Yale University Library J9002005249850 YALE UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE RICHARD S. FBLLOWES FUND A DICTIONARY OF ARTISTS. A DICTIONARY OF ARTISTS OP THE ENGLISH SCHOOL: PAINTEBS, SCULPTORS, ARCHITECTS, ENGEAYEES AKD ORNAMENTISTS : WITH NOTICES OF THEIR LIVES AND WORK. BY. SAMUEL REDGRAVE, JOINT-AUTHOR OF 'A CENTURY OP PAINTERS OF THE ENGLISH SCHOOL.' JJeto ®biti Samuel Redgkave, The eldest child of William and Mary Redgrave, was born at No. 9, Upper Eaton Street, Pimlico, on the 3rd of October, 1802. His father was at that time in the office of Mr. Joseph Bramah (the inventor of the Hydraulic press), to whom he was distantly related ; but he afterwards engaged in business for himself, in partnership with Mr. Pilton, carrying out their invention of strained wire, or, as it was then called, ' invisible wire fencing.' A family following in quick succession, Samuel, with his brother Richard, the second child, was sent early to a school at Chelsea. There they were both allowed to follow their inclination for draw ing, and, under the instruction of Mr. John Powell, obtained such a knowledge of water-colour painting as was consistent with the time then given to this ' extra,' in a school course. Samuel shewed much taste, careful execution, and love for the art, which he con tinued to practice for his amusement and solace until late in life. On leaving school at an early age, the brothers entered a night class for the study of architecture, where they continued to practice for vii BIOGRAPHICAL NOTICE. some years, and thus obtained a thorough knowledge of architectural drawing, perspective, construction, and design. The difficulty of providing for a large family, owing to the hard times caused by the long wars of the beginning of the century, induced his father thankfully to accept for his eldest son, then about fourteen, a small clerkship connected with the Home Office. The place of his labours, however, was not for some years in the Home Department, but in the Old State Paper Office in Scotland Yard, since pulled down. There, alone and employed in the driest duties, his young days were passed in writing during the official hours, often bringing home extra work at which he laboured far into the night. This, however, formed for him habits of steady perseverance and precision, which he never lost ; nor did it preclude him from self-improvement, since he found time to perfect the knowledge of French which he had acquired at school, to make himself well acquainted with German, and to obtain enough of the Spanish language to enable him to read and enjoy some of the best Spanish authors, besides which, as a flute player, he frequently joined his father and one or two German friends in a trio or quartet. Mention has already been made of his architectural studies, and when his brother Richard, in spite of many discouragements, de termined to follow the profession of art, and in 1826 was admitted a student in the Schools of the Royal Academy, Samuel was stimu lated to make an effort to study there also. He prepared a set of drawings, was entered as a probationer, and (during his annual holiday, devoted to this purpose) completed the necessary works. He was, in December 1833, admitted as an architectural student for ten years. At that time, beyond attendance at lectures, and the use of the library, there was little direct architectural teaching1 (a want since largely remedied), but his studentship brought him into connexion with art and artists, who, to the end of his life formed his chief companions and friends. It must not be supposed that these varied labours and studies withdrew his attention from his official duties — far from it. When he obtained an assured place in the Home Office, he at once began to consider how the work confided to him could be improved or more complete information afforded. Part of his labours had con sisted in annually preparing a very feeble register of Criminal vm BIOGRAPHICAL NOTICE. Offences ; this he amplified into au annual volume, registering every criminal and criminal offence, and to ensure accuracy he read up our criminal law with great attention. This was at a period when the criminal code was undergoing: serious and continuous changes, and he was able to aid the movement by his careful and exact statistics, and to support or suggest alterations which the extreme severity of the English laws against crime so greatly needed. These labours met with encouragement and acceptance by the best statisticians both here and on the Continent, and it was in acknowledgment of the value of his statistical labours connected ¦with criminal offences, that he was made a life member of the Statistical Society. In 1836 the Constabulary Force Commission was appointed, and Mr. Redgrave was- named as its secretary; much valuable informa tion was obtained, from which the secretary drew up a most graphic report as to the many ways in which the public was preyed upon by thieves and vagrants. In May 1839 Lord John Russell ap pointed him his Assistant Private Secretary, and on his leaving office, he was continued as Mr. Fox Maule's till September 1841. He was also Private Secretary to Mr. Fitzroy from December 1852 to January 1855. Later in his official life, in 1853, the Home Secretary confided to him the consolidation, with a view to extinction, of the Turnpike Trusts of the United Kingdom. This he did not hesitate to accept, and, in addition, the task of arranging an annual registration of the procedure in civil cases, as he had already done with criminal offences — a duty requiring much previous reading and study ; such labour, though wholly distinct from the routine of office, he never theless carried out as part of his usual official work. At the desire of the then Home Secretary, Sir G. Cornewall Lewis, Mr. Redgrave undertook to compile and codify all the duties of the Secretary of State — the authority for such duties, their use and source. This confidential volume he completed, after much research, to the satisfaction of his chief; it is entitled ' Some Account of the Powers, Authorities, and Duties of Her Majesty's Principal Secretary of State for the Home Department.' It was printed for the use of the Home Secretary in 1852. The research incident to this work induced the author to enter upon the larger ix BIOGRAPHICAL NOTICE. field of tracing the origin and duties of all the Government officers. This he completed in 1851; it was entitled 'The Official Hand book of Church and State/ published by Mr. Murray. It was greatly appreciated, and a second edition called for and exhausted ; nevertheless, it was wholly unremunerative to its author. These severe and sedentary labours, however, told upon his constitution, and after an attack of congestion of the brain, added to heavy domestic troubles, he was advised to ask leave in 1860 to retire from the office he had held above forty years. The object of this short memoir, however, is to relate Mr. Red grave's connexion with art and artists, and his qualifications for the work to which this memoir is appended. We have seen his acquaintanceship with artists by his early studies ; and when, in 1842, his brother Richard, who had acted as Secretary to the Etch ing Club from its foundation in 1837, was obliged, from his own accumulated labours, to resign the office, Samuel succeeded him, and continued to fulfil the duties until the day of his death, this duty bringing him in constant connexion with many of the most rising artists of the day. In the International Exhibition of 1862, Mr. R. Redgrave was entrusted with getting together an historical series of the works of British painters, both in oil and water-colours. He sought the aid of his brother, who undertook the arrangement of the pictures in water-colours. Both were greatly interested in the work, and having accumulated much material as to the history of English art, they determined to embody it in a book which should serve as a continuation to Vertue and Walpole, and they jointly compiled ' A Century of Painters of the British School ' carrying on the history of art to the date of its publication in 1866. In 1867 to Mr. Redgrave was entrusted the due representation of British Art in the Paris International Exhibition, which he carried out successfully. He was for many years an active member of the Council of the Society of Arts, and became one of their Vice-Pre sidents. The Society appointed him their Trustee (under Sir John Soane's will) of the Soane Museum, a trust which he continued to hold until his death. Besides these multifarious labours, he submitted, in 1865, to the Lord President of the Committee of Council on Education a pro posal to form a Loan Collection of Miniature Portraits, which was x BIOGRAPHICAL NOTICE. accepted, and the Exhibition (opened in the June of that year) was entrusted to him to carry out. In 1866 he aided the late Earl of Derby in giving effect to his Lordship's idea of a Loan Exhibition of Portraits of British Celebrities, extending from the earliest known pictures to the present time. The series was so ample that the Exhibition con tinued during three seasons. When the Royal Academy, in the winter of 1869, determined, in the best interests of art, to continue the Exhibition of the works of deceased masters, which had lapsed with the British Institution, the Council, aware of Mr. Redgrave's administrative abilities, requested him to act as secretary to the committee formed to carry out their intentions. The first exhibition was a decided success, and he continued to fulfil the office until the appointment of a lay secretary to the general body rendered his further assistance unnecessary. All this time he was gathering materials for the 'Dictionary of Painters, Sculptors, Architects, and Engravers,' completed and published in 1874. During that year the Department of Science and Art requested him to compile a catalogue of the ' Historical Collection of British Paintings in Water- Colours,' with a short introductory preface embodying the history and progress of the art. On this work he was engaged till his lamented death, on the 20th March, 1876, and it was published towards the end of that year. Mr. Redgrave married in 1839, but lost his wife after a long illness in 1845. She left two daughters who both died before him, the younger in 1856, and the elder in 1859. A true-hearted brother and friend, his kindly and modest nature endeared him to all who knew him, by whom his loss will long be felfc. It is hoped that this short memoir will suffice to show how diligently he served the public during a life of useful labour. PREFACE. This work was begun upon an experience of the little inform ation readily attainable respecting the Artists of the English School. For some years several special opportunities which arose have been diligently used, and every means taken, to collect such facts as might be obtained ; but it was painful to find how little was known, or could be learnt, of many who, in their own day, if not in ours, had been distinguished, and how often the few facts which in some cases still existed were at variance. While it cannot be assumed that this work is free from errors, or that all who ought to find a place have been included, it will be a great satisfaction to the author to correct hereafter any mistakes or omissions that may be kindly pointed out. A succession of native artists, many of whose works exist, and are prized, may be traced from the time of Henry VII. ; while of the artists themselves, the few facts which in some cases have been preserved, are beyond the reach of ordinary means of reference. The collected art-biographies we possess are general, and the notices of our countiymen which are included in them seem rather the result of chance than of any effort to attain completeness. The present work appears to be the first to combine, in a dic tionary form, some account of the Artists of the English School exclusively, and to include the Painters, Sculptors, Architects, Engravers, and Ornamentists ; and the number who have been thought deserving a place is probably ten times greater than will be found in any other work. The materials have not only been collected from all the ordinary sources of references, but much PREFACE. information has been sought in out-of-the-way places, and has been the result of private and personal enquiries. The aim of the Compiler has been to include the name of every artist whose works may give interest to his memory, whether to the lover of art, the art-collector, or the antiquary. The limitation to the Artists of the English School has not been followed so strictly as to include only those born in this country. Many foreign artists who came to England in their youth, learnt their art here, practised it here, and died here, could not be omitted ; nor could, indeed, some others whose title to insertion may not be so clear. But in every case foreign artists who held any public appointment or employment here, or who have been connected with the art insti tutions of the country, have been included ; though, in taking this course, it is not necessarily intended to claim such artists as of the English School. Regarding the scope of the work, it may be objected that the names of artists have been inserted who have left Httle by which they merit remembrance. Possibly so. But, on the other hand, it is not the artist alone of whose works and memory there are ample records, so much as the obscure and forgotten, whose works are rarely met with, of whom information is desired, and frequently sought in vain. Also in the scale of the memoirs, of an indifferent artist information may abound; of one of eminence, concerning whom every fact would be valued, the particulars which exist are- meagre in the extreme. The time seems past when they could be supplied, and the few facts given are all that in many such cases it appeared possible to save from oblivion. Of the early architects, the names of the chief of those are included wliich appear in many documents under the title of 'Devisor,' 'Supervisor,' 'Director,' 'Master Mason,' 'Clerk of the Works,' &c, some of whom held high Church preferment. But the doubts often expressed are fully shared by the Author as to how far such officers may claim the distinction of architect, as the name is now applied, of many of the noble early works which have been attributed to them. xiv PREFACE. In the alphabetical arrangement, all names with a prefix have been classed under the initial letter of the prefix. Thus names commencing Van, Von, Van der, Von der, Le, La, Be, D%, Delia, &c> have been subjected to this arrangement. They refer chiefly to foreigners or their descendants, and it will be found that when such names become acclimatised, the prefix is naturally absorbed in the proper name, and no longer maintains its separate form. In the orthography of names, which hardly became settled till nearly the middle of the last century, the most recently accepted spelling has been adopted. The Author received, in the progress of this work, so much kind assistance, not alone from friends, but from many others of whom he solicited information, that he regrets he is only able to acknow ledge generally the valued help given to him, and the great obligations he has incurred. KENSISeTOS, November, 1873. (firitor's Ifaie to % ^uono (glutton. The first edition of this Dictionary being exhausted, it has become necessary to publish a second. This has been revised and corrected in many instances by the Compiler himself, who continued to labour upon the work till his death in 1876; since which time it has been carried on by a member of his family. A short Memoir of the Author has been appended, about 150 lives added, and the Dictionary carried down to the date of the present year. Any corrections of errors in this work will be thankfully received, and the help already given by friends is here gratefully acknowledged. F. M. R. Kensington, October, 1878. DICTIONARY AETISTS OF THE ENGLISH SCHOOL. NOTE. President; B.A., Royal Academician ; A.R.A., A.B.S.A., Royal Hibernian Academy, Dublin : R.H.A., Academician ; A.R.H.A., Associate. Royal Academy of Arts, London: P.R.A Associate ; A.E., Associate Engraver. Royal Scottish Academy, Edinburgh : R.S.A., Royal Scottish Academician Associate; H.R.S.A., Honorary Scottish Academician. ABBOT, J. W., amateur. Practised about 1760. He drew landscapes in the manner of Peter de Laer. He also painted insects, and there is a small etching by him of some merit. He was honorary exhibitor of landscapes with cattle and figures at the Academy from 1793 to 1810. A landscape and cattle in oil, exhibited 1794, received great contemporary praise. ABBOT, Henry, landscape painter. Practised in London. Drew in 1818 views of the chief Roman ruins, with the pano ramic environs of Rome, which he pub lished. ABBOTT, Edward, landscape painter. Lived many years in Long Acre, where he was eminent as a herald and coach painter. He also painted landscapes in a pleasing manner, and travelled in France and Italy with Wynne Ryland, the engraver.- In 1782 he retired to Hereford, where he practised as an artist, and died, after a long illness, November 11, 1791, in his 64th year. ABBOTT, Francis Lemuel, portrait painter. Born 1760, in Leicestershire. Son of a clergyman in that county. At the age of 14 he became the pupil of Frank Hayman, who dying two years after, he returned to his parents, and by his own perseverance attained the power of taking a correct likeness. About 1780 he settled in London, and gained reputation and em ployment. He first exhibited his portraits at the Academy in 1788, again in the fol lowing year, and then not till 1798. He exhibited the last time in 1800. Lord Nelson sat to him several times ; and his practice greatly increasing, he would not, as was then the custom, employ an assist ant. He was overwhelmed with engage ments which he could not complete, and that anxiety, added to the domestic dis quiet arising from an ill-assorted marriage, Drought on insanity, which terminated his life early in 1803. His portraits have been engraved by Valentine Green, Skel- ton, Walker, and others. There is a half- length portrait of Nelson by him in the gallery at Greenwich Hospital, and a whole- length of Admiral Sir Peter Parker. His merits were limited to the head ; his male portraits, in particular, were perfect in resemblance, and the finish well studied, but Lis figures were insipid, and his back grounds weak and tasteless. ABEL, John, architect. Practised with some distinction in the reigns of Charles I. and II. The Town Hall and Market House at Hereford (1618-20), at Brecon, and at Weobly, are from his design, as also the School-house at Kington and at Leominster, 1663. These buildings were handsome erections in wood, showing much constructive ability ; but where they re main, repairs and alterations have deprived them of their original character. He held the appointment as one of Charles I.'s carpenters. He died 1694, aged 97, and'*-**- "*¦ was buried at Snaresfield, Herefordshire, |*'-'3-03- where on his tomb he is styled ' architect.' ABEL, Richard, medallist. He was a goldsmith, and was in the 27th Henry III. nominated ' to be maker and cutter of the money dies.' ABERRY, , engraver. He is only known by an etched portrait of Sir W. W. Wynne, after Hudson, 1753. ABRAHAM, Robert, architect. Born 1774. Was the son of a builder, and educated as a surveyor. In the early part of his career he found employment in measuring builders' work and settling their accounts, and later in life was much en gaged in valuations. When, following the peace of 1815, some impetus was given to Metropolitan architecture, he was engaged as an architect, and his works, if not of great architectural merit, showed a fitness of character and ADA adaptation of material. Among the chief were the Jews' Synagogue, near the Hay- market, the County Fire Office, and the Westminster Bridewell. He died Dee. 11, 1850, aged 77. ADAM, William, architect. Held the appointment of king's mason at Edinburgh, where he practised his profession with much repute. Hopetoun House and the Royal Infirmary iu that city are examples of his ability, as also the New Library and University at Glasgow. He died June 24, 1748. The three Adams of the Adelphi were his sons. ADAM, Robert, architect. Born 1728, at Kirkaldy, Fifeshire. Son of the above AVilliam Adam. He was educated at the Edinburgh University, and formed friend ships with several men who became dis tinguished. In the study of his art he visited Italy about 1754. He took with him Clerisseau, a clever draftsman, and remained some time. On his return he soon rose to professional eminence, and in 1762 was appointed architect to the king, but resigned that office to become candidate for Kinrosshire, for which county he was elect ed representative in 1768. At this time, in conjunction with his brother James, he commenced the great work on the shores of the Thames with which his name is associated. His plans were unsuccessfully opposed by the Corporation of London, as an encroachment upon their privileges. He raised the shore by a succession of arches, and on them erected three fine streets and a terrace fronting the Thames, naming this work, in memory of himself and his two brothers, the 'Adelphi.' It was not, however, successful as a specula tion, and in 1774, under the sanction of an Act of Parliament, he disposed of the whole by lottery. Among his works may be named — The facade of the Admiralty, Whitehall ; Lansdowne House, Berkeley Square ; Luton Hoo, Bedfordshire ; Caen Wood House, near llampstead ; Osterley House, near Brentford ; Kidleston, Derby shire ; Compton Verney, Warwickshire ; and the General Register House, Edin burgh. He was largely employed in the alteration of many fine mansions, and showed great ability in the arrangement and decoration of interiors, displaying a pleasing variety in the form and proportion of his apartments, and a comfort and ele gance not studied by his predecessors. He also designed ornamental furniture. His style was original — in taste approaching prcttiuess, but was highly popular in his day, and has left a character which is still known as his. He painted many good landscape compositions iu water-colours. He published a work on the Ruins of Diocletian's Palace, 1764, and, with his brother James, commenced in 1773 'The ADA Works in Architecture of R. and J. Adam.' He was F.R.S. and F.S.A. He died, from the bursting of a blood-vessel, at his house in Albemarle Street, March 3, 1792, and was buried in the south aisle of West minster Abbey. His journal of his tour in Italy, 1760-61, was pubhshed in the Library of the Fine Arts. ADAM, James, architect. Younger brother of the preceding, and connected with him in most of his works. He held the office of architect to the king, and was himself the architect of the spacious range of buildings named Portland Place. He pubhshed a treatise on architecture, and was engaged upon a history of architecture which he did not live to finish. He died, in Albemarle Street, of an apoplectic attack, October 20, 1794. ADAM, John, ewjraver. He practised in London towards the end of the 18th century, and engraved in the chalk manner portraits for periodical works. The por traits in Caidfield's 'History of Remark able Characters ' are engraved by him, but possess httle merit. There are also by Mm portraits of Queen Elizabeth and Dudley, Earl of Leicester, after drawings by Zucehero. AD A.MS, Robert, architect. Bom in London, 1.340. Was surveyor to the Board of Works and architect to Queen Elizabeth. A large plan of Middleburgh by him is ex tant, dated 15SS ; also a pen-and-ink draw ing, styled ' Tamesis descriptio,' showing how the river may be defended by artillery from Tilbury to London, with represent ations of several actions while the Spanish Armada was off the British coast. These latter were engraved, and Walpole assumes that they were engraved by him, and styles him an engraver. Dallaway says they were engraved by Augustine Ryther, of which there seems little doubt, lie translated from the Italian into Latin I baldini's ac count of the defeat of the Spanish Armada. He died in 1595, and was buried in Green wich Church, where a tablet describes him as ' Operum regiorum supervisori, architec ture peritissimo.' ADAMS, Bernard, architect. Prac tised in the reign of Queen Elizabeth, wdien his name often appears, but of his works no particulars are recorded. ADAMS, Francis E., enqravar. He received a premium from the Society of Arts in 1760. Produced some portraits in mezzotint about 1774, but did not attain any excellence in his art. A satirical print of a young girl, dressed quite & la mode, whose mother does not know her (1773) is well drawn and tolerably finished. ADAMS, Frances Matilda, flower painter. Was water-colour painter "extra ordinary to Queen Adelaide, and exhibited at the Royal Academy for several years ADA from 1816. She died October 24, 1863, aged 79. ADAMS, James, architect. Was a pupil of Sir John Soane, and gained the Royal Academy gold medal for an architectural design, 1809. In 1818 he was residing at Portsmouth, and exhibited the view of a Dispensary erected at Plymouth Dock and the additions made to Mount Edgecumbe House. In the following year he exhibited the interior of St. Thomas's Church, Ports mouth, after which the catalogue affords no trace of him. AD YE, Thomas, sculptor. He was ap pointed sculptor to the Dilettanti Society m 1737, and between that date and 1744 executed several httle commissions for the Society, chiefly for carvings in ivory. AGAR, D., portrait painter. Practised about the beginning of the 18th century. Faithorne engraved after him. AGAR, John Samuel, engraver. Pro duced some excehent works in the stipple or chalk manner, and also drew some por traits. He exhibited portraits and an occasional subject at the Royal Academy, commencing in 1796 up to 1806, and ' The Tribute Money ' at the British Institution in 1810. He was, in 1803, governor of the Society of Engravers, and was living in 1820. AGASSE, James Laurent, animal and landscape painter. Born at Geneva, and studied there as an animal painter. In 1800 he pleased an English traveller by a portrait of his dog, and was induced by him to come to London, where he settled. In 1801 he appears as an exhibitor, at the Academy, of the ' Portrait of a Horse,' fol lowed by a ' Rustic Repast,' ' Race-ground,' 'Portrait of a Lady, 'Market-day,' &c. Then, in 1842, after an interval of 10 years, he sent a ' Fishmonger's Shop,' and contributed one work in each of the three following years. Several of his works were engraved, among them six landscapes. He was of independent, unconciliating man ners ; hved poor and died poor about 1846. AGGAS, Ralph, draftsman and sur veyor. Said to have been born in Suffolk about 1540. He practised 1560-89, and was distinguished by his maps of the principal cities of the realm. They are bird's-eye views, representing in the mar gins the principal structures. Cambridge, published 1578, was the earliest; 10 years later, Oxford, surrounded with the views of the colleges, the arms, and other objects of interest. He also made a survey of London and Westminster, and produced a large plan and view on wood (subsequently repeated on pewter) ; but he could not obtain permission to publish it— probably from political reasons — till the accession of James I., to whom it is dedicated. He died abeut 1617. He has been designated AIK the engraver of the plans, but on one of them he is is called ' Autore,' and the en graving was more probably the work of Ryther. His maps nave been many times repeated, and are the authority adopted by all subsequent antiquarian writers. AC GAS, Robert, landscape and scene painter. A descendant of the foregoing. Was a good landscape painter both in oil and tempera, and skilled in the introduc tion of architecture. He was much em ployed by Charles II., and gained a reput ation as scene painter for the theatre at Dorset Garden. He was also employed at the Blackfriars and Phoenix Theatres. In the Painter-Stainers' Hall there is pre served a landscape by him. He died in London in 1679, aged about 60. AGLIO, Auoustine, subject painter and decorator. He was born at Cremona, Dec. 15, 1777, and was educated at the College of St. Alessaudro, Milan, where he was one of the most distinguished pupils. He stuched the various branches at the Academy Brera, and in 1797 prac tised landscape painting at Rome, where he was introduced to Mr. Wilkins, R.A., with whom he travelled in Italy, Greece, and Egypt, and employed himself in sketch ing the antiquities of those countries. In 1802 he returned to Rome, and in Decem ber of the following year came to England on the invitation of Mr. Wilkins, whom he at once joined at Cambridge, and whose ' Magna Gratia ' he was employed to com plete in aqua-tint. In 1804 he was engaged in the scene- room of the Opera House, and in 1806 at the Drury Lane Theatre, and was then largely employed in the decorations of some important mansions, and visited Ireland, where he painted twelve pictures of Killarney. In 1811 he decorated the Pantheon in Oxford Street, and in 1819, in fresco, the ceiling of the Roman Ca thohc Chapel in Moorfields, where he also executed the altarpiece. He also drew many works in lithography, and his ' Mex ican Antiquities,' which were announced in ten volumes, though only nine were pub lished — 1830 - 48. _ About 1820 he pro duced many easel pictures. He exhibited at Suffolk Street between 1825 and 1856, and at the Royal Academy between 1830 and 1846. To the Westminster Hall Exhibition he sent a large landscape, with figures in fresco. In 1844 and m 1847, ' Rebecca,' a large oil picture. One of his last works was the decoration of the Olympic Theatre. He painted two por traits of the Queen, which, with some other works, were engraved. After a long earnest life spent in the pursuit of art he died Jan. 30, 1857, in his 80th year, and was buried in Highgate Cemetery. AIKIN, Edmund, architect. Son of 2 3 A IK Dr. John Aikin. Was born at Warring ton, October 2, 1780. He was assistant to General Sir Samuel Bentham, R.E., who was the architect of the General Penitentiary at Millbank. About 1814 he resided some time at Liverpool, while superintending there the erection of the Assembly Rooms, and designed several buildings in that borough, and later the Presbyterian Chapel in Jewin Street, London. He wrote several professional papers and essays, among them the account of St. Paul's Cathedral, published with Britton's engravings of that edifice, and some of the earlier architectural articles in Rees's 'Encyclopaedia;' and also,' in 1808, published 'Designs for Villas.' He was from 1800 to 1S14 an occasional exhi bitor of architectural designs at the Royal Academy. He died at Stoke Newington, March 13, 1820. AIKMAN, William, portrait painter. Born at Cairney, Forfarshire, October 24, 1682, only son of a member of the Scotch bar, of good family, who designed Mm also for the law. But he was attracted to art, and so soon as he was at liberty left the study of law, and turning to art placed himself under Sir John Medina, with whom he continued three years. Then he sold his paternal estate m Forfarshire, and in 1707 went to Borne, where he studied till 1710. He next travelled to Constantinople and Smyrna, and returning by Rome and Florence, reached Scotland m 1712. He succeeded to some employment on the death of Sir John Medina, and practised for about 13 years in Edinburgh with great success. He was induced, in 1723, to come to London, where he settled and became acquainted, among other artists, with Kneller, whose manner he imitated. He was much employed. His works were weak but pleasing, not showing much original invention. Several of his full- length portraits are at Blickling, Norfolk. He had commenced a large picture of the royal family in three compartments, but the third, containing the half-length por trait of the king, was unfinished at Ms death. This picture is m the collection of the Duke of Devonshire. Many of his portraits have been engraved, aud two portrait etchings by his hand are known. lie was reputed a good judge of pictures, and while in Italy was employed to pur chase for the Duke of Kiugstou. He died in Leicester Square, June 7, 1731, it is said of excessive grief for the loss of an only son, and both were removed to Scot land together and buried in one grave, in the Greyf riars' Church, Edinburgh. He left two daughters. His friend Mallet wi'ote his epitaph and Thomson bewailedhis loss in verse. He was intimate with many of the most distinguished men of his time. ALD AIKMAN, John, draftsman. Bom 1713 ; only son of the foregoing. He had early shown much promise of future excel lence in art. There are a few studies etched by him after Vandyke, two or more on a plate, but they are rare. He died at the age of 18, in 17*31. ALBIN, Eleazar, draftsman and na turalist. Was of German origin, and changed his family name of Weiss to its latinised translation, Albinus. A student of natural history, he made able drawings, and engraved and coloured them with his own hand. His ' History of English In sects ' is a great example of laborious per severance. It was published in 1720. He explains, in Ms preface, that teaching to draw in water-colours is his profession, that the beautiful colours of flowers and insects led him to pamt them, and that, becoming acquainted with some eminent naturalists, he was much employed by them. He published a ' Natural History of Birds,' comprising 306 plates of birds drawn from life, a work on spiders, and a Mstory of fishes, but in tMs last work he was assisted in the engraving by Basire, James Smith, and others. His insects are marked by great truth. He does not seem to have received the encouragement he so well de served, for he says his subscriptions came m slowly, and that having a large family to provide for, his circumstances retarded his work. He practised 1720-40. ALCOCK, John, D.D., amateur. Born at Beverley about 1453. Was educated at Cambridge, was . preceptor to Edward, Prince of Wales, and successively Bishop of Rochester, Worcester, and Ely. He was also a privy-councillor, ambassador to the Court of Spain, and filled several high offices in the State. He was distinguished as one of the greatest architects of his time. He designed the spacious hall be longing to the Episcopal Palace at Ely, and made great areMteetural improvement there and in his other sees. He planned the conversion of the old nunnery of St. Radegund at Cambridge into Jesus College. He was appomted joint surveyor of the royal works and buildings in the reign of Henry VIII. Died at Wisbeach, October 1 1500. ' ALDRICH, Henry, amateur. Dean of CMist Chinch, Oxon. Born at Westminster 1647. He had much skill in architecture, for which he had cultivated a taste durin"- a long residence in Italy. He designed the quadrangle at Oxford, named Peckwater Square, the chapel of Trinity College the church of All Saints, and the garden front of Corpus Christi. He wrote a series of lectures called ' The Elements of Civil' Ar chitecture,' published many years after his death (1789). He was a man of great knowledge and varied acquirements a ALE ALE classic and scriptural scholar, and withal a good musician ; the composer of ' A Smok ing Catch' and the favourite 'Hark, the bonny bonny CM-ist Church Bells ! ' which he published in his 'Pleasant Musical Companion.' He was also the author of several learned works. Died at Oxford, December 14, 1710. ALEFOUNDER, John, portrait and miniature painter. Was a student m the Royal Academy, and in 1782 gained a silver medal. He first exhibited, in 1777, an architectural design, m the following year a portrait m chalk, and then practised in immature, occasionally m chalk and oil, and in 17S4 he exMbited some theatrical portraits and portrait groups. Soon after he went to India, where he realised some property by the practice of his art. He sent a portrait from Calcutta to the Academy Exhibition m 1794, and suffering from the effects of the climate, died there m the followmg year. A portrait by him of ' Peter the Wild Boy ' was engraved by Bartolozzi m 1784, and of 'Edwm the Actor ' by C. N. Hodges in the same year. An oil portrait by Mm of John Shipley is at the Society of Arts. ALEXANDER, Sir Anthony, Knight, architect. Son of Alexander, Earl of Stir ling. Was master of the kmg's works in Scotland in the reign of Charles I. He died in London, August 1637, and was buried at Stirlmg. ALEXANDER, John, portrait and history painter. Was born m Scotland, the son of a rmnister of the Scotch Kirk, and was the pupil and son-in-law of Alex ander Jamesone, a descendant of George Jamesone. He was educated m Italy, spent some time m Florence, and m 1716 was m Rome, where he devoted Mmself to the study of Raphael's works. On his return to Scotland M 1720, he painted portraits and several historical pictures. The ' Rape of Proserpme,' on the staircase of Gordon Castle, was by him. He copied, or invented, several portraits of Mary Queen of Scots. While m Rome he etched m a coarse but effective manner six plates after Raphael. ALEXANDER, Cosmo, portrait paint er. Practised in Edinburgh about 1750. A portrait by him of the provost of that city was engraved in 1752. His portrait of General Dalziell is also engraved. In 1766 he was a member of the Incorporated So ciety of Artists m London. Gibbs, the architect, left him his house, with all his furniture, pictures, busts, &c. He went to America when between 50 and 60 years of age, and in 1772 was painting portraits in Rhode Island, but he eventually returned to Scotland, and shortly after his arrival died in Edinburgh. ALEXANDER, William, water-colour painter. Born at Maidstone, April 10, 1767. Son of a coach-maker in the town, and educated at the Grammar School there. Came to London at the age of 15 to study as an artist, and was placed under William Pars, then under Ibbetson, and in 1784 was admitted student of the Royal Aca demy. In 1792 he accompanied Lord Macartney's mission to China as drafts man, and remaining during the journey to the northern frontier, returned with the mission in 1794. He married in the fol lowing year, but the loss of his wife shortly afterwards left a lasting impression on his character. In 1802 he was appointed pro fessor of drawing to the Royal Military College, Great Marlow, an office he re signed in 1808 on his appointment as assistant-keeper of the antiquities in the British Museum, and afterwards was ap pointed, on the creation of the office, keeper of the prints and drawings. His drawings were engraved for the illustration of Sir George Staunton's account of the Chinese embassy, published in 1797. In 1798 he published himself some drawings made m China, of headlands, islands, and other views ; and in the same year he made finished drawings from Daniell's sketches, illustrating Vancouver's voyage to the North Pacific. He also illustrated Bar row's 'Travels in China,' published 1804, and his ' Cochin China,' 1806. In 1805 he pubhshed his ' Costumes of China.' He was also employed as draftsman to the department of antiquities, British Museum, and made the drawmgs for the engravings from the terra cottas and marbles in the Museum, published by the trustees in 1810, 1812, and 1815. He also drew many of the views for the ' Beauties of Great Britain,' and for Britton's ' Architectural Antiqui ties.' He died of a brain fever at Maid stone, July 23, 1816, and was buried m the neighbouring village of Boxley. He was a good draftsman and eolourist. His drawings are minutely fimshed, and evince great accuracy. His early drawings are executed with the pen, shaded m India mk and tinted ; his figures well introduced ; his architectural details, as shown in the ' Britannia Depicta,' minutely traced. He published, 1798-1805, a masterly collection of his etchings, illustrative of CMnese life and character ; and m 1837 a short journal of a visit he paid to the old seat of Cotton the angler was published in lithograph fac , simile. He was a man of cultivated tastes, an artist, antiquary, and connoisseur. ALEXANDER, Daniel Asher, archi tect. Was born in London, 1768, and educated at St. Paul's School, London. In 1782 he was admitted a student of the Royal Academy, and on the completion of his professional education was early called into important and responsible practice. 5 ALI In 1796 he was appointed surveyor to the London Dock Company, the principal buildings of which are by him. He built the military prison at Dartmoor, now used for convicts ; the old county prison at Maidstone, the Royal Naval Asylum at Greenwich, the London Docks, several lighthouses, and was employed on additions and alterations to Longford Castle, Wilts ; Beddington House, "Surrey ; Coleshill, Berks ; and Combebank, Kent. His de signs were marked by appropriateness, his knowledge of construction great, and Ms work finished with great attention to detail. He had retired from his profession to Exeter, and died there March 2, 1846, aged 78. His eldest son for some time practised as his assistant, but he left the profession in 1820 to enter the Church, and died in 1843. ALIAMET, Francis Germain, en graver. Brother to the celebrated French engraver. Born at Abbeville 1734. He studied at Lisle and then at Paris, but came to London when young. He received a Society of Arts' premium in 1764, and completing Ms studies under Strauge, set tled here, and found employment m en graving portraits for the publishers. He finished with great care and accuracy. He engraved a ' Circumcision ' after Guide, on a large scale, for Alderman Boydell ; also plates after Caracci, Le Soeur, Watteau, Edge Pine, and others. He was acci dentally killed February 5, 1790. ALKEN, Samuel, aqua-tint engraver. Practised his art in London towards the end of the 18th century. He had probably some instruction in architecture, and in 1780 exhibited an architectural design. He produced many views in Great Britam and Ireland, chiefly for the illustration of topograpMcal works, and carried the art of aqua-tint to very high perfection. He designed and etched ' A New Book of Or naments.' He published, in 1796, ' Views in Cumberland and Westmoreland,' and aqua-tint views in North Wales in 1798. ALKEN, Henry, draftsman and en graver. He was well known by his numerous facile delineations, sometimes humorous in character, of field-sports, races, and games. He published ' The Beauties and Defects of the Figure of the Horse,' 1816 ; 'Scraps from his Sketch-Book,' 1821 ; ' Symptoms of being Amused,' 1822 ; ' Illustrations of Popular Songs,' 1823 ; ' The Art and Prac tice of Etching,' 1849 ; ' Jorrock's Jaunts and Jollities ' 1S69. ALLAN,' David (called the Scotch Ho garth), portrait and history painter, was born at Alloa, near Edinburgh, where his father held the office of shore-master, Feb ruary 13, 1744. His childhood was marked by troubles; his genius first shown by chance. In 1755 lie was apprenticed to 6 ALL Messrs. Foulis, and studied his art in their academy at Glasgow. Then, assisted by some friends, he set off for Italy m 1764, and remained M that country nearly 14 years, studying and copying from the old masters. He sent home two Mstorical pictures for exhibition at the Royal Aca demy in 1771, and at Rome m 1773 he gained the prize medal of the Academy of St. Luke for his historical composition, ' The Corinthian Maid drawmg the Shadow of her Lover.' Returning in 1777 he re sided in London till 1780, supporting him self by portrait pamting. Four drawings which he made at Rome during the Carni val, introducing portraits with much humour and character, were engraved in aqua-tint by Paul Sandby, and published in 1781. He then settled m Edinburgh, where he met with much patronage, and on a vacancy in 1786 was appomted master and director of the Edinburgh Academy of Arts. He etched in a free style the illustrations for Tassie's ' Catalogue of Engraved Gems,' comprismg 57 plates, with from seven to nine examples each. They have a frontis piece designed and etched by him, dated 1788. In the same year he illustrated by engravmgs an eilition of the ' Gentle Shep herd,' and m 1798 he etched some charac teristic designs, small oval size, for the ' Songs of the Lowlands of Scotland.' He also amused himself with etching, sometimes combmed with mezzo -tint, chiefly scenes from cottage hfe. He was admired for the natural truth of his works and the character and expression of his subjects from low life. His art did not ami at either beauty or grace. He will be remembered by his ' Scotch Wedding,' ' Highland Dame,' ' Repentance Stool,' and his designs for the ' Gentle Shepherd.' He died near- Edinburgh, August 6, 1796, leaving a widow with a son and daughter. His portrait, painted by himself, hangs in the National Gallery of Scotland. ALLAN, Sir William, Knt, P.R.S.A. and R.A., subject and history piainter, limner to t/ie Queen in Scotland. He was bom in 1782, in Edinburgh, where his father held the humble office of macer to the Court of Session, and was educated at the 1 Iigh School. He made httle progress in classic knowledge, but showed a fancy for drawings to gratify which he was appren ticed to a coach painter, and provmg to have a taste for decoration was sent for his further improvement to the Trustees' Academy, where, after several years' study he developed a taste for art, and then came to London and entered the schools of the Royal Academy. Struck with the works of Opie, he imitated Ms manner, and in 1803 exhibited his first picture, ' A Gipsv Boy with an Ass.' But failing to gain notice, he set off the same year for Russia ALL ALL with no other apparent inducement than the love of travel and the desire to seek Ms fortune. Driven into Memel by a storm, his means were soon exhausted, and he painted a few portraits to enable him to make his way to St. Petersburg, where he found friends, and was assisted by his countryman, Sir Alexander Crichton, then the Court physician. Having made some study of the lan guage, he visited Tartary and Turkey, sketchmg the costume and studying the manners of the Cossacks, Circassians, and Tartars. He sent home to the Academy ExMbition of 1809, ' Russian Peasants keeping Holiday,' but his picture did not receive much notice, and, disappomted, he did not exhibit agam for several years. In 18-12 he had made up his mind to return, but Napoleon's great campaign, the horrors of which he witnessed, prevented Mm, and he did not reach Scotland till 1814. Then, settling in Edinburgh, he sent to the Academy m London the following spring his ' Circassian Captives,' and m 1816 a work of the same class, ' The Sale of Two Boys by a CMef of the Black Sea,' an m- cident he had witnessed ; and m 1817 another Circassian subject. But these works were unsold, and he was disap pointed beyond hope. He was, however, befriended by Sir Walter Scott, who got up a lottery for the sale of his ' Circassian Captives,' and mduced Mm to remain m Edinburgh. Here he painted ' Tartar Robbers dividmg their Spoil,' and then tried another class of subjects, ' The Press Gang,' 'The Parting between Prince Charles Stuart and Flora Macdonald,' 'Jeanme Deans and her Father;' yet these works did not justify the expect ations he had raised among his friends. He agam desponded, Sir Walter came once more to Ms help, encouraged him to paint a sketch he had made of the ' Murder of Archbishop Sharpe,' and found a purchaser for it when finished. With renewed hope he then painted 'John Knox reproving Mary, Queen of Scots,' which was exhibited at the Royal Academy in 1823, followed by ' Ruthven forcing Mary to sign her Abdi cation,' and ' The Regent Murray shot by Hamilton of Bothwellhaugh,' which last was purchased by the Duke of Bedford for 800 guineas, and gained the artist the distinction of Associate of the Royal Aca demy in 1826. In 1826 he was appomted master of the Trustees' School, Edinburgh, an office he held till only a few years before his death. Though he did not want energy, and persevered in his work without flagging, he scarcely maintamed the reputation he had gained, and his labours and anxieties began to tell upon Mm. He was attacked by a complaint which threatened blindness, and was compelled to take rest. He went to Italy, and after spending a winter at Rome journeyed on to Naples, and from thence to Constantinople, Asia Minor, and Greece. In 1830 he returned to Edm- burgh, restored to health, and was success ful in a small portrait work of ' Sir Walter Scott in his Study,' now in the National Portrait Gallery, which became a favourite, and was well engraved by Burnet ; as also m a companion picture, exhibited in 1833 under the title of 'The Orphan,' repre senting Ann Scott on the floor, close to her father's vacant chair in his studio at Abbotsford, which was purchased by Queen Adelaide. In 1834 he again travelled, visiting Spain, and subsequently France and Belgium. On his return in 1835 he was elected a royal academician, and m 1838 the president of the Royal Scottish Academy. In 1841 he succeeded to the office of limner to the Queen in Seotland, which was accompanied, as had been usual, by knighthood. He had returned to his Siberian subjects, and exhibited yearly at the Academy, when in 1843 he completed a work he had long contemplated, ' The Battle of Water loo from the French side.' This was admired by the Duke of Wellington, who became its purchaser. His last great com pleted work was a second picture of this battle from the English side. It was painted in competition for the decorations of the palace at Westminster in 1846, but was unsuccessful, and he had the further disappointment that it remained unsold. He had always retamed a pleasant recol lection of the kmdness of his friends in St. Petersburg, and in 1844 he revisited that capital, and pamted for the emperor ' Peter the Great teaching his Subjects the Art of Ship-building.' The effects of hard travel and a hfe of hard labour and anxiety now began to tell upon Mm. He suffered from bronchitis, and had been for some time at work upon a large canvas on ' The Battle of Bannockburn.' His weakness mcreased, but he did not relax, and removing his bed to his painting-room he continued his work ; and here, with his unfinished pic ture before him, he died in Edinburgh, February 23, 1850. His picture has found an appropriate place m the National Gal lery of Scotland, and he will not fail to be remembered among the pamters of his country. He represented the costumes and characters of countries then little known, and connected them with kindred subjects of great interest, and painted many subjects and incidents with equal success from the history of his own coun try. His stories were well told and well composed, his choice of subjects good; but Ms pictures were wanting in power, and were crude and weak in colour. His merit 7 ALL did not find early recognition, and distinc tions and honours were delayed till near the end of his active career. He was gifted with much natural humour, a clever mimic, at all times an agreeable companion, and possessed the friendship of many of the most distinguished of his countrymen. ALLASON, Thomas, architect. Born in London, July 31, 1790. Was placed in an architect's office, and entered as a stu dent at the Royal Academy, where he gained a silver medal, and in 1805 ex hibited a design for a college. He studied Grecian architecture, and in 1814 made a tour in Greece. On his return m 1817 he established himself in London, and was much employed both m buildings, furni ture, and landscape gardening. Many villas and mansions were erected after his designs — perhaps the Alliance Fire Office, m Bartholomew Lane, may be pomted to as his chief work. He died April 9, 1852, in his 62nd year. He began life dependent upon his own exertions. He was con spicuous for good taste, and independently shaped his own useful career. He pub lished ' Plan of a House of Industry,' 1805 ; ' Picturesque Views of the Antiqui ties of Pola, m Istria,' 1819 ; and a clever etching of Milan Cathedral. ALLEN, Andrew, portrait painter. Supposed of Scotch origin . Practised with some repute in Edinburgh about 1730. A portrait by Mm of one of the Lords of Session is engraved, as is also his own portrait. ALLEN, James B., engraver. Born in Birmingham, April IS, 1803. He was ap prenticed to his brother, Mr. Josiah Allen, of Cohnore Row, Birmingham, to learn his art. He went to London, however, before he had finished his time, and was employed many years in engraving for the Bank of England. He executed many works for the ' Art Journal ' and other periodicals. His best engravings are after landscape subjects. He died in London, January 10, 1876. ALLEN, Joseph, portrait painter. Born at Birmingham, and early found em ployment in painting Japanned tea-trays, which it was then the fashion to decorate with pictures. Having some feeling for art, he came to London and obtained ad mission as student at the Royal Academy, with the resolution to attempt history, but he was compelled to descend to portrait, and in this did not meet with success. He next was induced to try Wrexham, where he settled, and foimd a lucrative practice by visiting Manchester, Preston, Lancaster, and other large towns in the north, where he established a connection. This last success tempted him again to try the Metropolis, but he again failed to secure notice ; and being advanced in life, 8 ALL he broke up his establishment and retired to Erdington, near Birmingham, M easy circumstances, and died there November 19, 1839, aged 70. His portraits were carefully painted, tender and pleasing in character, but not of any high merit. _ ALLEN, John, architect. He practised in England, with much repute, in the reign of Queen Elizabeth. His descendants settled in Ireland, where his grandson, Joshua Allen, following Ms profession, was employed by many of the nobility, became lord mayor of Dublin, and was knighted. ALLEN, George, architect. Was born at Brentford, April 14, 1798. Studied at the Royal Academy, and was a pupil of James Elmes. He published, m 1828, ' Plans and Designs for the future Ap proaches to the New London Bridge,' and found much professional employment on the Southwark side of the river. He died June 28, 1847. ALLEN, Joseph W., landscape paint er. Was born in Lambeth, the son of a sclioolmaster, and educated at St. Paul's School. For a time he found employment as an usher in an academy at Taunton, but a love of art prevailing, he came to London to gam a livmg as an artist. His early practice was in water-colours — views in Cheshire and North Wales — but latterly cMetly m oil. He was first employed by a dealer, afterwards assisted as a scene painter, and many of the scenes at the Olympic during Madame Vestris's first management were by him. He became a member of the Society of British Artists, and was for a time vice-president, and a large contributor of landscapes to the exhibitions, chiefly of views in Surrey, and some compositions. His ' Vale of Clwyd,' 1842, gained him much notice, and was purchased for 300 guineas as an Art Union prize. His works were of some merit, but the anxieties to provide for a large family were hindrances to art; and though his subjects were well chosen, and not without artistic feelmg, they were crude and un finished. He was also engaged as a teacher in the City of London School. He sketched landscapes on copper with some skill. He died in August, 1S52, aged about 48, leaving a widow and a large family, to make some provision for whom a subscrip tion was raised among his friends. ALLEN, James C, engraver. Was born in London, the soil of a Smithfield sales man, and apprenticed to William Cooke for whom he worked many years after the termination of his apprenticeship, and was much employed on book illustration In 1821 he published, with Mr. Cooke 15 views of the interior and exterior of' the Coliseum at Rome, well engraved in the line manner; and in 1831 a spirited plate ALL ALL of the 'Defeat of the Spanish Armada,' after De Loutherbourg. He excelled very much in his etching, and was devoted to his art. Of eccentric habits, and suffering from ill-health, he died m middle age. ALLEN, Thomas, marine painter. His subjects were chiefly naval battles. Prac tised about the middle of the 18th century. He painted the incidents of Queen Char lotte s voyage and arrival m this country, also the 'Great Harry,' from Holbein's design of that vessel. His works were engraved by P. C. Canot. ALLEN, Thomas, topographical drafts man. An ingenious man, who was engaged in several antiquarian publications. He drew and etched the illustrations for his ' History of the Antiquities of Lambeth ' and ' History of the Antiquities of London, Westminster, and Southwark,' and was the author of some other antiquarian works ; but his illustrations possessed no higher merit than careful neatness. He died sud denly, of cholera, July 20, 1833, aged 30. ALLEN, Thomas John, architectural draftsman. Excelled in water-colours. He committed suicide, it was said owmg to the death of his sister, September 20, 1846, aged 25. ALLOM, Thomas, architect. Was bom in London, March 13, 1804, and was ar ticled to Francis Goodwin, in whose office he passed about seven years; and was also a student in the schools of the Royal Academy. In 1824 he first appears as an exhibitor at Suffolk Street of designs for a cathedral, and in 1827 at the Academy, con tributing a design for Sydenham Church. Soon after he travelled for improvement m Ms art. He had great skill in finishing arcMtectural drawings, and drew and sketched with great facility, and was soon engaged by publishing firms to furnish them with views of the continental cities. He continued an occasional exhibitor of views and arcMtectural designs. In 1846 he was awarded a premium for his design for the Choristers' Schools at Oxford. He was the architect of the Union Workhouse at CaMe and at Kensington; also of High bury Church, 1850 ; the Cambridge Mili tary Asylum, Kingston, 1852 ; St. Peter's Church, Notting Hill, 1856; and other works. But his reputation will rest upon Ms numerous published views, by which he is so widely known — Cumberland and Westmoreland; Devonshire and Corn wall ; Yorkshire, Derbyshire, and the Mid land Counties ; Surrey, Belgium, Scotland, France, Constantinople, Asia Minor, China. He was one of the founders of the Institute of British Architects. He died at Barnes, October 21, 1872. ALLPORT, H. C ., water-colour painter. He lived near Lichfield, and first appears as an ' exhibitor ' at the Water-Colour Society in 1813. He continued to exhibit landscape views, but chiefly of well-known buildings, and in 1818 was elected a mem ber of the Society. In 1822 his name disappears from the list of members, but he contributed several drawings, chiefly Italian scenes, in 1823, and is then classed as an ' associate exhibitor.' He does not appear to have again exhibited. ALLSTON, Washington, A.R.A., his tory painter. Was born in South Carolina, 1779, and entered Havard College, Massa chusetts, 1796. Drawing was his favourite amusement as a boy, and he early tried to design. He first attempted miniature, but without success. In 1800 he graduated and then returned to Charleston, where he devoted himself to art, banditti being his favourite subjects. Then, with a desire for his improvement, in May, 1801, having sold his hereditary property to enable him to study art, he came to England and at once entered the schools of the Royal Academy ; was an exhibitor in 1802 and 1803. After three years' study he went to Paris in 1804, copied some pictures at the Louvre, and then set out for Italy, where he passed four years, the greater part of the time in Rome, studymg modelling in clay as well as drawing ; and there, in 1805, he pamted his ' Joseph's Dream,' a work which at once laid the foundation of Ms fame. In 1809 he went back to America, where he married the daughter of Dr. Channing, and in 1811 brought his wife to England. Soon after he commenced ' The Dead Man touching Elisha's Bones,' but his work was interrupted by a dangerous illness ; and when, after a short residence at Clifton to re-establish his health, he finished Ms picture, it was exhibited at the British Institution, and gained, in 1814, a premium of 200 guineas. It was afterwards purchased by the Pennsylvanian Academy of Fine Arts for 3500 dollars. In the same and the two following years he exhibited at the Academy, chiefly Italian landscapes. He had returned to London, and had hardly settled in his newly-furn ished house when his wife died suddenly. The shock produced the deepest melancholy and temporary derangement. But recover ing, he visited Paris in 1817, in company with his friend C. R. Leslie, and on his return commenced his 'Jacob's Dream,' which he sent to the Academy from Boston in 1819, his first contribution to that ex hibition. He continued m England during the American war; on its termination a home sickness seized him, and with great regret he left his English friends and again crossed the Atlantic, arriving at Boston in 1818. He had the same year been elected an Associate of the Academy, and had gained a premium of 150 guineas at the British Institution for his 'Angel Uriel 9 ALN standing in the Sun.' He had also com menced his ' Belshazzar's Feast,' but he did not complete this work till 1834. Finally settling in his native country, he pursued his art, and wrote on several sub jects. In 1830 he married his second wife, a sister of Mr. Dana, the well-known author. He died at Cambridge, Massachusetts, July 8, 1843. He was an excellent artist. His subjects were of the highest aim, and marked by a vivid imagination ; his light and shade full of power ; his colour good. He was also a scholar. He published — 'The Sylphs of the Seasons,' London, 1813. ' Hints to Young Practitioners on Land scape Painting,' 1814; 'Monaldi: a Tale.' Boston, U.S., 1841. After his death his ' Lectures on Art and Poems,' were pub lished at New York, 1850 ; ' Outlines and Sketches,' at Boston, U.S., 1850. ALNWYCK, William, D.D., amateur. Became Bishop of Norwich 1426, and of Lincoln 1436. Besides several works at Cambridge and at Lmcoln, he rebuilt the western door of Norwich Cathedral with the window over it, also the principal part of the Tower Gate-house to the Episcopal Palace. He died about 1450. ALVES, James, po'rtrait painter. He practised m London, chiefly in miniature. In 1775 he exhibited two classical subjects ; in the following year, with some portraits, a ' St. Cecilia,' in miniature ; and in 1777-78 and 1779 small portraits m crayons. After that he does not appear as an exliibitor. He died at Inverness, November 27, 1808, in his 71st year. r AMES, , engraver. Practised, with no great ability, about 1777. His works consisted chiefly of portraits — many of them in small oval, in the stipple manner — of popular disseuting ministers. ANDERSON, Alexander, engraver. An English artist of the latter part of the ISth century. He engraved some designs for 'Don Quixote,' and some anatomical figures, with great neatness and accuracy. ANDERSON, David, modeller. Native of Perthshire. Made himself locally known by some clever works in statuary, but did not exhibit in London. Died of typhus fever at Liverpool, 1847. ANDERSON, John, wood engraver. Was born in Scotland, where he received a classical education. He was a man of superior attainments ; became a pupil of Bewick, and engraved the illustrations to 'Grove Hill,' a poem, and also for an edition of 'The Letters of Junius.' He formed a style of his own, and showed much ability, but did not long follow his profession. He went abroad on some speculation, and was lost sight of. He died early in the century. AUD'EKSOt^ ,\\r ihi.iAtii.marinepainter. Born in Scotland 1757. Originally a ship- 10 ANG wright, he cultivated drawing hi his leisure hours, and painted some pictures of ship ping. He practised in London ; first ex hibited at the Academy in 1787, and con tinued to contribute un to 1814, when he exhibited for the last tiine. H is works are usually of small size, and show a practical nautical knowledge ; they are usually river scenes— calms, with shipping and boats — neatly pamted, low and agreeable m colour, but wantmg in vigour. He painted one or two landscapes. A set of five 'Views of the Battle of the Nile,' were well engraved after him in aqua-tint, 1800, by W. Ellis. Died May 27, 1837. ANDERTON, Hew?; history and por trait painter. Born 1630. Practised in the reign of Charles II. , by whom he was patronised. He was a pupil of Streater, and made a tour in Italy for his improve ment. On his return he was employed by the King and the Court, and in some degree rivalled Lely. He painted a fine portrait of the celebrated Mrs. Stuart, afterwards Duchess of Richmond. His name does not appear to any engraved works, and it has been assumed that the more popular name of Lely may have been attached to Ms portraits. He died young, soon after 1665. ANDRAS, Miss Catherine, modeller in wax. Was born near Bristol about 1775, where she attamed some proficiency in her art, and was mduced by her success to visit London.' In 1799 she first ex hibited her portraits in wax at the Royal Academy, and had several distinguished sitters. The Queen appointed her modeller m wax to Her Majesty, and in 1802 she exliibited her model of the Princess Char lotte. She continued an occasional ex hibitor up to 1824. ANDRE, Major John, amateur. A young officer of much promise, who showed great talent for art. A half-length minia ture, which he painted of himself, was engraved by Sherwin. There is also a bold landscape etching by him. He was acting as adjutant-general to the British Army in North America, and, arrested within the American hues, was shot as a spy, October 2, 1780, aged 29. ANDREWS, H., subject painter. He was a contributor to the Academy Exhibi tions from 1833, when he sent 'Charade en Action '—exhibiting for the last time m 183S, ' A Garden Scene' and ' The First Music Lesson.' He had talent and mio-ht have acquired reputation, but he fell into the_ hands of unscrupulous dealers, made copies of V\ atteau— not sold as copies— and subjects in the style of Watteau and his art became degraded. He died November 30, 1S68. ANGELIS.PBTBR^anrfscope^d:^ painter. Was born at Dunkirk in 16S5. AXG ARC After studying there, and in Flanders and Germany, he came to England about the year 1712, was well received, and became a favourite painter. He practised here up to 1728, when he'sold his pictures, including many fine copies, and went to Italy, where he remained three years, chiefly m Rome, when he set off, intendmg to return to England ; but, stopping at Rennes, he was so well esteemed there, that he was induced to remain, and died in that city in 1734 ANGEIR, Paul, engraver. Was taught by John Tinney. Practised m London about the middle of the 18th century, be- Mg cMefly employed on small plates for book illustration. There are some land scapes of this class by Mm neatly executed, but weak in manner. Also ' Roman Ruins,' after Paunini, dated 1749; a Landscape, after Moucheron, 1755; 'Dead Game,' after Huet, 1757. He never arrived at much excellence, and died at the age of 30. ANGUS, William, engraver. Was a pupil of William Walker, and his works highly esteemed. He practised in the line manner, excelled m landscape, and en graved after Paul Sandby and Daynes, as well as from his own designs. One of his principal works was 'The Seats of the Nobility and Gentry.' 