aged 70. 
 
 ROSS, Sir William, R.A., Knt., minia- 
 ture painter. Was the son of the foregoing, 
 and was born in London, June 3, 1794. He 
 found, as a child, amusement in drawing, 
 and very early evinced great ability. In 
 his boyhood he gained several medals at 
 the Society of Arts, and entering the Aca- 
 demy schools in 1808, his student career 
 was rewarded by five silver medals. In 
 1 809 he first appears as an exhibitor at the 
 Academy, and then, 15 years of age only, 
 contributed ' Mordecai Rewarded,' ' The 
 Judgment of Solomon,' and ' Portrait of a 
 Lady and Child in the Character of Venus 
 and Cupid,' and for several following years, 
 with an exceptional portrait, his exhibited 
 works were of a classic character. At the 
 age of 20 he became assistant to Andrew 
 Robertson, a distinguished miniature painter, 
 but found time to devote to historic art. 
 In 1821 he gained the Society of Arts' gold 
 medal for his oil painting of ' The Judg- 
 ment of Brutus,' and in 1825 he exhibited 
 at the Royal Academy a large work in oil, 
 the figui'es life-size, * Christ Casting out 
 the Devils from the Maniacs in the 
 Tombs.' 
 
 But there was then little encouragement 
 for the grand style, and whatever may have 
 been his predilections for it, he left it to 
 devote himself to miniature. In this he 
 soon established a high reputation, and 
 
 was surrounded by fashionable sitters. In 
 1837 the Queen sat to him, and, pleased 
 both by his art and his simple manners, 
 commissioned him to paint her husband 
 and children. He was in the full tide of 
 fortune ; in 1838 he was elected an associate 
 of the Royal Academy, and in the following 
 year a full member, and received the honour 
 of knighthood. He painted the King and 
 Queen of the Belgians with the other 
 members of the Saxo-Gotha family. He 
 went to Lisbon to paint the King and 
 Queen of Portugal, with several of their 
 court. Prince Louis Napoleon also sat to 
 him. His miniatures exceed 2,200, and 
 included the most distinguished of his 
 country. His work was confined to ivory. 
 He did not attempt enamel. His passion 
 for history was revived by the cartoon 
 competition in 1843, and his ' Angel Raphael 
 Discoursing with Eve,' which he sent in 
 anonymously, was rewarded with a premium 
 of 100^. 
 
 In his style the influence of Reynolds was 
 apparent. He was refined and accurate in 
 his drawing, his composition pleasing. The 
 colouring of his fiesh excellent, and his 
 draperies and accessories brilliantly and 
 powerfully painted. His resemblance was 
 faithful, the individuality and expression 
 well maintained. Taking the first rank in 
 his art, he lived to see it superseded by the 
 cheap attractions of photography, and on 
 his death-bed lamented ' that it was all up 
 with future miniature painting.' Of amiable 
 manners, true in his friendships, loyal in 
 his art, he passed a peaceful, uneventful, 
 but eminently successful life. In 1857 he 
 suffered an attack of paralysis, from which 
 he never entirely recovered. He died un- 
 married, January 20, 1860, and was buried 
 at the Highgate Cemetery. An interesting 
 exhibition of his works was made at the 
 Society of Arts in the summer of the same 
 year. 
 
 ROSS, E. W. R., amateur. Commenced 
 life in the Royal Navy, in which he held 
 the King's Commission. Later, retiring to 
 Topsham, in Devonshire, he made drawings 
 illustrating natural history. Eor this he 
 had the advantage of scientific knowledge, 
 and he showed great talent in his accurate 
 and skilful finish, and also in colour. He 
 particularly excelled in birds. He died at 
 Topsham, December 25, 1860, aged 68. 
 
 ROSSE, James, engraver and draftsman. 
 Practised in the latter part of the 18th 
 century. He was a pupil of R. Hancock in 
 1765, and had the reputation of being the 
 best engraver of transfer plates for pottery. 
 There are by him some neatly executed 
 small plates of views in the city of Here- 
 ford, after drawings by Powle. Also in 
 illustration of Green's 'Worcestershire,' 
 where he appears to have resided, and 
 
 351 
 
EOS 
 
 ROU 
 
 numerous plates in a ' History of Tewkes- 
 bury.' He died at Worcester, September 1 6, 
 1821, aged 76. 
 
 EOSSI, John Charles Felix, E.A., 
 8culj)toT. Was born at Nottingham, March 8, 
 1762. His father, a native of Sienna, prac- 
 tised medicine there and afterwards i n Leices- 
 tershire. In this county his early years 
 were passed, and he was then placed under 
 an Italian sculptor in London. Upon the 
 completion of his apprenticeship he con- 
 tinued with his master at wages of only 
 185. a week, and then found some more 
 profibible employment in Messrs. Coade 
 and Seeley's works. He had entered the 
 schools of the Royal Academy, and in 1781 
 gained the silver medal, followed in 1784 
 by the gold medal for his group of ' Venus 
 Conducting Helen to Paris;' and in 1785 
 was sent to Rome as the travelling student 
 of the Academy. He had made a hard 
 struggle to gain this position, and he made 
 diligent use of his opportunities in Italy, 
 and at Rome executed a Mercury, exhibited 
 at the Academy, and a Britannia, the latter 
 15 feet high. He returned to London in 
 1788, was fortunate to obtain employment 
 on works of high art, and was a constant 
 contributor to the Academy exhibitions. In 
 1798 he was elected an associate of the 
 Academy, and a full member in 1802. His- 
 chief works were the memorials in St. Paul's 
 Cathedral, commemorating the heroes of the 
 war ; of these, the most important are to the 
 Marquis Cornwallis, Lord Heathfield, and 
 Lord Rodney, and later he was employed in 
 the decoration of Buckingham Palace, and 
 was appointed by George IV. liis sculptor 
 in ordinary. He also received several com- 
 missions from Lord Egremont. But he 
 made no provision for his latter days, and 
 became a pensioner of the Academy. He 
 died at St. John's Wood, February 21,1 839, 
 in his 77th year, and was buried in St. 
 James's Churchyard, Hampstead Road. 
 
 ROSSI, Henry, scul/ptor. He was one of 
 the foundation members of the Society of 
 British Artists, and exhibited with them in 
 1824, 'An Equestrian Group of the Duke of 
 Wellington ;' and in 1837, 'The Sportsman,' 
 a sketch for a monument. The terra-cotta 
 ornaments for the interior of St. Pancras 
 new church are designed l)yhim. His name 
 is omitted from the list of members of the 
 society in 1844. 
 
 ROTPI, William, portrait pain t( r. Prac- 
 tised both in oil and miniature. He exhi- 
 bited at the Chartered Society in 1768, and 
 about 1770 was at Reading, and painted 
 several portraits there and in the neigh- 
 bourhood. He died soon after. 
 
 ROTHWELL, Richard, R.ll. A.., portrait 
 painter. He was born at Athlone in 1800, 
 and in 1815 commenced his studies in 
 Dublin, and practising there, was early 
 362 
 
 elected a member of the Irish Academy. 
 
 He afterwards came to London, and was 
 employed in the studio of Sir Thomas 
 Lawrence, whose manner he imitated. His 
 early portraits were of much promise. He 
 first exhibited at the Royal Academy in 
 1830, and again in 1831 and 1832, number- 
 ing among his sitters the Duchess of Kent, 
 and other persons of distinction. He then tra- 
 velled on the Continent, and does not appear 
 again as an exhibitor till 1835, when, with 
 some portraits, ho sent a ' Serenade,' and 
 ' Kate Kearney.' From this time he was a 
 yearly exliil^itor of his portraits, with an oc- 
 casional subject picture, up to 1847; but he 
 was unable to maintain the opinion which 
 his first works gained him. In 1848, he 
 wont for a time to Dublin, and from thence 
 sent a picture to the exhibition, and for the 
 next two years exhibited without giving 
 his address, but appears to have returned 
 to London. In 1858, he was residing in 
 Leamington, and sent from thence in that 
 year to the exhibition, 'A Remembrance of 
 the Carnival,' and in 1862, 'The Student's 
 Aspiration,' his last exhibited work. He 
 was disappointed and discouraged, and 
 went over to Paris, where he settled in 
 the practice of his profession, and was 
 almost lost sight of. He died at Rome in 
 September, 1868. 
 
 ROTHWELL, Thomas, engraver. He 
 was of good repute in his profession. He 
 died at Birmingham, January 16, 1807, 
 aged 65. 
 
 ROUBILLIAC, Louis F ranc;ois, sculptor. 
 Was born in Lyons in 1703 ; some accounts 
 give an earlier date. He received a fair 
 general education,- and was the pupil of 
 Balthazar at Dresden. He is said to 
 have come to England in 1720, but 
 Dussieux, in his ' Artistes Fran^ais a 
 I'Etranger,' says ho could not have come 
 here in that year, as he was in France in 
 1 730, and gained the second grand medal 
 in sculpture, though the two statements are 
 not absolutely inconsistent. His principal 
 works were, however, executed in England. 
 He was first employed in this country by 
 Thomas Carter, and we are told that he 
 picked up a pocket-book containing a large 
 sum of money, which introduced him to the 
 owner. Sir Edward Walpole, by whose as- 
 sistance he obtained better employment 
 under Henry Cheere, and was afterwards 
 enabled to set up for himself in St. Martin's 
 Lane. 
 
 He was chiefly employed in monumental 
 works, and some of his best will be found 
 in Westminster Abbey. That to the Duke 
 of Argyll is a fine example — the figure of 
 ' Eloquence,' part of the group, has been 
 much praised, both by Bacon, R.A., and 
 Canova, who deemed it the finest piece of 
 modern art he had seen in this country. 
 
ROU 
 
 ROW 
 
 Mrs. Nightingale's monument lias also l)een 
 highly esteemed, as well as Sir Isaac New- 
 ton's and Handel's ; and the monument of 
 the Duke and Duchess of Montagu, at 
 Boughton ranks among his finest works. 
 There is also, at the British Museum, a 
 fine stiitue of Shakespeare, executed by him 
 for Garrick, and at the Senate House, Cam- 
 bridge, statues of George I. and Charles, 
 Duke of Somerset. His art was of a deco- 
 rative and ornamental character, his finish 
 elaborately careful. Flaxman, K.A., whose 
 own severe art would not lead to an appre- 
 ciation of Koubilliac's, admitted that he 
 possessed considerable talents ; but spoke 
 depreciatingly of him, saying ' his thoughts 
 were conceits, and his compositions epi- 
 grams.' 
 
 He paid a short visit to Italy in com- 
 pany with Arthur Pond, and stayed only 
 three days in Eome, where he laughed at 
 all the remains of ancient sculpture. Ber- 
 nini was his model. He was a great en- 
 thusiast, and did not lack conceit. Gay- 
 fere, the abbey mason, found him one day 
 with folded arms, his eyes fixed upon one of 
 his figures on which he was at work, and, as 
 he approached, the artist said in a whisper, 
 • Hush, hush ! he vill speake presently.' 
 He died from the effects of unskilful bleed- 
 ing, January 11, 1762, and was buried in 
 the French church, St. Martin's-le-Grand. 
 His funeral was attended by Reynolds and 
 Hogarth. He was so seriously in debt, 
 notwithstanding the large patronage he had 
 enjoyed, that his effects only paid Is. 6d. in 
 the pound. 
 
 ROUQUET, Jean, enamel painter. Born 
 in Geneva, of French extraction. Came to 
 England in the reign of George II., and 
 practised his art in London for nearly 30 
 years. He imitated Zincke with some suc- 
 cess, and was the companion of Hogarth, 
 Garrick, Foote, and the wits of the day. He 
 published in Paris, in 1755, ' L'Etat des 
 Arts en Angleterre,' a work highly lauda- 
 tory, of which a translation was afterwards 
 published in London, He had returned to 
 Paris, and died there in 1758. 
 
 ROUSSEAU, Jamks, landscape painter. 
 Was born in Paris 1626, and was a pupil of 
 Swanevelt. He went early to Rome, and 
 painted some fine views in the suburbs of 
 that city. He excelled in landscape, intro- 
 ducing classic architecture with great skill. 
 On his return to Paris he was employed by 
 Louis XIV., and was elected a member of 
 tlio French Academy. He was at the 
 height of his reputation, when on the revo- 
 cation of tlie Edict of Nantes, he left Paris 
 to avoid persecution as a Protesbmt, and 
 took refuge in Holland, from whence he 
 came to p]ngland. Here he found employ- 
 ment. He was engjigcd in the decoration 
 of Montague House ; and painted several 
 
 landscapes and- perspective views for Hamp- 
 ton Court Palace. He etched some spirited 
 com})ositions of landscape with archi lecture 
 and figures. He could only have })r;ictised 
 in England a short time, and died in Lon- 
 don in 1694. 
 
 ROUW, Pethr, f/c/n eni^ravcr and mo- 
 deller. From 1795 to 1840 he exhibited his 
 works at the Royal Academy Exhibitions. 
 In 1819 he was appointed ' modeller of gems 
 and cameos to the Prince Reg(!nt,' and from 
 that time he called his works ' medallic * 
 portraits,' for which he gained a very high 
 reputation, and had the most distinguished 
 sitters— among them the Princess Charlotte. 
 He died at Pentonville December 9, 1852, 
 aged 81 . His father, Pktmu Rou^v, practised 
 the same art, and was an exhibitor at the 
 Academy up to 1777. 
 
 ROWE, l^BV^AR-D, glass-j)aL7iter. He did 
 not attain any excellence, and little more 
 than the record of his name can be traced. 
 He died in the Old Bailey, April 2, 1763. 
 
 ROWELL, John, gla^s-'pawtcr. Was 
 originally a phunber at Reading. He was 
 employed to paint some glass for the Earl 
 of Pembroke and for the Duke of Richmond, 
 at Goodwood. The windows of Hambledon 
 Church, Bucks, are by him. He is said to 
 have succeeded William Price in the art, 
 but it is not stated by whom he was in- 
 structed. His processes were uncertain, his 
 glass was imperfectly burnt, and some of 
 his colours fail — but he is known to have 
 discovered a fine red, of which the secret 
 was lost with him. Ho died in 1756. 
 
 ROWLANDSON, Thomas, caricaturist. 
 Was born in the Old Jewry, the son of a 
 respectable tradesman, in July, 175'). His 
 talent for drawing was exhibited on the 
 margins of his school books, and he be- 
 came early in boyhood a student of the 
 Royal Academy. At the age of 1 6 he was 
 sent to Paris, where he studied drawing for 
 two years, and then, on his return, resumed 
 his place in the Academy schools. He 
 gained a good knowledge of the figure, 
 and combined a rapid power of drawing 
 with much finish. He was thrown upon 
 his own resources before he had attained 
 manhood by the pecuniary embarrassments 
 of his father ; but he was liberally assisted 
 by his aunt, a French lady w^lio had mar- 
 ried his uncle, to whose indulgence may bo 
 attributed some of the careless habits of 
 his early life. 
 
 He was fitted, both by his talent and his 
 art education, to have filled a place in the 
 higher ranks of art, and could draw with 
 elegance and grace. In 1775 he exhibked 
 at the Academy, ' Dalilah visits Samson in 
 Prison,' and afterwards some portraits ; but 
 he was careless and idle, and, receiving 
 7,000/., with other valuable property, under 
 the will of his aunt, he gave himself up to 
 A 353 
 
ROW 
 
 gaming, and soon dissipated above half his ' 
 fortune. He was known in most of the Lon- 
 don gaming houses, and on one occasion 
 sat uninterruptedly at the gaming-table for 
 36 hours. Such habits were inconsistent 
 with any studied attempts, and he fell back 
 upon his early talent for caricature, where 
 the execution may be as rapid as the idea. 
 In this manner his works are numerous, 
 drawn chiefly with the reed pen, and 
 slightly tinted, they are full of humour, 
 excelling in a most humorous fancy, rarely 
 political, but touching the manners of so- 
 ciety — not always free from vulgarity, nor 
 from too broad a treatment. Too thought- 
 less to seek employment, he was supplied 
 with subjects by Mr. Ackermann, the pub- 
 lisher, for whom he illustrated the well 
 known ' Dr. Syntax in Search of the Pic- 
 turesque,' and ' The Dance of Death,' and 
 * Dance of Life,' works by which he will 
 be remembered. In the former of these, 
 his designs contributed from month to 
 month, suggested the subject, and Mr. 
 Coombe, without knowing the artist, wrote 
 his humorous poem to them. By his com- 
 panions he was dubbed ' Master Eowley,' 
 and though careless of his reputation, he 
 was scrupulously honourable, and his word 
 was always good in all his transactions. 
 He died at his apartments in the Adelphi, 
 after two years' illness, April 22, 1827. 
 
 KOWLETT, Thomas, draftsman. Prac- 
 tised in London, about the middle of the 
 18th century, both as a draftsman and 
 etcher, chiefly in portraiture. There is a 
 portrait of Dobson, the painter, etched by 
 him. 
 
 EUBENSTEIN, , drapery and por- 
 trait painter. Born in Germany. He came 
 to England, early in life, and found employ- 
 ment chiefly in the drudgery of drapery 
 painting, but he occasionally painted still 
 life and portraits. He was a member of 
 the St. Martin's Lane Academy. Died in 
 London about 1763. 
 
 RUNCIMAN, Alexander, history 
 painter. Was born in 1736, in Edinburgh, 
 where his father was a builder, and was ap- 
 prenticed to a coach painter, under whom 
 he acquired some knowledge of colours. 
 He studied for a time in Foulis's Academy 
 at Grlasgow, and is said to have been the 
 pupil of an eminent landscape-painter, un- 
 der whom he made much progress. About 
 1766 he managed, with his brother, to 
 travel to Rome, where he studied during 
 five years, and painted his large picture, 
 ' Nausicaa at Play with her Maidens,' and 
 sent home, in 1767, a picture which he ex- 
 hibited that year with the Eree Society of 
 Artists. On his return he lodged, in 1772, 
 in Leicester Square, and was an exhibitor 
 at the Royal Academy. In 1773 he settled 
 in Edinburgh, and was fortunate in being 
 354 
 
 RUS 
 
 appointed the manager to the Trustees Aca- 
 demy, with a salary of 120/. a-year, which 
 gave him the means of applying himself to 
 ambitious works. He decorated the great 
 hall of Pennicuik with a series of subjects 
 from Ossian, and painted several easel pic- 
 tures, ' The Prodigal Son,' ' Cymon and 
 Iphigenia,' and ' Sigismunda Weeping over 
 the Heart of Tancred,' reputed his best 
 work. An altar piece for the Episcopal 
 Chapel at the Cowgate, Edinburgh, was his 
 last completed work. He etched several 
 plates in a loose sketchy manner. On 
 October 21, 1785, he fell down in the street, 
 and died suddenly. 
 
 RUNCIMAN, John, historical painter. 
 Was brother of the foregoing, born at Edin- 
 burgh in 1 744, and an artist of much pro- 
 mise. He went with his brother to Rome 
 and died at Naples, where he had gone for 
 the recovery of his health, in 1766. Among 
 his works are 'Judith and Holofernes,' 
 ' Christ and the Disciples at Emmaus,' 
 ' King Lear in the Storm.' He was of much 
 promise, and the Scottish Academy erected 
 a monument to him and his brother at the 
 Canongate Church, Edinburgh. Barry, 
 R.A., spoke highly of him. A clever pic- 
 ture by him was exhibited at the Inter- 
 national Exhibition, 1862. He etched some 
 of his works, and some others are engraved. 
 
 RUPERT, ThePrince, amateur. Was born 
 in 1619, the third son of the Prince Palatine 
 of the Rhine and the Princess Elizabeth, 
 and consequently nephew of Charles I., on 
 whose side he fought during the civil war, 
 but with more courage than prudence. On 
 the termination of the war he retired to 
 Paris, where he sought amusement in the 
 pursuit of art. While in England he was 
 Grovernor of Windsor Castle, and princi- 
 pally resided in that fortress. He was a 
 mathematician and a chemist, but it is 
 as a mezzo-tintist he finds a place here. 
 He has been credited with the invention 
 of this charming art. He certainly learned 
 the secret early, practised it, and intro- 
 duced it to the artists of this country 
 by whom it was first employed. There 
 are several known plates by him, some of 
 them marked with his initials and a crown, 
 and some fine impressions, which shew con- 
 siderable art-merit, in the print-room of 
 the British Museum. He died, unmarried, 
 in 1682, having completed his 63rd year. 
 
 RUSSEL, Theodore, portrait pianter. 
 Was born in 1614, and the nephew of Cor- 
 nelius Jansen, with whom he lived several 
 years, and afterwards with Vandyck, whose 
 pictures he copied, small size. He was 
 much employed in the families of the Earls 
 of Essex and Holland. Some of his works 
 are in the Royal collections. Small whole- 
 lengths by him of Charles II. and James II., 
 removed from Hampton Court, are at Holy- 
 
RtJS 
 
 RTL 
 
 rood Palace. They are well drawn, and 
 vigorously painted, but the flesh is black 
 and disagreeable in colour, and the dra- 
 peries crude. 
 
 EUSSEL, k.'^TioiHY, portrait painter. Son 
 of the foregoing. Said to have been a pupil 
 of Riley, whose manner he imitated, but 
 without much success. Both Virtue and 
 J. Smith engraved after him, the latter his 
 portrait of Dr. Sacheverell. He died in 
 July, 17^3, aged above four score years. 
 
 EUSSELL, JoHx, 'R. A.., portrait 'painter. 
 Born at Guildford, where his father was a 
 bookseller, in April, 1744. The Society of 
 Arts awarded him a premium in 1759, and 
 he was afterwards pupil of Cotes, E.A., and 
 a student at the St. Martin's Lane Aca- 
 demy. He practised in crayons, but occa- 
 sionally in oil, and produced some excellent 
 crayon portraits. His early works in crayon 
 were in the manner of his master, but he 
 attained more power, both in colour and 
 effect. His groups are pleasing, well drawn, 
 and the expression natural. In 1768 he first 
 exhibited at the Spring Gardens Eooms. 
 He greatly excelled in his art, and invented 
 a method of preparing his crayons. Of 
 this process he gave an account, with some 
 valuable instructions, in his ' Elements of 
 Painting with Crayons,' published in 1776. 
 He painted a variety of subjects, and tried 
 history in crayons. Fond of astronomical 
 studies, he invented an apparatus for ex- 
 hibiting the moon's phenomena, which he 
 patented in 1797. He was elected an asso- 
 ciate of the Eoyal Academy in 1772, and 
 an academician in 1788, and held the 
 appointment of portrait painter in crayons 
 to George III. and to the Prince of Wales. 
 He was a constant and large contributor to 
 the Academy exhibitions, sending between 
 1789-93 on an average 16 works yearly, 
 comprising portrait groups, conversation 
 pieces, and portraits in character. He 
 visited some of the provincial towns in the 
 pursuit of his profession, and died of typhus 
 fever, in his lodgings at Hull, April 20, 1806, 
 and was buried at Trinity Church in that 
 town. A large number of his portraits are 
 engraved. His crayon portraits are excel- 
 lent — powerful, brilliant in colour, well 
 grouped and expressed. 
 
 EUSSELL, William, portrait painter. 
 Son of the foregoing. Practised in London. 
 Painted also some genre subjects. He 
 exhibited portraits at the Academy from 
 1805-1809, after which year his name no 
 longer appear^ in the catalogue. 
 
 EYALL, Henry Thomas, engraver. Was 
 born at Erome in August, 1811, and was a 
 pupil of S. Eeynolds. He made himself 
 known by his works for Lodge's portraits, 
 and was then employed upon some minia- 
 tures of the Eoyal family after Sir William 
 Eoss. He also engraved Hayter's ' Coro- 
 
 nation of Queen Victoria,' Leslie's 'Chris- 
 tening of the Princess Eoyal,' and after 
 Wilkie, Landseer, Ansdell, Eosa Bonheur. 
 He held the appointment of historical en- 
 graver to the Queen. His manner possessed 
 some originality. He employed a mixture 
 of stipple and line with good effect, and 
 was correct in his drawing and finish. He 
 died at Cookham, Berks, Sept. 14, 1867. 
 
 EYDEE, Thomas, engraver and drafts- 
 man. Born 1746, was a pupil of Basire, 
 and one of the earliest students at the 
 Eoyal Academy. He was intended for a 
 painter, but took to engraving, and was 
 one of the best engravers of his time. He 
 worked in the dot manner after Opie, West, 
 Shelley, Kauffman, and executed eight of 
 the large plates in the Shakespeare Gallery 
 for Alderman Boydell, which are his best 
 works. Many of his plates are printed in 
 brown, some in colours. He died 1810. 
 
 E Y L A N D , Edward, engraver, but 
 worked chiefly as a copper-plate printer. 
 He was born in Wales, and coming to 
 London, settled in the Old Bailey, and 
 died there July 26, 1771. 
 
 EYLAND, William Wynne, engraver. 
 Was born in London in July, 1738, the 
 son of the foregoing, and named after his 
 godfather. Sir Watkin Williams Wynne. 
 He was, about 1752, apprenticed for seven 
 years to Eavenet, then living in Lambeth, 
 and showed great application and ability. 
 On the completion of his apprenticeship, 
 about 1760, he set out to visit the French 
 and Italian schools, in company with 
 Gabriel Smith, and remained on the Con- 
 tinent for several years, improving himself 
 with great assiduity. In Paris he gained a 
 gold medal in the French Academy, and 
 at Eome was received with much con- 
 sideration. On the accession of George III. 
 he was still abroad, and on his return, 
 soon after, he was, on the refusal of 
 Strange, employed to engrave the fine 
 portraits of the King and Lord Bute, by 
 Eamsay, and the Queen, after Cotes, E.A. 
 These works are examples of a finished 
 style of engraving, the lines shewing great 
 taste, the quality of the lace, fur, and 
 other textures well expressed. They gained 
 him the appointment of engraver to his 
 Majesty, with a salary of 200Z. a year, 
 and at once made him a reputation. He 
 also engraved, in the same style, some fine 
 plates after the old masters, and after 
 Angelica-' Kauffman. In 1766 he was a 
 member of the Incorporated Society of 
 Artists, and exhibited with them in 1767. 
 From 1772 to 1775 he also exhibited at the 
 Eoyal Academy, his contributions con- 
 sisting of some drawings after Angelica 
 Kauffhian, with small portraits. 
 
 In his later manner he adopted the imi- 
 tation of chalk drawings, which lent itself 
 2 355 
 
RYL 
 
 RYS 
 
 to a cheaper class of art, and was suitable 
 for colouring and to print with tints, and 
 when combined with line and etching has 
 produced some line and artistic effects, 
 though it proved eventually injurious to 
 the engravers' art. He afterwards entered 
 into a partnership in a print shop in Corn- 
 hill, and traded largely in engravings, but 
 he formed an illicit connection with a 
 young female, who involved him in large 
 expenses. He was extravagant, became 
 bankrupt, and had contracted a habit of 
 gaming. He then took on his own account 
 a shop in the Strand, which, though promis- 
 ing success he gave up, retired to Pimlico, 
 and afterwards removed to Knights- 
 bridge. 
 
 While living here he was charged with 
 the forgery of two bills on the East India 
 Company for 7,11'^^., which, with other 
 genuine bills, he deposited with his bankers 
 for an advance of 3,000/. On the dis- 
 covery of the forgery, which was most 
 ingeniously executed, and the offer of a 
 large reward for his apprehension, he fled 
 from justice, and took a poor lodging in 
 Stepney under an assumed name. Here he 
 was discovered by his name in a shoe 
 which he had sent to a cobbler to be 
 mended. Arrested, he attempted suicide 
 by cutting his throat, and taken to Bow 
 Street, he was committed for trial in 
 July, 1783, and after a long investigation, 
 was convicted at the Old Bailey of uttering 
 the forged bills, and sentenced to death. 
 Unavailing efforts were made to save him. 
 He was hanged at Tyburn, August 29 
 following, the execution being delayed for 
 some time by a violent thunder storm, and 
 was buried at Feltham, Middlesex. In 
 his defence he pleaded that his circum- 
 stances placed him above the imputation ; 
 that, in addition to his salary from the 
 King, his business was every year pro- 
 ducing him 2,000/., and his stock-in-trade 
 was worth 10,000/. He died declaring his 
 innocence. He left a widow, for whom, 
 with her six children, a subscription was 
 raised, and she kept a print shop for many 
 years at the corner of Oxford Street and 
 Berners Street. One of his daughters 
 became a teacher of drawing, and it is 
 said the Princess Elizabeth was one of her 
 pupils. 
 
 His works are numerous. He published, 
 in the dot manner, above 200 plates, many 
 of them only small in size, but excelling in 
 their fine line, delicate finish, and excellent 
 texture. Some of them, printed in coloured 
 inks, had great merit. His works in the 
 line manner, from their great artistic quali- 
 ties, place him high in the ranks of his 
 profession. A short authentic memoir of 
 liim was pul>lished in 1781:. His brother 
 was, in 1782, convicted of highway rob- 
 356 
 
 bery, and only reprieved on the morning 
 fixed for his execution. 
 
 EYLEY, CHA.RLES Eeuben, history 
 painter. Was born in London about 1752, 
 the son of a private in the Life Guards. 
 He was fond of art. Eirst tried engraving, 
 and received a premium in 1767 from 
 the Society of Arts. Afterwards became a 
 pupil of Mortimer, and in 1778 gained the 
 Koyal Academy gold medal for his painting 
 of ' The Sacrifice of Iphigenia.' From 1780, 
 till his death, he was a constant exhibitor 
 at the Academy, but his works were chiefly 
 drawings and sketches, not having any 
 high aim, or giving proof of any sustained 
 effort. He was employed by the Duke of 
 Richmond in the decoration of Goodwood, 
 and was afterwards engaged in the decora- 
 tion of several other mansions, but he found 
 his chief employment in designing for book 
 illustration and as a teacher of drawing. 
 In early life he was of a methodistical 
 turn, but he became of irregular and de- 
 bauched habits, which shortened his life. 
 He died in the New Road, Marylebone, 
 October 1, 1798. 
 
 RYSBRACK, John Micii.iEL, sculptor. 
 He was born at Antwerp, where his father 
 practised as a landscape painter, June 24, 
 1693, and studied there under an eminent 
 sculptor. He came to England in 1720. He 
 showed much ability in modelling small 
 figures in clay, and soon found employment 
 on portrait busts, and afterwards was en- 
 gaged in monumental works of a larger 
 class. For some time he was employed by 
 the architects Gibbs and Kent, but as they 
 shared the profits, he soon abandoned de- 
 pendence upon them, and for many years 
 some of the most important works were 
 entrusted to him. At Westminster Abbey 
 the monuments of the Duke of Newcastle, 
 Earl Stanhope, Sir Godfrey Kneller, and 
 Mrs. Oldfield, the latter after Kent's de- 
 sign, are by him. Bishop Hough's monu- 
 ment at Worcester, and the bronze eques- 
 trian statue of William III. at Bristol, must 
 also be classed among his best works. His 
 principal busts are of Pope, Gibbs, Sir 
 Robert Walpole, the Duke and Duchess of 
 Argyle, the Duchess of Marlborough, Lord 
 Bolingbroke. He retired from his business 
 in January 1766, and sold his models, 
 casts, &c. by auction. He had resided 
 many years in Vere Street, Oxford Street, 
 and died there January 8, 1770. He was 
 buried in Marylebone churchyard. He 
 made a great number of highly finished 
 drawings from historical subjects, as well 
 as designs for sculpture, some of which 
 will be met with in good collections. He 
 was simple in his monumental works, 
 happy in the action of his principal figures, 
 but without much invention. Fuseli says 
 hardly of him, ' He was a mere workman ; 
 
RTT 
 
 too insipid to give pleasure, too dull to 
 offend greatly.' 
 
 KYTHEK, Augustus, (ngraver. Prac- 
 tised in London about the close of the 
 
 SAM 
 
 I 16th century, He engraved the plans of 
 the Spanish invasion, and assisted Saxton 
 I upon his maps of Yorkshire, which are em- 
 I bellished by views in the margins. 
 
 S 
 
 SADLER, TYioukS, portrait andminiature 
 fainter. He was the son of a master in 
 Chancery, who was greatly esteemed by 
 Cromwell, and was educated for the law, 
 but acquired a love of art from his intimacy 
 with Sir P.Lely, and received some instruc- 
 tions from him. He first applied himself 
 as an amateur, and then, reduced by mis- 
 fortunes he follow^ed art as his profession and 
 practised in the reign of Charles 11. , and up 
 to the time of William III. His heads are 
 well draw^n and expressed, not so his hands, 
 simple in colour and low in tone — one of his 
 best works, a portrait of Bunyan, is engraved 
 in mezzo-tint; a good miniature of the Duke 
 of Monmouth by him is also mentioned. 
 
 SADLEE, AYiLLTAM, ^portrait p^ainter. 
 Was born in England, the son of a musician, 
 but studied his art in Dublin and practised 
 there both in oil and miniature, and was an 
 artist of some ability. He also scraped some 
 mezzo-tint portraits. He died in Dublin 
 about the end of the 18th century. 
 
 SAILMAKER, Isaac, marine painter. 
 Born 1633, it is said, in England. He was 
 a pupil of George Geldorp, and was much 
 in favour w^ith Cromwell, who employed him 
 to paint the fleet before Mardyke. There 
 is an engraving, dated 1714, of a painting 
 by him of the Confederate fleet under Sir 
 George Rooko engaging the French fleet. He 
 died June 28, 1721. 
 
 ST. AUBYN, Miss Catherine, amateur. 
 There are several etchings by her. 'A young 
 Woman reading,' a copy after Bartolozzi, 
 1788; 'Dorothy Pentreath,' after Opie, 
 R. A., 1789; * Pevensey Castle,' two views, 
 1797-98. Two drawings by her of St. Mi- 
 chael's Mount are engraved. 
 
 SALT, Henry, draftsman and traveller. 
 AVas born at Lichfield about 1785, and edu- 
 cated in classics and mathematics at the 
 Grammar School there. Ho then came to 
 London and commenced the study of art, and 
 in 1802, accompanied Lord Valentia (after- 
 wards Earl Montmorris) to India as drafts- 
 man and after a residence of four years with 
 him in the East, which he traversed from 
 north to soutli and visited Ceylon, he fur- 
 nished the illustrations for his lordship's 
 'Travels' published 1809. He was after- 
 wards employed by the Government to carry 
 
 presents to the King of Abyssinia, and nego- 
 tiate an alliance with him. On his return in 
 1809 he published 24 views taken in India, 
 the Red Sea, Abyssinia, and in 1814 the nar- 
 rative of a second journey to Abyssinia. In 
 1815 he received the appointment of Consul- 
 General for Egypt, and devoted himself to the 
 study of its antiquities, assisting with all 
 his influence the researches of learned tra- 
 vellers, and particularly of Belzoni. He pub- 
 lished in 1814, an 'Account of a Voyage to 
 Abyssinia,' and travels in the interior of 
 that country, in 1809-10;' 'Egypt,' a de- 
 scriptive poem with notes, 1824; 'Essay on 
 Y^oung's and Champollion's Phonetic Sys- 
 tem of Hieroglyphics,' 1825. His 'Life and 
 Correspondence ' was published in 1854. He 
 died on the route from Cairo to Alexandia, 
 August 30, 1827. 
 
 SALWAY, N., engraver. Practised in 
 mezzo-tint, chiefly portraits. His w^orks are 
 dated about the middle of the 18th century. 
 
 SAM ON, Mrs., portrait modeller. She was 
 an English artist, and enjoyed great reputa- 
 tion about 1700-15 for her clever portraits 
 modelled in wax. She also attempted some 
 historical designs in the same material. 
 
 SAMUEL, Richard, portrait painter. 
 He was twice adjudged the gold medal of 
 the Society of Arts for the best original 
 historical drawing, and was a frequent exhi- 
 bitor at the Royal Academy from 1772 to 
 1779, contributing small whole-lengths, 
 conversation pieces, and portrait heads, 
 with occasionally a subject piece. There is 
 an engraving after him, of the ' Nine living 
 Muses of Great Britain' — Mrs. Sheridan, 
 Mrs. Montague, Angelica KaufFman, &c,, 
 but it is onl}? a poor affected work. In 1773 
 the Society of Arts awarded him a premium 
 for an improvement in laying mezzo- tint 
 grounds. He published, in 1786, a short 
 pamphlet ' On the Utility of Drawing and 
 Painting.' 
 
 SAMUEL, George, landscape painter. 
 He practised both in oil and water-colours, 
 chiefly the latter. A clever view of the 
 Thames by him, from Rotherhithe Stairs 
 during the frost in 1789, tlu' shipping jrozei. 
 in and surrounded by groups of figures, was 
 much Y)raised at the time. He made draw- 
 ings for the illustration of ' Grove Hill,' a 
 
 357 
 
SAN 
 
 SAN 
 
 poem, published in 1799 ; and at the begin- 
 ning of the 19th century had already gained 
 a reputation, and his landscapes were much 
 esteemed. He was a good draftsman and 
 skilful painter. From 1786 to 1823 he was 
 an exhibitor at the Koyal Academy, and also 
 exhibited at the British Institution. Soon 
 after the last date he was killed by an old 
 wall falling upon him while he was sketch- 
 ing. F. Jukes engraved after him two views 
 of Windsor. 
 
 SANDAKS, G-., portrait painter. Prac- 
 tised in the reign of George II. 
 
 SANDAES, Thomas, engraver. Was the 
 son of a painter at Rotterdam, where he 
 was born. He came to London, was a 
 member of the St. Martin's Lane Academy, 
 and exhibited up to 1775. He etched the 
 * Italian Fisherman,' after Joseph Vernet, 
 and drew and engraved 15 views of market 
 towns in the county of Worcester, 1777-81. 
 He was also a teacher of drawing. 
 
 SANDBY, Paul, E.A., water-colour 
 draftsman. Was descended from an old 
 county family, and was born at Notting- 
 ham in 1725. In that town he and his 
 brother, clever young men, kept a school, 
 and, by the help of their borough member, 
 in 1741 gained employment in the military 
 drawing office at the Tower. In 1746, 
 when, on grounds of military policy, it was 
 determined to improve the roads in the 
 Highlands of Scotland, the scene of the 
 memorable campaign of 1745-46, he was 
 engaged as draftsman to the Survey, and 
 made many sketches of the grand scenery 
 which surrounded him. But, tired of the 
 employment, he quitted it in 1752, and 
 went to live with his brother Thomas at 
 Windsor, and in the picturesque architec- 
 ture of the castle and at Eton he found 
 many subjects for his pencil, completing 
 above 70 drawings. Many of these were 
 purchased by Sir Joseph Banks, and, making 
 his acquaintance, he accompanied him to 
 Wales, and drew the chief castles and resi- 
 dences in the Principality, and was then 
 induced by Sir Watkin W. Wynne to con- 
 tinue his stay and his labours. 
 
 He was a member of the St. Martin's 
 Lane Academy, and one of those who in 
 1753 wished to extend and give permanence 
 to art teaching ; but the plan was opposed 
 by Hogarth, and the prints which were then 
 published to ridicule ' The Line of Beauty ' 
 were attributed to him. He also carica- 
 tured Vestris, in the costume of the day, 
 teaching a goose to dance. He contributed 
 largely to the Artists' Exhibitions from 
 1760 to 1764, was a member of the Incor- 
 porated Society of Artists, and, on the in- 
 stitution of the Royal Academy in 1768, 
 was nominated one of the original members. 
 Tho same year he was appointed the chief 
 drawing-master at the Woolwich Military j 
 
 School, and was also known as a fashion- 
 able teacher. He possessed indefatigable 
 industry, and was a constant contributor of 
 his water-colour views to the Royal Academy 
 exhibitions. He published a folio of etch- 
 ings from the sketches he made when en- 
 gaged upon the survey in Scotland, and 
 became distinguished in the art, etching 
 with great neatness, skill, and truth. He 
 aqua -tinted and published his Welsh 
 sketches, and was the first English artist 
 who attempted this style of engraving, in 
 which he showed great ability and brought 
 to much perfection in his later publication 
 of 'Views in the Encampments in the 
 Parks,' 1780. 
 
 He has been styled the father of the 
 water-colour school. He was certainly 
 among the first who practised in this me- 
 dium ; but his landscapes did not get beyond 
 topography and the mere tinted imitation 
 of nature. His best works are carefully 
 drawn in with the pen, worked up with 
 washes, and finished with colour. Some of 
 his larger works are in body-colour. He 
 introduced freely into his landscapes groups 
 of figures by no means ill-drawn, and add- 
 ing great interest, but he was frequently 
 assisted by others — his brother Thomas 
 and Wheatley, R.A., are mentioned. He 
 was a master of perspective, and drew ar- 
 chitecture well, and his views of cities, with 
 their grouped buildings, are gracefully and 
 truthfully executed. Earnest in all that 
 interested his profession, his name is inse- 
 parably connected with the art and artists 
 of his day. Age creeping on, he resigned 
 his appointment at Woolwich in 1799, and 
 was succeeded by his son. He died Novem- 
 ber 9, 1809, in his 84th year, at 4 St. 
 George's Row, Bay swat er Road, and was 
 laid in the burial ground adjoining. 
 
 SANDBY, Thomas, R.A., architect. Was 
 brother to the above, and born in Notting- 
 ham 1721. Like his brother, he was em- 
 ployed in the military branch, and was 
 appointed draftsman to the Chief Engineer 
 in Scotland. He was at Fort William when 
 the Pretender landed in 1745, and was the 
 first to convey intelligence to the Govern- 
 ment. This service, added to his profes- 
 sional skill, led to his appointment as 
 draftsman to the Duke of Cumberland, 
 and he followed the Duke in his Flanders 
 campaigns. In 1746 he was made Deputy- 
 Ranger of Windsor Great Park, and planned 
 the large lake known as Virginia Water. 
 He published eight drawings, illustrating 
 his alterations and improvements in the 
 Park. He was one of the committee to 
 found a Royal Academy in 1755, a member 
 of the Incorporated Society of Artists 1766, 
 and was nominated one of the members 
 of the Royal Academy established in 1768, 
 and the first Professor of Architecture, and 
 
SAN 
 
 S AR 
 
 contributed architectural views to the early 
 exhibitions at the Academy. He built the 
 Freemasons' Tavern and Hall in 1776, and 
 designed some of the oak carvings in St, 
 George's Chapel. He held the office of 
 Deputy-Kanger above 50 years, died in the 
 Kanger's House June 25, 1798, and was 
 buried at Old Windsor. He was a clever 
 draftsman, possessing more spirit and ar- 
 tistic feeling than his brother. Many of 
 his drawings are in the Eoyal Collection at 
 Windsor, and some are possessed by the 
 Soane Museum and the British Museum. 
 His collection of drawings was sold by auc- 
 tion at Sotheby's, in 1799. 
 
 SANDEKS, George Jj., miniature painter. 
 Was born at Kinghorn, Fifeshire, 1774, and 
 was educated in Edinburgh. He showed a 
 great aptitude for drawing, and was ap- 
 prenticed to a coach-maker, a man of con- 
 siderable taste. On leaving him he prac- 
 tised in Edinburgh, principally in painting 
 miniatures, and as a teacher of drawing. 
 He also, early in his career, painted a 
 panorama of the city from the guard-ship 
 in Leitli Roads. He was induced by his 
 success, and the advice of his friends, to 
 come to London in 1807, and at once took 
 a distinguished position as a miniature 
 painter, the Princess Charlotte being among 
 his first sitters. About 1812 he tried life- 
 sized portraits in oil, which were for some 
 time commissioned at large prices, but his 
 art friends were more appreciative of his 
 miniatures, and he was piqued and estranged 
 from the general body of the profession. 
 He very rarely exhibited at the Eoyal 
 Academy ; but in 1829 he contributed three 
 miniatures ; in 1830, Prince Esterhazy, and 
 some others; in 1831, the Duke of Cum- 
 berland and Prince George. Ho did not 
 then exhibit again till 1838, when he sent 
 Lady Clementina Villiers ; and in 1839, 
 his last contribution, the Marchioness of 
 Downshire. He had many distinguished 
 sitters ; among them. Lord Byron, whom 
 he painted several times. One of his por- 
 traits, Lord Byron standing beside his 
 boat, was engraved by Finden, 1831, and 
 is well known. He died in Marylebone, 
 March 26, 1846. 
 
 SANDEKS, John, portrait painter. 
 Practised in London, and first appears as 
 an exhibitor at the Academy in 1771, con- 
 tributing portraits in oil, and subject 
 pictures. He continued to exhibit, sending 
 with portraits a 'St. Sebastian,' in 1772; 
 'A Jael and Sisera,' in 1773, and later 
 exhibited crayon and water-colour draw- 
 ings. 
 
 SANDERS, ^ ow^, portrait painter . Lived 
 at the same address, and probably the son 
 of the above. Practised the same class of 
 art. He was an exhibitor for the first time 
 at the Royal Academy in 1775, and then 
 
 sent two small crayon portraits with *A 
 Foundling Girl,' and ' Jacob and the 
 Angel.' In 1778 ho removed to Norwich, 
 and afterwards returned to London, con- 
 tinuing to exhibit occasionally till about 
 1820. 
 
 SANDERS, John, engraver and drafts- 
 man. Was born in London, about 1750, 
 and formed his art under the influence of 
 Bartolozzi. But he did not work exclusively 
 in that manner, as he produced some plates 
 both in mezzo-tint and in aqua-tint. Ho 
 went to St. Petersburg, made sketches of 
 the collection of pictures in the ' Hermitage,' 
 and was appointed engraver to the Emperor. 
 He afterwards published his works under 
 the title of ' Galerie de 1' Hermitage.' 
 Delatre engraved after him ' May-day, or 
 the Happy Lovers,' and R. W. Tomkins 
 ' Sir John Falstaff.' 
 
 SANDERS, John, architect. Ho was a 
 pupil of Sir John Soane, and a student of 
 the Royal Academy. He contributed designs 
 to the exhibition of 1786-87 ; and in 1788 
 gained the Academy gold medal for his 
 design for a church. He designed the Royal 
 Military Asylum at Chelsea, commenced in 
 1801, and about 1811, the Royal Military 
 College, built at Bagshot. He continued 
 an occasional exhibitor of his architectural 
 designs at the Academy up to 1821. 
 
 SANDERSON, John, architect. Practised 
 in London, towards the middle of the 18th 
 century. He built the mansion at Kirt- 
 lington Park, Oxfordshire, a good Ionic 
 work, and the Duke of Bedford's seat at 
 Stratton Park, Hants. His designs are 
 engraved in Woolfe and Gandon's Avork. 
 He is mentioned as the friend of Hogarth. 
 
 SANGSTER, Samuel, engraver. He was 
 a pupil of W. Finden, and was well reputed, 
 practising in the line manner. Ho was 
 much employed upon the Annuals, and also 
 upon the illustrations for the ' Art Journal.' 
 The ' Gentle Student' and ' The Forsaken,' by 
 Newton, R.A., are good examples of his art. 
 He had for some time retired from prac- 
 tice and died June 24, 1872, in his 68th 
 year. 
 
 SARTORIUS, FnANCis, animal painter. 
 He practised in London during the latter 
 part of the 18th century, and was esteemed 
 for his portraits of horses, to which his art, 
 though he painted some hunting subjects, 
 was almost exclusively confined. He was 
 an exhibitor, both with the Free Society of 
 Artists and the Incorporated Society from 
 1772 to 1780, and from 1775 to 1790 at 
 the Royal Academy. He died about 1806. 
 Several of his works have been engraved 
 in mezzo-tint, and some are at Saltram 
 House. 
 
 SARTORIUS, John N. animal fainter. 
 Son of the above. He exhibited works of 
 the same character at the Royal Academy, 
 
 359 
 
SAS 
 
 S AV 
 
 from 1778 to 1824. Some racing subjects 
 by him are engraved. 
 
 SASS, Henry, portrait painter and 
 teacher. Born in London April 24, 1788, 
 the son of an artist of no distinction. He 
 studied in the Schools of the Royal Academy, 
 and in 1808 exhibited his first work, 'The 
 Descent of Ulysses into Hell,' followed by 
 portraits and an occasional historical at- 
 tempt. In 1816 he visited Eome and the 
 chief seats of art in Italy ; and exhibited in 
 181 7/ Infancy, one of a series to illustrate 
 the Seven Ages of Woman,' which proceeded 
 no further. He was never able to obtain 
 any notice as an artist, and devoted him- 
 self to elementary art teaching preparatory 
 to the Academy Schools, in which he was 
 very successful, many of his pupils becoming 
 distinguished. He did not meanwhile cease 
 to exhibit, and between 1820 and 1838 
 many portraits by him found a place on the 
 walls of the Academy. He had retired 
 from his school for some time owing to 
 a protracted illness, and died June 21, 1844. 
 He published his Mourney to Rome and 
 Naples,' and * The Arts of Painting and 
 Sculpture in England.' 
 
 SASSE, RiCHAED, water-colour painter. 
 Was born in 1774. He was cousin to the 
 above, but added the final e to his name. 
 He first exhibited at the Academy in 1791, 
 and continued a large contributor up to 
 1813. His subjects were landscape, intro- 
 ducing cattle and figures, with occasionally 
 a waterfall, a favourite subject with him. 
 In liis practice he attempted to use more 
 colour than the * tinters ' of his day. In 
 1811 he was appointed teacher to the 
 Princess Charlotte, and afterwards land- 
 scape painter to the Prince Regent. On 
 the termination of the War in 1815, he 
 travelled on the Continent, and in 1825 
 he settled in Paris, where he died, Sep- 
 tember 7, 1849. He was much patronised, 
 but never attained excellence. His works, 
 though clever and effective in colour, want 
 decision and character. He tried many 
 manners without succeeding in forming one 
 of his own. There are examples of his 
 art in the collection at South Kensing- 
 ton. 
 
 SAUNDERS, George, F.R.S., architect. 
 Practised in London, and in 1780 built the 
 stone fa{'ade to the theatre at Birmingham. 
 AVas some time architect of the British 
 Museum, and built the Townley Gallery. 
 He held the appointment of Surveyor to the 
 Commissioners of Sewers. He was the 
 author of 'A Treatise on Theatres,' pub- 
 lished 1790, and of 'Observations on the 
 Origin of Gothic Architecture.' He died 
 in 1839. M^ed 77- 
 
 SAUNDERS, JosET'H, miniai tire painter. 
 He practised in London towards the end 
 
 of the 18th century, and was well employed. 
 He was an exhibitor at the Academy irom 
 1778 to 1797. His works were principally 
 portraits of ladies. His son, R. Saunders, 
 followed the same profession, and exhibited 
 on a few occasions at the Academy. 
 
 SAVAGE, John, engraver. Born in 
 London about 1640. He practised his art 
 in the Old Bailey, and was chiefly em- 
 ployed on portraits for the booksellers. 
 He engraved William III. and Queen 
 Mary, Algernon Sydney, Bishop Latimer, 
 and many of the heroes executed before 
 the neighbouring gaol ; also some of the 
 plates for Tempesta's * Cries of London,' 
 and for Evelyn's ' Numismata.' He worked 
 chiefly with the graA^er, but, though careful 
 in execution, he was without taste, and his 
 drawing defective. 
 
 SAVAGE, William, painter and engraver. 
 Was born about 1785, and studied in the 
 schools of the Royal Academy. He made 
 experiments in printing with a succession 
 of wood blocks for decorative works, and 
 published, in 1 822, the results of his labours, 
 the illustrations cut by his own hand, 
 ' Practical Hints on Decorative Printing, 
 with Illustrations Engraved on Wood and 
 Printed in Colours by the Type Press.' 
 
 SAVAGE, James, architect. He was 
 born at Hackney, April 10, 1779. Articled 
 to Mr. D. A. Alexander. He was also, in 
 1798, admitted to the schools of the Royal 
 Academy, and in 1799 he was first an 
 exhibitor, sending a design for a mansion ; 
 and in 1800 a design for a triumplial 
 monument. At the same time, when in his 
 22nd year only, he was awarded the second 
 premium of 1 50/. for his design for improving 
 the City of Aberdeen. In 1805 his designs 
 were selected for the erection of Ormond 
 Bridge, over the Liffey, Dublin ; and in 
 1808 for Richmond Bridge, over the same 
 river. In 1815 he was the successful com- 
 petitor of a three-arch bridge over the 
 Ouse at Temsford, Bedfordshire. In 1819, 
 on a strong competition for building St. 
 Luke's Church, Chelsea, his designs were 
 selected. The work possesses great merit, 
 notable for its general design, and especi- 
 ally for its fine vaulted roof and excellent 
 construction. His design, in 1823, for 
 London Bridge, and his plan for improving 
 the river Thames, by a southern embank- 
 ment, though not adopted, were works of 
 much labour and judgment. He was ap- 
 pointed architect to the Society of the 
 Middle Temple in 1830, and erected the 
 Hall Clock Tower, and other works, and 
 up to this time continued an occasional 
 exhibitor at the Academy. In 1840 he 
 was employed to prepare designs for the 
 restoration of the Temple Church, and had 
 commenced the work, when, from difficulties 
 
 360 
 
SAV 
 
 SAY 
 
 which arose with the two societies inter- 
 ested, the completion was entrusted to 
 others, but was finished according to his 
 original intentions. Among his other works 
 the chief were — Trinity Church, Sloane 
 Street ; St. James's Church, Bermondsey ; 
 Trinity Church, Tottenham Green ; St. 
 Mary's Church, Ilford ; St. Michael's 
 Church, Burleigh Street, Strand ; St. 
 Thomas the Martyr's Church, Brentwood ; 
 St. Mary's Church, Speenhaniland, near 
 Newbury ; St. Mary's Church, Addleston, 
 Surrey. He was one of the active sup- 
 porters of the plan for restoring and opening 
 to public view the Lady Chapel of St. 
 Saviour's, South wark ; a member of the 
 Surveyors' Club, the Graphic Society, the 
 Institution of Civil Engineers, of the Archi- 
 tectural Society, and for a short time of the 
 Institute of British Architects, but with- 
 drew from a difference of views upon some 
 matters of regulation. He had much prac- 
 tice in arbitration cases, and was success- 
 fully employed by the defendant in the 
 case of the Crown v. Peto. He died May 7, 
 1852, in his 74th year, and was buried at 
 his church in Chelsea. He presented to 
 the Architectural Society, in 1806, an essay 
 on bridge building, and published, in 1836, 
 ' Observations on Style in Architecture,' 
 in reference to the designs proposed for 
 the Houses of Parliament. 
 
 SAVILLE, Dorothea, portrait pamter. 
 Practised in London in the first half of the 
 17th centur3^ Both Hollar and Thomas 
 Cross engraA'^ed after her. 
 
 SAXON, James, portrait painter. Ho 
 was born in Manchester, and practised for 
 a time in London, exhibiting portraits at 
 the Koyal Academy in 1795-96. Ho after- 
 wards went to Edinburgh, where he was 
 practising in 1803, and about 1805 came 
 again to London, and in that and the fol- 
 lowing years, up to 1817, was an exhibitor 
 of portraits — sometimes of actors in charac- 
 ter — at the Academy. He then went to 
 St. Petersburg, where ho was for several 
 years successfully employed, and on his 
 return, he lived for a short time in Glas- 
 gow. He died in London in the year 1816 
 or 1817. His characteristic portrait of Sir 
 Walter Scott holding a large dog, with a 
 landscape background, has been engraved, 
 and is well known. 
 
 SAXTON, CiiRisTonsER, engraver. He 
 lived near Leeds, and was a domestic 
 servant. Shewing an ability for engraving, 
 he was encouraged by his master to under- 
 take a set of county maps, which, after six 
 years' labour, he completed, mostly with 
 his own hand. They were, some of them 
 decorated with views, published in 1579. 
 They were the first known in England, and 
 were dedicated to Queen Elizabeth. 
 
 SAY, William, mezzo-tint engraver. Was 
 
 born in 1768, at Lakenham, near Norwich, 
 in which neighbourhood his father was 
 land-steward to the proprietors of several 
 estates. He was left an orphan at the age 
 of five years, and was brought up by an 
 aunt, who dissuaded him from an early desire 
 to go to sea. After trying several pursuits, 
 he came up to London at the age of 20, 
 and a love of art, which had been for a time 
 uppermost, induced him to place himself 
 under James Ward, R.A., who was then 
 practising as an engraver. He worked 
 assiduously, and soon made great progress, 
 and his merits gained him full employment. 
 In 1807 he was appointed engraver to the 
 Duke of Gloucester. The greater number 
 of impressions to be taken off steel, had 
 brought steel plates largely into use, and 
 about 1820, he engraved the first mezzo- 
 tint which had been successfully produced 
 on steel. He executed no less than 335 
 plates, with his own hand, many of them 
 historical and portrait works of large- size. 
 The British Museum possess a complete set 
 of his works engraved between 1795-1834. 
 He engraved 16 plates for ' Turner's Liber 
 Studiorum,' several for ' Turner's River 
 Scenery,' 'The Dilettanti Society,' after 
 Sir Joshua Reynolds, and several after 
 Fradelle. He died in Weymouth Street, 
 Portland Place, August 24, 1834. 
 
 SAYERS, James, ceiricatiirist. Was the 
 son of the master of a trading vessel at 
 Yarmouth, where he was born in August, 
 1748. He commenced life as an articled 
 clerk in an attorney's office, served his time 
 and practised for a while in Yarmouth, 
 where he became a member of the Borough 
 Council. His father having left him a 
 small fortune, he did not continue to 
 practise in the profession, but following 
 the bent of his inclination, he drew carica- 
 tures and wrote songs. There is a political 
 poem by him (then called Sayers of Yar- 
 mouth) ' The New Games at St. Stephen's 
 Chapel.' Taking the side of Mr. Pitt, who 
 was then in opposition, he came to London 
 about 1780, and produced in 1783, his first 
 work, satirizing the Ministry, and from 
 that time to 1794, published above 100 
 political caricatures. The success of this 
 led to numerous others, and in the great 
 ]Dolitical struggle which followed the Whig 
 India Bill, he zealously supported Mr. Pitt 
 with his pencil, and his works had an 
 extensive sale and influence, so great that 
 Mr. Fox himself once observed that Sayer's 
 caricatures had done him more harm than 
 all the attacks made upon him in Parlia- 
 ment, or by the press. On succeeding to 
 office Mr. Pitt rewarded him with a post 
 in the Exchequer, and he became Marshall 
 uf the Court. Iiccciver of the sixpenny duties, 
 and one of tlie Cursitors. But while liold- 
 i ing these offices he continued occasionally 
 
 361 
 
SCA 
 
 SCH 
 
 to publish his caricatures. On the death 
 of the Minister in 1806, he wrote ' Elijah's 
 Mantle, 'which has been ascribed to Canning. 
 He had not much power of drawing, and 
 his works were weak, his wit coarse, but 
 they will always form a part of the great 
 political contest which was then waged. He 
 died in Curzon Street, May Fair, April 20, 
 1823, and was buried in the vaults of St. 
 Andrew's Church, Holborn. 
 
 SCANDEETT, Thomas, architectural 
 draftsman. He was born at Worcester in 
 1797. He first appears as an exhibitor of 
 two portraits at the Academy in 1825, and 
 from that time, at long intervals, sent an 
 architectural drawing. He died in 1870. 
 
 SCHARE, GrEORGE, portrait pai7iter. 
 Born in Germany. He practised in London in 
 the first half of the 19 th century. He painted 
 ' The Parliament at Westminster,' which 
 was engraved in 1820, and ' The Lord 
 Mayor's Eeast,' of which a lithograph was 
 published, and was an occasional exhibitor 
 at the Academy. But he is principally 
 known as one of the earlier lithographic 
 draftsmen. He died November 11, 1860, 
 aged 72. 
 
 SCHEEMAKERS, Peter, sculptor. 
 Was born at Antwerp in 1691, studied 
 there, and early in life made his way to 
 Denmark, where he worked as a journey- 
 man ; and from thence, supported by his 
 love of art, travelled on foot to Rome, sell- 
 ing his shirt for his subsistence when near 
 the end of his weary journey. He remained 
 in Italy only a short time, and starting 
 again on foot, came to England. In 1728, 
 he returned to Rome, where he studied two 
 or three years, gaining a reputation by his 
 small models from the Antique. In 1735, 
 he came again to England, and establishing 
 himself in St. Martin's Lane, settled here 
 in the practice of his profession. He soon 
 found considerable employment, was en- 
 couraged by the Court, and shared the 
 patronage of the time with Roubilliac and 
 Rysbrack. He excelled in busts, three of 
 which by him are in Westminster Abbey, 
 where there is also, carved by him, a monu- 
 ment to Shakespeare, after Kent's design, 
 and a good monument to Dr. Chamberlain, 
 one to Dr. Mead, in the Temple Church, a 
 Statue of Edward VL m bronze, at Guy's 
 Hospital ; and many statues in the gardens 
 at Stowe. His models, pictures and marbles, 
 were sold by auction by Langford in 1756 ; 
 and, some remaining, in the following year. 
 In 1769 he retired to Antwerp, where he 
 soon afterwards died. 
 
 SCHEEMAKERS, Thomas, sculptor. 
 He was the son of the foregoing, and suc- 
 ceeded him in his business. He exhibited 
 busts and bassi-relievi with the Eree Society 
 of Artists in 1765 and 1768, and commenc- 
 ing in 1782, he was an occasional exhibitor 
 362 
 
 of models for monumental figures, with 
 sometimes a medallion portrait, or a bust 
 at the Royal Academy. He died July 1 5, 
 1808, aged 68, and was buried in St. 
 Pancras old churchyard. 
 
 SCHETKY, John Alexander, amateur. 
 Born in Edinburgh in 1785. He was 
 educated in that City for the medical 
 profession, and at the same time studied 
 drawing in the Trustees School. He served 
 with much distinction as surgeon to the 
 Portuguese forces, under Lord Beresford, 
 and on the termination of the war in 1814, 
 he resumed his art studies in Edinburgh ; 
 and in 1816-17 exhibited some scenes in 
 Portugal at the Water-Colour Society. In 
 1821, he also exhibited at the Academy 
 some works of the same class, and in 1825, 
 his brother exhibited there two paintings 
 of frigate actions, painted in conjunction 
 with him. In 1819, he was called into 
 active service. He was ordered to Ceylon, 
 and afterwards exchanged with a brother 
 officer for Sierra Leone, his object being to 
 follow Mungo Park's route of exploration. 
 He died at Cape Coast Castle, September 5, 
 1824. Some of the illustrations to Sir * 
 Walter Scott's ' Provincial Antiquities,' are 
 by him. His landscapes and marines 
 showed great ability, and he was a clever 
 linguist. 
 
 SCHIAVONETTI, Lewis, eoigraver. Was 
 the son of a stationer in humble circum- 
 stances at Bassano, where he was born, 
 April 1, 1765. He had an early taste for 
 drawing, and was placed under Giulio 
 Colini. He became acquainted with an in- 
 different engraver named Testolini, and 
 made for him some imitations of Bartolozzi's 
 works, which Testolini passing off as his 
 own, made the means of an introduction 
 to Bartolozzi, who was then in London and 
 in great repute, and was followed by an 
 invitation, which, from interested motives, 
 he managed to get extended to Schiavonetti, 
 who came to this country in 1790. The 
 true character of Testolini was soon disco- 
 vered, but Bartolozzi induced Schiavonetti 
 to join him, and took him into his house in 
 Sloane Square. This continued for a time ; 
 Schiavonetti improved under his friend's 
 instructions, and then was enabled to be in- 
 dependent in the practice of his art. 
 
 He executed several plates of subjects 
 connected with the French Revolution, 
 which, though got up in haste, showed much 
 merit, and were profitable to the publishers. 
 Then employed on works of a higher class, 
 he produced a 'Mater Dolorosa,' after Van- 
 dyck ; a, portrait of Vandyck jn the charac- 
 ter of Paris ; Michael Angelo's Cartoon of 
 the ' Surprise of the Soldiers on the Banks of 
 the Arno ;' etchings from Blake's illustra- 
 tions of Blair's 'Grave; * De Loutherbourg's 
 ' Landing of the British Troops in Egypt ; ' 
 
SCH 
 
 SCO 
 
 and he left unfinished the plate of Stothard's 
 ' Canterbury Pilgrims/ of which he had only 
 completed the etching and some of the prin- 
 ciple figures. He was largely engaged in 
 works for book illustration. He died at 
 Brompton, June 7, 1810, and was buried in 
 Paddington churchyard. He was eminent 
 for his power both in the line and the dot 
 manner. The force, clearness, and freedom 
 of his line are admirable. His dot manner 
 was equally clever, and he was reputed in 
 both as w^ell for correct expression and draw- 
 ing as for his careful finish and correct imi- 
 tation of the master. 
 
 SCHIAVONETTI, Niccolo, engraver. 
 Was born at Bassano, the younger brother 
 of the foregoing, wdth whom he came to 
 England in 1 7 90. He chiefly worked in con- 
 junction with his brother, and after his 
 death was employed some time upon his in- 
 complete plate of the ' Canterbury Pilgrims,' 
 which was eventally finished by Heath. He 
 engraved in his brother's manner, but did 
 not approach him in excellence. Died at 
 Hammersmith April 23, 1813, aged 42. 
 
 SCHOLES, Joseph J ohn, architect. Was 
 born in London in 1798, and was educated 
 in a Koman Catholic School. In 1 8 1 2 he was 
 articled to Mr. Ireland, and in 1822 he tra- 
 velled to complete his studies in the Levant, 
 Egypt and Syria, making some careful sur- 
 veys of the holy places. In 1826 he re- 
 turned to England and commenced practice. 
 He built St. Peter's Church, Great Yar- 
 mouth, his first important work, which was 
 followed by several commissions for Koman 
 Catholic churches. Of these the most ela- 
 borate is the Church of the Immaculate 
 Conception in Earm Street, Grosvenor 
 Square. He also built the residences of the 
 Oratory at Brompton. He was honorary 
 secretary and afterwards a vice-president of 
 the Institute of British Architects. He died 
 December 29, 1863. 
 
 SCHMUTZ, JoHANN EuDOLPH, portrait 
 'painter. Was born at Kegensberg, Switzer- 
 land, and was a pupil of Mathias Euessly. 
 He first attempted historical subjects, but 
 not succeeding, tried portraiture. When 
 Kneller wv^s at the height of his reputation he 
 came to England, and, imitating his manner, 
 had many sitters. Both J. Smith and Virtue 
 engraved after him. He died in London in 
 1715. 
 
 SCHNEBBELIE, Jacob, topographical 
 draftsman. Was born August 30, 1760, in 
 Duke's Court, St. Martins in the Eields. 
 His father, a native of Zurich and a lieu- 
 tenant in the Dutch navy, quitted that service 
 and settled at Rochester as a confectioner. 
 He followed his father's business, first at 
 Canterbury, then at Hammersmith, but 
 having acquired some knowledge of drawing 
 under Paul Sandby, he left his shop and 
 commenced teaching drawing. He was after- 
 
 wards appointed draftsman to the Society of 
 Antiquaries, and made drawings for Morris's 
 'Monastic Remains,' 'The Gentleman's 
 Magazine,' and the early numbers of ' The 
 Antiquaries' Museum.' He was chiefly em- 
 ployed on antiquarian and topographical 
 subjects which he drew and etched or aqua- 
 tinted. Erom 1786 he exhibited at the Royal 
 Academy views of buildings possessing an 
 antiquarian character. He published four 
 views of St. Alban's Abbey, etched by him- 
 self. He died in London, of rheumatic fever, 
 Ecbruary 21, 1792, in his 32nd year. He left 
 a young widow, for whom a subscription 
 was raised. 
 
 SCHNEBBELIE, Robert Bremmel, 
 topographical draftsman. Was the son of 
 the foregoing. He was a good draftsman. 
 Commencing in 1803, he occasionally ex- 
 hibited at the Academy a drawing of some 
 old building ; but he did not long continue 
 an exhibitor. He was engaged in drawing 
 for the ' Gentleman's Magazine ' and other 
 periodicals, and made also the drawings for 
 ' Londina Illustrata.' He was rather weak 
 in his intellect, capricious in his work, and, 
 losing his mother, was scarcely able to take 
 care of himself. He was found dead in his 
 lodgings, which were almost destitute of 
 furniture, and it was clear that his death 
 had been hastened by starvation. This 
 happened about 1849. 
 
 SCHWANFELDER, Charles Henry, 
 animal painter. He was born at Leeds in 
 1773, and chiefly practised in his native 
 town. He painted animals, landscapes, 
 and, occasionally, portraits. He was ap- 
 pointed painter of animals to George III., 
 and afterwards to the Prince Regent. He 
 exhibited at the Royal Academy in 1809, 
 and was an occasional exhibitor up to 1826. 
 His works were almost exclusively portraits 
 of dogs and horses. He died in 1837. 
 
 SCHWEICKERHARDT, Heinrich 
 WiLHELM, landscape painter. Born at 
 Brandenburgh, supposed of a Dutch family, 
 in ] 746. He studied under an Italian, and 
 practised some time in Holland, where he 
 held the appointment of Director of the 
 Academy at the Hague, and produced many 
 good works. In consequence of the disturb- 
 ances in Holland he came to London in 
 1786, and settled here. He painted land- 
 scapes, marine subjects, and later a few 
 portraits, and was an exhibitor at the Royal 
 Academy from the time of his arrival. He 
 died in Belgrave Place, Pimlico, July 8, 
 1797. He published in London, several 
 etchings, among them 'Eight Etchings of 
 Animals,' dedicated to Benjamin West, 
 P.R.A. 
 
 SCORE, AV., portrait painter. He was a 
 native of Devonshire, and about 1778 
 became a pupil of Sir Joshua Reynolds, 
 and yearly, from 1781 to 1794, with one 
 
 363 
 
SCO 
 
 SCO 
 
 exception, was an exhibitor of portraits at 
 the Koyal Academy. 
 
 SCOTIN, Louis Gerard, nigraixr. Born 
 in Paris about 1600, ho practised towards 
 the middle of the 18th century. He was 
 brought over to this country soon after 
 1733 to assist in the engravings for a trans- 
 lation of Pi cart's ' Eeligious Ceremonies.' 
 He engraved, in 1745, two of the original 
 plates of Hogarth's * Marriage a la Mode,' 
 also several plates after Prank Hayman, 
 and was one of his boon companions. 
 
 SCOTT, Edmund, engraver. Born in 
 London, about 1746. Was a pupil of Bar- 
 tolozzi, and worked in the dot manner. He 
 excelled in this style, was much employed, 
 and was appointed engraver to the Duke of 
 York. He engraved the Prince of Wales, 
 after a portrait drawn by himself, and 
 several subjects after George Morland, 
 Stothard, Ramberg. He died about 1810. 
 
 SCOTT, John, engraver. Was born, 
 March 12, 1774, at Newcastle-on-Tyne, 
 where his father worked in a brewery, and 
 was apprenticed to a tallow-chandler in 
 that town. Towards the end of his term 
 he began to show an attachment to draw- 
 ing, which he practised in his leisure hours. 
 He w\as first employed to engrave the profile 
 portraits for Angus' ' History of the French 
 Revolution,' published 1796^ and, gaining 
 confidence, he came to London and was 
 assisted by Pollard, a fellow townsman, 
 who was then practising as an engraver, 
 and gave him such gratuitous instruction 
 as enabled him to gain employment. After 
 working some time for his master he 
 produced his 'Breaking Cover,' and ' The 
 Death of the Pox,' which, by their ability, 
 gained him the Society of Arts' gold medal, 
 and made him known to the publishers. 
 Afterwards he was engaged upon ' The Pine 
 Arts of the English School,' 1812 ; Britton's 
 'Cathedral Antiquities,' 1820 ; ' The Sports- 
 man's Cabinet,' ' A Scries of Horses and 
 Dogs,' and Daniel's ' Rural Sports.' He 
 particularly distinguished himself as an 
 engraver of animals. Their character and 
 action were well rendered, and the character 
 of their fur or sl<in seized with great truth. 
 He suffered a paral^'tic stroke in 1821, and 
 fell into difficulties, but a subscription was 
 raised for him, and he was for a wliile 
 enabled to resume his work ; but he again 
 foil ill and eventually lost his reason. He 
 died at Chelsea, early in March 1828, 
 aged 54. 
 
 SCOTT, Samuel, marine painter. He is 
 said to have been born in London about 
 1710, but little information exists of his 
 early life. Ho was one of the boon com- 
 panions of Hogarth and his friends, and 
 one of the jovial water-party to Gravesend 
 in 1732. He drew well. His works were 
 well coloured. He was one of the early 
 364 
 
 draftsmen in water colours, but his chief 
 works are in oil. He gained a great repu- 
 tation for his sea-pieces, and for his topo- 
 graphical views, which are filled with 
 groups of figures, well drawn and painted ; 
 but his works are not much esteemed in 
 the present day. He exhibited at the 
 Spring Gardens Rooms in 1761, and in 
 
 1 771 , at the Royal Academy, * A View of the 
 Tower of London on the King's Birthday.* 
 He was then living at Bath, where he had 
 retired after a long practice in the metro- 
 polis, and there, in Walcot Street, he died of 
 gout, which had long harassed him, Oct. 12, 
 
 1772, leaving an only daughter. His collec- 
 tion of drawings, prints, &c., were sold by 
 Messrs. Langford, at the Piazza, Covent 
 Garden, in January 1773. 
 
 SCOTT, Robert, engraver. Was born 
 November 13, 1771, at Lanark, where his 
 father was a skinner and glover. He 
 early showed some ability in drawing with 
 his pen, and was apprenticed in 1787 to 
 Alexander Robertson, an engraver at Edin- 
 burgh, who was employed upon the views 
 of old buildings, which then appeared in 
 the ' Scot's Magazine.' He also studied in 
 the Trustees' Academy. He engraved a 
 series of views round Edinburgh, and the 
 plates for Dr. Anderson's ' Bee,' with many 
 other works. His engravings were careful 
 and well-finished, and he gained the repu- 
 tation of the first engraver of his day in 
 Scotland. He brought up several pupils 
 who became distinguished. He died in 
 January 1841. 
 
 SCOTT, David, R.S.A., hisiorj/ painter. 
 Son of the above. Was born in Edinburgh, 
 October 10 or 12, 1806, and was educated 
 at the High School in that city. He early 
 turned to art, and Ijoth designed and 
 engraved for book illustration ; and he 
 engraved, after Stothard, R.A., a series of 
 designs for Thomson's ' Scottish Melodies.' 
 He then devoted himself to painting, and 
 attempting the grand style, produced, in 
 1828, 'The Hopes of Early Genius Dis- 
 pelled by Death.' In 1830 he was elected 
 an associate of the Scottish Academy, and 
 in 1832 he was enabled to visit Italy, where 
 he made sketches or remembrances of the 
 fine works of art in the chief cities. In 
 Rome he continued more than 12 months, 
 including in his studies there anatomy 
 and painting ; and from thence he sent home 
 a large picture, 'Pamily Discord, the House- 
 hold Gods Destroyed.' Returning with 
 exhausted funds he settled in Edinburgh 
 in 1834. In the following year he exhibited 
 at the Scottish Academy, and continuing to 
 exhibit there sacred and classic subjects, 
 was elected a member of the Academy. In 
 1838 and again in 1841, his pictures were 
 selected for prizes by the Committee for 
 Promoting the Fine Arts in Scotland. He 
 
SCO 
 
 SCR 
 
 sent in competition designs to the two first 
 exhibitions in Westminster ILiU, but his 
 works were unnoticed. 
 
 He was from liis boyliood of a sad tem- 
 perament, and was distressed by his want 
 of success, and failure in gaining public 
 appreciation ; but by his great power in 
 drawing and indefatigable application, he 
 completed many large pictures. His great 
 picture, ' Vasco de Gama,' is now in the 
 Board-room of the Trinity House at Leith ; 
 the 'Alchymecal Adept Lecturing,' is in the 
 possession of Sir J. Gribson-Craig ; the ' Dead 
 Kising,' in the collection of Mr. Leathart, 
 of Newcastle. His pictures, grandly and 
 poetically conceived, were wanting in that 
 finish, colour, and taste which could alone 
 render them saleable. A disappointed man, 
 of dreamy and misanthropic habits, some 
 of his sad thoughts are embodied in his 
 fragmentary poetry, of which he left many 
 examples. He published a series of out- 
 lines which he called ' Monograms of Man,' 
 and 25 etched illustrations to Coleridge's 
 ' Ancient Mariner,' which were not more 
 successful than his paintings. He also con- 
 tributed to ' Blackwood's Magazine ' a series 
 of papers on the characteristics of the great 
 masters. He died in Edinburgh, March 5, 
 1849, aged 42. An affectionate memoir of him 
 was published by his brother, a well-known 
 writer on art and also an artist, in 1850. 
 
 SCOTT, Willta:".!, water-colour painter. 
 He resided all his life at Brighton, and 
 painted the home scenery and cottages of 
 Sussex and Surrey, seldom straying beyond. 
 In 1811 he was elected an associate exhi- 
 bitor of the Water-Colour Society, and 
 continued a contributor to the Society's 
 exhibitions to 1850. He published, in 1812, 
 six * Etchings on Stone,' to imitate drawings 
 in black and white. 
 
 SCOTT, Miss, water-colour painter. 
 Daughter of the foregoing, and practised at 
 Brighton. She was elected a member of 
 the Water-Colour Society in 1823, and was 
 yearly an exhibitor of flowers and fruit up 
 to 1834, when she married a Mr. Brooks- 
 bank, and in that name continued to exhibit 
 up to 1839. 
 
 SCOUGAL, , portrait painter. A 
 
 Scotch artist, who practised with much 
 repute in Scotland in the reign of Charles II. 
 He was a pupil of Sir Peter Lely, and in 
 his manner painted many of the Scottish 
 ladies. But the accounts of him are obscure 
 and conflicting. 
 
 SCOUGAL, George, portrait painter. 
 He was the son of the foregoing, and brought 
 up to art, but was inferior to his father. 
 He practised for many years after the Revo- 
 lution, and standing almost alone in Scot- 
 land was much employed. Yet his portraits 
 were stiff in manner, careless in finish, and 
 incorrect in likeness. 
 
 S C 0 U L E R, Ja-mes, oniniature paiiiter. 
 Ho received a Society of Arts' premium for 
 a drawing in 1755, and was tlien about 
 14 years of age. Exhibited with the Society 
 of Artists in 1761-62, and was a member 
 of the Free Society 1763. On the founda- 
 tion of the Royal Academy he was a constant 
 exhibitor of miniatures with that body up 
 to the year 1787, and occasionally contri- 
 buted a work in crayons or a group. 
 
 SCOULAR, William sculptor. He 
 studied in the Trustees' Academy, Edin- 
 burgh, and in London, where he first ex- 
 hibited a bust, in 1815, and in 1817 gained 
 the Academy gold medal for an alto-relievo 
 of ' The Judgment of Paris.' He continued 
 to exhibit busts, wax portraits, and occa- 
 sionally a classic group, and in 1825 
 was sent to Rome with the Academy tra- 
 velling studentship. He sent from thence 
 to the Academy exhibition, in 1826, 'Adam 
 and Eve bewailing the Death of Abel,' and 
 was the same year appointed sculptor in 
 ordinary to the Duke and Duchess of 
 Clarence. From that time till 1834 he did 
 not exhibit. He had purchased the busi- 
 ness of Sarti, a well-known Italian modeller, 
 but this not succeeding he appears again as 
 an exhibitor, contributing busts; in 1838, 
 ' Paris and Helen,' a marble statue of ' Sir 
 Walter Scott,' and continued to exhibit, 
 sending several groups in marble, up to 
 1846. 
 
 SCRIVEN, Edward, engraver . Was 
 born at Alcester, near Stratford-upon- 
 Avon, in 1775. He showed a strong dis- 
 position for art, and became a pupil of 
 Robert Thew, living with him during seven 
 or eight years, at Northall, in Hertford- 
 shire. He appears then to have come to 
 London, where he was employed on some 
 of the principal works of the day. He 
 engraved for the Dilettanti Society, the 
 ' Shakespeare Gallery,' and the ' Fine Arts 
 of the English School,' and was employed 
 generally by the publishers. A series of 
 portraits, chiefly after Sir Peter Lely, and 
 West's studies of heads for his ' Christ 
 Rejected,' are by him. He held the ap- 
 pointment of engraver to the Prince of 
 Wales. His works are chiefly in the dot 
 manner, in which he attained great excel- 
 lence, but some of his later productions are 
 in the line manner. They show great 
 taste, and are clever representations of the 
 peculiar art of the painter. He was a use- 
 ful member of his profession, giving much 
 of his time to promote its interests, and 
 was the founder and secretary of the 
 Artists' Fund. He died August 23, 1841, 
 leaving a widow and five children, and was 
 buried at the Kensal Green Cemetery. 
 
 SCROPE, William (of Castle Coombe, 
 Esq.), amateur. Ho painted, with some 
 ability, landscape scenery, and early in the 
 
 365 
 
SEA 
 
 SEG 
 
 19th century was an occasional exhibitor at 
 the Koyal Academy. In 1801 he contri- 
 buted 'A Scene from Schiller's Eobbers.' 
 In 1807 a subject from 'The Lay of the 
 Last Minstrel ' ; in 1811, * View of Melton 
 Bridge,' and in 1834, at the British Insti- 
 tution, a carefully painted picture of the 
 decayed convent of St. Vivaldo, Tuscany. 
 He published, in 1808, 'The Landscape 
 Scenery of Scotland,' engraved from his 
 own drawings. He died July 20, 1852, 
 aged 81. 
 
 SEAT ON, Christopher, gem engraver. 
 He was a pupil of Keisen, and practised in 
 London about the middle of the 18th cen- 
 tury. He was a contributor to the first 
 exhibitions held in the metropolis, and was 
 a director of the Incorporated Society of 
 Artists, 1765. He died October 6, 1768. 
 
 S E A T 0 N, John Thomas, portrait 
 painter. Son of the foregoing. He was a 
 pupil of Frank Hayman, studied in the 
 St. Martin's Lane Academy ; and was also 
 a member of the Incorporated Society 
 of Artists. He exhibited half-length por- 
 traits at the Koyal Academy in 1774. He 
 was practising in Edinburgh about 1780, 
 and was in high repute, which his works 
 merited. He was living in 1806. 
 
 SEDDON, Thomas, landscape painter. 
 He was born in London, the son of an emi- 
 nent cabinet maker, August 28, 1821, and 
 was intended for his father's business, but 
 he could not overcome his dislike to it ; 
 and having a taste for art, which he wished 
 to follow, he was sent to Paris in 1841 to 
 study design. On his return he became the 
 designer for his father's works and superin- 
 tended their execution. In 1848 he gained 
 a prize offered by the Society of Arts for an 
 ornamental design, and aspiring to the per- 
 auit of art he diligently studied the figure. 
 In 1849 he spent some time in Wales 
 sketching the scenery, and in 1850 made an 
 excursion to Paris and Fontainbleau, and 
 after a severe illness again visited Wales 
 in 1851. In 1852 he exhibited his first 
 work, ' Penelope,' at the Academy, but sub- 
 sequently turning to landscape, exhibited in 
 1853, and again in 1854, a ' View in Brit- 
 tany.' In these two years he was travelling 
 in the East, where he painted some most 
 careful and elaborately finished sketches 
 and studies, which he brought home with 
 him, and exhibited two of them at the 
 Academy in 1856. Setting out again for 
 the East he was attacked with diarrhoea 
 and died, after a few days illness, Novem- 
 ber 23, 1856, at Cairo, where he was buried. 
 His friends purchased and presented to the 
 National Gallery, his ' Jerusalem and the 
 Valley of J ehosaphat,' a work which affords 
 a good notion of his conscientious and 
 painstaking art. His collected works were 
 exhibited at the Society of Arts in 1857. 
 366 
 
 His brother published a memoir of him in 
 1859. 
 
 SEDGWICK, William, engraver. Was 
 born in London, 1748, and practised there 
 in the dot manner, to which, under the in- 
 fluence of Bartolozzi, he gave himself up. 
 There are plates by him after Angelica 
 KaufFman, E. Penny, E.A., and others. He 
 died about 1800. 
 
