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THOMAS AND PAUL
SANDBY
ROYAL ACADEMICIANS

Some Account of tkeir Lives and IVorks
BY
WILLIAM SANDBY

LONDON
SEELEY AND CO., LIMITED
ESSEX STREET, STRAND
1S92

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THE ONLY SURYIYING GRAND-DAUGHTER
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THOMAS AND PAUL SANDBY
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PREFACE

DURING many years, when collecting specimens of
the works of the two brothers to whom the follow
ing pages relate, I have found frequent allusions to
them in books relating to art which are now
rarely referred to. The not unnatural partiality of
a descendant may have over-rated the interest of
these notices to the public ; but as I was able to
add many details which, unless thus preserved,
would die with me, I have ventured to group them
together, in the hope that they may form a small
contribution to a chapter in the history of English
Art and Artists.
I have purposely avoided calling this book a
' biography,' becausef after the lapse of a century,
the information obtainable is too fragmentary and
incomplete to deserve such a designation ; and for
an obvious reason I have preferred to quote the

vi Preface
opinions of others rather than to express my own
upon the lives and labours of ancestors whose name
I am the last- to bear— though thankful to know I
am very far from the last of their descendants.
Windsor, 1892.

CONTENTS

CHAPTER I.
t'A-GF.
Ancestry of the Family — Birth of the two Brothers at
Nottingham— Self-taught as Artists— Admitted to the
' Drawing Room' at the Tower of London — Thomas
Sandby appointed Draughtsman and Private Secre
tary to the Duke of Cumberland — Accompanies
H.R.H. to Flanders and Scotland — His Drawings of
these Operations — Paul Sandby appointed Draughts
man to the Survey of the Highlands — His Views and
Sketches in Scotland ..... i
CHAPTER II.
Thomas Sandby appointed Deputy Ranger of Windsor
Great Park — Construction of Virginia Water, Planta
tions and other Works, the Cascade, etc. — His Views
of the Park, published in 1754 — Paid Sandby3 s
Etchings of Views in Scotland and elsewhere —
Engraved Illustrations of 'Jerusalem Delivered' and
'The Gentle Shepherd' — Views in America and of
London—' The Cries of London ' — Caricatures of
Hogarth, and on Social and Political Subjects —
Verses on 'Yestris and the Goose ' . . 19

viii Contents
CHAPTER III. PAGE
Paul Sandby's Early Views of Windsor— His Removal
to London, and his Places of Residence there— Joins
Artists' Feast at the ' Foundling— Exhibits at the
Society of Artists — Resigns Directorship — Ap
pointed by the King a Foundation Member of the
Royal Academy— Thomas Sandby takes a House in
London— Joins Committee for Founding an Art
Academy— Is appointed a Foundation Member of
the Royal Academy— Ejected First Professor of
Architecture— His Lectures to the Students— Com
petition Plans for Royal Exchange, Dublin — Designs
Freemasons' Hall, Screen for St. George's Chapel,
Windsor, Bridge at Staines, and other Buildings —
Official Appointments held by him . . -45

CHAPTER IV.
Thomas Sandby's Retirement from London Life on
Removal to Windsor Great Park — Paul Sandby's
Social Life in London : Friendship with Gandon the
Architect— His Artistic and Literary Gatherings —
The Princess Dashkoff— His Encouragement of
other Artists : Grignon, Wilson, David Allan, etc. —
Appointed Professor of Drawing at Royal Military
Academy, Woolwich — Royal and other Pupils —
Popular in Society, yet a Hard Worker — Letter by
him on Art Enthusiasm— The 'Provis' Craze —
Landscape Painters on their Travels in his Day —
Adventures on the Road, Serious and Comic —
' Dupes and Dealers ' — His Connection with the
Offices of the Royal Academy— Alderman Boydell's
Shakespeare Gallery — His Drawings copied by
Young Artists at Dr. Monro's House . . -74

Contents ix
CHAPTER V.
PACE
Paul Sandby's Work as a Painter— Difficulties in ob
taining and preparing Water-colours — Discoveries
and Experiments — Want of suitable Drawing-paper
— His different Styles of Painting in Water-colours
— Mode of Working in Body-colours — His Oil-paint
ing described — Value Topographically of the Works
of both Brothers ..... 10S
CHAPTER VI.
Paul Sandby's Aquatinta Engraving : the Process as
described by himself — His Works in that Style-
Engravings by Others after his Drawings, published
in the • Virtuosi's Museum,' and other Contemporary
Woiks . . . . 13;

CHAPTER VII.
Allusions to the Two Brothers in the Correspondence
of Gray the Poet and Horace Walpole — Thomas
Sandby's Rhyming Epistles quoted — Paul Sandby :
Letters to him from Rev. W. Mason and Lord
Newnham, and from him to James Gandon the
Architect ...... CHAPTER VIII.
Thoimxs Sandby : His Marriage — His Children — Lines
to them on the Death of their Mother : his Mediation
between the R.A. and Reynolds — Friendship with
Sir W. Herschel arid others— His Death and Burial
at Windsor— Obituary Notice — His Will— Sale of his
Drawings, etc. — Paul Sandby: His Marriage— His

x Contents
PACE
Children — Death and Burial in London— His Will —
Sale of his Artistic Effects— List of Portraits of the
Two Brothers. — Exhibitions of their Works at Various
Places — Modern Opinions of them . . 175-
APPENDIX I.
D rawings ex hibited by Thomas and Paul Sandby 204
APPENDIX II.
Drawings by Thomas and Paul Sandby in the
Royal Library at Windsor Castle

APPENDIX III.
Works contained in Public Galleries and
Institutions

213

219

ILLUSTRATIONS.

PAGE

Thomas Sandby, R.A., 1792 . . . frontispiece
After a painting by Sir W. Beechey, Rj\.
Paul Sand:.y, R.A., 1761 . . . .1
After a fainting by F. Cclcs, R.A., engraved in niezzotinto
by E. Fisher.
Elizabeth, Wife of Thomas Sandby, 1755 . . 176
After a painting by Francis Cote;, R.A., engraved in
niezzotinto by James JSIcArdell.
Ann, Wife of P. Sandby, 1760 ..... 1S6
After a painting by F. Cctcs, R.A., engraved in niezzotinto
iy E. Fisher.
Paul Sandby, R.A., 1S04 ..... 194
After a drawing ly Richard Concay, R.A.

The Deputy Ranger's Lodge, Windsor Great Park,
the Residence of Thomas Sandby from 1746 to 179S 20
From a drawing iy Paul Sandby.
An Architectural Design. . . . .30
(Receipt for a set of London Views) ly Thomas Sandby.
' Vestris and the Goose' . . . . .40
From a drawing by Paul Sandby.

xii Illustrations. PACE
The Flora Tea Gardens at Bayswater . . 4S
From a drawing by Paul Sandby.
One of the Desicns for a Bridge of Magnificence . 58
By Thomas Sandby.
A Sketch in Wales . . . .96
From a drawing by Paul Sandby.
Carmarthen Castle. ... . 106
From- a drawing by Paul Sandby.
The Studio or Paul Sandby, St. George's Row, Hyle
Park. . . . . . . no
From a drawing by himself.
Ruins of Tutbury Castle, Staffordshire . 132
From a drawing by Paul Sandby.
The Old Bridge at Shrewsbury . . . 144
From a drawing by Paul Sandby.
A Nurse, with two Grandchildren of Paul Sandby. iSS
From a drawing by himself.
The Piazza, Covent Garden . . 202
From a drawing by Thomas Sandby.

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THOMAS AND PAUL SANDBY

CHAPTER I.
Ancestry of the Family — Birth of the two Brothers at
Nottingham — Self-taught as Artists — -Admitted to the
' Drawing Room ' at the Tower of London.
Thomas Sandby appointed Draughtsman and Private Secre
tary to the Duke of Cumberland — Accompanies H.R.H.
to Flanders and Scotland — His Drawings of these Opera
tions.
Paul Sandby appointed Draughtsman to the Survey of the
Highlands — His Views and Sketches in. Scotland.
UNDOUBTEDLY the interest attaching to the life of
an artist is in his individual character and work,
rather than in his family associations or the
ancestry of his house ; yet there is a desire to
gather up the memorials of the past, and at least
to place on record that which has been preserved

2 Thomas and Patil Sandby
of the pedigree of those who, by their lives and
works, have done something to separate their
names from the multitude who live and die with
out leaving any trace of influence upon their day
and generation.
In Thoroton's ' History of Nottinghamshire, re
published with large additions by John Throsby,'
in 1797, there is an account of the Sandby family,
deriving its name from the pretty village of
Saundby on the borders of the county, two and
three-quarter miles from Gainsborough in Lincoln
shire. The. first mention there made is of Robert
de Saundeby, in 1165, and in the old church of
St. Martin at Saundby there is a brass recording
that Sir William de Saundeby founded the chancel
in 1418; but although several generations of
Saundbys have flourished in the village until .the
present time (as the numerous gravestones in the
burial-ground testify), the branch of the family
from which the artist brothers sprang seems to
have migrated to Babvvorth, in the same county, at
a very early period. Among the family papers

Ancestry 3
there is a memorandum written by Paul Sandby's
son, stating that he was ' directly descended from
the Saundebys of Babworth.' Thoroton also
mentions that in 1316 (9 Ed. II.), ' Babbeworth
answered for half a villa [or manor], and the Earl
of Lancaster and Robert de Saundeby were then
certified to be lords of it.'* In the Visitation of
Lincolnshire, 1562-64, mention is made of Sir
Robert de Sandby, of Sandby, in county Notts,
Knight, Lord [of the manor] of Remston and
Loudham ; of his son, William Sandby, of East
Markham ; and of his descendants, Thomas, father
and son. However this may be, it does not
appear that any trace of the name can now be
found in the church registers of the picturesque
little parish of Babworth. Burke gives the arms of
the family as follows : Argent, a fret azure ; crest
a griffin's head, erased, argent ; collared azure
thereon a fret of the same; motto, ' Forward.'
Whether these are certainties or not, there yet
remains a tradition in one branch of the family
* Vol. iii., p. 448.

4 Thomas and Paul Sandby
that it was originally Danish ; and it is at least a
curious coincidence that there is a village now
called Sandby in the island of Zealand, in
Denmark, in a neighbourhood renowned for the
beauty of its woodland scenery, containing a
church, parsonage, and a gentleman's estate, with
the title of Sandbygaard. It is possible that the
name might have been carried back from England
by the Danes when they quitted our shores, as was
the case with many other places, the names of
which are still found in Denmark.
In a more modern book than that of Thoroton,
Thomas Bailey's ' History of the County of
Nottingham,'* it is stated that the father of the
artist brothers was 'Thomas Sandby, of Babworth,
in this county, but who appears to have taken
up his residence at Nottingham early in the
eighteenth century.'f The church registers of St.
Peter's, Nottingham, contain the names of two or
three families variously spelt by an illiterate clerk
* Published in 1S52-55 in 4 vols., Svo.
f Vol. iv., p. 239.

Birth-place 5
as Sandsby, Sansby, and Sasby, but as Sandby
whenever the entries were made in the handwriting
of the Vicar. There are no means of identifying
the two brothers with any of these, as the dates do
not correspond with the family tradition that
THOMAS Sandby was born at Nottingham in 1721,
and Paul Sandby in 1725 — these dates agreeing
with the record that when the elder Thomas, died
in 1798, he was in his seventy-seventh year, and
the entry in the burial register of Paul Sandby,
that he was eighty-four when he died in November,
1809. The works of every artist, especially of the land
scape-painter or the architect, may naturally be
expected to receive some impress from the place in
which he was born, and the scenery by which he
was surrounded in early life. Nottingham might
be thought an uncongenial birthplace for an artist,
and one unlikely to foster the taste of a landscape-
painter. Its present appearance as a manufac
turing town of considerable importance of course
presents a great contrast to its aspect a century

6 Thomas and Paid Sandby
and a half ago, when the large factories and ware
houses which now abound (ornamental though
some of these structures are) were unknown.
Still, there are present traces of materials upon
which the lover of nature and art could be
nourished, and the aspect of the town and neigh
bourhood at the period to which we refer, as repre
sented in pictures of that date, prove that then,
much more than now, such was the case. Notting
ham Castle, before the rude Reform Bill mobs
destroyed it, and ere it was surrounded by the
various industries now carried on at its base, was a
picturesque object, and is now the Art Museum of
the Midlands. The noble church of St. Mary was
then, as now, remarkable both for its size and
beauty. The ancient gates of the town, its old
houses and public buildings, were picturesque and
full of interest to the antiquary ; while the neigh
bourhood on all sides, whether in the vale of the
Trent, in the forest of Sherwood, or in the simple
villages and meadows dotted about in every direc
tion, all afforded studies for an artistic eye. The

Old Nottingham J
landscapes of Paul Sandby are largely transcripts
of the old castles and halls, the ruined abbeys and
churches, with which this country abounded in his
day even more than at present, and Nottingham
would stimulate his taste for such objects ; while
his pictures of towns and mansions, of woods and
imple open country, with here and there the
cottage or the farm, and the rustics at their avoca
tion, might well have been first studied from what
he saw in the surroundings of his native town.
Thomas Sandby, his elder brother, would seem
to have received his inspiration for his especial
branch of art as he contemplated his birthplace.
The first drawings by him of which any trace now
exists are dated 1741, when he was twenty years of
age, and are views of the town, Castle, Town Hall,
etc., at Nottingham, engraved in Deering's elaborate
' History of the Town.' Later in his life, when
lecturing on architecture at the Royal Academy,
he spoke of himself as 'self-taught' in drawing,
and ' Anthony Pasquin ' (John Williams), whose
statements are certainly not reliable (although he

8 Thomas and Paul Sandby
often mingled facts with his satires), says that it
was a view of Nottingham which first brought
Thomas Sandby into notice. ' He was absorbed in
contemplation upon a new system of perspective,
which he progressively pursued until he brought it
to a state of unequalled perfection and readiness of
application ; and, acting upon these novel rules, he
made a drawing of his natal town, which procured
him such a reputation as emboldened him to visit
London for the purpose of having it engraved.'*
Of the exact place of birth or education of the
two brothers no certain information is now obtain
able. In Nottingham a tradition exists that the
family house was in Stoney Street, and that it was
removed many years ago to make way for one of
the handsome factories now standing there. The
brothers probably attended the Endowed Grammar
School, but unfortunately no register of former
pupils has been preserved. One of their intimate
* See ' Memoirs of the Royal Academicians, being an
f Attempt to improve the National Taste,' by Anthony Pasquin,
Esq., 1796, p. 141.

Early IAfe 9
friends, James Gandon, the architect, has left in
his memoirs* an account in which he states that
' Paul Sandby was born at Nottingham, where he
and his brother kept an academy. The brothers
were very much respected for their ingenuity and
talent, particularly for their knowledge and taste
in the Fine Arts. In their several styles of drawing
they became so conspicuous as to engage the
attention of Mr. Plumptre, the member for Notting
ham, by whose recommendation and interest they
obtained situations in the Tower of London, where
at this time a department was established for
instruction in drawing, etc/f It is rather difficult
to reconcile this statement as to their having ' kept
an academy ' with the fact that their ages were
only respectively twenty and sixteen when they
finally left Nottingham for London in 1741.
As far as can now be ascertained, the 'Drawing
Room ' at the Tower was the headquarters of the
* Edited by his son, and published by the late Thos.
Mulvany, R.H.A., Dublin, 1846.
f Pp. 186, 187.

10 Thomas and Paul Sandby
old Map or Survey Office, for those employed as
military draughtsmen under the Master-General of
the Ordnance ; and their duty would be confined
to the execution of plans giving the outlines and
hill features of countries, or, at most, to the 'topo
graphical views ' in vogue early in the last century.
Neither Thomas nor Paul Sandby could have
remained long there, for the former was appointed
in 1743 as private secretary and draughtsman to
H.R.H. William Augustus, Duke of Cumberland,*
and in that capacity accompanied him in his cam
paigns in Flanders and Scotland ; and the latter
was employed, after the suppression of the rebellion
in 1745-46, to assist in the military survey of the
new line of road to Fort George, and of the
northern and western parts of the Highlands, under
the direction of Colonel David Watson.
Thomas Sandby must have witnessed some
striking scenes during the early part of his career.
* Third son of George II., born in 1721, and only twenty-
two when he made his first campaign, and but twenty-four
when placed at the head of the army in Flanders and Scot
land. He died in 1765.

In Flanders and Scotland 1 1
He was at the battle of Dettingen, in June, 1743,
when the Duke of Cumberland was wounded, and
after accompanying him through the subsequent
campaign, returned to England in November of
that year. Again the young Duke embarked, in
April, 1745, for Flanders, proceeded from The
Hague to Brussels and Tournay, and was at the
battle of Fontenoy, on May II, coming home in
October of that year. The following statement is
made by Pasquin,* in reference to Thomas
Sandby's connection with these operations : ' The
development of his ability occasioned him to be
appointed as draughtsman to the Chief Engineer
for Scotland, in which situation he was at Fort
William, in the Highlands, when the Pretender
landed, and was the first person who conveyed
intelligence of the event to Government, in the
year 1745. In consideration of his merits and his
services, the Duke of Cumberland appointed him
his peculiar draughtsman, in which honourable
capacity he attended the Duke in his campaigns in
* P. 141.

12

Thomas and Paul Sandby

Flanders. On his return to England he devoted
himself to the study of architecture, in which his
talents and genius carried him to those heights
which excite common envy.'
At the time of the rising in Scotland, in the
cause of the Pretender, Thomas Sandby accom
panied the Duke in his expeditions to check the
advance of the rebels beyond Lichfield, in Novem
ber, 1745, proceeding thence in the pursuit
through Stafford, Derby, Preston, Penrith and
Carlisle, in the following month. Returning to
London at the beginning of January, 1746, he
was with the force which proceeded to Edinburgh
at the end of that month, and pushed on through
Perth to Aberdeen in February. There a halt was
made till April, when the English troops met the
rebels on the 16th at Culloden, where in less than
half an hour their defeat was effected. A sketch
of the battle, by Thomas Sandby, is in the royal
library at Windsor Castle. The Duke remained in
Scotland till the following July, and in November,
consequent upon the disasters which had befallen

hi the Netherlands 13
the allies in the war in the Netherlands, he again
took the command of the English forces, and
remained on the Continent until the peace of Aix-
la-Chapelle, in October, 1748.
A few of the drawings taken by Thomas Sandby
during these journeyings are preserved. He exhi
bited two — of the floating bridges at Venlo, over
the river Maas, and at Nimeguen, over the river
Waal— to illustrate his lectures on architecture at
the Royal Academy. In the British Museum*
there are four of his views of the camps in the Low
Countries. Two of these are three feet long, very
elaborate in details, but only thinly washed with
colour, dated June 22, 1748, representing an
extensive tract of flat country, with towns and
church spires indicated in the distance, and troops
and encampments dispersed over the foreground
and centre of the picture. These represent Hesch,
Osch, Berchen, Ravestein and Herpen, and Op-
Zeeland. A third is an elaborate drawing, not
named, with a large town on the right, containing,
* Additional manuscripts, No. 15,968.

14 Thomas and Paul Sandby
beyond the fortifications, many churches and public
buildings, and an encampment in the open country
on the left. A fourth is a plan of a river, with the
distances of twenty -two places on its banks
marked ; and there is also a smaller drawing,
described as ' Abbaye pres de Sarlouis,' having a
wooden bridge in the foreground, a village on either
side of a river, and an encampment on the right
bank. In the royal collection at Windsor, there
is a very elaborate drawing of ' Diest from the
Camp at Mildart, 1747 '; and also, in illustration of
the Scottish rebellion, a view of the camps near
Kenilworth Church, Warwickshire, with long rows of
tents for the army halted on the march; two highly
finished drawings of Fort Augustus, Loch Ness, and
one of Fort William, with the English encampment.
While the elder brother; Thomas, was thus
actively employed, his younger brother, who had
been with him previously in Scotland, sought and
obtained, in 1746, the appointment of draughtsman
to the actual survey of the Highlands, which was
commenced after the suppression of the rebellion.

In the Highlands 15
In the Print Room of the British Museum are eight
drawings inscribed ' Presented to the Board as a
specimen of Mr. Paul Sandby's performance: vide
Minute 12 March, 1746.' As these sketches were
transferred from the Map and Plan Department of
the Museum in 1880, they were probably removed
thither from the Board of Ordnance, by whom they
were required as proofs of the fitness of the artist
for the appointment.
The first drawing is in Indian ink, about six
inches square, representing a boy seated on the
floor with casts around him, drawing a torso. In
a floral shield below, it is described as ' A Book of
Figures, with the prospect of Edinburgh Castle,
by Paul Sandby, 1746-7.' At the bottom of the
drawing are the following lines :
"Tis not a trifling beauty to express
The various shapes and foldings of the dress ;.
Through the clear robes the swelling members rise
Or heaving breasts, which decently surprise.
Be every person's proper habit known
Peculiar to his age or sex alone.
Let the broad lights in spreading glories play
And here contrasted deeper shades decay.

1 6 Thomas and Paul Sandby
Objects the more advanced they are to view
Must be more finished, and exactly true,
And have dominion o'er those things which are
Confused and transient, and which scarce appear.
But here a due relation you must find,
Less things being cast by greater still behind :
Things at a distance in one mass combine
As leaves on trees, and the sea- waves must join.'
The six following sketches are of figures in pen
outline, unshaded, about nine inches by six, and
are facsimiles of some of the ' Studies in Design,
by Abraham Bloemart, engraved by Fred. Bloe-
mart and B. Picart,' published at Amsterdam in
1740. The last of the eight is 'The East View of
Edinburgh Castle,' with many figures in the fore
ground, signed ' Paul Sandby, delint., 1746-7.'
While employed in Scotland at this exciting
time, he made a large number of sketches of scenes
and well-known persons in and about Edinburgh,
sixty-eight of which are now in the Print Room of
the British Museum. They are of small size,
chiefly figures, and many mere outlines. Some of
the descriptions will indicate their character — as,
' The escort of two well-known rebels of 1745 ;'
' A group of figures drawn at the execution of

Sketches in Scotland 1 7
John Young in the Grass-market in Edinburgh ;'
' A Highland laird making his will ;'* ' A Scotch
washerwoman, sketched on the spot, 1745 ' [in red
chalk — a pretty girl with bare legs jumping in a
tub] ; ' Drawn in the High Street, Edinburgh,
March, 175 1,' with a signboard over an archway,
bearing the inscription ' Good eating down this
closs ' : ' Sketches of figures from the life at North
Shields, ' etc.
He quitted the service of the survey in 175 1,
but not until he had made many sketches of the
romantic scenery and antiquities of Scotland, and
* On the back of this sketch the artist has written the
following :
'A Highland Laird's Will, found among some Papers taken
from the Rebels in the year 1746.
' To its ain Tune.
' Syne now by fate I gang my gate
Far, far ayont the Bogie,
My worldly gear I leave, my dear,
To thee, my Kathren Ogie.
The house my ain, both stick and stane,
A wee bit ground for inions,
For barley meal and oats and kail
To feast your gusty minions. 2

.)8 Thomas and Paul Sandby
afterwards for a time took up his abode with his
brother at Windsor.
' My onset stout, with dykes about,
By the great Laird my father,
Were biggen sound, and cost five pound,
Or hang me in a tellin.
Imprimis, Kate, inside my gate
Pray take my favorite bicker,
An oaken chest, but sure the best,
Where you may keep your liquor.'

CHAPTER II.
Thomas Sandby appointed Deputy Ranger of Windsor Great
Park — Construction of Virginia Water, Plantations and
other Works, the Cascade, etc. — His Views of the Park,
published in 1754.
Paul Sandby s Etchings of Views in Scotland and elsewhere
— Engraved Illustrations of 'Jerusalem Delivered' and
" The Gentle Shepherd ; — Views in America and of London
— 'The Cries of London-' — Caricatures of Hogartb, and
on Social and Political Subjects — Verses on 'Vestris and
the Goose.'
THt special employment of the two brothers in
Scotland at and subsequent to the suppression of
the rebellion resulted very auspiciously for both.
On the return of the Duke of Cumberland to
England, His Royal Highness was appointed
(July 12, 1746) to the Rangership of Windsor Great
Park, in succession to the famous Sarah Duchess

20

Thomas and Paul Sandby

of Marlborough and her grandson John Spencer ;*
and he immediately selected Thomas Sandby to
be Deputy Ranger. This placed him in a fixed
position of comparative independence, and afforded
scope for the employment of his talent both as an
artist and an architect. The Duke, on first residing
at Windsor after his return from the campaigns in
the Low Countries, lived at Cranbourn Lodge, but
he began immediately to enlarge and rebuild, under
Thomas Sandby's supervision, the Great Lodge,
afterwards and still known as Cumberland Lodge.
The house occupied by the Deputy Ranger, the
Lower Lodge, was situated at a short distance
from it, and remained standing until 1813, when
George IV. (then Prince Regent) erected the
Royal Cottage, which was removed in the follow
ing reign, and the site is now occupied by the
royal conservatory, in which are two rooms stated
to have been originally part of the Deputy
Ranger's lodge, in which Thomas Sandby resided
fo'' half a century.
* The Duchess held it from 1702 to 1744, and her grand-
so 1 for one year.

Thl JJeiliv Range**? Lodge, Wind.sok Gkeat Pakk.
From a drawing by Pall Sakduy.

Virginia Water 2 1
For several years after his appointment a large
part of his time was occupied in the construction
of the Virginia Water and in effecting the exten
sive alterations which were made in Windsor Great
Park. Previously to 1750 much of the work was
done by the soldiers enlisted for service during the
recent campaigns, who were at that time quartered
on Bagshot Heath. From the map prepared in that
year, it appears that thirteen new plantations had
been then formed, overlooking the Virginia Water
and the Norfolk farm, being the first laid out with
an irregular outline following the configuration of
the ground, all that preceded them having been
square, oblong, or round.
Much time was expended in clearing the heath-
land and morass, and the excavations necessary
for the formation of the Virginia Water between
1750 and 1752. A recent writer states that: 'In
this latter year they were apparently in full work,
and then it was that the brother, Paul Sandby, a
water-colour artist, also engaged in the Scotch
surveys, gave up his employment there, and came

22 Thomas and Paul Sandby
to reside with his brother Thomas at Windsor, to
assist him in these works; and the charming
sketches of the new Water, the Lodges, and the
various interesting spots of the Forest, show well
how their leisure hours were spent. One of them,
dated 1753, shows that the Belvidere had been
built, and also that the first lake had then been
finished.'* Shortly afterwards the Great Meadow Pond and
the Obelisk Pond were formed, and the beeches
planted in double line from Bishopsgate to
Cumberland Lodge. The extensive stables at the
Lodge were built about 1754, and the road formed
from thence to Sawyer's Gate. In the next few
years a belt of wood was planted along the outside
boundary from Cow Pond to Botany Bay Point,
and the large firs and cedars near Shrubs' Hill,
creating the ' sable silent solemn forest' which now
exists. King George III., who ascended the
throne in 1760, took great interest in these works,
* A History of Windsor Forest,' etc., by G. M. Hughes,
4to., 1890, pp. 2S9, 290.

Windsor Great Park 23
and honoured Thomas Sandby during his whole
life in Windsor Great Park with his confidence and
personal friendship, not only consulting him in his
professional duties, but frequently visiting him at
the Deputy Ranger s lodge without ceremony or
previous announcement. One of Thomas Sandby's
daughters used to tell how she and her sisters, on
hearing the King calling for her father, stepped out
of the window of the room in which they were
sitting, and ran through the back of the house to
change their dresses before making their appear
ance at luncheon with his Majesty.
The Culloden Duke of Cumberland died in 1765,
and one of the King's brothers, Henry Frederick,*
had the title conferred upon him in 1766, and also
became Ranger of the Park, retaining Thomas
Sandby as Deputy. During the following twenty-
four years, under his superintendence, further im
provements continued to be made. Again quoting
* Son of Frederick, Prince of Wales (b. 1744, d. 1790).
In 1 77 1 he married Lady Ann Luttrell, daughter of the Earl
of Carhampton and widow of Mr. C. Horton, by which he
gave great offence to the King.

24 Thomas and Paul Sandby
Mr. Hughes : 'The first lake did not extend much
beyond where the artificial ruins now stand, at
which point a pond-head, or dam, was thrown
across to form the lake, but it was soon afterwards
carried away by a great flood which, as it is
described, " drowned " the country. This disaster
occurred ... on the ist September, 1768. A
storm, which arose in the night, deluged London
and the country round with torrents of rain for
eight hours, such as had hardly been known in the
memory of man, and it was then, as the Annual
Register tells us, that the late Duke of Cumber
land's fine water-works in Windsor Forest were
entirely destroyed.'* It was not until several years
afterwards that this damage was repaired, and the
Water extended to its present dimensions, covering
150 acres. Thus completed, it forms one of the
largest artificial lakes in England, and is so con
trived that at no point can its termination be seen.f
* 'Windsor Forest,' by G. M. Hughes, p. 292.
t See Wrn. Menzies' ' History of Windsor Great Park and
Forest,' folio, London. 1864.

Views of Windsor Park

-'o

A large number of plans and drawings illustrating
these works will be found in the royal library at
Windsor Castle, and in the Soane Museum in
London, and many were sold some thirty years ago.
In December, 1754, a prospectus was issued for
the publication of eight plates dedicated to the
Duke of Cumberland, illustrating the works at the
Virginia Water, drawn by Thomas Sandby. They
were of folio size, and engraved on copper by
Paul Sandby, F. Vivares, Mason, Rooker, Austin,
and Canot. The views were: 1, The Lodge and
Stables ; 2, The Lodge and Garden ; 3, The Moat
Island ; 4, North Side of Virginia River, near the
Manor Lodge ; 5, The Cascade and Grotto ; 6, The
Great Bridge over the River ; 7, The Great Lake ;
8, The New Building on Shrubs' Hill. The
' Prospectus ' was a very effective design, drawn
and etched by Paul Sandby. It was first used,
after the fashion of the day, as a receipt for the
subscription for the set of plates, and afcerwards as
a title-page, with dedication. This series of views
was republished by Boydell in 1772.