1787-1815. He also engraved, cMefly after Stothard, the plates for the small Atlas Pocket-book, and some portraits for the ' European Magazine.' One of his best works is a landscape after Elsheimer. He was improvident and died poor, after two years' paiuful ilMess, Oc tober 12, 1821, aged 69, leaving a widow without any provision. ANSELL, Charles, animal painter. Reputed for his drawing of the horse. He also drew domestic subjects with some elegance. Several of his works are en graved. ' The Death of a Race-horse,' m six aqua-tint plates, published 1784 ; ' The Poor Soldier,' 1787; also, 'A Dressing- room k l'Anglaise ' and ' k la Francaise,' 1789. He exhibited at the Royal Academy in 1780 and 1781, but Ms name does not appear afterwards m the catalogues. ANSLEY, Mrs. Mary Ann, amateur. Was a daughter of Gandon, the arcliitect, and married General Ansley, an officer of the Guards. She contributed many clever subject pictures to the British Institution and the Royal Academy. At the latter she first exWbited, m 1814, a classical subject, and continued to send works of this class, with an occasional portrait, up to 1825 ; and in 1833 exhibited, for the last time, a por trait of Prince Napoleon, for which the prince, then in London, had sat to her. She died at Naples in 1840. Her prin cipal paintings are at Houghton Hall, Huntingdonshire, the family residence. ANTONY, Charles, medallist. He was master of the mint to James I. His relative, Thomas Antony, at the same time held the office of overseer of the stamps. Both were able artists. ARCHER, John Wykejiam, water- colour painter. Was the son of a pros perous tradesman at Ncwcastle-on-Tyne, and was born there August 2, 1808. He was sent to London as the pupil of John Scott, the animal engraver. Returning to Newcastle he etched, in conjunction with Collard, after Carmichael's designs, ' Views of Fountains' Abbey,' and some plates for Mackenzie's ' History of Durham.' After passing a short time in Edmburgh, he came again to London about 1830, and was employed by the Messrs. Finden. He engraved a plate after Calicott, R.A., and was then engaged to engrave for the ' Sportsman's Magazine ; ' but his employ ment was uncertain, and he was induced to try water-colour painting. He was led by his taste tc paint the old buildings in the Metropolis, and in this pursuit he acquired knowledge and repute as an anti quarian, and had a large commission for works of this class, which employed him to the end of his life. He drew occasionally on the wood for Mr. Charles Knight's pub lications, and made a number of topogra phical drawings for the Duke of Northum berland. He was an able artist, and a member of the Institute of Painters m Water - Colours, and exhibited there a number of drawings of St. Mary Overy and of Lambeth Palace. He died suddenly in London, May 25, 1864. He published 'Vestiges of Old London,' drawn and etched by himself, 1851 — his subjects very pictor- ially treated, with numerous figures well introduced — and some other etchings. His collection of drawings is in the British Museum. He had some literary taste, and wrote for Douglas Jerrold's Magazine, ' Recreations of Mr. Zigzag the elder,' and some antiquarian papers which he con tributed to the ' Gentleman's Magazine.' ARCHER, Thomas, architect. His father represented Warwick in the time of Charles II. He was a pupil of Sir John Vanbrugh, and was largely employed at the beginning of the 18th century. He built Heythorpe Hall, Oxfordshire, his first work, 1710 ; Harcourt House, Hanover Square ; Cliefden House, long since burned down ; St. Philip's Church, Birmingham ; 1715-19 ; and St. John's Church, West minster, 1721-28. This work, frequently ascribed to Vanbrugh, is conspicuous by its four belfries, and has been sharply assailed by the critics. He held the ofhce of groom-porter during the reigns of Anne, George I. , and George II. Walpole speaks of him as 'the groom-porter who built Hithrop ' (Heythorpe). He died May 23, 1743, having accumulated a large property. His works were not without a certain 11 AEL grandeur of proportion, and they may surely claim the merit of originality. ARLAUD, James Anthony, miniature painter. Was born in Geneva, May 18, 1688, and was intended for the Church, but was too poor to continue his studies, and he turned pamter. At the age of 20, he left Geneva, and after working a while at Dijon, where he found employment in art as a painter of small ornamental por traits for jewellers, encouraged by his success, he went to Paris, where he com menced practice as a miniature pamter, and, patronised by the Duke of Orleans, gained a great reputation. In 1721 he came to London, and met with much en couragement. He painted the Princess of Wales, afterwards Queen Caroline, and several of the nobility. But he went back to Paris, and after a time, having amassed money, retired to Geneva, where he died May 25, 1743. He was esteemed one of the first artists in mmiature of his time, His portraits, which are very numerous, are well drawn and carefully finished ; his colour is good, the costume well pamted. He pamted several historical subjects. ARLAUD,BENEDiCT,rami«tore^amter. He was brother of the foregoing, and, like him, was born in Geneva. He practised for a time m Amsterdam and then m London, where he died m 1719. Some of his por traits have been engraved. ARLAUD, Bernard (or Benjamin), miniature painter. Bom in Geneva, he came to London, where he resided, and at two different periods met with encourage ment. Between 1793 and 1800 he was frequently an exhibitor at the Royal Academy. He retired to Geneva in 1801, and was living there in 1825, wdien he sent a miniature to the Royal Academy Exhibition. ARMSTRONG, Cosmo, engraver. He was a pupil of Milton, and remained in his employ for five years. He engraved illustrations for Cook's edition of the Poets, Kearsley's edition of Shakespeare, 1804-5, and after Smirke and Thurston, for an edition of the 'Arabian Nights.' He was a governor of the Society of Engravers, founded 1803, and in 1821 exhibited with the Associated Engravers. His works were greatly esteemed, and examples of his art were shown at the International Exhibition, 1862. ARNALD, George, A.R.A., landscape painter. Born in Berkshire iu 1763, he began life as a domestic servant to a lady who, noticing his great ability in drawing, obtained for him some instruction. He became a pupil of William Pettier, and first appears as an exhibitor at the Academy in 1788 ; and was from that time, with few exceptions, a regular contributor. He painted moonlights, storms, effects of light, 12 AET the sun breakmg through a fog, classical landscapes, arcMtectural compositions ; and later in his career, marines and sea-tights. In 1810 he was elected an Associate of the Academy. In 1825 he was the successful competitor for a commission of 500Z. offered by the British Institution for a painting of ' The Battle of the Nile.' TMs work is of large size and well pamted, the moment seized bemg the explosion of the ' L'Orient.' It is now m the gallery at Greenwich Hospital. In 1827 he exhibited 'The " Bellerophon," 74, as a Convict Ship at Sheemess,'. and the following year four landscapes, in approval of which 501. were awarded to him. He continued an exM- bitor for many years. He died at Penton- ville, November 21, 1841. Some of his works were engraved in ' The Border An tiquities of England and Scotland.' His two daughters exhibited at the Royal Academy; one of them was a constant exhibitor of landscapes m oil, 1823-32. AR.NALD, Sebastian Wyndh am, sculp tor. Son of the above. Was student in the Academy schools, and fust exMbited, m 182.3, bust of G. Amald, A.RA. ; .in 1827, 'The Death of Abel,' a sketch in plaster ; m 1828, a ' Perseus and Andro meda ; ' and continued to exhibit classical designs and busts. In 1831 he gamed the Academy gold medal for his group of ' The Murder of the Innocents.' Afterwards, he occasionally exhibited a drawing or a paint- mg up to the death of his father in 1841, when he ceased to exliibit till 1846, and then sent a pamting from ' Pilgrim's Pro gress,' after wliich any further traces of his art-career are lost. ARNOLD, Samuel James, panorama painter. Began art as a portrait painter, and first appears m the Academy catalogues as an exliiliitor m 1S00, and continued to exliibit portraits up to 1806, but was chiefly employed m panorama pamting. ARTAUD, William, portrait painter. He was the son of a jeweller, and in 1776 gained a premium at the Society of Arts. He became a student in the Academy schools, and appears first m 17S0 as an exhibitor of a 'St. John,' in enamel, fol lowed in 1784 and 1786 by portraits in oil. In the latter year he obtained the Academy gold medal for a pamting from ' Paradise Lost, and in 1795 the travelling student- shin. He continued to exhibit portraits, with, occasionally, history— in 1791, 'Poti- pliars Wife accusing Joseph;' m 1792, Martha and Mary;' hi 1795, 'A Weary Traveller in a Storm ;' in 1800, four sub ject pictures— up to 1822, when his name appears m the catalogue for the last time. He was employed on some of the subiects for Macklin's 'Bible,' and several of ht portraits are engraved. His portraits were cleverly drawn, and painted with o-reat AETJ power. They have individuality of charac ter, but want expression. ARUNDALE, Franois, architect. Born m London, August 9, 1807. Was a pupil of Augustus Pugiu ; accompanied Mm in his tour through Normandy, and made some of the drawings for his 'Architec tural Antiquities of Normandy.' In 1831 he went to Egypt to study the architect ural remams of that country, and in 1833, in company with Mr. Catherwood and Mr. Bonomi, he visited the Holy Land, resided some time in Jerusalem, aud made a large number of sketches and drawings, and a careful measurement of the Alosque of Omar. He remained, altogether, mne years in the East, and then travelled in Greece. Later he visited France and Italy, passing several winters in Rome. He did not practise as an architect ; he rather studied the art as a draftsman. He painted several large pictures in oil from Ms Eastern sketches, and published 'The Edifices of Palladio,' from Ms own drawings and measurements, 1832 ; ' Illustrations of Jerusalem and Mount Sinai,' also from his own drawmgs, 1S37 ; ' Selections from the Gallery of Antiquities in the British Museum,' 1842; 'The Early History of Egypt,' from the same source, did not ap pear till 1857, and was, with the precedmg work, the jomt production of Mr. Bonomi. He also commenced a reprint of ' Palladio.' He married a daughter of Mr. Pickersgill, R. A. , by whom he had six children. He died at Brighton, September 9, 1853, pro bably having laid, the seeds of Ms malady by inhabiting a tomb while m Egypt. ARUNDEL, Thomas, D.D., amateur. Was born m 1353 ; second son of the Earl of Arundel. He was created Bishop of Ely 1374, Archbishop of York 1388, and of Canterbury 1396 ; and he filled the office of Lord Chancellor. As an architect, he rebuilt the Episcopal Palace in Holborn, built or superintended the erection of the Palace at York, and the Lantern Tower and part of the nave of Canterbury Ca thedral. He died February 20, 1413. ASHBY, H, portrait painter. Was the son of an engraver, who died in 1818. He practised in London, and first appears as an exMbitor at the Royal Academy m 1794, and in the following years was a regular contributor of portraits, and occa sionally of domestic subjects. In 1808 he exhibited at the British Institution ' The Attic Artist,' and in 1816 'The Hypo chondriac,' at the Royal Academy. He had retired for several years to Mitcham, and he exhibited two portraits in 1821, his last contribution. His portraits possessed some merit, and one or two have been en graved. His domestic scenes showed an appreciation of character. ASHFIELD, John, architect. He was ASH master of the works of Bristol Cathedral from 1472 to 1491, and is believed to have built the tower and south transept. ASHFIELD, *&vmsB,portrait painter. Pupil of Michael Wright ; painted both in oil and crayons, but excelled in the latter, which were highly and powerfully finished, and gained large prices. He multiplied the number aud variety of tints, black and white only being previously chiefly em ployed, the paper forming the middle tint Vertue speaks with much praise of a small portrait by him of Lady Herbert. He practised about 1680, and died about 1700. There are some portraits by him at Bur leigh. ASHFORD,William,P.R.H.A., land scape painter. Born in Birmingham, he went to Ireland in 1764 and settled in Dublin. He was at that time about 18 years of age, and for a while held a situ ation in the Ordnance Department. Fond of landscape painting, he gave up his situation to follow art. He contributed to the early exhibitions of the Incorporated Society of Artists in London, and m 1783 and 1790 to the Royal Academy Exhi bitions. At this period he resided some time in London, and in conjunction with Serres, R.A., the marine painter, made a joint exhibition of their paintings. He was one of the three artists to whom his professional brethren confided the election of eleven others to constitute, with them selves, the Royal Hibernian Academy, which was mcorporated in 1823, and he was the first president of the new institu tion, in which he always took the liveliest mterest. His works were much esteemed, and he saved, early in his career, a sufficient competence ; but for the last 30 years of his life he was neglected. He had retired to Sandymount, near Dublin, where he pursued his favourite art, both in oil and water-colours, with great vigour. He died there April 17, 1824, aged 78, and was buried in the neighbouring old churchyard at Donnybrook. A fine work by him, ' Orlando under the Oak,' is in the Hiber nian Academy ; and his own portrait, painted by himself, and several of his landscapes, are m the Fitzwilliam collection at Cambridge. ASHLEY, Hector, mason and archi tect. His name frequently appears in the Privy Purse accounts of Henry VII. and Henry VIII. He is also mentioned by Walpole as an architect of the time of Queen Elizabeth, and is supposed to have been engaged in the erection of Hunsdon House. ASHPITAL,ARTHUR,F.S.A.,arcAite«. Born December 14, 1807. He was the son of a surveyor and architect ; a clever child, he suffered from an accident, and his long confinement led to study. When about 35 13 ASH years of age, regaining his strength, he established himself as an architect and sur veyor in the city, where he designed and erected a number of houses. In 1845 he built the new church of St. Barnabas, Homerton, soon after a church at Battersea, and another near Cardigan, followed by a church at Vernham Dean, near Hungerf ord, and the new church at Blackheath. In 1853 he travelled by Paris and Marseilles to Rome, where he passed the first three months of the next year, and then went to Naples for three months, where he suffered from fever, and returned home in 1854, after twelve months' absence. He had from 1845 been a constant exhibitor, chiefly of his executed works, at the Royal Academy, and after his return from Italy exhibited several restorations and works of great interest — in 1850, ' Selections from Pal ladio ; ' in 1851, ' A Design for rebuilding Blackfriars Bridge and tin-owing open St. Paul's ; ' in 1858, restorations of ' Ancient Rome ; ' in 1859, ' Modern Rome,' the last two published works. He was a good scholar and linguist, a clever archaeologist, fellow of the Society of Antiquaries, and the writer of several works of art connected with his profession. He was an active fellow of the Institute of British AicM- tects, and a contributor to the ' Dictionary of Architecture ' in the course of publication by that body. He also contributed to the ' Encyclopaedia Britannica' the articles on Vanbrugh, Wren, the Wyatt Family, and William of Wykeham. He died January 18, 1869, and was buried in Hackney churchyard. ASHTON, Henry, architect. Born in London, 1801. He was a pupil of Sir Robert Srnirke, and was afterwards em ployed by Sir Jeffrey Wyattville, and continued in his employ till his death. He was engaged to erect the stables at Windsor and the kennels at Frogmore. In 1828 he first exhibited a ' Roman Street,' a compo sition ; in the following year, ' Strada della Chiesa,' a composition ; in 1830, a ' Palla- dian Villa;' aud in 1S31 a study in the Tudor style ; and then for above 20 years was no longer an exhibitor. He was at this period employed by the King of Holland to erect the Summer Palace at the Hague, aud competei 1, though without success, for some of the most important works of his day. He was engaged as architect for the Victoria Street improvements, and designed the fine thoroughfare connecting Belgravia with the Houses of Parliament, and iu 1H5I he appears again as an exhibitor, sending a portion of his designs for this street, ' Houses on the Scotch Prmciple ; ' in 1855 lie exhibited a design for a mansion he was erecting; and in 1856, 'Sketches for enlarging the National Gallery.' His work possessed many good characteristics 14 AST —good in construction, simple yet tasteful m its design and proportions. Some of his best examples will be found in Victoria Street. He died March 18, 1872. ASHTON, Matthew, portrait painter. Practised his art between 1725—50, both in Ireland and London. His portrait of Boulter, Archbishop of Armagh, is en graved, and also his portrait of Ambrose Philips, the poet. ASTL~E,Y, Joins, portrait painter. Born at Wem, Shropshire, about 1730. Son of an apothecary, and educated in the village school. Came to London and studied his art under Hudson; then, about 1749, managed to visit Rome, where Northcote tells he was poor enough, for, reluctantly pulling off his coat to follow the general example of a party of artists one hot even ing, he displayed the back of his waistcoat made of one of his own canvas studies. On his return he practised his art some time in London, and afterwards went as an adven turer, m 1759, to Dublin, where in about three years he is said to have realised 3000/. by his pencil. On Ms way home he was tempted to visit the neighbourhood of his birthplace, and, invited to the Knuts- ford Assembly, Lady Darnell, a rich widow who was present, was so won by his appear ance that she contrived to sit to Mm for her portrait, and to marry Mm, we are told, within a week. She settled on him the Tabley estate, producing about 1000/. a year, and by her will left him, on the death of her daughter, the Ducldugfield estate, worth 5000/. a year. He had much talent, particularly in portraits. His colouring was agreeable, the composition original, drawing fair, but the finish slight, and character and expression weak. His art was, however, spoiled by Ms fortune. He passed his time m idleness and dissipation, and obtained the name of ' Beau Astley.' He soon sold the Tabley property. He made two or three charges on the reversion of the Duckingfield estate, and was just on the point of selling his final interest wdien the heiress died, and he came mto posses sion of the whole. He now purchased Schomberg House, Pall Mall, for 5000/., and spent oOOOZ. more to convert it into three dwellings; the centre, fantastically fitted up, but not without taste, he inha bited himselr, and also a villa on Barnes ierrace. He speculated in a colliery, and sank more money than he raised, and was not more successful in some iron works ; but his losses were somewhat replaced by a fortune of 10 000/. he inherited on the death of his brother, a surgeon at Putney, who was accidentally killed. In his youth handsome, vain and ostentatious, with little sense of morality or propriety; iu the decline of life when not without the annre- hension oi indigence, he was disturbed by ATK ATK the remembrance of his early follies. He died at Duckingfield Lodge, November 14, 1787, and was buried in the village church there. He had, when far advanced in life, married a third wife, and left a son and two daughters. ATKIiN'S, J., portrait painter. Bom in Ireland. He studied for a time at Rome, and exhibited portraits at the Academy m 1831 and 1833. He was a young artist of much promise, and went to Constantinople to pamt the portrait of the Sultan ; on his return, and while undergoing quarantiue at Malta, he was attacked with fever, and died there 1834. ATKINS, S., marine painter. Ex- Mbited some good paintings at the Royal Academy in 1787 — A Light Breeze,' ' A Calm,' and ' A Fresh Gale,' but did not exhibit again till 1791, when in that year, and up to 1796, he was a contributor. He then went to the East Inches, and on Ms return m 1804 exliibited ' An East India- man passing the Boca Tigris,' and con tinued an exMbitor to 1808. He pamted both m oil and in water-colour. His works are characterised by much neatness and truth of finish. ATKINSON, Thomas Witlam, archi tect and draftsman. Was of humble origin ; born about 1799 ; and was em ployed as a mason or stone-carver upon several churches building m the Nortli of England. He for some time taught draw ing at Ashton-under-Lyne. Ingenious and observant, he gained knowledge in Ids work, and drew and published in 1831 his ' Gothic Ornaments.' He afterwards settled at Manchester, and commenced practice as an architect, and gave the first impulse towards some taste in bmldmg m that city. In 1829 and the succeeding years he ex- Mbited some arcMtectural designs at the Royal Academy. In 1840, after some re verses, which left him m difficulties, he came to London, and eventually went to Hamburg, and from thence to Berlm and St. Petersburg. Then abandoning any practice as an arcliitect, he started as a traveller and an artist, and with the sanc tion of the Russian Government he visited the most remote parts of Russia in Asia, including the Amoor River, bordering Chinese Tartary. He made a great many drawmgs and notes upon the condition of this remote territory, and returning to England after many difficulties, he pub lished, with Ms own illustrations, m 1858, ' Oriental and Western Siberia ; ' in I860, ' TraveLs in the Region of the Upper and Lower Amoor.' The ' Recollections of the Tartar Steppes and their Inhabitants ' ap peared in 1863. He died at Little Walmer, Kent, August 13, 1861, aged 62. ATKINSON, John Augustus, pamter and draftsman. Was born in London m 1775, and in 1784 went with his uncle to St. Petersburg. Fond of art, he was allowed to study in the picture gallery of the royal palace, and gained the patronage of the Empress Catharine, and, on 'her death, of her son the Emperor Paul. In duced to settle in Russia, he executed there some good paintings. T wo m the Michael's Palace represent ' The Victory of the Cos sacks of the Don over the Tartars ' and ' The Baptism of Count Wladimir.' He was a very skilful draftsman, and made numerous drawings of Russian costume and amusements, and illustrated a Russian edition of 'Hudibras,' published in 1798 at Kdnigsberg. In 1801 he returned to England, and the following year was an exhibitor of a Russian subject at the Royal Academy. Boydell about the same time pubhshed a view by him of the Russian metropolis, and a portrait of Suwarrow, engraved by Walker. In 1803-1804 he published ' A Picturesque Representation of the Manners, Customs, and Amusements of the Russians ; ' the plates, slightly etched in outline, shaded with aqua-tint and coloured, number 100, and were all drawn and etched by himself. In 1807 he pub lished a set of soft-ground etchings to illustrate the miseries of human life ; aud, m the same year, ' A Picturesque Representation, in 100 coloured plates, of the Naval, Military, and Miscellaneous Costumes of Great Britain.' Later, he published some very spirited lithographic drawings of battles. In 1819 he completed a large picture of the ' Battle of Waterloo,' which was engraved by Burnet. He first exhibited at the Water-Colour Society as an ' Associate,' in 1808, two classic subjects with some others, and the following year was elected a member of the Society, when his contributions were chiefly military. In 1810 and 181 1 his works were of the same class. In 1812 he sent Shakespeare's ' Seven Ages. ' In 1813, when an alteration was made in the rules of the Society, his name no longer appears as a member, but he continued to contribute under the new class as an 'exhibitor' up to 1818, when his contributions ceased. He was also a frequent exhibitor at the Royal Academy, sending during several years both rustic and classic subjects, with battle-pieces and camp scenes, in oil and water-colours. His last contribution was in 1829. The date of his death cannot be traced. His drawing was vigorous and powerful, his battle- pieces, in which he excelled, very spirited ; his representation of character and costume truthful; and his water-colour drawings simple in treatment, and characterised by a masterly hand. ATKINSON, Frederick, amateur. Was a silk- mercer and draper at York ; and about the beginning of the 19th 15 ATK century produced some fair etchings, chiefly portraits, some from the hfe, with two or three views. ATKINSON, Peter, architect. Was born at Ripon in 1725, and was brought up as a carpenter. He was employed by John Carr, the arcMtect of York, and im proving himself he succeeded his master on his retirement from the profession. He built for Sir John V. Johnstone the large mansion at Hackness, near Scarborough, and found much employment in Yorkshire and the adjacent counties. He died June 19, 1805. ATKINSON, Peter, architect. Son of the above. Born about 1776; brought up to Ms profession under his father, and afterwards his partner. He erected the bridge over the Ouse at York, commenced 1810. He was many years surveyor to the Corporation of York, and built the city prison. He also built several new churches. During the latter part of his hfe he resided abroad. He died in 1842. ATKINSON, William, architect. Was born at Bishop's Auckland, near Durham, about 1773. Began life as a carpenter, and with the assistance of Bishop Barrington was sent to London and became the ap prentice of James Wyatt. He entered the schools of the Royal Academy, and first exhibited some architectural designs in 1796, and was for several years an occa sional exhibitor. In 1797 he gamed the Academy gold medal for his designs for a Court of Justice. He built several large mansions — among them Lord Mansfield's house at Scone — and was both in theory and practice a clever arcMtect ; also several churches in Scotland ; and holding the office of architect to the Board of Ordnance he made several alterations to the buildings at the Tower and at Woolwich. The offices of the Board of Control in Cannon Row, Westminster, are also after Ms designs. He was the mventor of Atkinson's cement, and published ' Views of Picturesque Cot tages ' in l.so.5. He died at Cobham, Surrey, May 22, 1839, aged 66. ATSYLL, Richard, gem engraver. Held the office of gem engraver to Henry VIII., with a fee of 20/. a year. It is recorded that he cut the king's head in sardonyx, and this gem is supposed to exist in the Duke of Devonshire's collection. ATTWOLD, R., engraver and drafts man. There is an engraving m the fine manner, cleverly designed and engraved by him, published in 1750 — ' The Military Nurse, or Modern Officer,' and ' The Naval Nurse, or Modern Commander,' two satir ical subjects on one plate, in the manner of Hogarth, to whom, in the absence of any knowledge of the artist, they have been erroneously attributed. ATWOOD, Thomas, flower painter. 16 AUS Exhibited a large flower-piece at the second Exhibition of Artists, 1761, and was a member of the Incorporated Society in 1766 ; but does not appear to have been a contributor to the Academy Exhibitions. AUDINET, Philippe, engraver. De scended from a French refugee family long settled in England. Born in Soho m 1766, was apprenticed to John Hall, the distin guished lme engraver, and worked in that manner. Among Ms early works were the portraits for Harrison's ' Biographical Magazme' and the 'History of England.' He also engraved for Bell's publications, and there is a plate of ' Louis XVI. and the Royal Family of France ' by him. Among his later works may be distmgmshed a large portrait of Sir Benjamm Hobhouse, and another of Sir William Domville, with the illustrations for an edition of Walton's ' Angler.' He died a bachelor, December 18, 1837, aged 71, and was buried in the vaults of St. Giles's Church. AUSTEN, William, modeller. Prac tised m London m the reign of Henry VI. Executed the model and metal work of the famous monument of Richard de Beau- champ, Earl of Warwick, in St. Mary's Church at Warwick, 1464, the principal figure of a natural size, and a fine work, with 36 small figures m rich Gothic niches. Flaxman praises this tomb Mghly, and says it equals the work of the great Italian artists of that time. AUSTIN, George, architect. Was bom at Woodstock, and early apphed himself to the restoration of GotMc edifices. In 1820 he was appomted the resident architect of Canterbury Cathedral, and carried out very extensive and important restorations and repairs to the fabric. He died Octo ber 26, 1842, aged 62, and was buried in the cathedral. AUSTIN, Paul, engraver. Bom in London 1741. He engraved landscape after several masters. AUSTIN, Richard T., wood engraver. Was a pupil of John Bewick ; and executed small cuts and vignettes m wood at the commencement of the 19th century. In 1802 he obtamed the Society of Arts' silver medal. The cuts for Linmeus's 'Travels iu Lapland,' published in 1811, are by Mm. He was a clever artist, and much employed by the booksellers but he did nothmg to promote the art, which in his day began to rise m estimation. He exhibited some landscapes at the Royal Academy m 1803 and 1806. AUSTIN, Samuel, water-colour paint er. He resided at Liverpool, where he was originally clerk in a bank, and gave up a good salary to pursue professionally an art in wlncli he had excelled as an amateur He was, in 1824, one of the foundation members of the Society of British Artists AUS and exhibited in their galleries water- colour drawmgs till 1827, when he jomed the Water-Colom- Society, on his election as an associate member, and exhibited with the Society to 1834, and died m July of that year. He contributed landscapes and occasionally rustic figures, but Ms best works were coast scenes, mtroducmg boats and figures, some of wMch were from sketches in Holland, France, and on the Rhine. AUSTIN, William, draftsman and engraver. Pupil of Bickham. Practised in London about the middle of the 18th century, but did not attam to much reput ation. He engraved several landscapes ; 10 plates of the ' Rmns of Palmyra ;' views of Rome, Vemce, Athens ; 38 slight etch ings after Lucatelli, 1781 ; and 'Wmdsor Park ' after Thomas Sandby. He for some BAC time kept a print shop ; was a great hu mourist, a great supporter of Charles Fox, and pubhshed some political caricatures, which were mostly directed against the French. He exhibited at the Academy in 1776 a view on the Rhine, but does not appear again as an exhibitor. He retired to Brighton, and died there m 1820, aged 99. AYLESFORD,Heneage FiNOH,Fourth Earl of, amateur. Born in London, July 15, 1751. Was a clever draftsman m water- colours, working in a slight, free manner, chiefly in sepia or bistre. He was an honorary exhibitor at the Royal Academy, 1786-90, contributing architectural views. He also produced a few good etchings of cottages and rural scenery, some of wliich were published. He died October 20, 1812. B BACON, John, R.A., sculptor. Bom in Southwark, November 24, 1740. Son of a cloth-worker in Southwark, who was descended from an old Somersetshire family. After a short schooling, he began to leam his father's trade ; but at the age of 15, was apprenticed to Mr. Crispe, a china manufacturer, who had a factory in Lambeth and his shop m Bow Churchyard. Here he was employed in modeMng and painting porcelam, gamed knowledge from the fine works sent to the manufactory to be burnt, and malting rapid progress, early conceived a notion of his art. In 1758 he gained a premium, and altogether, nine premiums from the Society of Arts, m- cluding an award of 50 guineas for Ms emblematic figure, ' Ocean.' During his apprenticeship he matured plans for em ploying artificial stone for sculpture ; and, by his art, was the means of restoring Coade's manufacture, then falhng into dis use. He had Mtherto hved in the City, and now removed to the West End, and entered in 1768 as a student of the Royal Academy, then founded. About the same time he began to work in marble, and invented a machine for transferring the design m plaster with mechanical accuracy to the marble. In 1769 he gained the first gold medal given by the Aeademy for a bas-relief, 'JEneas escapmg from Troy.' He had now given proofs of his genius as a sculptor, and m 1770 he was elected an associate of the Royal Academy. He estab lished his reputation by his fine statue of ' Mars,' and gamed the favour of the king by a bust of his Majesty, wMch he executed for the Archbishop of York. He had for a time lived in Wardour Street. He now married and removed to Newman Street ; but he lost his wife within three years, and married a second time. His talent now gained him full employment, and he was commissioned to execute some important public works ; among them may be pointed out — the monuments to Pitt in the Guildhall, London, and in Westminster Abbey ; to Dr. Johnson and Howard the Philanthropist, in St. Paul's ; the bronze statue of George III. and the two groups and colossal figure of the 'Thames' in Somerset House ; also the monument of Mrs. Draper (Sterne's ' Eliza ') , in Bristol Cathedral ; of Judge Blackstone, at Oxford ; of Mr. Whitbread, at UpMll, Bedfordshire; and of Lord CornwaMs, for India. He greatly improved the sculptor's pomting- machme. He owed much to his natural genius ; m design and execution, though he never acquired the art of usmg the chisel, he showed an origmal delicacy, wMch was neither derived from the study of the antique nor any conventional ideal of beauty. He wrote the article ' Sculpture ' in Rees's 'Encyclopaedia.' His works, wMch are almost confined to portrait sculpture, possess great simplicity of treat ment. He did not attempt classic subjects. He was, with some interruptions, an exhi bitor at the Royal Academy up to his death, which befell at the height of a successful career; when in the prime of life tie was seized with mflammation of the bowels, and died m Newman Street, where he had resided 22 years, August 4, 1799. He was buried at Whitfield's Chapel, known as the Tabernacle, Tottenham i 17 BAC Court Road. Animated by true religious feeling, he had written many epitaphs, in both verse and prose, and the following, upon himself, was placed over his grave — ' What I was as an artist seemed of some importance while I lived ; but what I really was as a believer m Jesus Christ is the only thing of importance to me now.' Careful in all his transactions, possibly somewhat avaricious, and judicious in the investment of his gains, he amassed by his art a fortune of 60,000/., which he left to be divided among his five children, two of whom followed his profession. The antique had little influence or share in his art. His chief works were monumental, and for that nature, not the ideal, was his study. His designs were marked by strong good sense. He was not led away by the poetic or the heroic, and the portrait character of his works was well preserved. The pious member of an mflu- ential Methodist congregation, he was the writer of some religious disquisitions, and, as connected with his profession, of an article for Chambers's ' Dictionary,' on the characters of painting and sculpture, wliich is, at least, distinguished by his usual good judgment. A short memoir of Mm by Richard Cecil, M.A., was published in 1801. BACON, John, sculptor. Second son ' of John Bacon, R.A. He was bom in Newman Street, in March 1777 ; and at 12 years of age entered the schools of the Royal Academy. At 15 he was an exM- bitor, contributing in 1792 Ms first work, a bas-relief of ' Moses striking the Rock.' At the age of 16 he gained an Academy silver medal, and the following year (1794) the gold medal for his 'Cassandra.' In 1796 he exhibited two figures, ' Vigilance ' and ' Prudence,' now at the Trinity House. On the death of his father m 1799, he succeeded him in his business and in his studio, completing the works in progress, on which he had been associated. In 1800 he exhibited two monumental works ; m 1801, Lord Cornwallis's monument, a work commenced by his father; and in 1802 some portions of monumental works and busts, upon wliich he was largely employed ; and continued to exliibit up to 1S24, after which year his name no longer appears m the catalogues. He died in 1859. His monuments, proofs of his genius, will be found both in St. Paul's Cathedral, where there are six, aud in Westminster Abbey. The statue of William III. in St. James's Square was by him in 1808. BACON, T., sculptor. Son of John Bacon, R.A. Was associated with his father in his works. He first exhibited at the Academy, in 1793, ' The Prodigal Son,' in terra cotta ; iu 1794, ' Christ and the Woman of Samaria:' in 1795, 'Christ in 18 BAI the Garden,' a model, when he ceased to exhibit. BACON, Sir Nathaniel, Knt., ama teur. Half-brother to Lord Chancellor Bacon. He pamted portrait and still-life, had much talent, and studied art m Italy. Some of his works were at Culford, where he lived ; and at Gorhambury, Ms father's seat, there is a 'Cook- maid with Dead Fowls,' and his own whole-length portrait, painted by Mmself, which is a very good work, and has been justly much praised. He also painted a ' Ceres ' and a ' Hercules,' and left some pamtings at Redgrave Hall, Suffolk. He died 1615, in his 69th year, and was buried m the chancel of Cul ford Church, where a monument to Mm has been erected bearing his bust, and among other emblems Ms palette and pencils. A portrait of Sir Nicholas Bacon by him has been engraved. BADESLADE, Thomas, topographical draftsman. He practised in London, 1720 -1750. He drew many of the seats of the nobility and gentry, wliich were engraved by Toms and Harris, and made the draw ings for Dr. John Harris's ' History of Kent,' published 1719, and some other publications. Alderman Boydell is said to have been first stimulated to art on seeing Toms' engravings from his drawings. BAILEY, John, engraver and drafts man. He was self-taught, and early in hfe drew and engraved for Hutchinson's Histories of Northumberland and Durham, 1781-84; Culley's 'Observations on Live Stock ; ' and other publications. His works, which were both on wood and copper, are very creditable productions, but better in engravmg than in design. Leaving art, he became emment m Northumberland as a land agent and agriculturist. He was the author of Agricultural Surveys of North umberland, 1794; Durham, 1810; and an essay on the ' Construction of the Plough,' 1795. BAILLIE, Edward, glass painter. Born at Gateshead. Exhibited at the International Exhibition, 1851, 'Shake speare reading a Play to Queen Elizabeth.' He ched in London September 21, 1856. BAILLIE, Alexander, engraver. Born in Scotland. Practised about the middle of the 18th century ; but his art was in different, and his works are but httle known. He was at Rome in 1764, and while there engraved a ' St. Cecilia,' and a ' Holy Family,' both after Imperiali. On Ms return he settled in Edinburgh, and engraved some portraits. BAILLIE, Captain William, amateur etcher. Born at Khibride, county of Car- low June 5, 1723. Educated at Dublin, and at the age of 18 came to London and entered the Middle Temple to study the law ; but, against the wishes of Ms father- BAI he followed the example of a younger brother and entered the army. He served several years in the 13th Foot, and was at the battle of Cidloden and several actions m Germany ; afterwards in the 51st Foot, and fought at Mmden, and lastly m the 17th Light Dragoons. He then left the army and was made a commissioner of stamps, from wMch office he retired with a pension after 25 years' service. It is un certain at what period, though no doubt early m life, he took up art (which his office left him leisure to practise). He said the happiest hours of Ms life were spent m its pursuit. He, however, exhi bited jnezzo-tints and etchings at the Spring Gardens Exhibition m 1774, and in 1776 Rembrandt's one hundred guelders print, before and after ' restoration.' He etched in various manners, blendmg mezzo tint and etclnng with great success. He shone most m Ms imitations of Rembrandt, the original plate of whose hundred guelders etchmg, ' Christ heahng the Sick,' he found in a worn-out condition, and restored. This with the ' TMee Trees,' the twilight effect of wMch he closely copied, with some others of his works, have been placed side by side with the origmals in the British Museum. He scraped a portrait of Mmself, after Hone, and from Ms own designs, ' The French Fleet overtaken by a Storm,' 1759; 'An Engagement of Ca valry,' 1762 ; and ' The Sacrifice of Abra ham,' 1765, with some portraits. He produced altogether 107 plates, a selection of 50 from wMch was published by his son in 1774, and the whole collection by Boydell in 1792. He died m December 1810, m his 88th year. BAILY, J., engraver. Practised towards the end of the 18th century. Some good landscapes and views in aqua-tint were executed by him, and some subjects after Morland. BAILY, Edward Hodges, R.A., sculp tor. Was born March 10, 1788, at Bristol, where his father was noted for his skill as a carver of figure-heads for sMps. He was educated at the City Grammar School, and leavmg school at the age of 14, was placed in a merchant's office, where he con tinued two years. As a boy he had amused Mmself m carvmg the likenesses of Ms schoolfellows, and making the acquamtance of a modeller m wax, he soon acquired such facility in the art that he abandoned the counting-house and commenced por traiture m that material. A love of Fiax- man's works led bim to make some studies from the antique, and gamed him an introduction to the great sculptor, who offered him assistance; and coming to London m 1807, he was admitted to Flax- man's studio, where be worked for nearly seven years ; and was then employed as BAK chief modeller by Messrs. Rundell, the silversmiths. In 1809 he entered the schools of the Royal Academy, and the same year gained a silver medal, followed in 1811 by the gold medal for his group, ' Hercules rescuing Alcestis.' In 1817 he was elected an associate of the Academy, and produced for the next year's exhibition Ms ' Eve at the Fountam,' which gave him a wide reputation, and was executed in marble for the Literary Institution in his native city. In 1821 he became a full member of the Academy, and was at this time commissioned to execute the bassi- rilievi for the Marble Arch, now removed to Cumberland Gate, Hyde Park, and some of the decorations in Buckingham Palace. He was a constant exhibitor at the Academy. His art did not derive its inspirations from any classic source. His tastes led Mm to works founded on the affections, and ' Mother and Child,' ' Group of CMldren,' ' Sleepmg Girl,' were subjects several times repeated. His few sacred subjects, origMating m the same feeling, were confined to Adam and Eve. But. Ms chief works — those on which he was mamly employed and became most distin guished — were monumental statues and portrait busts. Of such may be mentioned, in St. Paul's, Sir Astley Cooper, Sir P. Malcolm, Sir W. Ponsonby, and Earl St. Vincent ; Ms Charles James Fox and Lord Mansfield for St. Stephen's Hall, in the Houses of Parliament; Earl Grey, Lord Mansfield, Telford the engineer, and some others. After 1858 his contributions to the Academy Exhibition fell off, and in 1863 he accepted the position of ' honorary retired academician,' aud did not again exliibit. He died at Holloway, May 22, 1867, in the 80th year of his age, and was buried m Highgate Cemetery. His talent placed him in the front rank of his profes sion, and as he was for many years fully employed, should have made him wealthy ; but he was extravagant and careless, and m the latter part of Ms hfe was always m difficulties. BAKER, Henry Aaron, R.H.A., architect. Was a pupil of Gandon. He practised in Dublin, and was elected teacher of architecture m the Dublm Society's School 1787, and fflled that office till his death. He erected the Triumphal Arch at Derry, and gained the first pre mium for his design for converting the Irish Parliament House mto a bank, but was not employed. He was elected a member of the Royal Hibernian Academy on its foundation in 1823. He died in 1838. He had considerable architectural talent, but was not fortunate m opportunity for its development. BAKER, J ., portrait painter. Practised about 1700. He assisted Sir Godfrey 2 19 BAK Kneller in the draperies and accessories of his portraits. A portrait by Mm of Sir Stephen Fox is finely engraved m mezzo tint by J. Simon. A view of St. Paul's by him was sold at Sir Mark Sykes's sale. Bannerman engraved his portrait on the same plate with Charles Boit, the enamel painter. BAKER, J., engraver. Resided at Islington. Practised towards the end of the 18th century. There are by him some neatly engraved book plates, chiefly por traits. He engraved for the ' European ' and other magazines. BAKER, Joseph, draftsman. Was originally an actor at York, and master of the ceremonies in that city; but fond of art he became an able draftsman. Walpole mentions Ms having pamted some church interiors. He drew, on a large scale, the cathedrals of York and LmcoM, which were well engraved by Francis Vivares. He died April 25, 1770. BAKER, John, R.A., flower painter. Bom 1736. Was bred an ornamental coach pamter, and became pre-eminently distinguished for the wreaths and floral decorations by wMch it was then the fashion to surround the family arms em blazoned on coach-panels. These works by Mm had considerable merit, though marked by a sharp hardness of finish com mon to this class of art. Later in life he devoted himself to flower pamting, and attained great brilliancy in his colouring. He first exhibited at the Spring Gardens Exhibition in 1762. He was one of the foundation members of the Royal Academy, and exhibited groups of flowers at the three first exMbitions. His presentation picture is a group of flowers. He died in Denmark Street, Soho, April 30, 1771. His widow was long a pensioner of the Royal Academy. BAKER, Thomas, landscape painter. Born October 8, 1809. He practised m the Midland Counties, where he was known as ' Baker of Leamington,' and his art was patronised and esteemed. His water- colour showed great versatility. He ex hibited at the Royal Academy m 1S31. He died August 10, 1869. BAKER, Samuel, engraver. Practised m London towards the end of the 17th century. There are several engravings by him, but they do not possess much merit. For a series of costumes cl la mode he engraved two or three of the plates, 1690. BALDREY, John K., engraver and draftsman. Born about 1750. Practised both in London and Cambridge between 1780-1810, working both m the chalk and dot manners ; many of his works are printed in colours. Among his best works are ' The Fmding of Moses,' after Salvator Rosa, 1785 ; ' Diana in a Landscape,' after 20 BAN Carlo Maratti ; ' Lady Rawdon,' after Reynolds, 1783 ; and some subjects after Penny and Bunbury. His chief work is from the East Wmdow of King's College Chapel, Cambridge, which he drew and engraved, and then finished higMy in colours. He exMbited portraits at the Academy m 1793 and 1794. He retired to Hatfield, where he was living in 1821. BALDWIN, Thomas, architect. Prac tised m Bath, and about 1775 was appomted the architect of the corporation. He de signed many of the mansions, the town- hall, the baths, the western front and portico of the long's pump-room, 1796. He also drew the plans of a Roman temple wMch was discovered m Bath. He died March 7, 1820, aged 70. Robert Baldwin practised m London as an arcMtect about the same period. BALMER, George, water-colour painter. ' Was the son of a house painter m North SMelds, and intended for that business. He practised for a while as a decorator m Edinburgh, cultivating at the same time a taste for art. About 1831 he sent some water-colour drawings to an exMbition at Newcastle, and afterwards assisted Mr. W. J. Carmichael, the marine pamter, in Ms large work, ' The Heroic Exploit of Admiral Colhngwood at the Battle of Trafalgar,' a picture now at the Trinity House, Newcastle. He then visited Holland, the RMne, Switzerland, and Paris, where he made some good studies at the Louvre. On Ms return he settled in London, and painted some Rhenish and Dutch shore and coast scenes and some moonlights. In 1836 he suggested to Messrs. Fmden, ' The Ports and Harbours of Great Britam,' a publication which they commenced, containing many views, chiefly on the north coast, from Ms drawings, but the work was not continued. About 1842 he came mto possession of some property. He had always been diffident of the merit of his works, and givmg up his commissions, he retired to Ravensworth, Durham. Here he hved about four years, amusing Mmself only with his art, when he was attacked by ilMess, and died m the prime of life on April 10, 1846. BAMFYLDE, Copp Warre, of Hester- combe, Somersetshire, amateur. Was conspicuous as a landscape pamter towards the end of the 18th century, and was an honorary exhibitor at the Academy. There are some landscape etchings by him and some humorous caricatures on costume, 1776. Benazech, Canot, and Vivares en graved after him. • Bc,JPKS>TH0MAS>R-A.,scM/pto-. Born Vi J*; Mar^s parish> Lambeth, Dec. 22, 1735 (some accounts say 1738). His father was land-steward and surveyor to the Duke of Beaufort. He was sent to school at Ross BAN Herefordshire, and at 15 apprenticed in London to a woodcarver, servmg Ms full time of seven years. At 23 he entered the St. Martm's Lane Academy to study from the life. In 1763 he obtained the Society of Arts' medal for a basso-rilievo. He gained a second medal m 1765, and for a hfe-size model of ' Prometheus ' in 1769 a third medal. He had found some em ployment under Kent, and at the same time entering the newly-established schools of the Royal Academy, he obtained the gold medal in 1770 for Ms ' Rape of Pro serpine,' a bas-relief ; and two years later the travelling studentship. He arrived in Rome in August 1772, and by the assist ance of his family prolonged his stay beyond the tMee years of his studentsMp, and completed some fine works in marble, the cMef of wMch were 'The Death of Germamcus,' a basso-rilievo ; ' Caractacus,' a ' Psyche,' and a ' Cupid,' which he brought to London to finish. He returned to England in 1779, having married a lady of some property, and exMbited a group in marble and some designs in plaster. Soon after, not finding his talents appreciated at home, and tempted by an offer from the Court of Russia, he visited St. Petersburg, takmg with him Ms ' Cupid tormenting a Butterfly,' wMch was purchased by the Empress. His health suffered by the climate, and after executing some works, he returned in less than two years, and m 1781 took a house m Newman Street, and settlmg m the practice of Ms profession, he met with considerable encouragement, exMbiting yearly at the Academy. He was employed upon a monument of Bishop Newton, and finished his first great work, a colossal statue of 'Achilles bewaihng the loss of Briseis,' which was afterwards pre sented by his widow to the British Institu tion, and till the closmg of the gallery in 1868, stood in the vestibule. In 1784 he was elected an associate, and m the next year a full member of the Royal Academy. He presented on his election his fine work, 'The Falling Giant.' 