 SEEMAN (sometimes spelt Zeeman), 
 'E^ocn, portrait painter. Born 1694. Was 
 the son of Isaac Seeman, a portrait painter 
 at Dantzig, who brought him when young to 
 London. Here he painted many portraits 
 in a minute, careful manner, some of which 
 are engraved by Faber, G. Bartch, and others. 
 He died suddenly in 1744. 
 
 SEEMAN, Isaac, portrait painter. Bro- 
 ther of the foregoing, Practised his art in 
 London, where he died April 4, 1751. He 
 left a son who followed his profession. 
 
 SEEMAN, Paul, portrait painter. AVas 
 the son of the above Enoch, and practised 
 portrait painting here. Some subjects from 
 still-life are also attributed to him. 
 
 SEGAK, William, "| Two English painters 
 
 SEGAK, Erancis, J who practised in Lon- 
 don in the 16th century. They are spoken 
 of in ' The Wit's Commonwealth,' London, 
 1598. 
 
 SELDEN, , wood carver. Was a 
 
 pupil and assistant of Grinling Gibbons, and 
 lost his life at Petworth, in saving from 
 the flames a fine vase carved by his master, 
 in imitation of the antique. 
 
 SEGUIER, William, topographical la7id' 
 scape painter. Was born in London in 
 1771, eldest son of David Seguier, well 
 known as a picture dealer in the time of 
 Sir Joshua Keynolds. He studied under 
 George Morland, and for some time followed 
 the profession of an artist, and painted some 
 interesting views in and around the metro- 
 polis. Covont Garden Theatre when on 
 fire ; and the Church of St. Paul, Covent 
 Garden, on fire ; a view of Seven Dials. 
 They are painted in a neat but free hand, 
 reminding of his master, pleasing in colour, 
 and filled with groups of figures well intro- 
 duced. Later in life he devoted himself to pic- 
 ture-restoring. His professional skill, taste, 
 and knowledge of art, gained him several 
 important appointments. George IV. ap- 
 pointed him keeper of the royal pictures. 
 He was also the first Director of the 
 National Gallery, and superintendent of the 
 British Institution. He died at Brighton, 
 November 5, 1843. 
 
 S E G U I E K, John, topographical land- 
 scape painter. Younger brother of the fore- 
 going. He was born in London in 1785. 
 He commenced his studies as an artist in 
 the schools of the Koyal Academy, where 
 he gained a silver medal in 1812, and from 
 that time up to 1822 was an exhibitor at 
 
SEN 
 
 SER 
 
 the Academy. He painted local views, some 
 of which in the neighbourhood of Padding- 
 ton and Marylebone, became of considerable 
 topographical interest. Among his best 
 pictures may be mentioned two of Oxford 
 Market, two of Mr. Watson Taylor's House 
 in Cavendish Square, and a view of Kew 
 Bridge. He succeeded his brother as super- 
 intendent of the British Institution. He 
 died in London in 1856. 
 
 SENEX, John, engraver. The London 
 almanacs from 1717 to 1727 (except the year 
 1723) are engraved by him. He died in 
 1741. 
 
 SERRES, Dominic, R.A., marine 'painter. 
 Was born in 1722 at Audi, in Gascony, and 
 was educated in the public school there. 
 He is said to have been nephew of the 
 Archbishop of Rheims. His parents de- 
 signed him for the Church, but this was 
 repugnant to him, and running away from 
 his native town, he made his way on foot 
 into Spain, and went on board a vessel 
 bound for South America as a common 
 sailor, and passing through the ordinary 
 gradations as a seaman, became master of a 
 vessel trading to the Havannah, where, 
 during the war of 1752, he was taken 
 prisoner by a British frigate, and brought 
 to this country. Released on parole, he re- 
 sided for a time in Northamptonshire. He 
 was in great difficulties, and, having had 
 some instruction in drawing, he tried to 
 earn a living as an artist. His sea expe- 
 riences led him to marine subjects, and by 
 unremitting exertions, and some kind as- 
 sistance from Brooking, he made his way, 
 married, and determined to settle in Eng- 
 land. This seems the most reliable of 
 several accounts of his early career. 
 
 The naval wars of the period did not 
 fail to provide subjects for his pencil, and 
 his works became popular. In 1765 he 
 was a member of the Incorporated Society 
 of Artists, and exhibited with them in 
 that and the following year. On the estab- 
 lishment of the Royal Academy in 1768, he 
 was chosen one of the foundation members. 
 His name appears as a constant exhibitor, 
 contributing, up to the year of his death, 
 marine-pieces, illustrating the naval ex- 
 ploits and victories of the day. In 1792 
 he was appointed librarian to the Aca- 
 demy. For this office he was well quali- 
 fied. He spoke English with fluency, was 
 a good Latin and Italian scholar, and was 
 tolerably versed in French, Spanish, and 
 Portuguese. He was also appointed marine 
 painter to George III., but he did not long 
 hold these offices. He died November 6, 
 1793, and was buried at St. Marylebone 
 Old Church. There are several large sea- 
 pieces by him in the gallery at Greenwich 
 Hospital, and at Hampton Court Palace. 
 They are weak in execution, and want 
 
 purity in colour, and some of them, from 
 his manner of painting, have sadly de- 
 cayed. He left two sons, both artists ; 
 the eldest was distinguished as a marine 
 painter — the younger was only known as a 
 teacher of drawing. His daughters. Miss 
 J. Serres, and Miss E. A. Serres, were 
 honorary exhibitors at the end of the 
 century. 
 
 SERRES, John Thomas, onarine painter^ 
 Eldest son of the foregoing. He was born 
 in December 1759, and, brought up under 
 the eye of his father, he naturally imbibed 
 a taste for art. Having attained manhood, 
 he looked to teaching for his future support, 
 and was drawing master to a Marine School 
 then at Chelsea. But he soon appears as 
 an exhibitor at the Royal Academy, sending 
 in 1780 two water-colour views and a 
 painting of Sir George Rodney engaging 
 the Spanish squadron ; and continued an 
 exhibitor of landscape views and marines. 
 He had saved the means of visiting Italy, 
 and was preparing to start when he was in- 
 troduced to Miss Olivia Wilmot, the daughter 
 of a house-painter of Warwick, and the niece 
 of the Rev. J. AVilmot, vicar of Barton, in 
 that county. He fell at once in love and 
 became engaged to her, but in 1790 ho 
 started on his projected tour, made a short 
 stay in Paris, visited Lyons, Marseilles, 
 Genoa, Pisa, Florence, and Rome, where ho 
 passed five months, sending a picture to the 
 Academy, and then proceeded to Naples. 
 He had spent little more than one of the 
 three years which he proposed, when a letter 
 from Miss Wilmot hurried him home, and, 
 notwithstanding the opinions of his friends, 
 he was married to her on September 1, 
 1792. 
 
 On the death of his father in 1793, he'suc- 
 ceededto the office of marine painter to the 
 King, and was also appointed marine drafts- 
 man to the Admiralty, and in the execution 
 of his duties in the latter office was frequently 
 employed during the war to make sketches, 
 for the assistance of the Admiralty, of the har- 
 bours on the enemy's coasts. For this a ves- 
 sel was appointed for his service, and he was 
 paid 100^. a month while on actual duty. He 
 also contributed regularly to the Academy 
 exhibitions, chiefly shipping and marine 
 subjects. But the intrigues, depravity, vio- 
 lence, and extravagance of his wife, who 
 called herself Princess of Cumberland, and 
 founded large claims upon this assumption, 
 ruined him. She even forged bills in his 
 name. From all this a deed of separation in 
 1803 did not relieve him, and in 1808 he 
 went to Edinburgh to avoid the persecu- 
 tions to which he was subjected, and to hide 
 himself as well as the nature of his occupation 
 would permit, and for the next seven years 
 withheld his pictures from the Royal Aca- 
 demy. It was, however, of no avail; ho was 
 
 367 
 
SEE 
 
 SHA 
 
 soonawested and thrown into prison, and the 
 same round of persecutions continued, till at 
 last, impatience of his misery hurried him to 
 attempt suicide,which was happily frustrated. 
 
 Notwithstanding such difficulties, he had, 
 from his Government employment and other 
 sources saved some money, and he embarked 
 2,000^. in the speculation for building 
 the Cobourg Theatre, to which ho was 
 to have been appointed the scene-painter, 
 but the speculation failed, difficulties in- 
 creased, and he was compelled to take ad- 
 vantage of the Insolvent Act. He had 
 smiled only at his wife's great pretensions, 
 but they lost him the royal favour, which he 
 could never regain. He exhibited at the Aca- 
 demy in 1817, and once more in 1819. Teach- 
 ing now became his chief occupation and 
 support. Desponding, labouring early and 
 late, his health failed, his mental suffering 
 aggravated a tumour ; ho was moved into the 
 rules of the King s Bench, but the removal 
 hurried on his death, which took place on 
 December 28, 1825. He was buried beside 
 his father in Paddington churchyard. In his 
 will he declared that his wife had 'assumed 
 the name and title of the Princess of Cumber- 
 land without the least foundation whatever 
 for a claim to royal birth.' He translated 
 and published in 1801, 'The Little Sea- 
 torch,' a guide for coasting ships, with a large 
 number of aqua-tinted and coloured views, 
 very literally but artistically treated, and 
 in 1805 his 'Liber Nauticus,' or instructor 
 in the art of marine drawing. An exculpa- 
 tory memoir of him was published by 'A 
 Friend' in 1826. 
 
 SERRES, Olive, amateur. Wife of the 
 foregoing. Born in 1772. She was an hono- 
 rary exhibitor of a landscape at the Eoyal 
 Academy in 1794, and also exhibited land- 
 scapes yearly from 1804 to 1808, and at the 
 British Institution in 1806. In 1807 she 
 styled herself ' landscape painter to the 
 Prince of Wales,' but that title is omitted 
 in the following year. Her claim to be the 
 daughter of Henry Frederick Duke of Cum- 
 berland was brought before the House of 
 Commons in 1822. She died November 21, 
 1834. Her daughter (Mrs.Lavinia Janetta 
 Horton Ryves) who did not disclaim her 
 mother's high pretensions, died December 7, 
 1871. 
 
 Sl]RRES, Dominic M., water-colour 
 draftsman. Younger son of D. Serres, R.A. 
 He was a teacher of drawing, and on his 
 brother leaving England in 1790 he gained 
 part of his connection. H e exhibited land- 
 scape views at the Academy from 1783 to 
 1787, and supported himself for many years 
 by his art, but at hist fell into hopeless de- 
 spondency and lost his employment. He then 
 became dependent upon his brother, but died 
 after a few years. 
 
 SEYMOUR, James, animal ^painter. Was 
 368 
 
 born in London in 1702, the only son of a 
 banker, who was fond of art, drew himself, 
 and was intimate with Lely and other 
 artists. Ho excelled in sketching horses 
 with the pen, showing great spirit and cha- 
 racter, but he was a weak colourist, and, too 
 idle to apply himself, ho never attained 
 excellence beyond the mere sketch. Few 
 of his finished works are known. He died 
 June 30, 1752. R.Houston engraved after 
 him 12 platos of race-horses; and Thomas 
 Burford some hunting-pieces and hunters. 
 
 SEYMOUR, EnwAiiB, portrait jpainter. 
 Was a formal imitator of Kneller. He died 
 in January, 1757, and was buried in the 
 Churchyard at Twickenham. 
 
 SEYMOUR, Co\ono\, amateur. Painted 
 some good miniature portraits in the reign 
 of Queen Anne. 
 
 SEYMOUR, Robert, caricaturist. Born 
 in the Metropolis about 1800. He was ap- 
 prenticed to a pattern-drawer in Spitalfielcls. 
 On the completion of his time he painted 
 in oil, and in 1822 exhibited at the Royal 
 Academy, a subject from Tasso, followed 
 by others of some pretence, and some por- 
 traits and miniatures. But his true talent 
 was soon developed, and he was fully 
 employed in drawing on the wood for book 
 illustration; his works being almost ex- 
 clusively of a humorous character. In 1830 
 ' The Odd Volume ' was published with his 
 designs. In 1832-34,' The Comic Magazine,' 
 and 1831-36 the 'Figaro in London.' He 
 was also an etcher. In 1827, ho etched the 
 illustrations for 'Vagaries in Quest of the 
 Wild and Wonderful ; ' and in 1835 the 36 
 illustrations to ' The Book of Christmas.' 
 Shortly after he proposed a series of designs 
 of sporting life, introducing the members 
 of a Cockney Club, which he claimed to 
 have been the origin of the 'Pickwick 
 Papers,' by Charles Dickens, a claim which 
 involved him in some controversy. At the 
 same time ho was attacked with much 
 virulence by the Editor of ' Figaro,' with 
 which publication he had been so intimately 
 connected. He was harassed by the many 
 claims upon his pencil, and these added 
 troubles were probably too much for him. 
 He became subject to fits of despondency, 
 and on April 20, 1836, committed suicide. 
 
 SHA A, Edmund, die cncjraver. Was 
 graver to tlie Mints of London and Calais 
 2nd Edward IV. 
 
 SHAA, John, die engraver. Vv'as graver 
 of the coining irons of gold and silver within 
 England and Calais 1st Richard III. 
 
 8HACKLET0N, John, portrait 'painter. 
 Succeeded Kent, as principal painter to 
 George II., in April 1719, with a salary of 
 200/. He was one of the Artist Committee 
 of 1755, appointed to establish a Poyal 
 Academy, In 1766 he exhibited portraits 
 with the Free Society. There are by him 
 
SHA 
 
 SHA 
 
 portraits of George II. and his Queen in 
 Fishmongers' Hall, and a portrait of the 
 King at the Foundling Hospital. He died 
 March 16, 1767. 
 
 SHALDEKS, George, luater-coloiir 
 painter. His name first appears as an 
 exhibitor at the Eoyal Academy in 1848. 
 He was then living at Portsmouth, and was 
 an occasional exhibitor of views in Surrey 
 and Hants, and in 1858 and 1859 of Irish 
 scenery. In 1863 he was elected an asso- 
 ciate, and in 1865 a member, of the Institute 
 of Water-Colour Painters, and from that 
 time contributed to their exhibitions, land- 
 scapes, in which he skilfully introduced 
 cattle, especially sheep. Absorbed in his 
 art, and compelled by his necessities to 
 exert himself above his strength, he was 
 struck with paralysis, and died, after a few 
 days' illness, January 27, 1873, aged 47- 
 His artist friends raised a subscription for 
 his three motherless children. 
 
 SHARP, William, engraver. Was the 
 son of a gun-maker in the Minories, and 
 was born there January 29, 1749. He 
 received a premium from the Society of 
 Arts, and was apprenticed to Barak Long- 
 mate, an engraver on plate, and after his 
 apprenticeship continued to work for him 
 till he married, and set up for himself as a 
 \\Titing engraver. He continued this busi- 
 ness for some time with good encourage- 
 ment, till aspiring to something better than 
 card-plates and door-plates, he made a 
 drawing from Hector, the old lion in the 
 Tower, which he engraved on a small quarto 
 plate, and exposed for sale in his window. 
 About 1782 he quitted his shop and went 
 to reside in a private house at Yauxhall, 
 and then commenced the higher branch of 
 his art. He engraved from the old masters, 
 executed some plates for the 'Novelists' 
 Magazine ' after Stothard, and about the 
 same time completed the plate of West's 
 * Landing of Charles 11.,' which Woollett 
 had left unfinished at his death. He also 
 engraved some of the illustrations for 
 ' Captain Cook's Voyages,' and Benwell's 
 'Children in the Wood.' His success in 
 his profession, and some money left him by 
 his brother, enabled him to remove to a 
 better house in Charles Street, Middlesex 
 Hospital. From thence he removed to 
 Tichfield Street, and then, quitting the 
 metropolis, to Acton, and finally to Chis- 
 wick. 
 
 Among his finest works are : after Guido, 
 ' The Doctors of the Church disputing ' and 
 'Ecce Homo;' after West, P.R.A., 'King 
 Lear in the Storm ' and ' The AVitch of 
 Endor ; ' after Trumball, ' The Sortie from 
 Gibraltar ; ' after Copley, ' The Destruction 
 of the Floating Batteries at Gibraltar ; ' and 
 after Sir Joshua Reynolds, the portrait 
 of John Hunter and/ The Holy Family.' 
 
 This last plate, to the great discredit of 
 Bartolozzi, was converted by him into the 
 dotted style, but happily not before 100 
 impressions had been taken oif. Sharp's 
 style of engraving is masterly and entirely 
 original ; the half-tints of his best works 
 rich and full ; the play of his lines marked 
 by taste and genius ; the colour and cha- 
 racter of the master excellently rendered. 
 His works are known throughout Europe, 
 and though he received pressing invitations 
 from the continent, he never left his own 
 country. He was elected honorary member 
 of the Imperial Academy at Vienna, and of 
 the Royal Academy at Munich. But at 
 home he espoused the cause of the engravers, 
 who stood aloof from our Academy, of 
 which, by his own choice, he never became 
 a member. 
 
 He held very peculiar opinions. In his 
 young days he was a republican, dabbled 
 in the politics of Tom Paine and Horno 
 Tooke, and so loudly expressed his opinions, 
 that he was examined on treasonable charges 
 before the Privy Council ; but in his frank, 
 jolly manners the Council soon saw that 
 there was no danger to the State from the 
 poor deluded artist, who is said to have 
 pulled out his subscription list for a work 
 he was publishing, and asked the Council 
 to add their names. Though a staunch 
 believer in the Scriptures, he was by turns 
 -a convert to the opinions of the self-styled 
 prophets Brothers, Wright, and Bryan, and 
 under a portrait of the former, with the 
 title of ' Prince of the Hebrews,' he engraved, 
 ' Fully believing this to be the man whom 
 God has appointed, I engrave his like- 
 ness. — William Sharp, 1795.' Having heard 
 of Joanna Southcott, he suddenly set off to 
 Exeter, where she was gaining her living 
 as a charwoman, sought her out and brought 
 her to London, where he maintained her 
 at his own expense for a long time, and 
 expressed the firmest faith in her divine 
 mission. 
 
 After a short residence at Chiswick, he 
 died there, of dropsy on the chest, July 25, 
 1824, aged 75, and was buried in the parish 
 Churchyard. His credulity may account 
 for his dying poor, though industrious and 
 successful in his art. 
 
 SHARP, Michael W., portrait and sub- 
 ject painter. He was born in London. Was 
 a pupil of Sir William Beechey, and studied 
 in the schools of the Royal Academy. In 
 1801 he appears as an exhibitor, and for 
 several years contributed portraits and 
 portrait groups, with an occasional subject 
 picture to the Academy exhibitions. He 
 was also an exhibitor at the British Insti- 
 tution, and in 1809 was awarded a premium 
 of fifty guineas. After about 1818 he con- 
 fined himself to the latter class of art, but 
 I painted some subjects, into which he intro- 
 I B 369 
 
SHA 
 
 SHA 
 
 duced portraits. In 1820, lie exhibited 
 'Sunday Morning;' in 1823, 'The Shake- 
 speare Jubilee,' with portraits of the prin- 
 cipal Covent Garden performers ; in 1825, 
 'The Barber Politician;' in 1828, 'The 
 Sailor's Wedding ; ' and in 1836, his only 
 other contribution, ' Taming the Shrew.' 
 He died at Boulogne, in 1840. His art, 
 which had a tendency to vulgarity, was 
 well known by his engraved works : ' Sunday 
 Morning,' ' The Sailor's AVedding,' ' Bees- 
 wing,' ' The Black Draught,' ' The Last 
 Pinch,' ' Spoilt Child,' and others. 
 
 SHAKP, John, engraver. Though his 
 labours tended to advance his art, he never 
 rose to much eminence. He died in 1768, 
 and was buried at Chigwell, Essex. 
 
 SHAEPE, John, medallist. He held 
 the office of graver to the Eoyal Mint, 
 1st Henry VIII. 
 
 SHAEPE, Louisa, afterwards Mrs. 
 Sey&'siYth., water colour jpainter. Her name 
 first appears in 1817 as an exhibitor of 
 portrait drawings at the Eoyal Academy, 
 and she continued an occasional exhibitor 
 up to 1829, in which year she was elected 
 a member of the Water-Colour Society. 
 She then painted domestic subjects, and 
 her art was much appreciated. Among her 
 first contributions to the Society's exhi- 
 bitions were ' The Wedding,' ' Juliet,' 
 ♦Brunetta,' from Addison, 1832; 'The 
 Good Offer,' 1835; 'Constancy' and 'In- 
 constancy,' 1840; 'The Alarm in the 
 Night,' 1841; and in 1842, 'The Eortune 
 Teller.' In 1834 she married Dr. W. 
 Seyffarth, of Dresden, and resided in 
 that city till her death there, January 28, 
 1843. 
 
 SHAEPLES, Mrs., portreiit painter. She 
 was the widow of an artist who practised 
 with much repute in America, and painted 
 the portraits of many eminent men of the 
 time of the Eebellion. She resided some 
 time at Bath; and wasinLondon about 1807, 
 and in that year exhibited at the Eoyal 
 Academy miniatures of General Washing- 
 ton and Dr. Priestley, now in the National 
 Portrait Gallery. Slie afterwards prac- 
 tised at Bristol, where she settled, and after 
 a residence of some years, died, well ad- 
 vanced in years, in March 1849. Left 
 alone in the world she bequeathed all her 
 property to establish a Bristol Academy of 
 Art, and erect an edifice to be devoted 
 solely to artists ; her legacy, with a pre- 
 vious donation, amounting to 4,662/, was 
 the means of founding a permanent art 
 institution. 
 
 SHAEPLES, Miss Eolinda, portrait 
 painter. Daughter of the above. She 
 practised her art in Bristol. She exhibited 
 at the Eoyal Academy in 1820; and in 1823 
 sent ' Eainhani Ferry,' with portraits ; and 
 at the Suffolk Street Gallery, in 1832, ' The 
 370 
 
 Trial of the Bristol Eioters,' an elaborate 
 work, filled with small portraits. She was' 
 an honorary member of the Society. She 
 died Eebruary 10, 1838, and left several of 
 her father's portraits to the Bristol Society 
 of Arts, which afterwards formed part of 
 the institution to which her mother s pro- 
 perty was bequeathed. Her brother, James 
 Sharples, was a portrait-painter, and an 
 exhibitor at the Eoyal Academy. He died 
 at Bristol in 1839. 
 
 SHAW, William, arcliitect. He held the 
 office of Master of the Works at Holyrood 
 Palace, where there is a portrait of him. 
 He died in 1602. 
 
 SHAAV, James, animal painter. Lived 
 in Mortimer Street, Cavendish Square, 
 where he built a room suitable for horses, 
 which he chiefly painted. He exhibited 
 with the Society of Artists, 1761, 'Brood 
 Mares,' and ' A Stallion,' and contributed 
 to the first exhibition at the Eoyal Aca- 
 demy. He died about 1772. 
 
 SHAW, James, portredt p>mnter. Born 
 at Wolverhampton. AVas a pupil of 
 Penny, E.A. He lived for some time in 
 Charlotte Street, Eatlibone Place, and prac- 
 tised as a portrait painter. He exhibited 
 at the Eoyal Academy in 1776 and 1784, 
 but did not attain celebrity. Died shortly 
 after the latter year. 
 
 SHAW, John, E.E.S., architect. He had 
 considerable practice, and built the new 
 hall at Christ's Hospital, 1829, the new 
 church of St. Dunstan, near Temple Bar, 
 and other important edifices. He was a 
 member of the Institute of British Archi- 
 tects. Died from a sudden affection of the 
 heart July 30, 1832, aged 56. 
 
 SHAW, Henry, E.S.A., architectural 
 draft&metn. Born in London July 4, 1800. 
 He developed an early taste for drawing, 
 and found congenial employment in assist- 
 ing John Britton in his 'Cathedral Anti- 
 quities of Great Britain.' The illustrations 
 for Wells Cathedral, part of this great 
 work, published in 1824, are chiefly by his 
 hand ; and he was also largely engaged 
 upon the illustrations for Gloucester 
 Cathedral, published in 1828. The follow- 
 ing year he published a work of his own, 
 drawn and engraved by himself, ' The 
 Antiquities of Luton Chapel,' and then 
 commenced his unrivalled series of illumi- 
 nated works, the industrious labours of 
 a long life. He published, in 1832, 'A 
 Series of Details of Gothic Architec- 
 ture,' followed by 'Illuminated Orna- 
 ments,' ' Specimens of Ancient Furniture,' 
 ' Ancient Plate and Furniture,' ' Dresses and 
 Decorations of the Middle Ages,' 1839; 
 'The Encyclopaedia of Ornament,' 1842; 
 ' Alphabets, Numerals, and Devices of the 
 Middle Ages,' 1845; 'Decorative Arts of 
 the Middle Ages,' 1851; 'The Handbook 
 
SHE 
 
 SHE 
 
 of Mediseval Alphabets,' ' Arms of the 
 Colleges of Oxford/ 1855; 'Ornamental 
 Tile Pavements,' 1858; with several other 
 ■works of analogous character. The exam- 
 ples for these were selected with great 
 knowledge and taste from the purest and 
 best specimens ; but the labour of 40 years 
 met with no other reward than the gratifi- 
 cation found in a cherished pursuit. Ho 
 died June 12, 1873, aged 73. 
 
 SHEE, Sir Martin Archer, P.R.A., 
 'portrait painter. Was descended from an 
 old Connaught family, and was born Dec. 20, 
 1769, at Dublin, where his father, a well- 
 educated man, was a merchant. In his 
 boyhood he shewed a fondness for art, and 
 was placed in the Dublin School of Design. 
 His father dying soon after, ho was taken 
 in charge by a married aunt, whose par- 
 tiality for him caused some words with 
 her husband, which, coming to his ears, he 
 suddenly left the house penniless. He 
 "was able to find some employment in por- 
 trait painting, and continuing to work hard 
 at his studies, he gained, in 1787, the chief 
 medal in the Dublin School. In June, 
 1788, he came to London, and bringing a 
 kind introduction from Burke as ' his little 
 relative' to Reynolds, he was advised by 
 him to enter the schools of the Royal 
 Academy, which he did in 1790, though he 
 thought himself beyond such instruction. 
 He most earnestly employed his time and 
 opportunities. He had, in 1789, exhibited 
 two heads, and was employed both by 
 Boydell and Macklin to make reduced 
 copies of pictures for engraving, but 
 though he does not appear to have found 
 remuneration for his labours, he refused 
 his aunt's help, and practised great self- 
 denial. 
 
 In 1791 he exhibited his first whole- 
 length at the Academy, and struggling on, 
 he quietly gained a name and place in art. 
 His earliest works were theatrical portraits, 
 Lewis (an excellent full-length now in the 
 National Gallery) Stephen Kemble, Pope, 
 Fawcett, and others were painted by him in 
 character. At this time he attempted an 
 historical work, which, he says, cost him at 
 intervals three years' thought and toil. 
 His subject was ' The Daughter of Jepthah 
 lamenting with her Companions,' exhibited 
 in 1794. In 1798 ho completed a large 
 equestrian portrait, which added to his 
 reputation, and in the following year waB 
 elected an associate, and in 1800 a full 
 member, of the Academy. He then made 
 a tour on the Continent with Samuel Rogers 
 the poet. Though his true art and occupa- 
 tion was in portraiture, ho painted some 
 subject works, but they did not add much 
 to liis reputation. These were 'Lavinia,' 
 ' Belisarius,' his presentation picture, 'Pros- 
 per© and Miranda.' Meanwhile he had 
 
 established his reputation and his position. 
 In 1796 he took a large house in Golden 
 Square, and married, and in 1798 removed 
 to Cavendish Square, where he painted a 
 portrait of the Duke of Clarence, which 
 was engraved. 
 
 His genius was not, however, confined to 
 his pencil. Early in his career ho had con- 
 tributed a series of criticisms to a daily 
 journal, and in 1805 gained a literary repu- 
 tation by his 'Rhymes on Art,' of which 
 he wrote a continuation in 1809 under the 
 title of ' Elements of Art.' After several 
 lesser literary w^orks, cliiefly connected with 
 art and its interests, he wrote ' Alasco, a 
 Tragedy,' which was withdrawn from the 
 stage in consequence of some excisions 
 insisted upon by the licenser of plays, but 
 was printed in 1823, with an angry preface 
 appealing to the public, and, though coldly 
 received, the copyright is said to have 
 brought him 500/. In 1829 he published 
 anonymously ' Old Court,' a novel in three 
 volumes, which attracted little attention. 
 
 He had gained the esteem of the public 
 and of his profession. A man of many 
 talents, good breeding, gentlemanly man- 
 ner, of business habits, an orator able to 
 express himself well on all occasions, he 
 was, on a A^acancy in 1830, elected to the 
 office of president of the Academy, and 
 received the honour of knighthood, but he 
 did not receive the same lucrative com- 
 missions which had been enjoyed by his 
 predecessors, while his office and ostensible 
 position entailed much expense and a great 
 devotion of his time. His presidency had 
 also fallen in troubled times. He had to 
 maintain, against much opposition, the 
 privileges the Academy had so long en- 
 joyed in the possession of their rooms at 
 Somerset House, and showed great judg-' 
 ment and ability in the defence of the 
 Academy and of the interests of art, in the 
 widest sense, in his examination before a 
 Parliamentary committee in 1836, most 
 successfully replying to the attacks of the 
 assailants of the Academy. 
 
 Among his later works he painted, in 
 1834-35, the portraits of William IV. and 
 Queen Adelaide, which are now at AVindsor 
 Castle ; and in 1842 a portrait of Queen 
 Victoria for the Royal Academy. In 1845 
 an illness, from which he had some time 
 suffered, increased, and he tendered the 
 resignation of his office of president. But 
 on the unanimous solicitation of the Aca- 
 demy he withdrew it, and at the same 
 time accepted a yearly allowance of 300/. 
 voted to him, to assist him duly to main- 
 tain the office, which had much encroached 
 on his means ; and to this, 200/. a year 
 was added from the pension list by the 
 Queen, with reversion to his daughters. 
 His health, however, gradually declined, 
 b2 371 
 
SHU 
 
 SHE 
 
 and his death, accelerated by the sudden 
 death of his wife, took place at Brighton, 
 August 19, 1850. He was of the Eoman 
 Catholic faith, and was, at his own re- 
 quest, buried in the Brighton Cemetery. 
 His life was published in 1860 by one of 
 his sons. 
 
 In his early portraits he showed much 
 ability, clever, easy action, good drawing 
 and individuality of character, but with a 
 tendency to redness in his flesh tints, which 
 increased in his later works. As he ad- 
 vanced in art, he departed from the sharper 
 and more forcible execution which marked 
 his first portraits, and fell into a method 
 of giving the flesh a soft, unnatural 
 smoothness — an over-laboured appearance 
 — and did not fulfil in his later the 
 promise of his earlier years. He was, 
 nevertheless, a zealous supporter of the 
 interests of the art and artists of his 
 country, and will be always remembered 
 with sincere respect. 
 
 SHELLEY, Samuel, oniniature fainter. 
 He was born in Whitechapel, about 1750. 
 He gaineda Society of Arts premium in 1 770, 
 and was in a great measure self-instructed in 
 art, copying much from Keynolds, upon 
 whom he is reputed to have founded his 
 style. He first appears as an exhibitor 
 at tlie Koyal Academy in 1774, when he 
 was living in Whitechapel, and was for 
 several years a constant contributor. He 
 worked hard to improve his art, and raised 
 himself to celebrity. He was distinguished 
 for his miniatures, especially of females, 
 they display great finish, taste and elegance ; 
 are often treated allegorically and power- 
 fully coloured, though a grey tone pre- 
 dominates. He was one of the original 
 members of the Water-Colour Society, which 
 was planned and founded in his house, and 
 at the first exhibition in 1805, it will give 
 some idea of his art to say that he exhibited 
 together with miniature portraits, ' Psyche,' 
 * Nymphs feeding Pegasus,' ' Cupid turned 
 Watchman,' 'Love's Complaint to Time,' 
 ' Cupid solicits New Wings,' and some other ; 
 and in the three following years was a large 
 contributor of works of the same character. 
 He made some designs, which are defective 
 in drawing, for book illustration, and en- 
 graved some of his own works ; and J. E. 
 Smith, Caroline Watson, Bartolozzi and 
 Ryder engraved after him. He died in George 
 Street, Hanover Square, December 22, 
 1808. 
 
 SHENTON, Henry Chawner, engraver. 
 Was born at A¥inchester in 1803, and was 
 a pupil of Charles Warren, whose daughter 
 he married. He practised in the line 
 manner, produced a number of fine works, 
 and was greatly distinguished. Among his 
 more important works are 'The Stray Kitten,' 
 after Collins, R.A., 'The Loan of a Bite,' | 
 372 
 
 Mulready, K.A., 'Country Cousins,' Bed- 
 grave, R.A. Some good plates for Pinden's 
 Gallery of British Art, and the Annuals ; 
 and an excellent engraving after Cross of 
 ' Richard Coeur de Lion,' for the Art Union. 
 He died suddenly in Camden Town, 
 September 15, 1866, but had not, owing to 
 the failure of his sight, practised his pro- 
 fession for some time previous to his 
 death. 
 
 SHENTON, Henry Chawner, sculptor. 
 Was the eldest son of the foregoing, and the 
 nephew of Luke Clennell. He was a pupil 
 of Behnes, and in his 18th year was admitted 
 a student of the Royal Academy. He 
 studied for a time in Rome, and completed 
 three very ambitious groups. At the West- 
 minster Hall Competition he contributed a 
 colossal group of the ' Burial of the Princes 
 in the Tower,' and to the Royal Academy 
 in 1843, his ' Christ and Mary.' He also 
 modelled a statue of Archbishop Cranmer, 
 and was engaged upon a model of the Cruci- 
 fixion, the act of nailing Christ to the Cross, 
 when he died, after a few days' illness, 
 February 7, 1846. 
 
 SHEPHEARD, George, water-colour 
 painter. He was of a family long-known 
 in Herefordshire. He commenced the study 
 of art in the schools of the Royal Academy, 
 and from 1811 to 1830 was an occasional 
 contributor to the Academy exhibitions. 
 He painted chiefly the landscape scenery of 
 Surrey and Sussex, with one or two subject 
 pictures. 
 
 SHEPHEARD, George Wallwyn, 
 water-colour painter. Eldest son of the 
 above. He was born in 1804, and was 
 originally intended for the law; but was 
 led to the study of art; and travelled, 
 sketch-book in hand, through Prance, Ger- 
 many and Italy, and in 1838, while stay- 
 ing in Plorence, married an Italian lady. 
 Prom 1830 to 1851 he was an exhibitor 
 of landscape views and studies at the 
 Royal Academy. He died in 1852. His 
 brother, Lewis H. Shepheard, also an 
 artist, published in 1873 16 of his sketches, 
 in pencil and sepia, reproduced by the 
 autotype process. 
 
 SHEPHERD, George, engraver. Was 
 born about 1760. He practised his art 
 during many years in London. Engraved 
 ' Lady Hamilton's Attitudes,' in 15 plates ; 
 ' The Pleecy Charge,' after G. Morland, and 
 many portraits, which he etched and finished 
 in mezzo-tint. 
 
 SHEPHERD, Robert, engraver. Sup- 
 posed to have been a pupil of David Loggan, 
 from whose drawings he sometimes en- 
 graved. He practised at the commencement 
 of the latter half of the 17th century. His 
 best works are portraits. He made a re- 
 duced, but poor, copy of 'Alexander's 
 Battles,' from the engravings of Gerard 
 
SHE 
 
 SHE 
 
 Audran. His works were in the line manner, 
 laboured and careful. 
 
 SHEPHERD, George Sidney, ivater- 
 colour painter. He was from about 1821 
 an exhibitor at the Royal Academy, contri- 
 buting chiefly views in Devonshire. Later 
 he exhibited views of Metropolitan build- 
 ji-,gs_in 1830,' Old Covent Garden Market ; ' 
 in 1831, ' The Zoological Gardens ;' in 1835, 
 ' Okl London Bridge. He was in 1833 
 elected a member of the Associated Society 
 of Painters in Water-Colours, and was from 
 time to time an exhibitor up to 1860, when 
 his name disappears. His drawings were 
 well coloured, and possessed much artistic 
 merit. 
 
 SHEPPARD, William, po7irait painter. 
 Practised in the reign of Charles 11. There 
 is by him a good portrait of Thomas Killi- 
 grew, the jester, with his dog well intro- 
 duced, in the possession of Sir J. Puller 
 East, Bart. It is brilliant in colour, well 
 but freely drawn, and an original com- 
 position. This portrait, and another by 
 him, are well engraved by Faithorne. Little 
 is known of him. Walpole says he retired 
 to Yorkshire, where he died. Francis 
 Barlow was his pupil. 
 
 SHERIDAN, J., portrait painter. Was 
 born in the county of Kilkenny. He studied 
 in the Dublin Academy, but came to London 
 to practise before he had qualified himself 
 for success by sufficient study, and from 
 1785 to 1789 exhibited a portrait yearly at 
 the Royal Academy. With such help as 
 his friends could give him, he struggled 
 hard to succeed, but borne down by his 
 troubles, he died in London in 1790. 
 
 SHERLOCK, William, portrait painter 
 and engraver. Was born about 1738, at 
 Dublin, the son of a prize-fighter. In 1759 
 he was a student in the St. Martin's Lane 
 Academy, London, and the same year gained 
 a premium at the Society of Arts. He was 
 afterwards a pupil of Le Bas in Paris. He 
 exhibited portraits, small whole lengths, 
 and miniatures, painted both in oil and in 
 water colours, with the Incorporated Society 
 of Artists (of which body he was one of 
 the Directors), from 1764 to 1777, and at 
 the Royal Academy from 1802 to 1806. 
 His principal engraved works are the 
 portrait heads for Smollett's History of 
 England, but there are also some land- 
 scapes engraved by him. There was another 
 artist of the same family and the same 
 name who exhibited miniatures at the Aca- 
 demy in 1803. 
 
 SHERLOCK, Yv^iLLiAM, topographical 
 draftsman. He was in 1771 a member and 
 director of the Incorporated Society of 
 Artists. Ho was an occasional exhibitor 
 of views at the Royal Academy, chiefly 
 architectural, from 1796 to 1810, and drew 
 many of the illustrations for Dickinson s 
 
 ' Antiquities of Nottinghamshire,' 1801-06 ; 
 and published, 1811, 2-1 soft-ground etch- 
 ings after drawings by Girbin, Payne, ' 
 Powell, and others. He was a great imi- 
 tator of the landscapes of Richard Wilson, 
 R.A., and many of his works have been sold 
 as originals by this master. 
 
 SHERIFF, AViLLiAM Craig, suhjcct 
 painter. He was born near Haddington, 
 October 26, 1786, and studied in the 
 Trustees' Academy, Edinburgh. He Avas 
 doomed of great promise, and had com- 
 menced a clever picture of ' The Escape of 
 Queen Mary at Lochleven,' when he was 
 seized with rapid decline, and, just living 
 to complete his work, died March 17, 1805, 
 at the early age of 19. His work was 
 engraved by W. H. Lizars. 
 
 SHERRIFF, Charles, miniature painter. 
 He practised in Edinburgh, and came to 
 London in 1773, first exhibited at the 
 Royal Academy in 1771, and continued to 
 contribute his miniature portraits and 
 groups for several years, attaining a high 
 rank among the miniature painters of his 
 day. Mrs. Siddons spoke of him in her 
 correspondence in 1785, ' as more success- 
 ful in her portrait than any miniature 
 painter she had sat to.' He was deaf and 
 dumb, and in 1796, and up to 1800, was 
 living at Bath. He is believed to have 
 afterwards visited India to follow his pro- 
 fession there. 
 
 SHERWIN, William, engraver. Was 
 born at Wellington, Shropshire, about 1650, 
 the son of a clergyman. He engraved por- 
 traits, many of them from his own draAv- 
 ings. His earliest work is dated 1670, and 
 he continued to practise till 1711, and died 
 within tliree or four years after. He was 
 one of the early mezzo -tintists, and left a 
 few indifferent plates in that manner, not 
 reaching any excellence in either brancli 
 his art. He is said to have had the 
 office of engraver to the King confer- 
 red upon him by patent, a very unusual 
 distinction. 
 
 SHERWIN, John Keyse, engraver and 
 history painter. Was born at Eastdean, in 
 Sussex, the son of a labourer, and was him- 
 self, as a lad, employed as a woodcutter on 
 the estate of Mr. Mitford, near Petwortli. 
 Showing a great imitative power of draw- 
 ing, he gained a medal at the Society of 
 Arts in 1769, and was then sent to London 
 and placed under John Astley, and after 
 some time under Bartolozzi, with whom he 
 served three years. He was admiticd a 
 student in the Royal Academy, and, after 
 gaining a silver medal, carried off, in 1772, 
 the gold medal for his original painting of 
 ' Coriolanus taking Leave of his Family.' 
 His name from this time appears in the 
 Academy as an exhibitor of drawings in 
 i chalk, some of which attracted much notice. 
 
 373 
 
SHI 
 
 SIB 
 
 and his genius soon raised him from very 
 limited means to comparative affluence, and 
 rendered him careless and indolent. He 
 was rapid and slight in his manner, of great 
 assurance, and tempted by his vanity to 
 try works above his power. His ' Deserted 
 Village,' into which the portraits of his 
 family are introduced, and 'Siege of Gib- 
 raltar,' were very poor performances ; but 
 his 'Installation of the Knights of St. 
 Patrick,' fifty or sixty feet long, so far as it 
 was carried, was an absolute failure. 
 
 It is as an engraver that he will rank 
 high among our artists. His line was good, 
 the treatment well studied, and his textures 
 well rendered. His ' Christ bearing the 
 Cross,' after Murillo, ' Christ appearing to 
 Mary Magdalen,' and some of his portraits, 
 possess very great merits ; while his en- 
 gravings from his own works are meagre 
 in style and mannered. Of this, his ' Find- 
 ing of Moses,' in which the portraits of the 
 Princess Koyal and of several ladies of 
 rank who sat to him, are introduced is an 
 example ; while, as his own composition, it 
 is devoid of all historic character and feel- 
 ing. In addition to his works after the old 
 masters, he engraved after Gainsborough, 
 Edge Pine, Dance, and Angelica KaufFman. 
 He also made some water-colour dravdngs. 
 He held the appointment of engraver to 
 George III. and the Prince of Wales. 
 
 His talent and his speculations should 
 have turned to his advantage, but he had 
 no prudence, and he so ill-used the gifts of 
 fortune, that he ruined his constitution, 
 disgusted his friends, and so embarrassed 
 his circumstances, that he took refuge in 
 the house of a printseller on Cornhill, 
 afraid to appear abroad, and forced to the 
 drudgery of daily labour. Broken in health 
 and fortune, he died, forlorn and comfort- 
 less, in a poor lodging at a public-house in 
 Oxford Street, on September 21, 1790, 
 aged 39. 
 
 SHIELS, William, K.S.A., animal and 
 suhjcct painter. Was a native of Berwick- 
 shire, and practised in Edinburgh. He was 
 a member of the Scottish Academy, and was 
 an occasional exhibitor at the Eoyal Aca- 
 demy in London. In 1813 he sent ' The 
 Gipsies ' and ' A Eriendly Visit ; ' in 1814, 
 ' A Courtship ; ' and was not again a con- 
 tributor till 18ol, when ho exhibited ' The 
 Interior of a Scotch Eisherman's Cottage ; ' 
 and in the following year, ' Preparing for a 
 Visitor.' But he was best known as an 
 animal painter. lie died August 27, 1857, 
 aged 72. 
 
 SHIPLEY, William, 'porirait and land- 
 scape 2)ainter. Was originally a drawing- 
 master at Northampton, and afterwards 
 in London. He studied portrait painting 
 .under C. Philips, and there is a mezzo-tint 
 by Eaber of a painting with the name of 
 374 
 
 Shipley as the painter. But he is better 
 known as the founder of the St. Martin's 
 Lane Academy, known as 'Shipley's School,' 
 where the best artists of a whole generation 
 studied. He also planned and originated 
 the Society of Arts. He died at Manchester, 
 in December, 1803, aged 89. He was 
 brother to Dr. Jonathan Shipley, Bishop 
 of St. Asaph. 
 
 SHIPLEY, Miss Georgina, amateur. 
 Was daughter of the Bishop of St. Asaph, 
 and niece of the foregoing. Miss Burney, 
 writing to a friend, says of her, in 1782, 
 ' She is very much accomplished, and her 
 fame for painting and for scholarship I 
 know you are well acquainted with ; ' but 
 she describes her as full of herself, eager 
 for notice and conceited. She was an 
 honorary exhibitor at the Eoyal Academy 
 in 1781: 'Portrait of a Lady and Two 
 Children.' She married Erancis Hare 
 Naylor, who inherited the old mansion and 
 estate at Hurstmonceux. She lived many 
 years abroad, devoted to the education of 
 her children, who afterwards became dis- 
 tinguished in literature. She died in 1806. 
 
 SHIPSTER, Robert, engraver. Was a 
 pupil of Bartolozzi. He engraved for 
 Macklin's Bible West's 'Witch of Endor,' 
 a very creditable work in the line manner, 
 tolerably drawn, but wanting in power. 
 
 SHORT, R., draftsman and painter. 
 Practised in the middle of the 18th cen- 
 tury, painting military scenes and shipping. 
 Boydcll published twelve plates of naval 
 engagements between Erench and Spanish 
 vessels engraved after him by Caroline 
 Watson. 
 
 SHUTE, John, painter and arcliitect. 
 Born at CoUumpton, Devon. He is re- 
 ported to have practised before Hilliard, 
 and brought miniature limnings in books 
 to rare perfection. He was patronised by 
 the Duke of Northumberland, and was sent 
 by him to Italy, in looO, to improve him- 
 self in architecture, and at Rome he studied 
 under the best architects. Died Sept. 25, 
 1563. He published, in 1563, 'The Eirst 
 and Chief Groundes of Architecture,' with 
 illustrations on wood, and styles himself 
 'painter and architecte.' He is mentioned 
 also by Heydock in his translation of 
 ' Lomazzo on Painting,' published 1598. 
 
 SHUTER, Thomas, fortraU painter. 
 Practised early in the 18th centmy. There 
 is a full-length portrait by him at AVest- 
 wood Park, Droitwich, signed and dated 
 1725. It is in the semi-Roman style of 
 that time, and is reputed to have more of 
 pretence than merit. 
 
 SIBELIUS, M., engraver. Born at Am- 
 sterdam. He practised r.fter the manner of 
 Houljraken, and came to this country, where 
 he was much employed by Sir Joseph Banks, 
 and was eminently truthful in his botanical 
 
SIB 
 
 SIM 
 
 illustrations. He died in Lisle Street, 
 Leicester Square, February 11, 1785. 
 
 SIBSON, Thomas, subject painter. Was 
 born in Cumberland, the son of a yeoman, 
 in March, 1817. He was sent to Man- 
 chester to commence life in an uncle's 
 counting-house, but, preferring the uncer- 
 tainty of an artist's career, he came to 
 London in 1838, and issued an etched 
 work called * Scenes in Life,' which was 
 extravagant in design and drawing, and 
 had no success. After some other at- 
 tempts he went to Edinburgh, where he 
 found some employment as a book de- 
 signer. In 1842 he made his way to 
 Munich to study, and worked for a short 
 time under Kaulbach, but his health 
 suffered, and he returned to England. He 
 proposed to winter in Italy, but died at 
 Malta, November 28, 1814. 
 
 SIDDONS, Mrs. Saeah, amateur. Born 
 July LI, 1755. The eminent tragic actress. 
 She had much taste as a modeller. She 
 exhibited a bust of Adam from the ' Para- 
 dise Lost' at the Koyal Academy in 1802. 
 Lied June 8, 1831. 
 
 S I E V I E E, Egbert William, en gra ver 
 and sctdptor. He was born in London, 
 July 24, 1794, and showed a precocious 
 talent for drawing. In 1812 he was 
 awarded the Society of Arts' silver medal 
 for a pen and ink clrawing ; and, designed 
 for an engraver, ho was placed as a pupil 
 with John Young, and subsequently with 
 Edw. Scriven, and was, in 1818, admitted a 
 student of the Eoyal Academy. He early 
 practised as an engraver, and produced 
 many good works, chiefly in the dot manner 
 — a portrait of Lord Ellenborough, after 
 Lawrence, P.E.A. ; Lady Jane Grey, after 
 Holbein, 1822 ; Mr. Coutts, after Beechey, 
 E.A. ; ' The Importunate Author,' after 
 Newton, E.A., and several plates after Etty, 
 E.A. He had at the same time practised 
 modelling for his improvement in the 
 figure, and had also studied anatomy under 
 Mr. Brookes, the well known anatomical 
 lecturer. 
 
 His last works as an engraver precede 
 1823, and his studies and tastes then led 
 liim gradually to sculpture. His first 
 attempt was a bust of his father; in 1824 
 Lord Chancellor Eldon sat to him, and 
 rapidly improving, his great facility of 
 seizing the likeness and characteristic ex- 
 pression of his sitters, led many persons of 
 distinction to his studio. He exhibited 
 several of his busts at the Eoyal Academy. 
 In 1822 the Prince Consort, and the late 
 King of Prussia, both sat to him. Among 
 his works were also the busts of the 
 Persian Ambassador and Lord Brougham, 
 from whom, to save him the time of sitting 
 he took a plaster mask of the face ; the Earl 
 and Countess of Sheffield, with several other, 
 
 eminent persons. In the Soane Museum 
 there is a bust by him of LawTence, P.E.A. 
 But his art was not limited to busts. Ho 
 executed in alto relievo a fine colossal figure 
 of Christ ; the monument in the chapel 
 at Windsor to the Earl of Ilarcourt, the 
 pedestal representing in alto relievo four of 
 his military achievements ; a statue of Dr. 
 J enner in Gloucester Cathedral ; ' Affection,' 
 a group exhibited at the Academy in 1828 ; 
 and in 1829, a ' Girl with a Lamb ; ' also 
 ' Musidora ; ' a ' Sleeping Bacchante ; ' a 
 ' Boy with a Tortoise.' There is also by 
 him a statue of Charles Dibdin at Green- 
 wich Hospital ; a fine monument to St. John 
 Long in the Kensal Green Cemetry ; a 
 statue of Sir William Curtis at the Found- 
 ling Hospital ; and some good monumental 
 tablets introducing figures at St. John's 
 Church, Upper Holloway. 
 
 Of an active inventive mind, he had suc- 
 ceeded in two very separate branches of art, 
 when his thoughts were turned into a new 
 direction. He was well versed in subjects 
 of a scientific character, and had established 
 a spacious laboratory with valuable appa- 
 ratus ; and distinguished also by his man- 
 ners and power of conversation, he was, in 
 1840, elected a Fellow of the Eo}^! Society. 
 In his latter career, absorbed in scientific 
 and mechanical pursuits, to the neglect of 
 art, he built a large manufactory for the 
 production of elastic fabrics, made great 
 improvements m the manufacture of carpets, 
 was associated with the original India rub- 
 ber works, and rendered good early service 
 in electric telegraphy. He resided many 
 years at Henrietta Street, Cavendish Square, 
 v/here he had built a studio, and had also a 
 house at Upper Holloway, where his manu- 
 facturing inventions were carried on. Ho 
 died April 28, 1865, and was buried in the 
 Kensal Green Cemetery. 
 
 SILLETT, James, miniature and flower 
 'painter. Was born at Norwich in 1764, and 
 commenced life as an ornamental and herald 
 painter. He then came to London and from 
 1787 to 1790 studied at the Eoyal Academy. 
 He was an exhibitor in 1796, and continued 
 to exhibit occasionally for nearly 40 years. 
 He chiefly excelled in miniature, but ho 
 painted still-life, fruit and flowers both in 
 oil and water-colours, and was also for a 
 time employed in the scene room of both 
 Drury Lane and Covent Garden Theatres. 
 About 1804 he went to King's Lynn, and 
 while there drew the views for' Eichards's 
 ' History of Lynn.' In 1810 he returned to 
 settle in Norwich as a painter of still-life, 
 and died there May 6, 1840. 
 
 SIMMONS, Zow^, portrait fainter. Born 
 at Nailsea, Somersetshire, about 1715. .Ho 
 was well known both as a painter of history 
 and portraits. The altar-piece at All Saints', 
 I Bristol, and at St. John s. Devizes, are by 
 
 375 
 
SIM 
 
 SIM 
 
 him. He was an exhibitor of portraits at 
 the Koyal Academy in 1769-72-76. Many 
 of his portraits are engraved. He carried 
 on the business of a house and ship painter 
 at Bristol, and died there January 18, 1780. 
 
 SIMON, Jean, engraver. Born in Nor- 
 mandy, 1675. He was of an artist family, 
 who belonged to the Protestant Church at 
 Charenton, near Paris, where he studied his 
 art, and engraved some good plates in the 
 line manner. A refugee, he came to London, 
 and settled. He tried mezzo-tint, made 
 some improvement in the method of working, 
 and produced some good plates, which have 
 also the merit of a correct imitation of the 
 originals. On Kneller's disagreement with 
 John Smith, Simon was employed by him to 
 mezzo-tint his portraits, which he did with 
 much success ; and also worked after Dahl, 
 Hoare, Thomas Murray, Van Loo, and others. 
 He engraved several historical subjects after 
 the old masters, including some from the 
 cartoons. He died in London about 1755. 
 His collection of prints was sold by auction, 
 November 3, 1761. 
 
 SIMON, Peter J., engraver. Born some 
 time before 1750. He practised his art in 
 London for many years, following the dot 
 manner. He was early engaged upon Wor- 
 lidge's ' Antique Gems,' published 1768, and 
 engraved many of the plates for Boydell's 
 ' Shakespeare Gallery,' and other works after 
 the principal contemporary artists of the 
 English school. He died about 1810. 
 
 SIMON, Thomas, medallist. Was born 
 in England. His genius led him to art, 
 and he became a pupil of Briot, a Erench 
 artist, who was employed by Charles I., 
 both in the English and Scotch mints. 
 Simon assisted him in the latter, in 1633, 
 upon dies both for medals and the coinage. 
 In the same year he engraved the seal for 
 the high admiral, on which a ship in full 
 sail formed part of the composition. In 
 1646 he succeeded Briot as chief medallist 
 at the London Mint, and engraved many 
 medals for Charles L, and afterwards, for 
 Cromwell, who appointed him chief en- 
 graver. The Great Seal, and the dies for 
 crowns, half-crowns, and shillings during 
 the Commonwealth are by him, and many 
 of his best works v/ere executed at that 
 time. On the Restoration he was thrown 
 into prison, and there executed a fine crown- 
 piece of Charles II., on the margin of which 
 he engraved a petition to the king. This 
 fine work gained him not only his liberty, 
 but his office of chief medallist. An im- 
 pression of this celebrated coin, known as 
 ' The Petition Crown,' was sold by auction, 
 in 1832, for 225^. He was compelled to 
 give place to the brothers Roettier, in 1663, 
 but he was certainly employed in the fol- 
 lowing year, and is supposed by Vertue and 
 others to have died, some say of the plague, 
 376 
 
 about 1665, it seems probable, at his official 
 house in the Tower. Samuel Pegge, in a 
 letter to the ' Gentleman's Magazine,' Vol. 58, 
 supposes him to have been living in 1674, 
 and says that, ' in his latter days he used 
 to stroll about from place to place, in a 
 long coat, with a long staff, and a long 
 beard,' a statement which appears rather 
 to belong to his brother Abraham, the facts 
 of whose life have in other instances been 
 confounded with his. He was a great artist ; 
 he drew well ; his reliefs are low and broad ; 
 his manner of treating the hair beautiful, 
 and rarely excelled by any other medallist. 
 Virtue drew and engraved his 'Medals, 
 Coins, and Great Seals,' 1753. 
 
 SIMON, Abraham, medallist. Elder 
 brother of the foregoing, to whom he was 
 some time an assistant. He was born in 
 Yorkshire, and intended for the church, 
 but turned to art. He practised in the 
 reign of Charles II., and excelled in his 
 portrait models in wax. He went to Sweden, 
 on the invitation of the Court, and accom- 
 panied Queen Christina to Paris, from 
 whence he went to Holland, and returned to 
 England. He modelled, in wax, Charles II.'s 
 portrait for the medal of the proposed order 
 of the Royal Oak. The king was greatly 
 pleased with his work, and presented him 
 with 100 guineas, and the Duke of York 
 then sat to him, and asking the price of 
 his work, was told that the king had paid 
 100 guineas for the same. The duke thought 
 that 40 guineas would be enough, to which 
 Simon replied, by squeezing the soft model 
 into a shapeless lump, highly offending the 
 duke. It is said this proud temper marred 
 his prospects. He lost the Court favour, 
 and with that his employment ; became 
 slovenly and careless, eccentric and cynical, 
 wearing a long beard, and died in obscurity 
 soon after the Revolution. He had con- 
 tinued to wear the dress which prevailed in 
 Charles L's reign. 
 
 SIMONS, Rudolph, architect. Practised 
 in London about the middle of the 16th 
 century, and was considered one of the 
 most skilful architects of his day. Among 
 his works are Emanuel College and Sidney 
 Sussex College (1596-8). In the master's 
 house at the latter there is a fine portrait 
 of him. He made also some additions to 
 Trinity College. 
 
 SIMPSON, Archibald, architect. Was 
 born at Aberdeen, and educated at the 
 Marischal College. He was placed under 
 an architect in London, and then visited 
 Italy to complete his studies. On his re- 
 turn he settled at Aberdeen, and had an 
 extensive practice. He erected several 
 public buildings — the Church at Elgin, a 
 bridge across the Spey, and some fine 
 mansions in Aberdeenshire and the adjacent 
 counties. He also rebuilt part of Gordon 
 
SIM 
 
 SIN 
 
 Castle. He died at Aberdeen in 1847, in 
 his 59th year. 
 
 SIMPSON, Fbancis, amateur. Filled 
 the offices of alderman and mayor of Stam- 
 ford, and was known by his skill as a 
 draftsman. He made many drawings in 
 water-colours, and published from his 
 drawings a volume of Baptismal Fonts and 
 the West Front of Croyland Abbey. He 
 died at Stamford, July 29, 1861, aged 65. 
 
 SIMPSON, John, portrait 'painter. He 
 was born in London, in 1782, and studied 
 in the schools of the Koyal Academy. For 
 many years he was an assistant to Sir 
 Thomas LaMTence, and from 1807 was an 
 exhibitor, and later a large contributor of 
 portraits to the Academy. In 1837 he was 
 appointed painter to the Queen of Portugal. 
 His art was confined to portraiture. He 
 exhibited for the last time in 1845. He 
 drew the head and hands carefully, but 
 his work, though not without character, is 
 weak. 
 
 SIMPSON, Philip, portrait painter. Son 
 of the foregoing. He studied in the schools 
 of the Royal Academy, and was brought up 
 to art. He painted in 1824, 'I will fight,' 
 which was exhibited at Suffolk Street, and 
 was engraved. His chief subject pictures 
 exhibited at the Academy were, ' The 
 Young Piper,' 1829 ; ' Boys with a Monkey,' 
 1830; and in 1836, 'Girl and Boy with a 
 Parrot ; ' his last contribution. His brother, 
 Charles Simpson, iv^ho died young, in 1848, 
 was also brought up as an artist, and was 
 an exhibitor on one or two occasions at the 
 Academy. 
 
 SIMPSON, Joseph, engraver. Practised 
 in the reign of Queen Anne. He began 
 life as an engraver on plate, and gaining 
 some knowledge at the Artists' Drawing 
 Academy, he was employed by Tillemans 
 on a plate of his picture of Newmarket, 
 which helped to make him known in a 
 better rank of art. He also engraved after 
 Wootton and Wyke, and his w^orks are 
 chiefly hunting subjects. There is also by 
 him a series of six mezzo-tints, after 
 Monamy and Vandevelde, printed in green, 
 and some plates after his own designs. 
 
 SIMPSON, Joseph, engraver. Son of 
 the foregoing. He was brought up to his 
 father's profession. He completed a good 
 plate of a 'Holy Family,' after Filippo 
 Lauri, in 1728; and a portrait of Charles 
 L, on a white horse, after Vandyck, 1731, 
 and was deemed of much pomise, but 
 he died young, in 1736. 
 
 SIMPSON, William, engraver. Prac- 
 tised towards the middle of the 17th cen- 
 tury, and was chiefly employed by the 
 booksellers. He engraved the })lates for 
 an edition of ' Quarle's Emblems.' 
 
 SIMS ON, George, R.S.A., portrait 
 painter. Born at Dundee in 1791. Brought 
 
 up a printer he did not attempt art till his 
 30th year. He was early elected a member 
 of the Scottish Academy, and was for many 
 years a contributor to the exhibitions, send- 
 ing portraits, with sometimes a subject 
 picture, or a landscape. He died in Edin- 
 burgh in 1862. 
 
 SIMSON, William, R.S.A., portrait and. 
 subject painter. Was born at Dundee in 
 1800, and studied at the Trustees' Academy, 
 Edinburgh. He commenced with small 
 coast scenes, and for the first ten years of 
 his career he painted pictures sketched on 
 the sands of Leith and the shores of Fife, 
 which found a ready sale. In 1829 ho 
 made a higher effort, and painted ' The 
 Twelfth of August,' followed by ' Highland 
 Deer Stalkers,' and ' Sportsmen Regaling.' 
 In 1830 he was chosen a member of the 
 newly-founded Royal Scottish Academy, 
 and then for three or four years tried por- 
 trait painting, and was, by his savings, en- 
 abled to visit Italy for his improvement. 
 Returning in 1838 he settled in London, 
 and exhibited his ' Camaldolese Monk,' and 
 ' Cimabue and Giotto,' and the next year, at 
 the British Institution, his ' Dutch Family,' 
 and at the Academy ' Columbus and his 
 Child at the Convent of Santa Maria di 
 Rabida,' which gained him much notice ; 
 but his subsequent works did not maintain 
 the expectation which these pictures had 
 raised. He fell into ill-health, and died in 
 Sloane Street, August 29, 1847. His works 
 showed much vigour, powerful in colour 
 and light and shade. 
 
 SINGLETON, Joseph, miniature painter. 
 First appears as an exhibitor at the Royal 
 Academy in 1773, and continued to contri- 
 bute up to 1784. He exhibited portraits, 
 and also, in miniature, ' A Holy Family,' a 
 ' Little Bacchus.' 
 
 SINGLETON, William, miniature 
 painter. He practised in London, and was, 
 from 1779 to 1791, an occasional exhibitor 
 of miniature portraits at the Royal Aca- 
 demy. 
 
 SINGLETON, Henry, historg painter. 
 Was born in London, October 19, 1766, and 
 his ffither dying while he was a child, he 
 was assisted by his uncle, the above 
 William Singleton, with whom he resided 
 for many years at the commencement of his 
 career. He showed early indications of 
 genius, exhibited at the Spring Gardens 
 exhibitions as ' Master 11. Singleton, aged 
 ten years, a Soldier Returned to his Family, 
 drawn with the pen,' and gained admission 
 to the schools of the Royal Academy. At 
 the age of 18 ho gained the first sih^er 
 medal, and, in 1788, for his original paint- 
 ing from Dryden's ' Ode,' the gold medal. 
 In 1793 he painted, on commission, a por- 
 trait group of the Royal Academicians 
 assembled in Council, an important work, 
 
 377 
 
SIS 
 
 SLA 
 
 now in the possession of tlie Academy.- 
 He occasionally painted portraits. He first 
 exhibited at the Academy in 1784, and 
 contributed constantly to his death. He 
 put his name down for election as associate 
 for the first time in 1807, and, indignant at 
 his rejection, did not again become a candi- 
 date. He was largely employed as an 
 illustrator of books, for which he was well 
 suited, by his fertile pencil and ready in- 
 vention. Towards the end of his life he 
 completed a series of small-sized pictures 
 from Shakespeare. He lived in Charles 
 Street, St. James', was in easy circum- 
 stances, and of moderate, industrious habits. 
 He died at the house of a friend, in Ken- 
 sington Gore, September 15, 1839, and was 
 buried in the vaults of St. Martin's Church. 
 His works were mannered, but showed 
 great talent and refinement. There are 
 engravings after him by Gillbank, J. 
 Daniell, Scott, A. Cardon, and many others. 
 Miss Sarah M. Singleton, apparently his 
 sister, resided with him for some time, and 
 was, from about 1790 to 1820, an exhibitor 
 of miniature portraits at the Academy. 
 
 SISSON, 'portrait painter. Born in 
 
 Ireland, where he practised both in oil and 
 miniature. Mr. Burke mentions having sat 
 to him for a miniature. He died some time 
 before 1774. 
 
 S KELT ON, William, engraver. De- 
 scended from an old Cumberland family. 
 He was born in London, June 14, 1763, and 
 was for some time pupil to James Basire, 
 sen., afterwards to William Sharp. He also 
 studied in the schools of theEoj^al Academy. 
 He distinguished himself by his engraving 
 in the line manner and early found employ- 
 ment. He was engaged on the specimens 
 of ancient sculpture for t he British Museum, 
 and by the Dilettanti Society, for which he 
 executed some of his best works. He also 
 engraved in the dot manner for Boydell's 
 * Shakespeare.' Later he engraved and pub- 
 lished on his own account a series of royal 
 portraits of the family of George III., which 
 was very popular and had a large s;ilc. 
 From this work and his other labours he 
 realised a competence, and retired to Ebury 
 Street, Pimlico, where he died August 13, 
 1848, leaving an only daughter, who had 
 lived with him for half a century. He was 
 buried in Brompton cemetery. 
 
 SKELTON, Joseph, engraver. Younger 
 brother of the above. He studied in London, 
 engraved for ' Cantabrigia Depicta,' pub- 
 lished 1809, and for ' Oxonia Illustrala,' 
 ' Pietas Oxonienses,' and ' The Antiquities 
 of Oxfordshire.' He also engraved a scries 
 of 154 etchings of the collection of armour 
 at Goodrich Court, 1823. Ho went to 
 Franco for a timo, and was employed in 
 engraving the collection at the Versailles 
 Gallery then publishing in Paris. He after - 
 378 
 
 wards published himself, ' Le Chateau d'Eu 
 Illustre.' 
 
 SKIPP, John, amateur. He was a native 
 of Ledbury, Herefordshire, He published, 
 between 1770 and 1812, several chiaro- 
 scuro wood engravings, after drawings by 
 Parmigiano, Correggio, Kaphael, and other 
 masters of the Italian school. They were 
 printed with throe or four blocks, and were 
 the first which had boon attempted in this 
 manner since John B. Jackson's work in 
 1754, to which they wore much superior. 
 He sketched with much vigour in bistre 
 landscape compositions and sacred subjects ; 
 his figures very fairly drawn, and well 
 composed. 
 
 S K I E V I N G , Archibald, miniature 
 painter. He was born in Haddingtonshire in 
 1 749, and studiedatKome in 1794. He prac- 
 tised some time in London, confining him- 
 self to miniatures in water-colour and crayon 
 portraits. His miniatures are excellent for 
 their drawing, colour, and admirable expres- 
 sion. He possessed great taste, was inge- 
 nious, eccentric, and aspired to wit. He died 
 in 1819. 
 
 SKILLINGTON, , architect. He 
 
 practised in the 16th century, and built 
 Kenilworth, in 1575, for the Earl of 
 Warwick. 
 
 SKILLMAN, William, engraver. Prac- 
 tised in the reign of Charles II. There is 
 an engraving by him of the facade of Albe-* 
 marie House, and of the Banqueting House, 
 Whitehall. 
 
 SLATER, Joseph, landscape painter. 
 Practised in the reign of George 11. 
 Painted landscapes, introducing architec- 
 ture and figures. He executed some orna- 
 mental ceilings, and other works in fresco 
 at Stowe and More worth. 
 
 SLATER, J. AV., miniature painter. He 
 went early in life to Ireland, and practised 
 in Dublin, where his works were well 
 esteemed, about 1770. He then came to 
 London, and in 1786-87 was an exhibitor 
 at the Ro3^al Academy. He was a good 
 miniaturist. 
 
 SLATER, T., engraver. Practised in 
 the reign of Charles I. There is a portrait 
 head by him, but little is known of his 
 works. 
 
 SLATER, William, architect. He was 
 Ijroiight up to his profession under an archi- 
 tect of some local repute, and distinguished 
 himself by his many church restorations in 
 Northamptonshire — the fine early Saxon 
 churches at Kingsthorpe, Brixworth, Scald- 
 wel], Pitsford, Burton Latimer, Cransley, 
 and Higham Ferrers. He was also employed 
 in Scotland and in Ireland, and repaired the 
 old mansion of Holdenby. He died al)out 
 the end of 1872, and was buried at Hazel- 
 be;! ch, where his fomily had possessed con- 
 siderable landed property. 
 
SLA 
 
 SMI 
 
 SLAUGrHTER, Stephen, pcunfcr. 
 He Avas some time in Ireland ; practisecHhere 
 between 1730-40, and his works are fre- 
 quently met with in the old mansions. He 
 was appointed keeper of the King s pictures 
 in succession to Parry Walton's son. He re- 
 tired to Kensington, and died there May 15, 
 1760. His portraits possessed some merit 
 for colour, but were black and heavy in the 
 shadows. His sister had some repute for 
 her drawings. 
 
 SLOANE, Michael, engraver. Was a 
 pupil of Bartolozzi, and practised up to the 
 beginning of the 19th century, working in 
 the dot manner. He engraved Corrcggio's 
 celebrated ' Notte ; ' ' The Christening,' after 
 Whcatlev, K.A., and other works. 
 
 SMALLWOOD, William Frome, etreld- 
 tectured dreiftsmem. Was born June 24, 
 1806, the son of a hotel-keeper in Covont 
 Garden. He was a pupil of Cottingham; 
 was several times on the Continent, and 
 made a number of clever sketches, some of 
 Avhich he exhibited at the Eoj^al Academy, 
 and at the Suffolk Street exhibition. Many 
 of his drawings were engraved for the 
 ' Penny Magazine.' He died of brain fever 
 April 22, 1834. 
 
 S M A E T , John, oniniature j^ainter. 
 He was born about 1740, and in 1755 
 received a premium for a head in chalk 
 from the Society of Arts. He was a pupil 
 of Daniel Dodd, and a fellow-student with 
 Coswvay in the St. Martin's Lane drawdng 
 school. He was a member of the Incor- 
 porated Society of Artists, exhibited with 
 tliem miniature and crayon x^oi'traits at 
 the Spring Gardens Rooms in 1762-63-64, 
 and occasionally to 1783, and became one 
 of the Society's vice-presidents. He went 
 about this time to Ipswich, from whence he 
 sent to the exhibition of the Royal Aca- 
 demy miniatures, and occasionally an oil 
 portrait, up to 1788. In that year he went 
 to Madras, and afterwards, it is believed, 
 to Calcutta and Lucknow, and met with 
 great encouragement and success. Ho re- 
 mained about five years in India, and on 
 his return, was an occasional exhibitor at 
 the Academy till his death. His minia- 
 tures usually bear the signature 'J. S.' 
 They are well drawn, and distinguislied by 
 great delicacy, both of minute finish and 
 colour, and are highly esteemed. He died 
 in Russell Place, Eitzroy Square, May 1 
 1811, in his 70lh year. His son, John 
 SiMART, exhibited miniatures at the Aca- 
 demy in 1800 and 1808 ; died at Madras in 
 1809. Another son, also an artist, com- 
 mitted suicide in 1856. 
 
 SMART, Samuel Paul, oninieiture 
 painter. He resided in the east of London, 
 and from 1769 to 1787 w^as a constant ex- 
 hibitor of miniature portraits at the Royal 
 Academy. 
 
 S M I B E R T, John, portrait painter. 
 Was born in Edinburgh in 1681, and 
 served an apprenticeship to a house painter 
 there. On its completion he came to Lon- 
 don to better his fortune, and for his sub- 
 sistence worked as a coach painter, at the 
 same time copying pictures for the dealers, 
 and improving himself in drawing. He 
 studied a time in Sir James Thornhill's 
 Academy, and then managed to visit Ital}^ 
 where he spent three years copying the 
 portraits of Titian, Rubens, and V'andyck. 
 On his return, lie practised for some time 
 m his native city, and was intimate with 
 Allan Ramsay, the poet. Ho afterwards 
 settled in London as a portrait painter, 
 and found employment. In 1728 he wt>s 
 tempted to join in Bishop Berkeley's pliil- 
 antliropic scheme to establish an universal 
 college of science and art, and engaging 
 himself as a professor, he set sail for the 
 Bermudas, but this failing, he left the 
 Bishop at Rhode Island, and settled at 
 Boston. There he married a lady of con- 
 siderable fortune, and continued the practice 
 of his art, exercising great influence on 
 the young American artists. He died at 
 Boston in March, 1751, leaA^ing two 
 children, one of whom, Nathaniel, fol- 
 lowed his profession, but died young. 
 
 SMIRKE, Robert, R.A., subject pednter. 
 Was born at Wigton, near Carlisle, in 
 1752, of a family supposed of foreign 
 descent, who removed there from the West 
 Riding of Yorkshire. His father, a clever 
 man, who soon after died, brought him 
 to London in 1766, when 13 years old, to 
 develop a talent which he manifested for 
 art, and apprenticed liim to a herald 
 painter. He was a member of the Incor- 
 porated Society of Artists, and in 1772 
 entered the Royal Academy schools, and 
 exliibited, in 1786, for the first time at the 
 Academy, his subjects ' Narcissus ' and 
 'Sabrina,' and in 1791 'The AVidow,' a 
 humorous suljject. He was elected the 
 same year an associate of the Academy, 
 and in 1793 an academician, presenting 
 for his diploma picture ' Don Quixote and 
 Sancho.' He also entered into the plan of 
 the Shakespeare Gallery, for which he 
 painted ' Katherine and Petruchio,' ' Juliet 
 and her Nurse,' 'Prince Harry and Falstaff,' 
 and some others. At the same period he 
 exhibited at the Academy pictures, usually 
 of a small size, from our poets, chiefly from 
 Thomson. In 1804 ho was elected the 
 keeper of the Royal Academy, but he was 
 known to have expressed strong and revo- 
 lutionary opinions, and the King refused to 
 sanction his appointment. 
 
 He continued to paint subjects of do- 
 mestic nature, in which a quiet humour 
 chiefly predominated ; and in his later 
 vears was devoted to ' Don Quixote,' ' Gil 
 
 379 
 
SMI 
 
 SMI 
 
 Bias,' Shakespeare, and the * Arabian 
 Nights.' He was also much employed in 
 the illustration of books, for which his art 
 was peculiarly adapted. He died in Osna- 
 burgh Streer, Eegent's Park, January 5, 
 1845, in his 93rd year. His works are 
 numerous, marked by a gracious, quiet 
 humour, well drawn, cleverly painted, and 
 always pleasing. He was modest in his 
 opinion of his own works, impatient of 
 the judgment of amateur critics, and was 
 the author of a Catalogue Eaisonne of the 
 annual exhibition at the British Institu- 
 tion, 1815, in which he satirised the titled 
 directors. 
 
 SMIKKE, Sir Egbert, Knt., E.A., 
 architect. Was the second son of the fore- 
 going, and was born in London, October 1 , 
 1780. He was educated at Apsley School, 
 Bedfordshire. At 15 he began to study 
 architecture, and in 1796 was a pupil of 
 Sir John Soane, but for one year only, and 
 at the same time was admitted a student in 
 the Eoyal Academy. In 1799, having pre- 
 viously gained a sih^er medal, he was 
 awarded the gold medal for the best archi- 
 tectural design for a National Gallery for 
 Painting. In 1801 he visited Holland, and 
 in September 1802 set out on his travels 
 through France, Italy, Sicily, Greece, vig- 
 ourously pursuing his professional studies, 
 and returned through Germany to England, 
 in January, 1805. His reputation did not 
 leave him in want of employment. He was 
 engaged, on the erection of Lowther Castle, 
 for Lord Lonsdale, a fine specimen of 
 domestic architecture, and was, in 1807, 
 appointed architect to the Eoyal Mint, and 
 erected the present new structure on Tower 
 Hill. He was also engaged to rebuild 
 Covent Garden Theatre, destroyed by fire, 
 which he completed in 1809, within 12 
 months of its destruction. He was elected 
 an associate of the Academy in 1808, and 
 in 1811 to full membership. Continuing 
 to find full employment on large public 
 works, he erected 1823-29, the General 
 Post Office, and at the same time, 1823-47, 
 his most imposing work, the British 
 Museum ; also the College of Physicians, 
 Trafalgar Square ; King's College, forming 
 the east Aving of Somerset House ; the 
 Carlton Club, afterwards altered by his 
 brother ; the Union Club, the Oxford and 
 Cambridge Club, his most decorative design, 
 and some other works. His style was 
 classic. He chiefly employed the Ionic 
 order, and his buildings, though grand and 
 imposing in their proportions, were fre- 
 quently heavy. He seldom tried Gothic, 
 yet in that style he built the Temple 
 Library, and superintended the restoration 
 of York minster after the fire of ] 829. He 
 was for several years one of the architects 
 of the Board of Works, and on the aboli- 
 380 
 
 tion of that office in 1831 he received the 
 honour of knighthood. In 1845 he re- 
 linquished further employment, and soon 
 after his office of treasurer to the Eoyal 
 Academy, which he had held for 30 years, 
 and in 1850 retired to Cheltenham. This 
 was followed, in 1859, to make way for 
 younger men, by the surrender of his 
 diploma as Eoyal Academician. After so 
 long and prosperous a career, during which 
 he left such important marks of his ability 
 in the metropolis, he died at Cheltenham, 
 April 18, 1867. He published 'Specimens 
 of Continental Architecture.' 
 
 SMIEKE, EicHATiD, antiquaricm drafts- 
 man. Was born in 1778, and was the elder 
 brother of the above. Like him he was 
 brought up to art, studied in the Eoyal 
 Academy Schools, and in the same year, 
 1799, gained the gold medal, in his case 
 for painting, the subject being ' Samson and 
 Dalilah.' But he was led from high art to 
 the study of antiquities, particularly of 
 early costume, and was much employed as 
 their draftsman by the Society of Anti- 
 quaries. His works were distinguished by 
 great accuracy and truthfulness. The fac- 
 simile copies of the ancient paintings in 
 St. Stephen's Chapel, Westminster, were 
 made for the Society by him. He had much 
 scientific knowledge, particularly in chem- 
 istry, and he made several useful discoveries 
 in the qualities of colours. He died May 5, 
 1815, in his 37th year. 
 
 SMITH, Anker, A.E.A,, engraver. Was 
 the son of a silk merchant in Cheapside, 
 where he was born in 1759, and educated 
 at the Merchant Taylor's School. He was 
 articled to his uncle, an eminent convey- 
 ancer ; but showing great ability in copy- 
 ing engravings with his pen, his uncle was 
 induced to cancel his indentures and 
 transfer him to an engraver, from whom he 
 soon learnt the mechanical part of his art, 
 and then became assistant to James Heath. 
 Some time after he was employed on the 
 plates for Bell's ' Poets ' and other illus- 
 trated works of the same kind. He com- 
 menced his art in the dot manner, and in 
 this style executed 10 fine plates for Boy- 
 dell's ' Shakespeare,' and was also employed 
 on the 'Ancient Marbles' and the 'Ancient 
 Terra Cottas,' published by the British 
 Museimi. Later he practised in the line 
 manner, and produced another series of 
 plates of great excellence, among them ' The 
 Holy Family,' after Da Vinci ; ' A Magda- 
 len,' after Correggio; and ' Sophonisba,^ 
 after Titian. He was elected an associate 
 engraver of the Eoyal Academy in 1797, 
 and died June 23, 1819. 
 
 SMITH, Prebeeick William, sculptor. 
 Was the son of the above, and was born in 
 Pimlico. He studied in the schools of the 
 Eoyal Academy, and was a pupil and 
 
SMI 
 
 SMI 
 
 assistant to Sir F. Chantrey. In 1819 and 
 1820 he exhibited some busts at the Aca- 
 demy, and in 1821 he gained the gold medal 
 for his group ' Haemon and Antigone,' but 
 failed in his competition for the travelling 
 studentship. In 1824 he exhibited a group 
 from the 'Murder of the Innocents,' with 
 some busts ; in 1825 * Ajax,' and in 1827 a 
 
 * Nymph and Cupid.' He exhibited for the 
 last time in 1828. In his busts of Allan 
 Cunningham, Cliantrey, and Brunei, the 
 character was well expressed, and he was of 
 much promise ; but his health failed, and 
 he died young, at Shrewsbury, January 18, 
 1835. 
 
 SMITH, Heebert Luther, 'portrait and 
 subject fainter. Born 1811. He was the 
 younger brother of the above, and a student 
 at the Eoyal Academy. After exhibiting 
 portraits in 1831 and 1832, he exhibited a 
 subject of ' Bonner Requiring the Removal 
 of Cranmer's Bible from the Churches.' 
 He continued to exhibit portraits, sending, 
 also, in 1834, 'Non Angli sed Angeli ; ' in 
 1835, 'Christ Raising the Sick of the 
 Palsy;' in 1838, ' Leonidas ; ' in 1845, 
 'Jonah's Impatience Reproved;' in 1846, 
 
 * Abraham and Isaac' These were his 
 principal works, though he afterwards ex- 
 hibited. Ho was, in the latter part of his 
 life, employed by the Queen as a copyist. 
 He died March 13, 1870. 
 
 SMITH, Benjamin, engraver. Was a 
 pupil of Bartolozzi, and practised in the 
 dot manner. He gained an early reputa- 
 tion, which he hardly merited, and was 
 employed by Boydell on the Shakespeare 
 Gallery. He engraved after West, Rigaud, 
 Copley, Romney, and the prominent artists 
 of his day. His pupils were largely em- 
 ployed on his plates. He died in Judd 
 Place, London, in 1833. 
 
 SMITH, Charles, portrait fainter. He 
 was a native of the Orkneys, and nephew 
 of the well-known Caleb Whitefoord. He 
 studied his art in London. In 1789 he 
 exhibited a portrait group at the Academy ; 
 in 1791 portraits of two young ladies 
 dancing ; in 1792 the infant Shakespeare 
 nursed between Tragedy and Comedy. In 
 1 793 he resided in Edinburgh, and exhibited 
 ' a Nymph ' and ' an Infant Bacchus,' and 
 the same year went to India, where he was 
 appointed painter to the Great Mogul. In 
 1796 he had returned to London, and ex- 
 hibited an 'Andromeda,' and in 1797 
 ' Cymon and Iphigenia,' and some other 
 works, his last contributions. He wrote a 
 musical entertainment, in two acts, 'A Trip 
 to Bengal,' published in 1802. Died at 
 Leith December 19, 1824, aged 75. There 
 is a small portrait of him, etched by him- 
 self, and two mezzo-tint portraits of him 
 from a portrait painted by himself. 
 
 SMITH, Coke, water-colour fainter. He 
 
 travelled largely in the pursuit of his art, 
 and attained a very 'rapid but unfinished 
 manner of execution. He went to Turkey, 
 and in 1835-36 finished a number of 
 sketches at Constantinople, which were 
 lithographed by J. P. Lewis in 1837, and 
 afterwards went to Canada, and publislied 
 his sketches made in that colony in 1840. 
 
 SMITH, J. Catterson, P.R.H.A., for- 
 trait fainter. He was born in England, 
 and studied in the schools of the Roj^al Aca- 
 demy. In 1838-40 he exhibited there one 
 or two portraits, and about ten years later 
 went to Ireland. He first settled in Kerry, 
 and then removing to Dublin, he painted 
 some subject pictures, afterwards settling 
 down as a portrait painter. He was elected 
 a member of the Royal Hibernian Academy, 
 and later the President, and had many 
 sitters in the Irish metropolis. His por- 
 trait of the Queen is in the Dublin Mansion 
 House, of Daniel O'Connel in the City 
 Hall, and of several successive Lords- 
 Lieutenants in the castle. He died in 
 Dublin May 31, 1872, aged 65. 
 