26 Thomas and Paul Sandby
In connection with Thomas Sandby's labours in
reconstructing the artificial lake and cascade at
Virginia Water, J. T. Smith has the following:
' During the time I was studying the scenery of
Windsor Great Park, Mr. Thomas Sandby was
busily engaged in placing the numerous stones to
form the representation of rocks and caverns at the
head of Virginia Water in Windsor Park, and fre
quently dug for stones on Bagshot Heath. Fortu
nately he discovered one of an immense size, which
he thought would afford him a massive breadth in
his composition, but it was so large he was under
the necessity of breaking it with gunpowder.
However, fortune favoured his design by blowing
it into two nearly equal parts, so that he was
enabled to join them in their destined spot with
great advantage as to general effect.'* The stone
was discovered by observing a part of the heath to
be more brown and dry than its surroundings,
from which it was inferred that there was stone,
and not earth, beneath.
* 'A Book for a Rainy Day,' 3rd edition, 1S61, pp. 88, 89.

Etchings 27
While the elder brother was thus busily engaged
in developing the landscape scenery around Vir
ginia Water by planting firs, larches, etc., on the
slopes upon its banks, Paul, during his stay at
Windsor, resumed the practice which he began in
Scotland of etching on copper. The earliest
specimens of his works of this kind are two small
landscapes inscribed ' Drawn and graved by P.
Sandby, 1747-8;' a set of six small landscapes,
probably views in Scotland, 1748; a series of ten
views in Scotland, 4to., 'etched on the spot, 1750 ';
and eight folio views of Edinburgh, Leith, Both-
well, Dumbarton, Stirling, etc., inscribed ' P.
Sandby, del. et sculp., Windsor, August, 175 1.'
These plates were sold by William Sandby,* book-
* This William Sandby was a relation, and a man of
some note in his day. In the ' History of Booksellers,' by
Henry Curwen (pp. 159-16S), there is an account of the
house of Murray, now of Albemarle Street, stating that the
founder of that eminent firm was John Mc Murray, who in
1768 succeeded Mr. Sandby, bookseller, at No. 32, opposite
St. Dunstan's Church, Fleet Street, he having entered into
company with Snow and Denne, bankers. Mr. Curwen
adds, ' Murray found that Sandby's connection at Fleet
Street was a good one : Mr. William Sandby, indeed, could

28 Thomas and Paul Sandby
seller, Fleet Street, London, and Gavin Hamilton,
Edinburgh. They were reprinted many years
afterwards by Laurie and Whittle, Fleet Street.
In 1765, these and other etchings were collected
into a folio volume, which was advertised in June
as follows: 'This day are published, price £1 7s.,
one hundred etchings by the ingenious Mr. Paul
Sandby, on fifty-four half-sheets of imperial paper,
consisting of landscapes, etc., sold by Ryland and
Bryer, engravers and printsellers, at the King's
Arms, in Cornhill. facing the Royal Exchange, and
to be had at Jeffry's Printshop, the corner of St.
Martin's Lane, Charing Cross.'
All his etchings are spirited, and some of them
very delicate and artistic, combining the touch of
the painter with the skill of the engraver. A very
pleasing specimen of his work in this manner is
the series of five illustrations to Ramsay's ' Gentle

have been no ordinary bookseller, for his father [Rev. Josias
Sandby] was a Prebendary of Worcester, and his brother
[Rev. George Sandby, D.D.] Master of Magdalen College ;
while he was accepted as partner in a wealthy banking firm.'

Landscape Engraving 29
Shepherd,' dated 1758. They were etched from
drawings by a young Scottish artist, David Allan,
whose works Paul Sandby wished to introduce to
notice in London. In a bolder style, and on a
larger scale, are the copper-plates from designs by
John Collins, engraved by him in conjunction with
Edward Rooker, illustrating Tasso's 'Jerusalem
Delivered,' published for the benefit of the widow
of the artist. These plates are described in an
article on the ' British School of Engraving,' in the
' Library of the Fine Arts,'* as being executed ' in
the boldest and freest style, not excepting the
works of Piazzetta, whose manner, or rather force,
they appear to imitate, yet possess more variety
in the display of foliage, trunks of trees, and
other materials of landscape scenery. . . Paul
Sandby as a landscape engraver was one of
the most indefatigable, as well as one of the
most successful, artists of his day. His style
of etching had much of the freedom of char
acter that distinguished the works of Rooker,
* Published in 1832, vol. iii., pp. 383. 384-

30 Thomas and Paul Sandby
Vivares, and Chatelain, and if it deviated in some
degree from the more regular and finished engrav
ings, there was nothing of the artist lost in the
performance. His etchings were principally from
his own drawings, and are very numerous ; they
consist chiefly of views and compositions, with
occasionally designs of subjects in which figures
are introduced.' The style of his works on copper
has been compared by some to that of Piranesi,
and by others to that of the old Italian painter
Guercino and the German Pontius.
In 1761 were published, in folio, ' Eight Views
in North America and the West Indies, painted
and engraved by Paul Sandby, from drawings
made on the spot by Governor Pownall and others,'
which are curious illustrations of regions at that
time little known, and now utterly changed in
appearance. Another series of great interest, as depicting
old London in the middle of the last century, con
sisted of six views drawn by him and his brother
Thomas, published and engraved by Edward

'Vcy'w/ //fr/n:rfJJai/vicnlff>/

A:. Architectural Tjtsir.s (Keceu-t for a Skt of London Views).
Ity TrlO.'.IAS Sandbv.

' The Cries of London ' 3 1
Rooker in December, 1766. The subjects were the
Horse Guards ; St. James's Gate ; Scotland Yard
and the Banqueting House ; St. Paul's Church,
Covent Garden ; the Piazza ; and part of Black-
friars Bridge.
A few years previously (1760) he had published
a series of twelve etchings in quarto, illustrating
the ' Cries of London,' which are now both rare, and
curious. The subjects are: 1. ' The Raree-show ;'
2. 'The Cane-seller;' 3. 'Tripe or Calves-feet;'
4. ' A Sweet Nosegay or a Memorandum-book ;'
5. 'All Sorts of Earthenware;' 6. 'The Walking
Stationer ;' 7. ' A Hot Pudding: the Grand Machine
from Italy — bake as I go ;' S. ' Rare Mackerel ;'
9. 'A Good Flint and Steel;' 10. 'Rare Meltin'
Oysters;' 11. 'Any Hard Metal Spoons;' 12.
' Miss Kitty Fisher's Merry Thought.'
In Mr. H. G. Bohn's large guinea catalogue,
1842, an advertisement appeared as follows:
' Drawings by Paul Sandby, consisting of seventy-
seven characteristic and remarkably spirited
coloured drawings of the " Cries of London," folio,

32 Thomas and Paul Sandby
russia, by Montague, 1742 ;' with this description of
the volume: 'These very clever drawings are in
general portraits of the known and remarkable
street wanderers of the day, and the old cries are
written beneath. As they have not been published,
and most of the cries as well as the characters have
ceased to exist, this record of them acquires
additional interest. Paul Sandby ranks among
the first artists of his day, and in his humorous
drawings has much of the force of his contempo
rary Hogarth.' Some years after this, Mr. Bohn
stated that he had sold the volume for fifteen
guineas ; but he did not know to whom, and it
has never since been traced. It is doubtful if
, the date is correct, as in 1742 he was only seven
teen years of age, and had only recently arrived
in London.
Indications of a humorous spirit are not wanting
in any of the works of Paul Sandby, for in the
groups of figures with which he embellished his
landscapes some ridiculous incident was often
seized, the portrayal of which enlivened the scene.

' Hogarth ' Caricatures 33
But his appearance as a caricaturist dated from
1753, when Hogarth published the famous
' Analysis of Beauty,' in which he dogmatically
asserted that the principle of beauty in art could
invariably be referred to a waving or serpentine
line, which he denominated ' the line of beauty,' a
theory which, however it might contain an element
of truth, was certainly a very partial and narrow-
one. Not only did the book arouse much
antagonism of opinion, but it served as an occa
sion for the artists of the day to resent the
unamiab'e depreciation of them, and the narrow-
minded self-satisfaction which Hogarth in no very
courteous terms had constantly expressed. Paul
Sandby entered the lists as a champion of his
artistic brethren, and especially ridiculed Hogarth's
unfriendly opposition to the efforts which were
about the same time being made to enlarge the
Artists' Academy in St. Martin's Lane, and to
elevate the profession. His biographer, John
Nichols. F.S.A., in the essay prefixed to the folio
edition of Hogarth's works, says : ' From what is
3

34 Thomas and Paul Sandby
recorded of his personal character, Hogarth appears
to have been by no means remarkable for amiable
manners or liberal sentiments, but to have retained
through his whole life all the narrow' prejudices
arising from his want of education. He is said to
have been jealous of his contemporaries, and, not
content with being pre-eminent and without a rival
in his own branch of the art, was always disposed
to depreciate the serious, historical, and poetical
styles/ Again he says : ' About this period, in
consequence of the public attention bestowed upon
the painting presented to the Foundling Hospital
by Hogarth, the Academy in St. Martin's Lane
began to form themselves into a more important
body, and to teach the arts under regular professors.
But, extraordinary as it may appear, this scheme
was so far from being welcomed by Hogarth as
indicative of a bright era in the fine arts, that he
absolutely discouraged it, as tending to allure
many young n.en into a profession in which
they would not be able to support themselves,
and at the same time to degrade what ought to

' Hogarth ' Caricatures

oo

be a liberal profession into a merely mechanical
one.'* In a series of caricatures issued separately
from time to time in 1753-4, Paul Sandby etched
and published anonymously some very effective
plates about 9 inches by 7 inches, one of which was
entitled 'A New Dunciad: done with a view of
fixing yc fluctuating Ideas of Taste,' representing
Hogarth playing with a pantin, his favourite dog
Trump, and Dr. Morell, to whom he had submitted
the manuscript of his book for correction. Another
very clever plate depicts the Temple of Diana
set on fire by ' the vile Ephesian to obtain a
name,' and similarly represents Hogarth as en
deavouring to undermine 'the ever sacred monument
of all the best painters, sculptors, architects, etc.,' in
allusion to his expressions of contempt for all the
artists of antiquity. A third etching, 'The
Painter's March from Finchley, dedicated to the
King of the Gipsies,' is an amusing parody of the
* Hogarth's Works : Essay by John Nichols, F.S.A.,
pp. vi., vii.

36 Thomas and Paul Sandby
celebrated picture by the artist. A fourth is 'A
Mountebank Painter,' puffing his own works, solicit
ing ' subscriptions' to his plates (his common mode of
publication) and surrounded by grotesque examples
of the ' line of beauty' in deformed beings fitted
to the 'waved line.' A fifth is designated ' Pugg's
Graces, etched from his original daubing,' which is
a counterpart of one of the plates in the ' Analysis
of Beauty,' and includes a caricature of Hogarth
and his friend Mr. Townley (the Master of Merchant
Taylors' School, who continued the revision of the
book after Dr. Morell's death), recording on an
open page on the floor ' Reasons against a Publick
Academy, 1753' — ' No Salary.' A sixth represents
the Ghost of Lomazzo, with his ' Treatise on Paint
ing' in one hand and the serpentine line in the
other, accusing Hogarth of fraud, and causing
alarm to him and his assistants in the publication
of the book by reproaching them for having
•mangled and perverted the sense of his book in the
Analysis.' while a Public Academy is being erected
in the background, in spite of his endeavours to

' Hogarth ' Caricatures 37
prevent it. A seventh is entitled ' The x*\uthor
run mad,' and pictures him as covering the walls
with wild designs. Two other caricatures, though
not in the series, appear to have been issued about
the same time, specially referring to Hogarth's
'Paul before Felix,' and of which he' himself etched
a burlesque print, as a receipt for the engraving
of the original picture painted for the hall of
Lincoln's Inn, which he states he "designed and
etched in the ridiculous manner of Rembrandt.'
One of Paul Sandby's caricatures of this proceed
ing is entitled ' The Burlesquer burlesqued,' and
represents him as a pug dog painting a history
piece suited to his capacity, the other showing him
seated, his head forming the magic lantern, from
which is reflected the shade of Rembrandt pointing
to a representation of ' Paul before Felix.'
For a few years the controversy ceased, but
unfortunately it was revived in 1762, when •
Hogarth appeared as a political caricaturist, rather
than as a satirist of vice or a teacher of morals.
In September of that year he published two plates

38 Thomas and Paul Sandby
called 'The Times,' which were severely attacked by
his. former friend Wilkes in the seventeenth number
of the North Briton. Hogarth retaliated with his
caricature portrait of the writer, which in its turn
suggested Churchill's ' Epistle to William Hogarth,"
and was resented by his print ' The Bruiser
Churchill.' Thus Paul Sandby was again prompted
to enter the field. ' A set of blocks for Hogarth's
Wigs — designed for the City — see North Briton
No. 19' is the title of one of his etched caricatures
published about this time. It was obviously
founded on one of Hogarth's plates. ' A touch on
The Times : plate 1' followed in September, 1762,
and had a second title, ' The Butefyer,' in allusion
to the Earl of Bute, who, with other of the ministers
appointed by him, was at that time losing popu
larity in consequence of the war with Spain and
France having been concluded by the partial
surrender of the conquests which the English
army and navy had previously made. ' The
Talbot Inn,' a very clever composition, has special
reference to the influence of the Scottish supporters

Political Caricatures ^9
of the Bute Ministry, and the pressure of the terms
of peace upon the English people. 'Sic Transit
Gloria Mundi,' the Minister blowing bubbles over
Westminster Hall, seated on ' Pride, Conceit,
Patriotism and Popularity'; another, 'The Evacua
tion, or an Emetic for Old England's Glory,'
representing the surrender of the West Indian and
other conquered possessions ; and two plates
entitled ' The Fire of Faction,' published in
September and December, 1762, all relate to the
unpopularity of the peace negotiations, and of the
Scottish element in the Ministry which succeeded
to that of Pitt. These caricatures are ably de
scribed in Mr. F. G. Stephens' very elaborate
' Catalogue of Satirical Prints in the British
Museum,' published by authority of the trustees;
but it is to be regretted that in the same work
several very coarse caricatures are also doubtfully
'attributed' to Paul Sandby, which certainly were
not executed by him.
His love of the ridiculous was not quenched by
these attempts, although, in subsequent years, few

40 ' Thomas and Paul Sandby
publications of a directly satirical nature were pro
duced by him. In 1782 the 'Tax on Post-horses'
excited the indignation of our artist, and under
that title he engraved, in aquatinta, a folio print
('John Nixon, inv.'), representing two divines on
their way to Oxford, riding on wretched nags, one
of which is sinking beneath its load, and the sign on
the wayside inn, 'John Bull,' is falling to pieces,
only held on by a broomstick. Two years later
London was much exercised by ' The English
Balloon,' the ascent of Sheldon and Blan chard from
Chelsea, and of Lunardi from Vauxhall. Paul
Sandby engraved three quarto plates in aquatinta,
one representing the balloon as a man's face, with
ass's ears and a fool's-cap ; another the bursting of
it; andathird, "John Bull-oon's Asses distanced by
the Ganzas or large Geese of Domingo Gonsales in
a Voyage to the World in the Moon.'
Another caricature, ' Vcstris and the Goose,' is
said to have been occasioned by the following
occurrence : ' The drawing-master and the dancing-
master met at the door of a fashionable person at

Vestkis a.vd the Goose.
/??;/.' a drawing by Pal'I, Sanukv.

' Vestris and the Goose' 41
the same moment, and a preference was given to
the latter, while the former was obliged to wait till
the dancing was done — much to the chagrin and
annoyance of the artist, who it may be inferred
was no other than Paul Sandby, and who, from
his talents as a drawing-master and his station in
society, was all unused to the waiting mood.'* He
occupied himself meanwhile sketching Vestris
giving lessons to a goose, at a guinea each lesson,
and six guineas entrance. A set of verses followed,
which may be quoted as a sample of many others
which the artist was in the habit of hurriedly com
posing, to suit the occasion, at friendly gatherings :
' Of all the fine accomplishments, sure dancing far the best is ;
But if a doubt with you remains, behold the Goose and
Vestris. And a-dancing we will go, will go, etc.
'Let men of learning plead and preach, their toil is all in
vain ;
Sure, labour of the heels and hands is better than the brain.
And, etc.
* ' Library of the Fine Arts,' vol. ii., art. ' Paul Sandby and
his Times,' p. 340.

4^ Thomas and Paid Sandby
• Then talk no more, ye men of arts, 'bout keeping light and
shade ;
Good understanding in the heels is belter than the head.
And, etc.
' Great Whigs and eke great Tories, too, both in and out will
dance,
Join hands, change sides, and figure in, now sink and now
advance. And, etc.
' Let Oxford boast of ancient lore, or Cam of classic rules ;
Noverre might lay you ten to one, his heels against your
schools. And, etc.
' Old Homer sang of gods and kings in most heroic strains,
Yet scarce could get, we have been told, a dinner for his
pains. And, etc.
1 Poor Milton wrote the most sublime, 'gainst Satan, Death,
and Vice ;
But very few would quit a dance to purchase Paradise. And, etc.
' The soldier risks health, life, and limbs his fortune to ad
vance ;
While Pique and Vestris fortunes make by one night's
single dance. And, etc.
' 'Tis all in vain to sigh and grieve, or idly spend our breath,
Since millions now, and those unborn, must join the Dance
of Death. And, etc.

Other Caricatures 43
' Yet while we live, let's merry be, and make of care a jest.
Since we are taught what is, is right, and what is right is
best. And a-dancing we will go, etc'
The little circular sketch which headed these
lines, printed on an octavo page, was afterwards
engraved in aquatinta on a large scale, and made a
very effective print.
Before concluding the notice of the caricatures,
mention may be made of ' North and South of
Great Britain,' the one half representing a lean
Scot rubbing against a post in sight of Edinburgh
Castle ; the other, a Londoner resting near St.
Paul's, with a pot of porter in his hand, beneath
the sign of the Bull, ' roast and boiled ' ; and lastly,
a large aquatinta print of a ' Cure for the Gout,' pub
lished in January, 1 7S3, a satire on Dr. Buzaglo's
treatment, inscribed ' Les Caprices de la Goute :
Ballet Arthritique.'
Nor ought these works to be dismissed without
recording that it has been stated by a writer
already quoted,* 'That this exercise of wit and
*' Library of the Fine Arts,' 1831, vol. ii,, p. 345. This
refers only to the ' Hogarth ' caricatures.

44 Thomas and Paul Sandby
burlesque was not wholly congenial to the temper
and disposition of Paul Sandby may be inferred
from the circumstance of his withdrawing these
prints from the public eye on seeing the inimitable
paintings by Hogarth of "The Marriage a la
Mode." Such a man, he observed, should not be
made the subject either of ridicule or burlesque.
These plates, however, display great skill in their
composition and execution, much humour and wit
in character and subject ; and those who know
how to appreciate the value of self-denial in utter
ing or vending what is called a good thing in the
shape of a jest, will give credit to the artist or the
author who can make the sacrifice; and it may be
made a question when or where it has been done
before or since.'

CHAPTER III.
Paul Sandby's Early Views of Windsor— His Removal to
London, and his Places of Residence there — Joins Artists
Feast at the Foundling— •Exhibits at the Society of Artists
— Resigns Directorship — Appointed by the King a Founda
tion Member of the Royal Academy.
Thomas Sandby takes a H>>use in London — Joins Committee
f.jr Founding an Art Academy — Is appointed a Founda
tion Member of the Royal Academy — Elected First Pro
fessor of Architecture — His Lectures to the Students —
Compe;iiion Plans for Ro\al Exchange, Dublin — Designs
Freemasons' Hall, Screen fur St. George's Chapel, Windsor,
Bridge at Staines, and other Buildings — Official Appoint
ments held by him.
Windsor Gp.EAT PARK was a congenial abode
for the two brothers, and while the elder found
much to do in planning the Virginia Water, and in
the duties of his office as the Deputy Ranger, the
younger not only carried on the etching of his

46 Thomas and Paul Sandby
Scottish sketches, but from time to time made a
very complete series of views of Windsor Castle
and town, and of the principal objects of interest
in the park and neighbourhood, including Eton
and its college. These drawings became the pro
perty of Sir Joseph Banks,* who was one of the
eariiest patrons of Paul Sandby, not only giving
him what was then regarded as a liberal price for
his works, but subsequently choosing him for his
companion in several of his tours in Wales and
other parts of the country. A few years ago these
early Windsor drawings (which up to that time
had remained mounted in a large folio volume, and
were then the property of Sir Wyndham Knatch-
bull, Bart.) were dispersed at Christie's sale-rooms,
and excited some attention, as they were very
bright and effective, elaborately detailed, and deli
cately finished. Some of them found a permanent
resting-place in the royal library at Windsor, help-
* This distinguished naturalist and man of science (b. 1743,
d. 1820) became President of the Royal Society in 1778, and
was an extensive writer on botanical subjects.

Residence in Loudon 47
ing to complete the very large collection of
Windsor views already there.*
But London was then, as now, the sphere in
which artists desired to form a reputation, and both
brothers took up their residence for a portion of
each year in the Metropolis. Thomas Sandby
rented a house on the south side of Great Marl
borough Street, Oxford Street, from 1760 to 1766. ?
This street had been highly thought of in 1722,
when Defoe wrote of it 'as surpassing anything
that is called a street in the magnificence of its
buildings and gardens, and inhabited all by prime
quality.' It has a very different aspect now. Paul
Sandby in 1760 was residing 'at Mr. Pow's, /
Dufour's Court, Broad Street, Carnaby Market, the
upper house on the left-hand side,' in the same
locality, but the house has long since been taken
down. His address he notified to his friends on
little tinted cards, the size of those now used by
ladies, on one side of which he sketched a small
* See the list of drawings by the two brothers at Windsor
Castle appended to this volume.

48 Thomas and Paul Sandby
landscape. In 1766 he removed to Poland Str
where he remained till 1772. At that time
houses were not numbered, but his appears to h
been that now known as No. 57. Sir Will
Chambers, Dr. Macaulay, Dr. Burney, and oth
lived at that time in the same street, and for sc
time he had for his neighbour his intimate frt
James Gandon, the architect. Oxford Street i
then ' extended but a few perches from B<
Street in the direction towards Tyburn turnpik<
Paddington. It was then some distance from
City, and so unfrequented that Mr. Gandon
said he has often amused himself by shooting sr
there.'* In 1772 Paul Sandby purchased a hoi
No. 4, St. George's Row, Oxford Road, ovcrlc
ing Hyde Park, a residence in every way suiter.
his taste, commanding an extensive view towa
the Surrey hills — a truly desirable abode fo
lover of landscape. This was his home till
death. It is now designated No. 23, Hyde P
Place. * ' Life of Gandon,' p. 16.

C- <
^ vi

Plan of an Art Academy 49
Although the Metropolis was the centre of
attraction to all aspirants for fame, in whatever
direction it might be sought, the position of the
artist was, in the early days of these brothers, a
very different one from what it is now. Isolated
instances of success, chiefly as portrait painters,
may be cited ; but there was really no school of
art, and little patronage of it beyond the court and
the nobility. It was said that George II. openly
expressed dislike to ' Poetry and fainting,' and
the connoisseurs in his reign chiefly affected to
admire ancient art, those 'black masters' whose
imitated works Hogarth ridiculed. His father-in-
law, Sir James Thornhill, had opened a private
drawing academy ; but it failed to obtain sufficient
support, and this ' St. Martin's Lane School '
formed a committee of sixteen members, of whom
Thomas Sandby was one, and in 175 5 issued a
pamphlet of sixteen quarto pages, entitled 'The Plan
of an Academy for the Better Cultivation, Improve
ment and Encouragement of Painting, Sculpture,
Architecture, and the Arts of Design in General ;
4

50 Thomas and Paid Sandby
the abstract of a Royal Charter as proposed for
establishing the same, and a short Introduction.'*
In this last, it is stated : ' The prodigious sums
England has laid out at foreign markets for
paintings, is but a trifle compared to the more
prodigious sums expended by English travellers
for the bare sight of such things as they despaired
of ever seeing at home. But the loss in point of
money is not so much as in point of character, for
we voluntarily yield the palm to every petty state
that has produced a painter, and by the language
generally used on this subject, one would think
England the only country in the world incapable -
of producing one ; as if the genius of a painter
were one kind of essence, and the genius of a poet
another ; as if the air and soil that gave birth to a
Shakespeare and a Bacon, a Milton and a Newton,
could be deficient in any species of excellence
whatsoever. Whereas the whole secret lies in
* This was a second attempt ; the first was made in
I752"3i and called forth the contention between Hogarth
and his brohter artists to which reference was made in the
last chapter.

Plan of an Art Academy 51
this : when princes for their grandeur, or priests
for their profit, have had recourse to painting, the
encouragement given to the professors gave spirit
to the art, and then everyone thought it worth
while so to distinguish himself by encouraging it,
in hope of sharing the reward. . . . To bring
about this desirable end, it has been thought
expedient to solicit the establishment of a Royal
Academy, under the direction of a select number
of artists, chosen by ballot out of the whole body.
... A plan has been digested for directing the
whole, and all that is further necessary to carry it
into execution, is the benevolence of the public'
The plan was very similar to that on which the
present Royal Academy was subsequently founded,
an annual exhibition, with schools and professors,
a President (chosen for life), a Vice-President,
Treasurer, and Secretary, annually elected on St.
Luke's Day, with thirty members all artists by
profession. His Majesty to be solicited to become
' The Founder and Patron.'
Among those who formed the Committee, besides

52 Thomas and Paid Sandby
Thomas Sandby, were Joshua Reynolds, Hudson,
Roubiliac, Hayman, Hoare, Moser, Yeo, Wale,
Robert Strange, and other principal artists of the
day. But although the Society of Dilettanti and
the Society of Arts (then recently founded)
approved of the plan, the proposal failed for the
time, and a good deal of animosity was kindled by
the antagonism which Hogarth and some others
manifested towards its promoters.
Besides the advantage of instruction and social
intercourse which such an institution would have
conferred on the artist community, another de
sideratum keenly felt by them was the oppor
tunity of exhibiting their works. At the time this
plan was proposed no art exhibition had been held
in London, with the exception of that very limited
one held in 1745, when the first wing of the
^Foundling Hospital was finished. On that occa-
' sion Hogarth and eighteen other artists had agreed
to adorn its walls with their works, and to meet
annually on the 5th of November to commemorate
the landing of King William III., and to ' consider

The Foundling Hospital 53
what further ornaments may be added to the
Hospital without any expense to the charity.' At
a meeting of upwards of forty artists at the Turk's
Head tavern,* in December, 1760, a resolution
was passed to this effect : " We whose names arc-
hereunto subscribed, do agree to appear next 5th
November at the Artists' Feast at the Foundling
Hospital in Lamb's Conduit Fields in a suit of
clothes manufactured by the children of the
Hospital at Ackworth in Yorkshire, to be all of
one colour, and that they be made in Yorkshire.'
Paul Sandby was one of the signatories, j
But though the Foundling became for a time
a fashionable lounge, it proved more useful as
suggesting to the artists the feasibility of making
a public exhibition of their works. A ' Society of
Artists ' was formed with this object in view, and
the first art exhibition was opened in rooms
* In Gerard Street, Soho — the frequent resort of Dr. John
son, Reynolds, Goldsmith, and others. Gibbon was a member
of the Society of the Turks Head, to which Burke, Fox, and
Adam Smith belonged, and there, in 1764, was founded the
Literary Club.
f See 'The Foundling Hospital,' by John Bro\vnlow,p. 66. <

54 Thomas and Paul Sandby
belonging to the Society of Arts, at that time in
,the Strand opposite Beaufort Buildings, on the
21st April, 1760, when one hundred and thirty
works by sixty-nine artists were exhibited. No
charge was made for admission ; but the catalogue
was sold for sixpence, and 6,582 were disposed of.
The rooms were crowded, the artists were delighted,
and the next year they hired an auctioneer's rooms
in Spring Gardens for the exhibition, issued a
catalogue with three characteristic designs by
Hogarth, and realized .£650 by its sale, each
visitor being required to purchase one to obtain
admission. This plan was opposed by some of
the members of the society, who the next year
held a separate exhibition, and styled themselves
A free Society of Artists.' This branch struggled
on till 1783, when it ceased to exist. The parent
institution in 1762 began the practice of charging
-a shiliing for admission (but presenting a free
catalogue) and obtained the aid of Dr. Johnson to
write an ' Apology ' for the course adopted. All
things went on prosperously for a time, new

The Society of Artists 55
members were admitted, the funds steadily
increased, and in January, 1765, a charter was
granted to them, as ' The Incorporated Society of
Artists of Great Britain.' Paul Sandby was one of
the twenty-four artists named in the charter as the
first directors ; and the names of two hundred and
eleven artists are appended to the roll declaration,
many of whom could have had little claim to the
title, yet among them were several whose memories
are still revered as the founders of our English
School.* The inferior and pretentious, however,
largely predominated, and desiring to take the
government of the Society into their own hands,
they sought to remove the whole of the original
directors. This was resisted, but finding them
selves overpowered by numbers, the eight remain
ing directors resigned on the 10th November, 1768,
and many of the older members withdrew. The
letter of resignation by the directors was signed
by Paul Sandby ; the others being Benjamin West,
William Chambers, Richard Wilson, Edward
* Their names are given in John Pye's ' Patronage of
British Art,' 1845, pp. 116-120.

