r —is
* * * *•«
9 J« ♦ ,*1^
^ «é • »
.•.^f
% %
.%•.
iúSS
• «'••• • • «v«* •«
•*•'*%' • • t»
• • %.• «^««*
••* ft ••.,»4*ft
•• ••••• ••% •«%•»
^ 9 ^ ^ 9 ^ ^ *
% ^ ^ ^ • • * % •
♦♦♦♦• ♦♦ ««%•**.
%«« 4ft*»«
4* %4 ^
*• ««
««« ««« ^^*r%
««##*
• « 4 » ft I # ft
• • ••««•.
- - • •••• •♦ # • « « T. > > • » « * »•»* »
****«*V '«*«• • •> .•
••'' •• • • . * '»»»>•*'»%'• w » r t • •
•. 'i*i' » •.*': • •-•-• ' ' ' ','.T.'jâ ', ' '
' '• • ' »' .* .* •• *' a . • *»•.*• *' *.'#*.'• .*•.*»*•'♦•.* '." * • ."
. a .* *. . :'.t.' . •. '-• '. • -,
•.♦••♦,; .'; .• T'-^ •.?, 'it. • •
• • *. • • ' • • # . - • . • ., ^ ; . ,
• ft • • • *'• • • * .• •.• • •• ; ,•
'**' ...• ••»•«••«> <a»« ••« » » » 0 , » » m * 9 » » ^»9»» , . ' • .
' '* ~ Í Í' • a, a « •«•••«••« .«•••«a«.«.>^^*.T. ,
' » •• • • » A p p' . P^ ,' 0 P- P* a'p -A . » A . p ,.' .
•'•••»■»••• r«a* •• * p p p • 4 A-^» »»' 4 0 p . , p p , , «*.
• ' ' m* A' . * A* A* A' ' A' a* ••••♦ ••PPtAppPpA P4P4»»AI%0P A , A 0 P ** • A A A - P 4 •
A* A 'a a a •••'•• a 0 0 4 m 4 A • •> . A P p P 4 A P»p t * ^ p'p' P' ' ^ 4 4 P A •• Pa
* a' a ' * A • A A A . P"' A4 AAA^t'pA-APPPPPPA PA - 4 P P ^ A A
• _' A A ' •'• «•••a. a*« . A»A A P^pp'44A • • P — a
■ft***' *••>>•' A 'A'A A' A A' •P44PAPPP44P'4 4 4P • P • . P
'»•.•.* • ' A*. a' A* • P 4 P ' APA PA4-P P . •• A 'p P 4 PAP P^ '.p 4 P , . . A
•• ' a' ' Át ' * ' P » P • A4 A P» P A . • A A m , • . ' p P • P 4 A4 P ^4 A 4 p A4 • • P •
• *. •, • •.•i'l* A* A^ ' 'a* •••• • A P 44P 4 a - . a.^.a , p P ... A A. .p p A A
• • • •• ••» •.*#«• » a «a «• a»l 4 pf^AA PPP 4 P ' A A4.PPPPaA - A
a'*'.*. ' '. .'a'a'a' . 'a'p'a' .'pÍa'a'a' '.'a* ti; •a',"«. faT-?.- .• 'a','.* *
Î • •••.' .-, . •. . ••ta*: f !.?:• 'if-*.' .
UKAXP^P'.JÍ
NORTHWESTERN
UNIVERSITY
LIBRARY
CORPORATION OF MANCHESTER
ART GALLERY.
DESCRIPTIVE CATALOGUE
of the
PERMANENT
COLLECTION OF PICTURES.
compiled by
WILLIAAI STANFIELD,
Curator.
1889.
"The tendency of the Arts, when i-iihily exercised, to purify enjoyment, to humanise and
regulate the afi'ectlons, constitutes their noblest use, and indicates the connection between the
higher objects of taste and moral influences."—Eastla&e.
PRICE THREEPENCE.
Second Edition
K2.fo
^allerg (Committee :
Alderman HOPKINSON, Chairman.
4 ^
CHARLES J. POOLEY, Esq., Deputy-Chairman
THE MAYOR.
»
Alderman Bennett
Heywood
schofield
„ Thompson
Councillor Andrews
Boddington
Hütt
McDougaxl
Mark
n
ff
9f
V
Councillor Milne
Rawson
Samson
Robert Holt edmondson,Esq.,
Robert Falkner, Esq.
Thomas Walton gillibrand,Esq,
Sir Joseph Cooksey Lee
Thomas Read Wilkinson, Esq,
Thomas Worthington, Esq.
<^rt gttb-Committcc :
Chairman—C. J. POOLEY, Esq.
THE MAYOR.
n
99
Alderman Hopkinson
Bennett
schofield
„ Thompson
Councillor Boddington
Mark
Milne
Rawson
99
99
99
Councillor Samson
Robert Holt Edmondson, Esq.
Robert Falkner, Esq.
ThomasWalton Gillibrand, Esq
Sir Joseph Cocksey Lee
Thomas Read Wilkinson, Esq.
Thomas Worthington, Esq.
güttse <Sub-Committcí :
Chairman—Councillor RAWSON.
Alderman Hopkinson
„ Heywood
cuncilor Andrews
„ Boddington
„ Hütt
Councillor McDougall
Sir Joseph Cocksey Lee
Charles J. Pooley, Esq.
Thomas Read Wilkinson, Esq.
Thomas Worthington, Esq.
Curator—William Stantield
REGULATIONS
FOR STUDENTS COPYING PICTURES IN THE PERMANENT COLLEC¬
TION OF THE CITY OF MANCHESTER ART GALLERY,
1. Each applicant for admission asa Student must obtain alorm
from the Curator, which must be signed by a Professional
Drawing Master, or a Master of a School of Art, or any
member of the Art Gallery Committee, certifying that tíie
applicant is sufBciently advanced to profit by the privilege-of
copying. In cases where the applicant is a student under an
Art Master, or is a pupil in any weU-known School of Art, a
letter of recommendation from such authority will suffice,=and
should be enclosed with the Form of Application.
2. Students are admitted to copy in the Art Gallery from 10 a.m. to
4 p.m. on any day, Saturday and Sunday excepted. Students
attending at the GaUery are required to sign their names in
a book kept for that purpose in the Entrance HaU,
3. In order to prevent inconvenient crowding, not more than two
Students are permitted to copy from one picture at the -same
time,
4. Students desiring to copy from a picture, the places before which
are already occupied, should leave their names with the
Curator, who will assign them places in order of the date of
their application.
5. Students engaged in copying a picture absenting themselves for
an entire day, without giving notice in writing to the Curator,
will forfeit their place if another application be made for it
meanwhile, and must in that case await the next vacancy.
In such notice the title of the picture should be distinctly
stated.
6. Copies must not be of the same size as the originals, and in the
case of works measuring above 12 feet superficial, not more
than half the size ; under 12 feet, not more than two-thirds
the size ; and all canvases must be legibly marked on the back
as follows :—
" Copied by permission of the Committee from
the original picture in the Manchester Art
G-allery, for improvement in study only,
and not for sale."
7. Students infringing the above regulations will forfeit their
privilege of copying in the Gallery.
LIST OF DONORS AND WORKS PRESENTED.
THE NUMBERS FOLLOWING THE NAMES OF THE ARTISTS CORRESPOND
WITH THE NUMBERS IN THE CATALOGUE.
AGNEW, THOMAS and WILLIAM, Esquires.
The Shadow of Death " TV. Holman Munt .., .No. 31
BARTON, J. W., Esq.
John Baliol Surrendering his Crown to
Edward I. of England, a.D., 1296.". .James NortJicote,R.A.. .No. 67
CHADWICK, JAMES, Esq.
Roses " TV. J. Mückley No. 72
»
DICKINS, Mrs. CLARA SWAIN.
Charles Swain " William Bradley No. 71
GASKELL, the late Rev. WILLIAM, The Daughters of
Landscape" Alexander Nasmyth.,. .No, 49
GRANT, WHLIAM, Esq.
"Ulysses and the Syrens" William Etty, B.A No. 70
GREAVES, JOHN, Esq.
" The Farrier's Forge " George Morland No. 2
GREEN, SAMUEL, Esq.
" Pope Leo IV. Anointing Alfred the
Great" Richard Westall, R. A.. .No. 69
GOTTSCHALK, GODFREY, Esq.
" Flowers " H. Fantin No. 12
HAMMERSLEY, J. A., Esq.
" Mountains and Clouds" J. A. Hammersley .,. .No. 38
LIST OF DONORS AND WORKS PRESENTED
6
HOLT, RICHARD, Esq.
St. Sebastian " Attributed to Vandyck^ ,Na 42
HORSFALL, T. C., Esq.
"The Invincible Armada " Albert Goodwin No. 58
LLOYD, THOMAS, Esq.
" Sappho " A. Mengin No. 46
LEGROS, Professor A.
" Three Studies of Heads " A, Zegros Nos. 11,14,16
" St. Jerome ^ Ditto No. 40
PHILIPS, R. N., Esq.
"A Monk of the Brotherhood of
Charitable Instructors " Henriette Broivne No. 25
SLAGG, JOHN, Esq., M.P.
" Eve Tempted " üí. Spencer Stanhope,.. .No. 43
TURNER, WILLIAM A., Esq.
" At the Golden Gate " Val C. Prinsep, A.P,A.. .No. 30
WATTS, G. F., R.A.
"The Good Samaritan'' G, P. Watts^ Ii.A No, 5
WHITWORTH, Sir JOSEPH, Bart.
' Portrait of the Artist " William Etty, R,A No. 8
" Godfrey de Bouillon Ditto ... .No. 29
" The Last Judgment " Ditto ... .No, 44
" Study of a Peacock " Ditto ,, • ,No. 45
WILKINSON, THOMAS READ, Esq.
" Portrait of Edwin Waugh" William Percy No. 56
WORTHINGTON, JAMES, Esq.
" Christ Blessing Little Children"... .Sir Charles L. Eastlahe,
L.P,R.A No. 28
NOTICE.
As the frequent re-arrangement of the Galleries necessitates
a change in the position of some of the pictures, they may not
be found in the order in which they occur in the catalogue,
but, being àll numbered, they may readily be found by reference
to the consecutive numbers prefixed to the descriptions.
CATALOGUE.
00
ABBKEVIATIONS.
R.A.—Royal Academician.
A.R.A.—Associate of the Royal Academy.
R.S.A.—Royal Scottish Academician.
R.H.A.—Royal Hibernian Academician.
R.C.A.—Royal Cambrian Academy.
00
No. 1. " The Dead Robin."
HENEY THOMSON, E.A.
Two Children weeping at the Death of their Pet Bird.
On Canvas, 2 feet llj inches high, by 2 feet inches wide.
Lent by the Trustees of the National Gallery.
Henry Thomson, RA., was the son of a purser in the
navy, and was born at Portsea in 1773. He painted historical
and fancy subjects, and portraits, and first exhibited on the
walls of the Academy a picture of " Daedalus fastening wings
on his son Icarus." He was elected an Associate in 1801,
and a Member of the Royal Academy in 1804. In 1825 he
succeeded Fuseli as Keeper of the Academy, but, owing to
ill-health, in 1827, he resigned his office, in which he was
succeeded by Hilton, and he retired in 1828 to his native place,
Portsea, where he died April the 6th, 1843. From 1800 to
1825, inclusive, Thomson exhibited seventy-six pictures at the
Academy, chiefly portraits.
No. 2. ' ' The Farrieris Forge.''
GEORGE MORLAND.
A very carefully executed and characteristic example of the
work of an artist whose abilities have now gained general
recognition. Both the figures and the horse are well and
8
ADOLPHE YVON
suggestively painted, and the background is treated with
masterly freedom of handling. This picture is signed and
dated, George Morland, 1793.
On Canvas, 2 feet 4 inches high, by 3 feet wide.
Presented by John Greaves, Esq., Manchester, 1835.
George Morland was the son of Henry Robert Morland, a
portrait painter in crayons, and an engraver in mezzotint. He
was born on the 29th of June, 1763, and was instructed in his
art by his father ; his subjects were generally animals, or of a
domestic character, and all his pictures were executed with
extreme facility.
Morland died on the 29th of October, in a spunging-house
in Eyre Street, Coldbath Fields, in his forty-first year. His
death was hastened by dissipation. He had married the sister
of James Ward, R.A., who was afterwards united to Maria
Morland, the painter's sister. Mrs. Morland, who had been
separated from her husband, survived him only a few days.
Between 1779 and 1804 Morland exhibited, at the Royal
Academy, thirty-six pictures. They varied much in their
subjects the first, exhibited in 1779, is called in the cata¬
logue—"A Drawing with a Poker;" the last, in 1804, is
termed—" A Landscape, with Hounds in full Chase." In
1781 he exhibited—"A Hovel, with Asses;" and one picture,
exhibited in 1797, is called "Pigs."
No. 3. "Marshal Ney Supporting the Rear Guard
during the Retreat from Moscow-'^
ADOLPHE YVON.
" ... The legions fly !
Volley on volley, down the hailstones pour !
Blind, famished, frozen, mad, the wanderers die,
And, dying, hear the. storm more wildly thunder by.
Such is the hand of Heaven ! A human blow
Had crushed them in the tight, or flung the chain
Bound them, where Moscow's stately towers were low,
And all was stilled. Napoleon', thy war plan
Was a whole empire : thy devoted train
Must war, from day to day, with storm and gloom,
(Man following, like the wolves, to rend the slain ;)
Must lie, from night to night, as in a tomb ;
Must fly, toil, bleed for home—yet never see that home 1 "
—Dr. Croly,
ADOLPHE YVON
9
Buonaparte, on arriving at the pinnacle of his greatness,
alienated all his allies, ruled arbitrarily all the nations he
had subdued, and at length pretended to give law to Eussia.
On June !¿4th, 1813, he passed the Niemen at the head of an
immense army, and invaded the territories of that extensive
empire. On September 15th, after sweeping all before him, he
entered Moscow, with the intention of taking up his winter
quarters in that city ; but the city had already been set on
fire in several places, by the order, it is supposed, of the
Eussian governor, who had abandoned it, and who took this
terrible, but effectual, method of depriving the invaders of the
shelter, and the supplies of all kinds, which they had expected
to find there. The houses being chiefly of wood, the flames
spread with so much rapidity that two-thirds of the city were
burnt down.
Buonaparte was now in a state of the greatest difficulty.
His stores were exhausted ; his supplies were intercepted by
the Eussian armies in the neighbourhood ; his soldiers were
dispirited and discontented, and enfeebled by the fatigue and
distress to which they had been exposed. A retreat was all
that remained to him. The horrors of this retreat, or rather
flight, surpass any power of description. The route of the
army might, in many places, be traced hy the dead bodies of
those who perished fi'om cold, hunger, and fatigue. It has
been calculated that of the 450,000 men who had composed
the invading army, not more than 50,000 recrossed the
Eussian boundary on its return. When the winter snow
melted, the bones of 400,000 men lay white from Moscow to
the Niemen.
On Canvas, 5 feet 10 inches high, by 9 feet 10 inches wide.
Purchased by the Council of the Royal Manchester
Institution, 1858.
Adolphe Yvon (French School), born atEschwiller (Moselle),
1817, Officer of the Legion of Honour, Pupil of Paul Delaroche.
This painter made his début at the Salon of 1842, when he
exhibited his portrait of Mme. Ancelot. The next year he
went to Eussia, and from there sent several pictures to the
Salon. He received his first medal in 1848, and gradually
ascended the scale of honours until, in 1867, he was made an
Officer of the Legion of Honour. He was the only artist sent
10 HUBEET HERKOMEE, A.E.A
out officially to the Crimea, and his picture of the " Taking of
the Tower of Malakoff" (seen at the Exposition of 1867) holds
an honourable place among the representations of modern
battles in the Gallery at Versailles. His principal works are
"Portrait of General Neumayer" (1844); "The Remorse of
Judas " (1846) ; "Battle of Koulikowo" (1850); "A Fallen
Angel" (1852); "The First Consul descending the Alps"
(lö53) ; " Marshal Ney supporting the Rear Guard during the
Retreat from Moscow" (1855) ; and the " Battle of Solferino"
and a "Portrait of the Prince Imperial" (1861.)
No. 4. " Hard Times/'
HUBERT HERKOMER, A.RA.
The group of figures in the foreground tells a sad tale of
suffering and despair. The poor mother has dropped with
fatigue by the roadside, and she draws her children to he"* with
the feeble clutch of desperation ; the father a fine specimen of
a navvy, leans on the gate, and looks with an air of sadness
toAvards the distant village ; his spade and other implements of
his trade have evidently not been used for some time, and the
whole situation is suggestive of "hard times."
On Canvas, 2 feet 9.f inches high, by 3 feet 7^ inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1885.
Hubert Herkomer, A.R.A., Slade Professor in University
College, London, Grand Medallist of Honour at the Paris Exposi¬
tion of 1878, and member of the Royal Society of Water Colour
Painters at the Hague, was born at Waal, Bavaria, 1849.