 SMITH, George, architect. He practised 
 in the City, and built St. Paul's School 
 1823, and many other buildings in London, 
 He was architect to the Mercer's Company, 
 and built for the Company, 1825, Whitting- 
 ton's College, near Highgate. He was an 
 occasional exhibitor at the Royal Academy, 
 sending, in 1827, with other works, a de- 
 sign for Tottenham Church, and in 1829 a 
 design for the London Corn Exchange. Ho 
 died in 1869, aged 87. 
 
 SMITH, Charles Harriot, architect. 
 AVas born in London Pebruary 1, 1792, the 
 son of a respectable stone-mason, and was 
 employed in that business, devoting him- 
 self, after the ordinary hours of work, to 
 drawing and modelling, his chief employ- 
 ment being in stone-carving. He soon met 
 with encouragement, and, gaining admission 
 to the schools of the Royal Academy, he 
 applied himself to the study of architecture, 
 both classic and Gothic, and in 1817 he 
 gained the Academy gold medal for his 
 ' Design for a Royal Academy.' Of studious 
 habits, he became an archaeologist, and 
 acquired a knowledge of geology, minera- 
 logy, and chemistry. He was appointed a 
 member of the Royal Commission to deter- 
 mine the best quarry to supply the stone 
 for building the new Houses of Parliament; 
 and was in 1855 elected a member of the 
 Royal Institute of British Architects. He 
 exhibited at the Academy designs in archi- 
 tecture, models, and portrait busts; was 
 a lecturer, and wrote an essay on linear 
 and aerial perspective in Arnold's ' Library 
 of the Pine Arts,' He died October 21, 
 1864. 
 
 SMITH, Charles John, P.S.A,, engraver. 
 Was born in 1803 at Chelsea, wdiere his 
 
 381 
 
SMI 
 
 SMI 
 
 fother practised as a surgeon. At the age 
 of 1 6 he was apprenticed to Charles Pye, 
 the engraver. On the expiration of his 
 term, he was chiefly employed in the illus- 
 tration of topographical and antiquarian 
 works — Cartwright's ' Eapo of Bramher,' 
 Stothard's ' Sepulchral Effigies,' Dibdin's 
 * English Tour,' and publications of the 
 same class. He engraved also a series of 
 ' Autographs of Koyal, Noble, and Illus- 
 trious Persons ; ' and had proceeded as far 
 as the sixth number of a work, ' Historical 
 and Literary Curiosities '; when, in apparent 
 perfect health, he was attacked by paralysis, 
 and died November 23, 1838. 
 
 SMITH, Edward, engraver. Finished 
 some good plates in the line manner, 
 'Puck,' after Sir J. Keynolds ; 'The Pi- 
 per,' and ' Guess my Name,' after Wilkie. 
 He was engaged on Finden's Koyal Gal- 
 lery, and engraved ' The Contadini Family 
 Prisoners with Banditti,' after Sir Charles 
 Eastlake. 
 
 SMITH, Edward, SGulptor. AVas born 
 of a respectable family in the Co. of Meath, 
 1716, and was apprenticed to Verpyle, an 
 inferior artist, who at that time had good 
 employment in Dublin. His first public 
 work was the statue of Dr. Lucas, in the 
 Poyal Exchange, Dublin, 1772, an extraor- 
 dinary production for so young a man. 
 From this time to 1802 he was little noticed. 
 Few exhibitions were in the interval held 
 in Dublin, and from size and other conside- 
 rations his works were unsuited to exhibi- 
 tion, for he was chiefly employed on chimney- 
 pieces, tablets, and ornamental designs. On 
 the arrival of Gandon, the architect, in 
 Dublin, he fully appreciated and employed 
 him. He modelled 1 2 designs representing 
 tlio rivers of Ireland, to decorate the Dublin 
 Customs House. He designed for the noble 
 portico of the Four Courts — ' Clemency,' 
 ' Justice,' ' Moses,' ' Merc}^' and ' Minerva,' 
 works of incontestible merit, and some large 
 emblematic figures in bas-relief for the 
 interior of the dome. Also, two caryatide 
 figures and two groups in bas-relief for the 
 King s Inn. These works were all executed 
 for Gandon, as were also the corbel orna- 
 ments, the heads for the key-stones, and the 
 admirable groups of cherubs' heads for the 
 coiling ornaments of the Castle Chapel. He 
 had for some years received a large income, 
 but had saved nothing, and he was glad to 
 accept, with a salary of 100/. a year, the 
 office of master of the School of Sculpture, 
 which the Dublin Society established in 
 1806, and to hold the office till his death, 
 when he was succeeded by his son John 
 Smith. He was born, studied, and lived 
 only in Ireland, and died there towards the 
 end of 1812. Vigorous, original, and inven- 
 tive, ho was eminently distinguished as an 
 Irish artist, and both father and son were 
 382 
 
 remarkable alike for their genius and their 
 misfortunes. 
 
 SMITH, James, architect. Practised in 
 Scotland about the end of the 1 7th century, 
 and was esteemed the most experienced 
 architect of his day in that kingdom. He 
 designed and executed, 1692, Melvin House, 
 which is engraved in Campbell's ' Vitruvius 
 Britannicus.' 
 
 SMITH, Joseph Clarendon, water-colour 
 painter. He was born in 1778, in London, 
 where his father was a builder. Left without 
 provision, he was sent to sea, and after 
 serving about three years he was admitted to 
 the mathematical school of Christ's Hospital 
 to improve himself in navigation. But he 
 showed a desire to try art and was placed 
 under an engraver, with whom he worked 
 with credit, but not upon plates that bear 
 his name. Some of his best works on copper 
 will, however, be found in Weld's ' Topo- 
 graphy of Killarney.' After a time he 
 appears to have quitted engraving, in which 
 he was little known and ill-rewarded, to 
 try painting in water-colour. He exhibited 
 some Anews of churches at the Eoyal Aca- 
 demy, in 1806-1807. His subjects were 
 chiefly of a topographical character. The 
 undercroft of Canterbury Cathedral, 1807 ; 
 Henry VII.'s Chapel ; Waltham Cross, 1809 ; 
 the Saxon town of Bury St. Edmund's ; 
 and St. Augustine's Gateway, Canterbury. 
 He worked zealously at his new art, but he 
 was suffering from a pulmonary attack and 
 went to Madeira. He died on his passage 
 home in August 1810. 
 
 SMITH, Francis, architect. He practised 
 at Warwick and in the neigbouring counties 
 in the first quarter of the 18th century. He 
 is said to have rebuilt Warwick Church, 
 He built some good mansions which had 
 the character of being convenient and hand- 
 some, but were marked by great sameness. 
 He died in 1 730. There is a portrait of him 
 by Winstanley. 
 
 SMITH, Francis, landscape painter. Said 
 to have been born in Italy. Painted land- 
 scape, and some small domestic subjects. 
 He travelled in the East with Lord Balti- 
 more and made drawings. Exhibited at 
 the Poyal Academy in 1770 a picture of 
 Constantinople, and in 1772 some views in 
 Naples, and in 1773 some sketches on the 
 Tliames, his last contribution. Some of his 
 dravvings of the ceremonies of the Turkish 
 Court were engraved. He died in London 
 some time before 1780, supposed in 1779. 
 
 SMITH, Gabriel, engraver. Was born 
 in London in 1724, and studied the elements 
 of his art there. He then went to Paris for 
 his improvement, and on his return com- 
 menced practice in the dot manner. His 
 best works were executed for Alderman 
 Boydell,and were engraved after Tintoretto, 
 Snyders, Salvator Eosa. He travelled on 
 
SMI 
 
 SMI 
 
 the Continent for improYcment, accom- 
 panied by Eylancl, and in the hitter part of 
 his life -was employed by him, and etched 
 for him almost exclusively in the chalk 
 manner. He died in London in 1783, with 
 the reputation of an able artist. 
 
 SMITH, George, landscape ]oaintc7' 
 (known as ' Smith of Chichester '). His 
 father was a baker, and afterwards a cooper 
 in the South of England, but also exercised 
 the functions of a general Baptist minister. 
 He was born in Chichester in 1714, and, 
 Vvith his brothers, studied art in the sur- 
 rounding scenery, chiefly painting rural 
 subjects, and compositions of a pastoral 
 chiss. His works were pleasing, well 
 coloured, with a tendency to blackness, but 
 mere imitations of Claude and Poussin. 
 In his day they were lauded beyond their 
 merits, fashion placed him in the front 
 rank, poets apostrophised him, and the 
 Society of Arts awarded him in 1760 their 
 first premium in competition with Pdchard 
 Wilson. His name lives in the works of 
 Woollett, Eliot, Peake, and others, whom it 
 was his fortune to have as the engravers of 
 his works. Jointly with his brother John 
 he published 53 small plates, which they 
 had etched and engraved from .their land- 
 scapes. And Vivares and others engraved 
 after them a collection of ' Select Views in 
 England and Wales.' In 1763 he was a 
 member of the Free Society of Artists. He 
 was a good musician, an excellent violin- 
 cello player, and frequently performed at 
 the Chichester concerts. He was also gifted 
 with some poetic taste, and published in 
 1770 six pastorals and two pastoral songs, 
 of which in 1811 his three daughters pub- 
 lished a second edition. He died Sept. 17, 
 1776. 
 
 SMITH, John-, hmdscape xAunter. 
 Younger brother of the foregoing. Was 
 born in 1717. He also painted landscape, 
 but was inferior to his brother. He was a 
 member of the Eree Society of Artists. 
 Died at Chichester, July 29, 1764. 
 
 SMITH, William, 'portrait and land- 
 scape fainter. Elder brother of the two 
 foregoing. Was born in Guildford in 1707. 
 He devoted himself chiefly to portraiture, 
 but later he tried landscape, and after- 
 wards fruit and flowers. Ho was a mem- 
 ber of the Free Society of Artists. He died 
 atShopwich, near Chichester, Oct. 4, 1764. 
 
 SMITH, George, history painter. Was 
 born in London in 1802. He was brought 
 up as an upholsterer, but having a great 
 talent for art, on coming of age he turned 
 to it as a profession. He entered the 
 schools of the Academy, subsisted by the 
 sale of his drawings and by teaching, and 
 in 1829 gained the gold medal for his 
 original painting, 'Venus Entreating Vul- 
 can to Forge Arms for ^neas ; ' and the 
 
 following year lie was sent to Pome as tho 
 travelling student of the Academy. Ho 
 returned home at the end of 1833, and 
 resumed the practice of his profession, but 
 he met with little encouragement, his 
 licalth failed, and ho died from rupture of 
 a blood vessel, October 15, 1838. He was 
 of much promise, a good colourist, a vigor- 
 ous draftsman and painter. There is a 
 painting by him in the South Kensington 
 Museum. 
 
 SMITH, Jacob, engraver. Practised 
 about 1730. Among other works, he en- 
 graved on one plate portraits of bir Isaac 
 Newton and Sir Hans Sloane, executed in 
 one continuous spiral line, commencing in 
 the centre, and running to the extremities 
 of the plate. 
 
 SMITH, James, scidptor. Was a student 
 in the Poyal Academy, and in 1797 gained 
 the gold medal for his group, ' A^enus 
 wounded by Diomed.' He was also a suc- 
 cessful competitor for the monument in 
 Guildhall to Lord Viscount Nelson, which 
 he executed in 1808. He was employed by 
 Flaxman, R.A,, and assisted Mrs. Lamer 
 in many of her works. He died in Upper 
 Norton Street, April 28, 1815, in his 44th 
 year. 
 
 SMITH, John, mezzo-tint engraver. Was 
 born in London in 1654, and was the son 
 of an engraver. He is said to have served 
 his time under one Tillet, and was after- 
 wards a pupil of Beckett, from whom he 
 learnt the new process of mezzo-tint, in tho 
 technical processes of which he was further 
 assisted by Vandervaart. His early works 
 attracted the attention of Sir G. Knell er, 
 who took him into his house, emploj^ed him 
 in engraving his works, and instructed him 
 in their correct imitation. Here he made 
 great improvement in his art, engraved the 
 chief of Kneller's Avorks, and was esteemed 
 the first engraver of his day, but some time 
 before Kneller's death they disagreed and 
 he left him. He is commonly said to have 
 died in London in 1719, but it has been 
 shown that he was one of the mourners at 
 Kneller's funeral in 1723, and he is sup- 
 posed to have lived till after 1727, as a 
 portrait by him of George II. bears that 
 date. His works are very numerous, above 
 500 have been catalogued. They aro 
 chiefly portraits, but he also produced some 
 very fine plates after Correggio, Titian, Paul 
 Veronese, and Maratti. His works united 
 great power with sweetness, finish, and 
 freedom, and are very highly prized by 
 collectors. His portrait, by Kneller, is in 
 the National Gallery. 
 
 SMITH, John (known as * Warwick 
 Smith'), water-colour pai^iter. AVas born 
 at Irthington, Cumberland, July 26, 1749, 
 and was educated at St. Bees. He was one 
 of the early draftsmen in water-colours; and 
 
 383 
 
SMI 
 
 SMI 
 
 following Sandby, ho advanced tlie art, 
 giving greater force and colour to his 
 works. He accompanied Lord Warwick to 
 Italy, and hence his designation. Some of 
 his Italian sketches are dated between 1786 
 and 1795, the earliest mere tinted draw- 
 ings in the manner of the time, the later 
 enriched by local colour boldly used. His 
 works are elegant in composition, and have 
 a pleasing freshness of manner. He joined 
 the Water-Col our Society in 1 807, continued 
 a member when a large secession took 
 place in 1813, and was President of the 
 Society in 1816. He died in Middlesex 
 Place, Marylebone Koad, March 22, 1831, 
 and was buried in the vault under St. 
 George's Chapel, Uxbridge Koad. 
 
 SMITH, J. John, landscape painter. 
 Was born in London about 1775, and was 
 educated to art. He painted views intro- 
 ducing figures and animals, and also some 
 sea-pieces. He was an exhibitor at the 
 Koyal Academy 1813-19-21 ; in the latter 
 year of a view of Lisbon, taken on the spot. 
 There are eight views of villages, well- 
 etched plates, by him. 
 
 SMITH, John Orrin, wood engraver. 
 Was born at Colchester in 1799. He was 
 educated as an architect, but on coming to 
 London he made some successful attempts 
 at wood engraving, and in 1824: placed him- 
 self under William Harvey. His first 
 works of importance were the illustrations 
 to Seeley's Bible, and some spirited heads, 
 after Kenny Meadows. In 1835 he com- 
 menced the illustrations for a French edition 
 of ' Paul and Virginia,' which were very 
 successful, and in the same year was en- 
 gaged upon ' The Solace of Song.' Follow- 
 ing this, he engraved the designs for ' The 
 Illustrated Shakespeare,' by Kenny Mead- 
 ows ; also for La Fontaine's ' Fables,' Be- 
 ranger's 'Songs,' and other works of the same 
 character. He died from apoplexy, caused 
 by the shock of a shower-bath, October 15, 
 1843. 
 
 SMITH, Thomas, landscape painter, 
 known as ' Smith of Derby', where he was 
 born and chiefly resided. He was a self- 
 taught painter, and acquired a respectable 
 eminence by his own industry. He painted 
 views of Chatsworth, dated 1744, Dove- 
 dale, the Peak, and other picturesque parts 
 of the county; and also in Yorkshire, 
 Westmoreland, and other northern counties. 
 He was one of the first artists who depicted 
 the beautiful scenery of England. A col- 
 lection of 40 plates from his Derbyshire 
 views, engraved by Vivares and others, was 
 published by Boydell in 1760. He died at 
 the Hot Wells, Bristol, September 12, 1767. 
 
 SMITH, Thomas, miniature painter. 
 Was the eldest son of 'Smith of Derby,' 
 and was educated by him as a painter, but 
 from want of ability or of application, 
 884 
 
 succeeded no further than to become a bad 
 miniature painter, and by this, aided by 
 a small patrimony, he contrived to live. 
 From 1785 to 1788 he exhibited at the 
 Academy small portrait drawings and 
 miniatures. He died at Uttoxeter, some- 
 what beyond the middle age. 
 
 SMITH, John Eaphael, painter and 
 mezzo-tint engraver. Born 1752. Younger 
 brother of the above. Commenced life as 
 the apprentice to a linen-draper at Derby. 
 He then for a time served as a shopman in 
 London, and occupied his leisure, to increase 
 his means, by painting miniatures. Making 
 some progress in art, he tried engraving, 
 and produced a print, called ' The Public 
 Ledger open to all Parties,' which had so 
 great a sale, that he was induced to turn 
 engraver. He soon distinguished himself 
 by his works in mezzo-tint, and in 1778 
 was residing in Bateman's Buildings, Soho, 
 in the full practice of this art. He produced 
 about that time his plate of 'Edwin,' after 
 Wright, and of 'Mercury inventing the 
 Lyre,' after Barry, both works of much 
 skill. He afterwards engraved many of 
 Keynolds's works with great success, and a 
 full comprehension and rendering of his 
 manner. These works were very popular, 
 and he was appointed engraver to the 
 Prince of Wales. He formed an extensive 
 connection as a publisher and dealer in 
 prints, and should have realised an inde- 
 pendence ; but he was a man of pleasure, 
 fond of company, which led to dissipation, 
 became a sportsman, or rather sporting- 
 man, an adept in field sports, pugilism, 
 and the stage, and a good judge in all such 
 matters. He was a boon friend of George 
 Morland, and one of his best speculations 
 was his 'Morland Gallery.' 
 
 He drew in black and red chalk with 
 great spirit, and having gained the first 
 rank as an engraver, was ambitious to 
 distinguish himself as a painter, and drew 
 with great ability small whole-length por- 
 traits in crayons, and subject pictures, and 
 from 1779 to 1790 was an exhibitor at the 
 Academy, contributing, in 1782, a group of 
 the Duke and Duchess of Gloucester and 
 their children. His subject pictures were 
 of the class then fashionable, ' The Widow's 
 Tale,' ' The Unsuspecting Maid,' ' The 
 Moralist,' 'Inattention,' and such like. 
 When the print trade fell off, he devoted 
 himself exclusively to this, and, becoming 
 itinerant, visited professionally York, Shef- 
 field, Doncaster, and other towns. His 
 portraits of Mr. Fox, the Duke of Bedford, 
 Sir Francis Burdett, and Horne Tooke are 
 proofs of his ability. His latter portraits 
 are slight and hasty, a manner suited to 
 his disposition, and their number was in- 
 calculable. He could finish one in an hour, 
 but he was lost to his higher art. His 
 
SMI 
 
 SMI 
 
 mezzo- tints were tender, charming in draw- 
 ing and expression, full of colour. The 
 last three years of his life were spent at 
 Doncaster, where he died suddenly, of 
 asthma, on March 2, 1812, in his 60th 
 year, and was buried in Doncaster Church- 
 yard. Possessed of art talents in an emi- 
 nent degree, he was liberal, communicative, 
 an able critic and adviser. He was also 
 gifted with great conversational powers and 
 varied information. Chantrey, K.A., whom 
 in early years he had encouraged in Shef- 
 field, modelled a most characteristic bust of 
 him. His son, J. K. Smith, was for several 
 years at the beginning of the 19th century, 
 an exhibitor of works of the same class as 
 his father's. 
 
 SMITH, Miss Emma, ivater-coJoiir painter . 
 Daughter of the foregoing. Born about 
 1787. Had a talent for drawing. She ex- 
 hibited at the Eoyal Academy in 1805 
 ' Hector taking leave of Andromache,' and 
 in 1808 joined the Society of Associated 
 Artists in Water-Colours, during its brief 
 existence. 
 
 SMITH, Nathaniel, modeller. Was a 
 student in the St. Martin's Lane School, 
 and in 17o5 became the pupil of Roubilliac. 
 He gained several premiums at the Society 
 of Arts, the first in 1759, and later was 
 employed for many years as the principal 
 assistant to Nollekens, R.A. He carved the 
 River Gods at Somerset House, after the 
 designs of Cipriani, R.A. Some of his 
 drawings were published in his son's * An- 
 tiquities of London.' He is described on a 
 good portrait etching as * Sculptor and 
 Printseller.' 
 
 SMITH, John Thomas (called 'Antiquity 
 Smith'), to]pographical draftsman. Son of 
 the foregoing. Was born in a hackney 
 coach, June 23, 1766. His great-uncle was 
 Admiral Smith, known as ' Tom of Ten 
 Thousand.' He entered the Schools of the 
 Royal Academy, and was placed under 
 Keyse Sherwin, the engraver, but he left 
 him at the end of three years, and sought 
 an engagement on the stage. This failing, 
 he practised for many years as a drawing 
 master, residing at Edmonton. In 1798 
 he was an unsuccessful candidate for the 
 appointment of drawing master at Christ's 
 Hospital. Eor a time also he practised as 
 a portrait painter. He was a clever drafts- 
 man and a tolerable engraver, and his 
 antiquarian feeling led him at last to topo- 
 graphy. He was employed in drawings 
 of that class, and his name is largely con- 
 nected with recollections of the Metro- 
 polis. 
 
 His publications are numerous. In 1791, 
 ' The Antiquities of London and its Envi- 
 rons ; ' in 1797, ' Remarks on Rural Scenery,' 
 with 20 etchings of cottages from nature ; 
 in 1807, ' The Antiquities of Westminster ; ' 
 
 c c 
 
 between 1810-15, ' The Ancient Topography 
 of London,' drawn and etched by himself. 
 In 1816 he was appointed keeper of the 
 prints in the British Museum, an office he 
 held till his death; but it did not inter- 
 rupt his busy literary pursuits, for he pro- 
 duced, in 1817, 'Vagabondism,' with 60 
 portraits, drawn and etched by himself 
 from the life, of noted mendicants in the 
 Metropolis. He will, however, be best 
 known to the public by his ' Nollekens and 
 his Times,' published in 1828, which, des- 
 cending to the meanest domestic incidents 
 of his friend's life, was attributed to dis- 
 appointment from neglect in his will. He 
 died in University Street, Tottenham Court 
 Road, March 8, 1833, in liis 67th ycnr, and 
 was buried in St. George's burial-ground, 
 Bayswater Road. His • Book for a Rainy 
 -Day' was published after his death. His 
 drawings in water-colour shew great power 
 in that art. His etchings are truthful 
 and clever. His imitations of Rembrandt 
 and the Dutch landscape painters very 
 close. 
 
 SMITH, Samuel, engraver. Was born 
 in London about 1745. He practised land- 
 scape, using both the etching-needle and 
 the graver. He completed some good 
 plates — 'The Einding of Moses,' after 
 Zuccarelli, 1788. He also engaged in 
 some plates in conjunction with other 
 artists ; and in the ' Niobe,' after Wil- 
 son, R.A., by Sharp, the landscape is by 
 him, 1803. 
 
 SMITHSON, Robert, architect. He is 
 supposed to have been the pupil and suc- 
 cessor of John Thorpe. He built several 
 fine mansions, and was architect to the 
 Earls of Newcastle, for whom he built part 
 of Welbeck. He died October 15, 1614, 
 aged 79, and was buried at Woollaton, 
 Notts. 
 
 SMITHSON, Huntingdon, architect. 
 He was the architect of Bolsover Castle, 
 and when it was proposed to rebuild this 
 immense pile, which he commenced in 
 1613, he was sent to Italy by the Earl of 
 Newcastle to collect materials for the 
 improvement of his work. He built the 
 famed riding-house there in 1623, and 
 the stables in 1625. He died Dec. 27, 
 1648. 
 
 SMITHSON, John, architect. Son of 
 Huntingdon Smithson ; was well reputed as 
 an architect. He died in 1678. 
 
 SMITZ, Gaspar (called 'Magdalen 
 Smith'), subject and 'portrait fainter. 
 Born in Elanders. He came to England 
 soon after the Restoration to follow his 
 profession, and was induced to visit Ire- 
 land, where he settled. He studied for a 
 time in Rome. He painted miniature 
 portraits in oil, and attained much repute 
 for their colour, life-like nature, and re- 
 
 3S.^ 
 
SMY 
 
 SO A 
 
 semblance. He was, however, best known 
 by his Magdalens, which were well drawn, 
 and finished in a chaste, clever style, but 
 painted from a woman he kept and called 
 his wife. He usually introduced a deli- 
 cately finished thistle in the foreground. 
 There is a Magdalen by him in Painters 
 Hall, dated 1662. He Avas also a clever 
 flower painter. He had high prices for 
 his works, and was fully employed, yet 
 his extravagance kept him always in diffi- 
 culties, and he died in Dublin, in great 
 distress, in 1707. 
 
 SMYTH, John Talfourd, engraver. 
 Was born in Edinburgh, and was a zealous 
 student in the Trustees' Academy there. 
 In 1835 he determined to follow the pro- 
 fession of an engraver, but his m.aster 
 dying in the first year of his pupilage, he 
 was his own teacher, and soon gave proofs 
 of his ability. In 1838 he removed to 
 Glasgow, where he worked on plates which 
 produced him money, without advancing 
 his art, and he was induced to return to 
 Edinburgh, and there gained employment 
 of a higher class. He engraved ' John 
 Knox Dispensing the Sacrament,' from 
 Wilkie's unfinished picture ; Mulready's 
 'School,' from the Vernon collection; Sir 
 William Allan's ' Tartar Kobbers Dividing 
 their Spoil.' He was engaged upon other 
 works of this class, when he died, after a 
 short illness, from an attack on the brain. 
 May 18, 1851, aged 32. 
 
 SNELLING-, Matthbw, ji^orzfr^iY and 
 oniniature painter. Practised in the reign 
 of Charles II. He painted chiefly female 
 heads, but was not of much repute. A 
 portrait of Charles I. by him, dated 1647, 
 was exhibited at Kensington Museum in 
 the Loan Collection, 1852, and there is a 
 passable portrait by him at the College of 
 Physicians. 
 
 SOANE, Sir John, Knt., E.A., architect. 
 AVas the son of a bricklayer, in humble 
 circumstances, and was born near Heading, 
 September 10, 1752. He was educated at 
 Heading, and showing a love of art, was 
 first employed as an errand boy, and then 
 admitted to assist in the office of Ceorge 
 Dance, the architect. Subsequently he was 
 employed for a time in Henry Holland's office, 
 where he acquired a practical knowledge of 
 the profession, remaining with him till 
 1766. Meanwhile he studied in the schools 
 of the Eoyal Academy. In 1772 he ob- 
 tained a silver medal, and in 1776 the gold 
 medal for his 'Design for a Triumphal 
 Bridge,' and was then elected the travelling 
 student. He travelled for three years in 
 Ital}^ diligently engaged in study, return- 
 ing in the summer of 1780. He was 
 tempted to return at that time by an offiir 
 of employment from tlie capricious Hervey, 
 Earl of Bristol, which he did not realize ; 
 386 
 
 but entering into competition for public works 
 he made himself known, and in 1788 gained 
 the appointment of architect and surA^eyor 
 to the Bank of England, which laid the 
 foundation of his fortune. He had married 
 in 1788 the niece of George Wyatt, and 
 through her he eventually received a con- 
 siderable property. 
 
 Success waited upon him. In 1791 he 
 was appointed clerk of the works at St. 
 James's Palace, the Houses of Parliament, 
 and other public buildings ; in 1795 archi- 
 tect to the Department of AVoods and 
 Forests. Then professional honours came. 
 He was in that year elected an associate, 
 and in 1802 a full member of the Academy, 
 in 1806 Professor of Architecture. In 1807 
 he was appointed clerk of the works to 
 Chelsea Hospital, and erected the new in- 
 firmaries, and about the same time the new 
 Picture Galleries at Dulwich College. On 
 a commission from the Treasury he made 
 designs, in 1820, for the new Law Courts, 
 in the following year for a Royal Palace on 
 Constitution Hill. The former was carried 
 out, only after long contention, to be after- 
 wards altered ; the latter was never pro- 
 ceeded with, to his great chagrin, and pro- 
 bably the public loss. Buckingham Palace 
 was patched up instead. In 1831 he was 
 knighted, and in 1836 completed the State 
 Paper Office, his last work. 
 
 He had been fortunate in holding the 
 first professional appointments, had amassed 
 a fortune, built a house for himself in 
 Lincoln's Inn Fields, and made it a store- 
 house of art-treasures ; but ho was not 
 without his share of the world's troubles. 
 Of two sons, one died young, the other 
 lived to be a constant irritation and annoy- 
 ance, and his obstinate temper found a con- 
 solation in disinheriting his only surviving 
 child. Arrived at 80 years of age, his sight 
 failed, and in 1833 he resigned all his ap- 
 pointments and professional engagements. 
 He had long contemplated leaving his col- 
 lections, with his house, to the nation, for 
 the benefit of his profession, and he lived 
 to see his intentions carried out under the 
 sanction of a private Act of Parliament. 
 He died at his house in Lincoln's Inn 
 Fields, now ' The Soane Museum,' Jan. 20, 
 1837, aged 84. He was buried in the 
 ground belonging to St. Giles-in-the- 
 Fields, adjoining the Old Church, St. 
 Pancras. 
 
 His art was founded on the Greek, its 
 proportions pleasing, its masses broad and 
 simple, the arrangements well considered and 
 convenient to their intended uses, but the 
 style was marked by mannerism, especially 
 in the ornamentation. The buildings at 
 the Bank, the exterior of which he rebuilt, 
 are usually pointed to as his best and most 
 pretentious work. He did not live to feel 
 
SOE 
 
 SPE 
 
 the annoyance which must have been suf- 
 fered by the alteration of the Law Courts, 
 the destruction of his fine fii^ade to the 
 public offices in Whitehall, and the entire 
 demolition of his State Paper Office, an 
 erection of great perfection and merit, both 
 in its elevation, interior arrangement, and 
 fittings. He published, in 1778, ' Designs 
 in Architecture;' in 1788, 'Plans, Eleva- 
 tions, and Sections of Buildings erected in 
 Norfolk, Suffolk, Yorkshire, &c. ; ' in 1793, 
 'Sketches in Architecture ; ' in 1827, 'De- 
 signs for Public and Private Buildings.' 
 He also published a statement respecting 
 the new Law Courts and the Privy Council 
 Office, and in his latter days amused him- 
 self by preparing an account of. his house 
 and museum. 
 
 SOEST, GrERARD (sometimcs spelt Zoest), 
 j^ortrait 'painter. Was born in Westphalia 
 about 1637. He learnt his art in his native 
 country, and came to London witli an esta- 
 blished reputation about 1656, and was soon 
 appreciated. His portraits were well coloured, 
 simple, and natural, and those of small size 
 were much esteemed. His draperies were 
 frequently satin painted in imitation of 
 Terburgh's manner, which he afterwards 
 enlarged by the study of Vandyck. His 
 male portraits were the best. There is a 
 good whole length bj him of Lord Mayor 
 Sheldon at Drapers' Hall, and a head of 
 Dr. John Wallis at the Eoyal Society. He 
 is commonly said to have died in 1681, aged 
 44 years, but in Mr. Beale's Pocket-book, 
 well known to antiquaries, there is a note, 
 'Feb. 11, 1680-1: Mr. Soest, the painter, 
 died. Mr. Plessiere, the frame-maker, said 
 he believed he was near 80 years old.' 
 
 SOLDI, Andrea, 'portrait and history 
 fainter. He was born in Florence, and, 
 after a visit to the Holy Land, he came to 
 England about 1735, and was then about 
 thirty years of age. A good draftsman, 
 and surpassing many of his contemporaries, 
 he found good employment as a portrait 
 painter ; but he was extravagant, lost his 
 patronage, and fell into misfortunes. He 
 was a member of the Incorporated Society 
 of Artists in 1766, but did not long 
 survive. 
 
 SOLOMON, Abraham, subject 'painter. 
 AVas born in London in 1824, of a respect- 
 able, but not wealthy, Jewish family. At 
 the age of 13, he was placed in a drawing- 
 school in Bloomsbur}^, and the same year 
 was awarded a medal at the Society of Arts. 
 In 1839 he was admitted a student of the 
 Royal Academy. In 1843 he exhibited there 
 his first picture, a subject from Crabbe ; in 
 1847 a story from the 'Vicar of Wakefield;' 
 and, continuing a yearly exhibitor, in 1857 
 ' Waiting for the Verdict,' a picture which 
 made him known. In 1862 he exhibited 
 his last work, ' The Lost Found.' He was 
 suffering from disease of the heart, and, in 
 
 c 
 
 the hope of relief, visited the south of 
 France, and died at Biarritz, December 19. 
 1862. 
 
 SOLY, Arthur, engraver. AVas a pupil 
 of Eobert AVhite, and engraved for him. 
 He practised in the reign of Charles II., 
 and there are some good heads by him ; 
 among them a portrait of Ei chard Baxter, 
 dated 1683. A portrait of him, by liis 
 master, was engraved in the same year. Ho 
 died about 1695. 
 
 SOMEKVILLE, Andrew, R.S.A., suhject 
 painter. He was born, it is believed, iu 
 Edinburgh. Educated in the Trustees' 
 Academy, he practised in that city, and was 
 in 1833 elected a member of the Royal 
 Scottish Academy. He died in the same 
 year, when about only SO years of age. His 
 ' Flowers of the Forest,' and ' The Bride of 
 Yarrow,' may bo mentioned among his suc- 
 cessful works. 
 
 SONMANS, AViLLiAM. Practised iu 
 London in the first half of the 18th century, 
 chiefly in making drawings of natural 
 history. The drawings for the illustration 
 of Morrison's ' Historia Plantarum,' 1715, 
 are by him. 
 
 SOWERBY, James, draftsman and en- 
 graver. Was well known by his many 
 drawings for the illustration of botanical 
 works. Of these the chief are Smith's 
 ' Icones Pictse Plantarum Rariorum,' 1790 ; 
 Smith's 'Grleanings of Botany,' 'Specimens 
 of the Botany of New Holland,' 1793; 
 Shaw's ' Zoology of New Holland.' He was 
 also the publisher himself of ' The Florist's 
 Delight,' 1791, an easy introduction to 
 drawing flowers; 'English Botany,' 1790; 
 coloured figures of British fungi, 1796. 
 He resided some of the latter part of his 
 life in Paris. Died October 25, 1822, in 
 his 66th year. 
 
 SOYER, Madame, subject painter. {See 
 Jones, Emma.) 
 
 SPACEMAN, Isaac, still-life painter. 
 AVas known as a painter of animals, prin- 
 cipally birds. He practised about the 
 middle of the 18th century. Died at Isling- 
 ton January 7, 1771. 
 
 SPANG-, Michael Henry, modeller. Was 
 a native of Denmark. He exhibited busts 
 and models in wax with the Society of 
 Artists in 1 761 , and carved the figures in the 
 pediment of Lord Spencer's house, St. James's 
 Park — a very respectable work — and the 
 decorations on the screen of the Admiralty. 
 He drew the figure well, and with great 
 anatomical truth. He died shortly before 
 1767. His widow was relieved by the 
 Artists' Society. 
 
 SPENCE, AViLLiAM, sculptor. Was born 
 at Chester, and at an early age placed under 
 a wood-carver and teacher of drawing at 
 Liverpool. He was fortunate in making 
 the acquaintance of John Gibson, R.A., the 
 eminent sculptor, who assisted him to em- 
 c 2 . 387 
 
SPE 
 
 SPI 
 
 ployment, and he soon distingmshed him- 
 self as a draftsman and modeller. He was 
 appointed professor of drawing in the 
 Antique School of the Liverpool Academy, 
 and regularly contributed to its exhibi- 
 tions, and in 1843 and 1844 sent some 
 Scripture subjects and busts to the Boyal 
 Academy. But he was admitted a partner 
 into a Liverpool house, and, withdrawing 
 himself from his profession, was successful 
 in business. He died at Liverpool July 6, 
 1849, aged 56. 
 
 SPENCE, Benjamin Edward, sculptor. 
 Son of the foregoing. He was born at Liver- 
 pool in 1 822. At the age of 16 he modelled 
 a very successful bust of Mr. Eoscoe, and 
 later a group, which was awarded a prize 
 at the Manchester exhibition. He then went 
 to Kome, where he was assisted by John 
 Gibson, K.A.,and became the pupil of J. H. 
 Wyatt, and soon made up his mind to settle 
 there in the practice of his profession. Some 
 of his first works were not sent to this 
 country, but from 1849 he occasionally sent 
 a work from Eome to be exhibited at the 
 Royal Academy. In 1850, 'Ophelia;' in 
 1856, ' Venus and Cupid ; ' in 1861, ' Hip- 
 polytus ; ' and in 1867, ' The Parting of 
 Hector and Andromache.' In 1862 he was a 
 contributor to the International Exhibition, 
 lie did not attain much eminence. His 
 works had little originality in their con- 
 ception, but were not without elegance and 
 feeling. He died at Leghorn, October 21, 
 1866. 
 
 SPENCER, Gervase or Jarvis, minia- 
 ture pai7iter. Was a gentleman's servant, 
 lie had a talent for art, and amused him- 
 self by drawing. He made such a successful 
 copy of a miniature of one of his master's 
 family that he was encouraged and assisted 
 by him to try art ; and he studied with so 
 much perseverance as to become the fashion- 
 able painter of his day. He practised 
 towards the middle of the 18th century both 
 on ivory and in enamel. He exhibited with 
 the Society of Artists in 1762 some portraits 
 in enamel, and some fine miniatures in that 
 material bearing the initials ' G. S.', seem 
 properly attributable to him. His portrait 
 was painted by Reynolds, from which he 
 etched a good plate, to which the name of 
 George Spencer has been erroneously added. 
 Some slight portrait etchings by him in the 
 X^rint-room at the British Museum, evince 
 a refined power of drawing. He died 
 October 30, 1763. 
 
 SPENCER, Lavinta, Countess, amateitr. 
 Daughter of the Earl of Lucan, married in 
 1781 the second Earl Spencer. Between 
 1780-90 she made some good original draw- 
 ings, several of which were engraved. Gill- 
 ray engraved in the dot manner ' The 
 Orphan,' by her, and Bartolozzi her ' New 
 Shoes.' 
 
 388 
 
 SPICER, , engraver. Practised in 
 
 mezzo-tint in the latter half of the 18th 
 century. There are by him, after Reynolds, 
 plates of Kitty Eisher, Lady Stafford, and 
 some others. 
 
 SPICER, Henry, miniature painter. He 
 was born at Reepham, Norfolk, and was the 
 pupil of Gervase Spencer. He first appears 
 as a contributor of miniatures to the exhi- 
 bitions of the Incorporated Society of Artists 
 in 1766, and was their secretary in 1773, 
 continuing to exhibit yearly with them up 
 to 1783. At the Royal Academy he first 
 exhibited in 1774, and in 1795 contributed 
 the portrait of the Prince of Wales, who 
 .appointed him his portrait painter in enamel. 
 In 1776 he went to Dublin and painted the 
 portraits of many of the most eminent per- 
 sons in Ireland. Eor 20 years he continued 
 an exhibitor at the Academy, practising 
 both in enamel and on ivory, and attained 
 much excellence in his art; his works were 
 powerful and the likeness strongly im- 
 pressed. He died in Great Newport Street, 
 June 8, 1804, aged 61. 
 
 SPILLER, John, sculptor. Was born in 
 1763, and was a pupil of Bacon, studying 
 also in the schools of the Royal Academy. The 
 statue of King Charles, which stood in the 
 centre of the piazza of the Royal Exchange, 
 before the fire in 1838 was his work. He was 
 an occasional exhibitor at the Academj^ com- 
 mencing in 1 778. He contributed wax models 
 and portraits. In 1785 'Venus Introducing 
 Helen to Paris,' a group ; and in 1792, when 
 he exhibited for the last time, designs for 
 two churches. The elder D'Israeli says of 
 him, ' the energy of his labour and the 
 strong excitement of his feelings had made 
 fatal inroads upon his constitution, and he 
 only lived to finish his statue of Charles.' 
 He died 1794. 
 
 SPILSBURY, P. B., amateur. Was sur- 
 geon to H.M.'s ship 'LeTigre,'andwas in the 
 campaign in Syria and Palestine, 1796, 
 where he made many sketches of views and 
 costume. He published ' A Series of Pictur- 
 esque Scenery in the Holy Land and Syria,' 
 and also 'A Voyage to the Western Coast of 
 Africa,' 1805, illustrated by his own sketches 
 of the natives, but they are rudely drawn 
 and without character. He also painted 
 several pictures in oil. 
 
 SPILSBURY, Inigo, engraver. Born 
 1730. He worked both in mezzo- tint and 
 in the dot manner. In the latter manner 
 he published in numbers a ' Collection of 
 Gems,' some nonconformist portraits, and 
 several small half-lengths and heads. Like 
 many of the early engravers he also kept a 
 shop for the sale of prints. He died about 
 1795. His mezzo-tints are well drawn, but 
 black and colourless. 
 
 SPILSBURY, Jonathan, portrait 
 painter. He was from 1776-84 an exhj- 
 
SPI 
 
 ST A 
 
 bitor of portraits at the Roj-al Academy, 
 and in 1777 contributed also two Scripture 
 subjects. He practised both in oil and in 
 miniature. 
 
 SPILSBURY, JoHX, mezzo-tint engraver. 
 He gained a premium from the Society of 
 Arts for a mezzo-tint in 1761 and 1763, 
 and scraped a great number of small plates 
 and portraits after Eeynolds and others ; 
 also, after Eubens, the heads of two monks 
 reading from the same book. He designed 
 and engraved ad vivum ; and in this man- 
 ner there is a mezzo-tint portrait of the 
 Prince of Wales, dated 1757 ; and a second, 
 dated 1764 ; and in the same year portraits 
 of the King and the Queen ; also a portrait- 
 as large as life, dated 1766, of Arthur 
 Pond's sister, the lady mentioned in the 
 'Idler,' who rode 1,000 miles in 1,000 
 hours. In 1770-71-73 he exhibited at the 
 Spring Gardens Rooms. About 1782 he 
 was drawing-master at Harrow. His work 
 was good and careful, but rather black and 
 hard. 
 
 SPILSBUEY, Miss Maria, portrait and 
 subject painter. Daughter of the above. 
 Born in London about 1768. She showed 
 a taste for art, to which she devoted herself. 
 Her best works are peasants and children. 
 She painted ' The Seven Churches of Grlen- 
 dalough,' with a fair in the foreground — and 
 * Holyeve.' Her attempts of a higher class 
 were failures. In 1792 she was an honorary 
 exhibitor at the Academy, and in 1807 
 exhibited eight works, which were much 
 praised. Several of her works are en- 
 graved, and she herself engraved one, ' A 
 Shepherd's Family.' Many of her works 
 are in Ireland, where she lived some time, 
 returning to England about 1820. She 
 was afterwards, by marriage, Mrs. Taylor. 
 She died early in life. 
 
 SPOFFOETH, EoBERT, engraver. Prac- 
 tised in London towards the end of the 
 18th century. He was chiefly employed on 
 portrait frontispieces for book illustration. 
 
 SPOONEE, Charles, mezzo-tint en- 
 graver. Was born in the county of Wex- 
 ford, and apprenticed in Dublin to John 
 Brooks. On the invitation of McArdell, 
 he came to London when about 23 years 
 of age. He practised in mezzo-tint, and 
 produced several excellent plates after 
 Eeynolds, Cotes, Miss Benwell, Chatelaine, 
 Eembrandt, Schalken, and Teniers. His 
 best works are dated between 1752-61. 
 He died in London, December 5, 1767, 
 aged about 50, and was buried beside his 
 fellow-pupil and friend, McArdell, at 
 Hampstead. His life was shortened by his 
 habits of roystering intemperance. 
 
 SPEY, William, flower painter. He 
 practised in London with much ability, 
 painting both in oil and w^ater-colours. 
 From 1834 to 1847he was an exhibitor at the 
 
 Eoyal Academy, and in the last year con- 
 tributed a miniature group of flowers in oil. 
 
 SPY EE S , James, landscape yaintcr. 
 Practised in London in the second half of 
 the 18th century, principally painting land- 
 scape views. Six views of Hampton Court 
 by him were engraved by J. Jukes, and six 
 views of country mansions were mezzo- 
 tinted by G-. AVills. 
 
 STACKHOUSE, J., floivcr iminter. He 
 practised in London towards the end of the 
 18th century, and painted flowers and fruit. 
 
 S T A D LEE, Joseph Coxstanttne, 
 engraver. He was a native of Germany. 
 He came to England, and practised in 
 London 1780-1812. He engraved views 
 chiefly in aqua-tint. After Do Louther- 
 bourg he engraved ' The Fire of London,' 
 ' The Defeat of the Spanish Axmada,' and 
 ' Six Views of the Picturesque Scenery 
 of Great Britain.' After Farington, E.A., 
 he etched for Alderman Boydell views of 
 London Bridge, Westminster Bridge, Black- 
 friars Bridge, Somerset Place, Adelphi ; 
 also numerous views illustrating Coombe's 
 'History of the Eiver Thames,' published 
 1794. 
 
 STAEVAETS, Palamedes, portrait 
 painter. Born 1607 in London, where he 
 practised his art, and died in 1638. Dupont 
 engraved Mary Countess of Warwick after 
 him. 
 
 STAINES, Egbert, engraver. He was 
 born in London October 21, 1805, and was 
 a pupil of J. C. Edwards, line engraver, 
 but finished his term of apprenticeship 
 with the Findens, and was afterwards em- 
 ployed by them. He engraved for the 
 'Literary Souvenir,' 'The Friendships 
 Offering,' and the ' Art Journal.' He died 
 October 3, 1849. 
 
 STAINIEE, E., engraver. Practised in 
 London, in the dot manner, in the latter 
 part of the 18th century. He was chiefly 
 employed on portraits. He engraved 
 'Cleopatra,' after Wheatley, E.A., 1788; 
 ' Lindor and Clara,' by the same artist. 
 
 STANFIELD, William Clarkson, E.A., 
 marine painter. Was born at Sunderland, 
 of Irish parentage, in 1794. His father 
 was the author of an ' Essay on Biography,' 
 and esteemed a writer of some reputation. 
 As a boy he chose the marine service, 
 went to sea, and gained some experience, 
 perfecting himself as a seaman ; fond of 
 sketching ships and marine subjects, he 
 formed a taste for art, and while afloat 
 painted the scenery for a play got up by 
 the crew. His talent was first noticed 
 while serving as clerk on board a king's 
 ship, and his desire was, when an oppor- 
 tunity offered, to try art as a profession. 
 So when temporarily disabled by a fall, and 
 discharged from the navy, he was able to 
 gratify his wishes by an engagement about 
 
 389 
 
STA 
 
 ST A 
 
 1818 to paint tlio scenery for the old 
 Eoyalty, a sailor's theatre in Wellclose 
 Square. Improving in his capacity for this 
 art, he was afterwards engaged at the 
 Cobourg Theatre, where his labours and 
 promptitude were unremitting, and his 
 success soon led him to a higher field. He 
 got an engagement at Drury Lane Theatre, 
 and painted there scenery equal to any 
 which had been known on the London 
 stage, elfecting great improvements in the 
 art. 
 
 Continuing in this profession for several 
 years, he produced at the same time some 
 small marine views, and his reputation grew 
 as a marine painter. He first exhibited in 
 1823 with the Society of British Artists, 
 founded in that year, of which he became a 
 member, and also at the British Institution. 
 In 1827 he exhibited at the Academy, 
 and encouraged by the success of his easel 
 pictures and a premium of 50 guineas 
 awarded to him at the British Institution, 
 he abandoned scene painting about 1829, 
 and the following year made his first tour 
 on the continent. Having resigned his con- 
 nection with the Society of British Artists, 
 he in 3 831 exhibited at the Academy, 
 and was in the following year elected an 
 associate, and in the same year was com- 
 missioned by William IV. to paint ' The 
 Opening of New London Bridge' and 
 'Portsmouth Harbour,' works which he 
 exhibited at the Academy in 1832, followed 
 in 1833-34-35 by some Italian scenes, 
 chiefly Venetian. He was at the same time 
 much engaged in illustrations for ' The 
 Picturesque Annual.' In 1 835 he was elected 
 a full member of the Academy, and in 1836 
 he exhibited 'The Battle of Trafalgar,' a 
 large work painted on commission for the 
 United Service Club. 
 
 He had been much impressed by the 
 scenery of Italy, and spent the greater part 
 of 1839 there, and in the four following 
 years his contributions to the Academy 
 were chiefly Italian, and from that time 
 indeed, the scenery of Italy, with views off 
 the Dutch coasts, formed the subjects of 
 his best works. In 1847 he exhibited a 
 notable work, 'The French Troops fording 
 the Magra in 1796;' in 1854, 'The 
 "Victory," bearing the Body of Nelson, 
 towed into Gibraltar;' in 1857, 'The 
 AVrecked Spanish Armada;' in I860, 'Ve- 
 suvius and the Bay of Naples;' in 1864, 
 ' War ' and ' Peace.' Those are among his 
 most esteemed works. He exhibited for 
 the last time in 1867. 
 
 For some time he had been in a declining 
 state of health, and on May 18, 1867 he 
 died at Hampstead, where he had for many 
 years resided. He was buried in St. Mary's 
 Roman Catholic Cemetery at Kensal Green. 
 He was a master of his art ; his knowledge 
 390 
 
 of seamanship gave a truth to the grandeur 
 of his marine subjects, and his training in 
 the scene-loft a picturesque beauty to his 
 landscape views. But his art was too 
 scenic, and the influence of stage effects 
 prevailed to the last. He was for many 
 years an influential member of the Sketching 
 Society. 
 
 Among his works should be mentioned 
 a series of ten pictures of large size, painted 
 for the banqueting room at Bowood, and a 
 second series for Trentham Hall. He also 
 painted a nuniber of A'iews of coast scenery 
 for Heath's 'Annual,' and published a col- 
 lection of lithographic views on the Rhine, 
 Moselle, Meuse, &c. The Royal Academy 
 included in their exhibition of the old 
 masters in 1870 a large collection of his 
 works, but it did not tend to maintain the 
 very high reputation which he had enjoyed 
 in his lifetime. 
 
 STANLEY, Charles Richard, landscape 
 painter. Born about 1790. He practised 
 in London, and studied for a time in Italy, 
 where he made many sketches. He painted 
 in oil, and produced a few works in water- 
 colours, introducing figures and architecture. 
 He exhilnted at the Royal Academy from 
 1820 to 1863 landscapes in oil, and at the 
 commencement of his career on a few occa- 
 sions landscapes, both in oil and water- 
 colours, with the Society of British Artists. 
 His execution was good but mannered. He 
 died in London, February 13, 1868. 
 
 STANLEY, Montague, A.'RKk.,. land- 
 scape painter. Born at Dundee, in January 
 1809. He was taken by his parents to 
 New York, where he lost his father. His 
 mother marrying again, they removed to 
 Halifax, and thence to Jamaica. A pre- 
 cocious child, he was engaged when eight 
 years old, to play the part of ' Ariel,' which 
 led to his adopting the profession. When 
 about ten years, he returned with his mother, 
 again a widow, to England, and continued 
 his theatrical career, chiefly in Edinburgh, 
 where he became a favourite, till 1808. 
 Then having previously studied landscape 
 painting, he left the stage, partly from 
 conscientious scruples, to follow art. His 
 pictures were greatly esteemed and fetched 
 good prices ; he was rising in the profession, 
 and had been elected an associate of the 
 Royal Scottish Academy, when he was at- 
 tacked l)y consumption, and died in the 
 Isle of Bute, May 5, 1844. His sketches 
 and other works were accidentally destroyed 
 by fire on the rail on their way to auction 
 at Edinburgh. 
 
 STANNARD, Joseph, landscape and 
 marine painter. He was born in 1796, at 
 Norwich, where, with a taste for art, he 
 managed to gain instruction from Robert 
 Ladbrooke, and was assisted to visit and 
 study in the Dutch galleries. Ho practised 
 
ST A 
 
 STE 
 
 in his native city, Avas member of the Nor- 
 wich Society and a contributor to the 
 Society's exhibition in 1811, and to the 
 exhibition of the Society of British Artists 
 in 1824. He painted a large picture, 'The 
 Annual Water Frolic at Thorpe,' introduc- 
 ing portraits. His works are chiefly coast 
 and river scenes, with some portraits, for 
 which he enjoyed a local repute. He was 
 a good etcher, and published a set of 
 etchings of much promise. He died young 
 in 1830. 
 
 STANTON, Edavard, sculptor. Practised 
 in London in the latter part of the 16th 
 century. He erected a fine monument in 
 the Church at Stratford-upon-Avon, and 
 three good monuments of the Lytton 
 family at Knebworth Church, 1704-10. 
 
 STANTON, Thomas, landscape painter. 
 Was born about 1750, and practised his art 
 in London. He painted views and land- 
 scapes introducing architecture. S. Middi- 
 man engraved after him a large plate of 
 Stonyhurst College. 
 
 STAKK, A¥iLLiAM, architect. He prac- 
 tised with great repute in Edinburgh and 
 Glasgow about the beginning of the 19th 
 century. He died at Edinburgh, in October 
 1813. 
 
 STAEK, James, landscape painter. 
 Was the son of a well-to-do dyer at Nor- 
 wich, and was born there in 1794. He 
 showed an early love of art, and in 1811 
 was articled to John Crome for three years, 
 and the same year he contributed five land- 
 scapes in oil to the exhibition of the Nor- 
 wich Society, and was elected a member. 
 In 1817 he came to London and entered 
 the schools of the Koyal Academy, and in 
 that and the two following years he ex- 
 hibited with the AVater-Colour Society. 
 About the same time he also became an ex- 
 hibitor at the British Institution, where his 
 works found purchasers, and the Governors 
 awarded him a premium of 50/. But he 
 was compelled by a painful affliction, the 
 nature of which is not told, to return to 
 his family at Norwich, where he remained 
 about 12 years, and during that time 
 married. Continuing in the practice of his 
 art, he commenced, in 1827, a publication 
 on ' The Scenery of the Eivers of Norfolk,' 
 but when completed in 1834, notwithstand- 
 ing its great merit and interest, it produced 
 no adequate reward. He exhibited at 
 Suffolk Street from 1824 to 1839, and at 
 the Eoyal Academy from 1831 to 1859. 
 He was not a constant contributor to either 
 exhibition, but he frequently sent his works 
 to the British Institution. In 1830 he came 
 again to the metropolis, and lived near the 
 Thames, in Beaufort Kow, Chelsea, and 
 after 10 years' residence there, following the 
 stream, he went to Windsor, and then, after 
 some years he returned to London, for the 
 
 greater advnntngos of educating his son in 
 art. He died March 24, 1859, in the 60th 
 year of his age. His art owed much to his 
 master, Crome, but it was original and 
 l^urely English, the local character and in- 
 cidents well preserved, 3'et wanting in rich- 
 ness and force, its simple and unobtrusive 
 truth failed to awake enthusiasm. 
 
 ^I^AYIjER, Ajm^, illuminator. He prac- 
 tised as an illuminator and miniaturist in 
 the reign of Henry III., and illustrated the 
 books of the Abbey of St. Albans. 
 
 STAYNER, J., engraver. Practised in 
 London in the latter part of the 18th cen- 
 tury. There are two plates by him of 
 humourous subjects, after Collet, and some 
 other works in mezzo-tint. 
 
 STEEL, Aaeon, ornamentist. He was 
 employed in Messrs. Wedgwood's manu- 
 fictory, commencing in 1785, and acquired 
 great skill in drawing the figures on their 
 fine Etruscan vases. Ho died in 1845. 
 
 STEELE, Edavaed, nicknamed ' Count 
 Steele,' portrait painter. Was born at Egre- 
 mont, Cumberland, about 1730, and brought 
 up to art. He studied for a time in Paris, 
 and practised at York and in the Northern 
 counties, painting portraits at four guineas 
 each, which w^ere by no means without 
 merit, his works being correctly drawn and 
 painted in a free broad manner. Sterne was 
 one of his sitters. He was eccentric and 
 unprincipled, and ran away with a young 
 lady, his pupil, assisted in this affair by 
 Romney who was then studying under him. 
 His collection of pictures, prints, and draw- 
 ings were sold by auction in 1759. 
 
 STENNETT, William, amateur. Was 
 a merchant at Boston, Lincoln, who had 
 antiquarian tastes, and was a good drafts- 
 man. A drawing of Boston Church by 
 him was engraved in 1715; and one of 
 Walpole Church in 1734. He made dra wr- 
 ings of other churches in Lincolnshire, and 
 styled himself 'Delineator.' He died 
 in poor circumstances at Boston, about 
 1762. 
 
 STENWYCK, Henry, paioiter of in- 
 teriors. Was born in Elanders about 1589, 
 the son of a painter of great reputation, 
 under whom he studied his art. Van- 
 dyck encouraged him to come to England, 
 employed him occasionally to paint archi- 
 tectural backgrounds to his pictures, and 
 introduced him to Charles I. His usual 
 subjects were the interiors of churches and 
 other large edifices, which, in his latter 
 w^orks were more luminous and less dark 
 than his earlier pictures. He died in 
 London. 
 
 STEPHANOEF, Eileter N., portrait 
 fainter. Born in Eussia. Came to London 
 and settled here. Exhibited at the Eoyal 
 Academy in 1778, and about the same time 
 exhibited some stained drawings, views, 
 
 3 91 
 
STE 
 
 with the Free Society. lie painted por- 
 traits, hut was chiefly employed on decora- 
 tions for coilings, and was for a time en- 
 gaged in painting scenes for the circus in 
 St. George's Fields. He produced some 
 landscapes in India ink, slightly tinted, or 
 as it was then called, ' stained.' He com- 
 mitted suicide some time before 1790. 
 
 STEPHANOFF, Gertrude, flower 
 painter. Wife of the above. Painted 
 flowers, fruit, and still life with great finish 
 and skill. She exhibited at the Koyal Aca- 
 demy in 1783 and 1805, and was a teacher 
 of drawing. Died at Brompton, January 7, 
 1808. Her daughter, Miss M. G. Ste- 
 PHANOFF, was a flower painter and also an 
 exhibitor. 
 
 STEPHANOFF, Francis Philip, subject 
 painter. Son of the above. Born in 1788 
 at Brompton. He commenced art at the 
 age of 16, and was, from 1810 to 1845, a 
 constant exhibitor at the Academy. His 
 best works are, • Poor Kelations,' ' The 
 Reconciliation,' * The Trial of Algernon 
 Sydney.' He painted both in oil and water- 
 colours, and from 1815 to 1820 was a con- 
 tributor to the Water-Colour Exhibition, 
 sending, among other works, some drawings 
 for ' Pyne's Royal Palaces.' He gained a 
 premium of 100/. at the Westminster Hall 
 competition. Many of his works are en- 
 graved. He died at West Hannam, Glou- 
 cestershire, May 15, 1860. He furnished 
 most of the costume portraits for the Gar- 
 ter-King-at- Arms' sumptuous work, 'The 
 Coronation of George IV.,' and produced a 
 fine series of historical drawings in water- 
 colours, ' The Field of the Cloth of Gold.' 
 His works were not of a high class, but 
 were popular. 
 
 STEVENS, John, R.S.A., subject painter. 
 He was born at Ayr, N.B., about 1793. He 
 came to London to study, and in 1815 was 
 admitted to the schools of the Royal Aca- 
 demy. He then returned to his native 
 town, where he practised portrait painting 
 but after a while went to Italy. He passed 
 the greater part of his life in Rome. In 
 1831 he exhibited at the Royal Academy, 
 * Pilgrims at their Devotions in an Italian 
 Convent.' Advanced in age, the shock of 
 a railway accident in France was the proxi- 
 mate cause of his death, which took place 
 in Edinburgh, June 1, 1867. 
 
 STEVENS, Alexander, architect. He 
 is best known by works which are of an 
 engineering character. His bridge over the 
 Lilfey at Dublin, the docks and works on 
 the Grand Canal, Ireland, and the aqueduct 
 over the Lune, at Lancaster. He died at a 
 very advanced age at Lancaster, January 20, 
 1796. He was noted as a clever draftsman. 
 He executed many works in the north of 
 England and in Scotland. 
 
 STEVENS, D., portrait painter. Prac- 
 392 
 
 tised In the time of George I. A portrait 
 of that king by him is engraved by J. 
 Faber. 
 
 STEVENS, Edw^ard, A.R.A., architect. 
 Pupil of Sir William Chambers. In 1762 
 he gained a premium at the Society of Arts. 
 He was a member of the Incorporated 
 Society of Artists 1764, and was one of the 
 early exhibitors at the Royal Academy, 
 commencing in 1770 with designs for the 
 Dublin Royal Exchange, followed by designs 
 for mansions, a sepulchral church, &c. He 
 was elected an associate of the Royal 
 Academy in 1770, and died at Rome in 
 1775. 
 
 STEVENS, Francis, water-colour painter. 
 Little is known of the career of this artist. 
 He was born November 21, 1781. In 1804 
 he was first an exhibitor at the Royal Aca- 
 demy, and then received some instruction 
 from Paul S. Munn. In 1806 he joined the 
 Water-Colour Society, and in 1808 was one 
 of the founders of the well-known Sketching 
 Society. In 1810 he appears as a member 
 of the Norwich Society of Artists, and having 
 given up his membership of the Water- 
 Colour Society, he exhibited in 1813 three 
 oil landscapes at the Royal Academy, and 
 in 1819-1822 was also an exhibitor of works 
 in oil and water-colours ; and was living 
 at Exeter. Since then the trace of him is 
 lost. Probably he was a native of that city, 
 as he was sometimes designated ' Stevens 
 of Exeter.' He had great merit. His draw- 
 ings are well composed and drawn, and 
 richly coloured ; his figures well intro- 
 duced. 
 
 STEVENS, John, landscape painter. 
 Born in Holland. He came to this country 
 and painted small landscapes of a second- 
 rate-class. Died in London 1722. 
 
 STEVENS, John, engraver. Practised in 
 London about the middle of the 18th cen- 
 tury. He engraved with C. Grignon a series 
 of English views. 
 
 STEVENS, Thomas, modeller. AVas 
 employed upon the magnificent tomb of the 
 Warwick family, time Henry VI., in War- 
 wick Church. The principal figure and the 
 small figures which occupy the niches are 
 in copper richly gilt, and are attributed to 
 him. They are exceedingly well exe- 
 cuted. 
 
 STEEVENS, Richard, sculptor, painter, 
 and medallist. Born in the Netherlands. 
 He came to this country and practised here 
 in the reign of Elizabeth, with much dis- 
 tinction. The tomb of the Earl of Sussex, 
 Lord Chamberlain to the Queen, at Bore- 
 ham, Suffolk, was erected after his design, 
 and the figures are by his own hand. He 
 painted a full-length portrait of the Queen 
 in a dress embroidered with sea-monsters, 
 and one of Mary Queen of Scots. It is said 
 that his portraits were attributed to Holbein ; 
 
STE 
 
 STO 
 
 but they have little claim to this, and are 
 wanting in liis power and finish. Some of 
 his medals are engraved in Evelyn s ' Dis- 
 course on English Medals.' 
 
 STEVENSON, Thomas, landscape 
 painter. Was a pupil of Eobert Aggas, and 
 practised towards the end of the 17th cen- 
 tury. He painted landscape in oil and dis- 
 temper, introducing architecture and figures, 
 but was little more than a second-rate scene 
 painter. He made the designs for the 
 pageant of the jubilee of the Goldsmiths' 
 Company in the mayoralty of Sir Robert 
 Vyner. He also painted portraits, one or 
 two of which were engraved. 
 
 STEWARDSON, Thomas, portrait 
 painter. AA^as born at Kendal, of Quaker 
 parentage. He served a short apprentice- 
 sliip to a painter there, and then came to 
 London, and was a pupil of Romney. Early 
 in the century he commenced portrait 
 painting in Leadenhall Street, and in 1804 
 was first an exhibitor at the Royal Academy. 
 Soon attracting notice by his ability, he 
 moved westward and was w^ell employed. 
 He attempted some subject pictures, and 
 exhibited at the Academy, in 1818, 'The 
 Indi^an Serpent Charmer,' and in the 
 following year ' Aladdin.' He painted 
 George III. and his Queen. Many of his 
 portraits are engraved. He was appointed 
 portrait painter to Queen Caroline. Died 
 at his lodgings in Pall Mall, August 28, 
 1859, aged 78. 
 
 STEWART, Gy^oug^, arcJiitect. Built the 
 large mansion in Earlstoke Park, Wilts, 
 1786-91. He exhibited some architectural 
 designs at the Royal Academy in the latter 
 year. 
 
 STEWART, J AMES, portrait painter. Was 
 appointed Serjeant-Painter to George III. in 
 1764. He painted for Alderman Boydell 
 portraits of all the artists employed on the 
 Shakespeare Gallery, but the work did not 
 possess much merit. 
 
 STEWART, James, R.S.A., engraver. 
 Was born in Edinburgh in 1791, and 
 apprenticed there in 1804 to a line en- 
 graver. He was also a student in the 
 Trustees' Academy. His first engraved 
 work of any importance was ' Tartar Rob- 
 bers dividing their Spoil,' after Allan, R.A. 
 This was followed by ' The Circassian Cap- 
 tives,' after the same painter. In these 
 works he proved himself, by his refined yet 
 vigorous manner, an accomplished line en- 
 graver ; and, continuing to engrave after 
 Allan, R.A., he produced ' The Murder of 
 Archbishop Sharp,' and ' Mary signing her 
 Abdication.' He was next employed upon 
 some of the lesser works of Wilkie, R.A., 
 and then upon his 'Penny Wedding,' in 
 which he successfully imitated the painter's 
 manner. About this time, some disappoint- 
 ment in his art, added to the cares of a 
 
 largo family, led him to emigrate, and in 
 1833 he arrived with them at Algoa Bay, 
 where he invesl:ed his savings in the pur- 
 chase of a farm ; but the Calfre insurrec- 
 tion breaking out in the following year, 
 his farm was destroyed, and, compelled to 
 fly with his family, they with great 
 difficulty reached the settlement at Somer- 
 set. He then again fell back upon his art, 
 and by painting portraits and teaching he 
 saved sufficient to purchase another property. 
 Here he continued for many years, and 
 became a magistrate and a member of the 
 legislature. He died in the colony in May 
 1863. 
 
 STEWART, Anthony, miniature painter. 
 AVas born at Crieff, Perthshire, in 1773. 
 Showing a taste for art, ho was placed 
 under Alexander Nasmyth, in Edinburgli, 
 and studied as a landscape painter. He 
 made many sketches and drawings of Scotch 
 scenery, which display great feeling and 
 merit ; but at an early period of his life he 
 turned to miniature, which he adopted as 
 his profession, and, after practising for a 
 time in Scotland, came to London, where he 
 established himself. He painted a minia- 
 ture of the Princess Charlotte, and after- 
 wards the first miniature of the Princess 
 Victoria, who sat to him for several years 
 in succession. Greatly excelling in the por- 
 traits of children, he devoted himself for 
 the last 15 years of his practice almost 
 exclusively to them. He was a man of 
 superior education, a good judge of art, and 
 made a fine collection of etchings and en- 
 gravings. His miniatures were well drawn 
 and coloured, and pleasing in expression. 
 He died in London in December 1846, antl 
 was buried in Norwood Cemetery. His 
 daughters, Margaret and Grace Campbell, 
 excelled as miniature painters, and the 
 latter was an occasional exhibitor at the 
 Academy between 1843 and 1848. 
 
 STOKER, Bartholomew, portrait 
 painter. Born in Ireland, the son of an 
 upholsterer in Dublin, and worked at that 
 trade while studying in the Dublin art- 
 schools. He afterwards practised portr;;i- 
 ture in crayons with great success in that 
 city and the neighbourhood. He died, of 
 decline, in Dublin 1788. 
 
 STONE, Edw^ard, architect. He was 
 appointed clerk of the works to the Cor- 
 poration of London in 1477, and was thi^ 
 first who held that office, which he filled 
 only for one year. 
 
 STONE, Nicholas, sculptor and arcJdt cf. 
 Born at Woodbury, near Exeter, in 1586. 
 Worked some time in London, and on the 
 termination of his apprenticeship went to 
 Holland, and was employed at Amsterdam 
 by Peter van Keyser, the architect of the 
 city, whose daughter he married. He re- 
 turned to London, and found full employ- 
 
 393 
 
STO 
 
 STO 
 
 ment, chiefly in monuments, which he erected 
 to many persons of distinction. In 1616 
 he was sent to Edinburgh, to decorate the 
 Royal Chapel with sculpture ; and in 1619 
 was employed on the ornamental w^ork at 
 the Banqueting House, Whitehall. He 
 built the chapel in the Charter House to 
 the memory of Thomas Sutton, 1615 ; the 
 front of St. Mary's College at Oxford ; and 
 executed several works at Windsor Castle, 
 to which edifice he was appointed by Charles 
 I., in 1620, his master-mason and architect. 
 Ho recorded as among his chief works — 
 Lord Ormond's tomb, Kilkenny, Lord North- 
 ampton's, at Dover Castle, the Earl of Bed- 
 ford's, the poet Spenser's, in Westminster 
 Abbey, and Sir Edmund Bacon's, at Red- 
 grave. His works of architectural monu- 
 ments were so numerous, that he seems to 
 have monopolised this class of the art of 
 his day. He had three sons, Henry, Nicholas, 
 and John, who all attained excellence as 
 artists. He died August 24, 1647, aged 61, 
 and was buried in the old church of St. 
 Martin's-in-the-Fields. 
 
 STONE, Henry, known as ' Old Stone,' 
 fainter and statuary. Was the eldest son 
 of the foregoing. Passed many years of 
 his life in Holland, France, and Italy ; con- 
 tinued in the latter country four years, 
 returning to England in May 1642. He at 
 first practised as a sculptor, and on his 
 father's death carried on his business in 
 conjunction with his brother John ; but his 
 time was chiefly given to painting. His 
 portraits are careful and earnest in expres- 
 sion and finish. He copied Titian and other 
 Italian masters, and his copies of Vandyck 
 have fetched large prices as originals. He 
 \vrote a work on the art of painting. Died 
 in London, August 24, 16*53, the last survivor 
 of his family, who were all buried in the 
 same grave, with the inscription, ' Four 
 rare stones are gone, the father and three 
 sons.' 
 
 STONE, Nicholas, sculftor. Second son 
 of the above Nicholas Stone. Studied his 
 art in Italy. He reached Rome in October 
 1638, was admitted to the studio of Bernini, 
 and made some good studies from the 
 antique in terra cotta. He also copied 
 several fine works, among them Bernini's 
 * Apollo and Daphne.' He was a good 
 draftsman, and made drawings and sketches 
 of the Italian buildings. Lady Berkeley's 
 monument in alto-relievo at Cranford is by 
 him. He returned to England in 1642, and 
 died September 17, 1647. He was buried 
 in the same grave with his father. 
 
 STONE, John, modeller. Third son of 
 Nicholas Stone, senr., was educated at 
 Oxford, and intended for the Church. 
 Then became the pupil of Thomas Cross, 
 the engraver. He joined the Royal army 
 during the civil war, and on the final 
 394 
 
 defeat of the King, he fled, and after many 
 adventures, readied France, where he is 
 supposed to have subsisted as he best could 
 for several years. On his return to Eng- 
 land, he devoted himself to art, and, in 
 conjunction with his brother Henry, carried 
 on his late father's business, but little is 
 known of his works. He published, anony- 
 mously, 'Enchiridion,' a book on fortifica- 
 tion, with small engravings by himself ; and 
 one of the plates in Dugdale's ' History of 
 Warwickshire ' is by him. He died, pro- 
 bably early, in 1653. 
 
 STONE, Frank, A.R.A., subject painter. 
 Was born at Manchester, where his father 
 was a cotton spinner, August 22, 1800. 
 He was brought up to his father's business, 
 and was not attracted to art till his 24th 
 year. Then, setting to work, he studied 
 diligently, and making good progress, he 
 came to London in 1831. He was elected, 
 in 1837, an associate exhibitor of the 
 Water-Colour Society, and produced works 
 of sentiment, finished with much taste and 
 prettiness. In 1837 he began to exhibit 
 at the Academy, and tried the higher 
 medium of oil, and in 1841 was awarded a 
 premium of 50 guineas at the British In- 
 stitution. In 1843 he was elected a member 
 of the Water-Colour Society, and exhibited 
 that year, and up to 1846, with the Society. 
 In 1847 resigned his membership. His 
 oil pictures had meanwhile a great popu- 
 larity. ' The Last Appeal,' ' Checkmate,' 
 and ' Mated,' ' The Course of True Love,' 
 and others, were engraved, and known in 
 every part of the kingdom. He was elected 
 an associate of the Academy in 1851. His 
 works were assuming a higher character 
 both in subject and treatment. His ' Gar- 
 dener's Daughter,' and some French sub- 
 jects painted at Boulogne, showed improve- 
 ment, when he died suddenly, in London, 
 of disease of the heart, November 18, 
 1859, and was buried in Highgate Ceme- 
 tery. 
 
 STOOP, Peter (sometimes called 
 ' Dirk Stoop'), painter of battle-pieces. 
 Was born in Holland about 1612. Practised 
 some time in Portugal, and came from 
 thence to England with Queen Catherine 
 in 1662. He painted battle and hunting 
 pieces, and views of the seaports, but he is 
 best known as an engraver. He etched 
 with much spirit. Of his etchings, there 
 are eight views of Lisbon dedicated to 
 the Queen, and eight large plates repre- 
 senting the ' Procession of Queen Catherine 
 from Portsmouth to Hampton Court on 
 Iier Arrival in England ; ' also several 
 plates to Ogilvy's ' iEsop,' after Barlow. 
 He died in England about 1686. Other 
 accounts say he returned to Holland in 
 1678, and died there in that year. 
 
 STOPPELAER, Herbert, portrait 
 
STO 
 
 STO 
 
 painter. AVas born in Dublin, and made 
 his way to London with Thomas Frye. 
 He tried many means to gain a living. 
 He painted portraits, and exhibited with 
 the Society of Artists in 1761-62. De- 
 signed many of the humorous subjects 
 published in his day by Bowles, and was 
 an actor, dramatic writer, and singer. 
 AVith Charles Dibdin he planned the Pata- 
 gonian theatre, over the Exeter Change ; 
 the proscenium six feet \nde, and the 
 actors ten inches high ; and while Dibdin 
 wrote the pieces and the music, he painted 
 the scenes and spoke for the puppets. He 
 was engaged by manager Eich, and played 
 the doctor in ' Harlequin Skeleton,' but he 
 appears to have done better in art; for on 
 a proposal to renew his engagement, he 
 answered, ' Sir, I thank you for the fever 
 you intended me, but have a violent 
 cold and hoarseness upon me this twelve 
 months, which continued above six months, 
 and is not yet gone, and I am apprehensive 
 it will return. I can but just keep my 
 head above water by painting, therefore do 
 not care to engage in the playhouse any 
 more.' He died in 1772. 
 
 STOPPELAEK, Michaet,, 'portrait 
 'painter. Brother to the above, was born 
 in Ireland, and practised portrait painting. 
 A portrait by him of Joe Miller, painted 
 in 1738, is engraved. He also had dra- 
 matic tastes, was famed as a comic singer, 
 and performed low characters with much 
 originality. 
 
 STOKER, James, draftsman arid 
 engraver. He lived chiefly at Cambridge, 
 and devoted himself to the ancient architec- 
 ture of Great Britain, which he both drew 
 and engraved with great detail and accu- 
 racy, and had very considerable merit as an 
 engraver. He published ' The Rural AValks 
 of Cowper in a Series of Views near Olney,' 
 1803. He made the illustrations for ' The 
 Antiquities of the Inns of Court and 
 Chancery,' 1804; for 'Select Views of 
 London and its Environs,' 1805 ; and in the 
 same year for 'Views in North Britain,' 
 illustrative of the works of Burns ; with a 
 work of the same character illustrating the 
 works of Bloomfleld ; and in 1 807-1 1 for the 
 'Antiquarian and Topographical Cabinet.' 
 In 1812 he published 'A Description of 
 Fonthill Abbey,' with views. In 1814 he 
 commenced his ' History and Antiquities 
 of British Cathedrals,' an accurate and 
 excellent work, which was followed by 'An 
 Elucidation of the Principles of Gothic 
 Architecture.' He resided the latter part 
 of his life in the metropolis, where he 
 died December 23, 1853, aged 72, and was 
 buried at St. James's Chapel, Pentonville. 
 
 STORER, Henry Sargant, draftsman 
 and engraver. Son of the foregoing, and 
 associated with his father in his chief works. 
 
 He resided many years at Cambridge, and 
 drew and engraved views of King's College, 
 Trinity College, and other edifices at Cam- 
 bridge. Ho died in the prime of life, 
 January 8, 1837, and was buried at St. 
 James's Chapel, Pentonville. 
 
 STOTHARD, Thomas, R.A., suhjcct ^mi?^- 
 ter. Was born at the ' Black Horse,' Long 
 Acre, a house kept by his father, August 17, 
 1755, and being a delicate child was, when 
 five years old, sent to an uncle at Acomb, near 
 York, where he grew strong, and gained 
 some instruction at a village school, and 
 afterwards at a school near Tadcastor. At 
 the age of 13 he returned to his parents in 
 London, and then went to a school at Ilford. 
 In 1770 his father died, leaving him 1,200/., 
 and having shown an aptitude for drawing, 
 he was apprenticed to a pattern draftsman 
 for brocaded silks in Spitalfields, and occu- 
 pied his leisure by designs from the poets. 
 Some of these falling under the notice of 
 the proprietor of the ' Novelist's Magazine,' 
 he employed him to make a few designs, 
 and though he did not then receive further 
 employment, his thoughts were turned in 
 that direction, and when, from a change in 
 the silk trade and the death of his master, 
 he was released a year before the completion 
 of his apprenticeship, he at once devoted 
 himself to art. 
 
 His first designs engraved were for an 
 edition of ' Ossian,' and for ' Bell's Poets,' 
 and the talent they displayed led to his 
 employment on a series of designs for the 
 ' Novelist's Magazine.' These subjects were 
 w^ell suited to his tender, simple tastes, and 
 their truth and grace at once established a 
 reputation. He was at first paid half a 
 guinea each, which was soon raised to one 
 guinea. Of these illustrations, the eleven 
 illustrating ' Peregrine Pickle,' published in 
 1781, are admirable, the characters excel- 
 lent, having all the flavour of Smollett. 
 They were followed by some graceful designs 
 for Richardson's ' Clarissa,' and ' Sir Charles 
 Grandison,' full of a sweet imagery, which 
 has rarely been surpassed. He afterwards 
 designed from Shakespeare and Cervantes, 
 illustrated ' Pilgrim's Progress,' in 1788, 
 followed by 'Robinson Crusoe,' and in 1798 
 ' The Rape of the Lock,' in which tender- 
 ness and grace are combined with allegory. 
 
 The foregoing designs were exclusively 
 for book illustration, and were usually 
 drawn and washed in with indian ink, some- 
 times sweetly coloured, but he painted many 
 pictures in oil. He had entered the schools 
 of the Royal Academy in 1777, and \ras a 
 contributor to its exhibitions. Commencing 
 in 1778, his exhibited works were chiefly 
 his book designs, which after his election as 
 an associate in 1791 were chiefly in oil, 
 with occasionallya workof more importance ; 
 but his contributions, though continued till 
 
 395 
 
STO 
 
 STR 
 
 his death, did not often exceed one each 
 year. His last work of note was his ' Venus 
 Attended by the Graces,' in 1824. He was 
 elected a full member in 1794, and in 1810 
 was appointed the librarian. Among his 
 oil pictures were his works for Boydell's 
 Shakespeare Gallery, ' The Canterbury Pil- 
 grims,' and ' The Dunmow Flitch.' Also, 
 the great staircase at Burleigh, on which he 
 was employed during the summer months 
 for four successive years ; and the staircase 
 of the Advocate's Library in Edinburgh. 
 He was engaged likewise in designing for 
 goldsmith's work ; and his Wellington 
 ►Shield, modelled in silver, is a noble example 
 of his talent. 
 
 He had been an industrious worker during 
 a long life, and his designs have been esti- 
 mated at 4,000 ; above half that number 
 have been engraved. Their elegance and 
 grace gave a charm to book illustration, in 
 which he stands unrivalled. But his oil 
 paintings are not equal to his drawings ; 
 they are crude and defective in tone. Fe- 
 male beauty and purity are conspicuous in 
 his works, but, wanting individuality, they 
 are too much of one conventional type. His 
 art did not, however, reach the sacred or 
 historical. His conceptions were not of the 
 severe character such subjects demand, and 
 his works of this class are wanting in eleva- 
 tion of character and expression. He had 
 married early and had a large family. He 
 lived in Newman Street from 1794 till his 
 death, April 27, 1834. He was buried in 
 Bunhill Fields ground. His life, with per- 
 sonal reminiscences, was published in 1851 
 by Mrs. Bray, the widow of his son Charles 
 Alfred. 
 
 STOTHARD, Charles Alfred, antiqua- 
 rian draftsman. Son of the foregoing. Was 
 born July 5, 1787. He early showed a taste 
 for drawing, and was admitted a student of 
 the Royal Academy. He started in art with 
 an attempt in the grand style, and painted 
 the murder of Richard II. in Pomfret Castle, 
 but did not meet with encouragement ; and 
 having made some drawings of the old 
 monuments at Burleigh, while his father 
 was engaged there, he turned his attention 
 to the illustration of our national anti- 
 quities, and in 1811 published the first 
 number of ' The Sepulchral Effigies.' He 
 was painstaking and accurate, and soon 
 established a name as an antiquarian drafts- 
 man. He was associated with Lysons in his 
 'Magna Britannia,' and was elected his- 
 torical draftsman to the Society of Antiqua- 
 ries. In 1816 he was employed by the 
 Society to make drawings of the Bayeux 
 Tapestry, and while in Normandy made 
 several antiquarian researches, and disco- 
 vered the tombs of the Plantagenets, the 
 existence of which had been doubted. He 
 had completed nine (out of twelve) numbers 
 396 
 
 of his * Sepulchral Effigies,' having etched 
 127 of the plates with his own hand, and 
 had commenced the collection of materials 
 to illustrate the age of Elizabeth, when he 
 met his untimely death. He went into 
 Devonshire to make drawings and notes for 
 the ' Magna Britannia,' and while tracing a 
 church window at Br ere Ferrers, he fell, and 
 was found dead on the floor. May 28, 1821. 
 His widow married the clergyman of the 
 church. 
 
 STOTHARD, Henby, sculptor. Was 
 the brother of the foregoing, and the third 
 son of Thomas Stothard, R.A. He was a 
 pupil of Flaxman, R.A., and was admitted 
 to the schools of the Academy, where he 
 gained the first medal in the antique school. 
 He suffered an attack of apoplexy, and 
 after being for 20 years unable to fol- 
 low his profession, obtained admission to 
 the Charter House in 1840, and died 
 in that institution, February 26, 1847, 
 aged 56. 
 
 STOTHARD, Alfred Joseph, medallist. 
 Was the sixth son of Thomas Stothard, R.A. 
 His works are well known. He reproduced 
 Chantrey's bust of Sir Walter Scott, and 
 medallions of Lord Byron and Mr. Canning. 
 Also a good medallion portrait of George IV. 
 He exhibited portrait medals at the 
 Academy for many years, commencing 
 in 1825. He died October 6, 1864, aged 
 71. 
 
 STOW, James, engraver. Was born near 
 Maidstone, about 1770, the son of a Kentish 
 labourer. He showed such an early ability 
 for art, that the gentry of the neighbour- 
 hood raised a subscription and apprenticed 
 him to Woollett, on whose death he was 
 transferred to William Sharp, with whom, 
 after completing his apprenticeship, he con- 
 tinued for some time as assistant. He 
 worked in the line manner, and was em- 
 ployed upon some of the best works of his 
 time. For Boydell's ' Shakespeare,' between 
 1795-81, he engraved eight plates. For 
 Du Roveray's ' Homer,' 1806, 12 plates. He 
 also engraved some portraits, in which he 
 excelled, and some good landscapes, among 
 them Gainsborough's 'Boy at the Stile.' 
 But he did not realise his early promise ; 
 his exaggerated talent had not aided him, 
 he became irregular in his habits, then 
 embarrassed in his circumstances, and on 
 his death left a femily in indigent circum- 
 stances. Among his latter works his plates 
 for 'Londina Illustrata,' 1811-23, are very 
 inferior. 
 