56 Thomas and Paul Sandby
Penny, Jos. Wilton, G. M. Moser, and F. M.
Newton.* Out of this anarchy and confusion a permanent
benefit to art arose. These eight directors, with
fourteen other artists, at once sought to rescue
their profession from the obloquy which those who
coveted only personal aggrandisement were bring
ing upon it. They submitted a memorial to King
George III., who had already manifested his interest
in the fine arts, soliciting their Sovereign's patronage
and protection for ' a well regulated School or
Academy of design for the use of students in the
arts, and an annual exhibition open to all artists of
distinguished merit.' This memorial was presented
on the 28th November, when the King warmly
entered into their proposal, and ordered a detailed
plan to be presented to him. A document styled
an ' Instrument ' was accordingly prepared by
Chambers, at the foot of which the King wrote : ' I
approve of this plan ; let it be put into execution ;'
* Lists of the works contributed by T. and P. Sandby to
these early exhibitions will be found in the Appendix.

The Royal Academy of Arts 57
and thus, on Saturday, 10th December, 1768, was
founded the ' Royal Academy of Arts in London,
for the purpose of cultivating and improving the
Arts of Painting, Sculpture and Architecture.'
From the position which Thomas Sandby held,
leading to frequent communication with the King,
and from the influence which Paul had acquired,
both as a champion of Art Academies and a
director of the old Society of Artists, there can be
little doubt that the two brothers tock no
secondary part in bringing about the establishment
of an institution which has done more than any
other for the development of art in England.
Of the forty members of which the Royal
Academy was to consist, the King nominated
twenty-eight ten days afterwards, Thomas and
Paul Sandby being of the number. Besides the
president and officers, there were to be certain
professors, each to deliver six lectures annually
(receiving thirty pounds a year), and to continue in
office during the King's pleasure. Thomas Sandby
was elected by b.illot, when thirty members were

58 Thomas and Paul Sandby
present, to fill the chair of architecture, a post
which he retained until his death. The six
lectures were, as laid down in the Instrument, to
be ' calculated to form the taste of the students, and
instruct them in the laws and principles of compo
sition, to point out to them the beauties or faults
of celebrated productions, to fit them for an unpre
judiced study of books, and for a critical examina
tion of structures.'
In his first lecture, delivered on Monday, 8th
October, 1770, he gave a brief general history of
the rise and progress of architecture, and enume
rated its attendant sciences, together with instruc
tions for their study and practice. In the second
he treated of the different orders, and explained
their component parts ; next, he turned from the
Grecian orders to those extraneous modes cf
building adopted by other nations at different
periods in India and China, and the mixed archi
tecture of the fifteenth and sixteenth centuries. In
the fifth and sixth lectures he referred to the
modern uses of the art, offering suggestions as to

One ok tke Design? fok a Bridge of Magnificence.
By Thomas Sanduy.

Lectures on Architecture 59
the choice of the situation in building both town
and country houses, the precautions to be observed
in laying the foundations, the distribution of plans,
and the application of decorations, illustrating his
suggestions by plans of Lord Burlington's house at
Chiswick and of Holkham, and by others of his
own design. In his last lecture he dwelt chiefly on
the value of symmetry in a building — the succes
sion and uniformity of parts — of character, or
expression suited to its destination, and the quali^
ties which are calculated to impress the mind with
a sense of grandeur or infinity in large public
buildings of great magnificence. The lecture was
illustrated by some forty drawings of ancient and
modern mansions, temples, theatres, and public
buildings, and he introduced towards its close,
when speaking of bridges, those designs for ' a
bridge of magnificence ' which attracted so much
attention at the time for their novelty and beauty,
but which he stated were * not made with any idea.
of being carried into execution, having been com
posed expressly to illustrate his lecture.'

bo Thomas and Paul Sandby
He continued to deliver these lectures annually,
varying and enlarging them from time to time as
occasion required, and copiously illustrating them
by his own drawings. They were never published,
but the original manuscript was presented by John
Britton, F.S.A., to the library of the Royal Institute
of British Architects. He was a student at the Royal
Academy when the lectures were delivered, and
obtained the manuscript from Mr. John Sanders,
the architect. There is also a copy of them made
by Sir John Soane and his pupils in the Soane
Museum, in Lincoln's Inn Fields.
The lecturer's aim in addressing the students
appears to have been, not so much to propound
new theories as to correct the false taste of the
period (for the study of architecture was then at its
lowest ebb), and, by endeavouring to enforce the
foundation principles of the art as clearly as pos
sible, to lead the young architect to combine in all
* In the Soane Museum are also 2 vols, of drawings, by
Thomas Sandby, of rustic bridges, houses, stables, deer-pens,
park-gates, and plans and elevations for gentlemen's man
sions and public buildings.

Lectures on Architecture 61
his designs utility with elegance, and harmony with
variety. At times he introduced a few verses to
enliven his subject by allusions to passing events.
Thus, on the first occasion of addressing the
students in the new building of Somerset House,
where the Academy had apartments assigned to
it from 17S0 to 1837, he closed his lecture with
the following lines, 'as a tribute due to our
ingenious friend, its architect' ,'Sir William Cham
bers, R.A.) :
' Less needful now our lectures must appear,
When those who love this art may learn it here —
May find a system regularly true,
And all its graces brought before their view,
By one so super-eminently skilled
To rear the column and the arch to build :
Who from the Greeks and Romans could impart
To this rare pile the glory of their art :
Where sculptured stone from each well-tutored hand
Keeps pace with what has been so finely planned.
' Here genius hath excited native powers
To deck with various arts this dome of ours,
Which all harmonious, elegant and chaste,
Is highly finished in a genuine taste :
From whence its architect hath that acclaim
Which must perpetuate his present fame.

62 Thomas and Paul Sandby
More might be said, but modest merit turns
From that applause which it so justly earns.
' Still in my bosom grateful pleasures dwell—
Pleasures which we are ever proud to tell —
That whilst this noble edifice shall stand
The school for genius, and adorn the land,
To all succeeding ages is consigned
This monument oi his most gracious mind,
Whose patronage to art in each degree
Is found by many, and is felt by me.'*
One of Thomas Sandby's early suggestions to
the young students may be quoted as describing
his own practice. It was that ' after having
qualified themselves to copy the works of the great
masters with fidelity and exactness by accurate
measurements, and when they are sufficiently
grounded in geometry and perspective, that they
accustom themselves to draw after real buildings
without the use of rules and compasses, in the
manner of the landscape-painters. This will lead
them to make nice observations on the natural
effect of light and shade produced by the sun's
rays, and the. various tints and demi-tints occa-
* In allusion to King George III. having appropriated part
of the new Somerset House to the Royal .Academy.

Lectures on Architecture 6

.•>

sioned by different colours opposed to each other,
and also make them masters of drawing from the
productions of nature that fall occasionally in their
way. A readiness and facility in drawing by hand
will correct that hardness which is generally too
predominant in the works of those who never draw
but by rules and compasses. Besides, it is the
best method of sketching out the idea for any
design before a finished drawing is made of such
compositions. This has been my common prac
tice, who am, indeed, only self-taught, but I suppose
it is the method generally pursued by other archi
tects.' His executors offered the manuscript of his
lectures to the Royal Academy for publication, but
it was not accepted by the Council, as they did not
at that time possess sufficient funds to apply so
large a sum as would be required for the printing
and engraving of the numerous pictorial illustra
tions he had introduced. For two years preceding
his death, ill-health and the infirmity of age
rendered him unequal to the personal delivery of

64 Thomas and Paul Sandby
his lectures, and Edward Edwards, A.R.A., a per
sonal friend, was appointed to read them for him
from 1796 to 1798. He was elected a member of
the Council in 1774. 1775, and 1782, and after
wards served in rotation with the other members
of the Academy.
In February, 1769, he competed with other
architects who were invited to furnish designs for
the building of the Royal Exchange in Dublin.
Sixty-one plans were sent in ; that by Thomas
Sandby was No. 44, and was marked as one of the
best designs, but when the award of the trustees was
made, the first premium, of ^IOO, was awarded to
Mr. Cooley, an Irishman ; the second, of ^"60,
to Mr. Gandon, who afterwards built the Law
Courts there ; and the third, of .£40, to Thomas
Sandby. It scarcely seems to have been deter
mined by merit, if a letter quoted in the ' Life of
Gandon ' (p. 33) is accurate in stating, ' Mr. Cooley
is the person now talked of for the first premium.
If so, it is hard to say how the)- mean to dispose of
the rest, and it is now publicly reported that tins

i i
" 3

Freemasons^ Hall 65
was the point determined on be/ore any plans were
( obtained.' A list of the competitors is given in an
article entitled ' An Architectural Competition One
Hundred Years Ago,' which appeared in the Builder
on the 2nd October, 1S69.
As far as can now be discovered, Thomas
Sandby's only architectural work in London was
Freemasons' Hall, in Queen Street, Lincoln's Inn
Fields. In 1768 a fund was raised by the
managers of the United Lodges of Freemasons to
build a central hall for their meetings, and in 1774
a plot of ground and premises in Lincoln's Inn
Fields were purchased for £5, 150. The foundation-
stone was laid with Masonic rites on the 1st May,
1775, by the Grand Master, Lord Petre, and others.
The building was completed in twelve months, and
on the 23rd May, 1776, it was opened with great ..
ceremony, and dedicated to Masonry, Virtue.
Universal Charity, and Benevolence.* On this
* In 17S6 a curious print was published, drawn by
T. Sandby and C. B. Cipriani, engraved by Bartolozzi and
Fittler, representing the interior of the hall, with these em- \
blematic figures descending into it. 5

66 : Thomas and Paul Sandby
occasion, the title of Grand Architect was con
ferred on Thomas Sandby, in testimony of the
approval of his design. The following description
of it is given in ' The Illustrations of the Public
Buildings of London, by John Britton and A.
•Pugin:'* 'The Great Apartment or Hall is an
elegant and finely proportioned room, and both
in architectural character and decoration is strictly
appropriate to the purpose for which it was
designed. Its length is ninety-two feet, the
breadth forty-three feet, and its height upwards
of sixty feet. It is built of a composed order and
surrounded internally by an entablature and
cornice, supported by pilasters and square fluted
columns. Between the pilasters at the sides are
two ranges of panelled compartments, eight of the
lowermost and largest of which are occupied by
full-length portraits, of as many illustrious persons
who have been Grand Masters.t To the right and
o
* Svo., London, 1825.
f The portraits were George IV., by Sir J. Reynolds ;
Henry Fred., Duke of Cumberland, Lord Petre, and George,
Duke of Manchester, by W. Peters ; the Marquis of Hast-

Freemasons' Hall by
left, supported by square pillars, are two galleries
either for music or the admission of ladies. There
is also another gallery over the entablature of this
end. . . . Over the entablature on each side of the
Hall is a range of semicircular windows, which
are placed thus high in order to prevent the
Masonic ceremonies being overlooked by the
adjacent houses. The ceiling is partly coved and
partly horizontal ; the coved part, which springs
from the walls above the cornice, is separated into
compartments by the windows and intervening
ribs, and diversified by ornamental panels. The
horizontal division is very ingeniously designed,
and highly enriched. In the centre, within a large
circle, is represented the sun in burnished gold,
surrounded by the twelve signs of the zodiac,
which are distinguished by their respective symbols.
All the other parts are wrought with numerous
intersecting circles, including suns, stars, etc' It
appears by the Grand Master's accounts in 1792.-
ings, by Sir M. A. Shee ; the Dukes of Kent and Sussex, by
Sir W. Beechey ; and the Duke of Athol, by T. Phillips.

6S Thomas and Paul Sandby
that above .£20,000 had been expended on the
edifice, which for many years was used for public
meetings and dinners, as many as 2,000 persons
being accommodated. A few years ago a large
new Hall for general purposes was erected, and
the old one, from Thomas Sandby's design, stand
ing at the rear of the handsome new structure,
was exclusively appropriated as the Grand Chief
Temple of the Order. It was unfortunately
partially destroyed by fire on the 3rd May, 1883,
but has since been completely restored.
The carved oak altar-screen at St. George's
Chapel, Windsor, was designed by Thomas
Sandby, but was removed some years ago to
make room for the reredos erected as a memorial
to the late Prince Consort. Parts of it are still
preserved within the precincts. It contained the
arms of Edward III. and the twenty-six original
knights of the Order of the Garter, displayed
within two circular compartments, with the ensigns
of the Order, surrounded by ornaments, consisting
of pelicans, wheat, grapes, sacramental vessels, and
other appropriate devices, • neatly executed and

Stames Bridge 69
disposed with infinite taste, forming independently
of the exquisite workmanship a pleasing picture.'*
In 1792 a stone bridge was designed by Thomas
Sandby, to replace a decayed wooden one at
Staines. It consisted of three elliptical arches, the
centre occupying a span of sixty feet, and the two
side ones fifty-two each. It was contracted for
at the sum of £4,000, and was opened for public
use in 1796. Some time afterwards, when its
architect had passed away, it was found to be
insecure from some defect in the building of it,
and the old wooden bridge, which had not been
removed, was re-opened, and a new one with iron
arches supported by wooden piles was constructed
in 1803. From some fault in the site, this shared
the same fate in a year, and also another built in
1807. The present bridge, opened in 1832,1s not
on the same spot, and is the fifth erected at Staines
within half a century !t
*'The History of Windsor and its Neighbourhood,' by
J. Hakewill, 1813. See also 'Beauties of England and
Wales,' vol. i., p. 245.
+ See Hakewill's ' Windsor ' ; J. Ireland's ' Thames ' ; and
Hughes' ' Windsor Great Park.'

;o Thomas and Paul Sandby
Several houses in the neighbourhood of Windsor
Park were built from designs by Thomas Sandby.
Among them, St. Leonard's Hill for H.R.H. the
Duchess of Gloucester, and one for Colonel Deacon,
now known as Holly Grove. There is a print
engraved in the ' Antiquities of Westminster '*
representing his design for the restoration of the
so-called ' Holbein's Gate,' on its removal from
Whitehall in 1758 (after having been long occupied
as the State Paper Office), where it was regarded
as an obstruction to the thoroughfare, standing as
it did partly across the street. Smith says : ' On
the taking down the gate, it was begged and
obtained by William, Duke of Cumberland, the son
of George II., and then Ranger of Windsor Park
and Forest, with the intention of erecting it at the
end of the Long Walk in Windsor Park. For this
purpose, Mr. Thomas Sandby, an architect by
profession, and also Deputy Ranger of Windsor
Great Park, etc., was employed to design, as he
did, wings to it ; and from his original drawing,
* By J. T. Smith, dated 1807, p. 22.

Holbein s Gate 71
now in the possession of Mr. John Manson, the
bookseller, the interesting and curious view . . .
has been obtained. The stones of the gate were
accordingly removed, but the intention of erecting
it at the end of the great walk not taking effect,
they were many of them, by the Duke's directions,
worked up by Mr. Slingsby in several different
buildings erected by the Duke in the Great Park-
there.' ' A medallion from it was in front of a
keeper's lodge at the head of Virginia Water,
near World's End Gate. A similar medallion in a
cottage (Bradley's) in the Park accessible from the
road from Peascod Street Barracks : other stones
in the chapel at the Great Lodge.'
It is difficult at this time to trace all the archi
tectural work in which Thomas Sandby was
engaged in addition to the duties attaching to his
office, but drawings and prints still extant indicate
that many other designs engaged his attention.
Bleach works at Llewenny for Mr. Fitzmaurice,
Lord Portarlington's house in Ireland, the King's
booth on Ascot Heath, " a mansion,' a ' large

72 Thomas and Paid Sandby
mansion with wings,' ' a casino,' ' a public building,'
' a large building of four stories with central dome,'
• a church,' are among those which cannot now be
identified, but of which he made the plans.
The emoluments of his appointment as Deputy
Ranger of Windsor Great Park appear to have
amounted to about £400 a year. He also received
£91 5s. per annum as half-pay on the old estab
lishment of the Military Branch of Ordnance at the
Drawing Room in the Tower. In the household of
H.R.H. the Duke of Cumberland he held the
appointment of steward, and also that of draughts
man, and his wife held a post of superintendence,
for which she received £300 a year.
In the London Gazette of 15th Aprii, 1777, he
was appointed, jointly with James Adam, to the
office of architect of his Majesty's works ; and in
the London Gazette of 5th December, 1780, appears
the announcement of ' a grant to Thomas Sandby,
Esq., of the office of master carpenter of all his
Majesty's works in England,' by royal letters
patent, dated 28th November, 1780. He is named

Official Appointments *]$
jointly with Sir William Chambers, Robert Taylor,
James Adam, and others, as present at the meet
ings of the members of the Board of his Majesty's
Office of Works. Whether these appointments
were remunerative or laborious does not appear,
but it is evident that his life was one of continuous
activity.

CHAPTER IV.
Thomas Sandby s Retirement from London Life on Removal
to Windsor Great Park.
Paul Sandby's Social Life in London : Friendship with
Gandon the Architect — His Artistic and Literary Gather
ings — The Princess Dashkoff — His Encouragement of
other Artists : Grignon, Wilson, David Allan, etc. — Ap
pointed Professor of Drawing at Royal Military Academy,
Woolwich — Royal and other Pupils — Popular in Society,
yet a Hard Worker — Letter by him on Art Enthusiasm —
The ' Provis ' Craze — Landscape Painters on their Travels
in his Day — Adventures on the Road, Serious and Comic —
' Dupes and Dealers ' — His Connection with the Offices of
the Royal Academy — Alderman Boydell's Shakespeare
Gallery — His Drawings copied by Young Artists at Dr.
Monro's House.
Having devoted a large part of the preceding
chapter to the professional life of the elder brother,
it will be well chiefly to occupy this with the doings
of the younger. The two were in constant associa-

Retirement from London 75
tion and sympathy. Their tastes were the same,
and they worked together in art, as well as spent
much of their time in affectionate intercourse, their
families also being united by the marriage of the
son of Paul with a daughter of Thomas Sandby.
The latter was, perhaps, the more fond of retire
ment, as his early days had been full of exciting
variety, and he had been much associated with
those connected with the Court and the State. He
wrote 'a poetical epistle' to one of his friends to
announce his partial retirement from such scenes
with evident satisfaction :
' This little cot thoult find contain
My loved Eliza and her swain,
Who now so far retired from Court,
Enjoy at ease each rural sport.
Instead of gilded chariots now
Wegladly view the humble plough,
The husbandman with all his gear,
Instead of the embroidered peer.
Our damsels, too, in coarse attire,
Have something in them to admire ;
For rosy health in these is seen
Quite unallcy'd by pale-faced spleen.
Hence happier than the glittering dames
Who study to adorn St. James',

76 Thomas and Paul Sandby
Striving each other to out do
In dress expensive, fine, or new.'
Paul Sandby was, on the contrary, fond of
society, and was gladly welcomed in it. Frequent
allusions to this are found in the writings of his
contemporaries. In Mulvany's ' Life of Gandon,'
already quoted, it is stated that ' it was just at this
period [1766?] that his [Gandon's] acquaintance
commenced with Mr. Paul Sandby, an introduc
tion so, congenial to his own feelings and habits
that he always regarded it as one of the most
gratifying events of his long-protracted life. . . .
The attachment of those two friends was not of
transient duration. They lived in the most friendly
intercourse in London up to the year 1781, at
which time Mr. Gandon came to Ireland, and this
friendly correspondence and occasional intercourse
continued uninterruptedly until the death of
Sandby' (p. 17). By his advice he was enabled to
compete for and to obtain the first Royal Academy
medal for architecture, and ' his friend Sandby
seized every opportunity of introducing him to

Friendships in London 77
such friends as could forward his views. . . . He-
introduced him to Mason the poet, through whose
friendship and introduction to Sir George Saville
and other influential gentlemen in the town of
Nottingham he secured the appointment to
superintend the erection of the Court-house there '
(pp.24, 25). A little later we read : ' Sandby's vast
store of knowledge in the fine arts, added to his
high professional character, and the conversational
powers which he possessed being highly attractive,
drew round him a circle of intellectual and attached
friends, comprising the most distinguished artists
and amateurs of the da)'. His house [at St.
George's Row] became quite the centre of attrac
tion, particularly during the spring and summer
months, when on each Sunday, after Divine ser
vice, his friends assembled, and formed a conversa
zione on the arts, the sciences, and the general
literature of the day.' Mr. Gandon, in his notes,
says : ' I cannot name all the gentlemen who were
in the habit of visiting at Sandby's at that period,
but I have met the late Lord Maynard, the Earl of

jS Thomas and Paul Sandby
Charlemont,'* Lord Carlow, afterwards Earl of
Portarlington, Lord Duncannon, Mr. Charles
Greville, Mr. Windham,-f- Mr. Sackville Hamilton
and his brother, Captain Hamilton, Sir Richard
Musgrave, Mr. Frederick French, Mason the poet,}
and very many other admirers of the arts, and
almost every artist of eminence of that day.'
A writer in the ' Library of the Fine Arts '§
mentions among his friends and correspondents
' Lord Harcourt, Lady Talbot, the Earl of Buchan,
William Lock of Norbury, Mason the poet, Dr.
Norbury, Provost of Eton College.' To these, may
be added Mr. Richard Wyatt, of Milton Place,
Egham, an art collector, the guardian of Viscount
* James Caulfield (b. 1728, d. 1799), a munificent patron
of art, and a great collector, during many years' travel, of
rare paintings, sculptures, etc.
\ William Windham, of Earsham, Norfolk (b. 1750, d. 1810),
a member of the Literary Club ; a man of varied talents and
great intrepidity.
% William Mason (b. 1725, d. 1797), the friend of Thomas
Gray, whose life he wrote, and himself the author of ' Elfrida
and ' Caractacus,' dramatic poems which were adapted and
performed at Covent Garden Theatre.
§ Vol. ii., p. 341.

The Princess Dashkoff 79
Maynard, who married the celebrated Nancy
Parsons, and the father of the Misses Wyatt,
much noticed at the Egham balls.
In one of Gandon's notes of the year 1779 we
find the following: 'I was introduced by Sandby
to a pupil of his, a Russian lady known by the
title of Princess Dashkoff.* Why she chose to
reside in London I never learned. She was highly
accomplished, and had a great knowledge of the
arts. She was also perfectly conversant with the
French language. I saw many of her drawings in
water and body colours. She also undertook, what
* Bishop Heber, in early life, met this lady in Russia.
Writing to his mother from the Ukraine, 26th March, 1S06,
he says : ' I am not sure -whether in my last letter I men
tioned the Princess Dashkoff, the friend and fellow-conspirator
of Catherine II. We often visited her, and found her con
versation, when she was disengaged from faro, very lively
and interesting. She, of course, has lost her ancient beauty,
but still retains her eccentricities : her usual dress is a man's
great-coat and night-cap, with a star. We received both
from her and from her son many civilities. Pie speaks ad
mirable English.' The autobiographical memoirs of this
lady were presented to the British Museum in 1882. She is
there designated as Ekaterina Romanova, Princess Dash-
kova or Daschkaw.

8o Thomas and Paul Sandby
few ladies ever attempt, etching on copper. I have
two of her etchings of Windsor Castle, with her
name signed " Princess Dashkoff," printed at
Sandby's private press ' (pp. 39, 40).
In writing of the personal character of ances
tors, it is onl)* becoming to quote the words of
those who knew them, or the testimony of others.
The former keeper of the prints and drawings in
the British Museum, J. T. Smith, in his amusin°-
' Book for a Rainy Day,' says (p. 29) : ' The
liberality of the brothers Paul and Thomas Sandby,
Royal Academicians, will be remembered by every
person who had the pleasure of being acquainted
with them, but more particularly by those who
benefited by their disinterested communications
and cheering encouragement in their art. For my
own part, I shall ever consider myself indebted to
them for a knowledge of lineal perspective.'
A writer already quoted* says : ' Perhaps few
men have been called upon, or have volunteered
their services of kindness more than the late Paul
* ' Library of the Fine Arts,' vol. ii., pp. 342, 343.

Grignon and Wilson 81
Sandby. His house and his hand were ever at the
call of his friends. They found a ready and a
hearty welcome at his hospitable board. Poor
Grignon, the engraver, at a very late period of his
life, called one day in St George's Row, and
addressed his friend Sandby something in the
following manner : " My dear Paul, it is this day
fifty years ago that I first shook hands and became
acquainted with you." An order was immediately
given for dinner, and the best bottle of the best
wine produced : a bed in the evening, and some
thing not less acceptable in the morning, sent the
old veteran engraver home to his dwelling pleased
and grateful for the reception he had met with.'
'No narrow prejudice ever prevented Paul
Sandby from exerting himself in behalf of those of
his own profession where his recommendation was
wanted. . . . When Wilson, the pride of art and
father of British landscape-painting, was reduced
to the necessity of selling his beautiful studies from
nature to print-sellers for a few shillings, Mr.
Sandby requested he might have the refusal, and
6

82 Thomas and Paul Sandby
though by no means rich himself, he was happily
able to give the artist gold, where silver only had
been previously obtained.'* He led his friend to
suppose that he disposed of them among his
numerous acquaintance, but he found them so
little appreciated that he retained them in his own
possession, not making known to Wilson that he
had been unsuccessful in his applications, and they
were not dispersed till several years after Paul
Sandby's death, when his son realized a very
liberal price for .them.f Elmes, in ' Art and
Artists' (vol. iii., p. 194), published in 1825, after
detailing this incident, adds, ' Who would not re
joice at such an instance of moral retribution, had
it happened that the son had become wealthy by a
mine thus obtained through the generosity of the
father ?' The irritable temper of Wilson had some
thing to do with his want of success in his pro
fession, at a time when patrons dealt direct with
artists, for it is related that when Lord Bute made
* ' Library of the Fine Arts,' vol. ii., pp. 342, 343.
f J. T. Smith's ' Nollekens and his Times,' vol. i., p. 130.

Wilson and Allan 83
some objection to the price of a picture of Sion
House painted for the King, he angrily retorted,
' If his Majesty cannot afford the price all at once,
I will take it by instalments.' It is needless to
add that the King never saw the picture. Thomas
Sandby was more successful in obtaining for him a
commission from the Duke of Cumberland for the
' Niobe ' picture, afterwards engraved by Woollett,
for which he received eighty guineas, a large price
to a man compelled by distress to sell sketches at
half a crown apiece.*
David Allan (b. 1744, d. 1796), by his country
men styled ' the Scottish Hogarth,' on his arrival
in London was taken by the hand by Paul Sandby,
who had previously etched a series of illustrations
of Allan Ramsay's ' Gentle Shepherd ' from his
designs, which were published in Edinburgh.
Afterwards, in 1781, he engraved in aquatinta
four very spirited and humorous drawings by David
Allan, representing the sports of the carnival at
Rome, and a Neapolitan dance. A drawing in
* See Wright's ' Life of Wilson,' 4to., 1 824.

84 Thomas and Paul Sandby
which he worked jointly with this artist was ex
hibited at the Grosvenor Gallery in 1877-8, repre
senting 'The Highland Festival,' signed 'P.
Sandby and D. Allan, del. 1792.' In 1786 he
obtained for him the appointment of Director of
the Edinburgh Academy of Arts.
With the same kindly object he engraved several
views by William Pars and C. L. Clerisseau of
scenes in Asia Minor and Greece, in order to bring
the works of these artists to notice ; and he joined
with others in engraving some illustrations of the
' Jerusalem Delivered ' by John Collins, as a means
of raising a fund for that artist's widow.
In a notice of Sir William Beechey, R.A., which
appeared in ' Public Characters ' of 1 800-1 801 (pp.
363, 364), the following passage occurs : ' He made
nature his model, and instead of being the follower
of the great artists who had lived before him, en
deavoured to qualify himself for being their com
petitor. In this he was probably encouraged by a
man who, soon after Beechey's making the arts his
profession, had taste enough to discern his talents,

Royal Military Academy 85
and judgment enough to advise him in their appli
cation. We mean Paul Sandby, who was his very
early friend, and whom he still speaks of by the
friendly and familiar appellation of Father Paul.'
Beechey painted admirable portraits of Thomas
and Paul Sandby, and members of their families,
with whom he was for many years on most intimate
terms. On the recommendation of the Duke of Grafton,
Prime Minister, and by the patronage of the
Marquis of Granby, Master-General of the Ord
nance, Paul Sandby was appointed in August, 1768,
as Chief Drawing Master at the Royal Military
Academy at Woolwich, a position which he re
tained until the end of 1796, when (to use the
words of the official record) ' on account of his
long service, his age and infirmities, he was allowed
to retire on a pension of £50 per annum.' His
son, Thomas Paul Sandby, was nominated by the
Marquis Cornwallis as his successor. The duty
only occupied one day a week, and produced an
income of £150 a year, with allowance for lodging,

86 Thomas and Paul Sandby
comparatively independent. His connection with
his pupils at the academy did not end with their
studies there', for he continued his acquaintance
with many of the officers of the Artillery and
Engineers who had cultivated their skill in art
under his instruction, and with some of them
he kept up friendly correspondence in after-
years. Writing to Gandon in October, 1797, he says:
' I have done with Woolwich. My son has my
place. He is allowed only .£100 a year, and after
28 years' service I have a pitiful pension of ,£5°
per annum.' In a return of the salaries and allow
ances of the officers of the Royal Military Academy
at a later date, the salary of the drawing master
for landscape is stated to be £90, with allowances
of ;£n8 13s., or rather more than ^200 a year. In
1828 his son retired on a superannuation allowance
of .£170 per annum.
The central building of the Royal Military
Academy was destroyed by fire a few years ago,
but four drawings by Paul Sandby were preserved,

Royal Pupils 87
and are hanging in the Governor's office. One is
a view at Blackheath during the encampment in
1780, another Bothwell Castle, a third Harlech,
and the fourth a mountainous scene — all fair
specimens of his work in body colour.
In addition to the Woolwich appointment, he
was selected 'by King George III. to instruct all
the young princes in drawing, another master of
great talent, though inferior to Sandby, being
selected as teacher to the female branches of the
royal family. Sandby had also, at this time, a
most extensive circle of private pupils among
the first families in the kingdom.'* In W. H.
Pyne's description of the Queen's house at Frog-
more,-!- a different statement is made. He says :
' Among those who had the honour to instruct her
Majesty, Queen Charlotte, and the Princesses in
the art of drawing and engraving, we recollect Paul
Sandby, the first native artist who made correct
which, in addition to his other resources, made him
* ' Magazine of the Fine Arts,' vol. ii., p. 434.
t 'Royal Palaces/ etc., 1817, p. 12.