His father is a wood-carver of singular taste and skill. As a
child, Hubert Herkomer was hindered in his education by
ill-health and poverty. When thirteen years old he entered
the Art school at Southampton, and Avon a bronze medal
during his first year. In 1865 he accompanied his father
to Munich, where Professor Echter did much to aid him
in his studies. In 1866 he entered the schools at South
Kensington, but after five months was obliged to return to
Southanjpton, Avhere he AA'as instrumental in establishing a life
school for drawing. At Christmas of that year, the young
G. F. WATTS, Ii. A
11
artists associated with him held an exhibition of their works,
and Herkomer sold his first picture. In 1867 he went again
to South Kensington for a few months. In 1868 he established
himself in the little village of Hythe, where, in the midst of
poverty and hardship, he painted two pictures, which he
exhibited at the Dudley Gallery in 1869. He then went to
London, where his genius fast gained him friends. In the
spring of 1870 his " Hoeing" was hung in the place of honour
at the Dudley. About this time he became connected with
the Graphic, in which many of his compositions have appeared.
In 1871 Herkomer was asked to join the Institute of Painters
in Water Colours. From that time he has gone steadily
forward from one success to another. He first contributed to
the Royal Academy Exhibition of 1873, After the Toil of the
Day," and in 1875, the "Pensioners." It is said that when
this work was brought before the Selecting Committee of the
Royal Academy, weary as they were with a long day spent in
judging mediocrities, they could not refrain from clapping
their hands in genuine admiration. Elected an Associate of
the Royal Academy in 1879.
No. 5. The Good Samaritan."
G. F. WATTS, R.A.
"But a certain Samaritan, as he joumeyed, came where he was;
and when he saw him, he had compassion on him, and went to him,
and bound up his wounds, pouring in oil and wine, and set him on his
beast, and brought him to an inn, and took care of him."
St. Luke X., 33,34.
On Canvas, 8 feet 3 inches high, by G feet 2 inches wide.
Presented by the Artist to the Citizens of Manchester, as
an expression of his admiration of Thomas Wright,
the Prison Philanthropist, 1852..
George Frederick Watts, R.A. Born 1818. First exhibited
at the Royal Academy in 1837. Received a prize of ¿£300 for
a cartoon, " Caractacus," and ¿£500 for his " Alfred exciting
he Saxons to Maritime Enterprise," from the Commissioners
or the decoration of the Houses of Parliament in 1843. He
painted also " St. George and the Dragon," at Westminster
12
C. NAPIER HEMY.
Palace, and a large Fresco in the new Hall of Lincoln's Inn.
Among his most successful portraits are those of Duke of
Argyle (I860), Tennyson (1862), Gladstone (1865), Dean of
Westminster (1867), Millais and Leighton (1871), Rev. Jas.
Martineau and John Stuart Mill (1874). Among his ideal
and mythological works may be mentioned, " The Window
Seat" and "Sir Galahad," at the Royal Academy, in 1862;
"Virginia" and "Ariadne," in 1863 ; " Esau," in 1865 ; and
" Thetis," in 1866. In 1867, when he was elected an Associate
of the Royal Academy, he contributed " A Lamplight Study ; "
and in the same year, when raised to the rank of Academician,
"The Wife of Pygmalion " and "The Meeting of Jacob and
Esau." In 1869 he sent "Return of the Dove" and "The
Red Cross Knight and Una;" in 1870, "Daphne;" in 1873,
"The Prodigal;" in 1875, "Dedicated to all the Churches;"
in 1876, "By the Sea—a Study." He has contributed several
portraits and ideal figures to the Grosvenor Gallery. His
" Love and Death," " Esau," and a portrait of Herr Joachim,
with one of Robert Browning, were in Paris, in 1878. In 1874,
the Council of the Manchester Royal Institution awarded to
Mr. Watts a prize of fifty guineas for his picture of "Love
and Death," exhibited in the Autumn Exhibition of that year.
He declined to receive the award, but he offered it the
following year to the artist of the picture of the most poetic
design, and it was awarded to Mr. E. J. Gregory, now A.R.A.,
for his drawing of "Sir Galahad." In 1878 he gained the
Hey wood Gold Medal for his painting of " Mischief." In 1887
Mr. Watts generously presented to the City of Manchester his
second gift, the great picture, " Love and Death."
No- 6. Old Putney Bridge/'
C. NAPIER HEMY.
This picturesque old bridge was closed May 29th, 1886, The
work of demolition "was begun immediately afterwards, and
carried on so quickl}' that the whole structure was removed
before the close of the year. By the Act authorising the
construction of the bridge, the sum of ¿£62 was directed to be
divided annually between the widows and children of the poor
C. NAPIER HEMY
13
watermen of Fulham and Putney, as a recompense to their
fraternity, who, upon the building of the biidgc, were con¬
strained from plying upon Sundays. Formerly the King paid
£100 per annum for the passage of himself and his household
over it. The bridge, which was constructed entirely of timber
according to Sir Jacob Ackworth's design, was 786 feet in
length, and the width 24 feet, with a clear water-way of 700
feet, with twenty-six openings or locks ; and on each side of
the way over the bridge angular recesses for the safeguard
and convenience of foot passengers going over the same. It
was lighted by oil lamps, which were removed in 1845
and gas substituted. With this exception, the old structure
remained much in its original condition down till 1870, when
two of the locks or openings were thrown into one. Since
then three locks have been converted into one, making twenty-
three openings instead of twenty-six, as originally. At the
Putney end of it there stood a quaint little toll-house of red
brick ; at the Fulham end a double toll-house, very quaint and
foreign in its appearance, the roof of which spanned the road¬
way, Two toll-collectors were stationed at each end of the
bridge. They were furnished " with hats, and gowns of good
substantial cloth of a deep blue colour, lined with blue
shalloon, and carried staves with brass or copper heads."
These, it appears, were quite as much for use as show, for the
people did not at first relish the idea of having to pay toll for
crossing a bridge. The consequence of this was, that several
very serious aftrays took place between the toll-collectors and
passengers during the first ten years of its existence. In 1730
bells were ordered to be hung " on the tops of the toll-houses,
to give notice of any disorder that might happen, so that the
collectors might go to the assistance of each other as there
might be occasion." The date upon these bells shows that they
were cast in 1739. Doubtless they did good service a century
or so ago, when Putney Heath and the surrounding neighbour¬
hood was infested with highwaymen and footpads. The view
of " Old Putney Bridge," which the artist (Mr. Hemy) has so
faithfully depicted, is taken from the Fulham side of the
Thames at low water (the tide rises at this spot to 12 feet).
On the right hand side of the picture is given the greater
portion of the double toll-house, near which, in the foreground,
a gravel barge is being unloaded. Near the Putney end
14
EICHAED ANSDELL, E.A
stands the church dedicated to St. Mary, built in 1825 upon
the site of an old chapel of ease to Wimbledon, which dated
from the beginning of the fourteenth century.
On Canvas, 3 feet high, by 4 feet 6 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1883.
Charles Napier Hemy. Studied first at the School of Art,
Newcastle-on-Tyne, and afterwards became a pupil of Baron
Leys. A constant contributor to the Eoyal Academy
Exhibitions.
No. 7. ''The Chase.''
EICHAED ANSDELL, E.A.
Or deer and deerhounds in a mountain landscape. The stag,
wounded and terrified, sinks down from sheer exhaustion, and
is being worried by two hounds. Inevitable death is forcibly
pictured in the head of the stag.
On Canvas, 5 feet 5 inches Mgh, by 9 feet 6 inches wide.
Purchased from the Autumn Exhibition, 1847-
Eichard Ansdell, E.A. (animal and subject painter), was
born at Liverpool in 1815, and educated at the Blue Coat
School in that town. He was intended for a commercial life, but
became an artist. He first exhibited at the Eoyal Academy in
1840, "Crouse Shooting." In 1850 he began to paint in
conjunction with T. Creswick, E. A. Their united works are ;
*'The South Downs," (1852) ; "The Shepherd's Eevenge," and
"The Drover's Halt," (1855). In that year he also painted, in
conjunction with W. P. Frith, E.A., "The Calves." He accom¬
panied John Phillip on a visit to Spain, finding his subjects
chiefly in Seville. "The Water Carrier," "The Spanish
Shepherd," and "Crossing the Ford," were painted there. He
received from the Council of the Manchester Eoyal Institution
the Heywood gold medals for the following works :—" The
Chase," in 1847; and in 1848 for "The Duke of Montrose's
Eetreat into the Highlands." A gold medal was also awarded
to him for his pictures "The Wolf Slayer," and "Turning the
Drove," contributed to the Paris Exhibition in 1855. He was
WILLIAM ETTY, RA
15
a correct and faithful de'ineator of animal life, hold in execu¬
tion, and often dashing and vigorous in colour, but lacking
in the imaginative faculty. He was elected an Associate of
the Eoyal Academy in 1861, and a full member in 1870.. He
died in 1885.
No- 8. " Portrait of the Artist "
WILLIAM ETTY, RA.
.William Etty, RA., was born at York, March the 10th,
1787 ; his father was a miller. In 1798 he was apprenticed
to Eobert Peck, a letterpress printer at Hull, with whom he-
served seven years ; but, says Etty, in his autobiography, " I
had such a busy desire to be a painter, that the last years of
my servitude dragged on most heavily." In 1806 he removed
to London, to his uncle, Mr. William Ett}^, of Lombard Street,
and at once earnestly prepared himself to enter as a student
at Somerset House. His first academy, however, was the
plaster-cast shop kept by Gianelli, in Cock Lane, Smithfield,
where Etty made a drawing of the ancient group of Cupid and
Psyche, which procured him admission into the Eoyal Academy;.
" he and Collins entered it the same week in 1807. By his uncle's
generosit}'', who paid one hundred guineas for him, Etty
became the pupil for one year of Sir Thomas (then Mr.)
Lawrence, residing at that time in Greek Street, Soho Square
but the incessant occupation of Lawrence left him little leisure
to assist his pupil, and Etty's difficiilties were so great, that he
writes—" Despair almost overwhelmed me, I was ready to run
away, I felt that I could not get on, but a voice within said
persevere! I did so, and at last triumphed, but I was nearly
beaten."
When his year was expired, Etty painted from nature, and
copied the "old masters" in the British Gallery : this, he says,
he found easy, after copying Lawrence. He was also a constant
student in the "Life School" of the Eoyal Academy. His
industry was indefatigable, yet he tells us that though he
tried for every medal, gold or silver, he never succeeded. He
ventured at one time to send six pictures to the Academy
exhibition ; all were rejected. This happened year after year
at the Academy and at the British Gallery; but by discovering
his defects, and by great industry in endeavouring to correct
16
HENRY WYATT
them, he at last conquered his evil fortune, and by such works
as "The Coral Finders," exhibited in 1820; "Cleopatra,"
exhibited in the following year, and some others, he established
a reputation, and at length entered upon his great career.
In 1822 Etty went to Italy, visiting Venice, Florence, Rome,
and Naples, but it was in Venice that he found the greatest
attractions:—"Venice, the birthplace and ci'adle of colour,
the hope and idol of my professional life ! " He studied in
the Academy there, and was elected an honorary member of
it.
He returned to London early in 1824. The first picture he
exhibited after his return, was " Pandora croAvned by the
Seasons," in that year's Exhibition, for which he was elected
an Associate of the Royal Academy ; in 1828 he became a
Member.
In the autobiography before mentioned, Etty has himself
l^ointed out what he considered his greatest works, amongst
Avhich are " Ulysses and the Syrens," and " The Storm," both
in the Manchester Gallery.
In the summer of 1849 an exhibition of Etty's works, to
the number of 130 'pictures, took place in the great room of
the Society of Arts, at the Adelphi, displaying, in a surprising
manner, the great powers of this distinguished English painter,
especially as a colourist. Etty died in the same year, 1849,
in his native city, York, on the 13th November. He was
never mairied, and having lived a very retired life accumulated
a considerable fortune. He contributed one hundred and
thirty-six pictures to the Royal Academy exhibitions.
On Canvas, 16| inches high, by 12^ inches wide, oviform.
Presented to the Corporation by Sir Joseph Whitworth,
Bart-, 1882.
No. 9- "Vigilance"
HENEY WYATT.
A young lady asleep, her lap dog watching.
On Canvas, 2 feet 6 inches high, by 2 feet wide.
Lent by the Trustees of the National Gallery.
Henry Wyatt was born at Thickbroom, near Lichfield, on
ithe 17th of September, 1794. He lost his father Avhen a
R. G. SOMERSET
17
child, and in 1811 was sent by his guardian to London, where,
in the following year, he became a student of the Ro3'al
Academy, and in 1815 the private pupil and assistant of Sir
Thomas Lawrence. At the end of the year 1817, Wyatt
established himself as a portrait painter, first at Birmingham,
then successively at Liverpool and Manchester, until 1825,
when he settled in London ; but he did not confine himself
entirely to portraiture. In 1834, however, on account of ill
health he removed to Leamington, whence he returned in 1837
to Manchester. Here he died, February the 27th, 1840, and
was buried in the churchyard of Prestwich. He exhibited in
all thirty-five pictures at thé Royal Academy, between the
years 1817 and 1838 inclusive.
No- 10- "On the Elwy."
R. G. SOMERSET.
"Wildly here, without control,
Nature reigns, and rules the whole ! "
—Bübxs.
A landscape, painted during the early spring, in a secluded
valley but little known to the tourist, between Abergele and
Llanrwst, one of those charming nooks which are sometimes
encountered in holiday rambles. The sky is replete with
bright, clear light. The passage of middle distance, with its
meandering stream and wooded banks, completes the beauty
of the scene.
On Canvas, 2 feet inches high, by 3 feet inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1883.
Richard Gay Somerset (landscape painter), member of the
Manchester Academy of Fine Arts, was born at Manchester in
1848. He received his early artistic training at the Manchester
School of Art, of which institution he became a student in 1865,
and for four years studied from the antique. During three
following years he painted in France and Italy.
B
18
A. LEGEOS—H. FANTIN
Ko. 11- " Study of a Head."
A. LEGEOS.
Painted before a large number of Art Students of the
University College, London, 1883, as a practical lesson in Art.
Time occupied in painting, one hour and forty minutes.
On Canvas, 1 foot 11 inches high, by 1 foot 7 inches wide.
Presented to the Corporation by the Artist, 1884.
Alphonse Legros, born at Dijon, Slade Professor in University
College, London; medals in 1867 and 1868; pupil of M. Lecoq
de Boisbaudran. This artist endured many hardships before he
was able to send a picture to the Salon; it was a portrait of his
father, exhibited in 1857. In 1859 "The Angelus" was con¬
tributed, and attracted much attention, especially from artists ;
it was purchased by the eminent etcher, Mr. Seymour Haden.
Professor Legros has obtained ample recognition in England,
and by his paintings, his sculpture, and his etchings, has proved
himself an accomplished and versatile artist.
2Í0-12. " Flowers/'
H. FANTIX.
Not less in drawing than in colour, these flowers show the
artist's unique power of realising the individual beauties of
nature.
On Canvas, 1 foot 3 inches high, by 1 foot 7 inches wide.
Bequeathed by Godfrey Gottschalk, Esq., Manchester,
1881.
Henri Fantin-Latour. Born at Grenoble, 1836. Pupil of
his father and of Lecoq de Boisbaudran. At the Salon of 1877
he exhibited a picture called "Reading," which was much
praised by Duranty in the "Gazette des Beaux Arts," and a
portrait ; also two pastels of landscapes, and two lithographs ;
in 1876, paintings of "Flowers" and "The Anniversary ;" at
the Salon in 1878, "La Famille D," which was much admired
and commended by Roger Ballu, in the " Gazette des Beaux
Arts" of July, 1878.
E. F. BREWTNALL—A. LEGEOS.
19
No. 13. '' The Old Hall, Baddesley, Clinton."
E. F. BREWTNALL.
Water Colour, 1 foot 8 inches high, by 1 foot 2 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1884.
Edward F, Brewtnall (subject painter and book illustrator),
was born at London in 1847. He removed to Warrington at
an early age, and received his education in that town, where
subsequently he spent some years at a cotton mill, but became
a student at the South Kensington (National Schools) in 1865.
He began to draw on wood for Once a Week and other magazines,
and worked for some years for the Graphic. He was elected
an associate of the Koyal Society of Painters in Water Colours
in 1875, and member in 1883. He has constantly contributed
to the exhibitions at the Royal Academy, Grosvenor Gallery,
and the Institute of Painters in Oil Colours, of which society
he is one of the original members. Among his principal oil
pictures are " The Sleeping Beauty," " Crabbed Age and
Youth," "Cinderella," "The Bailiff's Daughter of Islington,"
and " The Blind Beggar's Daughter of Bethnal Green." His
principal water-colour drawings are " Blue Beard's Wife,"
" The Three Ravens," " The Honeymoon : Where Next ?" and
" The Visit to the Witch." In 1875, the Council of the Royal
Manchester Institution awarded to Mr, Brewtnall a prize of
fifty guineas for his picture " Crabbed Age and Youth,"
exhibited in the Autumn Exhibition of that year.
No. 14. " Study of a Head."
A. LEGROS.
Painted before a number of the Art Students of the University
College, London, 1880, as a practical lesson in Art. Time
occupied in painting, one hour and forty-five minutes.
On Canvas, 1 foot 10 inches high, by 1 foot 6 inches wide.
For memoir see No. 11.
Presented to the Corporation by the Artist, 1881.