'Thetis and her Nymphs,' a small oval alto-rilievo, is also one of his most excellent productions. Of Ms works in St. Paul's are the monuments of Captains Westcott and Burgess ; in Westminster Abbey, where there is a tablet to his memory, the monument of Sir Eyre Coote; and in Pall Mall, the Shakespeare Group in the exterior front of the British Institution. He died in New man Street, where he had dwelt smce 1781, February 2, 1805, and was buried in Paddington Churchyard. His death was hastened by the violent treatment of an ignorant empiric. He takes Mgh rank among England's sculptors, among whom he was the first who attained excellence in the poetic treatment of purely classic BAE subjects, of which he left numerous sketches in clay, full of delicacy in feeling and refined finish. He was a reserved, amiable, religious man — always kind to young artists. In Ms latter days he found pleasure in mstructmg his only daughter. He left a handsome provision for his widow. BANKS, Charles, sculptor. Brother of the foregomg. Was a student of the Royal Academy, and after receivmg several premiums of the Society of Arts, gained the Academy gold medal in 1774 for his group of ' Pygmalion and his Statue.' In the following year he exhibited ' Adorns,' a model, and did not again contribute to the exhibition till 1783, when he sent ' A design for a monument;' in 1784, 'Lot and the Angels,' a model ; in 1787, ' Sketch of a Basso-rilievo m Wax;' and after a lapse of four years, in 1792, ' Diana and Endymion,' apparently m wax, which was Ms last exhibited work. BANKS, Charles, miniature painter. Was a native of Sweden, originally spelt his name Bancks, and came to this country when young, m 1746. He practised his art here, and was an occasional exhibitor at the Royal Academy from 1775 to 1792. His immature of himself is engraved by M'Ardell. BANNERMAN, Alexander, engraver. Born at Cambridge about 1730. He was employed by Alderman Boydell, and en graved for him 'Joseph interpreting Pharaoh's Dream,' after Spagnoletto ; ' The Death of St. Joseph,' after Velasquez ; and ' Children Dancing,' after Le Nam. He also engraved several of the portraits for Walpole's 'Anecdotes of Painters,' and other portraits, frequently grouping them grotesquely together. In 1766 he was a member of the Incorporated Society of Artists, and m 1770 was residmg at Cam bridge. BAPTIST, John Gaspars, portrait and drapery painter. Born at Antwerp. Came to England during the Civil War, and was employed by General Lambert. After the Restoration, Lely engaged him as drapery pamter, and he was known as 'Lely's Baptist.' He was afterwards employed in the same capacity by Kneller and Riley. There is a portrait by him of Charles II. in the hall of St. Bartholo mew's Hospital, and another in the hall of the Pamters' Company. His drawing was correct. H e excelled in designs for tapestry. He died in London, 1691. BARBER, Charles, landscape painter. Was born m Birmingham, and settled in Liverpool, where, and in the neighbourhood, he resided nearly 40 years. When the Liverpool Institute of Art was founded he was appointed the teacher of drawing, and subsequently became the president. He 21 BAE painted landscape with figures. In 1813- 1816 he exhibited with the Water-Colour Society, which was then open to the pro fession. In 1839 he exhibited at the Royal Academy 'A View of Dovedale.' His name does not appear again in the catalogue till 1849, when he sent— his last contribution—' Evening after Rain : a Luggage Train preparing to Start,' and 'Dawn of Day: Foraging Party returrdng.' He dieil at Liverpool, January 1854. BARBER, Christopher, miniature painter. Practised with some repute, both iu crayons and miniature, and in oil. He was careful in the mediums he used and in the preparation of his colours, and attamed much brilliancy. He was a member of the Incorporated Society of Artists in 1763, but was expelled m 1765, having exhibited with the opposing society. In 1770 he was living in St. Martin's Lane, and exhibited for the first time at the Academy miniature portraits m oil, fol lowed by small half-lengths, conversation pieces, and some landscapes, continuing an occasional exhibitor up to 1792. He was a great enthusiast m music, and a man of much mgenuity. He died m Great Marylebone Street, March 8, 1810, aged 74. BARBER, J., medallist. He executed in 1814 a good medal of 'Europa,' and earned a reputation by many fine memorial medals. He exhibited at the Academy, m 1825, ' A Group of Horses,' an impression from a die ; and in 1838, ' A MedaMc Portrait of the Queen.' BARBER, John Vincent, landscape painter. Was the son of Joseph Barber, who taught drawing in Birmingham to wards the end of the 18th centuiy, and died there in 1811. He exhibited at the Academy, in 1812, 'Cattle and Landscape ;' in 1828, 'Lake Lugano' and ' The Golden Age;' m 1829, 'Morning; 'and m 1830, 'Gypsies' and 'Evenhig' — Ms last ex hibited works. He died at Rome a few years after. He made drawings, m con junction with some of our eminent water- colour painters, for the ' Graphic Illustra tions of 'Warwickshire,' published in 1829. BARBER, Thomas, portrait painter. He was apprenticed to a house painter in Nottingham, and showing signs of superior ability, he came to London to study, and was assisted to receive some instruction from Sir Thomas Lawrence. He practised at Nottingham about 1810, and in that and the following years was an exhibitor at the Royal Academy. In 1819 he was residing at Derby, and exhibited at the Academy a portrait of Mrs. Siddons ; in 1823, two portraits of young ladies ; m 1824, ' The Sisters.' In 1829 he was still residing at Derby, and was for the last time a contributor to the exhibition. He 22 BAE was well known and encouraged in the Midland Counties, and possessed a local reputation ; but his portraits, though show ing the influence of Lawrence, were weak, and had little character. He also pamted several landscape views. He died at Nottingham, September 12, 1843, aged 75, and was buried in the cemetery there. He is said to have made a considerable sum by his profession. BARBOR, Lucius, miniature painter. He lived m the Haymarket, and practised m oil, but chiefly M enamel, and gamed a reputation by his clever mmiatures. He exhibited at the Spring Gardens ExMbi- tions. He died November 7, 1767, and left a widow m distress, who was assisted by the Incorporated Society of Artists. BARCLAY, Hugh, miniature painter. Bom m London in 1797, and practised Ms art there, and also in Paris, where he was much engaged m malting copies m the Louvre from the great Italian masters. He died m 1859. BARWELL, John, amateur. Was born at Norwich, 18 Oct. 1798, and died there 27 Feb. 1876. He pamted m oil and water- colour. His portrait of William Taylor of Norwich was exhibited m Lord Derby's loan collection m 1868. BARD WELL, Thomas, portrait painter. Chiefly employed as a copyist. He pamted a picture of ' Dr. Ward (who was caricatured by Hogarth) relieving Ms Sick and Lame Patients,' wMch was en graved m 1748-49 ; and m 1744 a portrait of Admiral Vernon, from which there is a mezzo-tint. In the University Galleries, Oxford, there are full-length portraits by Mm of the Earl and Countess of Pomfret. His name is remembered by his book, ' The Practice of Painting and Perspective made Easy,' wMch he pubhshed by exclusive licence from the Crown in 1756. He died about 1780. BARENGER, James, animal painter. His father (born 1745, died 1813) was brought up a chaser, and was known by his drawings of insects m water-colours. His mother was a sister of Woollett, the engraver. He was born December 25, 1780, and gamed a reputation as a painter of running horses. He also pamted park scenery, mtroducmg deer, other animals, and buds. He exhibited at the Royal Academy, and was about 1820, while giving his address at. Messrs. Tattersalls, largely employed in painting the portraits of horses and dogs. He continued an occasional exhibitor at the Academy up to BARKER, Benjamin, animal painter. Native of Newark. Was educated for the bar. Kan through a considerable property, and then tinned artist. He became known as a horse pamter, but his works did not BAE go beyond portraits of horses. He died at Bristol, June 12, 1793. BARKER, Thomas (known as ' Barker of Bath'), landscape and srdjject painter. Born 1769, near Pontypool, Monmouth shire. _ Son of the foregoing. Removed with his family to Bath, where, showing a talent for art, and assisted in means by a friend, he made some good copies from the Dutch masters ; and continuing to improve, at the age of 21 his friend made him a liberal allowance to go to Italy. He was there pursuing his studies in 1793, when Ms father died. He first exhibited at the Academy in 1791 — two landscapes and a ' Moonlight with Banditti ; ' m 1796, tM-ee Italian landscapes and a portrait ; and continued an occasional exhibitor up to 1829. He also exhibited at the British Institution for many years. His sketches were trutMul, but slight and unfinished m manner. His ' Woocbnan,' ' Old Tom,' 'The Gipsy,' and other rustic groups, were very popular, and were reproduced on cMna, pottery, and even the textile fabrics. The 'Woodman,' of wMch he made two copies life-size, sold for 500 guineas ; Ms ' Woodman's Cottage-door,' m 1819, for 350 gmneas. He pamted ' The Trial of Queen Carohne,' mtroducmg many portraits, 1821 ; and a fresco, 30 feet by 12 feet, m Ms house at Bath, ' The Inroad of the Turks upon Scio,' 1822. He made an exhibition of his works m the great room in Lower Brook Street, where the Water-Colour Society opened their first exMbition. He died at Bath m his 79th year, December 11, 1847. He published, in 1813, ' Rustic Figures after Nature,' m 40 tinted plates ; drew also on stone, and published a series of hthograpMc works. BAB.KER, Benjamin, landscape painter. Brother of the above. Born in 1776. He resided at Bath, and occasion ally exMbited at the Academy— m 1800 and 1801, Welsh views ; in 1810, two landscapes; m 1813, a scene near Arundel; and m 1821, Ms last contribution, a Sussex landscape. During the years 1813-20 he was a large exhibitor of views and land scape compositions at the Water-Colour Society. He was also an exhibitor at the British Institution. Though a student from nature, his landscape compositions are often imitations of the old masters. His works, both m oil and water-colour, no less show much taste and feehng, and have considerable merit, but he found httle encouragement. His ' English^ Landscape Scenery' was published m 1843'. He died at Totnes, after a lingering illness, March 2, 1838, aged 62. Thales Fielding engraved 48 of his landscapes in aqua-tint. BAR.KER, Robert, panorama painter. Bom m 1739, at Kells, m the county of Meath. He set up in business m Dubhn, BAE and failing in this, tried miniature and Eortrait painting ; then, quitting Ireland, e settled in Edinburgh, and followed portrait art there. The view from the Calton Hill first suggested the panorama. He had made himself master of the prin ciples of perspective ; and in 1787 he detercnmed to execute the half-circle view from the hill, to prove the practicability of his idea. This he completed in water- colours and brought to London in the following year. Sir Joshua Reynolds was greatly pleased with his attempt, but thought his scheme impracticable. He, however, persevered, and patented his plan under the title of 'La Nature a Coup- d'ctil.' Then completing a whole-circle view of Edinburgh, he exhibited it in that city, Glasgow, and London ; but he did not at first meet with success m the Metropolis. His next work, however, a view of London from the Albion Mills, became popular; and, encouraged by this, he built in 1793 a new exhibition-room at the corner of Leicester Square, and painted the ' Russian Fleet at Spithead,' which was visited by the King and Queen, and became the talk of the town. A succession of his pano ramas, among which the Elba, Athens, and Bay of Lisbon, were very fine, were long the favourites of the pubhc. Stothard admired his genius, and spoke of him in high terms. He died in West Square, Lambeth, April 8, 1806, aged 67, leaving two sons. BARBER, Henry Aston, panorama painter. Younger son of the above. Was born at Glasgow, 1774. When quite a youth, he made the drawings for his father's first panorama from the Calton Hill, and was for some time a teacher of perspective m Edinburgh. In 1789 he made the drawings of London for the same purpose, and afterwards etching them in six large sheets, published them. He was the chief assistant in the production of his father's panoramas, and on coming to London was admitted a student of the Academy. Succeeding his father, he went to Constantinople to make drawings for the panorama of that city, which he opened in 1802 ; and on the peace of Amiens, he went to Paris to make sketches for a panorama. He had a good knowledge of shippmg. He was at Palermo in 1799, and at Copenhagen in 1801, and made sketches for panoramas of the two naval actions which were fought off those cities. In 1810 he was at Malta. He assisted Messrs. Burford in their panoramas of the Peninsular actions and of Waterloo, and went to Venice in 1819 to make drawings for the panorama of that city. His last work was the Coronation procession of George IV., 1822. In 1826 he retired from his profession, having realised a 23 BAE handsome competency. He died July 19, 1856, at Bilton, near Bristol, aged 82. BARKER, Samuel, flower painter. Was the cousin and pupil of John Vander- bank. He was brought up as a portrait painter, and a portrait by him is engraved ; but he was early led to paint flowers and fruit, and in this art promised much excel lence, when he died young, m 1727. BARLOW, J., engraver. Practised^in London towards the close of the 18th cen tury. Among his works are engravmgs after Hogarth, to illustrate Ireland's work in 1791 ; a portrait of Mrs. Siddons as ' Rosalind ; ' and a considerable number of the illustrations for Rees's ' Encyclopedia,' with other works of that date. BARLOW, Francis, animal painter. Born in Lincolnshire in 1626. He became the pupil of William Sheppard, a portrait painter, and at first himself painted por traits ; but his genius inclined him to ani mals, and he drew horses, dogs, birds, and fish with great spirit and characteristic truth, and embellished . his groups iwith clever landscape backgrounds. Faithorne engraved after him, in 1658, ' Diverse avium species studiosissime ad vitam delineatse;' Hollar, in 1671, ' Hunting, Hawking, and Fishing,' from his inven tions, fie engraved several of Ms own works himself, and there are many etchings by him. His best work is his illustrations, consisting of 110 plates, to an edition of iEsop's ' Fables.' Symonds records that he lived in Drury Lane, and mherited a large sum of money ; yet notwithstanding this and hisl numerous drawings and en gravings, he died m indigent circumstances in 1702. His drawings are usually done with the pen in a very minute, careful manner, and slightly tinted, mostly in brown. He painted some ceilings with birds, and designed several monuments for Westminster Abbey. He painted a por trait of George Monk, Duke of Albemarle, of which there is by his own hand an excellent etching ; and he also designed the hearse and made drawings of the duke's funeral pageant, which are engraved in mezzo-tint. BARNARD, William, enr/raver. Prac tised in mezzo-tint in London about the beginning of this century. Among his works, ' Summer,' and ' Winter,' after Morland, often printed in -colours, were much prized. He also engraved a portrait of Nelson. He was for many years keeper of the British Institution, and died Nov. 11, 1849, aged 75. BARNEY, Joseph, engraver. Prac tised about the end of the 18th century. There are some plates by him after Bassano, and m the dot manner after Hamilton and others. BARNEY, Joseph, fruit and flower 24 BAE painter. Was born at Wolverhampton in 1751, and at the age of 16 came to London, where he studied under Zucchi and Angelica Kauffmann. In 1774 he gained a premium at the Society of Arts, and early in life was appointed drawing-master at the Royal Military Academy, an office which he held for 27 years. His name first appears as an exMbitor at the Royal Academy in 1786, and Ms first contributions were chiefly classical subjects from Tasso, from Shakespeare, 'Calypso,' 'Ermima;'inl791, Taking down from the Cross,' followed by domestic scenes, mtroducing children. Later he resumed history, with occasionally a portrait. He had exhibited one or two groups of flowers m oil, and in 1815 was appomted flower pamter to ' the Prince Regent. He then exhibited some flowers and fmit, with other subjects, and appears for the last time m 1827, when he sent a domestic picture. He. lived for a time in Westmmster, but the greater part of his life at Greenwich. BARNEY, Joseph, j#o wer painter. Son of the foregomg. He practised at South ampton. He exMbited at the Water- Colour Society in 1815 and the three following years, and was an occasional exhibitor m London. BARNEY, William Whiston, en graver. Brother of the above. He was a pupil of S. W. Reynolds, and practised in mezzo-tmt. He "engraved, among others, the portrait of the Marquis of Blandford, and nis brother, after Cosway, R.A. ; Sir Arthur Wellesley, after Hoppner, R.A. ; and some sporting subjects, after Remagle, R.A. About 1805, qmtting his profession, he purchased a commission in the army, and rose to some distinction in the Penmsular campaign. BARON, Bernard, engraver. Born in Paiis about 1700, and educated there. He came to England m 1712, but returned to Paris for a time m 1729, and while there sat to Vanloo for his portrait. On his return to this country he met with con siderable employment. He engraved many fine works after Vandyke—' King Charles I. on Horseback, with the Duke d'Eper- non;' 'The King and Queen, with two children;' 'The Nassau Family;' and 'The Pembroke Family.' He engraved also several works after Watteau and Titian, and after Holbem, Allan Ramsay, a portrait after Hogarth, ' King William,' after Kneller ; and many other works from the best masters. His chief works were executed in London, where he resided the greater part of his hfe, and died in Panton Street, Piccadilly, January 24, 1762 He engraved in the manner of Tardieu a French artist by whom he was instructed. His manner, though coarse, possessed much merit. He was employed by Hogarth BAE BARRA, John, engraver. Bom in Hol land about 1572. He came to England in 1624, and between that date and 1627 he completed several plates, to which his name is attached, with the word ' London.' He is reputed to have died here m 1634. He worked entirely with the graver in a stiff, laboured manner. He is supposed to have occasionally pamted on glass. BARRALET, John James, water- colour painter. He was of French descent, and was bom m Ireland. He studied under Manning in the schools of the Dublin Academy, and was temporarily em ployed to teach in the schools. Setthng in Dubhn he was much sought after as a teacher. Later he was engaged in glass- staining m connection with Hand. After wards he became a member of the Incor porated Society of Artists m London, and was an occasional contributor to the exMbitions of the Royal Academy. In 1770 he sent three tinted drawings — 'A Storm,' 'Sunset,' and 'Ruins;' m 1771, two historical drawings and a whole-length portrait, followed by 'Women Bathing,' and some subject pieces. He also drew some views of gentlemen's seats, mtro- ducing figures and cattle, and was awarded, in 1774, a premium by the Society of Arts for ' A View on the Thames.' In 1795, when advanced in years, he emigrated to PhiladelpMa. There, though at first a great beau, he is said to have fallen into slovenly habits. He found employment cMefly in book illustration. Many of the drawings for Grose's ' Antiquities of Ire land ' and Conyngham's ' Irish Antiquities ' are by him, and his works have been en graved by Bartolozzi, Grignon, and others. He died in America about 1812. BARRALET, J. Melchoir, water- colour painter. Brother to the above. He was a student of the Academy, and was chiefly employed as a teacher of the figure and of landscape, both m oil and water- colours. He exhibited at the Royal Aca demy tinted views m 1775-77 and 1788; and m 1789 views of London, but his name does not appear agam. His drawmgs were cleverly and carefully finished in the early tinted manner. Several of his landscapes are engraved. BARRAUD, William, animal painter. Was grandson of the well-known chrono meter-maker, who was of an old French family. His father held a situation in the Custom House, where, on leaving school, he obtained an appointment, which after a short time he resigned, and became a pupil of Abraham Cooper, R.A. He chiefly painted portraits of horses and dogs, but tried some subject pictures in conjunction with his brother Henry. He first exhi bited at the Academy m 1829, and con tinued to exhibit till his death. He was BAE also an occasional exhibitor at Suffolk Street. He had attained a power of draw- mg, but did not reach any eminence in art. Two sentimental subjects by him were engraved, and had an extensive sale. He diedj after a short illness, m October, 1850, m Ms 40th year. BARRAUD, Henry, portrait and sub ject painter. Brother of the above. Was born m 1812. He was for many years an exhibitor at the Royal Academy, beginmng m 1833, and sending for the last time in 1859. His works are chiefly portraits with horses and dogs, but he also exhibited subject pictures, the more important m conjunction with his brother, such as, in 1842, 'The Pope blessmg the Animals.' His most popular works were, ' We praise Thee, 0 God;' also 'The London Season,' 'Lord's Cricket Ground,' and 'Lobby of the House of Commons,' m 1872. He died June 17, 1874. BARRET George, R.A., landscape painter. Was the son of a clothier, and was bom in the Liberties of Dublin 1732 (some accounts say 1728). He was ap prenticed to a stay-maker, but managed to get employed by a publisher to colour prints, and, self-taught, became drawing- master at a school in Dublin. He was fortunate in gaining the notice and patron age of Mr. Burke, upon whose recommend ation he began to study from nature among the fine scenery in the environs of Dublin, and soon after gamed a 50/. pre mium from the Dubhn Society for the best landscape .pamting. His success prompted Mm to seek his fortune hi London, where he arrived in 1762, bringing with him two landscapes, which were so extravagantly praised that he thought himself the first landscape painter in Europe. He found a patron m Lord Dalkeith, who paid him 1500/. for three pictures. He was a member of the Incorporated Society of Artists, and one of the exhibitors at the Spring-Gardens Exhibitions, and in 1764 gamed the Society of Arts' premium of 50/. for the best landscape. His success continuing, he settled m the Metropolis, and on the foundation of the Royal Academy m 1768 was nominated one of the members. He resided for several years in Orchard Street, Portman Square, and managed to become reduced to bank ruptcy, while he was earning, it is said, 2000/. a year by his profession. He suffered from asthma, and then removed to West- bourne Green, Paddington, as more con ducive to his health, fie was at this time employed by Mr. Lock, on whose commis sion he painted a large room at Norbury Park, near Leatherhead, and by the f riend- ship of Mr. Burke he was appointed master painter to Chelsea Hospital, an office to which large emoluments, though it does 25 BAE not appear what duties? were attached. The last 10 years of his life were passed at Westbourne Green. There he had pamted some of his best works, and died May 29, 1784, and was buried at Paddmgton Church. His family endured much distress, and after his death were pensioners of the Royal Academy. fie became a painter by the force of his own genius ; he was his own teacher. His pencil was rapid, his touch firm and cha racteristic. He re] (resented English scenery in its true freshness and richness, excelling in the verdure peculiar to spring. His distances were very successful ; his effects good. He painted animals m a spirited manner ; sometimes they were introduced into his pictures by Sawrey Gilpin. In his early manner he was heavy, but improved in his later pictures. Some of his works have not stood well from the colours he employed. His studies from nature, made with a black-lead pencil, are excellent, and Ms drawings in water-colour are painted with great skill. Several etchings by his hand are also known — done in a spirited manner. He enjoyed great reputation m his lifetime, wMch his works have not since maintained. BARRET, George, water-colour painter. Son of the precedmg. His life commenced under difficulties, which he encountered with patient exertion. He appears as an exhibitor at the Academy in 1800— 'Rocky Scene' and 'Morning' — and became celebrated for his water-colour paintmgs. He excelled in his poetic treat ments of sunrise and sunset, the effects of moonlight, and hi his truly classic and poetic compositions. He was, on the foundation of the Water-Colom- Society m 1804, one of its first members, and was a constant and large contributor to their exhibitions. He laboured incessantly at his art, and striving rather for excellence than gain, only earned enough to meet the daily wants of his family. The Ion? illness and eventual loss of his son added to his troubles and accelerated his own death, which took place in 1842, when a subscrip tion was opened for his family. He pub lished, in 1840, ' The Theory and Practice of Water-colour Painting elucidated m a series of Letters.' BARRET, Miss M., water-colour painter. Was the sister of the foregoing. She was a pupil of Mrs. Mee, and com menced art as a miniature painter, exhibit ing at the Royal Academy in 1797 and the two following years. She also painted birds, fish, and still-life, and in 1823 was admitted a member of the Water-Colour Society, and was a constant exhibitor up to 18!!6, at which time she died. She resided with her brother. BARRET, J., landscape painter. 26 BAE Brother of the above. He practised as a water-colour painter, sometimes in body colour, and was an occasional exMbitor at the Academy from 1785 to 1800. BARRET, Ranelagh, copyist. Was much employed by Sir Robert Walpole and others, and excelled in his power of copying, especiaUy from the works of Rubens. He died in 1768, and his pictures were sold by auction in the December of that year. BARRON, Hugh, portrait painter. Born in London. Son of an apothecary in Soho. He became a member of the Incorporated Society, and a pupil of Sir Joshua Reynolds, and on leavmg him practised for seme time as a portrait painter m London, exhibiting at the Spring Gardens Exhibitions in 1766-67 and 1768. About 1770 he started for Italy by sea. Stopping some time at Lisbon he painted some portraits there, and m 1771 and 1772 was m Rome, fie soon after returned to London, settled m Leicester Square, and exhibited some portraits at the Academy m 1782-83 and 1786. He died in the autumn of 1791, aged about 45. He gave as a boy great promise of future excellence, wMch he failed to realise. His manner was weak ; his paintings but feeble imitations of his great master. He had, however, great musical talent — was esteemed the first amateur violmist of his day — and probably to this talent, and to Ms gentlemanly manners, owed his employ ment as a painter. BARRON, William Augustus, land scape painter. Younger brother of the above. Was pupil of William Tomkins, A.R.A. In 1766 he gained a premium at the Society of Arts. He practised land scape pamting and taught drawing. He was an exhibitor of landscapes, chiefly views, at the Academy from 1774 to 1777. His view of ' Wanstead House ' has been engraved by Picot, and some other of Ms views in Essex have been engraved. Like his brother, he was distinguished as a musical amateur ; and gaining the notice of Sir Edward Walpole, he gave him an appointment in the Exchequer, upon wliich he quitted his profession. BARRY, James, R.A., history painter. Born at Cork, October 11 1741. His father was a bricklayer and builder, and afterwards became a coasting trader and the keeper of a small public-house, called Cold Harbour,' on the quays at Cork. He was intended for the coasting trade, but became disgusted after two or three voyages His early education was not deficient and of drawing he first showed S?me f ! V'11^ .by Painting his father's sign of The Neptune' a ship of that name on one side and the heathen god on the other. Then, permitted to follow his own BAE bent, he continued the practice of draw- mg; made acquaintance with two herald painters, from whom he gamed some help ; copied such prints as he could get, among them the cartoons of Raphael, and decor ated his father's house with Ms attempts. Happily, finding a purchaser for Ms works, he was enabled to go to Dubhn. Here he became the pupil of Mr. West, the well- known able teacher of the figure, and at the age of 22 he pamted a large historical subject from a sketch he had made at Cork, The Conversion and Baptism of one of the Kings of Lemster. This work was ex- Mbited at the Dublin Society of Arts, and at once brought Mm mto notice and gained hini the friendship of Mr. Burke, who, m 1764, mduced Mm to come to London, in troduced Mm to his friends, and in the next year assisted Mm by an allowance of 50/. a year to visit Italy. On his way he stayed a while to study, and then went on to Rome, where, as his letters show, he ap plied himself earnestly to his improvement m art ; but, unfortunately, an irritable temper led Mm into disputes with both the artists and lovers of art m that capital. In 1770, after an absence of five years mostly spent m Rome, he returned to London, visiting on his way Florence, Turin, Bologna, and other cities, and the following year he exMbited his first picture at the Royal Academy, the ' Adam and Eve,' now m the possession of the Society of Arts, and next year his ' Venus rismg from the Sea,' when he gained Ms election as associate, and M 1773 as royal acade mician. These pictures, and his ' Jupiter and Juno ' exhibited at this time, obtained him much notice but no employment, and he advertised to give lessons twice a week for three grnneas per month. He dishked portraiture — mdeed, he was by temper and manner most unsmted to its successful pursuit — but devoted to epic art, he was one of the foremost of the artists who proposed to decorate St. Paul's Cathedral, if the plan did not originate with him. In 1776 he completed a 'Death of General Wolfe.' Led away by his love of classic art — and not without high contemporary authority— his figures m this picture were aU nude, and provoked criticism which stirred him to unbridled anger, and much bitter feehng ensued. Enthusiastic in his desire to vindicate the genius of his countrymen, he published at this time his reply to the ill-founded opinion of the Abb6 Winckelmann, that the English are incapable both from natural defect of genius and an unfavourable climate of attammg excellence m art. His wants were, from his well-known habits, few ; yet he must have found a difficulty to supply them by the practice of high art, and he recurred to his proposal to teach, offering to give in- BAE struction in the art of design to any noble man or gentleman who might require such assistance. Shortly after, he was engaged in the great work of his life. In March 1777 the Society of Arts accepted his offer to decorate their great room with appropriate paintings, on condition that he was pro vided with canvas, colours, and models for his work. He chose for his subject ' Human Culture,' and thus describes Ms designs: ' In this series, consisting of six pictures on subjects useful and agreeable m themselves, I have still further endeavoured to give them such a connection as might serve to illustrate one great maxim or moral truth — viz. that the obtaimng of happmess, as well mdividual as public, depends upon cultivating the human faculties. We begm with man in a savage state, full of incon venience, imperfection, and misery ; and we follow him through several gradations of culture and happmess, which, after our probationary state here, are finally attended with beatitude or misery. The first is the story of Orpheus ; the second, a Harvest Home, or Thanksgiving to Ceres and Bacchus ; the thud, the Victors of Olympia ; the fourth, Navigation, or the Triumph of the Thames ; the fifth, the Distribution of Premiums m the Society of Arts ; and the sixth, Elysium, or the State of Final Retribution, three of these subjects are poetical, the others historical.' These six pictures are each 11 feet 6 inches high, and two 42 feet each m length. All of them are crowded by carefully painted figures, and the Elysium is filled with the portraits of the most distinguished men the world had then known. Barry, un assisted by any one, and in strict conform ity with his offer, completed his laborious work — which must have proved a constant strain upon his mental and physical powers — but not m three years as he had pro posed, as it was not till April 26, 1783, that the Society of Arts voted him their thanks on accepting his finished work. MeanwMle, m 1782, he was appointed professor of pamting in the E-oyal Aca demy, and at the beginning was irritated by some observations of the president on Ms want of diligence in preparing his lec tures. But surely some allowance might have been made for an artist then so earnestly occupied ; and there could have been little time lost, as he commenced his first course on March 2, 1784. But the choice of lecturer was injudicious, and should have been avoided. He was not popular in the profession. He bad made enemies, and was soon charged with bemg intemperate m his remarks from the pro fessors chair, and filling his lectures with invectives agamst his fellow-academicians. One of the body, Edward Edwards, in a 27 BAE memoir of Barry tainted by great ill-will, selects as an example of this Ms remark ' on the contracted and beggarly state of the academical library '—a fact, if coarsely ex pressed—and his out-of-place tale of his serious loss of money, which he is supposed to have misplaced and afterwards dis covered. ' My house was broken open and robbed of a considerable sum, which I had provided to purchase the lease of a house, where I wished qmetly and retired to carry on another work for the public, about which I had been for some time engaged. What aggravated the matter still more was, that I had good reason to be assured that this robbery was not committed by mere thieves, but by some hmbs of a mot ley, shameless combination, some of whom passed for my friends, who well knew what I was about, and wanted to mterrupt and prevent it, by stripping me of the necessary means of carrymg it on ; ' and this writer thus sums up Barry's offences : ' His writ- mgs, and particularly Ms lectures, abound with traits of self-consequence and inex plicable attempts at definitions, mterspersed with abusive comments upon those persons who did not pay him that high respect to wMch he thought Mmself entitled.' There is no doubt the academicians had selected the wrong man for their professor's chair, nor that they wished to remove him ; and in 1799 they appomted a committee to enquire into Ms backslidmgs, who sum moned him to appear before them. It is not stated whether he appeared; but on their report a general assembly of the body resolved — ' First, to remove him from the office of professor of pamting; and by a second vote, that he be expelled from the Royal Academy.' The interests of the Academy would warrant the conclusion which was come to in the first vote, but on what grounds can the second vote be justly supported? Now all personal irritation has long since passed away, Barry is known only as a great painter ; and aU must feel regret that, for defects of temper and manners alone he should have been expelled from a body where, as artists, few were Ms equals. Barry was now 58 years of age. He was a solitary man, of an unsocial but far from a morose disposition, and rudely mdepeud- ent, living in the greatest discomfort and neglect, without a servant or even an at tendant of any kind. His house in Castle Street, Oxford Street, where he lived 20 years and died, was known by its ruinous decayed exterior ; a visitor was rarely ad mitted, and he became more and more negligent of his person and dress. Yet he was not without means, though his wants were reduced to a very low scale. The Society of Arts, with their gold medal and a present of 200 guineas, had given him ( 28 BAE the privilege to exhibit the great works he had pamted on their walls. TMs produced him, in 1783 and 1784, 503/., and altogether 700/., and he then undertook the drudgery of etching and engraving these works to a large size, wMch, from his way of working, became a labour requiring the exercise of strength as well as skill, and it is said that he even printed the work himself. He also engraved some of his own designs m aqua tint, among them ' Job m his Distress sur rounded by his Friends.' The occasional sale of a few copies of these works was an addition to his means, though he ungra ciously received the help of those who procured him purchasers. Age had crept upon him. fiis singffiar appearance and mode of life naturally led to the conclusion that he was m necessitous circumstances, and Ms friends at the Society of Arts recognismg his persevering pursmt of art, his love of his profession, and his neglect of mere pecuniary gam, called a meeting m May 1805, and resolved to purchase him an annuity. They raised 1000/. and pur chased of Sir Robert Peel an anmiity of 120/., to which Lord Buchan added 10/., but Barry did not hve to receive the first payment. The circumstances of his death and soli tary condition are truly painM. He was seized with an attack of pleuritic fever on entering a dming-house wMch he usually frequented, on February 6, 1806. Unable to speak or move, some cordial was admin- istered, and he was taken to the door of his house in a coach. It was found impossible to open it. Some miscMevous boys had filled the key-hole with dirt and pebbles ; sMvering under the rapid progress of his disease, lie was at last taken to the house of a land friend, who procured him a bed at a neighbour's. He desired to be left, and locked himself m for 48 hours without medical assistance. He coffid give no account of himself during that time, and was probably delirious. When medical aid was procured it was too late. He fingered tiU the 22nd, when he died. Son of a Protestant father, he had early in life been converted to Romanism by his mother, and became a stern and bigoted Cathohc, and on his death-bed he was attended by a priest of that communion. He was in principle a republican, wMch he never failed to avow. Sir Robert Peel defrayed the charge of his funeral. Surrounded by bis great epic work, sthl unsurpassed in the English school, his body lay m state at the Society of Arts, and then, followed only by its members and a few friends— yet not one artist— found its merited resting-place m the crypt of St. Paul's, near the coffin of Reynolds. His literary works have been published, with a copious memoir of Mm, by Dr. BAE Fryer, in 2 vols. 8vo. They comprise ' An Enquiry mto the real and imaginary Ob structions to the acquisition of the Arts in England m 1775.' 'An Account of the series of Pictures m the Great Room of the Society of Arts, by James Barry, R.A., 1783.' ' A Letter to the President, Vice- presidents, and Members of the Society, 1793.' _ ' A Letter to the Dilettanti Society respecting the obtension of certain matters essentially necessary for the improvement of public taste, and for accomphshmg the origmal views of the Royal Academy.' ' Second edition, with matters appended re lating to his expulsion from the Academy,' 1799. 'A Letter and Petition addressed to His Majesty, 1799.' His works were sold at Christie's in April 1807. Bidders mounted on the benches. His favourite 'Pandora,' though unfinished, fetched 230 guineas ; ' Venus rising from the Sea,' 100 gumeas; 'Adam and Eve,' 110 gumeas. But the 'Pandora,' when resold in 1846 to pay the expense of warehouse-room, fetched only llj guineas ! In the ' Edinburgh Review 'of 1811 there is an article on Ms works, attributed to Mr. Payne Kmght. BARRY, Sir Charles, Knt, R.A., architect. Born May 23, 1795. Son of a stationer m Bridge Street, Westmmster. He was articled to a surveyor and arcMtect in Lambeth. About the expiration of Ms articles Ms father died, and leavmg Mm a httle property, he determined to travel for improvement in Ms profession. He was a tolerable draftsman, and had exMbited Ms first drawing at the Royal Academy in 1812. In 1816, in his 22nd year, he started for Italy, and devoted himself to the care ful study of the finest edifices of the Italian cities. In 1818 he extended Ms tour to Greece, and thence to Palestine and Egypt, returning to England m 1820. In 1822 he commenced his professional career, and while yet unknown obtamed by competi tion the erection of St. Peter's Church at Brighton. Some commissions fohowed from Manchester, where he also erected a church, and at Oldham another in 1822. His works soon made known his abffities, and professional employment Mcreased rapidly. He was appomted architect to Dulwich College ; and m 1832 completed his first notable work m London, the Tra vellers' Club, a building distmguished by the simple elegance of its proportions and of its ornamentations. In 1834 the Houses of Parliament were burnt down, and a new legislative palace was thrown open to competition, an opportunity of distinction wMch rarely falls to the architects of this country. Barry entered the competition and was successful, and m 1837 commenced this great work, which will for ever give him a memory and a name m our metropolis. In the same year he was appointed to erect BAE the Reform Club, followed by the College of Surgeons. He now stood at the head of his profession, and in 1840 was elected an associate, and in 1842 full member of the Royal Academy. Simultaneously with the great works on wMch he was engaged, he erected several noble mansions — for Lord Tankerville, at Walton-on-Thames ; the Duke of Sutherland, at Trentham, Cliefden, and, in Scotland, Dunrobin Castle; and for the Earl of Ellesmere, Bridgewater House, St. James's. But the greater portion of Ms active life was devoted to the Houses of Parliament, one of the most extensive and elaborate works of the time, both from its vast proportions and the amount of its decorative details. The House of Lords was completed and occupied for the session of 1847, and the House of Commons, with all the principal parts of the edifice, for the session of 1852, and the architect then received the honour of knighthood. His unremitting labours came to a sudden termmation; he was seized with paralysis and died, before medical assistance reached him, at Ms house at Clapham, May 12, 1860. He was buried in Westmmster Abbey, his funeral attended by numerous professional and personal friends. His art will always be measured by Ms great Gotiiic work, the Houses of Parliament — a work carried on with successful determmation under many vexatious obstructions and difficulties. The noble river fagade, the grand proportions of the Victoria Tower, the elegant lightness of the Clock Tower, added to the well- proportioned and decorated galleries and chambers of the mterior, render this work one of the greatest architectural features of the Metropolis ; yet the less pretentious merits of some of his other works no less attest his genius and refined taste. The two fronts of the Travellers' Club — that m Carlton Gardens especiahy — and the en trance front of Bridgewater House, are notable examples of Ms true feehng for Itahan art. fie was a fellow of the Royal Society and of the Institute of British Architects, and was awarded the gold medal of the Institute m 1850. He was also a member of several foreign academies, and in 1855 gamed the gold medal for arcMtecture at the Paris Exhibition. His ' Life and Works ' has been written by Ms son, the Rev. Alfred Barry. BARRY, J., miniature painter. He first appears as an exhibitor at the Royal Academy m 1784, and continued for many years. In 1786 he contributed, m minia ture, ' The Four Seasons.' In 1788, his health f ailing, he made a voyage to Lisbon, and on his retnm, in 1789, exhibited ' Mrs. Crouch in Selima ; ' in 1792, a 'Bacchante ;' and was an occasional exhibitor up to 1819, when his name disappears. 29 BAE BARTHOLOMEW, Alfred, architect. Was born in Clerkenwell, March 28, 1801. Showing an early taste for architecture, he was placed under an architect, but devoted himself to the literature of the profession. He published ' Specifications for Practical Architecture ; ' ' Hints relative to the Con struction of Fire-proof Buildings ; ' a ' Cy clopaedia of the Metropolitan Buildings Act ;' and was the editor of ' The Builder ' on its commencement. He died January 2, 1845. BARTHOLOMEW, Anne Charlotte, flower painter. Born March 28, 1800, at Loddon, Norfolk. In 1827 she married Mr. Tunbull, a musical composer, who died in 1838, and under this name she published ¦ — 1825, 'It's only my Aunt,' a farce; and m 1840, ' The Song of Azreal,' and other poems. She first exhibited miniature por traits at the Royal Academy in 1829, and continued for several years as an exhibitor of miniatures. In 1840 she married Mr. V. Bartholomew, a flower painter, and then occasionally exhibited flowers or fruit ; but her chief works were miniatures for brooches and jewellery. She painted also some miniatures hi character. Her last exhibited works, in 1856 and 1857, were flowers and fruit. She died in Charlotte Street, Rathbone Place, August 18, 1862, and was buried in Highgate Cemetery. BARTLETT, William Henry, topo graphical landscape painter. Bom at Kentish Town, March 26, 1809. In 1823 he was articled to Mr. John Britton, whose architectural publications are well known, and accompanied him on his tour when collecting the materials for his ' Picturesque Antiquities of English Cities.' He soon made great progress in drawing, and was employed in sketching views and buildings in Essex, Kent, Bedford, Wilts, and other counties. He afterwards made drawings of many churches in Bristol, Gloucester, and Hereford. In 1829 he was engaged m making drawings of Fountams, Roche, Rievaulx, and other abbeys. Then he travelled on the Continent, and in 1834-35 extended Ms journeys to the East, explor- Mg, hi a succession of visits up to 1852, Asia Minor, Syria, Palestine, Egypt, Tur key, and the Arabian Deserts. He also took four voyages to America. In these journeys he made numerous sketches and drawings, above 1000 of wMch have been published, hi addition to those comprised in the following works — ' Walks about Jeru salem,' 1844 ; ' Topography of Jerusalem,' 1845 ; ' Forty Days m the Desert,' 1848 ; 'The Nile Boat,' 1849; 'The Overland Route,' 1850; 'Footsteps of our Lord,' 1851 ; ' Pictures from Sicily,' 1852 ; and ' The Pilgrim Fathers,' 1853. In prosecu tion of Ms indefatigable labours, he had started agam for the East, when, on Ms 30 BAE passage from Malta to Marseilles, he was suddenly attacked by illness, and died on board, September 13, 1854. His drawmgs were sold by auction at Messrs. Sotheby's in the following January. BARTOLOZZI, Francesco, R.A., en graver. Was the son of a goldsmith in Florence, and born there September 21, 1725. He studied drawing under a master in Florence, and then became the pupil of Joseph Wagner at Venice, by whom he was taught engraving. He afterwards went to Rome, where he established Ms reputation by his plates from designs for the ' Life of St. Vitus ' and the engraved portraits for an edition of ' Vasari.' Dalton, the libra rian of George IIL, who was travelling in Italy, engaged him to engrave a series of Guercino s drawings, and on the completion of this work Mduced him to come to Eng land, where he arrived in 1764, and was soon after admitted a member of the Incor porated Society of Artists and appointed engraver to the kmg, with a salary of 300/. a year. He was thus brought mto rivalry with Robert Strange, who had lost the king's favour ; and stimulated by this he produced his fine plate of ' Clytie,' after Caracci, followed by his ' Virgm and Child,' after Carlo Dolci. His skill m drawing the figure and knowledge of the principles of pamting were unequalled, and on the estab lishment of the Royal Academy in 1768, he was nommated a member. As an en graver, he was a complete master of his art, and the diploma of the Royal Academy, engraved by him, is unrivalled ; this, with the works mentioned above, the ' Venus and Satyr,' after Luca Giordano ; the ' Silence,' after Caracci; and the portraits of Lord Chve and Lord Thurlow, are talented speci mens of his art and finest manner. In his boyhood he formed a friendship with Ci priani, R.A., wMch continued through Me, and he became the best engraver of the works of his friend. He engraved several fine plates for Alderman Boydell. He was not less excellent in his lighter productions, wMch were rapidly executed, than m his exquisitely-finished plates— both bore evi dence of character, sweetness, and beauty, while both equally imitated the sphit of the originals. Laborious, working early and late, he was generous and profuse in spending Ms gains, but he was without prudence, and made no provision for the latter days. His difficulties drove him to expedients to meet Ms expenses. The chalk manner offered him facilities, and Ms studio became a mere manufactory of this class of art ; plates were executed by many hands under his directions, which received only some finishing touches by bun ; and his art was further vitiated and his talents wasted by the trifling class of works thus produced. In 1802 he accepted BAE the office of superintendent to the National Academy at Lisbon, and to mduce Ms stay here George III. offered him a pension, but too late: his engagement was made, to which he held or excused himself, and he left England on November 3, 1802, for Portugal, where he was knighted. He died at Lisbon, March 7, 1815, in his 91st year. BARTOLOZZI, Gaetano Stephen, en graver. Son of the foregomg, and of some reputation in the same profession, but was mdolent — an enthusiast for music rather than engraving. He was the father of Madame Vestris, of stage celebrity. He engraved a portrait of Madame Recamier, after Cosway, R.A., and of Mrs. Rudd, who was tried for forgery 1775. He died August 25, 1821, aged 64. BARTON, , portrait painter. An artist of this name painted a portrait of George I., of which Bromley catalogues an engravhig. BASEVI, George, architect. He was educated at the well-known school kept by Dr. Burney at Greenwich^ and then enter ing Sir John Soane's office in 1810, was for six years Ms pupil. At the end of this time he travelled, and studied during three years, in Italy and Greece ; on his return he soon gained notice, and Belgrave Square, the great buildmg speculation of the day, was erected after nis designs in 1825. His principal work is the Fitzwiffiam Museum at Cambridge, m the florid Italian style, designed in competition m 1835. He built a small church at Twickenham, St. Mary's Church at Greenwich, and also a church at Brompton and at Hove. The Eliza bethan Hall at Brighton is by him, and he was the jomt architect, with Mr. Sydney Smirke, of the Conservative Club m Pall Mall. His death was accidental. He was engaged to inspect the Bell Tower of Ely Cathedral, then undergoing repair, and while lost m the consideration of its fine construction, he stepped from a beam on wMch he was standing, and falhng to the floor, was killed on the spot, October 16, 1845, aged 51. BASIRE, Isaac, engraver. Bom 1704. He hved near St. John's Gate, Clerkenwell, and has been styled a map engraver. He engraved the frontispiece to an edition of Bailey's 'Dictionary,' published 1755. Died August 24, 1768. BASIRE, James, engraver. Son of the foregoing. Bom October 6, 1730. Brought up to his father's profession, he was assisted in his studies by Richard Dalton, went with him to Italy, and made drawings m Rome after Raphael. He was appointed engraver to the Society of Antiquaries about 1760, and to the Royal Society about 1770. fie was member of the Free Society of Artists, and acted as their secretary. The best specimens of Ms works are the BAT beautiful plates in the 'Vetusta"Monu- menta,' published by the Antiquarian Society, and the royal portraits and other plates m the ' Sepulchral Monuments.' He also engraved ' Pylades and Orestes,' after West; a large plate from 'The Field of the Golden Cloth,' after the painting at Hampton Court ; many plates for Stuart's ' Athens ; ' and some fine portraits of distin guished men. He died in Ms house in Great Queen Street, LincoM's Inn Fields, September 6, 1802, and was buried in a vault under Pentonville Chapel. He was noted for the correctness of his drawing and the fidelity of his burin. BASIRE, James, engraver. Son and grandson of the foregoing, and succeeded his father in his art. Born November 12, 1769. He was engraver to the Royal So ciety and the Society of Antiquaries, and mherited the abilities of his father. His best works are ' The Cathedrals ' from Mr. John Carter's drawings. He died at Ohig- well Wells, May 13, 1822. BASIRE, James, engraver. Son of the above, and fourth m succession following the same profession. He was bom m 1796, and early acquired excehence as a drafts man and engraver. He was much em ployed by the Society of Antiquaries, and engraved many of the plates for Gough's ' English Cathedrals.' fie died in London, May 17, 1869. BASSETT, Henry, architect. Student of the Royal Academy. Gained the gold medal m 1825 for his design for a National Gallery, fie was from that time an occa sional exhibitor at the Academy, and about 1839 was professionally employed on the Southampton estate. In 1844 he exhibited his last contribution, a ' Model of Italian Villas,' then erecting after his designs. BASTON, Thomas, marine painter. Attamed some eminence. Several of his representations of ships-of-war and ship ping have been engraved. He etched some of his own designs, and pubhshed in 1721 nine plates of sea views. BATEMAN, James, animal painter. He was born in London in 1814, and in 1841 was, for the first time, an exhibitor at the Royal Academy, and continued a con tributor till Ms death. His subjects were the humorous treatment of animals, and were very cleverly chosen, as well as the titles he gave to them, fie died at Hollo- way, March 24, 1848. BATEMAN, William, engraver. Born at Chester. Drew and engraved with much spirit many of the ancient buildings m that city. He died at Shrewsbury, April 27, 1833, aged 27. BATLEY, , engraver. He practised in mezzo-tint about 1770, and was chiefly employed upon portraits. BATLEY, William, architect. He is 31 BAT supposed to have built some of the fine old mansions m Northamptonshire and the adjoining counties. He died at Welling borough in 1674, aged 80, and on his tomb is designated as ' architect.' BATTLEY, John, architect. Was of some local eminence at Leeds, where he erected the theatre and several considerable buildings in the town and neighbourhood. His principal works executed about 1770- 80. BATTY, Robert, Lieut-Colonel, ama teur draftsman. Son of Mr. Batty, of Hastings, M.D. At the age of 15 he accompanied Ms cousin, Mr. Bickersteth, afterwards Lord Langdale, on a tour m Italy, and had the opportunity of cultivat- ing a taste for art, which belonged to his family. He was educated at Caius College, Cambridge, but his destination in life was balanced between arms and medieme, for after entering the army he returned to Cam bridge, and eventually took a degree in medieme. But the events of the day pro bably determined Ms career, and entering the Grenadier Guards, he served with them during the campaign of the Western Pyre nees and at Waterloo ; and he recorded the services of his corps in a quarto volume, illustrated by Ms own etchings, under the title of ' The Campaign of the Left Wing of the AUied Army m the Western Pyrenees and South of France in 1813-14.' fie also wrote a ' Sketch of the Campaign of 1815.' Afterwards he pubhshed several volumes of scenery in various countries — 'French Scenery,' m 1822; 'German Scenery,' in 1823 ; ' Welsh Scenery,' in the same year ; 'Scenery of the Rhine, Belgium, and Holland,' 1826 ; ' Hanoverian, Saxon, and Danish Scenery,' 1828 ; ' Scenery m India,' and ' Select Views of the principal Cities of Europe,' 1830-33. He had also completed drawmgs in water-colours of views m Spain and Portugal, and had disposed of them for publication, but they have not appeared. He was occasionally an honorary exhibitor at the Academy from 1825 to 1832. He died in London, November 20, 1848, aged 59, leaving a widow and family. His industry was great, his works carefully and tmthfully drawn, his arcMtecture cor rect in its proportions and outlines ; and his merits as a topograpliical draftsman deserve recognition. BAUER, Francis, F.R.S., botanic draftsman. Was bom at Felsberg, Austria, October 1, 1758. He came to England in 1788, and two years after settled at Kew, where he was for 30 years draftsman to the Royal Botanic Gardens, and was appointed botanic painter to George III. A fine coUection of his elaborate works is in the British Museum. He died December 11, 1840, aged 82. BAXTER, Thomas, water-colour paint- 32 BEA er. Was born in Worcester, where his family were long connected with the cliina works, February 18, 1782. He was a clever imitator of still life, and rapid in Ms manner. He excelled m frmt, flowers, and landscape. He also pamted some works on porcelain, wMch were greatly esteemed, especially some miniatures after Reynolds, and a pmk service of china, in wMch the figure was well Mtroduced, 1814-16. He then went to the Swansea works, where he continued three years, returmng to Wor cester in 1819. Afterwards he went to London, but unable to support Mmself, he sought employment m the provinces, traveffing from place to place ; but under his anxieties Ms health failed, and he died m London, April 18, 1821. He drew the monumental figures, some of wMch he also etched, for Britten's ' Salisbury Cathedral,' and made two very clever copies of the 'Portland Vase.' BAXTER, John, architect. Bom in Scotland, where, after havmg studied in Italy, he practised with much ability. He died 1796. B A YNES, James, water-colour painter. Bom at Kirkby Lonsdale, April 1766, and was assisted to become the pupil of Romney, and a student of the Academy. He married, and was on the pomt of start ing for Italy ; but his patron, offended by Ms imprudent marriage, stopped his assist ance. He then obtamed employment, with but small pay, from a company who pro posed to print m oil-colours the works of the old masters. This soon failed, and he fell back upon Ms art. He also taught, and had several pupils who gained a name in art. He was from 1796 tdl Msdeathnearly a constant exMbitor at the Academy. His contributions comprised views m Norfolk, North Wales, Cumberland, and later, m Kent. He occasionally mtroduced figures and cattle. He died 1837. BEACH, Thomas, portrait painter. He was born at Milton Abbas, Dorsetshire, and early showed a love of art. In 1760 he became a pupil of Sir Joshua Reynolds, and at the same time a student m the St. Martm's Lane Academy. On leaving his master he established himself m Bath, where he gamed employment and repute as a portrait painter, and from that city sent portraits (1772-83) to the exMbitions of the Incorporated Society of Artists, of wMch body he was a member, and a warm advo cate in the squabbles wliich arose. His works are well Tmowii in the West of Eng land, and consist chiefly of small portraits and portrait groups. He painted in 1 787 the portraits of W Siddons and her brother m the Dagger scene m ' Macbeth ; ' and she describes ner brother's head as the finest she has ever seen, and the likest of the two ' He first exhibited at the Royal Academy BE A in 1785, contributing portraits yearly up to 1790, and did not again exMbit till 1797, when he was livmg at Strand-on-the-Green, near Kew, and then sent a portrait of the Prince of Wales. He died at Dorchester, December 17, 1806, aged 68. His works are well drawn, carefully pamted m a low sober tone, and are by no means without merit. Several of his portraits are engraved. There is a portrait of Woodfall, the par liamentary reporter, by Mm m the National Portrait Gallery. BEALE, Mary, portrait painter. Born m Suffolk 1632. Daughter of the Rev. Mr. Cradock, mmister of Walton-on- Thames. She is said to have been m- structed by Sir Peter Lely, but probably only copied his works ; and Walpole adds, ' Sir Peter is supposed to have had a tender attachment to her.' She painted m oil, water-colour, and crayons, and was much encouraged ; many persons of great distinc tion, especially Churchmen, sat to her, and she derived a good mcome from her pro fession. Her prices in oil were 51. for a head, 10/. for a half-length. Pilkmgton says she married an obscure painter named Beale, but it is stated m a note to Walpole that he succeeded his father m a manor and estate at Walton, Bucks ; and it appears he was more of a chemist than an artist, preparing colours, in which he trafficked with painters, and it is clear exchanged with Lely. It appears, too, that he held some employment under the Board of Green Cloth. Mrs. Beale died M Pall Mall, De cember 28, 1697, and was buried under the communion table m St. James's Church. There is a portrait by her of Charles II. m the National Portrait Gallery, and of Arch bishop Tillotson m Lambeth Palace. Her portraits are weakly painted, wantmg M expression and finish, hands without draw- tag, and colour disagreeable. She was M her day reputed as a poet as well as a pamter. BEALE, Charles, miniature painter. Son of the foregoing. Bom May 28, 1660. Studied art under Flatman ; then assisted his mother in her draperies and back grounds, and pamted portraits in oil and water-colours, and some few M crayons. But he had weak eyes, which prevented him fohowing his profession more than four or five years, and he never attamed any distinction M art. BEALE, Bartholomew, portrait painter. Another son of the above Mary Beale. He was intended for her profession, and commenced his art under Flatman, and Eainted portraits in oil and water-colours ; ut he had little mclination for painting, which he relinquished, and studied physic. He practised meditine for a time at Coven try, and died there. BEAN, Richard, engraver. Studied in BEA Paris under Guerin. He was of much promise, and produced a set of anatomical plates and some good portraits ; but he was drowned while bathing at Hastings, at the age of 25, June 24, 1817- BEARD, Thomas, mezzo-tint engraver. Born in Ireland. He engraved several por traits of no great merit, though popular in Ms day. His best works dated about 1728. BEARE, George, portrait painter. Practised in the first half of the 18th cen tury. There is a known portrait by him of John, fourth Duke of Bedford, and an engravmg, date 1747, of another portrait by him. BEAUCHAMP, Richard, D.D., archi tect. Son of Sir Walter Beauchamp. Was created Dean of Windsor in 1447, Bishop of Hereford 1449, and of Salisbury 1450. He built the great hall, parlour, and chamber of the Episcopal Palace at Salis bury, and was appomted by Edward IV., in 1474, 'master and supervisor of the works' in the erection of St. George's Chapel, Windsor. He died in 1481, and was buried at Salisbury. BEAUCLERC, Lady Diana, amateur. Daughter of Charles Spencer, second Duke of Marlborough." Born March 24, 1734; married in 1757 Viscount Bohngbroke, and, on the dissolution of tins marriage, the Hon. Topham Beauclerc, celebrated as a wit and man of society. She drew, designed, and executed bas-reliefs. Walpole says he built a closet 'expressly for the reception of some mcomparable drawings by her for scenes in the " Mysterious Mother;"' but he adds, ' these sublime drawings were the first she ever attempted, and were all con ceived and executed in a fortnight.' This smacks of flattery ; but she was certamly a clever pamter, and though aiming at a loose artistic style, she showed power and invention. She made designs for a trans lation of Burger's 'Leonora,' and contri buted some designs also to a handsome edition of Dryden's ' Fables,' pubhshed M folio, 1797. A drawing by her of her two daughters in the characters of ' L'Allegro ' and ' II Penseroso ' was engraved by Bartol- ozzi. She died August 1808, aged 74. BEAUMONT, Sir Albanis, amateur. Born in Piedmont, but naturalised in this country. He was an amateur draftsman of great merit, and engraved in aqua-tint. He travelled much ; and in 1801 issued his "Travels in the Alps,' illustrated by his own faitMul drawmgs. Between 1787 and 1806 he published five works on the Alps, and views of the harbours and antiquities of the South of France. He died in Eng land ; the date of his death is unknown. BEAUMONT, Sir George Howland, Bart., amateur. Born at Dunmow, Essex, November 6, 1753. Succeeded to the title 1762. Educated at Eton and New College, 33 BEA Oxford. In 1782 he travelled and] visited France, Switzerland, and Italy. In 1790 he entered Parliament. His tastes were early devoted to the arts, and he gained distinction as an amateur painter. He| enjoyed the friendship of Sir Joshua Reynolds and other distinguished artists,; and ruled in the fashionable world as the leader of taste. He was a frequent honor ary exhibitor, at the Royal Academy, of landscapes, wMch did not surpass respect ability in manner. He died February 7, 1827, and left by Ms will 16 pictures — among them some fine works — to the National Gallery, the establishment of wMch he had zealously promoted. BEAUMONT, John Thomas Barber, miniature painter. Was born in Maryle- bone, December 21, 1774. He manifested an early taste for art, and m 1791 entered the schools of the Royal Academy, where he gained several medals, and from 1794 to 1806 was an exhibitor. He took up mmiature art, soon distmguished himself, and was appointed miniature painter to the Duke of Kent and Duke of York. In his miniatures there is no apparent stip- phng or hatching — all appears done with a broad, full pencil. Of an active mind, he was not satisfied with the qmet pursmts of art. He published, in 1802, ' A Tour m South Wales.' Soon after, lie wrote on the defences of the country, and organised a body of volunteers. He also established the well-known 'Weekly Register.' In 1806 he successf ully established a provident institution, and later the County Fire Office, of wMch he was the managtag director. He abandoned art for these Eursuits, and does not appear as an ex- ibitor after 1806. He took the name of Beaumont (added to Barber), and was an active magistrate for Middlesex and West mmster. He died May 15, 1851. Some theatrical miniature portraits by him are engraved. BEAUVAIS, John, miniature painter. A native of France, who settled in Eng land. He gained a Society of Arts' premium in 1765, and practised with success as a mmiature painter at Bath in the latter half of the 18th centuiy. He is mentioned in Smith's 'Life of Nohekens ' as a constant attendant at Langford's auctions, and was noted for his dirty person, but he never theless regularly presented himself at Court. He died in London, date unknown. BEAZLEY, Charles, architect. For merly of Whitehall and of Walmer, Kent. He was an occasional exhibitor at the Academy, 1787 to 1806. Died at Hamp- stead, January 6, 1829, aged 69. BEAZLEY, Samuel, architect. The son of an architect ; he was bom at WMtehall in 1786, and was the pupil of the foregomg Charles Beazley, Ms uncle. 