88 Thomas and Paul Sandby
topographical drawings. ... He was honoured
with the notice of his Majesty George III.'
George Simon, Viscount Newnham (afterwards
Earl of Harcourt), was a pupil and friend of Paul
Sandby, and etched several plates after his draw
ings, among them some folio views of his seat at
Stanton Harcourt, in 1760, published in the
, Archaeologia ' by the Society of Antiquaries.
Sir J. F. Leicester (afterwards Lord de Tabley) was
taught by him, exhibited at the Royal Academy,
and was one of the founders of the British Institu
tion. Some few professional artists also received
from him instruction in drawing or engraving.
William Watts, the engraver ; Michael A. Rooker,
the landscape-painter; and John Cleveley, the
marine painter, studied under him, and also the
father of J. D. Harding, and doubtless there are
others who cannot now be traced. A large number
of the drawings now attributed to him are the
works of his pupils, especially of the Woolwich
cadets, and are often such good imitations that it
is not easy to detect them. He had a habit of

Social Position 89
etching, in very faint outline, some of his most
attractive subjects preparatory to publishing aqua
tint prints from them ; some of these he coloured
himself, and gave others to his pupils to copy, and
these are often offered for sale as his own
drawings. In an article on ' The Study of Landscape from
Nature.' in the Magazine of the Fine A rts* is this
description : ' Mr. Sandby was handsome in person
and of gentlemanly manners ; he had the honour
of being personally known to and much esteemed
by his Sovereign and her Majesty Queen Char
lotte ; indeed, he had the felicity of being regarded
by personages of both sexes, any of whom a man
of talent might be proud to boast, as he could, of
being admitted to their society, not only as a pro
fessor of a liberal art, but on the easy and desirable
'ntimacy of a friend. . . . Mr. Sandby throughout
life (and he lived to a patriarchal age, enjoying
health and his faculties to the last) ever held in
fond and grateful remembrance those ladies whom
* Vol. i., pp. 121-124.

90 Thomas and Paul Sandby
he had taught in his early days, and who yet
survived. To certain of these he sent, as New
Year's gifts) little cards on which he amused him
self by painting landscape designs in body colours,
some of which, executed when he had nearly
attained his eightieth year, are still regarded as
gems of art.' Gandon* says : ' Sandby was inde
fatigable in cultivating his powers as an artist. He
commenced painting in water-colours very early in
the morning ; the pencil, and frequently the pen,
seldom quitted his hand until evening, allowing
himself only those hours dedicated to his repasts —
at which merit frequently met with patronage, and
assistance, and his friends uniformly parted from
his hospitable board delighted with his wit, con
versation, and. manners.'
Writing to his friend, Colonel Gravatt (then
stationed in the West Indies), in October, 1797,
he thus expresses himself about enthusiasm in art
and its counterfeits :
' It is true, as you say, a painter who is anxious
* ' Life,' p. 187.

Enthusiasm in Art 91
to excel has enthusiastic degrees of madness,
which, like the poet's eye, glances from earth to
heaven, and bodies forth things which to the
ignorant seem like magic, and we are often taken
for conjurors. Mr. Wilson, when in Italy, one day
drawing Castle Gondolfi, was thought by some
poor people to be dealing with the devil, as a
thunderstorm came on suddenly. He was in
danger of being put to death by them " for the love
of God," had he not been rescued by one of their
priests, who had some knowledge of painting. You
have caught, the mania of art, which is far safer
than the yellow fever — God keep you from that ! —
and be as mad as Michael Angelo by striving to
touch the goal of perfection. I ever was an enemy
to quackery, loving to see Nature in her modest
charms, not dressed out in gaudy trimmings.
Payne's* mania has long disgusted me, and my
neighbour Smith, etc. I therefore amused myself
one evening in writing " A Song on the Yellow
* ' Payne's yellow ' was a colour specially used and com
mended by that artist.

92 Thomas and Paul Sandby
Fever," which I enclose for your amusement. I
have others on the same subject, and a doodle-doo
song on some of our members of the Royal
Academy learning to paint in the style of Titian,
taught the secret — for ten guineas each — by a Miss
Provis, whose father pretends he got it from an
ancestor who was in Venice in Titian's time.'
The songs referred to are wanting, but among
the ' notes ' on his verses are the following :
' Farrington, Opie, Rigaud, Westall, Smirke,
Stothard, and Hoppner : these seven wise artists,
after seeing a small picture painted by Mr. West,
in Titian's style, determined to purchase the secret
from Provis ; they agreed to give ten guineas each,
and formed a committee to settle the business
under a bond to forfeit £2,000 if anyone disclosed
the secret. This has caused much mirth. Beechey
and I laid our wise heads together, and soon found
out all the trick without subscribing a shilling. . . .
Mr. Cosway has lately procured a treatise in Italian
which is very scarce — it was published at Venice in
Titian's time — and the whole process is fully dis-

The c Pro:-1 is' Craze 93
played. Provis must have seen this book, and so
would hum the public'
One of James Gillray's caricatures, published in
November, 1797, referred to this subject, entitled
' Titianus Redivivus ; or, The Seven Wise Men con
sulting the New Venetian Oracle — a Scene in ye
Academic Grove.' The seven artists above named
are in the foremost seats — the chief dupes of the
secret of Miss Provis. Others are clambering up
after her. A mischievous imp, resting on a folio
'List of the Subscribers to the Venetian Humbug,
at 10 guineas the dupe,' is spurning the works of
Fuseli, Beechey, Loutherbourg, Cosway, Sandby,
Bartolozzi, Rooker, and Turner. The figure of
Sir Joshua rising up from the grave expresses his
amazement. Three figures in front are starting off
in mistrust — West, Alderman Boydell, and Macklin,
as a dwarf, with lottery tickets in a bag. This
description is that given by Mr. Thomas Wright in
his 'Works of James Gillray,' p. 231, in which the
plate has been reproduced. He mentions the
influence of Paul Sandby on Gillray in these terms

94 Thomas and Paul Sandby
(p. 8) : 'Young Gillray must have studied in shop
windows, if he studied at all, the counter-attacks
of Paul Sandby in burlesque of the painters, and
not improbably the neatness of these parodies and
their satiric sharpness had considerable influence
upon his mind.'
The life of a landscape-painter has many special
attractions to the lover of Nature, but the modern
conveniences provided for him contrast strangely
with those of more than a century ago. Our rail
roads and telegraphs, our well-kept highways and
bridges, our hotels and varied accommodation both
for conveyance and entertainment of passengers on
horse or foot, make it easy now for the artist to go
without fatigue speedily from one attractive spot to
another, and to take with him all the materials
needful for his work. In the middle of the last
century all was very different. From one large town
to another every few days a heavy and cumbersome
coach (or, as it was then called, ' machine ') moved
slowly along the rough deeply-rutted roads, avoid
ing dusk and darkness, lest the footpads and high-

s

Artists on their Travels 95
waymen should attack the luckless passengers;
if this mode of transit was not available, there was
nothing but the post-chaise, the ride on horseback,
or the journey on foot, and the careful calculation
to be made as to where a night's shelter or refresh
ment could be found on the road. Paul Sandby
must have spent much time on such journeys to
enable him to traverse, as he did, the whole of
these realms in search of material for his pencil,
and to fulfil the many engagements he was con
stantly making to paint particular scenes for
noblemen and owners of mansions and estates in
various parts of the kingdom. His drawings
illustrate his habits in this respect. Sometimes he
represents himself sketching, seated on the ground,
with a boy holding a white sun umbrella over him,
and a man taking charge of his horse. At others,
when more stationary, he has a little canvas tent,
on one occasion being tilted at by a furious bull,
indignant at the helpless occupant, who is sent
sprawling on the grass. Sometimes the post-
chaise awaits him at the roadside, and he is sur-

96 Thomas and Paul Sandby
rounded by a group of rustics or children watching
him at his work. But, in any case, much more
time must 'have been occupied in moving from
place to place in those days than in our own, the
expenses of travelling were infinitely more, and
the industry of the artist must have been great in
accomplishing so much in the hours that remained.
In his early days the people who lived in one part
of the country were almost entirely ignorant of the
manners of those in another. When he published
his * Views in Wales,' it was an unknown land to
ordinary Englishmen. The occupants of the great
houses had English friends, but no one ever
thought of travelling in Wales for pleasure only.
Frequently Paul Sandby became the guest for
days or weeks of the owners of the old mansions
he so skilfully depicted, and his genial disposition,
amusing conversation, love of fun, and abundance
of anecdote, made him no unwelcome addition to
the company in a country house. Among some
papers belonging to him, a letter from an inn
keeper was found, which he no doubt preserved as

A Curious Letter 97
a curiosity for its eccentric spelling and diction.
Here is a verbatim copy of it :
Pall Sandby Esq.
Hond Sir. Mr. Sanbey Puten his hors up
in the yad have in Curidge me to ax your favers
agen. I have had the Honer to Rece a greet deel
of Mr. Sanbey money and Lousen his favers Was a
great Displeasher to me Not haven the hapenes to
know the Resen. But Hond Sr if you shood
Change I shood Esteme it as a faver if youl oner
me With your comands again and aney former
Complents When Known Shall Be recktefied, and
the gretest atenshen Shall Be taken for the futer.
Sr if I have the oner to obeay you Comands Shall
think it a very gret faver bestowed on me.
Sir I am your humble serv1
Coxred Daniel Green
1792, 10 July.
At other times exciting adventures would occur
even on short journeys. In his weekly visits to the
Royal Military Academy at Woolwich from St.
7

98 Thomas and Paul Sandby
George's Row, the perils of the road were to be
encountered, and the dreaded Blackheath was near
at hand. In a letter by Paul Sandby, dated 9th
October, 1797, he gives the following account:
' Mr. Hutton* has had a terrible affray with a
Captain Young of the Artillery. About six weeks
ago they were in the long coach together, and a
difference arose between them about Mr. Pitt, etc.
The Captain lodged a complaint against the
Doctor, and he was brought before the Governor,
but came off with credit. A few days ago they
met in the same coach, and only a woman in it
besides them. As soon as she left, the officer came
close to Mr. Hutton, asked many strange questions,
and hoped the Doctor had forsaken his bad prin
ciples, etc., to which he answered he did not mean
to reply to impertinent interrogations, on which
the hero (!) spat in his face, kicked his shins, and
beat him terribly about the head. The Doctor
cried out " Murder !"' which brought the coachman
* This was Charles Hutton (b. 1737, d. 1S23), appointed
Professor of Mathematics at the R. M. Academy in 1793.

Affray in a Stage Coach 99
down to rescue him. Hutton applied to Mr.
Bonnycastle* to know how to act in the business.
He said if he did not apply to justice he ought to
be kicked and cuffed out of alL society. The
Doctor came the next day to London, and the
bench of justices were sitting in their office at West
minster. One of them, a fellow of the Royal
Society and a friend of Hutton's, despatched one of
his runners to Woolwich to bring the Captain up,
but he was not to be found. In the coach with the
Doctor on his return home was a lawyer going
after the same gentleman for dragging an old man
out of bed and beating him with the butt-end of a
musket, he having two soldiers with him, because
it seems the man is deemed a democrat. This
will prove a heavy job for the officer. The lawyer
takes it all on himself, and is determined to be
paid well for his trouble. He vows to search the
kingdom over for him, and make him pay all
travelling expenses.'
:-; John Bonnycastle was also Professor of Mathematics at
Woolwich, where he died in 1S21.

ioo Thomas and Paul Sandby
The following quotation* refers to an earlier ex
perience in Scotland. ' Sandby used to tell a
ludicrous story of an incident which happened to
him in the Highlands. He was standing with two
friends, watching the operations of some Highland
lassies who were engaged in what is termed a"ground
wash." Not perceiving our artist and his com
panions, the women in the midst of their occupation
began to dance about and to commit sundry
vagaries, in which, considering the shortness of
their petticoats, they would not probably have in
dulged, had they been aware of the presence of
male spectators. The scene at length became so
ludicrous that Sandby and his friends broke from a
giggle into a roar of laughter, at the sound of which
the women were thrown into confusion and ran off
in various directions. Some of them, however,
more bold or indignant than the rest, filled several
large buckets with water, and, stealing unperceived
towards the three strangers, deluged them with the
contents. The remainder of the women now came
* ' The Georgian Era,' vol. iv.. p. 75.

Dupes and Dealers 101
up, and assailed the drenched intruders with such
hootings and cries that the latter took to their
heels and gladly made their escape.' Paul Sandby
has represented Scotch girls jumping in tubs filled
with clothes placed nearly under water at the side
of the river in one of his pictures of Bothwell
Castle, although he has not included portraits of
himself and his companions watching the pro
cess. In an article entitled ' Dupes and Dealers '* is
the following anecdote :- 'Andrew Hay, a dealer in
scarce books and prints, was commissioned by
Lord Oxford to purchase an article of this kind,
which, after some little time, was found, and his
lordship put in possession of it. It was just after
this bargain had been made that Andrew was met
by the late Paul Sandby, who, observing the dealer
to be under an apparent dejection of mind, kindly
inquired of him the cause, when Andrew, mutter
ing in half-broken sentences, " It's always my luck
— always standing in my own light— never getting
* ' Library of the Fine Arts,' vol. iii., p. 104.

102

Thomas and Paul Sandby

anything like other people," was at length stopped,
and desired to be more explicit, and then went on :
" Why, you. see, the thing was this. My Lord
Oxford wanted a book of prints ; you know what
it is. I got it for him, and went this morning with
it. He was at that time engaged, and I waited a
long time with no other amusement than that of
looking over the prints. Fine impressions, thought
them too cheap at ten guineas — thought he ought to
give twenty. I got very tired of waiting — knew his
lordship never minded money. It was worth thirty
guineas to him, and thirty guineas I determined
to ask. I was at last called in. His lordship was
in high good humour. 'Well, Andrew,' said he,
' anything for me to look at ?' ' The book of
prints, your lordship. I have had great difficulty
in procuring it.' ' Oh, aye, let me see — what's the
price ?' ' Fifty guineas, if your lordship pleases.'
And he immediately wrote me an order on his
bankers for the sum ; and if I had asked a hundred
it would have been the same. But it's always my
luck — never anything else." And in this grumbling

-s

The Boy dell Gallery 103
way the conscientious dealer took his leave, to plan
some other way of bettering his luck.'
Paul Sandby was elected one of the first mem
bers of the Council on the foundation of the Royal
Academy in 1768, again in 17S5 and 1786, and
subsequently in rotation with other members ac
cording to the rule eventually laid down on the
subject. Among the members he was a great
favourite, and at their 'club' dinners he often
amused them with a humorous composition, per
chance in doggerel verse, referring to some passing
events of interest. The annual banquets were of a
less sociable and more formal character, but from
the time of their first establishment, in 1771, were
always attractive as gatherings of the rank and
talent of the day. Alderman Boydell was the first
Lord Mayor of London who invited the Royal
Academicians to dine at the Mansion House, and
Paul Sandby was present on that occasion, May 5th,
1785. He subsequently formed one of a small
party at Boydell's house when the Shakespeare
Gallery was planned.* This gathering took place
* See Quarterly Review, October, 1876.

104 Thomas and Paul Sandby
at West End, Hampstead, in November, 1787, at
which a statement was made that in the opinion of
foreigners the English were unequal to the produc
tion of any high-class historical pictures. Alder
man Boydell maintained that nothing more was
wanted than adequate encouragement, and Shake
speare's dramatic scenes were suggested as suitable
subjects. He proceeded to offer liberal commissions
to the first English artists of the day, and in the
course of the next few years a great number of
pictures were painted and exhibited in the gallery
built for the purpose in Pall Mall. They were
subsequently engraved, and the generous and enter
prising originator of the plan intended to present
the collection to the public ; but the long-continued
European war and other adverse circumstances in
volved him in ruin, and the Shakespeare Gallery of
pictures was dispersed by lottery sale in 1S04-5.
Although, as a landscape-painter, Paul Sandby took
no part in producing this collection of historical
compositions, he had some years previously drawn,
as an illustration of Shakespeare's ' Winter's Tale,'

Among the Academicians 105
the storm scene 'Perdita found by an Old Shepherd,'
engraved in mezzotinto in large folio by Richard
Read in September, 1776.
In relation to Paul Sandby's connection with the
Royal Academy, it is recorded that in 1799 the
King approved of his being appointed to act as
Deputy Librarian during the illness of Mr. Burch,
which it is presumed he did until his death, as the
office was not filled up till 1810. On the occasion
of Gainsborough's funeral at Kew Churchyard on
August gth, 17SS, he was one of the six Royal
Academicians who sustained the pall, the others
being Sir J. Reynolds, Sir W. Chambers, Benjamin
West, and Bartolozzi. Some years previously he
formed one of a large company of artists who
gathered round the grave of Roubiliac the sculptor,
on January 15th, 1762, at St. Martin 's-in-the-
Fields.* In the notices of the early water-colour painters,
frequent mention is made of the assistance they
derived from the kindly sympathy of Dr. Monro,
* See ' Nollekens and his Times,' by J. T. Smith, vol. ii.,
P-97-

106 Thomas and Paul Sandby
in placing at their disposal good examples for
study, and affording them the companionship of
some of the rising artists of the day. The brothers
Redgrave, in 'A Centuty of Painters,'* say: 'Dr.
Monro, who then lived [at No. 4 or 6] in the
Adelphi Terrace, inherited from his father a valu
able and extensive collection of drawings by Mar
lowe, Gainsborough, Hearne, Sandby, Rooker,
Cozens, .and others, and being himself a sincere
lover of art, who had known most of these painters
in his youth, he had greatly added to his inherited
collection. Towards the end of the last century he
opened his house and his well-filled folios to the
3'oung artists of the day. Girtin, Turner, Francia,
Varley, Edridge, and others, gladly availing them
selves of this privilege, attended at his house on
stated evenings to make copies and studies of the
choice works he possessed, aided by the remarks of
the Doctor, who from his intimacy with the older
artists was well able to speak as to the methods
they employed, their various pigments, and the
* Vol. i., p. 388.

Dr. Monro IOJ
modes of using them.' Thornbury, in his ' Life of
Turner,'* says that Paul Sandby ' was represented
at Dr. Monro's by a box of architectural designs,
by views of Conway, Dartmouth, Windsor, Salis
bury Cathedral, Glasgow, and Richmond Castle.
These sketches must have tended to direct Turner's
mind as to what he should like best to paint in
England,' and he elsewhere states (pp. 17, 49, 50)
that a copy of a drawing by Paul Sandby was one
of Turner's earliest efforts, and was purchased from
his father's shop window in Maiden Lane.
* Vol. i., p. 94.

CHAPTER V.
Paul Sandby's Work as a Painter — Difficulties in obtaining
and preparing Water-colours — Discoveries and Experi
ments—Want of Suitable Drawing-paper — His Different
Styles of Painting in Water-colours — Mode of Working
in Body-colours — His Oil-painting described — Value
Topographically of the Works of both Brothers.
RIGHTLY to appreciate the labours of the early
water-colour painters in England, the difficulties
they had to contend with in respect to the materials
with which they had to produce their pictures
ought not to be forgotten. The late Mr. Samuel
Redgrave has noticed this in his introduction to
the ' Descriptive Catalogue of the Historical Collec
tion of Water-colour Paintings in the South
Kensington Museum' (p. 15): 'When water-
colour drawing (at first chiefly used by the

Preparation of Colours 109
topographer) emerged from mere Indian ink, or
other monochrome tint, the manufacture of colours
for the artist was unknown as a trade — the " artist's
colourman " had not then appeared. ... A writer
in 1770, " on the doctrine of water colours," says :
"Colours are to be distinguished as follows, and in
the following order : white, yellow, orange, red,
purple, blue and black." He then gives minute
directions to the artist for the preparation of these
colours from the natural materials, roots, minerals,
and other compounds; also as to the means of
purchasing these materials in their raw state. .
No mention is made of the colourman ; the artist
is referred to the druggist and the herbalist. . . .
About 1780 a great improvement began. Up to
this time every artist had to prepare his own dry
colours, which for want of sufficient knowledge of
their chemical properties, and the leisure to grind
and prepare them, gave him much trouble. They
were, in fact, very bad, the materials ill-selected,
their fixed or fugitive qualities unknown, and when
prepared they were scarcely fit for use. At the

no Thomas and Paul Sandby
above date, Messrs. Reeves turned their attention to
the preparation of water-colours for our artists,
and first moulded them into the form of cakes. . . .
That they were only of very limited scope may be
inferred, as we learn that John Cozens about 1783
could only procure for his tinted works Indian ink,
lake, indigo, yellow ochre, burnt umber, and burnt
sienna, with black— simple materials indeed, and
very inferior, doubtless, in their preparation to those
at the command of the water-colour artists of our
day.' In the correspondence of Paul Sandby, frequent
allusion is made to the experiments he made with
various compounds to serve as material for his art.
In a letter from the Rev. W. Mason, in November,
1763 (printed in a subsequent chapter), he jokingly
alludes to this practice, and the artist, in writing
to a friend as late as October, 1797, speaks of 'a
grand discovery I have just made. ... A few
weeks ago I had a French brick for breakfast ; the
1 crust was much burnt in the baking. I scraped off
the black, and ground it with gum-water: it

jsa=gs^SSBfes.ii. ^.«a i&^^t£y£iMi^ -?- ¦- i. > .. ^ ^~JLL2'
9 -S
Experiments with Colours 1 1 1
produced an excellent warm black colour like
mummy, and bears out with great vigour. Beechey
called on me, was delighted with it, tried it in oil,
and it answered his utmost wish. It is good for
glazing down what is too bright, and produces a
tint with white delightful for the background of a
picture. He compared the tints with some Dutch
pictures. Teniers and the Dutch school had some
colour of that sort ; their shadows are always clear.
The day after this great discovery I had pork and
peas-pudding for dinner. I tried some split peas
in the evening in a shovel over the fire, and parched
them quite black. This also answers well, very
dark and warm, not opaque like ivory black : you
will, I know, thank me when you try it, and throw
your Indian ink aside.' In the studio of the artist,
which still remains, there is a series of small
divisions in a recess fitted round a door now
papered over, in which the earths and ingredients
he employed were arranged. They were ground
and mixed by himself, or, under his directions, by
a boy whom he employed for the purpose.

112 Thomas and Paul Sandby
Windsor Forest abounds with noble trees; and
there is a story told of one of them by J. T. Smith *
which may be condensed here, as illustrating the
shifts to which artists were then reduced for pig
ments. There was a grand old grey and silver
beech then standing at a short distance from Sand
pit Gate, with a hollow trunk so capacious that,
with a small additional hut, it afforded accommoda
tion for a woodman, his wife, four children, a sow,
.and a numerous litter of pigs. It had exhibited
symptoms of falling, so this company had a brick
cottage built for them, and it was cut down. ' One
curious and interesting discovery resulted from the
demolition of this venerable tree. The woodman,
who had allowed the smoke from his peat-piled fire
to pass through one of the hollow limbs of the tree
for several yeais without sweeping it, had by
accumulated incrustations produced a mass of the
* finest brown colour, resembling the present appear
ance of that used by Rembrandt, so much coveted
by the English artists. The discovery was made by
* 'Book for a Rainy Day,' pp. 113-115.

Materials for Water-Colour Draining 113
Mr. Paul Sandby, who was fortunately passing at
the time the timber was on the ground, who imme
diately secured a tolerable quantity, to enable him
to prove that the smoke from forest fuel, united
with the heated branch of a hollow and aged beech,
produced the finest bistre. His son, the present
Mr. Sandby, gave me a lump of it, which I pre
sented to the late Sir George Beaumont. Having
mentioned this bistre to several Roman artists,
they informed me that a strong decoction of the
sap of the ilex, or evergreen oak, produces a
colour nearly similar, and of this I have had satis
factory proof.'
Another difficulty, besides the want of prepared
colours, which the early water-colour painters had
to contend with, was the quality of the paper upon
which they worked. To quote again from Mr.
S. Redgrave : ' The papers first employed were
chiefly of the description termed wire-wove, pre
pared for ink. They were very limited in size,
folded into quires, in which the mark of the fold
disfigured the drawing, and were not sufficiently 8

114 Thomas and Paul Sandby
sized to bear the repeated washings of the artist.
. . . Paul Sandby, by overcoming the difficulty of
laying an even wash of transparent colour on paper
of this quality, has been lauded as having opened
the way to every other improvement.'- The ribbed
thin writing-paper on which most of his drawings
were produced was often joined in two or three
places to enable him to complete his design, and
the modern artist would think it impossible to
produce any satisfactory result with such materials
as those which the founders of the school possessed.
The following description of Paul Sandby's
various styles of drawing in water-colours is given
in an article by one of the founders of the Society
of Painters in Water-colours — ' On the Study of
Landscape from Nature.'t ' Before his time there
was no landscape art ; all, or almost all, was
ignorant pretension. He laid the foundation, and
a solid one it was, and on that his successors raised
that beautiful superstructure which it is delightful
* 'Descriptive Catalogue,' etc., pp. 17, iS.
f Published in 1833 in the 'Magazine of the Fine Arts,'
vol. i., pp. 121-122.

Different Methods 115
to behold. Paul Sandby's early style of drawing
was effected by carefully delineating the forms of
all the objects of his composition with a penned
outline. Buildings, barges, boats, cattle, sheep,
even trees, were thus etched with determinate forms,
and all was shadowed into a simple effect of light
and shadow with Indian ink. The chiaroscuro
thus wrought, the whole was coloured with simple
washes, merely approximating the general tint of
each locality. These works were appropriately
designated "tinted drawings."
' His second and improved style of representing
his views and pictorial compositions was by sub
duing the rigid appearance of the outline, and
adding richness, though with cautious timidity, so
as to emulate the effect of a picture. This step in
improvement was effected by a careful repetition of
the tinting, and by compounding a greater variety
of hues, deepening his repetitions as the objects
approached the foreground. . . .
' His superior style, and that on which he hoped
to establish a lasting reputation, was that in which

1 1 6 Thomas and Paul Sandby
he wrought in body-colour painting. Some of the
subjects which he produced in the pigments thus
prepared we're executed with great mastery and
painter-like skill. Several subjects representing
woodland scenery, studies from nature in Windsor
Great Park and in the adjacent forest, which were
painted by commission for his patron, King
George III., were much and deservedly admired by
all the painters in oil, who had, long before water-
colour art had assumed the character of painting,
established a high reputation for the British School.
Paul Sandby and his brother Thomas were eminent
in their day for the truth and spirit with which
they drew and painted forest trees.'
The following description, of Paul Sandby's later
method of painting in body colours is contained in
the diary of his friend, Colonel Gravatt, R.E. :
' October 25, 1802. — Went to Mr. Sandby's by-
appointment, at eleven in the forenoon, to see him
paint a picture in water colours — subject : A View
inland of Conway Castle (18 in. x 13 in.).
'Method. — The pasteboard being tacked down to

Mode of Working 1 1 7
a board, he first washed it over with isinglass jell)',
mixed with a little honey, to prevent the paper
from sinking or absorbing the colours, and, when
nearly dry, he painted the whole of the paper over
with azure (composed of verditer, common powder
blue, and white). I observed he painted it with a
soft hogs haii- tool, pretty thick towards the top of
the picture, and diluted it more with isinglass as he
approached the horizon and lighter parts of the
sky; but all the picture beneath the horizontal line
was painted (in azure) with a good body of coloui.
He did not repeat the operation to form his sky, as
the coiour laid perfectly even, but would have done
so if there had been a necessity, and svith a soft,
large hog's hair tool.
' He next laid in the seat of the sun with yellow
ochre and white, diluting it with gin, melting itv
gradually into the azure (previously dry) by adding
more gin; he then sketched the design (omitting
the foreground) with care and fidelity, using for
this purpose a black-lead pencil ; and having com
posed a neutral tint of Prussian blue, Indian ink,

1 1 S Thomas and Paul Sandby
and white, with isinglass, he proceeded to shadow
the picture exactly as is done in forming transparent
drawings, making the tint thin with gin, sometimes
adding a little gum water, adding also more blue
(verditer) or more black in proportion as the objects
in the picture receded or approached the eye. In
this operation he left the broad lights (as in tinting),
but entirely neglected those small sharp touches
which form as it were the glitter of the picture,
they being more advantageously expressed by
white plump touches.
' I particularly remarked he did not, even in the
nearest lights, allow the azure (previously painted
as a ground) to appear, so that the whole landscape
was of a lower tone than the sky, which is what
gives such admirable clearness to his skies, and
which (by the way) cannot be obtained to perfection
except on a white ground, i.e., the paper.
' After he had laid on two shades to (say) the
half-tint and shadow, over the whole drawing, and
which he did with a small camel's hair pencil, and
so thin that the pencilled outline could be easily

Mode of Working 1 1 9
discerned, he pencilled in his foreground, consisting
chiefly of a large tree, which reached nearly to the
top of the picture ; he then shadowed it as before,
adding of course more black, and making the
branches, or as it were the anatomy, of the tree
first. To express the foliage he diluted the tint
with gin, to form a strength of tint proper for the
middle tint, with which he covered the whole place
of the foliage, without regarding lights, leaving them
for the opaque colours, and the shadows for a
second operation. As this tree was against the
great light of the sky, he added a little yellow
ochre to the tint, to express that semi-transparency
which leaves so situated assume. This, of course,
did not apply to the capacity of the stem and
branches. ' I observed in working his picture he usually
began with the second shades, and laid in the demi-
tints afterwards ; but that is a matter of no moment,
except that by so doing the outline was probably
better preserved.
' 30//* October: second day. — He worked his design