20
AY. EYRE AVALKER—A. LEGROS.
«
No. 15- " Across the Forest, Hampshire."
W. EYEE WALKER.
This drawing is the principal result of several more or less
lengthy sojourns in Hampshire, which were chiefly occupied in
making sketches and studies in the New i'orest. From the
Forest ridges one occasionally obtains glimpses, and from the
high open ground wide views of great expanse ; rolling masses
of trees, broken here and there by glades and commons,
stretching away into the far distance. AVith bright clouds
sailing across fine-weather skies, such a landscape becomes
most interesting : and it was the attempt to epitomise all this
that gave the artist, in this drawing, the sense of light, freedom,
and space as expressed in English woodland, "AVhen Autumn
has turned all things to gold."
"Water Colour, 2 feet 4 inches high, by 3 feet 6 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1887-
AVilliam Eyre AA^alker (landscape painter), member of the
Manchester Academy of Fine Arts, member of the Liverpool
Society of Painters in AVater Colours, and Associate of the
Royal Society of Painters in AVater Colours, was born at
Manchester in 1847. He received his early art education
from his father, Mr. AA^'illiam AYalker. After some years of
constant painting from nature, and of study of such works of
recognised masters of landscape as were within his reach, he
was in 1880 elected an Associate of the Royal Society of
Painters in AVater Colours.
No. 16. Study of a Head-"
Portrait of C. Napier Hemy
A. LEGROS.
Painted before a large number of students of the Manchester
School of Art in the rooms of the Royal Manchester Institution,
September 19th, 1879. Time occupied in painting, one hour
and forty minutes.
On Canvas, 1 foot 7 inches high, by 1 foot 3 inches wide.
For memoir see No. 11.
Presented by the Artist, 1879.
RANDOLPH CALDECOTT. 21
No-17. "May-Day."
RANDOLPH CALDECOTT.
Twas nature's gay day,
Bright smiling May-day,
Each heart was o'erñowing with joy and with glee;
Cowslips were springing,
Village bells ringing,
All hasten to dance round the flower-bedeck'd tree."
This beautiful little picture represents a troop of merry¬
makers hastening over a village green to the begarlanded
]\Iaypole in the distance. The youthful figures are full of
grace and action. The painting is direct, honest work, void of
trickery, with a delightful scheme of colour.
On Panel, 5 inches high, by 8J inches wide.
Purchased by the Corporation from the -Avtumn
Exhibition, 1884.
No 18. The Girl I left behind me/'
EANDOLPH CALDECOTT.
A soldier, in the uniform of the time of our grandfathers, is
just about to mount his horse, to ride off ; but he kisses his
hand to the young girl who is leaving the garden gate, sup¬
ported by her parents. She casts a last look at the handsome
trooper, but it is a look of misgiving as well as affection. The
accessories in this picture are of an English pastoral kind—
peaceful, and full of sunlight.
On Panel, 8| inches high, by llf inches wide.
Purchased by the Corporation at the Sale of the Artist's
Works in London, 1886.
Randolph Caldecott (painter and book illustrator) was bom
at Chester, 18-16. He was educated at the King's School
there, under the mastership of Mr. James Harris. His earliest
published drawing is of the burning of the Queen's Hotel,
Chester, which was published in the Illustrated London News in
November, 1861. During this time he was a diligent student
of the School of Art, under the training of Mr. Davidson, but
22
EANDOLPH CALDECOTT
his best lessons "were learned in the fields ; his days were one
long series of studies made direct from nature. Upon leaving
school he was placed in the Whitchurch and Ellesmere Bank.
In 1867 he came to Manchester, and another field was open for
him in which to gain knowledge. In the Manchester and
Salford Bank he speedily became esteemed. The cheerful
kindness, playful wit, keen observation, and delicate humour
which distinguished him here never deserted him ; they only
deepened with h's growth. During the time he was in
Manchester Mr. Caldecott worked very hard, drawing from
nature at all available times, painting in water colour and in
oil. He was a student of our School of Art. In 1868 he
illustrated a local serio-comic paper, the Will o' the Wisp, which
came to an untimely end. In 1869 he also contributed
drawings to the Manchester Academy Exhibition, in which the
germs of his genius may be found. In 1872 he left Manchester
for London. The habit of earnest study from life which had
characterised him hitherto was continued in London. He did
good work for "London Society," and Mr, Blackburn gave him
great encouragement and assistance at this time. He speedily
numbered among his friends Charles Keene, Du Maurier, and
Professor Armstrong. For a few months the Slade School of
Art saw him as student. In 1873 Mr. Blackburn produced a
volume on the Hartz Mountains, containing some drawings b}^
Mr, Caldecott. In this year he was in Vienna, sketching for
the New York Daily Ckraphic, "Baron Bruno," a collection of
fairy tales, by Louisa Morgan, was illustrated in 1875.
Between these years much time was spent at the Zoological
Gardens studying animals, especially birds ; and some terra¬
cotta statuettes were the result. The year 1875 saw his first
really brilliant effort. Mr. J. D. Cooper, the eminent wood
engraver, asked him to illustrate "Old Christmas," and the
success was immediate, the fame great. This was followed, in
the next year, by " Bracebridge Hall." The Academy exhibi¬
tion of 1876 received his first important oil painting, "The
Three Ravens." The first pair of Mr. R. Caldecott's picture
books appeared in 1878. Blackburn's "Breton Folk" was
published in 1880. For this work Caldecott made no fewer
than 170 drawings. This was also the year of his happy
marriage to a daughter of Mr. F. W. Brind, of St. Mary's
Cray, Kent.
G. F. WATTS, E.A.—JOSEPH KNIGHT. 23
The principal book illustrations after this were " Some of
jEsop's Fables, with Modern Instances," " The Sketch Book,"
the series of "Picture Books," and the vignettes to "Edwin
Waugh's Collected Works," In the " English Illustrated
Magazine" of March, 1886, there is a paper entitled "Fox
Hunting by a Man in a Round Hat," written and illustrated
by Mr. Caldecott. In addition to these books, the pages of
the Graphic contain much of his most characteristic work. The
" Scarborough " series, with their gaiety, dancing, and love-
making ; the "Story of the Rivals the " Monaco " episode ;
the tender idyll of " Our Haymaking," are all full of grace,
sweetness, and kindness.
The death of this gifted artist took place on the 12th of
February, 1886, at St. Augustine, Florida, whither he had gone
for health, sketching for the Graphic, en rmde.
No. 19. " Prayer."
G. F. WATTS, E.A.
" Prayer is the burthen of a sigh,
The falling of a tear,
The upward glancing of an eye.
When none but God is near."
On canvas, 3 feet 4 inches high, by 2 feet 3 inches wide.
Purchased by the Corporation at the " Rickards " Sale,
1887.
No. 20. " IiiftiDg Mist."
JOSEPH KNIGHT.
Painting at Capel Curig. A work full of the grand
solemnity of Welsh mountain scenery.
On canvas, 4 feet 6 inches high, by 3 feet wide.
Purchased by the Corporation from the Autumn
Exhibition, 1884.
Joseph Knight (landscape painter and mezzotint engraver),
member of the Royal Institute of Painters in Water Colours,
of the Council of the Dudley Gallery, London, and of the
24
J. H. E. PARTINGTON
Manchester Academy of Fine Arts, was born at ]\Ianchester in
1838, and obtained his art training in the Life Classes of the
Manchester Academy, which he attended for some years.
Since then he has devoted most of his time to landscape
painting, living in the country and working direct from nature.
'He is represented in the Permanent Collections of the Royal
Academy, South Kensington, Manchester, Salford, and Liver¬
pool. In 1874 he was awarded a prize of ¿20 by the Council of
the Manchester Royal Institution for his drawing "Theologians,"
exhibited during the Autumn Exhibition of that 3'ear,
No. 21. William Alfred Turner, Esq."
Late Chairman of the Art Gallery Sub-Committee.
J. H. E. PARTINGTON.
Mr. W. A. Turner was born at Pendleton, in 1839. His
father, the late Mr, Wright Turner, took an active part in
the municipal and other affairs of Salford, of which Borough
he held the position of chief magistrate for two years. Mr.
W. A. Turner was a well-known connoisseur of pictures, and
possessed a valuable private collection. The Corporation is
indebted to him for the picture of the " Golden Gate," by
Val Prinsep, hanging in this gallery. On the taking over of
the Royal Institution by the Manchester Corporation, of which
proceeding Mr. Turner was an earnest advocate,, he was
appointed Chairman of the Art Gallery Sub-Committee, and
in that capacity took a most active interest in its management
until his lamented death, which occurred on the I6th June,
1886.
On Canvas, 4 feet 2 inches high, by 3 feet 4 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1886.
J. H. E. Partington, President of the Manchester Athenaeum
Graphic Club, and member of the Manchester Academy of
Fine Arts, was bom at Manchester in 1843. He received his
early Art Education at the School of Art in this City, and
J. W. OAKES, A.R.A
25
afterwards became a painter of stained glass, at which pro¬
fession he worked for six years. His first contribution to the
Exhibition at the Eoyal Academy was made in 1872; since
then he has been a constant exhibitor.
No. 22- Glen-Muick, Aberdeenshire."
(Looking to Alt-na-guitliasac).
J. W. OAKES, A.RA.
" The evening mists, with ceaseless change
Now clothe the mountains lofty range,
Now leave their foreheads bare ;
And round the skirts their mantle furl,
Or on the sable waters curl.
Or on the eddying breezes whirl,
Dispersed in middle air,"—" Lady of the Lake."
On Canvas, 4 feet high, by 5 feet 4 inches wide.
Purchased by the Corporation, 1887.
John Wright Oakes, A.R.A. (landscape painter), was born
at Sproston House, near Middlewich, Cheshire, on the 9th
July, 1820. He was educated privately at Liverpool, and
artistically under Mr. Bishop, of the Liverpool College.
Early devoted to painting from nature, he by his energy
acquired that singularly crisp, firm, yet delicate mode of
handling which distinguishes his art, and, while working out
of doors, learned the true relationship of light and shade and
colour in landscape. He first exhibited in the Liverpool
Academy, a body of which he in a short time became a
member, and later honorary secretary. This office he held
for some j^ears, and when retiring from it was presented with
a testimonial in acknowledgment of his services to the
society. His subjects were generally Welsh mountain, moor¬
land, and shore scenes. He was elected an associate of the
Academy in 1876, and an honorary member of the Scottish
Academy in 1883. Contributed works to the International
Exhibitions held at Paris in 1855 and 1867. In 1873 his
picture "Glen Muick" was exhibited at Vienna, and in 1887
at the Royal Jubilee Exhibition, Manchester. Died at Learn
House, London, 1887.
26 SIE F. LEIGHTOX, P.E.A.—WILLIAM ETTY E.A.
No. 23- " The Last Watch of Hero."
SIE F. LEIGHTOX, BAET., P.E.A.
" With aching heart she scanned the sea-face dim.
******
Lo ! at the turret's foot his body lay.
Rolled on the stones, and washed with breaking spray."
Hero and Leander^ Musceus, translated by Ediain Arnold.
Hero, a beautiful girl of Sestos, was beloved by^Leancler,
a youth of Abydos. The lovers were greatly attached to each
other, and often, in the night, Leander swam across the
Hellespont to Hero in Sestos. On one tempestuous night he
was drowned, and Hero in despair threw herself into the sea
and perished.
On Canvas, 5 feet 2 inches high, by 2 feet 11J inches wide.
The Predella, 1 foot 1 inch high, by 2 feet 5^ inches wide.
Painted for the Corporation, 1887.
Sir Frederick Leighton, Bart., President of the Koyal
Academy, member of the Academy of Florence, and corres¬
ponding member of the Institute of France, w^as born at
Scarborough, 1830. He studied drawing as a boy in Eome ;
was a student of the Eoyal Academy of Berlin in 1845, and
later in Florence, Brussels, Paris, Frankfort, and Eome, He
first exhibited at the Eoyal Academ}^, 1855, "Ciambue's
hladonna carried through the streets of Florence," which
attracted great attention in London, and was purchased by the
Queen. He was elected Associate of the Eoyal Academy in
1865, Academician in 1868, and President in November, 1878,
when he received the honour of knighthood. He was after¬
wards (in 1886) created Baronet.
No. 24. "TheStorm.''
WILLIAM ETTY, E.A.
The subject of this—one of the artist's most refined works,
grand in its simplicity both as regards composition and colour
—is taken from the following passage : *'For He commandeth,
and raiseth the stormy wdnds, which lifteth up the waves
HENEIETTE BEOWXE—E. J. POYNTEE, E.A. 27
thereof ; they mount up to the heaven, they go down again to
the depths ; their soul is melted because of trouble. Then
they cry unto the Lord in their trouble, and He bringeth
them out of their distresses."—Psalm cvii., 25, 26, 28.
On Canvas, 2 feet 11^ inches high, by 3 feet 5} inches wide.
For memoir see No. 8.
Purchased by the Council of the Manchester Royal
Institution from the Autumn Exhibition, 1832-
No- 25. "A Monk of the Brotherhood of Charitable
Instructors-''
HENRIETTE BROWNE.
On Canvas, 5 feet high, by 3 feet 8 inches wide.
Presented by R. N. Philips, Esq., 1856.
Mme. Henriette Browne (French School) was born at Paris,
1829, and studied under Chaplin, obtaining four medals for
painting, and one for engraving. Her genre pictures early
attracted attention, especially those of 1855, viz., "A Monk
of the Brotherhood of Charitable Instructors," " School for the
Poor at Aix," " Mutual Instruction," and " The Rabbits." At
a sale in Paris in 1868, "The Sisters of Charity" sold for
£1,320.
No. 26. " The Ides of March. '
E. J. POYNTEE, E.A.
This picture represents the house of Julius Caesar on the
night before he was stabbed by the conspirators. The scene
is from Shakspere's play of "Julius Caesar," act ii., scene 2,
and shows the wife of the great general trying to dissuade him
from going to the Senate, as there are evil portents in the sk}'.
Enter Calpurnia, Caesar's Wife.
CaL What mean you, Caesar ? think you to walk forth ?
You shall not stir out of your house to-day.
Cm. Caesar shall forth : the things that threaten'd me
Ne'er looked but on my back ; when they shall see
The face of Caesar, they are vanished.
IS
E. J. POYNTER, RA.
Cal. Cíesar, I never stood on ceremonies,
Yet now they fright me. There is one within,
Besides the things that we have heard and seen,
Recounts most horrid sights seen by the watch.
A lioness has whelped in the streets ;
And graves have yawn'd, and yielded up their dead ;
Fierce ñery warriors fought upon the clouds,
In ranks and squadrons, and right form of war,
Which drizzled blood upon the Capitol ;
The noise of battle hurtled in the air,
Horses did neigh, and dying men did groan,
And ghosts did shriek and squeal about the streets.
O Cœsar ! these things are beyond all use.
And I do fear them.
Cœs. What can be avoided
AVhose end is purposed by the mighty gods ?
Y^et Cœsar shall go forth : for these predictions
Are to the world in general as to Ciesar.
Cal. When beggars die, there are no comets seen ;
The heavens themselves blaze forth the death of princes.
Cœs. Cowards die many times before their deaths ;
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should fear;
Seeing that death, a necessary end,
Will come when it will come.
The Romans divided their months into three parts, namely,
Calends, Nones, and Ides, all of which they reckoned backwards.
The Ides were always eight in number, and fell on the 15th of
March, May, July, and October, and on the I9th of other
months.
On Canvas, 4 feet llj inches high, by 3 feet inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1883.
Edward J. Poynter, R.A. (classical subject painter), was
born at Paris 1836. He was brought to England in his infancy,
and began the study of art in 1854. He went to Paris in 1856,
studied under Gleyre, and was also a student of l'Ecole des
Beaux Arts. He settled in London in 1860. In 1859 he
exhibited in the British Institution, '*Two Italian Piñerari;"
in 1861, at the Royal Academy, ''Alia Venezina in 1864,
"The Siren;" in 1865, "Faithful unto Death;" in 1866,
" Offerings to Isis ;" in 1869 (when he was elected an Associate
of the Royal Academy), he sent " Proserpine." Pojmter was
JAIMES SANT, K.A.—SIR C. L. EASTLAKE, P.R.A.
the first " Slade " Professor of Art at the University College,
London, and for some time a director of the Art Schools at the
South Kensington Museum. In 1865 the Council of the
Manchester Royal Institution awarded to him a prize of fift}^
guineas for his picture, -'Faithful unto Death." In 1876 he
was elected a Member of the Royal Academy.
No- 27. "A Thorn amidst the Roses."
JAMES SANT, R.A.
Two girls seated, with laps full of trophies from flowering-
brambles ; the one extracting from the other's hand the mischief
incurred,
" N"o rose without a thom."
On Canvas, 3 feet 6| inches high, by 2 feet 8J inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1887.
James Sant, R.A. (figure and portrait painter), was born at
London, 1820. Became a pupil of Varley, and entered the
Roj'al Academy Schools in 1840, shortly after beginning
his career as a painter of portraits, in which he has been very
successful. Among his sitters have been the Queen, the Prince-
Consort, and several members of the Royal Family, the Due
dAumale and the Bishop of London. In 1872 he was appointed
Principal Painter in Ordinary to Her Majesty, and elected an
Associate of the Royal Academy in 1862, and Academician in.