34 BEG In early hfe he served as a volunteer in the Penmsula. He was fond of the drama, and wrote for the stage several dramatic pieces and adaptations. 'The Steward,' played m 1820, and ' The Deserted Daugh ter,' were his chief productions of tins class. His architectural works were mainly in connection with the theatre. He rebuilt the Lyceum in 1807, and again after it was burnt down m 1830. In 1820 he rebuilt the Birmingham Theatre, and in 1821 the Dublin Theatre. He also recon structed the interior of the Drury Lane Theatre in 1822, and added the external colonnade. To this list must be added the Soho Theatre, built about 1834 ; the St. James's Theatre, in 1836-37 ; the theatre at Leicester, 1836 ; and the City of London Theatre, 1837. After his designs also several mansions were erected, and some stations on the South Eastern Railway ; the Lord Warden Hotel, Dover, 1849 ; and the Pilot House. He exhibited at the Royal Academy for the first time in 1811, and at long mtervals up to 1840. He died of apoplexy at Tunbridge, October 12, 1851, in Ms 66th year, and was buried at Bermondsey Old Church. BECK, David, portrait painter. Born at Arnheim 1621. Came to England as pupil and assistant to Vandyke, and gained the notice of Charles I., who made him drawing-niaster to the young princes. His facility of execution was so great, that the king is reported to have said : ' Faith, Beck ! I believe you coffid paint ridmg post 1 ' He afterwards went to France, Denmark, and Sweden, and m the last country was patronised by the Queen, and gained wealth and reputation. He died at the Hague, 1656. BECKETT, Isaac, mezzo-tint engraver. Born m Kent 1653. He was apprenticed to a calico printer, but becoming acquainted with Lutterell, who was tryhig the new art of mezzo-tint, he learnt from hhn the process. He was obhged to abscond for a time m consequence of an mtrigue, but was afterwards again connected with Lut terell in the development of mezzo-tint; and then marrying a woman of some fortune, he set up for himself. He was industrious, completed many pirtraits, chiefly after Kneller, Lely, and Riley, with some after Vandyke and Murray, and from the Me, with some subject plates. In this lie was assisted by Ms former colleague, Lutterell. His drawing was weak, but Ms plates clear and well scraped, though flat and coarse in the shadows ; and the art owed some progress to him. He died 1719, aged 66. BECKMAN, Sir Martin, Knt., land scape pamter. Pupil of John Wyck He pamted sea-pieces and landscapes, and then entering the service of Charles II. as EEC an engineer, he planned Tilbury Fort and the works at Sheerness. BECKWITH,TnoMAS,jDortmrtjoami;er. Was the son of a respectable attorney in the West Ridmg of Yorkshire, and was apprenticed to a house-painter at Wake field. Then, showmg a taste for drawing, he became locally reputed as a clever portrait painter, and with the feelmg of an antiquaiy drew every church and object of antiipiity m the neighbourhood, tdl his drawmgs m pencil or water-colour formed an important collection. He was well- known for his antiquarian knowledge, fie pubhshed ' A Walk in and about the City of York,' and was elected F.S.A. He obtamed a patent for a hardened crayon wMch held a good pomt. During the latter part of his life he resided m York, and died there February 17, 1786. . BEECHEY, Sir William, Knt., R.A., portrait painter. Was born at Burford, in Oxfordshire, December 12, 1753. He is said by an early contemporary to have been origmally a house-painter ; other accounts state that he was articled to a solicitor at Stowe, Gloucestershire, and was transferred to a solicitor in London. Here he became acquainted with some students of the Royal Academy and enamoured with the fine arts. He had been restless m his law studies, and Ms master being prevailed upon to re lease him, he devoted hhnself earnestly to the profession of his own choice, and was admitted a student of the Academy in 1772. In 1775 he exMbited some small portraits, and making some progress he painted for a time m London, and then tried Norwich, where he produced some conversation-pieces m the Hogarth man ner. He remained there four or five years, and first tried life-size portraits in 1783, when he painted a whole-length, with some others. He had some distinguished sitters, and he also tried some subject pictures. He then returned to the Metro polis, and took a house in Lower Brook Street, where he soon gamed both practice and celebrity. He afterwards removed to Hill Street, Berkeley Square, then to George Street, Hanover Square, and finally to Harley Street. He was elected A.R.A. in 1793, and the same year painted a Cirait of Queen Charlotte, who appointed Her Majesty's portrait painter. He was fortunate to gain the Court favour, and in 1798 he painted a large equestrian portrait of George IIL, with portraits of the Prince of Wales and the Duke of York at a review in Hyde Park, and the same year received the honour of knight hood, and was elected a royal academician. The above large work has been called his chef-d'oeuvre, and was much admired at the time. It is, with several other por traits by Mm, in the Hampton Court BE II Gallery, and has at least the merit of sohd, honest painting ; but he has failed to overcome the ungainly military uniforms of that day, and his composition is faulty, and the work stiff and ineffective, lie afterwards pamted for the Prince of Wales portraits of the princesses, and then whole- length portraits of all the royal family, and for the Queen the entire portrait decor ations of a room at Frogmore. Enjoying the favour of the Court, fashion followed Mm, and many of the most distinguished of his day were among his sitters. In his early career he had painted some subject pictures, but Ms art was essentially por trait, fiis chief merit was the accuracy of his hkenesses. His colouring was deli cate and sweet, particMarly in his female portraits, but Ms draperies were flimsy, Ms females want grace, and his males charac ter. Yet he was not without much merit, though his works are not hkely to sustam the high reputation which he enjoyed in his lifetime. He sold his art collection of pictures, books, and engravings M 1836, and retired to Hampstead, where he died January 28, 1839, aged 86. BEECHEY, George D., portrait paint er. Son of the foregoing. Was brought up as a portrait pamter, and followed his father's manner. Commencing in 1817, he was a constant exhibitor at the Academy for several years, and so long as his father continued in active practice he had many sitters, includmg some persons of distinc tion. Soon after 1828, his practice having rapidly declined, he went to Calcutta, and his last exhibited portrait, in 1832, was sent from that city. He was for a long time settled in Lucknow, and was Court pamter to the King of Oudli. He is believed to have been livhig there in 1855, but to have died before the Indian Mutiny in 1857. BEESLEY, Robert, still-life painter. He was a member of the Free Society of Artists, and exhibited with the Society, 1763-80, frmt, birds, landscapes, and some subjects in oil. BEHNES, William, sculptor. Was the son of a Hanoverian, a pianoforte maker, who had settled in London. He was bom there, and in 1795 was taken, when in childhood, by his family to Dublin, and was intended, to follow his father's business, but entering the schools of the Dubhn Academy he showed abilities wMch led him to art. He, however, returned with his family to London, and setthng with them at the East End of the Metro polis, he continued to work with his father. He had no less retained his art tastes, and acquired a great facility in drawing por traits on vellum, and the family moving westward he tried portraiture as a pro fession, and by his great diligence soon rose into notice. He first exhibited at the 2 35 BEL Academy in 1815, and in that and the three following years sent portraits m oil and m crayons ; but gaining some casual instruction in modeUing he was led to that art, and in 1819 he exhibited portraits both in oil and modelled m clay. He now finally adopted the sculptor's profession, and soon found full employ ment. From 1820 to 1840 he enjoyed a very large practice, and executed some hn- portant public works. But he was impro vident and involved himself in difficulties, added to which he was of irregular habits. His reputation suffered : in 1861 he became bankrupt, and in his old age, livmg alone in miserable lodgings and afflicted with paralysis, he was taken, after a fall in the streets, to Middlesex Hospital, where he died, January 3, 1864, aged above 70. His true art was M portrait statues and busts, and from 1822 his exhibited works were of this class. He rendered the grace of childhood with much truth. His ' Child with a Dove,' and his portraits of Lord Mansfield's and Mr. Hope's children are good examples, as is also a bust of the Princess Victoria and of Benjamm West, P. R.A. Of Ms statues may be named Sir Wiffiam Follett and Dr. Bell, in Westmm ster Abbey ; and Major-General Sir T. Jones and Dr. Babington, in St. Paul's — the latter probably his best work. General Havelock, m Trafalgar Square — his last work of this class —is but a weak production The honours of Ms profession were barred by his irregularities. Several distinguished sculptors were among his pupils. BELL, Edward, engraver. Was nephew of the pubhsher of the ' British Poets, and was known as a mezzo-tint engraver towards the end of the 18th century. BELL, Lady, amateur. Sister of Hamilton, R.A., and wife of Sir Thomas Bell, sheriff of London. She was instructed by her brother, and had some assistance from Sir Joshua Reynolds. She made some good copies of oil paintings : among them, a ' Holy Family ' by Rubens. She appears also to have had some skill in modehmg, as in 1819 she was an honorary exMbitor of two busts at the Royal Academy. A por trait by her of her husband is engraved. She died March 9, 1825. BELL, William, portrait and history painter. Born at Newcastle-on-Tyne about 1740. He came to London 1768, and entered the schools of the Royal Academy established that year. In 1771 he gained the gold medal for Ms picture of ' Venus entreating Vulcan to forge Arms for her Son.' He found a patron in Lord Delaval, and painted two views of his Lordship's mansion, Seaton Delaval, in 1775, and several whole-length portraits of his family, but did not maintain his early promise. He resided for some time at 36 BEN Newcastle, where he subsisted by portrait painting, and died about 1804. BELLERS, William, landscape painter of the latter part of the 18th cen tury. Eight views by him of the Cumber land Lakes were published by Boydell in 1774, and several of his landscapes are etched by Chatelam, Ravenet, Canot, and others, fie exMbited with the artists at the Society of Arts M 1761, and continued an exhibitor to 1772,,paintingmooMights, sun sets, storms, &c, sometimes tinted drawmgs and crayons, but he does not appear to have contributed to the Academy ExMbitions. BENAZECH, Peter PauLj engraver and draftsman. He was born m England in 1744, and was a pupil of Vivares, and studied some time in Paris. His land scapes evinced much observation of nature and taste, and gained Mm reputation; some of them are engraved. Of his own engravmgs, Ms best are four large land scapes after Dietrich, 1770-71. He also engraved four landscapes after Vernet, and a subject-piece after Ostade. BENAZECH, Charles, portrait and subject painter. Son of the foregomg. Born in London, but cMefly studied on the Continent. He went to Rome in 1782, and returning by Paris, was m that city at the commencement of the Revolution. He exMbited at the Academy, m 1790 and 1791, subjects from the poets and some portraits. He is known by four pictures, engraved by ScMavonetti, of the last days of Louis XVI. He pamted several good portraits, some of wMch he engraved with Ms own hand. He was member of the Academy at Florence. Died in London in the summer of 1794, in his 27th year. BENIERE, Thomas, statuary. Born in England, of French parents, 1663. He carved portraits m marble from life at two gumeas each, and modelled small works, wMch were much admired. He hved near the Fleet Ditch, and died there M 1693. BENNET, S, engraver. He practised in London at the begmnmg of the 19th century, and kept a print-shop in Spring Gardens. He engraved after M. Angelo ' Leda' and ' Venus and Cupid.' BENNET, William Mineard, minia ture painter. Born at Exeter. Became a pupil of Sir Thomas Lawrence, and attained reputation hi London as a miniature and portrait painter. He exMbited at the Academy in 1812, sending oil portraits and mimatures, in 1813-15-16, and again in 1834-1835. He then settled m Paris, where he gained the esteem of the French Court, and was decorated by Louis Phihppe. He attained also proficiency hi music, and cultivated a taste for literature. In 1844 he returned to Exeter, and pursumg art only as an amusement, died hi his native city, October 17, 1858, aged 80. BEN BEN BENNET, William James, water- colour painter. He was m 1808 a member of the ' Associated Artists in Water- Colours,' and was in 1819 an ' exhibitor ' at the Water-Colour Society, sending Neapolitan views. In 1821 he was elected an ' associate exMbitor,' exMbitmg hi 1823 'The Coast of Barbary,' and in 1824 ' Mount Vesuvius ; ' after 1825 his name disappears from the catalogue. BENNETT, William, water-colour painter. Bom 1811. He is reputed to nave been a pupil of David Cox, and to have begun his art career rather late m life. His name as an exhibitor first appears at the Royal Academy in 1842 and 1843, when he sent views m SomersetsMre, fohowed in 1S44 and 1845 by subjects in North Wales, continuing at long mtervals a contributor till 1854. In 1848 he was chosen a member of the Institute of Painters m Water-Colours, and from that year till his death his chief works were exMbited at the gallery of the Institute. He pamted cMefly the scenery of England — her woods, commons, sea-coasts, and ruined edifices. His works were carefully finished, his foliage good, but the general effect sometimes too green. He died at Clapham Park, after a short ihness, March 16, 1871. BBNOIST, William Philip, engraver. He was born at Coutances, Normandy, and brought to England by Du Bosc ; he early in hfe settled in London. He engraved portraits in a neat manner, and a print of the ' Mock-masons,' with some other sub ject works. He was also a teacher of drawing in many fannhes of the Mgher class. After a residence of about 40 years in London, he died there in August 1770. BENSON, Sir William, Knt., archi tect. His father served the office of sheriff of London, and was knighted. He was born in 1682, and having received a good education he travelled to improve himself in his profession. In 1710 he built a resid ence for himself at Amesbury. He re presented Shaftesbury in the fi rst parhament of George I. He was appointed surveyor- §eneral to the Crown m 1718, superseding y a political intrigue Sir Christopher Wren, and m opposition to his opinion he erected the exterior balustrade over the upper order of St. Paul's Cathedral. On an official survey of the House of Lords, he reported the Peers' Chamber was in a dangerous state ; but other professional opinion being taken, it was, after mvesti- gation by a committee of the House, declared m a sound condition, and his report false and groundless. He was removed from his office, for wMch he was incompetent. He was afterwards convicted of bribery, and expelled the House of Commons ; and then, sinking into ob scurity, he died at Wimbledon, February 2, 1754. He is stigmatised by Pope in ' The Dunciad.' BENTLEY, Charles, water-colour painter. He fost exhibited at the Water- Colour Society in 1832 and 1833, and appears as an associate exMbitor in 1834. fie was elected a member in 1844, and was from the first a constant contributor to the Society's ExMbitions. His contributions were cMefly coast and river scenes, but extended over a wide range, and included the numerous and varied incidents which belong to such subjects. Though chiefly found on the coasts of the United Kmg- dom, he sought his subjects in France, Holland, Venice, and painted effects of sunset, evening, storm, and calm. He also painted a few more exclusively landscape subjects. In the hands of picture dealers, he was uncertain in his transactions, and always poor. He died of an attack of cholera, after a few homs' illness, Septem ber 4, 1854, aged 48. BENTLEY, Joseph Clayton, engraver. He was born in 1809, at Bradford, York- sMre, and commenced art as a landscape pamter ; but in 1832 came up to London to study engraving, and placed Mmself under R. Brandard. He practised in the line manner, and was much engaged on Messrs. Fisher's illustrated serial public ations. Many of his works were also for the ' Gems of European Art,' published by Messrs. Virtue ; and he engraved for ' The Vemon Gallery.' He did not abandon painting, but continued to paint and ex- Mbit, and Ms knowledge of art enhanced the value of Ms engravmgs. In engraving he was rapid, but his work was not of a Mgh class. Some of his best engraved works are after R. Wilson, Gatasborough, Calcott, Creswick, and Lmnell. His as siduous labour undermmed a weak consti tution, Ms health became precarious, and he died at the age of 42, October 9, 1851, leaving a widow and two children. BENTLEY, Richard, amateur. Was the only son of the celebrated Dr. Bentley, master of Trinity College, Cambridge, and an educated man of many accomplishments, but involved in distress and difficulty by his own imprudence. He was intimate with Walpole, with whom he is said to have maintained ' a sickly kind of friend ship, which had its hot and cold fits.' _ He claims a place here by his designs m illus tration of an edition of Gray's works, printed at Strawberry Hill, and also as the designer of many Gothic embellishments at that noted residence. He was patronised by Lord Bute, and wrote some political and dramatic works. He died October 23, 1782. BEN WELL, John Hodges, subject painter. Bom 1764; son of the under- steward to the Duke of Marlborough. Was a pupil of Mr. Saunders, an obscure portrait 37 BEN painter, and studied in the schools of the Royal Academy, where, in 1782, he gamed a silver medal. He then for a time taught drawing in Bath. He executed a few small oval drawings in water-colour, which he united with crayon in a manner pecuhar to himself, and was much praised at the time. Several of his works have been engraved — two scenes from ' Robm Gray,' the ' St. Giles's and the St. James's Beauties,' and the ' Children in the Wood.' This latter, by Sharp, has been pointed to as of great merit, but possesses little character — the children unsoiled, trimly dressed, and crisply curled, reclining on a bank of flowers. He exhibited a classic subject at the Academy in 1784. Usmg the wet crayon, which is so liable to be effaced, his works have not endured. He died pre maturely, of consumption, m 1785, and was buried in St. Pancras's Churchyard. He is believed to have been m no way related to Mary Benwell, who practised about the same time. BENWELL, Miss Mary, portrait painter. She practised m crayons, oil, and in miniature ; and was of repute in her profession. She lived in Warwick Court, and exhibited at the Artists' Society m 1761, and continued to exMbit there and at the Royal Academy up to 1782, cMefly crayon portraits and miniatures. A por trait by her of Queen Charlotte was en graved by Houston, and her ' Cupid Dis armed' by Charles Knight. She married an officer named Code, whose promotion she was able to purchase, and retired to Paddington, where she was livmg in 1800, having long ceased to practise her pro fession. She was said to have been an aspirant for Academy honours ; and Peter Pindar, mistaking her Christian name, alludes to her — ' Thus shall I hurt not any group composers, From Sarah Benwell's brash to Mary Moser's.' BERCHETT, Peter, history painter. Born in France 1659. Wras a pupil of La Fosse, and made rapid progress in art. He first came to England m 1681, but stayed only a year, fie then came again on an engagement, which fulfilled, he went to Holland for a short time to paint King William's palace at Loo, aud returned to England, where he finally settled. He practised in the decorations then in vogue. He pamted the chapel-ceiling at Trinity College, Oxford, the staircase at the Duke of Schomberg's in Pall Mall, and other works of this class. At the latter part of his life he hved in ill-health at Maryle- bone, and painted only small pieces from fabulous history. He died in Marylebone, January 1, 1720. , BERRIDGE, John, portrait painter. 38 BEW He was a pupil of Sir Joshua Reynolds. While studying under Mm in 1766 he received a premium from the Society of Arts. In 1769 he was elected a member of the Incorporated Society of Artists. He exMbited portraits m oil at the Society's Exhibitions and at the Royal Academy in 1785, but there is no further trace of him. BERRY, William, gem engraver. Bom m Scotland about 1730. Was ap prenticed to a seal engraver m Edinburgh, and followed this art with great assidmty. He attained high excellence, and executed some fine intaglios, but very few m a pure style of art — heads and full-length figures, both of men and anhnals. For these works, both original and from the antique, he was without encouragement ; his great abilities were little known, and he modestly followed the lower branches of Ms art to maintam his family. He passed his Me m Edinburgh, and died there June 3, 1783, leavmg a large family, for whom Ms talent and mdustry had not enabled him to make any savings. BETTES, John, engraver and painter. Was a pupil of Hflhard, and practised mmiature pamting and engraymg in the reign of Queen Elizabeth. He pamted a mmiature in oil of the Queen, which gave her Majesty great satisfaction. He en graved some vignettes for Hall's ' CMomcle.J An oil head by Mm was exhibited in 1875 at the Royal Academy Old Masters' Ex- Mbition, dated 1545. It was well drawn and expressed, good m colour, and carefully finished. He died about 1570. BETTES, Thomas, illuminator. Was brother of the foregoing, and followed, with Mm, the same profession. He pamted the limmngs, then much used, m Church books, and drawings m smaU from the life. BEWICK, Thomas, wood engraver. He was bom August 12, 1753, at Cherryburn, m the parish of Ovingham, Northumberr land, where Ms father" held a colliery for many years. Having by his chalk scrib- blings on a barn-door — a propensity he indulged over the whole village— attracted the notice of Mr. Ralph Beilby, an engraver at Newcastle, he became Ms apprentice. His master midertook every class of work, and lie employed Bewick on the diagrams for Dr. Hutton's great work on Mensur ation, wliich were engraved on wood, that they might be printed with the type ; and the beauty and accuracy with which he finished these diagrams induced Ms master to recommend him to devote himself to wood engraving, then httle practised. His apprenticeship ended in 1774-75, he re turned to his father's house at Cherryburn, but continued to do piece-work for his master. In 1776 he came to London, and was employed by a wood engraver ; but he pined for Ms native air and rural habits Thomas Bewick. Size 8 in. by 6 in. See No. 47. .nd Sketches ; illustrated tei'h portrait of •age photogravure illustrations ; the Handsome f the Authob's Edition', printed entirely on n white parchment, with silver-grey sides, and 8vp is were printed, each numbered, and signed in full as when first published, having bee: preserved in ras issued. Contents : — Auld Licht Idylls, Better 7 in Thrums, An Edinburgh Eleven, The Little icotine, Margaret Ogilvy. Architecture — continued. and Cathedrals, all of which are Illumi nated in Gold and Colours, like thvi originals ; First Edition, half bound in morocco, the back tooled with fleurs-de-lis, gilt edges, Scarce, 35s (pub £2 12s 6d), 1847 4to In very clean desirable state. 32 Inkersley (T.) Inquiry into the Chrono logical Succession of the Styles of Roman esque and Pointed Architecture in France ; original cloth, edges unopened, 4s 6d (pub 12s), 1850 8vo 33 Moller's Memorials of German Gothic ArcMtecture, with Notes by Leeds, Tables of Continental Lineal Measures, etc., by Woolhouse, etc., 2s (pub 6s), 1836 8vo 34 Specimens of Mediaeval Architecture selected from the most beautiful buildings at Amiens, Ardennes, Auxerre, Bayeux, Ber- BEW and witMn about twelve months he was agam settled at Newcastle, and soon after became the partner of his former master. At tMs time he engaged to furnish the cuts for an edition of Gay's 'Fables,' published in 1779. The work showed a good know ledge of Ms art, and 'The Old Hound,' one of these cuts, obtained a premium from the Society of Arts. In 1784, a new edition of 'Select Fables' was pubhshed, the wood-cuts for wMch were entirely the work of himself and his brother, and showed an advance m Ms art, with improved finish. From his earliest youth he was a close observer and deMieator of anhnals. He neglected no opportunity of visiting and studymg the itmerant collections which were brought to Newcastle, and had long projected a ' History of Quadrupeds.' This he commenced m 1785, and after several years of preparation, in conjunction with his partner, published, in 1790, the first edition, the drawings and engravings for wMch were entirely by Ms own hand : and as a proof of its popularity, in each of the succeeding two years printed another edi tion. During the progress of this work he was employed upon some plates m copper, the natural history illustrations for a ' Tour through Sweden and Lapland,' wMch are curious specimens of that art, combining the manner both of wood and copper. His ' Quadrupeds ' became widely known, and the work was very MgMy esteemed : the animals themselves, the vignettes and tad-pieces descriptive of their haunts and habits, with quaint bits of humour, satire, and fun, were a great and unexpected charm His fame was now firmly estab lished, both as an engraver and designer, and he engaged, with his brother John, upon a series of cuts for Goldsmith's ' Traveller ' and ' Deserted Village,' and Parnell's 'Hermit,' which were published by Buhner m 1795, and their success afterwards led to Somerville's ' Chase.' The ' Quadrupeds' had been the found ation of Ms fortune, and pursuing the same idea, and jomtly with Ms partner, he began, in 1791, the cuts for a new work, 'The History of British Birds,' and m 1797 published the first volume, containing the land-birds, the finest example of his work. His partner contributed the written descriptions ; but, owing to some mis understanding, he pubhshed in 1804 the second volume, the water-birds, himself, with some assistance in the literary part. This new work increased his reputation ; the minute and characteristic accuracy of the drawing, the natural delicacy of the feathered and furry textures, the truth of the backgrounds and accessories, and the graphic humour of the vignettes, were un surpassed, and a new scope and value BEW given to the art of wood engravtag. In 1818 he published iEsop's 'Fables,' with his own designs. This was his last work, and had occupied him six years. He was engaged in the latter part of his hfe, assisted by his son, upon the 'British Fishes.' About 30 cuts of the fishes were completed, with more than 100 vignettes of river and coast scenery, the vagaries of fishermen and fishwomen, birds of prey fishing, and such like ; but the work was not finished. His last project was to im prove the morals and taste of the lower classes by a series of prints on a large scale for cottage-walls ; and a cut of an old horse, mtended to head an address on cruelty, Ms last attempt. He died of gout . at Ms house, near the Windmill fiills, Gateshead, November 8, 1828, m his 76th year. He was a man of frank, gemal habits, with a strong power of observation and love of nature, and umted the talents of the draftsman and engraver with the knowledge of the naturalist — the power of vigorous invention with laborious detail. The number of Ms works and his in dustry are inconceivable. Pine copies of Ms birds and quadrupeds command large prices. For an impression of his celebrated 'Bull,' dated 1789, 20 guineas have been given ; and the impressions of a zebra, an elephant, a lion, and tiger, wMch he executed on a large scale for an exhibitor of wild beasts, are now rare. Yet Ms art is best shown m Ms smaUer pieces. But it must not be said that all had been the work of his own hands. He had the merit of educating several talented pupils, who assisted him. Of them, Robert Johnson designed many of the tail-pieces in the birds and the greater number of the fables published in 1818 ; and Luke Clennell, among other works, the greater portion of the tail-pieces in the second volume of the birds, fiis own brother, too; was a valu able coadjutor. Several memoirs and notices of him have been pubhshed — 'A Sketch of Ms Life and Works,' by his friend Mr. Atkinson ; ' Some Account of Ms Life, Genius, and Personal Habits,' by another friend, Mr. Doveston ; a memoir m ' Black wood's Magazine,' 1825, and in the ' Gentle man's Magazme,' 1829 ; a notice m Jack son's ' Treatise on Wood Engraving,' 1839 ; 'A Critical Catalogue of Ms Works and his Brother's, with Notices of their Lives,' by John Gray Bell, 1851 ; and lastly, a manuscript memoir, which he left with Ms family, was published m 1862, but it is very discursive, and but httle connected with his art. BEWICK, John, wood engraver. Younger brother of the foregoing Thomas Bewick. He was born at Cherryburn m 1760, and was apprenticed to his brother. During five years he assisted in many of 39 BEW his works. After the completion of his apprenticeship he came to London for a short time, and found plenty of employ ment m cutting and designmg wood illus trations for the publishers. He was a rapid workman, but his health failing, he returned to his native village ; and then, thinking Ms health restored, he came again to London, but the close confinement exacted by his art was too much, and dividing his time, he engaged to teach drawing at an academy m Hornsey. This he continued to do for several years, when his health agam failing, he returned, home in 1795. There he endeavoured to com plete the blocks he had engaged to finish, including all the designs except one for Somervifle's 'Chase,' on which he was employed jointly with his brother. This was his last work. He died of consump tion at Ovingham, aged 35, December 5, 1795. He designed and engraved above 200 illustrations for ' The Progress of Man m Society,' and engraved the ' Emblems of Mortality,' 1789. The best specimens of his art will be found m the iUustrations of Goldsmith's and Pamell's works, 1795, and of Somervifle's, published the follow ing year. Though he was much behmd his brother, he had merit both as » de signer and an engraver ; yet his engraving was hard and dry, marked by strong con trasts of black and wMte — Ms designs better conceived than executed. » BEWICK, Robert Elliott, wood en graver. He was the oMy son of the fore going Thomas Bewick, and brought up to assist him in Ms profession . He cut some of the designs for ' The Fishes,' the un published work, and was in 1832 a pubhsher rn Newcastle, but does not appear to have made Mmself known as an engraver. He died unmarried, July 27, 1849. BEWICK, William, portrait and his tory painter. He was bom October 20, 1795, at Harworth, near Darhngton, where Ms father carried on the business of an upholsterer. He had, as a child, a love of Eictures, and though put to his father's usiness, he devoted Ms spare hours to drawing, and got some help from such itinerant geniuses as came Mto Ms neigh bourhood to teach. At the age of 20, his head filled with the name of fiaydon and with 20/. in his pocket, he came to London without friends or introductions. Living as young artists manage to do, he was fortun ate in becoming acquainted with Haydon, who accepted him as his pupil gratuitously, assisted his admission to the schools of the Academy, and introduced him to his artistic and literary friends. Harassed in his circumstances, though helped by small sums from home, he worked zealously, and managed to make some way. While with fiaydon he was employed by him in making 40 BIC drawings to a large scale of the 'Elgin Marbles' for Goethe, the great German writer ; and he found many friends as a portrait painter. He visited Edinburgh and Dublin, where he was received mto the best society ; and in 1820 he exhibited Ms 'Una M the Forest' at the Spring Gardens Gallery, followed by, in 1822, his ' Jacob meeting Rachel,' a picture of large dimensions, at the British Institution, and at this time made many sketches for large works, which, however, did not proceed much further. In 1824-25 he returned to Darhngton, where his reputation gamed him some sitters ; and in 1826, encouraged by a com mission from Sir Thomas Lawrence to make copies for Mm from Michael Angelo's works m the Sistine Chapel, he went to Rome, where he resided for some time, and to Naples and other Italian cities, returmng to England in 1829. He afterwards settled M London, where he practised as a portrait painter, and in 1839 and 1840 exhibited both portrait and history at the Academy. He had, while at B,ome, suffered from malaria fever, and after a time its effects began to show themselves. He was neces sitated to leave London, and retired to some property he possessed at Haughton- le-Skerne, Durham, where he amused Mm self with art, sending up to the Westminster Hall Competition in 1843, 'The Triumph oi David,' and kept up a correspondence with his friends. After many years passed m his quiet retirement, he died June 8, 1866. fiaydon, m Ms journal, speaks of him and his works. He was of much pro mise, but his career was checked by his faiMig health. His ' Life and Letters,' by Thomas Landseer, A.E., was published in 1871. BIBB, Charles, engraver. He studied at the St. Martm's Lane Academy, and was M 1766 a member of the Incorporated Society of Artists. He practised about the middle of the 18th century. BICKHAM, George, engraver and draftsman. He practised in the reign of Queen Anne and her two successors. Pub lished, about 1709, the heads of six emi nent writing-masters, one of them from Ms own drawing ; also ' The Universal Penman,' and engraved some other good portraits and frontispieces. He also engraved after Rembrandt ; and after Rubens, ' The Peace and \V ar' and ' Golden and Silver Age.' He was a member of the Free Society of Artists 1763. He retired to Richmond, and in May, 1767,sold by auction part of Ms plates and stock-in-trade. He died 1769. BICKHAM, George, engraver. ' Son of the foregoing. Engraved 'A Group of Hungarian Cavalry,' 1742, and many of the humorous cuts published by Messrs Bowles, and was best known by works of BIE this class. He was one of our earliest political caricaturists. The ' Newmarket Racecourse ' and ' Ludicrous Philosopher,' in six plates, are by Mm. He also engraved the portraits of his father and Mmself . fie died 1758. BIELBY, W., topographical draftsman. He practised m the latter half of the 18th century, and pamted some views of Chel sea and Battersea, wMch were engraved in aqua-tmt by Jukes. Several views by Mm are also engraved in Angus's ' Seats of the Nobility and Gentry,' commenced 1787. BIERLING, Adam A., architectural draughtsman. Hollar engraved views of Arundel House, M the Strand, after Ms drawmgs. He was the publisher of several of Hollar's works. BIFFIN, Miss Sarah, miniature painter. She was born near Bridgewater in 17S4, and was from her birth without hands and feet. She was early taught drawing, and maktag good progress, she had some instruction from Mr. Craig, the miniature painter, and in 1821 was awarded a medal by the Society of Arts. She was patron ised by the royal family, and for many years supported herself by her art ; but as age grew upon her she was much reduced, and then residing at Liverpool, an annmty was purchased for her by a subscription raised there. She died October 1850. BIGG, Wllliam Redmore, R.A., sub ject painter. Was born in January 1755. He was apupil of Penny, R.A., and entered the Academy schools M 1778. In 1780 he first appears as an exMbitor of ' School boys giving Charity to a Bhnd Man,' and in the following year of ' A Lady and Children relieving a distressed Cottager.' In 1782 he exMbited with the Free Society ' Palemon and Lavinia.' He continued to exMbit works of this class and portraits, and in 1787 was elected an associate of the Academy ; but his progress must have been slow, for it was not till 1814 that he gained his election as academician. From the commencement of his career to its close he was a constant exMbitor. His whole art, from wMch he never strayed, was founded upon the simplest incidents of domestic Me, and always with a benevolent and moral tendency. Among his later works are, however, some landscapes, into wMch, no doubt, rustic figures are introduced. His works had not much vigour in execution or subject ; Ms colouring was somewhat feeble and chalky ; but his pictures were no less stated to the taste of the day, and were very popular. Many of them were en graved. Leslie, R.A., mentions that he sat to Mm for the Knight in Ms pamting of ' Sir Roger de Coverley,' and says, ' I thought him an admirable specimen, both in look and manner, of an old-fashioned English gentleman; a more amiable man never BIE existed.' He died in Great Russell Street, February, 6, 1828. BILLINGSLEY, sometimes called ' Beeley,' William, china painter. Born at Derby about 1758. fie early found employment in the china works, where he was apprenticed for five years, 1774-9. He left the Derby works about 1785, and became engaged at the Pinxton factory in the same county. He did not stay longer than 1800, when he superintended a small factory at Mansfield, where he remained about five years. In 1811 he emigrated to Worcester, from thence to Nantgarw in 1816, where he remained till Ms death m 1828. He gained great repute for his skill as a chma pamter, exceMng especially in Ms flowers, but he changed Ms employ ment so often that he failed to maintain the position he deserved. BILLINGTON, Horace W., landscape painter. He was the brother-in-law of the celebrated stager, and was known by Ms abUities as an artist. He exMbited some views at the Academy in 1802. Died in London, November 17, 1812. BINDON, Francis, amateur. Was a native of Ireland, and a gentleman of for tune, who made great efforts to promote the fine arts in Ms country. With this view he visited Italy, to improve Ms own knowledge of art. fie painted many por traits in Ireland in the .reign of George IL, and had some knowledge of architec ture, of which Bessborough House, in the eounty of Kilkenny, built by him, is an example. There is by his hand a por trait of Dean Swift, engraved 1732 ; Dean Delany, and Dr. Sheridan; and a full- length of the Archbishop of Armagh, which was mezzo-tinted about 1742 by John Brooks. His portraits are tolerably drawn, but painted tlitaly, and with very httle finish. He died June 2, 1765. BING (or BYNG), Edward, drapery painter. He found constant employment in the studio of Sir Godfrey Kneller, to whose portraits he added the wigs, dra peries, and other accessories. After Knel- ler's death, in 1723, he was employed to finish Ms unfinished works — a task left Mm by his master's will, with an annuity of 100/. BING (or BYNG), Robert, drapery painter. Brother of the above, and em ployed in the same manner, by Kneller. There are portraits by him dated 1716. He practised for a time in Salisbury. There is a portrait of Cave Underhill, the actor, by him in the Garrick Club. BINNE MAN, Walter, engraver. He practised in the 17th century, and there are some indifferent portraits by his hand. BIRCH, William, enamel painter. Bom in Warwick. Practised in London. ExMbited at the Academy, first time, in 41 BIE BIE 1781, 'A Mother and Child,' enamel; and the following year, 'Portrait of a Child going to Bed,' also in enamel; and con tinued for several years to exhibit. He received the Society of Arts' medal ta 1785 for excellence in Ms art and improvements in the processes. In 1794 he went to America, and settled in Philadelphia, where he died. He painted a miniature of Wash ington, which has been engraved. He was also an excellent engraver, and a clever view from Mr. Cosway's room ta Pall Mall is a good example of Ms ability ta the use of the graver, 1789. He published, in 1791, 'Delicesde la Grande Bretagne' — landscapes after the principal English painters. BIRCH, Henry, engraver. Practised latter part of 18th century. He engraved two plates after Stubbs — 'The Gamekeeper' and ' The Labourer.' His cMef works were after contemporary artists. BIRCH, John, portrait painter. Bom April 18, 1807, at Norton, Derbyshire. For a time assisted his father, who was a file-cutter, and was then employed by a carver and gilder at Sheffield ; but after seven years he was tempted by a love of drawing to leave home to try Ms fortune as a portrait painter, and coming to London, he placed himself under Mr. Bigg, R.A. He practised his art chiefly at Sheffield, where he found, full employment ; but a portrait by him of Ebenezer EMott, the Eoet of the corn-laws, does not give any igh opinion of his abihty. He also painted some landscape scenery in Derby shire. In the latter part of his hfe he resided ta the Metropolis. He died at South Hackney, May 29, 1857. BIRD, Miss E., miniature painter. She was an occasional exhibitor at the Academy from 1793 to 1798. BIRD, Edward, R.A., subject painter. Was born at Wolverhampton, April 12, 1772 ; the son of a carpenter. He received a fan- education, began to draw as a lad, and was apprenticed to a tea-tray maker, whose productions he embeffished with landscapes, fruit, and flowers. His work gave room for taste and skill, and he was soon distinguished above his fellow-work men. After the end of Ms apprenticeship he refused advantageous offers to continue with his employers, and removed to Bristol, where he opened a drawing-school, and ta the intervals of teaching worked hard to improve himself. Nothing came amiss to him ; he painted miniatures and the scenery for a pantomime. He had filled a sketch book with subjects which showed much originality, and was induced by his friends to send some finished works to the Bath Exhibition, where they found purchasers. His first successful work was ' Good News,' wliich he exhibited at the Academy in 42 18"9. This was followed by 'Choristers Rehearsing ' and ' The Will ; ' and in 1812 he was elected an associate of the Academy. He exhibited the same year his ' Country Auction,' followed by six subjects repre senting a Poacher's Career ; and ta 1814, ' Queen Phihppa supphcating the Lives of the Six Burghers of Calais.' In 1815 he was elected a member of the Academy; and hi 1816 he exMbited ' The Cmcifixion • ' ta 1817, ' Christ led to be Crucified ;' and ta 1818, 'The Death of Sapphira,' his last work. His 'Chevy Chase' was esteemed his chef-d'oeuvre. It was purchased for 300 guineas by the Duke of Sutherland, and gained Mm the appointment of his torical painter to the Princess Charlotte. This was followed by his 'Death of Eh,' for which the British Institution awarded him 300 guineas. His 'Choristers' was purchased by the Prince Regent, who gave Mm a commission for a companion picture, which he did not hve to finish. During the last five or six years of his Me he con stantly struggled with disease, latterly producing hypochondriacal affection. The death of a son and a daughter added to his trials, and he died November 2, 1819, at Bristol, where he had cMefly resided, and was buried ta the cloisters of the cathedral. He left a widow and tiiree children without provision. His art was imitative, without the appearance of labour. His earher domestic subjects are his best works. He showed great skill in the conception of his Mgher class pictures, but he had not the power suited to their com pletion, and Ms colouring was crude and tasteless. BIRD Francis, sculptor. Was born in Piccadilly in 1667. Sent to Brussels at the age of 11 he afterwards studied his art there, and then travelled to Rome, where he was instructed by Le Gros. In 1716 he returned to England, and was employed by Gibbons, and next by Cibber, whom he succeeded ta his profession, set ting up for Mmself after a second short visit to Italy. He gamed the favour of Sir Christopher Wren, and was employed on the decorations of St. Paul's Cathedral. the great alto-rilievo, ' The Conversion of St. Paul,' m the pediment, 64 ft. by 18 ft., contains eight equestrian figures, with many others. It is his chief work, and he was paid for it 1180/. His ' Queen Anne,' with four figures round the pedestal, wMch stands before the portico, is a picturesque work, for which he received 1130/. His chief monumental works are—' Dr. Busby,' wq? Chn1'ru:tl,'i?^ work; ,subjectpainter, and teacher of art, was born at Brighton, Jan. 30, 1815. He studied drawing in the classes of the Birkbeck Mechanics' Institution, in Chancery Lane, and after- 61 BTJE wards' aided in establishing art classes ta Maddox Street; thence he entered the Government School of Design at Somerset House, where he became an assistant- master. On the formation of the Depart ment of Practical Art in 1852, he was appointed head-master of the Normal School for training teachers, and materially aided in carrying out the course of instruc tion laid down by the Art Superintendent for these schools. For the use of the masters in training he published ta 1855 a treatise on 'Practical Geometry,' and in 1856, on ' Practical Perspective. He M-st exhibited at the Royal Academy, ta 1847, ' The Death of Marmion,' and at intervals other pictures, until 1873, ' The Making of the New Forest.' He painted some large figures to decorate the domes of the 1862 Exhibition buildings, a window for Green wich Hospital, and other decorative works elsewhere ; but his reputation will rather rest on his labours in the Art Training Schools than on his other works. He died while on a visit to Dublin, May 27, 1875, and the students of the School of Art at South Kensington erected a monumental tablet there to his memory. BURFORD, Robert, pianorama paint er. He was known as the painter and proprietor of the panoramas exMbited ta Leicester Square and in the Strand. He commenced these works ta 1S27, visited several of the European capitals to make sketches for them, and was engaged upon them for the greater part of his life. He died January 30, 1861, aged 69. BURFORD, Thomas, mezzo-tint en graver. Born about 1710. His best works . are portrait, and were executed towards the middle of the 18th century, some of them from the life ; but he also engraved some landscapes and hunting subjects. He was a member of the Incorporated Society of Artists, and died ta London about 1770. BURGESS, John Cart, flower painter . Grandson of William Burgess, the portrait painter. He patated, in water- colours, flowers, and occasionally a landscape, and exhibited at the Royal Academy and at Suffolk Street ; but the necessities of a large family compelled Mm to devote much of Ms time to teacliing. He pubhshed 'The Art of Flower -painting' and a 'Treatise on Perspective.' He died at Leamington, Feb. 20, 1863, ta his 65th year. BURGESS, Thomas, portrait painter. Was a studeut ta the St. Martin's Lane Academy, and ta 1766 a member of the Incorporated Society, and contributed to its exhibitions portraits, academy studies, conversation-pieces, &c. In 1778 he was living in Kemp's Row, Chelsea, and for the first time exhibited at the Royal Academy, 'William the Conqueror dismounted by 62 BTJE his eldest Son,' ' Hannibal swearing enmity to the Romans,' and 'Our Saviour's Ap pearance to Mary Magdalen/ He after wards sent a portrait of himself, some landscapes, and, in 1786, 'The Death of Athelwold,' his last contribution to the Academy. He for some time kept an art academy ta Maiden Lane, and was reputed for Ms teaching. BURGESS, William, portrait painter. Son of the foregoing. In 1761 he gained a premium at the Society of Arts. He exhibited portraits and conversation-pieces with the Free Society of Artists in 1769 and 1771, and at the Academy, commenc ing ta 1774, portraits ta chalk, small whole-lengths, groups, 'Gipsy Boy and Girl,' and occasionally landscape views. He last exhibited ta 1799. His principal occupation was, however, as a teacher of drawing. He died ta Sloane Square, Chelsea, May 11, 1812, aged 63, and was the father of H. W. Burgess, landscape painter to William IV. BURGESS, Thomas, landscapepainter. First appears as an exhibitor at the Aca demy ta 1802, when he contributed ' Market Gardener's fiouse at Walham Green;' in 1803, ' Landscape and Flowers ; ' in 1804, ' Ruins of a Fire ta Soho ; ' and in 1805 and 1806, 'Derbyshire and Devonshire Views.' fiis works were of much promise. He died at the age of 23, ta Sloane Square, Chelsea, November 23, 1807. BURGESS, William, engraver. He practised about the end of the 18th cen tury. There is by him a set of prints of the LincoMsliire churches, and of Lincoln and Ely Cathedrals. While following his profession as an artist, he was for 20 years the pastor of a Baptist congregation. He was also the writer of a controversial pamphlet on the works of Dr. Adam Clark. fie died suddenly, at Fleet, Lincolnshire, December 11, 1813, ta his 59th year. BURGESS, William Oakley, mezzo tint engraver. Son of the parish surgeon of St. Giles-ta-the-Fields. Pupil of Lupton, under whom he continued till bis 20th year, and acquired by his earnest applica tion much delicacy in his art. He engraved a fine portrait of the Duke of Wellington. after Sir Thomas Lawrence, P.R.A., and had commenced a series of Lawrence por traits, giving great promise of excellence, when he died prematurely, December 24, 1844, aged 26, from an abscess in the head, attributed to a blow from a cricket- ball some years before. BURGH, H., engraver. Practised in London about the middle of the 18th cen tury. He was principally employed hy the booksellers in engraving portrait frontispieces. BURGHERS, Michael, engraver and draftsman. Born in Holland. Came to BTJE England on the taking of Utrecht by Louis XIV., and settled at Oxford. He engraved the first Oxford almauack, 1676, and the greater part for the first 47 years. He drew and engraved the illustrations for Dr. Plot's ' History of StaffordsMre,' 1686, and for Dr. White Kenett's 'History of Ambroseden,' and engraved many portraits. He worked almost wholly with the graver, and with great neatness, but ta a dry, stiff manner. BURKE, Thomas, engraver. Bom ta Dubhn 1749. Was pupil of Dixon, the mezzo-tint engraver, and practised both in that and ta the chalk manner. He principally engraved after contemporary painters, and Ms works were Mghly es teemed. Among his best are those after Angelica Kauffmann, R.A.:' Telemachus at the Spartan Court,' 1778, and ' Andromache at Hector's Grave ; ' ' The Battle of Agta- court,' after Mortimer ; ' The Nightmare,' after Fuseli, R.A., 1783 ; and 'Lord North,' after Dance, R.A. He died ta London, December 31, 1815. BURLINGTON, Richard Boyle, Earl of, amateur. Born April 25, 1695. He early and enthusiastically studied archi tecture. At the age of 20 he visited Rome, and was disttaguished for his genius and the zeal he displayed ta the patronage of art, as well as for the sums he expended on publications more particularly tending to the improvement of arcMtecture. The Bath-house at Chiswick, commenced about 1717, was his first work. The facade of Burlington House, Piccadilly, and the colonnade witMn the court, both now Eulled down, were said to have been from is own designs, though the centre gate way, the principal feature ta the facade, is described ta the 'Vitruvtas Britannicus' as designed by Colin Campbell. He btalt in 1729 an Italian villa at CMswick, in imitation of a Palladian design, to which James Wyatt added two wings; also the dormitory of the Westminster School; the Assembly Rooms at York — two large, handsome rooms, in the Corinthian order, without any variety M form, and of very inconvement access. Lord Harrington's house at Petersham; the Duke of Rich mond's house at Whitehall, which occupied the site of Richmond Terrace ; and General Wade's house in Cork Street, Saville Row, were also designed by Mm. Lord Chester field wittily said of tMs house, which was not celebrated for its interior arrangements, that 'as the owner could not live in it with comfort, he had better take a house opposite and look at it.' He died December 4, 1753. BURLOWE, Henry Behnes, sculptor. Was the brother of Behnes, the sculptor, and following the same art took the name of Burlowe, as distinctive. He exhibited BTJE busts at the Academy ta 1831-32-33. ne afterwards went to Rome, where he was much employed as a bust modeller. On the memorable outbreak of cholera he re solved to take his chance in the city, and was found ta his solitary lodgings, unat tended, unassisted, and dying, by a Mnd artist friend, whose hurriedly sought help was all too late. He died of that terrible scourge in August 1837. He was original ta his art and of much promise. _ BURMAN, Thomas, sculptor. Prac tised ta the reign of Charles II. Did not attain any excellence^and is cMefly known as the master of Bushnell. fie died March 17, 1673-74, aged 56, and was buried at St. Martin-in-the-Fields. BURN, William, architect. He was born in Edinburgh, December 20, 1789. He was the son of a builder and surveyor, who sent him to London in 1808, as a pupil of Sir Robert Smirke. Returning to Scotland, his earliest commission of any importance was the Custom House at Greenock. He settled ta Edinburgh, and devoting himself to domestic architecture, became reputed for the comfort and con venience of his designs. After 28 years' practice there, his connections gradually extended to England, and he came to re side in London in 1844 During a long career he executed a long list of works in various styles of art, ta both England and Scotland, including several churches, hos pitals, and county buildings, the Theatre Royal, Edinburgh, and the residence of the Duke of Buccleugh at Whitehall, one of his last works. He died ta London, February 15, 1870, and was buried ta the Kensal Green Cemetery. BURNET, John F.R.S., engraver and painter. He was born near Edinburgh, March 20, 1784 ; the son of the surveyor- general of excise for Scotland. It has been said that he was descended from a brother of Bishop Burnet, but this is proved to be an error. A passion for drawing led to Ms apprenticeship to Robert Scott, a landscape engraver, practising in Edinburgh, and he improved himself as a student ta the Trustees' Academy. Here his tastes led Mm to painting, and incited by the success of his friend and fellow- student Wilkie, he worked early and late during his apprentice years, and gained a knowledge of the figure ; and then seeking distinction in a wider field, having com pleted his term of apprenticeship, he set out ta a Leith smack for London m 1806, and arriving with only a few shillings in his pocket, he was warmly received by Wilkie. fie first found employment as an engraver on the illustrations for Britton and Brayley's ' England and Wales,' Mrs. Inchbald's 'British Theatre,' and Cooke's ' Novelists.' 