120

Thomas and Paid Sandby

up a good deal with transparent colours, forming a
neutral tint, and then added local colours, beginning
with the distance, in which his greens were formed
of Naples yellow, verditer, and such-like semi-
transparent colours, and in proportion, as he ad
vanced nearer the foreground, added brown ochre,
sap-green, and any strong colour that suited the
purpose. The whole was laid in rather thin in the
broad lights, and still more diluted in the shadows,
many place's being left entirely without colour,
which gives great air to the picture. In some
places he helped this vapourish appearance by the
addition of a little verditer laid thinly over the
shadows. 'The green in the front tree was sap-green, used
thin. The whole picture being thus dead-coloured,
had that sort of appearance which an artist would
gladly conceal from those who are unversed in
painting. ' 31st October. — The bluish shadows in the
distance were added of verditer, Prussian blue, lake,
etc., with a mixture of white done thin ; next came

Mode of J forking i 2 1
the plump touches in the lights of white mixed
with the local colour ; these, which form the
heightening of the dead-colouring (not laid in
masses), gave astonishing life to the picture ; in
doing these he added isinglass. Then came the
sharp touches of bistre, etc., and after them thin
washes, laid over the bistre touches, plump lights,
and, in short, wherever the picture wanted harmony
and again plump touches over these where the
picture wanted to be heightened. Last of all came
the figures : these being sketched in pencil, he
shadowed with darkish colour, quite transparent
(using no Indian ink tint in those quite in front),
and then added thick white in the lights, and upon
them the local colours, and pretty much in a body,
and worked up the whole to effect by treacle-brown
and other strong colours.'
In a subsequent note by Colonel Gravatt,
there is a further description of Paul Sandby's
manner of tempera-painting when in his eightieth
year: 'Saturday, 7 December, 1805.— Spent the da)-

122

Thomas and Paul Sandby

with my friend, Paul Sandby, Esq., who made me
a present of a painted sketch of an oak-tree, which
he painted whilst I was with him in about two hours.
He began by mixing liquid black, verditer, and
white for a dull sky, which he covered the paper
with. Sketched the subject, and having made the
ramifications with the neutral tint, diluted it, and
just gave the rounding of the foliage, leaving the
broad lights on the leaves as in staining ; laid
aside the black and finished with colours, which he
recommended me to do in order to get out of a
black manner I was sensible I habituated myself
to. The tree (an oak) was dead-coloured, this with
brown ochre and a little blue (verditer), and the
deeper shadows with a brownish-green, Spanish
liquorice, and indigo, broken with red in some
places, and then the extreme heightenings added
with patent yellow and white with a little blue.
Towards the top of the foliage he deadened it a
little by adding gamboge— lastly, ran over and
mellowed the whole with transparent browns,
greens, etc'

Tempera Painting 123
The following remarks in the Alheutcttm, 25th
March, 1876, are worth preserving: ' In the case of
tempera pictures, which are painted in egg, or glue,
or size, it is impossible to varnish under four or five
years, so that during this period a picture so painted
is exposed to much hazard and considerable risk of
ruin if unglazed. If tempera painting had not
existed, the world would lose probably its noblest
small pictures, and as from the very method em
ployed this mode of painting is, next to fresco, the
most invigorating study, it is desirable, inasmuch
as an artist who wishes to succeed must know what
he is going to do, and how he is going to do it, for
slovenly and unworkmanlike bungling will not yield
fruit. It might possibly be the very best training
for young painters to be obliged to paint in tempera,
as neatness, care, foresight, and elaborate knowledge
of design are the parents of success.' In this para
graph the explanation is given why so many of
Paul Sandby's body-colour pictures are now so
sadly faded and discoloured ; not having been var
nished, the air, damp, dust, and light have in many

124 Thomas and Paul Sandby
cases destroyed all the brightness and beauty of
colouring by which those which have been carefully
preserved are still distinguished.
The same artistic friend (Colonel Gravatt)
whose descriptions have already been quoted,
gives an account of Paul Sandby's mode of paint
ing in oil :
'February 2, 1807. — Saw Mr. Sandby [then 82]
begin a picture in oil. After sketching it out on the
canvas pretty boldly, he mixed colours, viz., white,
brown ochre, Indian red, Antwerp blue, Cologne
earth, and black, with drying-oil and turpentine on
his palette ; touched in first the branches of the
fore-tree (a beech) with brown and white thinly,
then the distant and near objects with a neutral
tint proportioned to their place in the picture,
quite thin, so that the outline was discernible
through, leaving all the broad lights, as in staining.
By this time the trunk and branches of the fore-
tree being set, he passed the foliage over them,
leaving the broad light, with a dull greenish tint ;
and as this tint dried he lowered the broad light

Mode of Oil Painting i 25
before left jis he usually does in staining) to detach
it from the sky. He then laid in the sky pretty
thin, and added the clouds thinly, both in shadow
and light, so that they might be altered at pleasure.
He said the sky in oil was best laid in last, and,
having worked up the whole pretty strongly as a
drawing, he laid it by, to be varnished when dry,
telling me he should then tint the tree over with
green, not too opaque, and then add the plump
touches, which give the richness. He observed.
the best way of doing sunshine was first to colour
the picture as for a common light, and, when finished,
to add the gleams, and that nothing could equal
the effect of vapour so well as glazing with pure
white in skies as well as elsewhere.
'9 February.- — Varnished the picture thinly.
' 10//*. — With a shaving brush and soap lathered
it over warm, and wiped the soapsuds off clean with
a wet sponge ; put in bright light in sky with
Naples yellow and white, added blue of ditto and
clouds— not loading them — finished up the water a
good deal, the spray lowered with a little blue, and

126 Thomas and Paul Sandby
not done so thickly as in water-colour : thin glazes
of bluish colour over the warm ground first laid
made the water appear very limpid. Began to
tint the distance and middle ground, putting in
lights only with colours of a good body ; altered the
original design of the picture a good deal ; in the
great tree used autumnal colours (brown ochre,
light red, Naples yellow, etc.), in the light laid in
with the touclt, though broad, of the tree ; coloured
the trees (poplars) next in distance with a vivid
green, quite thin, and put a plump light of green,
with much white on them/to heighten them ; worked
up the front tree in the shadows with warm colours,
asphaltum, brown ochre, etc. In this state the
picture assumed a glowing tint, there being much
red and brown colour in it. {N.B. — Verditer burnt
makes a powerful and beautiful brown.) The
branches of the trees were done over a good deal
with burnt umber.
' 1 2th. — Scumbled over almost all the picture with
a thin air tint in oil diluted with turpentine,
strengthened sky, etc., worked up water, strength-

Mode of Oil Painting 127
ened the picture where wanted with colours in
the middle tints and shadows, added broken
colours to stones, etc., on foreground, glazed over
the whole tree in front with a green of gamboge
and Naples yellow, which had a beautiful effect,
and is not generally practised, although it is per
manent ; put in figures, and worked up the whole
with great care, very frequently putting thin
shades over what had been light, such as sand
bank, etc., and vice versa — in short, drawing, but
with a broad touch — the sky done with common
smalt and verditer, and the pencil all through
dipped in the jelly occasionally.'
The antiquary will value the drawings of
Thomas and Paul Sandby, not only as works of
art, but as accurate and faithful representations of
many historical buildings and localities which have
either passed away altogether, or have been greatly
changed in appearance in the century which has
since elapsed. On this point J. T. Smith remarks :
'By their indefatigable industry the architecture of
the many ancient seats of our nobility and gentry

128 Thomas and Paul Sandby
will be perpetuated, and I may say but for the
very accurate and elaborate drawings taken by
Paul from old Somerset House gardens, exhibiting
views up and down the river, much of the Thames
scenery must have been lost. The view up the
river exhibits the landingrstairs of Cuper's gardens,
and that part of the old Palace of Whitehall then
inhabited by the Duchess of Portland, upon the
site of which the houses of that patron of the
arts, Lord Farnborough, and other noblemen and
gentlemen, have recently* been erected. The one
down the river displays an uninterrupted view of
the buildings on either side to London Bridge,
upon which the houses are seen, by reason of
Blackfriars Bridge not then being erected. These
drawings are in water-colours, and are preserved in
the thirteenth volume of Pennant's interesting
account of London, magnificently illustrated, and
bequeathed to the Print Room of the British
Museum by the late John Charles Crowle, Esq.'-f
* Written in 1833.
t ' Book for a Rainy Day,' p. 291.

Topographical Drawings 129
A more recent acquisition of a similar character
is the ' Collection of London Views,' etc., formed
by Mr. Crace, and now in the British Museum.
Among them are several drawings and prints by
the two brothers.* In the royal library at
Windsor Castle is a large and interesting collection
of drawings by them, chiefly of the castle, town,
and park, painted for King George III. or the
Duke of Cumberland, some relating to Culloden
and the wars in the Low Countries, many referring
to the encampments in Hyde Park during the
Gordon Riots in 17S0, to which additions have
been made during her Majesty's reign to complete
the representations of the royal residence at all
periods of its history.
The value of these topographical drawings is
thus referred to by a writer in the ' Library of the
Fine Arts':f 'In our own practice of the topo
graphical art until about the middle of the last
century, nothing could be less scientifically set
* Lists of these are given in the Appendix.
t Vol. iii., p. 308(1832). 9

130 Thomas and Paul Sandby
forth, for in all the works topographical ... all
the views were represented in that heterogeneous
style of delineation termed " bird's-eye views,"
which may be considered nothing short of the
burlesque of perspective. . . . So, however, it was,
and thus it continued until Paul Sandby com
menced his topographical studies, and gave to the
world his veritable delineation of the picturesque
scenes of the island. These at once pointed out
the right path to other artists, many of whom,
availing themselves of his intelligence, pursued the
same species of drawing, and spread the knowledge
of this department throughout the empire.'
Another writer in the ' Magazine of the Fine
Arts'* remarks: 'Paul Sandby was the first who
studied topographical drawing effectively ... he
had studied perspective sedulously, and having an
ardent love for art, he travelled to various parts of
the kingdom in search of the picturesque. When
he had discovered a scene that he thought would
compose together sufficiently well to form a
* Vol. i., pp. 120-123 ('S33).

Topographical Drawings 131
picture, he chose the most fitting station, and
therefrom set about its delineation with that
careful examination of its general and individual
characteristics which, properly attended to,
conveys a resemblance of the scene represented
with that intelligence which even in outline
delights those who have a feeling for the charm of
topographical study. To this ingenious artist
there indisputably is due the honour usually
ascribed to him for his mode of delineation,
namely, that of being the founder of the topo
graphical style of drawing. This material advance
in the true mode of studying scenes from nature,
namely, the power of delineating with scientific
truth the general and individual forms of a regular
architectural structure and all its accessories, with
pictorial character, depended upon his knowledge
of lineal perspective, which, directed by his natural
perception, formed the path by which the rising
artist might henceforth behold the. true charm of
the graphic picturesque. To this intelligence, as
applied by Paul Sandby, may easily be traced the

I T,Z

T/iomas and Paul Sandby

first rudiments of that topographical taste which
subsequently became so conspicuous in the per
formances of Rooker, Hearne, and Dayes. If
proof were wanting to establish his reputation as
the founder of the topographical style of drawing,
reference need only be made to the engravings
from his originals of the building of Blackfriars
Bridge, and his masterly delineation of the Arcade
Covent Garden, St. James's Palace gate entrance.
and the richly pictorial review of the remains of
Cardinal Wolsey's palace at Whitehall. Such
complete specimens of art had not hitherto
emanated from any professor of the native
school.' A recent writer has, however, remarked that
' much too low a place in the history of art is given
to Sandby by those who say that his landscapes
did not get beyond mere topography. Besides
effective composition and graceful drawing, there is
a natural freshness in the rural scenes, and trees
and foliage are depicted with truth and beauty
rarely equalled by more modern artists. . . . The

Human Interest in Landscapes i

oo

living incidents employed by Sandby in the treat
ment of his subjects may often be used as a
distinctive test for the classification of the subjects
themselves. Thus, in picturesque compositions
which do not seek to portray particular places, they
are but landscape figures of the established old
' master type, with cattle and the like, and no indi
vidual character. But when local facts and objects
have to be rendered, he gives us the people of his
day, as they lived, and becomes their true historian.
This was the case in his Windsor views, and a few
years afterwards he recorded, in the same graphic
way, a feature of the time so vividly that we seem,
in looking at his work, to live with him a hundred
years ago.'^
The words of a late accomplished writer may
fitly be applied to the drawings of Paul Sandby :
A beauty in these sketches ought to be carefully
observed — their human interest. We are not
enclosed in a wide landscape without life, or work,
* Roget's ' H istory of the Old Water-Colour Society,' vol. i.,
pp. 29, 30.

134 Thomas and Paul Sandby
or joy. It breathes and lives. The plough moves
in the furrow, the sickle flashes among the corn,
the flail resounds at the barn door, there is
laughter under the hawthorn, and a merry group of
children dances out from those clustering elm-
trees. . . . His pictures speak to the heart as well
as to the eye. He employs very simple instru
ments for the purpose. Perhaps a narrow footpath
winds across the fields, and is lost in the gloom of
thick trees, but a cottage window glimmers through
the branches. . . . This burying of life in the cool
depth of nature, and making peacefulness and
action to help and relieve one another, appears to
me a happy secret of landscape-painting.'*
* ' Summer Time in the Country,' by Rev. R. A. Willmott,
1858, pp. 97, 9S-

CHAPTER VI.
Sandby's Aquatinta Engraving : the Process as de-
iced by himself — His Works in that Style — Engravings
Others after his Drawings, published in the ' Virtuosi's
aseum,' and other Contemporary Works.
.TNG from the beginning of his career as an artist
the etching needle and the engraver's burin
y, Paul Sandby succeeded in 1775 in producing
z imitations of drawings in sepia or Indian ink
opper plates, to which he gave the name of
itinta (from aqua, water ; and ductus, stained).
Hon. Charles Greville, with whom he was
Dnally acquainted, had seen some prints of a
lar character executed by John Baptist Le
ce, a French painter and engraver (b. 1733,
81), and having ' purchased the secret from
communicated it to Paul Sandby, who pursued

136 Thomas and Paul Sandby
it with a zeal and assiduity equalled by few, and
surpassed by none in number and variety.'* Le
. Prince's method was to sift black resin over a clean
copper plate, which was fixed by a moderate heat,
sufficient to make the dust adhere without becoming
an even varnish. He thus formed a ground which
suffered very little from the action of the diluted
acid, and yet allowed it to corrode very freely
in the small spaces lefc between the grains of the
resin. How far the method of Paul Sandby
differed from that of his predecessor will be seen on
perusing a paper written by him which has been
preserved, described as ' A Mode of Imitating
Drawings on Copper Plates discovered by P.
Sandby, R.A., in the year 1775, to which he gave
the Name of Aquatinta.'
' In a bottle that holds a gill or more, according
to the quantity required to float over a copper
plate the size wanted for present operation, put of
powdered white resin about one third of the depth
of the bottle ; then nearly fill it with rectified spirits
* ' Library of the Fine Arts,' vol. ii., p. 344.

Aquatinta Engraving 137
of wine, shake it and let it stand an hour or more
before you try it on the copper plate, which ought
to be well- burnished or coaled in oil, and be free
from scratches. It will be necessary, before you
venture to use this menstruum, to try what grain it
will produce on a small plate, by pouring a little of
the mixture on it, holding the plate- at the same
time in a sloping direction.
' When it dries, which will be in a few seconds,
look at it through a magnifying glass ; if the cracks
appear very fine and close, it will produce a delicate
tint, but will not last long in printing ; if very open,
like network, it will be too coarse for a general
purpose — a medium is best. The close or open
grain depends on the quantity of resin dissolved in
spirits of wine : if very fine add more powdered
resin; if coarse, more spirit, till the grain satisfies
you. Get a tin trough made the size of- the plate
you want, about one inch deep, with a spout at one
end to pour the remaining menstruum into your
bottle for future use. In pouring the spirits over
the plate it is proper to have an earthen thing like a

138 Thomas and Paul Sandby
butter-boat with a wide mouth, from which, with a
quick motion, begin at the upper corner of the plate
to pour from right to left, or contra, no matter,
holding one hand upon the plate. As soon as the
whole is floated over, hold it upright to let it drain
a second or two, then set it on aslope to dry, which
it will soon do.
' I suppose the design to be already etched, and
the plate perfectly clean.- Make a mixture of fine
whiting, treacle, and a little lamp black, merely to
give it a gray tint. Temper them together on a
piece of glass (or on anything that will not absorb
the moisture) like a tint on a painter's palette ; you
may then add water to it to make it flow easily
from the hair pencil. With this mixture lay in the
broad shadows, and small touches of trees, etc. It
will soon be dry.
' Then with a thin varnish, made of white resin
and spirits of turpentine, and with a soft brush,
varnish the plate all over regularly from one end to
the other, beginning at the upper side, and with a
quick hand to the bottom of the plate, taking care

Aquatinta Engraving 139
that no part is left bare for the aquafortis to act
upon. This varnish will be soon dry; in a few
minutes you may touch it with the finger : if none
comes off, you may then put the plate in cold
water, when the parts you shaded will float up, or
are easily removed by a feather used gently. If
any remains in the smaller touches, the aquafortis
will readily get hold of it. Try the strength of it
on a piece of clean copper ; if it begins to bite
immediately, you must put more water, to double
aquafortis add twice the quantity of water, to
spirits of nitre four : drop a little on a plate, if it is
two or three seconds before it rises in very small
bubbles, it will do.
' You may then pour it on your work, first laying
a border of wax round the plate, or, what I prefer,
varnishing the plate well on the back, and having
two earthenware pans (like those made by Wedg
wood for Yorkshire puddings) an inch or two deep,
with a spout at the corner to pour off the aquafortis
into a jug or bottle when done with. Then wax-
over a piece of tape or string, and put it at the

[40 Thomas and Paul Sandby
back of the plate, leaving the two ends at the edge
of the trough to seize readily, when you perceive a
whitish cream over the parts you wish to have only
of a tint like the blue of the sky, which I have
generally found strong enough in one or two
minutes. These parts may be stopped out with
a mixture of resin, varnish and vermilion, and the
rest bitten to whatever degree is required. Practice
will make it easy ; but no positive rule can be
given. Fine clear weather is best ; dull, foggy
weather sluggish.
' Plaving the second trough standing on your
right hand, with water in it, after draining the plate
in a sloping direction from the aqua, immerse it in
water, and shake it about, or stroke it with a
feather. Thus you may proceed to lay new
grounds till the work is complete ; it may be the
safest way to do the sky last, as sometimes the
aquafortis may bite some small parts in it, during
the operation of strong tints. Any part bitten
too strongly may be softened down by a scraper or
burnisher, or with fine emery and oil, on a rag put

Aquatinta Engraving 141
over the finger, done gently and equally, afterwards
using a little powder of rotten stone to polish it.
' When you want to clean the plate, after it is
bitten enough, pour spirits of turpentine on it, and
wipe it with a rag ; then gently rub it over with a
piece of woollen cloth rolled up, and a little olive-oil
to take away all the tarnish or stains. You may
then clean it with fine whiting ; but be careful to
rub it afterwards with bread to get it all away.
' It generally happens in laying a second ground,
when the tints on the plate are pretty deep, that it
will produce a finer grain, and it may therefore be
necessary to add a little more resin to it. I have
sometimes nearly completed a plate with one
ground, which is the best way when it can be done.
In that case I first stop out the parts I wish to
remain white, and bite in the blue of the sky, and
a faint general tint over the rest. I then lay in all
the broad masses, and form the cloud with a
mixture of treacle, etc., and varnish the whole.
'Then bite it long enough for the clouds and
tints of that sort, and proceed with shadowing, and

142 Thomas and Paul Sandby
making smaller touches in trees, etc., and varnish
it again, thus repeating it, as if making a drawing in
Indian ink, till the whole is done. It is necessary
that the outlines in the first instance should be
faint, as they gain more strength in the process of
doing the tints. It may be proper, after the whole
of the tints are complete, to lay on the plate an
etching ground, and not to smoke it, and to
strengthen some parts by etching, to make it print
with more force and vigour.'
The first result of his introduction of this style of
engraving into this country was the publication,
' according to Act of Parliament, by P. Sandby, St.
George's Row, ist September, 1775,' of a set of
quarto plates, described as ' Twelve Views in
Aquatinta, from Drawings taken on the Spot in
South Wales, dedicated to the Honourable Charles
Greville and Joseph Banks, Esq., by their ever-
grateful and much obliged servant, Paul Sandby,
R.A.' The success of this first publication was such as
to encourage him to attempt larger plates, folio

Works in Aquatinta 143
size, in the following year, when he issued four
views of Warwick Castle, quickly succeeded by
five views of Windsor Castle and Eton College,
the former dedicated to the Hon. George Greville,
Earl of Warwick ; the latter to the Duke of
Montagu. A second set of quarto plates was also
published in 1776, entitled 'Twelve Views in
North Wales, being part of a tour through that
fertile and romantic country under the patronage
of the Hon. Sir W. W. Wynn, Bart., to whom
they are most humbly inscribed.' A third set of
Welsh views was issued in 1777, and a fourth
several years afterwards.
In 1777 also appeared in folio nine views in
Baia, Ischia, etc., after drawings by W. Pars and-
Fabris, followed in the next two years by eleven
more of Miletus, Troas, Melasso, Athens, etc.,
after Pars ; and eight of Naples, Amalfi, Old
Capua, etc., after Fabris, Clerisseau, and others.
Each issue marked a fresh advance in the effec
tiveness of the method, but perhaps the nearest
approach to perfection was reached in the views

144 Thomas and Paul Sandby
representing the encampments in Hyde Park, St.
- James's Park, Museum Gardens, and Blackheath in
1780. These plates were exceedingly popular,
and are still sought for. Pictorially they were
very effective, but the subjects were also attractive,
many well-known personages being included in the
groups of figures with which they were crowded.
Another very interesting set represented ' The
Sports of the Carnival at Rome ' and the ' Neapo
litan Dance,' after David Allan. These, followed
by copies of his own views of Worcester, Ludlow,
Shrewsbury, Bridgnorth, Canterbury, Eltham, and
Tunbridge, issued at intervals during the next few
years, are his principal works in this style of
engraving, which eventually was superseded by
other methods, as it laboured under the disadvan
tage of not bearing any large number of good
impressions to be taken from the plates. Neither
could it have been remunerative, judging from
what Paul Sandby wrote to George Morland in
June, 1781, that he could 'engrave small plates for
five guineas, and about the size of a pane of glass

V. Z.

Aquatinta Engravings 145
for ten.' Alderman Boydell republished the
prints after the subscription copies bearing the
artist's imprint were issued ; and some years after
his death some of the worn plates were obtained by
Falser, a printseller in the Westminster Bridge
Road, from which copies were taken and gaudily
coloured by hand. These are so utterly unworthy
of the originals that it is to be regretted that the
plates had not been destroyed. Paul Sandby
occasionally used aquatinta for obtaining outlines
of his drawings, which he tinted as copies for his
pupils. The prints were widely circulated in the
early days of Turner, and the late keeper of the
Print Room at the British Museum traced a resem
blance between some of them and the ' Liber
Studiorum ' engraved several years afterwards.
This opinion, I find, is shared by Mr. J. L. Roger.,
in his ' History of the Old Water-Colour Society '
(published since this book was written), where he
says (vol. i., p. 30) : ' In these aquatints of
Sandby's there may perhaps be recognised an
early foreshadowing of Turner's great work, the
10

146 Thomas and Paul Sandby
' Liber Studiorum," the plates of which are nearly
of a size with Sandby's Welsh views, and for the
first of which the aquatint process was actually
employed.' The following are the principal plates executed
in aquatinta by Paul Sandby, in the order in which
they were published. When not otherwise stated,
the engravings are from his own drawings :
Twelve Views in South Wales, ist set. Quarto,
*775- Four Views of Warwick Castle. Folio, 1776.
Five Views of Windsor Castle and Eton. Folio,
1776-7. Twelve Views in North Wales, 2nd set. Quarto,
1776. Twelve Views in Wales, 3rd set. Quarto, 1777.
Nine Views in Baia, Ischia, etc., after Pars and
Fabris. Folio, 1777.
Eight Views of Naples, Old Capua, etc., after
Clerisseau and others. Folio, 177S.
Worcester. Folio, 1778.
Two Views of Shrewsbury Bridge. Folio, 1778.

Aquatinta Engravings 147
Two Views of Bridgnorth, Shropshire. Folio,
1778. Eleven Views of Miletus, Troas, Athens, etc.,
after W. Pars. Folio, 1779-80.
Ludlow. Folio, 1779.
Ten Views of Camps in Hyde Park and Black- ^_
heath. Quarto, 1780.
Four Views of Encampments. Folio, 1780-3.
Two Views on Blackheath (Duke of Montagu's).
Quarto, 1781.
Sports of the Carnival at Rome, after D. Allan.
Folio, 1781. (Four views.)
The Neapolitan Dance, after D. Allan. Folio,
1 781. Two Views of St. Augustine's, Canterbury.
Folio, 1782.
The Meteor of 1783, seen from the Terrace a ,.
Windsor. Folio, 1783.
Twelve Views in North and South Wales, 4th
set. Quarto, 1786.
Two Views of King John's Palace, Eltham.
Folio, 1787.

148 Tlwmas and Paul Sandby
Tunbridge Castle. Folio, 1789.
A publication by which Paul Sandby's land
scapes were, rendered popular was The Copper-
•^ Plate Magazine, issued at a shilling a plate.
They appeared monthly in oblong quarto, begin
ning October 1, 1774, and extending to the
number of 150, the last being published in January,
1 78 1. Some of these were collected into a volume
in 1778, and published by G. Kearsley, 46, Fleet
Street, as 'The Virtuosi's Museum, containing
Select Views in England, Scotland, and Ireland,
drawn by P. Sandby, R.A.' and the whole series,
when completed, was republished as ' A Collection
of 150 Select Views in England, Scotland, and
Ireland, drawn by P. Sandby, Esq., R.A.,' first issued
by Kearsley, and afterwards by Boydell, in 1781.
These engravings measured 5J by "]\ inches.
Other works which appeared about the same
time contained engravings from his drawings. In
Grose's 'Antiquarian Repertory,' and in 'The
Antiquities,' from 1776 to 1790, upwards of fifty
plates after Paul and Thomas Sandby were inserted.

Engraved Draivings 149
In Watts's ' Views of Gentlemen's Seats,' eight of
their drawings were engraved ; others in ' The
Beauties of England and Wales' (1793-1797) ; and
some in the county histories and in the drawing-
books, which were then becoming numerous.

152 Thomas and Paul Sandby
which induced me to get Mr. Paul Sandby to make
a drawing of it, and also to endeavour, in a letter
to Mr. Gray, to explain to what foundation it
belonged.' The following is a letter* from the Rev. William
Mason, the poet, to Paul Sandby :
' Milton, Nov. ibth, 1763.
' Dear Sandby,
' You did right in not sending me down the
wild beasts.-f Get them placed as soon as possible
at the head of my book, to snarl against the bear
Churchill if they please, but if he outsnarls them I
shall be perfectly satisfied.
' I write this from the Dean of York's, where I
stop for a day or two on my way to Acton, at
which place I mean to reside till after Christmas,
and where a letter either in walnut juice, or bistre,
or an extract from the cleaning of kennels or
* Quoted in the ' Library of the Fine Arts ' (1831), vol. ii.,
P- 342-
f An allusion to an engraved coat-of-arms to be prefixed
to a book about to be published.

Letters from Walpole 153
the scavenger's cart,* will be most highly accept
able, and I shall pronounce it the best treat in the
world. 'When my book is printed, I shall order you
one on royal paper, for the great trouble I have
given you about it. But you must say you bought
it, for I make no presents.
' The pen I write with plagues me so that I can
only add that I am,
' Your most obliged and sincere friend,
'W. Mason.'
Occasional mention is made of both brothers in
the letters of Horace Walpole. In writing to the
Rev. W. Cole on January 10th, 1771, he says : ' As I
am acquainted with Mr. Paul Sandby, the brother
of the architect, I asked him if there was a design,
as I had heard, of making a print or prints of
King's College Chapel by the King's order. He
* This refers to the experiments constantly being made
by Paul Sandby and other artists in pigments and vehicles
for painting, in the absence of the materials now so profusely
prepared by artists' colourmen.

CHAPTER VIL
Allusions to the Two Brothers in the Correspondence of
Gray the Poet and Horace Walpole — Thomas Sandby's
Rhyming Epistles quoted.
Paul Sandby : Letters to him from Rev. W. Mason and
Lord Newnham, and from him to James Gandon, the
Architect.
HAVING traced the work of the two brothers
as artists, it may now be proper to gather together
such notices of their personal history as are to be
found in the letters of their contemporaries, and in
some of their own, which have been preserved.
One of the earliest of these is an allusion to Paul
Sandby in a letter from Thomas Gray,* the poet,
to the Rev. James Brown, dated Southampton
Row, October 23, 1760 : ' To-morrow Dr. Gisborne
* ' Correspondence of Thomas Gray,' edited by Rev. J.
Mitford, London, 1853, p. 224.

Letters from Gray 1 5 1
and I go to dine with that reverend gentleman
[Mason] at Kensington during his waiting. He
makes many kind enquiries after you, but I see
very little of him, he is so taken up with the beaux
arts. He has lately etched my head with his own
hand, and his friend Mr. Sandby, the landscape-
painter, is doing a great picture with a view of
Mount Snowdon, the Bard, Edward I., etc. Now
all this I take for a bribe, a sort of hush money to
me, who caught him last year sitting for his own
picture, and know that at this time there is another
painter doing one of the scenes in " Elfrida." '
Gray, in a letter to Mason, February 8, 1763,
says, ' I am obliged to you for the drawing and
very learned dissertation,' which Mason, in a note,*
explains : ' This relates to the ruin of a small
Gothic chapel near the north-east of the cathedral
at York. . . When Mr. Gray made me a visit at
that place the summer before, he was much struck
by the beautiful proportions of the windows in it,
* ' Poems of Mr. Gray,-" with Memoir by W. Mason, 1775,
p. 294.