1869.
No- 28- Christ Blessing Little Children "
SIR CHARLES L. EASTLAKE, P.R.A.
"Suffer the little children to come unto me, and forbid them not : for
of such is the Kingdom of God."—Mark x., 14.
On Canvas, 2 feet 6i inches high, by 3 feet 4 inches wide.
Presented to the Corporation by James Worthington,.
Esq., Manchester, 1886.
Sir Charles Lock Eastlake, L.P.R.A., was born in 1793. la
1809 he entered the schools of the Royal Academy. A few-
years later he studied and copied in the galleries of Paris, and.
30
WILLIAM ETTY, R.A.
in 1815 painted his first important picture, a life-sized portrait
of " Napoleon on the Bellerophon." After spending some
time in study and sketching in Italy, Greece, and the East, he
returned to England, exhibiting his first picture at the Royal
Academy in 1823. He was elected Associate in 1827, Acade¬
mician in 1830, and President of the Royal Academy in 1850,
when he was knighted by the Queen. From 1843 to '47 he
was Keeper of the National Gallery, and in later years was one
of its tr ustees and directors. He was also, for many years.
Secretary of the Commission appointed for the decoration of
the New Houses of Parliament. Died, 1865.
No. 29. "Godfrey de Bouillon.''
WILLIAM ETTY, R,A.
In the seventh century, not many years after the appearance
of " Mahomet," Jerusalem had been torn away from the
Eastern empire by his Arab disciples. These Arabs became,
in the course of two centuries, the most civilised people of the
East ; and while they remained masters of the Holy City, the
Christian pilgrims were permitted to pay their devotions
unmolested. But in the year 1076 the Turks became
masters of Jerusalem, treated the pilgrims with great cruelty,
and endeavoured to prevent them from visiting the sepulchre.
One of these, named Peter the Hermit, born at Amiens, in
Picardy, though only a poor priest, made himself more
renowned than the most potent monarch of his time. On his
return from the Holy Land, inflamed by zeal for religion, and
by resentment against the Turks, he went about from country
to country, exhorting the princes and nobles of Europe to go
and fight against the Pagans, and drive them from Jerusalem.
The pope entered warmly into the cause, and published a
<îrusade. In a short time, men of all ranks, from the prince to
the peasant, flew to arms with an almost inconceivable ardour,
some selling their lands to obtain money for the expedition,
and all leaving their countries and their families, to wage war
■on the Turk, and redeem Jerusalem from the hands of the
infidel. After enduring hardships of every kind, and contending
VAL. C. PRINSEP, A.RA
31
with numerous hosts of enemies, the Crusaders, under the
command of Godfrey de Bouillon, took Jerusalem after a
bloody siege, in the year 1099. They elected Godfrey king,
and the city remained for about a hundred years in the
possession of the Christians, when it was re-conquered by
Saladin, the Sultan of Egypt.
On Canvas, 2 feet 10 inches high, by 2 feet 4 inches wide.
For memoir see No, 8.
Presented to the Corporation by Sir Joseph Whitworth,
Bart., 1882.
No. 30. " At the Golden Gate."
VAL. C. PRINSEP, A.R.A.
Represents one of the foolish virgins who has been shut out
through having her lamp untrimmed, the Golden Gate being
typical of the Gate of Paradise, through which the bridegroom
has led those who have kept their lamps trimmed.
This beautiful picture is principally a study—and a very
successful study—of the graces of the human figure, and of
drapery in the small folds proper to the softer Eastern stuff's,
and beloved by Greek art.
On Canvas, 4 feet 5.J inches high, by 3 feet 1 inch wide.
Presented by W. A. Turner, Esq., Manchester, 1883.
Valentine C. Prinsep, A.R.A. (painter and dramatist), was
born in India, 1836. He was originall}^ intended for the Indian
Civil Service, but gave up his appointment before he had
completed his two j ears' residence at Haileybury, and devoted
himself to the study of painting. First he went to Versailles,
then to Paris, where he was the pupil of Gleyre, and then to
Rome. Nor were foreign influences the only ones at work.
Then, as now, Mr. Prinsep was a warm admirer of Mr. Watts.
In these early days he felt strongly the influence of Dante
Gabriel Rossetti, and his first picture was after the manner
of the pre-Raphaelite school, a manner which was only a
passing one with him, and which he abandoned under the
influence of the President of the Royal Academy.
32
W. HOLMAN HUNT
No. 31. "The Shadow of Death''
AV. HOLMAN HUNT.
The artist supplies the following description
" This picture was painted in the conviction that Art, as one
of its uses, may be employed to realise facts of importance in
the history of human thought and faith. The example of the
Old Masters, in adopting certain costumes and modes of treat¬
ment for Scriptural subjects, is accepted by most modern
painters. Their genius has also induced some to contemn, as
literal and prosaic, the course followed by artists who study
national characteristics and climatic effects. Mr. Holman Hunt
sees that Art is many-sided ; and, while he admires much that
is being done by painters who work with loyal adherence to
the traditions of Art, he is inclined rather to follow them as a
designer, in appealing to the current spirit and intelligence of
the age. For more than one generation, Scriptural critics have
expounded theevents of Biblical history by referring to still exist¬
ing Oriental customs. The public, therefore, is better instructed
than that which Ghirlandajo or Paolo A^eronese addressed. The
primary object of Art—to teach the lesson of the incident
portrayed rather than to attract attention to the propriety of
costume and character—need not then be lost. Feeling that
we should paint for our spectators as the}' did for theirs, the
painter is glad to be saved from the difiBculty of competing
with the great masters on their own ground. The next
question may be an anxious one to many. Is there danger of
vulgarising the truths by realism ? Surely there need not be.
The cause of Divine teaching cannot suffer by candid research
and exposition. The current disposition to investigate facts
of Scriptural history is indulged as much by its advocates as
by its opponents.
" Of late years, on all hands, special interest has been
manifested in the human life of Jesus of Nazareth, by writers
of the widest differences of view ; in old days diverse motives
compelled painters to dwell more frequently upon the mir¬
aculous, the mysterious, and the simply sublime events of His
history, than on those which engage us now ; and so it has
come about that, to this da}^, there is no picture representing
Christ in full manhood enduring the burden of common toil.
W. HOLMAN HUNT.
U
*'It is an evidence of the Divine nature of Christianity, that
as each age is called on to solve new moral and social questions,
so new lessons are unfolded in the teaching of the life of
Christ. One of the problems of our age concerns the duty of
the workman ; His life, as now examined, furnishes an example
of the dignity of labour.
" The ariist has striven with the hope that all men alike, in
whatever modes they interpret the lesson in view, or accept as
a pattern the life of Him who at the beginning was known as
"The Carpenter," will not hastily reject the idea on account
of the humbleness of its nature. Mr. Hunt aims to show Him,
as He may have been seen by His brethren, while still gaining
His bread by the sweat of his face, during His first but longest
humiliation.
" To all who admit the value of the life of Jesus of Nazareth
this picture is addressed ; " for he that is not against us is for
us." Scripturally, the subject is " The Shadow of Death,"—the
bearing of the first burden of the Curse of Adam. Morally,
it is this also : the bestowing of Life in trust for future
universal good, rather than for immediate personal joy.
Surely there are enough of every class who have felt the
burdensomeness of toil, the relief at its cessation ; and enough
also of those who have battled against the temptation to seek
this world's glory at the expense of their peace with the
silent Father, and who may be encouraged to persevere while
thinking of this scene in the workshop of Nazareth, as taking
place at the end of along autumn day during which "the
servant waiteth for his shadow."
" A brief description of the picture may prove of interest as
well as a short narrative of its progress,
"The picture represents our Lord as the "Man Christ"
"gaining his bread by the sweat of his face," presenting Him
to our view subjected to the ordinary conditions of man's
nature, and compelled to realise in his own person the effect
of the curse pronounced upon Adam and his posterity :
" Cursed is the ground for thy sake ; in sorrow shalt thou eat
of it all the days of thy life. Thorns also and thistles shall it
bring forth unto thee ; and thou shalt eat the herb of the field ;
in the sweat of thy face shalt thou eat bread " (Gen. iii., 17-19).
Our blessed Lord was in very truth man in all things, sin only
excepted. The incident selected by the painter for illustration
C
34
W. HOLMAN HUNT.
is briefly this. The Saviour of mankind who, as we are told,
was " subject to His parents," is believed to have worked at
the trade of a carpenter. We know from Scripture that our
Lord did not work miracles to enable Him to live, and thus
the necessary consequence follows that he worked at some
trade to procure the means whereby He should live. He has
been hard at work all the day, and the setting sun tells Him
the hour for cessation from toil has arrived, that His day's
labour is over. He has just risen from the plank on which He
has been working, and is portrayed as throwing up His arms to
realise that pleasant sensation of repose and relaxation caused
by the inverse action of the tired and stiffened muscles of arms
and body ; and in perfect harmony with this physical act, so
natural and grateful to every one, the Divine Labourer pours
forth His soul in fervent gratitude to His Father that the
welcome hour of rest has come. It is thought this expression
is in perfect harmony with the incident and the work He came
to do. Even as Moses lifted up the serpent in the wilderness,
even so must the Son of Man be lifted up ; that whosoever
believeth in Him shall not perish, but have eternal life " (John
iii., 14-15). The complexion of the Saviour's hody is true to
fact, though novel, and perhaps startling from its novelty.
The observer must remember that the painter travelled to the
land where our Lord lived and died, and sojourned amongst
the people, the descendants of those who crucified Him, and
that he took living Jews, namely twenty—and some of them
were natives of the tribe of Judah, the tribe to which our Lord
belonged—as his models for the representation of our blessed
Saviour ; and therefore the picture has, at the least, the merit
of suggestive truth, however it may staitle. Nothing could
have been easier than that the painter should have followed
in the wake of other artists who have created in the public
mind a certain ideal (not accurate as regards race and
physique) of the Saviour, and thus the beautiful features
portrayed—the blue eyes, the chestnut hair, and the nearly
Grecian nose—are thought to be ideal instead of being, as
we may most reasonably believe, a most fair and truthful
resemblance to the features of our Lord, In conclusion, it
may be observed that the artist lived nearly five years amongst
the people and the scenes of our Lord's life, thereby giving
proof of a desire to paint in accordance with truth, which he
W. HOLM AN HUNT
35
trusts will be eventually recognised. The Virgin Mother is
represented as looking over the gifts of the Magi, the presents
at the nativity—gifts doubtless treasured up with all the
mother's care : and who can tell the amount of the knowledge
vouchsafed to her of the fearful doom of the working Lord ?
Her attitude tells of her fright and terror though her features
are not portrayed. The shadow of the wearied Lord falling
on the rack which holds the carpenter's tools, Avith the
mandrel placed vertically in the centre, at once literally
realises the form of a cross, and the hands falling thereon
suggest the idea of a figure nailed thereupon, and thus the
particular death Our Lord would die—The " Shadow of the
Death,"
"The artist began it in the autumn of 1868. The subject
was painted out on a canvas of a portable size. Bethlehem
was chosen as the place of work, because the people there, in
their complexion at least, most perfectly represent the Son
and the Daughter of the House of David. It was painted
in a carpenter's shop, and on the roof of a house where the
horizontal sunlight shone uninterruptedly. When the first
difficulties of the design were overcome by the completion of
the smaller picture, the artist was able to judge how, for the
larger canvas, the composition could be improved. The revised
design required fresh matter from Nazareth; the painter,
therefore, journeyed to that place and made the necessary
studies. On his return to Jerusalem he proceeded with the
larger picture, and again upon the roof of his house, profited
by the morning and evening sunlight, for the former supplied
facts of light and shade which enabled him to carry on the
work through the day, and prepare it for the evening hues.
The need of working out of doors, while exposed to changes of
weather, the obscuring of the sun by mists, and the rising of
the wind, &c., which early and late are, even in Syria, to a
painter with a large canvas, distractingly frequent, materially
protracted the task. The picture was brought home in the
autumn of 1872, but, although it had already been completed,
the artist was glad to I'etain it in his studio, that he might
judge deliberately how far it represented his conception.
"To enter on the details of the picture :—the tressel on which
the plank has been sawn is of a form peculiar to the East. In
Italy, in the present day, and, Ave believe, in Etruscan painting ,
36
W. HOLMAN HUNT
an angular support similar in principle to this, for wood while
under the workman's hand, is to be found. The saw is of a
shape designed from early Egyptian representations of this
tool and the form of the modern Oriental implement. The
teeth are directed upwards, so that the cut is made by the
pulling instead of the pushing stroke, as it is in the West.
The red fillet, with the double tassel at the foot of the tressel
is the aghal ;—it is portrayed in both the Assyrian sculptures,
and the Egyptian pictures of the Jews led away as captives, as
the only head-dress. It is now worn by the Bedouin of Syria
over a keffieh. The tools on the rack behind are from a collec¬
tion of ancient carpenters' implements bought at Bethlehem.
They include drills, an auger, mandrels, a plumb line, frame¬
saw, and half-square, tools, most of which appear in Egyptian
paintings of a date long anterior to the time of the Saviour.
The crown in the casket is a combination of the forms of
coronets of the dynasties of Antiochus and Herod, and of the
ancient and modern Persian monarchs. The censer is of
cloisonné enamel—used in the East at a much earlier date than
that illustrated here. The design upon the ivory surface of
the box is almost an exact copy from the ornamentation of
capitals of columns still existing at Fersepolis. The rounded
arch of the windows may, the painter thinks, be justified by
more than one example of buildings of the Christian era, dis¬
covered at Jerusalem. The landscape seen through the window
represents the hills of Galilee, with Gebel-al-Covvies, the Hill
of Precipitation, and, further off, the plain of Jezreel, and,
beyond this, the Mountains of Gilboa, almost meeting on the
right the range of Carmel, while in the far distance, on the left,
are the remote mountains extending to Moab behind the
Jordan.
On Canvas, 6 feet 11J inches high, by 5 feet 6 inches wide.
Presented to the Citizens of Manchester by Thomas and
William Agnew, Esquires, Manchester, 1883.
William Holman Hunt was born at London, 1827, and
received his Art Education in the schools of the Royal Academy.
He exhibited his first picture in 1846, Among his earlier works
E. BUENE-JONES, A.E.A
37
are: "Valentine rescuing Sylvia from Proteus," in 1851;
"The Hireling Shepherd," in 1853; "The Awakened Conscience,"
and " The Light of the World," in 1855 ; and "The Scapegoat,"
in 1856. His "Isabella and the Pot of Basil" was sold at the
Johnstone sale, 1876, for ¿£2,650. His "Christ discovered
in the Temple" was sold for ¿65,000 in England. Amongst
his later works are: "The Shadow of Death," and "The
Flight into Egypt ;" upon the latter work he spent several
years of labour and study ; it was exhibited at the City of
iVIanchester Art Gallery in 1886.
No- 32. " Sibylla Delphica-"
E. BURNE-JONES, A.R.A.
The Delphic Sibyls hold an important place in classic
legend. The Sibyl was wont to write her prophecies on bay
leaves, which were placed at the entrance of her temple, where
the seekers might find them, if the winds did not scatter them.
In this picture the priestess stands in front of the sacred
flame and temple, holding in each hand the bay leaves, emblems
of her sacred office.
On Canvas, 5 feet high, by 2 feet wide.
Purchased by the Corporation from the Autumn
Exhibition, 1886.
Edward Burne-Jones, A.E.A., intended by his family for the
Church, was educated at Exeter College, Oxford, where he
devoted much of his spare time to drawing. Without special
art training, almost entirely self-taught, he determined to adopt
painting as a profession, and attached himself to the so-called
"romantic school" of his friend Rossetti. His pictures, until
within a few years, were rarely publicly exhibited, but became
rapidly the most important feature of thé Grosvenor Gallery.
38
FORD MADOX BROWN
No. 33. "Work."
FORD MADOX BROWN.
" Which bends the brow, and tans the flesh of lusty manhood,
casting out its devils ;
By whose weird art, transmuting poor men's evil,
Their bed seems down, tJieir one dish ever fresh.
Ah, me ! for want of it what ills in leash
Hold us !"
The artist supplies the following description
" This picture was begun in 1852, at Hampstead. The back¬
ground, which represents the main street of that sxiburb, not
far from the heath, was painted on the spot. At that time
extensive excavations connected with the supply of water were
going on in the neighbourhood. These suggested the composi¬
tion of " Work " as it now exists, with the British excavator
tor a central group, as the outward and visible type of Work.
Here are presented the young nawy in the pride of manly
health and beauty ; the strong fully-developed navvy who does
his work and loves his beer ; the selfish old bachelor navvy,
stout of limb, and perhaps a trifle tough in those regions where
compassion is said to reside ; the navvy of strong animal
nature, who, but that he was when young taught to work at
useful work, might even now be working at the useless crank.
Then Paddy, with his larry and his pipe in his mouth.
"The young nawy who occupies the place of hero in this
group, and in the picture, stands on what is termed a landing-
stage, a platform placed half-way down the trench ; two men
from beneath shovel the earth up to him, as he shovels it on
to the pile outside.
" Next in value of significance to these is the chickweed seller,
the ragged wretch who has never been taught to work ; with his
restless, gleaming eyes, he doubts and despairs of everyone.