63 BLTE But he desired to be employed on some more ambitious work ; and ta 1810 made a successful engraving, the size of the picture, of Wilkie's 'Jew's Hani.' This was the foundation of his reputation, and was followed by the same painter's ' Blind Fiddler,' which was highly popular ; and encouraged by the notice he had gained, he visited Paris at the peace of 1815, and for nearly five months was a constant student in the Louvre. Soon after he engraved for Foster's 'British Gallery,' Metzu's ' Letter Writer,' and Rembrandt's ' Saluta tion of the Virgin.' Anxious to support the school of line engraving, he joined the Associated Engravers, and executed for the Association Rembrandt's 'Jew,' 'Nativity,' and ' Crucifixion.' He also engraved, after Atkinson, ' The Battle of Waterloo,' and the same subject after Devis. His best works were, however, after his friend Wilkie, who was fortunate ta his clever renderings of ' The Reading of the Will,' • The Rabbit on the Wall,' ' Chelsea Pen sioners reading the Gazette of the Battle of Waterloo,' ' The Letter of Introduction,' ' The Death of Tippoo Saib,' ' The Village School ' — in which the character and humour of the patater were admirably maintained. Yet his work was defective in beauty of line ; had an appearance of blackness ; was heavy ; wanting in sparkle and brilliance. His repute does not, however, rest alone on Ms engraving ; he was a painter and a writer on art. He first exhibited at the Royal Academy, ta 1808, 'The Draught Players ; ' in 1818, ' The Humorous Bal lad ; ' in 1823, ' A Windy Day ; ' and on some few occasions at the British Institu tion, sending there ta 1837 his ' Greenwich Hospital and Naval Heroes,' painted on a commission from the Duke of Wellington as a companion for Wilkie's ' Chelsea Pen sioners ' — a difficult task, wdiich resulted in his best picture. The above work he en graved, and also, from his own paintings, ' Christmas Eve,' 1815 ; ' The A alentiue,' 1820. Hs was a fellow of the Royal Society. liis writings on art are numerous, and he will probably be remembered by bis criti cisms and opinions rather than his art. He published, ta 1S27, ' A Practical Treat ise on Painting, in Three Parts : Composi tion, Chiaroscuro, and Colouring ; ' in 1837, ' An Essay on the Education of the Eye, with reference to Painting ; ' ta 1848, ' Practical Essays on various Branches of the Fine Arts, and an Enquiry into the Practice and Principles of Sir David Wilkie, R.A. ; ' in 1849, ' Landscape Paint ing in Oil-Colours Explained ' and ' Rem brandt and his Works ; ' ta 1850, ' Practi cal Hints on Portrait Painting ; ' ta 1852, 'Turner and Ms Works, illustrated by Examples ; ' and in 1854, ' The Progress of 64 BUE a Painter in the 19th Century.' In 1860 he was granted a pension on the Civil List, and retired to Stoke Newington, where he passed the last six years of his life, ta straitened circumstances, and died on April 29, 1868, aged 84. BURNET, James M., landscape paint er. Brother to the above. He was born at Musselburgh 1788. He early showed a taste for art, and was placed under a wood carver, studying also at the Trustees' Aca demy ; but was soon tempted to art, and sending some specimens of his drawings to his brother, then in London, without wait ing for a reply he started for the great metropolis ta 1810, determined to devote himself to art. Charmed with Wilkie's ' Blind Fiddler,' which he found his brother then engraving, he was led by it to the study of the Dutch masters, and the art which he afterwards followed. Taking up his residence at Chelsea, he haunted the neighbouring pasture-lands at Battersea and Fulham, devoting himself to the study of rural nature. In 1812 he first appears as an exhibitor at the Royal Academy of ' Evening : Cattle returning Home ; ' in 1813 he sent ' Mid-day' and ' The Return ta the Evening;' in 1814, ' Early Morn ing' and 'The Ploughman returning Home ; ' in 1816, two works of the same class, his last contributions. Of weak health, he was attacked with consumption, and removing for purer air to Lea, ta Kent, died there July 27, 1816, and was buried in the adjacent churchyard at Lewisham. He was of great promise : he had a true feeling for the rural and picturesque ; his pictures were rich and brilliant ta colour, luminous and powerful ta effect. BURNEY, Edward Francis, portrait and subject painter. He was bom near Worcester, of a good family, ta September 1760. Sent to London to study ta 1776, he was admitted to the schools of the Royal Academy, and gained the friendship of Sir Joshua Reynolds. He first appears as an exhibitor at the Academy ta 1780, con tributing three sketches from ' Evelina,' and from that time exhibited portraits, with occasionally a domestic subject ; but, of retired habits, he did not continue por traiture, and after 1793, when he sent some illustrations for ' Telemachus,' he ceased to exhibit. He made, in conjunction with Catton, jun., some designs for Gay's ' Fables,' and devoting Mmself to book illustration he became popular, and his designs were inlaid ta work-boxes and other feminine trifles. His designs were clever and imaginative, made with the pen, and slightly tinted. He painted a good half-length portrait of Ms relative, Madame d'Arblay, which is engraved as a frontis piece to her works. fie continued till late ta life to visit the schools of the Academy. BTJE He died in Wimpole Street, London, December 16, 1848, ta his 89th year. BURROUGH, Sir James, Knt., LL.D., amateur. Was master of Gonville and Caius College, Cambridge, in 1747, and applying himself to arcMtecture, he at tained some proficiency. He was consulted upon the designs of the University build ings erected durtag Ms time. The chapel at Clare Hall is reputed to have been built after his designs, but it has not much claim to originality, fie designed the Corinthian altar-screen erected ta Canterbury Cathe dral in 1720, and since removed. Died August 7, 1764. BURT, Albin R., engraver. Was a pupil of Thew, and was turned over to Benjamin Smith, but not excelling as an engraver, he became an itinerant portrait, or rather face, patater — for Ms art did not go farther — and by his industry saved money. He patated many persons of emi nence, but took persons of all classes, and associated with all without loss of self- respect. His mother had known the cele brated Lady Hamilton when a barefooted girl ta Wales, and he produced a great ugly print of her as 'Britannia unvehing the Bust of Nelson,' for wMch she secured him a good list of subscribers. He died at Reading, March 18, 1842, aged 58. BURY, T. Talbot, architect and de signer. Was born ta 1815. Was a pupil of Augustus Pugta, and helped Ms son, Mr. A. Welby Pugta, ta the production of some of his published works. He also aided the younger Pugta ta some of the work ta the Houses of Parliament under Sir Charles Barry. He became an Associate of the Society of British ArcMtects in 1839, and a fellow ta 1843. He exhibited at intervals at the Royal Academy from 1846 to 1872. He erected New Lodge, Windsor Park, for M. Van de Weyer, various schools and almshouses, the new market at Weymouth, St. Barnabas at Cambridge, and several other churches. He died ta London, Feb ruary 23, 1877, aged 63. BUSBY, Charles A., architect. He was a successful student in the schools of the Academy, and ta 1807 gained the gold medal for an architectural design. He bad been an exhibitor from 1801. He appears to have gained employment, and about 1823 to have settled at Brighton, where he was engaged ta the design and erection of the buildings at Portland Place and West Cliff. : After 1814 he only exhibited at the Academy at long intervals, and for the last time in 1830. BUSHE, Letitia, amateur. She was skilled as a miniature patater. There is a good miniature of her, painted by her self, engraved for Lady Llanover's 'Mrs. Delany.' She died ta Ireland about 1757- BU SHELL, Thomas, medallist. An BUS excellent die engraver of the 17th century. He is supposed to have produced the die for the remarkable medal bearing the like ness of the Lord Chancellor Bacon. BUSHNELL, John, sculptor. He was a pupil of Burman, and left England in disgust, his master having frightened Mm into marrying a servant girl whom he had himself seduced. After studying two years in France he travelled to Italy; and resided some time in Rome and Venice. On his return to England he executed statues for the Royal Exchange of Charles I., Charles IL, and Sir Thomas Gresham, works which gained him credit for much proficiency in art. The kings introduced ta Temple Bar are by Mm, also Cowley's and Sir Palmer Fairbourn's monuments ta Westminster Abbey. His statue of Lord Mordaunt ta Roman costume at Fulham was looked upon as a classic performance. He was capriciouslyjealous.and refused to complete a set of kings for the Guildhall, though he had begun several, because Cibber, his rival, was also employed. To confute the opinion that he could not model undraped figures, he undertook a nude statue of Alexander the Great, which was a f ailure, and he commenced a large model ta wooden-frame work, to be covered with stucco, to demonstrate the probability of the Trojan Horse, but his unfinished work was blown down by the wind, and so far damaged that he had not courage to re commence it. He had purchased an estate ta Kent, which he lost by a law suit ; and this, with the failure of other schemes, overset Ms disordered brain, and he died insane 1701. He was buried mPaddington Church. He left a daughter and two sons. Walpole tells that his sons, to whom he had bequeathed a sufficient maintenance, shut themselves up ta an unfinished house and saw no one, grumbling that the world had not been worthy of their father. BUSS, Robert William, subject painter. Was bom in London, August 29, 1804. His father, to whom he was apprenticed, was an engraver and enamel- ler. He early showed a talent for art, and was placed under Mr. Clint, A.R.A. He was much engaged ta theatrical portraiture at the beginning of Ms career, and was employed for the Illustrations of ' Cumber land's British Drama.' He exhibited chiefly with the Society of British Artists, commencing ta 1826. Escaping from portraiture his art took a humorous cha racter. In 1830, he exhibited ' The Spas modic Attack;' in 1832, 'The Musical Box;' in 1838, 'Satisfaction;' in 1841, ' Hint to Novel Readers ; ' ta 1859, ' The Antiquaries' Room.' He exhibited at the Westminster Competition in 1844-45. In the latter year, 'Prince Henry acknow ledges the authority of Justice Gascoigne.' 65 BUT He was for a time editor of the ' Fine Art Almanack.' He printed for private circu lation in 1874, 'English Graphic Satire,' the illustrations etched by himself. He died at Camden Town, Feb. 26th, 1874. BUTLER, William Deane, architect. He was a pupil of Beazley and settled ta Dublin, where he practised nearly 40 years. He built the Roman Cathohc Church at Roscrea and at Monasteverin, two import ant Gotiiic edifices ; the new cathedral at Kilkenny ; the railway stations at Dubhn and Drogheda; and the market-place ta Sackville Street, Dublin. He held the appointment of arcMtect to the Lord Lieutenant. His art was much esteemed ta Ireland. He died suddenly at Dublin, November 28, 1857, well advanced ta years. BUTTS, John, landscape painter. He was born at Cork, where be was brought up, and early in life took to landscape painting, without much help in the pursuit of Ms art. He patated compositions ta the manner of Claude, introducing figures, but far from mere imitations. For a time he was a scene patater, and suffering many distresses, did anythtag, even signs and coach-panels, to supply the wants of a large young family. Barry, R.A., Ms friend and fellow-citizen, writes of Mm from Rome: ' I am, indeed, sensibly touched with the fate of poor Butts, who, with all his merit, never met with anything but cares and misery, which, I may say, hunted Mm into his very grave.' His works showed great breadth and harmony of colour. His cares may be accounted for — he fell into the hands of a dealer ta Dublin when about 30 years of age, shared an attic with him, spent his gains in whisky, and his vices soon terminated Ms career. He died 1764. BYER, Nicholas, portrait painter. Born at Drontheim, Norway. Patated both history and portrait. Was employed for three or four years by Sir William Temple, at Sheen, Surrey. Several per sons of disttaction and some members of the royal family sat to Mm, and he was reputed a good painter. He died at Sheen in 1681, and was the first person buried at St. Clement Danes after the rebuilding of the church. BYFIELD, Ebenezer, wood engraver. Executed the fine woodcuts for Dibdin's 'Decameron,' a costly work, published in 1817, and died before its publication. BYFIELD, John, wood engraver. Brother of the above Ebenezer. fie at tained much reputation as a wood engraver, and, assisted by Mary Byfield, Ms sister, engraved the woodcuts for an edition of Holbein's ' Icones Veteris Testamenti,' published 1830 ; and, in conjunction with Bonner, ' The Dance of Death,' published 66 BYE 1833. He also engraved for an illustrated edition of Gray's ' Elegy,' published 1835. BYFIELD, George, architect. From 1780 till his death he was a constant ex Mbitor at the Academy, Ms designs and the works on which he was employed seldom going beyond a villa, a country seat, or a park entrance. He died in Craven Street, Strand, August 9, 1813, in his 58th year. BYRES, James, architect. He was established at Rome about 1770, and pro moted the inclination of Ms countrymen to purchase antique sculpture. BYRNE, William, landscape engraver. Born ta London 1743. He was educated at Birmingham under Ms uncle, a native of Ireland, an engraver of arms on plate. He attempted an engraving of the ' Villa Madama,' after Wilson, R.A., for wliich, M 1765, he gained the Society of Arts' medal. Thus encouraged, he studied land scape engraving, and went to Paris, then the chief school of engraving, and was the pupil of Aliamet, and afterwards of Wille. On his return to England he became a member of the Incorporated Society of Artists. He studied from nature, and formed Ms own style. His larger works are after Zuccarelli and Both ; but Ms best examples will be found ta 'The Antiquities of Great Britain.' after Hearne; 'Views of the Lakes,' after Fartagton, R.A. ; and ' The Scenery of Italy,' after Smith. His ctaef excellence was ta his aerial perspect ive and the geueral effect of his hght and shade. His sMes were put ta by hand, and were noted for their beauty of finish. His pupils — in Ms later years his own son and daughters — were employed ta the etching, and he occupied himself more in the finishing of his plates. He died in Titchfield Street, September 24, 1805, and was buried at Old St. Pancras's Church. BYRNE, Anne Francis, flower paint er. Eldest daughter of the foregoing William Byrne. She was born ta London in 1775, and ta her early life was chiefly engaged in teaching ; but renouncing this more lucrative practice, she devoted herself to painting, and acquired great skill in water-colours. In 1806 she was elected an associate exMbitor of the Water-Colour Society, and in 1809 to full membership. On the change made in the constitution of the Society ta 1813 she withdrew from it; but ta 1820 was an exMbitor, and ta the following year she rejoined the Society as a member. She occasionally exhibited a flower-piece at the Academy, commencing in 1796, and sent her last work ta 1820. Her flowers were well grouped, and with great ricMiess of colour combine a charm- mS freshness ; but, with the exception of a bird exMbited on one or two occasions, BYE her art was confined to fruit and flowers. She died January 2, 1837. BYRNE, Elizabeth, engraver, young est daughter of the foregoing William Byrne. She was distinguished by the beauty of her engravings of flowers. She etched views of the colleges for ' Canta- brigias Depictse' ta 1809, and also some f roups of flowers after Van Os. and Van luysam. BYRNE, Letitia, engraver. Third daughter of the foregoing William Byrne. Bom November 24, 1779. She exhibited landscape views at the Academy, " com mencing 1799. Her last work exhibited was 'From Eton College Play-fields.' 1822. She etched the illustrations for 'A De scription of Tunbridge Wells,' 1810; and engraved four views for Hakewill's ' His tory of Windsor.' She also engraved for 'WMte- Knights,' the Duke of Marl borough's seat; but was best known by her skilful etchings. She died May 22, 1849, and was buried at the Kensal Green Cemetery. BYRNE, John, water-colour painter. Was born in 1786 ; the oMy son and youngest child of William Byrne, the en graver, whose profession he followed at the commencement of his career, some of Ms best engravings being produced for Wild's 'Cathedrals.' He exhibited at the Aca demy, in 1822, ' A Scene ta Moor Park,' and the following year 'London from Hampstead Heath,' and afterwards turning to landscape art, practised as a water-colour patater; and from 1826 to 1846 was an CAL ' associate exMbitor ' of the Water-Colour Society and a constant contributor to the Society's Exhibitions. He also, from 1830 to 1833, contributed views in Wales to the Academy Exhibitions. Setting off about 1832, he travelled ta Italy for three years, passing that time ta a careful study both of nature and the great Itahan painters ; on his return he exhibited, ta 1838 and up to 1843, Italian views at the Royal Aca demy, ta the latter year two Welsh views in oil. His works at the Water-Colour Society during the same period comprised many views of the ancient Welsh border castles and ruins. His ' View of Twicken ham, on the Thames,' exhibited in 1830, and now ta the Water-Colour Gallery at the South Kensington Museum, is a good example of his art. He was a careful imitator of nature, finishing his works with great power and truth, introducing animals with good effect, and pleasing ta his tone of colour. He died March 11, 1847, and was buried at the Kensal Green Cemetery. BYRNE, Charles, miniature painter. Was born ta Dublin about 1810, and for some time practised his art ta London. He was constitutionally eccentric, and capricious, and Ms infirmity ended ta confirmed insanity. He died in Dubhn. BYRON, William, Lord, amateur. He was a pupil of P. Tillemans, and excelled as an etcher. He copied Rembrandt closely, and there is a good imitation of ' The Three Trees ' by him. His portrait of the first Earl de la Warr is engraved. He died August 8, 1736. CAB ALIERE, John, miniature paint er. Began life as a wine merchant ta Bond Street, but had a talent for art, and was distinguished by his skill as a miniature patater. He died June 12, 1780. CABANEL, Rudolph, architect. Was bom at Aix-la-Chapelle ta 1762. He came to England early in hfe, and settled ta London, where he was employed ta the construction of several theatres. He de signed the arrangements of the stage of the old Drury Lane Theatre, the Royal Circus, afterwards called the Surrey Theatre, 1805 (since burnt down), and the Coburg The atre, 1818. He died February 4, 1839. CALDWALL, John, miniature paint er. Bom ta Scotland, where he practised with much reputation, and died February 1819. CALDWALL, James, engraver and draftsman. Brother of the above. Bom in London 1739. Was a pupil of Sherwin. He is cMefly known by Ms portrait en gravings, the dates of wMch extend to 1780. fie engraved also 'The Camp at Coxheath,' after Hamilton ; Mrs. Siddons as the ' Grecian Daughter ; ' the ' Apotheosis of Garriek ;' and some fine portraits ; also some of the plates for Cook's 'Voyages' and Boydell's ' Shakespeare.' He survived his brother. He practised ta the line man ner, and used the etching needle largely. His drawing was good, Ms work powerful, the drapery beautifully and biilhantly treated, lie exhibited engravings with the Free Society of Artists from 1769 to 1776. CALLCOTT, Sir Augustus Wall, Knt., R.A., landscape painter. Was born at Kensington, February 20, 1779. He was brother to the distinguished musician, Dr. Callcott, and commenced life Mmself in the choir at Westminster Abbey ; but, tempted to try Ms hand at portrait painting, his 2 67 CAL success induced him to take up that art, though for some time he pursued music and painting together. He was a student of the Academy, and under the tuition of Hoppner, R.A. ; and in 1799 he exhibited at the Royal Academy his first portrait, and thenceforth followed art. In 1801 he exhibited two portraits and a landscape view of Oxford, and soon found the true bent of his genius, for after 1803 his exhi bited works were for many years exclusively landscapes. In 1806 he had fully confirmed the expectations raised by his first works. He was looked upon as a very rising painter of the landscape school, and ta that year was elected an associate of the Royal Academy. He continued to paint English landscape, chietiy river and coast scenery, with increasing reputation ; and ta 1810 he gained his election as full member of the Academy. Commissions came freely upon him, but he was not a rapid patater ; his work was conscientiously and studiously laborious, and in the 10 years — 1813-22 — he only exhibited seven of his works at the Royal Academy. In 1827 he married the widow of CaptaM Graham, R.N., a lady well known by her literary abilities, and with his wife set off for a Continental tour. His subjects up to this time had continued of the same class, with one or two Dutch coast scenes, but ta 1830 he commenced Ms Italian landscapes. In 1837 he painted a life-size subject picture of 'Raphael and the Fornarina,' and the same year received the honour of knighthood. In the following year he produced another large work, 'Milton dictating to Ms Daughters.' In 1844 he was appointed surveyor of the royal pictures, an office for which he was well fitted, but which he did not long enjoy. His health had been for some time failing. His wife died M 1842, and he then showed increased feebleness and marks of suffering, and died at Kensington, November 25, 1844, aged 65. He was buried at the Kensal Green Cemetery. His early Enghsh and Dutch landscapes were among his best works. They show great richness and purity of tone and colour, with a thorough feehng for Enghsh nature. His Italian landscapes charm by their tasteful composition and classic rendering. Claude-like they have been called, but are purely original. He will always rank as one of the eminent landscape painters of the English school, representing with much refinement and poetry Nature ta her most placid and gentle moods. In his private life he was amiable and greatly esteemed, generous and unprejudiced in all that related to his profession. CALVERT, Frederick, topographic draftsman. Published, ta 1815, four of his own drawings, of the Interior of Tin- 68 CAM tem Abbey, and ' Lessons on landscape colouring, shadowtag, and pencilling ; ' in 1822, a series of lithographic drawings, 'The Forest Illustrated;' ta 1830, 'Pic turesque Views ta Staffordshire and Shropshire' — 39 plates. He also contri buted some papers ta the ' Archaeological Journal. ' CALVERT, Charles, landscapepaint- er. Born September 23, 1785, at Glossop Hall, DerbysMre, where his father was agent for the Duke of Norfolk's estate. lie served an apprenticesMp ta Manches ter, and commenced business as a cotton merchant, but soon relinquished this to follow the more genial pursuit of art. He devoted Mmself to landscape painting, practising both ta oil and water-colour, and was instrumental in founding the Royal Manchester Institution, from which he gained the Heywood gold medal for the best oil picture, and the silver medal for a ' Landscape by a Manchester Artist.' His time was much occupied ta teacMng ; but when released from that he studied among the lake scenery of the North of England. His bad health had for some time removed Mm from notice. He died at Bowness, Westmoreland, Feb. 26, 1852, aged 66. CAMDEN, Samson, portrait painter. Lived ta the Old Bailey, and patated there about 1540. He was the father of William Camden, the antiquarian, who is said to have drawn a portrait of Queen Elizabeth, wliich is now ta the British Museum. CAMERON, Charles, architect. Prac tised ta the latter half of the 18th century. He published, in 1772, a large folio work on the ' Roman Baths,' many of the num erous illustrations to which were etched by Mmself. He died at the beginning of the 19th century. CAMPBELL, Colin, architect. Born ta Scotland. He enjoyed much reputation ta his day, and was largely employed. He built Wanstead House in 1715 (pulled down in 1822), a work — the front extend ing 260 feet — wMch united ta a great degree grandeur of design with convenience in arrangement. He also built the Rolls House ta Chancery Lane, 1717, and Mere- worth, ta Kent — the latter an imitation of Palladio ; Drumlanrig Castle, a poor mix ture of the classic and grotesque ; and several other mansions. He carried out Lord Burlington's designs for the improve ment of his mansion in Piccadilly, and designed Mmself the facade. With Woolfe and Gandon he published, ta ttaee large folio volumes, with 30 plates, the ' Vitruvius Britannicus,' a work originally projected by Lord Burlington. He was appointed arcMtect to the Prince of Wales ta 1725, and in 1726, surveyor of the works of Greenwich Hospital. He died 1734. His least pretentious designs are the best, his CAM attempts at originality leading him into inharmonious combinations. CAMPBELL, Thomas, sculptor. Was born in Edinburgh, May 1, 1790, of parents iu very humble circumstances, fie was apprenticed to a marble-cutter, and though without education, soon showed a taste and intelligence which raised him above the mechanic ; and occupied on a class of works by which he gained knowledge, he made food progress, and was enabled to come to rondon and study ta the schools of the Royal Academy. In 1818 he was assisted to visit Rome ; and there, devoted to Ms art, he soon made friends, and received commissions for busts. One of his first works was a sitting statue of the Princess Pauline Borghese, wMch is now at Chats- worth. He continued at Rome for many years, and his cMef associates were the Italian and German artists. In 1827 he sent from thence his first work, the bust of a lady, for exMbition ta the Royal Academy ; and the next year a classic group — ' Cupid instructed by Venus to as sume the form of Ascamus.' Having at this time large commissions to execute ta England, he returned ta 1830, but retained his studio in Rome, and ex hibited at the Academy a marble statue of ' Psyche,' with other works. He estab lished himself cMefly by his busts — some of which were colossal — and portrait statues, and continued to exMbit Ms works at the Academy up to 1857, though only occasionally ta the latter years. He fre quently during this period visited Rome to make arrangements for works commenced there ; but durtag the last 25 years of Ms life his residence was ta London, where he died February 4, 1858. He was painstak ing and elaborate ta the completion of his works, and amassed a large property by his profession. One of his most important groups is the monument to the Duchess of Buccleuch at Boughton. At Windsor Castle there is a statue of the Queen by him ; at St. Paul's, Sir William Hoste, one of the pubhc monuments. CAMPBELL, J., engraver. He prac tised about the middle of the 18th century- He engraved some plates after Rembrandt, successfully rendering that master's style and manner. CAMPION, George B., water-colour painter. He was elected a member of the Institute of Water-Colour Painters in 1837, and was an occasional, and sometimes a large, contributor of views, but slightly finished, to the exhibitions of the Institute. His cMef art was topograpMcal, and many of his views have been published. He wrote some contributions on German art for the 'Art Journal.' Reputed a good sportsman, he was the author of ' The Ad ventures of a Chamois Hunter.' He died CAF at Munich, where he had long resided, April 7, 1870. CANOT, Peter Charles, A.E., en graver. Born in France 1710. He came to England in 1740, and found employment in engraving marine subjects and land scapes. He engraved after Backhuysen, Vandevelde, Gaspar Poussin, and Claude ; also views of London and Westminster Bridges, after Scott ; a series of sea- views and sea-fights, after Monamy ; and four battle-pieces, after Paton, his over-exer tions on which are said to have led to his death in 1777, at Kentish Town. He was a member of the Incorporated Society of Artists in 1766, and was elected associate engraver of the Royal Academy in 1770, where he was one of the early exhibitors. His engravings, particularly the sea-pieces, have much merit, and were very popular in their day. CAPON, William, scene painter and architect. He was born at Norwich, October 6, 1757. His father was an artist of some ability, and under him he com menced portrait painting, but his taste led him to architecture, and he was placed under NovozielsM, the arcMtect and scene patater, and assisted him in the erection of the Italian Opera House and the buildings and scenery for the Ranelagh Gardens. On the completion of the new Drury Lane Theatre ta 1794, he was engaged by Mr. Kemble as the scene painter, and mate rially assisted him ta his great reform of the stage. This he was well qualified to do by his antiquarian knowledge, wMch enabled him to give his works historic interest by their accuracy. He was ap pointed draftsman and painter of architec ture and landscape to the Duke of York. He first exhibited at the Academy in 1788, next ta 1792, and from that time was an occasional exMbitor. His subjects were chiefly views of buildings and architectural remains, with some landscapes. He made many drawings of the old dwellings and buildings ta the Metropolis, and careful plans of the old palace at Westminster, and of the substructure of the Abbey, priding himself upon the accuracy of his drawings and measurements. His plan of the Westminster Palace was purchased by the Society of Antiquaries for 120 guineas, and was engraved by Basire. He made finished drawings of the interior of both Covent Garden and Drury Lane Theatres, exhibited 1800 and 1802 ; and erected a theatre at Kildare, painting also the scenery, for Lord Aldborough. He left some views which he had drawn of the theatre ta Goodman's Fields, burnt down in 1802 ; and had made an extensive col lection of topographical drawings. He died suddenly at his house in Norton Street. Westminster, September 26, 1827, aged 60 CAE 70. He was of a conceited nature, and Sheridan gave him the name of ' Pompous Billy.' CARDON, Anthony, mezzo-tint en graver. The son of an engraver, by whom he was instructed in his art. He was born at Brussels in 1773 ; and on the insurrec tion in 1790 he fled to England, where he placed himself under his friend Schia- vonetti for three years. He soon found employment, and became known by his engravings for book illustration. He en graved ' The Battle of Alexandria ' (for which he received the Society of Arts' gold medal in 1807) and of 'Maida;' 'The Marriage of Catharine of France with Henry V. of England,' after Stothard, R.A. ; ' The Rustic Minstrel,' after Single ton ; and ' George III' after A. Chalon, R.A. ; and portraits of Mr. Pitt, Madame Recamier, and others. He died, from too close an application to his profession, in London Street, Fitzroy Square, February 17, 1813, ta his 40th year. He engraved chiefly M the stipple manner. His style was pretty, but wanting in drawing ; the parts ill-defined and hard. CARDON, Philip, engraver. Was the son of the above, and. educated as an en graver. He was a clever draftsman, but died young, about 1817- CAREW, John Edward, sculptor. Was born at Waterford about 1785. A student ta the Society's Drawing Schools at Dublin, he afterwards became a pupil of Sir R. Westmacott, and first appears as an exhibitor at the Royal Academy M London in 1830, when he sent ' Model of a Gladiator,' 'Bear ta the Arena,' and ' Theseus and Minotaur.' In 1832-34-35 he was living at Brighton, and in each of these years he sent two busts to the Academy. He did not exMbit again till 1839, when he sent ' The Good Samaritan,' a marble bas-relief ; ta 1842 an ' Angel,' part of a monumental group, and ta the years 1843, 1845, and 1848 some busts. In these latter years he was living ta London. He was employed by Lord Egremont at Petworth House, but his best known statue is ' Whitttagton listening to the London Bells.' CARLINI, Agostino, R.A., sculptor and painter. He was a native of Geneva, and came early in life to this country, where he settled ill the practice of his art, and obtained the reputation of the best sculptor of his day. He was one of the original members of the Royal Academy, and in 178li succeeded Moser as the keeper. He executed the model of an equestrian statue of George IIL, wMch he exMbited in 1769, and in the following year an em blematical figure of ' Maritime Power ;' in 1776 he exhibited the portrait ta oil of a nobleman, and in 1783 a model of ' Plenty.' 70 CAE In the hall of the Society of Arts there is by him a marble statue of the renowned Dr. Ward, strutting in dignity and drapery. At Somerset House three of the key-stones of the Strand front, representing the rivers Tyne, Dee, and Severn, are by Mm, as also the two centre statues against the same edifice. He died ta Carlisle Street, Soho, August 16, 1790. CARLISLE, Miss A?,NE,portrait paint er. She practised in the reigns of Charles I. and Charles II. She was much esteemed and patromsed by the former, who, it is recorded, made her a valuable present of ultramarine. She was celebrated for her copies of the great Italian masters, and also for her miniature copies ta the man ner of the Olivers. She died about the year 1680. CARLISLE, Isabella, Countess of, amateur. She was the daughter of William, fourth Lord Byron, and married ta 1743 the Earl of Carhsle. She was known as a clever etcher, and made some good copies of Rembrandt's etchings. Her second husband was Sir William Musgrave. She died January 22, 1795- CARLON, , engraver. He was born ta England, and practised at the beginning of the 19th century. He engraved for Thornton's 'Temple of Flora,' a costly work, pubhshed ta 1805. CARLSE, James, engraver. Was born ta Shoreditch in 1798, and apprenticed to an arcMtectural engraver. On the expir ation of his term, he took up landscape and figure engraving, and attained much pro ficiency. In 1840 he commenced a work on Windsor Castle, wMch he discontinued from the absence of support. He was then employed to engrave for the annuals and the ' Art Journal,' and upon some architec tural plates for Mr. Weale's publications. He died ta August 1855. CARMICHAEL, James Wilson, marine painter. He was born at New- castle-on-Tyne. His name first appears as an exhibitorta 1S38, when he contributed an oil picture to the Society of British Artists — ' Shipping in the Bay of Naples.' In 1841 he exhibited at the Royal Academy a drawing of 'The "Conqueror" towing the " Africa " off the Shoals of Trafalgar ;' and in 1S43 two drawings — 'The Royal Yacht, with the Queen on board, off Edin burgh,' and 'The Arrival of the Royal Squadron.' In 1845 he exhibited both in oil and water-colours. He had up to this time hved at Newcastle, and now came to reside ta London, and continued to exMbit marine subjects, chiefly ta oil, up to 1859. Shortly after this he retired to Scarborough, where he died very suddenly, May 2, 1868, in Ms 68th year. There is a large painting by Mm in the Trinity House, Newcastle, The heroic Exploit of Admiral Colling- CAE wood at the Battle of Trafalgar.' He published ' the Art of Marine Painting in Water-colours ' 1859, and ta ' Oil-colours ' 1864. CARPENTER, Richard Cromwell, architect. He was bom October 21, 1812, and was educated at the Charter House, and then articled to Mr. Blyth, under whom he studied Gotiiic architecture with great industry. He first exhibited at the Academy, ta 1830, ' Design for a Cathedral Transept ; ' ta the next year, ' A Cathedral Shrine ; ' ta 1832, ' An Italian Villa.' His earnest executed works were the churches of St. Stephen and St. Andrew at Birining- ham, erected about 1841. His later works —St. Paul, Brighton ; St. Mary Magdalene, Minister Square, London ; and the restor ations at Chichester Cathedral, Sherborne Abbey, and St. John's CoUege, Hurstpier- potat, Sussex ; the last probably his most important work. He died ta Upper Bed ford Place, Russell Square, March 27, 1855, ta his 43rd year. CARPENTER, Mrs. Margaret Sarah, portrait pamter. She was the daughter of Captain Geddes, who was of an Edinburgh family, and was bem at Salisbury in 1793. She was instructed ta art by a drawing- master who practised ta that city, and greatly improved herself by the study, to wMch she was admitted, of the fine collec tion of paintings at Longford Castle ; and for one of her copies was awarded a gold medal by the Society of Arts. In 1814 she was induced to come to London, where she soon established herself as aportrait patater. She exMbited a portrait of Lord Folke stone at the Academy in that year, and at the British Institution, 'The Fortune Teller.' In 1817 she married Mr. Carpen ter, of the British Museum, and from that time to 1866 was a constant contributor of portraits, with occasionally a subject pic ture, to the Academy Extabitions. Among her exMbited portraits were Sir H. Bun bury, 1822 ; Lady Denbigh, 1831 ; Lady King, 1835 ; Lord John Manners, Gibson, R.A. ; and, her last work, Dr. Whewell. Her portrait of Gibson is ta the National Gallery, and three of her works in the South Kensington Museum. Upon the death of her husband ta 1866 she was granted a pension of 100/- a year — a grace ful recognition of her own merits as well as of her husband's valued services. She died ta London, November 13, 1872, ta her 80th year. CARPENTIERS, or CHARPEN- TlfiRE, Aminsx, portrait painter. Bom ta Switzerland. Came to London about the year 1760, and settled here in the practice of his profession. In 1763 he was a member of the Free Society of Artists, and was a constant exhibitor at the Spring Gardens Exhibitions. From 1770 to 1774 CAE he sent portraits and portrait-groups to the Academy Exhibitions. A half-length por trait of rRoubiliac, the sculptor, modelling Shakespeare's bust,' which has been well engraved both in mezzo-tint and line, is mentioned as one of Ms best works ; it is now in the National Portrait Gallery. His own portrait is ta Salter's Hall, St. Swithta's Lane. In the latter part of his hfe he hved ta Pimlico, and he died there far advanced ta years, but the date is unknown. He ceased to exhibit in 1774. CARR, The Rev. William Holwell, amateur. Born in 1750. He patated landscapes, and was an occasional honorary exMbitor at the Royal Academy from 1797 to 1820 of landscape views, fie died in 1830, and bequeathed several good works, by the old masters, to the National Gallery. CARR, John, of York, architect. Was born at fiorbury, near Wakefield, ta May 1723. He commenced Me as a working man, and settling in York, found full em ployment. By Ms intelligence and industry he improved his position, and practised with reputation as an architect. He built the Court House at York ; Harewood House, near Leeds, 1760 ; Thoresby of Nottinghamshire ; Oakland House, Che- sliire ; Burton Park, Constable, Yorkshire ; Lytham Hall, near Preston ; the east front and gallery of Wentworth Castle, near Beverley ; York Castle and Gaol ; Basildon Park, 1780, and Famley Hall, 1790— both ta Yorkshire. At his own expense, nearly 10,000/., he built the parish church of his native village, and was buried there. He died at Askham Hall, near York, February 22, 1807, aged 84. fie was lord mayor of York ta 1770, and again ta -1785. His buildings were symmetrical and well planned, Ms elevations marked by sim plicity and good taste, and he enjoyed considerable merit ta Ms profession, amass ing a very large property. CARR, Johnson, landscape painter. Was descended from a respectable family ta the North of England, and became the pupil of Richard Wilson, R.A. He ob tained premiums from the Society of Arts for his landscape drawings in 1762 and 1763. His drawings were something in the manner of his master, drawn on tinted paper in black and white chalk, and showed great promise. He died of rapid consumption, January 16, 1765, ta his 22nd year. CARR, R., engraver. Practised in the latter part of the 17th century. He imi tated Hollar, but with little success. He etched a map of England, wMch is dated 1668. CARRICK, Thomas, miniature painter. Was born at Carlisle, and was entirely self-taught ta art, and unsupported ta his self -advancement. He came to London, 71 CAE and in 1841 "first exhibited seven minia tures at the Royal Academy, painted on marble. He at once gained good employ ment, and had many sitters of distinction. About 1848 he shared in the general de cline of miniature art, and his name only appears occasionally up to 1860. He died in 1874. CARSE, A., topographical draftsman. Drew views and buddings towards the end of the 18th century, which appear literally accurate as their chief merit. Many of his drawings were engraved in 'The Scots' Magazine.' CARSE, W., subject painter. He prac tised ta Edinburgh, and at the time of the first exhibition there in 1808 enjoyed a high reputation. His pictures showed much humour, but they were coarse and ill drawn. He is said to have died early ta the century. CARTER, Ellen, book illustrator. Her maiden name was Vavaseur. Edu cated in a convent at Rouen, she formed a taste for drawing, drew the figure toler ably, and made careful copies of antiquarian subjects. She drew for the ' Gentleman's Magazine,' the ' Arcbsologia,' and other works. An engraving was pubhshed from a drawing by her, called ' The Gardener's Girl.' She married the Rev. John Carter, and died September 22, 1815. CARTER, Francis, architect. He was clerk of the works under Inigo Jones, and carried out several of his designs after Ms death. He is mentioned ta Evelyn's 'Sculptura' as one of the draftsmen of that day, and as then ta Italy. He re sided some time in Covent Garden, and during the Commonwealth was made a justice of the peace and 'surveyor of the works.' He died soon after the Restor ation. CARTER, George, portrait and sub ject painter. Practised in the second half of the 18th century. Several of his works are engraved, fiis 'Death of Captain Cook 'has been engraved by Hall, Thorn- thwaite, and Cook ; his ' Apotheosis of Gar- rick,' with portraits of contemporary tragic actors and aetresses, by Oaldwall. fiis ' Fisherman going Out ' and ' Fisherman returning Home ' were popular. He died 1786. CARTER, George, subject painter. Was born at Colchester, of humble parents, and educated at the Free School there. He came to London as a servant, after wards became shopman to a mercer, and then entered into the same business ; but failing after a few years he set up as a painter, and ingratiating himself with the artists, gained their assistance. He then travelled, visiting Rome, St. Petersburg, Gibraltar, and the West Indies. In 1775 he sent from Rome to the Academy Exhibition 72 CAE ' A Wounded Hussar on the Field of Battle,' and a small size portrait-group. In the following year he was in London, and ex hibited ?A Weary Pilgrim on his Journey to Rome' and ' The Dying Pilgrim, with a View of the Sybils' Temple.' In 1778 he exhibited 'The Adoration of the Shep herds,' a poor work, which he afterwards presented to St. James's Church, Colchester. In 1785 he exhibited in Pall Mall, admis sion Is., a collection of his pictures, 35 in number, including 'The Siege of Gibral tar,' but nearly ah portraits, and described them with ignorant pomposity ta his cata logue. He says : ' These pictures were all painted without commission; the motive, to celebrate good men and brave actions. They are now at the disposal of any nobleman or gentleman who may wish to possess either the whole or a part of them.' He pubhshed several engravings from his works. He styled himself 'tas- torical painter,' and affected also to be an author, having published ' A Narrative of the Loss of the " Grosvenor," East India- man.' He contrived, however, to realise a fortune, and retired to Hendon, where he died ta 1795. CARTER, H.B., water-colour painter. He was a native of Scarborough, and removed to the West of England. He exMbited at Suffolk Street ta 1827-28- 29, and ta those years was living in the Metropolis. He died ta the West of Eng land. His son Carter, J. R., also dead, was known as a patater in water-colours. CARTER, James, engraver. Was born ta Shoreditch 1798. He was articled to an architectural engraver, but Ms taste led him to landscape. He worked ta the line manner, and in 1840 he commenced a work on Windsor Castle which did not succeed. He then found employment on plates for the annuals, working success fully after Prout ; and engraved for the 'Art Journal,' after Ward and Goodall. He was also engaged upon some architectural plates for Weale's publications. He en graved some works after Ms own sketches and designs. He died August 1855, and left a large family without provision. CARTER, John, architectural drafts man. Born in Ireland, June 22, 1748. He was the son of a carver ta marble, in Piccadilly, and was early employed in making drawings for architects and build ers. From 1774 to 1786 he drew for ' The Builders' Magazine,' a serial public ation, and gave evidence of his correct antiquarian taste. In 1780 he was em ployed by the Society of Antiquaries, of which he became a member, and was their draftsman for above 20 years. He was also employed by Richard Gough, for whose ' Croyland Abbey' and ' Sepulchral Monuments ' he made drawings. In 1782- CAE 84 he published his ' Specimens of Ancient Sculpture and Painting' and 'Views of Ancient Buildings in England; and in 1786 he published some small etchings, followed by ' The Ancient Architecture of England,' and some small architectural works of a monumental character. He was passionately fond of music, and wrote and composed two oneras, painting also the scenery and adapting them to the stage. He was an enthusiastic writer on Gothic arcMtecture, and the author of a series of commumcations to the ' Gentle man's Magazine,' commencing 1798, under the title of ' Pursuits of Architectural In novation-' As a draftsman he was faitiiful, but wanting decision ; his light and shade were put ta with Indian ink, and touched slightly with local colour ; groups of figures, sometimes humorous, are well introduced. He was an occasional exhibi tor at the Royal Academy. He was of the Roman Catholic rehgion, a recluse in Ms habits, and a bachelor, fie died in Eaton Street, Pimlieo, September 8, 1817, and was buried at Hampstead. His drawings and antiquities — his sketches alone filling 28 large folio volumes — were sold by Sotheby ta February 1818, and realised 1,695/. CARTER, Owen Browne, architect and draftsman. He hved at Winchester, and ta addition to Ms practice as arcMtect made some good drawings of cathedrals and churches. He died March 30, 1859, aged 53. CARTER, Thomas, sculptor. Was a statuary at Knightsbridge, whom Jervas, the patater, noticed industriously employed early and late on tombstones, tablets, and such works. At last he made acquaintance with him at his labour, and greatly sur prised Mm by the question if 100/. would be of service to Mm. ' One hundred pounds ! ' exclaimed the young workman. Lord love me ! why, it would be the mak ing of me for ever.' Jervas at once asked his new friend, who did not even know his name, to breakfast, lent him the money, recommended him, and thus laid the foundation of his fortune. The bas-relief on Lord Townshead's monument in West minster Abbey was modelled by him. Carter was member of the first artist com mittee formed ta 1755 to found a Royal Academy. He was the first employer of Roubiliae. He died January 5, 1795. CARTER, William, engraver and draftsman. He was born about 1630, was a pupil of Hollar, and the most successful imitator of his style, and probably assisted Mm in his larger works. His own engrav ings are mostly vignettes and ornamental plates for books. The illustrations for an edition of Ogilvy's ' Homer ' are engraved by him. He practised about 1660. CAE' CARTWR1GHT, John, portrait paint er. Exhibited at the Academy from 1784 to 1808. His contributions were portraits in oil, including some small whole-lengths, and at the commencement of his career one or two classical subjects. When Fuseli, R.A., returned to London in 1779, he re- „ sided with him in (St. Martin's Lane. CARTWRIGHT, Joseph, marine painter. He was attached to the army ta a civil capacity, and was for some time pay master-general at Corfu. Called to Greece ta the course of his duties, he made many sketches of the country, and on his return to England he devoted himself to art. He pamted some good marine subjects ; and was appointed m 1828 marine patater to the Lord High Admiral. He exhibited at the Academy in 1824-25, and in 1826 was elected a member of the Society of British Artists, exMbiting with the Society ta that year 'The Burning of Admiral Bruey's Ship at the Battle of the Nile ; ' ta 1827, 'Venice from the Public Gardens ;' ta 1828, 'Vesuvius and the Bay of Naples ;' and ta 1829, ' Dover Pier.' He died ta the spring of 1829. CARTWRIGHT, Thomas, architect. He practised ta the latter part of the 16th century as an architect and builder. A plan of the Royal Exchange is said to have been engraved by Mm about 1^71. CARTWRIGHT, William, engraver. He was one of the early engravers of por traits and book plates. His name is affixed to a portrait of Thomas Cranmer, Arch bishop of Canterbury. He engraved also after Holbein. CARTWRIGHT, William, engraver. He practised as a landscape engraver at the rbegtamng of the 19th century. He engraved four views of the Isle of Wight, after Walmsley. CARVER, Richard, history and land scape painter. He was bom ta Ireland, and practised there about the middle of the 18th century. In 1775 he was ta London, and was then a ' director ' of the Incorpor ated Society of Artists, and contributed to their exhibition in Spring Gardens a large oil landscape with ruins and figures, also two landscapes in water-colours. He ex hibited again, in 1778, some large land scapes ; and in the newspapers of the day was spoken of as ' the celebrated Mr. Car ver.' There is an altar-piece ta a church at Waterford patated by Mm. He was weak both in drawing and colour, but his landscapes showed some taste. CARVER, Robert, scene painter. Son of the above. Bom ta Ireland, where he gained a reputation by his small water- colour drawings, and as a scene patater. He was invited to London to paint for Drury Lane Theatre, but followed his friend Barry, the actor, to Covent Garden 73 CAE Theatre, where he continued till Ms death. He was a member of the Incorporated Society of Artists, and his landscapes con tributed to their exhibition ta 1777 'were much noticed. His landscape scenery was grand, with great beauty of execution, par ticularly ta his early pictures ; his colour ing warm, with depth of middle tint, giving a great tranquillity of light and shade. He patated coast scenes, with the waves break ing on the shore, with great trath and force ; and a drop-scene of this character is described as of terrific excellence. He was a fast liver and generous host, and for several years afflicted with gout. Died in Bow Street at the end of November 1791. CARWARDINE, Miss J., miniature painter. Born in IlerefordsMre. She was an exhibitor up to 1761, when she married Mr. Butler, organist of St. Martin's and St. Anne's, Westminster, and quitted the practice of her profession. CARWITHAM, J., engraver. Bom in England. Practised ta the first half of the 18th century, and worked chiefly upon book plates. He largely employed etching, but some plates are worked with the graver only, and retouched ta the manner of Picart, after whom he engraved an emblem atical frontispiece dated 1723. He en graved the 'Laocoon' from the antique, 1741. CASALI, Andrea, The Chevalier, his tory painter. Born at Civita VeccMa 1720. He came to England before 1748, as ta that year he was employed to paint the transparencies wMch formed part of the decorations used in St. James's Park on the celebration of the peace of Aix-la-Chapelle — works wMch were afterwards engraved. He painted some ceilings at Fontmfl, and was one of the first candidates for the Society of Arts' premiums, obtaining ta 1760 the second premium of 50 guineas for a subject from English history ; M 1762, the first premium of 100 guineas ; and ta 1766, a third premium of 50 guineas. He painted an altar-piece for the chapel of the Foundling Hospital, wMch was afterwards removed, to make place for West's ' Wise Men's Offering ; ' and about 1758 the figures of St. Peter and St. Paid for the altar of St. Margaret's Church, Westmin ster. His works were carefully and neatly painted, but tawdry ta colour aud theatri cal ta style. He completed some etchings, among them from the pictures for which lie gained the Society of Arts' premiums. In 1763 he sold his collected works by auction, and soon after 1766 quitted England, and hved several years at Rome. CASANOVA, Francis, landscape and battle painter. Born ta London, of Italian parents, 1730. Settled in Paris, where he was admitted a member of the Academy of Painting in 1763. He was employed by 74 CAT the Prtace of Conde, and also by Catherine IL, who engaged Mm to paint the Russian victories over the Turks. He died near Vienna 1805. CASSELS, Richard, architect. He was bom ta Germany, and invited to Ire land, came and settled there ta 1773. There was little talent to oppose him, and he was soon successful. He built the man sion of Hazlewood, Co. Shgo ; Powers- court, Co. Wicklow ; Carton House, Kil- dare ; Bessborough House, Kilkenny; Leinster House, and several other fine mansions, in Dublin ; also the Lying-in Hospital, 1757, and the Printing-office in the College Park. The design for the Parliament House has been attributed to him. He died suddenly, aged 60, and was buried at Maynooth. He was very eccentric and addicted to intemperance, but Ireland owes to Mm the introduction of a better style of arcMtecture. CASTELLS, Peter, painter and en graver. Born at Antwerp 1684. He came to England ta 1708, and ta 1716 revisited bis native city, but soon returned to this country. He patated birds, fowls, fruit, and flowers — mostly the latter, but ta an inferior manner. His engravings had more merit. Lord Bui-hngtonpubhshed, at his own expense, Castells' ' Villas of the An cients,' giving him the profits. In 1726 he published himself 12 plates of birds and fowls, which he etched from Ms own de signs ; also some plates from his pictures, wdiich have much merit. In 1735 he removed to Tooting, as designer for some calico works there, and afterwards followed the manufactory to Richmond, where he died May 16, 1749. CATESBY, Mark, F.R.S., amateur and naturalist. Bom 1679 ; and in 1712 visited America, where he remained seven years, studying the botany of the country. On his return he was induced by some scientific friends to revisit America, and taking up his quarters at Charleston, he made incursions into Georgia and Florida, collecting specimens. On Ms return to England he studied etcMng, and engraved Ms own work, ' The Natural History of Carolina, Florida, and the Bahama