 STRANGE, Sir Robert, Knt., engraver. 
 Was born at Pomona, Orkney, July 26, 
 1721, of an ancient Fifeshire family, who 
 had settled there. He was classically edu- 
 cated at Kirkwall and intended for the law, 
 but showing some talent for drawing, was 
 apprenticed to Richard Cooper, an engraver, 
 
STR 
 
 STR 
 
 then practising in Edinburgh. He first 
 
 began business himself as an engraver in 
 that city, and held a respectable position 
 there when, on the breaking out of the 
 Civil War, it was occupied by the Young 
 Pretender and his troops in 1 745. He joinei] 
 the Jacobite side, and was appointed en- 
 graver to Prince Charles, a half-lengtli por- 
 trait of whom, bearing the initials 'CP. E. 
 and R. Strange, sculp.,' gained him a great 
 reputation. There exist several portraits 
 in pencil by him at this time of the Prince 
 and his adherents, which, though weakly 
 drawn, have the character of truthful indi- 
 viduality. He is reputed to have fought 
 in the ranks at Culloden, and after the loss 
 of the battle to have escaped to Paris. 
 Here he studied under Le Bas, and in 1751 
 returned to London, where he established 
 himself, and was recognised as an engraver 
 of great eminence. 
 
 On the accession of George III. he was 
 invited to engrave the full-length portraits 
 of the King and his prime minister Lord 
 Bute, by Ramsay, and gave great offence, 
 which probably his previous career in- 
 creased, by refusing this commission ; and 
 he thought it well to carry out at once a 
 wish he had long entertained, of visiting 
 Italy. Here he studied with great diligence 
 at the principal cities, chiefly at Rome and 
 Bologna, amd produced some of his finest 
 works. He also spent several years in 
 Paris, where, as in Italy, his works were 
 held in very high estimation. He engraved 
 some of the finest pictures by Guido, Do- 
 menichino, Titian, Raphael, Correggio, Van- 
 dyck and other masters, and was elected 
 member of the Academies of Rome, Florence, 
 Bologna, Parma, and Paris. In several of 
 the highest qualities of his art he is un- 
 surpassed. His tender flowing line gives a 
 peculiar delicacy and transparency to his 
 flesh, and his works are excellent in power, 
 drawing, and character — qualities which he 
 had attained by his practice of making the 
 most careful studies in red chalk. 
 
 He was a member of the Incorporated 
 Society of Artists, 1766. He resented the 
 laws of the Royal Academy, which did not 
 allow the election of engravers, thought 
 himself excluded by petty intrigues, and 
 was a bitter opponent of that body. In 
 1775 he published an attack upon them, 
 under the title of 'An Enquiry into the 
 Rise and Progress of the Royal Academy of 
 Arts at London,' to which he prefixed a 
 letter, complaining that Lord Bute had 
 shown his resentment by engaging an 
 emissary to learn the works of the great 
 masters which he intended to engrave in 
 Italy, and then employing Bartolozzi to 
 engrave these very pictures from drawings 
 dishonourably obtained in the King's name. 
 It does not appear when he returned to 
 
 London, but ho did not regain the Court 
 favour till 1787, when he engraved, after 
 West, the apotheosis of the three children 
 of the King, who died in their infancy, and 
 in the same year received the honour of 
 knighthood. Ho had been long in a de- 
 cliuing state of health, and died at his 
 house in Great Queen Street, Lincohi's Inn 
 Fields, July 5, 1792. He ^\7is buried in 
 St. Paul's Churchyard, Covent Garden. At 
 Sir Mark Sykcs's sale in 1824, his works 
 fetched high prices, and 51^. was paid for a 
 proof of his Charles I., after Vandyck. His 
 wife was of an old Jacobite family, and it 
 is told of her that, when aged and bed- 
 ridden, some one in her presence speaking 
 of Prince Charles, as * The Pretender,' she 
 started up and exclaimed, ' The Pretender, 
 
 be d d to you !' The ' Memoirs of Sir 
 
 Robert Strange and Andrew Lumisdcn,' 
 the brother of this lady, were published 
 in 1855. 
 
 STREATER, Robert, history painter. 
 Was born in Covent Garden in 1624, the 
 son of a painter, and was a pupil of Du 
 Moulin, said to have been celebrated in his 
 day. He painted history, portraits, land- 
 scape, and still-life. Charles II. appointed 
 him his Serjeant-Painter. He painted several 
 ceilings at Whitehall, which were destroyed 
 at the fire ; ' Moses and Aaron,' for St. 
 Michael's, Cornhill ; the Chapel at All 
 Souls' College, Oxford, and a large ceiling 
 at the theatre there, deemed his best work ; 
 the flying Amorini very good, and though 
 a pretentious attempt, not by any means 
 without merit. He painted scenes for the 
 King's masques, and etched the Battle of 
 Naseby and several architectural plates. 
 Pepys describes him * as an excellent 
 painter of perspective and landscape,' and 
 says ' he had great popularity during his 
 life.' He was attacked by illness, and the 
 King sent to Paris for an eminent physi- 
 cian to attend him, but he arrived too late. 
 He died in 1680. It appears that his son 
 succeeded him as Serjeant-Painter. 
 
 STREETES, Gwillim, portrait painter. 
 Was an English artist, and was painter to 
 Edward VI. in 1551. Strype records that 
 the King paid him 50 marks for two pic- 
 tures of the King, and a third of Henry 
 Howard, Earl of Surrey, who was beheaded 
 in 1546-7. 
 
 STRINGER, Daniel, portrait painter. 
 He was a student of the Royal Academy 
 about 1770, and obtained the power of 
 drawing with great beauty and spirit, and 
 was also a good colourist. He produced 
 some admirable heads, and made some 
 sketches which showed great comic power. 
 But he sacrificed his great talent to the 
 company of country squires and the love of 
 Cheshire ale, and the admirers of his art 
 lost sight of him. 
 
 397 
 
STR 
 
 STU 
 
 STEING-ER, E., to])ographical draftsman. 
 Practised in the last quarter of the 18th 
 century. Was a member of the Liverpool 
 Academy, and contributed to their exhibi- 
 tions. Some of his works, which have no 
 art merit, were engraved for the ' Gentle- 
 man s Magazine' about 1785. 
 
 STROEHLING, P. E., portrait loainter. 
 He was a Eussian subject, and was edu- 
 cated at the expense of the Emperor, finish- 
 ing his studies in Italy. He came to this 
 country about 1804, and in that and the 
 two following years was an exhibitor at the 
 Royal Academy. He does not again ap- 
 pear as an exhibitor till 1819, and from 
 that year till 1826 sent his works to the 
 Academy. His portraits are chiefly in oil, 
 but he also painted some good miniatures, 
 and had many distinguished sitters. 
 
 STRUTT, painter and engraver. 
 
 AVas born at Springfield, Essex, Oct. 27, 
 17'19, and was the son of a miller who 
 possessed some property. His mother, who 
 had been many years a widow, apprenticed 
 him, at the age of 14, to the unfortunate 
 W. Wynne Ryland. In 1769 he was ad- 
 mitted to the schools of the Royal Aca- 
 demy, and having gained a silver medal, he 
 was, in 1770, awarded the gold medal for 
 his historical painting of ' ^neus stopped 
 by Creusa.' An introduction at this time 
 to the Library of the British Museum 
 turned his attention to literature, which 
 divided his thoughts with art, and in 1773 
 he published his ' Regal and Ecclesiastical 
 Antiquities of England;' in 1774 the first 
 volume of what he called his great work, 
 ' The Manners and Customs of the Eng- 
 lish,' followed by the remaining two volumes 
 in 177o and 1776. His art was the hand- 
 maid to his antiquarian tastes. Ho made 
 his drawings, engraved his plates, and 
 wrote his letterpress commentary. In 1775 
 the first volume of his ' Chronicle of Eng- 
 land' appeared, and the second in the 
 following year ; but it did not receive suffi- 
 cient encouragement to induce its continu- 
 ance. 
 
 At this time he was greatly afflicted by 
 the death of his wife, followed by the death 
 of his mother, and it is not till 1785 that 
 he again appears. In that and the fol- 
 lowing year he published his 'Dictionary 
 of Engravers,' in the second volume of 
 which he was assisted by the elder Bacon, 
 the sculptor. He suffered from asthma, 
 and in 1790 he retired to Bramfield, near 
 Hertford, where he resided five years, and 
 engraved the greater part of the plates for 
 ' Pilgrim's Progress.' But he returned to 
 London, where alone he could find materials 
 to gratify him in his studies, and began to 
 collect materials for his work, ' The Dresses 
 and Manners of the English,' which he pub- 
 lished in 1796-9. To this, in 1801, he 
 added his last work, 'The Sports and 
 
 Pastimes of the English.' He had com- 
 menced a work to illustrate the usages of 
 the loth century, which he laid aside to 
 undertake a new edition of his ' Manners 
 and Customs,' but death put an end to his 
 industrious labours. He died in Charles 
 Street, Hatton Garden, October 16, 1802, 
 and was buried in St. Andrew's Church. 
 As an artist he painted only five or six 
 historical works. His drawings, however, 
 both in chalk and body colour, are numer- 
 ous and carefully executed. His engravings 
 are in the dot and the chalk manner, very 
 tender and spirited, well drawn and ex- 
 pressive. In addition to the ' Pilgrim's 
 Progress ' there are some landscapes after 
 Claude, and some plates after Le Soeur, 
 Cipriani, and Stothard. But by his antiqua- 
 rian labours his name will always be remem- 
 bered. 
 
 STRUTT, Jacob George, landscape 
 painter. He studied his art in London, and 
 first appears as an exhibitor of portraits at 
 the Royal Academy in 1822 and 1823. In 
 the following year, and up to 1831, his ex- 
 hibited works were exclusively forest 
 scenes. Soon after he went to Lausanne, 
 and after residing there some time went to 
 Rome. He sent from thence, in 1845, 
 ' The Ancient Eorum,' and in 1851, ' Tasso's 
 Oak, Rome,' and the same year returned to 
 London. He exhibited an ' Italian Scene ' 
 in 1852, his last contribution to the Aca- 
 demy. He published, 1823-25, ' Sylva 
 Britannica,' drawn and etched by himself ; 
 also 'Delicia Syl varum.' 
 
 STUART, James, known as 'Athenian 
 Stuart,' architect. Born of humble parents, 
 his father a Scotchman, in Creed Lane, 
 London, in 1713. He evinced an early 
 talent for drawing, and a power of attain- 
 ing knowledge. By painting fans for 
 Goupy, a famous maker, who kept a shop 
 in the Strand, he materially assisted to 
 support his widowed mother and her young 
 family, and found means also to improve 
 himself. He became a correct draftsman, 
 geometrician, mathematician, and to these 
 attainments he added Latin and Greek. 
 These studies led him to architecture. He 
 was of a robust constitution, and gifted 
 with great courage and perseverance. When 
 almost in penury he conceived the idea of 
 visiting Rome and Athens, but he pro- 
 tracted his journey till he could make some 
 provision for his mother, with a young 
 brother and sister. On their fortunate em- 
 ployment, and his mother's death, with an 
 almost empty pocket, he started, in 17-11, 
 for Rome on foot, travelling through Hol- 
 land and France, but of necessity stopping 
 at Paris and other places to earn money for 
 the prosecution of his journey. 
 
 At Rome he met with Nicholas Revett, 
 with whom his name is indissolubly con- 
 nected, and remained with him there for 
 
STU 
 
 STU 
 
 six or seven years, closely employed in the 
 study of painting, and during this time 
 they conceived the plan which they jointly 
 made known in 17J:8, of publishing an au- 
 thentic description of Athens. With this 
 purpose they loft Rome in March 1750, but 
 did not reach Athens till the following 
 March. Stuart had, while on the Continent, 
 made himself a master of the art of forti- 
 fication, and voluntarily served at this time 
 a campaign as chief engineer, in the army 
 of' the Queen of Hungary. Then, return- 
 ing to Athens, he applied himself closely to 
 the study of Athenian architecture, making 
 exact measurements and drawings. In 1753 
 he left Athens, accompanied byReA^ett, and 
 visited Tliessalonica, Smyrna, and the Islands 
 of the Archipelago, and returned to London 
 with his companion early in the year 1755, 
 after a laborious expedition of five years. In 
 1762 he published, in conjunction with Re- 
 vett, the first volume of the ' Antiquities of 
 Athens,' a work which will form a memorial 
 of his accuracy, skill, and perseverance. 
 The second volume, which he had completed, 
 was published after his death, in 1789. 
 The drawings were nearly completed for 
 the third and concluding A^olume, which was 
 published in 1795, edited by Reveley. 
 From 1771 to 1783 he exhibited with the 
 Free Society of Artists, contributing views 
 in water-colours of the 'Ancient Buildings 
 in Athens,' ' Views of Athens,' ' Grecian An- 
 tiquities,' and designs, which were modelled 
 by Thomas Scheemakers, ' Cupid Unveiling 
 Modesty,' ' Judgment of Paris,' The ' Story 
 of Cyrus,' and some others. In 1780 ho was 
 President of the Society. 
 
 He practised as an architect, erected 
 several fine mansions in London, was i\-p- 
 pointed surveyor to Greenwich Hospital, 
 and rebuilt the chapel, after its destruction 
 by fire. His drawings were chiefiy made 
 in body colour. He was twice married, 
 first about 1760, to his housekeeper, a good 
 woman, by whom he had one son ; and a 
 second time, about 1781, to a young lady 
 by whom he had four children. He died, 
 in Leicester Square, February 2, 1788, and 
 was buried in the vaults of the church of 
 St. Martin-in-the-Fields. He left a con- 
 siderable fortune, amassed entirely by 
 his own industry. In addition to the ac- 
 quirements already mentioned, he was 
 skilful in engraving and carving, and distin- 
 guished by his general antiquarian know- 
 ledge. 
 
 STUBBS, George, A.R.A., ani7nal painter. 
 Was born in 1724, at Liverpool, where his 
 father practised as a surgeon. Little more 
 is known of his early life than that he was 
 an earnest anatomical student, and about 
 175-1- visited Italy, extending his journey 
 as far as Rome. It is probable that he 
 studied there for a time, as Barry, R.A., 
 twic? mentions him in his letters from 
 
 Rome, and speaks in terms of higli praise 
 of some works he was painting. On his 
 return ho settled in London, soon became 
 known as a painter and anatomist, devoting 
 himself largely to the dissection of animals, 
 He was patronised as a horse painter by all 
 who delighted in art. He was a member 
 of the Incorporated Society of Artists, and 
 in 1773 their President. In 1766 he pub- 
 lished his ' Anatomy of the Horse,' a work 
 on which he had been long engaged, 
 and had drawn and etched, from dissec- 
 tions made by himself, the 18 plates with 
 which it was illustrated. In 1780 he was 
 elected an associate of the Royal Academy, 
 and the following year an academician; 
 but he declined to present a painting by 
 himself to the Academy, in pursuance of 
 the rule, and preferred to remain an asso- 
 ciate. 
 
 In painting the portraits of horses, he 
 aspired to something more than the mere lay- 
 figure treatment which had hitherto pre- 
 vailed, and aimed at showing the animal's 
 form in variety of motion, and also grouped 
 and in combination with the higher animals. 
 Of this class are his ' Horse frightened at 
 a Lion,' and ' Lion killing a Horse.' He also 
 painted tigers and other wild animals with 
 great ability. He was fortunate that en- 
 gravers of such distinction as Woollett, 
 Earlom, and Val. Green spread the fame of 
 his works. His 'Fall of Phaeton,' which 
 he is said to have repeated four times, is 
 always mentioned as one of his best works, 
 but it does not maintain its reputation. He 
 had been long engaged on an anatomical 
 work, comparing the human structure with 
 that of the tiger and other animals, but he 
 only lived to complete three out of the in- 
 tended six parts. He tried some enamels 
 of large size on iron plates, and in 1782 
 exhibited the portrait of a dog and of an 
 artist in that material. He died in Upper 
 Somerset Street, Portman Square, July 10, 
 1806. He had resided there for 40 years, 
 and during that time had been a strict 
 water drinker, yet he lived to enjoy 82 
 years of vigorous life. 
 
 STUBBS, George Townley, engraver. 
 Son of the foregoing. Was born in London 
 about 1756, and learnt his art under his 
 father, many of whoso works he engraved 
 in mezzo-tint. He also engraved after 
 others, and some of his works are in the dot 
 manner and printed in colours. He ex- 
 hibited with the Incorporated Society in 
 1775-76 mezzo-tints and stained drawings. 
 Ho died in 1815. 
 
 STUBLEY, P., fortrait 'painter. Prac- 
 tised in London about 1730. His portraits 
 are very well drawn and composed. There 
 is a good engraved portrait of Peter 
 Monamy, the marine painter, after him, 
 and some other portraits engraved by J. 
 Faber. 
 
 399 
 
STU 
 
 SWA 
 
 STUMP, John S., miniature painter. He 
 was a student in the schools of the Eoyal 
 Academy, where he was for many years 
 and up to 1845 a constant contributor to the 
 exhibitions. He contributed miniature por- 
 traits, many of them theatrical portraits 
 in character, and one or two classic subjects 
 mIso in miniature. He also exhibited sub- 
 joets of the same class, from 1824 to 1845, 
 with the Society of British Artists ; and in 
 ]iis early career contributed some landscape 
 f^cenes and portraits to the Water-Colour 
 Society. There are likewise a few oil por- 
 traits by his hand, and some Swiss land- 
 scape scenes. He held a high place as a 
 miniature painter, his work being marked 
 by great tone and breadth. He was a mem- 
 ber of the Sketching Society. He died in 
 1863. 
 
 STURT, John, engraver. Born in Lon- 
 don April 6, 1658. AVas apprenticed, at the 
 age of seventeen, to Robert AVhite. His 
 works had not much art merit. He engraved 
 the Lord's Prayer within the compass of a 
 silver penny, filled the curls of a royal wig 
 with pious praises, and some other like 
 feats ; but his chief work was his Common 
 Prayer Book, published by subscription in 
 1717, which was engraved in two columns 
 on silver plates, with borders round each 
 plate, initial letters, and small histories at 
 the top. The work is of large octavo size, 
 and contains 166 pages, besides 22 which 
 comprise title, dedication, preface, portraits 
 of George I. and of the Prince and Princess 
 of Wales, &c. He afterwards engraved, in 
 the same manner, a Companion to the Altar, 
 and some other works, among which de- 
 serves notice Anderson's Scotch Records, 
 which he left unfinished. He grew aged and 
 poor, refused a place in the Charter House 
 which was offered to him, and died in August 
 1730. Paithorne drew his portrait, which 
 was engraved by Vertue. 
 
 SULLIVAN, Luke, engraver. Was born 
 1705, Co. Louth, Ireland, and reputed to 
 have been the son of one of the Duke of 
 Beaufort's grooms, and to have found his 
 first employment in the stables. He came 
 early in life to London, about 1750, and 
 was a pupil of Thomas Major, the engraver. 
 He is chiefly known as an engraver, and 
 was an assistant to Hogarth. He engraved 
 his ' Paul before Felix,' in which picture 
 the face of the angel was di'awn from him ; 
 and the ' March to Pinchley,' an excellent 
 work. He painted in water-colour some 
 architectural and landscape views, and en- 
 graved himself his 'View in the Park,' 
 with a group of figures, 1751 ; and also a 
 series of six seats — Cleveden, Esher, Wil- 
 ton, Ditchley, and AVoburn, 1759. He also 
 excelled highly in miniatures, especially of 
 females, and from 1764 to 1770 was an ex- 
 hibitor, chiefly of miniatures, with the 
 400 
 
 Incorporated Society, of which he was a 
 member and director. He was of dissi- 
 pated habits, passing his time in brothels 
 and taverns, and died at the * White Bear, 
 Piccadilly, early in 1771. 
 
 SUMMERPIELD, John, engraver. Was 
 the favourite pupil of Bartolozzi, R.A., and 
 was early distinguished by his talent. He 
 executed, in 1802, a fine plate of 'Rubens 
 and his Wife going to Market,' for which 
 he received the Society of Arts gold medal, 
 and some other excellent works ; but to so 
 low an ebb w^as the art then reduced, that 
 he is said to have suffered from actual 
 want. He died in Buckinghamshire in 
 March 1817. 
 
 SUNMAN (or Sonman),Willem, portrait 
 painter. Was born in Holland, came to Eng- 
 land in the reign of Charles II., and was much 
 employed after the death of Lely, but w\as 
 jealous of the rising ability and favour of 
 John Riley, and retired to Oxford. Here he 
 was employed by the University, and painted 
 the series of large apocryphal pictures of the 
 founders of colleges now in the Picture 
 Gallery, works which do not give a high 
 idea of his abilities. But there is by him 
 a good portrait at Wadham of an old 
 female servant of that college. Some of 
 his portraits are engraved. He died in 
 1707, in Gerrard Street, Soho. 
 
 SUTCLIFFE, Thomas, water-colour 
 painter. He w^as born in Yorkshire, and 
 during his art career lived at Headingly, 
 near Leeds. He first exhibited in London 
 at the Royal Academy, in 1856, 'A Study 
 in Harewood Park,' and was soon after 
 admitted an associate of the Institute of 
 Painters in Water-Colours, and exhibited 
 landscape views with that Society up to his 
 death in December 1871. 
 
 SUTHERLAND, Thomas, engretver. 
 Was born about 1785, and practised his 
 art in London. He is chiefly known by 
 his plates in aqua-tint, some of which are 
 printed in colours. Among his works 
 are the Peacock Tavern, Islington, from 
 whence the northern mails started ; some 
 hunting subjects, and views of Dover and 
 Calais. 
 
 SUTTON, John, modeller and carver. 
 Was employed upon the famous tomb of 
 the Earl of Warwick. Temp. Richard the 
 Second. 
 
 SUTTON, Baptist, glass painter. 
 Painted two windows for the Church of 
 St. Leonard, Shoreditch, some time prior 
 to 1634. 
 
 S W A I N E , Francis, marine painter. 
 He was a member of the Pree Society of 
 Artists 1763, and was an exhibitor with 
 them and the Incorporated Society till his 
 death. He gained the Society of Arts 
 medal in 1764, and again in 1765, for 
 his marine views. He painted marine 
 
SWA 
 
 SYM 
 
 moonlights, sca-figlits, and ^yas an imitator 
 of the Dutch masters. There are two small 
 sea-pieces by him at Hampton Court, but 
 they do not support the reputation he 
 enjoyed in his lifetime. Ho resided many 
 years in Stretton Ground, Westminster, and 
 removed to Chelsea, where he died in 1782. 
 Two of his works are engraved by Canot. 
 IMoxAMY SwAiNE, probably his son, was 
 also a painter, and an exhibitor of marine 
 subjects. 
 
 SWAINE, John, engraver. Born at 
 Stanwell, Middlesex, was a pupil of Jacob 
 Schnebbelie, and on his death, in 1791, was 
 transferred to Barak Langmate, and then 
 to his son. He was chiefly employed on 
 works of an antiquarian character, and was 
 painstaking and accurate, but feeble. He 
 executed very clever fac-simile imitations 
 of old engraved portraits. He died in 
 Dean Street, Soho, November 25, 1860, 
 aged 85. His son, John Barak Sw^\ine, 
 who was brought up as an engraver, and 
 was of some promise, died prematurely in 
 1828, aged 23. 
 
 SWAN, AimAHAM, architect. Practised 
 in London in the middle of the 18th cen- 
 tury, and published, in 1757, ' A Collection 
 of Designs in Architecture.' 
 
 SWIFT, John AVarkup, 7narine painter. 
 He was brought up at Hull in the midst 
 of shipping, and was for several years a 
 sailor. He first became scene painter to 
 an amateur dramatic club, and improving 
 in art, he settled in practice at Newcastle- 
 on-Tyne, and became well known in the 
 north of England. He painted, in 1863, 
 ' The Channel Elect running into Sunder- 
 land,' and ' Shields Harbour,' l)cth large 
 works. He also painted a few landscapes. 
 Some of his works were produced in chromo- 
 lithography. He died suddenly, at New- 
 castle-on-Tyne, May 7, 1869, aged 51. 
 
 SYBRECHT, John, landscape fcdtHcr. 
 Born at Antwerp in 1625. He came to 
 England, and was employed during four 
 years in the decoration of Cliefden House, 
 and afterwards at Newstead and Chats- 
 worth. He painted in the decorative man- 
 ner of Du Jardin and Berghem. He died 
 in London in 1703, and was buried at St. 
 James's Cliurch, Piccadilly. 
 
 SYKES, , p>^'rtrait painter. He was 
 
 one of the artists consulted, in 1727, on 
 the value of Thornhiirs paintings at Green- 
 wich Hospital. He died in Lincoln's-inn- 
 Eields shortly before 1733, and his collec- 
 tion of pictures was sold in June of tliat 
 year. He was considered of some eminence 
 in his day. 
 
 SYKES, Godfrey, orncmmtal modeller. 
 Was born at Sheffield, and was successively 
 student, pupil-teacher, and master of the 
 Sheffield School of Art. He w^as after- 
 w^ards employed at the South Kensington 
 
 Museum, and united with Captain Fowkc, 
 R.E., in the decoration of tlie new Museum 
 buildings and the arcades of the conserva- 
 tory in the Horticultural Gardens. The 
 columns for the lecture theatre at the 
 Museum are examples of his taste and 
 genius. His style was distinctly formed, 
 and showed great fertility of invention, 
 controlled by sound principles. After a 
 long illness, he died at Brompton, Feb. 28, 
 1866, in his 41st year. 
 
 SYME, Patrick, U.S.A., flower painter. 
 He was born September 17, 177-i, in Edin- 
 burgh, where he was educated, and at an 
 early age followed the profession of his 
 elder brother, succeeding, on his death in 
 1803, to his practice as a teacher of draw- 
 ing. He was a regular contributor from 
 1 8 1 0 to 1 8 1 6 to the exhibitions of the Society 
 of Associated Artists. He died at Dollar, 
 N.B., in July, 1845. He was a man of 
 several attainments — a botanist, entomo- 
 logist, had made collections of shells and 
 insects, and some of his natural history 
 drawings were deemed his best works. He 
 was also a writer of poetry and fiction. 
 His 'Treatise on British Song Birds ' was 
 published in 1823. He also published an 
 edition of Werner's ' Nomenclature of 
 Colours.' 
 
 SYME, John, R.S.A., piortrait painter. 
 Nephew of the above. He was born in 
 1795 in Edinburgh, where he studied in 
 the Trustees' Academy, and afterwards 
 practised. He was a pupil of Sir Henry 
 Raeburn, and on his death, completed his 
 unfinished works, and was successful as 
 a portrait painter. He was one of the 
 foundation members of the Royal Scottish 
 Academy, and took an active share in its 
 management. His portrait, painted by 
 himself, is in the Academy Gallery. Ho 
 died in Edinburgh in 1861, after a severe 
 illness, which had for several years pre- 
 vented the exercise of his profession. 
 
 SYMONDS, Abraham, moddler. He 
 was a modeller in wax and embosser of 
 medals in the reign of Charles 11. , and is 
 mentioned by Evelyn as excelling in medals 
 and intaglios. His portrait was painted by 
 Kneller and engraved by Vertue. There 
 is also a portrait of him engraved by 
 Blooteling. 
 
 SYMONDS, Rudolph, architect. Prac- 
 tised in the reign of James I. Superin- 
 tended the building of Sydney and Emanuel 
 Colleges, Camljridge. 
 
 SYMONDS, Symon, glass painttr. 
 Lived in St. Margaret's parish, West- 
 minster, and, conjointly Avith Erancis 
 Williamson, contracted for the painted 
 windows of the upper story of Kings 
 College, Cambridge, 18 th Henry VIIL, of 
 ' Orient Colours and Imagery of the Story 
 of the Old Law and of the New Law.' 
 
 D D 401 
 
TAG 
 
 T AS 
 
 T 
 
 TACONET, Charles, scul'ptor. Studied 
 in the schools of the Eoyal Academy. In 
 1790 he exhibited 'The Death of Milo,' 
 and 'Venus Instructing Cupid in Archery,' 
 and in the same year he gained the Aca- 
 demy gokl medal for his model of ' Samson.' 
 In 1791 he exhibited a design for a portrait 
 medal, and in 1792, 'Atlas,' after which 
 there is no further trace of his art. 
 
 TAGGr, Thomas, eiclier. AVaswell known 
 for the great taste of his etchings. His 
 name does not appear as an exhibitor. He 
 chiefly forwarded plates for engravers. He 
 suffered for some months from epileptic fits, 
 probably aggrayated by poverty, and was 
 in great pecuniary want. His artist friends 
 raised a subscription for him, but only in 
 time to provide for his funeral and pay the 
 debts contracted during his illness. He 
 died at Kennington in November, 1809. 
 
 TALLMACHE, AVilliam, sculptor. He 
 studied in the schools of the Eoyal Aca- 
 demy, and in 1805 gained the gold medal 
 for his group, ' Chaining Prometheus to the 
 Eock.' He does not appear to have fol- 
 lowed up this success. He only appears 
 again as an exhibitor of small models, to 
 be cast in bronze, on two occasions, in 1812 
 a 'Model of the King;' and 1814 a 
 * Bacchus ' and an ' Ariadne.' 
 
 TALMAN, William, architect. Was 
 born at AVest Lavington, Wilts, where he 
 had an estate. Ho was Comptroller of 
 the Works to AVilliam III., and was em- 
 ployed on many considerable buildings. 
 In 1671 he built Thoresby House, Notting- 
 hamshire, which was burnt down. In 
 1698 Dynham House, Gloucestershire ; and 
 later, Swallowfield, in Berkshire, and Chats- 
 worth, Derbyshire. 
 
 TALMAN, John, amateur. Son of the 
 foregoing. He went to Eomo with Kent 
 to study, in 1710, and passed much of his 
 time in Italy, where he made numerous draw- 
 ings of the churches and public edifices, some 
 of which are sketched with the pen and 
 others tinted in water-colours. A few of 
 these drawings are possessed by the Anti- 
 quarian Society. 
 
 TANNEE, John Sigismund, medallist, 
 AVas a native of Saxe-Gotha, and came to 
 England about 1733. He was first em- 
 ployed in the domestic service of Frederick 
 Prince of Wales, and showing a taste for 
 carving and chasing, he obtained some ap- 
 pointment in the Eoyal Mint, and by his 
 ability rose to be chief engraver in 1740. 
 He executed medals of the Prince and 
 Princess of Orange, the large family medal 
 of George I., his Queen, and their children, 
 402 
 
 and a medal of Sir Isaac Newton. After 
 nearly 40 years' service in the Mint he re- 
 tired. He died in Edward Street, Cavendish 
 Square, March 16, 1775. 
 
 TANNOCK, James, portrait painter, 
 AVas born about 1780, at Kilmarnock, where 
 his father, to whose trade he was appren- 
 ticed, was a shoemaker. He was so bent 
 upon painting that he was at last allowed 
 his own way, and getting employment as a 
 house painter, he tried portraiture with 
 sufficient success to gain notice in his own 
 town. He then went to Glasgow and had 
 some practice there, and was, from 1806 to 
 1809, at Greenock, where he painted chiefly 
 miniatures, but some few oil portraits also, 
 and again for a time resided at Glasgow, 
 where his art was much esteemed. About 1813 
 he came to London and lived for many 
 years in Nev/man Street. His portraits 
 possessed some merit, and from 1813 to 
 1841 he exhibited, with little intermission, 
 at the Eoyal Academy. From about 1820 
 to 1830 his son, AV. Tannock, was also an 
 exhibitor of portraits. 
 
 TASSAEET, J. Philip, ptortrait and 
 drajyery painter, AA^as born at Antwerp, 
 and came to England when very young. 
 He was some time with Hudson the por- 
 trait painter, probably as his assistant. He 
 was, in 1769, elected a member of the In- 
 corporated Society of Artists, and in 1775 
 a president of the Society, exhibiting with 
 them for several years landscapes and sub- 
 ject pictures. On one or two occasions he 
 sent a small whole-length portrait to the 
 Academy. His works were frequently 
 pasticcios and copies, and he can hardly be 
 classed as an original painter. He was also 
 known as a picture cleaner and dealer. He 
 issued, in 1777, a plan for 'A Most Noble 
 and General Exhibition of Arts and 
 Sciences,' which was partly to be formed of 
 works on loan. He died in Soho, Oct. 6, 1803. 
 
 TASSIE, James, gem engraver and 
 modeller. He was born near Glasgow, of 
 humble parents, in 1735, and was brought 
 up as a country stonemason. Going into 
 Glasgow on the occasion of a fair he saw 
 the Eoulis collection of pictures, and was 
 struck with the desire to be an artist ; and 
 removing into Glasgow, where he got em- 
 ploym^ent at his trade for his support, he 
 obtained admission to Eoulis' Academy, 
 where he acquired a power of drawing and 
 modelling. He exhibited at the Eoyal 
 Academy, in London, in 1769, two modelled 
 portraits, and continued an exhibitor up to 
 1791. He then went to Dublin to seek em- 
 ployment, and his talent made him known 
 
TAT 
 
 TAY 
 
 there to Dr. Quin, who was engaged in 
 making pastes in imitation of precious 
 stones, and, taking him into his confidence, 
 he showed him his processes, and to this art 
 he devoted himself, imitating some of the 
 most precious relics of antiquity in gems 
 and coins. In 176G he came to London to 
 prepare and sell his pastes, but, diffident to 
 excess, he struggled long under difficulties, 
 from which he slowly emerged, and gained 
 a competence hy the perfection of his art, 
 his imitations being so fine as to be sold 
 for originals. He executed about 15,000 
 for the Empress of Russia. He collected 
 materials of great art value, increasing his 
 stock of casts and pastes to 20,000 impres- 
 sions. He was an excellent artist, a man 
 of taste, judgment, and research, and exe- 
 cuted many likenesses, possessing great 
 accuracy, of men eminent in his day. Ho 
 died in Leicester Square, 1799, and was 
 succeded by his nephew, "VVillta:m Tassie, 
 who was the fortunate winner, in 1805, of 
 the Shakespeare Galler}^ erected in Pall 
 Mall, the great prize in Alderman Boydell's 
 lottery, and died at Kensington, in 1860. 
 
 TATE, W. Chuistopher, sculptor. Was 
 born at Newcastle-on-Tyne, where he was 
 apprenticed to a marble mason, and after- 
 wards worked for a sculptor. Left him, 
 and, struggling hard to establish himself 
 as an artist, he produced a ' Dead Christ,' 
 and a statue of ' Blind Willie,' by which 
 he is known. He then tried bust modelling. 
 Several persons of influence sat to him, and 
 he exhibited at the Academy in 1828-29-33, 
 but not afterwards. Later he produced a 
 ' Judgment of Paris,' a well-designed group, 
 and a ' Musidora.' His health failing, he 
 made a voyage to the Mediterranean, but 
 his disease making rapid progress, he re- 
 turned, and died, on his way home, in Lon- 
 don, March 28, 18^1, aged 29, leaving a 
 widow and two children without any pro- 
 vision. There are many monumental tombs 
 by him in the neighbourhood of his native 
 town. 
 
 TATE, William, portrait painter. He 
 was a pupil of Wright of Derby, and prac- 
 tised with some reputation at Liverpool in 
 1776 ; then, for a short time, in London, 
 at Manchester in 1787, and later, at Bath. 
 He exhibited portraits, with one or two 
 attempts at subject pictures, at the Royal 
 Academy, between 1776 and 1802. He died 
 at Bath, June 2, 1806. 
 
 TATHAM, Charles Heathcotb, archi- 
 tect. Studied his art in Italy. Was several 
 years at Rome and Bologna, and was 
 elected a member of the academies of those 
 cities. He exhibited at the Royal Academy, 
 commencing in 1797, designs and orna- 
 mental works, and was early in his career 
 well employed, chiefly on works of a deco- 
 rative character. He published ' Etchings 
 
 from the Best Examples of Ancient Orna- 
 mental Architecture, drawn from the Origi- 
 nals at Rome,' 1799, and a second volume 
 in 1803 ; 'Etchings representing Fragments 
 of Grecian and Roman Architectural Orna- 
 ments,' 1806 ; and the same year, ' Designs 
 for Ornamental Plate.' In 1811, his own 
 complete works, ' Tlio Gallery at Castle 
 Howard,' and ' The Gallery at Brocklesby.' 
 He also wrote the letter-press for Carey's 
 ' Ancient Cathedrals,' and for some other 
 publications. He was warden of Norfolk 
 College, Greenwich. Died April 10, 1812, 
 in his 72nd year. 
 
 TAVERNER, Jeremiah, j)ortr ait painter. 
 Practised early in the first half of the 18th 
 century. There is a portrait by him, mezzo- 
 tinted, by J. Smith. He was the author of 
 several plays. 
 
 TAVERNER, William, cunatQur. Was 
 born in 1703. He was the son of a proctor 
 in Doctors Commons, and grandson of the 
 above, and followed the profession of a 
 proctor, devoting his leisure to art. His 
 drav/ings are chiefly in body colour, imi- 
 tating the Italian masters, mostly woody 
 scenes, and, though clever, do not by any 
 means maintain the great reputation which 
 he enjoyed in his own day. He died 
 October 20, 1772. 
 
 TAYLOR, Alexander, miniature painter. 
 Exhibited at the Ro3^al Academy, for the 
 first time, in 1776, and continued an occa- 
 sional exhibitor till 1796. 
 
 TAYLOR, Charles, engraver. Was born 
 in London in 1748, and became the pupil 
 of Bartolozzi. He engraved a number of 
 plates after Angelica Kauffman. 
 
 TAYLOR, Edvn^ard Clough, amateur. 
 He was educated at Trinity College, and 
 took his M.A. degree in 1814. He was 
 distinguished as a clover etcher. Died May 
 14, 1851, aged 65. 
 
 TAYXOR, Isaac, engraver. Was born 
 in London about 1750, and was a pupil of 
 Bartolozzi. He is known chiefly by his 
 works for Boydell's Shakespeare Gallery. 
 He also engraved some illustrations for the 
 Bible, the designs of which are attributed 
 to him, and the 'Murder of Rizzio,' by Opie, 
 R.A. About 1786 he retired to Suflblk, 
 and afterwards became minister of an Inde- 
 pendent congregation at Colchester and at 
 Ongar, at which latter place he died Dec. 1 1, 
 1829. 
 
 TAYLOR, Isaac, draftsman and engraver, 
 Was born at Worcester December 13, 1730. 
 the son of a brass founder, and in connec- 
 tion with this business he learnt to draw 
 ornaments and the figure, and did a little 
 engr<iving on plates and cards. He came 
 to London in 1752, walking by side of the 
 waggon, and with an empty pocket. By 
 good fortune he obtained some employment 
 with a silversmith. He then married, and 
 2 403 
 
TAY 
 
 T AY 
 
 went to Brentwood, where he tried land- 
 surveying, but found it more advantageous 
 to return to London and resume his work 
 as an engraver. He had engraved plates 
 for the ' Gentleman's Magazine,' and he now 
 found employment of this nature, gradually 
 gaining notice. Between 1766-70 ho ex- 
 hibited several engravings for books, en- 
 graved after his own designs. He also 
 drew and engraved the plates for an edition 
 of ' Sir Charles Grandison,' which were highly 
 esteemed. His style was finished, his exe- 
 cution good, and he possessed talents which 
 should have given him a wider reputation. 
 He died at Edmonton October 17, 1807, 
 aged 77, having for many years retired from 
 the practice of his profession. He was 
 Secretary to the Incorporated Society of 
 Artists from 1774 to the collapse of the 
 Society. 
 
 TAYLOK, James, designer and engraver. 
 Was younger brother of the foregoing. He 
 was employed for many years as a china 
 painter at Worcester, and then came to 
 London and worked as an assistant to liis 
 brother. He died December 21, 1790, 
 aged 52. 
 
 TAYLOE, John, portrait painter. 
 Nephew of the water-poet. He practised at 
 Oxford in the middle of the 1 7th century. 
 His portrait, painted by himself, is in the 
 Bodleian Library, and also two portraits of 
 ' The Water-Poet,' painted in 1655. 
 
 TAYLOE, John, landscape painUr. Was 
 born at Bath about 1745. Studied in Lon- 
 don with much reputation. He painted 
 marine landscapes with figures and cattle. 
 Goupy and De Lerpiniere engraved after 
 him, and he was himself an etcher. He died 
 at Bath, November 8, 1806. 
 
 TAYLOE, John (known as ' Old Taylor '), 
 portrait painter. A¥as born in Bishopgate 
 in 1739, the son of one of the principal 
 officers of the customs. He was a pupil of 
 Prank Hayman and a student of the St. 
 Martin's Lane Academy. In 1766 he was a 
 member of the Incorporated Society of Ar- 
 tists. For some years he devoted himself 
 to portrait drawings in pencil, which he 
 finished with great minuteness, but did not 
 attain excellence. Commencing in 1779 he 
 was an occasional exhibitor for above 20 
 years at the Academy, sending domestic 
 scenes, but more frequently portraits in 
 miniature and drawn in pencil. Later he 
 took up teaching as more profitable, and 
 made a small competence, investing his 
 earnings in the long annuities expiring in 
 1840. It was just sufficient for his un- 
 usually long life. He died in Cirencester 
 Pl.ice, November 21, 1838, in his 99th year. 
 He was a man of cheerful humour, full 
 of never failing reminiscences of art and 
 artists. 
 
 TAYLOE, Sir Egbert, Knt., architect. 
 404 
 
 Was the son of a stone-mason, who made a 
 good deal of money, but spent it. He was 
 the pupil of Henry Cheere, and managed to 
 travel to Eome for his improvement. He 
 worked at the commencement of his life as 
 a statuary. General Guest's monument, 
 near the north door of Westminster Abbey, 
 is one of his best works. The bas-relief in the 
 tympanum of the pediment of the Mansion 
 House portico is also by him. He after- 
 wards relinquished statuary and confined 
 himself to architecture. He made some 
 important additions to the Duke of Grafton's 
 house in Piccadilly, Lord Howe's in Hert- 
 fordshire, and Lord Eadnor s in AViltshire. 
 His chief buildings are Ely House, Dover 
 Street ; Gorhambury, Hertfordshire ; Hev- 
 ingham Hall, Essex ; and Stone Buildings, 
 Lincoln's Inn. He was appointed architect 
 to the Bank of England, the Admiralty, 
 Greenwich Hospital, and the Poundling 
 Hospital, and held several other offices. He 
 filled the office of sheriff in 1783, and was 
 tlien knighted. He was of very active 
 habits, rose very early, and made his jour- 
 neys by night. He died September 27, 
 1788, aged 74, and was buried at St. Mar- 
 tin's-in-the-Pields. He left a fortune of 
 180,000^., which he had accumulated during 
 an active practice of 40 years. 
 
 TAYLOE, Simon, botanical draftsman. 
 Was educated at Shipley's Drawing School, 
 and in 1756 was awarded a medal by the 
 Society of Arts. About 1 760 he was engaged 
 by Lord Bute to make botanical drawings, 
 for which he had given proof of early 
 ability, and continued in his employ for 
 many years. He painted on vellum in 
 water-colours, in a very accurate and mas- 
 terly manner. He was afterwards engaged 
 in the same manner by Dr. Fothergill. His 
 works were very numerous. His usual price 
 for a drawing was three guineas. Lord Bute's 
 collection was sold by auction in 1794 by 
 Leigh and Sotheby. Dr. Pothergill's was 
 purchased by the Empress of Eussia. He 
 died about 1798. 
 
 TAYLOE, William B. Sarsfield, land- 
 scape painter. Was the son of a map 
 engraver at Dublin. He commenced life in 
 the Commissariat Service, and was present 
 at the siege of St. Sebastian. He afterwards 
 tried art, but without much success, and is 
 better known by his writings. He was an 
 exhibitor at the Eoyal Academy from 1820 
 to 1847. Commencing with landscapes, he 
 contributed some military scenes, and some 
 marine subjects among his later works. His 
 publications are — A Description of Trinity 
 College, Dublin,' with illustrations from his 
 own drawings ; ' A Translation of Merimee's 
 Practice of Painting ; ' ' A History of the 
 Pine Arts in Great Britain and Ireland;^ 
 and ' A History of the Practice of Presco 
 Painting.' He also wrote on the penitentiary 
 
TAY 
 
 THE 
 
 system of the United States, and was an art 
 critic. In the latter part of his life he was 
 curator of the St. Martin's Lane Model 
 Academy. He died December 23, 1850, 
 aged 69. 
 
 TAYLOR, AViLLiAM Dean, engraver. He 
 was born in 1794. He practised in the line 
 manner, and his art was well esteemed. 
 Among his works are ' Acis and Galatea,' 
 after li. Cook, R.A., and a portrait of the 
 Duke of AVellington, after Lawrence, P.K.A. 
 He died suddenly in 1857. 
 
 TAYLOE, Thomas, engraver. Practised 
 about the middle of the 18th century. Was 
 employed by Alderman Boydell, and en- 
 graved Henry VIII., after Opie, for the 
 IShakespeare Gallery. Also engraved after 
 Salvator Rosa and Van Harp, and some 
 allegorical designs by Gwynn. 
 
 TAYLOR, Thomas, engraver and print- 
 seller. He practised in London, 1680- 
 1720. 
 
 TAYLOR, Zachary, statuary/. Was one 
 of Charles L's ' surveyors and carvers,' and 
 was employed in carving the marble enrich- 
 ments of the great doors of old St. Paul's, 
 when restored by Inigo Jones. 
 
 TEMPEST, Pierce, eo^gravcr and print- 
 seller. Received some instructions from 
 Hollar, and assisted him in his works. He 
 engraA^ed James 11. and his Queen, but is 
 best known by the ' Crye's and Habits of 
 London,' engraved in 50 plates after old 
 Laroon, and commonly called ' Tempest's 
 Cries,' published 1688. He practised 1670- 
 1705. Died 1717, and was buried at St. 
 Paul's, Covent Garden. 
 
 TEMPLE, W. W., wood engraver. Was 
 apprenticed to Bewick, and engraved for his 
 ' British Birds,' the rough-legged falcon, 
 pigmy sand -piper, red sand - piper, and 
 the eared grubo. On the completion of 
 his apprenticeship he abandoned art and 
 became a draper and silk-mercer. 
 
 TEMPLE, George, architect. Designed 
 and erected Temple Bridge, Duljlin, 1752, 
 and was much reputed in his profession, 
 He published, late in life, a treatise, valuable 
 at that time, on ' Building in Water.' 
 
 TEMPLETON, Viscountess, amateur. 
 Born Lady Mary Montague, she married 
 Viscount Templeton in 1790. Pond of art 
 she designed some groups, which were exe- 
 cuted by Miss Wedgwood. There is by her 
 a clever drawing in Indian ink, a wood 
 scene, in the South Kensington Museum. 
 
 TENNANT, John F., landsca'pe painter. 
 He was born at Camberwell, in September 
 1796, and commenced life in a merchant's 
 office, but he early turned to art, and in 1820 
 exhibited some landscapes at the Royal 
 Academ}^, introducing figures and cattle. 
 On the foundation of the Society of British 
 Artists he was a large contributor to their 
 first exhibitions, and in 1842 was admitted 
 
 a member. Ho lived some time in North 
 Wales, afterwards in Devonshire, and later 
 at Hendon. His landscapes were picturesque 
 in their character and treatment. He exhi- 
 bited occasionally at the Academy up to 
 1847, and for many years later with his 
 own Society. He died in 1872. 
 
 TERxiSSON, H., engraver. Practised in 
 London in the early part of the 18th cen- 
 tury. He engraved some plates of insects, 
 and there is a view of the Banqueting House, 
 Whitehall, drawn and engraved by him iji 
 1713. 
 
 TERNOUTH, J., sculptor. Ho was from 
 1819 to 1849 an exhibitor at the Royal 
 Academy. His works were almost exclu- 
 sively portrait busts, and he had some dis- 
 tinguished sitters. He exhibited one or 
 two monumental works, and in 1847 a 
 ' Musidora,' his only work of a poetic 
 character. Ho died in 1848 or early in 
 1819. 
 
 TERRY, G., mezzo-tint engraver. AVas 
 a member of the St. Martin's Lane Academy, 
 and was chiefly employed in engraving por- 
 traits about the last quarter of the 18th 
 century. 
 
 THACKER, Robert, engraver. Practised 
 in the reign of Charles IL, and styled him- 
 self engraver to the King. There is by 
 him a large engraved plate of Salisbury 
 Cathedral, in four sheets. . 
 
 THACKERAY, William Makepeace, 
 amateur. He was born at Calcutta in 1811. 
 His fcither was of a good Yorkshire family, 
 and was in the Civil Service of the East 
 India Company. He was educated at the 
 Charter House, and went to Cambridge, but 
 did not take a degree. Undecided for a 
 while in his tastes between literature and 
 art, he spent some time on the continent, 
 chiefly with a view to the stmly of the 
 latter; but his early sketches gave little 
 indication of ability, and his great literary 
 genius soon shewed the true bent of his 
 talent. His ' Vanity Fair,' 1846, followed 
 by 'The Newcomes,' 'Pendennis,' 1849, and 
 'Esmond,' 1852, placed him in the first 
 rank of the literary men of his day. For 
 some of his early works, his papers in 
 ' Punch,' his ' Irish Sketch-Books,' and also 
 his contributions to the ' Cornhill Magazine,' 
 which he established in 1860, he designed 
 many of the illustrations on the wood, but 
 they were crude, poorly drawn, and had 
 little pretensions to art. Ho died, suddenly, 
 at Kensington, December 24, 1863, and was 
 buried at the Kensal Green Cemetery. 
 
 THEAKSTONE, Joseph, sculptor. AVas 
 born of respectable parents at York, and 
 was a pupil of the elder Bacon. He after- 
 wards assisted him, was then employed for 
 several years by Elaxman, and for a time 
 by Baily. He exhibited occasionally at the 
 Royal Academy, from 1817 to 1837, his 
 
 405 
 
THE 
 
 THO 
 
 contributions not rising higlier than a bust 
 or a monumental design ; but for the last 
 24 years of his life he found constant em- 
 ployment in Chantrey's studio, chiefly upon 
 the draperies, in which he had attained 
 great skill and dexterity. He showed much 
 judgment, and used his chisel with great 
 cleverness. He died in Pimlico, April 14, 
 1842, aged 69. 
 
 THEED, AA^iLLTAM, K.A., sculptor. AVas 
 born in 1764, and com.menced art as a stu- 
 dent in the Koyal Academy Schools in 1786. 
 He first practised as a painter of classic sub- 
 jects and portraits, sending to the exhibition 
 in 1793 a'Venus and Cupids.' He then went 
 to pursue his studies in Rome, where he 
 remained several years ; married at Naples 
 a Erench lady, and returned to England 
 some time in 1794. In 1798 he again ex- 
 hibited some paintings, and in 1 799, ' Ncssus 
 and Dejanira,' a model, and soon after en- 
 gaged in designing and modelling for the 
 Messrs. AYedgwood, the potters, in whose 
 employment he continued for several years, 
 and was then employed in designs for 
 goldsmith's work by Messrs. Eundell & 
 Bridge, with whom, he remained, receiving 
 a handsome fixed salary, about 14 years. 
 During this time he continued to exhibit 
 a work occasionally at the Academy; in 
 1800, ' Cephalus and Aurora,' a painting; 
 in 1806, ' Thetis with the Arms of Achilles,' 
 a wax model ; in 1811, three classic models, 
 and was in that year elected an associate 
 of the Royal Academy, and in 1813 a mem- 
 ber. He continued an exhibitor of models, 
 comprising a large figure of Mercury, a 
 lifo-size group, and a Thetis, in bronze. 
 His last designs were of a monumental 
 character. He died in 1817. His son has 
 become eminent in his father's profession. 
 
 THEW, Robert, engraver. Born in 1758, 
 at Patrington, Holdernesso, vrhere his father 
 kept a village inn. He was apprenticed to 
 a cooper, and served his time, and was a 
 private in the Northumberland Militia 
 during the v/ar. Though without education, 
 he had much natural ability. In 1783 he 
 settled in Hull, and engraved shop-bills, 
 cards &c., and then a plan of Hull, and, 
 advancing in his attempts, the head of a 
 well-known puppet showman. Later he 
 engraved a good plate after Gerard Dow, 
 and through it gained an introduction to 
 Alderman Boydell, who gave him employ- 
 ment. He practised in the dot manner, 
 and engraved no less than 19 of the large 
 plates for the Shakespeare Gallery, which 
 are finished with great delicacy and charac- 
 ter. A plate by him, after Westall, of 
 Cardinal Wolsey entering Leicester Abbey 
 if* one of his best works. He held the ap- 
 pointment of engraver to the Prince of 
 "Wales. He died at Stevenage, Herts, in 
 August 1802. 
 406 
 
 THIRTLE, John, water-colour painter. 
 Was a member of the Norwich Society, 
 with which he exhibited, and practised at 
 Norwich in the beginning of the 19th cen- 
 tury. He exhibited at the Royal Academy 
 in 1808, but only on this occasion. His 
 drawings were good, well-coloured exam- 
 ples of pure water-colour art. 
 
 THOM, John, subject painter. Was born 
 in Edinburgh about 1785, and studied the 
 elements of his art there. Later he came 
 to London, where he met with encourage- 
 ment. His ' Young Recruit ' was engraved 
 by A. Duncan in 1825. 
 
 TPIOM, James, sculptor. Was born in 
 A^^rshire in 1799, and found his first em- 
 ployment, obscure and unfriended, as a 
 stone-cutter. Uneducated, he produced in 
 stone some clever natural groups, which 
 attracted the notice of his own countrymen, 
 and induced him to try his fortune in Lon- 
 don. Hero he found employment, and his 
 ' Tam O'Shanter ' and ' Old Mortality ' were 
 produced in plaster, sold throughout the 
 country, and made him famous. He en- 
 trusted these two groups to an agent to 
 exhibit in America, and, never receiving 
 any returns, he crossed the Atlantic to look 
 after his property, and was induced to re- 
 main. He settled at Newark, where, in 
 exploring for stone for his own purposes, 
 he discoA^ered a valuable quarry. He re- 
 produced from this stone his tAvo favourite 
 groups and a statue of Burns, and several 
 commissioned groups for the decoration of 
 pleasure grounds. He made a profitable 
 contract for the stone -work and for much 
 of the decorative stone-carving for Trinity 
 Church, New York, and was enabled to 
 purchase a fiirm on the line of the Erie 
 Railroad, and to build himself a house. He 
 appears then to have abandoned his pro- 
 fession. He died, of consumption, in his 
 lodgings at New York, April 17, 1850, aged 
 51. He left a widow and two children. 
 
 THOMAS, John, mezzo-tint engraver. 
 He was one of the early artists practising 
 in this manner, drawing well, and imitating 
 the textures with ability. He was also an 
 etcher. Some of his works are dated about 
 1664. 
 
 THOMAS, Matthew Edward, architect. 
 Was a student of the Royal Academy, and 
 in 1815 gained the gold medal for his 
 design for a palace. This he exhibited the 
 following year, and then travelled in Italy, 
 and was elected a member of the Academy 
 at Elorence and of St. Luke at Rome. On 
 his return, he exhibited at the Academy in 
 1820-21-22, and his name then disappears. 
 The works contributed in these three latter 
 exhibitions were architectural drawings, not 
 designs. 
 
 THOMAS, John, sculptor. Was of a 
 Welsh family, and was born in 1813 at 
 
THO 
 
 THO 
 
 Clialford, Gloucestershire. He came to 
 London to undertake part of the decorative 
 sculpture of the new Houses of Parliament, 
 and was chiefly engaged in works of that 
 class. Prom 1838 to 1862 he was a constant 
 exhibitor at the Academ3^ His contribu- 
 tions were chiefly busts, on which he 
 appears to have been well emplo3"ed, with 
 an occasional design of a monumental 
 character. The pediment and figures in 
 front of the Great Western hotel are by 
 him, as also are the allegorical bas-reliefs 
 of London, Liverpool, Manchester, and 
 other cities, at the Euston Square station. 
 He designed the now works at the head of 
 tlie Serpentine river, and the great majolica 
 fountain (now in the Horticultural Gardens) 
 for the International Exhibition in 1862. 
 Of his works of higher pretension are a 
 ' Musidora,' in marble ; * Lady Godiva,' 
 * Una and the Lion.' He suffered from 
 overwork and anxiety, and died at Maida 
 Hill, April 9, 1862, aged 49. 
 
 THOMAS, William, arcliitect. Prac- 
 tised in London in the second half of the 
 18th century. He was from 1780 to 1794 an 
 occasional exhibitor at the Academy of 
 architectural designs, but they vrere not 
 of an important character. Ho published, 
 1783, ' Original Designs in Architecture,' 
 27 plates, comprising villas, temples, 
 grottos, tombs, &c. He was a member 
 of the celebrated Artists' Club. 
 
 THOMAS, Geoege Housman, portrait 
 and snhject painter. He was born in Lon- 
 don, December 17, 1824. He was appren- 
 ticed to a wood engraver, and commenced 
 practising that art in Paris, and then 
 designed on the wood. Prom thence he 
 went to America to illustrate a New York 
 newspaper, and while there, staying about 
 two years, he designed the notes for the 
 States' bank. He returned to Europe on 
 the ground of ill-health, and then visited 
 Italy, was in Rome when that city was 
 besieged by the Prench, and sent many 
 sketches of the events of the siege to the 
 ' Illustrated London News.' Settling in 
 London, he was employed upon that paper. 
 He first exhibited at the British Institution, 
 and was a frequent exliibitor at the 
 Academy, commencing in 1854. He was 
 fortunate in gaining the patronage of the 
 Queen, and painted for her Majesty ' The 
 Marriage of the Prince of Wales at 
 Windsor,' ' The Marriage of the Princess 
 Alice at Osborne,' 'The Princess Eoyal 
 doing Homage as Crown Princess at the 
 Coronation of the King of Prussia,' ' The 
 Distribution of the Victoria Medals by 
 the Queen,' and several others. He also 
 painted 'Rotten Row,' 1862; 'Soldiers' 
 Ball, Camp at Boulogne.' He died at 
 Boulogne, July 21, 1868, aged 44. In the 
 following year his collected works, several 
 
 of which are engraved, wero exhibited in 
 Bond Street. His sketches and studies 
 were sold at Christie's in July, 1872. His 
 works were pleasing, gay in colour, and 
 correctly drawn, but he did not attain to a 
 higher feeling in art. 
 
 THOMPSON, AViLLiAM John, R.S.A., 
 portrait painter. Was born at Savannah, 
 Georgia, 1771, the son of a Scotch American 
 loyalist, and was brought to England when 
 a child. As a lad he was compelled to 
 labour for his support, when, finding his 
 way up to London, he at tached Jiimself to 
 art, and tried portraiture. In 1808 ho 
 joined the Associated Artists in AVater- 
 Colours. Gaining employment he im- 
 proved, and practised in London till 1812, 
 when he removed to Edinburgh, whero 
 he settled. In 1829 he was elected a 
 member of the Royal Scottish Academy. 
 His v/orks were life-like and spirited, and 
 for many years he enjoyed a reputation. 
 He painted some fine portraits in minia- 
 ture. He died in Edinburgh, March 24, 
 1845, aged 74. 
 
 ^ THOMPSON, Charles, engraver. Prac- 
 tised in London early in the 19th century. 
 He engraved several plates for the almanacs, 
 and the illustrations for ' ^des Althor- 
 pianjG,' 1822. 
 
 THOMPSON, E. W., portrait painter. 
 Had a considerable practice. Resided many 
 years in Paris, whero he was well known 
 and employed. He sent five portraits from 
 Paris to the Academy in 1832, and the 
 following year, when he had returned to 
 London, and again in 1840, but only 
 on those occasions, he was a contributor 
 He died at Lincoln, December 27, 1847, 
 aged 77. 
 
 THOMPSON, John, portrait painter, 
 known in his day as ' Thompson, the City 
 painter.' Practised in London, 1590-1610, 
 and was a member of the Painters' Com- 
 pany, in Little Trinity Lane, where there 
 is his own portrait, and several others by 
 his hand. 
 
 THOMPSON, Thomas, glass painter, of 
 Coventry. Painted the great east window of 
 York Minster in the reign of Henry IV. 
 
 THOMPSON, T., engraver. Practised in 
 the reign of Charles II. An excellent print 
 of Nell Gwynne and her two sons is nearly 
 the only work by him known to collectors. 
 
 THOMPSON, William, nicknamed 
 'Blarney,' portrait fainter. Was born in 
 Dublin. Learned his art in London, whero 
 he practised. He exhibited whole and half- 
 length portraits with the Society of Artists, 
 in 1761, and continued to exhibit with that 
 Society till 1767- He was a man of edu- 
 cation, possessed of a specious address. 
 His portraits were esteemed for their like- 
 ness, but his art was feeble, and marrying 
 a wife with a fortune, he relinquished his 
 
 407 
 
THO 
 
 THO 
 
 profession, in which he wanted the ability I 
 and the industry to succeed. On her death 
 he married a second time, and again to a 
 liuly possessing a fortune. Yet he got into 
 difficulties, and into the Kings Bench 
 prison, and made some stir by noisily 
 jisserting tlio illegality of confinement for 
 debt. He was for some time secretary to 
 the Incorporated Society of Artists. He 
 founded a school of oratory, held at the 
 noted Mrs. Cornely's, in Soho Square, Avhich 
 was open to both sexes, and at which he 
 Wiis the moderator, an office in which he 
 acquitted himself with more success than 
 reputation. He published 'An Enquiry 
 into the Elementary Principles of Beauty 
 in the Works of Nature and Art.' He sur- 
 vived till the early part of 1800, when he 
 died, in London, suddenly. Two of his 
 portraits were engraved in mezzo-tint. 
 
 THOMPSON, John, 'W.'oofZ engraver. Was 
 born in Manchester, May 25, 1785, and was 
 a pupil of the elder Branston. He attained 
 great distinction in his art. His works 
 are marked by correct drawing and true 
 artistic feeling ; his manner excellent and 
 purely original, free from the mechanical 
 treatment so often shown on wood. Some 
 of his best works are after the designs 
 of Thurston, whose illustrations he en- 
 graved for the works issuing from the 
 Cldswick Press, ' The London Theatre,' 
 1811-1818 ; Fairfax's ' Tasso/ and, in 
 1818, Butler's 'Hudibras.' He was then 
 engaged by the Bank of England to pro- 
 duce a note which, from its art, it would 
 be impracticable to imitate, and about 
 tlie same period was much employed by 
 the Erencli publishers. Then followed 
 liis illustrations to the ' Blind Beggar s 
 Laughter of Bethnal Green,' 1832; Gray's 
 'Elegy,' 1832; Shakespeare's Works, 
 183G; 'The Arabian Nights,' 1841; 'The 
 Vicar of Wakefield,' after Mulready, 1843; 
 the chief of the illustrations to Yarrell's 
 works on natural liistory, and many fine 
 works after Stothard. He was employed 
 by the Government, in 1839, to engrave, in 
 relief, on gun metal, Mulready's design for 
 the postage envelope ; and in 1852, to en- 
 grave, in relief, on steel, the figure of 
 Britannia which is still printed on the Bank 
 of England notes. He was, from September 
 1852 to July 1859, the director of the 
 Eemale School of Engraving at the South 
 Kensington Museum, and in 1853 delivered 
 a A^cry instructive course of lectures to the 
 students. He presented to the library of 
 that Institution his collection of wood ex- 
 gravings. In 1855 he received the Grand 
 IMedal of Honour at the Paris Exhibition. 
 He died at Kensington, February 20, 
 1800, aged 81, and was buried at Kensal 
 Green. 
 
 THOMPSON, Charles, wo^d engraver. 
 408 
 
 I Brother of the foregoing. Was born in 
 London, in 1791, and was the pupil of 
 Bewick and of Branston. The demands 
 from Paris for wood engravings by our 
 artists induced him, in 1816, to visit that 
 capital, and meeting with considerable en- 
 couragement he settled there, and was held 
 in much estimation. He introduced the 
 practice of engraving on the oid of the 
 wood, then unknown on the Continent. He 
 founded a reputation by his contributions 
 to many illustrated works published in 
 Paris, and in 1824 was decorated with the 
 gold medal, and on his death the French 
 Government granted his widoAv a pension. 
 The chief publications on which he was 
 engaged were ' L'Histoire de I'ancien et du 
 neauveau Testament,' 1835 ; 'Fables de la 
 Font:aine,' 1836; Thierry's ' Conquete de 
 I'Angleterre,' ' Corinne,' ' 184 1 . He died 
 May 19, 1843, at Bourg-la-Pcine, near 
 Paris. 
 
 THOMPSON, Charles Thurston, wood 
 engraver. Was the son of the above John 
 Thompson, and was born at Peckham, 
 July 28, 1816. He was brought up to his 
 father's profession, and followed it for some 
 years, attaining great excellence. His works 
 illustrate many of Messrs. Van Voorst's 
 and Messrs. Longmans' publications. He 
 was a man of great taste and judgment, 
 and took a prominent share in the arrange- 
 ment of the Great Exhibition of 1851. 
 And then, engaged in superintending the 
 works of the photographers, he became 
 attached to that art, which was rapidly 
 developing its powers. In the following 
 year he was employed by the Exhibition 
 Commissioners to superintend the photo- 
 graphic printing which was done at Ver- 
 sailles, and from that time devoted himself 
 to this new art. He was then engaged by 
 the Science and Art Department, and in 
 their employ made several visits to Paris, 
 Spain, and Portugal to photograph objects 
 of interest. During his residence in the two 
 latter countries his health was much shaken, 
 and an old attack returning he died at 
 Paris, after a short illness, January 22, 
 1868, in his 52nd year. He was buried at 
 Kensal Green. 
 
 THOMPSON, George, architect. Prac- 
 tised in Scotland towards the middle of the 
 17th century. He was employed on the 
 building of the King's College, at Aber- 
 deen. 
 
 THOMPSON, Thomas Clement, E.H.A., 
 portrait painter. He was an exhibitor at 
 Dublin in 1809, and was a zealous advocate 
 for the Charter granted to the artists in 
 1823, and one of the foundation members 
 of the Eoyal Hibernian Academy then 
 established. He had, however, a con- 
 siderable practice as a portrait painter in 
 London. He was first an exhibitor at the 
 
THO 
 
 THO 
 
 Eoyal Academy in 1817, and was then 
 residing in Dublin, but the following 
 year he settled in London, and was from 
 tliat time a large contributor to the Aca- 
 demy Exhibitions, exclusively of portraits, 
 exhibiting for the last time in 1842. 
 
 THOMPSON, J. K., architectural drafts- 
 man. He appears to have been first en- 
 gaged in making drawings for John Brit- 
 ton's publications, and ^yas from 1808 an 
 an occasional exhibitor at the Royal Aca- 
 demy, his contributions consisting of land- 
 scapes and architectural designs. In 1818 
 lie sent five scenes representing the mode 
 (>;■ hunting and capturing elephants in 
 Ceylon ; in 1822 a 'JJesign for a Temple of 
 Peace,' and in 1830, when he last exhibited, 
 liis finished sketch designs for the new 
 Pondon Bridge. 
 
 THOMSON, Henry, R.A., historical 
 painter. Was the son of a purser in the 
 Navy, and was born in London, July 31, 
 1773. He was educated at a school at 
 Bishops Waltham, where he continued 
 nearly nine years. In 1787 he went with 
 his father to Paris, and on the breaking 
 out of the Eevolution, returned to London. 
 Choosing art for his profession, he became 
 the pupil of Opie, li.A., and in 1790 entered 
 the schools of the Royal Academy. In 
 1793 his father took him again to the Con- 
 tinent for the completion of his studies, 
 and ho visited Parma, Bologna, Florence, 
 Rome, and Naples, occupied by the art 
 of these cities till 1798, when, still accom- 
 panied by his father, he went to Venice, 
 and after a few months' residence there, to 
 A'ienna and Dresden, and in 1799 journeyed 
 homewards by Berlin and Hamburg. On 
 his return, the artists were busy upon 
 Boydell's Shakespeare Gallery, and he con- 
 tributed 'Perdita,' and one or two subjects 
 from the ' Tempest.' In 1800 he exhibited 
 a classic subject at the Academy, followed 
 Ijy some domestic scenes and portraits, and 
 v.as, in 1801, elected an associate of the 
 Academy. In 1804 he exhibited 'Mercy 
 Interceding for a Pallen Warrior,' and 
 some portraits, and continued to exhibit 
 portraits and subject pictures; in 1815, 
 ' Cupid Disarmed;' in 1820, ' Christ Raising 
 Jairus' Daughter;' in 1822, 'Miranda's 
 Pirst Sight of Ferdinand;' and in 1825, 
 ' Juliet,' his last, and probably his best, 
 work. In the same year he was appointed 
 Isoeper of the Royal Academy, but resigned 
 the office at the end of two years from 
 severe illness and suffering, and retired to 
 Portsea, where, his health rallying, he was 
 able to amuse himself in sketching the 
 marine and landscape views of the neigh- 
 bourhood. He died at Portsea, April 6, 
 1843, and was buried ui Portsmouth 
 churchyard. 
 
 THOMSON, The Rev. John, Hon. 
 
 R.S.xi., amateur landscape 'painter. Known 
 as ' Thomson of Duddingston,' was the son of 
 the minister of Da illy, in Ayrshire, and 
 was born there September 1, 1778. Ho 
 was brought up to the Church, and suc- 
 ceeded his father in 1800, removing to 
 Duddingston, near Edinburgh, on his 
 nomination to the church of that parish 
 in 1805. Ho was an excellent scholar, a 
 man of great taste, showed an early talent 
 for art, and, assisted by Alexander 
 Nasmyth, made great progress. Ho painted 
 mountain and lake scenery with great 
 breadth and truth, and w'as distinguished 
 by an amount of artistic power seldom 
 attained by amateurs. He first exhibited 
 in 1808, and continued an exhibitor to his 
 death, but rarely except in Edinburgh. Ho 
 was appointed an honorary member of the 
 Royal Scottish Academy, having refused to 
 join that and other art institutions on 
 account of the clerical profession to which 
 he belonged. Died at Duddingston Manse, 
 October 20, 1840, aged 62. 
 
 THOMSON, James, engraver. AVas 
 born at Mitford, Northumberland, the son 
 of a clergyman of the Established Church. 
 Showing an early attachment to drawing, 
 he was apprenticed to an engraver in Lon- 
 don, and embarking at Shields for the 
 Metropolis, he was nine weeks at sea, and 
 supposed to have been lost. He disliked 
 his master, and the style of his art, and 
 after assisting him at the close of his ap- 
 prenticeship for two years, he then set up 
 for himself. His best known works are 
 ' The Three Nieces of the Duke of Welling- 
 ton,' after Sir Thomas Lawrence ; the eques- 
 trian portrait of ' The Queen, attended by 
 Lord Melbourne,' after Sir P. Grant, P.R. A. ; 
 ' The Bishop of London,' after G. Richmond, 
 R.A. ; and 'Prince Albert,' after Sir Wil- 
 liam Ross, R.A. He engraved also many 
 of the plates for Lodge's Portraits, the 
 Townley Marbles, and other works. He 
 died in Albany Street, Regent's Park, 
 September 27, 1850, aged 61. 
 
 T H 0 M S 0 N , Paton, en gra vc r. AVa s 
 born about 1750. He practised in London, 
 and produced some good works, chiefly 
 portraits. He engraved a portrait of 
 Edward Jerningham, 1794; and 'John 
 Anderson My Joe,' after David Allan, 
 1799. 
 
 THORNHILL, Sir James, Knt., historiccd 
 painter. He was born in 1676, at Mel- 
 combe Regis, of an old county family, 
 whose property his father had dissipated, 
 and, compelled to seek somxo profession, 
 following his own tastes he came to London, 
 and was placed by his uncle, the celebrated 
 Dr. Sydenham, under Thomas Highmore. 
 Little is known of his early art career, but 
 he is reputed to have soon made great pro- 
 gress. He was patronised by Queen Anne, 
 
 409 
 
THO 
 
 TID 
 
 who commissioned liim to paint tlie interior 
 of tliG Dome of St. Paul's, and appointed 
 him her Serjeant-Painter. Other work of 
 the same character followed. He painted 
 the Great Hall at Blenheim ; the saloon and 
 hall of the mansion at Moor Park, of which 
 he was the architect ; the Princesses' 
 apartments at Hampton Court; the hall 
 and staircase at Easton Neston ; the Chapel 
 at AVimpole ; and the Great Hall at Green- 
 wich, on which he was engaged from 1708 
 to 1727. About 1715 he made a tour 
 tlirough Holland, Plandcrs, and Prance, 
 and had then acquired the means of pur- 
 chasing some good pictures. He made 
 careful copies of the cartoons at Hampton 
 Court, now in the possession of the Eoyal 
 Academy, upon which he was occupied for 
 three years. He painted the altarpiece at 
 All Souls and at Queen's College, Oxford. 
 In May 1720 he was knighted by George!., 
 and v/as the first native painter who re- 
 reciyed that distinction. He had the singular 
 satisfaction tore-purchase his family estates, 
 and was elected to represent Melcombe 
 Pegis in the first Parliament of the King's 
 reign. Ho proposed to found a Poyal Aca- 
 demy for Art, and on failing to gain the 
 assistance of the Government, he opened 
 a private academy in his own house in 
 1724, which he maintained during his life- 
 time. He had amassed considerable pro- 
 perty, yet many statements are made of the 
 inadequate pay which he received for his 
 public works. By some intrigue ho was 
 removed from his office, and, suffering in 
 his latter days from the gout, he retired 
 from his professional practice, and died at 
 the mansion he had erected on his property 
 near AA'^oymouth, May 13, 1734. His daugh- 
 ter was clandestinely married by the painter, 
 Hogarth, who said 'he was the greatest 
 history painter this country ever produced,' 
 an eulogium which will certainly not find 
 an echo now. His works were chiefly alle- 
 gorical, and though they show great inven- 
 tion and genius, do not rise above the 
 character of decorative art. He left a col- 
 lection of pictures and some etchings, by 
 his own hand, in a loose, bold manner. 
 
 THORNHILL, John, marine painter. 
 Only son of the foregoing. Painted sea- 
 pieces and landscapes, excelling in the 
 former. Succeeded his father as Serjeant- 
 Painter to George II., resigned the office, 
 1757. 
 
 THORNTHWAITE, J., engraver. Born 
 in London about 1740. Practised in London 
 both in mezzo-tint and as an etcher. There 
 are several portraits by him. He engraved 
 for Bell's ' Shakespeare,' in 1787, and for 
 the ' Booksellers' British Theatre.' 
 
 THORNTON, John, glass x^ciinter, of 
 Coventry. Painted the fine east window 
 in York Cathedral, about 1338, and some 
 410 
 
 of the west windows, and his work shows 
 him to have been eminently skilled. 
 
 THORPE, John, architect. Practised in 
 the reigns of Elizabeth and James I. He 
 designed Holdenby, for Sir Christopher 
 Hatton, 1580; Longleat, 1597; and the 
 great mansions of Burleigh, Wollaton, Hat- 
 field, 1611 ; Longford Castle, 1612; Buck- 
 hurst, and Holland House, 1607; Audley 
 End, completed 1616 ; and is reputed the 
 architect of old Somerset House, Lon- 
 don. He resided some time in Paris, 
 and was employed there. He is by some 
 supposed to be the individual called ' John 
 of Padua,' who was employed by Henry VIII. 
 A book containing 280 original manuscript 
 plans and elevations by him, formerly in 
 the possession of the Earl of Warv»-ick, is 
 now in the Soane Museum. 
 
 THURSTON, John, wood engraver and 
 designer. Born at Scarborough in 1774. 
 He was originally a copper-plate engraver, 
 and assisted James Heath on some of his 
 plates. Later he both designed and en- 
 graved on wood for book illustration, finally 
 devoting himself exclusively to designing. 
 Among his works of this class are — ' Reli- 
 gious Emblems,' 1808 ; Shakespeare's 
 Works,' published by Whittingham, 1814 ; 
 Somerville's 'Rural Sports,' 1818; Fal- 
 coner's ' Shipwreck,' 1817. He was for a 
 time the principal artist in London who 
 had any repute as a designer on the wood, 
 and contributed largely to the formation of 
 the modern school of wood engraving. His 
 compositions were slight and pleasing, 
 mostly for the Chiswick Press, and very 
 numerous. He made some clever designs 
 in water-colour, chiefly in Indian ink and 
 tinted, and was in 1806 a Fellow of the 
 Water-Colour Society. Died at Holloway, 
 in 1822, aged 48. 
 
 THYNNE, John, architect. Practised 
 with great reputation in the reign of 
 Henry VIII. 
 
 TIDEY, Henry P., water-colour iiairdcr. 
 He was born at AYorthing, where his father 
 kept an academ}^, January 7, 1815. He 
 was fond of drawing, as a boy, and in 1839 
 he first appears as an exhibitor of portraits 
 in water-colours at the Royal Academy. 
 He painted many groups of children, in 
 which he was successful, and met with good 
 encouragement, continuing a constant exhi- 
 bitor. In 1858 he was elected an associate, 
 and the next year a full member of the 
 Institute of Painters in Water-Colours, and 
 exhibited wath that body many fine draw- 
 ings painted to a large scale. In 1859, 
 ' The Feast of Roses,' purchased by the 
 Queen ; in 1861, ' Par Thule,' from Ossian ; 
 in 1863, 'Christ Blessing little Children'— 
 the children portraits ; in the same year at 
 the Royal Academy, where he did not cease 
 to exhibit, ' Saxon Captives at Rome.' His 
 
TIL 
 
 TIT 
 
 last works were, * Sardanapalus,' 1870; and 
 ♦The Flowers of the Forest,' 1871. He 
 was a good draftsman and an industrions 
 and clever artist, devoted to his profession. 
 He died Jnly 21, 1872. 
 
 TILLEMANS, Peter, landscape and 
 animal painter. Was born at Antwerp, the 
 son of a diamond cntter, in 168-i, and was 
 the pnpil of a landscape painter. He came 
 to England in 1708, and was employed by a 
 dealer in copying, particularly after Teniers. 
 He painted some sea-ports, but chiefly land- 
 scapes, introducing horses and dogs, hunt- 
 ing pieces, races ; and when he became 
 known he was employed to paint views of 
 country mansions, introducing portraits of 
 the owners, with their horses and dogs. 
 His works were carefully composed and 
 painted, the animals excellent in action and 
 treatment, the portraits characteristic. He 
 was much employed by Lord Byron, who 
 was his pupil. He painted a good picture 
 of Chatsworth, for the Duke of Devonshire, 
 and a very largo picture, now in the pos- 
 session of Earl Manvers, of the second 
 Duke of Kingston and a shooting party, 
 with mounted attendants, the dogs in the 
 foreground forming the most prominent 
 objects, and an extensive view of the park 
 and mansion, the whole admirably finished 
 in a low tone and quietly coloured. It is 
 signed and dated 1725. He united with 
 Joseph Goupy in painting a set of scenes 
 for the opera. He made nearly five hundred 
 drawings for Bridge's 'History of North- 
 amptonshire,' many of them dated 1719. 
 They are in Indian ink, in a slight, masterly 
 manner. He was paid one guinea per day 
 while so employed, and had the run of his 
 employer s house. He suiFered for many 
 years from asthma, and died at Norton in 
 Suffolk, where he had some time resided, 
 December 5, 1734, and was buried in the 
 churchyaid of Stow Langtorft. He was 
 painting a horse on the day of his death. 
 
 TILSON, Hf.^^yly, ]3ortrait painter. Was 
 born in Yorkshire in 1 659, and was a grand- 
 son of the Bishop of Elphin. He was a 
 pupil of Lely, soon after whose death he 
 went to Italy, in company with Dahl, studied 
 there during seven j^ears, copying the works 
 of the best masters, and was at Eome in 
 1687. On his return to England he painted 
 portraits, both in oil and crayons, and was 
 rising in reputation, when^ he shot himself 
 from disappointment in love, in 1695, at 
 the age of 36. There are many portraits 
 by him in the reign of William III., and 
 several have been engraved, but his works 
 are stiff in manner and heavy in colour, 
 appearing over-wrought. 
 
 TIMBRELL, Henry, sculptor. Was born 
 at Dublin in 1806, and studied there, under 
 John Smith. In 1831 he came to London, 
 and assisted Baily, R.A., who employed 
 
 him occasionally for several years. He was 
 at the same time a student in the Royal 
 Academy, and exhibited in, 1 832, ' Phaeton ; ' 
 in 1833, 'Satan in Search of the Earth;' 
 in 1834, 'Sorrow,' a monumental group. 
 In 1835 he gained the gold medal for his 
 group of 'Mezentius tying the Living to 
 the Dead.' In 1843 ho was elected to the 
 travelling studentship, and went to Italy, 
 and that year sent to the exliibitiou, 
 ' Hercules and Lycas.' In the second year 
 of his residence in Rome he completed a 
 fine life-size group, ' Instruction,' which was 
 wrecked in the vessel bringing it to this 
 country, and almost totally destroyed. He 
 was engaged upon two figures commissioned 
 for the new Houses of Parliament, and a 
 life-size statue of tlio Queen, in marble, 
 when he was attacked by inflammatory 
 fever, and ended a life of much promise, at 
 Rome, on April 10, 1849. His brother, 
 James G. Timbrell, who exhibited some 
 domestic subjects, died at Portsmouth, 
 January 5, 1850, aged 39. 
 
 TINNEY, John, engraver and p)rint- 
 seller. Practised in London about 1740-50, 
 and for a time in Paris. He worked in 
 mezzo-tint and also w^ith the graver, and is 
 now best known as the master of three 
 distinguished pupils, AVilliam Woollctt, 
 Anthony Y/alkcr, and John Brov/no, A.E., 
 who were apprenticed to him. He died in 
 1761. There are eight views by him of 
 Kensington and Hampton Gourt, after 
 Anthony Highmore. Ho wrote a small book 
 on Anatomy for artists. 
 
 TITE, SirWiLLTAM, K\\t.,Q.'B.,arc7iitect. 
 He was born i n 1802, the son of a London mer- 
 chant, and was the pupil of Mr. Laing, archi- 
 tect of the Gustom House. Ho was first em- 
 plo3^ed in superintending the rebuilding of 
 St. Dunstan's-in-the-East, and was soon after 
 actively engaged in the competitions of the 
 day — in 1819 for the new Ghurch of St. Luke, 
 Ghelsea ; in 1822 for the rebuilding of Lon- 
 don Bridge ; in 1825 for the restoration of 
 St. Saviour's Ghurch, Southwark ; and the 
 new National Scotch Ghurch in Regent's 
 Square, Gray's Inn Road, and in the latter 
 was the successful competitor and the archi- 
 tect of the building. He was then much 
 employed upon railway buildings, on the 
 London and South - Western Line, the Black- 
 wall Line, the Galedonian and Scottish Gen- 
 tral Line. He was the architect of the 
 Woking Gemetery. He built, in conjunction 
 v/ith Professor Gockerell, the London and 
 Westminster Bank at Lothbury, and in 1841 
 he was chosen on competition, the architect 
 for the erection of the Royal Exchange, his 
 great work upon which his reputation will 
 rest. In 1854 he exhibited at the Royal 
 Academy, a composition from the works of 
 Inigo Jones. He was in early life unusually 
 fortunate, and his success attended a long 
 
 411 
 
TOB 
 
 TOM 
 
 career. He amassed a considerable fortune, 
 was popular in his profession, and generous 
 in assisting those less fortunate. Of active 
 habits he was in 1855 elected member for 
 Bath, and represented that city till his death. 
 He was the president of the Architectural So- 
 ciety, a member of the Institute of British 
 Architects, and a fellow of the Royal So- 
 ciety. He received a bachelor knighthood 
 in 1869, to which was afterwards added the 
 Companionship of the Bath. He died at 
 Torquay, after a short illness, April 20, 
 1873. His personal property was sworn 
 under 400,000/'. 
 