But for a certain effeminate gentleness of disposition, and a
love of nature, he might have been a burglar.
" In the opposite corner of the picture, the brain workers are
represented by Thomas Carlyle and the Rev. F. D. Maurice.
" Next to these, on the shaded bank, are different characters
out of work : haymakers in quest of employment ; a stoic from
the Emerald Island, with hay stuffed in his hat to keep the
draught out, and need for his stoicism just at present, being
FORD MADOX BROWN
39
short of baccy ; a young shoeless Irishman, with his wife,
feeding their first-born with cold pap; an old sailor turned
haymaker ; and two young peasants in search of harvest work,
reduced in strength, possibly by fever or famine.
"Behind the chickweed man, the Pariah, who never has learnt
to work, appear the ricA, who have no need to work. The
pastry-cook's tray, as symbol of superfluity, accompanies these.
The elder and more serious of the two ladies devotes her
energies to tract distributing. In front of her is the lady
whose only business in life as yet is to dress and look beautiful.
She is engaged watching her tiny greyhound in a red jacket as
it runs through the lime,
" In the foreground is a group of ragged children. The baby's
black ribbons and their extreme dilapidation indicate that they
are motherless. The eldest girl, not more than ten years old,
is very worn-looking and thin ; her frock, evidently the com¬
passionate gift of some grown-up person, she has neither the
art nor the means to adapt to her own diminutive proportions;
she is fearfully untidy therefore, and her way of wrenching
her brother's hair looks vixenish and against her. But then a
germ or rudiment of good housewifery seems to pierce through
her disordered envelope, for the younger ones are taken care
of, and nestle to her as to a mother ; the sun-burnt baby is fat
and well-to-do ; it has even been put into poor mourning for
mother. The other little one, though it sucks a piece of carrot
in lieu of a sugar-plum, and is shoeless, seems healthy and
happy, watching the workmen. The care of the two little ones
is an anxious charge for the elder girl, and she has become
a premature scold through having to manage the boy, who,
though a good-natured-looking young Bohemian, is evidently
the plague of her life. As he will not leave the workman's
barrow, he gets his hair pulled. The dog which accompanies
them is of the same outcast sort as themselves. The having
to do battle for his existence in a hard world has soured his
temper, and he frequently fights, as by his torn ear you may
know ; but the children may do as they like with him ; rugged
democrat as he is, he is gentle to them, only he hates minions
of aristocracy in red jackets. The old bachelor navvy's small,
valuable bull-pup, also instinctively distrusts outlandish-looking
dogs in jackets. The couple on horseback in the middle
distance consists of a gentleman, still young, and his daughter.
40
FORD MADOX BROWN
He looks like a very rich man, possibly a colonel in the army,
with a seat in Parliament, &c, &c. The man with the beer
tray, calling "Beer ho!" is a specimen of town energy
contrasted with country thews and sinews. He is hump¬
backed, dwarfish, and. in all matters of taste, vulgar as
Birmingham can make him look in the 19th century. Asa
child he was probably starved, stunted with gin, and suffered
to get run over. But energy has brought him through to be
a prosperous beer man.
" Among the less important characters in the background,
Bobus, " the sausage maker of Houndsditch," from Past and
Present, shows his intention of going in for the county of
Middlesex, and, true to his old tactics, has hired all the idlers
in the neighbourhood to carry his boards. These being one
too many for the bearers, an old woman has volunteered to
carry the one in excess. A policeman has caught an orange
girl in the oflfence of resting her basket on a post, and himself
administers justice in the shape of a push, that sends her fruit
all over the road. On the wall are posters and bills ; one of
the "Boys' Home, 41, Euston Road," one of "The Working
Men's College, Great Ormond Street," and a police bill offering
SoO reward in a matter of highway robbery. The effect of
hot July sunlight has been introduced in this picture, as
peculiarly fitted to display work in all its severity."
On Canvas, 4 feet 5 inches high, by 6 feet 5.} inches wide.
Purchased by the Corporation, 1884.
Ford Madox Brown was born at Calais (where his parents
were temporarily residing) in 1821. He displayed a taste for
art at an early age, and in 1835 was placed in the Academy at
Bruges. He studied also at Ghent and Antwerp, remaining in
the latter city two years, painting there " Giaour's Confession,"
exhibited at the Royal Academy in 1841. After some yeais
in Paris, he settled in London in 1845 or '46. Among his
earlier works are, " Wickliff Reading his Translation of the
Scriptures," painted in 1848, "Chaucer Reading at the Court
of Edward III.," in 1851, "Christ Washing Peter's Feet," and
"The Pretty Baa-Lambs," in 1852. To the International
Exhibition of 1862 he sent his "English Autumn Afternoon"
and "Last of England." In 1865 he exhibited a collection of
his works in London, including " Cordelia and Lear," '* King
René's Honeymoon," "Death of Sir Tristram," "Parasinas,"
lî. CLAKENCE WHAITE, P.RC.A.
41
" Sleep," " Infant's Repast," " Oure Ladye of Good
Children," " Faithless," &c., and several landscapes. The more
recent of his works are the historical mural decorations
in the large room of the Manchester Town Hall, painted on
nine panels. No. 1 illustrates The Building of the Roman
Fort of Mancunium." No. 2, " The Baptism of Edwin, King
of Northumhria and Deira, at York, a.d. 627." No. 3, "The
Expulsion of the Danes from Manchester, about the year 910."
No. 4, "The Establishment of Flemish Weavers in Manchester,
a.d. 1S63." No. 5, " The Trial of Wiclif, a.d. 1378." No. 6,
" The Proclamation regarding Weights and Measures, a d.
1556." No, 7, "Observation of the Transit of Venus, by
William Crabtree, at Broughton, a.d. 1639." No 8,
"Humphrey Chetham's Life Dream." No. 9, "Dalton collecting
Marsh-Fire Gas."
No- 34- "The Heart of Cambria.''
H. CLARENCE WHAITE, P.RC.A.
" Mountains on Mountains piled."
The quotation which the artist has attached to his work well
describes its main features. The aim of the picture is to
illustrate the wildness of the heart of North Wales—Snowdon
—and is suggested from the Pass of Aber Glaslyn; but it does
not profess to be a literal transcript from nature, and has some
affinity with Turner's imaginative composition.
On Canvas, 6 feet 2 inches high, by 3 feet 11 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1886.
Henry Clarence Whaite, P.R.C.A. (landscape painter),
member of the Royal Society of Painters in Water Colours, was
born in Manchester, 1828. He received most of his art educa¬
tion in his native city, but finished his studies in London. One
of the founders of the Manchester Academy of Fine Arts, and
of the Royal Cambrian Academy, he was elected by the latter
its first President, in 1886. In 1854 the Council of the
Manchester Royal Institution awarded him the Heywood
Silver Medal Prize and j£20, for his painting of "The Expulsion
from Paradise " ; in 1862, the Heywood Gold Medal for his
painting, "The Rainbow"; and in 1882, a similar prize for his
drawing, " A Stronghold of Edward the First."
42 P. E. MOEEIS, A.E.A.—JAS. NOETHCOTE, RA
No- 35- " The Nancy Lee of Great Yarmouth."
PHILIP E. MOEEIS, A.E.A.
" And around the bows and along the side
The heavy hammer and mallets plied,
Till after many a week, at length,
Wonderful for form and strength.
Sublime in its enormous bulk,
Loomed aloft the shadowy hulk !
And around it colums of smoke, upwreathing.
Rose from the boiling, bubbling, seething
Caldron, that glowed,
And overflowed
With the black tar, heated for the sheathing."
—Longfellow*
On Canvas, 2 feet 11 inches high, by 4 feet 11 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1883-
Philip R. Morris, A.R.A., was born at Devonport, 1840, For
two years he studied in the British Museum, chiefly the Elgin
marbles, entering the Royal Academy in 1855. The same year
he won the silver medal of the Royal Academy for best drawing
from life ; in 1856 he received two medals; in 1858 he won
the gold medal for the best historical painting, " The Good
Samaritan," and also the travelling studentship, spending
some time in Italy and France. He first exhibited at the
Royal Academy, in 1858, "Peaceful Days," a picture purchased
by T. R. Creswick, R.A., and was elected an Associate of the
Royal Academy in 1877.
No. 36. A Moor."
JAMES NORTHCOTE, R.A.
Finished Study of a Head.
Ou Canvas, 2 feet 5 inches high, by 2 feet wide.
For memoir see No. 67.
Purchased from the Autumn Exhibition, 1827.
W. F. YEAMES, E.A
43
No. 37- Prince Arthur and Hubert "
W. F. YEAMES, R.A.
Huh, Come, boy, prepare yourself.
Arth, Is there no remedy ?
Huh, None, but to lose your eyes.
Arth, O heaven ! that there were but a mote in yours,
A grain, a dust, a gnat, a wandering hair,
Any annoyance in that precious sense !
Then, feeling what small things are boist'rous there.
Your vile intent must needs seem horrible.
Hub. Is this your promise ? Go to, hold your tongue,
Arth. Hubert, the utterance of a brace of tongues
Must needs want pleading for a pair of eyes :
Let me not hold my tongue ; let me not, Hubert !
Or, Hubert, if you will, cut out my tongue,
So I may keep mine eyes ; 0, spare mine eyes !
Lo, by my troth, the instrument is cold,
And would not harm me.
Huh. I can heat it, boy.
Arth. No, in good sooth ; the fire is dead with grief,
Being create for comfort, to be us'd
In undeserv'd extremes ; see else yourself ;
There is no malice in this burning coal :
The breath of heaven hath blown its spirit out.
And strewed repentant ashes on his head.
*
Huh. "Well, see to live ; I will not touch thine eyes
For all the treasure that tliine uncle owes ;
Yet am I sworn, and I did purpose, boy.
With this same very iron to burn them out.
" King John," Act iv., Scene 1.
On Canvas, 6 feet 6 inches high, by 4 feet 1 inch wide.
Purchased by the Corporation from the Autumn
Exhibition, 1883.
William Frederick Yeames, R.A., was born in Southern
Russia in 1835. He was educated at Dresden from 1843 to
1848, when he came with his family to London. In 1849 he
began the study of drawing, attending the anatomical classes
of the University of London. He went to Florence in 1852,
studying art and painting there for two years ; and then spent
some time in Rome, settling finally in London in 1858. He
first exhibited at the Royal Academy, in 1859, "The Staunch
Friend." In 1867, when he was elected an Associate of the
Royal Academy, he sent "The Dawn of the Reformation,"
and in 1878 was made full member.
44 J. A. HAMMEESLEY—WILLIAM HILTON, E.A
No. 38- " Mountains and Clouds."
J. A. HAMMEESLEY.
A Scene from the top of Loughrigg Fell, Westmorland.
" Seems that primeval earthquake's sway
Hath rent a strange and shattered way
Through the rude bosom of the hill,
And that each naked precipice,
Sable ravine, and dark abyss.
Tells of the outrage still."
On Canvas, 4 feet IJ inches high, by 5 feet 11 inches wide.
Presented by the Artist, from the Autumn Exhibition
of 1850.
J. A. Hammersley was born at Burslem, in Staffordshire, in
1815, and received his art education under J. B. Pyne, From
May, 1849, until December 31st, 1862, he held the position of
Head Master of the Manchester School of Design. He died in
1869, and was buried at St. John's Church, Higher Broughton.
No. 39. ''Phaethon"
WILLIAM HILTON, E.A.
Phaethon, a son of the Sun, or of Phœbus and Clymene.
According to Hesiod and Pausanius, he was son of Cephalus
and Aurora ; or of Tithonus and Aurora, according to Apollo-
dorus. He is, however, generally acknowledged to be the son
of Phoebus and Clymene. Phœbus allowed him to drive the
chariot of the sun for one day. Phaethon, on receiving the
reins, at once showed his incapacity ; the horses became
unmanageable, and heaven and earth were threatened with a
conflagration, when Jupiter struck Phaethon with a thunder¬
bolt, and hurled him into the Biver Po, where he perished.
On Canvas, 2 feet high, by 2 feet 5 inches wide.
William Hilton, B.A. (classical subject painter), was born at
Lincoln, June 3, 1786. His father was a portrait painter, and
was probably his first instructor. In 1800 he was placed with
ALPHONSE LEGEOS.
45
J. E. Smith, the engráver, in London, and obtained admission
as a student into the Eoyal Academy about the same time.
In 1803 he appeared as an exhibitor at the Academy, and
very soon acquired distinction for his choice of subject, his
refined taste in design, and a harmonious and rich style of
colouring, though from an injudicious method of mixing and
applying his colours his pictures are now rapidly perishing.
The use of asphaltum seems to be the chief cause of this
mischief.
He was elected an Associate in 1813, and a full Member of
the Eoyal Academy in 1819, succeeding Thomson in the office
of keeper in 1827. He died in London, December 30, 1839,
in his fifty-fourth year.
He was to the last in possession of most of his best pictures :—
"The Angel releasing St. Peter from Prison," and "Sir
Calepine rescuing Serena," both exhibited in 1831 ; "Comus;"
"Amphitrite"Una, with the Lion, entering Corcecas' Cave,"
exhibited in 1832 ; "The Murder of the Innocents," in the
Exhibition of 1838, the last picture he ever exhibited; and
"Eizpah watching the dead bodies of Saul's sons," but this was
left unfinished at his death- A large collection of his works
was exhibited at the British Institution in 1840. His contribu¬
tions to the Academy Exhibitions amounted to twenty-eight
only.
No. 40. " St. Jerome."
ALPHONSE LEGEOS.
St. Jerome, an eminent father of the Church, was born at
Stridon, Dalmatia, 331. He presided over a monastery, and
devoted his days to study at Eathelem, and died 420 A.D.
' On Canvas, 5 feet 8 inches high, by 3 feet 5 inches wide.
For memoir see No. 11.
Presented by the Artist, 1882.
46
CECIL G. LAWSON,
No. 41. "The Minister's Garden."
CECIL G. LAWSON.
" Near yonder copse, where once the garden smil'd,
And still where many a garden flow*r grows wild ;
Tliere where a few torn shrubs the place disclose,
The village preacher's modest mansion rose,
A man he was to all the country dear,
And passing rich with forty pounds a year.
Remote from towns he ran his godly race,
Nor e'er had chang'd, nor wish'd to change his place ;
Unpractis'd he to fawn or seek for power,
By doctrines fashion'd to the varying hour,
For other aims his heart had leam'd to prize.
More skill'd to raise the wretched than to rise.
His house was known to all the vagrant train.
He chid their wand'rings, but relieVd their pain."
—Goldsmith.
This work is full of painstaking fidelity to nature in the
sturdy fir trees, the roses, the hollyhocks, and the beehives in
the foreground, and in the meadows, swelling uplands, and
distant hüls, towards which we look from the garden which
gives its title to the picture ; at the same time the artist has
thrown such a tender and peaceful sentiment into his work,
harmonising the bright colours of the foreground, and choosing
a moment of subdued light for the wide expanse of landscape,
that he has fully justified himself in describing it as "a tribute
to the memory of Oliver Goldsmith." It is just such a garden
as fancy would choose for the Vicar of Wakefield to sit in.
On Canvas, 5 feet 11 inches high, by 8 feet 11 inches wide.
Purchased by the Corporation, 1883.
Cecil G. Lawson, the youngest son of Mr. William Lawson,
of Edinburgh, a portrait painter, was bom near Wellington, in
Shropshire, on the 3rd of December, 1851. His childhood and
youth were spent in London. Having shown an early taste
for art, he studied its technicalities under his father's guidance,
and while still a boy devoted himself to landscape painting.
In 1870 he exhibited his first picture at the Royal Academy,
viz., a view in " Cheyne AValk, Chelsea," which was followed
by the " River in Rain," and " A Summér Evening," in 1871 ;
A Lament," in 1872 ; and " A Pastoral in the Vale of Meifod,
VANDYCK.
47
N. Wales," in 1873. In 1876 he contributed his "Hop Gardens
of England " to the Royal Academy. It attracted considerable
notice, and for three successive years his name appears in the
Royal Academy catalogue.
Meanwhile the Grosvenor Gallery had been opened, and at
its first exhibition of works by living artists appeared, in
addition to two smaller pictures, his large and impressive
landscape, entitled " The Minister's Garden," which the
painter described as a tribute to the memory of Oliver
Goldsmith. The materials for this composition were derived
from studies made on a little hillside in the neighbourhood
of Sandhurst. From this period up to the date of his
early death he contributed annually to the Grosvenor, viz.,
"a"Morning Mist," "The Hop Gardens of England," and
"The Morning After" (sunrise after a storm), in 1879 ; "The
August Moon " and " The Voice of the Cuckoo " (a landscape
with figures on a large scale), in 1880; "The Valley of
Desolation," and a view at " Wharfedale, Yorkshire," in 1881 ;
" The Wet Moon, Old Battersea," and " The Storm-cloud,
West Lynn, N. Devon," in 1882. Mr. Lawson married, in
1879, Constance, daugher of Mr. J. Birnie Philip, the sculptor,
and after his marriage he resided for some time at Haselmere,
in Surrey. A few years later his health began to decline, and
under medical advice he went to the south of France for
a while, but unfortunately returned no stronger. He died in
London, on the 10th of June, 1882, aged 31.