152 Thomas and Paul Sandby
which induced me to get Mr. Paul Sandby to make
a drawing of it, and also to endeavour, in a letter
to Mr. Gray, to explain to what foundation it
belonged.' The following is a letter* from the Rev. William
Mason, the poet, to Paul Sandby :
' Milton, Nov. \bth, 1763.
' Dear Sandby,
' You did right in not sending me down the
wild beasts.-f Get them placed as soon as possible
at the head of my book, to snarl against the bear
Churchill if they please, but if he outsnarls them I
shall be perfectly satisfied.
' I write this from the Dean of York's, where I
stop for a day or two on my way to Acton, at
which place I mean to reside till after Christmas,
and where a letter either in walnut juice, or bistre,
or an extract from the cleaning of kennels or
* Quoted in the 'Library of the Fine Arts' (1S31), vol. ii.,
P- 342-
f An allusion to an engraved coat-of-arms to be prefixed
to a book about to be published.

Letters from Walpole 153
the scavenger's cart,"* will be most highly accept
able, and I shall pronounce it the best treat in the
world. 'When my book is printed, I shall order you
one on royal paper, for the great trouble I have
given you about it. But you must say you bought
it, for I make no presents.
' The pen I write with plagues me so that I can
only add that I am,
' Your most obliged and sincere friend,
«W. Mason.'
Occasional mention is made of both brothers in
the letters of Horace Walpole. In writing to the
Rev. W. Cole on January 10th, I77i,hesays : ' As I
am acquainted with Mr. Paul Sandby, the brother
of the architect, I asked him if there was a design,
as I had heard, of making a print or prints of
King's College Chapel by the King's order. He
* This refers to the experiments constantly being made
by Paul Sandby and other artists in pigments and vehicles
for painting, in the absence of the materials now so profusely
prepared by artists' colourmen.

154 Thomas and Paul Sandby
answered directly, "By no means." His brother
made a general sketch of the chapel for the use of
the lectures he reads on architecture at the Royal
Academy. Thus, dear sir, Mr. Essex* may be per
fectly easy that there is no intention of interfering
with his work. I then mentioned to Mr. Sandby
Mr. Essex's plan, which he much approved, but
said the plates would cost a great sum. The King,
he thought, would be inclined to patronize the
work, but I own I do not know how to get it laid
before him. His own artists would probably dis
courage any scheme that might entrench on their
own advantages. Mr. Thomas Sandby, the archi
tect, is the only one of them I am acquainted
with. ... I am slightly acquainted with Mr.
Chambers, the architect, and have a good opinion
of him. If Mr. Essex approves my communicating
his plan to him or Mr. Sandby, I should think it
more likely to succeed by their intervention than
* James Essex, the architect, a native of Cambridge, who
was entrusted with extensive repairs cf King's College Chapel
and several of the colleges at Cambridge, and published
works on architectural and antiquarian subjects.

Letters from Jfatpole 155
by any lord of the Court, for at last the King would
certainly take the opinion of his artists.'
Writing to the same friend on February iSth,
1773, Walpole says : ' Paul Sandby promised me
ten days ago to show Mr. Henshaw's engravings
(which 1 received from Dr. Ewen) to Bartolozzi,
and ask his terms, thinking he would delight in so
very promising a scholar ; but I have heard nothing
since, and therefore fear there is no success.' To
the Rev. William Mason he writes, on January 17th,
1778: 'Knapton is dying, but the promise to
Sandby is superseded de parte Roy, because it dates
from the Duke of Grafton.' George Knapton was
surveyor and keeper of the King's pictures, and it
would appear from this that there had been an
idea of conferring the appointment on Paul
Sandby. To the same correspondent, on July iSth,
17S0, he says : ' I expect Sandby every day. He
is to attempt Lady Di's drawings for my play in
his new aquatinta. It is a thousand pities they
should exist only in one septinity, and that the
world should have no idea of the powers of her

156 Thomas and Paul Sandby
genius if the originals should perish.'* Soon after
wards, on August 24th, 1780, Walpole utters the
lament : ' Sandby has not come near me,' and on
February 3rd, 1781, says : 'Gilpin would try aqua
tinta if he could learn the secret. I shall consult
Sandby — nay, I believe it is no longer a secret/
On November 24th, 1780, writing to the Rev.
William Cole, and speaking of the Society of
Antiquaries, he says : ' I endeavoured to give our
antiquaries a little wrench towards taste, but it was
in vain. Sandby and our engravers have lent them
a good deal, but there it stops.' And on June 16th,
1 78 1, to the same, he writes from Strawberry Hill :
' A painter is to come hither on Monday to make
a drawing of the Tribune, and finish T. Sandby's
fine view of the Gallery, to which I could never get
him to put the last hand. They will then be
engraved.'

* They did not perish ; but when Lady Diana Beauclerk's
'seven drawings in ebony and gold frames' were sold at
Strawberry Hill, they realized only thirteen guineas. No
prints of them appear to have been made by Paul Sandby.

Letter from Lord Ncwnham 157
The following is an extract of a letter from
Lord Newnham to Paul Sandby :
1 Newnham, Sunday evening, Sept. zZlh, 1794-5.
' I arn sorry and glad that you do not come
here. I am sorry, because I am always happy in
your company ; and am glad, because it would not
be agreeable to you, and, beside, the reason of your
being in London is a veiy pleasing one to me. I own
I am astonished at hearing you have any business,
for you have genius in your art, and good sense —
two obstacles that I thought you would never
overcome, and which, I am sorry to tell you, will
never be half the use to you that a little fan-
painting, with a due portion of vanity, folly,
pertness, and impudence, would have been to
you. . . .
' 1 have written a long letter without thanking
you for your more amusing and entertaining one.
I have never heard from Mr. Mason since you were
with him. I envy every hour passed in the
company of a man whose benevolence of mind is

158 Thomas and Paul Sandby
as superior as his abilities. The notice of such a
man does honour to those of any rank. Fools
honour title and fortune, and everyone else is
obliged to have some outward respect for them;
but real genius never courts them without there is
other merit to embellish them. . . . But let me
recommend you to cultivate, though not in a mean
manner, the acquaintance of as many as you can,
for there is wonderful virtue in the words " my
Lord !" It sounds well to say, " I dined on such a
day with the Duke," or, " I have passed so many
months with my Lord !" . . . The rich citizen, who
pays well, will like your pictures the better. . . .'*
Both brothers were in the habit of rhyming —
writing doggerel verses on the impulse of the
moment, which have no pretension to be called
poems, but afforded passing amusement to them
selves and to those to whom they were addressed.
The following is a poetical letter by Thomas Sandby,
addressed by post to ' Nath. Chamberlain, Esq.,
Beaufort Buildings, in the Strand, London,' and
* Quoted in the ' Library of the Fine Arts,' vol. ii., p. 341.

A Poetical Letter 159
endorsed, ' Answered in the fac-simile way,
Monday, June 20th, 1772 *:
' Dear Sir, ' The inkstand stares me in the face.
I take the hint, the pen embrace ;
Then seize the paper to convey
The little I have got to say.
'Tis sudden, and you don't expect
I can my jumbled thoughts collect,
Nor yet invoke my absent muse
When time and business both refuse :
You'll pardon, then, this hasty scrawl,
'Tis better than not write at all.
Come, my little darling quill,
Ever faithful to my will,
Sweet companion of my time,
Secretary to my rhyme :
Thou whose aid I've often sought
To express a hasty thought
Must again, O gentle feather,
Tack th' unstudied lines together.
A generous friend demands my lay.
And thou must aid me to convey
The welcome news— for Chamberlain
Intends to answer to thy strain.
'Reclined upon her couch, my Fair
Inhales the sweets of Windsor air,
Where we arrived an hour ago.
Write, write, dear Pen, and tell him so
For this is what he wants to know.

160 Thomas and Paul Sandby
' Here I might end, but gratitude
Won't let me hastily conclude :
For I, by thy assistance, must
Tell how we travell'd through the dust ;
That o'er the stones we drove as slow
As the four-footed beasts could go :
Faster the wheels revolved around
When we had gained the turnpike ground,
And the next hour we were seen
Driving over Turnham Green.
There my daughter, wife, and I
Consulted where we best could lie ;
Though when we left your spouse and you
We aimed to pass the night at Kew,
But Hounslow being on the road,
We thither went for our abode ;
And sadly disappointed there —
The town was full — it was a fair —
The streets were crowded, and the noise
Of ballad-singers, drums, and boys
Disturbed our ears : the house had kept
One quiet room, and there we slept.
The day succeeding, just at ten,
We got into our coach again,
And, furthermore, I have to tell
She bore the journey pretty well —
That while upon the tedious road
We many thoughts on you bestowed ;
For step by step we called to mind
Those anxious friends we left behind.
Twas you who chiefly aim'd to save
And snatch my fair one from the grave,

A Poetical Letter i6t
To reinstate my former bliss,
And crown my future happiness :
For which I shall, my dearest friend,
Be thankful till my life shall end,
And be as much as mortal can be
Your most devoted
' Thomas Sandby.
'Windsor Great Park, June \bth, 1772.'
The original of this letter was bought from
Dawson Turner's collection of autographs.
In a long rhyming letter of 160 lines, addressed
to Theodosius Forrest, Esq., in George Street,
York Buildings, London (undated), Thomas
Sandby apologizes for long silence thus :
' An old Vertigo overspread
The territories of my head,
Who like some vile rebellious chief
Caused great anxiety and grief,
Disturbing all the powers there
By an internal kind of war :
My capital he thus did ravage
Like a barbarian, Turk, or savage.
Each infant thought he murther'd too,
Preventing their escape to you ;
And next with his united force
Dismounted all my Foot and rlorse. II

1 62 Thomas and Paul Sandby
Here you're to understand that I
Was lame in both my feet and thigh,
And did like other wounded men
Limp to the Lodge, and Home again.'
He then proceeds to describe the simplicity
of his life in Windsor Park, in contrast to that
which he had previously spent near the Court
in London *
In the ' Life of Gandon,' to which frequent refer
ence has been already made, four letters addressed
to him in Dublin by Paul Sandby are inserted, and
are here transcribed as specimens of his cor
respondence with his intimate friends :
' London, Feb. yd, 1783.
' Dear Gandon,
' I have now a quiet evening to sit down to
answer your letter. In the first place, I am sorry
to hear you will not be able to visit us this season,
and begin to fear I shall never have the pleasure
of a hearty laugh until you once more visit St.
George's Row. You say you are almost dead to
* See Chapter IV., p. 75.

Letters by Paul Sandby 163
risibility, which curls up the mouth of all who hear
it ; even my own and my wife's gravity vanish at
the thought of your being grave, and our worthy
Paton smiles even in mourning.*
' My friend Serres-f is fitting out a great fleet,
and has taken many prizes from Luttrell, Rodney
and Co., and is at present at the head of naval
affairs. ' I suppose the death of Moser has reached you
before this. He was buried with the honours of
the Academy — viz., the students and President at
the head. There are four candidates starting for
the place of Academician — viz., Birch, Hone,
Catton, and Carlini — the last proposed by some
friends, the others by themselves ; but I consider
the last will be first, in spite of all jockeyship.
' I had the pleasure of seeing the models^ which
* Richard Paton, v/ho had just lost his wife.
f Dominic Serres, R.A.. the marine painter to the King,
who lived in St. George's Row, the two families being very
intimate. J Four for the north and four for the south front of the
new Custom House at Dublin, then being built by Gandon.

164 Thomas and Paid Sandby
Carlini has made for you, and think they possess
great merit. With the four figures of Banks's,
which I also much approve of, I have taken
the liberty of sending over some coloured aqua
tints, which will accompany the models for the
statues. ' I must inform you that my man-of-war* con
tinues to make many military drafts, and I am
obliged to serve in the capacity of paymaster with
a very small salary. Young Malton has sent me a
letter for you which I now enclose. I have not
been able to bring him to account for you yet, but
probably his letter may in some measure remove
your indignation at his breach of the confidence
reposed in him. I will in no way interfere with
your displeasure caused by his misconduct.-f
' I have not seen Wheatley since, but have heard
of his works at Duke Plumphrey's the other day,
* His eldest son, Paul, Lieutenant 21st Regiment.
¦f The son of Thomas Malton, the artist, who was em
ployed as a drawing clerk in Gandon's office, but had been
dismissed for betrayal of official confidence and other irregu
larities.

Letters by Paul Sandby 165
when a dinner was given to Zoffany on his de
parture for the East, where he anticipates to roll in
gold dust. Hodges has already made a fortune by
his art, not so much by painting, for the natives
there don't like his pictures, but prefer the smiles
and fine bows he makes.
'Wiilison has brought from thence ^"15,000,
and will now sit down by the fire at Auld
Reekie, snugly by the ingleside. You may erect
palaces and temples of fame, but fortune is seldom
raised in the north, south, or west. The east it
appears is the golden point and compass to wealth.
' I very much regret that it will not be in my
power to send you, in the case containing Banks's
models, my encampments, as they are not yet
printed, but anticipate that I shall have an oppor
tunity of sending them by Lord Carlow, who pays
me a visit on Sunday evenings as usual. He is as
full of building temples as ever. I most sincerely
wish he possessed a sufficient income to meet his
taste and love of the fine arts, as I am well aware
his friends would feel the advantage of it.

1 66 Thomas and Paul Sandby
' My wife has not increased the doctor's bill this
winter. I have only time sufficient to say how-
much I am ' Most sincerely yours,
'Paul Sandby.'
Another to the same :
' London, 1784.
' Dear Gandon,
' With this I hope you will have the pleasure
of shaking by the hand my young Lieutenant. I
consign him to your protection for a few days, if he
remains so long in Dublin, after having exceeded
the time at which he was ordered to join his
regiment. You must be well aware of my reluct
ance to write long letters — I shall therefore be as
brief as possible ; but having made a commence
ment I cannot let my pen lie idle, more particularly
when a friend concerned has more weighty reasons
to lament the loss of time.
' My chief wants are what the worldlings call
" the needful." My sons, aye, and my daughter,
too, are grown to such a height that I find the

Letters by Paul Sandby 167
increase of expense in proportion to their size.
Happy my neighbour, in having a race of pigmies
that might almost be hidden in a pair of my son's
pantaloons. But Dom [Dominic Serres, R.A] is
grown a very great man, has been to Paris, seen
the grand exhibition, dined with the King's archi
tect, and is going to paint for the Grand Monarque.
Alas! poor Paton, hide your diminished head, your
topsails are lowered.
'My son will tell you that half the town of vertu
are crazy about a picture by Titian which Mr.
West purchased of Greenwood for about ^20 out
of a lumber corner. Mr. Agar offered West ^1,300
for it, and finding that he could not prevail on him
to part with it, visits his displeasure against West
by ascertaining that it is a copy, and has procured
a French artist to come to London, who "protests"
that he has seen the original in Italy, and that
West's picture is by Zucheritti's father. This to us
is new information, who know not of any such
painter as Zucheritti. It is also unfortunate for us
lovers of the arts that this Frenchman cannot at

1 68 Thomas and Paul Sandby
the present time inform us what place the original
is in ; but he says he will give a more particular
account when he returns to Italy. In the mean
time West has proof positive of the picture having
been one of King Charles's collection, and also in
that of King James.
' It is in my humble opinion the best picture in
the country, and has already screwed up our artists
to a higher pitch of colouring, force, and clearness
than has hitherto been attempted.
' I now conclude, ' Most truly yours,
' Paul Sandby.'
The following was also addressed to James
Gandon, in December, 1806 :
' My dear Friend,
' You are anxious to be acquainted with the
manner of printing from stone (the Greek name of
which I fear to pronounce, being apprehensive that
I might lose the few front teeth I have left me
with which to mumble my food like a rabbit)

Letters by Paul Sandby 169
brought by a German from his country about two
years since, which is the secret of drawing upon
stone, and therefrom taking many impressions.*
Mr. West produced to me two of his doing and one
by his son Ralph. I was delighted beyond measure
at the sight of them ; it is certainly the way Albert
Diirer produced so many fine things, it being im
possible to give such freedom on wooden blocks.
I have many of Albert Diirer's prints, which I have
examined with great attention, and I am convinced
they are from drawings done on stone. The
German keeps the art a profound secret, and will
not divulge the mystery to anyone ; he takes
impressions off himself, and will only give a few to
such artists as give him the drawings. A variety
of specimens of stone for this manner of engraving
have been tried — the Bath or any other smooth
stone will answer the purpose. It is said a thousand
impressions may by this process be taken off with
safety. Mr. Heathf made some specimens on
* This refers to the discovery of the art of lithography by
Alois Sennefelder (b. 1771, d. 1834).
7 An eminent engraver.

i 70 Thomas and Paul Sandby
slate, which I understood have answered, but not
having seen them, I will make further inquiries,
and acquaint you with the result.
' Having despatched the stone affair, now about
aches and pains and gouty affairs. You, like your
humble servant, have been put to many shifts.
While we could mount our hobbies our time passed
agreeably away, but the approach of age prevents
any further indulgence on these occasions. Ever
since my nag was sent to grass the tyrant gout
departed also.
' You seem to give me a hope of shaking you
once more by the hand before I take my final
journey ; in the meantime, give my love to yours.
Wishing you a happy New Year,
' I am, my dear friend, your faithful servant,
' Paul Sandby.
' P.S. — I am sorry to inform you poor Edwards's*
fiddlestring is broken, and will be no more seen.'
The following letter is the last which has
* Edward Edwards, A.R.A., who died on December 10,
1806. He was a good performer on the violin, and wrote a

Letters by Paul Sandby 1 7 1
been preserved, written, though not dated, in
1808: ' As you, my dear Gandon, have been build
ing for fame and immortality in the land of
potatoes — of which are many monuments in Dublin
and elsewhere to testify to Prince Posterity the
superior skill of the architect — and as now, while
French slaves are planting the tree of liberty in
various parts of the world, you with more utility-
are raising and fostering young plants, to give you
shade, pleasure and profit — let the majestic oak,
king of the future forests, be found with a numer
ous offspring to augment in future time the British
navy. The sacred oaks of Snowdon and Mona are
only known by the poet's pen, and the majestic
forests of Windsor have long since bowed their
heads to the adze of keen necessity and lust of

continuation of Walpole's 'Anecdotes of Painting.' As
a friend of the family, he was selected to read Thomas
Sandby's 'Lectures on Architecture' at the Royal Academy,
when he was disabled by sickness.

172 Thomas and Paul Sandby
lucre, while the humble elm lends its feeble aid to
battle with our enemies at sea.
' You commence your letter by mentioning
increasing years, and croak like a banished mortal
in a foreign land. Though you get not a slice of
John Bull's loaf, which is very difficult to obtain by
us poor souls, yet you have this consolation to bid
defiance to famine — -for you not only have land to
plant, but also good potatoes, which latter are most
certainly preferable to John Bull's bread, with alum
and lime to screw up our mortal bodies.
' Your sufferings from our enemy the gout I,
from sad experience of full forty years past, can
well be aware of, and consider that, at our advanced
stage of life, not any hope remains for any remission
from the excruciating torments of this enemy to
our tranquillity ; and I entirely agree in your
remark that any uneasiness of mind is a sure ar.d
never-failing prologue of commencing its visits to
our extremities, until at length it takes the citadel
by storm or sap. But why should you, at this
time of life, incline your thoughts to any uneasiness

Letters by Paul Sandby 173
as regards worldly affairs ? You have, to my
knowledge, been grappling with professional
honours for upwards of fifty years, and eventually
have obtained all the success you, in your most
ardent anticipations, hoped to acquire — success
which you so justly- merited. You see, my dear
friend, what your kind letter has done — it has set
my old trotting strings agoing, and I almost feel I
am nearly twenty years younger than I was this
morning. ' I really am delighted with your planting ; it is
the besi hobby a reasonable man can mount. In
the iuvenile part of my life I put a few acorns in
my brother's garden at Windsor, and found great
pleasure in viewing the opening buds. My son
Thomas has been a great planter also, having ten
living instances of his nurseryship ! Such kind of
plants become very expensive as they advance, but
there is comfort in the old saying : " God sends
bread for all the mouths He creates."
'You inquire about the fine arts, and what branch
of them I am engaged in. I have tried all kinds

174 Thomas and Paul Sandby
of hobbies, and having built many castles in the
air in vain, I was induced to model other castles,
until I filled' my cases ; and as his Majesty was
graciously pleased to say " that I am never idle,
but can turn my hand to anything," like a fox, I
have many shifts, but none will make me inde
pendent, so that I must drive on until death drops
me in a hole. ' " In a house low and small
Here remains your friend Paul."
' In the meantime I endeavour to keep up my
spirits, and as long as I am enabled to make use of
my hands, my affection will always dwell with you
and yours.
' Paul Sandby.'

CHAPTER VIII.
Thomas SaiuVoy : His Marriage — His Children— Lines to
them on the Death of their Mother— His Mediation be
tween the R.A. and Reynolds — Friendship with Sir W.
Herschel and others— His Death and Burial at Windsor-
Obituary Notice — His Will — Sale of his Drawings, etc.
Paul Sandby; His Marriage— His Children — Death and
Burial in London — His Will — Sale of his Artistic Effects.
List of Portraits of the Two Brothers — Exhibitions of their
Works at Various Places — Modern Opinions of them.
Very little information is now obtainable as to the
inner family life of the two brothers, except that
from their youth to the close of their days they
continued in constant sympathy and affection,
sharing each other's tastes, and working together
in happy concord.
The elder, Thomas Sandby, was twice married,
and the name of his first wife is stated to have
been Schultz, but of this there is no positive record.

176 Thomas and Paul Sandby
He was married secondly to Elizabeth Venables,
on the 26th April, 1753. She was born about 1733,
in the Piazza, Covent Garden, died in July, 1782,
and was buried at Old Windsor. In the Gazette
which announced the marriage, it was stated, after
the custom of the time, that he received with this
lady a dowry of £2,000. She was the mother of
ten children. These were :
1. Elizabeth Jane, born 2nd December, 1758,
at Cranbourne, near Windsor; her sponsors were
William Windham, of Earsham, Norfolk, Lady
Jane Cathcart, and Mrs. Fitz -William. She
married, 16th May, 1778, Richard Rose, 25th
Regiment, and, secondly, Mr. Carruthers, of
Dormant, near Dumfries, where she died about
1809. 2. Maria Theodosia, born 13th September, 1759,
at St. James's Palace, and baptized there, her
sponsors being Mrs. Franc'klin, Martha Peak, and
Theodosius Forrest. She died in infancy.
3. William Keppel, born 10th December, 1761,
in Great Marlborough Street ; his sponsors were

yA^f-L ,„.^

Family of Thomas Sandby i 77
Lord Albemarle * Mr. Venables, and Mrs. Volker.
He became a major in the 12th Foot, was engaged
in the famous siege of Gibraltar in 17S2, and died
4th March, 1S25. He was married, and left an only-
son. 4. Maria, born 2Sth October, 1762, in Great
Marlborough Street ; her sponsors were the Hon.
Mrs. Cholmondeley, Mrs. Racket, and John
Christopher Smith. She died in childhood.
5. Christopher Windham, born 6th April, 1763,
in Great Marlborough Street, having William
Windham, J. C. Smith, and Mrs. Cox as sponsors.
He died in infancy.
6. Harriott, born 6th December, 1763, in Great
Marlborough Street, having Hon. Colonel Keppel,
Mrs. Smith, and Mrs. Saunders as sponsors. She
married, in 1786, Thomas Paul, the second son of
Paul Sandby, by whom she had thirteen children,
eight of whom were born in the Deputy Ranger's
* Keppel, Earl of Albemarle (b. 1724, d. 1792), who had
been A.D.C. to the Duke of Cumberland at the Battle of
Culloden, and an early friend of the family. 12

ij8 Thomas and Paul Sandby
Lodge, Windsor Park, as she kept her father's
house, after her mother's death, until his decease,
when she was granted a pension of ;£ioo a year
from the Royal Bounty Fund. She died at Leam
ington, 7th March, 1S32.
y. Jeffery Thomas, born Sth April, 1765, in Great
Marlborough Street, his sponsors being Sir Jeffery
Amherst, Mr, S. Toriano, and Miss S. Laroche.
He was a Lieutenant in the navy, was taken
prisoner, and subsequently lost an arm by the
explosion of a gun. He died in his father's house,
and was buried at Old Windsor, 5th May, 1792.
8. Charlotte Augusta, born 19th April, 176S,
at King Street, Covent Garden, her sponsors
being Mrs. Laroche, Mrs. Toriano and Mr. Tyler.
She married, in 1795, Samuel Barnard, Surgeon
98th Regiment, had seven children, and died 27th
July, 1844.
9. Maria Frederica, born. Sth February, 1770, in
Pall Mall ; her sponsors were H.R.H. Henry
Frederick, Duke of Cumberland, Maria, Countess
of Waldegrave, and Mrs. James Laroche. Married

Family of Thomas Sandby 1 79
Lieutenant R. Minchin, 29th Regiment, who died
in 1792, and survived him until 4th March, 1848.
Buried at Cheltenham, with her friend Lady
Katherine Howard, with whom shehad resided more
than forty y-ears.
10. Ann Sophia, born 28th April, 1773, in
Beaufort Buildings, Strand ; her sponsors were
H.R.H. Henry Frederick, Duke of Cumberland,
his Duchess, and Lady Amherst. She married,
first, James R. Caesar Durnford, b/ whom she had
a family, and, secondly, Colonel Nolcken. She
died in 1S13.
It was after the death of his wife that Thomas
Sandby wrote the following simple lines to his
surviving daughters :
' My children, now my only care,
Their fathers love divide,
For each is equally as dear
As equally allied.
1 Thee, Harriott, I must name the first :
Thou may'st a guardian grow,
Who, in thy mother's precepts nursed,
Will her example show.

180 Thomas and Paul Sandby
' To guard my other daughters three,
Thy mother's means prefer ;
Let them that goodness learn of thee
Which thou wast taught by her.
'A second parent thus provide
To Charlotte on this plan ;
Maria may in each confide,
And all be guides to Ann.
' Dear pledges all of mutual love !
Who all my thoughts engage,
Let me foretell that all will prove
My comfort in old age.'
From the prominent part Thomas Sandby had
taken in advocating the establishment of the Royal
Academy, and his position as Professor of Archi
tecture, he was held in especial esteem by the
members, an instance of which was given in
February, 1790, when they deputed him with
others to endeavour to conciliate Sir Joshua
Reynolds, on the occasion of his difference with
the Academicians respecting the election of Mr.
Bonomi as Professor of Perspective, which led Sir
Joshua to resign the Presidentship. In company
with Benjamin West, Copley, Farington, Bacon,
Cosway, Catton and the Secretary, Thomas Sandby

Sir Joshua Reynolds 18 1
waited on Reynolds at his private house, and
urged him to reconsider his determination. Al
though he had previously rejected other in
fluential entreaties, he at once acceded to their
request, and re-appeared in the President's chair
the same evening. It was well that the dissension
was thus amicably arranged, for no long time after
wards Reynolds died, and Thomas Sandby then
took his place in the mournful procession of
Academicians who attended his funeral at St.
Paul's on the 3rd March, 1792.*
Sir William Herschel, the astronomer, after he
removed to Slough, became an intimate friend of
Thomas Sandby, and in 1789, on the completion of.
his famous telescope forty feet long, invited him
and his family to dine in it, before it was used for
the prosecution of his discoveries. In the ' Philo
sophical Transactions for 17S4 ' there is a descrip
tion of the meteor of 18th August, 1783, by Mr.
Tiberias Cavallo, F.R.S., in which he says : ' Being
upon the Castle Terrace at Windsor, in company
* Gentleman's Magazine, 1792.

1S2 Thomas and Paul Sandby
with my friend Dr. James Lind," Dr. Lockman,
Mr. T. Sandby and a few other persons, we
observed a very extraordinary meteor in the skyr.
Mr. Sandby's watch was seventeen minutes past
nine nearest ; it does not mark seconds.' Paul and
Thomas published a print of this scene, dedicating
it to Sir Joseph Banks, the President of the Royal
Society. In Madame D'Arblay's Diary, under date
Saturday, 3rd December, 1785, there is this entry :
' Miss P  and I went to Dr. Lind's. . . . We
had not time to stay and look at his collection ;
but he showed us one very curious representation
of the " Elephanta " in the East Indies, which has
been admirably executed from a drawing of his
own taken on the spot by Paul Sandby. 'f
Thomas Sandby, in his later years, suffered
* Dr. James Lind (d. 1794) wrote on medical subjects, and
contributed to the 'Philosophical Transactions' of the Royal
Society. He resided many years at Windsor.
f This should be Thomas, who introduced the drawing of
this celebrated cave temple to illustrate his lectures on archi
tecture at the Royal Academy.

Death of Thomas Sandby 183
much from gout and gravel, and died after a short
but painful illness at the Deputy Ranger's Lodge,
on Monday, the 25th of June, 1798. He was
buried in the churchyard of Old Windsor, on the
29th of the same month. No stone now marks
the site ; but it is stated to have been very near
the grave of Mrs. Robinson, the favourite ' Perdita '
of the Prince Regent. A brass was placed in the
church to his memory a few years since, recording
the chief events of his life.
In one of the newspapers of the day, and in the
Gentleman's Magazine for 1798, an obituary notice
was published, written by Richard Cumberland, in
which it was stated : ' r\y his decease the King has
lost an honest and valuable servant, the neigh
bourhood of Windsor an inhabitant universally
esteemed, and his family and friends one of the
gentlest and best of human beings. As an
architect he was unrivalled, although his innate
modesty prevented his great talents from being
appreciated as they deserved ; and of this latent
truth all Europe will be convinced, should his

184 Thomas and Paul Sandby
works ever be published, one of the latest of which
was a noble design for a bridge across the Thames
at Somerset House, in the Strand. Of the Royal
Academy he was Professor of Architecture, as well
as one of its oldest and most respected members ;
and like a truly great artist, so incapable of
jealousy, that, by his advice and application, he
has been many times instrumental in promoting
the advancement of even his competitors there.
He has left a large family — heirs alone to his
humble hopes, that the known generosity and
goodness of the Crown (which he has served faith
fully for above fifty-two years) may beneficently
supply by its spontaneous bounty that provision
which his scrupulous probity would not permit him
to amass out of the perquisites and opportunities
of his employment. In aword,to him mayOrlando's
speech with truth and propriety be addressed :
' " O good old man ! how well in thee appeared
The constant service of the antique world,
When service sweat for duty, not for mead !
Thou wast not for the fashion of these times
When none will sweat but for promotion."'