 TOBIN, J., engraver. Practised about 
 the commencement of the last quarter of 
 the 18th century. He etched several small 
 landscapes after H. Grimm, and engraved 
 after Both, Ostade, and others. There are 
 also some tinted impressions by him. 
 
 TOLLEMACHE, William, sculptor. 
 He was a student of the JRoyal Academy, 
 and in 1805 gained the Academy gold medal 
 for his group ' Chaining Prometheus to the 
 Rock,' but there appears no further trace of 
 him. 
 
 TOLMIE, James, ornamental carver. Ho 
 designed and executed some good orna- 
 mental sculpture. His work may be seen 
 on the exterior of the AVhitehall Club, the 
 Inns of Court Hotel, and the Prince Con- 
 sort's Mausoleum at Frogmore. He died 
 at Lambeth, in December 1866. 
 
 TOMKINS, William, A.R.A., landscape 
 painter. Was born in London about 1730. 
 His father and uncle were both artists, but 
 their works are unknown. He was a mem- 
 ber of the Free Society of Artists, and after- 
 wards of the Incorporated Society. In 1763 he 
 obtained the Society of Arts' premium for 
 landscape. He made copies after Claude, 
 Hobbema, and several of the Dutcli painters, 
 and painted many landscapes and views of 
 gentlemen's seats in the West of England, 
 and on a commission from the Earl of Fife 
 he painted some views of his mansion in 
 Scotland, He was an exhibitor at the 
 Academy from 1769 till his death. His 
 contributions were chiefly views, with some- 
 times a bird and dead game. He was 
 elected an associate of the Academy in 1771. 
 Some of his works are in Lord Morley's 
 collection at Saltram. Six views of Windsor 
 Castle by him are engraved. He died in 
 Queen Ann Street East, January 1, 1792, 
 leaving four sons, two of whom practised 
 art. 
 
 TOMKINS, Peltro William, engraver. 
 Son of the foregoing. Wr.s born in London 
 in 1760, and was a pupil of Bartolozzi. 
 Following the manner of his master he 
 engraved in the dot manner, and soon 
 established a reputation. He was appointed 
 engraver to Queen Charlotte in 1793. He 
 engraved many good plates for the work — 
 412 
 
 * Original Designs of the most CelGl)rated 
 Masters of the Bolognese, Roman, Floren- 
 tine, and Venetian Schools,' 1812; also, 
 ' Tresham's Gallery of Pictures,' 1814 ; tlie 
 'Marquis of Stafford's Collection,' 1818; 
 'Illustrations of Modern Scripture,' 1832. 
 He also engraved after Angelica Kauffnian, 
 and other artists of his time. After his own 
 designs he engraved ' Innocent Play,' 'Love 
 and Hope,' and some others. He died 
 April 22, 1840. 
 
 TOMKINS, Charles, paintt r and en- 
 graver. Elder son of AV. Tomkins, A.R A. 
 Was born in London about 1750, and edu- 
 cated there. He was awarded in 1776 a 
 premium by the Society of Arts for a view 
 on Milbank. He painted landscapes, cliiolly 
 landscape views, which he exhibited at tlie 
 Academy, and many of which he engraved. 
 He engraved with Jukes, Cleveley's ' Float- 
 ing Batteries before Gibraltar,' 1782; and 
 in 1796 produced ' A Tour in tlie Isle of 
 Wight,' illustrated by 80 views, drawn and 
 engraved by himself. He also drew and 
 engraved a large coloured print of the 
 'Review in Hyde Park, 1799,' with views 
 of the houses in Park Lane; 'Views of 
 Reading Abbey and the Churches originally 
 connected with it,' 1805; and in the same 
 year ' Illustrations of Petrarch's Sonnets.' 
 
 TOMLINSON, J., engraver. Studied his 
 art in London, where he originally practised, 
 and made a good income. He was invited 
 to Paris and was employed there for a time, 
 but fell into bad habits and extreme degra- 
 dation, and in a fi.t of intoxication threw 
 himself into the Seine in 1824 and was 
 drowned. He engraved chiefly views. 
 
 .T 0 M P S 0 N, Richard, mczzo-iint en- 
 graver. Practised in London in the latter 
 part of the 17th century, and engraved after 
 Lely and Kneller. His works are powerful, 
 the textures good, but the drawing and light 
 and shade want refinement. He kept l)oth 
 a printing office and a shop, and it has been 
 questioned how far the excellent prints, 
 which bear his name, are by his liand ; but 
 in his time the artist and the dealer were 
 frequently one. He died in 1693. His 
 portrait, painted by Soest, was engraved by 
 F. Place. 
 
 TOMS, William Henry, engraver. Bfjrn 
 about 1700, practised in London, chiefly 
 engrav^ing topographical and architectural 
 subjects. There are, however, some book- 
 plates and some portraits by him. He en- 
 graved R. West's 'Perspective Views of all 
 the Ancient Churches in London,' 1736-39; 
 a number of views of gentlemen's seats ; a 
 series of 12 plates of shipping; and in 1747 
 English views, after Chatelaine. He died 
 about 1750. Alderman Boydell's love of 
 art is said to have been aroused by a plate 
 of his, and he became his apprentice. 
 
 TOMS, Peter, R.A., portrait painter. 
 
TOO 
 
 TOW 
 
 Was the son of the foregoing. Bocamo a 
 pupil of Hudson, and practised portraiture, 
 but his chief excellence was as a drapery 
 painter, and he was employed on draperies 
 ly lleyiiolds. Cotes, and sometimes by West. 
 On the appointment of the Duke of North- 
 umberland as Lord-Lieutenant of Ireland 
 in 1763, he went in his suite as portrait 
 painter, ])ut did not meet with success. He 
 returned to London, and was in 1768 nomi- 
 nated one of the foundation members of the 
 Ixoyal Academy. At that time he was 
 ahnost wholly employed by Cotes, on whose 
 death he became melancholy, it is said intem- 
 perate, and committed suicide towards the 
 end of 1776. During the whole time he was 
 a memlji-r he only exhibited four works. He 
 was fastidious, and would spend two or three 
 hours in arranging the folds of a robe ; but 
 when oace settled, would paint it with great 
 spirit and correctness. His price for the 
 draperies, hands, and accessories of a full- 
 length portrait was 20 guineas, for a three- 
 quarter three guineas. He was the last of 
 the drapery painters. He held the ap- 
 pointment of poursuivant at the Herald's 
 College. 
 
 TOOKEY, J A^iKS, engraver. He practised 
 about the beginning of the 19th century. 
 The animals in Church's ' Cabinet of Quad- 
 rupeds ' are engraved by him after Ibbetson. 
 He also engraved some of the plates in Bell's 
 'Jh'itiyh Theatre.' His works are chiefly 
 in the line manner, slight and weak in 
 execution. 
 
 TOEEL, William, sculptor. Descended 
 from an English family named in the records 
 from the days of Edward the Confessor. He 
 finished the figure of a King for Henry III.'s 
 tomb in Westminster Abbey, and executed 
 in 1291 three effigies of Eleanor, Queen of 
 Edward L, one for Westminster, one for 
 Biaekfriars Monastery, the third to be placed 
 over her viscera in Lincoln Cathedral. The 
 first remains in good preservation, and is a 
 proof Ijy its idealised style and fine execu- 
 tion of tlie advanced state of art in England 
 at that time. 
 
 T 0 T 0, Anthony, portrait j^df'nter and 
 architect. An Italian artist who came to 
 this country about 1531, in the reign of 
 Henry VIII., who appointed him his Ser- 
 jeant Painter. He was naturalised in 1 543, 
 and practised in England 20 years. His 
 works are all lost or unknown. 
 
 T0US8AINT, Augustus, miniature 
 painter. Was the son of an eminent jeweller 
 in Denmark Streat, Soho. In 1766 he 
 gained a premium at the Society of Arts. 
 He was apprenticed to Nixon, A.R.A., and 
 practised his art in London for some time. 
 He exhibited at the Eoyal Academy from 
 1775 to 1788 miniatures both on ivory and 
 in enamel. But on succeeding to the pro- 
 perty amassed by his father he retired to 
 
 Lymington, where he died between 1790 
 and 1800, and was buried in the churchyard 
 there. 
 
 TOWNE, Francis, landscape painter^ 
 He was probably a pupil of William Pars, 
 gained a premium at the Society of Arts 
 in 1759, and was in 1762 a member of the 
 Free Society of Artists, where ho exhibited, 
 and at the Spring Gardens Room in 1769. 
 In 1775 he exhibited some water-colour 
 views at the Ivoyal Academy, and in 1779, 
 when he was residing at Exeter, a ' View 
 on the Exe.' and some others. He appears 
 to have visited Italy, as, from the above 
 date to 179-1, ho exhibited views in that 
 country and Switzerland. He then settled 
 in London, and continued an exhibitor at 
 the Academy up to 1810. His works were 
 well esteemed in his day. He died in Lon- 
 don July 7, 1816, in his 77th year. 
 
 TOWNE, Charles, landscape and cattle 
 painter. Ho first appears as an exhibitor 
 of the portraits of animals at the Eoyal 
 Academy, commencing in 1795, and later 
 of landscape, introducing cattle and sheep. 
 He continued an exhibitor up to 1812. 
 About this time he went to reside at Liver- 
 pool, where he practised, and was in 1813 
 vice-president of the Liverpool Academy. 
 His works were carefully studied and 
 finished, but were tame, and sadly wanting 
 both in originality and the freshness of 
 nature. He is believed to have died, at an 
 advanced age, about the year 1850. He 
 painted some works in water-colours, and 
 was in 1809 a candidate for admission to 
 the Water-Colour Society. 
 
 TOWN LEY, Charles, engraver and 
 painter. Son of the Kev. J. Townley, 
 Head-Master of the Merchant Taylor's 
 School. Was born in London in 1746, and 
 after studying there some time he went to 
 Italy for his improvement, and pursued his 
 studies for several years in Rome and 
 Florence. He was first known as a minia- 
 ture painter, but he also produced many 
 portraits both in crayons and in oil. He 
 exhibited chalk portraits with the Free 
 Society 1782. He copied many portraits of 
 the Italian painters, and engraved them 
 both in mezzo-tint and in the dot manner. 
 About 1776 he practised in Berlin, and was 
 appointed engraver to the King of Prussia. 
 In 1789 he went to Hamburgh, and later 
 he returned to England, and then produced 
 some excellent mezzo-tint plates after Rey- 
 nolds, Romney, Hoppner, Opie, Dance, and 
 Cosway, and a plate of ' Bulls fighting,' 
 after Stubbs. 
 
 TOWNSHEND, George, Marquis, ama- 
 teur. He was born February 28, 1724, and 
 was created a marquis in 1787. He had a 
 great reputation for his humourous bur- 
 lesques, some of which he is said to have 
 etched himself. His caricature of the 
 
 413 
 
T R A 
 
 TflO 
 
 Duchess of Queensborougli and of a cele- 
 brated Irish physician are mentioned as full 
 of clever humour. He was in 1767 Lord- 
 Lieutenant of Ireland, and said himself 
 that he had caricatured every officer of his 
 staff. He died September 14, 1807. 
 
 TEACY, , antiquarian draftsman. 
 
 ^\"as chiefly engaged upon the antiquities 
 of the county of Kent. Was living at 
 Brompton, near Chatham, in 1792. He made 
 the dravt^ings for Thorpe's ' Antiquities.' 
 
 TKAIES, William, landscape -painter. 
 He was born at Crediton in 1789, and prac- 
 tised his art at Exeter, where he gained a 
 local reputation. In 1820, and on one sub- 
 sequent occasion, he was an exhibitor at 
 the Eoyal Academy. He drew the illustra- 
 tions for a work on natural history, by 
 Dr. Neal. He died at Exeter, April 23, 
 1872. 
 
 TRENCH, Henry, historical painter. 
 Was born in Ireland, Towards the com- 
 mencement of the 18th century he went to 
 Italy, where he studied for several years, 
 and gained a medal in the Academy of St. 
 Luke at Rome. He came to England, and 
 professed historical painting, but, meeting 
 with no encouragement, he returned to 
 Italy, and for two years continued his 
 studies. In 1725 he came again to Eng- 
 land, and died in London the following 
 year. He was buried at Paddington. 
 
 TRESHAM, Henry, R. A., history painter. 
 Was born in Dublin about 1756, some 
 accounts sa.y 1 749, and, showing an early taste 
 for art, was placed in the Dublin School, 
 under West. After exhibiting some attempts 
 at Dublin, he came to London in 1775, and 
 found employment in drawing small por- 
 traits. He was then invited by Lord Cawdor 
 to travel with him in Italy, and continued 
 for fourteen years on the continent, chiefly 
 at Rome, where he studied zealously from 
 the antique. He returned to England in 
 1789, having made himself a good drafts- 
 man and attained much knowledge and 
 skill in matters of art and taste. He was 
 also a member of the Academies of Rome 
 and Bologna. He exhibited at the Academy 
 in that year, and in 1791 sent an ' Adam and 
 Eve,' 'Phryne,' and a subject from St. Luke. 
 Tliese works confirmed his continental repu- 
 tation, and he was in the latter year elected 
 an associate of the Royal Academy. He 
 was chiefly employed on the illustrated 
 publications of the time, eschewing por- 
 traiture, but he added to his income by 
 dealing in art. He is said to have bought 
 of a servant of Mr. Thomas Hox^e a number 
 of Etruscan vases, the refuse of a collec- 
 tion purchased by his master, who gave 
 them to him, and to have afterwards sold 
 one moiety of the collection for 800/., and 
 for the remainder, with some additions, to 
 have received from Lord Carlisle an annuity 
 414 
 
 of 300/. With some dealers he opened a gal- 
 lery of the works of the old masters for sale. 
 In 1 795 and 1 796 he exhibited historical sub- 
 jects, and in 1799 ' Christ and Nicodemus,' 
 and was elected a member of the Royal 
 Academy, and in 1807 professor of painting, 
 an office which he resigned in 1809 from 
 failing health, and afterwards only ex- 
 hibited again on two occasions. Ho con- 
 tributed three iiaintings to Boydell's Shake- 
 speare Gallery, His drawings in pen and 
 ink and in black chalk are his best x^roduc- 
 tions. He made -some designs in water- 
 colour. He was generally an accomplished 
 man and a writer. He published at Rome 
 in 1784, 'Le Avventure di Saffo,' 18 designs 
 of no merit produced by himself in a rude 
 kind of etched mezzo-tint ; and, after his 
 return to England, 'The Sea-sick Minstrel ; 
 or. Maritime Sorrows,' a poem, 1799; 'Rome 
 at the Close of the Nineteenth Century,' 
 1796; ' Rritannicus to Buonaparte, an 
 Heroic Epistle,' 1803 ; and ho edited for 
 Messrs. Longmans, contributing the de- 
 scriptive letter-press, ' Engravings fromtlio 
 Works of the Ancient Masters in the British 
 Collections,' a costly work. His health 
 became visibly impaired after his return 
 from Italy, and for several years before his 
 death he was reduced to a state of great 
 feebleness and infirmity. He died in Bond 
 Street, June 17, 1814. 
 
 TREVETT, RoEEET, draftsman and 
 engraver. Practised at the Ijeginning of 
 the 18th century. He painted architecture, 
 and planned, with Vertue, in 1710, a work 
 on St. Paul's Cathedral, for which he made 
 several drawings of the interior and the 
 exterior ; some of which were engraved, 
 but the work was not completed. His last 
 work was an extensive view of London, 
 on several sheets, from the tower of St. 
 Mary Overy, but he died in 1723, and left 
 it unfinished. He was master of the Paper- 
 stainers' Com^pany. 
 
 TREVINGARD, Anna, subject painter. 
 Practised in London in the second half of 
 the 18th century. She painted a romantic 
 class of subjects. Some of her works were 
 engraved. 
 
 TROLLOPE, Robert, architect. Built 
 Capheaton, near Newcastle-on-Tjme, 1659, 
 and also the old exchange at ISTewcastle. 
 Buried at Gateshead, December 11, 1686. 
 
 TROTTER, S. C, portrait painter. 
 Native of Ireland. Drew, in 1782, a 
 portrait of Dr. Johnson, which was en- 
 graved in 1784. The doctor said, when 
 he saw the drawing, ' Well, thou art an 
 ugly fellow, but like the original.' There 
 are by him three other portraits of the^ 
 doctor, which w^ere engraved ; one of them, 
 a whole-length, in the dress he wore in the 
 Hebrides. 
 
 TROTTER, Thomas, engraver. Was 
 
TRO 
 
 born in London, the son of a clergyman, 
 and was apprenticed to a calico printer. 
 Having some talent for drawing, lie tried 
 engraving, and soon produced some excel- 
 lent portraits. He received some instruction 
 from Blake, who was his fellow-engraver, 
 and finished a plate or two after Stothnrd, 
 R.A. In 1785 he exhibited a chalk drawing 
 of Dr. Johnson from the life. Prevented 
 following his work as engraver by an acci- 
 dental injury to his sight, he found employ- 
 ment as a draftsman, making drawings of 
 churches and monuments for antiquarian 
 publications. He died February 14, 1803, 
 and was buried in the graveyard of the 
 new chapel, Broadway, Westminster. 
 
 TROUGHTON, Thomas, draftsman and 
 'painter. He undertook a voyage to Africa, 
 and was shipwrecked on the coast of Morocco, 
 where from 1747 to 1780 he was detained 
 in slavery, and suffered great hardships. 
 He published some account of his sufferings. 
 Died 1797. 
 
 TRUCHY, L., engraver. AVas born in 
 Paris, 1731. Practised his art in London. 
 He worked for Aklerman Boydell. En- 
 graved a village dance after Teniers, and 
 12 plates after Highmore, in illustration of 
 'Pamela.' He died in London 1764. 
 
 TUCKEE, Nathaniel, portrait painter. 
 Practised in London about 1740-60. His 
 works are engraved by J. Faber and some 
 others. 
 
 TITER, Herbert, portrait painter. His 
 father and grandfcither were in the Church. 
 His mother was niece to George Herbert, 
 the poet. He withdrew to Holland after 
 the execution of Charles L, and applying 
 himself to art, made good progress in por- 
 trait painting, but his works are almost 
 unknown in England. One or two of his 
 portraits are engraved. He is believed to 
 have died at Utrecht some time before 1680. 
 
 TULL, N., landscape painter. Was the 
 schoolmaster at Queen Elizabeth's school in 
 Tooiey Street, Borough. Painted for his 
 amusement close rural scenes, lanes, and 
 cottages ; drew in black and white chalk, 
 on coloured paper. There are also some 
 portraits attributed to him. He exhibited 
 landscapes with the Society of Artists in 
 1761. Vivares and Elliott engraved after 
 him a set of six plates. He died in 1762. 
 
 TURNER, Charles A. 'E., engraver. Was 
 born at Woodstock in 1773, and entered the 
 schools of the Royal Academy in 1795. On 
 commencing his art, he was influenced by 
 the manner of Bartolozzi, and Wiis em- 
 ployed by Alderman Boydell. He produced 
 Bome dot engraAn'ngs of very high merit, 
 and then used the needle and aqua-tint 
 with great success. In this manner he 
 engraved the early numbers of Turner, 
 R.A.'s ' Liber Studiorum/ and his fine 
 painting of * The Wreck/ imitating with 
 
 great truth this great master's brilliant 
 lights and reflections, and the depth and 
 clearness of his shadows. In 1828 he was 
 elected an associate engraver of the Royal 
 Academy. Ho engraved some fine por- 
 traits after Lawrence, P.R.A., Jackson, 
 Shee ; * The Beggars,' after Owen ; Rey- 
 nolds's large group of ' The Marlborough 
 Family,' with many other important works. 
 His latest and best works are in mezzo- 
 tint, with the needle partially employed. 
 He was a great artist, admirably trans- 
 lating his original picture, and excelled in 
 every style which he used. He died in 
 Warren Street, Fitzroy Square, August 1, 
 1857, aged 83, and was buried in the 
 Highgate Cemetery. 
 
 TURNER, David, draftsman and en- 
 graver. Was, in 1790, the pupil of John 
 Jones, engraver in London. He devoted 
 himself to painting landscape and archi- 
 tectural views. He exhibited, about the 
 end of tlie 18th century, views on tho 
 Thames — Lambeth from Milbank, Somerset 
 House, Temple Gardens, St. Paul's from 
 Westminster Bridge, contributing for tho 
 last time in 1801. These works were small, 
 carefully finished, usually in oil, but weak, 
 sliowing little art power. He was also an 
 etcher, and there are some etchings by him 
 of the castles, monuments, and abbeys in 
 Scotland, a view of Peterborough Cathe- 
 dral, and of St, Ouen at Rouen. 
 
 TURNER, James, portrait painter. 
 Practised 1745-90. Exhibited miniatures 
 with the Society of Artists in 1761. Some 
 of his portraits are engraved. 
 
 TURNER, Joseph William Mallord, 
 R.A., landscape painter. Was born April 23, 
 1775, the son of a hairdresser of small 
 means in Maiden Lane, Covent Garden. 
 Had the rudiments of an ordinary educa- 
 tion. His love of art was developed early, 
 since he was admitted to the schools of the 
 Royal Academy in 1789. Ho had pre- 
 viously contributed to the exhibition, and 
 tlio following year sent a ' View of Lambeth 
 Palace.' He was well grounded in per- 
 spective under Thomas Malton, and was 
 for a short time in tho office of Mr. Hard- 
 wick, the architect of the St. Catherine's 
 Docks. He studied, with Girtin and others, 
 in the friendly house of Dr. Monro, coloured 
 prints, put in architects' backgrounds, gave 
 some lessons, and by these means, and the 
 sale of his sketches, managed to support 
 himself. Then gaining some notice, and 
 continuing to improve in his art, he madi3 
 excursions into the Midland counties, AVales, 
 and the South Coast, Yorkshire, and the 
 lakes, and sketched views for the topo- 
 graphical publications at that time in 
 vogue, but continued to foster that love 
 of rivers and river scenery which first 
 attracted him on the picturesque Thames. 
 
 415 
 
TUR 
 
 His art was founded on a diligent study 
 of nature, though he owns some obligations 
 to Samuel Cozens, who was one of his 
 follow students at Dr. Monro's. His sketches, 
 and indeed many of his early exhibited pic- 
 tures, were in water-colours, very rarely in 
 oil, and were all views. Some of these 
 studies are, however, merely pencil outlines, 
 faithful, firm, and well drawn, full of detail 
 of every kind, and full of truth, while those 
 in water-colour, including also every kind 
 of subject, varied in like manner from mere 
 washes of tint, truly beautiful and effective, 
 to bits of foreground and objects more 
 minutely rendered, but all sparkling in the 
 freshness of nature. Of such studies, which 
 are innumerable, many are now displayed 
 on the National Gallery walls at South Ken- 
 sington. By them the true genius of the 
 painter was nourished, and in 1703 he exhi- 
 bited in oil ' The Rising Squall,' in which 
 the poetry of nature was attempted. In 
 1796, among others, a subject picture ' Fish- 
 ermen at Sea,' and the next year ' Moon- 
 light,' followed by works in which all the 
 changing phases of nature were attempted. 
 
 These works gained him admission to the 
 Royal Academy. He was elected an asso- 
 ciate in 1799, and then eschewing altogether 
 tlie topographical imitation of landscape for 
 a more noble art, he looked beyond the mere 
 details to a larger treatment of nature, 
 seizing all the poetry of sunshine, and the 
 mists of morn and eve, with the grandeur 
 of storm and the glow of sunset. Yet he 
 does not appear to have at once established 
 a new art for hi mself. In some of his earlier 
 works the influence of the great masters of 
 the Dutch school is apparent, as in his 
 noble picture of ' The Shipwreck,' 1805, now 
 in the National Gallery ; then Poussin, 
 and later Claude, with whom he especially 
 desired to be placed in rivalry, bequeathing 
 two of his finest works to the National 
 Gallery on the condition that they should 
 be hung between two of the most esteemed 
 works of that master. In 1802 he was 
 elected a mpmber of the Academy, and about 
 that time visited Scotland, and afterwards 
 France, Switzerland, Italy, and the Rhine. 
 ■ In the succeeding years he produced some 
 of his finest pictures, enlarging his range of 
 subjects — his ' Jason,' 'The Tenth Plague of 
 Egypt,' ' The Blacksmith's Shop,' ' The Un- 
 paid Bill,' ' Apollo and Python.' In 1807 
 he was appointed the professor of perspec- 
 tive, and among his succeeding pictures 
 were some of his most expressive marine 
 subjects — 'The Wreck of the Minotaur,' 
 ' The Shipwreck,' ' The Gale,' and some 
 others. His 'Apollo and Python ' followed 
 in 1811; ' Dido and ^neus,' 1814; 'Cross- 
 ing the Brook,' 1815 ; ' The Decline of Car- 
 thage,' 1817; ' Richmond Hill,' 1819. 
 
 About 1820 a great change was manifest 
 
 TUR 
 
 in his manner of painting. In his first 
 manner dark predominated with a very 
 limited portion of light, and he painted 
 solidly throughout with a vigorous and full 
 brush ; now he adopted a principle of light 
 with a small proportion of dark, used a light 
 ground, and by scumbling obtained infinitely 
 delicate gradations using the purest orange, 
 blue, purple, and other powerful colours, 
 and in this manner he produced his ' Bay of 
 Baise,' and in 1829, one of his most beautiful 
 and poetical works, ' Ulysses Deriding Poly- 
 phemus,' in which, while in no way gaudy, 
 it seems impossible to surpass the power of 
 colour which he has attained, or the terrible 
 beauty in which he has clothed his poetic 
 conception, a work almost without a parallel 
 in art. 
 
 Such was his art in oil, but he was no 
 less eminent in water-colours. He soon 
 found the heaviness which resulted from 
 laying in the gradations of light and dark 
 with grey, and afterwards representing the 
 hue of each object by tinting it with colour, 
 and proceeded to treat the whole surface of 
 his picture as colour, and using at once the 
 pigments by which it might be represented, 
 and by delicate hatchings achieved wonderful 
 qualities of broken hues, air tints, and at- 
 mosphere. Thus he mastered the whole mys - 
 tery of the art, and while others excelled in 
 one particular phase of nature, for which they 
 were distinguished, his art compassed all 
 they did collectively, and more than equalled 
 each in what he most excelled. 
 
 Turner's art was appreciated in his early 
 career, and he amassed a large property, of 
 which a considerable portion arose fromtlie 
 engravings from his works, for which he 
 was able to make close bargains with the 
 publishers, and to retain an interest. He 
 commenced in 1808 his 'Liber Studiorum,' 
 a work of the highest artistic merit, of great 
 and now of rare value. This led to his 
 employment as an illustrator of books, and 
 his' Southern Coast Scenery,' 'England and 
 Wales,' ' Rivers of Prance,' ' Rogers' Italy,' 
 and ' Rogers' Poems,' are great examples of 
 his genius and taste. Several of his finest 
 pictures have also been produced by our 
 best engravers in line or mezzo-tint. 
 
 A genius of the highest class, endowed 
 with great refinement in art, he had none 
 of the personal characteristics whicli wo 
 associate with such gifts. Clumsy in figure, 
 common in manner, slovenly in dross, he 
 led a retired life without companionsliip 
 even in art. Taciturn and reserved, he was 
 no less a jovial associate at the occasional 
 meetings of his professional brethren, and 
 full of jokes which it was difficult to com- 
 prehend. Pull also of art knowledge, which 
 he was ready to communicate, but which his 
 manner made a riddle to understand, but 
 well worth the thought to construe. At the 
 
TUE 
 
 TYL 
 
 age of 25 he had been able to esbiblish 
 himself in a house in Harley Street. Thence 
 he remOYcd to Hammersmith, and following 
 his fayoiirite Thames, he took a small house 
 at Twickenham, where he lived for several 
 years, having at the latter part of the time 
 a house also in Queen Anne Street, Mary- 
 Icbone. Thrifty, shrewd in his dealings, of 
 untiring industry, ho w\as making money 
 fast, and unsocial, without any inducements 
 to expense, it accumulated. He has been 
 called avaricious, and seeking only his own 
 glorification in his wealth. "But he devoted 
 it to art which had been his only pursuit 
 and happiness in life. 
 
 He had long been accustomed to absent 
 himself at intervals, and without having 
 been missed, his friends learnt suddenly that 
 the great painter was lying dead at a small 
 cottage on the banks of the Thames, just 
 above Battersea Bridge. In this house he 
 had been accustomed to lodge occasionally, 
 and had formed a connection, under the 
 assumed name of Brooks, with the female 
 who kept it. Here his last illness seized 
 him, and here he died on December 19, 1851. 
 His body was conveyed to his house in 
 Queen Anne Street, and was buried in the 
 crypt of St. Paul's Cathedral. By his will, 
 after leaving some small annuities to his 
 relations, he gave the bulk of his property, 
 sworn as under 140,000/., for the benefit of 
 art and artists ; but his will, drawn by him- 
 self, was so unskilfully framed and so vague, 
 that after four years' litigation, by the ad- 
 vice of the Lord Chancellor, a compromise 
 was arranged. The Eoyal Academy received 
 20,000/., his pictures and drawings w^ero 
 assigned to the National Gallery, his real 
 estate to the heir-at-law, and his large col- 
 lection of prints, with other property, to the 
 next of kin. The Academy sot aside the 
 sum adjudged to them as ' The Turner 
 Fund,' for the relief of distressed artists, 
 not members of their body, and to perpetuate 
 his memory founded a ' Turner' gold medal 
 to be awarded biennially in competition for 
 the best landscape painting. 
 
 TURNEE, William, known as ' Turner 
 of Oxford,' water-colour fainter. Was born 
 at Blackbourton, Oxfordshire, November 
 12, 1789. Losing his father at an early 
 age, he was brought up by an uncle, who, 
 observing his love for drawing, sent him 
 to London and apprenticed him to John 
 Varley, with whom he made fair progress. 
 After leaving Varley, he settled at Oxford, 
 where he was chiefly employed as a teacher, 
 finding pupils among the members of the 
 university and the neighbouring families. 
 He first exhibited in 1808, and in 1809 w^as 
 elected a member of the Water-Colour So- 
 ciety. Residing during his whole career in 
 Oxford, many of his subjects were found 
 in that city and its suburbs. But he also 
 
 painted the moor and down scenery of Eng- 
 land, introducing groups of sheep and 
 cattle, as well as the mountain scenery of , 
 Wales and Scotland. He was a close and 
 industrious student of nature, indefatigable 
 in his work, his drawings possessing many 
 good qualities, carefully coloured and 
 finished; they are yet deficient in com- 
 position and art treatment, and his works 
 failed to gain popularity. He married in 
 1824, and was for 54 years an exhibitor of 
 his works. He died, childless, August 7, 
 1862, in his 73rd year, and was buried at 
 Shipton on-Cherwell, near Woodstock. His 
 numerous drawings and sketches were sold 
 by auction in March 1863. 
 
 TURNERELLI, Peter, sculptor. Was 
 born the latter end of 1774 at Belfast. His 
 father was an Italian modeller, and resided 
 many years in Dublin ; his mother a na- 
 tive of that city. He was intended for 
 the priesthood, but a love of art prevailed. 
 Ho came to London at the age of 18, was 
 placed with M. Chenu, an able artist, and 
 was admitted a student of the Royal Aca- 
 demy. His works early attracted notice 
 and employment. He was engaged to teach 
 the Princess of Wales, and also many of 
 the nobility, modelling in wax, and exhi- 
 bited the infant Princess Charlotte in wax, 
 which was much admired. In 1810 Georgo 
 III. sat to him for his bust, and the work 
 was so popular that he made no less than 
 80 copies of it in marble. He was appointed 
 sculptor to the Queen, and also to tho 
 Princess of Wales. Some of the most dis- 
 tinguished men of the day were his sitters, 
 and in 1813, when he visited the continent, 
 Louis XVIIL sat to him for his bust. Ho 
 executed several monumental works. Sir 
 John Moore, in Canterbury Cathedral; 
 Admiral Sir John Hope, in Westminster 
 Abbey ; and Burns at his plough, for the 
 Dumfries monument. He died, after a few 
 hours' illness, in Newman Street, March 20, 
 1839, leaving a wife and family in great 
 destitution. He had the reputation of being 
 a charming amateur singer. 
 
 TYLER, William, R.A., sculptor and 
 architect. He exhibited some busts with 
 the Society of Artists in 1761, and was ono 
 of the Directors named in the Charter when 
 granted 1765. On the foundation of the 
 Royal Academy in 1768 he was nominated 
 a member, and was trustee and auditor, 
 taking an active interest in the young in- 
 stitution. To the earlier exhibitions he 
 contributed busts and monumental designs, 
 but later he is described as an architect, 
 and from 1780 exhibited architectural de- 
 signs. In 1786 he designed the Ereemasons' 
 Tavern, to which, ten years afterwards, 
 Thomas Sandby added the large hall. Ho 
 exhibited for the last time in 1787, and 
 died in Caroline Street, Bedford Square, 
 B E 417 
 
TTS 
 
 UWI 
 
 September 6, 1801, never having attained 
 distinction as a a sculptor or as an architect. 
 
 TYSON, Michael, amateur. Was a fellow 
 of Bennet College, Cambridge, and both 
 painted and etched for his amusement. He 
 practised about 1770. Of the etchings by 
 him there is a portrait of Archbishop Parker, 
 from an illuminated manuscript, a portrait 
 of Sir William Paulet, and of Jane Shore, 
 from the portrait at King's College, 
 Cambridge. 
 
 TYTLER, George, lithograjphic drafts- 
 
 man. He travelled in Italy about 1820, 
 and published several lithographic views 
 which he had made there. He also com- 
 piled from his sketches a pictorial alphabet, 
 of which a lithographic impression was 
 sold, and it was then produced on copper. 
 He also published in lithography a large 
 panoramic view of Edinburgh. He died 
 in Clement's Lane, Strand, in great desti- 
 tution, October 30, 1859, aged 62. He 
 held the appointment of draftsman to the 
 Duke of Gloucester. 
 
 U 
 
 UNDERWOOD, Richard Thomas, water- 
 colour painter. He was a man of scientific 
 attainments, and, possessed of an indepen- 
 dence, can hardly be said to have followed 
 art as a profession. He was one of the 
 group of artists who studied at Dr. 
 Monro's, and exhibited some of his draw- 
 ings at Messrs. Cooke's exhibition in Soho 
 Square. He died at Auteuil, near Paris, in 
 1836. 
 
 UNWIN, R., enamel fainter. He was 
 distinguished by his skill and taste in 
 enamelling watches, jewelry, &c. He ex- 
 hibited at the Royal Academy from 1705 
 to 1801, and the last time in 1812, contri- 
 buting miniature portraits, designs, subjects 
 from the poets, and landscapes. 
 
 UWINS, Thomas, R.A., subject painter. 
 AVas born at Pentonville February 24, 1782, 
 and was educated at a day-school in the 
 neighbourhood. He was apprenticed to an 
 engraver in 1797, but, ambitious to become 
 a painter, quitted him at the age of 16, 
 and was admitted a student of the Royal 
 Academy. He began to drav/ portraits, 
 and about 1808 v/as engaged in book illus- 
 tration. He illustrated ' Robinson Crusoe,' 
 'Young's Night Thoughts,' and many other 
 works, but chiefly by a frontispiece and 
 vignette only for each. He also drev/ for 
 Akermann's 'Repository.' In 1808 he was 
 admitted an associate of the Water-Colour 
 Society, and in the following year a full 
 member, and was in 1813, for a short time, 
 secretary to the Society. His contributions 
 to the Society's exhibitions were chiefly of 
 a rustic character, introducing children. In 
 1810, 'The Little Housewife,' in 1811, 
 'Children returning from School,' 1812, 
 ' Higler's Boy goiug to Market,' 1813, 
 'Girl decorating her Head with Hops,' with 
 one or two subjects of a higher class. In 
 1814, his health failing, he went to reside 
 in the south of Prance, where he made 
 many sketches and studies, but designing 
 for booksellers formed his chief employment 
 up to 1817. 
 418 
 
 At this time ho was subjected to some 
 pecuniary difficulties from the default of a 
 person for whom he had been surety, and 
 in 1818 he resigned suddenly his member- 
 ship in the AVater-Colour Society, and- 
 devoted himself to the drudgery of art 
 till he honourably discharged his obliga- 
 tions. He settled for a time in Edinburgh, 
 and was successful in portraiture, chiefly 
 drawn in chalk. In 1824 he went to Italy, 
 and during seven years' study there visited 
 Florence, Rome, Naples, and the other art 
 cities, returning in 1831 with the materials 
 ho had gathered. Hitherto his art had 
 been chiefly in water-colour. His works 
 had not been seen in the London exhibitions 
 for seven years, and now, approaching his 
 50th year, he was prepared to commence 
 a fresh career with a new art. His inspira- 
 tions hitherto had been purely English, 
 now they were of Italy. 
 
 He exhibited his works in oil at the 
 Royal Academy, and at once established a 
 reputation by his Italian scenes, ' The 
 Tarantella,' and 'The Saint Manufactory.' 
 In 1832 he was elected an associate of the 
 Academy, and, growing in public favour, 
 in 1838 academician. Purther honours 
 waited upon his later days. In 1844 ho 
 was appointed librarian of the Royal Aca- 
 demy, and in 1845 surveyor of the Queen's 
 pictures, followed, in 1847, by the appoint- 
 ment of keeper of the National Gallery. 
 Then, his health failing, he resigned the 
 two latter offices in 1855, and retired to 
 Staines, where he died, aged 75, August 
 25, 1857, and was buried. His art is well 
 represented in our national collection by 
 his ' Vintage in the Claret Vineyards, south 
 of Prance,' and ' Le Chapeau de Brigand,' 
 both of which have been finely engraved ; 
 and also in the Sheepshanks collection at 
 South Kensington by his ' Italian Mother 
 teaching her Child the Tarantella,' with 
 some other of his works. His widow pub- 
 lished, in two volumes, in 1858, 'Recollec- 
 tions of Thomas Uwins, R.A.' 
 
VAN 
 
 VAN 
 
 V 
 
 VAN AS SEN, Bexedictus Antonio 
 designer and engraver. Practised towards 
 the end of the 18th century as a designer 
 for books, but in a poor weak manner. Ho 
 exhibited occasionally at the Eoyal Aca- 
 demy from 1790 to 1803, and there is a 
 full-length portrait of Belzoni the tra- 
 veller, 180-4, which is engraved by him. 
 He drew and etched ' Emblematic Devices ; 
 48 plates published 1810. He also en 
 graved Mortimer, the painter, after a pen 
 and ink drawing, 1810, and three nymphs 
 and an infant sacrificing to Pomona and 
 Ceres, a good work in the dot manner. 
 He died in London about 1817. 
 
 VAN BELKAMP, John, copyist. Was 
 a Dutch artist ; came to England early in 
 Charles I.'s reign, and was employed 
 under Yanderdoort to make copies of the 
 King's pictures. The copy of Holbein's 
 large picture, the original of wdiich was 
 burnt in the fire at Whitehall, containing a 
 full-length of Henry VII. and Henry YIII. 
 is by him ; also the portraits of several re- 
 markable persons of the reigns of Henry 
 VIII., Elizabeth, James I., and Charles I., 
 the originals of which were dispersed. By 
 a vote of the House of Commons in 1649, 
 he was appointed one of the Trustees for 
 the sale of Charles I.'s goods. He died in 
 this country, and E. Symonds notes in 
 1653 that he is said to be lately dead. 
 
 VAN BLECK, Petee, mezzo-tint en- 
 graver. Born in Elanders ; came to Eng- 
 land in 1723. His works are neatly 
 finished, and have much merit. He en- 
 graved several theatrical portraits, and 
 some portraits both drawn and engraved 
 by himself, and among them his own por- 
 trait, dated 1735, and the portraits of two 
 then renowned players in the ' Alchemist.' 
 He died July 20, 1764. 
 
 VANBRONDEBUKGH, Gilbert, die 
 engraver. Was appointed Graver to the 
 Eoyal Mint, 9th Henry V., and the ap- 
 pointment was continued in the reign of 
 Henry VL, Vvhen his office was defined as 
 'Sculptor of the dies of gold and silver 
 within the Tower of London,' where the 
 Mint vras then established. 
 
 VANBEUGH, Sir John, Knight, archi- 
 tect and dramatist. He was the grandson 
 of a Protestant refugee, whose family had 
 long been merchants of repute in Elanders, 
 and had fled to England. His father 
 settled in Chester, and is said to have 
 acquired wealth there as a sugar baker, 
 and to have married a daughter of Sir 
 Dudley Carleton. Several of his brothers 
 and sisters were born in Chester. With 
 regard to him, however, the accounts are 
 
 very conflicting ; but it seems most pro- 
 bable that his father, who held the office 
 of Controller to the Treasury, settling in 
 London, he was born in the parish of St. 
 Stephen, Walbrook, in the year 1666. 
 Young Vanbrugh was the second of eight 
 sons, and of a very lively disposition. Ho 
 received a liberal education, which ho 
 finished in Erance, and then commenced his 
 career with an ensign's commission in tho 
 army, which he did not hold long. When 
 about nineteen years of age he went again 
 to France, where he remained for several 
 years. He cultivated a taste for the drama, 
 and wrote ' The EeLipse,' which was acted 
 w^ith great success in 1697, and was fol- 
 lowed by ' The Provoked Wife,' played in 
 Lincoln's Inn Eields Theatre in 1698, and 
 ' The Confederacy,' comedies which AVal- 
 pole erroneously said would endure as long 
 as his, the author's, edifices. About this 
 time he must have studied architecture, but 
 under what circumstances he was led to 
 the study does not appear. His talent in 
 this direction n;ust have been unexpected, 
 for Swift, one of the satirists of the day, 
 referring to him, wrote : — 
 
 ' We may expect to see next year 
 A mouse-trap man chief engineer.' 
 Nevertheless in 1702 he was employed on 
 his first great Avork, and began Castle 
 Howard, a noble Corinthian edifice, Avhich 
 so pleased his employer, the Earl of 
 Carlisle, that he appointed him Deputy 
 Earl Marshall, and Clarenceux King at 
 Arms, thus placing him above all tho 
 Heralds, and notv>-ithstanding their re- 
 monstrances, and his own want of know- 
 ledge of the duties of the offi.ce, he held it 
 till his death. His reputation established, 
 on the completion of this work he com- 
 menced a succession of noble mansions. 
 He built Eastbury, in Dorsetehire, since 
 taken down ; King's Weston, near Bristol ; 
 Easton AVeston, Northamptonshire ; Dun- 
 combe Park, G rim sthorpe ; Seaton Delaval, 
 Benheim, his great work for which, though 
 Parliament voted the building, they refused 
 to provide the money, and several others. 
 He also w-as the main promoter and archi- 
 tect of a fine theatre erected in the Hay- 
 market, and on its completion in 1706 ho 
 became the Manager, and produced * Tho 
 Confederacy,' a play full of humour ; but 
 the speculation failed, and he soon after 
 quitted all connexion with the stage. On 
 the accession of George I. in 1714, he was 
 knighted, and was appointed Surveyor of 
 Greenwich Hospital in 1716. Ten years 
 later he died at Whitehall on the 26th of 
 March, 1726, and was buried in the family 
 E 2 419 
 
VAN 
 
 VAN 
 
 vault, at St. Stephen's, Walbrook. He 
 left one son, who was killed at the battle 
 of Fonteney. His widow died at the age 
 of 90, in 1776. Some not unfriendly wit 
 wrote his epitaph : — 
 
 ' Earth, lie light on him, thongh he 
 Laid many a heavy load on thee.' 
 A partizan himself, he had to bear, which 
 we are told he did with much superiority, 
 the attacks of party, and the sarcasms of 
 Swift and Pope. Opinions upon his art 
 were much di vided. Walpole speaks very 
 disparagingly of him ; says he wanted all 
 idea of proportion ; that his style was of 
 no age or country ; that he had no ima- 
 gination ; that he undertook vast designs, 
 and composed littleness. But Sir Joshua 
 Keynolds tells us that there is in his works 
 a greater display of imagination than we 
 shall perhaps find in any other ; that he 
 had originality of invention, and great skill 
 in composition ; and such is noAV the pre- 
 vailing opinion. His works, with many 
 faults, impress us by their grandeur. His 
 style, though founded on the classic, was 
 not subservient to its rules; but aimed 
 rather at the picturesqueness of the Gothic. 
 His plays, of which he wrote altogether 
 twelve, abounding in wit and satire, are too 
 immodest to retain their place on the stage 
 of our day. 
 
 VANDERBANK, Peter, engraver. Of 
 Dutch extraction, he was born in Paris in 
 1649, and was a pupil of De Poilly. He 
 came to England about 1674, and soon 
 gained a name for the laboured finish of his 
 work, chiefiy portrait heads, some of which 
 are of unusually large size. In the absence 
 of higher qualities he had a good knowledge 
 of the mechanical part of his art ; but he 
 was unappreciated and underpaid. He 
 married the sister of a gentleman of good 
 landed property, at Bradfield, in Hertford- 
 shire, and when reduced and in difficulties, 
 found an asylum in his house. He engraved 
 many portraits of historical interest, of 
 such are the heads for Kennet's 'History of 
 England;' also some of Verrio's paintings 
 at Windsor. He is supposed to have been 
 connected with the manufacture of tapestry. 
 He died and was buried at Bradfield in 
 1697. He left three sons, one of whom, of 
 the same christian name, was brought up 
 to his profession. His widow sold his 
 plates to a well-known print-seller, who 
 made a large profit by them. 
 
 VANDERBANK, John, portrait painter . 
 Son of the above, was born in England to- 
 wards the close of the 17th century, and 
 Studied his art there. He was much employed 
 in the reign of Anne and of George I., was a 
 bold and masterly draftsman, and painted 
 a good likeness, but, with great facility of 
 execution, was too careless and extrava- 
 gant to be successful. There is a portrait 
 420 
 
 of Newton by him at the Royal Society, 
 and at Hampton Court a large group of 
 figures, crowded together with little attempt 
 at composition, or light and shade. He 
 was known as a caricaturist. He designed 
 the illustrations for a translation of ' Don 
 Quixote ' by Lord Carteret, who thought 
 him superior to Hogarth. He headed the 
 rebel party who seceded from Sir James 
 Thornhill's academy, and established him- 
 self a drawing academy, to which, intro- 
 ducing the living model, he gave a short 
 existence. He had a brother who practised 
 as an artist. He died of consumption in 
 Holies Street, Cavendish Square, Dec. 23, 
 1739, aged about 45, and was buried at 
 Marylebone Church. 
 
 VANDERBORCHT, Henry, flower 
 painter. Was born at Brussels in 1583, 
 the son of a painter of the same name. 
 He was sent to Italy by the Earl of 
 Arundel, in whose service he continued till 
 the Earl's death. He was then employed by 
 the Prince of Wales ; afterwards Charles II., 
 and lived in London many years. He 
 chiefly excelled in flowers and fruit, but 
 there are some etchings by him — a Virgin 
 and Child, after Parmigiano, dated Lon- 
 don, 1637; a dead Christ, an Apollo and 
 a Cupid. He returned to Antwerp, and 
 died there in 1660, aged 77. His portrait 
 was engraved by Hollar. 
 
 VANDERDORT, Abraham, modeller. 
 Was born in Holland, and was employed 
 by the Emperor Rudolphus. He then came 
 to England, and was appointed keeper of 
 Prince Henry's medals, an office soon 
 vacated by the Prince's death in 1612. 
 On the accession of Charles L, he was at 
 once engaged in his service, wdth a salary 
 of 40/. a year ; and in 1625 he was ap- 
 pointed by patent to make designs for his 
 Majesty's coins, and was paid an addi- 
 tional 40/. a year. By a second patent 
 in the same year he was appointed keeper 
 of the King's pictures; and the King's 
 favour, in the exercise of the Royal prero- 
 gative, was further shown by the recom- 
 mendation of him by letter, in the way of 
 marriage, to Louysa Cole, relict of James 
 Cole, no doubt a wealthy widow. He com- 
 piled careful catalogues and lists of the 
 Kings collections, which still exist, com- 
 prising the paintings, medals, and other 
 works of art and vertu. A miniature, by 
 Gibson, of * The Parable of the Lost Sheep,' 
 was given into his special charge by the 
 King, and was so carefully laid by that, 
 when asked for by the King, he could not 
 find it, and hanged himself in despair, but 
 it was afterwards found and restored by 
 his executors. 
 
 VANDER-EYDEN, John, portrait 
 painter. Studied his art at Brussels, came 
 to England, and found employment as an 
 
VAN 
 
 VAN 
 
 assistant to Sir Peter Lely, chiefly in dra- 
 pery painting. He afterwards practised in 
 Nortliamptonshire, where he married. He 
 died about 1697, and was buried at Staple- 
 fort, in Leicestershire. 
 
 VANDERGUCHT, Michael, engraver. 
 Was born at Antwerp in 1660, came to this 
 country, and was the pupil of David Log- 
 gan. He engraved many anatomical figures ; 
 and for the illustration of Carendon's ' His- 
 tory of England.' There is also a portrait 
 of Mr. Savage, esteemed his best work, and 
 a large print of the Royal Navy. He was 
 much afflicted with gout, and died Oct. 16, 
 1725, aged 65. He was buried at St. Giles's 
 Church. 
 
 VANDERGUCHT, Gerard, engraver. 
 Was a son of the foregoing, and a pupil 
 of Louis Cheron. He began life in the 
 practice of his profession, and his name 
 will be found to many small book plates, 
 and then traded as a dealer in works of 
 art, paintings, prints, busts, and curiosities. 
 He was the founder of the Art Gallery in 
 Lower Brook Street. He died March 18, 
 1776, aged 80, and his stock-in-trade, com- 
 prising a large collection of engravings, 
 was sold in the following year. He was 
 the Mher of 30 children. The * Eour 
 Seasons,' after Coypel, are by him, and 
 he was employed by Sir Hans Sloane. 
 
 VANDERGUCHT, John, e^^graver. 
 Was another son of the above Michael, and 
 was born in London in 1697. He learned 
 his art from his father, and studied in the 
 Painters' Drawing Academy. He chiefly 
 practised etching, sometimes using the 
 graver with the point. He engraved the 
 plates for Cheselden's ' Osteology,' and was 
 largely employed on the plates, from Thorn- 
 hill's designs under the dome of St. Pauls. 
 He assisted Hogarth on several of his early 
 plates, and was himself a caricaturist and 
 humorous designer. He died in 1776, 
 iiged 79. 
 
 VANDERGUCHT, Benjamin, portrait 
 painter. Was the only son of the above 
 John Vanderguclit. He studied at the St. 
 Martin's Lane Academy, and on the founda- 
 tion of the Royal Academy, was one of the 
 first students admitted. His early works 
 were of much promise. He exhibited at 
 the Eree Society in 1770, and at the Royal 
 Academy, in 1774, a good half-length por- 
 trait of Woodward, the performer, which he 
 presented to the Lock Hospital; in 1779, 
 a portrait of Garrick, and painted several 
 other performers, whose portraits were en- 
 graved in mezzo-tint. He also exhibited 
 * A Scene in the Register Office,' and some 
 scenes from popular plays, but he ceased 
 to exhibit in 1786, and quitting art, turned 
 picture cleaner and picture dealer. He 
 possessed a collection of pictures to which 
 he admitted the public on the payment of 
 
 \s. He was drowned, near Mortlake, in 
 crossing the Thames from Chiswick, Sept. 
 21, 1794. His collection was sold by 
 Christie in 1796. He gave an 'Entomb- 
 ment,' by G. Soghers, to the church at 
 Mortlake. 
 
 VANDERHAGEN, Johann, marine 
 painter. Was born at the Hague, and com- 
 pleted his studies there. He afterwards 
 came to London, where he met with encour- 
 agement, but settled in Ireland, and for 
 several years practised in Dublin and some 
 of the other towns. He showed much 
 ability in his art, but was eccentric and 
 idle, and in his latter days only worked 
 when he had spent his last shilling. He 
 was relieved by the Artists' Society in 
 1768 ; died in Dublin soon afterwards. 
 'A Sea Storm' by him is engraved by 
 Watson. 
 
 VANDERMYN, Herman, portrait and 
 history painter. Was the son of a clergy- 
 man, and was born at Amsterdam in 1684. 
 Intended for the Church, he received a 
 good education, but a love of art prevailed, 
 and he was placed under a flower painter, 
 and excelled in that branch of art. He 
 then tried historical subjects. In 1716 ho 
 visited Munich and Antwerp, and in 1718 
 Paris, from whence, or as some accounts 
 say, from Antwerp, he came to London, in 
 1719, in great difficulties. Here he was 
 engaged in painting the portraits of several 
 of the nobility, which, with the draperies 
 and accessories, he finished with extreme 
 minuteness, and was patronised both by 
 the Court and the City. Among his sit- 
 ters were Frederick, Prince of Wales, the 
 Prince of Orange, and the Duke and 
 Duchess of Chandos. Lie received 500^. 
 for repairing the paintings at Burleigh, 
 and demanded large prices for his portraits, 
 but he had married imprudently, was ex- 
 travagant, and in constant difficulties, to 
 avoid which he returned to Holland in 
 1736, but came back to England shortly 
 before his death, which happened in Lon- 
 don in 1741, leaving eight children, some 
 of them brought up as painters. Ho 
 painted 'A Jupiter and Danae,' 'Peter 
 Denying Christ,' and some other historical 
 works, which were highly esteemed in his 
 day. 
 
 VANDERMYN, Agatha, /(9?x'er painter. 
 Was the sister of the above, and came with 
 him to London. In 1763 she was a member 
 of the Eree Society of Artists. She painted 
 still life, fruit, flowers, and game. 
 
 VANDERMYN, Frank, portrait painter. 
 Was the son of the foregoing Herman, and 
 practised in London, Avhere he became dis- 
 tinguished in his art. He was in 1763 a 
 member of the Free Society of Artists. He 
 constantly indulged in his pipe while paint- 
 ing, by which he lost many sitters, and 
 
 421 
 
VAN 
 
 VAN 
 
 there is a mezzo-tint from a portrait of 
 him, painted by himself, lettered * The 
 Smoker.' He died in Moorfields, August 20, 
 1783, aged 68. His wife practised as a flower 
 and fruit painter, and exhibited her works. 
 
 VANDEKMYN, Egbert, portrait 
 painter. Was born in London, 1724, and 
 practised about the middle of the century, 
 painting portraits and many landscapes, 
 fruit and flower pieces. 
 
 VANDERVAART, John, painter and 
 engraver. Was born at Haarlem, in 1647, 
 and came to England in 1674. Here he 
 became the pupil of Old Wyck, but did not 
 confine himself to his master's art. Eor 
 some time he painted portraits and still 
 life, and for the latter gained much reputa- 
 tion. Afterwards he painted draperies for 
 Wissing, and then, selling his collection, in 
 1713 ho turned picture repairer, and found 
 that more profitable than painting. Later 
 he assisted John Smith on his mezzo-tint 
 plates, and mezzo-tinted some of his own 
 works, several of which are also engraved 
 by others, and there is a well-knovv'n mezzo- 
 tint by him of Charles II., after Wissing. 
 He built a house for himself in Covent 
 Garden, near which place he lived about fifty 
 years. He died of fever, unmarried, in 
 1721, and was buried in St. Paul's, the 
 parish church. 
 
 VANDERVOERST, Robert, engraver. 
 Was born at Arnheim, Holland, about the 
 end of the 16th century, and came to Eng- 
 land early in life. He engraved the por- 
 traits of m.any distinguished Englishmen, 
 chiefly after Vandyck, Mirevelt, and Hon- 
 thorst, particularly the fine portrait of 
 Charles and his Queen, by Vandyck ; Eliza- 
 beth of Bolicmia, after Honthorst ; and his 
 own portrait, by Vandyck. He used the 
 graver almost exclusively, and his plates 
 are neatly and carefully finished. Vander- 
 doort, in his Catalogue, styles him 'The 
 King's Engraver.' His last known work is 
 dated 1635, but he is believed to have lived 
 till 1669. 
 
 VANDEVELDE, William (distinguished 
 as ' Old Vandevelde'), marine painter. Was 
 born at Leyden, in 1610, and commenced 
 life as a sailor, but he must have shown an 
 early ability for drawing, as his art was 
 known by the time he was 20 years of age, 
 and his great technical knowledge of ship- 
 ping is due to the early part of his career. 
 His talent recommended him to the notice 
 of the States of Holland, aud he was 
 granted a small vessel to be present with 
 the fleet, and witnessed, in \^^b-%^, the 
 great sea-fights, not without exposure to 
 imminent danger, between the Duke of 
 York and Admiral Opdam, and between 
 Admiral Monk and Admiral De Ruyter. 
 Charles II., who had known him in Holland, 
 invited him to England, and he arrived 
 422 
 
 here in 1675. The King at once took him 
 into his service, ' to make draughts of sea- 
 fights,' with a salary of 100/., which was 
 continued by James II. He was a rapid 
 and able draftsman, and painted chiefly in 
 black and white, and dated all his later 
 works. There is a series of 12 naval 
 battles and sea-ports, by him, in the 
 Hampton Court collection. He died at his 
 house, in Greenwich, and was buried in 
 St. James's Church, Piccadilly, where there 
 is this tablet to his memory — ' Mr. William 
 Vandevelde, senior, late painter of sea- 
 fights to their Majesties King Charles II. 
 and King James. Dyed 1693.' His art 
 had little connection with the English 
 school, and his chief claim to insertion in 
 this work is the appointments he held under 
 two sovereigns. 
 
 VANDEVELDE, William, the younger, 
 marine painter. Was the son of the fore- 
 going, and was born at Amsterdam, in 1633. 
 He studied under his father, and afterwards 
 under Simon de Vlieger, an eminent Dutch 
 marine painter, and soon surpassing all his 
 contemporaries, rose to great excellence ; 
 correct in the graceful form of his vessels 
 and their rigging, delicate and yet spirited 
 in his finish, admirable in the introduction 
 of his numerous figures, depicting with 
 equal skill the calm, the breeze, and the 
 storm, his v/orks had risen to great esti- 
 mation in his own country, when he was 
 induced to follow his father to England, 
 and joined him in his house at Greenwich, 
 where he chiefly resided. The King re- 
 ceived him with great favour, and by a 
 warrant of the 26th of his reign (1674), 
 granted him a salary of 100/. for putting 
 the drafts of his fiither into colours for the 
 King's particular use. He was also largely 
 employed by the nobility, but it is probable 
 that many of the fine works by him in our 
 collections Avere painted before his arrival 
 here. His sea-pieces are very numerous, 
 and are now very highly prized, recent 
 sales showing, in several instances, an in- 
 crease of value tenfold, within a few years. 
 He was gifted with a very rapid power of 
 sketching, and the number of his drawings, 
 often very slight, is incredible ; about 8,000 
 were known to have been sold by auction 
 between 1778 and 1780. His finished 
 drawings have kept pace in price with his 
 pictures, and at a sale at Amsterdam, in 
 1833, several very large sums were realised. 
 He died at Tavistock Row, Covent Garden, 
 April 6, 1707, aged 74, and was buried at 
 St. James's Church, Piccadilly. 
 
 VANDEVELDE, Cornelius, marine 
 painter. Was the son of the foregoing, and 
 practised in London at the beginning of the 
 18th century. He made some good copies 
 of his father's works, but is only remem- 
 bered as a copyist. 
 
VAN 
 
 VAN 
 
 VAN DIEST, Adrian, landscape fainter. 
 He was born at the Hague, in 16(>o, the 
 son of a marine painter, and was his father s 
 piipiL He came to Enghind at the age of 
 17, and found employment as a landscape 
 painter, but occasionally painted portraits. 
 He was employed for several years by Lord 
 Bath, and drew several views and ruins in 
 the Yv est of England. His works are of 
 unequal merit, as his narrow circumstances 
 and the necessities of his family compelled 
 ]iim to work for low prices. He decorated 
 the wainscot in old houses with slight land- 
 scapes and mountainous backgrounds. His 
 best works are luminous, well coloured, and 
 finished. Sir Peter Lely possessed seven 
 of his landscapes. He painted his own 
 portrait, the right hand holding a land- 
 scape. He died in London, of an attack of 
 gout, in 1704, and was buried at the church 
 of St. Martin-in-the-Fields. There are 
 several sets of landscapes etched by him 
 in a slight but masterly manner. He 
 left a son, who practised as a portrait 
 painter. 
 
 VANDEAMINI, John, engraver. Was 
 born near Bassano in 1769. Pursued the 
 study of his art there till the ago of 19, 
 when he came to England, and, settling 
 in London, completed his studios under 
 Bartolozzi, with whom he remained till 
 his master left England, when he suc- 
 ceeded to his house at North End, Eul- 
 ham. In 1802 he married an English 
 lady, and in 1805 he made a journey 
 to St. Peter sburgh and Moscow, and 
 during a stay of two years in Paissia was 
 greatly esteemed, and was patronised by 
 the Emperor, who made every effort to in- 
 duce him to stay, and, his passport being 
 refused, he escaped from the country in 
 disguise. On reaching Engkmd he resumed 
 the practice of his profession, and worked 
 with great diligence on works of a high 
 class. The chief of these are, ' The Vision 
 of St. Catherine,' by Paul Veronese, 'St. 
 Sebastian,' by Spagnoletto, 'Leda,' by La 
 Vinci, and ' The Kaising of Lazarus,' after 
 the Sebastian del Piombo, now in the 
 National Gallery. He died in Kegent Street, 
 Eebruary 8, 1839. 
 
 VANDYCK, Sir Anthony, Knt., portrait 
 and history jpainter. Was born at Antwerp 
 in 1598, the only son of a wealthy merchant 
 in that city. He first studied ait under 
 Henry van Balen, a clever painter, and then, 
 attracted by the works of Eubens, he en- 
 tered his studio in 1615, became his favour- 
 ite pupil, and his assistant in many of his 
 great pictures, continuing four years with 
 him. By Rubens' advice he visited Italy, 
 and presenting his master with a portrait of 
 his wife Helena Forman and two other of 
 his own works, in return for the present of a 
 horse by Eubens, he set oif for Venice to 
 
 I study the masterpieces of Titian, and from 
 thence went to Genoa and Eome, where ho 
 stayed some time, lived in much luxury, 
 and painted the portraits of several dis- 
 tinguished men, among them, Cardinal 
 Bentivoglio, for whom ho also painted some 
 historical subjects ; but he refused to join 
 in the carousals of the artists, who became 
 the severe critics of his works, and he re- 
 turned to Genoa, where he was received in 
 the most flattering manner, and found full 
 employment. On an invitation from Pa- 
 lermo he visited that city, and painted the 
 portraits of the Prince of Savoy, the Vice- 
 roy, and some other persons of eminence. 
 Then, on an outbreak of the plague, ho 
 left Palermo, and afterwards returned to 
 his native city. 
 
 The reputation he had gained in It<ily 
 had preceded him, and the citizens of Ant- 
 werp were ready to welcome him. He was 
 employed to paint St. Augustine for tho 
 church of the Augustines, and the picture 
 increased his fame. He was overwhelmed 
 with commissions for the public edifices of 
 Antwerp, Brussels, Mechlin, and Ghent. 
 He painted, in grisaille of small size, the 
 portraits of the eminent artists of his time, 
 which have been many times engraved, and 
 he etched several with his own hand. But 
 his success gave rise to jealousy. His old 
 fellow-pupils depreciated his works ; tho 
 canons of the cathedral church of Courtrai, 
 among others, abused the pictures they had 
 commissioned him to paint, and he readily 
 accepted an invitation from Frederick Princo 
 of Orange to visit the Hague^ where ho 
 painted the portrait of the Prince and tho 
 principal personages of his court. He is 
 believed to have been a short time in Eng- 
 land in 1621. In 1629 he was induced to 
 come here again by the encouragement 
 given to the arts by Charles L, and lodged 
 with his friend Geldorp, a painter; but, 
 failing to gain the King's notice, he went 
 away chagrined, and this reaching the ears 
 of the King he sought his return. 
 
 In 1632 he was specially invited by the 
 Earl of Arundel, at the command of tho 
 King, who showed him the greatest favour 
 and immediately employed him. He was 
 knighteil the same year, and soon after ap- 
 pointed painter to his Majesty, with an 
 annuity for life of 200/. The King, his 
 Queen, and their children sat to him re- 
 peatedly, and we are indebted to him for 
 the most complete historic portraiture of 
 the time. He was indefatigable in his 
 labours, and his works will be found in 
 most of the mansions of England's old 
 families. He married Maria Euthven, 
 daughter of Dr. Euthven, a physician, and 
 granddaughter of the unfortunate Earl 
 Gowrie, whose great personal beauty was 
 her only dower. Soon after his marriage 
 
 423 
 
VAN 
 
 VAN 
 
 he took his wife on a visit to his family at 
 Antwerp, and thence to Paris. It is sup- 
 posed that he was anxious to have been 
 employed upon the decoration of the Louvre, 
 but he was disappointed, and, returning to 
 England, he proposed to paint the history 
 and procession of the Order of the Garter 
 on the walls of the Banqueting House, 
 AVhitehall, of which Eubens had decorated 
 the ceiling. For this he prepared sketches, 
 and submitted them to the King, but the 
 work was probably postponed by the state 
 of the royal finances, and the signs of 
 approaching troubles. 
 
 He was fond of pleasure, and of expensive 
 habits. His luxurious and sedentary life 
 induced gout, and injured his fortunes, 
 which he sought to repair in the pursuit of 
 alchemy, then a prevalent folly. He had on 
 settling in London, lodged among the King's 
 painters at Blackfriars, and there he died, 
 cut off, in the vigour of his life, December 9, 
 1641, and was buried in St. Paubs Cathe- 
 dral. He left an only daughter, who mar- 
 ried a gentleman named Stepney, and her 
 grandson was the poet Stepney. His pecu- 
 liar genius is displayed in his portraits, 
 particularly of females. Refined, elegant, 
 exquisite in taste and sweet colour, he is 
 almost unrivalled. His hands are noted 
 for their beauty, his heads unconstrained 
 and full of life and truth ; the action, sim- 
 plicity and dignity of his figures and grace 
 of his draperies are unsurpassed. His his- 
 torical pictures, though partaking of the 
 fine qualities of his portraits, do not equal 
 them in merit. His ordinary prices were, 
 for a half-length 40/., a whole-length 60/. 
 It is said that he named an extravagant 
 sum, 8,000/., for the proposed decorations 
 for the Banqueting House ; but the King 
 was well able to make a bargain with him, 
 as appears by a document in the State 
 Paper Office, in which the King has made 
 large deductions from his charges for por- 
 traits painted. Mr. Carpenter, of the 
 British Museum, published, in 1844, a 
 ' Memoir of Si\" Anthony Vandyck.' 
 
 VANDYKE, Peter, joortrait fainter. 
 Born in 1729. He was a descendant of the 
 great Vandyck. He was invited over from 
 Holland by Sir Joshua Reynolds to assist 
 him, -particularly in his draperies, and re- 
 mained with him for many years. He 
 afterwards settled at Bristol, where he 
 practised as a portrait painter, and was 
 reputed for his likenesses. He exhibited 
 with the Incorporated Society of Artists in 
 1762, a 'Diana,' an historical subject, and a 
 portrait ; and in 1764 'Portraits of a Lady 
 and Child in the Character of the Madonna.' 
 At the Free Society in 1767 he exhibited 
 three whole-lengths and three other por- 
 traits. There is a portrait by him of Robert 
 Hall and of the poet Southey in the National 
 424 
 
 Portrait Gallery. A portrait of Samuel 
 Taylor Coleridge, 1795, is engraved, as is 
 also a view with many figures introduced. 
 
 VAN GAELEN, Alexander, 
 painter. Practised in Holland, where he 
 was in repute as a painter of battle pieces and 
 animals. He followed the Court of Wil- 
 liam III. to England, and was employed by 
 the King to paint the Battle of the Boyne 
 to a large scale. Settling in London, Queen 
 Anne commissioned him to paint Her 
 Majesty in her state coach drawn by eight 
 horses, and accompanied by her Horse 
 Guards. He was also commissioned by a 
 nobleman to paint three of Charles L's 
 battles. 
 
 VAN GELDER, P. M., sculptor. AVas a 
 student of the Royal Academy, and in 1771 
 gained the gold medal for a bas relief of 
 ' The Choice of Hercules,' but there is no 
 trace of his further career. 
 
 VAN HAAKEN, Joseph portrait painter 
 Was born at Antwerp, where he studied his 
 profession. He came to England in the 
 reign of George 11. , and found full employ- 
 ment with our face painters, many of whose 
 art did not extend beyond the head of their 
 sitter. He added the figure with the back- 
 ground, and though worthy of better things, 
 he found it to his interest to confine himself 
 to this branch of the art. The stage coach 
 brought him canvasses to complete from the 
 most remote parts of England, and two 
 painters agreed to pay him 800 guineas a 
 year, to work only for them. His draperies 
 were in excellent taste, natural, and ex- 
 tremely well painted, not unfrequently the 
 best part of the portrait. He died in London, 
 July 4, 1 749, aged about 50. Hogarth wdio 
 knew how essential his art was to the por- 
 trait painters, caricatured them, following 
 his coffin in procession as mourners. He 
 left a brother who was employed in the same 
 professional wwk. 
 
 VAN HAAKEN, Alexander, engraver. 
 Was born in the Netherlands in 1701, and 
 coming to England settled in London, where 
 he practised in mezzo-tint. There are many 
 fine works by his hand, chiefiy portraits ; 
 among them George II. and his Queen, after 
 Amiconi. Works by him are dated down 
 to 1754. 
 
 VAN HOVE, Frederick Henry, en- 
 graver. He was born at Haarlem about 
 1625. He came to London, where he set- 
 tled, and was much employed by the book- 
 sellers on portrait frontispieces between 
 1648-1692. There are portraits of many 
 eminent Englishmen of that date engraved 
 by him. He was found murdered Oct. 17, 
 1698. 
 
 VAN LEMPUT, Remy, coinjist. He was 
 born at Antwerp, and was known as an able 
 copyist of the works of Vandyck. He came 
 to this country where he was chiefly em- 
 
VAN 
 
 VAR 
 
 ployed in copying, but there are some por- 
 traits by him. He purchased at King 
 Charles's sale the fine Vandyck portrait of the 
 King on horseback, but was compelled to 
 give it up. He died in November 1675, and 
 was buried in the churchyard at Covent 
 Garden. 
 
 VAN LINGE, Bernard, glass i^aintcr. 
 He was a Fleming, and came to England in 
 James I.'s reign, and gained a great reputa- 
 tion by his art. Probably his earliest work 
 in this country is at Wadham College, 1622. 
 Among other works by him is the chapel at 
 AVroxton, 1632 ; the seven windows at Lin- 
 coln College, 1629-31, are generally attri- 
 buted to him. Some writers, without ques- 
 tioning that these works are by him, doubt 
 Avhether he ever came to this country. 
 
 VAN LINGE, Abraham, glass fainter. 
 Supposed to have been the son of the fore- 
 going. He painted many fine windows in 
 this country. At Christ Church, Oxford, 
 1640 ; Balliol College, 1637 ; Hatfield, 
 Wroxton, Queen's College, 1635; Univer- 
 sity College, Lincoln's Inn Chapel, 1641; 
 Peterhouse, Cambridge. 
 
 VAN NOST, John, sculptor. Was born 
 in Piccadilly, where his father made statues 
 in lead for the decoration of gardens. About 
 1750 he went to Dublin, where he settled 
 and was much esteemed. The equestrian 
 statue of William III. on College Green, is 
 by him ; also, the equestrian statue of 
 George 11. , on St. Stephen's Green, and many 
 statues and ornamental works about the 
 castle. He was appointed statuary to the 
 King. About 1780 he returned to London, 
 but went back to Cork on the invitation of 
 the Corporation, and erected in that city a 
 statue of the Mayor. He died in Dublin, 
 1787. 
 
 VANSOMER, Paul, 'portrait painter. 
 Was born at Antwerp in 1576. Practised 
 for some while in Amsterdam. Then came 
 to England. The time of his arrival is not 
 known, but it was certainly before 1606. 
 He settled here, painted James I. with his 
 Queen, and many of the nobility and other 
 persons of distinction. His portraits pos- 
 sess many fine qualities, grand, dignified, 
 and characteristic, particularly in his male 
 portraits, powerful in light and shade, and 
 quiet in tone and colour, excellent in hi s land- 
 scape back -grounds and in general pictorial 
 treatment. There are many noble examples 
 of his art in the royal and other collections. 
 He died in London, aged about 45, and was 
 buried at the church of St. Martin-in-the- 
 Fields, January 5, 1621. 
 
 VANSOMER, Paul, engraver. He re- 
 sided some time in Paris, and then came to 
 London, where he settled and was one of 
 the first artists who practised in mezzo -tint. 
 He also etched and engraved, but without 
 attaining excellence in either manner. He 
 
 executed a plate of the Duke of Bavaria 
 and his secretary in 1670, before his arrival 
 in England, and many other portraits. 
 There are also many liistorical engravings 
 by iiim. ' Tobit Burying the Dead,' 'Moses 
 Found in the Bulrushes,' ' The Baptism of 
 Christ,' ' The Adoration of the Shepherds,' 
 from a design by himself ; ' A Drawing 
 Book,' and some other works. His works 
 are dated as late as 1690. He died in 
 London, 1694. 
 
 VANSON (or ' Vanzoon'), Francis John, 
 still-life and flower painter. Was born at 
 Antwerp about 1650, and studied art under 
 his father, who was a flower painter. Ho 
 came early to England, settled here, and 
 marrying the niece (some accounts say the 
 daughter) of Robert Streater, ho succeeded 
 to much of his practice. He painted still- 
 life, fruit, flowers, china, rich silks, and 
 tissues, imitating them from the objects 
 with great fidelity and truth, rich in colour, 
 and picturesquely composed. Into some of 
 his works he introduced rare botanical 
 plants studied at the Physic Garden in 
 Chelsea. He lived cliiefiy in Long Acre, 
 and died in St. Alban's Street in 1700. 
 
 VARDY, John, architect. AVasapupilof 
 Kent. He was a member of the Incorpo- 
 rated Society of Artists, and was the archi- 
 tect of several fine mansions. He built the 
 Horse Guards, it is said, after a design by 
 Kent, 1753. He exhibited at Spring Gar- 
 dens in 1761 'A Design for a Building for 
 the Dilettanti Society,' ' A Design for the 
 British Museum, prepared by order of the 
 trustees, 1754' ; ' A Design for a Royal 
 Palace fronting the Park,' 1748, on the spot 
 where the Horse Guards was afterwards 
 placed, and ' A Design for the North Front 
 of St. James's Palace;' 'Earl Spencer's 
 House,' looking into St. James's Park, and, 
 in 1792, ' Uxbridge House, Burlington Gar- 
 dens,' now a branch of the Bank of England. 
 He held the office of Clerk of the Works at 
 Kensington Palace. 
 
 VARLEY, John, water-colour _29am?fcr. 
 His father, a native of Hepworth, Lincoln- 
 shire, settled for a time in Yorkshire, where 
 he married, but his circumstances not prov- 
 ing prosperous he came to London, and his 
 son was born at Hackney, August 17, 1778. 
 The father became tutor to Lord Stanhope's 
 son, and was a man of very scientific at- 
 tainments. He discouraged the taste of his 
 son, John Varley, for art, and he was sent 
 on liking to a silversmith, with the inten- 
 tion to apprentice him to that trade ; but 
 his father dying, he managed to free him- 
 self from the engagement, and found some 
 employment with a portrait painter, and 
 when about 16 years of age, with an archi- 
 tectural draftsman, and in his spare hours 
 sketched every thing that came in his way. 
 He was taken on a tour by his master to 
 
 425 
 
VAR 
 
 sketch the principal buildings in the towns 
 they visited, and in 1798 he exhibited his 
 first work, a 'View of Peterborough Ca- 
 thedral.' In the next year he made a tour 
 in North Wales, and here he found the true 
 field for the exercise of his art. He made 
 numerous studies, revisited Wales in 1800, 
 and again in 1802, and afterwards the 
 northern counties of England. Meanwhile 
 he was one of the class of young painters 
 that met continually at the house of Dr. 
 Monro, and had profited by association in 
 their studies. 
 
 He had exhibited his works at the Eoyal 
 Academy up to 1804, when he was one of 
 the foundation members of the Water- 
 Colour Society, and thenceforth contributed 
 to its exhibitions alone, sending no less 
 than 42 works, almost entirely Welsh sub- 
 jects, to the Society's first exhibition, and 
 continuing to contribute so largely that he 
 exhibited 344 drawings in the first eight 
 years, so that it is no wonder there are so 
 many slight and inferior works by his 
 hand. 
 
 Many of his subjects at this period are 
 from the . banks of the Thames, and, evi- 
 dently painted on the spot, possess greater 
 individuality and truth than his m.ore 
 aspiring compositions. But he had married 
 in 1803 ; a family had now to be cared for, 
 and he was obliged to work for the dealers, 
 and at their prices ; and from this resulted 
 weakness and common-place. He con- 
 tinued a member of the Water-Colour 
 Society, when a large secession took place 
 in 1813, and clung to it during its several 
 changes and vicissitudes, constantly con- 
 tributing to its exhibitions. All his latter 
 works were chiefly compositions, mountains 
 and lake scenery, produced from a stored 
 memory ; but not possessing the qualities 
 of the works of his middle period. 
 
 Part of his income arose from teaching, 
 and he had several pupils who became 
 eminent in art. Some of his lady pupils, 
 and some who came to purchase his draw- 
 ings, had another object. He was an en- 
 thusiastic astrologer, and they enticed him 
 to cast their nativities. He was in some 
 degree a sincere believer in his power, and 
 many strange coincidences are told in 
 respect to his predictions. A man of a 
 liberal and genial character, he was full of 
 clever conversation on many topics, amu- 
 sing on all. As artist, teacher, and astro- 
 loger, he managed at one period of his life 
 to make a good income ; but in the latter 
 part he fell into difficulties, not from any 
 extravagance or indolence, but rather from 
 mismanagement and neglect of his house- 
 hold affairs. He had suffered from an 
 affection of the kidneys, and sitting down 
 to some sketch that allured him he had a 
 relapse, was unable to reach his home, and 
 426 
 
 died in a friend's house on the 17th 
 November, 1842. 
 
 His landscapes have great breadth and 
 simplicity, his tints are beautifully laid witli 
 a full and free pencil, his colour fresh, pure 
 and simple, and no body colour is used in 
 his best works. He was rather mannered, 
 but a great master of the rules of com- 
 position, which he applied with true genius. 
 His foliage is large and massive rather 
 than imitative. He usually painted com- 
 mon sunlight and summer foliage, seldom 
 autumnal tints, and rarely sunsets or other 
 effects. He was happy in the introduction 
 of figures. He published some strange 
 books, for he had not mastered the art of 
 writing. A treatise on Zodiacal Physi- 
 ognomy, 1828 ; ' Observations on Colouring 
 and Sketching from Nature,' 1830 ; and a 
 ' Practical Treatise on Perspective.' 
 
 \^AELEy, William Pleetwood, water- 
 colour painter. Was younger brother of 
 the above, and commenced art under his 
 instructions. He exhibited views at the 
 Eoyal Academy in 1804 and 1805, and 
 regularly from 1809 to 1817. About 1810 
 he taught drawing in Cornwall, and after- 
 wards at Bath and at Oxford, where, by the 
 thoughtless frolics of a party of the stu- 
 dents, he was nearly burnt to death. His 
 nerves suffered a shock from which hg^ never 
 recovered, and he experienced great dis- 
 tress. In his latter days he was sheltered 
 in the house of his son-in-law. He died at 
 Eamsgato Pebruary 2, 1856, aged 71 
 years. 
 
 VAELEY, Cornelius, water-colour 
 2oaintcr. Brother of the two foregoing. He 
 was born in London 21st November, 1781, 
 and on the death of his father, when he 
 was only ten years of age, was taken charge 
 of by his uncle, a manufacturer of philo- 
 sophical instruments and apparatus, under 
 whom he gained a knov/ledge of mechanics, 
 optics, and chemistry. He remained with 
 his uncle till about his 20th year, and was 
 engaged in many ingenious inventions and 
 experiments, but left him about 1800, 
 owing to some family disagreement, and 
 joining his elder brother, John Varley, he 
 set himself to study art. Making several 
 visits to Wales, he sketched direct from 
 nature, and was soon engaged in teaching. 
 He first a ppears as an exhibitor of 'A Wood 
 Scene, a Composition,' at the Eoyal Academy 
 in 1803, and in the following year was one 
 of the artists who met and founded the 
 Water-Colour Society, of which he was one 
 of the first members, and from its formation 
 a constant contributor to its exhibitions. 
 Among his chief works were, in 1809, 'A 
 Mountain Pastoral ; ' 1810, ' The Sleeping 
 Shepherd;' 1811, 'Evening,' and 'Pale- 
 mon and Lavinia;' 1815, 'View of Ard- 
 fort, Ireland,' and the same year he was 
 
VAS 
 
 VER 
 
 appointed Treasurer of the Society ; in 1816 
 he exhibited 'Evening in Wales;' 1819, 
 'Kuins of Troy;' 1820, 'The Vale of 
 Tempe;' and in 1821, on changes which 
 then took place, he resigned his member- 
 ship. His works were few, chiefly of a 
 classical character, introducing architecture 
 and groups of figures, compositions carefully 
 and elaborately finished. He had, while a 
 member of the Water-Colour Society, oc- 
 casionally sent a picture to the Academy 
 exhibition, and he now exhibited his 
 principal works there, seldom more than 
 one, and usually a landscape composition. 
 He exhibited for the last time in 1859. He 
 was a man of many attainments, and, active 
 in scientific pursuits, was a frequenter of 
 the Eoyal Institution, and took to the last 
 an earnest interest in the proceedings of the 
 Society of Arts, of which he was the oldest 
 member. His practice in art was carried 
 on without abandoning scientific pursuits. 
 He made various improvements in the 
 camera lucida, the camera obscura, the 
 microscope, and ho invented the graphic 
 telescope. He was the last survivor of the 
 founders of the AVater-Colour Society. In 
 the enjoyment of his feculties to the end, 
 he died at Stoke Newington 21st October, 
 1873, in his 92nd year. 
 
 VASIjET, Lewis, miniature 'painter. 
 Pj'actised at York about 1770, and from 
 177o to 1782 at Bath, and was an occasional 
 exhibitor at the Koyal Academy, con- 
 tributing for the last time in the latter 
 year. 
 
 YAUGHAN, Robert, engraver. He 
 practised about the middle of the 17th 
 century, and engraved the portraits of some 
 eminent men, but his works do not possess 
 much merit. He also engraved for Dugdale's 
 'Warwickshire,' Morton's 'Ordinal,' and for 
 Ashmole's ' Theatrum Chemicum.' During 
 the Protectorate he appended so offensive 
 an inscription to a portrait of Charles II., 
 that proceedings were taken against him 
 after the Restoration. His latest known 
 work is dated in 1655. He died about 1667. 
 
 VAUGHAN, William, engraver. Prac- 
 tised in the last half of the 1 7th century, 
 and was chiefiy employed upon frontis- 
 pieces for the booksellers. He engraved 
 after Barlow, 'A small Book of such Beasts 
 as are most useful for Drawing, Graving, 
 Arms Painting, and Chasing,' 1664 ; and 
 three plates for a small folio pamphlet, ' The 
 Sufferings of Sir William Dick, of Braid.' 
 
 VERELST, Simon, portrait and flower 
 2)ainter. AVas born at Antwerp in 1664, 
 and distinguished himself there by his 
 flower and fruit pieces. He came to Eng- 
 land in the reign of Charles II., and then 
 took to portrait painting, surrounding his 
 portraits witk flowers and fruit. His por- 
 traits in this manner became popular. 
 
 They were, as well as the flowers, painted 
 with extreme delicacy and finish, and ho 
 received largo prices for them. Many 
 anecdotes are told of his immoderate vanity, 
 which Walpole says led to his confinement 
 as a madman. He called himself ' The 
 God of Flowers,' and did not recover his 
 reason till towards the close of his life. In 
 1683 he was living in Jermyn-strect, St. 
 James's; ho died in Suffolk-street in 1710. 
 