No. 42.—" St. Sebastian."
ATTEIBUTED TO VANDYCK.
The Saint is here represented after his martyrdom, and
angels are extracting the arrows with which his body was
pierced.
On Canvas, 6 feet 4J inches high, by 4 feet 4^ inches wide.
Presented by Richard Holt, Esq., Manchester, 1845.
Vandyck was born at Antwerp in 1599, and died in 1641, in
this country. He studied under Henry Van Balen, but very
early in life he became not only the pupil, but a personal friend
of Rubens, who persuaded him, at twenty years of age, to
48
E. SPENCER STANHOPE
prosecute his studies in Italy, where he borrowed all the graces
of the Venetian colourists, with a freshness peculiarly his
own. He became exquisitely skilled in his touch, and was
capable of the utmost delicacy, and of all necessary vigour.
As an historical painter, although his designs are elegant, he
has not the invention and force of Rubens ; but as a painter of
portraits (the best of which are in this country) he rivals
Titian, Charles L has the merit of having done all honour to his
abilities ; and his portraits, formerly at Blenh eim, in the Houghton
Gallery (now, to the loss of the country, in Russia), and at
Hampton Court, show the estimation in which Vandyck was
held by that unfortunate monarch. His faces are full of soul,
his extremities drawn and finished with correctness and deli¬
cacy, and his draperies cast in broad and simple folds. His
contrasts of light and shade show proficiency, and his colouring
is chaste and grateful to the eye. Some of his English por¬
traits, however, evince haste.
" His pieces so with their live object strive.
That both or pictures seem, or both alive ;
Nature herself, amazed, does doubting stand—
Which is her own, and which the painter's hand/'
Cowley's ''Epitaph."
No-43- "Eve Tempted"
R. SPENCER STANHOPE.
The idea conveyed by the artist in this work, in addition to
others which naturally belong to the subject, is that Eve was
gradually induced to yield to the tempter, in spite of herself.
He represents the Serpent, whilst whispering in her car bad
counsel, bending a branch of the tree with a coil of his body,
so that the fruit shall drop into her open hand without any
effort on her part.
On Panel, 5 feet 2 inches high, by 2 feet 5 inches wide.
Presented to the Corporation by John Slagg*, Esq, M P.
Manchester, 1883.
R. Spencer Stanhope, an English artist, belonging to the
pre-Eaphaelite school, began studying art when an under¬
graduate at Christ Church, Oxford, under the influence of
WILLIAM ETTY, RA
49
Mr. G. F. Watts, RA., who rendered him much assistance.
His first attempt was a picture on the walls of the debating-
room of the Oxford Union Club, which Mr. Dante Eossetti,
with the aid of Mr. Burne-Jones and others, had undertaken
to decorate. Besides easel pictures, he has done a deal
of work, in pictures for churches, much of it for Mr. G.
F, Bodley, A.E.A., architect; his principal work hitherto
being a series of pictures for Marlborough College Chapel,
namely, twelve angels on panels for the west end of the
chapel, and twelve subjects, six for either side, representing
the ministrations of angels on earth. He has worked equally
in oil, water colour, and tempera. When in the latter material,
he has adopted the system formerly practised by the Early
Italian painters, of using the yolk of egg as a medium. This
was considered by the old Italian writers to be the best method
of all, but was gradually abandoned after the introduction of
oil painting, the latter not requiring so much care and patience.
No. 44- " The Last Judgment."
WILLIAM ETTY, RA.
On Canvas, 3 feet high, by 3 feet 10 inches wide.
For memoir see No. 8.
«
Presented to the Corporation by Sir Joseph Whitworth,
Bart., 1882.
No. 45. " Study of a Peacock."
WILLIAM ETTY, E.A.
On Canvas, 1 foot lOJ inches high, by 2 feet inches wide.
For memoir see No. 8,
I^esented to the Corporation by Sir Joseph Whitworth,
Bart., 1882.
D
50 A. MENGIN—J. W. M. TURNEE, R.A,
No- 46. '' Sappho."
A. I^IENGIN
Sappho, celebrated for her beauty and poetical talents, was
born at Lesbos about 600 years before Christ. She became
enamoured with Phaon, a youth of Mitylene ; but he not reci¬
procating her passion, she threw herself into the sea from the
rock of Leucadia. Moore alludes to her fatal leap in his
"Evenings in Greece."
"The very spot where Sappho sung
Her swan-like music, ere she sprung
(Still holding in that fearful leap,
By her loved lyre) into the deep,
And. dying, quenched the fatal fire
Atjonce, of both her heart and lyre."
This picture was exhibited in the Paris Salon in 1877.
On Canvas, 7 feet 6 inches high, by 4 feet 9 inches wide.
Presented to the Corporation by Thos. Lloyd, Esq,, 1884,
Auguste Mengin (French School) was born at Paris, 1839.
Studied under M. Cabanel. He was awarded a Third Class
Medal at the Salon, 1876.
4
No. 47- " The Departure of the Trojan Fleet."
J. W. M. TURNER, R.A.
" He then commanded all the Trojan host
To launch the fleet now scattered on the coast.
The pitchy keel now glides along the flood.
It * * * * *
At once the seas with sails are cover'd o'er.
And not a Trojan left upon the shore."
—King's "uKneid," B. iv.
",The orient moon shone on the departing fleet,
Nemesis invoked, the priest held the poisoned cup."
—"Fallacies oi Hope."
On Canvas, 2 feet 11 inches high, by 3 feet 11 inches wide.
For memoir see No. 63.
Lent by the Trustees of the National GaUery
WM. MEREDITH-ALEXANDEE NASMYTH. 51
No- 48- "Homewards, Conway Marsh-"
WILLIAM MEREDITH.
The scene is almost a literal transcript from nature, under a
late afternoon eifect. The artistic motive was to give the
strength and harmony of the landscape under a luminous sky,
with an appropriate play of light and shade.
On Canvas, 2 feet 11 inches high, by 3 feet 11 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1884.
William Meredith (landscape painter) was born at Manchester,
1851. He is a member of the Manchester Academy of Fine
Arts, and received his artistic training at the Manchester School
of Art, between 1863 and 1871. He afterwards painted in
Brittany, working chiefly in landscape, and associating with
Messrs. Bridgeman, Wyllie, Picknell, and Mark Fisher. Sub¬
sequently he painted in Ireland, Normandy, and Surrey, and
and above all in North Wales, where the present picture
" Homewards, Conway Marsh," was produced.
No. 49, " Landscape."
ALEXANDEE NASMYTH.
View looking across a river, on which is a boat containing
two peasants, who are preparing to ferry two travellers to the
opposite side ; a steep and wooded cliff on the right of the
landscape, with a castellated building on its summit. This
picture is an excellent example of Nasmyth's style ; the execu¬
tion is sharp and delicate, and the colour rich and sparkling.
On Canvas, 3 feet inches high, by 1 foot 9 inches wide.
Presented to the Corporation by the Daughters of the
late Rev. Wüliam Gaskell, Manchester, 1884,
Alexander Nasmyth (landscape painter), was born at Edin¬
burgh 1758. After studying in Edinburgh he went to London,
and became an apprentice or pupil of Allan Eamsay. He
studied several yeais in Italy, and on his return practised
successfully as a landscape painter. Occasionally he painted
52 MARCUS STONE, R.A.—JOHN BRETT, A.R.A
portraits, and the best and most authentic likeness of Burns,
with whom he was on friendly terras, is by him. He had
many pupils. His son Patrick was an eminent landscape
painter, and the landscapes of his daughters are well known.
He died at Edinburgh 10th April, 1840, aged 82.
No. 50. ''The Lost Bird."
MARCUS STONE, R.A.
A little girl is looking for her pet bird, which has escaped.
She carries the empty cage, in the hope that it may attract her
favourite to return.
On Canvas, 3 feet inches high, by 1 foot 9 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1884.
Marcus Stone, R.A., was the son of Frank Stone, A.R.A.,
and was born at London, 1840. He worked in his father's
studio, inheriting some of his father's genius, but receiving very
little instruction in Art. He exhibited his first picture, "Rest,"
at the Royal Academy in 1858. In 1877 (when he was elected
an Associate of the Royal Academy), "The Sacrifice" and
" Waiting at the Gate in 1878, " The Post Boy " and "The
Time of Roses." His " Childless Widow " was at Philadelphia
in 1876, and at Paris in 1878. He Avas elected a member of the
Royal Academy in 1887.
No. 51. " The Norman Archipelago."
JOHN BRETT, A.R.A.
This picture represents with fidelity a vieAv amongst the
Channel Islands, the only portion of the patrimony of William
the Conqueror that remains under the sway of his successors.
It is painted from the Island of Sark, and the view includes
Guernsey, Alderuey, and Yetholm. The accuracy with which
the geographical and meteorological features of this extensive
scene are pourtrayed, is characteristic of the painter.
On Canvas, 3 feet inches high, by 6 feet 11J inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1885.
SIR A. W. CALLCOTT, R.A.—S. LUKE FILDES, E.A. 53
No. 52- " Coast Scene, Waitiog for the Boats."
SIR AUGUSTUS W. CALLCOTT, R.A.
A jetty and sea wall, with a few figures and horses ; low
water.
On Panel, 2 feet Scinches high, by 2 feet 11 inches wide.
Lent by the Trustees of the National Gallery.
Sir A. W. Callcott, E.A., sometimes called the English
Claud, was born at Kensington in 1779. He was a chorister
hoy, and officiated for some years in Westminster Abbey
under Dr. Cooke. Callcott, however, adopted painting as his
profession at an early age. Having received some instruction
from Hoppner, the eminent portrait painter, he originally
pursued the same branch of art ; but eventually, and until the
last few years of his life, he devoted himself exclusively to
landscape painting. Callcott was elected a Member of the
Koyal Academy in 1810, and from that time, until within a
short period of his death in 1844, was a constant and dis¬
tinguished contributor to its exhibitions, exhibiting in all 123
works. In 1837 he first departed from his usual subjects, and
exhibited a picture of " Eaphael and the Fornarina," now well
known from the print of it by Lumb Stocks, E.A., which was
distributed to the subscribers of the London Art Union in
1843. His picture of "Milton and his Daughters" was
exhibited in 1840.
In 1837 he was knighted by the Queen, and in 1844 was
appointed the successor of Mr. Seguier as conservator of the
Eoyal Pictures, an office which he held for a few months only.
Sir Augustus Callcott died on the 25th of November, 1844,
and was buried on the 30th, in Kensal Green Cemetery-
No- 53- " Venetians-"
S, LUKE FILDES, E.A.
The scene is by the side of one of the numerous canals
which serve as the streets of the beautiful City of the Adriatic.
The figures, with their gay draperies and cheery air, are
characteristic of a land where the sky is clear, and poverty is
54
HENRY MOORE, A.R.A
not always associated with toil. The artist has trusted to the
intrinsic beauty of colour and form for his effect.
On Canvas, 7 feet 6 inches high, by 5 feet inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1885.
S. Luke Fildes, R.A., began his studies in the schools of
South Kensington ; and at a later period entered the Royal
Academy. He furnished drawings on wood for the ** London
Graphic," "Cornhill Magazine," "Once a "Week," and other
periodicals. His name appears for the first time in the
Catalogue of the Royal Academy in 1868, when he sent
" Nightfall." His " Casual "Ward " and " Betty " were at the
Philadelphia Exhibition of 1876. He was elected a Member
of the Royal Academy in 1887.
No 54. ''Mounts Bay "
HENRY MOORE, A.R.A.
The chief feature is the expanse of rolling sea, under the
influence of a shimmering light caused hy the movement of a
mass of cloud-form across the sky. The colour of the sea is
an exquisite blue, with reflections of green, and wonderfidly
transparent in quality. The drawing in this expanse of water
is masterly in the extreme, the eye being carried away to
the horizon line of land, with herring boats or small craft
appropriately introduced.
On Canvas, 3 feet llj inches high, by 6 feet llj inches wide.
Purchased from the Autumn Exhibition, 1886.
Henry Moore, A.R.A. (landscape and marine view painter),
a brother of Albert Moore, and a pupil of the Langham
Schools, has exhibited frequently at the Royal Academy. He
was at one time a member of the Society of British Artists,
and was elected an Associate of the Society of Painters in
Water Colours in 1876, and Associate of the Royal Academy
in 1885.
J. W. M. TURNER, R.A.—WILLIAM PERCY. 55
No- 55' "Venice, Evening. Going to the Ball-"
J. W. M. TURNER, R.A.
On Canvas, 1 foot ll.J inches high, by 2 feet ll.J inches wide.
For memoir see No. 63.
Lent by the Trustees of the National Gallery.
No. 56. " Edwia Waugb,"
WILLIAM PEECY.
There are few poets who have received so much praise as
Edwin Waugh, and very few indeed who have deserved so
much. If he had written nothing but " Come whoam to thi
childer an' me," he would have made fame with a single song,
as did the author of " Auld Eobin Gray," and both songs,
by-tbe-way, have very much the same effect upon our feelings.
Edwin Waugh, however, has written many songs, and indeed
many volumes. He was born on the 29th of January, 1817.
His paternal grandfather was the son of a Northumbrian
statesman " (a man farming his own land), near the town of
Haltwhistle, where the family had been settled for a long time,
but were originally from the Scottish side of the border.
John Waugh, Bishop of Carlisle in the reign of Queen Anne,
was an ancestor of this family. The poet's grandfather migrated
to Rochdale about the middle of the last century, and in this
Lancashire town he married and settled, and became the
principal shoemaker and leather dealer. A large family made
their appearance about him, and Edward, the youngest of
seven sons, was the father of the subject of this sketch. At
Wardle Fold, Edwin Waugh's mother was bom. Her maternal
uncle was John Leach, a name well known in the neighbourhood
to this day. John Leach was one of John Wesley's earliest
preachers. Another relative of hers was the Leach who
composed a fine series of psalm tunes, still known amongst
musicians as " Leach's Psalmody." Edwin Waugh's mother
was the daughter of one William Howarth, who was a stone¬
mason and an engraver, and was also known along the hillsides
as an able musician. John Wesley found one of his earliest
disciples in William Howarth, and occasionally he preached to
5R
ANDERSON HAGUE
the villagers in Howarth's cottage. One of Waugh's pleasant
. memories of childhood is the story his mother used to tell with
pride, of how, when she was about six years old, the veteran
preacher was accustomed to stroke her head gently after he
had ministered to the poor in her home. " Child as she was,
she had some sense of the reverence which was due to the old,
white-haired man, and would run across a field, and hiding
behind a hawthorn hedge, to have one more peep at him as
he left the village with his friends."
On Canvas, 2 feet llj inches high, by 2 feet inches wide.
Presented to the Corporation by Thomas Read
Wilkinson, Esq., Manchester, 1884.
William Percy (portrait painter), member of the Manchester
Academy of Fine Arts, was boin at Manchester, 1820, and
commenced his career in art at an early age, exhibiting his first
picture in the Autumn Exhibition of 1833. In 1836 he went
to London, as pupil and assistant to Mr. William Bradley, the
portrait painter, and remained with him till the beginning of
1839, after which he returned to his native city, where he has
gained for himself a reputation as one of its most successful
portrait painters.
No- 57- ^'Spring/*
ANDERSON HAGUE.
"When the warm sun, that brings
Seed-time and harvest, has returned again,
'Tis sweet to visit the still wood, where springs
The first flower of the plain."—Longfellow.
This picture is notable for its wonderful strength and variety
of colour. Although free and apparently slightly considered,
it is yet painted with close attention to the various gradations
of tone and colour, which give character to a Spring landscape.
On Canvas, 1 foot 7i inches high, by 2 feet inches wide.
Purchased by the Corporation firom the Autumn
Exhibition, 1885.
J. Anderson Hague (landscape painter), member of the
Manchester Academy of Fine Arts, was born at Rusholme in
1850, and received his early art training at the Manchester
ALBERT GOODWIN
57
School of Art, where, for three years he worked from the
Classic Casts and the Life. Since that time he has painted
direct from nature. He has frequently exhibited at the Royal
Academy, and is a member of the Royal Society of British
Artists.
No. 58. "The Invincible Armada."
ALBERT GOODWIN.
The Armada was a great fleet sent by Philip II. of Spain, in
1588. to conquer England. One hundred and thirty large ships
left Lisbon, having on board, beside their crews, nearly 20,000
soldiers and 2,630 brass cannon. At the same time the Duke
of Parma, an old and skilful military officer, moved to the
coast of Flanders near Dunkirk, ready with 40,000 men to
second the invasion. The Admiral of the Armada was the
Duke of Medina Sidonia, who was elected to that post upon
the sudden death of the first-appointed leader, Santa Croce.
The Royal Navy of England then consisted of only thirty-six
sail, and these of small size. But nobles, merchants, citizens,
came with their money to the Queen, and equipped vessels at
their own expense. A fleet of one hundred and forty ships
soon rode on the English waters ; and, though the vessels were
small, the best seamen and the bravest hearts of England were
on board. Lord Howard of Effingham was the Admiral ; and
under him served Drake, Hawkins, and Frobisher. The
English army, consisting of 70,000 ill-trained soldiers, was
divided into three parts ; one guarded the southern coast,
another was stationed at Tilbury to defend the capital, while
the third was reserved to oppose the landing. Storms delayed
the Armada, but at length the English Admiral stationed at
Plymouth saw them on the horizon, stretching in a crescent
form seven miles broad. At once Effingham sailed out to
meet them, and keeping at a distance, lest the Spaniards
might board his vessels, poured in his shot with great effect.