Islands,' published 1741-43, comprising 165 plates, all drawn and etched by his own hand. The birds, animals, plants, and insects are of large size, are well drawn, and expressed with much character, and must have been the fruit of great industry and labour, wMlst its sale was the chief support left for his widow and two children. He died Dec. 24, 1749, aged 70. CATTERMOLE, George, water-colour painter. He was born at Dickleburgh, near Diss, ta August, 1800, and at the age of 16 began his career as a topographical draftsman, and drew for Brittotfs "English CAT Cathedrals.' In 1822 he was elected an associate exhibitor of the Water-Colour Society, but was otay an occasional contri butor to the Society's ExMbitions up to 1833, when he became a member, and for the next few years was a more constant contributor — sending, among others, 'After the Sortie ; ' ' The Gallery of Naworth Castle ; ' 'The Murder of the Bishop of Liege ; ' ' Pilgrims at a Church-door ; ' ' The Armourer relating the Story of the Sword ; ' and at this period produced some of Ms best works ; then his contributions fell off, and ta 1850 he withdrew from the Society. He afterwards tried some subjects in oil, and exhibited ta that medium at the Royal Academy ta 1862, ' A Terrible Secret.' He was unsettled ta Ms habits and uncertain ta his engagements, and died July 24, 1868. Versatile ta his power, learned ta costume, his art was dramatic and pictorial. He was largely employed by the publishers. He designed for the annuals and for the ' Waverley ' novels, with some other works of the same class. The ' Historical Annual,' devoted to the scenes of the Civil War, is his best work of this character. At the Paris Exhibition, 1855, he received a Mst-class gold medal in water-colour painting. He was a mem ber of the Academy at Amsterdam, and of the Belgian Society of Water-Colour CATTERMOLE, Richard,' water- colour painter. He was, between 1814 and 1818, an ' exhibitor ' at the Water- Colour Society, ta the latter year contribut ing ' The State Bedchamber, Hampton Court,' and ' The Cupola Room, Kensing ton Palace,' painted for Pye's ' Royal Palaces,' on which work he was at that time employed. He afterwards went to Cambridge, and entered the Church. CATTON, Charles, R.A., landscape and cattle pa/inter. Born at Norwich 1728 ; and said to have been one of 35 children by his father, who was twice married, fie was apprenticed to a coach patater in London, improved himself as a student in the St. Martin's Lane Academy, and became a member of the Incorporated Society of Artists, with wMch body he exMbited, 1760-64, landscapes, cattle, and subject pictures. He obtained a good knowledge of the human figure, which, with his natural taste, raised him above others following his branch of the profes sion. He designed and patated the orna mental panels of carriages, flowers, and allegorical subjects ta an artistic manner, and greatly improved the style of herald- painting and sign-painting. He was ap pointed the king's coach-painter, and was one of the foundation members of the Royal Academy. He served the office of master of the Company of Patater-Stataers in 1 784. CAW He had a knack for humorous designs, and drew and etched in 1786 ' The Margate Packet/ a very clever work of this class. At the Royal Academy he chiefly exhibited landscapes, but occasionally compositions and animals. His last works were a ' Jupiter and Leda ' and a ' Child at Play.' He also painted some whole-length por traits and an altar-piece, ' The Angel de livering St. Peter,' for the church of St. Peter's Mancroft, Norwich. He had for several years retired from the active pur ¦ suit of his profession, and died rather suddenly at Ms house ta Judd Place, August 28, 1798, in his 70th year, and was buried ta Bloomsbury Cemetery, Bruns wick Square. CATTON, Charles, animal painter. Son of the foregoing ; was born in London, December 30, 1756. He was taught by Ms father, and studied in the schools of the Academy, where he acquired a good know ledge of the figure. He travelled ta most parts of England and Scotland, making sketches, some of wMch were engraved and pubhshed. He was a good scene painter, and had a reputation for Ms topographical views. In 1775 he exMbited at the Academy a ' View of London from Black- friar's Bridge,' and of ' Westminster, from Westminster Bridge.' In 1793 he exhi bited his designs, conjointly with Burney, for Gay's ' Fables,' which were afterwards published ; as was also a collection of animals, drawn from nature and engraved by him, 1788. He exMbited for the last time ta 1800, and was then living at Purley, near Reading ; and ta 1804, having acquired wealth, he emigrated to America with his two daughters and a son, and took a farm upon the Hudson, where he lived many years, occasionally painting land scapes and animals. He died in America, April 24, 1819. CAVE, Henry, topographical drafts man, lie resided at York, and drew and etched the ancient building in that city. He exMbited an oil-painting at the Aca demy ta 1814, and again ta 1822. He published, ta 1813, ' The Antiquities of York,' with 40 plates, which are very well drawn and etched with spirit ; and several other etchings. He died at York, August 4, 1836, aged 56. CAVE, James, topographical drafts man. He practised Ms art at Winchester. He exMbited at the Academy, ta 1802, views of the Interior of Winchester Cathe dral ; ta 1806, cf St. Cross ; and ta 1812 and 1817, of the Cathedral again. He made the drawings for the illustration of Milner's ' History of Winchester,' 2nd edi tion, published 1809. CAWSE, John, portrait and subject painter, lie first exhibited at the Royal Academy ta 1802. His early works were CEC portraits and sketches for pictures, and he was much engaged as a teacher. In 1814, and some following years, he exhibited portraits of race-horses; and ta 1818-19, subjects from Shakespeare's ' Henry IV.,' introducing Sir John Falstaff. He last exhibited at Suffolk Street in 1845. He died January 19, 1862, aged 83. In 1840 he published 'The Art of Oil-Painttag.' Several of his pictures are engraved. CECIL, Thomas, engraver and drafts man. Practised ta the first half of the 17th century, working from 1628 to 1635 ta London, where he maintained a high rank among his contemporaries. Some of Ms best works are dated 1627-28 and 1631, and are portraits — many of them from his own designs — executed entirely with the graver. His ' Queen Elizabeth on Horse back' is much esteemed. His works are neat ta finish, but stiff and wanting in taste ; his drawing of the figure weak and incorrect, the extremities bad ; yet Evelyn speaks of Ms art ta high terms. CERACCHI, Giuseppe, sculptor. Was born at Rome about 1740. fie came to England in 1773, and was employed by Carlini, R.A. fie modelled ta basso- relievo, for Mr. R. Adam, a ' Sacrifice of Bacchus,' 14ft. by6ft., and also abust of Sir Joshua Reynolds, which was popular. He exhibited at the Royal Academy, in 1776, a group of ' Thetis and Jupiter ; ' ta the following year, a ' Castor and Pollux ; ' and ta 1779, ' A Design for Lord Chatham's Monument in St. Paul's ;' and other works. The Hon. Mrs. Damer was Ms pupil, and the statue of her in the hall of the British Museum was modelled by him. In 1791 he crossed the Atlantic, to propose the erection of a statue to Liberty in the United States, but returned disappointed to Europe about 1795. He was then for a time at Rome, and afterwards went to Paris. He was a republican fanatic, and was one of the conspirators in a plot to assassinate Napoleon in 1801 . Charged with this crime, he called in his defence David, with whom he had hved in intimacy, to speak to his character ; but the great Eainter declared he knew nothing of him eyond his fame as a sculptor. Ho was condemned and guillotined in 1801 ; and it is said that he was dragged to the scaffold, in the habit of a Roman Emperor, on a car which he had designed. CHALMERS, W. A., water-colour painter. Practised in London towards the end of the 18th century. His works appear to have been in water-colours, and his sub jects show him to have been an artist of some pretensions. In 1790 he exhibited a ' View in the Collegiate Church, West minster,' and ' Mrs. Jordan as " Sir Harry Wildair ; " ' in 1791, two Interiors of West minster Abbey ; in 1792, ' The Interment 76 CH A of the late President at St. Paul's ; ' in 1793, ' The Interior of Henry VII's Chapel, with the Ceremony of the Installation ;' the next year, ' West Front of the Abbey, Bath ; ' and then, after a lapse of three years, he exhibited, in 1798, Mr. Kemble as the " Stranger," ' and the 'Tomb of Henry VII.,' the last work he exhibited. He probably died young. CHALMERS, Sir George, Bart., por trait painter. He inherited a title without fortune, wMch was forfeited from a connec tion with the exiled Stuart family. He was born in Edinburgh, and studied under Ramsey, and afterwards travelled, making some stay ta Rome. Returning, he resided a few years at Hull, where he patated por traits ; and, commencing ta 1775, exMbited at the Royal Academy up to 1790. One or two of Ms portraits have been engraved ta mezzo-tint. He died in London ta the early part of the year 1791. CHALMERS, George Paul, R.S.A., portrait, genre, and landscape painter. Was born at Montrose ta 1836, and was educated at the Burgh School of that town. He began to draw at an early age, and though he was first apprenticed to an apothecary, and afterwards served as clerk to a ship-chandler, he finally resolved to be come a patater. For this purpose he went to Edinburgh, and studied drawing ta the Trustees' School there, while he maintained himself by portrait painting. His first ex hibited picture ta this city was a ' Boy's Head ' ta chalk. In 1863 he contributed a portrait of J. Pettie, R.A., and the next year, ' The Favourite Air,' to the exhibi tions. He was elected an Associate of the Royal Scottish Academy in 1867, and a full member ta 1871. He seldom exhibited in London. Latterly he devoted btaiself rather to landscape than figure subjects. These were remarkable for their richness of colour. He was very fastidious ta Ms work, and took a high rank among Scottish artists. He was robbed on coming away from the Scotch Academy dinner, and found by the pohce thrown down an area with Ms skull fractured and his pockets rifled. He never recovered consciousness, and died 28 Feb. 1S78. aged 42. - CHALON, John James, R.A., land scape and genre, painter. Was of an old French family, who left France on the re vocation of the edict of Nantes, and long resided ta Geneva, where he was born March 27, 177S. His grandfather served as a volunteer in a French Protestant regiment in Ireland, under King William IIL, and was wounded at the battle of the Boyne. On the reverses which fohowed the French Revolution ta 1789 the family came to England, and the father was appointed professor of the French language and literature at the Royal Military Col- CHA lege, Sandhurst, and afterwards settled with his family at Kensington. The son was placed ta a large commercial house ; but he had a natural genius for art, and ta 1796 entered as a student at the Royal Academy, and there, in 1800, he exhibited his first picture, ' Banditti at their Repast,' followed by 'A Landscape' and 'Fortune Telling ; ' and then, in 1804 and 1805, several works— all landscapes. Up to tMs time his art had been ta oil ; but ta 1806 he became an exhibitor, and ta 1808 a full member, of the Water-Colour Society, and then produced works wMch gave him a disttaguished position as a water-colour painter. On the alterations which took place in the Society in 1S13 he was among the seceders. He had continued to send an oil-painting to the Academy — Ms secession was proba bly influenced by the desire to seek Aca demy honours ; and ta 1816 he exMbited Ms 'Napoleon on board the "Bellerophon,"' a fine work, wMch he presented to the gallery at Greenwich Hospital. In 1819 e exhibited a work of great power, now ta the South Kensington Museum — ' A View of Hastings.' fie continued to ex Mbit both landscape and genre subjects of great merit and interest, original both ta their conception and treatment. It was not till 1827 that he gained Ms election as associate, and his election as academician was deferred till 1841. Among his later works were, 'Gil Bias ta the Robbers' Cave,' 1843 ; and ' Arrival of the Steam- packet at Folkestone,' ta the fohowing year. In 1847 he was suddetay seized with paralysis, his powers and health gradually declined, and a long and wearisome illness terminated fatally on November 14, 1854. Durtag a career of nearly 50 years he patated few pictures. His art met with little encouragement, and he was engaged Eart of his time in teaching. With Ms rother Alfred he was the centre of a group of distinguished men of their profession. He published, ta 1820, 'Sketches from Parisian Manners ' — humorous in their treatment, but not caricatures. CHALON, Alfred Edward, R.A., portrait and subject painter. Was the younger brother of the above, and was born at Geneva, February 15, 1817- Like him, he was intended for a commercial life, but the drudgery was distasteful, and with the consent of his father he com menced the study of art, for which his talents eminently fitted him, and entered the schools of the Academy ta 1797. He became a member of the short-lived Society of Associated Artists ta Water- Colours ta 1808 ; and in the same year, with Ms brother and a few friends, founded ' The Sketching Society,' for the study and CHA practice of composition. In 1810 he ex hibited his first picture at the Royal Academy. He was elected an associate of the Academy in 1812 and a full member in 1816. He then, and for many years after wards, was • the most fasliionable portrait patater in water-colours. His full-length portraits ta this manner, usually about 15 inches high, were full of character, paMted with a dashing grace, and never common place ; the draperies and accessories drawn with great spirit and elegance, imitations of all the vagaries that f asliion can commit in lace and silk. He also patated, among Ms earlier works, some good miniatures in ivory. Many of Ms drawings of the cele brated operatic singers and dancers of his day were engraved. He held the appoint ment of patater ta water-colours to the Queen. But his getaus was not limited to water- colours or to portraiture. He patated many fine subject pictures ta oil. Among others, he exhibited, ta 1831, ' Hunt the Slipper,' a large composition, filled with well-grouped figures in action ; ta 1837, 'John Knox reproving the Ladies of Queen Mary's Court,' which was en graved; in 184*7, 'Serena;' and ta 1857, SopMa Western ;' with many others. He had a great power of imitating the styles of the great painters, particularly of Watteau, whose works he greatly admired. In 1855 a collection of Ms works, together with his late brother's, was exMbited ta the rooms of the Society of Arts ta the Adelphi. He had made a large collection of dra wings and sketches by himself, and he possessed the chief of Ms brother's works, wMch had found no purchasers, all of which he proposed in 1859 to give to the inhabitants of Hampstead, with some endowment for the maintenance of the collection; but they were unable to pro vide a suitable bmlding for its exhibition. He then offered the collection to the Government, but no arrangement was come to, when he died suddenly, though he had been sometime unwell, on October 3, 1860. He had retired to an old house at Camp- den H01, Kensington, with Ms brother, where both died, and after passing a long unmarried Me inseparably together, were buried in the same grave in the Highgate Cemetery. French m his manner, he was a true Englishman at heart ; an active host, a witty companion, frdi of the gossip of Ms profession ; and an accomplished musician. CHALON, Henry Bernard, animal painter. Bom 1770. His father was a native of Amsterdam, in no way related to the foregoing two painters of the same name, fie came early in life to London, where he practised and was living in 1793. 77 CHA The son was a student of the Academy, and first appears as an exhibitor there of a landscape with cattle in 1792, which was followed by a ' Lion and Lioness' and some other wild animals. He was appointed ta 1795 animal patater to the Duchess of York, and from that time was exclusively devoted to animal portraiture, cMefly of horses and dogs, fie appears to have met with much patronage, fie also received the same appointment from the Prince Regent, and afterwards from William IV. He was a frequent exhibitor at Suffolk Street, and continued an exhibitor at the Academy up to 1846, when, at the age of 76, he met with an accident ta the street, which deprived Mm of the use of bis hmbs. His conduct had not been unimpeachable ; he fell into severe distress, and a subscrip tion was raised for Mm in 1846. He died in 1849. He published a lithographed work on the Horse, 1827. His daughter, Miss M. A. Chalon, was miniature painter to the Duke of York and an exhibitor at the Academy. She married a Mr. H. Moseley, and died in 1867. ' CHAMBERLAIN, Humphrey, china painter. He was the son of the senior proprietor of the Worcester porcelain works. He was self-taught, and copied many subjects on china. He had no original inventive power, but was celebrated for his exquisite finish. He died ta 1824, aged 33. CHAMBERLAIN, William, portrait painter. Was born ta London, and was a student of the Royal Academy. After wards he was a pupil of Opie, R.A. He showed much talent ta portraiture, and followed that branch of the profession. He first exhibited at the Academy ta 1794, and ta the following year sent ' A Fortune Teller ' and ' An Old Man Reading,' and did not exliibit again till 1802, when he sent his last contribution, the portrait of a Newfoundland dog. He practised for a short time at Hull, where he died ta the prime of hfe, July 12, 1807. CHAMBERLlN, Mason, R.A., por trait painter. He commenced Me as a clerk in a merchant's counting-house, and then turning to art became the pupil of Frank Hayman, R.A. In 1764 he gained the Society of Arts' second premium of 50 guineas for an Mstorical painting. He resided chiefly in the vicinity of Spital- fields, and practised there as a portrait painter with some success. His hkenesses were faithful, very carefully drawn and painted, but Ms colouring was tiiin, mono tonous, and unpleasant. He was a member of the Incorporated Society of Artists, and when the Royal Academy was founded he was nominated one of its members ; and is distinguished by a few words addressed to him by Peter Ptader in his first ode to that 78 CHA body. He exhibited at Spring Gardens in 1763, and at the Academy from 1770 to 1786. His works were exclusively portraits, several of them whole-lengths. Late ta life he removed to Bartlett's Buildings, Hol- born, and died there, January 26, 1787. A portrait by Mm of Dr. Hunter, his pre sentation picture, is ta the Royal Academy, and a portrait of Dr. Chandler in the Royal Society, both of which have been engraved. His son was an occasional exMbitor of landscape views at the Academy from 1786 to 1821. CHAMBERS, Thomas, A.E., engraver. He was of Irish extraction, and. was born in London about 1724, and studied drawing and engraving both ta Dublin and ta Paris. When residing ta the latter city ta 1766, he was awarded a premium -by the Society of Arts. He engraved several large plates for Boydell — ''St. Martin dividing his Cloak,' after Rubens ; ' A Concert,' after Caravaggio, considered Ms best work. He also engraved Mrs. Quarrington as 'St. Agnes,' after Reynolds, and the ' Death of Marshal Turenne,' two excehent works; and after Raphael, Vandyck, Murillo, and others. He occasionally assisted Grignon. In 1761 he was an exMbitor and member of the Incorporated Society of Artists, and was elected associated engraver of the Royal Academy ta 1770. He worked with the graver ; his manner was vigorous, but hard. He was not successful in his profes sion, and beMg pressed by his landlord for the over-due rent of Ms apartments, he quitted the house in distress of mind, leav ing a note desiring the landlord, if he did not return, to sell Ms effects and pay Mm self. Some days afterwards his body was found ta the river Thames, near Battersea. This happened ta 1789. CHAMBERS, George, marine painter. Born at WMtby 1803. fie was the son of a seaman of that port, and when 10 years old was sent to sea ta a small coasting vessel, and was afterwards apprenticed to the master of a brig trading to the Medi terranean and the Baltic. He showed his ingenuity by sketching the different classes of vessels, and Ms master was so pleased with his attempts, that ta furtherance of the lad's wishes he cancelled his indentures, that he might devote Mmself to becoming a patater of shipping. Returned to Wliit- by, he thought himself ta the right direc tion by commencing as a house-painter, and devoting Ms spare time ta taMng draw- tag lessons. TMs he continued for three years, and, then being ambitious to try his fortune ta London, he worked Ms way to the Metropolis ta a trading vessel. Here he tried to make a livelihood by painting portraits of sMps, and then gained employ ment under Mr. T. Horner, and for seven years assisted Mm ta painting his great CHA panorama of London. This work com pleted, he became the scene patater at the Pavilion Theatre. Self-taught, relying upon himself, straggling with difficulties, he at tained success. His painting gained the notice of Admiral Lord Mark Kerr, who mtroduced Mm to Wiffiam IV. Fortune seemed to look favourably upon him, and he was rapidly improving talus art, when his constitution, impaired by the hardsMp of his boyhood and never naturally strong, gave way, and he fell a victim to disease on October 28, 1840. Late in Ms career he drew ta water-colours, and rapidly master ing the technicalities of the art, he was admitted an associate exMbitor of the Water-Colour Society in 1834, and in 1836 elected a member of the Society, and ex Mbited up to his death many clever works founded on the interesting incidents of our river and coast scenery. His best works were his naval battles. In Greenwich Hospital there is by him a large painting of the ' Bombardment of Algiers ta 1816 ' and the ' Capture of Portobello ; ' but though truthful and correct, Ms works have a tendency to coldness ta manner and colour. He left a family, for whom a sub scription . was raised, fiis ' Life and Ca reer,' by John Watkins, was published ta 1841. CHAMBERS, Sir William, Knt., R.A., architect. . Was descended from a . Scotch family, and was bom at Stockholm, rin 172/, where his grandfather was an eminent merchant, and his father supplied the armies of Charles XII. with stores and money. In 1728, when 2 years of age, he came with his father to England. He was educated at Ripon, and at 16 commenced life as supercargo to the Swedish East India Company, and made one voyage to China, where his previous acquirements enabled him to make some sketches of their peculiar arcMtecture. But when 18 he quitted that service to follow the bent of his own inclination as a draftsman and arcMtect, and went to Italy, where he made a considerable stay, assiduously studying to improve Mmself ta his adopted profession, and at Paris studied under Cl&risseau. On his return ta 1755 he had the good fortune to be employed by the Princess Dowager of Wales ta the improve ment of Kew Gardens, and was also em ployed to teach the Prtace of Wales draw ing, wMch secured Mm the royal favour for the rest of his life, and by Ms own merits and ability as a draftsman he early enjoyed a great reputation. He was also distinguished as an author. In 1759 he published his 'Designs for CMnese Buudtags' and a ' Treatise on Civil Architecture,' upon wMch Ms fame as an author rests ; ta 1765, ta a costly form, the result of his labours at Kew, 'Plans, CHA Elevations, Sections, and Perspective Views of the Gardens and Buildings at Kew ; ' ta 1771, ' A Dissertation on Orien tal Gardening,' founded on his own observ ations ta China, a work which was much ridiculed at the tune. The King of Sweden ta 1771 created him a Knight of the Polar Star, and his own sovereign allowed Mm to assume the title. In 1775 he was appointed the arcMtect of the great national palace ta the Strand, Somerset House, and main tained for many years the highest rank of Ms profession. He was architect to the King and the Queen, and surveyor-general of the Board of Works. He was largely instrumental in the foundation of the Royal Academy, and was one of the first members, and the treasurer. He was also a fellow of the Royal Society and the Society of Anti quaries, a member of the Academy of Fine Arts at Florence, and of the Royal Aca demy of Architecture at Paris. He died, after along and severe illness, at his house ta Norton Street, March 8, 1796, aged 69, and was buried ta Poet's Comer, West minster Abbey. He left a son and three daughters married, and had amassed a considerable fortune. Somerset House is Ms greatest work — the terrace is boldly conceived, the distribution of the interior good, the staircases masterpieces. Among his best works may be mentioned Charle- mont House, Dubhn, a noble mansion ; the Marquis of Abercorn's mansion at Duddingstone, near Edinburgh ; Milton Abbey, near Dorchester ; Lord Bess- borough's Italian villa at Roehampton ; and the ' Albany,' Piccadilly. Mr. Hard- wick, R.A., published ta 1825 a memoir of Ms hfe. CHANDLER, J. W., portrait painter. He was a natural son of Lord Warwick, and practised ta London towards the end of the 18th century ; and about 1800 was invited to AberdeensMre, where he patated a good many portraits, and afterwards settled ta Edinburgh. He was a free thinker, of a morbid disposition, and attempted suicide. His life was spared, but he died ta confinement about 1804-5, when under 30 years of age. He was con sidered of great promise. His works are little known, and such as may be seen are stiff, weakly patated, and do not sustain the character of talent. He does not ap pear to have exhibited at the Academy. William Ward, A.R.A., mezzo-tinted after him a portrait of Lord St. Helens. CHANTREY, Sir Francis Legatt, Knt., R.A., sculptor. He was bom at Norton, near Sheffield, April 7, 1781. His father was a carpenter, and also rented some small fields, and his family had long followed humble employments ta that neighbourhood. Educated in the village school, he was then employed by a grocer 79 CHA at Sheffield, where his imagination was strongly attracted by the display ta the shop windows of a carver, and he became the carver's apprentice for seven years. Raphael Smith, the mezzo-tint engraver, found him some time after precariously employed ta drawing portraits and land scapes ta black-lead pencil, ta which he dis played great taste and skill. The engraver noticed and encouraged his talent, and a statuary of the town helped him ta the mechanical part of the art of stone-carving. All this time he continued with Ms master, who did not encourage his predilections for art ; and in 1802 he made a composition with him, and left him, though some accounts say that he ran away and was advertised as a run-away apprentice ; but this can hardly be correct, as he advertised ta the ' Sheffield Iris ' of April 22, 1802, to paint portraits at two guineas each ; and no less than 72 portraits of tMs class by his hand have been catalogued. Soon after this time he came up to Lon don, and was allowed to study for a hmited time in the schools of the Royal Academy, though he was not regularly admitted as a student ; and it is told that for the first eight years of his London life he did not make 51. by his profession, yet it appears that in 1804 he advertised to take models from the life, and in the same year exhi bited his first portrait at the Academy. He married a cousin in 1809, with whom he received a little property, which assisted him ta 1810, when making way in Ms pro fession, to establish himself ta Pimlico, and to build a studio and large workshops. The merit of Ms busts was recognised, and ta that year he was the successful compe titor for a statue of George III. for the city of London, his first work of that class. His reputation continued to increase, and about 1813 he raised his price for a bust from 120 to 150 guineas. In 1816 he was elected an associate of the Royal Academy, and ta the following year he completed his simple and affecting group of ' The Sleep ing Children,' now in Lichfield Cathedral. He was elected a full member of the Aca demy in 1818, and in 1819 visited France and Italy, and after his return produced some of his finest works ; and then, at the head of his profession, with more commis sions than he could execute, ta 1822 he raised his price for a bust to 200 guineas. Of his most important statues should be mentioned— The Sir Joseph Banks, 1827, now ta the hall of the British Museum ; George Canning, in the Town Hall, Liver pool, 1832 ; Sir John Malcolm, in West minster Abbey, 1837; Bishop Bathurst, in Norwich Cathedral, 1841 ; also in West minster Abbey, Francis Horner, a work of great simplicity, truth, and sweetness, the modern costume treated ta a masterly 80 CHA style ; James Watt and Sir Stamford Raffles, and the tiiree bronze statues of Wiffiam Pitt, one of which is ta Hanover Square ; the equestrian figure of George IV., in Trafalgar Square ; and of the Duke of Wellington, in front of the Royal Ex change. In 1835 he was knighted by- William IV. He died suddetay, in his own house, of a spasm of the heart, November 25, 1842, and was buried ta a vault he had prepared in Ms native village. His works were disttaguished by great refinement and taste. They consist almost exclusively of busts and portrait statues, treated ta a simple natural style, never wanting in character or dignity. His invention did not lead Mm to allegory, or to those classic compositions to wMch the sculptor loves to give life. About 25 of Ms sketches from nature are engraved ta his friend Rhodes' 'Peak Scenery,' published 1818-23. He was childless, and he left the reversionary interest of the bulk of Ms property, after the death of bis widow, to the Royal Aca demy, to make some provision for the pre- . sident, and for the purchase of the most valuable works ta sculpture and painting by artists of any nation residing ta Great Britain at the time of their execution, for the purpose of establishing a national collec tion. He is reputed to have died worth 150,000/. ' Recollections of his Life, Prac tice and Opimons,' written by Ms friend George Jones, R.A-, was pubhshed 1849 ; and, 'Memorials of Sir F. Chantrey, sculp tor ta Hallamshire,' by John Holland, of Sheffield, was published there 1851. CHANTRY, John,, engraver. He practised in the reign of Charles II. His cMef works were portraits and ornamental frontispieces for the booksellers. He used the graver only ta a hard, stiff manner, aud his ringers were very indifferent. He re sided some time at Oxford, and died about 1662. Vertue enumerates several plates by him. CHAPMAN, Charles, decorative painter. Was the son of an eminent come dian. He was the pupil of Frank Hayman, and was employed by Mm ta the decor ations at Vauxhall ; but, losing this en gagement, he sunk into indigence, and died soon after 1770. CHARPENTIERE, Adrien, statuary. Was much employed at Canons, under Van Nost, by the Duke of Buckingham. He afterwards set up for himself ta Piccadilly, and manufactured the leaden statues used in the decoration of gardens, and grew rich upon the bad taste of the day. Died iu 1737, ta Piccadilly, aged above 60. CHARRETIE, Anna-Maria, minia ture painter. She was married young, and first exhibited ' Flowers ' in the Royal Academy in 1843. From that time she was a constant exhibitor, but rarely of CHA more than one miniature till about 1868, when her practice increased, and later she sent one or two portraits ta oil. She ex Mbited miniatures till the year of her death, and was one of the few who con tinued that failing branch of art. She died at Kensington on the 5th October, 1875, aged 56. CHATELAINE, John Baptiste Claude, draftsman and engraver. Was born in London, of French Protestant parents, in 1710. His real name was Phlflippe — the name of Chatelaine as sumed. He held a commission in the French army, and served a campaign in Flanders, fie then tried art, and became an eminent draftsman and engraver. His drawings were cMefly from nature, sketched with great spirit, either in black chalk or with pen and ink slightly washed. He engraved landscapes with great free dom, many from his own designs, some after Gaspar Poussin and Marco Ricci. He used to work for Vivares, and was em ployed by Alderman Boydell ; but he only worked when impelled by necessity, and it was his custom to hire Mmself by the hour, working as long as the fit lasted, and bar gaining for instant payment ; when he had earned a guinea he would spend half upon a dinner. He hved ta an old house, near Chelsea, that had belonged to Oliver Crom well, which he took from having dreamt he should find there a Mdden treasure, and spent much time in idle attempts to discover it. It is much to be regretted that his great talents were obscured by Ms depraved manners and irregularities. He was famed for his etehings. Fifty views by him of churches and other buildings ta the environs of London, which he had de voted four years to malting the sketches for, were published. He died at the Wtate Bear Inn, Piccadilly, in 1771, after eating a too hearty supper. His friends raised a subscription to defray the cost of bis funeral. Dussieux, ta Ms ' Artistes Fran chises a l'Etranger,' says that he was born and died in Paris. CHATFIELD, Edward, »or/?m'Z paint er. He was of a respectable family, and was placed as a pupil under B. R. Haydon. He tried portraiture, and was an exMbitor of portraits at the Royal Academy, com mencing in 1827. He also tried a ' Death of Locke,' 1833; "The Battle of Kiffie- crankie: two HigManders stripped to Fight,' 1836; and ta 1837, ' Ophelia.' But he had not powers equal to such works, and did not do justice to the talent he really possessed. He died January 21, 1839, aged 36. He wrote some able papers for ' Blackwood ' and the ' New Monthly ' magazines. CHEERE, Sir Henry, Bart., sculptor. He was a pupil of Scheemakers, and prac- CHE tised about the middle of the 18th century He was ta 1755 a member of the Artists' Committee which ta that year attempted to found a Royal Academy ; and ta 1757 he offered to the Society of Arts a plan of Ms own for that object. In 1770 he lived ta Piccadilly, where he manufactured the leaden figures then used for [garden decor ation. The bronze busts of the eminent Fellows of Ah Souls College, Oxford, and the large statue of the founder, are by Mm, as is also the equestrian figure of the Duke of Cumberland in Cavendish Square. In 1798 he was an honorary exhibitor at the Royal Academy of a drawing from nature. He was knighted ta 1760, and created a baronet ta 1766. He died, at an advanced age in 1781. CHEESMAN, Thomas, engraver and draftsman. Born ta 1760, was placed under Bartolozzi, R.A., and was esteemed one of Ms best pupils. He engraved in the dot manner, and practised about the end of the 18th centuiy. He was an exhibitor of drawings at the Royal Academy. He contributed, in 1802, 'Plenty;' ta 1803, ' Spring and Summer ;' in 1805, ' Erminia ; ' ta 1806, a portrait ; ta 1807, 'Nymphs Bath ing ; ' fohowed by an occasional portrait up to 1820, when he exhibited for the last time. Among his engraved works may be mentioned — a portrait of General Wash ington, printed ta colours; 'The Two Apostles,' after Giotto ; some subjects after Romney; and 'The Lady's last Stake,' after Hogarth. CHENEY, Bartholomew, modeller. He was employed by Sir Robert Taylor towards the middle of the 18th century. Among other works, the figures of Fame and Britannia, for Captain Cornwall's monument ta Westminster Abbey, were modelled and carved by him. CHENU, Peter Francis, sculptor. He studied in the schools of the Royal Aca demy, and ta 1786 gained the gold medal for 'An attempt to perfect the Torso.' He first exhibited at the Academy, in 1788, ' Mercury instructing Cupid ; ' and ta 1790, 'Genius Weeping ; ' but in succeeding years, whether from inability or want of means, he exMbited at intervals only, and his works did not rise above those of a decor ative class— designs to support lights, can delabra, and such, but usually embodying the figure. In 1822, returning to Ms early art, he sent a ' Model of Time for a Monu ment,' his last exMbited work. CHERON, Louis, designer. Born ta Paris, 1660. He was the son of an enamel patater. After studying in Italy, he came to England, on account of his religion, ta 1695, and was employed in the decoration of Boughton, Burleigh, and Chatswortb. His work was not, however, much esteemed, and he tried small subjects ta history, and 81 CHE found employment as a designer, the book illustrations of the time being largely from his designs. He etched from his own de signs 22 small histories for the 'Life of David,' published with a French version of the Psalms, 1715, and made the designs for an edition of ' Paradise Lost,' published ta 1720. He died of apoplexy in Covent Gar den ta 1723, and was buried ta the porch of Covent Garden Church. CHESHAM, Francis, draftsman and engraver. Bom 1749. fie engraved after his own drawings 'Moses striking the Rock,' and several other works. He also engraved ' Britannia,' after Cipriani, R.A. ; 'Admiral Parker's Victory of 1781 ;' and many views after Paul Sandby. He died ta London 1806. CHICHELEY, Henry, Archbishop of Canterbury. Born 1362. One of the chief ecclesiastical arcMtects of the time of Henry V. , and died ta 1443. CHILD, James Warren, miniature painter, fie was, during many years, an exMbitor of mtaiature portraits at the Royal Academy. Among his sitters were many of the principal and most popular actresses of the day, and some actors ; and they formed from 1832 the chief of Ms exhibited works. He exhibited for the last time in 1853, and died September 19, 1862, aged 84. CIIILDE, Ellas, landscape painter. He was an exhibitor of some views at the Water-Colour Society ta 1820, and ta 1824 with the Society of British Artists; and was ta the following year elected a member. From that time Ms contributions were very numerous — landscapes, many with moon light effects, and introducing figures with the incidents of country life. At the same time he exMbited works of the same class at the Royal Academy, with river scenes. He exhibited for the last time ta 1848. CHINNERY, George, R.H.A., por trait painter. Practised both ta oil and water-colours. He first appears as an exhibitor of crayon portraits with the Free Society ta 1766, and of miniature portraits at the Royal Academy ta 1791. He was then living in London, and ta the following years made rapid progress. In 1798 he was practising m Dublin, and was elected a member of the Irish Academy. In 1802 he had returned to London, and exhibited a family group ta oil ; and from that time his name does not appear as an exhibitor till 1830, when he sent a portrait to the Academy from Canton, where he was then living. He was again, in 1831, a contri butor of four, and ta 1835 of five, portraits. In 1846 he exhibited Ms own portrait — his last work exhibited in London. He spent nearly 50 years of his Me in the practice of his art ta India and China, and died at Macao. There are some etched portraits 82 CHI by him — works of great ability. He sketched in pencil, and tinted with much spirit, boats and river scenes in China, and was greatly esteemed as a portrait patater, excelling ta every style of art ; but ta his life eccentric, irregular, and uncertain. CHIPPENDALE, Thomas, ornament- ist. He was a native of Worcestershire. •Came to London, where he first found [employment as a joiner, and by his own .industry and taste was ta the reign of George I. most eminent as a carver and 'cabinet-maker. He pubhshed, ta 1762, the third edition of his ' Gentleman's and Cabinet-makers Director,' comprising 200 |designs drawn by himself of household furniture, full of fancy and taste, but with a leaning to- the French style. Messrs. (Weale published, ta 1858-59, his ' Interior [Decorations ta the Old French Style.' (No particulars of his Me could be ascer tained. CHISHOLM, AimxAXViw.,portraitand subject painter. Bom at Elgin, N.B., in the year 1792 or 1793. He was appren ticed to a weaver at Peterhead, but had a great dislike for Ms trade and a predilec tion for drawing. He drew on the cloth ta his loom, and resorting to the seashore, amused himself by tracing forms on the smooth sand. Nourishing his love for drawing he strolled to Aberdeen; at the age of 19 or 20 came to Edinburgh, and bad improved himself so far as to gain the (appointment of teacher ta the schools of the Scottish Academy. Here he married •one of bis pupils, and M 1818 came to Ijondon, and practised history and portrait painting — the latter with much success. 'He first exMbited at the Royal Academy in 1820, Ms earliest works being portraits, with an occasional subject picture, not rising Mgher than ' Boys with a Burning- glass,' 1822; 'The Cut Foot,' 1823; and from that year to 1S36 he only exMbited thrice, and his contributions were portraits. In 1837 he exhibited more pretentious subjects— ' The Baptism of Ben Jonson's Daughter,' for whom Shakespeare stood fodfather, with portraits of Shakespeare, onson, Beaumont, Fletcher, Raleigh, and others; fohowed, ta 1842, by 'The Lords of the Congregation taking the Oath of the Covenant ;v ta 1844 and 1845, by other important works ; and ta 1846, by his last work, ' The Minister and Ms Wife conceal ing ta the Church the Scottish Regalia.' He had, in 1829, become an 'associate exMbitor' of the Water-Colour Society, and from that year to his death exMbited works of the same class ta water-colours as those he contributed to the Academy. After having suffered from severe illness for nearly nine years, he died at Rothesay, N.B., October 3, 1847, while he was en gaged in painting some portraits for a CHE picture of the Evangelical Alliance. He left six orphan children. CHRISMAS, Gerard, architect and carver. He enjoyed a reputation ta the reign of James I. He designed Alders- gate (pulled down in 1761), and carved on it ta bas-rehef the figure of James I. on horseback. He designed also the fagade of Northumberland fiouse, and had much ingenuity ta his inventions for pageants. CHRISMAS, John, j modellers and CHRISMAS, Gerard, \ carvers. Sons of the above, who continued Ms business. They executed a fine tomb at Ampton, ta Suffolk; another at Ruislip, Middlesex; and the carved decorations for the great sMp built at Woolwich by Peter Pett ta 1637. CHRISTIE, Alexander, A.R.S.A., portrait and subject painter. Was born at Edinburgh 1807. Served an apprentice- sMp to a writer to the signet, and was for some time engaged ta the business of the law ; but he had from Ms youth indulged a great feeling for art, to pursue wMch he at last gave up the law. He entered as a pupil ta the Trustees' Academy ta 1833, and afterwards studied a short time ta London. He then returned and settled ta Edinburgh, and was ta 1843 appointed an assistant, and ta 1845 director of the ornamental department of the Trustees' School. In 1848 he wa "selected an asso ciate of the Scottish Academy. He exM bited at the Royal Academy ta London only once, sending ta 1853 'A Window- seat at Wittenburgh, 1526, Luther, the married Priest.' He died May 5, 1860. CHURCHMAN, John, architect. He built the first custom-house for the port of London, wMch stood upon the site of the present building. He was sheriff for the City 1385. CHURCHMAN, John, miniature painter. He was of some ability. Died m Russell Street, Bloomsbury, August 5, 1780. CIBBER, Caius Gabrlel, sculptor. Born at Flensburgh, ta Holstein, 1630; son of the cabinet-maker to the Danish Court. He evinced an early talent for modelhng, and was sent at the expense of his sovereign to Rome to pursue his studies. Shortly before the Restoration he came to England and found employment under John Stone, and was afterwards largely engaged in monumental art and the pro duction, or rather manufacture, of gods and goddesses for the decoration of groves and gardens. He carved most of the statues of the kings round the old Royal Exchange ; the figures of ' Faith' and ' Hope' ta the chapel at Chatsworth, where he was much employed, both on the mansion and in the gardens ; the large bas-relief ta the western front of the pedestal of the Monument; a CIP the 'Phoenix' inbas-relief over the southern door of St. Paul's; and a fine vase at Hampton Court. But he is popularly known by Ms figures of ' Melancholy Mad ness' and 'RavMg Madness,' which in 1680 were placed over the entrance-gate of Bethlehem Hospital, at that time in Moorfields. These figures, though original and characteristic, attained a notoriety be yond then- art merits. They are said to have been the portraits of two remarkable patients then in Bethlehem, one of whom had been the porter to Ohver Cromwell. Pope says of them ta his 'Dunciad,' re ferring to Cibber's son, the well-known Laureate — ' Where o'er the gates, by Ms famed father's hand. Great Cibber's brazen brainless brothers stand.' But they neither stood, nor were brazen. They are recumbent and carved ta Port land stone ; were repaired by Bacon, R.A., ta 1815, and were placed in the South Kensington Museum. Cibber was ap pointed ' carver to the king's closet,' what ever that office may be. He was twice married; Ms second wife, a Miss Cofley, of a Rutlandshire family, bringing him a fortune of 6000/. He died in 1700, at the age of 70, and was buried ta the Danish Church, Wellclose Square, of wliich, ta 1696, he was the architect. CIPRIANI, John Baptist, R.A., his torical painter. Was born ta Florence in 1727, of an ancient Tuscan family of Pis- toja. His Mst instruction was by an Eng lish painter named Heckford, who was settled ta Florence. In 1750 he went to Rome, where he studied three years, and was then induced by Sir Wiffiam Chambers and Wilton, the sculptor, to accompany them to England ta 1755. His reputation had preceded him. He found here his countryman Bartolozzi, whose engravings from his works gave him at once a wide spread reputation. He was appointed in 1758 one of the visitors to the Duke of Richmond's gallery at WMtehall, was a member of the St. Martin's Lane Academy, and ta 1768 one of the foundation mem bers of the Royal Academy, and an exM bitor of classic subjects from that year up to 1779. He painted a few large pictures in oil, some of them at Houghton, but they were feeble and gaudy, wanting ta expres sion, colour, and chiaroscuro, fiis art is to be found ta Ms drawings, full of graceful invention and fancy; his females exqui sitely elegant, his children unrivalled. Fuseli praises Ms invention, his graceful compositions and elegant forms, and also his simple manners and unaffected benevo lence. The English school is indebted to him for the improved drawing of the figure 2 83 CIP and more correct taste. He painted the allegorical designs on the panels for the new state-coach first used by George III. in November 1762, and still used by our sovereign. Designed the diploma of the Royal Academy in 1768. He repaired the paintings by Verrio at Windsor, and the fine Rubens' ceiling in WMtehall Chapel in 1778. He etched some portraits for Hoffis's ' Memoirs.' He married ta 1761 an English lady of some fortune, and had two sons, and a daughter who died young. He hved many years next the Royal Mews, in Hedge Lane (now WMtcombe Street), Charing Cross, but later ta life removed to Hammersmith, where he died of rheumatic fever, December 14, 1785, and was buried ta the Chelsea Burial - ground,_ King's Road, where his friend Bartolozzi erected a monument to his memory. In March 1786 no less than 1100 drawings by him were sold, many of them highly finished, and among them a composition of six figures, ' The Death of Dido,' wliich fetched 54 guineas. In the following year a col- lection'of Ms drawings made by Mr. Locke was also sold by auction. CIPRIANI, Captain Sir Henry, Knt., copyist. Was the youngest son of the fore- foing, and was brought up as an artist. fe made a careful drawing ta water-colours of Copley's ' Death of Chatham,' from which Bartolozzi executed his engraving. His copy was much praised, and the 100 guineas he received was deemed otay a small sum. In 1781 he exMbited a ' Portrait of a Young Nobleman ' at the Academy. But he did not meet with the encouragement he de served, and he accepted a commission in the Huntingdonshire Mihtia, forsaking art. Then he held a clerkship ta the Treasury, and the appointment of exon ta the Corps of Gentlemen Pensioners, and was knighted. He died September 17, 1820. CLACK, Richard Augustus, portrait painter. He was the son of a Devonshire clergyman, and studied ta the schools of the Royal Academy. He exMbited at the Academy — commencing ta 1S30, when he resided ta London — domestic subjects and portraits. In 1845 he practised at Exeter, and continued to send portraits to the Academy ExMbitions from that city up to 1856 ; and the following year, when he was living at Hampstead, sent his last contri bution to the Academy ExMbition. CLARET, William, portrait painter. Was a pupil of Sir Peter Lely, whose style he successfully imitated. Several of Ms portraits, dated 1670-80, were engraved by R. White and R. Thompson. He died at his house in Lincoln's Inn Fields in 1706. His portraits are carefully finished and tolerably drawn, hands good, but the ex pression weak. CLARK, W., aqua-tint engraver. He 84 CLA was a corporal in a light dragoon regi ment, but was a clever draftsman, and pro duced some good plates ta aqua-tint. He died at Limerick in December 1801. CLARK, Henry, china painter. He was an apprentice ta the Water Lane Pot tery, Bristol, where he was employed nearly 50 years. He patated flowers and land scapes, and attained considerable ability. He died about 1862. CLARK, John, landscape painter. Was known as ' Waterloo Clark,' from his scenes drawn on the field immediately after the battle. He pubhshed, in 1827, ' Practical Illustrations of Landscape Painting ta Water-colours,' with 55 well-executed co loured views from nature. He was an in genious man, and invented the toys called The Myriorama' and 'Urania's Mirror.' He was also engaged ta book illustration. He died ta Edinburgh ta October 1863, in his 92nd year. CLARK, Thomas, portrait painter. He was born ta Ireland, and educated ta the Dublin Academy. Then, about 1768, he came to London, and on the introduction of Oliver Goldsmith became the pupil of Sir Joshua Reynolds. He exMbited an oil portrait at the Academy ta 1769 and again ta 1770. He drew well, particularly the head, but had no notion of colour or prac tice in painting, and he soon left Reynolds, to whom he was of little use. Neglected and ta difficulty, he died young. CLARKE, George, sculptor and mo deller. He practised at Birmingham in 1821, and then sent his first work, a bust of Dr. Parr, to the Academy. In 1825 he had settled M London, and was then an occasional exMbitor of busts in marble, among them one of Dr. Maltby. He was of much promise, wMch he did not live to realise. He died suddetay at Bh-ming ham, March 12, 1842, aged 46, leaving a large family without provision. He mo delled a colossal bust of the Duke of Wel lington and the statue of Major Cartwright, ta Burton Crescent, wMch may be referred to as his best work. CLARKE, Dr. George, LL.D., amateur. Was educated at Oxford University, and became eminent ta architecture, with which science Walpole says, 'he was classically conversant.' He designed the library at Christ Church, and jointly with Hawks- moor the new towers in the quadrangle of All Souls CoUege. Walpole says also that he built the three sides of the square cahed Peckwater, at Christ Church, and the gate of the Church of All Saints, ta the High Street. But DaUaway ascribes these works to Dean Aldrich. He represented the Uni versity ta Parliament for 15 sessions, and ta the reign of Queen Anne was one of the Lords of the Admiralty. He died in 1736, aged 76. He bequeathed his valuable col- CLA lections of arcMtecture to the library of Worcester College. CLARKE, Theophilus, A.R.A. por trait painter. He was born M 1776; was a pupil of Opie, and student ta the schools of the Royal Academy. He first appears as an exhibitor ta 1797. His works were cMefly portraits and domestic subjects, with some marines and landscapes. He was elected an associate of the Academy ta 1803, and last exMbited ta 1810. The date of his death is unknown. His name was conttaued on the list of associates till 1832. CLARKE, Benjamin, sculptor. He was bom in Dublin 1771. An artist of pro mising ability ; he was idle and neglected to study, but was held ta much estimation. He died 1810. CLARKE, John, engraver and drafts man. Born ta Scotland about 1650. Prac tised in Edinburgh with much reputation ; but Strutt says he worked cMefly with the graver ta a style wMch does Mm httle cre dit as an artist. He executed profile heads of Wiffiam and Mary, Prtace and Princess of Orange, dated 1690 ; seven small heads, on one plate, of Charles IL, Ms Queen, Prtace Rupert, the Prtace of Orange, Duke of Monmouth, and General Monk ; and por traits of some of the cMef persons ta the three kingdoms. He also engraved, after his own designs, ' The Humours of Harle quin.' He died about 1697. CLARKE, John, engraver. - Lived ta Gray's Inn, and practised the latter part of the 17th century. He engraved a por trait of Rubens and a picture of 'Her cules and Dejanira,' but did not attain any eminence. CLARKE, William, engraver and draftsman of the time of Charles II. He engraved cMefly portraits, and mostly for frontispieces — one of wMch for a book of devotion, published ta London 1635. There is a small mezzo-tint by him of John Shower, from a portrait by himself. His works are dated as late as 1680. CLARKSON, Nathaniel, portrait painter. He practised ta the latter half of the 18th century, but commenced art as a coach-panel and sign painter, and it is said painted the elaborate Shakespeare sign, for which Edward Edwards gives Wale, R.A., the credit. He was a member of the Incorporated Society of Artists. He resided at Islington, and died there Sep tember 26, 1795, aged 71. He patated and presented to the new church at Islington, finished 1754, an altar-piece, ' The Annun ciation.' CLATER, Thomas, subject painter. He was from 1820 a constant exhibitor at the Royal Academy. He first contributed some portraits, and then took up subjects from domestic life. In 1824, ' The Morning Lec- CLA ture ; ' ta 1827, ' Christmas in the Country ; ' ta 1829, ' Scandal— only think;' in 1839, 'The Music Lesson;' in 1849, 'Sunday Morning.' Clever ta their quiet humour and pleasing in colour, his works did not find purchasers, and after a long career he fell into difficulties. He exhibited for the last time ta 1859, and was assisted from the funds of the Royal Academy. He died February 24, 1867. CLAY, Alered Barron, history paint er. He was bom June 3, 1831, at Walton-le- Dale, near Preston, and. was the second son of the Rev. John Clay, who was distta guished as the chaplain of Preston Gaol. fie was educated at the Preston Grammar School, and, intended for the legal profes sion, was articled to a solicitor in that town. Towards the latter part of his term he became strongly attached to the study of art, and though discouraged by his pa rents, he managed quietly to persevere in the pursuit, and when the question arose of further arrangements for Ms continuance ta the law, he was resolutely opposed, anxious that some test should be made of Ms pre tensions ta art; and with tMs view he patated his mother's portrait, and upon the favourable opinions expressed he was sent to Liverpool, where he commenced Ms studies ta the spring of 1852, and ta the autumn of the same year came to London, and was admitted to the schools of the Royal Academy. In 1855 he first exhi bited at the Academy, sending portraits of his father and Ms sister, and their success decided Ms career. From that time he was a regular contributor. He patated several subjects from Scottish history, thrice exhi biting ' The Imprisonment of Mary Queen of Scots.' In 1864 he exhibited ' Charles IX. and the French Court at the Massacre of St. Bartholomew ; ' in 1865, ' The Hugue not ; ' and in 1867, Ms most important work, ' The Return of Charles II. to Wtatehall ta 1660.' His health gave way at tMs time, ta spite of every effort, ami he gradually sunk, dying at Ratahill, near Liverpool, at the beginning of a career of much promise, October 1, 1868. His 'Mary, Queen of Scots, when a Prisoner, mending an old Tapestry,' was exMbited at Suffolk Street ta the spring of that year. CLAYTON, John, still-life painter. He was brought up as a surgeon, "but left that profession for the arts, fie was a member of the Incorporated Society of Artists, and known as a patater of fruit and still-life in oil and water-colours at the extabitions which preceded the establishment of the Royal Academy. He has left no remem brance of his works, some of the cMef of wMch were destroyed by fire in 1769. He retired from the practice of art, and died at Enfield, May 23, 1800, ta his 73rd year. CLAYTON, Joseph, architect. He 85 CLE practised at Hereford, where he built some railway stations and residences, but is better known by his published works — "The Churches of London and Westminster built by Sir Christopher Wren,' 1848-49 ; 'The Ancient-timbered Houses of Eng land.' Ho was a fellow of the Institute of British Architects, and read some papers at their meetings. He died 1861. OLENNELL, Luke, subject painter. Born at Ulgham, near Morpeth, the son of a farmer there, April 8, 1781. He was placed at an early age with a relative who was a grocer, and assisted in the shop till he was 16. Then Ms friends were induced by his love of drawing and some attempts at caricature, wliich led him into scrapes, to apprentice him for seven years, ta 1797, to Bewick, the wood engraver ; but, be tween the grocer and the artist, he was for a short time with a tanner, with whom it was purposed to place him. With Bewick ho made great and rapid progress ; he soon drew correctly and well, and was employed to copy on the wood the designs of his fellow-pupil, R. Johnson, for the tail-pieces of the ' Water Birds,' and. to cut them ; and to these he added some beautiful httle sea- pieces and shore-views of his own design. At this time his parents fell into difficulties, and to assist them and provide himself with a little pocket money, he disposed of some drawings he had made by a raffle. In 1804, shortly after the termination of Ms appren ticeship, he came to London, and there married the daughter of Charles Warren, the engraver. He soon found full employ ment in wood engraving. Among Ms works are the illustrations of Falconer's ' SMp- wreck ; ' Rogers' ' Poems,' from Stothard's designs, perhaps his best work, and full of the very spirit and character of the painter ; the diploma of the Highland Society, from a design by West, P.R.A., for wliich the Society of Arts gave him their gold medal. All these works were eminently distin guished by their free and artist-like execu tion, and by their excellent effect. But he now resolved to abandon wood engraving. He had formed friendships with artists of celebrity, and his ardent genius led him to painting as a larger field. Ho already drew beautifully ta water- colours, and had