 VERELST, Herman, flower 2)aint(r. 
 Was the elder brother of the above. Ho 
 practised for some years in Vienna, whero 
 he gained a reputation as a flower painter. 
 He sometimes attempted history. About 
 1683 he came to England, where he settled 
 and continued to paint the same subjects. 
 He died about 1700, and was buried at the 
 Church of St. Andrew, Holborn. His 
 works are engraved by Becket, Fabcr, 
 Smith, and others. 
 
 VERELST, Maria, portrait painter. 
 Daughter of the above and his pupil. 
 Born in 1680. She painted small delicately 
 finished portraits in oil, and some historical 
 subjects. She was mistress of several 
 languages, a great proficient in music, and 
 a very accomplished woman. 
 
 VERELST, Cornelius, portrait painter. 
 Son of the last above Herman. Was born at 
 Vienna in 1667, and accompanied his 
 father to England, where he practised por- 
 traiture in oil with some repute. He died 
 March 7, 1734. 
 
 VERELST, William, portrait painter. 
 Son of the above. Practised in London 
 portraiture in oil, and was esteemed in his 
 day. There is a good portrait of Smollett 
 by him, dated 1756, solidly and carefully 
 painted. He died unmarried soon after 
 that date. 
 
 VERGAZON, Henry, landscape and 
 portrait painter. He was a native of 
 Holland, where he practised as landscape 
 painter. In the reign of William III. ho 
 came to England and settled here. Ho 
 painted portraits of a small size, but was 
 chiefly employed by Sir Godfrey Kneller in 
 painting the back-grounds of his portraits. 
 
 VERNON, Thomas, engraver. He was 
 born in Staffordshire about 1824, and 
 studied his art both in Paris and in 
 England. He practised in the pure line 
 manner, and maintained a high reputation, 
 excelling in his figures. Among his chief 
 works are ' The Madonna and Child,' after 
 Raphael ; 'The Virgin and Child,' after 
 Dyce, R. A. ; * The Princess Helena,' and 
 'The Lady Constance Grosvenor,' after 
 Winterhalter ; ' Olivia Unveiling,' after 
 C. R. Leslie, R.A. ; ' The First-born,' after 
 Cope, R.A. ; and ' Christ Healing the Sick,' 
 after Murillo, probably his finest work. 
 His art was finished and elaborate, and 
 falling in times when engraving of a high 
 
 427 
 
VER 
 
 class met with little appreciation, found 
 only a poor remuneration. He died Janu- 
 ary 22, 1872. 
 
 VEEPYLE, Simon, sculptor. Was born 
 in England, and was a pupil of Sclieemaker. 
 Towards the end of the 18th century he 
 was invited to Dublin by the Earl of Charle- 
 mont, and for some time, and about 1764, 
 found full employment and practised there. 
 He was considered a clever bust modeller, 
 but his art did not extend beyond this. He 
 practised for many years in Dublin, and 
 died there. His widow was relieved by the 
 Artists' Society. 
 
 VEKEIO, Antonio, history fainter. 
 Was born at Naples in 1 634. After making 
 some progress in his art he visited France, 
 and settled at Toulouse, where he met with 
 employment, and painted an altar-piece for 
 the church of the Carmelites. He came to 
 England in 1671, on the invitation of 
 Charles IL, who purposed to re-establish 
 the tapestry manufacture at Mortlake, 
 which had been interrupted by the civil 
 war ; but seeing some painting which he 
 had executed for Lord Arlington, the 
 King preferred to employ him in the 
 decoration of Windsor Castle, where he 
 "was engaged for several years in paint- 
 ing the principal chambers. Most of the 
 ceilings are by him ; the Chapel, and one 
 side of St. George's Hall. Eor these works 
 he was paid nearly 7,000/. He held also 
 the place of Master Gardener, had a lodg- 
 ing assigned him in St. James's Park, and 
 lived sumptuously.. He was continued in 
 his employment at Windsor by James II., 
 and there is in the great hall of Christ's 
 Hospital a painting ninety feet long of the 
 Governors, accompanied by the ofhcers and 
 children, in large life-size groups, returning 
 thanks to that monarch for the grant of the 
 Hospital Charter— a work of great pre- 
 tension and power. On the Revolution we 
 are told he refused to paint for William 
 III., and was for some time employed at 
 Burleigh by Lord Exeter, and afterwards at 
 Chatsworth. He was then induced to work 
 for the King, and painted his well-known 
 work, the great staircase at Hampton 
 Court. His sight failing. Queen Anne 
 granted him a pension of 200/. a year, and 
 soon after he died at Hampton Court, June 
 17, 1707. His works have been smartly 
 criticised by Pope and others, whose ri- 
 dicule is not unwarranted by many ab- 
 surdities ; but injustice has no less been done 
 to the painter and his merits, and the great 
 fitness of his art as a decorator overlooked. 
 His great facility, the easy pose of his 
 figures, the fresh and decorative look of his 
 surface, are qualities which might well 
 make him popular in his own day, and 
 demand recognition in ours. 
 
 VERTUE, Robert, statuary. Was em- 
 428 
 
 ployed as master mason in the erection of 
 Henry TII.'s Chapel, at Westminster. 
 
 YERTUE, George, E.R.S., engraver. 
 Was born of respectable parents in the 
 parish of St. Martin, London, 1684. At 
 thirteen he was apprenticed to an engraver 
 of arms on plate ; but after between three 
 and four years, his master failing, he re- 
 turned to his friends, and devoted himself 
 to study drawing. He then entered into an 
 engagement with Michael Vandergucht for 
 three years, which he prolonged to seven ; 
 and after ward's in 1709 began to work for 
 himself, studying closely not only to im- 
 prove in his art, but also to acquire the 
 Erench, Italian, and Dutch languages, and 
 to cultivate a love of music. He was one 
 of the first members of the Academy (called 
 Kneller's Academy) founded in 1711, in 
 Great Queen-street, Lincoln's Inn Fields, 
 for the study of the human figure, and 
 drew there for several years. His works 
 were beginning to attract attention, when, on 
 a commission from Lord Somers, he en- 
 graved a fine plate of Archbishop Tillotson, 
 which at once gave him a reputation, and 
 on the accession of George L, he engraved 
 a portrait of him, which had a very con- 
 siderable sale, and was followed by the 
 portraits of the Prince and the Princess. 
 
 As early as 1713 he commenced his re- 
 searches into the lives of our artists, and 
 his collection of whatever might assist in 
 his contemplated history of the arts in 
 England. He also practised in water- 
 colours, copying antiquities and relics, and 
 sometimes attempting portraits ; and ac- 
 quiring a love of antiquarian research, he 
 became a member of the Society of Anti- 
 quaries, and was in 1717 appointed En- 
 graver to the Society. He was full of 
 employment. He visited the principal 
 galleries and the old mansions of the no- 
 bility, as well as the Universities, in search 
 of English portraits, and, taking great care 
 for their proper identification, he engraved 
 a great number of them. He also made 
 sketches and notes of statues, busts, tombs, 
 and art memorials of every kind. He en- 
 graved the Oxford Almanacs from 1723 
 till his death. In 1730 he completed his 
 twelve heads of the poets, followed by a 
 series of heads of Charles 1. and the loyal 
 sufferers in his cause, and the illustrations 
 to Rapin's 'History of England.' Altogether 
 he is said to have engraved above 500 por- 
 traits alone. Some of his works show much 
 merit ; but truth and correctness were pre- 
 ferred by him to art, and his manner is 
 laboured and dry. 
 
 His literary works are held in much 
 esteem. His reputation stands higher as 
 an antiquarian than as an artist. He pub- 
 lished 'On Holbein and Gerrard's Pictures,' 
 1740; 'Medals, Coins, Great Seals, Im- 
 
VER 
 
 VIN 
 
 pressions from the Elaborate Works of 
 Thomas Simon,' 1753; 'Catalogue and 
 Description of King Charles the First's 
 Capital Collection of Pictures, Limnings, 
 Statues, &c.,' 1757; ' Catalogue of the Col- 
 lection of Pictures belonging to King James 
 II., to which is added a Catalogue of the 
 Pictures and Drawings in the Closet of 
 Queen Caroline,' 1758; 'Catalogue of the 
 Curious Collection of Pictures of George 
 Yillars, Duke of Buckingham,' 1758 ; 'Des- 
 cription of the AVorks of that Ingenious 
 Delineator and Engraver, W. Hollar,' 1745, 
 second edition 1759. Ho died July 24:, 
 
 1756, as he had lived, a strict Poman 
 Catholic, and was buried in the Cloisters of 
 Westminster Abbey, where there is a tablet 
 to his memory. His prints, drawings, and 
 books, were sold by auction in March, 
 
 1757. His pictures, models, limnings, 
 casts, coins, and medals, in the May follow- 
 ing. After his death his large collection of 
 notes and memoranda were purchased by 
 Horace Walpole, and formed the material 
 for his ' Anecdotes of Painting in England.' 
 
 VERTUE, James, j^iortmit pamte?\ Was 
 the brother of the foregoing. He practised 
 as a portrait painter and draftsman at Bath, 
 and died there about 1765. His drawings 
 were sold by auction in London in 1766. 
 His brother George engraved, after a 
 drawing by him, ' The Interior of the Abbey 
 Church at Rath.' 
 
 YESPR6, Victor, miniature fainter. 
 Was born in Prance. Towards the end of 
 the 18th century he was residing in Dublin, 
 in the practice of his art. He sent from 
 thence to the Spring Gardens exhibitions, 
 1770-78, small life portraits. His brother, 
 Francis Zaverius Vespre, practised in 
 Dublin at the same time, painting fruit 
 pieces in oil and on glass, and also exhi- 
 bited at the Spring Gardens Rooms. 
 
 VICKERS, Alfred, landscape painter. 
 Was born at St. Mary Newington, Sept. 10, 
 1786. He was early deA^oted to art, and 
 v/as self-taught. He painted small pictures 
 from English scenery with great facility, 
 which were truthful and pleasing, but did 
 not reach to higher excellence. He was a 
 frequent exhibitor at the Royal Academy 
 from 1831-59, and the other exhibitions. 
 
 VICKERS, Alfred Gomersal, subject 
 and marine painter. Son of the above. 
 Was born in* Lambeth, April 21, 1810. 
 He commenced art with little instruction, 
 except such as he may have received from 
 his father. He painted both in oil and 
 in water-colours, and was a constant exhi- 
 bitor at the British Institution, and from 
 1827, till his death, at the Royal Academy, 
 and at Suffolk S^treet. In 1833 he was em- 
 ployed to visit Russia to make sketches for 
 publication, and made some excellent draw- 
 ings, which were published in the Annuals. 
 
 He died wdien beginning to make himself 
 known, January 12, 1837. His works were 
 sold in the following February at Messrs. 
 Christie's. 
 
 VILLIERS, Fkaxcois Huet, miniature 
 painter. Born in Paris. Son of an animal 
 painter. He took refuge in this country 
 on the breaking out of the French Revolu- 
 tion, and settled here in the practice of his 
 art. He painted chiefly portraits, but also 
 landscapes and animals, and was, in 1808, 
 a member of the Associated Artists in 
 AVater-Colours. His portraits were in 
 miniature, on ivory, and in chalk and oil. 
 He made some drawings of Westminster 
 Abbey, which were published. He held 
 the appointment of painter to the King 
 of France, and was appointed miniature 
 painter to the Duchess of York, and was a 
 constaiit exhibitor at the Academy from 1 80 i 
 to 1813, contributing miniatures — some of 
 them on marble — animals, and studies from 
 nature. He was a respectable artist, his 
 portraits well finished, and effective in 
 colour, but stiff" and graceless. He found 
 good employment in his versatile practice. 
 He died in Groat Marlborough Street, 
 July 28, 1813, aged 41, and was buried in 
 St. Pancras old churchyard. 
 
 VINCENT, W., engraver. Practised in 
 London towards the end of the 17th cen- 
 tury. Engraved mezzo-tint portrait heads 
 and history, and some plates after his own 
 drawings. His works are much esteemed. 
 
 VINCENT, George, landscape and 
 marine painter. AVas born at Norwich, 
 and was educated in the grammar school 
 of that city. He was a pupil of old Crome, 
 and his name first appears as a contributor 
 to the Norwich exhibition in 1811. The 
 next year he sent two pictures, and in 
 1814 no less than 15, and the same year, 
 and up to 1823, was an occasional exhi- 
 bitor at the Royal Academy, sending also 
 one or two works to the Water-Colour Ex- 
 hibition. In 1817, and the following year, 
 he was an exhibitor in London at the 
 British Institution, and then, leaving Nor- 
 wich, he settled in London. In 1820, 
 when the Society's exhibitions were open 
 to others than members, he exhibited with 
 the Water-Colour Society, 'London from 
 the Surrey Side of Waterloo Bridge,' a fine 
 work in oil ; and in 1824, on the foundation 
 of the Suffolk Street Gallery, exhibited 
 there, and continued to do so up to 1830, 
 after which his name does not appear. 
 On a commission from Mr. Carpenter, of 
 the British Museum, he painted his best 
 work, 'A View of Greenwich Hospital,' 
 which was exhibited at the International 
 Exhibition in 1862. He had married and 
 fitted up a good house in Kentish Town, 
 but he fell into bad habits, followed by 
 debts and difficulties ; his pictures were 
 
 429 
 
VIO 
 
 VOR 
 
 to be seen in dealers' windows, and became 
 more slight and less studied ; he -was lost 
 sight of, and the date of his death is un- 
 known. His * Greenwich Hospital ' gives 
 him high rank as an artist. The hospital 
 is seen from the river at full tide, crowded 
 with craft and shipping, the sun • in the 
 picture obscured by the vessels, and the 
 light dispersed, the sky pearly and lumin- 
 ous. In his latter pictures he painted 
 subjects as seen under the sun, using large 
 masses of greyish shadow, tipped and 
 fringed with the solar rays. He did not 
 frequently introduce trees or foliage as his 
 principal objects. He had powers, wdiich 
 show he might have rivalled the great 
 landscape painters of his day. 
 
 VIOLET, Pierre, miniature iminter. 
 Was a native of France, where he attained 
 much reputation, and was miniature painter 
 to Louis XVI. and Marie Antoinette. On 
 their execution, in 1793, he came to Lon- 
 don, and settled here in the practice of 
 his art. He exhibited oc-casionally at the 
 Eoyal Academy ; among other works, a 
 portrait of the Prince of Wales, and con- 
 tinued an exhibitor up to 1819. He also 
 gave lessons in water-colour drawing. A 
 likeness of Bartolozzi by him is engraved. 
 He wrote an introduction to miniature 
 painting. He died in London, in his 71st 
 year, December 9, 1819. 
 
 VIVAKES, Peancis, landscape engraver 
 and draftsman. Was born near Mont- 
 pelier, Prance, July 11, 1709, and contrary 
 to his will, was apprenticed to a tailor. 
 He was, however, fond of drawing, and 
 practised it. He etched some landscapes, 
 which he finished with the graver, and 
 early in life — it does not appear on what 
 inducement — he came to London, arriving 
 here at the age of 18. He attracted the 
 notice of Chatelaine, who befriended him, 
 and took him as his pupil. He studied, 
 with such help, both drawing and en- 
 graving, soon made his way to distinction, 
 and became the founder of a school of 
 landscape engravers. In 1766 he was a 
 member of the Incorporated Society of 
 Artists. His line is good, his light and 
 shade well preserved, and his figures well 
 drawn. He published ' A New Book of 
 Shields.' He engraved some fine plates 
 after Gaspar Poussin, Gainsborough, Van- 
 derneer, Smith of Derby, and the Smiths 
 of Chichester ; and especially Claude, whose 
 works he rendered with great truth and 
 ability. His landscape works are very 
 numerous. The spirited character of his 
 foliage, and the richness of his foregrounds, 
 were the admiration of AV oollett. He drew 
 with the pen in a very spirited manner. 
 He died in Great Newport Street, where 
 he had lived 30 years, November 26, 1780, 
 and was buried in Paddington church- 
 430 
 
 yard. He had married thrice, and had 31 
 children. 
 
 VIVAKES, Thomas, engraver and drafts- 
 man. Son of the foregoing, he was born 
 in London about 1735. In 1761 he gained 
 a Society of Arts premium. He practised 
 as an engraver, but he was also a teacher of 
 drawing, and in 1783-87 exhibited some 
 moonlight scenes at the Eoyal Academy,' 
 but his works are little known. Several 
 of the architectural plates to the works 
 of E. and J. Adam, published in 1773, are 
 engraved by him, and there is a set of six 
 landscape views near London which are 
 both drawn and engraved by him. 
 
 VOGELSANG, Isaac, landscape and 
 cattle painter. Was born at Amsterdam in 
 1688, and studied his art there. Practised 
 in London in the time of George I. ; then 
 visited Ireland, and was much employed 
 there. He painted landscapes, animals, and 
 battle-pieces, and occasionally accessories 
 and draperies for the portrait painters. 
 Prom thence he went to Scotland, but not 
 succeeding, he returned to London, where 
 he settled, and died June 1, 1753. 
 
 VON HOLST, Theodore, historical 
 piainter. Was of a Livonian family, and 
 born in London, where his father was a 
 musical teacher, September 3, 1810. He 
 showed an early talent for drawing, and 
 was admitted a student of the Eoyal Aca- 
 demy, where he gained the notice of Puseli, 
 and of Sir Thomas LawTence, who pur- 
 chased some of his drawings. As he 
 advanced in art, he was led aside by the 
 promptings of his wild genius, and chose 
 subjects of unreal, gloomy romance, which 
 were unsuited to the English taste ; and he 
 frequently visited Germany, nourishing a 
 love for German art. He exhibited at the 
 Eoyal Academy in 1829 'Students Watch- 
 ing the Clock of Eternity;' in 1833, 
 ' Pleasure a Vision ; ' in 1834, ' A Seducer ; ' 
 and ' The Treasure Seeker ; ' and occa- 
 sionally a portrait, sending his last con- 
 tribution in 1843. His principal works 
 are, ' The Drinking Scene in Paust,' ' The 
 appearance of the Ghost to Lord Lyttelton,' 
 ' The Eaising of Jairus' Daughter,' which is 
 engraved, and for which the Directors of 
 the British Institution awarded him a 
 donation of 50 guineas. He was disap- 
 pointed in his art, resolutely resisted advice, 
 and following his own bent, wasted his 
 real powers. He died after a short illness in 
 Percy Street, Bedford Square, Pebruary 14, 
 1844, aged 33. He illustrated an edition 
 of Shelley's ' Prankenstein.' 
 
 VOESTEEMAN, Luke, engraver. Was 
 born at Antwerp in 1580, and commenced 
 life as a student of painting in the atelier 
 of Eubens. He afterwards devoted himself 
 to engraving. In the reign of Charles 
 I. he came to England, and resided here 
 
VUL 
 
 W A I 
 
 from 1623 to 1631. He engraved several 
 fine pictures in the King's collection for the 
 Earl of Arundel, and made some drawings, 
 and painted some small pictures while in 
 England, among them a portrait of Prince 
 Henry. His last-known work is dated 
 1656, though this has been attributed to 
 his son, whose christian name was the same. 
 
 VULLIAMY, Lewis, architect. His 
 father was celebrated as a clock-maker, and 
 the firm had for above 130 years held the 
 appointment of clock-makers to the Crown. 
 He was brought up for an architect, 
 was articled to Mr., afterwards Sir Eobert 
 Smirke, and was admitted to the schools of 
 the Eoyal Academy. In 1813, he gained 
 the Academy gold medal for his design for 
 'A Nobleman's Country Mansion,' and was 
 in 1818 elected to the Academy travelling 
 studentship, and passed several years ot 
 study on the continent, cliiefiy in Italy, and 
 also visited Greece and Asia Minor. In 
 1822 he exhibited at the Academy ' A Design 
 for the Court of a Palace;' in 1823 the 
 'Portion of a Design for a Bridge'; in 
 1824 'Examples of Ancient Architecture, 
 Greek, Italian,' &c., and settling in London, 
 he soon established an extensive profes- 
 sional connexion. He did not again exhibit 
 till 1830, when he sent the 'Eront of the 
 
 Law Institution,' then erecting in Chancery 
 Lane; in 1831, ' The Designs for a Church' 
 he was building at Highgate ; in 1833, 
 ' The Elevation of a Church in Woburn 
 Square'; and in 1837-38, the front and 
 other portions of the Koyal Institution, 
 his last exhibited works. During a prac- 
 tice of nearly half-a-century he was the 
 architect of several fine mansions, and 
 altered and enlarged several others. Among 
 his works of this class, Dorchester House, 
 Park Lane, and Westonbirt, Tetbury 
 should be mentioned. He built no les3 
 than 28 new churches, of which St. Barna- 
 bas, Kensington, is a good example, and so 
 is, among his later works, the London and 
 Westminister Bank. But ho may well rest 
 his reputation upon his last work — his 
 noble mansion in Park Lane — conspicuous 
 by the classic proportion and taste of its 
 design — the fine entrance hall and stair- 
 case, and the excellent adaptation of the 
 building to its site. He died at his resi- 
 dence, Clapham Common, January 4, 1871. 
 He published in 1826, with coloured plates, 
 ' Ornamental Sculpture in Architecture, 
 from the Originals in Greece, Asia Minor, 
 and Italy,' ' The Builder,' in 1871, pub- 
 lished a complete list of his numerous 
 executed works. 
 
 W 
 
 WADDINGTON, S., landscape painter. 
 He painted some good landscapes in a 
 classic style, and was of some promise, but 
 died at the age of 22 in 1758. 
 
 AVAGEMAN, Thomas Charles, portrait 
 peii liter. He first exhibited at the Academy 
 in 1813, and continued a contributor of 
 portrait drawings in water-colour,- with 
 sometimes a miniature, up to 1848. He 
 exhibited many portraits of eminent actors 
 in character. He was appointed portrait 
 painter to the King of Holland. Died June 
 20, 1863, aged 76. 
 
 WAGGONER, , landscape pednter. 
 
 There is a view of the Fire of London by a 
 painter of this name in Painters' Hall, 
 London, and a painting of the same sul)ject 
 like in many of its details, at the Society of 
 Antiquaries, supposed by the same hand. 
 The effect of the conflagration is well 
 represented, but the painting has generally 
 no artistic merit. The latter picture is en- 
 graved by Mazell, for Pennant's ' London.' 
 
 WAINAVRIGHT, Thomas Griffith, 
 suhject 'painter. He claimed a good Welsh 
 descent, and was educated under Dr. Bar- 
 ney. From 1820 to 1823 he was a con- 
 tributor, under the name of " Janus 
 
 Weathercock," of some humourously flip- 
 pant, impertinent art-criticisms to the 'Lon- 
 don Magazine,' and in 1821, exliibited 
 at the Royal ilcademy, ' A Romance from 
 Undine,' followed in 1822 by 'Paris in the 
 Chamber of Helen'; in 1824, by 'The 
 Milkmaids' Song,' and in 1825, when he 
 last exhibited, by a 'Scene from der 
 Freischutz,' and a ' Sketch from la Gerusa- 
 lemme Liberata.' He was then living in 
 Great Marlborough Street, and was well- 
 received in artistic and literary society, and 
 afterwards lodged with the widow of an 
 officer at Mortlake, one of whose daughters 
 he clandestinely married. In 1830 he in- 
 sared the life of his wife's sister, for a 
 short period, within which she died sud- 
 denly. The Insurance Office successfully 
 disputed his claim, and the dark suspicion 
 that strychnine, then little known, had 
 been used, clung to him. He wandered 
 about for a while in France ; but, returning 
 to England in 1836, he was at once appre- 
 hended on the charge of forging his wife's 
 signature to the transfer of 5,200/. stock; 
 and, pleading guilty at the Old Bailey, was 
 transported to Van Diemen's land. In 
 1854 he was admitted to the General 
 
 431 
 
WAI 
 
 WAL 
 
 Hospital at Hobart Town, where he re- 
 mained several years, and when discharged 
 he recurred to his own profession. But 
 known, his character surrounded with the 
 gravest suspicion, he was disliked and 
 shunned, and is said to have again at- 
 tempted poisoning. After seven years he 
 petitioned for a ' Ticket of Leave,' which 
 was refused by the Grovernor. He died in 
 the Hobart Town Hospital, of apoplexy, 
 about 1852. He had some art reputation 
 in his day, but the traces of his works are 
 lost. Sir Edward Lytton told the story of 
 his crimes in ' Lucretia,' a novel, and Mr. 
 Justice Talfourd, in his ' Memorials of 
 Charles Lamb.' 
 
 WAIT, Egbert, portrait painter. Was 
 born in Scotland, and was a pupil of the 
 younger Scougall. and had some instruction 
 from Kneller. He was much employed as 
 a portrait painter from 1708 to 1722, and 
 later painted still life. He died in 1732. 
 
 W A K E P I E L D, William, architect. 
 Practised in the reign of George I. He 
 erected, in 1713, the Mansion at Buncombe 
 Park, Yorkshire, a grand pile in the 
 Doric order, which has been attributed to 
 Vanbrugh ; and in 1723, Kookby Park, 
 in the same county ; also Atherton Hall, 
 Lancashire, a wwk of much pretention and 
 merit. He gave the design for ' Helms- 
 ley, once proud Buckingham's delight.' 
 His works are engraved in Campbell's 
 * Vitruvius Britannicus.' 
 
 WALCOT, Dr. John— known as ' Peter 
 Pindar,' — amateur. W^as born at Dab- 
 brook, Devonshire, in 1737, of respectable 
 parents, and educated at the Grammar 
 School at Kingsbridge, a neighbouring 
 town, where he acquired a knowledge of 
 Latin and Greek, and was a tolerable 
 classic. He then went to Prance, and 
 stayed about a year, to complete his studies, 
 and on his return was apprenticed to his 
 uncle, a surgeon and apothecary at Powey. 
 On the expiration of his apprenticeship, he 
 came to London, where he studied his pro- 
 fession, obtained his M.D. degree from a 
 Northern University, and in 1767 w^ent to 
 the West Lidies as Physician to Sir AVil- 
 liam Trelawney, a distant relative, who was 
 appointed Governor of Jamaica. He next 
 appears as Physician to the Porces in Ire- 
 land, but the post does not seem to have 
 l)een profitable, and he afterwards took 
 orders, in the expectation of obtaining a 
 good living he had in view, but he was dis- 
 appointed. It is said there is no proof of 
 his having been admitted to orders, but his 
 hal)its and morals alone would have been 
 quite sufficient reason for his disappoint- 
 ment. About 1780 his name first is 
 connected with art. He patronized Opie, 
 K.A., and brought him up to London, 
 upon some plan of dividing the profits of 
 482 
 
 his art, which soon came to an end, and he 
 then took up Morton Paye, a plever young 
 painter, who, after a short time, quarrelled, 
 and caricatured him as a bear with a 
 doctor's wig on, at his easel painting. He 
 was a political satirist, and in 1782 turned 
 his pen against the Eoyal Academy in his 
 ' Lj^ric Odes to the Academicians,' followed 
 in 1783 by 'More Lyric Odes to the Aca- 
 demicians ' ; and in 1785, by his ' Parewell 
 Odes.' It says little for the taste of the 
 day that the odes were popular, made up 
 as they are of smart witticisms and gross 
 personalities vulgarly expressed. He pos- 
 sessed some ability for the fine arts, 
 made some good sketches from Nature in 
 crayons, and was a dabbler in painting. A 
 series of his landscapes engraved in aqua 
 tint by Aiken, were published under the 
 title of 'Picturesque Views.' He possessed 
 a small collection of pictures. He died at 
 Somers Town, after a lingering illness, 
 January 13, 1819, in his 81st year, and wfis 
 buried at St. Paul's, Covent Garden. 
 
 WALDKE, Vincent, history painter. 
 He was a native of Vicenza, and having 
 painted some ceilings at Stowe, on the invi- 
 tation of the Marquis of Buckingham, who 
 was then Lord-Lieutenant of Ireland 
 (1787-90), he went to Dublin, and was 
 employed to decorate Saint Patrick's Hall, 
 with three large paintings, the subjects from 
 Irish history. He afterwards produced 
 some easel pictures. Later he was ap- 
 pointed architect to the Board of Works, 
 but has left no edifice by which he can be 
 remembered. He married an English lady, 
 and settling in Dublin, died there, aged 72. 
 
 AVALE, Samuel, E.A., history painter, 
 Was born in London (some accounts say 
 Yarmouth), and was apprenticed to a silver 
 plate engraver. He studied drawing at the 
 St. Martin's Lane Academy, and had some 
 assistance from Prank Hayman, whose 
 manner he imitated. He practised paint- 
 ing, and executed several'ceilings ; but his 
 chief employment was as an illustrator of 
 books. His designs were chiefly made 
 with the pen and tinted with Indian ink, 
 and are many of them from English his- 
 tory, but they are weak and spiritless, 
 wanting both in drawing and in light and 
 shade. He was one of the foundation 
 members of the Eoyal Academy, and first 
 lecturer on perspective, of which he was a 
 master, and also professed a knowledge of 
 architecture. He lived in the same house 
 with John Gwynne, R.A., the architect, and 
 assisted him both in the artistic and literary 
 part of his publications. There is an en- 
 graving from a joint drawing by them of 
 the 'Interior of St. Paul's Cathedral,' 
 decorated according to Sir C. Wren's 
 original intention. He painted some signs, 
 and one of ' Shakespeare ' was of some 
 
WAL 
 
 WAL 
 
 notoriety. On the death of Eichard Wilson 
 he was appointed librarian to the Ac;idemy. 
 He was an exhibitor at the Academy from 
 ]769 to 1778, eontribnting sacred and his- 
 toric subjects, but chiefly tinted designs 
 only. In the latter year he was placed upon 
 the Academy Pension Fund, and was the 
 first member who participated in its benefits. 
 He died February 6, 1786, in Little Court, 
 Leicester Square. There are works by him 
 in Bethlehem Hospital, St. Thomas' Hos- 
 pital, Christ's Hospital, and the Foundling 
 Hospital, at the latter a small landscape, 
 good in colour and light and shade, with 
 figures well introduced. There are also 
 some slight etchings by him. Tlie illustra- 
 tions for 'London and its Environs De- 
 scribed,' 1761, are by him, as are also those 
 for an edition of Izaak AValton's ' Angler.' 
 
 AYALES, James, landscape ]pai)ite)\ AVas 
 born of respectable parents, at Peterhead, 
 in 17^8, and was educated at the Marischal 
 College, Aberdeen. Choosing landscape, 
 his love of art was fostered by travel. He 
 went to the East Lidies in 1791, and de- 
 voted himself to make drawings of the 
 ancient architecture and sculpture. Twenty- 
 four of his drawings of the Temple of 
 Elloraare engraved by Thomas Daniell, R.A. 
 in his work on ' Hindoo Excavations,' 1803. 
 He also made drawings of the Temple of 
 Elephanta, and in 1788 and 1789 was an 
 exhibitor of portraits at the Royal Aca- 
 demy. He died in 1796, at Salsette, on the 
 coast of Malabar, where he had gone to 
 make drawings. He painted some good 
 portraits of the Indian Princes and their 
 ministers. 
 
 AVALKER, Anthony, engraver and 
 draftsmetn. Was born at Salisbury in 1726. 
 After gaining some knowledge of his art 
 he came to London, and placed himself 
 under John Tinney, and was admitted a mem- 
 ber of the St. Martin's Lane Academy. He 
 engraved the figures in his fellow-pupil 
 Woollett's ' Niobe.' He was for some time 
 employed on frontispieces and vignettes for 
 book illustrations, which he both designed 
 and engraved. In 1754 he published five 
 excellent plates, after his own designs, from 
 ' Romeo and Juliet,' and was then noticed 
 and employed by Alderman Boydell, for 
 whom he engraved after Pietro di Cortona, 
 Holbein, Rembrandt, Chatelaine, AVoollett, 
 and others. He exhibited his 'Angel,' after 
 Rembrandt, at the Spring Gardens Rooms, 
 1765. He died at the early age of 39, near 
 Kensington, May 9, 1765, leaving a pro- 
 mise of much excellence, and was buried in 
 Kensington churchyard. 
 
 A¥ALKER, A¥illiam, engreiver. Brother 
 of the above, and one of a family of 10 
 children, all of whom were remarkable for 
 their love of drawing. He was born at 
 Thirsk, in November 1729, and served his 
 
 F 
 
 apprenticeship to a dyer. When his time 
 was out he came to London, bent upon follow- 
 ing art, and was taught by his brother, 
 whom he for some time assisted. Ho was 
 employed for nearly 30 years upon the 
 illustration of the publications of the day, 
 and also engraved some good plates for 
 Alderman Boydell. Early in life ho dis- 
 covered the valuable art of ro-biting, and 
 AVoollett, who occasionally used the process, 
 when successful, was wont to exclaim, 
 ' Thank you, AVilliam Walker.' During his 
 life, exemplary in all his dealings, ho was 
 overcome by the loss of his daughter, and 
 diet in Rosoman Street, Clcrkonwell, 
 February 18, 1793. 
 
 AVALKER, John, engraver. Son of the 
 foregoing. Practised in London in the 
 second half of the 18th century, and 
 finished many of his father's plates. Ho 
 engraved views in England, Ireland, and 
 Scotland, which were published, 1794-96, 
 in a serial called ' The New Copper-Plate 
 Magazine.' 
 
 AYALKER, James, engraver. Was born 
 in 1748, the son of a captain in the mer- 
 chant service, and at the age of 15 became 
 the pupil of Valentine Green. He prac- 
 tised in the mezzo-tint manner, and on 
 finishing his apprenticeship he engraved 
 after Penny, Romney, Northcote, and other 
 contemporaries, and in 1784 went to St. 
 Petersburgh, on the appointment of en- 
 graver to the Empress of Russia, where he 
 resided for 17 years, and engraved the por- 
 traits of the Imperial fiimily, and many 
 plates from the old masters, which were his 
 own property. In 1802 he returned to Eng- 
 land with a pension, but unfortunately his 
 valuable plates were lost by the ship 
 foundering off Yarmouth. He died in 
 London about 1808. 
 
 WALKER, Geoege, landscape painter. 
 Practised in the second half of the 18th 
 century, and painted many English views, 
 which were engraved by Byrne. He died 
 about 1795. 
 
 AVALKER, Humphrey, sctdptor and 
 founder. He practised in the reign of 
 Henry VII., and was employed, with others, 
 about 1512, in the decoration of that Kings 
 Chapel at AVestminster Abbey. 
 
 AVALKER, Robert, portrait 'painter. 
 AA^as contemporary "vvitli A^andyck, and 
 studied his works, but founded a manner of 
 his own, more severe in style and colour, 
 aiming at great truth and character. During 
 the Commonwealth his works were greatly 
 esteemed by the Republican party, and he 
 painted the Protector and the principal 
 officers of his army, and is known as 
 ' Cromwell's Portrait Painter.' There is a 
 fine portrait of him, by his own hand, at 
 Hampton Court; another in the University 
 Galleries, Oxford. He had for some time 
 F 433 
 
WAL 
 
 WAL 
 
 an apartment in Arundel House, in the 
 Strand, and died there about 1660, but 
 under an engraved portrait by Lombart, 
 stated to have died in 1658. His portraits 
 ^yere vigorous, truthful, expressive, and full 
 of character, possessing many of the highest 
 qualities. 
 
 WALKEE, J. Rawson, landscape painter. 
 He practised at Nottingham, where his 
 works were well-known and esteemed. He 
 introduced, with some skill, figures and 
 architecture into his landscapes. He ex- 
 hibited at the Academy, in 1817, 'The 
 Feast of Eleusis at Athens,' and in 1819 
 some landscape compositions. A view of 
 Nottingham by him is engraved. 
 
 WALKER, William, landscape j9(7mi(cr. 
 Was born in London about 1770, and 
 studied his art there. In 1803 he went to 
 Greece to draw the architectural remains 
 and monuments. On his return he painted 
 many pictures in oil, views of Corfu, 
 Castro, the Acropolis of Athens. These 
 works, about 1805, gained him much notice. 
 Some of his works are in water-colours, 
 and in 1808 he was a member of the short- 
 lived Society of Associated Artists in Water- 
 Colours,and from 1828 to 1834 he exhibited 
 at the Royal Academy views in Greece in 
 that medium. 
 
 WALKER, William, historical engraver. 
 Was born in London, and studied his art 
 there. He practised chiefly in mezzo-tint. 
 Among his best works are Sir H. Raeburn's 
 portrait of himself, ' The Literary Party at 
 Sir Joshua Reynolds',' ' The Passing of the 
 Reform Bill,' 1832, Sir T. Lawrence's por- 
 trait of Lord Brougham, ' The Aberdeen 
 Cabinet,' Cattermole's ' Luther at the Diet 
 of Spiers,' 1845. His plates are effective 
 and full of tone and colour. He died in 
 Margaret Street, Cavendish Square, Septem- 
 ber 7, 1867, aged 76. 
 
 WALKER, Thomas Larkins, architect. 
 Was the son of Adam AValker, M.D., and a 
 pupil of Augustus Pugin. He published 
 the history and antiquities of the Vicars' 
 Close Wells, of the Manor House and Church 
 of Great Chatfield Wilts, of the Manor 
 House of South Wraxhall and the church 
 of St. Peter at Biddlestone, Wilts, these 
 works forming the first three parts of 
 ' Examples of Gothic Architecture,' a series 
 which went no further. He then removed 
 from London to Nuneaton, and afterwards 
 to Leicester, and finally, it is supposed from 
 some unfortunate speculations, was induced 
 to try to better his fortune in China. He 
 died at Hong Kong, October 10, 1860. 
 
 WALKER, William, water-colour fainter. 
 He was, commencing in 1814, an exhibitor, 
 at the Water-Colour Society, contributing 
 coast scenes. In 1816 he sent the ' Coast 
 near Argos in 1817, ' Algerines Reconnoi- 
 tring off the Gut of Gibraltar;' in 1818- 
 434 
 
 19-20 his contributions were chiefly views 
 in Greece. In 1821 he was elected an 
 associate exhibitor, and continued to ex- 
 hibit views in Greece and the East ; in 1832, 
 ' Mount Parnassus : TraA^ellers halting, at- 
 tended by Shepherds ;' in 1838, ' Athenian 
 Soldiers,' his last exhibited work. 
 
 WALLACE, William, portrait painter. 
 He was a native of Falkirk, and from about 
 1820 to 1833 practised in Edinburgh, re- 
 moving in the latter year to Glasgow, where 
 his art was well esteemed. He died July 8, 
 1866, aged 65. 
 
 WALLER, J., portrait painter. He prac- 
 tised about the end of the 17th century. 
 Bernard Lens engraved a portrait by him 
 of Lord John Cutts, surrounded by Mars, 
 Minerva, and Apollo. 
 
 AVALLIS, Joshua, water-colour painter. 
 He practised for many years in London, 
 but does not appear to have been a member 
 of any of the art societies. His works 
 were low in tone, well finished (perhaps too 
 highly), and represented effects of light, 
 sunsets on the snow. They had much merit, 
 but he failed to attain any reputation. He 
 exhibited some of his works at the Royal 
 Academy about 1820. He died at Wal- 
 worth, February 16, 1862, aged 72. 
 
 WAL LIS, John William, landscape 
 painter. Was born in Scotland about 1765. 
 He travelled in Italy, and was at Rome in 
 1802, when no other English artist was 
 residing there. In 1812 he travelled in 
 Germany, and painted a fine view of the 
 Castle of Heidelberg, which was' highly 
 esteemed, but he painted little afterwards. 
 He began to deal in pictures, and finally 
 abandoned painting. From Holland, Bel- 
 gium, and more especially from Spain, many 
 highly-prized works were introduced into 
 England by his active agency. 
 
 WALMSLEY, Thomas, landscape painter . 
 Born in Dublin in 1763. He came to London, 
 and studied under Columba, then principal 
 scene-painter at the opera-house. Return- 
 ing to Dublin, he painted scenery for the 
 Crow Street Theatre. He exhibited a Welsh 
 view at the Spring Gardens Rooms in 1790, 
 and from that year to 1795 he lived in 
 London, and exhibited Welsh Lake scenes 
 at the Royal Academy. About 1795 he 
 published ' Picturesque Views in Wales,' 
 and ' Views on the Lake of Killarney,' en- 
 graved by Jukes. He painted, chiefly in 
 body colour, some small landscapes of merit 
 His works were remarkable for the great 
 luminousness of his skies. He retired to 
 Bath, in ill-health, and died there in 1805. 
 
 WALTERS, John, architect. Built a 
 good Gothic chapel on the London Hos- 
 pital estate, the Auction Mart near the 
 Bank of England, and the parish church of 
 St. Paul, Shadwell. He died at Brighton, 
 October 4, 1821, aged 39. 
 
WAL 
 
 WAR 
 
 WALTEBS, Edward, architect. He was 
 born in London, where his father practised 
 as an architect, and was early in life left 
 an orphan. He was for a time employed 
 in Mr. Lewis Vulliamy's office, and was 
 then engaged by Sir John Kennie to super- 
 intend the erection of a small-arms factory 
 at Constantinople. On his return he settled 
 at Manchester, and after a while he suc- 
 ceeded in establishing himself in practice. 
 He erected there the Free Trade Hall, the 
 Cavendish Street Chapel and Schools, the 
 Bank in Mosley Street, the Assize Courts 
 and other works, including some fine Ware- 
 houses, and his buildings will maintain his 
 name in that city. He died at Brighton, 
 in his 64th year, January 24, 1872. 
 
 WALTON, Nicholas, architect. Was 
 ' Master Carpenter and Engineer of the 
 King's Works for the Art of Carpentry ' in 
 the reign of Kichard 11. The magnificent 
 timber roof of Westminster Hall and of 
 Eltham Hall are attributed to him. 
 
 WALTON, Henry, portrait painter. 
 Was born about 1720. His portraits, 
 usually of small size, are tolerably drawn, 
 and tenderly painted, with some attempt 
 at expression. He also painted domestic 
 incidents, in which he introduced portraits, 
 and exhibited some subjects of this class at 
 the Eoyal Academy in 1777-78 and 1779. 
 He was an active member of the Society of 
 Artists. Died about 1795. Several of his 
 "works have been engraved. 
 
 WALTON, Parry, still-life fainter. 
 Was a pupil of Kobert Walker, and painted 
 still-life, but never attained to any distinc- 
 tion as an artist. He is better remembered 
 as a picture repairer, and for his knowledge 
 of the works of the masters, particularly of 
 the Italian School. He was keeper of the 
 pictures to James the II., and repaired 
 several of the pictures in the Eoyal col- 
 lection. He also restored Eubens' Ceiling 
 at Whitehall Chapel, for which he was 
 paid 21 2Z. He lived in Lincoln's Inn 
 Fields, and died there about 1700. His 
 son succeeded him in his employment, but 
 was only known as a copyist. 
 
 WALTON, James Trout, landscajpe 
 'painter. He was born at York, and prac- 
 ticed his art in that City. From 1852 to 
 1863 he was an occasional exhibitor at the 
 Eoyal Academy, contributing views in oil, 
 chiefiy Scotch, with figures introduced. He 
 died at York October 17, 1867. 
 
 W A E D , Francis Swain, lemdscape 
 painter. Was born in London about 1750, 
 and studied his art there. In 1769 he was 
 elected a member of the Free Society of 
 Artists. He travelled in England and Wales, 
 and made sketches and drawings of the an- 
 cient castles and mansions, from which he 
 painted pictures both in oil and water- 
 colours. Later L'e entered the service 
 
 F F 
 
 of the East India Company, and went 
 to Calcutta, and there are, numerous draw- 
 ings by him of the Indian pagodas, tombs 
 and ruins. He died about 1805. 
 
 AV A E D, William, A.E, mezzo-tint 
 engraver. In 1795 his name first appears 
 as an exhibitor at the Academy. In that 
 and several follo\ving years he contributed 
 ' A Portrait of a Lady.' He was eminently 
 skilled in his profession, and in 1814 was 
 elected Associate Engraver of the Academy, 
 and from that time was an exhibitor of an 
 engraving till his death. His works are 
 very artist-like, full of spirit and truth, ex- 
 cellent in the feeling of colour, the flesh 
 tints tender without weakness, light and 
 shade powerful. He married a sister of 
 George Morland, many of whose works ho 
 engraved. Ho died very suddonl}^ on the 
 1st December, 1826. He held the appoint- 
 ment of mezzo-tint engraver to the Prince 
 Eegent, and the Duke of York. 
 
 AVAED, James, E.A., animal pednter eind 
 engraver. He was born in Thames- street, 
 London, October 23, 1769, and very early 
 commenced the study of engraving under 
 his elder brother, William, serving with 
 him, added to a few months with John E. 
 Smith, an apprenticeship of nine years, and 
 studying anatomy under Brooks. He soon 
 distinguished himself by the artistic cha- 
 racter of his mezzo-tint engravings, and 
 having in 1792 and 93 exhibited some 
 clever rustic pictures, he was appointed in 
 1794 'Painter and mezzo-tint engraver to 
 the Prince of Wales.' Among his early 
 paintings was his ' Bull-bait,' a work of 
 great ability, full of figures cleverly grouped, 
 fine in colour, and full of animation and 
 character, which, though the talk of the 
 day, was purchased by a dealer for 40^. He 
 continued a large contributor to the Aca- 
 demy exhibitions ; commencing with do- 
 mestic subjects, he soon introduced animals, 
 and became distinguished as a cattle- 
 painter. About the end of the century he 
 painted some fine cows and bulls, and liis 
 great picture of ' The Bull,' recently pur- 
 chased for the National Gallery, for 1,500/., 
 was a work of this date. He was elected 
 an Associate of the Academy in 1807, and 
 a full member in 1811. In 1817 he gained 
 the premium offered by the Directors of the 
 British Institution for an 'Allegory of tho 
 Battle of Waterloo,' and was commissioned 
 by tho Directors to paint a large picture 
 from his sketch for 1,000/. ; but the picture 
 was a failure, the subject was unsuited to 
 his art, and, rolled up, is fast going to de- 
 cay. In 1822 he painted 'The Boa Serpent 
 seizing a Horse,' the horse being a portrait 
 of Adonis, a favourite charger belonging to 
 George III., and was for several years 
 chiefly employed as a painter of favourite 
 horses. In his latter da} s he painted many 
 2 435 
 
WAR 
 
 WAT 
 
 subjects very miscellaneous in their cha- 
 racter. His works are very numerous. He 
 retired about 1830 to Cheshunt, and con- 
 tinuing an exhibitor at the Academy up to 
 1855, he died November 23, 1859, in his 
 91st year. 
 
 WARD, William James, mezzo-tint en- 
 graver. Son of the foregoing William Ward, 
 and of an artist race, his talent was early 
 developed. At the age of twelve years he 
 gained a medal at the Society of Arts for a 
 drawing after Raphael, and under the teach- 
 ing of his father, soon excelled in his art. 
 He engraved many portraits in a highly 
 effective manner, combining great depth 
 with richness of colour, and was most suc- 
 cessful in his rendering of Reynolds's works. 
 He became insane, arising, it was said, 
 from an imprudent use of the cold bath, 
 and died 1st March, 1840, aged about 40. 
 
 AVARD, The Rev. Samuel, caricaturist. 
 He was celebrated as a preacher at Ipswich 
 in the reign of James II., and no less as a 
 caricaturist. He designed a print pub- 
 lished in 1621, ' Spayne and Rome De- 
 feated,' representing the Pope in Council 
 and the Gunpowder Plot. On the complaint 
 of the Spanisii Ambassador, he was im- 
 prisoned by the Court of Star Chamber. 
 On his release he returned to Ipswich, and 
 confined himself to the ornamentation of 
 his published sermons, and his ' Woe to 
 Drunkards,' 1635, on the title-page to 
 which are two designs. Later he fell into 
 the iron grasp of Bishop Wren and Arch- 
 bishop Laud. He died in 1639. 
 
 WARE, Samuel, architect. He practised 
 in London, and enjoyed some reputation. 
 He exhibited some designs at the Academy 
 in 1807. In 1811 he was one of the com- 
 petitors for the erection of Bethlehem 
 Hospital. The Burlington Arcade, erected in 
 1819, is his best known work. He published 
 a ' Treatise on the Properties of Arches.' 
 
 WARE, Isaac, architect. Was origi- 
 nally a chimney-sweeper's boy, and one day 
 chalking the side of a house, he attracted 
 the notice of a gentleman, who befriended 
 and educated him, and sent him to Italy to 
 pursue his studies, but could not, it is said, 
 obliterate the stain of his original calling. 
 He was the architect of Chesterfield House, 
 finished in 1749 ; of the mansion at 
 AVrotham Park, Middlesex ; and of a part 
 of Bloomsbury-square. He was a member 
 of the Artist Committee formed in 1755 to 
 plan a Royal Academy, and one of the Sur- 
 veyors of the Board of Works. He edited 
 an edition of ' Palladio,' a ' Complete Body 
 of Architecture, with some Unpublished 
 Designs of Inigo Jones,' and 'Plans, Ele- 
 vations, and Sections of Houghton, Norfolk.' 
 He amassed considerable property, resided 
 in Bloomsbury-square, and built himself a 
 country house at Westbourne, He was a 
 436 
 
 constant visitor at old Slaughter's coffee 
 house, and the associate of the wits who met 
 there. He died 1766. 
 
 WARREN, John, architect. Was the 
 builder of St. Mary's Church, Cambridge, 
 where he is buried, and there was a tablet to 
 his memory against the east wall of tlie 
 chancel, now removed to the vestry, which 
 records that ' with the church his own life 
 finished/ December 17, 1608. 
 
 AVARREN, Alfred William, engraver. 
 He practised in London about the middle 
 of the 19th century, working both in line and 
 in mezzo-tint. He engraved ' The New Coat,' 
 after AYilkie ; some portraits of the British 
 poets, and for the illustration, of Pope's 
 'Essay on Man' ; ' The Arabian Nights,' 
 after Smirke , and Coxe's ' Social Day.' 
 
 WARREN, Charles, engraver. He was 
 born in London, June 4, 1767, and married 
 when about 18 years of age; but little is 
 known of his early career. In 1802 he 
 emerged from the difficulties attending 
 upon a large young family, and, employed 
 chiefly on book illustrations, became dis- 
 tinguished for works of that class and 
 largely known. In his youth he had been 
 employed in engraving on metal for calico 
 printing, and was able to perfect the pro- 
 cess of engraving on steel plates attempted 
 by Raimbach, and was awarded a gold 
 medal by the Society of Arts. But he did 
 not seek to secure the advantage to himself 
 by a patent. He illustrated an early edition 
 of the ' English Poets,' and engraved two 
 plates for the Boydell Shakespeare. He 
 lived in Cray's Inn Road, and was impro- 
 vident and fond of society. He died sud- 
 denly at Wandsworth, April 21, 1823, and 
 was buried in the vaults of St. Sepulchre's 
 church, Old Bailey. 
 
 WATKINS, Joseph, R.H.A., sculptor. 
 He was late in commencing the study of 
 his art. He practised in Dublin; was of 
 much promise, and was elected a member 
 of the Royal Hibernian Academy in 1869. 
 He exhibited a bust at the Royal Academy, 
 London, in each of the years 1867, 1868, 
 and 1870, and died in Dublin at the close 
 of the year 1871 aged 33. 
 
 WATSON, William, 'portrait painter. 
 He practised in Dublin painting both in 
 oil and crayons. He was known as an 
 admirable flute-player. His wife painted 
 flowers and fruit. 
 
 WATSON, James, mezzo-tint engraver. 
 Was born in Ireland in 1740, and was 
 brother of the above, and equally dis- 
 tinguished in his art. He engraved many 
 fine portraits after Vandyck, Reynolds, 
 Gainsborough, Romney, and also some fine 
 historical and subject plates. He exhibited 
 some mezzo-tints at the Spring Cardens 
 Rooms in 1775. His works are full of 
 colour, powerful, flesh tenderly expressed. 
 
WAT 
 
 "WAT 
 
 He resided many years in Little Queen 
 Street, near Portland Chapel. He died in 
 1790. 
 
 WATSON, Caroline, engraver. She was 
 daughter of the above James Watson, and 
 was born in London about 1760. She made 
 many drawings of celebrated paintings, 
 which she afterwards engraved, working 
 ? both in mezzo-tint and in the dot manner. 
 She also engraved some good portraits. Her 
 works are well drawn and expressed, and 
 possess great merit. She was appointed 
 engraver to Queen Caroline in 1785. She 
 died in Pimlico, June 10, 1814, in her fifty- 
 fourth year, and was buried in St. Maryle- 
 bone Church, where there is a tablet to her 
 memory with some lines by Hayley. She 
 was singularly modest and retired in her 
 habits, and was highly esteemed. 
 
 WATSON, Thomas, engraver. Was born 
 in London, 1743. He gave early proofs of 
 talent, practising in the dot manner, but 
 his later and best works are in mezzo-tint. 
 In this manner he engraved the ' Windsor 
 Beauties,' after Kneller, many fine por- 
 traits after Reynolds, which constitute his 
 most esteemed works, and also after West, 
 Nathaniel Dance and others. He exhibited 
 at the Spring Gardens Kooms in 1775 and 
 several following years. Some fine plates 
 after Rembrandt and Correggio by him are 
 greatly valued. He died in 1781. 
 
 WATSON, John Buegess, architect. 
 Practised in London with some repute, and 
 was a good draftsman. He built the Gothic 
 church at Staines in 1820. He w\ts a 
 member of the Institute of British Archi- 
 tects. Died in 1847. 
 
 AVATSON, ^Q-ym, 'portrait painter. Was 
 born in Scotland in 1685, and studied in 
 the Trustees' Academy, Edinburgh. He 
 emigrated to New Jersey in 1715, and is 
 said to have been the first painter who 
 settled in America, and, though a very in- 
 different painter, to have amassed a pro- 
 perty by the practice of his art. He paid 
 one visit to his native country, and took 
 back with him a collection of pictures. He 
 died in America, August 22, 1768. 
 
 W A T S 0 N, MusGi?AVE Lewthwaite, 
 sculptor. AVas born at Hawkesdale, near 
 Carlisle, 1804, the son of a small indepen- 
 dent yeoman, and at the age of 17 was 
 articled to a solicitor at Carlisle ; but he 
 did not take to the law, and after two 
 years quitted it, and coming up to London 
 in 1824, he made himself known to Flax- 
 man, R.A., by w^hose advice he entered 
 the schools of the Roy^il Academy. He 
 articled himself to R. W. Sievier, the sculp- 
 tor, for a short time, and then, following 
 the advice of Plaxman, went to Italy in 
 1825 on an allowance made by his father, 
 and studied during two years in Rome. He 
 returned to London in 1828, having seen 
 
 the principal works in Italy, and setting 
 up a studio, completed a small figure of 
 Sigismunda, and two small statuettes of 
 Chaucer and Spencer, but coming to the 
 end of his money, he obtained employment 
 as a modeller to Chantrej^ R.A. This en- 
 gagement he threw up on the refusal of his 
 application for an increase of pay, and was 
 then employed by Baily, R.A., and after- 
 wards by Bchnes, and, gaining strength, 
 he determined to work on his own account. 
 On the death of Chantrcy, he was employed 
 to complete for New College, Oxford, the 
 colossal statues of Lords Eldon and 
 Stowell, for which Chantrey has left slight 
 sketches, but he was able to finish the 
 plaster models only. He cut in marble a 
 full-size statue, and executed the model for 
 one of the bas-reliefs of the battle of St. 
 Vincent for the pedestal of the Nelson 
 Column in Trafalgar Square. His chief 
 other works were a Hebe and Iris at Bo- 
 wood, a monument to Dr. Cameron, the 
 statue of Queen Elizabeth in the Royal 
 Exchange, a bas-relief in the Hall of Com- 
 merce, Threadneedle Street, and a monu- 
 ment to his friend, Allan Cunningham. 
 He had suffered for some years from heart 
 complaint, and died just as he was rising 
 into reputation, October 28, 1847- His 
 ' Life and Works ' was published by Dr. 
 Lonsdale in 1866. 
 
 WATSON, Samuel, carver and sculptor. 
 Was born at Heanor, Derbyshire, in De- 
 cember, 1663. He was employed on the 
 works at Chatsworth, and executed some of 
 the fine carvings commonly attributed to 
 Grinling Gibbons. Tlie dead game over 
 the chimney-piece in the great chamber is 
 by his hand, and for this and other decora- 
 tions in the same chamber in lime-tree 
 wood, all completed in 1693, he was paid 
 133/. 7^. The trophy containing the cele- 
 brated pen over the door in the south-west 
 corner room is likewise his work. He also 
 executed the arms in the pediment of the 
 west front in 1704, the stone carvings in the 
 north front, finished in 1707, and other of 
 the decorations, both in wood and stone. 
 AValpole says that Gibbons had several 
 disciples and workmen, and that Watson 
 chiefly assisted him at Chatsworth, wdiero 
 the carved boys, and many of the other orna- 
 ments in the chapel, were executed by him ; 
 but it seems clear, from his having made his 
 own bill for the above works, that he exe- 
 cuted them on his own account. He died 
 at Heanor, March 31, 1715. 
 
 WATSON, George, P.R.S.A., iiortrait 
 paint(r. Was born in 1767, at Overmains, 
 Berwickshire, where his father possessed 
 some property. After receiving some 
 elementary instruction from Alexander 
 Nasmyth, he came to London at the age 
 of 18, and painted in Sir Joshua Reynolds's 
 
 437 
 
WAT 
 
 WEB 
 
 studio for about two years. He afterwards 
 settled in Edinburgh, where he was exten- 
 sively employed, and was long the con- 
 temporary of Sir H. Raeburn, with whom he 
 maintained an honourable rivalry. From 
 1808-12 he presided over the Associated 
 Artists of Scotland, and at that time sent 
 some portraits to the Royal Academy ex- 
 hibition in London. On the foundation of 
 theEoyal Scottish Academy in 1830, he was 
 elected the president, and held that office 
 till his death, at Edinburgh, Aug. 24, 1837. 
 
 WATT, James Henry, engraver. Was 
 born in London, 1799, and at 16 became a 
 pupil of Charles Heath, but by his careful 
 study developed a manner of his own, and 
 was greatly distinguished as a line en- 
 graver. He always worked upon copper. 
 His art is marked by great decision, 
 dexterity, and taste, brilliant and finished, 
 and evincing great art power. Among his 
 best works are Stothard's 'Procession of 
 the Flitch of Bacon,' Eastlake's 'Christ 
 Blessing Little Children,' and Landseer's 
 ' Highland Drovers.' Suffering from ill- 
 ness, added to domestic affliction, he died 
 in June, 1867, aged 68. 
 
 WATTS, Walter Henry, miniature 
 painter. Ho w^as, in 1-808, a member of the 
 short-lived Society of Associated Artists in 
 Water-Colours, and was from that year to 
 1830, an exhibitor of miniatures at the 
 Royal Academy, sometimes painting a 
 subject in oil. But he gained a name as a 
 miniature painter. 
 
 WATTS, John, landscape painter. Born 
 about 1770, he practised his art in 
 London. He drew views in Scotland 
 and AVales, and painted several subjects in 
 oil. His works attracted some attention in 
 his day. 
 
 WATTS, John, engraver. He practised 
 in London about 1760-80, working in the 
 mezzo-tint manner. 
 
 WATTS, William, engraver. Was born 
 early in the year 1752 in the neighbour- 
 hood of Moorfields, where his father was a 
 master silk-weaver. He got his education 
 in art under Paul Sandby and Edward 
 Rooker, and on the death of the latter, he 
 continued the ' Copper-plate Magazine,' 
 commenced by him. This also suggested to 
 him. a work of his own, ' The Seats of the 
 Nobility and Gentry,' which he began in 
 1779, and finished in 1786. Up to this 
 time he resided at Kemp's Rov/, Chelsea, 
 but now selling his furniture and his art 
 collection, in wdiich there were some rare 
 drawings and prints, he travelled in Italy, 
 reaching Naples in September, 1786. After 
 about a years absence he returned, and 
 then resided at Sunbury. In 1789 he went 
 to Carmarthen, the following year to the 
 Hot-wells, Bristol, and in 1791 to Bath, 
 where he spent two years, and brought out 
 438 
 
 his 12 views of that city, which are fine 
 specimens of line engraving. At this time 
 he became an enthusiast in the events of 
 the French Revolution, and went to Paris. 
 He had inherited property from his father, 
 a large portion of which, with his own 
 earnings, he invested in the French funds, 
 and the whole was eventually confiscated, 
 though a remnant was recovered at the 
 Peace in 1815. On this loss he was com- 
 pelled to return to the active practice of 
 his profession, and published, in 1800, his 
 ' Select Views of London,' and between 
 1801-1805 completed his last work, 60 views 
 for Sir R. Ainslie's ' Turkey and Palestine,' 
 and then retired from his profession. He 
 lived a short time at Mill Hill, Hendon, 
 and in 1814, purchasing a small property at 
 Cobham, in Surrey, he settled there, and 
 died December 7, 1851, aged 99. He was 
 a good French and Italian scholar, and a 
 well road man. Though in his latter years 
 deprived of sight, he enjoyed good health. 
 
 WATTS, Jane, amateiir. She was the 
 daughter of Mr. Waldie, a Scotch clergy- 
 man, and married Capt. Watts, R. N. 
 Possessing a talent for drawing, she painted 
 landscapes in oil, and exhibited on one 
 or two occasions at the Royal Academy 
 and the British Institution. She had also 
 literary tastes and published ' A Pano- 
 ramic Sketch of the Field of Waterloo,' 
 ' Sketches of Italy,' ' Continental Adven- 
 tures,' ' Rome in the Nineteenth Century.' 
 She died July 6, 1826, in her 34th year. 
 
 WATTS, Simon, wood engraver. He 
 practised in London about the middle of 
 the 1 8th century. There are two or three 
 large woodcuts by him, dated 1736, and 
 some small circular portraits of painters 
 freely engraved. A portrait of Queen 
 Elizabeth, 1773, and of Dudley Earl of 
 Leicester, 1775, with some other works, are 
 also attributed to him. 
 
 WEBB, Duncan, engraver. Attained 
 great repute as an engraver of animals, 
 especially of horses and dogs. He fell 
 down in the street and expired suddenly 
 in the prime of life in 1832, leaving a 
 widow with a large family in distressed 
 circumstances. 
 
 AVEBB, Westfield, portrait painter. 
 He exhibited, in 1762, the whole length 
 portrait of a celebrated female singer, and 
 continued to exhibit for the following ten 
 years not only portraits, but landscapes and 
 fiowers, but in none of his works was 
 shown any art of an enduring character. 
 He resided in St. Martin's Lane, then the 
 resort of painters, and died soon after 1772. 
 
 WEBBE, John, architect. Was of a 
 Somersetshire family and was born in 
 London in 1 6 11 . He was the nephew of 
 Inigo Jones, and married his only daugh- 
 ter. He was also his pupil and assistant. 
 
W EB 
 
 WED 
 
 From the designs of his master he built 
 Amesbury, AVilts, and from his own designs 
 Wilton House, after the lire 1618; Gunners- 
 bury House, 1663 ; Kamsbury Manor 
 House, Wilts ; Horse-heath, Cambridge- 
 shire, 1669, a handsome and commodious 
 structure ; the large houses in Queen 
 Street, Lincoln's Inn Fields, and the 
 north-west quadrangle of Greenwich Hos- 
 pital. In 1656 he designed and painted 
 the scenery for the siege of Rhodes. His 
 works do not e^Tuce much originality. Ho 
 died in 1672, at Butleigh, in Somerset- 
 shire, his native place, aged 61. He pub- 
 lished Inigo Jones's ' Treatise on Stone- 
 henge,' and a vindication of it against Dr. 
 Charlton ; also an essay to prove that the 
 Chinese is an original language. 
 
 WEBBER, John, R. A., landscape iminter. 
 Was born in London in 1752, the son of a 
 Swiss sculptor, whose name, AV ebkk, he Ang- 
 lisized. His father, who executed some 
 monumental works in this country, sent 
 him to Paris, where he studied five years, 
 and then, returning to his family in London, 
 in 1775 he became a student of the Royal 
 Academy. By the influence of Dr. Solander 
 he was appointed, in 1776, draftsman to 
 Capt. Cook's third and last voyage, and 
 on his return, in 1780, ho superintended 
 the engraving of the drawings he had 
 made for the Adm.iralty ; and also etched, 
 aqua-tinted, and coloured a series of views 
 of the principal places he had visited, 
 which he published on his own account, and 
 they were very popular. In 1 784-5, and 1786 
 ho exhibited views taken on his voyage. 
 He then travelled in England, Wales, and 
 Scotland, and afterwards, in 1787, in Italy, 
 France, and Switzerland, and made numer- 
 ous drawings, some of vvdiicli were the 
 subjects of his oil pictures. He had been 
 elected an associate of the Royal Academy 
 in 1785, and in 1791 was made a full mem- 
 ber. His last exhibited works were views 
 in England. He died at his lodgings in 
 Oxford Street, May 29, 1793. His draw- 
 ings are careful and accurate, but weak, 
 his figures incorrect. His colouring thin 
 and green, and his works wanting in light 
 and shade. The illustrations of his voyage 
 are his best works. His drawing of the 
 death of Captain Cook, of which he was 
 an eye-witness, v,'as engraved by Byrne 
 and Bartolozzi. 
 
 WEBBER, Heney, sculptor. Was a 
 student in the Royal Academy, and in 
 1776 gained the Academy gold medal for 
 his group, ' The Judgment of Midas.' He 
 had exhibited some wax models in the 
 preceding year, and in 1779 exhibited a 
 'Bacchus and Ariadne,' a basso-relievo, 
 after which his name disappears. 
 
 WEBSTER, Joseph Samuel, portrait 
 fainter. Practised in London in the 
 
 reign of George II. There is a portrait by 
 him in the hall of the Drapers' Company, 
 and several mezzo-tints from his portraits, 
 by McArdell and J. Watson. He also 
 painted some ideal figures. He died in 
 London, July 6, 1796. 
 
 AVEBSTER, Moses, water-colour painter. 
 Born in 1792, in the town of Derby, he 
 was apprenticed at the china works there, 
 and soon excelled in flower painting on 
 porcelain. When out of his time he 
 continued for a while in his employment 
 at the works, and was then engaged for 
 four years at the cliina works in the city 
 of Worcester, and afterwards went to 
 London, where for some time he found 
 employment; but returned to Derby and 
 to his painting in the china works. He 
 w^as well skilled also as a flower painter 
 on paper, and noted for his finished 
 execution. In 1818 ho exhibited some 
 flowers with the Water-Colour Society. 
 About 1827 he commenced teaching as a 
 profession and found many pupils in Derby 
 and Nottingham. Ho drew several views 
 in these counties, which he published. Ho 
 also painted some landscapes in oil. Ad- 
 vancing in years, he was admitted into the 
 Liversage alms-houses, where he died Octo- 
 ber 20, 1870. 
 
 WEBSTER, SiMox, water-colour painter. 
 He v/as, in 1766, a member of the Incorpo- 
 rated Society of Artists, who, in 1769, voted 
 him a sum of money in consideration of his 
 losses by a flre. He practised in the early 
 part of the succeeding century. He drew 
 landscapes, and was one of the artists who 
 etched for the clever work published by 
 Ackerman — ' Views of Cottages and Farm- 
 houses in England,' 1817-19. 
 
 WEBSTER, G., marine painter. He 
 was an occasional exhibitor of marine 
 subjects at the Royal Academy from 1799 
 to 1826. He practised in oil, but painted 
 a few works in water-colours. His works 
 are not without merit. In 1801 he exhi- 
 bited a ' View on the Gold Coast, Africa ; 
 taken on the Spot, 1799;' in 1807 'Ship- 
 ping, a Fresh Breeze,' and in 1825 'The 
 Battle of Trafalgar.' 
 
 WEBSTER, Thomas, architect. Born 
 in the Orkneys, Feb. 12, 1772. He was 
 brought up as an architect, and from his 
 tastes became much connected with the 
 school of water-colour painters ; and from 
 his acquired proficiency was elected an 
 honorary member of the Sketching Society. 
 He built the lecture theatre of the Royal 
 Institution, which is reputed for its acoustic 
 properties and fitness. He was a man of 
 several scientific attainments. He died in 
 London December 26, 1844, aged 72. 
 
 AVEDGV/OOD, John Taylor, engraver. 
 Practised in London, and was engaged on 
 the plates to illustrate the marbles in the 
 
 439 
 
WEH 
 
 WES 
 
 British Museum, 1812. There are also by 
 him, in the line manner, some good histo- 
 rical plates, and portraits of Scott, Byron, 
 Bernadin St. Pierre, and others. He died 
 at Clapham, March 6, 185G, aged 73. 
 
 WEHNERT, Edward Henry, water- 
 colour 'painter. Was the son of German 
 parents, who settled in London. His father 
 carried on a large business as a tailor. He 
 was sent to Germany for his education, and 
 was a student at Gottingen. He re- 
 turned to England at the end of four 
 years, and began the study of art. He first 
 exhibited at Suffolk-street and the British 
 Institution, and then passed two years in 
 Paris, where he acquired a good knowledge 
 of drawing, and, after staying some time in 
 Jersey, came back to London in 1837. He 
 joined the New Society of Painters in 
 AVater-Colours in the same year, and was a 
 constant and important contributor to its 
 exhibitions. In 1845 he was a competitor 
 in the Cartoon Exhibition at Westminster 
 Hall. About 1858 he went to Italy, but 
 his studies were impeded by ill health. He 
 brought home few sketches. His works 
 were usually subject pictures of large size, 
 well finished, the figures carefully drawn, 
 but the colour unpleasant, and the light and 
 shade weak, and were generally marked by 
 a German feeling and character. He died 
 unmarried in Kentish Town, September 15, 
 1868, aged 54. An exhibition of his col- 
 lected works was made in the gallery of the 
 Institute of Water- Colour Painters in the 
 following spring. 
 
 WELLER, J. portrait painter. There 
 is in the British Museum a portrait of this 
 artist se ipse pinxit, correctly and carefully 
 drawn in chalk, and dated 1718, setat. 30. 
 
 WELLS, WiLLiAiM Frederick, water- 
 colour painter. He was born in London in 
 1762. At the age of 12 years he became a 
 pupil of Barralet, and under his teaching 
 his first efforts were chiefly in pencil or 
 crayon. It does not appear when he first 
 tried water-colours, but he was among the 
 first who practised the new art. He exhi- 
 bited at the Royal Academy in 1795, con- 
 tributing Scotch views, and the following 
 year Penmaen Mawr, North Wales. He 
 visited the Continent, and in 1804 extended 
 his travels to Norway and Sweden, and 
 made numerous sketches, some of which on 
 his return, he painted in oil. In 1804 he 
 was one of the original founders of the 
 Water-Colour Society, and in 1806 the pre- 
 sident, and thenceforth he practised chiefly 
 in that medium. He exhibited with the 
 society up to 1812, contributing with some 
 Welsh scenery some views in Norway, and 
 also some views in Oxford and Cambridge. 
 For many years he was a successful teacher 
 in the metropolis, and had several distin- 
 guished pupils. He was one of the pro- 
 440 
 
 fessors of drawing at Addiscombe College, 
 an oflfice which he filled for nearly 30 years, 
 and until his death in 1836. Several of 
 his drawings have been published in aqua- 
 tint. His daughter, who died in 1872, was 
 an occasional exhibitor. 
 
 WELLS, Johanna Mary, subject pai7iter. 
 Her maiden name was Boyce. She had a na- 
 tural taste for art, and at the age of 1 8 com- 
 menced its study as a profession, and in 
 1855 exhibited her first work — 'Elgiva,' a 
 head, at the Royal Academy. She then 
 studied for a time at Paris, and in 1857 
 spent a year in Italy, and, while at Rome, 
 was married to Mr. Wells, since R.A. Re- 
 turning to London in the following spring, 
 she exhibited at the academy ' Peep Bo ! ' 
 ' The Heather Gatherer,' and 'La Venizi- 
 ana,' works of much promise ; but she 
 unhappily died in childbed in her 30th year, 
 July 15, 1861. 
 
 WELLS, Thomas, ineclallist. Was born 
 in London about 1770. He cut a few good 
 likenesses in steel, and also practised as a 
 portrait modeller in wax, exhibiting at the 
 Royal Academy between 1786 and 1791. 
 
 WEST, Benjamin, P.R.A., history and 
 portrait 'painter. Was born October 10, 
 1738, in Chester County, Pennsylvania, 
 where his father, descended from an old 
 Quaker family of Long Crendon, Bucking- 
 hamshire, had emigrated in 1715. He 
 seems to have been born an artist. Gather- 
 ing as he could his own materials, where 
 none could be purchased, he drew, when 
 only seven years old, a likeness of his baby 
 sister in her cradle, and earned the fond 
 kisses of his surprised mother. His bent 
 was so decided that, when 1 6 years of age, 
 his Quaker relatives consented to his follow- 
 ing art — a profession at least doubtful with 
 their sect — and he began to paint portraits, 
 first in his own neighbourhood, and then in 
 New York. Meeting with encouragement 
 in his art, and assisted by his friends, he 
 determined to visit Europe, and in 1760, 
 when in his 22nd year, he embarked for 
 Leghorn to study art in Italy, Arrived in 
 Rome, the young painter from the New World 
 was an object of curiosity and interest, and 
 though dazzled by his reception, was no 
 less impressed by the elevated art of the 
 Capitol, as well as of Florence and Bologna, 
 which he afterwards visited, spending three 
 years studiously in Italy. He then came 
 to London, arriving in the summer of 1763, 
 provided with good introductions, and pre- 
 ceded by a reputation. In the following 
 year he exhibited a portrait in the great 
 room at Spring Gardens, and, settling down 
 in his art with the intention of remaining 
 in England, he married a young American 
 lady, to whom he had been engaged in 
 Philadelphia, and who was conducted to 
 London by her father. In 1765 he was 
 
WES 
 
 chosen a member and one of the directors of 
 the Incorporated Society of Artists, and 
 sent his first historical picture — the ' Orestes 
 and Pylades,' now in the National Gallery 
 — to their exhibition in 1766, with 'The 
 Continence of Scipio,' and received several 
 commissions. He painted 'Agrippina with 
 the Ashes of Grermanicus ' for the Arch- 
 bishop of York, who was so much pleased 
 with it that he introduced him to George 
 III., who gave him a commission to paint 
 ' The Departure of Eegulus from Eome,' 
 the commencement of a long course of Royal 
 patronage and favour. In 1768 he was 
 one of four artists who submitted to the 
 King the plan for a Royal Academy, which 
 received His Majesty's sanction, and he 
 became one of the first members. 
 
 In 1772 the King appointed him his 
 historical painter, and employed him upon 
 a largo series of pictures at Windsor Castle 
 illustrative of English history, and upon 
 the portraits of himself, his Queen, and the 
 Royal Family, both singly and in groups. 
 In 1790 he was appointed Surveyor of the 
 Royal Pictures, and in 1792 he was elected, 
 on the death of Reynolds, the President of 
 the Royal Academy, but declined the prof- 
 fered honour of knighthood. On some 
 difference as to the power of the Council, 
 and some fancied coldness on their part, he 
 resigned the presidentship, but at the next 
 annual election, 1805, he was re-elected, it 
 is said unanimously, with the exception of 
 one vote for Mrs. Lloyd, then an Aca- 
 demician, and that Puseli, being taxed with 
 giving this vote, said : ' Well, suppose I 
 did, she is qualified, and is not one old 
 woman as good, as another?' an instance 
 certainly of his little appreciation of West. 
 
 Among his works at this period were 
 several sacred subjects, but his most popular 
 pictures were his ' Death of Wolfe,' ' Penn's 
 Treaty with the Indians,' and ' The Battle 
 of La Hogue,' in the former of which, aban- 
 doning classic costume, he had the courage 
 to adopt the modern and appropriate dress, 
 and by his success to establish that mode 
 of treating heroic subjects of our own time. 
 During 33 years he painted for the 
 King, and had received from his gracious 
 patron 34,187^-, and his employment only 
 terminated with the illness which led to 
 his sovereign's death. He then painted 
 several large sacred pictures, ' Christ Heal- 
 ing the Sick,' now in the National Gallery, 
 for which he received 3,000 guineas ; 
 ' (.'hrist Rejected,' exhibited in 1814; and 
 'Death on the Pale Horse,' 1817. But his 
 long career was drawing to a close, and he 
 died in Newman-street on the 11th March, 
 1820, in his 82nd year, and was buried 
 with, great ceremony in St. Paul's Cathe- 
 dral. 
 
 The greater part of the pictures which | 
 
 WES 
 
 remained in his possession on his death 
 were sold by auction, by Robins, in May, 
 1829. They amounted to 181 in number, 
 and realised 19,137 guineas. His 'Death 
 upon the Pale Horse' fetched 2,000 guineas ; 
 ' Christ Rejected,' for which it is said ho 
 had been offered 8,000/., only 3,000 guineas, 
 but when the class of subjects is consi- 
 dered, these are really high prices, which 
 would not at this time even be realised, 
 though they are no doubt less than would 
 have been attained when he was in the 
 height of his career. His large picture of 
 ' The Annunciation ' was sold by auction in 
 1840. It had for some years been placed 
 in Marylebone Church, and at the sale the 
 Vestry's minute was read, ordering West's 
 price of 800/. to be paid to him for it. 
 After a considerable time 10/. was bid, and 
 the picture was really sold for that price. 
 It is indeed difficult to account for the high 
 position which he held in art in his own 
 day as compared with ours. It cannot be 
 attributed wholly to Royal patronage, for 
 it was loudly expressed by his brother 
 artists, and echoed by the press and the 
 public. Sir Thomas Lawrence in his annual 
 address, 1823, said : ' Mr. AVest produced a 
 series of compositions from sacred and pro- 
 fane history, profoundly studied and executed 
 with the most facile power, which not only 
 were superior to any former productions of 
 English art, but far surpassing contemporary 
 merit on the Continent, were unequalled at 
 any period below the schools of the Car- 
 acci ; ' and Sir Martin Shee, when ex- 
 amined before a Committee of the House of 
 Commons in 1835, characterised Mr. AVest 
 almost in the same words as ' the greatest 
 historical painter, I have no hesitation in 
 saying, since the days of the Caracci.' 
 But coming down to later times, Mr. Hay- 
 don, assuredly no friend of Academicians, 
 wrote of him in 1829: ' In drawing and 
 form his style was beggarly, skinny, and 
 mean. His light and shade was scattered, 
 his colour brick-dust, his impression un- 
 sympathetical, and his women without beauty 
 or heart.' The puljlic, too, showed no in- 
 terest in his works. Three years after his 
 death the exhibition of his collected labours 
 was totally neglected and deserted. Ex- 
 alted to a high pinnacle in his lifetime, he 
 has since been unjustly depreciated. His 
 aim was at least high. He attempted great 
 works, deemed no subject, even the most 
 sacred, above his powers, and we owe to 
 him the abandonment of classic costume 
 in the treatment of modern events. Yet 
 it must be admitted that his compositions 
 are more studied than natural, the action 
 often dramatic and conventional, and his 
 works fail to make an impression that 
 sustains his great aims. His figures 
 want individuality ; his manner flat, painty, 
 
 441 
 
WES 
 
 WES 
 
 and his textures all alike ; his backgrounds 
 tamo and devoid of contrasts ; his colour 
 hot and foxy, and wanting in variety of 
 tint. During his long and laborious life 
 he painted above 400 works, besides nu- 
 merous sketches. ' The Progress of Genius,' 
 memoirs of his early life and studies, by 
 John Gait, was published in 1816. His 
 works were engraved by some of the 
 greatest artists of our school, James Heath, 
 Sharpe, Woollett, Hall. 
 
 WEST, Kaphael Lamar, history pcdntcr. 
 Eldest son of the above. Was born in 
 England in 1769. He was a student intlie 
 Academy and a good draftsman, but did 
 not apply himself earnestly to art. Leslie, 
 R.A., said ' he had more talent than indus- 
 try.' He painted * Orlando and Oliver ' 
 for the Shakespeare Gallery, and in 1800 
 visited America, but meeting with no en- 
 couragement, he was glad to return in 1802. 
 He drew the figure with anatomical cor- 
 rectness, and in a masterly style. His 
 daughter was often painted by the Presi- 
 dent, and she sat to Leslie for Anne Page, 
 in the picture which he painted of ' The 
 Dinner at Page's House.' He inherited, with 
 his brother, the property left by President 
 West. He diedatBusheyHeath May 22,1850. 
 
 WEST Robert, to'pographical draftsman. 
 He drew perspective views of all the an- 
 cient churches and other buildings in Lon- 
 don and Westminster, which were published 
 1736-39. 
 
 WEST, Charles, engraver. Born about 
 1750 in London. He engraved many plates 
 in the dot manner, and also used the needle 
 with the graver. He engraved ' The Silver 
 Age,' after Henry Walton, 1787, 'A Circas- 
 sian Lady,' and ' Diana with her Dogs.' 
 
 WEST, Egbert, history jjainter. Was the 
 son of an alderman of Waterford, and was 
 sent early in life to Paris, where he studied 
 under Van Loo, and gained the first medal 
 in the Erench Academy. He was greatly 
 distinguished as a draftsman, and was for 
 nearly 20 years master of the Dublin So- 
 ciety's Schools, but, in consequence of 
 mental infirmity, his place was filled by 
 Ennis, one of his pupils, on whose death in 
 1770 he was again appointed, but died a 
 few weeks after his appointment. 
 
 WEST, Erancis Robert, history 'painter, 
 son of the above. He studied in Paris 
 under Boucher and Van Loo, and acquired 
 a great academic power of drawing. In 
 1770 he succeeded his father as master of 
 the Dublin Society's Schools, and held that 
 office till his death. Remarkable for the 
 accuracy of his drawing, he trained several 
 artists who attained great distinction, and 
 some of his own chalk drawings from the 
 life were esteemed master-pieces. He ex- 
 hibited in London with the Eree Society of 
 Artists, 1774, ' The Adoration of the Shep- 
 442 
 
 herds,' a drawing. He did not paint much 
 in oil, and showed little power as a co- 
 lourist, but he took a high rank in the 
 Irish school. He died in Dublin, January 
 24, 1809, aged 60. 
 
 WEST, Robert Lucius, R.H.A., history 
 painter. Was the son and grandson of the 
 foregoing. In 1808 he exhibited at the 
 Academy in London, ' A Subject from Gray's 
 Elegy.' In 1809 he succeeded his father as 
 Master of the National Academy of Design, 
 and on the incorporation of the Royal Hi- 
 bernian Academy in 1823, he was chosen 
 one of the first members. 
 
 WEST, Samuel, portrait and suhjcct 
 painter. Born in Cork, he came early to 
 London, and soon gained some repute. 
 Erom 1840 ho was an exhibitor at the 
 Royal Academ}'-, chiefly of portraits and 
 portrait groups of children, in which he 
 excelled. In 1841 he sent for exhibition 
 * Cardinal Wolsey leaving London after his 
 Disgrace,' and the following year, ' Charles 
 I. instructed in Drawing by Rubens.' He 
 exhibited portraits, his last contributions 
 in 1866 and 1867. In the latter part of 
 his career he excelled as a copyist of the 
 old masters in water-colours. 
 
 WEST, AV iLLiAM, landscape pa Inter. Wa s 
 a native of Bristol where he practised the 
 greater part of his life. He first exhibited 
 at the Royal Academy in 1845, sending 
 ' The Israelites passing through the Wil- 
 derness preceded by the Pillar of Light,' 
 afterwards some Welsh and Norwegian 
 scenery. In his early career he painted 
 many views in Norway. Later he found 
 his subjects in the rocky coast of Devon- 
 shire and the hill scenery of Wales. His 
 v^orks were close imitations of nature, with 
 little attempt at art. He v/as in 1851 
 elected a member of the Society of British 
 Artists, and was a large contributor to the 
 society's exhibitions. In the last few years 
 of his life he resided at Chelsea, where he 
 died in January 1861, in the sixtieth year 
 of his age. 
 