The Spaniards replied with heavy guns ; but from the height
of their decks their shot passed clear over the English ships.
Slowly and heavily the A.rmada bore up the Channel towards
Calais, the English fleet following. Off Calais they anchored,
waiting for the Duke of l^arma ; but eight fire ships sent
58 COLIN HUNTER, A.R.A.—JOHN OPIE, R.A
amongst them by the English Admiral, caused them to cut
their cables in alarm. Effingham at once fell upon the dis¬
ordered fleet, and destroyed twelve ships. The Armada was
now in full flight. They could not return by the Straits of
Dover, for the wind was against them, and the English ships
lay in the adjacent harbours. The only way to Spain lay
through the Pentland Firth, and the storms of those wild seas
completed the ruin. The Orkneys, the Hebrides, the coasts
of Mayo and Kerry, were strewn with the wrecks of the ill-
fated vessels. Fifty-three shattered hulks reached Spain.
Water Colour, 1 foot 6|J- inches high, by 2 feet 3^ inches wide.
Presented to the Corporation by T. C. Horsfall, Esq.
Manchester, 1883.
No. 69. " The Herring Market at Sea."
COLIN HUNTEE, A.E.A.
This was painted on Loch Fyne, the time being the early
morning. The steamers are owned by herring dealers, who
follow the boats to the fishing ground for the purpose of
getting the fish at once, and taking them to the Greenock and
Glasgow markets.
On Canvas, 3 feet o inches high, by 5 feet llj inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1884.
Colin Hunter, A.R.A. (marine subject painter), was born
at Glasgow, 1842. He is a self-taught artist, taking his
subjects direct from nature. For some years he followed his
profession in his native city; at present he is resident in
London.
No. 60. " Troilus, Cressida, and Pandarus "
JOHN OPIE, E.A.
Pandaras is unveiling Cressida, and says : " Come, draw
this curtain, and let's see your picture." A landscape back¬
ground. From Shakespere s play of " Troilus and Cressida,"
Act iii.. Scene 2.
On Canvas, 7 feet 8 inches high, by 4 feet 9 inches wide.
Lent by the Trustees of the National Gallery.
EDWIN ELLIS
59
John Opie, RA. (historical painter), was born near Truro,
in May, 1761 ; his father was a carpenter. He early gave
indications of unusual ability, and having attracted the notice
of Dr. Wolcot, that gentleman brought him to London and
introduced him to Sir Joshua Eejnolds.
Opie was an exhibitor at the Koyal Academy in 1782, and
for some time created a considerable sensation in London as
the " Cornish Genius." He painted in a broad manner, and
was successful both as an historical and portrait painter, but
was not always harmonious in his colouring. He was elected
a member of the Academy in 1787, and he sent 143 pictures
to its exhibitions.
Opie obtained the professorship of painting at the Eoyal
Academy in 1805, delivered his course of lectures only once in
1807, and then in an incomplete state—on design, on inven¬
tion, on chiaroscuro, and on colouring ; he did not live to
write the two on composition and expression. He died in the
prime of life, April the 9th, 1807, exactly a month after the
delivery of his lectures, and was buried by the side of Sir
Joshua Eeynolds in St. Paul's Cathedral. He was twice
married ; from his first wife he was divorced ; the second was
the accomplished Amelia Opie, who survived her husband
many years.
No, 61- The Haven under the Hill.''
EDWIN ELLIS.
A Coast Scene, combining the picturesque features to be
found on the shores of Anglesea, and the haven whence the
fishermen of a secluded village go to gather their harvest from
the sea. Strong work, vigorous in manipulation, and powerful
in colour.
On Canvas, 2 feet 11 inches high, by 5 feet 11J inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1885.
Edwin Ellis (painter of sea-side and marine subjects), was
born at Nottingham, 1843, in which town his father was a lace
60
ALEXANDER JOHNSTON
manufacturer. He received no regular art training, but studied
such works as were available in diflerent collections. For some
years now he has worked direct from nature. Member of the
Royal Society of British Artists,
I» 0. 62. " Dr. Tillotson administeriDg the Sacrament
to William Lord Russell, at the Tower,
the day previous to his Execution.
ALEXANDER JOHNSTON.
His wife, Lady Rachel Russell, and Dr. Burnet, are also
present. Dr. Tillotson became afterwards Archbishop of
Canterbury.
Russell, who appears to have been guilty of no offence falling within
the definition of high treason, was beheaded in defiance of law and
justice. He died with the fortitude of a Cliristian.—Macaulay's
" History of England."
Lord William Russell, who was accused of being concerned
in the Rye House Plot, was executed in Lincoln's Inn Fields,
July the 21st, 1683. An act, however, for annulling his
attainder, was passed in the first year of William and Mary,
1686.
On Canvas, 3 feet inches high, by 5 feet 2 inches wide.
Lent by the Trustee of the National GaUery.
Alexander Johnston (subject painter), born in Scotland,
1815, was a pupil of the Trustees Academy, Edinburgh, and
later of the schools of the Royal Academy. About 1835 he
began to exhibit portraits and historical figure pictures. Among
his earlier works are : "Ihe Mother's Grave," in 1839 ; "The
Gentle Shepherd," in 1840; "The Covenanter's Marriage," in
1842; "Prince Charlie and Flora Macdonald," in 1847;
"Trial of Archbishop Laud," in 1849; "John Bunyan in
Bedford Jail," in 1861; and his "Last Sacrament of Lord
Russell in the Tower," painted in 1845.
J. W. M. TURNEE, R.A
61
No. 63. " The Decline of Carthage/
J. W. M. TURNER, R.A.
Hostages leaving Carthage for Rome : approaching sunset.
" Rome, being determined on the overthroAv of her hated
rival, demanded from her such terms as might either force her
into war or ruin her by compliance : the enervated Cartha¬
ginians, in their anxiety for peace, consented to give up even
their arms and their children.
"The chieftain's safety, and the mother's pride,
Were to the insidious conqueror's grasp resigned ;
While o'er the western wave th' ensanguined sun,
In gathering haze, a stormy signal spread,
And set portentous."
On Canvas, 5 feet inches high, by 7 feet ll inches'wide.
Lent by the Trustees of the National Gallery.
Joseph W. M. Turner, R.A., was born on the 23rd of April,
1775, in Maiden Lane, Covent Garden, where his father carried
on the business of a hairdresser ; he was christened at St.
Paul's, Covent Garden, in May of that year. The friendship
of Girton, the water-colour painter, and the privilege of copy¬
ing a collection of drawings in the possession of Dr. Monro, of
the Adelphi, gave facilities for the development of the young
painter's talent at an early age. Turner entered as student of
the Royal Academy in 1789, and he exhibited a drawing of
Lambeth Palace in the following year; in 1799 he was elected
an Associate, and in April, 1802, he became a member of the
Academy. In this year he visited France and Switzerland.
In 1807 he was elected Professor of Perspective in the Royal
Academy, succeeding Edwards, an Associate of the Academy,
who had for many years filled the office of Teacher of Perspec¬
tive in that Institution. In 1807, also, he began to publish his
" Liber Studiorum-," or book of sketches in imitation of Claude's
"Liber Veritatis and for a few years during this period of
his life he painted in emulation of the st3de of Claude. In 1812
he built a house in Queen Anne Street West, No. 47, which he
retained until his death, and in which he had a gallery where
he for many years exhibited some of his pictures. Turner
visited Italy three times—in 1819, in 1829, and about 1840.
After a life of almost unrivalled success, and an industry
unsurpassed, this great landscape painter died unmarried, and.
62
JOHN MAKTIN
under an assumed name, in an obscure lodging at Chelsea,
December 19th, 1851. He was buried by the side of Sir Joshua
Reynolds, in the crypt of St. Paul's Cathedral. His large
fortune, both in pictures and in funded property, he bequeathed
to his country—his finished pictures to the nation, on condition
that the Government should provide suitable accommodation
for them within ten years ; and his funded property towards the
establishment of an institution for the benefit of decayed artists.
Turner's career comprehends, independently of his imitations
of Claude, three distinct styles, in the first of which, previously
to 1802, he was more remarkable as a water-colour painter.
His early drawings are conspicuous for their careful completion,
subdued colour, and effective light and shade ; his earliest
oil pictures resemble those of Wilson in style. In middle life,
from about 1802 until about 1830, the date of his second visit
to Rome, he was as distinguished for a masterly and vigorous
execution and an unrivalled brilliancy of colouring. The
majority of his greatest works belong to this time, from his
" Calais Pier," 1803, to " Ulysses deriding Polyphemus,"
1829. During the last twenty years of his life, light, with all
its prismatic varieties, seems to have chiefly engrossed his
attention, 3^et some few of his finest works belong to this period,
as his Childe Harold's Pilgrimage," exhibited in 1832, and
the "Temeraire," exhibited in 1839. His later pictures are
painted on a white ground. Specimens of all his styles are
numerous, independent of book illustrations and other small
water-colour drawings, for Turner was a large contributor to
the annual exhibitions of the Royal Academy, having exhibited
257 drawings and pictures on its walls, from 1790 to 1850,
both inclusive.
No- 64. " The Destruction of Pompeii and Herculaneum
by an Eruption of Mount Vesuvius, on the
23rd of August, in the year 79."
JOHN MARTIN.
Herculaneum was destroyed by lava ; Pompeii was buried
in ashes. "Ihe point of sight appears to be from Stabise or
Castellamare, and it was here that the elder Pliny met with
his death.
JOHN MARTIN.
63
"They thought proper to go down farther upon the shore, to observe
if they might safely put out to sea ; but they found the waves stili
ran extremely high and boisterous. There my ancle, having drunk a
draught or two of cold water, threw himself down upon a cloth which
was spread for him, when immediately the flames, and a strong smell
of sulphur, which was the forerunner of them, dispersed the rest of
the company and obliged him to rise. He raised himself up with the
assistance of two of his servants, and instantly fell down dead ;
suffocated, as I conjecture, by some gross and noxibus vapour, having
always weak lungs, and being frequently subject to diíHculty of
breathing."—Fliny the Younger,
On canvas, 5 feet 4 inches high, by 8 feet 4 inches wide.
Lent by the Trustees of the National Gallery.
John Martin, distinguished in the field of poetic landscape
painting and architecture, was born near Hexham, in North¬
umberland, in 1789, and he commenced his career in art in
herald or coach painting, at Newcastle. He worked also in
enamel painting at Newcastle and in London, where he married
and settled very early. He appeared as an exhibitor at the
Royal Academy in 1812, his first picture being "Sadak in
Search of the Waters of Oblivion," and often afterwards, but his
name was absent from the Academy catalogues for many years.
" Joshua commanding the Sun to stand still upon Gibeon " was
exhibited in 1816; the "Deluge," in 1837 ; the "Death of
Moses," in 1838 ; the "Last Man," from Thomas Campbell, in
1839 ; the "Eve of the Deluge" and the "Assuaging of the
Waters," in 1840; the "Celestial City and River of Bliss"
and "Pandemonium," in 1841; and the "Destruction of
Sodom and Gomorrah," in 1852. He exhibited, also, many
minor works, both at the Academy and at the British Institu¬
tion. Martinis greater and moie celebrated compositions were
not exhibited at the Academy ; some of them had separate
exhibitions. His most impressive works were : The " Fall of
Babylon," 1819 ; " Belsha^zar's Feast," 1821 ; and the "Fall
of Ninevah," 1828. For the " Belshazzar " the painter was
awarded a premium of £200 by the Directors of the British
Institution. Many of his finest compositions are engraved by
himself, and he thus acquired a great popularity and a wide¬
spread fame. He had an attack of paralysis in 1853, and died
at the Isle of Man on the 17th February, 1854.
64
JAMES WARD, R.A
No- 65- " The Council of Horses-'
JAMES WARD, R.A.
Gay*s "Fable." A woody landscape, with many horses
standing under a yew tree, in grave debate, according to the
"Fable."
" And, to the murmurs of his train,
Thus spoke the Nestor of the plain':
* * * * * "
I grant to man we lend our pains,
And aid him to correct the plains.
But doth not he divide the care.
Thro' all the labours of the year?
* ^ *
He sows, he reaps the harvest's gain.
We share the toil, and share the grain.
Since ev'ry creature was decreed
To aid each other's mutual need,
Appease your discontented mind,
And act the part by Heav'n assigned."
On Canvas, 3 feet lié inches high, by 5 feet 65 inches wide.
Lent by the Trustees of the National Gallery.
James Ward, E..A. (animal painter and engraver), was born
at London, 23rd October, 1769. He commenced the study of
engraving under his brother, William Ward, and anatomy
under Broolcs, and afterwards took to painting after the style
of Morland, his brother-in-law. Some of his early pictures
were engraved by AVard, and have been sold as Morland's
works. In 1794 he was appointed engraver to the Prince of
Wales. Soon after this he took to animal painting, in which
his study of anatomy proved highly valuable to him, and it is
in this branch of his art that he has made his name eminent.
His " Bull Baiting," a large woik full of incident and character,
and containing a great number of figures, well grouped, was a
great success. In 1820-22 he painted his masterpiece, the
picture which is ever associated with his name, called "An
Alderney Bull, Cow, and Calf." This picture was painted in
emulation of Paul Potter's " Young Bull " at the Hague
Museum. It is now in the National Gallery, and it is said to
be " certainly without a rival of its kind in Europe." Ward
was elected an Associate of the Eoyal Academy in 1807, and
a full member in 18II. He died November 23rd, 1859,
aged 91.
J. W. M. TUENEE, E.A.^JAS. EOETHCOTE, E.A. 65
No- 66- " ^neas relating his Story to Dido."
J. W. M. TUENEE, E.A.
Fallacious hope beneath the moon s pale crescent shone,
Dido listened to Troy being lost and won."
—" Fallacies of Hope."
Dido and ^ïineas are in a magnificent barge on the river,
and attended by other similar barges.
On Canvas, 2 feet 11 inches high, by 3 feet 11 inches wide.
For memoir see No. 63.
Lent by the Trustees of the National Gallery.
No. 67. John Baliol surrendering his Crown to
Edward L of Ingland, A.D. 1296.
JAMES NOETHCOTE, E.A.
One of the series painted for Bowyer's " Historic Gallery."
It illustrates the ambitious character of our Edward I., who,
not content with his cruel treatment of Prince Llewellyn and
the Bards of Wales, took advantage of a disputed succession
to the throne of Scotland, in which he was appealed to as
arbiter, to decide in favour of Baliol, from whom he exacted
fealty, and subsequently so oppressed and irritated as to drive
to war—which act furnished an excuse for compelling him to
resign his crown, and for committing him to the Tower, whence
he only issued to go into banishment.
On Canvas, 7 feet inches high, by 5 feet -finches wide.
Presented by J. W. Barton, Esq., Manchester, 1845.
James Northcote, RA. This English artist acquired the
first principles of painting under Sir Joshua Reynolds ; he then
visited Italy, where, from the contemplation of the great in
art, he felt a desire to invent, and thence applied himself to the
historical, in which high branch of art he executed many well-
known pictures, which are engraved. His tone of colouring
is warm, and his individual figures are life-like. Born at
Devonport in 1746, and died in 1831.
E
66 F. K. PICKERSGILL, RA.—E. WESTALL, E.A.
No. 68. •' Samson Betrayed."
F. R PICKERSGILL, RA.
"And she made him sleep upon her knees, and she called for a man
and caused him to shave off the seven locks of his head."—Judges
xvi., 19.
On Canvas, 7 feet lOJ inches high, by 10 feet wide.
Purchased from the Autumn Exhibition, 1851.
Frederick E. Pickersgill, E A (subject painter), was born
18:^0. He was a relative of Henry W. Pickersgill, E.A., and
nephew of W. Witherington, whose pupil he became. He
entered the Eoyal Academy in 1840, exhibiting the next
year, and regularly for many seasons ; he was elected an
Associate of the Eoyal Academy in 1847, and Academician
in 1857. Among his earlier works may be noted, **Amoret
delivered from the Enchanter," " Christ blessing little
Children," and others. In 1850 he exhibited at the Eoyal
Academy his picture " Samson Betrayed," which was purchased
the following year by the Council of the Manchester Eoyal
Institution. In 1861 he contributed "Frederick banishing
Eosalind;" in 1862, "The Eeturn of the Crusader;" in 1874
he was elected keeper and trustee of the Eoyal Academy.
In 1843 he received a prize at the Cartoon Exhibition for his
"Death of King Lear." His "Burial of Harold" (in the
Houses of Parliament) won a prize in 1847. His "Amoret,
-íEmylia, and Prince Arthur" (E.A. 1845, was purchased by
Mr. Vernon, and is in the National Gallery. His "Death of
Francesco Foscari" was in the collection of the late Prince
Albert.
No. 69- " Pope Leo IV. Anointing Alfred the Great"
RICHARD WESTALL, RA.
In the beginning of this century, Bowyer collected a series
of pictures by the first artists of the day, which he engraved to
illustrate his national edition of Hulme's " History of England."