made the designs for Walter Scott's ' Bon lor Antiquities.' When the Water- Colour Exhibition was thrown open to the profession, he sent several works in 1813-14 and 1815, and commenc ing in 1812, was a contributor at the same time to the Royal Academy ExMbitions, sending for the last time, in 1816, 'Bag gage Waggons in a Thunder Storm' and ' The Pedlars.' He entered into competi tion for the premium of 150 guineas ofl'ered by the directors of the British Institution for the best sketch of the Decisive Charge 86 CLE made by the Life Guards at Waterloo, and was successful. In 1814 he received from the Earl of Bridgewater a commission for a large picture to commemorate the dinner to the allied sovereigns at the Guildhall, London. He had great difficulty, as all painters of such works have, ta obtain ing the portraits of the distinguished guests, and suffered from many anxieties in the commencement of the work ; but when he had succeeded, and was going on vigor ously with his picture, his mind suddenly gave way, and ta April 1817 he was found to be insane, without any previous symp toms of his sad malady. After two or three years' confinement ta a lunatic asylum in London, his mind so far recovered that restraint became unnecessary. He was sent to his friends ta the North, with whom he hved ta a state of harmless imbecility, and amused himself with attempts at drawing and wood engraving, and even poetry and music, for he had a fine voice, and had known Bums and sang his songs. But in 1831 his malady returned; he was again sent to a lunatic asylum, and conttaued to amuse himself at intervals ta the same way. He never recovered his reason. He died at Newcastle-on-Tyne, February 9, 1840, aged 59. When seized with Ms insanity Ms family were assisted by the Artists' Fund ; a subscription was also made for them, and Bromley engraved his ' Charge of the Life Guards,' wMch was published for their be nefit ; but the sufferings of Ms young wife produced the same malady in her, soon followed by her death. Clennell had great talent as a landscape patater, readiness of composition — spirited, truthful, and power ful — his rustic groups admirable, full of character and nature. CLERISSE AU, Charles Louis, archi tectural draftsman. Was born ta Paris in 1722. He painted chiefly ta water-colours, and was remarkable for extrordtaary fa cility of execution. He studied many years at Rome, and Ms drawings of architecture and ruins are MgMy esteemed, and are well known here, fie was induced by Robert Adam to come with him to England, and made many of the drawings for his ' Ruins of Spalatro,' published in 1764. On the bankruptcy of Adam he returned to France, and pubhshed in 1778 his 'Anti- quites de France,' followed by the ' Monu- mens de Nimes.' In 1783 he was appointed architect to the Empress of Russia. He exhibited stained drawings, architectural compositions, ruins, &c, at the Spring Gardens Rooms in 1775-76 and 1790. He died at Paris, January 20, 1820, ta Ms 99th year. He was chevalier of the Legion of Honour and member of the Academy at St. Petersburg. CLERK, John, Lord Eldta (one of the Scotch Lords of Session), amateur. He CLE Eatated some clever landscapes, introducing gures. Some of Ms works have been engraved. He pubhshed a work on Naval Tactics. He died in July 1812. CLERMONT, , decorative painter. Bom ta France. Came to England and resided here many years. He pamted ceil ings and decorations for buildings, with grotesques, foliage, birds, and animals, fie returned to France in 1754. CLEVELEY, John, marine painter. He was bom ta London about 1745, and was brought up in the dockyard at Deptford, where early ta Me he held some appoint ment. He showed an early taste for draw- tag, and acquired considerable stall ta pamting sMpptag and sea views. He be came acquainted with Paul Sandby, R.A., who then taught at the Royal Mihtary School at Woolwich, and learnt from him the practice of water-colour painting. Con tinuing to reside at Deptford, he drew the sMpptag wMch floated past with every tide, and acquired great facihty and truth as a marine patater. After exhibiting with the Free Society of Artists from 1765, he first exMbited at the Royal Academy ta 1770, and was a constant contributor to the year of his death, and up to 1782 appears ta the catalogues as ' John Cleveley, junr.' Com mencing with views on the Thames, Ms exMbited works comprised drawMgs of Iceland, ' The King reviewing the Fleet at Spithead-,' views on the Tagus and of Gibraltar, ' A Gale off Dover,' ' Greenland Fishery,' one of the Friendly Islands, with many others. He was appointed drafts man to Capt. Phipps's (afterwards Lord Mulgrave) expedition of discovery to the North Seas ta 1774, and made the drawings to illustrate the 'Journal of the Voyage,' wMch ta the engravings bear Ms signature, 'John Cleveley, junr.' This would lead to the assumption that his father was an artist — possibly a naval draftsman ta the dockyard. He also accompanied Sir Joseph Banks on his tour in Iceland. He was awarded a premium for Ms drawMgs by the Society of Arts. He never held any com mission ta the Navy. He resided some time ta Pimhco, and died ta London, June 25, 1786. He patated occasionally in oil, but cMefly in water-colours, ta wMch he excelled. His drawings are finished with much skill and taste, spirited in execution, and ta colour almost ta advance of his day. CLEVELEY, Robert, marine painter. It cannot be traced that he was any relation of the above. He first appears as an ex hibitor with the Free Society of Artists ta 1767, and afterwards at the Royal Aca demy; where he was a contributor of works both m oil and water-colours from 1780 to 1803. Up to 1788 he was classed as an ' honorary exMbitor,' but he early attained distinction as a pamter of naval actions, CLE and after that year took his place among the artists. In 1782 Ms name appears ta the catalogue as ' R. Cleveley, of the Navy,' and he is spoken of as a lieu tenant; but a careful search of the re cords of the Admiralty makes it quite clear that he never held a commission in the Royal Navy. In 1783 he exhibited ' The Rehef of Gibraltar ; ' ta 1784, ' The " Ruby " engaged with the " Solitaire," ' and ' The "Solitaire" striking to the "Ruby;"'ta 1788, 'A Calm' and 'A Breeze on the Elbe;' ta 1790, 'The Reception of the Duke of Clarence in Portsmouth Harbour ;' ta 1797, ' Commodore Nelson boarding the " San Nicolas " and the " San Josef." y He had previously patated the Morn and Eve of Earl Howe s Victory of June 1, pictures each 12 feet by 8 feet, wMch were much admired at the time. There is a good portrait of Mm patated by Beechey, and engraved by Freeman, in the dress of a civilian, inscribed 'Robert Cleveley, Esq., marine painter to H.R.H. the Prince of Wales, and marine draftsman to H.R.H. the Duke of Clarence.' While on a visit to a relative at Dover, he fell from the chff September 29, 1809, and died ta a few hours. His paintings and drawings of marine subjects possess much merit, and he also painted a few good landscapes. CLEYN, Francesco, ornamental paint er. Was bom at Rostock, ta Mecklen- burg-Schwerta, and ta the latter part of the 16th century was retained in the service of Christian IV., King of Denmark. He travelled ta Italy and studied there for four years ; and then, on the recommend ation of the Enghsh minister at Venice, was invited here by Charles I. when Prtace Charles. He arrived wMle the Prtace was ta Spain, and was received by James I., who, with the King of Denmark's permission, retained Mm in his service. He was first employed in designing for the manuf actory of tapestry at Mortlake, wMch he assisted ta carrying to great perfection, and was granted an annuity of 100/., which he held till the rebellion. But he was not employed exclusively on tapestry designs. He painted some ceihngs and decorations at Somerset House, Bolsover; Carew House, Parson's Green; and at Holland House. He de signed Charles II.'s Great Seal and illustra tions engraved by Hollar for Virgil and for iEsop's ' Fables,' for which he was paid 50s. each. He also designed some small beoks of ornamental foliage, and for gold smith's work, and etched some plates ta the manner of Hollar. He died ta London in 1658. He is styled on a small drawing by him, ' II famosissinio pittore F. C, mira- colo del secolo e molto stimato del re Carlo della Gran Britannia.' CLEYN,Francis, ) miniature painters. CLEYN, John, ( Sons of the above, 87 CLI and brought up by him to his profession, were disttaguished as draftsmen and minia ture painters. Evelyn, in his ' Sculptura,' speaks of them as 'hopeful but now de ceased brothers,' and greatly praises their drawings from the cartoons. Francis, bornin 1625, died October 21, 1650; and John, the youngest brother, also died young. They both died in London. Their sister Penelope is said to have been a miniature patater; and some miniatures, like Cooper's ta manner, with the initials P.C., have been thought possibly her work. CLINT, George, A. R.A., portrait pciinter and engraver. Was born ta JBrownlow Street, fiolbom, where his father kept a hair-dresser's shop, April 12, 1770. He was apprenticed to a fishmonger, but left that trade ta disgust and found some employment in an attorney's office. Then his conscience revolting against Ms work, he tried house painting, and soon after married. He next tried his hand at art, and finally abandoning house painting, he with a young family underwent acute pri vations ; but he made rapid progress as a miniature painter, and at last succeeded, his works possessing great skill ta execu tion, with a delicate feeling for beauty. After tMs he took up engraving ta mezzo tint, and tried both the chalk manner and outline. He engraved ' The Frightened Horse,' after Stubbs, an entombment, many portraits, some prints for Sir Thomas Lawrence, which resulted ta a disagree ment, and ta 1807, ' The Death of Nelson,' after Drummond, A. R. A. But he did not find full employment, and to eke out Ms means he made for sale copies by the dozen from popular subjects by Morland and others. About this time he engaged to mezzo-tint Harlow's ' Kemble Family,' and produced a successful plate, which was so popular that it was re-engraved ttaee times. He had patated a portrait of his wife, and was greatly encouraged by the kind opinion of Sir William Beecney, R.A. ; and the completion of Harlow's picture bringing him into connection with many players and lovers of the drama, he com menced a series of dramatic scenes with portraits of favourite actors, which gained him so much reputation and were so popu lar that they led to his election as associate of the Royal Academy in 1821. Of these we may point to bis ' fiamlet and Ophelia,' ' Paul Pry,' and the ' Honeymoon,' ta the Sheepshanks Gallery ; and his ' Falstaff and Mrs. Ford ' in the Vernon Gallery at South Kensington. He also painted the portraits of several persons of distinction ; but he did not attain the higher rank of academician. Young men presstag on passed over his head — he thought Mmself slighted, and in 1835 he resigned Ms posi tion of associate, and became an angry 88 CLO opponent of the Academy. Not long after this he retired from his profession and lived at Peckham, on the savings from his works and some property derived from a second marriage. Later he removed to Pembroke Square, Kensington, where he died May 10, 1854, ta his 85th year. He was successful as a portrait pamter, and ta his subject pictures has perpetuated a generation of dramatic celebrities, cleverly grouped and expressed. His colour was tame and lacked richness and variety, and there was a character of feebleness ta Ms art. His mezzo-tint was good, bold — per haps wanting ta finish, but artistic. CLINT, Scipio, medallist. Son of the foregoing. He gained a medal at the Society of Arts ta 1824, and the following year exMbited for the first time at the Academy. In 1830 he exhibited his dies for a medal of Sir Thomas Lawrence. He was appointed medallist to the King, and was attaining distinction ta his art, when he died on August 6, 1839, at the age of 34, just as employment was beginning to promise a successful career. CLOOS, Nicholas, ' surveyor,' a term synonymous with arcMtect. Was of Flemish extraction, and held the cure of the church of St. John the Baptist, Cambridge, wMch was pulled down to make room for King's College Chapel. Of tMs great example of English art ne was the arcMtect ; and was ta 1443 one of the six fellows eriginally placed on the foundation. He was also for Ms services as architect empowered to bear arms by a grant from the King. In 1449-50 he was apointed to the see of Carlisle, and ta 1452 was translated to Lichfield. CLOSE, Samuel, engraver. He was born ta Dublin, and was deaf and dumb from his birth. Of intemperate habits, he was employed at small pay by others, whose names were affixed to his works. He died 1817. CLOSTERMAN, John, portrait painter. Was born at Osnaburgh in 1656. In 1679 he went to Paris, and from thence, ta 1681, came to tMs country, and was employed by Riley to paint Ms draperies ; and afterwards patated portraits ta con junction with him, Riley usually finishing the heads. After Riley's death he finished many of his uncompleted portraits, and obtaining much notice, set up as a rival to Kneller. In 1696 he went by invitation to Spain, and patated the portraits of the King and Queen. He also went twice to Italy, and brought back some good pictures wliich he purchased there. He patated a whole-length of Queen Anne, now ta the Council Chamber, Guildhall; a family group of the Duke and Duchess of Marl borough, with their cMldren; and a por trait of the Duke of Rutland. His colour- CLO tag was heavy, but not without power ; Ms works entirely without grace ; yet, ta the low state of the arts wMch then prevailed, he might have realised wealth. But he became infatuated with a young Englishwoman, an artful girl, aud it is said married her. When made poor by her extravagance, she robbed him and left him ; then falling into a state of dejection of body and mind, he died in 1713, and was buried ta Covent Garden Churchyard. He resided some years ta Piccadilly. His portraits have been engraved by Faithorne, Smith, and Sherwin. CLOWES, Butler, engraver. Prac tised ta the latter half of the 18th century. He scraped some portraits ta mezzo-tint, wMch have httle claim to merit, and en graved after Hemskirk, Stubbs, Collet, and others; and also both designed and engraved some theatrical and genre sub jects of his own. He died 1782. COCHRAN, Robert, architect. A na tive of Scotland. He was employed by James III. of Scotland in the erection of several large structures, and created Earl of Mar, and treated with so much favour by that monarch that the jealous nobles seized him and hung him on the Bridge of Lauder ta the year 1484. COCHRAN, W 'illiam, portrait painter. He was born at Strathern, in Clydesdale, N.B., on December 12, 1738, and com menced his art education ta Foulis's aca demy at Glasgow ta 1754. About the end of 1761 he went to Italy, where he remained for five years, cMefly at Rome, and studied under Gavin Hamilton. On his return he settled at Glasgow as a portrait patater. He was successful in Ms likenesses, and his drawing was accurate. While at Rome he patated ' Da?dalus and Icarus,' ' Diana and Endymion,' and some other historical pictures; but he was unambitious, and satisfied to follow his art in Glasgow, where his relatives dwelt. He died there Octo ber 23, 1785, aged 47, and was buried ta the Cathedral Church. COCKBURN, James Patteson, Major- General, amateur. He was of much ability, and drew and published many views of foreign scenery, but is reputed to have made use of the camera lucida in sketch ing— "The Route of the Simplon' and views of Mont Cenis, 1819-22; views of the Coliseum, 1821 ; views ta the Valley of Aosta, 1822-23 ; and he also contributed some drawings for 'Pompeii Illustrated,' 1819-27. COCKE, Henry, decorative painter. He practised about the middle of the 17th century. He travelled in Italy, and was some time the pupil of Salvator Rosa ; on his return he accompanied Sir Godfrey Copley to Yorkshire, and decorated the panels of his newly-built mansion. He COC afterwards went agata to the Continent, where he remauied seven years, and on his return gained much employment. By Wiffiam III.'s orders he repaired the car toons at Hampton Court, and some other paintings ta the Royal Palaces. He patated the equestrian portrait of Charles II. at Chelsea College, the choir of the New Col lege Chapel at Oxford, and a staircase at Ranelagh House. COCKERELL, Samuel Pepys, archi tect. He was born about 1754, and was a pupil of Sir Robert Taylor. In 1792 he was first an exhibitor at the Royal Aca demy, and from that year was a constant contributor, cMefly of designs for mansions and churches, up to 1803. In 1796-98 he rebuilt the church of St. Martin's Outwich, London. He built several handsome resi dences, and was employed upon some large alterations. He held the appointment of surveyor to the East India House, and filled some other important professional offices, and had an extensive practice towards the end of the centuiy. fie died July 12, 1827. COCKERELL, Charles Robert, R.A. , architect. He was the son of the foregoing, was born in London, April 28, 1788, and was educated at Westminster School. He studied his profession under Ms father, with whom he continued about five years, becoming a good draftsman, and about 1809 was engaged to assist Sir Robert Srnirke in the rebuilding of Covent Gar den Theatre. He was well fitted by his studies for the pursuit of classic arcM tecture, and ta 1810 he commenced Ms travels to mature and improve his know ledge. He sailed direct to Constantinople, and finding there many objects of study, he stayed several months, and then went to Athens, where he passed the winter; in the spring visiting the Morea and other parts of Greece, and then returning to Athens. In 1811-12 he travelled ta Ionia, Lycia, and Cilicia, and went from thence to Malta and Sicily, where he remained some time, visiting the ancient temples and remains at Girgenti and Syracuse. In 1813 he returned to Greece, and after two years' more study there— during which he discovered the fine reliefs from the temple of Phigaha, now in the British Museum — he went to Naples in 1815, devoted his chief attention to Pompeii, then passed the winter ta Rome, and after seeing the other great Italian cities, returned to England ta 1817. His reputation had preceded Mm, and with the great advantages which he had enjoyed, he commenced the practice of his profession. In 1818 he first exMbited at the Royal Academy, contributing in that and the following years his restorations of some of the great edifices of the ancients. 89 COC In 1825 he completed Hanover Chapel,! Regent Street; and ta 1829, St. David's, College, Lampeter, a Gothic design; and was ta that year elected an associate of the Royal Academy. About the same time he was a competitor for the erection of the Cambridge University Library, and was eventually employed, but only one wing of Ms design was built. His next large work was the Westminster Fire Office, in' King Street, Covent Garden. In 1S33 he was appointed architect to, the Bank of England, and he erected the' Dividend Office, and made some other alter-! ations, which were in his best manner, but they have chiefly been since pulled down1 to provide for some necessary enlarge-! ments. In 1836 he was elected a member of the Academy, and in 1840 was ap-i pointed professor of architecture, fie' competed for the erection of the Houses of Parliament, the National Gallery, and| the London University, and later for the! Royal Exchange ; and failure was, ta such strong contests, no dishonour to any artist. | In 1840 he designed the Taylor and Ran dolph Buildings at Oxford, a noble work ;' and ta 1845 was presented with the hon-1 orary degree of D.C.L. He was engaged during seven years ta completing, on the death of their designer, Mr. Elmes, the Assize Courts and St. George's Hall, Liver pool, wMch the latter had commenced. In 1848 he was awarded the first gold medal given by the Institute of Architects, of which he was the president. In 1857 he completed at Liverpool, after Ms own designs, the London Insurance Company's offices, his last work. He had gained European reputation, was a member of several foreign orders and academies, and after a long and active life died at his house in Regent's Park, September 17, 1863, and was buried in St. Paul's Cathedral. He was only an occasional exhibitor at the Academy, and then not of the works he was executing, but rather his classic restorations and dreams of the great works of antiquity, rendered valuable by his great knowledge and study. Thus, in 1S30 and 1831, he exhibited restorations of the Parthenon and of the theatre at Pom peii; in 1S38, 'A Tribute to the Memory of Wren,' comprising a group of his chief works ; in 1849, ' The Professor's Dream,' a composition including the principal archi tectural monuments of ancient and modem times ; in 1859, his last contribution to the Academy Exhibitions, ' Study of the Mau soleum of Halicarnassus,' from the ancient texts and fragments, with the then recent measurements. He was also distinguished as a lecturer and writer on his art. fie published, ta 1830, his 'Antiquities of Athens,' and 'The Temple of Jupiter Olympus at Agrigentum:' ta 1851, 'The 90 Iconography of the West front of Wells Cathedral;' and, in 1860, 'The Temples of Jupiter Panhellenius and Apollo Epi- curius.' COCK SON, Thomas, engraver and draftsman, lie worked exclusively with the graver, ta a neat, finished, stiff manner, and engraved a great variety of portraits ; among them, of 'James I. sitting ta Parliament;' his daughter, the Princess Ehzabeth ; ' Charles I. in Pariiament ; ' Lotas XIII. ; Mary de Medicis ; also the 'Revels of Christendom,' and some sea- pieces, with shipping. His best works are dated between 1620-30. COLE, Humphrey, engraver, drafts man, and goldsmith. Was born ta the North of England about 1530. He was an officer of the Royal Mint, ta the Tower. He engraved a frontispiece for Parker's ' Bible,' published ta 1572, ta wMch he has represented a portrait of Queen Elizabeth, with the Earl of Leicester as ' Gohath ' and Lord Burleigh as ' David.' COLE, Peter, portrait painter. Prac tised in the reign of Queen Elizabeth, and was some time director of the Mint. He is mentioned by Meres ta his ' Wits' Com monwealth,' 1592, and is supposed to have been the brother of the above Humphrey Cole. ¦}».-- COLE, John, engraver. He was much employed by booksellers on works of a low class, wMch he produced entirely withtheyl graver. He etched 136 plates for aTTfls^ tory of Canterbury Cathedral and West minster Abbey,' published ta 1727. COLE, H^engravcr. Practised ta the Mst half of the 18th century. He en graved chiefly portraits, among them Lords Kilmarnock, Cromarty, Balmerino, and Frazer of Lovat. COLE, Sir Ralph, Bart., amateur. Was the son of Sir Nicholas Cole, of Brancepeth Park, Durham, who was created a baronet in 1640. When young he studied paint ing under Vandyke, fie retained several Italian painters ta his own service, and spent Ms fortune ta his love for art. His friend, Francis Place, executed a good por trait of him ta mezzo-tint. He painted, in 1677, a half-length portrait of Thomas Wyndham, F.R.S., which is now in the library at Petworth, and has been mezzo tinted by R. Tompson. COLEBURN, Kristian, 'paynter! Practised in London, and was engaged to paint 'in most fine, fairest and curious wise four images of stone— Our Ladye, St. Gabrielle, St. Anne, and St. George, for the tomb of the Warwick family in Warwick Church.' Time of Henry VI. (1439). COLECHURCH, Peter of, architect. He was chaplain of St. Mary, Colechurch, and practised as an arcMtect ta the 12th COL century. He rebuilt London Bridge of timber in the year 1163. He died 1205. COLEMAN, Edward, still-life painter. He practised at Birmingham about 1830. He exhibited at the Royal Academy, in 1819 and 1820, 'Dead Game ;' and ta 1822 a portrait, Ms last contribution. His pic tures were well and rapidly patated, but do not possess much merit as works of art. COLEMAN, William, engraver. He was one of the early engravers on wood, and was disttaguished by several premiums wMch he received from the Society of Arts, 1775-77. He died in Duke's Court, Bow Street, December 1807. COLLET, John, portrait painter. Little is known of Mm. He retired from Ms profession to Chelsea, where he died, January 17, 1771. He was distinguished as ' John Collet, senior.' COLLET, John, subject painter. He was bom ta London about 1725. Was a pupil of George Lambert, and studied at the St. Martin's Lane School. He was of a respectable iamily, Ms father filling a pubhc office, and possessing a small inde pendence, and was by some styled an amateur. He patated humorous subjects and plagiarised Hogarth, but missed Ms deep moral. He was a shy man, of grave habits and conversation, yet his pictures were sometimes dlspleastagly vulgar. His 'Female Bruisers' is of this class. He patated 'The Love Match,' a series of designs ; ' The Recruiting Sergeant,' a ser vile imitation of Hogarth, some of the principal figures actually copied from him ; ' Picquet, or Virtue ta Danger ; ' and ' The Tailor riding to Brentford, by wMch he was best known ta his day. From 1765 to 1775 he exMbited with the Free Society of Artists. Several of Ms works were en graved by Goldar and published by Caring- ton Bowles and by Sayer, of Fleet Street, and are not of the most pure character. He acquired a considerable addition to his property on the death of a relative, and retired to Chelsea, where he hved several years, and died ta Cheyne Row, August 6, 1780. He etched some of Ms own designs, among others two caricatures of anti quaries, and published a Drawing-book, containing some academy figures. COLLIER, John (known as ' Tim Bob bin'), comic draftsman. He was born near Warrington, where Ms father held a small curacy and. kept a school. He was intended for the Church, but his father becoming blind, he was put out apprentice to a Dutch loom-weaver. Eccentric and full of spirits, he managed to obtain a re lease from his master, and though very young, was able to support himself as an itinerant teacher, going from one small town to another, generally keeping both a COL day and a'night school for reading, writing, and accounts, and then found a place with a pay of 20/. a year as usher in a school, to which he eventually succeeded. He learned to play on the hautboy, drew land scapes, attempted some heads, and made some enemies by Ms satirical verses. He added to his means by pamting signs in his vacant hours, and, it is said, altar-pieces for chapels. At last he found a more profit able employment in drawing faces with grotesque expression, of which he sold large numbers, leaving them at inns, when the landlord disposed of them ; so that with teaching, painting, and his writings, he managed to hve to the age of 80. fie pubhshed 'Shude Hill Fight,' a poem, 1757; 'The Cobbler's Pohtics;' 'The Human Passions,' 25 plates; 'The Lan- casMre Dialect,' 1775, with seven rudely clever copper-plates, apparently from his own designs. Richard TowMey wrote ' The Life of Tim Bobbin, Esq.,' 1806. COLLINGS, S., subject painter. He is best known as a caricaturist, whose works were engraved ta the 'Wits' Magazine,' 1784. But he was also an exhibitor at the Academy, contributing, in 1784, ' The Children ta the Wood,' followed by ' The Chamber of Genius,' 'The Triumph of Sensibility,' and ta 1789, when Ms name appears fer the last time ta the catalogue, 'The Frost on the Thames, sketched on the spot.' COLLINS, Charles, still-life painter. He painted birds, game, and works of tMs class early in the 18th century. He has introduced Ms own portrait, wearing his hat, ta a group with a hare and birds. He died 1744. COLLINS, Jacob, engraver. He prac tised in obscurity till the end of the 17th century. He engraved portraits and frontis pieces for books. COLLINS, James, engraver, chiefly of views of buildings. Among his works is a large-sized view of Canterbury Cathedral. He practised about 1715. COLLINS, John, engraver. Practised towards the end of the 17th century. There are some indifferent portraits by him — ' The Funeral Procession of George, Duke of Albemarle ' — and some etchings. COLLINS, John, landscape painter. Some landscapes with figures by Mm, ta a scenic manner, from the ' Jerusalem Deli vered,' were finely engraved by Sandby and Rooker. COLLINS, Richard, topographical draftsman. Was the son of a patater at Peterborough. He studied under DaM. He was an antiquarian, and made many topographical drawings. A drawing by him of the front and grand vestibule of Peterborough Minster was engraved by Vander Gucht. Two drawings by Mm 91 COL are also engraved in Buck's ' Lincolnshire Views.' He died 1732. • COLLINS, Samuel, miniature painter. He was born at Bristol, the son of a clergy man, and was educated as an attorney. There is no trace of the circumstances under wMch he was led to art or of Ms art- teaching. But about the middle of the 18th century he was ta practice at Bath as a miniature patater ; and shortly after Ozias Humphrey, afterwards so disttaguished in the profession, was articled to him as his pupil. About 1762 he removed to Dubhn, and there enjoyed a very Mgh reputation. He practised both on ivory and M enamel. The Royal Academy. was founded shortly after; but if he then survived, he never appears as an exhibitoi'. COLLINS, Richard, miniature paint er. He was born ta Hampshire, January 30, 1755, and commenced art as the pupil of Meyer, R.A. In 1777 he was an exM bitor of portraits at the Royal Academy, and continuing to exhibit, he was in 1787 appointed principal enamel and miniature painter to George III. He attained great excellence, and his miniatures are estimable ta ah the finest qualities of the art. He had a large share in the practice of his day, and gaining a competence, gradually ceased to exhibit about 1806, and retired to Per- shore, in Worcestershire, about 1811 ; but missing the companionship of his art friends in Ms old age, he returned to London about 1828, where he died August 5, 1831, aged 77. COLLINS, Charles, draftsman. He published, in 1736, 12 large-sized foho plates of British Birds, drawn by himself. Each plate contains about 10 birds, fair representatives both of the birds and their natural action, with a background, and tolerably grouped. An attempt has been made to colour them, but the artist of that time was sadly ta want of the requisite materials. COLLINS, William, engraver. He en graved some of the plates for ' The British Theatre,' and was of much repute ta his day. He died May 31, 1793. COLLINS, William, sculptor and mo deller. Was one of the first members of the St. Martin's Lane Academy, and a member of the Incorporated Society of Artists. He modelled rustic subjects for the friezes of chimney-pieces, many of them taken from iEsop's 'Fables,' which were much ta vogue, and his works were widely known and admired. He modelled a pro totype bust for Frank Hayman's 'Don Quixote.' He exhibited a bas-relief at the Society of Artists ta 1761, and was one of the directors of the Incorporated Society in 1765. Gainsborough was his friend. He resided in Tottall Fields, and died there May 24, 1793. 92 COL COLLINS, William, R. A., subject painter. Was born September 18, 1788, in Great Tichfield Street, London, where his father, a native of Wicklow — who among other workswrote, 'A Life of George Morland, the Painter' — was settled as a picture-cleaner and dealer. He stood by the easel of Morland, Ms father's friend, and early imbibing a taste for drawing, ta 1807 he was admitted a student of the Royal Academy, and exhibited two land scapes. In 1809 he gained a medal ta the life-school, and ta the same year exhibited Ms first work. Though occasionally paint ing portraits, he chose for Ms subjects rustic groups and landscape — ' Boy at Break fast,' ' Boy with a Cat ; ' ta 1810, ' Cot tage Children blowing Bubbles;' ta 1811, ' Country Kitchen ; ' ta 1813, ' The Sale of the Pet Lamb,' a work which added greatly to Ms growing reputation ; but about 1816 he commenced painting coast scenes, wMch he treated with great freshness and trath ; Ms ' Coast of Norfolk ' 1818, finding a pur chaser ta the Prince Regent. In 1814 he was elected an associate, and ta 1820 a member, of the Royal Academy. He con ttaued a constant exMbitor of such subjects ; they were carefully patated, Ms colouring and composition of rustic groups pleasing, and his art popular. In 1836 he produced two of his best works — ' Sunday Morning' and ' Happy as a King ; ' and then, ta order to vary his subjects, he went to Italy, where he travelled for two years, and on his return commenced his pictures from Italian Me, fohowed, ta 1840, by attempts at a Mgher style—' Our Saviour with the Doctors ta the Temple,' ' The Two Disciples at Em- mans,' and contemporaneously with such works gradually returned to his first man ner, seeking his subjects on our own coasts. His art was feeble, wantmg in vigour and power ; Ms best works wiH be prized, but the high reputation wMch he enjoyed will hardly be maintained, though from his happy choice of subjects his pictures wih always be popular, and many of them have been engraved and have had a large sale. He sketched ta water-colour, using tinted paper with body colour for the high lights. Some of his earlier sketches, wliich are of small size, have much trath and brilliancy. He etched some of Ms coast scenes, com bining mezzo-tint largely and effectively. He married, in 1822, Miss Geddes, the sis ter of Mrs. Carpenter, the portrait patater. When in Italy he laid, by exposure, the foundation of an illness which undermined his constitution. He died ta Devonport Street, Hyde Park Gardens, February 17, 1847, and was buried ta the cemetery of the church of St. Mary, Paddington. He left two sons, one of whom fohowed his profession'; the other, a well-known popular writer, published a life of his father m 1849. COL COLLINS, Charles Allston, subject painter. Yoimger son of the above. He was born at Hampstead, January 25, 1828, and was brought up under Ms father, whose wish it was that ne should be an artist, studying at the same time ta the schools of the Royal Academy. He first exMbited at the Academy, in 1847, and ta 1851 sent ' Convent Thoughts,' followed ta the next year by ' May in the Regent's Park,' with two others; ta 1853, by a subject from 'The Christian Year;' and ta 1855, 'The Good Harvest.' He had commenced art rather as a duty than from choice, and he then turned to hterature. He contributed to Dickens's ' Household Words ' and ' AU the Year Round,' and became the husband of Dickens's daughter. He wrote a clever account of Ms wanderings, ' A Cruise upon Wheels,' 1863 : ' Stathearne,' a novel, and the 'Bar Sinister,' in 1S64; and 'At the Bar ' ta 1866. His health had been for some time failing, and he became a con firmed invalid, and for several years quietly bore sad paroxysms of pain, and died April 9, 1873. He was buried ta the Brompton Cemetery. COLLINS, Elizabeth Johanna, de signer. She practised ta the middle of the 18th century. Six designs by her from ' Jerusalem Delivered ' were engraved. COLLYER, Joseph, A.E., engraver. Born in London, September 14, 1748. His father, who was an eminent bookseller, and his mother had both literary tastes. The latter translated Gesner's 'Death of Abel,' wMch became very poptaar. Showing an early love for art he was apprenticed to An thony Walker, who dying shortly after, he is supposed to have conttaued with Walker's brother. He was awarded ta 1761 a pre mium by the Society of Arts, and ta 1771 was admitted a student of the Royal Aca demy, and soon pursued his profession on his own account. He had acquired a neat manner, wMch was well suited to book ihustration, in which he was cMefly em ployed. In 1779 he exMbited with the Free Society of Artists. He engraved some of the portraits belonging to the Royal Aca demy, and gaining the notice of Sir Joshua Reynolds, he allowed Mm to engrave his 'Venus 'and 'Una.' These he executed ta the chalk manner, and produced an excel lent imitation of the master, wMch was much praised. He also engraved, after Reynolds, 'The Girl with a Cat,' 'Miss Parmer,' and a portrait of the painter by Mmself. In the line manner he en graved for Boydell 'A Flemish Wake,' after Teniers, and ' The Irish Volunteers,' after Wheatley, R.A., wMch are good ex amples of his manner. In 1786 he was elected associate engraver of the Royal Academy. He was appointed portrait en graver to Queen Charlotte, and was master CON warden of the Stationers' Company. He died December 24, 1827, in Ms 80th year. His works were delicate, finished, and accu rately drawn. COLMAN, , water-colour painter. He was a Norwich artist, and exhibited there ta 1824 some good water-colour drawings — 'Yarmouth Bridge after Sun set,' and some other coast scenes. COLONL Adam, landscape and figure painter. Was born at Rotterdam ta 1634. He came to England early, and passed the greater part of Ms life ta London. He was reputed for his paintings of country wakes, cattle-pieces ta the manner of Berghem, effects of Melight, and for Ms copies after Bassan. He died ta London 1685, aged 51, and was buried at St. Martin's Church. COLONI, Henry Adrian, landscape and figure painter. Son of the foregoing. Was the pupil of his father and of Vandiest, his brother-in-law, into whose landscapes he often patated the figures. He drew well, and is known by Ms landscapes ta the manner of Salvator Rosa, whom he imitated. He died ta London 1701, aged 33, and was buried near his father. COLTE, Maximilian, architect and sculptor. He was master sculptor to James- 1., and was of some eminence. He hved in St. Bartholomew's Close, and his wife was buried ta the church there, fie is reputed the architect of Wadham CoUege, Oxford. COMBES, Peter, engraver. Practised ta mezzo-tint about 1700. His works are cMefly portrait. COMER, John, portrait painter. He practised about 1760, and was an exMbitor at the Free Society's Rooms, ta the Strand. COMERFORD, John, miniature paint er. Was the son of a flax-dresser at Kil kenny, where he was born. He came early ta life to Dublin, and studied ta the So ciety's schools, fie settled ta the practice of Ms art at Dublin, and ta 1809 sent two miniature portraits to the Academy Exhi bition, though he did not subsequently extabit. He attained a Mgh reputation ta Dubhn, and made money by Ms art. His miniatures had much merit, particu larly his |male portraits. They were low ta colour, carefuUy finished, and weU ex pressed, but without elevation of character. He drew many shght sketch portraits, which were both popular and profitable. He died, of a second attack of apoplexy, ta Dublin about 1835, at the age of nearly 62. He strenuously opposed the establish ment of the Royal Academy of Arts in Dublin. CONDY, Nicholas Matthews, marine painter, fie was a native of Plymouth, where he practised about the early part of the 19th century. He first patated some miniatures, and afterwards some landscapes 93 CON and marines ta oil. In the years 1842-43 and 1844 he was an exhibitor at the Royal Academy. Some views on the Thames by him were pubhshed. He died at Plymouth, May 20, 1851, aged 52. CONEY, John, draftsman and en graver. Was born at Rateliff Highway ta 1786. He was apprenticed to an architect, but did not foUow that profession, though at an early age he distinguished himself as an architectural draftsman. He exhibited a ' View of Lambeth Palace' at the Academy in 1805, and continued to exhibit from time to time, always views of old edifices. In 1815 he published his first work, con sisting of eiglit views of the exterior and interior of Warwick Castle, drawn and etched by Mmself. He was soon afterwards engaged in making drawings of the cathe drals and abbey churches of England, for a new edition of Dugdale's ' Monasticon,' a work which was his chief occupation during 14 years. In 1829 he commenced a series of engravings of ancient cathedrals, b,6tels de viUe, and other pubhc buildings of celebrity in France, Holland, Germany, and Italy, which he drew on the spot and engraved himself; and ta 1831 this was followed by a similar work, only less ta size, ' Architectural Beauties of Continental Europe,' also from drawings made on the spot and engraved by Mmself. He was some time engaged by CockereU, R.A., to engrave a large general view of Rome ; and he also engraved some drawings of the new Law Courts at Westminster for Sir John Soane. He drew ta pencU and water-colours, but with aU his labours does not appear to have done more than earn a subsistence. He died of an enlargement of the heart, ta Leicester Place, Camberwell, August 15, 1833, ta his 47th year. He was twice married, but had no chUdren. Some of his drawings were sold by Messrs. Sotheby soon after Iris death, and Ms view of the ' Interior of Milan Cathedral ' was pubhshed for the benefit of his widow. fiis drawings were careful and elaborate, but do not show that accurate knowledge of the detaUs of GotMc tracery wMch has been ascribed to him. CONSTABLE, John, R.A., landscape painter. He was born at East Bergholt, in Suffolk, June 11, 1776, and was the son of a mUler, the owner of several mills, who had inherited a considerable property. OrigtaaUy intended for the Church, he soon showed a preference for art. His father then tried to make a miller of him, but after a year left him to follow Ms own bent, fie sketched the scenery of Ms own picturesque neighbourhood, and his desire to pursue art gaining strength, he came to London for the purpose ta 1795. But unsettled as to Ms future he returned home, and the love of art still holding the 94 CON mastery, he came agata to the Metropolis, and was ta 1799 admitted a student of the Royal Academy. Devoting himself then to study, he received some assistance both from Farrtagton, R.A., and R. R. Reinagle, R.A. He commenced his profession as a portrait patater, then the only profitable branch of art, and for several years occa- sionaUy painted portraits, and made one or two attempts at histoiy ; but his art was landscape. In 1802 he exMbited ' A Land scape,' his first ; and early gaining a con sciousness of his own power, resolved upon the necessity of studying nature. He wrote, ta 1803, ' I feel now, more than ever, a decided conviction that I shall some time or other make some good pictures ; pictures that shaU be valuable to posterity, if I do not reap the benefit of them ; ' and he now finahy settled down as the patater of the class of rural scenery ta wMch he was born. In 1816, after a long attachment, he mar ried. He then resided ta Charlotte Street, Fitzroy Square, but ta 1820 his love of nature led tarn to take also a house at Hampstead. In 1819 he exMbited Ms large picture, ' A View on the River Stour,' and was elected associate ; but he did not till 1829, when ta his 53rd year, gain his election as a member of the Royal Academy. Leshe, R.A., his friend and graceful bio grapher, speaks most MgMy of Ms works at this period. 'I cannot but think,' he says, ' that they wiU attain for him, when his merits are fuhy acknowledged, the praise of having been the most genuine patater of English landscape that has yet lived ; ' yet at the same timer he said of himself — and the expressions are character istic of the man — ta reference to the publi cation of his works, mezzo-tinted by Lucas, ' The patater htaiself is totally unpopular, and will be so on this side the grave ; the subjects notiiing but art, and the buyers wholly ignorant of that.' Agata, ' My art flatters nobody by imitation, it courts nobody by smoothness, tickles nobody by petiteness, it is without either fal-de-lal or fiddle-de-dee ; how can I then hope to be popular ? ' He yearned for the appreciation he so truly merited. His house was filled with Ms unsold pictures, and courting notice he advertised, 'Mr. Constable's Gallery of Landscapes, by his own hand, is to be seen gratis daily, by an application at his residence.' lie was first widely esteemed in France ; some of his works purchased by the French made a sensation in Paris, and the long of the French sent Mm a medal. His health had been for some time uncertain, when on April 1, 1837, he died very suddenly, and the reput ation he sought in Me soon ensued. His admirers purchased his picture of 'The Cornfield,' and presented it to the National Gallery; 'The Valley Farm,' Ms father's coo house, is in the same collection. The, Sheepshanks Gallery contains six of his works, and purchasers now eagerly give' large prices for Ms paintings, fiis works' were purely original, his manner entirely his own. He depicted with great trath and power the freshness and variety of] English landscape. His reputation as one of our first painters is now firmly estab lished, and is not hkely to decrease. He made many fine drawings ta water-colour, one of which, of a large size, ' Stonehenge,' was exMbited ta 1836. COOK, Henry, portrait painter. Prac tised about 1640, and appeal's to have found employment ta the City, but at low prices. The Ironmongers' Company possess some portraits by him, for wMch the records of the company show that, disputing Ms charge of 51. each, they paid him the re duced sum of 3/. 5s. ; but some of these are supposed to be copies. COOK, Henry, history painter. Son of the above. Bom 1642. Travelled ta Italy to study the works of the great Mstory painters, and was for a time the pupil of Salvator Rosa. On his return he was em ployed to paint the altar-piece for the new College Chapel at Oxford, but met with httle encouragement, and lived for several years ta want and obscurity. He was at last obliged to fly from England for the murder of a man who courted his mistress, whom he afterwards married. When this affair was forgotten he came back, and his talents gained him notice. He was com missioned by William III. to repair the cartoons, fie finished the equestrian por trait of Charles II. ta the hall at Chelsea Hospital. As a decorative artist, he patated the staircase at Ranelagh House and at Lord Carlisle's in Soho Square. He also tried portrait painting, but could not put up with the caprice of his sitters. His collection of pictures and drawings was sold March 26, 1700. He died Nov. 18 in that year, and was buried in St. Giles's Church. Faithorne engraved after him. COOK, Robert, portrait painter. He also filled the office of Clarencieux in Henry VII.'s reign. He patated the por trait of that King, and of Henry VIII., Queen Catherine, Charles Brandon, Duke of Suffolk, Sir Anthony Wingfield, Sir Robert Wingfield and his lady, with their seven or eight sons. This latter painting was, when Walpole wrote, at Boughton. COOK, Richard, R.A., history painter. Was bom in London 1784, and entered the schools of the Royal Academy ta 1800. In 1832 he received the Society of Arts' gold medal. He first appears as an exMbitor at the Academy in 1808, and in that and the succeeding years, up to 1811, sent land scapes — cMefly compositions ; but he also, in 1808, sent two Historical paintings to COO the British Institution — 'The Agony of Christ' and 'Hector reproving Paris,' ta which latter the Helen introduced was treated with great beauty. In 1812 and the following year his works exhibited at the Academy were portraits ; ta 1814 he sent 'Acis and Galatea;' ta 1816, 'The Lady of the Lake,' and was ta that year elected an associate of the Academy. His remaining works were classic — ' Ceres dis consolate for the loss of Proserpine ; ' and, ta 1819, after two years' absence from the walls of the Academy, another ' Lady of the Lake ; ' and though he was elected a full member of the Academy ta 1822, he was not agata an exhibitor. He possessed an independence, and for many years before his death had relinquished the practice of his profession. He died in Great Cumber land Place, Hyde Park, March 11, 1857. There is by Mm an illustrated edition of the ' Lady of the Lake ' and of ' Gertrude of Wyoming.' COOK, Thomas, line' engraver. He was a pupil of Ravenet, of great merit, and rose to the very top of his profession. In 1771 he received a premium from the So ciety of Arts. He was employed by Boydell, and executed many works which are much esteemed, both Mstorical and arcMtectural, engraving the figure and landscape. He spent many years of his Me ta repeating the works of Hogarth, the same size as the originals, wMch were published under the title of ,' Hogarth Restored.' He after wards reduced these engravings, comprising 160 plates, for Nichols and Stevens's edition of ' fiogarth's Works,' in two volumes 4to. In the 'Gentleman's Magazine' for May 1818 he is stated to have died lately, aged 74. COOK, J., engraver. Practised ta the latter part of the 18th century. He en graved some of the illustrations for the editions of Bell's ' Shakespeare,' pubhshed ta 1774 and 1787. There are also many portraits by him. He was chiefly employed by the booksellers. COOK, Samuel, water-colour painter. Was born 1806, at Camelford, where his mother kept a bakehouse. He was taught at the village school, and at the age of 9 was employed in a woollen factory. He was the cause of some annoyance ta the factory from Ms propensity for scribbling, which he afterwards developed into sign painting and scene painting for travelling peep-shows. He then went to Plymouth, where he engaged himself to a painter and glazier, and afterwards commenced busi ness on his own account, devoting all the time "he could spare to sketching on the coast and the quays. Gaining notice in the neighbourhood, though of a timid nature, he was encouraged to submit Ms drawings to the Committee of the New 95 COO Water-Colour Society on its foundation in 1830, and was admitted a member. But he continued to carry on his trade, not caring to depend on art alone, though he had attained much excellence. His works were chiefly coast scenes M the neighbour hood of Clovelly and Plymouth — expressed with much quiet, simple truth, and not without some power. His seas were good and well in motion. He died June 7, 1859. COOKE, George, engraver. He was born ta London, January 22, 1781. His father was a native of Prankfort-on-the- Matae, and burgomaster of the free city, who, coming to London, realised a compe tency as a large manufacturer of wholesale confectionery. The son was apprenticed at the age of 14 to James Basire ; and on the conclusion of his apprenticeship, among much work of a miscellaneous character, he executed many of the plates for Brewer's ' Beauties of England and Wales,' a pub lication then commenced. He was after wards engaged on a series of plates illus trating Ptakerton's ' Collection of Voyages and Travels,' a laborious task, which did not lead to much reputation. He con tributed three plates to ' The Thames,' a publication commenced by his brother William, which led to their joint publica tion of ' The Southern Coast of England,' commenced in 1814, completed 1S26— a work which was alike memorable from the disttaguished painters engaged upon it, its influence upon the art and taste of the day, and its well-merited success. He then pubhshed an improved edition of his ' Thames,' for which he engraved himself ' The Launch of the Nelson,' ' The Fair on the Thames,' after Clennel ; and ' The Open ing of Waterloo Bridge,' after Retaagle. Among works of less importance, he was next engaged upon 'The Iron Bridge at Sunderland,' for Surtees's ' History of Dur ham ; ' Bacon's statue at St. Alban's for Clutterbuck's ' Hertfordshire ; ' and ' Gled- house, Yorkshire,' after Turner, R.A.