 WEST ALL, Richard, ii.k.,suhject painter. 
 Was of a Norwich family, and v^as born 
 at Hertford in 1765, and apprenticed to 
 an engraver on silver in the city in 
 1779. But he had abilities for higher 
 work, and, studying to improve himself 
 after the hours of labour,, he exhibited 
 in 1784 a portrait in chalk at the Royal 
 Academy, and was in 1785 admitted to 
 the Academy schools, and the following 
 year, on the completion of his apprentice- 
 ship, commencing his career as an artist, 
 he joined Lawrence, a fellow-student, and 
 the future President, in a house in Soho 
 Square. He exhibited largely designs for 
 book illustration, with occasionally a few 
 portraits, and first attracted notice by his 
 designs in water-colour, in which medium 
 
WES 
 
 WES 
 
 he exhibited some well-finished historical 
 subjects : ' Esau seeking Isaac's Blessing,' 
 * Mary Queen of Scots going to her Execu- 
 tion,' 'Sappho,' rich and full of colour, and 
 of great beauty in execution. His art had 
 naturally led him to book illustration, in 
 which he found his true place, and gained 
 much employment; but he exhibited pic- 
 tures in oil, chiefly domestic or rural sub- 
 jects, his largest contributions being, how- 
 ever, his designs in water-colours, which 
 were very numerous. In 1814 he made an 
 exhibition of 240 of his paintings and 
 drawings in Pall Mall. 
 
 He made a series of designs for an edi- 
 tion of Milton, for Alderman Boydell, and 
 painted five subjects for the Shakespeare 
 Gallery. His illustrations for the I3ible 
 and Prayer-Book w^ere suited to the public 
 taste, and were very popular. He designed 
 also for the 'History of England,' Crabbo's 
 'Tales,' Moore's 'Loves of the Angels,' ' The 
 Arabian Nights' Entertainments,' and nu- 
 merous other publications, and by these 
 works he made money and acquired a com- 
 petence. In 1813 the directors of the 
 British Institution purchased for 450 guineas 
 his ' Elijah restoringtheWidow's Son to Life.' 
 His large pictures in oil did not, however, 
 find purchasers, and are now little known. 
 One, his ' Christ crowned with Thorns,' is 
 placed over the altar at All Souls, Lang- 
 ham Place. In 1792 he was elected an 
 associate, and in 1794 a full member of the 
 Koyal Academy. Later in his career he 
 engaged in some unfortunate speculations 
 in pictures by the old masters. The artist- 
 dealer was led into improvident purchases, 
 ending in pecuniary embarrassment. His 
 means were dissipated, and he became the 
 pensioner of the Academy. His last em- 
 ployment was in giving drawing lessons to 
 the Princess Victoria. He died December 
 4, 1836, aged 71. 
 
 He will be best known as a book-illus- 
 trator and painter in v/ater-colours, and 
 claims to be ranked among the founders 
 of the new art. His w^orks are marked 
 with great sameness and prettiness, both 
 in colour and design — effeminate and want- 
 ing in character. He succeeded best in 
 subjects admitting a decorative treatment. 
 Some of his little rural scenes are among his 
 best works. He painted some good small 
 whole-length portraits in Avater- colours. 
 
 WEST ALL, William, A.K.A., landscaipe 
 painter, brother to the above, was born at 
 Hertford, October 12, 1781. He studied 
 under his brother and in the schools of the 
 Ptoyal Academy. He had a great talent 
 for drawing, and at the age of 19 was se- 
 lected for appointment in 1801 as drafts- 
 man to Captain Elinter's Voyage of Aus- 
 tralian Discovery. After nearly two years' 
 employment in this duty, he was wrecked 
 
 on the north coast, and was picked up by a 
 ship bound for China, where he remained 
 several months, visited the interior of 
 the country, and made many interesting 
 sketches. From thence he secured a pas- 
 sage to India, and on landing at Bombay 
 made an excursion into the neighbouring 
 mountains of the Mahratta country, and 
 to the excavated temples of Kurlec and 
 Elephanta. He returned to England after 
 about four years' absence. Eluding his 
 services were not immediately required in 
 connection with the xoublication of Captain 
 Elinter's voyage, ho set off for Madeira, 
 where by great exertions he made a num- 
 ber of sketches, which were all lost, and ho 
 was nearly drowned by the upsetting of the 
 boat on leaving the island. But he prose- 
 cuted his journey to the West India Islands, 
 and was so charmed with the scenery that 
 in 1805 he again visited Madeira, and made 
 a large collection of drawings, and on his 
 return to England painted many views of 
 foreign scenery. From 1805 ho was a fre- 
 quent contributor to the Academy exhibi- 
 tions. 
 
 In 1810 he was engaged upon the draw- 
 ings to illustrate his Australian voyage, 
 and he painted several pictures on commis- 
 sions from the Admiralty, some of which 
 were exhibited at the Koyal Academy in 
 1812. His v/orks had hitherto been chiefly 
 in water-colours, and in 1811 he was ad- 
 mitted an associate exhibitor of the Wator- 
 Colour Society, and in the following j^ear a 
 member, but appears to have resigned, as 
 the same year he was elected an associate 
 of the Koyal Academy. He exhibited some 
 landscapes in oil, but they were not much 
 esteemed. His principal employment was 
 upon illustrated publications, mostly land- 
 scape views, which he rendered with great 
 fidelity and skill. The chief of these works 
 are ' Views of Scenery in Madeira, the Cape, 
 China, and India,' 1811; ' Views of the 
 Yorkshire Caves,' 1818; 'Britannia Deli- 
 niata,' and, jointly with Samuel Owen, ' A 
 Picturesque Tour on the Kiver Thames.' 
 He died from the effects of an accident, at 
 North Bank, St. John's Wood, January 22, 
 1850, aged 68. 
 
 WESTMACOTT, Sm Richard, Knt., 
 K.A., sculptor. Was the son of a statuary 
 in Mount Street, Grosvenor Square, and 
 was born in London in 1775. Brought up 
 with his father, he imbibed an early taste 
 for art, and was sent to Italy in his 18th 
 year, arriving at Kome in January, 1793. 
 He was furnished with good introductions, 
 made rapid progress, and gained the gold 
 medal for sculpture in the Academy of St. 
 Luke, and remov^ing to Florence, the pre- 
 mium of the first class in sculpture in the 
 Academy there. He afterwards received 
 the Pope's medal at Kome. In 1797 Italy 
 
 443 
 
WE S 
 
 WHE 
 
 was alarmed by the advance of the French 
 army upon Eome, and he travelled home- 
 wards by Bologna to Venice, crossed the 
 Adriatic to visit the German galleries, and 
 reached London at the close of the year. 
 He first exhibited at the Academy in 1797, 
 and from that year exhibited monumental 
 figures and groups, with an occasional bust. 
 Steadily pursuing his art, his first im- 
 portant work was his statue of Addison for 
 Westminster Abbey in 1806, followed by 
 statues, for the same edifice, of Pitt, Fox, 
 and Percival. In 1820 he exhibited his 
 first classic group, ' Hero and Leander ; ' 
 followed in 1822 by a ' Psyche,' and in 1827 
 by ' Cupid made Prisoner.' He executed 
 several statues for Saint Paul's, erected by 
 the State to the memory of the officers en- 
 gaged in the French revolutionary war, 
 among them to Sir Ealph Abercromby and 
 Lord Collingwood. Of his other works, 
 should be distinguished his statue of Lord 
 Erskine, for Lincoln's Inn; Lord Nelson, 
 for the Liverpool Exchange ; his Monu- 
 mental group to Warren Hastings. Among 
 his latest works, was the large ornamental 
 group for the pediment of the British Mu- 
 seum portico ; his ' Euphrosyne,' a classic 
 group in marble, exhibited in 1837, fol- 
 lowed by two monumental works, the last 
 exhibited in 1839. He was elected an 
 associate of the Koyal Academy in 1805, 
 and an academician in 1815. In 1827 he 
 was appointed Professor of Sculpture, and 
 in 1837 he received the honour of knight- 
 hood. He died in South Audley Street, 
 September 1, 1856, aged 81. He will be 
 remembered by his many public works. 
 Kemarkable for his bold and powerful hand, 
 his figures, if not attaining a high degree of 
 refinement, are never wanting in grandeur of 
 proportions and solidity. He was well 
 versed in Greek art, which he had made his 
 study. 
 
 WESTMACOTT, Kichard, E.A., 
 sculptor. Born in London in 1799. He 
 was the son of the foregoing. His early 
 desire was to be brought up for the Bar, 
 but yielding to his father's wishes, he en- 
 tered his studio, and soon showed a talent 
 for art. In 1818 he was admitted to the 
 Schools of the Eoyal Academy, and two 
 years later was sent by his father to pursue 
 his studies in Italy, where he conrinued till 
 1826. The following year, he first appears 
 as an exhibitor at the Academy, sending a 
 simple, graceful statue in marble, of a 'Girl 
 with a Bird,' followed in 1829 by 'The 
 Eeaper,' both of these works showing the 
 result of careful study. They were fol- 
 lowed by a succession of his best works, 
 groups in marble. In 1830 'The Guardian 
 Angel,' part of a monument; in 1831, 
 'Venus carrying off Ascanius;' in 1832, 
 *Th0 Cymbal Player;' in 1833, ' Nar- 
 444 
 
 cissus.' These were succeeded by some 
 works in alto-relievo, in which art he ex- 
 celled. In 1834, 'The Pilgrim' and 'Hope;' 
 in 1837, 'Mercury presenting Pandora to 
 Prometheus,' and ' WickliflFe Preaching ; ' 
 in 1838, 'Venus instructing Cupid,' with 
 ' Paolo and Francesca.' In this latter year 
 he was elected an Associate of the Eoj^al 
 Academy, and in 1849 a full member. In 
 1857, he was elected Professor of Sculpture. 
 Of his remaining works, his 'Memorial 
 Angel,' 1841 ; statue of Archbishop 
 Howley in Canterbury Cathedral, and the 
 sculpture for the pediment of the Eoyal 
 Exchange, must be mentioned. After 1840, 
 his chief works were busts, on which he 
 was largely employed, and monumental 
 sculpture, but he did not exhibit after 1855, 
 and retired from his profession, withdraw- 
 ing from the Eoyal Academy about a year 
 "before his death, at Kensington, on April 
 19, 1872. He was well known as a writer 
 and lecturer on art. He published 'The 
 Handbook of Ancient and Modern Sculp- 
 ture,' 1864; a pamphlet 'On Colouring 
 Statues ' and contributed some articles to 
 ' The Encyclopedia Metropolitana,' ' The 
 English Encyclopedia,' and ' The Penny 
 Cyclopedia.' 
 
 WHEATLEY, Feancis, EA., portrait 
 and landscape 'painter. Was born in 1747, 
 in Wild Court, Co vent Garden, the son of a 
 master tailor, who placed him under an 
 able teacher of drawing. He afterwards 
 studied in Shipley's school, and at the 
 Eoyal Academy, and by his early ability 
 carried off several of the Society of Arts 
 premiums. He was employed in the de- 
 coration of Vauxhall, and assisted Mor- 
 timer in the ceiling at Brocket Hall, and 
 by perseverance and the strength of his 
 natural abilities, attained considerable skill 
 as a painter. In early life he made many 
 theatrical acquaintances, and was led into 
 extravagance and debt. At this time he 
 became acquainted with Mrs. Greese, the 
 wife of the water-colour painter, and com- 
 pelled to leave London to avoid his credi- 
 tors, she fled with him to Dublin. Here 
 he met with much encouragement as a 
 portrait painter, and painted many small 
 whole lengths, and the Irish House of 
 Commons, with portraits of the members, 
 some of the first of whom he is said to have 
 rubbed out to give place to others, who 
 like them, but later, had subscribed for 
 the engraving. The work, which was 
 eventually disposed of by a raffle in Dub- 
 lin, was then unfinished. He had intro- 
 duced his companion as his wife, and when 
 the deception was found out he was obliged 
 to leave Dublin, and then returned to 
 London. 
 
 He first exhibited at the Eoyal Academy 
 in 1771, commencing with portraits, and 
 
WHE 
 
 WHI 
 
 afterwards sending some rustic and genre 
 subjects, botliin oil and water-colour. On 
 his return lie painted a large picture of the 
 riots in London in 1780, which was un- 
 fortunately burnt, but is well-known by 
 Heath's fine engraving. He also con- 
 tributed some good pictures, both to the 
 Shakespeare Gallery and Macklin's Poets' 
 Grallery. He at the same time painted 
 portraits, and his large picture still in the 
 possession of the family, of ' The Second 
 Duke of Newcastle and a Shooting Party,' 
 the principal figures on horseback, with 
 keepers, dogs, and dead game, in a fine 
 wooded background, is an example of his 
 great ability. For subjects of this class, 
 and for rur.il subjects generally, ho be- 
 came very popular. He painted chiefly in 
 oil, and in a masterly manner, but he also 
 painted many subjects in water-colours, 
 which are mostly drawn with the pen, the' 
 shadows washed in with Indian ink, and the 
 whole slightly tinted. His landscapes 
 showed great taste, his figures were well in- 
 troduced, but his rustics, especially his 
 females, were meretricious and unreal. The 
 popularity of his works is evidenced by 
 the number engraved. There is a mezzo- 
 tint by him, and an etching dated 1785. 
 He was elected an associate of the Koyal 
 Academy in 1790, and an academician in 
 1791, and soon after became a pensioner of 
 the Academy. Among his last works were 
 his ' Cries of London.' A martyr to the 
 gout, arising from early irregularities, he 
 died from one of its attacks, June 28, 1801, 
 aged 54 years, leaving, with seven children, 
 a widow who afterwards married again. 
 See Pope, Mrs. 
 
 WHESSELL, John, engraver. Practised 
 in London towards the end of the 18th 
 century, and engraved after Serres, Sto- 
 thard, Gainsborough, Singleton, and others. 
 
 WHETTOl:^, Thomas, architect. Was a 
 pupil of Sir William Chambers, and was 
 admitted to the schools of the Eoyal Aca- 
 demy, where he gained the silver medal 
 for an architectural drawing, and after- 
 wards, in 1774, the gold medal for an ori- 
 ginal architectural design. Some of his 
 early designs showed great taste and merit. 
 He continued to exhibit at the Academy up 
 to 1786, but he was allured from his pro- 
 fession by inheriting an ample property. 
 Por many years he resided chiefly at Sun- 
 ning Hill, Berks, and died there on July 
 18, 1836, in his 83rd year. 
 
 WHICHELO, John M., water-colour 
 painter. He chiefly painted marine sub- 
 jects, and the coasts, harbours, and dock- 
 yards of England. He exhibited at the 
 Koyal Academy in 1816-17, and 1818, and 
 was at that time marine and landscape 
 painter to the Prince Eegent. In 1823 he 
 was elected an 'associate exhibitor' of 
 
 the Water-Colour Society, and was from 
 that time to 1865 a constant contributor to 
 the Society's exhibitions, sending in 1827 
 'Portsmouth Naval Arsenal;' in 1831 
 'Eottcrdam Boats ])assing Port in a Fresh 
 Breeze ; ' and later some views on the 
 Rhine and the Sheldt. His last works 
 were chiefly from English scenery. He was 
 also engaged in teaching. He died in 
 September, 1865, and his drawings and art 
 property were sold at Christie's in April, 
 1866. 
 
 WHITCOMBE, Tno^rAS, marine painter. 
 Born about 1760. He practised in London, 
 painting sea-pieces, sea-fights, storms, and 
 the ports and harbours of Great Britain, 
 confining himself to marine subjects. His 
 vessels were well and accurately drawn, 
 and his subjects of a high class. Ho 
 was a constant exhibitor from 1783, when 
 he exhibited ' The Destruction by Night of 
 the Spanish Batteries at Gibraltar,' to 1824, 
 and died soon after that year. 
 
 WHITE, Charles, flower painter. Prac- 
 tised soon after the middle of the 18th 
 century. He died at Chelsea January 9, 
 1780. 
 
 WHITE, Egbert, engraver and drafts- 
 man. Was born in London in 1645, and 
 was the pupil of David Loggan. Among 
 his early works are some title-pages and 
 landscapes, with architecture. But he be- 
 came distinguished by his portraits, which 
 he etched on the copper from the life, and 
 was exceeded by none in this class of art. 
 He was no less celebrated for his portraits 
 drawn in pencil on vellum, which for their 
 accuracy of likeness, correct drawing, and 
 finish, were highly prized. He is described 
 as possessing ' a wonderful power to take 
 the air of a face.' There are also some 
 few plates in mezzo-tint scraped by him. 
 In 1674 he engraved the first Oxford 
 Almanac. Many of the portraits in Sand- 
 ford's ' Curious Coronation of James II.' 
 are supposed to be by his hand. The heads 
 of Sir Godfrey Kneller and his brother are 
 engraved from drawings by him, and Sir 
 Godfrey painted his portrait in return. 
 His works were very numerous. A^ertue 
 collected the names of no less than 275 por- 
 traits by him, all of which are the prizes of 
 the antiquary and the art-collector by 
 whom they are greedily sought even at extra- 
 vagant prices. It is said that when he com- 
 pleted a plate he was i n the habit of taking off 
 two or three impressions, which he threw 
 into a closet, where they lay in heaps. 
 After forty years' labour he had saved be- 
 tween 4,000/. and 5,000/. ; yet by some 
 misfortune or waste he became poor. He 
 resided in Bloomsbury Market, and died in 
 indigent circumstances in 1704. 
 
 WHITE, Geobge, engraver and painter. 
 Was born about 1671, and was the eon and 
 
 445 
 
WHI 
 
 WIG 
 
 pupil of the foregoing. He began art as a 
 portrait painter, practising both in oil and 
 in miniature, but his chief works are as an 
 engraver. After the death of his father he 
 finished the plates left by him incomplete ; 
 and afterwards practised chiefly in mezzo- 
 tint, introducing a method of his own, by 
 etching the outlines of his plate to attain 
 greater precision. He engraved after Lely, 
 Kneller, whom he is said to have so teased 
 with proofs that he was forbidden his house, 
 Vanderbank, Thornhill, and after some of 
 his own works. His mezzo-tint impressions 
 are still much esteem.ed. His last known 
 plate is dated 1731, but there is a small 
 clever chalk portrait of Martha Blount by 
 him, dated 1732. He is supposed to have 
 died about 1734. 
 
 WHITE, Charles, engraver. Was born 
 in London, in 1751, and was a pupil of 
 Eobert Pranker. He commenced his art as 
 a line engraver, but later adopted the dot 
 manner. He did not gain employment on 
 any works of importance, and wa« only be- 
 ginning to give proof of his power to attain 
 some distinction v/hen he died of fever in 
 Pimlico, August 28, 1785, aged 34. 
 
 WHITE, Charles AVilliam, engraver. 
 Was born about 1740, and was taught by 
 George Vvhite. He produced many plates in 
 mezzo-tint, and engraved after Bunbury, 
 Stothard, K.A., W. Pether, Cosway, E.A. 
 
 WHITE, Henry, wood engraver. He 
 was apprenticed in London to James Lee, on 
 whose death, in 1804, he went to Newcastle 
 and served the remainder of his time with 
 Bewick. He then returned to London, where 
 he practised v/ith great reputation. He en- 
 graved the clever illustrations for Hone's 
 * House that Jack Built,' ' Matrimonial 
 Ladder,' and for many of the illustrated 
 works of that period. 
 
 WHITE, Thomas, engraver. Was born 
 in London, and practised at the beginning 
 of the second half of the 18th century. He 
 was chiefly employed by Ryland, whom he 
 assisted in his plates. He excelled in ar- 
 chitecture, and engraved the chief part of 
 the plates for Wolff and Gandon's continua- 
 tion of the ' Vitruvius Britannicus.' He 
 died in London about 1775. 
 
 WHITWELL, T. Stedman, architect. He 
 practised early in the present century, and 
 erected some county buildings, occasionally 
 exhibiting at the Royal Academy from 1807. 
 In 1811 he contributed his designs for 
 St. Mary's Hall, Coventry; in 1820, when 
 he was residing at Birmingham, for the new 
 Library w^hich he built in that town. His prac- 
 tice extending to London, he rebuilt, in 1828, 
 the old Royalty Theatre in Whitechapel, then 
 named the Brunswick Theatre, which fell 
 down three days after it was opened. He 
 had till this event been held in good repute, 
 but it appears to have marred his profes- 
 446 
 
 eional career. He had made a large collec- 
 tion of notes and sketches for a book to be 
 called ' Architectural Absurdities,' but the 
 work was never published and he was lost 
 sight of in art. 
 
 WHOOD, Isaac, portrait painter. He 
 resided in Lincoln's Inn Pields, and in the 
 second quarter of the 18th century had a 
 considerable practice. His portraits are 
 painted in oil, drawn in red and black chalk, 
 chiefly in profile, and in black lead, but they 
 are weak, without power, or expression. In 
 Lambeth Palace there is a portrait by him 
 of Archbishop Wake, painted in 1736. He was 
 esteemed a good copyist, and was for many 
 years employed by John Duke of Bedford 
 to copy, for his new mansion at Woburn, 
 the portraits of any collateral relatives of the 
 ft^mily that could be met with. He made 
 some designs in 1743 to illustrate 'Hudibras.' 
 Some of his portraits are engraved. At the 
 latter part of his life he was reduced in cir- 
 cumstances by defending proceedings in 
 Chancery against him for the recovery of 
 an estate. He was a noted humourist. He 
 died in Bloomsbury Square, February 24, 
 1752, aged 63. 
 
 WICKSTEAD, Philip, portrait petinter. 
 Born in London, he was a pupil of ZofFani, 
 and was distinguished by his small wdiole- 
 length portraits. In 1763 he gained a 
 premium from the Society of Arts. He 
 was at Rome in 1773, and found much 
 employment in portraiture, and making 
 acquaintance there with Mr. Beckford, he 
 accompanied him to Jamaica, and practised 
 his art for a considerable time in that 
 island. He then speculated as a planter 
 but was unsuccessful. His losses led him 
 to drinking and shortened his life. He 
 died some time before 1790. 
 
 WICKSTEAD, James, cyigraver. Prac- 
 tised in London in the second half of the 
 18th century, working in the dot manner. 
 He exhibited at the Academy some impres- 
 sions and some small portrait casts, 1779-82. 
 He died July 11, 1791, aged 73. 
 
 WIGHTWICK, George, architect. He 
 was born at Albrighton, August 26, 1802, 
 was brought up as an architect, and in 
 pursuit of his study went to Italy in 1828, 
 and in that year exhibited at the AcadeniA' 
 his only contribution, a drawing of Giotto's 
 Tower, Elorence, On his return, he com- 
 menced practice at Plymouth, from which 
 he retired in 1850, without leaving any 
 executed work with which his name may be 
 associated. He will be best remembered 
 by his professional writings ; among them, 
 * Sketches by a Travelling Architect,' in the 
 Library of the Pine Arts, 1832 ; ' The Life 
 of an Architect,' in ' Eraser's Magazine 
 'The Palace of Architecture,' 'Hints to 
 Young Architects,' 1847; 'The Principles 
 and Practice of Architectural Design,' 1853; 
 
WIG 
 
 WIL 
 
 * On Gothic Architecture,' and ' Roman 
 Antiquities.' He also wrote two tragedies, 
 Bome novels, and poems. He died at Portis- 
 head, July 9, 1872. He bequeathed to the 
 Institute of British Architects a large col- 
 lection of drawings of his principal archi- 
 tectural works. 
 
 WIGSTEAD, H., siihject painter. Prac- 
 tised in London towards the end of the 
 18th century, painting popular subjects and 
 drawing satirical designs. He exhibited at 
 the Royal Academy from 1784 to 1788. His 
 ' Country Vicar's Eire Side ' was engraved 
 in 1785. He etched a plate of two Jews, 
 old clothes men, called ' Traffic,' and Row- 
 landson etched, in 1786, a clever drawing 
 by him of the costume and manners of 
 the day, hardly a caricature. His works 
 were popular in his day. He died in Greek 
 Street, Soho, November 13, 1793. 
 
 WILD, Charles, water-colour "painter. 
 Was born in London in 1781. Ho early 
 devoted himself to architecture, and made, 
 a number of architectural views, his prac- 
 tice being chiefly as an architectural drafts- 
 man. He exhibited some works of this 
 class in 1804, and the following years, at 
 the Royal Academy. He became, in 1809, 
 an associate exhibitor of the Water-Colour 
 Society, and was, in 1821, elected a mem- 
 ber of the Society, and afterwards filled, 
 successively, the office of treasurer and of 
 secretary. He was from the first a con- 
 stant contributor to the Society's exhi- 
 bitions. His early works were almost 
 exclusively of our English cathedrals, with 
 some designs for Pyne's ' Royal Palaces.' 
 Soon after 1821 he commenced exhibiting 
 his elaborate drawings of the great re- 
 ligious edifices of Erance and the Low 
 Countries. He published, in 1813, his 
 Chester Cathedral and Lichfield Cathe- 
 dral ; 1819, his Lincoln Cathedral; and 
 in the same year Canterbury and York 
 Cathedrals ; Worcester Cathedral followed 
 in 1823. He travelled in Germany, Erance, 
 and Belgium, and made numerous drawings 
 in their chief towns of the churches and 
 public buildings, and afterwards publislied 
 his * Eoreign Cathedrals;' and in 1833 
 etched outlines from sketches made in 
 Belgium, Germany, and Erance. In 1837 
 his last work was published, 'Select 
 Examples of Architectural Grandeur in 
 Belgium, Germany, and Erance.' His 
 architecture was beautifully drawn ; his 
 subject j)ictorially treated ; his effect al- 
 ways sweet and tender, with suppressed 
 tone and colour. He was afflicted from 
 1827 by the loss of sight. He died in 
 Albemarle Street, Piccadilly, August 4, 
 1835. 
 
 WILDER, JA"^^ES, la^idscape painter. He 
 was born in New Street, Covent Garden, in 
 1724, and, brought up as an artist, painted 
 
 landscapes, introducing figures. After- 
 wards, under Mr. Walton, the keeper of the 
 king's pictures, ho gained much repute as 
 a picture-restorer. But ho quitted art for 
 the stage, and appeared at Covent Garden 
 Theatre in 1749, and then performed at 
 Drury Lane and in Dublin. Ho wrote 
 ' The Gentleman Gardener,' an opera, pro- 
 duced in 1751. In 1788 he obtained an 
 official appointment at Somerset House, 
 and then left the stage. 
 
 WILKIE, Sir David, Knt., R.A., 
 subject painter. Was born at Cults, in 
 Eifeshiro, of which place his father was 
 the minister, on November 18, 1785. Early 
 accounts of him speak of his very pre- 
 cocious scribblings and his artist power of 
 observing. With his years his love of 
 drawing increased so much that though 
 the whole family had wished ho should be 
 a minister, his father was convinced ho 
 must be a painter, and placed him in the 
 Trustees' Academy, at Edinburgh in 1799. 
 Here he studied during four years under 
 John Graham, was a diligent student, 
 readily felt the character of the figure he 
 was at work upon, and became a tolerable 
 draftsman. In 1804 he returned for a 
 while to his home, and struck by the in- 
 cidents of a fliir in the adjoining village, 
 where ho had found his early schooling, he 
 painted his first picture, ' Pitlassie Pair,' a 
 work of small size, full of subject and of 
 figures, which speaks well for the amount 
 of technical skill he had attained, and for 
 the air of local truth, gained by the direct 
 study of nature, but red and rank, and 
 giving no proof of his future excellence in 
 colour. Ho also painted among his friends 
 a few small portraits and miniatures. 
 
 His ambition was then aroused. He had 
 sold his 'Pitlassie Pair' for 25/, and probably 
 added to this sum by his portraits ; and, 
 determining to try his fortune in London, 
 he started from Leith by sea in May, 1805. 
 On his arrival, his first object was to 
 secure admission to the schools of the 
 Royal Academy. He added to his means 
 by selling for 6/. a small picture of ' The 
 Recruit.' And while continuing zealously 
 his Academy studies, he completed for the 
 next year's exhibition his ' Village Poli- 
 ticians,' and then, stimulated by its sale, and 
 the interest which it excited on the Aca- 
 demy walls, he set to work on ' The Blind 
 Eiddler,' a commission for 50/, and now 
 in the National Gallery. He then painted, 
 also on commission, his ' King Alfred in the 
 Herdsman's Cottage,' which did not add to 
 his growing reputation. But, returning to 
 a more congenial subject, he produced his 
 characteristic picture of ' The Rent Day,' 
 sold for 300 guineas, and .in 1809 was 
 elected an associate of the Academy. 
 
 He had just completed his 24th year, and 
 447 
 
WIL 
 
 WIL 
 
 "vras already famed in art when he began his 
 
 * Village Festival,' also in the National 
 Gallery. This picture was studied with 
 great care, and, both in execution and the 
 treatment of his subject, evinces a very 
 marked improvement ; the groups are well 
 composed, and the varied characters true to 
 nature. It was not completed in time for 
 the Academy exhibition of 1811, and 
 though only weakly represented, the repu- 
 tation he had already earned gained him 
 his election as academician in that year. In 
 1812 he made an exhibition of his own 
 works and sketches in Pall-mall, when his 
 
 * Village Festival* was first shown to the 
 public ; but his exhibition did not succeed 
 — he did not realize his expenses. In weak 
 health, and with his new honours, he now paid 
 a visit to his family, and in 1814 made his 
 first visit to the continent, passing five or 
 six weeks in France in the study of the col- 
 lections of art in the Louvre, then so rich, 
 and on his return produced his ' Distrain- 
 ing for Rent,' followed by the 'Penny Wed- 
 ding' in 1819, and in 1820 the 'Reading 
 the Will,' which greatly added to his repu- 
 tation. In 1822 he completed in time for 
 the exhibition his ' Reading the Gazette of 
 the Battle of Waterloo,' a commission from 
 the Duke of Wellington, a work almost his- 
 torical, and the attraction of the year ; and 
 the next year, for George IV., ' The Parish 
 Beadle,' in which his early art and manner 
 culminated. 
 
 On the King's royal progress to Edin- 
 burgh, Wilkie went to the Scots' capital to 
 find a subject in connection with the event, 
 and the office of King's Limner for Scotland 
 falling vacant at the time, he was appointed 
 to it. He proposed to paint 'The Entrance 
 of the King,' and His Majesty, approv- 
 ing the choice, sat to him — but the attend- 
 ant courtly sitters troubled him sadly, many 
 incongruities presented themselves, and the 
 work proceeded but slowly. Meanwhile 
 domestic troubles and anxieties gathered 
 round him, and weighed sorely on his sensi- 
 tive mind; added to these, about 1825, he 
 lost a considerable sum which he had in- 
 vested in some speculation connected with 
 a publishing house. Under these trials his 
 health again failed, and he sought its re- 
 storation in foreign travel and an entire 
 cessation of his art labours. He set out in 
 1825 for Paris, and, joined there by a cousin, 
 travelled on to Italy. At Florence his 
 painter friends, Hilton and Phillips, were 
 added to the party, and by easy journeys 
 they made their way to Rome. His health 
 had somewhat improved, but the fever of 
 admiration excited by the great works at 
 Rome, added to further accounts of pecu- 
 niary losses ; again threw him back. 
 He visited Naples, Bologna, and Venice, 
 and from thence went to Germany, seeing 
 US 
 
 Dresden, Prague, and Vienna, and then re- 
 turned to spend the winter in Italy, and, 
 slowly recovering in health, he again took 
 up his palette. 
 
 He had altered his style by the study of 
 the old masters. He painted in a larger, 
 bolder manner ; he sought to make his pic- 
 tures more effective, and to attain greater 
 rapidity of execution, and, having arrived 
 at Geneva on his way home, he changed 
 his mind after a short stay there, deter- 
 mined to see Spain. He arrived at Madrid 
 in October, 1827, painted several pictures, 
 and made many sketches and studies, re- 
 turning to London in the spring of 1828, 
 highly satisfied with his visit. His enthu- < 
 siastic study of Velasquez confirmed him in 
 his new manner, and the pictures painted 
 in Madrid and on his return seem to have 
 been completed at once. They are fine in ge- 
 neral effect and tone, and have a Spanish air 
 about them. Of these we may mention * The 
 Guerilla Council of A¥ar,' ' The Guerilla 
 Taking Leave of his Confessor,' ' The Maid 
 of Saragossa,' and ' The Confessional.* 
 When these pictures were exhibited, the 
 public lamented his early art and the class 
 of domestic stories, all his own, on which 
 his fame is founded. But, though startled 
 by the sudden change, many beauties will 
 be found in his latter works, which, too, 
 give him claims to historic art. 
 
 In 1830 he completed his 'Entry of the 
 King into Holyrood,' but it added nothing 
 to his reputation. The same year the Pre- 
 sident of the Academy died, and many 
 thought that Lawrence would be succeeded 
 by Wilkie ; yet, although the King ap- 
 pointed him his painter-in-ordinary, he 
 was not elected to the presidency by his 
 brother academicians, and, overcoming his 
 disappointment, he resumed his 'John 
 Knox Preaching,' which he had long had on 
 the easel, determined to make it a fine work, 
 and at the same time was busy upon some 
 full-length portraits, among them the King, 
 in the Highland costume, and in 1833, ' The 
 Duke of vSussex,' in the same costume ; but 
 his portraits, while pleasing, failed to give 
 the mental characteristics or the best ex- 
 pressions of his sitters. He retained his 
 Household appointment on the accession of 
 William IV., from whom, in 1836, he re- 
 ceived the honour of knighthood ; and on 
 the accession of Queen Victoria, still retain- 
 ing his post in the household, he was com- 
 missioned by Her Majesty to paint her first 
 council, a work of great interest, but hur- 
 riedly conceived and finished. 
 
 With many commissions and much un- 
 completed work in hand, he suddenly de- 
 termined, in 1840, to make a voyage to the 
 East, to seek new fields of art in the loca- 
 lities of the sacred narrative, that his 
 countrymen and the art of the time might 
 
WIL 
 
 WIL 
 
 reap some benefit from his journey. Travel- 
 ling through Germany to Vienna, he took a 
 steamer down the Danube, and reached Con- 
 stantinople in October, 1840, and after some 
 delay in that capital, setting out by Smyrna 
 and Beyrout, arrived at Jerusalem at the 
 end of February. He was deepl}^ impressed 
 with all he saw, and made many sketches 
 of the scenes and incidents which sur- 
 rounded him. On his return, while at 
 Alexandria, he commenced a portrait of the 
 Pasha. He had been about ten months 
 absent, and, though he had enjoyed good 
 liealth, began to long for home. He left 
 Alexandria apparently well. At Malta lie 
 was imprudent in eating some fruit, and an 
 attack of some complaint in the stomach 
 recurred in the night, and he was fast sink- 
 ing when the vessel left the harbour, and 
 died within an hour, on June 1, 1841, and 
 the same evening his body was committed 
 to the deep. 
 
 Wilkie's truly original art will always 
 hold a high place in the English school. 
 His early pictures of domestic story and 
 sentiment, his own inventions, full of 
 incidents, quietl}^ both humorous and 
 pathetic, will always interest and please, 
 while their art and finish, founded on the 
 Dutch school, will no less satisfy the artist 
 and connoisseur. His later works, painted 
 after the study of It^ilian and Spanish art, 
 and approaching the manner of those 
 schools, are of higher aim, and depict 
 interests and feelings which are allied to 
 history, and in both styles he was great. 
 Had he survived his eastern travel, he 
 would most probably have painted not 
 only oriental, but scriptural subjects, but 
 it is doubtful if he would have added to 
 the fame which was founded on his early 
 subjects. Of these, the chief were engraved 
 in line by Eaimbach and Burnet, and 
 greatly extended the knowledge of his art. 
 In 1842 130 of his works were exhibited 
 with the collection of the old masters at 
 the British Institution. His life, by his 
 friend Alan Cunningham, was published 
 in 1843, and his artist friends placed his 
 statue by S. Joseph, in the vestibule of 
 the National G-allery. 
 
 AVILKIN", Charles, engraver. Practised 
 in London towards the end of the 18th cen- 
 tury. In 1 7 7 1 he was aAvarded a premium by 
 the Society of Arts. He engraved in the 
 dot manner, with much power, some fine 
 portraits after Keynolds, Beechey and 
 others. He died from the effects of an ac- 
 cident. May 28, 1814. 
 
 WILKIN, Prank, W. 'portrait fainter. 
 Son of the foregoing. Commenced art very 
 early in life as a miniature painter, and 
 found employment in making water-colour 
 copies of the old masters, which were very 
 truthfully rendered. While so engaged 
 
 he received a commission to paint in oil 
 on a very large scale ' The Battle of Has- 
 tings,' for Battle Abbey, for 2,000 guineas. 
 He completed this work, which he exhibi- 
 ted at Spring Gardens in 1820. It was 
 looked upon as a great effort, but it was 
 weakly painted, spiritless, and the figures 
 without motion. He afterwards devoted 
 himself to portraiture in chalk, and was 
 extensively employed, exhibiting at the 
 Academy occasionally from 1820 to 1841. 
 He died in September, 1842. 
 
 WILKIN, Henry, portrait painter. 
 Brother of the above, practised his art 
 for some time in London, and in the latter 
 part of his life at Brighton. His portraits 
 were chiefly in crayons, and were correctly 
 drawn, and from 1830 he was a large con- 
 tributor to the Academy exhibitions. Ho 
 also painted some well finished pictures 
 in water-colours, and was an occasional 
 lecturer on art. He died suddenly at 
 Brighton, July 29, 1852, aged 51. 
 
 WILKINS, Robert, onarine painter. He 
 was born about 1740, and practised his 
 art in London in the latter part of tlie 
 18th century. In 1765 ho received a 
 Society of Arts premium of 30 guineas, 
 and from that year exhibited with the 
 Pree Society of Artists up to 1778, and 
 at the Royal Academy from 1772 to 1779. 
 His works comprised naval actions, ships 
 on fire, moonlight scenes. In 1772 he 
 exhibited at the Academy, ' The City, 
 Mole, and Fortifications of Algiers ' ; in 
 1777, 'A Storm — Mackerel Pishing'; in 
 1779, 'A Naval Engagement.' He died 
 about 1790. 
 
 AVILKINS, William, R.A. architect. 
 He was born 31st August, 1778, at Nor- 
 wich, where his father was successful as 
 a builder, and was educated at the Pree 
 Grammar School there. On the removal of 
 his father to Cambridge, lie matriculated 
 at Gonville and Caius College, in 1796, 
 and graduated as Sixth Wrangler in 1800, 
 and next year, gaining a travelling fellow- 
 ship, he visited Italy and Greece, and culti- 
 vated a taste and knowledge of their 
 architecture. On his return, his connexion 
 with the University led to his appoint- 
 ment as architect of Downing College, 
 and his employment on several of tho 
 University buildings. In 1808 he erected 
 tlie Nelson Column at Dublin, and in 
 1817 a memorial column to tlie same 
 hero at Yarmouth, and was rising to 
 acknowledged reputation as an architect. 
 In 1820 he appears as an exhibitor at 
 the Royal Academy, sending in that year 
 a design for the new buildings, Cambridge, 
 comprising the additions to King's College 
 and the Pitzwilliam Museum, and in 1823, 
 an elevation of the quadrangle for Corpus 
 Christi. In 1825 he was elected an 
 G 449 
 
WIL 
 
 WIL 
 
 associate and in 1826 a full member (yf 
 the Academy, and in the latter year he 
 was associated with Grandy Deering in 
 building the University Club in Pall Mall 
 East, and in connexion with him he de- 
 signed and exhibited at the Academy a 
 design for a commemoration Waterloo 
 Tower 280 feet high. 
 
 He excelled in the purity and harmony of 
 his Grecian designs, and in 1828 he was 
 employed to erect the University College in 
 Gower Street. He only completed the centre, 
 the wings remaining unfinished ; but his por- 
 tico, the main feature of his design, was 
 greatly admired for its classic taste. His 
 next important work was the National 
 Gallery, Trafalgar Square, completed in 
 1838. In this he had to contend with 
 more than one difficulty. He had to intro- 
 duce the portico from Carlton House, and 
 was cramped by an alteration in the allotted 
 space and by conditions imposed by the Go- 
 vernment ; and this work has not ceased to 
 be the subject of hostile criticism. He 
 afterwards rebuilt St. George's Hospital, 
 and again had to contend with altera- 
 tions imposed by the assertion of neigh- 
 bouring rights. He was appointed archi- 
 tect to the East India Company, and 
 built in the Grecian style the Company's 
 college at Haileybury ; and commenced 
 in the same style Downing College, 
 Cambridge, which he did not live to com- 
 plete. 
 
 He was an unsuccessful competitor in 
 1836 in the designs for the Houses of 
 Parliament ; and afterwards, in a pam- 
 phlet, ' An Apology for the Design of the 
 New Houses of Parliament,' marked ' Phil- 
 Archimedes,' severely criticised the deci- 
 sion of the Commissioners and the designs 
 of his competitors. He was an accomplished 
 scholar, and had early in his career pub- 
 lished his ' Magna Grsecia,' and was known 
 as a writer on subjects connected with his 
 profession. He published his ' Civil Archi- 
 tecture of Vitruvius ' in 1813, and in 1816, 
 ' Atheniensia, or Eemarks on the Buildings 
 and Antiquities of Athens.' In 1831, a 
 letter to the Prime Minister, on ' The 
 Patronage of the Arts by the Government ; ' 
 in 1837, the first, and only part, of his 
 ' Prolusiones Architectonicae,' and the same 
 year was appointed Professor of Archi- 
 tecture at the Academy, but he never de- 
 livered any lectures. He had suffi)red for 
 some time from gout, and died at Cambridge 
 on August 31, 1839, on the 61st anni- 
 versary of his birth. He was buried 
 in the chapel of Corpus Christi College, 
 which he had erected. 
 
 WILKINSON, The Eev. Joseph, 
 amateur. Eorty-eight landscape views by 
 him in Cumberland, Westmoreland, and 
 Lancashire, were published by Akerman, in 
 450 
 
 1810. His drawings were very weak and 
 unfinished. 
 
 WILKINSON, , engraver. Prac- 
 tised in London towards the end of the 18th 
 century. He engraved chiefly portraits, 
 but the ' Loss of the Halsewell, East India- 
 man,' after Nortlicote, has been powerfully 
 scraped by him in mezzo-tint. 
 
 WILLES, William, landscape painter. 
 He was born at Cork, of a respectable 
 family, and, early devoted to study, was 
 a man of many attainments. He painted 
 landscapes, introducing figures, and was 
 from 1820 an exhibitor at the Eoyal Aca- 
 demy. In 1824, he sent 'A Serenade;' in 
 1826, 'A River Scene, a View of London,' 
 introducing groups of figures; in 1829, 'A 
 Midsummer Night's Dream,' and land- 
 scape views of Killarney. About 1830 he 
 came to reside in London, and in 1857, 
 wlien he exhibited for the last time, ' Ex- 
 celsior,' he was at Eeading. ' The Mock 
 Euneral' is spoken of as one of his best 
 works. 
 
 WILLIAM of AVaynflete, architect. 
 Was the principal builder of ecclesiastical 
 edifices in the reign of Henry V. 
 
 WILLIAMS, Edward, engraver. Prac- 
 tised in London in the last half of the 18th 
 century. There are several groups by him 
 after Eowlandson, and a plate after Wig- 
 stead. He was one of Hogarth's boon 
 companions. 
 
 WILLIAMS, Edwaed, lemelscape painter. 
 Son of the above. Was born in Lambeth 
 in 1782, and was the pupil of his maternal 
 uncle, James AVard, E.A., and was after- 
 wards apprenticed to a carver and gilder ; 
 but meeting with some success in his at- 
 tempts in miniature and landscape painting, 
 he turned to the latter, and was successful 
 in moonlight scenes, his favourite subjects, 
 and in 1814 and 1816 exhibited at the 
 Eoyal Academy. Later in life he painted 
 the scenery of the Thames. There is 
 a moonliglit by him in the National 
 Gallery. He died at Barnes, June 24, 
 1855, leaving six sons who followed the 
 arts, three of whom changed their names to 
 preserve identity in their art. 
 
 WILLIAMS, John— known a"s 'An- 
 thony Pasquin ' — engraver. Studied in the 
 schools of the Eoyal Academy, and was 
 apprenticed to learn engraving, to Matt. 
 Darby, the well-known caricaturist. If as 
 an artist he is unknown, his caustic art- 
 criticism has given him a name. He 
 wrote a ' Liberal Critique on the Exhibition 
 for 1794,' 'Memoirs of the Academicians, 
 being an Attempt to Improve the Taste of 
 the Eealm,' and ' An Authentic History of 
 the Artists of Ireland.' He emigrated to 
 America, and died at Brooklyn in 1818. 
 
 WILLIAMS, Hugh AVilliam, called 
 ' Grecian Williams,' water-colour painter. 
 
WIL 
 
 WIL 
 
 Was born in 1773 in Wales, where lie 
 claimed an ancient descent. He early set- 
 tled in Edinburgh and Scotland became his 
 adopted country. He was in 1807 a candi- 
 date for admission into the Water-Colour 
 Society, and in 1808 joined the new Society 
 of Painters in Water-Colours, which that 
 year started into a brief existence. Many 
 of his early topographical views are en- 
 graved in the ' Scot's Magazine.' After 
 gaining a reputation in Edinburgh, where 
 he was a great favourite, he travelled seve- 
 ral years in Greece and Italy, and on his 
 return in 1818 published 'Travels in Italy, 
 Greece, and the Ionian Islands,' 1820, and 
 in numbers completed, in 1822, his 'Views 
 in Greece.' In 1822 he exhibited in Edin- 
 burgh a collection of his sketches and draw- 
 ings in these countries. He married a lady 
 of good family and fortune, but did not long 
 survive his marriage, dying June 23, 1829. 
 His drawings possessed great breadth, with 
 rich and harmonious colouring ; his trees 
 well drawn, his masses of foliage simple. 
 There is an account of his gallery in 'Peter s 
 Letters.' 
 
 WILLIAMS, William, subject and por- 
 trait painter. He was awarded a premium 
 by the Society of Arts in 1758, and prac- 
 tised in London in the second half of the 
 18th century, and from 1770 was an exhi- 
 bitor at the Royal Academy. He sent land- 
 scapes, with figures, portraits; in 1778, 
 'The Good Samaritan,' ' Trinculo and Cali- 
 ban,' and did not exhibit again till 1787, 
 when he contributed 'Banditti Sleeping,' 
 and some rustic scenes ; in the following 
 year, with some portraits, ' Venus attended 
 by the Graces,' and in 1792 exhibited for 
 the last time. Some subjects from Shakes- 
 peare by him were engraved by Val. Green, 
 and his ' Marriage ' and ' Gallantry ' by 
 Jukes. 
 
 WILLIAMS, SoLOMON,R.HA., histonjand 
 portrait -painter. Was born in Dublin and 
 studied in the Dublin Academy. He exhi- 
 bited a portrait in wax at the Eoyal Aca- 
 demy in 1782, and afterwards some oil 
 portraits. He then visited Italy, making 
 some stay at Rome and Bologna, where he 
 was admitted a member of the Academy. 
 He sent from thence, for exhibition in 
 London, in 1792, a portrait group; in 1796, 
 some domestic subjects and portraits. He 
 brought home some good copies after Titian. 
 He practised for a time in Dublin, but 
 towards the end of the century he was in 
 London, and in 1804 and 3 807 was a con- 
 tributor of some classic subjects to the 
 Academy exhibition. In 1823 he was en- 
 gaged on a large painting, 'The Trial of 
 Algernon Sydney.' He was one of the 
 foundation members of the Royal Hibernian 
 Academy. He died August 2, 1824. 
 
 WILLIAMS, John Michael, portrait 
 
 G 
 
 painter. Is reputed to have been a pupil 
 of Jonathan Richardson, and practised in 
 London with much reputation about the 
 middle of the 18th century. His works 
 were much admired in his day, but appear 
 slight in drawing and weak, yet are not 
 without an air of fashion. His portraits 
 have been engraved by McArdell, C. Cor- 
 butt, and J. Faber. He exhibited at the 
 rooms of the Incorporated Society in the 
 Strand in 1761. He resided in Scotland 
 Yard, and is supposed to liave died about 
 1780. 
 
 WILLIAMS, J. T., gem engraver. Born 
 in the latter part of the 18tli century. 
 Was brought up as a sculptor. He made 
 several copies from the antique, and some 
 statuettes and bas-reliefs, and afterwards 
 engraved some gems, and upon these his 
 reputation rests. There are also some 
 cameos and intaglios by him. 
 
 WILLIAMS, Roger (or Robetit), mezzo- 
 tint engraver. Was born in Wales, and 
 practised in the reign of Queen Anne. He 
 is said to have been a pupil of Theodore 
 Freres, who was brought to this country in 
 1687 by Sir Peter Lely, and remained hero 
 only a short time. He distinguished himself 
 in his art, and his portraits after Vandyck, 
 Kneller, Wissing, and others are finely ex- 
 ecuted. His leg was accidentally injured 
 and he suffered amputation, which he sur- 
 vived many years. 
 
 WILLIAMS, J. F., R.S.A., landscape 
 painter. Born in Perthshire, he came to 
 England at an early age, and was employed 
 as a scene-painter. About 1810 he returned 
 to Edinburgh, and was engaged at the 
 Theatre, devoting himself also to landscape 
 painting, and finding some employment in 
 teaching. He was elected a member of the 
 Scottish Academy, and for several years filled 
 the office of Treasurer. He died in 1846. 
 
 WILLIAMS, Samuel, wood engraver. 
 Was born at Colchester, of poor but respect- 
 able parents, February 23, 1788, and was 
 apprenticed there to a house painter. After 
 teaching himself to etch, he tried wood 
 engraving, and on the completion of his 
 apprenticeship had made sufficient progress 
 to trust to that art for his livelihood. Ho 
 was first employed to engrave the illus- 
 trations to a work on natural history, and 
 his success did not fail to gain him other 
 engagements; his great ability is evidenced 
 by his work in the chief publications of his 
 day. He designed as well as engraved the 
 illustrations for an edition of ' Robinson 
 Crusoe,' 1822. Some good examples of his 
 work are in Hone's ' Every-day Book,' 
 1825. He was skilful in rural scenery. He 
 painted a few pictures in miniature and in 
 oil colours, and was an exhibitor at the 
 Royal Academy. Died, September 19, 1853, 
 in his 65th year. 
 g2 451 
 
WIL 
 
 WIL 
 
 WILLIAMS, James Francis, R.S.A., 
 
 Icmdscape 'painter. Was born in Perthshire, 
 and, it is believed, came to London at an 
 early age, and was connected with the 
 stage, both as a scene-painter and actor. 
 About 1810 he returned to Edinburgh to 
 paint scenes for the Edinburgh Theatre. 
 After a time he left the theatre and settled 
 in Edinburgh as a landscape-painter, and 
 was also much employed as a teacher. On 
 the foundation of the Royal Scottish Aca- 
 demy in 1830 he was chosen one of the 
 members, and in 1840 was elected to the 
 office of Treasurer. In 1823, and some 
 subsequent years, he contributed some 
 Scotch landscape scenes to the Royal Aca- 
 demy. He died at Glasgow October 31, 
 1846, aged 61. 
 
 WILLIAMS, "SI, water-colour 
 painter. Practised at Plymouth about the 
 middle of the 1 8th century. He exhibited 
 at the Academy between 1801-14 some 
 views in Wales and Devonshire, and 
 published in 1804 ' Picturesque Excursions 
 in Devonshire and Cornwall,' for which he 
 drew and etched the plates ; also ' The 
 Environs of Exeter,' and ' A Tour in the 
 Isle of Wight,' illustrated in the same 
 manner. 
 
 AVILLIAMSON, Prancis (of Southwark) 
 glazier. He contracted jointly with Simon 
 Symonds, 18th Henry VIII. to glaze four 
 windows in the upper story of Kings 
 College Chapel, Cambridge, curiously 
 and sufficiently of orient colours and 
 imagery of the story of ' The Old Law 
 and the New Law,' after the manner and 
 goodness in every point of the King's new 
 chapel at Westminster. 
 
 WILLIAMSON, Peter, engraver. Prac- 
 tised in London in the reign of Charles 11. and 
 engraved some small plates of the incidents 
 of the King's concealment. He also en- 
 graved portraits of the King, and Queen 
 Catherine, and of some of the nobility. He 
 was for some time employed by David 
 Loggan, and appears to have been also en- 
 gaged as a publisher. 
 
 WILLIAMSON, John, portrait fainter. 
 Practised for above thirty years, and was 
 respectable in that branch of art, and had 
 many eminent sitters. He died at Liver- 
 pool in 1818, aged 67. 
 
 WILLIS, ^^Qiys^^anticiuarian draftsman. 
 He was in 1738 a member of the St. Mar- 
 tin's Lane Drawing Academy, and obtained 
 some notice as an artist. 
 
 WILLISON, George, portrait painter. 
 A native of Scotland. After studying some 
 time in Rome, he settled in the practice of 
 his profession in London, and in 1771 re- 
 sided in Greek-street, Soho. He exhibited 
 some whole length portraits at the Royal 
 Academy in that and the following year. 
 His works were fiat and thin, but not badly 
 452 
 
 coloured. Not meeting with encourage- 
 ment, he went to the East Indies, and ac- 
 quired a fortune of 15,000^., upon which 
 he returned to Edinburgh, where he settled 
 and died in 1797. He acquired his great 
 wealth, chiefly in jewels, left him by a 
 person in India, whom he possessed suffi- 
 cient knowledge of physic to cure of an 
 afflicting wound of long standing. His por- 
 traits are engraved by Valentine Green and 
 James Watson. 
 
 WILLMORE, James Tibbitts, A.E., 
 line engraver. Was born at Erdington, 
 near Handsworth, Staffordshire, where his 
 father was an extensive manufacturer, Sep- 
 tember 15, 1800, and was articled for seven 
 years to Wm. Radclyffe, an engraver, at 
 Birmingham. He came to London in 1823, 
 upon the expiration of his apprenticeship, 
 and for three years was employed in 
 Charles Heath's studio, and then com- 
 menced his own career, producing many fine 
 works. In 1843 he was elected an associate 
 engraver of the Royal Academy, and was 
 for the first time an exhibitor, contributing 
 ' Ancient Italy,' a fine work after Turner, 
 R.A., and the following year 'A View of 
 London from St. Bride's Church,' appa- 
 rently from a drawing by himself, and he 
 was an occasional exhibitor of works after 
 J. J. Chalon, R. A., Leitch, Stanfield, R.A., 
 E. Landseer, R.A., and particularly Turner, 
 R.A., from whose works, so difficult to ren- 
 der, he produced many plates of great deli- 
 cacy and excellence. Latterly his health 
 became very precarious, and he was unable 
 to pursue his labours. He died aged 62, 
 March 12, 1863, and was buried in High- 
 gate Cemetery. 
 
 WILLS, The Rev. James, portrait pain- 
 ter. Practised towards the middle of the 
 18th century. He exhibited in 1760 with 
 the Society of Artists 'Liberality and 
 Modesty,' and the following year 'St. 
 Peter returning from Prison,' a sketch. He 
 contributed to the Foundling Hospital a 
 large painting, ' Suffer little Children to 
 Come unto Me.' He did not meet with 
 much success in art, and having received a 
 liberal education, he took orders, and was 
 for many years curate, and afterwards 
 vicar, of Canons, Middlesex. He was also for 
 a short time chaplain to the Chartered 
 Society of Artists, with a salary of 30/. a 
 year. He died in the latter part of 1777. 
 Some of his portraits are engraved. He 
 published in 1754 a dry translation of 
 Du Presney's 'Art of Painting.' 
 
 WILLSON, Thomas, architect. Studied in 
 the schools of the Royal Academy, and in 
 1801 gained the gold medal for his design 
 for a ' National Edifice.' In the same year 
 he exhibited at the Academy ' The Palace 
 of Dido ;' in 1804 ' Entrance Pront, Bank of 
 Ireland,' and does not appear again till 
 
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 WIL 
 
 1814, when he exhibited ' West Elevation for 
 a Eoyal Palace, designed for an Illustrious 
 Personage,' and in the following two years 
 ' A National Mausoleum, to commemorate 
 British Naval and Military Heroism,' with 
 a section of his design. In 1819 he de- 
 signed a 'Wellington Pillar,' in 1824 a 
 marine villa for Cape Town, and in 1831 
 ' The Pyramid Cemetery for the Metropolis,' 
 and from that time there are no traces of 
 him. 
 
 WILLSON, Edw^ard James, architect. 
 He was born at Lincoln, where his father 
 was a respectable builder, June 21, 1787. 
 He held the appointment of county archi- 
 tect, but his reputation rests only upon his 
 Avritings in connexion with the works on 
 mediaeval Gothic architecture, by John 
 Britton and Augustus Pugin. He died in 
 Lincoln, September 8, 1854. 
 
 WILSON, Andrew", landsca.jie pcdnter. 
 W^as born in Edinburgh in 1780, of a re- 
 spectable family of Jacobite opinions, and 
 at an early age was a pupil of Alexander 
 Nasmyth. In his seventeenth year he came 
 to London and studied at the Eoyal Aca- 
 demy, but after a short time started for 
 Italy, and with some difficulty landed at 
 Leghorn, making his w^ay to Rome, and 
 subsequently Naples, where he became ac- 
 quainted with two well-known collectors, 
 and studying the great works of the Italian 
 masters, gained a knowledge of the dis- 
 tinctive characters of their art. He re- 
 turned to London in 1803, but was soon 
 after induced to re-insit Italy, for the pur- 
 pose of purchasing works of the old masters, 
 a task of some hazard, owing to the re- 
 currence of the war. He arrived at Genoa 
 in 1803, and, under the protection of the 
 American consul, made that capital his 
 chief residence, and was successful in pur- 
 chasing 54 pictures, many of them of a 
 high character. He came back through 
 Germany, reaching home in 1806, and, 
 devoting himself to landscape in water- 
 colours, was in 1808 a member of the 
 short-lived Society of Artists in Water- 
 Colours, and a frequent exhibitor at the 
 Royal Academy. In 1808 he married, and 
 soon after obtained an appointment as one 
 of the teachers of drawing in the Royal 
 Military College at Sandhurst, but resigned 
 this office in 1818, and returned to Edin- 
 burgh as master of the Trustees' School. 
 Here he brought up several pupils who 
 attained distinction, and was a constant 
 exhibitor to the Edinburgh exhibitions, 
 sending also some works to the Royal Aca- 
 demy in London, He made the collection 
 of engravings for the trustees of the Royal 
 Institution, which is now shown in their 
 galleries. But his restless attachment to 
 Italy and a small accession of fortune led 
 him again to that country, for which, with 
 
 his wife and family, he set off in 1826, and 
 living alternately at Rome, Elorence, and 
 Genoa, passed there the next twenty years. 
 During this time he painted many fine 
 pictures, only a few of which found their 
 way to our exhibitions ; w\as much consulted 
 by the purchasers of works of art, and 
 made many good purchases himself. In 
 1847, anxious to re-visit his native country, 
 he left Genoa for London, and after a few 
 months residence went to Edinburgh, and 
 here, whilst preparing to return to his 
 family in Italy, he was struck with 
 paralysis, and died on November 27, 1848. 
 His compositions, mostly Italian, were 
 pleasing ; simply painted, and without the 
 use of body colour; carefully finished ; his 
 distances tender, and the whole work 
 marked by much refinement. 
 
 WILSON, Charles, circhitcct. Com- 
 menced his studies in 1827, in the office of 
 Mr. David Hamilton of Glasgow, and two or 
 three years after the termination of his ap- 
 prenticeship set up in business for himself, 
 practising both in the Classic and Gothic 
 styles. One of his early works was 
 the Lunatic Asylum at Glasgow, com- 
 menced in 1842. He afterwards erected 
 many public buildings in Scotland, and 
 was the President of the Glasgow Archi- 
 tectural Association. He died 1862 or 
 1863. 
 
 WILSON, John H., R.S A., landscape 
 and marine ixdnter . Born in Ayr Borough, 
 August 13, 1774. Apprenticed to a house 
 decorator in Edinburgh, and, on the com- 
 pletion of his term, having received some 
 instruction from Alexander Nasmyth, ho 
 went to Montrose, where he passed two 
 years painting and teaching drawing. About 
 1798 he came to London, and was em- 
 ployed as a scene painter at Astley's. In 
 1807 he was for the first time an exhibitor 
 at the Royal Academy, and again in 1809, 
 and both his pictures found a purchaser. 
 In 1810 he married. In 1813 he exhibited 
 at the British Institution and was a con- 
 stant contributor from that time for many 
 years, his sketch of the Battle of Trafalgar, 
 in 1826, gaining in competition one of the 
 premiums of 100 guineas offered by the 
 directors. He was one of the foundation 
 members of the Society of British Artists, 
 established in 1824, and one of its most 
 constant supporters and exhibitors. Though 
 settled in London he was a regular exhibi- 
 tor at the Royal Scottish Academy, and 
 was elected one of its honorary members. 
 During the latter years of his life he re- 
 sided at Eolkestone, with the sea, which he 
 loved to study, ever before him, and there 
 he died on April 29, 1855, having con- 
 tinued to paint till the last. His pictures 
 are bold and free — the sea in all its moods, 
 the vessels that traverse it and the craft 
 
 453 
 
WIL 
 
 WIL 
 
 which haunt its shores, rendered with truth 
 and spirit — if wanting in refinement of ex- 
 ecution — rude in their reality. 
 
 WILSON, Benjamin, fortrcdt 'painter. 
 Was born in 1721, at Leeds, where his 
 father ranked as one of the first clothiers, 
 but afterwards fell into decay. He came 
 to London early in life, was for some 
 years in a very poor condition, and then 
 gaining employment as a clerk, he found 
 means to pursue a love of art. He is 
 said not to have received any instruction, 
 but appears to have had some help from 
 Hudson. By his perseverance and ability, 
 he made himself known in art, and be- 
 came the friend of Hogarth, Hudson, 
 Lambert, and other of the leading painters. 
 In the spring of 1748, he went to Ireland, 
 to paint some commissioned portraits, 
 and found employment tliere till 1750, 
 when he returned to London, and estab- 
 lished himself in Great Queen Street, 
 Lincoln's Inn Fields. Here he painted 
 many eminent persons, became fashionable, 
 and is reputed to have made 1,500/. a year 
 by his art. ZolFany assisted him as his 
 drapery painter. At the same time, he 
 applied himself to science, and in 1746, 
 and 1750, published treatises on electricity. 
 He contrived and exhibited a large electri- 
 cal apparatus, and in 1756, ho was elected 
 F.R.S., and printed his * Experiments and 
 Observations on Electricity.' He had also 
 studied chemistry. He was versatile in 
 his talents. He took part in a private 
 theatre, and was both manager and promp- 
 ter, and by this means he became known 
 to the Duke of York, who appointed him 
 about 1773, painter to the Board of Ord- 
 nance, reputed to have been a lucrative 
 office. In 1760, and 1761, he exhibited por- 
 traits in the Spring Gardens Rooms. He 
 succeeded Hogarth as sergeant painter, 
 and in 1776 had the honour of exhibiting 
 to the King and Queen, whose favour he 
 enjoyed, his picture of ' Belshazzar's 
 Feast.' He etched with great ability, and 
 was a copier of Rembrandt, after whom he 
 is said to have produced a landscape, which 
 took in Hudson, who was a great connoisseur 
 and collector. A caricature etching by him, 
 at the time of the American Stamp Act, 
 called ' The Repeal,' and sold at sixpence, 
 is said to have produced him 300/. Several of 
 his works were engraved, ' Garrick, as Ham- 
 let,' by McArdell ; ' Garrick, as King 
 Lear ; ' ' Lady Stanhope, as the Fair Peni- 
 tent, in some amateur theatricals,' by 
 Basire, and other portraits. He married 
 at the age of fifty, and had seven children, 
 one of whom became well known as General 
 Sir Robert Wilson. He died in Blooms- 
 bury, June 6, 1788. He had been a specu- 
 lator on the Stock Exchange, and was, 
 about 1766, a defaulter; but, to the sur- 
 454 
 
 prise of his friends, he left a very hand- 
 some property. 
 
 WILSON, Richard, R.A., landscape 
 painter. Was born August 1, 1714, at 
 Pinegas, in Montgomeryshire, where his 
 father, who was afterwards collated to 
 Mold, in Flintshire, then held a small 
 living. His mother was a descendant of 
 the Lord Chancellor Camden. He received 
 an excellent classical education from his 
 father, and in 1729, having shown some 
 early taste, was sent to London, assisted by 
 Sir George Wynne, Bt., a relation of 
 his mother, and was placed under Thomas 
 AVright, a portrait painter of small ability, 
 with whom he continued six years. He 
 then commenced portrait painting on his 
 own account, and after several years prac- 
 tice, must have obtained some power, even 
 were the great art qualities, which he after- 
 wards displayed, unrecognized. He must 
 also have been of some reputation, as he 
 was employed in 1749 to paint the full 
 length portraits of the Prince of Wales and 
 the Duke of York, and his ability in this 
 branch of art is attested by the works 
 which are known, and of which there are 
 examples at the Garrick Club and in 
 several private collections. 
 
 He had, with the desire which belongs to 
 the artist, looked forward in hope to visit 
 Italy, and having managed to save the 
 means, he set out in the year last-men- 
 tioned for Venice. Hitherto his practice 
 had been in portraiture, but here the true 
 bent of his genius was disclosed. Zuccarelli, 
 then a fashionable landscape painter, ad- 
 mired a landscape which he had painted 
 and advised him to follow that art. After a 
 stayof about twelvemonths at Venice, where 
 he made acquaintance with Mr. Locke, of 
 Norbury, he visited with him several of the 
 Italian cities, painting for him some sketches 
 and landscapes, and continuing the journey 
 to Rome. Here he remained some while, and 
 meeting with little employment and in dif- 
 ficulties, probably devoted his time to land- 
 scape, and here Vernet, the celebrated French 
 artist, seeing one of his landscapes, exchanged 
 for it a picture of his own, counselled him to 
 continue that art, and recommended him to 
 his own friends. After having spent nearly 
 six years in Italy, chiefly in Rome, he tra- 
 velled to Naples with Lord Dartmouth, for 
 whom he painted some fine landscapes, and 
 in 1755 made his way home. 
 
 In 1758 he was living in the Piazzas, 
 Covent Garden ; he had now changed his 
 art ; he was a landscape painter. It is re- 
 lated that his return excited some interest 
 among his brother artists, but that his art 
 was unappreciated either l3y them or by the 
 public ; the artists indeed advised him that 
 his manner was not suited to the English 
 taste, and the critics, to whom it was new, 
 
WIL 
 
 WIL 
 
 did not understand and depreciated it, 
 while they lauded the meretricious pro- 
 ductions of his contemporaries. Thomas 
 Sandby, K.A., who had favour at Court, 
 with better judgment recommended him to 
 the Duke of Cumberland, for -whom he 
 painted the ' Niobe,' one of his great works, 
 which he exhibited in the Adelphi with 
 the Society of Artists, of which he was a 
 member, in 1760. It is said, however, that 
 he lost the Court patronage. Having after- 
 wards painted a landscape of Sion House 
 for the king. Lord Bute, by whom it was to 
 have been submitted, remarking that sixty 
 guineas, the price he named, was too high, 
 he angrily replied that if the king could 
 not pay that sum at once, he would take it 
 by instalments, and thus cut short his hope 
 of Royal favour. Tliis unfortunate explo- 
 sion of temper, if a fact, did not stand in 
 his way upon the foundation of the Royal 
 Academy by the King, in 1768, for ho was 
 then nominated one of the first members, 
 and was a constant contributor to the exhi- 
 bitions up to 1780. In 1770 he sent ' Cicero 
 and his Two Friends at his Villa at Arpi- 
 nium;' in 1771, 'Wynnstay' and 'Crew 
 Castle,' two large landscapes painted for 
 Sir AV. AV. AVynn ; in 1774, 'Cader Idris,' 
 ' The Cataract of Niagara,' and others ; in 
 1775, 'The Passage of the Alps at Mont 
 Cenis,' and ' The Lake of Nemi; ' in 1776, 
 ' Sion House ; ' in 1778, ' View in Windsor 
 Great Park;' in 1779, 'Apollo and the 
 Seasons,' and ' View of St, James's Park ; ' 
 in 1780, when he exhibited for the last 
 time, ' Tabley Park.' He repeated many of 
 his favourite works, some of them several 
 times. 
 
 But only a few of these fine pictures 
 found purchasers, even the dealers declar- 
 ing that those they bought remained on 
 their hands, and from time to time, descend- 
 ing in the scale, he changed his abode to 
 suit his diminished means. His temper, 
 naturally quick, was embittered by his 
 trials. He lived in a poor lodging in 
 Tottenham Court Road, wanting employ- 
 ment, and one day, in tone of indignant 
 despair, asked Barry, R.A., if he knew anyone 
 mad enough to employ a landscape painter, 
 to whom he could recommend him, as he 
 had literally nothing to do. He was no 
 less a man of high spirit and gentlemanly 
 feeling, of classic tastes, an elegant scholar, 
 and when not suffering from a morbid de- 
 pression of spirits, for which there were 
 only two many sad causes, he wvas of cour- 
 teous address and brilliant in his conversa- 
 tion. He also possessed great knowledge 
 and critical judgment of art. Yet while 
 neglected by fortune, he did not give up the 
 struggle, and continued to paint, thinking 
 himself happy to obtain even the mean sum 
 of 15 guineas for a three-quarters land- 
 
 scape. So he managed to live till, in his 
 declining powers he became, on a vacancy 
 in 1776, the Librarian to the Royal Aca- 
 demy, and the snudl salary attached to that 
 office, for which he was well fitted, greatly 
 increased his narrow means. It is pleasant 
 to add that ho unexpectedly became 
 possessed of a small property near Llan- 
 beris on the death of his brother, and that 
 retiring there he passed a short time in 
 comfort, and peace, and then died suddenly, 
 in May 1782. He was buried on the 15th 
 of that month in the churchyard of St. 
 Mary-at-Mold. 
 
 His art possesses some of the highest 
 qualities in the reach of the landscape 
 painter. Purely classic and noble in his 
 conceptions, he gave a new aim to tho 
 English school. Strong in his impressions 
 of Nature's truths, vigorously and power- 
 fully painted, grandly poetic in tone and 
 colour, yet broadly and simply treated, his 
 works will secure him an imperishable 
 name in tho English school. Peter Pindar, 
 who spared him in his caustic criticism, 
 truly prophesied — ' But honest AVilson 
 never mind, immortal praises thou shalt 
 find.' Yet the poet deferred the realisa- 
 tion until the painter had been dead one 
 hundred years. Did he find any com- 
 pensation during years of neglect and suf- 
 fering in the confident hope we learn he 
 entertained, that posterity would do him 
 justice ? 
 
 An exhibition of the works of deceased 
 British artists, at the British Institution, in 
 1814, included eighty-five of his works. 
 Our National Gallery possesses two fine 
 examples of his art, and he has been made 
 widely known by engraving, and is for- 
 tunate in the engravers employed on his 
 works, among whom AA^oollett, AVilliam 
 Sharpe, Byrne, Canot, Rooker, Earlom, and 
 Middiman are distinguished. He made 
 many studies, which are in the hands of 
 collectors, executed in black and white on a 
 grey Roman paper. His life, by AVright, 
 was published in 1824; and Cunningham, 
 falling upon that work for his chief facts, 
 has written a memoir of him in his ' British 
 Painters.' 
 
 AVILSON, James, engraver and drafts- 
 man. Born about 1735. Practised in 
 London. There are some good works by 
 him in mezzo-tint, several of them after 
 Sir Joshua Reynolds. He died about 
 1780. 
 
 AVILSON, AViLLiAM Charles, engraver^ 
 Born about 1750. There are many early 
 plates by him in mezzo-tint. He was em- 
 ployed by Boydell upon his Shakespeare 
 Gallery, and engraved after Smirke, AVes- 
 tall, AVest, P.R.A., and Pillement. 
 
 AVILSON, Sm AVilliam, architect. He 
 was knighted in 1681, and practised in the 
 
 455 
 
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 WIN 
 
 reign of William III. ; but little is known 
 of his works. He is said to have designed 
 the colossal figure of Charles II. on the 
 west front of Lichfield Cathedral. He re- 
 built the spire of Warwick Church. Died 
 about 1702. 
 
 AVILTON, Joseph, E.A., sculptor, AVas 
 born in London July 16, 1722, and was 
 educated at Hoddesdon, Herts. His father, 
 originally a workman, was a manufacturer 
 of architectural ornaments in plaster, em- 
 ploying many men. He studied mathe- 
 matics and geometry for the profession of 
 an engineer, but afterwards determined to 
 follow sculpture as his profession. He was 
 placed under Delyaux, who had formerly 
 resided in London, at Nivelles, in Brabant, 
 and in 1744 went to Paris, where he studied 
 in the Academy under Pigalle. In Octo- 
 ber, 1747, he left that city, and travelled in 
 Italy, studying several years in Rome and 
 Florence, and in the former city, in 1750, 
 gained the Jubilee Gold Medal, given by 
 the Pope. He afterwards visited Kaples, 
 and the interesting localities in the neigh- 
 bourhood, and from 1751 till May 1755, 
 when he returned to London, he was fully 
 employed in Florence upon copies and com- 
 missions. 
 
 On his home journey he was accompanied 
 by Sir AVilliam Chambers, and Cipriani, 
 R.A. He had enjoyed opportunities of 
 study which other English sculptors had 
 not known. In 1758 he was selected to 
 teach modelling in the Duke of Richmond's 
 Grallery, and was about the same time ap- 
 pointed State coach carver to the King, 
 and modelled the ornaments for the Coro- 
 nation State coach. On the institution of 
 the Royal Academy, he was nominated 
 one of the foundation members. In 1773 
 he completed his monument to General 
 Wolfe in Westminster Abbey, his first pub- 
 lic work. This was followed by monuments 
 to Admiral Holmes, the Earl and Countess 
 of Monteath, Pulteney Earl of Bath, and 
 a series of fine busts, including Bacon, 
 Newton, Cromwell, Chatham, and Swift. 
 He also executed some fine mantelpieces. 
 His contributions to the Academy exhi- 
 bitions were very limited. In 1769, and 
 several following years, he only sent a bust. 
 In 1773 a small model of Mutius Scsevola 
 before Porsenna. In 1781 and 1783 he each 
 year exhibited a monumental figure, and 
 was not again an exhibitor. 
 
 His father had left him an independence. 
 He had added to this considerably by his 
 professional gains, and after a career of 
 nearly thirty years, he sold his premises 
 and materials by auction. Retiring from the 
 active pursuit of his art, he accepted the 
 office of Keeper to the Academy in 1790, 
 an office which he filled with much zeal till 
 his death. Living in much luxury, he enter- 
 456 
 
 tained many distinguished friends, among 
 whom were some of the most eminent 
 artists and dilettanti, including Dr. John- 
 son. His daughter, who is always men- 
 tioned as possessed of remarkable beauty, 
 married Sir William Chambers, R.A. She 
 presented to the Academy a bust in plaster 
 by Roubilliac of her father. He died 
 November 25, 1803, in his 81st year. His 
 works are skilfully executed and coldly 
 correct— sometimes graceful. His groups 
 are crowded in their composition, yet not 
 without grandeur of conception. 
 
 AVINDHAM, Joseph, amateur. AVas 
 born at Twickenham, August 21, 1739, 
 and educated at Eton and Christ's College, 
 Cambridge, and was an eminent classic 
 scholar, learned in the history of art and 
 architecture. He travelled in France, Italy, 
 Istria, and Switzerland 1769, and, a good 
 draftsman, he made many sketches of scenery, 
 architecture, and ancient remains ; and at 
 Rome measured some of tlie ruins with 
 great accuracy. Many of his plans and 
 sections are engraved in Cameron's work on 
 the Roman baths. He wrote the greater 
 part of the letterpress of the 2nd A^olumo 
 of the 'Ionian Antiquities,' published by 
 the Dilettanti Society. He died Sept. 21, 
 1810. 
 
 AVINGFIELD, J. D., landscape and figure 
 painter. His name first appears in the 
 catalogues of the Royal Academy as an 
 exhibitor of portraits in 1835-36. But ho 
 afterwards painted interiors, and garden 
 and park scenes, introducing figures in cos- 
 tume ; and he exhibited works of this class 
 up to 1872. He died in the spring of that 
 year, and his works, with numerous copies 
 from the old masters, were sold by Messrs. 
 Christie in the following July. 
 
 AVINSTANLEY,- Henry, architect. He 
 was of Littlebury, Essex, and had by several 
 inventions shown the germs of genius. He 
 travelled in Italy early in life, and his 
 name first appears in 1694 as clerk of the 
 works at Audley Inn, then a royal palace, 
 and as filling the same office at Newmarket 
 in 1700. Evelyn mentions, having on a 
 visit at Chelsea in 1696, ' seen those 
 ingenious water-works invented by Mr. 
 AVinstanley, architect of the Eddystone 
 Lighthouse, wherein were some things very 
 surprizing and extraordinary.' Here he also 
 exhibited the model of his lighthouse at a 
 charge of sixpence each person. This erec- 
 tion, which was chiefly of wood, was com- 
 menced in 1696 and completed in four years. 
 He was so confident of its security, that he 
 is reputed to have expressed a wish to be 
 left in it during a storm. Anyhow this so 
 happened. He was superintending some 
 repairs, making under his inspection, and 
 perished together with his workmen and 
 his work in the great storm on November 26, 
 
WIN 
 
 WIV 
 
 1703, wliicli swept the whole away. He 
 etched some views of Audley Inn 1688, 
 which, though now rare, have little art- 
 merit, and dedicated them to James II. 
 
 WINSTANLEY, Hamlet, engraver. Son 
 of the above. Was intended for a painter 
 and was a pupil of Sir Godfrey Kneller. 
 He painted several portraits, among them 
 the Bishop of Chester, and a group of him- 
 self and his wife, which are engraved by 
 luiber. His portraits are correct in drawing, 
 but weak in expression and colour. Having 
 travelled in Italy, on his return he gave 
 himself up chiefly to engraving. He etched 
 25 of the family portraits and pictures of 
 the Derby family, and published under the 
 title of ' The Knowsley Gallery,' his etchings 
 from Lord Derby's pictures ; also, a set of 
 prints from Thornhill's paintings in the 
 dome of St. Paul's Cathedral, and several 
 others. He died, aged 61, in May 1761, and 
 was buried at Warrington, Lancashire. 
 
 WINSTON, Charles, amateur. Was born 
 in 1814 at Farningham, Kent, where his 
 father, the Eev. B. A. Sandford, was the vicar, 
 On succeeding to some property he took the 
 name of Winston. He graduated at Oxford, 
 and was in 1814 called to the bar, and prac- 
 tised on the Home Circuit. But with the 
 law he cultivated a loA^e of glass painting, 
 and acquiring great accuracy of drawing, he 
 made many copies of ancient glass, render- 
 ing the character and colour with great 
 skill. He was also distinguished for his 
 knowledge of stained glass. He published 
 in 1847 an 'Inquiry into the difference of 
 Style observable in Ancient Glass Painting,' 
 and in 1849 'An Introduction to the Study 
 of Painted Glass,' and he contributed several 
 papers to the journal of the Archaeological 
 Society. His published works were illus- 
 trated by drawings made by himself, and 
 on his death October 3, 1864, he left to the 
 nation a largo collection of drawings of 
 stained glass. 
 
 WISSING, William, portrait 'painter. 
 Born at Amsterdam, 1656. Studied at the 
 Hague both portrait and history. After 
 leaving his master there he went to Paris, 
 and shortly after, about 1680, came to 
 England. He was at first employed by Lely 
 and imitated his manner, and on his death 
 succeeded to much patronage and was the 
 fashionable rival of Kneller. He painted 
 the portraits of the Royal family and several 
 of the Duke of Monmouth, and was much 
 employed by the Court. James II. appointed 
 him his principal painter, and sent him to 
 Holland to paint the portraits of William 
 and Mary, then Prince and Princess of 
 Orange. On his return he went to Burleigh 
 and painted the sixth Earl of Exeter, and 
 soon after, dying there, September 10, 1687, 
 in his 32nd year, he was buried by the Earl 
 at St. Martin's Church, Stamford, where 
 
 there is a tablet to his memory. His death 
 was attributed to envy, and he was suspected 
 to have been poisoned, but without any suf- 
 ficient grounds. Several of his works are 
 well engraved in mezzo-tint, among them 
 a fine portrait of himself, ipse pinxit, by 
 John Smith. His portraits were solidly and 
 carefully painted, pleasing in character, 
 rather gay in colour, and not undeserving 
 the reputation he enjoyed. It is said that 
 he would take by the hand a pale faced 
 sitter and dance her about the room to 
 heighten her colour and improve her looks. 
 
 WITHERINGTON, William Eukde- 
 RiCK, R.A., landscape painter. Was born 
 in Goswell Street, London, May 26, 1785, 
 was brought up to a business, but cherish- 
 ing an early love of drawing he tried to 
 improve himself, and when in his twentieth 
 year gained admission to the schools of the 
 Royal Academy, but while an attentive 
 student he did not for a considerable time 
 abandon his business pursuits. In 1811 ho 
 first exhibited his 'Tintern Abbey' at the 
 British Institution, and the same year also 
 exhibited at the Academy. His early works 
 were landscapes with figures, but he after- 
 wards tried more purely figure subjects of a 
 rural character, and his health failing ho 
 lived more in the country, and for several 
 years painted landscapes. In 1835 he exhi- 
 bited 'A Hop-garden,' one of his best works, 
 which forms part of the Sheepshanks' Gift 
 to the South Kensington Museum. There are 
 a lso two landscapes by him in the Vernon Col- 
 lection. He gained his election as associate 
 of the Academy in 1830, and as full 
 member in 1840, and at this time painted 
 much of the scenery of Devon and the Welsh 
 Lakes. His landscapes were entirely En- 
 glish, introducing all the rural accessories 
 of English scenery ; careful, pleasing, full 
 of incident, with the figures well introduced, 
 his works yet fail to reach an art that 
 would give him a high rank as a 
 landscape painter. He died, April 10, 1865, 
 aged 79. 
 
 WIVILL, Abraham, portrait painter. 
 Was born in Marylebone, July 9, 1786. 
 His father was a tradesman at Launceston, 
 who, failing in business, came to London, 
 and died soon after, leaving a widow and 
 four children in penury. After many diffi- 
 culties and some little teaching by his 
 mother, he learnt shoemaking at the Mary- 
 lebone School of Industry, and was even- 
 tually, in 1799, apprenticed and served his 
 time with a peruke maker and hair-dresser. 
 Setting up on his own account, he placed in 
 his window beside his wigs some miniatures 
 in water-colours which he had attempted, 
 and was advised to apply himself to art, but 
 he had married and was afraid to give 
 up his trade. An opportunity, however, 
 arrived ; he sketched the likenesses of the 
 
 457 
 
WOD 
 
 WOO 
 
 Cato Street Conspirators, and his success 
 gained him notice and some commissions 
 for theatrical portraits ; following up this, 
 he sketched with great readiness and ability 
 the portraits of the principal persons en- 
 gaged at the Trial of Queen Caroline, which 
 he published. Ho had saved some money in 
 these undertakings, and was induced to pub- 
 lish 'An Inquiry into the History of the 
 Shakespere Portraits,' but the work was a 
 failure and entailed great loss upon him, 
 and he was relieved from much difficulty 
 by an annuity of 100^. a year left him by an 
 uncle. At this time he was active in in- 
 venting fire-escapes, and when the Society 
 for the Protection of Life from Eire was esta- 
 blished in 1836 hewas appointed their Super- 
 intendent with a pay of 100/. a year. But 
 upon some difference he threw up this em- 
 ployment and went to reside at Birming- 
 ham, where in 1847 he resumed his art 
 career, and w^as engaged to take the portraits 
 of the raihvay celebrities for the ' Eailway 
 Eecord.' This was his last work. He died 
 at Birmingham, March 29, 1849. He ex- 
 hibited at theAcademy in 1822andin 1830, 
 a portrait in oil. But his art was confined 
 to a carefully drawn miniature portrait in 
 black-lead, in which the likeness was well 
 preserved. 
 