Will of Thomas Sandby 185
On his death ' a general assembly of the Royal
Academy held in July, 1798, elected George Dance
as Professor of Architecture ' in his place. Pie was
succeeded as Deputy Ranger of Windsor Great
Park by an old friend, General William (afterwards
Earl) Harcourt.
In his will, dated April, 1797, he speaks of
being ' through age and infirmities natural to the
winter of life in a weak state of health,' and
bequeaths to his four dear surviving daughters
an equal share of all his property, his son, Major
William Keppel Sandby, having already received
a full equivalent for his share, and being entitled
to a moiety of an estate in houses in right of his
mother. He proceeds to declare ' the meaning of
this my last will and testament is to imprint on
the minds of my dear and beloved children that
they have always possessed an equal share of my
paternal affection and regard.' In respect to his
funeral, he recommends 'it to be at as little
expense as possible, without the pageantry of
a hearse, but to be carried to my grave by the

1 86 Thomas and Paul Sandby
assistance of such friends as will convey my
remains to the silent bosom of our parent earth.'
He nominates ' my worthy relation, William
Sandby, Junr., Esq., Banker in London, and my
long and much esteemed friend, James Stevenson,
M.D., of Egham,' as his executors; and in a pencil
addition to his. will bequeaths ' to my honoured
and memorable friend, the Countess of Orkney,
as a token of my grateful remembrance of her
ladyship's kindness to me, the following drawings,'
consisting of seven plans, etc., for rebuilding
Clievden House in Bucks.
His drawings and other artistic effects were
sold by auction at Messrs. Leigh and Sotheby's,
on the I Sth July, 1799, and following days.
Among them were many views of Old London,
Westminster, Whitehall, Somerset House, etc.,
several drawings of Freemasons' Hall, and those
illustrating his lectures, besides sketches in Scot
land in 1745-46, and a large collection of views
and plans relating to his works at the Virginia
Water, St. George's Chapel, and the Park at

-S-7-r

/ f <?

Wife of Paul Sandby 187
Windsor. Among his books was a copy of
Piranesi's works in fifteen volumes, morocco, a
presentation from the Pope to the Duke of
Gloucester, which sold for £43. The total sum
realized by^ the sale was £570.
In addition to what has been already said about
the social life of Paul Sandby, some particulars
as to his family history remain to be stated. He
was married on 5th May, 1757, to Ann Stogden,
whose portrait was painted by Francis Cotes, and
exhibited at the Society of Artists in 1761. She
had many personal charms, and was the mother
of three children. Latterly she had very delicate
health, and suffered from extreme deafness. She
died in the sixty - second year of her age, at
No. 4, St. George's Row, and was buried on the
6th November, 1797, in the 'new burial-ground'
behind the garden there, in the grave in which her
husband was subsequently laid to rest, although
his name only is inscribed on the stone.
Of his eldest son, Paul, his father gave the

1 88 Thomas and Paul Sandby
following account in a letter to Lord Amherst,
when Commander-in-chief, soliciting his promotion:
' Paul Sandby, ist Lieut, in the Royal Scotch
Fusiliers (21st Regt.), showed an early propensity
for a military profession, and his father spared no
expense in his power to qualify him to fill it with
credit. He sent him to Magdeburg in Germany,
to be instructed in fortification and tactics, and to
make him master of the language, which he speaks
fluently. He had the honour of being present at
many grand reviews of the immortal Frederick,
and was permitted to ride with some of his general
officers into the field, who treated him kindly. He
made plans and sketches of the manoeuvres,
collected many interesting anecdotes and papers,
which he translated into French for the use of
General Pitt when he was quartered at Dublin.
Soon after the 21st Regiment was ordered abroad,
and he was a long time at Sydney in the Island of
St. John's, and Halifax in Nova Scotia; is now at
Barbadoes, anxious to get promotion, as he has
been a Lieutenant above ten years.'

A Nl'i^e with Two Grandchildren' of Pail Sandby.
Front a drawing- by himself.

Family of Paul Sandby 189
This appeal was made on 10th September, 1793,
but unhappily the young officer had died at Bar-
badoes on the ist of August previously. His
portrait was painted by Sir William Beechey in
x79°, 'aged 23.'
His second son, Thomas Paul, followed his
father's profession with a fair amount of success,
and was appointed drawing-master for landscape
at the Royal Military Academy in 1797, when the
post was vacated by his father, with whom he
chiefly resided, joining his family (for whom he
had taken a house at Englefield Green, after the
death of Thomas Sandby) only from Tuesday to
Thursday in each week. He married Harriott, the
daughter of his uncle, and had a large family by
her. He retired from Woolwich Academy in 1828,
and died in the Channel Islands in 1S32.
Nothing is known of the daughter of Paul
Sandby, the ' Nancy ' and ' Miss ' whom Gandon
and others refer to in writing to her father ; so it
is supposed that she died in her girlhood, as no
mention of her is preserved later than 1784.

190 Thomas and Paul Sandby
Paul Sandby must have spent much time away
from home, in travelling and visiting in various
parts of the' country. Generally he enjoyed good
health and spirits to the last, but for many years
before his death allusions are made to attacks of
gout from which he occasionally suffered. When
travelling days were over, one of the amusements
of his spare moments was the construction (from
card, corks, wooden reels, earths, or whatever else
came to hand) of models for students to draw from,
reproducing castles and old buildings, coloured
very naturally and effectively. Several of these
were sold with his other artistic effects.
He died at his house at Paddington— No. 4, St.
George's Row, now called 23, Hyde Park Place —
either late at night on the 7th, or early on
Wednesday morning, the Sth of November, 1809,
and was buried on the 15th in the burial-ground of
St. George's, Hanover Square, situated at the back
of his house in the Bayswater Road, near Cum
berland Gate, London. Sir William Beechey
reported his death to the Council of the Royal

Will of Paul Sandby 191
Academy, and stated that he had attended his
funeral. His grave is covered by a flat stone,
raised on brickwork, with the inscription cut in
large letters : ' Paul Sandby, R.A., obiit vii. No
vember, 1S09.'
By his will, dated 30th November, 1797, he left
everything of which he was possessed to his only-
surviving son, Thomas Paul Sandby. His large
collection of pictures and drawings was sold in
portions: the first by Christie on May 2-4, 1S11,
when, besides many of his own and his brother's
drawings, there were included several by Vandevelde
and Richard Wilson ; the second on March 17-19,
1812, when his miscellaneous collection of drawings
by Old Masters, and his own prints and drawings,
were sold ; and a third sale on April 16-18, 18 17.
Before his son retired from the Academy at
Woolwich in 1828, two or three more sales took
place of those works which he had retained up to
that date. The number of drawings dispersed in
various collections must be very large.
Numerous portraits were painted of Paul

192 Thomas and Paul Sandby
Sandby, most of which have been engraved. One
of the earliest was that by Francis Cotes, R.A.,
exhibited in the second display of the Society of
Artists in 1761. It was ' No. 21 ' in the catalogue,
and described as ' Half-length of Mr. Paul Sandby,
in oils.' It was finely engraved in mezzotinto by
Edward Fisher in 1763, and represents the artist at
a window, looking out upon a wood, which he is
sketching on a board resting on his knee. At the
same time was published a similar engraving of
Paul Sandby's wife, from a picture also painted by-
Cotes, exhibited by the Society of Artists in 1760.
In the catalogue it was 'No. 13. Half-length, in
oil, of a young lady, in the character of " Emma, or
the Nut-Brown Maid."' It was repeated in 1765,
when ' No. 16, Emma, a whole length by F. Cotes,'
appeared in the catalogue. The print does not do
justice to the original, though engraved by Fisher;
it is called 'The Nut-Brown Maid; and has
beneath it a few lines from Prior's version of the
old ballad so named.
Next in order of date was a small drawing by

Portraits of Paul Sandby 193
R. Pollard in 1767, from which a poor circular
engraving in octavo was published in 1780'
Another drawn by Peter Falconet, also in 1767,
and engraved by D. Pariset (very unlike the
sketch), was published in octavo in 1769. Falconet
also drew a companion portrait of Mrs. Paul
Sandby, which was not engraved.
Two very admirable portraits, later in life (when
he was seventy-two), were painted in oils by his
friend Sir William Beechey, R.A., one of which he
presented to 'Father Paul,' as he affectionately called
him ; and the other he retained in his own possession
until his death, when it came into the family.
Both have been well engraved — the one in mezzo-
tinto (full face) by S. W. Reynolds, published in
1794; the other in line (side face) by Henry
Landseer, and published in 1809, with a short
biography, in ' Cadell's Contemporary Portraits.'
George Dance, R.A., though an architect, was in
the habit of taking small chalk portraits in profile
of eminent men, chiefly artists (the whole collection
is in the library of the Royal Academy), and
13

194 Thomas and Paul Sandby
among them is one of Paul Sandby, dated 2 ist
December, 1794, which was engraved by William
Daniell, and published with others in folio in 1809.
In the European Magazine was published a copy
of a miniature by P. Jean, poorly engraved by
J. Thomson ; and in the ' Library of the Fine
Arts,' in 183 1, an engraving was issued by R.
Dagley from a tinted pencil drawing by Richard
Cosway, R.A., taken in November, 1804, which
was presented to the artist's son with the following
note : ' Mr. Cosway presents his compliments to
Mr. Sandby junior, and begs his acceptance of the
enclosed drawing, and shall feel himself highly
gratified if he finds it a tolerable resemblance of
that good man and accomplished artist — his father.'
Included in the National Portrait Exhibition of
1867 was a picture ascribed to Sir J. Reynolds,
stated to represent Gandon, the architect, Paul
Sandby, and the Hon. Mr. Beresford, examining
the plans of the Custom-house at Dublin, designed
by Gandon ; but although it was at first intended
to include it in Mr. Graves's series of Reynolds's

Portraits of Thomas Sandby 195
engraved works, doubts arose both as to its authen
ticity and the subjects of the picture, and the idea
was abandoned.
The Gallery of the Royal Institute of Painters in
Water-Colours, in Piccadilly, erected in 1882, has
a series of eight busts, let into circular recesses on
the street front, representing the principal artists in
water-colours. The first of these is Paul Sandby,
sculptured by Onslow Ford, A.R.A., who has
followed the portrait by Beechey engraved in the
Cadell series.
Thomas Sandby has not been so frequently
painted. The best picture of him is by Sir William
Beechey, exhibited at the Royal Academy in 1792.
He was then an old man. A copy of it was made
for engraving in Cadell's series, but it was never
published. George Dance, R.A., made a sketch of
him, dated 24th March, 1779, which was engraved
by William Daniell, with the rest of the series. A
fine miniature in oil, by F. Ferriere, was exhibited
at the Royal Academy in 1795, and there are other
miniatures of an earlier date. A fine portrait of

196 Thomas and Paul Sandby
his wife, engaged in tatting, by F. Cotes, was
painted in 1755, and was afterwards engraved in
mezzotinto by James McArdell.
William Hamilton, R.A., made sketches in water-
colour of Thomas Sandby and four of his hand
some daughters, but they have not been engraved.
In the Winter Exhibition of the Royal Academy,
1S76-7, a picture was lent by Archdeacon Burney,
stated to have been painted by Gainsborough,
representing Thomas Sandby and his wife in their
early years of married life. It is a pleasing cabinet
picture, and attracted considerable notice ; but
although it has been engraved in mezzotinto, for
Graves's small series of Gainsborough's works, it is
not certain that it is correctly attributed to him, or
that it represents those described.
Portraits of the two brothers are included in the
picture of ' The Life School of the Royal Academy '
in 1772, by John Zoffany, R.A., in the possession
of the Queen at Windsor Castle. An engraving
of this picture was made by Earlom in mezzotinto.
They are also represented in Henry Singleton's

Personal Appearar.ee 197
picture of 'The General Assembly of the Royal
Academicians in the Council Chamber,' painted by
commission in 1793, and now- in possession of the
Academy. It was engraved by Bestland in 1802.
The oil-sketch of Thomas Sandby for this picture
was in the National Portrait Exhibition of 1S67.
The impressions conveyed by the many portraits
of Paul Sandby are that he was a man of average
height and good figure, of fair complexion with
slight colour, in youth thin, but in age stouter,
wearing powdered hair and a peruke, with a
slight double chin, somewhat 'puffy' under his
laughing brown eyes, wearing the coloured braided
coats of his cay. with ruffles, and the old three-
cornered hat. His eider brother, Thomas, was
somewhat darker in complexion, and more sallow.
In ZofTany's picture he is represented as taking
snuff, and wearing a light-green coat with pale-
yeliow vest ; in that by Singleton he is dressed in
black, with black si'.k stockings and shoes with
silver buckles.
Several opportunities have been afforded of late

198 Thomas and Paid Sandby
years to those who cared to see works by these
artists, in addition to those which are to be found
in permanent art galleries in London and else
where. Specimens were shown at the Manchester
Art Treasures Exhibition in 1857; at the Society
of Arts in 1861 ; at the International- Exhibition
in Hyde Park in 1862 ; at Windsor in 1865 and
1 88 1 ; at the Leeds Art Exhibition in 1868; at
the Burlington Fine Art Club in London in 1871
and 1884 ; at the Guildhall new Library in 1S72 ;
the Wrexham Art Treasures Exhibition in 1876;
the Grosvenor Gallery in 1877 ; and the Winter
Exhibition at the Royal Academy in 1 890-1.
But the largest and most representative display
was that at Nottingham in 1884, when a special
exhibition was held in the Midland Counties Art
Museum at Nottingham Castle. It consisted of
about three hundred examples of their works, in
oil and water-colours, and of engravings and
etchings. The Nottingham journals made much
of their former townsmen's works. The Daily
Guardian of 15th February 18S4, in the first of

Nottingham Exhibition 1 99
three articles devoted to the subject, says : 'Almost
the first impression produced by the sight of these
numerous works of art is that these men were
truly men of light and leading, with the fire of
genius in them, and striving by a vast industry and
admirable power to set it forth- for the world's
benefit. Perhaps they were little conscious that
they were laying the foundations of a new art in
England ; but whether conscious of it or not, they
certainly did so, and if the Britain of our day has
any title to have created a new art, it is that of
water-colour painting. To be the founders of the
art itself is an imperishable honour, and when the
public is invited to view these wonderful drawings,
with their great variety of subjects, we think no
one for a moment will contest their claim.'
Some sixty years ago, in Chalmers' Biographical
Dictionary* it is written of Paul Sandby that ' he
contributed much to the reputation of the English
school of landscape-painting, and in many of his
exquisite delineations, uniting fidelity with taste,
* Vol. xxvii., pp. 107-109.

200 Thomas and Paul Sandby
the beautiful scenery for which this island is so
eminently distinguished is displayed as in a mirror.
For force, clearness, and transparency, it may very
truly be said that his paintings in water-colour
have not yet been equalled. The views of castles,
ruins, etc., which arc frequently introduced, will
remain monuments to the honour of the arts,
the artists, and the country, when the originals
from which they are designed are mouldered into
dust.' In the ' Pictorial History of England ' published
in 1S41 by Charles Knight is the following
statement : ' To Paul Sandby is generally attri
buted the merit of founding the school of water-
colour painting, which would alone confer on
Britain a proud title to original excellence in the
annals of art. ... He was the first to show the
capability of the material to produce finished
landscapes, and to establish a reputation by the
practice. Independently of this circumstance his
works are valuable. He was a thorough master of
* Vol. vii., p. 630.

Estimate of their Works 201
drawing, and all his productions bear the impress
of an original mind.'
A modern writer, Richard Redgrave, R.A, in
his 'Century of Painters,'* says: 'He has been
called the father of water-colour art ; and certainly
as contemporary- with Taverner, an amateur, and
Lambert, and as preceding Hearne, Rooker,
Malton. Byrr.e and Webber by more than twenty-
years, he may claim that title by priority.' A yet
more recent writer, Mr. Cosmo Monkhousc, in his
interesting book on the 'Early English Water-
Colour Painters,'t speaking of Thomas Sandby,
says : ' His career as an architect scarcely concerns
us, except for the beauty of his architectural
drawings (of old London and from his own
designs), which can be studied at the British
Museum and the Soane Museum. . . . There can
be no doubt that in architectural drawing, in
precise draughtsmanship, and the skill of laying
even and finely graduated tints of colour, it would be
* Vol. i, p. 3S1.
t i8;3, pp- 5-"-

202 Thomas and Paul Sandby
difficult for any artist greatly to excel him. . . .
He also had no little skill in rendering atmospheric
effect. This is well seen in a little view of Covent
Garden from the east corner of the Piazza, in which
the sunshine is warm and clear, the shadows trans
parent, and the square, with its church and houses,
melts away in the distance.'
Of Paul Sandby he writes that he was ' a
draughtsman, who from dry record of fact pro
ceeded to pure art, who began by embellishing his
drawings of architecture with effects of light and
air, and ended by turning topography into land
scape. Nor was he only a landscape-painter. . . .
His portraits (always small) in chalk and water-
colour, done for his own pleasure only, have often
the grace and simplicity of Gainsborough. . . .
Altogether, Paul Sandby stands out as one of the
most interesting and important, if not as one of
the greatest, artists of the English School. . . .
Through the latter half of the last century, and for
some years in this, his genial, accomplished,
vigorous personality was in constant contact with

<\

The Piazza, Covent Garden*.
From a drawing by Thomas Sands v.

Estimate of their IVorks 203
men in various classes of society, from the King
down to his pupils, from the nobility to his brother
artists . . and we are reminded of the wit and
humour of the man, to hear whose latest story the
King would (it is said) break off more serious con
versation with more distinguished individuals.'
As some justification for the appearance of this
book, perhaps an opinion expressed sixty years
since by an unknown writer* may be quoted at
its close : ' Whether in the view of his profession,
his persevering industry and versatile talents, or in
his social, friendly and amiable disposition and
character, it is not much to say that the worth and
merit of Paul Sandby deserve to be recorded, and
his conduct through life recommended to the
members of his own profession, who would
certainly find their advantage in imitating so good
an example.' * ' Library of the Fine Arts,' 1831, vol. ii., p. 345.

APPENDICES.

I. WORKS EXHIBITED BY THOMAS AND PAUL SANDBY.
II. LISTS OF THEIR DRAWINGS IN 1HE ROYAL COLLEC
TION AT WINDSOR CASTLE.
III. WORKS CONTAINED IN PUELIC GALLERIES AND IN
STITUTIONS.

APPENDIX I.
Drawings exhibited by Thomas Sandby, R.A.
At the Society of Artists' Exhibition :
1767. No. 275. Design of a Country Seat for a Noble
man.
276. Plan of ditto.
At -the Royal Academy of Arts .-
1769. Nos. 99, 100. Two Designs in Architecture.
1770. No. 161. The Elevation of a Country Seat for a
Person of Distinction.
N1771. No. 172. A View from the Arcade in Covent
Garden.
M772. No. 230. The Garden Front of the Royal Academy
[Old Somerset House].
1773. No. 262. A Perspective View of Part of the Chapel
of Windsor Great Lodge, as it appeared
when building in the year 1765.

Appendix I. 205
17S0. No. 450. A Bridge of Magnificence, designed for
the Sixth Lecture on Architecture.
462. View from the Entrance on the Bridge,
Xo. 450.
1782. No. 241. View of the Gothic Gallery at Straw
berry Hill.

Drawings exhibited ey Paul Sandby, R.A.,
In the Exhibitions held prior to the Foundation of the
Royal Academy.
The First Exhibition of the Society of Artists of Great
Britain, held at the Society of Arts, 1760 :
No. 54. A View of Lord Harcourt's Seat at Newnham.
55. A Landskip, half-length.
56. Three Landskips in water-colours.
fn the Second Exhibition, htld at the Great Room,
Spring Gardens, 1761 :
Xo. 95. An Historical Landscape, representing the
'Welsh Bard in the Opening of Mr. Gray's v
Celebrated Ode.
216. A View of Roche Abbe)', at Sandbeck, York
shire.
217. A Landscape in water-colours.
21S. A small drawing of Dancing Figures.
Five Views in Scotland, viz-. :
219. Bonnington Linn.
220. Corhouse Linn.
221. Stonebyre Linn.
222. A View down the Clyde, from the Top of Cor
house Linn.
223. A Waterfall in the Timmel, near Killiecrankie,
in the Highlands.
224. A View in North America (a print).

206 Thomas and Paul Sandby
In the Third Exhibition, at the same place, in 1762 :
No. 95. A View of Roche Abbey, in Yorkshire.
204. A View in the Old Village at Newnham in
Oxfordshire.
205. A View in Blackheath.
206. An Upright Landscape.
207. A Country Operation for the Teeth.
In the Fourth Exhibition, at the same place, in 1763.
No. 111. Upper Aisgarth Foss in Wentsedale, Richmond^
shire, Yorks, N.R.
112. Bolton Castle, Yorks.
113. A Gateway in Windsor Castle.
114. View near Whitby, in Yorks, West Riding.
115. Bothwell Castle, in Clydesdale.
In the Fifth Exhibition, at the same place, 1764 :
No. 100. South-West View of Chatsworth, the seat of the
Duke of Devonshire.
1 01. South-East View of Hackwood, the seat of the
Duke of Bolton.
102. View in the Menagerie at Worksop Manor, as
designed by H.G. the Duchess of Norfolk.
103. The Mill near Blyth, in Yorkshire.
In the Sixth Exhibition, in 1765 :
No. 232. Entrance into the Singing Men's Cloister, and
the West End of H.M. Chapel of St. George
in Windsor Castle.
233- Windsor Castle from Love Lane.
234. Windsor Castle from the Gateway of a Brew-
house Yard, Datchet Lane.
235. Windsor Castle from the Little Park.
235.* A Moonlight.
In the Seventh Exhibition, 1766 :
No. 146. A View on the North Side of the Terrace at
Windsor.

Appendix I. 207
In the Eighth Exhibition, 'incorporated by H.M.
Royal Charter,' held in 1767 :
No. 272. Two Views of Wakefield Lodge in Whittlebury
Forest, the seat of H.G. the Duke of Grafton.
273. A View of Windsor Castle from the Little Park.
274. A View of the Thames, from Mr. Murden's
door at Windsor.
In the Ninth Exhibition, 1768 :
No. 145.* Mew of Windsor on a Rejoicing Night.
277. The Town Gate of Windsor.
27S. Someries' Farm, near Luton, Beds.
At tJie Exhibition of the Free Society of Artists Paul
Sandby sent the following, in answer to an appeal
that if not supported it would cease to exist. (It
died two years afterwards.)
In 17S2. Xo. 131.* View in Milbank (a 'stained'
drawing).
17S3. No. 376. Drawing of a Landscape in bistre.
At the Royal Academy of Arts :
His address from 1769 to 1772 is given as 'Poland
Street, Oxford Street,' afterwards 'St. George's
Row, Oxford Turnpike.'
1769. No. 101. View of Roche Abbey.
102. A Bonfire.
103. The old Abbey Gate, Reading.
104. The same.
1770. No. 162. View near Blackheath.
163. Charlton in Kent.
164. Another.
238-241. Morn, Noon, Evening, Night (in
water-colours).
1771. No. 173. A View of Bridgnorth (water-colours).
174. Both well Castle in Clydesdale (water-
colours).

208 Thomas and Paul Sandby
1771. No. 175. A Storm, from the 'Winter's Tale'
(water-colours).
176. A Storm Subsiding (water-colours).
1772. No. 23.1. A View of Worcester (water-colours).
232. A View in Shropshire (water-colours).
233. A Landscape, Sun setting (water-colours).
1773. No. 263. A View on the Thames (water-
colours).
264. A View in Wales (water-colours).
1774. No. 259. The Terrace of Windsor, looking West
ward .
260. The Terrace of Windsor, looking East
ward.
"""" 261. A View in Wales.
262. Bothwell Castle in Clydesdale.
263. An Upright Landscape.
1775. No. 272. Manerbaur Castle in Pembrokeshire
(water-colours).
273. Pembroke Castle (water-colours).
274. Benton Castle, Milford Haven (water-
colours).
275. Carnarvon Castle.
276. A Study from Nature (a stained draw
ing)-
277. A View of Windsor Castle (a stained
drawing).
278. A View of Windsor Castle (a stained
drawing).
279. View of Warwick Castle (a stained
drawing).
280. View of Warwick Castle (a stained
drawing).
1776. No. 271. Part of Bangor.
272. A Landscape, with a Recruiting Party.
273. A Landscape, a Warm Evening.
1777. No. 313. West Gate of Cardiff, Glamorganshire,
314. South Gate of Cardiff, Glamorganshire.

Appendix I. 209
1777. No. 315. A Landscape (an oval).
316. Two Views near Naples (aquatinta).
1778. [None.]
1779. No. 2S4. A View of Bothwell Castle.
285. A View of Conway Castle.
2S6. A Landscape, Morning.
287. A View of Bangor (a stained drawing).
'1780. No. 35. View in Wales.
89. A Land Storm.
192. Carnarvon Castle.
— 395. A View in Wales.
462. Sepulchre of King Theodorick, near
Ravenna (aquatinta).
1781. No. 15. View of Conway Castle.
20. View of Benton Castle.
^156. View of the Encampment in St. James's
Park.
* 158. View of the Encampment in Museum
Gardens.
.. 213. View of the Encampment in Hyde Park
from St. George's Row.
- 367- View of the Encampment in Hyde Park
from St. George's Row.
371. View of the Encampment in St. James's
Park
376. View of the Encampment on Black
heath.
- 380. View of the Encampment in Hyde Park.
1782. No. 137. A Landscape.
151. A Landscape.
1783-85. [None.]
1786. No. 510. View of Woolwich.
576. St. George's Gate at Canterbury.
584. The Cemetery Gate at Canterbury.
1787. No. 145. Landscape (water-colours).
166. Landscape (water-colours).
5S1. Landscape (water-colours). 14

210 Thomas and Paul Sandby
1787. No. 599. Land Storm (water-colours).
1788. No. 169. Landscape.
• — 565. View in Wales.
1789. [None.]
1790. No. 495. Landscape.
623. Landscape.
1791. No. 567. Evening: View near Bayswater.
586. Morning: View on the Road near
Bayswater Turnpike.
1792. No. 517. Landscape.
1793. No. 541.* View in the Woodyard, AYindsor Great
Park.
603.* View in the AA'oodyard, AA'indsor Great
Park.
602.* View in the Grove, near the Lodge,
AArindsor Great Park.
555.* View at Shrewsbury.
1794. No. 32S. A View of Vinter's at Boxley, Kent,
with Mr. AA'hatman's Turkey Paper-
Mills.
367. View of Rochester Castle.
381. A View from Rochester Castle.
1795. No. 414. View of Tunbridge Town and Castle.
420. View of the Eagle Tower at Carnarvon.
575. Evening.
579. Morning.
1796. [None.]
1797. No. 502.* View near St. Albans.
511.* Landscape after a Thunderstorm.
179S. No. 616. A View on the Road to Hereford: a
Sunset.
623. N.AAr. View of St. Albans : the Effect of
Morning.
631. A View from the Village of Seatoller,
in Borrowdale, Cumberland.
1799. No. 650. AVest View of Denton Lodge, in Nor
folk, the seat of Dr. Sandby, Chan-

Appendix I. 211
cellor of Norwich, Flixton House in
the centre, and Flixton Flail, the
seat of Mr. Alex Adair, on the right.
1799. No. 65S. View of Denton Lodge, as above,
taken near the road to Harleston.
662. View from Denton Lodge, Denton
Parsonage and Church, and Aldburgh
Church in the distance, and Belvidere
Seat over the New Plantation.
1800. Xo. 367. View in AAales.
390. View in Kent.
710. Bayswater Turnpike.
717. View near Bayswater.
734. Carnarvon Castle.
1S01. No. 622. The Old AVelsh Bridge at Shrewsbury.
629. AVest side of the above.
635. East side of Bridgnorth, Shropshire.
641. Carrick Ferry, near AA'exford, Ireland.
1802. No. 600. View of Maidstone from near the foot
of Boxley Hill.
601. View on AYindsor Terrace.
625. Entrance to AA'indsor Great Park at
Bishopsgate.
1803-0^. [None.]
1806. No. 390. A Country Village.
400. A AA'ood Scene, with Gipsies.
401. A Study in AA'indsor Park.
453. Chepstow Castle.
1807. No. 95. Pembroke Castle, looking towards Mil-
ford Haven.
112. A Beech-tree.
137. Bayswater Turnpike, from the East.
14S. Bayswater Turnpike, from the AArest.
22. A View in AVindsor Forest.
27. A Park Scene.
1808. No. 54. A View of AVoolwich, as it was in 1785.
64. A Scene near Hampstead.

212 Thomas and Paul Sandby
1808. No. 482. Llangollen in Denbighshire.
565. A View of Pembroke Castle and Town
from the AA'est.
566. Bethkellet in Carnarvonshire.
608. A Forest Scene.
1809. No. 195. A View from the Back of No. 4, in
St. George's Row.
317. View of an Iron Forge on the River
Kent in Cumberland.
336. View of the Inside of the South Gate at
Conway.
357. A View on Kilburn Road.