WILLIAM ETTY, RA.
67
It was published at seventy guineas, unbound, and this is one
of the set, which was termed "The Historic Gallery," and
dispersed in 1807 by public sale.
The incident here represented took place when Alfred was
at Rome, A.D. 853, and when there was a slight chance of his
ever wearing a crown, he being then only five years old, and
the youngest of four brothers.
On Canvas, 7 feet 1J inches high, by 5 feet 5 inches wide.
Presented by Samuel Green, Esq., Manchester, 1840.
Richard Westall, RA., was born in 1765, elected a member
of the Royal Academy in 1794, and had the honour to give
lessons in drawing to the Princess Victoria, now Her Most
Gracious Majesty The Queen. He died in 1836.
No. 70. "Ulysses and the S3n^ens"
WILLIAM ETTY, E.A.
This grand work illustrates the lines at foot, and at the same
time conveys a deep moral. The Syrens, in the poetical fables
of the Ancients, are types of voluptuousness and sensuality ;
and the wreck and certain death of the victims who were un¬
fortunately fascinated by their music and their beauty carries
out the allegory. The cautionary measures recommended to
Ulysses by the enchantress Circe are supposed by the artist to
have been in every respect necessary, as will be seen on com¬
paring the composition with the quotation.
First shalt thou reach the Syrens : they the hearts
Enchant of all who on their coast arrive.
The wretch who unforewarned approaching hears
The Syrens' voice, his wife and little ones
Ne'er fiy to gratúlate his glad return,
But him the Syrens, sitting in the meads,
Charm with mellifluous song ; while all around
The bones accumulated lie, of men now putrid,
And the skins mouldering away.
But pass them thou, and lest thy people hear
Those warblings ere thou yet approach, fill all
Their ears with wax, moulded between thy palms •
But as for thee, thou hear them if thou wüt,
Yet let thy people bind thee to the mast
Erect, encompassing thy feet and arms
With cordage, well secured to the mast foot—
68
V
WILLIAM BRADLEY
So Shalt thou, raptured, hear the SjTens' song ;
But, if thou supplicate to be released,
Or give such order, then with added cords
Let thy companions bind thee still the more.
Homer's " Odyssey,'' Book xii.
On Canvas, 9 feet 9 inches high, by 14 feet 6 inches wide.
Presented by William Grant, Esq., Manchester, 1838.
No. 71. " Charles Swain/'
WILLIAM BRADLEY.
Charles Swain, whose form is so well portrayed by his
friend Bradley, though a Manchester man bom and bred, was
one little fitted to rough it in the world of commerce. He
started life as an assistant in a dyehouse, but eventually
became an engraver and printer. His first contribution to
literature was in the pages of the Manchester /m, April 15th,
1822, and from that time till his death, which occurred
September 22nd, 1874—he then being in his 71st year—
many poems, and some songs that had a great popularity,
appeared from his pen. His skill as an engraver is worthy of
record. No more charmingly illustrated work in line was
ever published in Manchester than his volume of " The Mind
and other Poems."
On Canvas, 2 feet 7 inches high, by 2 feet 2 inches wide.
Presented to the Corporation by Mrs. Clara Swain
Dickins, Manchester, 1888.
William Bradley (portrait painter) was bom at Manchester,
January 16th, 1801. Left an orphan at three years of age,
he commenced life as errand boy ; but early began to try his
hand at drawing, and was soon able to produce profile
portraits, for which he received Is. each. He also added to
his means by teaching drawing. When 21 yeai*s of age he
got some little instruction from Mather Brown, then prac¬
tising in Manchester, and soon after made his way 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 aflfected, and he died July 4th,
1857. He achieved a local reputation, and many distinguished
men were among his sitters. His portraits were all well
drawn, and his likenesses good.
W. J. MÜCKLEY—ADOLPHE SCHREYER. 69^
♦
No. 72. " Roses."
W. J. MÜCKLEY.
On Canvas, 1 foot llj inches high, by 1 foot inches wide.
Presented to the Corporation by James Chadwick, Esq.,
Manchester, 1888.
William Jabez Miickley was born at Audnam, Worcestershire,
1837. He commenced his artistic career at the Birmingham
School of Art in 1851, where he won many prizes and distinc¬
tions. His studies were subsequently continued in London
and on the Continent, and particularly under Leon Coignet, in
Paris. Turning to the teaching of Art, Mr. Miickley became
successively he^ master of the Burslem, Wolverhampton, and
Manchester Schools of Art. . He held his position at Manchester
21 years, and in 1883 resigned his office to devote himself
exclusively to painting. From 1856, Mr. Miickley has been a
frequent exhibitor at the Royal Academy.
No. 73. "Abandoned."
ADOLPHE SCHREYER.
This picture represents the return of a waggon, laden with
arms and clothing, from the field of battle ; the driver and one
of the horses have succumbed, and are lying dead. The second
horse, which is still harnessed to the vehicle, is apparently
dying from starvation, but struggling vainly to release itself
from its fastenings. The scene is a rough track, which passes
across an extensive and apparently boundless marsh. The sky
is dark and cloudy, and evening is coming on. The whole
sentiment of the picture is pathetic, gloomy, and melancholy.
On Canvas, 4 feet 3 inches high, by 8 feet 2 inches wide.
Purchased by the Corporation at the sale of the Marten
HaU CoUection, 1888.
Adolphe Schreyer (German School), was bom at Frankfort-
on-the-Main, 1828. He received first-class medals at Paris,
1864, 65, and 67; at Vienna, in 1873; at Brussels, in 1863; and
the Cross of the Order of Leopold, in 1864. In 1862 he was
70
JAMES HEY DAVIES.
made Painter to the Court of the Grand Duke of Mecklenbourg-
Schwerin, is a Member of the Academies of Antwerp and
Rotterdam, and Honorary Member of the Deutsches Nochstifi"
Belonging to a distinguished family, this artist received every
advantage that travel and instruction could give. In 1855, he
followed the regiment commanded by Prince Taxis to the
Crimea. He has visited Algiers, and other Eastern countries,
as well as all the principal countries of Europe, and everywhere
has diligently studied his subjects. Among his best works are
the "Battle of Waghensel," belonging to the Duke of Mecklen-
bourg ; " The Battle of Comorn," belonging to the Count of
Bouilly-Mensdorf ; " The Prince of Taxis wounded at Temes-
war," belonging to the family of the Prince ; his " Horses of
the Irregular Cossacks" (1864), and a "Charge of the Artillery
of the Imperial Guard in the Crimea" (1865), in the Luxem¬
bourg; and "Abandoned," painted in 1868, now in the per¬
manent collection of the Corporation of Manchester.
No. 74- " Young Poachers."
JAMES HEY DAVIES.
This picture is an almost literal transcript from nature, in
North Wales, on a mild day in early winter. The incident
introduced to give additional interest to a well-wooded bank is
furnished by a group of lads poaching rabbits, and is appropriate
to the locality and season.
On Canvas, 2 feet 4 inches high, by 3 feet 6 inches wide.
Purchased by the Corporation from the Spring Exhibition
of the Manchester Academy of Fine Arts, 1888.
James Hey Davies (Landscape Painter), a member of the
Manchester Academy of Fine Arts, was born at Manchester in
1848. He received his early training in art in Sweden, under
Heir Leverin. For three years he studied drawing from the
antique at the Manchester School of Art, under Mr. Miickley,
and afterwards for five years at the Royal Academy Schools,
where, in 1875, he was awarded the Turner Gold Medal for
the best landscape in oil.
DAVID MURRAY, A.R.S.A.—C. N, KENNEDY. 71
Ko. 75. Britannia^s Anchor."
DAVID MURRAY, A.R.S.A.
View on the river Dart. The "Britannia," an old man-of-war
(now used as a training ship) is seen to the right, joined by a
permanent gangway to the "Hindostani." In the foreground of
the picture with one fluke embedded in the sands of an ebb-tide,
and the other, lashed to a tall post which at high tide indicates
to passing craft its whereabouts, is the great anchor, its chain
extending towards the ship; anchor and chain alike overgrown
with sea weed and rust. To the left, in the gloom of evening
is the harbour and shipping of Dartmouth. Over all a stormy
evening sky ; a few herons occupy the foreground near to the
anchor.
On Canvas, 3 feet 3 inches high, by 4 feet 11 inches wide.
Purchased by the Corporation from the Exhibition at the
Wew Gallery, London, 1888.
David Murray, A.R.S.A, A.R.W.S. (landscape painter), was
born at Glasgow, 1849. Brought up to mercantile pursuits,
he spent his early youth at a manufacturers in his native city,
studjdng art in his leisure hours, but not adopting painting as
a profession until after 11 years of business life. His studio is
now in London, He was elected an Associate of the Royal
Scottish Academy in 1881, and Associate of the Royal Water
Colour Society in 1886.
No-76. " A Fair-Haired Slave, who made himself a
King."
C. K KENNEDY.
The subject of this picture was suggested to the artist by
reading the following lines —
"In a part of the Palace resided many of the most beautiful
Christian females, who were detained as captives, or rather hostages,
to insure the tranquility of the country."
"Those who were of noble rank were entertained in luxury and
magnificence ; slaves were appointed to attend upon them
Those of tender age were taught all graceful accomplishments ; and
even when tasks were imposed, they were of the most elegant and
agreeable kind."—Extract from Washington Irinng^s " Conquest of
8paM
72
ALFEED EAST.
The artist has imagined the fair-haifed slave to he one of
these young captives, who was a great favourite, and who
subsequently used his personal influence and other advantages
with such success, that he eventually became a ruler.
On Canvas, 6 feet 10 inches high, by 4 feet 10 inches wide.
Purchased by the Corporation from the Exhibition at the
New Gallery, London, 1888.
Charles Napier Kennedy (subject and portrait painter), son
of Lieut.-Colonel Kennedy, was born at London, February,
1852. He received his early artistic training in London,
under Mr. A. Davies Cooper, and afterwaids became a
student under Mr. E. J. Poynter, E.A., at the University
College, Gower Street. For a short time subsequently he
studied in Paris. His first contribution to the Exhibition at
the Eoyal Academy was in 1872. Since then he has been a
constant exhibitor.
No. 77- "Autumn,"
ALFEED EAST.
«
" The morning trembles o'er the sky,
And, unperceived, unfolds the spreading day."
This landscape is an example of work done out of doors, in
direct contact with nature, yet predominated by the feeling
which distinguishes art from mechanical imitation, dt was
painted in Scotland in 1887.
On Canvas 3 feet 4 inches high, by 5 feet wide.
Purchased by the Corporation from the Exhibition at the
New Gallery, London, 1888.
Alfred East (landscape painter) was born at Kettering,
Northamptonshire, in 1849, and there spent the first twenty-
three years of his life. Not until after that period did his
artistic training commence. Beginning with the evening
classes at the Glasgow School of Art, he proceeded to Paris,
and studied under Bouguereau and Tony Fleury. Then,
admiring the works of Millet and Eousseau, he joined the
W. D. SADLER-Sm F. LEIGHTON, P.E.A. 73
artistic circle at Barbizon, and there painted his first pictures
exhibited (in 1883) at the Royal Academy. Mr. East is a
member of the Royal Society of British Artists, the Royal
Institute of Painters in Water Colour, and the Society of
Painter Etchers.
No 78- " In the Camp of the Amalekites.'
W. DENDY SADLER.
The subject is taken from the time of the Civil War, and
represents a number of the King's soldiers carousing in the
house of a Roundhead who has been safely secured while the
Cavaliers enjoy his unwilling hospitality, and deride him while
consuming his ale and beef. The Puritan thus finding himself
in " The Camp of the Amalekites " seems not unconscious of
the humour of the situation, though the practical nature of the
proceedings doubtless prevents him from fully enjoying the
joke.
On Canvas, 3 feet inches high, by 4 feet 6 inches wide.
Purchased by the Corporation from the Autumn
Exhibition, 1888.
W. Dendy Sadler, a member of the Institute of Painters in
Oil Colours, was born at Dorking, May 12th, 1854. After
working a short time at Mr. Hetherley's studio he went to
Düsseldorf where he remained from I87I till 1877. He
exhibited for the first time at the Royal Academy in 1873,
" The Deciding Game " which picture was purchased by the
late Henry Padwick, Esq. He is represented in the Liverpool
Permanent Collection by his picture "Friday."
No-79. " Captive Andromache."
SIR F. LEIGHTON, BART., P.R.A.
"... Some standing by
Marking thy tears fall, shall say, 'This is she,
The wife of that same Hector who fought best
Of all the Trojans, when all fought for Troy.'"
Iliad vi. (Mrs. Barrett Browning's translation).
74
SIR F. LEIGHTON, P.RA.
Andromache was the daughter of Eetion, King of the Cilician
Thebes, and one of the noblest and most amiable characters in
the Iliad. Her father and her seven brothers were slain by
Achilles at the taking of Thebes, and her mother, who had
purchased her freedom by a large ransom, was killed by
Artemis. She was married to Hector, by whom she had a
son Scamandrius (Astyanax), and for whom she entertained
the most tender love. On the taking of Troy her son was
hurled from the walls of the city, and she herself fell to the share
of Neoptolemus (Pyrrhus), the son of Achilles, who took her to
Epirus, and to whom she bore three sons, Molossus, Pielus, and
Pergamus. She afterwards married Helenus, a brother of
Hector, who ruled over Chaonia, a part of Epirus, and to whom
she bore Cestrinus. After the death of Helenus, she followed
her son Pergamus to Asia, where a heroum was erected to her.
The subject is suggested by a passage in Homer's Iliads
but is not an actual incident therein described. When Hector,
armed for battle, takes leave of his wife Andromache, he
resists her passionate entreaties to stay and be satisfied with
defending Troy, and reminds her of the prophecy which fore¬
told that in the fall of Troy the women would be taken captive
and enslaved—
"To bear the victor's hard commands, or bring
The weight of waters from Hyperia's spring.
There, while you groan beneath the load of life,
They cry, ' Behold the mighty Hector's wife T "
In the picture the artist has depicted the fulfilment of the
prophecy. The enslaved Andromache is awaiting her turn to
draw water at Hyperia's spring—the meanest of all menial
oftices. As she stands wrapt in sad meditation, her eye falls
on a group which reminds her of the day when domestic
happiness, husband, and child, were hers ; and her tears fall.
In the foreground, a man who may be supposed to be a veteran
of the Trojan war, points her out to his youthful companion,
saying, "fcee, that is Andromache, the wife of Hector, who was
foremost among the Trojans ! "
On canvas, 6 feet 6 inches high, by 13 feet 6 inches wide.
For memoir, see No. 23.
Purchased for the Permanent Collection, 1889.
INDEX OF ARTISTS.
* < » •
No.
Ansdell, Richard, R.A •. 7
Bradley, William
Brett, John, A.R.A 51
. . • •
Bume-Jones, E., A.R.A 32
Brewtnall, E. F 13
* % ^
Brown, Ford Madox 33
Browne, Madame Henriette 25
Callcott, Sir A. W., R.A 52
Caldecott, Randolph 17,18
» '
Davies, James H
Eastlake, Sir Charles L., Kt., P.R.A 28
East, Alfred 77
Etty,'wmiam, R.A 8,24, 29, 44, 45, 70
Ellis, Edwin 61
Fildes, S. Luke, R.A 53
Fan tin, H. 12
Goodwin, Albert 58
Hilton, William, R.A 39
Herkomer, Hubert, A.R.A 4
Hunter, Colin, A.R.A. ,,. 59
V •
Hague, Anderson 57
Hammersley, J. A 38
76 INDEX OF ARTISTS.
No.
Hemy, C. Napier ^
Hunt, Holman
Johnston, A
Kennedy, C. N 76
Knight, Joseph 20
Leighton, Sir F., Baronet, P.R.A 23, 79
Lawson, Cecil G 41
Legres, Alphonse l-ljl4,16, 40
Moore, Henry, A.R.A. 54
Morris, PhU. R., A.R.A ; ; 35
Martin, John 64
Mengin, A 46
Meredith, William 48
Morland, George " 3
Mückley, W. J 72
Murray, David, A.R.S.A 75
Northcote, James, R.A. 36, 67
Nasmyth, Alexander " 49
Opie, John, R.A 60
Cakes, J. W., A.R.A 22
Pickersgill, F. R., R.A ; 68
Poynter, E. J,, R.A .* 26
%
Prinsep, Val. C., A.R.A. 30
Partington, J. H. E 21
Percy, William 56
Sant, James, R.A « • 27
Schreyer, Adolphe • • 73
Stone, Marcus, R.A. ; ; ; 50
INDEX OF ARTISTS. 77
No.
Sadler, W. Bendy 78
Somerset, R. G 10
Stanhope, R. Spencer 43
Turner, J. W, M., R.A 47, 55, 63, 66
Thomson, H,, R.A 1
Vandyck 42
Ward, James, R.A 65
Watts, G. F., R.A 5,19
Westall, Richard, R.A 69
Whaite, H. Clarence, P.R.C.A 34
Walker, W. Eyre 15
Wyatt, Henry 9
Yeames, W. F., R.A 37
Yvon, Adolphe 3
i Guaedian Feinting M^obks, 3, Cboss Steeet, Manchesteb,
043 277086