 WODEAA^AKD, William, medallist. Held 
 the office of Graver to the Koyal Mints of 
 Dover and Calais 32nd Henry VI. 
 
 WOGAN, Thomas, miniature fainter. 
 He studied in the Dublin Academy, and 
 practised both in that city and in London, 
 enjoying a contemporary reputation. He 
 was an exhibitor at the Koyal Academy in 
 1776-77-78, and was then residing in 
 London. He died in Dublin, 1780. 
 
 W 0 L C 0 T T , John, M.D., amateur. 
 Wrote under the name of ' Peter Pindar.' 
 He was born near Kingsbridge, Devon, in 
 1738, and was apprenticed to his uncle, an 
 apothecary at Truro, who left him his pro- 
 perty. Afterwards he went to Jamaica as 
 physician to the governor, and there was 
 some doubt as to his having taken orders 
 to qualify himself for a living in the island ; 
 but it appears that he was ordained both 
 deacon and priest by the Bishop of London. 
 In medicine he took a Scottish degree. On 
 his return to England, he settled in Corn- 
 wall, and becoming acquainted with Opie, 
 afterwards so distinguished as a painter, 
 brouglit him to London in 1780, on condi- 
 tion of sharing the profits of his profes- 
 sional labours, and pushed him into notice, 
 but the pair soon separated. The arrange- 
 ment was one-sided ; and, moreover, the 
 young painter was too honest in his opinion : 
 ' I tell ee, ye can't paint ; stick to the pen,' 
 which was an affront to the doctor's art 
 attempts. He then took into his house, on 
 the same conditions and the same result, 
 458 
 
 Paye, a young artist of great genius and 
 great misfortunes. He had written poli- 
 tical satires upon the Court of George III., 
 and he now turned his attacks upon the 
 Academy, and published his criticisms, vul- 
 garly abusive rather than critical, upon 
 the exhibitions of 1782-83-85-86, under 
 the title of ' Lyric Odes to the Koyal Aca- 
 demicians.' These were followed, in 1788, 
 by ' The Bee, or the Exhibition exhibited 
 in a New Light;' and in 1797 by 'The 
 Koyal Academy, or a Touchstone to the 
 Present Exhibition.' He was fond of art, 
 painted with some ability as an amateur, 
 and made some fair sketches of the scenery 
 of his native county. ' Six Picturesque 
 View^s,' from paintings by Peter Pindar, 
 Esq., in aqua-tinta by Aiken, were pub- 
 lished in 1797. In the decline of his life 
 he became blind, and died in Camden 
 Town, January 1819. 
 
 WOLSTENHOLME, D., animal fainter. 
 He lived for several years during his early 
 career at Cheshunt. He first exhibited 
 at the Academy in 1804, sending 'Fox 
 Hunting;' in 1805, 'The Epping Eorest 
 Hunt ; ' in 1807, ' The Golden Lane 
 Brewery.' These works were followed by 
 portraits of favourite horses and dogs. In 
 1824 he exhibited 'The Interior of the 
 Kiding School of the Light Horse Volun- 
 teers,' introducing portraits; in 1846, a 
 work of some pretension, 'The Progress 
 of Queen Elizabeth with her Ketinue to 
 Hatfield;' and in 1849, 'A Morning 
 Shooting,' his last work exhibited at the 
 Academy. Bromley, A.E., engraved after 
 him 'Portraits of Three Dogs.' 
 
 WOLSTENHOLME, D., junr., animal 
 'painter. He was born about 1800, son of 
 the above, and followed the same branch 
 of art, painting chiefly the portraits of 
 favourite animals. He first exhibited in 
 1818, and in 1822 sent 'Truman and 
 Hanbury's Brewhouse,' with portraits of 
 their horses and men ; in 1825, ' Terriers 
 Eerretting Kabbits,' with portraits. He 
 exhibited for the last time in 1828. 
 
 WOOD, John, engraver. He is sup- 
 posed to have been a pupil of Chatelaine. 
 He was employed by Boydell, for whom he 
 engraved several of the plates in a set 
 of landscapes published in 1747. He 
 engraved after Salvator Kosa, Caspar 
 Poussin, Claude, Kembrandt, and Kichard 
 Wilson. ' A View of London from Green- 
 wich,' by him, after Tillemans, is dated 
 1774. He died about 1780. His works 
 possess considerable merit, and are exe- 
 cuted with much care and finish. 
 
 WOOD, John George, water-colour 
 draftsman. He was the author of several 
 works on art, but had little claim to artistic 
 power. * From 1798 he was an exhibitor at 
 the Royal Academy, chiefly of Welsh views. 
 
woo 
 
 woo 
 
 He exhibited for the last time in 1811. He 
 published, 1792, ' Plans for Labourers' 
 Cottages ; ' 1793, * Six Views in the Neigh- 
 bourhood of Llangollen,' from his own 
 drawings; in 180-1, 'Lectures on Perspec- 
 tive,' which he had delivered ; 1813, ' The 
 Principal Eivers of Wales,' illustrated ; 
 181-J:, 'The Principles and Practice of 
 Sketching Landscape from Nature.' He 
 died in 1838, and his drawings were sold 
 by auction at Sotheby's in that year. 
 
 WOOD, John (of Bath), architect. He 
 appears to have settled in Bath in 1727, 
 and in that year to have built there Chan- 
 dos House, a fine mansion. He became 
 the architect of the city. He built Queen 
 Square, and several fine edifices, and 
 much improved street architecture by com- 
 bining several houses in one fa9ade. Ho 
 was also the architect of the Bristol Ex- 
 change, Biickland Manor House, Berks, 
 an original attempt of some merit ; Stan- 
 linch, Wilts. He published ' The Origin of 
 Building,' 1741; 'A Description of the 
 Bristol Exchange,' 17-i5 ; ' Description of 
 Bath' (two editions), 1749. He died at 
 Bath, after a long illness, in May 1754, 
 in his 50th year. He was a Justice of the 
 Peace for the county of Somerset. 
 
 WOOD, John, history ^painter. He was 
 born in London, June 29, 1801, and was 
 the son of an artist, who found his chief 
 employment in teaching. He was early 
 attached to drawing, and was admitted 
 into Mr. Sass's Academy, and in 1819 he 
 entered the schools of the Royal Academy. 
 He was, in 1824, living in Whitechapel, 
 and that year, with two portraits, exhibited 
 his ' Archangel Michael Contending with 
 Satan,' his first contribution to the Aca- 
 demy. In 1825 he gained the gold medal 
 for his ' Joseph Expounding the Dreams 
 of the Chief Butler and Baker,' which he 
 exhibited the following year with his 
 'Psyche, wafted by Zephyrs.' He next 
 exhibited some portrait groups with, in 
 1829, 'Comus and the Lady,' and in 1833 
 * Cupid and Psyche.' These works earned 
 him a great reputation, and sanguine 
 hopes were expressed as to his future 
 career. In 1834 he gained, in competition, 
 an important commission for the altar- 
 piece for St. James's Church, Bermondsey. 
 In 1836 he was awarded, at Manchester, 
 the prize for his ' Elizabeth in the Tower,' 
 and shortly after a premium of 1,000/., 
 also in competition, for a painting of 'The 
 Baptism of our Saviour.' But it was 
 already apparent that he was unable to 
 maintain the reputation he had achieved 
 by his first successes. He painted por- 
 traits, and continued at his easel, and 
 later in his career Scripture subjects, 
 but his art degenerated with his failing 
 health, and he was never able to regain 
 
 his early reputation. He died April 19, 
 1870. 
 
 WOOD, William, modeller. He was 
 employed in the Messrs. Wedgwood's manu- 
 factory about the end of tlio last century, 
 and was distinguished for his great ability, 
 and the beauty and finish of his work. 
 
 WOOD, William, miniature painter. 
 Practised in London, and was distinguished 
 for his correct drawing, taste, and harmony 
 of colour. Prom 1791 he exhibited at the 
 Royal Academy, miniatures, with occasion- 
 ally a portrait drawing, contributing for 
 the last time in 1807. He promoted the 
 establishment, in 1808, of the short-lived 
 Society of Associated Artists in Water- 
 Colours, and w^as the society's president. 
 He published, 1808, ' An Essay on National 
 and Sepulchral Monuments.' Fond of the 
 study of nature, he planned the laying out 
 of parks and grounds, and made many 
 sketches from nature of great merit. He 
 improved the stability of colours on ivory. 
 Died at his house in Golden Square, No- 
 vember 15, 1810, aged 41. 
 
 WOODCOCK, Robert, marine fainter. 
 He was born of a good family, and, having 
 a genius for painting, resigned an office 
 under the Government to devote himself to 
 art. He began to study in 1723, and, 
 copying in oil after Vandeveldo, he ac- 
 quired a technical knowledge, and adopting 
 art as his profession, made great progress, 
 confining himself to marine subjects. Ho 
 had also a talent for music, and was not 
 only a good performer, but composed some 
 pieces, which were published. Ho died of 
 gout, in his 37th year, April 10, 1728, and 
 was buried at Chelsea. 
 
 WOODFIELD, Chaeles, topographical 
 landscape painter. Was a pupil of Isaac 
 Fuller. He painte^l topographical subjects, 
 buildings, antiquities, and views. He was 
 idle and often wanted necessaries, but lived 
 to the age of 75 years, dying in 1724. 
 
 WOODFORDE, Samuel, R.A., history 
 painter. Born m 1764, at Castle Cary, 
 Somersetshire, of a respectable family, long 
 settled in that county. Was well educated, 
 and, seized with an early passion for draw- 
 ing, he was sent up to London, and in 1782 
 admitted a student in the schools of the 
 Academy, where he diligently obtained a 
 power of drawing. In 1785 he was assisted 
 to visit Italy. Residing some time in Rome, 
 he was persevering in his studies, but of a 
 slow nature, and his hard work was not 
 rewarded by much progress. After seeing 
 Florence and other of the art cities, and 
 tarrying to study the works of the great 
 colourists at Venice, he made his way back, 
 reaching England in 1791. He had sent 
 some works from Rome for exhibition at 
 the Academy, and he now exhibited some 
 Roman landscapes, followed by, in 1793, 
 
 469 
 
woo 
 
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 * Caractacus before Claudius,' somo por- 
 traits, and classic subjects. He was then 
 employed by Boydell on the Shakespeare 
 Gallery, and painted the forest scene from 
 ' Titus Andronicus,' which was engraved by 
 Anker Smith. He also painted some por- 
 traits, and gaining rank in his profession, 
 w^as popular as a painter of compositions, 
 usually a few figures, from the lighter class 
 of subjects, poetry, and tales. These he 
 painted with some grace, but little power, 
 and only occasionally finding a purchaser, 
 was obliged to depend upon portraiture, in 
 which he was less qualified to succeed. In 
 1800 he was elected an associate, and then 
 exhibited ' Charles I. in the Hands of his 
 Army, has an Interview with his Children.' 
 In 1807 he was full member of the Aca- 
 demy. He managed by economy to secure 
 an independence, and in the spring of 1815 
 married, and shortl}^ afterwards set off 
 again for Italy, probably with the intention 
 to settle there, but was taken ill between 
 Bologna and Ferrara, and died of inflam- 
 matory fever at the latter city, after a few 
 days' illness, July 27, 1817, in his 54th 
 year. Among his principal works are, 
 ' Calypso lamenting the Departure of 
 Ulysses,' 1810; 'Diana and her Nymphs,' 
 1814. His works possess the correctness 
 of drawing and composition due to his 
 laborious studies, but the genius to become 
 more than a respectable artist was not given 
 to him. His colouring was good, and in 
 this respect his water-colour drawings are 
 in advance of his contemporaries. 
 
 WOODHOUSE, John Thomas, M.D., 
 amateur. He was senior Eellow of Gon- 
 ville and Caius College, Cambridge, and 
 though he took his degree in medicine, he 
 never practised. He was chiefly occupied 
 in painting portraits, in which, as an 
 amateur, he greatly excelled, painting the 
 likenesses of his many friends and distin- 
 guished contemporaries. He died at his 
 college, March 20, 1845, aged 65. 
 
 WOODING, T., Iwecngrar.er. Practised 
 towards the end of the 18th century, and 
 produced works of some merit. William 
 Bromley, A.E. w^as his pupil. 
 
 WOODMAN, RiCHAED, engraver. Born 
 in London, he practised there in -the latter 
 part of the 18th century, in the dot manner. 
 His last works are dated about 1810. 
 Among his best works are. ' The Choice of 
 Penelope,' after Eiley, and ' Children at 
 Play,' after Poussin. 
 
 WOODMAN, Richard, engraver and 
 draftsman. Was the son of the above, 
 born in London, July 1, 1784, and was 
 placed under Meadows, a stipple engraver. 
 After leaving him, he was employed to 
 colour, which he did w^ith great ability, the 
 engraved imitations of William Westall's 
 drawings. In 1808 he was engaged by 
 460 
 
 Wedgwood to superintend the engraving 
 department of his works, but he soon re- 
 linquished that employment, and returning 
 to London, he undertook the engraving of 
 some large hunting and sporting plates, 
 and afterwards engraved for Knight's ' Por- 
 trait Gallery.' He also possessed much 
 ability as a miniature painter and water- 
 colour draftsman, and in the latter part of 
 his life, seldom using his graver, he pro- 
 duced some water-colour drawings of much 
 refinement and finish. He died December 1 5, 
 1859. His plates after Rubens' ' Judgment 
 of Paris,' and Poussin's ' Children at Phay,' 
 are mentioned as his best works. 
 
 AVOODS, Joseph, architect. AVas born 
 at Stoke Newington, August 24, 1776, the 
 son of well-to-do Quaker parents. He was 
 a pupil of Mr. Alexander, and practised 
 for a time on his own account ; but, pos- 
 sessed of sufficient means, he indulged his 
 tastes in . a long residence on the Continent. 
 In 1806 he was the first President of the 
 London Architectural Society, then founded, 
 and in 1813-1815 was an exhibitor at 
 the Royal Academy, sending in 1814 'A 
 Design for a Palace and Public Buildings,' 
 intended to be erected on the Thames 
 bank. He was the editor of the fourth 
 volume of Stuart's 'Athens.' In 1828 he 
 published 'Letters of an Architect from 
 Erance, Italy, and Greece.' A good drafts- 
 man, he amused himself by making draw- 
 ings from his early sketches. He was also 
 a member of several scientific societies, 
 and in 1850 published his ' Tourists' Elora,' 
 a botanical work. He died at Southover, 
 near Lewes, January 9, 1864. 
 
 WOODSTREET, Godfrey\ 
 
 WOODSTREET, B. / 
 smiths, who practised in the reign of 
 Richard II., and executed the statues of 
 Richard, and Anne his Queen, which have 
 been engraved by Gough, in his ' Monu- 
 mental Antiquities.' 
 
 WOODWARD, Benjamin, architect. 
 Practised some time in Dublin. He built 
 the new building in Trinity College, the 
 new Museum at Oxford, and the offices of 
 the Crown Insurance Company, at Bridge- 
 street, Blackfriars. He sent in competition 
 designs for the public offices in Downing- 
 street. To recruit his health he went on 
 the Continent, and died on the threshold of 
 his intended tour, at Lyons, May 15, 1861. 
 He was of much promise, and for sometime 
 was the partner of Sir Thomas Dean, in 
 conjunction with whom he executed several 
 works. He treated the Italianised Gothic 
 with great simplicity and beauty. 
 
 AVOODWARD, George M., caricaturist. 
 His earliest attempts appeared in 1792. 
 Rowlandson engraved after him, in 1797, 
 ' Cupid's Magic Lanthorn.' In the follow- 
 ing year he published, with numerous 
 
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 illustrations, * Eccentric Excursions in 
 England.' He caricatured Mrs. Billington 
 under the title of ' The Musical Mania for 
 1802.' In 1807 he commenced a 'Cari- 
 cature Magazine,' and in 1808 published 
 l)}^ subscription his * Comic Works in 
 Prose and Poetry,' a yery poor perfor- 
 mance. He had much reputation as a 
 caricaturist, but seems to have been of 
 strange and unsettled habits. He was 
 taken very unwell in a hackney coach, and 
 penniless, was driven to the Brown Pear 
 public-house, in Bow-street, where he had 
 occasionally slept, but was otherwise un- 
 known. A doctor was procured; he was 
 suffering from dropsy, and surviving only a 
 short time, he died in November, 1809, 
 and was buried by the humane landlord. 
 
 WOODWARD, Thomas, animal jpainter. 
 Was born at Pershore, Worcestershire, in 
 1801, and was a pupil of Abraham Cooper, 
 R.A. He made early progress, and at the 
 age of fifteen years exhibited a picture at 
 the British Institution, and became from 
 that time a constant exhibitor both there 
 and at the Royal Academy. At the latter 
 he was a constant exhibitor from 1822 to 
 1852. In 1823 he sent ' Turks with their 
 Chargers;' in 1829, 'The Chariot Race;' 
 in 1831, ' A Horse Pursued by Wolves;' 
 in 1841, 'A Detachment of Cromwell's 
 Cavalry Surprised on a Mountain Pass ;' in 
 1845, 'A Welsh Shepherdess and her 
 Dogs ;' and in 1851, ' Mazeppa,' his last 
 contribution. He was also an occasional 
 exhibitor at Sulfolk-street. He likewise 
 painted ' The Battle of Worcester,' and 
 several other large-sized pictures, and 
 many portraits of animals. His ' Tempt- 
 ing Present,' a very cleverly composed 
 work, has been well engraved. His land- 
 scape back-grounds had great merit. He 
 died of consumption, at Worcester, in 
 November, 1852. 
 
 WOOLASTON, J.,2^ortrait painter. Was 
 l)orn in London about 1672. He w^as 
 happy in his likenesses, which were toler- 
 ably drawn, low in colour, and rather black. 
 There are two portraits by him of Britton, 
 the musical small-coal man (one dated 
 1703), both of which are engraved. He 
 was himself musical, and performed at 
 Britton's concerts. He died an aged man 
 in the Charter House. 
 
 WOOLASTON, John, j^oHrait painter. 
 He painted a portrait of AVhitfield, which 
 was engraved by Paber, 1742, and Vertue 
 also engraved after him. He went to 
 America in 1772, and found full employ- 
 ment for his art in Virginia and Maryland. 
 
 WOOLPE, JoHX, architect. He was born 
 at Kildare, where his family were held in 
 much consideration. He was appointed 
 Architect of the Board of Works. He built 
 Lord Shrewsbury's house at Heythorpe, 
 
 Mr. Beckford's at Fonthill, and, in con- 
 junction with Gandon, published in 1767 
 the fourth • volume, and in 1771 the fifth 
 volume, of the ' Vitruvius Britannicus,' 
 commenced by Campbell. 
 
 WOOLLETT, William, engraver. Was 
 born at Maidstone, August 15, 1735. His 
 family were originally from Holland ; his 
 father was a watchmaker. He had an 
 early habit of drawing, and his friends at 
 Maidstone subscribed to apprentice him to 
 Tinney, an engraver ; and of some of his 
 works during his apprenticeship he was 
 both designer and engraver. He was a 
 member of the St. Martin's Lane Academy, 
 and early distinguished himself. His art 
 was his constant study, his aim to produce 
 a fine work rather than seek commercial 
 success. He was employed by Alderman 
 Boydell, and his ' Niobe,' after Wilson, R.A. ; 
 and ' Death of Greneral Wolfe,' after West, 
 P.R.A., were the first English engravings 
 that gained notice on the Continent, while 
 Hogarth's were not understood out of Eng- 
 land. Eor the former of these he received 
 150/. (the original agreement was 100/.), 
 and the prints were originally sold for 55. 
 each. A fine proof has since been sold for 
 50/. His ' Battle of La Hogue ' is one of his 
 finest works ; but he no less succeeded in 
 landscape, excelling in all the varjnng man- 
 ners of sky, foliage, and foreground, and 
 especially in the tender transparency of 
 water, when seen in motion. 
 
 In 1766 he was a member of the Incor- 
 porated Society of Artists, and for several 
 years secretary to the Society. He held the 
 appointment of engraver to the king. His 
 ^vorks embraced a wide field of subject. His 
 manner, uniting the needle with the graver, 
 was rich and varied in execution and pecu- 
 liarly his own. He gave every variety of 
 texture, particularly the delicate softness 
 of flesh in the most perfect manner. His 
 works gaA^e a high character to the English 
 school. He lived many years in Green 
 Street, Leicester Pields, and then removed 
 to Charlotte Street, Rathbone Place, where 
 he was wont to celebrate the completion of 
 a plate, by firing a cannon from the roof of 
 his house. He died in Upper Brook Street, 
 Rathbone Place, May 23, 1785, from the 
 effects of a' neglected injury while playing at 
 Dutch pins several years before. He was 
 buried in the churchyard of St. Pancras-in- 
 the-Pields, and his friends placed a tablet 
 to his memory in the cloisters of West- 
 minster Abbey. His widow and two daugh- 
 ters were left in such narrow circumstances, 
 that in 1814 a subscription was raised for 
 them, and in 1843 his daughter, then 73 
 years old, was a candidate for admission 
 into the National Benevolent Institution. 
 
 WOOTTON, John, animal painter. Was 
 a pupil of John Wyck. He first made him- 
 
 461 
 
WOR 
 
 WRE 
 
 self known at Newmarket, where he drew 
 the favourite racehorses, and became dis- 
 tinguished as a painter of horses and dogs, 
 receiving large prices for his works. Later 
 he tried landscape, and introduced hunting 
 scenes. His works, usually on a large scale, 
 decorate the halls of several old mansions, 
 Longleat, Dytchley, Althorp, Blenheim, 
 with some in the royal collection. His sight 
 failing, he sold his collections of drawings 
 and paintings in 1761, and died in January 
 1765, at a house in Cavendish Square, which 
 he had built and decorated with his paint- 
 ings. His horses are painted with great 
 spirit and truth, his landscapes are coarse 
 in manner, but his art is associated with 
 many English recollections. He designed 
 several illustrations, which have much 
 humour, for the first edition of Gray's 
 Tables,' published 1727. 
 
 WORLIDGtE, Thomas, ^portrait ^painter 
 and etcher. Born in 1700. He practised 
 in the reign of Greorge II. and first painted 
 at Bath, drawing with pencil on vellum or 
 in Indian ink, portraits of a miniature size. 
 He afterwards tried portraits in oil, and 
 then removed to London, but not succeeding 
 he applied himself to drawing and etching. 
 He was a good draftsman, and etching with 
 much ability in the manner of Rembrandt, 
 was tolerably successful. He drew and 
 etched a large plate of the Oxford Com- 
 memoration, 1761, full of figures, some of 
 them portraits, freely but slightly etched, 
 yet not wanting in drawing or spirit. After 
 his death in 1768, a selection of his draw- 
 ings from antique gems was published, com- 
 prising 182 plates, a work by which he is 
 best known. He also etched many heads, 
 and was distinguished by his use of dry 
 point. In 1766 he exhibited whole-length 
 and three-quarters portraits with the Pree 
 Society. Ho married a young wife, the 
 daughter of a toy-man at Bath. She was 
 gifted with great beauty, and able to. assist 
 him in his art, and became celebrated by 
 her skill in worsted work. He appears to 
 have been one of those who ' take no care 
 for the morrow.' We are told that when 
 in want of a dinner in his early days, he 
 luckily found half a guinea, and that instead 
 of disposing of it for some beef steaks and 
 a pair of shoes, as his wife wished, he chose 
 a feast of some early green peas. Later in 
 life, when his etchings had become fashion- 
 able and he was better ofP, he resided chiefly 
 at Bath, but he died September 23, 1766, at 
 Hammersmith, was buried in the church 
 there, and a tablet erected to his memory. 
 
 WORSDALE, James, 'portrait fainter. 
 Was a pupil of Sir Godfrey Kneller, who 
 dismissed him for secretly marrying his 
 wife's niece. But he managed to gain many 
 patrons, and was appointed master-painter to 
 the Board of Ordnance. He painted a large 
 462 
 
 whole-length portrait of George II., which he 
 presented to the Corporation of Yarmouth. 
 But he had also a reputation as a player, 
 and was a singer and a mimic, and for some 
 time belonged to a provincial company of 
 players at Chester. He wrote a ' Cure for a 
 Scold,' ' The Assembly,' a farce in which he 
 played admirably a principal character, 
 ' The Queen of Spain,' and ' The Extrava- 
 gant Justice.' He died in London June 13, 
 1767, and was buried at St. Paul's, Covent 
 Garden. He wrote his own epitaph, which 
 was placed on his tombstone : — 
 ' Eager to get, but not to keep the pelf, 
 
 A friend to all mankind, except himself.' 
 
 WORTHINGTON, William Henry, 
 engraver. He was born about 1795, and 
 practised his art in London. He worked in 
 the line manner, and engraved some of the 
 illustrations of the marbles in the British 
 Museum, ' The Cottar's Saturday Night,' 
 and ' Children brought to Church,' with 
 other works after Stothard, R.A., also the 
 portraits of the sovereigns of England, 
 for Pickering's 'History of England,' 1826. 
 His works were chiefly in the line manner. 
 
 WOUTERS, Erancis, landscape and 
 figure painter. He was born at Brabant in 
 1614, and was brought up in the school of 
 Rubens, but chiefly painted landscapes, in- 
 troducing small undraped figures. He came 
 to England with the Emperor, EerdinandlL, 
 in 1637, and his works pleasing the Court, 
 he was appointed painter to the Prince of 
 Wales, afterwards Charles II. On the 
 misfortunes which befell the Royal family 
 he retired to Antwerp, where he was acci- 
 dentally shot in 1659. 
 
 WRAY, Robert Bateman, gem engraver. 
 He enjoyed a reputation about 1770, and 
 exhibited some wax impressions from his 
 works at the Royal Academy. He was 
 chiefly employed in engraving seals. 
 
 WREN, Sir Christopher, Knt., archi- 
 tect. He was born at East Knoyle, Wilts, 
 October 20, 1632. His father descended 
 from an ancient family in Durham, was 
 Dean of Windsor. Small and weakly in 
 constitution, when only 13 years old he in- 
 vented an astronomical instrument, and in 
 the following year patented an instrument 
 for writing with two pens, thus producing 
 two fac-simile copies. He w^as educated at 
 Westminster School, under Dr. Busby ; was 
 B.A. of Wadham College in 1650, and was 
 in 1653, elected a fellow of All Souls', Oxford, 
 where, in the same year he took his M.A. 
 degree. He was early distinguished by his 
 mathematical attainments, and numerous 
 inventions, and was, in 1657, elected Pro- 
 fessor of Astronomy at Gresham College ; 
 in 1659 Savilian Professor of Astronomy at 
 Oxford, and in 1661 had the degree of 
 D.C.L. conferred upon him. 
 
 Up to this time it does not appear that 
 
WRE 
 
 WRI 
 
 he had made any study of architecture, yet 
 he must have no less acquired much know- 
 ledge and skill in matters connected with 
 that art. His reputation stood high among 
 men of science and scholars. Ho had 
 powerful friends, and in 1661 he was ap- 
 pointed Assistant-Surveyor General, but for 
 full two years he remained unemployed, and 
 when, in 1663, he at last received a com- 
 mission for his first public work, a survey 
 of the mole, fortifications, citadel, and 
 port of Tangiers, the employment appeared 
 to have arisen from an intrigue to remove 
 him from Court, and he declined the office. 
 He was, however, at this time appointed 
 under a Great Seal Commission, dated in 
 1663, to prepare plans for the complete re- 
 storation of Old St. Paul's, which showed, 
 from an original faulty construction, alarm- 
 ing symptoms of decay ; and with a view to 
 gain experience with reference to this great 
 work, he visited Paris in 1665, studied there 
 some time, and made numerous useful 
 drawings, remarking, indeed, that he should 
 almost bring home all France on paper. 
 
 The question of repairing the old cathe- 
 dral, which had been long debated, was, 
 indeed, settled by the Great Eire in 1666, 
 but not finally then, nor till after vexatious 
 delays and warnings of danger stopped all 
 further attempts to repair. He was then 
 empowered to destroy the massive walls of 
 the old building, a work of great labour 
 and skill, and to lay the foundations for his 
 own design ; but the business proceeded so 
 slowly that it was not till 1675 that he 
 received an approval of his plans, with full 
 authority to proceed. He made the most 
 careful arrangements for his great work, 
 appointing officers for the several special 
 duties of overlooking and paying the men, 
 measuring and checking the materials used, 
 and buying and paying for them, and he 
 diligently himself directed and superin- 
 tended the whole, and made the drawings 
 for all the details and every part of the 
 work, attending in person, carefully watch- 
 ing the work to its completion with never- 
 failing solicitude, during 35 years, and for 
 all this he was paid 200/. a year. 
 
 While occupied with this great work, he 
 was ordered by the King to survey the 
 whole of the burnt city, and to make de- 
 signs for its reconstruction. He made prac- 
 tical plans, founded on sufficient data in 
 respect to expense and other particulars. 
 His designs included spacious, arterial 
 streets, quays on the Thames bank, the 
 decorative rebuilding of the churches, with' 
 fine squares and public buildings, and the 
 removal to the environs of graveyards and 
 noxious trades. But petty interests and 
 prejudices prevailed, or London would have 
 risen from its ruins one of the most magni- 
 ficent and beautiful of known cities. 
 
 In 1667 ho commenced the Royal Ex- 
 change, and in the following year he suc- 
 ceeded to the office of surveyor-general, to 
 which he had been appointed in reversion. 
 The new theatre at Oxford followed, and 
 Temple Bar in 1670 ; the Monument in 
 1671. He also built the Library at Trinity 
 College, Cambridge, the Ashmolean Library, 
 the Palace at AVinchcster, the College of 
 Physicians, the Royal Hospital at Chelsea, 
 Hampton Court Palace, Greenwich Hospital, 
 Marlborough House, St. James's, the west- 
 ern towers of Westminster Abbey, and al)Ovo 
 50 parish churches, all of them noted for 
 their co;istruction and suitable convenience, 
 and many of them conspicuous for their 
 beauty ; of these latter may jbo specially 
 mentioned St. Mary-le-Bow, St. Stephen, 
 Walbrook, St. Magnus, London Bridge, St. 
 Bride, Fleet Street. A complete list of his 
 works will be found in the Parentalia. 
 Many of his most interesting designs are 
 possessed by All Souls' College, Oxford. 
 
 He was knighted by Charles IL, in 1673. 
 When at the age of 86 he was removed 
 from the office of surveyor-general by Geo. 
 I., after 50 years' service, to make way for 
 William Benson, who was notoriously in- 
 competent. During the short remainder of 
 his life lie was taken once a year, we are 
 told, to St. Paul's, and the sight of the great 
 work which he had been spared to complete 
 revived faculties almost dormant with age. 
 He died February 25, 1723, aged 91, and 
 has found his proper rest in St. Paul's. He 
 had filled the office of president of the 
 Royal Society, had sat in two parliaments, 
 and had been twice married. He made 
 many discoveries in science, and was the 
 first in this country who experimented upon 
 the new art of mezzo-tint. As an architect 
 his genius eclipsed all others, and during 
 his long professional life he was without a 
 rival. Yet the critics have not left him 
 scatheless. Walpole, whoso Strawberry 
 Hill Gothic gives us little faith in his archi- 
 tectural judgment, speaks of Wren's want 
 of taste, his false taste, and of his palace 
 at Winchester as the ugliest building in the 
 island. His works are, however, the great- 
 est ornaments of our metropolis. His 
 knowledge of geometry and mathematics 
 gave him great constructive skill, which 
 his genius has employed in designs of sur- 
 passing magnificence, grandeur, and beauty, 
 marked by refined taste and invention. His 
 St. Paul's remains the most distinguished 
 architectural object in our metropolis ; his 
 palace at Greenwich the greatest ornament 
 of the Thames. 
 
 WRIGHT, Mrs. Patience (sometimes 
 called Mehetable and Sybilla), modeller in 
 wax. She was born of Quaker parents, at 
 Bordentown, New Jersey, U.S., in 1725. 
 Her maiden name was Lovell. She married 
 
 463 
 
WRI 
 
 WRI 
 
 in 1748, and Lecame a widow in 1769. She 
 early showed an aptitude for modelling, 
 using dough or any material that fell in 
 her way, and before 1772 had made herself 
 known by her small portraits modelled in 
 wax. She then, with her three children, 
 came to this country, seeking a wider field 
 in the English metropolis, where her great 
 ability was soon recognized, and she was 
 much employed. In 1778 she made an ex- 
 hibition of her works, among which were 
 portraits of the King and Queen, the Duke 
 of Cumbf-rland, and many eminent persons, 
 and also the story of Judith and Holo- 
 fernes. A full length by her in wax of 
 Lord Chatham stood in Westminster Abbey. 
 She had an ardent feeling of country, and 
 had gained the acquaintance of many emi- 
 nent men of the day. She was called a spy, 
 and during the war was charged with giving 
 political information to Dr. Franklin, then 
 the American minister at Paris, and in 1781 
 she went to France, where she was made much 
 of by those holding her opinions. She was 
 again in London, to which she never lost 
 her attachment, in August, 1785. She died 
 March 23, 1786. Her younger daughter, 
 whose face often appears in the works of 
 AVest, P.E.A., married Hoppner, K.A. Her 
 son, Joseph Wright, who was born in 
 America in 1756, was assisted in art by 
 West and Hoppner, practised for a time in 
 London, exhibiting at the Academy in 
 1780 'Mrs. Wright modelling in Wax,' and 
 afterwards in Paris, and then returned to 
 America, where he died, of yellow fever, in 
 1793. 
 
 WEIGHT, 'RicYLK'RT), marine painter. He 
 appears to have been designated ' Wright 
 of the Isle of Man.' He was born at Liver- 
 pool in 1735, and was brought up as a ship 
 and house painter. In 1764, and again in 
 1766 and 1768, he gained the Society of 
 Arts premiums for his sea-views. He was 
 a member of the Incorporated Society of 
 Artists, and a man of rough manners and 
 warm temper. He took an active lead 
 among the discontented members of that 
 body. He was a contributor to their exhi- 
 bitions from 1765 to 1770, sending, among 
 others, ' A Storm, with a Shipwreck,' ' Sun- 
 set, a fresh Breeze,' ' A fresh Gale,' ' Eiver, 
 with Boats, &c.. Moonlight.' He died about 
 1775. There is a painting by him at 
 Hampton Court of ' The Vessel bringing 
 Queen Charlotte to England in a Storm, 
 with the Eoyal Convoy.' His ' British 
 Fishery,' v/hich has been much lauded, was 
 engraved by Woollett, but was quite un- 
 worthy of the engraver. Both his wife and 
 daughter painted. 
 
 WEIGHT, Joseph, A.E.A. (known as 
 'Wright of J) Qiihy), subject, Jandscafe, and 
 portrait painter. Was born September 3, 
 1734, at Derby, where his father was the 
 464 
 
 town clerk. He had some mechanical bent, 
 but, taking to art, he came to London in 
 1751, and studied under Hudson, and after- 
 wards under Mortimer. On the completion 
 of his pupilage he returned to Derby, and 
 was well employed as a portrait painter. In 
 1765 he sent two candle-light pictures to 
 the Exhibition of the Incorporated Society 
 of Artists, of whose body he was a member, 
 and in the following year two pictures of 
 the same class, with ' The Orrery,' and be- 
 came known as a painter of subjects under 
 artificial light. In 1773 he married, and 
 took the opportunity to visit Eome and 
 other parts of Italy, returning in 1775. He 
 then went to Bath, but not meeting with 
 much encouragement there, he found his 
 way back, in 1777, to his native town, where 
 he finally settled. He had made many 
 sketches in Italy. While at Naples he saw 
 an eruption of Vesuvius, and studied the 
 effects of the flames, and also the varied 
 effects of light in the caves at Capri and the 
 grotto at Pausilippo, effects which often re- 
 cur in his cottages on fire, moonlights, cavern 
 scenes, and sunsets, which formed the staple 
 of his art, and gained him reputation and 
 patronage, and from 1778 he was an exhi- 
 bitor of subjects of this class at the Eoyal 
 Academy. On the foundation of the Academy 
 he had entered as a student, and in 1781 
 he was elected an associate ; his election 
 as a full member followed in 1784. But 
 we are told that, annoyed by another having 
 been elected before him, he retired alto- 
 gether from the Academy. The facts, how- 
 ever, do not bear out this statement, and it 
 appears more probable that the nervous, 
 irritable, ailing painter, settled quietly so 
 far from the metropolis, was afraid of the 
 duties and responsibilities which his mem- 
 bership would entail. In 1785 he made an 
 exhibition of his works at the great room 
 in Spring GaTclens, but did not withhold 
 his works from the Academy, and from 
 1788 to 1794 sent his pictures to their ex- 
 hibitions. One of his best works, ' An 
 Experiment with the Air-pump,' is in the 
 National Gallery. He died at Derby, 
 August 29, 1797. Several of his works 
 are engraved. 
 
 WEIGHT, Andrew, sergeant-painter to 
 Henry VIII. Practised in South wark in the 
 early part of his reign, but never attained 
 to any repute. He had an allowance of 10/. 
 a-year. 
 
 WEIGHT, John Massey, ivater-colour 
 painter. Was born at Pentonville, in 1773, 
 the son of an organ -builder, and was 
 brought up to that business, but did not 
 get on ; and loving art, at the age of 16 he 
 was introduced to Stothard, E.A., and in- 
 fiuenced by his works, made some attempts 
 to design from Shakespeare. Living in 
 Lambeth Walk, he became acquainted with 
 
WRI 
 
 WRI 
 
 the scene-painter at Astley s. Theatre, and 
 afterwards with Koberts, E.A., Stanfield, 
 K.A., and Barker, the panorama -painter, by 
 whom he was for some time employed, and 
 then entered into an engagement with him 
 for seven years. His skill and readiness 
 in drawing the figure were of great value 
 to him, and he was engaged to assist in 
 the scene-loft of His Majesty's Theatre, 
 wherehis weekly pay was at once raised from 
 three to five guineas. From 1808 he was 
 an exhibitor, chiefly in oil, at the Royal Aca- 
 demy. In 1812, of 'The Living Shame ; ' in 
 1815, of ' Don Quixote Fed by the High-born 
 Damsels;' in 1817, 'Claiming the Flitch 
 of Bacon;' in 1818, his last contribution, 
 ♦The Flitch of Bacon.' In 1824, he was 
 elected a member of the "Water-Colour So- 
 ciety, and then devoted himself to that art, 
 and was a constant exhibitor (in the lat- 
 ter part of his membership, however, rarely 
 exceeding one work), and a large and suc- 
 cessful designer for book illustration. He 
 died May 13, 1866, in his 93rd year, and, 
 after an industrious life, it is hard to say, 
 in straightened circumstances. 
 
 WRIGrHT, John, miniature painter. 
 Practised in the latter part of the 18th cen- 
 truy, in Gerard Street, Soho, and afterwards 
 in Burlington Gardens. His likenesses were 
 correct and agreeable in manner, and his 
 art was well esteemed. He exhibited minia- 
 tures at the Royal Academy from 1795, al- 
 most without intermission, to 1 8 1 9, soon after 
 which time he unhappily committed suicide. 
 
 WRIGHT, John William, water-colour 
 'painter, son of the above. Was born in Lon- 
 don in 1 802. Showed an early ability for art, 
 and was placed under Phillips, R. A. In 1 83 1 
 he was elected an associate of the Water- 
 Colour Society, and in 1842 a member, and 
 was appointed the secretary in 1845. He 
 was a constant contributor to the Society's 
 exhibition, sending subjects chiefly of a 
 domestic class. In 1835, 'Sunday Even- 
 ing' and 'Cornish Villagers;' in 1839, 
 'Little Red Riding Hood;' in 1842, 'A 
 Family of Primitive Christians Reading 
 the Bible 'and the ' Orphan ; ' in 1845, ' The 
 Despatch.' He was of weakly constitution 
 and succumbed to an attack of influenza, 
 January 14, 1848. His works were sold at 
 Christie's the following March. His labours 
 had not enabled him to do more than mo- 
 destly provide for the daily wants of his 
 family, and he left a widow and two chil- 
 dren without provision. 
 
 WRIGHT, Inigo, engraver. Was born 
 in London about 1740, and practised in 
 mezzo-tint. He engraved eight country 
 scenes after Morland, and also after Frank 
 Hals, 1771, and F. Laurie. 
 
 WRIGHT, Joseph Michael, portrait 
 painter. Was born in Scotland and was 
 a pupil of Jamesoue. He came to England 
 
 at the age of 16 or 17, and soon gained 
 reputation and employment. Afterwards he 
 went to Italy, where he lived for some 
 time, and in 1648 was elected a member of 
 the Academy of St. Luke, at Florence. Ho 
 painted many persons of distinction, and 
 his portraits are well known. They are 
 correctly and carefully drawn and finished. 
 The hands good, very gay and pleasing in 
 colour, and the expression and character 
 well maintained. Among them may be 
 mentioned his ' Prince Rupert,' 1662, a life- 
 size portrait, strangely costumed in armour, 
 with a large French peruque ; ' Thomas 
 Hobbes, at the Age of 81,' also the Judges, 
 painted for the Corporation of London, 
 which it is said Lely refused to paint unless 
 they would sit at his studio, and that the 
 commission of 60/. each was on their re- 
 fusal transferred to Wright. There is also 
 at Hampton Court a good characteristic 
 full-length portrait by him of Lacy the ac- 
 tor in three characters, 1675, and a similar 
 work of a Highland Laird, and an Irish 
 Tory has been much praised. In 1686 he 
 accompanied Roger Palmer, Earl of Castle- 
 maine, as steward of his household to Italy, 
 and published a pompous account of the 
 Earl's fruitless embassy. On his return he 
 was mortified to find that Kneller had es- 
 tablished a pre-eminence which he had 
 before with much difficulty maintained. 
 He died about the year 1700, in James 
 Street, Covent Gardeia, and is buried in 
 the adjacent church. He gave himself many 
 designations. While at Rome he assumed 
 the name of 'Michael Ritus,' and is so 
 classed in the catalogue of the Roman Aca- 
 demy. At the back of a portrait he has 
 called himself ' Jos. Wick Wrilps London- 
 ensis, Pictor Caroli, 2 Regis,' and at times 
 signed himself 'Scotus' or ' Anglus.' He 
 is, no doubt, the ' one Wright,' whom Pepys 
 mentions rather contemptuously. But he 
 deserved much higher consideration. His 
 works possess great merit. His nephew, of 
 the same name, was educated at Rome and 
 afterwards settled in Ireland, where he 
 made a large income as a portrait-painter. 
 His fine collection of gems and coins was 
 after his death purchased by Sir Hans 
 Sloane. 
 
 WRIGHT, Stephen, architect. Prac- 
 tised in the latter half of the eighteenth 
 century, and held the office of Master ^ 
 Mason of the King's Works. He designed 
 ' The King's Lodge ' in Richmond Park, an 
 edifice engraved in Woolfe and Gandon's 
 work; and in 1767, built Clumber for 
 the Duke of Newcastle. 
 
 WRIGHT, THOMAS, portrait pianter. 
 Practised in London early in the 18th cen- 
 tury, and was the master of Wilson, R.A. 
 Little is known of him, and he is spoken 
 of as of very slender abilities ; but a por- 
 K 465 
 
WRI 
 
 W YA 
 
 trait, in the Bodleian Library, ascribed to 
 him, entitles him to more favourable men- 
 tion. 
 
 WEIGHT, Thomas, engraver and for- 
 trait painter. Was born at Birmingham, 
 March 2, 1792. He was brought to London 
 by his parents when a child, and before 14 
 years of age, was apprenticed to Meyer, 
 tlie engraver. At the close of his appren- 
 ticeship, he joined a fellow-pupil. Fry, in 
 the completion of engravings etched by 
 Fry, whose name was affixed to them. 
 Alter four years he left Fry, and engraved 
 portraits, for whidi he had a peculiar 
 talent. ' The Princess Charlotte and Prince 
 Leopold in a Box at the Theatre,' and some 
 other works by Geo. Dawe, R.A., are en- 
 graved by him. He afterwards began to 
 take portraits both in oil and in miniature ; 
 and in 1822, went to St. Petersburg, to en- 
 grave ' The Military Gallery,' painted by 
 Dawe, and the portraits of ' The Poyal 
 Family. He returned to England in 1826, 
 engaged to engrave ' The Beauties of 
 Charles 11.,' and found full employment. 
 In 1830, he returned to St. Petersburg, to 
 arrange the affairs of George Dawe, who was 
 his brother-in-law ; and, with the patronage 
 of the Court, was induced to continue there 
 for 15 years. He painted the portraits of 
 the ' Royal Family,' and of many of the 
 nobility, and brought out there ' Les Con- 
 temporains Pusses,' a series of portraits 
 drawn and engraved by himself. He made 
 in Russia a good copy of ' The Infant 
 Hercules,' by Reynolds, and on his return 
 to England, issued proposals to publish an 
 engraving of it. But he was then 
 almost forgotten in art, and owing to his 
 long illness, the plate remained unfinished. 
 He died in George Street, Hanover Square, 
 March 30, 1849. He was member of the 
 Academies of St. Petersburg, Stockholm, 
 and Florence. 
 
 WYAT, Enoch, sculptor. He practised 
 in the reign of Charles I., during the 
 Commonwealth, and in the reign of Charles 
 II. He carved two figures for the water- 
 stairs at Somerset House, and a statue of 
 
 • Jupiter,' and modelled a very large figure 
 to form part of Inigo Jones's restorations 
 of Old St. Paul's, but it was never used. 
 In the Puritan times he altered and 
 draped the statues by John of Bologna 
 and Le Soeur, which had been thrust out 
 into Whitehall Gardens, and were considered 
 
 * heathenish and profane.' 
 
 WYATT, James, R.A., architect. Was 
 born Augusts, 1748, at Burton Constable, 
 Staffordshire, where his father was a farmer 
 and dealer in timber. He received the 
 common education of a small country 
 town, and evincing an early taste for draw- 
 ing and architecture, was fortunate in 
 attracting the notice of Lord Bagot, who 
 466 
 
 was then nominated on an embassy to 
 Italy, and took young Wyatt, then only 14 
 years of age, with him — that he might study 
 architecture in Rome — where he spent 
 three or four years, and then went to 
 Venice, and studied for two years under 
 Vincentini. In 1766 he returned to Eng- 
 land, and in 1770 his merit was acknow- 
 ledged by his election as an associate of 
 the Royal Academy. He, with great skill, 
 adapted the Old Pantheon, in Oxford Street, 
 for dramatic performances ; and becoming 
 the place of fashionable resort, it at once 
 gave him a reputation and established hira 
 in his profession. So wide was his name 
 known, that an offer was made him to 
 settle in Russia, as the architect of the 
 great Catherine. 
 
 But he already ranked foremost in his 
 profession at home, and was employed as 
 the architect of several fine mansions. His 
 works had hitherto been in the classic 
 style, in which he was educated, but his 
 genius led him to assist in the revival of 
 the Gothic, and he employed draftsmen to 
 make drawings of our ancient monastic and 
 ' baronial structures. His first work in this 
 style was a mansion at Lee, near Canter- 
 bury ; and he was, in 1778, employed in 
 making additions to some of the Colleges 
 in Oxford. He was, at the same time, em- 
 ployed on the Observatory and Library at 
 Oriel, and made some alterations at Ba- 
 liol. He was also engaged in the restora- 
 tions at Salisbury and Lincoln Cathedrals, 
 and his Gothic works were as popular as 
 his classic. But the archaeologists accuse 
 him loudly of reckless adaptations and 
 demolitions, and not without just cause. 
 Yet it must be remembered that the Gothic 
 was little understood in his time. 
 
 Prosperous in his art, enjoying the chief 
 practice in his profession, he was in 1785 
 elected a full member of the Academy, and 
 was for many years a contributor to their 
 exhibitions. On the death of Sir William 
 Chambers, in 1796, he was appointed 
 Surveyor-General to the Board of Works, 
 followed by appointments to several other 
 public offices. At this time he erected 
 Fonthill for Mr. Beckford, and the Royal 
 Military Academy at Woolwich. By virtue 
 of his office, he was employed on works 
 at the House of Lords, and at Windsor 
 Castle. He commenced a Gothic Palace at 
 Kew, for George III., since pulled down. 
 During a misunderstanding between West, 
 P.R.A., and the Council of the Academy — 
 upon the express wish of the king — he 
 temporarily filled the office of President. 
 In 1805 he built for Mr. Codrington a 
 mansion at Doddington, finished in 1808, 
 ata cost of 120,000^., and commenced Ash- 
 bridge for the Earl of Bridge water. He 
 designed the front of Whites Club in 
 
WY A 
 
 W YA 
 
 St. James's Street. On his way from Bath 
 to London he was overturned in his car- 
 riage, near Marlborough, and died in- 
 stantly, September 5, 1813. For nearly 
 48 years he was at the head of a lucrative 
 profession ; during a considerable part of 
 that time he enjoyed the Koyal favour. He 
 had great means of amassing wealth, but 
 he wanted prudence. At an early age he 
 reached the summit of his reputation and 
 practice. He found riches too easily 
 gained to rate them at their worth, and 
 he left little more than his reputation to 
 his family. A widow and four sons survived 
 him. 
 
 WYATT, Samuel, architect. Elder 
 brother of the above ; studied his art in 
 Italy, and brought home a rich portfolio of 
 sketches on his return. He practised in the 
 Roman style. He built Hooton Hall, the man- 
 sion at Tatton Park, and completed Kiddle- 
 ston, for Lord Scarsdale. In ITQ**^, he 
 finished the Trinity House on Tower Hill, 
 which introduced him to other works. He 
 was appointed architect to the Bank of 
 England, and Clerk of the Works to Chel- 
 sea Hospital. He died at Chelsea, Feb- 
 ruary 8, 1807, and was buried there. 
 
 WYATT, Benjamin Dean, architect. 
 Eldest son of the foregoing James Wyatt, 
 R.A. He was born in London in 1775, 
 and was educated at Westminster and 
 Christ Church, Oxford, where he continued 
 till 1797. He was then pupil, and for a 
 time assistant, to his father, and after- 
 wards visited some of the chief capitals in 
 Europe. Returning in 1802, he became 
 private secretary to Sir Arthur Wellesley, 
 and was with him in this capacity in Ire- 
 land and in India. Then returning to his 
 profession, he gained employment as an 
 architect. He commenced the rebuilding 
 of Drury Lane Theatre, 1811. He built 
 the mansion in St. James's Park for the 
 Duke of York, now Sutherland House, 
 Apsley House for the Duke of Wellington, 
 1829, Holdernesse House and Wynyard. 
 Durham for the Marquis of Londonderry, 
 Crockford's Club House, St. James's Street, 
 the York Column, 1830-33. He retired 
 from his profession, and died in Camden 
 Town about 1848-50. His brother, Philip 
 Wyatt, who died in 1836, was connected 
 with him in some of his most important 
 works. 
 
 AVYATVILLE, Sir Jeffery, Knt., R.A., 
 architect. Was born August 3rd, 1766, at 
 Burton-on-Trent, where his father, Joseph 
 Wyatt, practised as a surveyor, and was 
 educated at the free school in that town. 
 He had an early passion to go to sea, and 
 was rigged out to join the * Royal George,' 
 but was disappointed by her unfortunate 
 loss atSpithead. In 1783 he made another 
 attempt to leave an irksome life at home 
 
 H H 
 
 and seek his fortune. He came to London, 
 and, finding no opportunity of entering the 
 Navy, ho was kindly received by his uncle, 
 Samuel Wyatt, the architect, who took liim 
 into his office for seven years — on the com- 
 pletion of which, having gained a good 
 knowledge of the routine of the profession, 
 he was employed by anotlier uncle, James 
 Wyatt, R.A., who had already greatly dis- 
 tinguished himself, and under him made a 
 special study of Gothic and old English 
 architecture. He also became known, 
 through his uncle, to the Prince Regent and 
 to many persons of distinction. 
 
 Not immediately finding employment as 
 an architect, he joined in business with an 
 eminent builder, and engaged in extensive' 
 Government and other contracts. In this 
 business he continued till 1824, when after 
 an interval of 25 years, during which he 
 had only incidentally done any 'work of a 
 professional character, he was to his great 
 surprise summoned to Windsor by George 
 IV., and received his instructions relative 
 to some proposed extensive alterations of 
 the castle. He had during his career de- 
 signed several public and private buildings, 
 including some large works at Wynstay, 
 and had exhibited at the Academy since 
 1794, and in 1798 sent a design which 
 attracted much notice, called 'Priam's 
 Palace,' but it was not till 1823 
 that he was elected an associate of the 
 Academy, and in 1826 full member. Par- 
 liament voted 300,000^. for the improve- 
 ments to be made at Windsor. Wyatt and 
 three other architects were asked to make 
 designs, and, his being selected by the com- 
 missioners appointed to advise as to the 
 appropriation of the large sum granted, he 
 commenced his works at the Castle in 1824, 
 the King la3ang the first stone of the gate- 
 way forming the principal entrance to the 
 quadrangle, and on this occasion he assumed 
 by Royal license the name of ' AVyatville,' 
 to distinguish himself from other architects 
 of the name of Wyatt then living. The 
 affectation of the thing, and the satis- 
 fied vanity of the architect, gave occasion 
 to the squib : — 
 
 'Let George, whose restlessness leaA^es 
 nothing quiet. 
 
 Change if he will the good old name of 
 Wyatt ; 
 
 But let us hope that their united skill 
 Will not make Windsor Castle — Wyat- 
 ville.' 
 
 To the works at the Castle he devoted his 
 whole time. They proceeded rapidly ; in De- 
 cember, 1828, the King's private apartments 
 were completed, and on taking possession, 
 His Majesty conferred upon his architect the 
 honour of knighthood. The completion of 
 these extensive works, which involved an 
 outlay of above 700,000/., occupied the re^ 
 2 467 
 
W YA 
 
 WYA 
 
 mainder of his life, during the last five 
 years of which he suffered from asthma, 
 but his mind retained its vigour. He died 
 at his house in Brook Street, Grosvenor 
 Square, February 10, 1840. His body was 
 removed to his apartments in the Wyke- 
 ham Tower, Windsor, and on the 17th was 
 buried in St. George's Chapel. An only 
 daughter survived him. 
 
 His fame will rest upon his great works 
 at the Castle, England's only palace ; but 
 during the last 20 years of his life he made 
 extensive additions to Chats worth, designed 
 lodges and other buildings in Windsor 
 Park, added a new front to Sidney Sussex 
 College, Cambridge, and made some altera- 
 tions to the Queen Dowager's residence at 
 Bushey Park. He was of honest, indepen- 
 dent manners, and never failed to express 
 and support his opinions manfully, whether 
 to his Prince or his equals. 
 
 WYATT, Matthew Cotes, scul'ptor. He 
 was the third son of James Wyatt, R.A. ; 
 born in 1777. and was educated at Eton, 
 and studied his art in the schools of the 
 Royal Academy. At the age of 19 he was 
 employed, under the patronage of George 
 III., at Windsor Castle. His first public 
 work was the Nelson memorial on the Ex- 
 change at Liverpool. He first exhibited at 
 the Royal Academy in 1804, sending some 
 portraits in oil in that year, and in 1808 
 and 1810. In 1811 he exhibited a bust of 
 the King, and the following year a ' Descent 
 from the Cross,' a painting, but he exhibited 
 only on one or two further occasions. ^He 
 suggested, and was commissioned to exe- 
 cute the cenotaph to the memory of Prin- 
 cess Charlotte, in St. George's Chapel, 
 Windsor. The St. George and the Dragon 
 in the hall is also by him. He erected the 
 equestrian statue of the Duke of Welling- 
 ton, which has been placed over the entrance 
 to St. James's Park, at Hyde Park Corner, 
 and for which a subscription of 30,000Z. was 
 raised ; and the equestrian statue of George 
 III. at Pall Mall East ; also a monument 
 to the Duchess of Rutland, at Belvoir 
 Castle. He died in the Harrow Road, Pad- 
 dington, January 3, 1862, in his 84th year, 
 and was buried in Highgate Cemetery. 
 
 WYATT, William Lewis, architect. 
 Was second son of Benjamin D. Wyatt, 
 and nephew of James Wyatt, R.A., and for 
 some time his pupil. He was architect to 
 the Crown and the Board of Ordnance. He 
 practised on his own account in Shropshire 
 and Cheshire, and was fully employed. 
 But, possessing an independence, he pre- 
 ferred quiet, and, relinquishing all profes- 
 sional employment, retired early in life to 
 the Isle of Wight, where he died, February 
 14, 1853, in his 76th year. 
 
 WYATT, Richard James, scidptor. Was 
 born of a collateral branch of the Wyatt 
 468 
 
 family, in Oxford Street, May 3, 1795. Ho 
 
 studied in the schools of the Royal Aca- 
 demy, and was then placed under Rossi, 
 R.A., for seven years. Canova, when in 
 this country in 1821, was pleased with him 
 and invited him to Rome, offering him the 
 use of his studio. This induced him, after 
 studying a short time in Paris, to go on to 
 Rome, where he arrived in 1822, and from 
 1831 to his death regularly sent his works 
 from thence to the exhibitions at the Royal 
 Academy. He was at first employed by 
 Gibson, R.A., but after a few years he com- 
 menced on his own account, and finally 
 settled in Rome as his adopted city. Of 
 unusually retired habits, his whole thought 
 and happiness centered on his art, and in- 
 defatigably studious, his career was emi- 
 nently successful. Rarely attempting the 
 heroic, he was unrivalled in his own class 
 of subjects. His * Flora,' * Nymphs,' and 
 ' Penelope,' are in the royal collection, and 
 with his *Ino and the Infant Bacchus,' 
 ' Musidora,' 'Shepherd Boy protecting his 
 Sister from the Storm,' may be mentioned 
 as his best and most characteristic works. 
 At the exhibition of 1851 one of the first 
 class gold medals was, after his death, ad- 
 judged to his exhibited works. He died 
 unmarried at Rome, where he had worked 
 for thirty years, of apoplexy. May 28, 1850, 
 and was buried in the English cemetery 
 there. He had never visited England except 
 for a few months in 1841. He attained 
 great purity and finish ; his compositions 
 were marked by their harmony and beauty of 
 line, combined with great truth and nature. 
 He had a strong feeling for the beauty 
 of the female figure, in which he excelled. 
 
 WYATT, Henry, portrait and subject 
 painter. Was born at Thickbroom near 
 Lichfield, September 17, 1794, Losing his 
 father when only three years of age, he 
 went to live with Francis Egerton, the well- 
 known glass painter at Birmingham, who 
 was his guardian. Here acquiring a fond- 
 ness for art, he came to London in 1811 to 
 study, and in the following year was ad- 
 mitted to the Academy schools. In 1815 
 he worked without pay in Sir Thomas 
 Lawrence's studio for one year, and con- 
 tinued for a while with a salary of 300/. 
 a-year. About the end of 1817 he returned 
 to Birmingham, where he found employ- 
 ment in portrait painting, and was from 
 that time an occasional exhibitor at the 
 Royal Academy. In 1819 he removed to 
 Liverpool, and then to Manchester, where 
 he continued till 1825, and then came to 
 London, and was a constant exhibitor at 
 the Academy and the British Institution. 
 At the end of 1834, his health failing, he 
 went to reside at Leamington, In 1837 he 
 hoped to return to London, but went first 
 to Manchester to paint some portraits, for 
 
WY A 
 
 WYN 
 
 which he had accepted commissions, and 
 early in the following April he had an 
 attack of paralysis, from which he never 
 recovered. He died February 27, 1840, 
 at Prestwicli, near Manchester, and was 
 buried there. He was a clever painter, his 
 colour good, and his subjects pleasingly 
 treated. His ' Fair Forester,' and ' Prof- 
 fered Kiss ' were engraved by Doo, R.A. 
 His ' Juliet,' * Chapeau Noir,' ' Gentle 
 Reader,' ' The Romance,' * Clara Mowbray,' 
 * Mars and Venus,' were popular works. 
 
 W Y A T T , Thomas, portrait painter. 
 Younger brother of the above. Studied in 
 the schools of the Academy, and practising 
 portrait painting, accompanied his brother 
 to Birmingham, Liverpool, and finally Man- 
 chester, where for a time he tried photo- 
 graphy, but without success. He then 
 settled near Lichfield, his native place, and 
 resumed portraiture, but again with little 
 encouragement, and attacked by paralysis, 
 he died, after five years' dependence upon 
 his friends, July 7, 1859. His works are 
 well known and esteemed at Birmingham, 
 where he was secretary to the Midland 
 Society of Artists, and in the neighbouring 
 counties. 
 
 WYCK, Thomas (sometimes called ' Van 
 Wyck'), marine and subject painter. He 
 was born in 1616 at Haarlem, studied there 
 under his father, and practised painting 
 seaports, shipping, and subjects introducing 
 small figures. He then passed some time 
 in Italy, and designed and etched 21 views 
 of the Mediterranean ports. He came to 
 England at the Restoration, and meeting 
 with encouragement, settled here. He 
 painted a long view of London and the 
 Thames, drawn from the Southwark' side, 
 and a view of the parade in St. James's 
 Park, with Charles 11. and his court walking, 
 both of which were at Burlington House, 
 Piccadilly ; also several views of the Fire 
 of London, and many interiors of labora- 
 tories, then the fashion with Charles 
 and his nobility. He died in England in 
 1682. 
 
 WYCK, John, battle painter. Son of the 
 above. Was born at Haarlem in 1640, 
 studied art under his father, and came with 
 him to England. His works were usually of a 
 small size. He excelled in battle and 
 hunting pieces ; his horses were spirited and 
 well painted. There are also some land- 
 scapes by him, and several A^iews in Scotland 
 and Jersey, pleasing in composition and 
 colour : and there are on a larger scale 
 his ' Battle of the Boyne ' and ' Siege of 
 Namur,' engraved by Faber, with some 
 others, introducing portraits. He made the 
 drawings for a ' Book on Hunting and 
 Hawking.' He married in England, and 
 residing in London and the suburban vil- 
 lages, died at Mortlake in 1702. Several 
 
 of his works are in the royal and other 
 collections. 
 
 AVYKEHAM, William, Bishop of Win- 
 chester, architect. He was born in Hamp- 
 shire in 1324, and is believed to have 
 received what at that time would be con- 
 sidered a good, but not an university 
 education, and entered the Church. Early 
 in life he gained the favour of Edward III. 
 and entered into his service. In 1356 he 
 he was appointed clerk of the works, and 
 from that time his rise at Court was rapid. 
 It is vaguely stated that he was led to the 
 study of geometry and architecture, of which 
 he must have had some competent know- 
 ledge, as he was the same year appointed 
 surveyor of the King's works at the castle 
 and park of Windsor, and by his advice the 
 greater part of the old edifice was razed, 
 and a, royal palace of great magnificence de- 
 signed by him was erected, but of which the 
 only visible remains now are the round tower. 
 In 1359 he was constituted warden and sur- 
 veyor of the King's castles at Windsor, 
 Leeds, Dover, and some others, several of 
 which he restored. 
 
 In 1360 he first appears to have received 
 preferment in the church. He was appointed 
 to the Collegiate Church of St. Martin's-le- 
 Grand, London, and during the three years 
 he held this living, he built on his own 
 plans, the cloisters, chapter-house, and the 
 body of the church. Promotion soon fol- 
 lowed ; in 1366 he was elected Bishop of 
 Winchester, and in 1368 was appointed to 
 the high office of Chancellor of England. 
 But his good fortune and zealous desire to 
 reform abuses in the Church raised him up 
 many enemies, who in the latter days of 
 the King's reign prevailed against him ; he 
 was impeached, was deprived of all his 
 temporalities, and banished from the court. 
 On the accession of Richard II. he was 
 declared wholly innocent of the charges 
 made against him, and was pardoned and 
 restored to his employments. 
 
 He then commenced Winchester College, 
 Oxford, now called New College, of which 
 he was both the founder and architect, 
 1380-86, and this was followed by St. 
 Mary's College, Winchester. When in Lis 
 70th year, he began his great work, tlio 
 restoration of his own cathedral, which it 
 is said, with the assistance of William 
 Wynford, he completed after ten years. He 
 died September 27, 1404. His works would 
 prove him to have been one of our greatest 
 architects, and they are attributed to him 
 by undisputed tradition. His large educa- 
 tional foundations were established by his 
 own munificence. His life by Bishop Lowth 
 was published in 1758. 
 
 WYNDE, Captain William, architect. 
 Was born at Bergen-op-Zoom, held a com- 
 mission in the lJutch army, and was a 
 
 469 
 
WYN 
 
 WYO 
 
 learned and ingenious man. He is said to 
 have been a pupil of G-erbier, and also to 
 have studied under "Webb, and to have been 
 executor to Tnigo Jones. He designed Clief- 
 den, burnt down 1795; Newcastle House, 
 Lincoln's Inn Fields, now tenanted by the 
 Society for Promoting Christian Knowledge ; 
 Buckingham House, St. James's Park, 1703, 
 not a portion of which probably now re- 
 mains ; Coombe Abbey, for Lord Craven, 
 for whom he also finished Hempstead Mar- 
 shal, planned by G-erbier, destroyed by fire 
 171 8. Several of his designs for these 
 mansions were included in a sale of his 
 son's effects, 1741. 
 
 WYNFORD, William, architect. He is 
 the reputed builder of the nave of Win- 
 chester Cathedral, 1394, and is said to have 
 assisted Bishop Wykeham in his other archi- 
 tectural works. 
 
 WYON, Thomas, medallist. Was born 
 in 1792 at Birmingham. He was educated 
 in London, and was apprenticed to his 
 father, who was engraver of his Majesty's 
 seals. He entered the Royal Academy 
 schools, where he gained the silver medal 
 both in the antique and the life school ; 
 also the premmms of the Society of Arts, 
 and engraved for that body the head of 
 Isis, used as their prize medal. He also 
 executed several medals and tokens which 
 gained him notice, and eventually led to his 
 appointment, in 1811, as Probationary En- 
 graver to the Royal Mint. Soon after, he 
 engraved his medal to commemorate the 
 Peace, which at once evinced his powers 
 and established his reputation. Commis- 
 sions followed rapidly, and his Manchester 
 Pitt medal — 'Pitt arousing the Genius of 
 Britain,' which comprised 13 figures — raised 
 him to the front rank in his profession, and 
 in 1815 he received the appointment of Chief 
 Engraver to the Mint. In the midst of his 
 success his health was the subject of much 
 solicitude to his friends. He was visibly 
 declining, and sent by his medical advisers 
 to Hastings, he died there, September 22, 
 1 8 1 7, in his 25th year. Had he lived, he pro- 
 mised to equal the greatest of his predeces- 
 sors. A memoir of him, with a list of his 
 chief works, will be found in the ' Gentle- 
 man's Magazine' for February 1818. 
 
 WYON, Benjamin, scal-engraver. Was 
 born in London, January 9, 1802 ; younger 
 brother of the above, under whom he studied. 
 He succeeded his father as engraver of his 
 Majesty's seals, and engraved the great seal 
 of William IV. He was a frequent con- 
 tributor to the exhibitions at the Royal 
 Academy. He died November 21, 1858. 
 
 WYON, William, R.A., medallist. Was 
 born in 1795, at Birmingham, where his 
 grandfather, of German origin, was a silver 
 engraver, and his father, to whom he was 
 apprenticed in 1800, a die-sinker. He was 
 cousin to the two above-mentioned artists, 
 470 
 
 and moved by the success of Thomas, he 
 came up to London, and applying himself 
 to the study of Flaxmans works, he gained 
 the Society of Arts gold medal for his 
 copy of the head of Ceres. This success 
 was followed by the award of a second 
 gold medal by the Society for his original 
 group of ' Victory in a Marine Car drawn 
 by Tritons.' In 1816 he settled in London 
 as assistant to his uncle, Thomas Wyon, in 
 engraving the public seals, and in the fol- 
 lowing year entered the schools of the 
 Royal Academy. At the same time, he 
 gained, in open competition, on the award 
 of Sir Thomas Lawrence, the appointment 
 of second engraver to the Royal Mint, thus 
 becoming the assistant to his cousin Thomas. 
 
 On the early death of the latter, Signior 
 Pistrucci succeeded to the chief office, and 
 Wyon, holding the office of assistant under 
 many official rivalries and difficulties, 
 claimed to have executed the principal part 
 of the work. In 1822 Senor Pistrucci's 
 services were discontinued, but he con- 
 tinued to receive the salary till 1828, 
 when the chiefs salary was divided be- 
 tween the two officers, in order to get rid 
 of the jealousies which existed, and Wyon 
 then took the title of Chief Engraver, to 
 which his labours had so long entitled him. 
 He soon after gained Academy honours. He 
 was elected in 1831 an associate, and 
 in 1838 a full member of the Royal Aca- 
 demy. In 1835, with the permission of the 
 Oovernment, he went to Lisbon, and pre- 
 pared the dies for the Portuguese coinage, 
 and afterwards executed similar commis- 
 sions for other countries. His coins in- 
 clude those of the later years of George 
 IV., the coins of William IV., and the 
 early coins of Queen Victoria. He also 
 made many pattern dies of coins, which 
 were not adopted. 
 
 He produced many fine medals — the war 
 medals for the Peninsular victories, Tra- 
 falgar, and the Indian medals for Jella- 
 habad and Cabul. His medals for the 
 learned and scientific societies include the 
 Geographical, G-eological, Royal Academy, 
 Art Union, Royal Institution, and Glasgow 
 University. The Coronation medal of 
 William IV. is also by him, and one of 
 hfs latest is the medal for the Great Exhi- 
 bition of 1851. In these works, though he 
 usually designed the reverse himself, he in 
 some instances worked after the design of 
 Fiaxman, R.A., Howard, R.A., or Stothard, 
 R.A, His coins are simple in their designs, 
 the heads, though idealised, maintaining 
 a likeness, and well executed. His medals 
 are conceived in a classic spirit, and taste- 
 fuly finished. He died at Brighton on 
 October 29, 1851. A list of his works ex- 
 ceeding 200 in number, with a memoir of 
 him, was printed for private circulation in 
 1837 by his friend, Mr. Nicholas Carlisle. 
 
YAT ZIN 
 
 Y 
 
 YATES, Thomas, Lieut., R.N., amateur. 
 He was the great nephew of Eichard Yatos, 
 the well-known comedian. In 1782 he 
 entered the Navy. He engraved and piib- 
 ished from his own drawings a set of 
 * Celebrated Naval Actions.' On some 
 dispute about the possession of a house left 
 him by his uncle, he was shot, and died 
 three days after, August 29, 1796. His 
 widow w^as the beautiful Mrs. Y'ates, who 
 played at Covent Garden Theatre, and was 
 celebrated in the character of the Grecian 
 Daughter. 
 
 YEATES, Nicholas, engraver. He prac- 
 tised in the reign of Charles II. There are 
 portraits by him dated 1669 and 1682, but 
 they are of little merit. 
 
 YENN, John, R.A., architect. Was a 
 pupil of Sir William Chambers, and studied 
 in the schools of the Eoyal Academy. In 
 1771 he gained the Academy gold medal 
 for his design for ' A Nobleman's ViUa.' 
 He continued for some time as an assistant 
 to Sir W. Chambers, and then entered into 
 practice for himself, and was a frequent 
 contributor to the Academy exhibitions, his 
 designs being chiefly domestic architecture, 
 in which he found his principal employment. 
 In 1774 he was elected an associate of the 
 Academy, and in 1791 a full member. He 
 filled the office of Treasurer from 1796 to 
 1820. In 1803 he was one of the five 
 members of Council who were suspended, 
 on a question as to their authority, by the 
 General Assembly, and was replaced on an 
 appeal to the King. He died at an ad- 
 vanced age, March 1, 1821. 
 
 YEO, RiCHAED, R.A., medallist and 
 sculptor. He was appointed one of the 
 engravers to the Royal Mint in 1749, and 
 afterwards principal engraver. His name 
 appears as a member of the Artists' Com- 
 mittee appointed in 1755 to plan the 
 establishment of a Royal Academy, and 
 
 in 1760 he was a member and exhibitor of 
 the Incorporated Society of Artists, and 
 one of the governing body. On the estab- 
 lishment of the Royal Academy, he was 
 one of the foundation members, and a con- 
 tributor to the two first exhibitions, sending 
 in 1770 a proof impression of his five 
 guinea-piece. He died December 3, 1779. 
 
 YEOMAN, , medallist. He was one 
 
 of the engravers of the Mint in the reign 
 of George II. 
 
 YOUNG, John, engraver. Practised with 
 great ability in mezzo-tint in the reign of 
 George II., who appointed him his engraver. 
 There is a fine engraving by him of Hannah 
 Snell dated 1723. 
 
 YOUNG, John, engraver. Born in 1755. 
 He was a pupil of J. R. Smith, and was, in 
 1789, appointed mezzo-tint engraver to the 
 Prince of Wales. In 1794 he exhibited some 
 portraits in mezzo-tint at the Academy. He 
 engraved after Sir William Beechey, Hoare, 
 R A., Hoppner, R.A., G. H. Morland, R. M. 
 Paye, Zoffany, West, P.R.A. ; also a prize- 
 fight, after Mortimer, A.R.A., one of his 
 best works; a series of 31 small portraits 
 of the sovereigns of Turkey ; and, in out- 
 line, in 1820 the Grosvenor Gallery, in 
 1826 the Stafford Gallery, and later the 
 Angerstein Gallery. At the latter part of 
 his life he was hon. secretary to the Artists' 
 Benevolent Fund, and keeper to the British 
 Institution. He died in London March 7, 
 1825. 
 
 YOUNG, Tobias, landscape-fainter. He 
 lived some time at Southampton, where he 
 enjoyed a local reputation. He painted the 
 scenery for Lord Barrymore's private theatre 
 at Wargrave. In 1 81 6 and 1 8 1 7 he exhibited 
 at the Royal Academy ' A Landscape in the 
 New Forest.' 'The Judgment of Solomon,' 
 in the Town Hall at Southampton, is by him. 
 He died December 1, 1824. 
 
 ZEITTER, John, landscape 'painter. 
 Was born on the Continent, but was long 
 naturalised in England. He painted chiefly 
 Hungarian and Polish scenery, and for many 
 years exhibited with the Society of British 
 Artists. His works were mostly in oil and 
 of the most sketchy character. He seemed 
 without the power to finish. He died in 
 
 Z 
 
 . Kentish Town, in June 1862. His widow 
 ; was assisted from the Artists' Benevolent 
 ' Fund. 
 
 ' ZINCKE, Christian Frederick, minia- 
 L ture painter. He was the son of a goldsmith 
 I at Dresden and was born there in 1684. 
 I He came to England in 1706 and studied 
 I for a while under Boit. Soon found full em- 
 
 471 
 
ZIN 
 
 ZOF 
 
 ployment and had for many years more 
 commissions than he could well execute, 
 though he raised his price from 20 to 30 
 guineas. He was especially patronised by 
 George II. and his Queen; the Prince of 
 Wales appointed him his Cabinet Painter;^ 
 and several of his portraits of the Eoyal 
 Family remain in the Eoyal collection. He 
 practised in enamel ; his works possess great 
 delicacy of finish and beauty, drawn and 
 coloured with exquisite refinement, they 
 possess the additional charm of characteristic 
 likeness. They fetched large prices at the 
 Strawberry Hill sale, and notwithstanding 
 their large number, continue to be highly 
 prized. In 1737 he made a short visit to 
 his own country. He lived for several years 
 in Tavistock Eow, Covent Garden, and 
 when in 1746 his eye-sight failed him, he 
 had amassed a good property, and, retiring 
 to South Lambeth, left off practice. He 
 was twice married, and had children by 
 both wives. Died, March 24, 1767. 
 
 ZINCKE, Paul Francis, portrait painter. 
 Was grandson of the above and practised 
 his art in London with some ability, but 
 he was always in need. He was a noted 
 copyist, and made many copies of a portrait of 
 Shakespeare and sold his copies as the origi- 
 nal. He also exercised the same skill upon 
 portraits of Milton and Nell Gwynn. He 
 lived in Windmill Street in great poverty, 
 and was well known as 'Old Zincke.' He 
 died in 1830, at a very advanced age. 
 
 ZOPFANY, JoHANN, E.A., portrait and 
 subject painter. He was born at Frankfort- 
 on-the-Maine, in 1733. His father, de- 
 scended from a Bohemian family, was archi- 
 tect to the Prince of Tours and Taxis, and he 
 was brought up by that prince till the age 
 of 1 3 , when he was led by his love of art to 
 run away from his friends and found his 
 way to Eome to study painting. Upon his 
 father discovering his intentions he ob- 
 tained a recommendation to one of the Car- 
 dinals, who befriended him, and placed him 
 under the care of the Convent of the Buon' 
 Fratelli. He continued in Italy nearly 12 
 years and visited the chief cities, then re- 
 turned to Germany for a short time, from 
 whence he came to England in 1758. He 
 was at first in great difficulties. He painted 
 the ornamental faces of Dutch clocks, and 
 then was employed to assist Benjamin Wil- 
 son, the portrait painter. But a portrait of 
 Garrick in character attracted the notice of 
 Lord Bute, who introduced him to the Eoyal 
 Family, and his fortunes then improved. 
 
 He was a member of St. Martin's Lane 
 Academy, and in 1762, when he exhibited 
 a portrait of Garrick, a member of the In- 
 corporated Society of Artists. In 1769 he 
 was nominated a member of the Eoyal 
 Academy, and was in the enjoyment of a 
 good practice, having just completed a por- 
 472 
 
 trait group of the Eoyal Family, when 
 he engaged to accompany Sir Joseph 
 Banks in Captain Cook's. voyage round the 
 world ; but, dissatisfied with the cabin he 
 was to paint in, he suddenly gave up the 
 enterprise. By this engagement he had 
 disappointed and displeased many of his 
 friends, giving up their commissions, and 
 leaving his work unfinished, and pressed 
 by his embarrassments, notwithstanding 
 the patronage he met with, he determined 
 to visit Italy again. He left England in 
 1772, was assisted by a present of 300/., 
 and took with him an introduction from 
 George III. to the Grand Duke of Tuscany. 
 While at Florence he painted the interior 
 of the picture gallery, which was afterwards 
 purchased by the king. He also received 
 a commission from the Empress Maria 
 Theresa to paint the Eoyal Family of 
 Tuscany, and went to Vienna in 1778 to 
 present his work to the empress, when he 
 was created a Baron of the Austrian Em- 
 pire. On his way home he painted the 
 Court Chapel at Coblentz. While in Italy 
 he was elected a member of the Academies 
 of Bologna, Tuscany, and Parma, and met 
 with great patronage. 
 
 He returned to England, after an absence 
 of seven years, in 1779, and resumed his 
 profession, exhibiting at the Academy his 
 ' Florence Gallery ' and some portraits, por- 
 trait groups, and conversation pieces. He 
 was actively employed when, in 1783, he 
 suddenly determined to go to India — his 
 friend and colleague, Paul Sanby, E.A., 
 said, ' anticipating to roll in gold-dust.^ 
 Here again his good fortune accompanied 
 him. He travelled far into the country 
 and received many lucrative commissions. 
 At Lucknow, where he stayed several years, 
 he painted in 1786 the celebrated ' Cock- 
 fight,' his 'Embassy of Hyder-Beck to 
 Calcutta,' containing 100 figures, and his 
 ' Tiger Hunt ; ' also many portraits. In 
 1790 he returned to his family in England. 
 He had already sent home large remit- 
 tances; but with a heavier purse he re- 
 turned with weakened faculties, which, 
 though he continued to paint, declined so 
 rapidly as to leave little trace of his 
 former powers. He died at Strand-on-the- 
 Green, November 11, 1810, and was buried 
 in the neighbouring churchyard at Kew. 
 He was twice married. His first marriage, 
 to the niece of a priest at Coblentz, was 
 unfortunate. By his second wife, a lady 
 whom he married in England, he left four 
 daughters. His early works were grey and 
 hard in colour, and though also rather stiff 
 in drawing, were full of character. Later 
 his colour improved, and was rich and 
 agreeable, with a fine deep tone. His dra- 
 matic portrait groups were greatly esteemed, 
 and were popularised by the engravings 
 
zuc 
 
 zuc 
 
 of Dixon, Pinlayson, and Haid. His In- 
 dian groups and some of the royal por- 
 traits were finely produced in mezzo-tint 
 by Earlom. 
 
 ZUCCAKELLI, Francesco, E.A., land- 
 scajpe-'painter. Was born, in 1710,atPitigli- 
 ano, near Florence, and studied his art in that 
 capital. He then went to Venice, and for 
 a while was lured to history painting. After 
 staying some time in Venice, and visiting 
 Germany, Holland, and France, on the 
 recommendation of the British Consul, he 
 came to London, and during a stay of five 
 years was employed as scene-painter at the 
 Opera House, and also painted some views 
 on the Thames, and some subjects from 
 Shakespeare, and returned to Venice, where 
 he painted some of his best landscapes, but 
 finding that he had become known and ad- 
 mired in England by the engravings from 
 his works, he came a second time to London, 
 in 1752, and at once met with encourage- 
 ment. His works became the fashion and 
 the many which will still be found in our 
 mansions and in the Royal collection prove 
 how largely he was patronised. He was a 
 member of the Incorporated Society of 
 Artists, and on the establishment of the 
 Eoyal Academy, 1768, he was nominated 
 one of the foundation members, and in the 
 three following years was a contributor to 
 its exhibitions. He retired to Florence in 
 1773, and invested his savings on the 
 security of one of the monasteries in that 
 city, which was soon after suppressed, and, 
 left in indigence, he was compelled to re- 
 sume his art. He died in Florence in 1788. 
 William Byrne, Woollett, Major, Vivares, 
 and Bartolozzi engraved after him. There 
 are some early etchings by him after the old 
 masters. His art was scenic and unreal, 
 marked by an unnatural prettiness, insipid, 
 made up of oft-repeated parts. 
 
 ZUCCHEEO, Frederigo, portrait 
 painter. Was born at St. Angelo, in Vado, 
 
 in 1543, yet several various dates arc given. 
 Was employed by Pope Gregory XIII. and, 
 quarrelling with his officers, he fled to 
 France, where he was engaged in designing 
 tapestry for tlie Cardinal de Lorraine. In 
 1574 he came to England. He painted 
 Queen Elizabeth, Sir Nicholas Bacon, 
 Howard Earl of Nottingham, Sir Francis 
 W^alsingham, and other distinguished per- 
 sons of her court. He remained several 
 years in England, and then, offended with 
 our religion, having made peace with the 
 Pope, he returned to Eome. The date of 
 his death is usually stated as 1G09. There 
 is great uncertainty in the identifica- 
 tion of his art, and liis claim to inser- 
 tion in this work is, at the least, question- 
 able. 
 
 ZUCCHI, Antonio, A.E.A., landscape 
 and decorative painter. Ho was born at 
 Venice in 1726, and painted some historical 
 subjects in oil, while in Italy. He travelled 
 in Italy with the Brothers Adam, made for 
 them a number of water-colour drawings, 
 and was brought by them to London, and 
 decorated several of their buildings. He 
 painted ceilings at Buckingham House 
 (now pulled down), Osterly Park, Caen 
 Wood, and Luton, and decorated a gallery 
 for the Duke of Northumberland. He 
 painted, also, easel pictures; and in 1770 
 he was elected an associate of the Aca- 
 demy, and was an exhibitor only on three 
 or four occasions, of views — ruins of 
 ancient temples and works of that 
 class. Several of his works are engraved. 
 In 17^1 he married Angelica Kauffman, 
 but the union did not prove a happy one. 
 In the same year he went with her to Eome, 
 where he resided till his death in December, 
 1705. 
 
 ZUCCHI, GuiSEPPi, engraver. Brother 
 of the above. Practised for several years 
 in London, and engraved many of the works 
 of Angelica Kauffman. 
 
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 AND PARLIAMENT STREET 
 
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