Pictures exhibited by Paul Sandby, R.A., at the
British Institution.
{Founded in June, 1805, and First Exhibition opened on
18th January, 1806.)
1806. No. 13. A AVood Scene, with an Extensive View
in the Distance.
15. A Landscape composed from Nature.
78. A View of Chepstow Castle from Perce-
field.
90. A View of the Old AVelsh Bridge at
Shrewsbury.
1807. [None.]
1S0S. No. 195. A Landscape Composition.
203. Chepstow Castle.
271. Part of Page's Farm, near Easton Park,.
Essex.
2S7. Part of Page's Farm, from the AA'est.
336. South End of Bridgnorth, Shropshire.
357. The Postern Gate at Canterbury.
385. Vale Crucis Abbey, Llangollen.
403. Bow and Arrow Castle, Portland Island.
404. Part of Page's Farm, Easton, AA'est.
422. N.E. ATiew of Pembroke Castle.

APPENDIX II.
Drawings by Thomas and Paul Sandby in the
Royal Library at AAtndsor Castle.
By Thomas Sandby.
AA'hitehall, with Holbein's Gate, 1743.
Sketch of the Battle of Culloden, 1746.
Three Panoramic A'iews of Fort Augustus and the sur
rounding scenery, showing the Encampments, etc.,
1746.
View of Diest, from the Camp of Meldart, 1747.
Camp in the Netherlands, ' drawn on the spot, 5 July,
174S.'
AVestminster from Old Somerset House Gardens, 1752.
Old Somerset House Gardens, 1752.
Design for Lord Portarlington's House in Ireland.
The Large Room, Freemasons' Hall, London.
Design for a Theatre in Leicester Square.
Design for a Bridge over the Thames at Somerset
House.
-The Piazza, Covent Garden.
Design for the King's Booth on Ascot Heath.
Kew Palace.
Old Somerset House.
View of a Round Tower and a Gate-House, in course of
construction.
Triumphal Arch in St. James's Park, to commemorate
the Victories, 1746.

2 1 4 Thomas and Paul Sandby
Windsor and its Vicinity :
Windsor Castle from the River.
Panoramic View of the Castle 'done in a Camera'
(sketch).
North Side 'of the Castle, showing Proposed Picture-
Gallery.
Design for a Picture-Gallery on North Terrace, AA'indsor
Castle.
Topographical View from AA'indsor Castle before the
East Terrace was formed.
The Castle from the Great Park.
A'iew of Thos. Sandby's House, near Cumberland Lodge.
Four long Topographical Views of AVindsor Great Park.
Four Views of Cumberland Lodge.
View of the \Tirginia AV'ater, with Chinese Junk, etc.
A Bird's Eye View- across the AVater, looking towards
Cumberland Lodge.
Various Sketches for Virginia AVater.
'View of the Great AVooden Bridge over the Virginia
River in AATindsor Great Park, built for H.R.H. the
Duke of Cumberland by Mr. Fleetcroft in the year
1760, which soon went to decay, and an elegant stone
bridge was afterwards erected by T. Sandby ' (Mem.
on back of drawing).
View in Front of Flon. John Bateman's House at Old
AVindsor.

By Paul Sandby.
Vieios of I Windsor Castle :
From the Lower End of Sheet Street, 1775-.
From Clewer.
From Eton Playing Fields.
From ' the Back Fields ' at Eton.
From the Brocas.
From the Thames.
From the Brewhouse in Datchet Lane..

Appendix II. 2 1 5
From the Town Gate, 1770.
From Datchet Road.
The Courtyard, with Fireworks, 5th November.
From the North Terrace, two views.
The South-East Corner, 1772.
The Norman Gate, from Housekeeper's Garden.
The Terrace, looking AVest, three views.
From the Little Park.
From the Black Rod.
The Hundred Steps, two views.
The Round Tower, Royal Court, Devil's Tower, etc.
The Round, AArinchester, and Store Towers.
The North Terrace, 1S03.
View of the Castle from the Great Park.
The Horseshoe Cloisters and Curfew Tower.
Twelve Pencil Drawings of various parts of the Castle.
The following Views of the Castle are from the 'Banks
Collection] drawn between 1750 and 1752 :
The Castle from Isherwood's Brewhouse in Datchet
Lane.
The Castle from Datchet Lane.
Henry VIII. Gateway, two views, North and South.
The Governor of the Poor Knights' Tower and the
Garter Chamber.
Part of St. George's Chapel from the Town Gate.
The Town Gate and the Garter Tower from the Lower
Court.
Apartments of the Poor Knights and Entrance to the
Singing Men's Cloisters.
The AVinchester Tower and part of the Hundred Steps.
The AA'est Entrance to the Great Court.
A^iew of the Castle from the Black Rod.
The Secretary of State's Tower and the Tennis Court.
Henry VIII. Gate.
Old Gate on Castle Hill, with View of the Town.

216 Thomas and Paul Sandby
General View from the Base of the Curtain of the Round
Tower.
View of the Seat near the Terrace and the adjoining
Country. '
Edward III. Tower and Devil Tower from the Clerk of
Work's Office.
The King's Gate and Bridge to the South Terrace.

Windsor Great Park, etc. :
Fair on Englefiel-d Green, numerous figures.
' In Old AA'indsor AVood.'
The AVoodyard, two views.
The Old Oak in the AA'oodyard, 1792.
The AA'heelwright's Shop, 1792.
View in AVindsor Great Park.
View near Cranbourne Lodge.
View in the Park, near Bishopsgate.
A Forest Tree.
A Sketch in the Park (pen and ink).
Seven Sketches, on a Sheet, of the Lodge, the Chinese
¦-» Junk, etc.

View of AA'indsor Bridge from Datchet Lane, 1790.
Ascot Heath : the Race, with numerous figures.
Eton College from Crown Corner, 1777.
Sion House, on the Thames.
AVoolwich : Prince Rupert's Tower, Royal Military
Academy.
View from Back of P. Sandby's Lodging at Charlton.
Bridgnorth, Shropshire.
St. Augustine's Monastery, Canterbury, 1782.
Many Sketches, made on a Sale Catalogue of Pictures,
of Artists, Collectors, and Dealers, etc., attending the
Sale.

Appendix If. 217
An Ink Sketch for a Political Caricature, a Scotch Block
head on a Staff fixed in a Boot, referring to Lord Bute,
inscribed, ' Remember '62 as well as '45.'

Hyde Park: Encamp Hunts, 17S0, etc.:
N The Serpentine River.
Old Cheesecake House, 1797, two views.
View of the Camp, 17S0-
sNear the Serpentine during Encampments, 1780, two
views.
^The Powder Magazine, 1780, two views.
v Looking towards Uxbridge Road, 1780.
Near the Ring, during Encampment, 17S0.
"Near the Serpentine Encampment.
View of Grosvenor Gate Encampment.
The Keeper's House.
- The Encampment in St. James's Park, 1780.

In addition to the above, there is a very interesting folio
volume in the Royal Library, containing 134 Studies
of Portraits and Figures by Paul Sandby, many of
them also described by him. Some are highly
finished in water-colours, the faces as delicate as
miniatures; others are pencil or chalk drawings, or
pen outlines, tinted or washed slightly with colours.
Among the portraits of ladies are the Aunt to the
Duchess of Gloucester, the Mother of the Duchess of
Gordon, Lady Chambers, Lady Clayton, Lady Eliza
beth Harcourt, the AA'ife of Dr. Franklin and her
Mother, Mrs. Mercier and her Sons, Mrs. Eyre, Mrs.
Elliott, the AA'ife of Mr. Lane, Miss Marsden, and
Kitty Fisher.
There are sketches of Sir AV. AV. AVynn, the Hon.
Charles Greville, Mr. Theo. Forrest, an eminent

2i8 Thomas and Paul Sandby
attorney, Colonel David AVatson, Mr. Howse, and
others engaged in 174S in the Survey of the Highlands
with Paul Sandby; Gandon the architect, and his
wife ; Allan Ramsay the poet ; Morier, Samuel Cotes,
and George Morland, the painters ; Gravelot and Bell,
of Edinburgh, the engravers ; and Jeffrys, the print-
seller.
Of a more miscellaneous character are the sketches of
members of the Household of H.R.H. AVilliam Duke
of Cumberland, and of the Keeper's Family at Sand
pit Gate, AVindsor Park ; of Noted Personages at
Windsor ; of a Strolling Player at Luton ; and some
London Celebrities, including Jonathan Wild.
There are several sketches of Paul Sandby and his wife,
and a full-length pencil outline of Thomas Sandby in
1760, inscribed 'Sir Joshua Reynolds.'

APPENDIX III.
AVorks contained in Public Galleries and
Institutions.
In the British Museum.
In the Illustrated ' History of London,' by Pennant,
presented to the Library by J. C. Crowle, Esq., are the
following drawings by Thomas Sandby, R.A. .
AToL i. No. 255. Timber- Yard where some of the
Arundel Marbles were discovered
(Lambeth, AA'estminster Hall and
Abbey seen in the distance).
A'oL iii. No. 117. Old Palace Yard, AVestminster.
152. AVestminster and New Palace Yard.
A'ol. iv. Xo. 78. A View from the Terrace of Old
Somerset House.
no. The Treasury- and AVestminster Abbey
from Admiralty Gardens.
A'ol. v. No. 139. Fireworks and Illuminations in the
Green Park on the Occasion of the
Peace, 7th October, 174S.
254. York Buildings, Stairs, and AVater-
AA'orks.
A'ol. vi. No. 23. Covent Garden (a circular drawing).
24. St. Paul's Church and the Market.
25. St. Paul's Church, seen from under
Piazza.
26. St. Paul's Church (unfinished).

220 Thomas and Paul Sandby
Vol. vi. No. 35. Part of Somerset House in course of
Erection.
85. Old Somerset House from the
Gardens.
97. New Somerset House, River Front.
124. St. Mary-le-Strand, looking AVest.
125. St. Mary-le-Strand, looking East.
A'ol. xiii. No. 30 and No. 31. Two large Drawings, two
yards long : (1) London from Somer
set House about 1795, and (2)
Somerset House from the Garden
(East), showing the House and
Gounds, the Lambeth Side of AArest-
minster Bridge, etc.

In the additional manuscripts are ' Four Ariews by
Thomas Sandby of the Camp in the Low Countries in
1748,' and orie of ' Abbaye ' (see Chap. L, pp. 13, 14).
By Paul Sa?idby, R.A.
A Collection of sixty-eight 'Tinted Sketches drawn in
the Year 1745 of Scenes and AA'ell-known Persons in
and about Edinburgh' (see Chap. I., pp. 16-18).
A View of the Encampment on Blackheath in 17S0,
from the Stowe Collection (engraved).
Dumbarton Castle, 1766, a small Oval Drawing from the
Banks Collection, mounted on an envelope addressed
to Mrs. P. Sandby.
The Horse Guards from St. James's Park, during the
Encampment, 17S0.
A Chalk Drawing of a Tree near a AA'aterfall, signed
'P. Sandby, 1764,' from the Payne Knight Collection.
Shrewsbury Castle and the Prince's House, Kew, two
small drawings engraved in the ' Virtuosi's Museum.'
A small Drawing of a Castle, on a card with address.

Appendix III. 2 2 1
A Body-colour Drawing of the ' Magic Lantern,' a
political caricature.
Two Views of AVindsor, from Crown Corner and Caesar's
Tower, from the Banks Collection.
A \Tolume of Etchings and a Collection of Prints.

In the Crace Collection of London A'iews, now in the
British Museum, are the following drawings :
By T. Sandby.
No. 500. AA'estminster and the Bridge, 1754.
501. AVestminster, showing Derby House, etc., 1756.
By P. Sandby.
No. 482. South End of Old House of Commons, 1794.
4S3. AA'estminster Hall, etc.
589. Somerset House and Garden, 1756.
591. Somerset House, looking towards Westminster,
1756.
SS2. Piccadillyfrom the Green Park, 1 778 [doubtful].
1094. Horse Guards and Distant A'iew of St. Paul's,
1764.
1443. Beaufort Buildings, looking towards the Strand. ¦
In the South Kensington Museum.
By Paul Sandby, R.A.
An Ancient Beech-tree, 1794 (body-colour) formerly in
the Earl of Harewood's Collection.
The Round Temple, 178S.
Landscape, with Dray and Figures. _
AVarwick Castle, with the Bridge and A\eir, 1775.
\Tillage Street (Old Charlton, Kent).
Llandaff Cathedral.
Chepstow Castle (Parsons Bequest).
View in AA'indsor Forest, with Oxen drawing Timber
(tempera), i798-

222 Thomas and Paul Sandby
Landscape, with Dragoons galloping along a Road, etc.
About 1790.
Old Tea-Gardens, Bayswater.
Old Public-house, Bayswater.
The Old Bridge, Shrewsbury (tempera, on canvas).

In the Dyce Collection at the South Kensington
Museum are the following drawings :
By P. Sandby, R.A.
No. 744. A Forest Scene [wrongly ascribed to him].
745. The Terrace, AVindsor Castle, looking AVest
(not a drawing, but an outline etching, tinted
in sepia).
746. Easton Tark.
747. Hubberstone Priory, Milford Haven.
748. Road through AVindsor Forest, with Figure on
Horseback.
749. A Composition (in sepia).

In the Soane Museum.
By Thomas Sandby, R.A.
Two Volumes of Architectural Drawings :
The first contains 227 designs, including thrree Gate
ways — the Entrance to Freemasons' Tavern ; a Temple
in AVindsor Great Park ; the Front of Greenwich
Hospital : Gates, Deer-pens, Lodges, large and small
Houses, and many 'bits.' Also, a circular drawing,
carefully finished, 5 or 6 inches round, representing
- the Bible surrounded by Masonic emblems, and a
view of part of the interior of Freemasons' Hall, with
the form of a card of invitation to 'the Brethren of the
Somerset House Lodge.'

Appendix III. 223
The second volume contains fifty-two small sketches in
Indian ink, etc., of the Bridges, Cascade, Grotto, and
other AA'orks at A'irginia AVater and elsewhere.
A copy by Sir John Soane and his pupils of Thomas
Sandby's Lectures on Architecture at the Royal
Academy.
A large drawing of a ' View in Priory Gardens, AVhitehall,
taken about the year 17S2, with part of the east front
of the Banqueting-House,' described in the catalogue
as by 'T. Sandby, AVheatley, and J. Mortimer.' No
authority is given for this doubtful statement, as it
seems to be the work of Thomas Sandby alone, unless
in a few parts it was left unfinished by him, and subse
quently completed by another hand ; but there is no
work in it to identify the other artists named.

In the Royal Military Academy-, AVoolwich.
The central building was destroyed by fire some years
ago. but out of it were preserved four drawings by
Paul Sandby, R. A., now in the Governor's office :
1. Bothwell Castle, Clydesdale (in body-colour).
2. A River near Mountains, with Large Trees (in body-
colour).
3. A Castle in AVales.
4. Blackheath, with the Encampment near the Windmill »
in 1780 (body-colour).

In the University Galleries at Oxford.
Church and Rectory, Denton, Norfolk [Rev. George
Sandby, D.D, Rector from 1751 to 1807] (an early-
water-colour drawing).
The Old Rectory Barn, Denton (a sketch in oil).
Both by Paul Sandby.

224 Thomas and Paul Sandby
In the Midland Counties Art Museum,
Nottingham.
By Thomas Sandby.
Old Town Hall, Nottingham, in sepia, signed and datec
1741.
South View of Nottingham, from AVilford, in Indian ink
signed and dated 1742.
By Paul Sandby.
Cottages, signed and dated 17S7, from Dr. Percy's
Collection.
Oldham Art Gallery and Museum.
Old House with Figures, in body-colour, by P. Sandby.
In the National Gallery of Ireland, Dublin.
The AVoodyard, AArindsor Great Park.
View in Hyde Park.
A Country Road.
View in Hyde Park.
Eltham Palace. All in water-colours by P. Sandby, R.A.

INDEX.

Academy for arLisis, plans for,
49-56
Academy, Royal Military, see
' Woolwich '
Academy of Arts, see ' Royal '
Allan, David, 29, S3, S4, 144
America, views in, engraved
by I*. S-, 30
Ancestry of il'.e SanJLy Family,
Antiauarian value of views by
T. "and P. >., 127-132
Appendices, I. -III... 204-224
Appointments held by T. S.,
io, 20, 57, 72, 73
Appointments held by P. S.;
10, 55. 57, S5-S7
Aquatinta engraving by P. S.,
135-14S
Architecture, T. S. elected
Professor of, at R.A., 57, 58
Architecture, lectures en, by
T. S. at R.A., 58-64
Athenaum on tempora paint
ing, quoted, 123
Banks, Sir Joseph, 46
Beechey, Sir William, R. A., 84,
85, 190, 191, 193, 195
Birthplace of T. and P. S. at
Nottingham, 5
Boydell, Alderman, 103, 104,
145. «4«

1 British Institution, drawings by
P. S. at, 212
British Museum, drawings by
T. and P. S. at, 128, 129,
219-221
' Britton, John, 60
Description of Freemasons'
Hall by, 66, 67
Burial-place of T. S., 183
of P. S., 190, 191
Caricatures by P. S. of Hogarth,
32-38
Caricatures by P. S-, political
and social, 3S-44
Caricature by P. S-, ' The
Goose and Vestris,' 41, 42
Chalmer's ' Biographical Dic
tionary,' quoted, 199, 200
Chamberlain, N., poetical letter
to, by T. S., 15S-161
Chambers, -Sir -William, R.A. ,
61
Children of T. S., 176-180
of P. S., 1 88, 189
Clerisseau, C. L., 84, 143, 146
Colours, water-, difficulty in
procuring, 108-113
Copper-Plate Magazine, views
by P. S. published in, 148
Cosway, Richard, R.A., 194
Cotes, Francis, K.A., portraits
by, 192, 196 15

226 Thomas and Paul Sandby.

1 Cries of London,' etchings of,
by P. S., 31
Culloden, sketch of battle of,
byT. S., 12
Cumberland, H.R.H. William
A., Duke of, 10-13. 2°> 23
Cumberland, H.R.H. Henry
Frederick, Duke of, 23
Cumberland, Richard, obituary
notice of T. S. by, 1S3
Curwen's ' History of Book
seller?,' quoted, 27, 28
Dance, George, R.A., 193, 195
D'Arblay, Madame, quoted, 182
Dashkoff, Princess, 79, So
' Dealers and Dupes,' 101-103
Death of T. S., 1S3, 1S4
of P. S., 190, 191
Deputy - Ranger of AVindsor
Great Park, T. S. appointed,
20, 72
Director of Incorporated Society
of Artists, P. S. appointed as
a> 55
Drawing-master, Royal Military
Academy, P. S. appointed as,
85-87
Drawing-master : royal and
other pupils of P. S., S7-90
Dublin, design for Royal Ex
change at, by T. S., 64
Dublin, works by P. S. in
National Gallery of Ireland,
224
Effects of T. S., sale of, 186, 1S7
P. S., sale of, 191
England, Knight's History of,
quoted, 200
Engravings by P. S. on copper,
25. 29-31
Engravings by P. S. in aquatinta,
142-148
Engravings after T. and P. S.,
I4S, 149

Etchings by P. S. of views in
Scotland, 27
Etchings by P. S., Collection of,
28-30
Etchings by P. S., ' The Gentle
Shepherd,' 28
Etchings by P. S, 'Cries of
London,' 31
Exhibitions of works of art,
earliest, 52-56
Exhibition of works by T. and
P. S., 197-199, 204-207
Exhibitions of works by T. and
P. S. at Royal Academy, etc.,
204, 205, 207-212
Experiments with colours, no
li 1

Falconet, Peter, 193
Family of T. S., 176-1S0
P. S., iSS, 189
Ford, Onslow, A.R.A., 195
Forrest, Theodosius, 161
Foundling Hospital, 52, 53
Freemasons' Hall, designed by
T. S., 65-6S
Friends and acquaintance, 76-
84
Gainsborough, Thomas, R.A.,
105, 196
Galleries, public, works by T.
and P. S. in, 219-224
Gandon, James, Life of, quoted,
9, 64, 76-78, 79, So, 90
Gandon, James, letters to, by
P. S., 162-174
George III., patron of T. and
P. S., 23, 57, 87, 89, 174,
203
George III., founder of Royal
Academy, 56, 57
' Georgian Era,' quoted, 100,
101
Gillray, James, 93, 94

Indt

ex.

227

Gravatt, Colonel, letters of P. S.
to, 90-93
Gravatt, Colonel, description of
P. S.'s modes of painting by,
116-127
Gray, Thomas, 150-152
Greville, Hon. Charles, 135,
142
Grignon, Charles, 81
Hamilton, AYilliam, R.A., 196
Hay, Andrew, print-dealer, 101-
1°3
Herschel, Sir William, 1S1
'Highland Laird's Will,' 17, iS
Hogarth, AVilliarn, opposition
to art academies, 33, 34, 49,
50
Hogarth, AN illiam, caricatures
relating to, by P. S., 35-3S
Hogarth, works by, exhibited at
Foundling Hospital, 52, 53
Holbein's Gate, 70, 71
Hughes, G. M., ' History of
Windsor Forest,' quoted, 24
Hutton, Charles, 98, 99
Lectures on architecture by
T. S., 58-64
Le Prince, J. B., 135
Letters by T. S. in verse, 159-162
by P. S., 98, 99. ri°. in'
162-174
Letters to P. S., 152, 157, 158
From an Innkeeper to P. S.,
97
' Library of the Fine Arts,
quoted, 29, 30, 41, 78, 79, 80-
82, 101, 102, 129, 130, 203
Lind, Dr. James, 182
Lithography, invention of, 168-
170
' London Cries,' etchings of, by
P. S., 31, 32
London, residences of T. and
P. S. in, 47, 48

London, views in, by T. and
P. S., 30, 31, 12S, 129, 132,
213, 216-224
'Magazine of the Fine Arts,'
quoted, S7, 89, 114-116, 130-
132
Marriage of T. S., 175, 176 ; of
P. S., 1S7
| Mason, Rev. William, 151-153,
157. 15S
Monkhouse, Cosmo, quoted,
201 -203
Monro, Dr., 105-107
Netherlands, T. S. at campaigns
in the, n-14
Newnham, Lord, letter from,
157, 1 58
Nichols, John, on Hogarth,
quoted, 33-35
Nottingham, birthplace of T.
and P. S., 5-8
Nottingham, exhibition of works
of T. and P. S. at, 198, 199
Nottingham, views of, by T. b.,
7, 8,' 224
Oil-painting, method of P. S.
described, 124-127
Paper used by early water-
colour painters, 113, H4
Pars, William, 84, 143
' Pasquin, Anthony ' (Williams),
quoted, 8, 11, 12
• Plan of an Art Academy,' 49-
52
Political caricatures by P. S.,
38-40
! Portraits of T. S. and wife, 195-
197
Portraits of P. S. and wife, 192-
197
Provis, Miss, 92, 93
Pupils of P. a., 79, 85-89

228 Thomas and Paul Sandby.

Ramsay's * Gentle Shepherd,'
etchings by P. S. for, 28, 29
Redgrave, R. and S., quoted,
106, 108-110, 113, 114, 201
Residences of T. and P. S., 18,
20, 47, 4S, 75
Reynolds, Sir Joshua, P.R.A.,
180, 1S1, 194, 21S
Rocet's ' History of Old Water-
Colour Society,' quoted, 132,
'33. 145
Roubiliac, the sculptor, 105
Royal Academy of Arts : plans
for establishment of, 51, 52,
56, 57 ; T. and P. S. ap
pointed foundation members
of, 57; T. S. elected first
Professor of Architecture at,
57, 58 ; his lectures at, 58-64 ;
T. and P. S. members of the
Council, 64, 103 ; P. S. at the
'club' and other dinners, 103 ;
P. S. Deputy Librarian, 105 ;
T. S. and others deputed to
conciliate Sir J. Reynolds,
180, 1S1 ; works of T. and P.
S. exhibited at, 204, 205, 207-
212

Sandby, Thomas, R.A. :
Born at Nottingham, 5 ; early
views of the town by, 7, 8 ;
attended drawing - school at
Tower of London, 9 ; ap
pointed draughtsman and
private secretary to Duke of
Cumberland, 10 : accompanied
him in campaigns in the
Netherlands, 11-14 ; present
at Battle of Culloden, 12 ;
appointed Deputy Ranger of
Windsor Great Park, 20 ;
formation of VirginiaWater by,
21-26; residence in London,
47 ; on committee to found

an "Academy of Art, 49-52 ;
appointed foundation mem
ber of Royal Academy, 57 ;
elected first Professor of Archi
tecture, 5S ; lectures as such,
58-64; member of the Council,
64 ; designs various build
ings, 64, 6S-72 ; architect
of Freemasons' Hall, 65-6S ;
various appointments held by,
72, 73 ; retirement from town
life, 75 ; obtained commission
for Wilson's ' Niobe,' S3 ;
topographical drawings by, at
British Museum and Windsor
Castle, 128, 129, 213, 214,
218, 219, 220-222; referenceto
in Walpole's letters, 154-156;
poetical letters by, 159-162;
his marriage, 175, 176 ; his
family, 176-179 ; lines to his
children, 179, 1S0 ; deputed
by R.A. to conciliate Rey
nolds, 1S0, 181 ; friendship
with Herschel, 181 ; death
and burial at Windsor, 1S3,
184 ; his will, 1S5, 1S6 ;
disposal of his effects, 1S6,
1S7 ; portraits of, 195-197 ;
exhibitions of works by, 19S,
199, 204, 205 ; drawings by,
in the Royal Library, Windsor,
213,214; in public galleries,
219-224
Sandby, Paul, R.A. :
Born at Nottingham, 5 ; at
drawing-school at Tower of
London, 10 ; draughtsman to
survey of the Highlands, to ;
drawings of scenes and char
acters in Scotland, 15-1S;
engravings of Virginia AYater,
25 ; etchings, 27-30 ; views
in America, 29, 30 ; London
views and cries, 30-32; cari
catures, 32-44 ; series of

Index

Windsor views, 46 ; romoval
to London, 47, 4S ; a director
of the Society of Artists, 55 ;
nominated foundation member
of Royal Academy, 57 ; social
gatherings at his house, 77,
78 ; friends and acquaintance,
76-79; helpful to brother
artists, So - 85 ; appointed
drawing-master, R. M. Aca
demy, Woolwich, S5-S7 ;
royal and other pupils, 79,
S7-90 ; letter on art by, 90-
93; travelling experiences, 94-
100 ; encounter with a print-
dealer, 101, 102 ; took part
in planning Boydell's Shake
speare Gallery, 103-105 ; on
Council of R.A. and Deputy
Librarian, 105 ; experiments
with colours, 10S-113 ; modes
of v.aier-colour drawing de
scribed, 114-123 ; his oil-
painting, 124-127 ; method of
aquatinta engraving, 135-148 ;
references to.in letters of Gray,
Mason, Walpole and Newn-
ham, 150-158; his letters to
Gandon, 162-174; his mar
riage and family, 1S7-1S9 ;
death and burial in London,
190, 191 ; his will and effects,
191 ; portraits of, I9l-I95i '97;
modem exhibitions of- works
by, 19S, 199 ; drawings ex
hibited at Royal Academy,
207-212 ; list of works in
Royal Library, Windsor, 21+-
21S ; in public galleries, 219-
224
Sandbv, Rev. George, D.D..28
William, 27 ; his son, 1S6
Sandby in Denmark, 4
Saundby, village of, 2
Scotland, T. S. employed during
rebellion in, 10-12 ¦

Scotland, 1*. S. draughtsman to
Highland survey, 10, 14-lS
Scotland, adventure at a ground
wash in, 100, 101
Serres, Dominic, R.A., 163, 167
Shakespeare Gallery, 103, 105
Singleton, Henry, 196, 197
Smith, J. T., ' Book for a Rainy
Day,' quoted 26, 80, 112, 113,
127, 128
Soane Museum, drawings by
T. S. at, 60, 222, 223
Social gatherings by P. S. at
St. George's Row, 77-79
Society of Artists founded,
53-56
Society of Artists, works of
T. and P. S. exhibited at,
204-207
South Kensington Museum,
works of P. S. at, 221, 222
Staines Bridge, 69
Stogden, Ann, wife of P. S-, lS7
Tasso's 'Jerusalem Delivered,
illustrations to, engraved by
P. S., 29
Tempera (body-colour) painting,
116-124
Thoroton's ' History of Notting
ham,' quoted, 2, 3
Topographical drawings by T.
and P. S., 127-132
Tower of London, drawing
room at, 9, 10
Travelling in the last century,
94-100
Turner, J. M. W., R.A., 107,
145, 146
Venables, Elizabeth, married to
T. S., 176
Verses by P. S. , 40-42
by T. S., 159-162, 179, 1S0
' Vestris and the Goose,' 40-42
Virginia Water planned by
T. S., 21-26

230 Thomas and Paul Sandby.

'Virtuosi's Museum,' views by
P. S. in, 1 48
Walpole, Horace, 153-156
AVater-colour painting, materials
for, 108-114
AVater-colours, P. S.'s methods
of painting in, 114-124
AVest, Benjamin, P.R.A., 167-
169
AVifeofT. S., 176
of P. S., 187
Will of T. S., 1S5, 1S6
of P. S., 191
Wilmott, Rev. R. A., quoted,
'33. fJ4
AVilson, Richard, R.A., 81-83,
9'
Windsor, early views of, by
T. and P. S., 45, 46, 129, 213-
217
AVindsor, St. George's Chapel
altar-screen designed by T. S.,
68, 69

Windsor, works by T. and P. S.
in Royal Library at, 213-218
AVindsor, Old, burial of T. S.
at, 183
Windsor Great Park, T. S. ap
pointed Deputy Ranger, 19
Windsor Great Park, Virginia
Water planned by T. S., 21-
26
AVindsor Great Tark, buildings
in, designed by T. S., 70, 71
Windsor Great Park, colour ob
tained from beech-tree in, 112,
Woolwich, Royal Military-
Academy, P. S. appointed
drawing-master at, 85-S7
Woolwich, works of P. S. at,
223
Woolwich, adventure in the
coach, 98, 99
AVynn, Sir Sv. W., 143
Zoffany, John, R. A., 196, 197

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