— works which may be referred to as speci mens of his art. He also engraved some plates for Hakewell's ' Italy,' and for ' The Provincial and Picturesque Scenery of Scotland;' and ta the latter work his 'Edinburgh from the Castle Hill,' after Turner, R.A., took a high rank. Among his works of this period may be mentioned five plates and the frontispiece for Alla- son's ' Pola ; ' some plates for the Dilettanti Society, and for D'Oyly and Mant's ' Bible.' In May 1817 he commenced, in connec tion with Messrs. Loddiges, of Hackney, '. The Botanical Cabinet,' for wliich, up to December 1833, he produced monthly 10 small plates, slight, but accurate and taste ful. In 1825 he finished a fine plate of 'Rotterdam,' after Callcott, R.A., but by the failure of Ms agent he lost ah the profit 96 COO of this work. He now'began a work which' he had long projected — 'London and its Vicinity ; ' but he was disappointed by the appearance of a cheaper publication of the same kind on steel, which admitted of larger, though taferior, impressions. In 1833 he engraved the 'Old and New Lon don Bridges' from drawings by his son (Edward W. Cooke, R.A.), who also took a part ta the engraving. After a life so actively spent, he died at Barnes, of fever, February 27, 1834,jaged 53, and was buried there. COOKE, William Bernard, line en graver. Was born 1778. Elder brother of the foregoing, and engaged with him ta several of his more important under takings. Was a pupil of Angus, and showed great abihty and enterprise. He published several of his own plates, but did not succeed ; among them a work on the Isle of Wight, fie died of heart complaint, August 2, 1855, aged 77- COOKSON, Thomas, engraver. Prac tised ta England. His works bear dates from 1609 to 1624. COOLEY, Thomas, architect. Was bom ta England ta 1740, and was apprenticed to a carpenter. In 1763 he received a premium from the Society of Arts. On a competition ta 1769he was selected to build the Royal Exchange ta Dublin, a fine work, which he completed ta 1779, and then settled there. He was also employed to erect a tower to Armagh Cathedral, but Ms foundations were bad and it was taken down. He was not more fortunate ta the erection of Newgate Prison ta Dubhn, which was not only defective in construction, but badly planned. He also built the Record Office, the Marine School, the Chapel ta the Park, and commenced the erection of the Pom- Courts, but had only completed the western whig when he died ta Dublin, of bilious fever, ta 17S4, aged 44. COOPER, Alexander, miniature painter. He was brought up under Hos- ktas, his uncle. He patated miniatures both ta oil and water-colours, and was a good draftsman. He chiefly excelled ta water-colour landscapes. He followed his profession ta the Low Countries, princi pally at Amsterdam, and was invited from that city to Sweden, where he was ap pointed limner to Queen CM'istina. fie practised about 1650-1660. COOPER, Samuel, miniature pamter. Born ta London 1609. He was instructed by Ms elder brother Alexander, and as sisted by Hosltins, Ms uncle. He also im proved himself by the study of Vandyck, and reached an eminence ta miniature art which has not yet been surpassed. Tender in execution, well drawn and coloured, graceful and expressive, Ms miniature heads were known extensively on the Con- COO dnent, and greatly prized in his own day as in ours. He was an excellent musician and linguist — a man of many attainments. He lived much ta France and Holland, and was acquainted with the most eminent men in those countries and ta England, fie drew Charles II. , his Queen, the Duke of York, and most of the Court ; also several portraits of Ohver Cromwell. His works are numerous, and eagerly sought after by collectors. He lived, ta 1645, on the south side of Henrietta Street, Covent Garden, then very fashionably inhabited. He died May 5, 1672, aged 63, and was buried ta 'Pancras Church ta the Fields,' where a monument was set over bim. fiis widow, who was the sister of Pope's mother, re ceived a pension from the Crown. Pepys, ta Ms 'Diary,' etaarges upon Ms friend Cooper's many excehent quahties. COOPER, Edward, portrait painter. He practised both as a patater and en graver. He was successful ta his portraits, and known also as a dealer. He engraved after Albano and Kneller. A portrait, both painted and engraved by Mm, is dated 1779. The time of Ms death is unknown. COOPER, George, architect. First exhibited at the Academy, ta 1792, a de sign for a villa; in 1794, a design for a church, followed by similar designs ta 1795 and 1799. He last exMbited ta 1807. Pubhshed, ta 1805, 'Architectural Re- liques,' from drawings made on the spot by himself, and both drew and etched the principal plates for Wade's ' Walks ta Oxford.' COOPER, Richard, engraver. He was born ta Yorkshire, and about 1730 prac tised in Edinburgh, and was then the only engraver beyond the Tweed. He hved for many years ta the Canongate, and ta a newspaper of the day is called 'Dick Cowpar.' He had a good knowledge of his art, and practised both as a draftsman and an engraver. His known works are few, cMefly contemporary portraits. He is remembered as the master of Sir Robert Strange, who was apprenticed to Mm in 1735, and served out a term of six years. He died ta Edinburgh ta 1764, and was buried ta the Canongate Churchyard. COOPER, Richard, landscape painter. Son of the foregoing. He is stated to have been born in London. He originally studied under his father in Edinburgh, and was then a pupil of R. Edge Pine. Having inherited some property he went to Italy, where he passed several years in the study of the great masters, and acquired consi derable skill as a draftsman and painter. In 1783 he exMbited views of Italy, tinted drawings, and other work at the Spring Gardens Rooms. He afterwards settled in Edinburgh, where he followed COO his profession of landscape patater with great success, and built for himself a hand some residence. In 1789 he appears to have returned to London, and in that year exhibited at the Academy ' A View from Richmond Hill,' followed by landscape compositions and drawings. In 1800 he exhibited 'Ruins of Vespasian's Amphi theatre, Rome;' ta 1802, 'Solitude;' ta 1808, ' Landscape, with Banditti ; ' and the next year sent Lis last contribution to the Academy. During this latter period he held the office of drawing-master at Eton School, and was teacher of drawing to the Princess Charlotte. His landscapes ate clever — chiefly Italian scenes — loosely, but vigorously handled. He died some time after 1809. COOPER, Richard, engraver and draftsman. Born ta London about 1730. Studied under Le Bas in Paris, and gained great repute there as an engraver. He signed his name to his works, ' Riccardus Cooper.' They are much esteemed for their correct drawing, grandeur, and brilliancy. Among them are — 'The Children of Charles I., with a large Dog,' 1762; 'King Wil liam III. and Queen Mary,' 'Frederick, Prtace of Wales, and Ms Sisters,' ' The Vir gin and Infant Jesus,' after Coreggio, 1763 ; 'Rembrandt's Mistress,' 1777- He was living ta 1814. COOPER, Robert, engraver. Employed ta the portrait illustration of Scott's novels ; and there are some interesting and charac teristic portraits by him for ' Old Mortal ity,' and some others. He engraved also for Lodge's portraits, and also several private plates for the Duke of Buckingham. He exhibited with the Associated En gravers ta 1821, and was living in 1836. COOPER, William, portrait painter. He was known as a patater ta the first half of the 18th century. An old oil painting on canvas, by a painter of this name, ' Philadelphia from the River,' 7 ft. 9 ta. long, was the subject of a communication to the Society of Antiquaries about 1750. COOPER,. Abraham, R.A., animal painter. Was born September 8, 1787, in Red Lion Street, Holborn. His father was a tobacconist, and afterwards an innkeeper. At the age of 13 he was taken from school, and under many hardships began life as an assistant at Astley's Theatre, where be was much employed among horses. When about 22 years of age he made his ffist attempt ta art, and painted with great success a fa vourite horse belonging to Sir Henry Meux. This encouraged him to continue. He was employed to draw portraits of horses for the ' Sporting Magazine,' and ta 1812 was an exhibitor at the British Institution. In' 1814 he sent his 'Tam O'Shanter,' and on a competition ta 1816 the directors awarded him a premium of 150 guineas h 97 • COP for his finished sketch of 'The Battle of Ligny ; ' at the same time he was also a contributor to the Water-Colom- Exhi bition. He had now gained an assured Eosition in art, and ta the following year e was elected an associate of the Royal Academy. In 1819 he exhibited his 'Battle of Marston Moor,' which greatly increased his reputation. He was esteemed the best battle-painter of the day, and ta 1820 reached his full honours as a member of the Academy. He was from this time a constant exMbitor at the British Institution and the Academy, contributing Ms last work to the latter ta 1868, when he ac cepted the newly created distinction of ' honorary retired academician,' but did not long survive the practice of his art. He died at Greenwich, December 24, 1868, and was buried M Highgate Cemetery. He had studied carefully the horse and its anatomy, and had a good antiquarian know ledge of amis of offence and defence. His works were of small size, spirited and trutiifrd in their composition and execution, but flat and leaden ta colour. They were very popular, and many were engraved. COPLEY, John Singleton, R.A. , his tory painter. Born July 3, 1737, at Bos ton, United States, then a British Colony, of Irish parents, immediately after their arrival there. He showed an early love for drawing, and, out of the reach of instruc tion, was self-taught. His first works were portraits and domestic groups. In 1760 he sent a picture — his ' Boy with a Squirrel ' — to London for exhibition, and for several years continued to send his works to the exhibitions of the London artists. In 1767, wMle living at Boston, he was, on the proposal of Benjamin West, elected a fellow of the Society of Artists ta Great Britain, and in expressing his great sense of tMs honour, he said : ' I cannot but reflect upon my present situation, wliich utterly deprives me of every opportunity (but what nature has furnished me with) of aiding in this laudable work, the pro motion of the arts.' Zealously pursuing his art, he found good employment in por traiture at Boston, and was saving money • but restlessly desired to visit Europe, and in 1774 set sail for England, and from thence started for a Continental tour, his first aim being to see Rome, which he reached about the end of the same year. Towards the eud of 1775 he returned to London, where he eventually settled. He first resided ta Leicester Fields, and ta 1776 exhibited 'A Conversation' at the Academy ; the following year, ' A Family,' whole-length, with some other portraits; and in 1778, ' A Boy attacked by a Shark,' and a whole-length family-group. He was now in the full practice of Ms art, which was essentially portrait. He COE had been elected an associate of the Academy in 1776, and in 1779 gained his full memberstap. He had just completed his great work, ' The Death of Chatham,' a fine composition, which added largely to his growing reputation. His next work was ' The Death of Major Pierson,' agata finding his subject in a great incident of the day, and confirming the fame he had already acquired. In both these works the principal figures were portraits, and with ah the accessories were rendered with great truth. They both happily find a place in our National Gallery, lie then attempted an historical incident, ' Charles I. demand ing ta the House of Commons the five Impeached Members.' In this he grouped no less than 58 of the most celebrated personages of the Revolution, and took great pains to portray them after the best authorities. These three pictures were highly poptaar, were engraved, and large numbers of impressions immediately sold. Another recent event of great historical importance was then the subject of his pencil. He was commissioned by the Corporation of London to paint to a large scale 'The Repulse and Defeat of the Spanish Batteries at Gibraltar.' In this he introduced the portrait of Lord Heathfield, and also the portraits of the principal officers who commanded at the siege, and with Ms love of accuracy he went to Hanover to sketch the heads of the German officers who formed part of the garrison. Of his other works of an Mstorical char acter the principal are — ' King Charles signing Strafford's Death-warrant,' 'The Assassination of Buckingham,' 'The Battle of the Boyne,' 'King Charles addressing the Citizens of London,' 'The five Im peached Members brought back ta Tri umph,' and 'The King's Escape from Hampton Court.' Of his portrait compo sitions, a group of the 'Royal Children playing ta a Garden,' which is now at Windsor Castle, must be mentioned as one of the most attractive. In Ms Mstorical subjects, little influenced by Ms study M Italy, Copley was original and simple m composition and treatment ; his drawing was good and intelligent, and the scene treated with great nature and individuality. In his best portraits his action, colour, and expression were appro priate, and he showed a nearer approach to Reynolds and Gainsborough than any of his contemporaries. He had, soon after 1780, removed to George Street, Hanover Square, and there, after a long residence, he died, on September 9, 1815. fie was buried at Croydon Old Church. He was the father of Lord Chancellor Lyndhurst. CORBETT, , portrait painter. Born ta Cork he was a pupil of Barry, R.A., and practised portrait painting for a time COE in London. On his return to Ms native city he found good employment. His por traits showed some power, fie died, ta neglect and tadigence, at Cork, February 20, 1815. CORBOULD, Richard, portrait and landscape painter. He was born ta London, April 18, 1757. His genius gave a wide range to Ms art. He patated, both ta oil and water-colours, portraits and land scape, with a few historical subjects, fiis time was divided between painting on porcelain and miniatures ta enamel and on ivory. He was also much employed on book illustration, ta wMch he excelled. His style of painting varied greatly, and he showed great ability ta imitating the manner of the great masters, both of the old school and our own. He first appears as an exhibitor of 'Fruit' ta 1776, at the Free Society of Artists, followed by a miniature at the Royal Academy ta 1777. He was then living in Moorfields, and from that year conttaued to exhibit at the Academy, his contributions being cMefly landscape views and landscapes with figures, and occasionally a portrait. In 1793 he sent to the exhibition ' Cottagers gathering Sticks ; ' ta 1797, 'A Subject from a Sonnet ; ' ta 1802, ' Eve caressing Adam's Flock' and ' The Angel Michael ; ' ta 1806, 'Ulysses's descent into Hell;' ta 1808, 'Hannibal passing the Alps with Ms Soldiers,' with, ta most of these years, landscapes also. In 1811 he exMbited for the last time. He died at Highgate, July 27, 1831, and was buried ta the parish ground of St. Andrew's, Holborn, Gray's Inn Road. CORBOULD, George James, engraver. Second son of the above. He was bom April 27, 1786, and was a pupil of James Heath, A.E. He practised ta the hne manner. Some of Smirk's 'Illustrations of Shakspeare,' which he engraved, are fair representations of his art. He died November 5, 1846. CORBOULD, Henry, historical painter and draftsman. Third son of the above. Was bom ta London, August 11, 1787. Studied under Ms father and M the schools of the Royal Academy, where he gained a silver medal. He commenced as an ex Mbitor in 1807; Ms first contributions were classic. In 1808, ' Coriolanus ; ' ta 1809, ' The Parting of Hector and Andro mache ' ' Thetis comforting Actalles,' with other designs. In 1811 he exhibited de signs from the ' Lady of the Lake,' followed by designs from ' Rokeby,' and was at this time engaged ta designing for book illus tration. But, having attained great purity of drawing, his cMef occupation was ta drawing from antique marbles. He was selected, on the highest authority, as the artist most competent to be employed in COS making the drawings, for the purpose of engraving, of the Elgin and other marbles in the British Museum. This work, upon which he was employed nearly 30 years, was placed entirely ta his hands, as was also the nomination of the engraver for each plate. He drew also, for engraving, from the Duke of Bedford's collection and Lord Egremont's collection, and hkewise occasionally for the Dilettanti Society, and the Society of Antiquaries. He continued to exMbit from time to time at the Aca demy up to 1840. Suddenly attacked with apoplexy, when riding up from St. Leo nard's, he died at Robertsbridge, December 9, 1844, and was buried ta Etchingham Church, Sussex. CORBUTT, Charles, mezzo-tint en graver. See Purcell, Richard. CORDEN, William, china painter. Was born at Ashbourne ta 1797, and was employed ta the Derby China Works. He excelled ta portraits and flowers. He was sent to Rosenau, Coburg, by the Queen, to copy some portraits for her Majesty. He died at Nottingham ta 1867. CORNELIS, Lucas, portrait painter. Was born at Leyden 1495, and came with Ms family to England on the invitation of Henry VIIL, who appointed him his painter. His art had great merit, and was much esteemed. He is reputed to have taught Holbein, when ta England, to paint ta water-colours. He died m England, it is supposed, ta 1552. CORNER, John, engraver. He en graved ta line and pubhshed, in 1825, ' Por traits of Celebrated Painters.' This work was rather tastefully arranged, grouping in a small medallion the most celebrated work of each painter with his portrait ; but the heads were ill drawn, weak, and ineffective, and the work, intended to be a serial, only extended to 25 portraits. CORNER, Peter, portrait painter. Practised ta the beginning of the 18th cen tury. Some of his works are engraved. COSTELLO, LouisaStuart, miniature painter. She was of an old family, the daughter of Colonel Costello, and bom 1799. For many years she hved M France, and about 1820 came to London to practise miniature painting, which she had studied. She exhibited at the Academy in 1822-23 and 1825, and does not appear agata till 1833, continuing yearly an exhibitor to 1839. She was so far successful as to be able to assist her mother and to maintain a brother at Sandhurst College ; but she at the same time tried literature, and be came best known as an author. She pub lished, ta 1825, 'Songs of a Stranger;' then 'Specimens of the Early Poetry of France,' followed by several works on France and French manners ; and the ' Rose Garden of Persia,' for which she herself drew the 2 99 COS illustrations. She retired to Boulogne upon a small literary pension, and died there of virulent cancer, April 24, 1870. COSWAY, Richard, R.A., miniature painter. Was born 1740, at Tiverton, where his family had been long settled, and his father was master of the public school. He early showed great ability ta drawing, and was sent to London as the pupil of Hudson, and also became a student in Ship ley's school. He received a premium for drawing in 1755 at the Society of Arts. He began Ms career by drawing heads for the shops and fancy miniatures — sometimes licentious in character — for snuff-boxes, and soon made himself known as a portrait miniaturist. He was a member of the In corporated Society of Artists ta 1766, and was admitted a student of the Royal Aca demy in 1769. In the fohowing year he was elected an associate, and in 1771 a full member of the Royal Academy. His career was rapid ; he had obtained a good know ledge of the figure, and was a refined and powerful draftsman. His miniatures were not only fashionable, but the fashion itself. He drew small whole-lengths of the courtly beauties of his day in black-lead pencil, ta an elegant easy style quite his own — the faces painted ta miniature, and frequently highly finished. His miniatures on ivory are exquisite for their beauty and grace, and are highly esteemed. He patated the lovely Mrs. Fitzherbert, and gained the favour and even the intimacy of the Prince of Wales. The beauties of the prince's coterie sat to him, and he enjoyed the full tide of royal favour and good fortune wMch Ms art truly merited. lie occasionally pro duced a work in oil. Some angels' heads in this medium are admirable for then pure ideal beauty. He was only an occasional exhibitor at the Academy, and sent his last work in 1806. He gave one of his best works ta oil to the parish church of his native town. His portraits have been en graved by Bartolozzi, R.A., and by Valen tine Green and others. Cosway was mean ta person. He assumed great airs ; his vanity led him to deck his portrait, ipse pinxit, in the most extrava gant costume. His studio was most inter esting, filled with the choicest specimens of art and virtu— in which he was not un willing to deal — and he was in the habit of purchasing old pictures, which he repaired and sold. He left a very large collection of drawings. He married, at St. George's, Hanover Square, 1781, Maria Hadfield, a handsome, clever woman, and an artist. Together they kept a sumptuous house, lived ta great style on the verge of Carlton House Gardens, and afterwards in Strat ford Place. They affected high society ; the prtace was their visitor, and they made themselves the wonder and whisper of the 100 COS town — the bitter mark for satirists and cari caturists. Cosway's eccentricities and vani ties were increased by his success. He be lieved ta Swedenborgianism and in animal magnetism ; and whether he played the charlatan, or felt himself inspired— most probably the former — he professed his ability to raise the dead ; and asserted to Miss Coombe, his niece, that the Virgin Mary had appeared to him, and had sat to him several times for a half-length figure of the Virgin which he had just finished, He had for some time retired from the practice of Ms profession. He died while taking an ailing in his carriage, July 4, 1821. He desired to be buried near Rubens, at Ant werp, but rests ta the vaults of the new church, St. Marylebone, where there is a tablet to his memory. COSWAY, Maria Cecilia Louisa, sub ject painter. Wif e of the foregoing. She was the daughter of an Irishman named Hadfield, who kept an hotel at Leghorn, and was born ta Italy. She was educated in a convent and studied art ta Rome ; on her father's death she came to England, and, for a time at least, painted miniatures pro fessionally. She also painted many subject pictures, and was a contributor both to Boy- dell's ' Shakespeare Gallery' and Macklta's ' Poets.' She drew ta chalk ' The Progress of Female Dissipation ' and ' The Progress of Female Virtue.' Her 'Going to the Temple ' was engraved by- Tomkins. She etched some figures after Rubens. In early life she had been betrothed to Dr. Parsons, the composer, but ta 1781 she married Richard Cosway, R.A. In the same year she was first an exhibitor at the Royal Academy, and conttaued to exhibit up to 1S01. Her subjects were mostly of a classic character, with now and then a portrait. She is reputed to have maintained her own family by her art. She was in her day a notoriety, and was the subject of much hostile remark. She is said to have run away from her husband. She was certainly long separated from Mm, aud at the beginning of the century was living apart at Paris ta much luxury, while she was copying some works at the Louvre for engraving. She made a pilgrimage to the Shrine of the Virgin at Loretto in ful filment of a vow to do so if blessed with a living child. Walpole mentions, ta an un published letter, her great grief and her avoidance of all society on the loss of her daughter, which was probably the cause of her retiring in 1804 to a religious seminary at Lyons, of which she became the supe rior, and is described as occasionally nre- ceding her pupils to the Cathedral with a long ivory cross ta her hand, and draped in a sky blue robe spotted with velvet stars. She was living ta 1821, and was in London ta that year on the death of her husband; COT but returning agata to Lyons is believed to have died there. Nagler gives a long de scription, ta the most stilted language, of her personal charms, her works, and her talents, and says the Enghsh galleries are full of her exquisite works. She certainly possessed great talent as a musician, and excelled as an artist. There are some etch ings by her, but ta outline only, of a number of her husband's works. ' The Progress of Female Virtue' by her was published in 12 plates, 1800. COTES, Francis, R. A., portrait painter. He was the son of the mayor of Galway, who, on some political dispute, came to settle ta London about 1720, and prac tised as an apothecary ta Cork-Street, Bur lington Gardens. Here the painter was born ta 1726, and commenced the study of art as the pupil of George Knapton. He became eminent for Ms portraits in crayons, and also patated ta oil with much abffity. He was a member of the Incorporated So ciety of Artists, and one of the founda tion members of the Royal Academy. He patated, ta 1767, ' Queen Charlotte with the Princess Royal on her lap' — a pleasing portrait wMch was well engraved by Ry- land. He was ta considerable practice, and for a time had so great a run that fasMon followed him from London to Bath, and back agata. He drew well, sketched his subject freely, and was agreeable ta his co louring. He occupied the house 32 Caven dish Square, afterwards tenanted by Rom- ney, and then by Sir Martin Shee, P. R. A. He died there on July 20, 1770, ta his 45th year, having imprudently taken soap-lees as a cure for stone, to which he was a martyr, and was buried at Richmond. His pre sentation picture to the Royal Academy — a portrait of his father — is a good specimen of his abilities. There is a full-length por trait by Mm of Admiral Lord Hawke in the gallery of Greenwich Hospital ; but a portrait-group of Mr. and Mrs. Joah Bates, in the possession of the Sacred Harmonic Society, is one of the best examples of his art ta oil — well grouped, and solidly and care fully patated. His prices for portraits were • — three-quarters, 20 guineas ; half-length, 40 guineas ; whole-length, 80 guineas. His draperies were mostly patated by Toms. COTES, Samuel, miniature painter. Younger brother to the foregoing. He was brought up to medicine, but quitted that profession, stimulated by his brother's suc cess ta art, and was assisted by him ta the study of painting. He was a member of the Incorporated Society of Artists. His works in crayons were much esteemed, and in miniature, both enamel and on ivory, he ranked among the Mst of the day. He exhibited miniatures at the second Royal Academy ExMbition ta 1769, and con tinued an occasional exhibitor, fie married COT a Miss Shepheard, who had great talent for painting, and who died 1814. He had quitted the profession for many years, when he died in Paradise Row, Chelsea, March 7, 1818, aged 84. COTMAN, John SeXl, landscape and marine painter. Was the son of a silk- , mercer at Norwich, and born there June 1 1 , 1782, and educated, at the City Free School. He was intended for Ms father's business, but his early love of art prevailed, and he came to London, where he remained from 1800 to 1806, and durtag that time he was an exhibitor, chiefly of Welsh views, at the Academy, and frequented the well-known artists' meetings at the house of Dr. Monro. In 1807 he was living at Norwich, and became a member and the secretary of the Norwich Society of Artists. He then styled Mmself a portrait painter, and in that and the fohowing years was a large contributor to the Society s Exhibitions, sending no less than 67 works in 1808. He afterwards lived for some time at Yarmouth, and having now a wife and young family, he added to his means by teaching drawing. In 1811 he commenced a publication by subscription of his ' Architectural Etchings ; ' and in 1816 his ' Specimens of Norman and Gothic Ar chitecture, Norfolk Churches,' &c. ; and ta 1817 he accompanied Mr. Dawson Turner, the antiquary, on a tour to Normandy, and agata visited that country in 1818 and 1819. In these two years he completed Ms ' Etch ings illustrating the Architectural Anti quities of Norfolk,' and his 'Engravings from SepMcMal Brasses, Norfolk' — works wMch had been for several years ta pro gress, and wliich are more antiquarian than artistic ta their character. The result of his visits to Normandy appear ta the illus trations to Dawson Turner's ' ArcMtectural Antiquities of Normandy,' published in 1822. Though at that time residing ta Nor wich, he was ta 1825 elected an associate exMbitor of the Water-Colour Society ; and was from that year a constant contributor to the Societys ExMbitions. His works were — 'Views ta France and Normandy,' ' FisMng-boats off Cromer,' 'Vessels off Yarmouth' (where he found many of Ms favourite subjects), landscape compositions, and some sketches of figure subjects. In 1834 he was appointed drawing-master to King's College School, and then removed to London. Here his health began to decline. He had long been subject to great nervous depression, which became more severe, and gradually terminated in loss of reason. He died ta London, July 28, 1842. He patated ta water-colour and oil, excelling in both. His light and shade were good, the masses broad and simple ; the details ta water-colours fre quently added with a reed pen ; his colour 101 COT rich, but a hot yellow predominates; his figures were well placed, and the details of his architecture well understood ; his treat ment of the subject highly artistic; but many of his works are only slightly or half finished. His son John Cotman, who also practised art, died ta Norwich ta 1878. COTMAN, Miles Edmund, water- colour p>ainter. He was the eldest son of the foregoing, and was brought up an artist. He exhibited at Suffolk Street, in 1835-38 and 1841, river and sea views, both in oil aud water-colours, and at the Aca demy ta 1850 and 1851. He succeeded his father as drawing-master to King's CoUege, and was chiefly occupied as a teacher, fie died January 23, 1858, aged 47. COTTINGHAM, Lewis Nookalls, th year, on October 6, 1854. He was favourably known ta Ms profession by some clever drawings, and was a member of the Institute of British Architects. DOBSON, William, portrait painter. Was born ta St. Andrew's parish, Holborn, 1610. His father was a gentleman of some consideration at St. Alban's, who, having squandered his estate, was appointed master of the Alienation Office, probably by Lord Bacon, who was his friend. Necessity made the son a painter. He was apprenticed to Sir Robert Peake, and soon gave proofs of < Ms genius in portraiture. He also had some instructions from Francis Cleyn. He ap pears to have worked ta obscurity till Vandyck chanced to see his work, gener ously befriended him, and introduced him to Charles I., with whom he found favour. On the death of Vandyck he was appointed the king's serjeant-painter and groom of the Privy Chamber, fie followed the Court to Oxford, and painted there the King's portrait, the Prince of Wales's, also Prtace Rupert's, but the decline of the royal cause and the disordered state of the country were a bar to his fortunes. At Lord Craven's, Coombe Abbey, there is a portrait of Charles II. by him; at Mr. Howard's, Gatton, a portrait of Milton ; at WUton, a large work, the ' Beheading of St. John ; ' at Hampton Court, a portrait-group of him self and his wife. His best works are care- fidly drawn and patated, though his colour is sometimes hot and crude, Ms hands very good, expression weak, drapery well studied, and altogether Ms portraits are life-like and characteristic. Sir Joshua Reynolds bestowed much praise upon his works. Dobson was careless to avail himself of Ms opportunities of saving money. He was a man of ready wit and pleasing con versation, but of a loose and irregular way of living, and when the impending unhappy times came to a ctanax he was ta debt. EventuaUy he was thrown into prison, and when released by a friend, he enjoyed his freedom only a short time. He died ta poverty at the age of 36, on October 28, 1646, and was buried at St. Martin's Church. DOBSON, John, architect. Was born at Chirton, North Shields, December 9, 1787, and was articled to a builder at Newcastle. He afterwards studied for a time under John Varley, and commencing practice ta Newcastle, was the only architect then in the county. He soon gained employment, and in the intervals of Ms labour travelled ta England and France. He erected several fine mansions and some churches in his locality, and gradually extended his practice to the neighbouring counties. His works showed good constructive ability, and he was employed upon some of the railway works ta Newcastle. The Central Rail way Station there is perhaps one of Ms most important erections, and the design, exMbited in Paris in 1855, gained him a 'metafile d'honneur.' He died in January 1865. 127 DOD DODD, Robert, marine painter. He lived, early ta life, at Wapping Wall, and beginning art as a landscape painter when only 23 years of age, had produced some good works. He then commenced marine subjects, storms, sea-fights, and in these he attained much excellence. In 1781 he patated 'Admiral Parker's Naval Victory ; ' ta 1782, ' The Jamaica Fleet and Convoy ta the Great Storm ; ' in 1785, ' The Loss of the " Centaur," ' followed by, ' The Action between the English ship " St. Margaret " and French " Amazon," ' ' The English Frigate " La Magicienne " encountering two French Frigates,' ' Rodney's Naval Victory ; ' in 1796, on an immense canvas, 'The British Fleet at Spithead getting under sail to escape the Ship-of-the-hne " Boyle," ' which had caught fire ; and ta 1806, ' The Commencement of the Battle of Trafalgar.' Between 1782 and 1788 he was a constant exhibitor of naval subjects at the Royal Academy, and occasionally up to 1809, when his name cannot be traced farther. His storms at sea were highly impressive. His works had great "truth and reality, and were extensively engraved and very popular. A view of the Royal Dockyard, Woolwich, ta 1789, was both patated and engraved by his hand. DODD, Daniel, miniature and subject painter. Practised ta the last half of the 18th century. He was an influential member of the Free Society of Artists ta 1763, and a contributor of oil and crayon portraits" to their exhibitions. For several years his works were of a small size. He painted ' The Royal Procession to St. Paul's,' a com position crowded with figures ; and there is hy Mm a good ' Representation of the Royal Academy, Somerset House,' the figures well drawn, which is engraved by Angus. His portraits of Leveridge, the actor, and of Buckhorse, a noted boxer, are also en graved, fie also designed many of the illustrations for Harrison's Novelists, and for some other works. DODWELL, Edward, topographical draftsman. Travelled in Greece in 1801 and 1805, and made drawtags of some of the most memorable places. He published, ta 1811, a classical and topographical ' Tour in Greece,' aud in 1819 a larger work on the same subject, illustrated by 30 views from his own drawings, which, though careful and not badly drawn, cannot lay claim to much. art merit. DOLLE, William, engraver. Born iu England about 1600. He engraved cMefly portraits for the booksellers. They are in a weak, stiff manner, and most probably from his own designs. Among such portraits are Sir Henry Wootton, George Villars, Duke of Buckingham, and Robert, Earl of Essex. DONALDSON, Andrew, water-colour painter. Born at Comber, near Belfast. 128 DON His father was an operative weaver, and brought him ta ctaldhood to Glasgow. Here he was employed in a manufactory as a piecer, but meeting with an accident, whicji caused a weak state of health, he was ap prenticed to a haberdasher, and seized opportunities for developing a love of art by sketching the picturesque buildings by wliich he was surrounded ta the old city. He then found employtaent as a teacher of drawing and improvement ta sketching the scenery of the neighbouring country, and eventually took high rank among the' Scot tish landscape painters ta water-colours. He afterwards studied ta the most pictur esque parts of Great Britain and Ireland, where he found subjects for his pencU. He died at Glasgow, August 21, 1846. DONALDSON, John, miniature paint er. Bom in Edinburgh ta 1737, where his father was a glover, and but in narrow cir cumstances. He was fond of chawing as a chfld, and wtale yet very young supported himself by miniature portraits ta Indian ink. After some years he came to London, where he gained a premium at the Society of Arts in 1764, and agata in 1768, when he was living at Edinburgh, for an histo rical painting of Hero and Leander. In 1764 he was a member of the Incorporated Society of Artists, and had tolerable suc cess as a portrait patater. He also patated some vases sent to Mm in London from the Worcester china works, and his art ta china is weH-known and prized by coUectors. But he had imbibed notions that the world was going wrong ta rehgion, morals, and poli tics, and in his abstraction he wandered aside, dreaming that he could set aU things right. His friends feU off, he lost his facihty of execution, and then became dis gusted with Ms art. He etched some small plates of beggars ta the manner of Rem brandt; but withal he wanted persever ance, was of unsettled habits, and tried many schemes. He cultivated chemistry, and patented a mode of preserving vege tables and meat. He pubhshed a volume of Poems in 1786, which are not without some merit; and an 'Essay on the Ele ments of Beauty,' 1780. Yet, notwith standing his many endowments, the last 20 years of his life were full of suffering, and lie was sometimes without necessaries. At last, however, some friends made such pro vision as preserved Mm from destitution. He died October 11, 1801, and was buried ta Islington Churchyard. DON O WELL, John, architectural draftsman. He was a member of the In corporated Society of Artists ta 1776. He exhibited views and designs ta the Academy 1778-86. He built Lord Le de Spencer's house at Wycombe, the designs for wMch were printed ta Wolfe and Gandon's work. His elevation is but mean and poor. Several DOE Other engravtags after his designs were published ta 1753, and there is an excellent plate by him of the wen-known Marylebone Gardens, pubhshed ta 1761, full of well- drawn and characteristic figures. DORIGNY, Sir Nicholas, Knt., en graver. Bom at Paris 1657. He was brought up to the bar, which at the age of 30 Ms deafness compelled him to abandon. Having a brother a patater, he turned to art, and went to Rome, where for several years he studied painting. He then tried etching, and produced some plates after Raphael, the success of wMch tempted him to use the graver, and after lesser works he engraved Raphael's ' Crucifixion ' — a work of great excellence. Some English travel lers, with whom he was acquainted, then induced him to come to England to engrave the cartoons, and after nearly 25 years' residence ta Rome, he left that city and arrived in London in the summer of 1711. He apphed himself at once to raise the funds for this undertaking, which he com menced in the following Easter, upon a subscription of four guineas for the set, and with the patronage of Queen Anne, who assigned Mm an apartment at Hamp ton Court. He was ta his 55th year, and hopeless of completing the work with his own hand, he availed himself of the assist ance of two engravers whom he brought over from Paris, and with this help he was enabled, ta April 1719, to present a com plete set of the work to George I., who, in the foUowtag year, conferred on Mm the honour of knighthood. He had passed his best days before he even began the work. He must have been much helped by in ferior assistants, and his cartoons do not rank with Ms earlier productions. WMle ta England he patated some portraits, but did not meet with much success. His eye sight had faUed. In 1723 he sold his col lection of drawtags, and ta the next year returned to Paris, where he died ta 1746, aged 89. DORRELL, Edmund, water-colour painter. Bom at Warwick ta 1778, and was brought up by his uncle, who had a good medical practice there, and intended him for his own profession, but yielded, however, to his love for drawing and etch ing, and assisted him to study art. He soon attained some proficiency, and for many years practised ta London as a water- colour painter. He was an occasional ex hibitor at the Academy from 1807 to 1828. He contributed to the Water-Colour Society in 1809 as ' f eUow exhibitor,' and the fol lowing year as a member. In 1814 he seceded from the Society, but sent some drawtags, 1815-18, as an outside exhibitor. He pamted landscape scenes, sometimes with effects of storm. Among Ms con tributions was a view of Ranelagh Gardens. K DOW He died ta London ta 1857, in Ms 80th year. DOUGHTY, William, painter and en graver. Was born at York, and ta 1775 became, on the introduction of the poet Mason, the pupil of Sir Joshua Reynolds, with whom, and ta Ms house, he continued for three years. He then went to Ireland, and though possessed of good ability ana recommended by Sir Joshua, did not suc ceed. He returned to London greatly dispirited, and in 1779 hved ta Little Titchfield Street, Cavendish Square. He practised for a short time in his native city, and ta 1780 set sail for Bengal, accom panied by a servant girl he had just before married from Reynolds's house. The vessel was captured by the combined French and Spanish squadrons, and he was carried into Lisbon, where he died in 1782. He ex hibited a good tMee-quarters portrait of Reynolds ta 1778, and in the following year a ' Circe,' but is best known by his mezzo tints after Reynolds, and some others, wMch are very effective and artist-hke. fie also left a few etchings. DOUGLAS, William, miniature painter. He was brought up ta Edin burgh, and was a pupil of Robert Scott, the engraver. He practised with great abffity as a miniature patater about 1825. DOWNES, Bernard, portrait painter. He practised ta London, and occasionally ta the provinces. He was a member of the Incorporated Society of Artists ta 1766, and appears as an exMbitor at the Royal Academy ta 1770, continuing till 1775, when he ceased to exhibit, and died shortly after. He tried landscape as well as por traits, but his works were without merit. DOWNMAN, John, A.R.A., portrait and subject painter. He was born in Devonshire, and coming early to London, was the pupU of Benjamin West, P. R.A. He studied ta the schools of the Royal Academy. He first exhibited with the Free Society of Artists ta 1767, and ta 1770 sent to the Academy Exhibition a kit-cat portrait of ' A Lady at Work,' fol lowed by another portrait ta 1772, and ta the next year by ' The Death of Lucretia.' In 1777 he was practising as a portrait painter at Cambridge, and ta the two suc ceeding years exhibited small portraits and subject pictures. He then returned to London, and up to 1802 continued to con tribute a large number of portraits, with an occasional domestic subject, to trie ex- Mbition. In 1795 he was elected an as sociate of the Academy. He then visited, in 1806, Plymouth. In 1807-8 he prac tised at Exeter, and after some years stay ta London, was for about two years, 1818- 19, at Chester, continuing to exhibit the same class of subjects. lie died at Wrex ham, Denbighshire, December 24, 1824, 129 DOY His portraits, which are very numerous, are drawn with the pencil, and a httle tint used. They are frequently ta profile, cor rect, but hard. His compositions were ta water-colours, and though weak, were much esteemed, fie patated ' Rosalind ' for the Shakespeare Gallery. His portrait-group of Miss Farren and Mr. King, ta charac ter, is engraved, as are some other of Ms works. DOYLE, John, caricaturist (known as ' H. B.'). Was borii of a respectable family ta Dublin, 1797. Fond of art, he became a student in the Dublin Society's Schools. He soon gained notice as a portrait painter, and about 1822 came to London, and between 1825-35 occasionally exhibited a Sortrait at the Academy, but from the ifnculty which he experienced in making a connection as a portrait painter, he was led to lithograph and publish likenesses of some of the most prominent of the pubhc characters of the day. They became pop ular, and gaining thus a power of seizing with his pencU the prominent peculiarities of face and action, he was led to caricature. His drawing was stiff and formal, wanting in vigour and abandon. His subjects were pohtical, always treated with a gentlemanly feeling of propriety, never descending to any approach to vulgarity. He was, for the eventful period from 1S29 to 1840, re cognised as the caricaturist of the day, the events of which he doubtless ta some way influenced by Ms grapMc comments. He died January 2, 1868, aged 70. DRAKE, Nathan, portrait painter. He was son of a vicar of the Cathedral at York, ta which city and at Lincoln he cMefly practised, fie exhibited with the Society of Artists, of which he was a mem ber, between 1760-80, and among his con tributions were — ' A Family in little,' views of Seats ta Yorkshire, subjects from Thomson's 'Seasons,' a 'Madonna and Child.' He published ta 1751, a ' View of the Town of Boston ' engraved by Muller. DRAPE NT IERE, John, engraver. Supposed to have been bom ta France. He resided ta London towards the end of the 17th century, and practised as an en graver. There are some neatly engraved portraits and frontispieces by Mm, but they are badly drawn. He also etched some portraits, one of which is dated 1691. A satirical print of a lady shaving a gentleman is also his work. DRAX, Miss, subject painter. Made some drawtags and designs in the last quarter of the 18th century. One of her designs is engraved by Tomkins, and printed ta colours. DROESHOUT, John, \ engravers. DROESIIOUT, Martin, / Tliey re sided in London about the middle of the 17th century, and were employed by 130 DEU the booksellers, chiefly upon portraits and frontispieces, which have little merit, though the weU-known portrait of Shake speare by Martin is probably an authentic likeness. DRUELL, John, architect. Brought up to the Church. He was the joint arcMtect of AU Sotas CoUege, Oxford, commenced in 1437, and was employed as surveyor and architect by Archbishop CMcheley. He afterwards became arch deacon of Exeter. DRUMMOND, James, R.S.A., subject and history painter. Was bom ta Edin burgh ta 1816, and was a student of the School of Design there under Sir William AUan. He was elected an Associate of the Royal Scottish Academy ta 1846, and a fuU member ta 1852, while ta 1857 he became Librarian. fiis pictures, 'The Porteous Mob ' and ' Montrose on nis way to Execution,' are now ta the Scottish National Gallery, of which Gallery he was elected principal curator ta 1868. He was very fond of Scotch antiquities, and his studies ta this direction are very evident ta Ms pictures. He was an active member of the Antiquarian Society of Scotland. He was an occasional exhibitor at the Royal Academy ta London, the last time being ta 1865, when he sent ' Claverhouse and the Duke of Gordon.' Two of his paintings, ' Peace ' and ' War,' are the pro perty of the Queen. He died ta Edinburgh, after a long Ulness, August 12, 1877. DRUMMOND, Samuel, A.R.A., por trait and history painter. He was bom in London, December 25, 1763. His father fought for the Pretender ta 1745, and was for some time obliged to leave England. The son, at the age of 14, ran off to sea, and was ta the service for six or seven year's. Then, having fostered some love of art, he determined to try patating. He first drew portraits ta chalk, afterwards in oil, but without having had any instruction. Gaining some facility, he was engaged to draw for the ' European Magazine,' on wliich he was employed for several years. He first exhibited at the Academy ta 1791. In 1793 he sent two sea-views, with some portraits; ta 1811, 'The Woodman;' in 1804, ' The Drunken Seaman Ashore' and 'Crazy Jane.' These works gained him some repute, and ta 1808 he was elected an associate of the Royal Academy, and was afterwards appointed curator of the paint ing school, fie patated a ' Battle of Tra falgar' and a 'Death of Nelson,' which were engraved; and on a large canvas, ' Admiral Duncan receiving the Sword of the Dutch Admiral De Winter,' a com mission from the directors of the British Institution, who presented it to Greenwich Hospital. He continued to exMbit both at the Academy and the British Institu- DEU DUN tion, where he received a premium of 50/. ta 1827. His later works were chiefly sacred subjects and from the poets. He died ta August, 1844. His early manner was marked by a neat execution, but he grew careless ta his finish, and his colour was crude and chalky. In the National Portrait GaUeiy the portraits of Mrs. Fry and Sir Isambard Brunei are by him. DRURY, Susannah, landscape painter. Practised about the middle of the 18th century. Vivares engraved 'The Giant's Causeway ' after her. DUBOIS, Edward, landscape painter. Was born at Antwerp ta 1622, and studied there under a landscape painter. He passed eight years ta Italy, and was employed by the Duke of Savoy. He then came to England ta the reign of Wiffiam IIL, and settled here, practising landscape, and occasionaUy history. He died, aged 77, ta 1699, and was buried at St. GUes's Church, London. DUBOIS, Simon, portrait painter. Younger brother of the foregoing. Was a pupil of Philip Wouvermans. fie came to England ta 1685, and commenced practice as a portrait painter. He exceUed ta battle-pieces, and afterwards patated with geat minuteness figures, horses, and cattle. e was an imitator of the manner of others, and sold bis pictures under assumed names, several of them as originals by the Italian masters. He hved ta Covent Gar den, with his brother, ta a miserly way, both heaping up their gains together. On his brother's death he became ac quainted with Vandevelde, and married Ms daughter. He died ta May 1708, the year after his marriage, and was buried at St. Gnes-in-the-Fields. He left his hoarded money and a large coUection of pictures to his widow. He patated the portrait of the Lord Chancellor Somers, and many distinguished persons sat to him. There is a whole-length portrait by him of Arch bishop Tenison at Lambeth Palace. DU BO SC, Claude, engraver. Was born ta France, and brought to England by Dorigny ta 1712, to assist ta engraving the cartoons, but left Mm upon some differ ence, and engaged to engrave them Mmself for the publishers. He also undertook to engrave the Duke of Marlborough's battles, and, with the assistance of Baron and Beauvais, whom he brought from Paris, completed them ta 1717. He then set up as a printseller, and in 1733 published an English translation' of Picart's 'Religious Ceremonies,' with iUustrations, part of wMch he engraved Mmself. He also en graved some plates after eminent masters, the best of wMch was ' The Continence of Scipio,' after Nicholas Poussta. His draw ing of the figure, particularly the nude form, was weak and incorrect ; his style black and heavy. DUDLEY, Thomas, engraver. He was born about 1634, and was esteemed one of Hollar's best pupils. In style he closely imitated his master. He etched some good plates, and his best work was a set of etchings, after Barlow, for the 'Life of iEsop.' DUFFIELD, William, still-life paint er. He was born and educated at Bath, where his father was the proprietor of the Royal Union Library. When a boy he was fond of drawing, and was placed as a pupU with George Lance, and studied in the schools of the Royal Academy. For a time he practised portrait painting at Bath, sending from thence, ta 1849, a fruit-piece, his first contribution to the Academy Ex hibition, and ta 1856 a simUar work. He then studied for a season at Antwerp, and ta 1857 settled at Bayswater,and conttaued with increasing reputation to exhibit at the Academy and ta Suffolk Street. He patat ed dead game, flowers, and still-life with great ability, and was of much promise. fie had lost the sense of smeU, and paint ing in his room from a dead deer, was in sensible to its dangerous state of putrefac tion, which caused an illness, of which he died September 3, 1863, aged 46. DUFFIN, Paul, portrait painter. His father kept a mad-house ta Chelsea. He for some time towards the middle of the 18th century practised as an itinerant artist, and patated several portraits ta the neighbourhood of Canterbuty ; afterwards he became a picture-cleaner aud dealer. There is a ' Country Wake ' patated and etched by Mm, but it is entirely founded upon Teniers. He washving about 1755. DU GUERNIER, Lewis, engraver and draftsman. Bom at Paris in 1677. Was a pupU of De Chatillon. He came to Eng land ta 1708, and greatly improved by Ms studies ta the Artists' Academy, of which he was chosen the director, and conttaued ta that office till bis death. His cMef em ployment was ta engraving book frontis pieces. He assisted Du Bosc ta engraving the Duke of Marlborough's battles ; en- Saved the portrait-heads of the Duke and uchess of Queensberry, after Kneller, and a 'Lot and his Daughters,' after Caravaggio. He never attained much skill with Ms graver, but he was a good drafts man, and some small figures engraved by him are of great merit. He died of small pox at the age of 39, on September 19, 1716. DUNCAN, Thomas, R.S.A., A.R.A., history and portrait painter. Was bom at Kinclaven, Perthshire, May 24, 1807. WhUe at school he painted the scenery for the play of ' Rob Roy,' which was got up by Ms schooIfeUows, and had a desire to be k2 131 DUN an artist, but his parents placed him in the office of a writer to the signet, whose pro fession they deemed more advantageous. When he had finished his engagement, and was ta his 20th year, his desire sthl prevailed, and he went to Edinburgh, and entering the Scottish Academy made rapid progress ta his elementary art studies, fiis early works — 'Sir JohnFalstaff' and' Sweet Anne Page ' — having gained him a reputa tion ta Edinburgh, he was chosen a mem ber of the newly-founded Royal Scottish Academy ta 1830. He exMbited at the Royal Academy, London, in 1840, Ms picture of ' Prince Charles Edward and Ms Highlanders entering Edinburgh after the Battle of Preston Pans ; ' ta 1841, Ms 'Auld RobM Gray;' ta 1842, his 'Deer stalkers ; ' and ta 1843 he was elected an associate of that Institution. He after wards painted ' PiMce Charles asleep, con cealed, after CuUoden.' The above two pictures of Prtace Charles, which are Ms best productions, were well engraved, and confirmed his reputation. His last exM bited works were in 1844 — a ' Cupid ' and ' The Martyrdom of John Brown of Priest- hill, 1685.' He was attacked by a tumour affecting the brain, of which he died at Edinburgh, May 25, 1845, aged 38, leaving a widow and family without provision, fiis works show considerable abUity ta drawing, composition, and colour, but his premature death prevented the full development of talents which promised still higher tilings. DUNCANNON, Frederick, Viscount, amateur. Born ta 1758, and became 3rd Earl of Bessborough. Painted ta water- eolours. Four views by him are engraved in Angus's 'Views of the Seats of the Nobility and Gentry ta Great Britain,' commenced- ta 1787. He died ta 1844. DUNKARTON, Robert, mezzo-tint . engraver. Born ta London ta 1744. He was a pupU of Pether, and in 1762 was awarded a premium by the Society of Arts. ¦¦ He first commenced as a portrait patater, "and exhibited portraits at the Spring Gar dens ExMbitions ta 1768-69, and at the Royal Academy, commencing ta 1774 — portraits in crayons, small whole-lengths, theatrical portraits, and others, discontinu ing to exMbit after 1779. But Ms cMef art was as a mezzo-ttatist, ta which he was rarely surpassed. He engraved portraits after Reynolds, West, Mortimer, Pether, and some Mstorical subjects — 'The Dis ciples at Emmaus,' ' Joseph's Cup found ta Benjamin's Sack,' 'Joseph sold by his Brothers,' 'The Interpretation of the Dream.' He died towards the end of the century. DUNSTALL, John, engraver. He Sractised in the reign of Charles IL, and ved ta the Strand, where he taught draw- tag. He designed, engraved, and etched a 132 DUP set of prints on natural history — birds, beasts, flies, worms, fruit, and flowers, which is dated 1662. He engraved, ta the manner of HoUar, portraits and frontispieces for books, and portraits of Mary of Modena and of King William and Queen Mary. DUNTHORNE, John, portrait paint er. Practised as a patater and draftsman at Colchester ta the latter part of the 18th century, and exMbited a portrait at the Academy ta 1784. Several of his works were engraved, among them ' Stella ' and the companion ' Rosina,' and a ' Catherine.' DUNTHORNE, John, subject painter. Son of the above ; practised at Colchester. He first exhibited at the Academy ta 1783, and continued an exhibitor up to 1792. fiis works were 'Death Preaching,' 'A Smithfield Bargain,' 'The Hypochondriac and the Lunatic,' 'Rustic Dinner,' 'A Farmer and his Faitaly of the last Century,' ' Ague and Fever,' and others of the same class. He died young and almost unknown though his works showed much abihty. DUPONT, Gainsborough, portrait- painter. Was born ta 1767, and was the maternal nephew of Gainsborough, R.A., in imitation of whom he patated some land scapes. He exMbited for the first time at the Royal Academy, ta 1790, a ' Cottage Girl,' with five portraits, and conttaued an exMbitor up to 1795. His cMef employ ment was ta portraiture. His principal work is a group of the masters of the Trinity House, for wMch he received 500/., now ta the court-room of that corporation. His portraits partook of the manner of his uncle. He died at his house ta Fitzroy Square, after a few days' illness, January 20, 1797. He was buried ta the" same grave with Gainsborough ta Kew church yard. DUPONT, Peter, engraver. Born in 1730, ta Paris, and completed Ms study there. He then came to London, where he settled. He engraved, after Gains borough, a portrait of General Conway and of Colonel St. Leger, and other works. He signed Ms plates ' PaM Pontius,' by which name he was known. He died ta London about the end -of the century. DUPPA, Richard, draftsman and copyist. Practised ta London. Towards the end of the 18th century studied some time in Rome, and copied some of the finest heads ta Michael Angelo's 'Last Judgment.' These he pubhshed under the title of ' Twelve Heads from the Last Judgment of Michael Angelo ; ' and after wards, ta 1803, 'Heads from the Fresco Paintings of Rafaello ta the Vatican.' In 1807 he published the 'Life of Michael Angelo,' with 50 etched plates, and in 1816 a ' Life of Rafaello Sanzio d'Urbino.' He also published several works unconnected with art. DUE DURANT, J. L., engraver. Practised ta London towards the end of the 17th cen tury. He was cMefly employed upon por traits and ornamental frontispieces for books. There is a portrait by him of Mary, Queen of William III. DURANT, Miss Susan, sculptor. She was of a respectable Devonshire f aitaly, and first practised art as an amateur, but her success led her to take it up as a profession. She was a frequent exMbitor of busts at the Royal Academy, commencing ta 1847, and occasionaUv sent also a group — ta 1850, ' Statue of a Girl ; ' ta 1856, * Statue of Robin Hood ; ' ta 1858, ' Negligent Watch- boy catching Locusts ; ' in 1S63, ' The FaitMul Shepherdess,' commissioned bythe corporation of London; in 1866, 'Constance,' from Chaucer's ' Man of Lawe's Tale.' She was much employed by the Queen, and modelled busts and medallions of the royal famUy. The Princess Louise was her pupU. She was a pupU of Baron H. de Triqueti, and died ta the prime of Me, after a few days' illness, when on a visit at his house ta Paris^January 1, 1873. DURHAM, Joseph, A.R.A., F.S.A., sculptor. Was born ta London ta 1814. He early shewed a taste for art, and was apprenticed to Mr. John Francis, a decor ative carver. He afterwards worked for ttaee years ta the studio of E. H. BaUey, R.A. He first exhibited ta the Royal Academy ta 1835, and from that time for ward worked hard and produced many busts j of these, his portrait of Jenny Lind exMbited ta 1848, and that of Her Ma jesty the Queen which was ta the Royal Academy ta 1856, are perhaps the most celebrated. Among his other works must be mentioned his statue of Sir F. Crossley, designed for HaMax, four sitting statues for the portico of the London Umversity, and several effigies ta stone of the Prince Consort, the first and best of which was placed in the Royal Horticultural Gardens, London, ta 1863. His best classical works are ' Hermione ' and ' Alastor,' now ta the Mansion House, and 'Leander and the Syren,' exMbited in 1875 at the Royal Academy. He also produced many groups of boys engaged in various sports, fie was elected an Associate of the Academy in 1866. He suffered under many dis orders and died in London, October 27, 1877, aged 63. DURNO, James, history painter. Bom about 1750. Was the son of a brewer at Kensington. He was pupU of Casali, an Italian patater who visited England ; and he also received some instruction from West, P.R.A., whom he assisted in pre paring duplicates of his works. He was a member of the Incorporated Society of Artists in 1766, and contributed classic subjects to the Spring Gardens ExMbitions DYC in'.l768-69 and 1772. Commencing Ms art as a Mstory patater, he gained premiums at the Society of Arts in 1766, 1770 and 1773, the last of 100 guineas, fie assisted Mortimer ta painting the ceding at Brocket HaU. In 1774 he went to Rome, where from that time he chiefly resided, and died of putrid fever, September 13, 1795. He patated at Rome two pictures for Boydell's ' Shakespeare,' but they are very poor pro ductions, saying little for Ms art. DUSIGN, , portrait painter. His father held the rank of colonel ta the regu lar army. He became a pupil of Sir Joshua Reynolds, and for a time practised portrait painting at Bath, where his family dwelt. He went to Rome for Ms improvement in art, and soon after died there of consump tion ta 1770. D U V AL, Philip, history painter. Born ta France ; was a pupU of Charles Le Bran. Settled ta England ta the reign of Charles II. and practised several years in London. He was much encouraged, and patated in 1672 the celebrated Mrs. Stuart, afterwards Duchess of Richmond, as ' Venus receiving from Vulcan armour for her son.' He had some knowledge of chemistry^ and lost his small fortune ta its pursuit, fiis art falling off at the same time, he was aUowed 50/. a year by Mr. Boyle, on whose death he fell into great distress, and his mind gave way. He died ta London ta 1709, and was buried at St. Martin's Church. DUVAL, C. A., portrait and subject painter. He practised at Manchester, where he was known and esteemed. From 1836, when he first exhibited a portrait at the Royal Academy, he was with some inter missions an exhibitor tUl his death. In 1842 he exhibited 'The Giaour;' in 1855, ' Columbus in Chains ; ' ta 1858, ' The Dedi cation of Samuel to the Lord;' ta 1861, 'The Morning Walk;' at the same time also sending portraits. He died suddenly, June 15, 1872, aged 64. DWYER, John, architect. He had from 1845 exhibited occasionally at the Academy designs for interior arrangements and fit tings, and was at once distinguished as one of the successful competitors ta the designs for the Government offices ta 1857. But he died suddenly of sea-sickness, on land ing at Dover, August 31, 1858, aged 39. DYAS, Edward, wood engraver. He was a clever, self-taught artist, who lived near Madeley, Shropshire. He executed the woodcuts for the Ulustration of ' Alex ander's Expedition,' a poem by Dr. Bed- does, printed ta 1792, but not published. DYCE. William, R.A., history painter. He was the son of a physician at Aberdeen, where he was born ta 1806 ; educated at the Marischal College, he took there his M.A. degree, and early distinguished himself by Ms attainments. Led by a love of art,. 133 DYC when in his 17th year he entered the schools of the Royal Scottish Academy ; afterwards he came to London and became a proba tionary student at the Royal Academy, but did not like the course of study, and before the age of 20 went to Italy and studied the works of the great masters at Rome and Florence. In 1826 he returned to Scotland, and ta 1827 exhibited his first picture at the Royal Academy, 'Bacchus nursed by the Nymphs.' He soon after revisited the Continent to mature his earlier studies. He sent home for exhibition a ' Madonna and ChUd,' which gained much notice, and after about two years returned and settled ta Edinburgh. Here he continued about eight years, devoted ta spirit to Mstoric art, M which he did not find encourage ment, and practising chiefly as a portrait painter. In 1835 he was elected an as sociate of the Royal Scottish Academy. He had paid much attention to orna mental design, which he had studied ta the palaces and churches of Italy ; and ta 1837 published a pamphlet on ' Schools of Design as a part of State Education.' The considera tion of the president of the Board of Trade was at the time directed to the subject, and he was offered and accepted the superin tendence of the schools established by the Government; and was ta the first place commissioned to investigate and report upon the Continental systems of art educa tion. He made a satisfactory report, wMch was printed as a parliamentary paper. In 1842 Ms office was changed to that of in spector of Provincial Art Schools, wMch he resigned in 1844, and was then made a member of the Council of the Government Schools, and gave his useful aid tiU 1848, when he finally resigned. He had failed to carry out Ms views for the establishment of schools of design, and the successful completion of Ms work was left to others. WhUe engaged ta such matters he had continued to exhibit, chiefly portraits, at the Academy ; but in 1836 his ' Descent of Venus ' attracted much notice, and in 1S44 he was elected an associate of the Academy. He had also been one of the successful competitors in the Fresco Exhibition ta Westminster Hall, and employed by the Royal Commission he completed in 1845 the first fresco, ' The Baptism of St. Ethelbert,' on the waUs of the palace of the Legislature. For this style of decoration he was pecu liarly fitted by his previous studies and the character of his art, and was deemed very successful. In 1848 he received the im portant commission to decorate the Queen's Robtag-room with designs from the legend of King Arthur. Of these he only hved to complete five, one principal and four lesser subjects, of unequal dimensions. The first, 'The Admission of Sir Tristram to the Fellowship of the Round Table,' typifies 134 DYE Hospitality; the second, 'The Vision of Sir Galahad and Ms Company,' Rehgion or Faith; the third, 'Sir Gawain swear ing to be merciful, and never to be against the Ladies,' Mercy; the fourth, 'King Arthur unhorsed, spared by Sir Launcelot,' Generosity ; the fifth, ' Sir Tristram harp ing to La Retae Isonde,' Courtesy, fie was elected an associate of the Royal Aca demy in 1844, and a fuU member ta 1848. Durtag the whole of his career he had conttaued to exMbit easel pictures at the Royal Academy. Of these, nis pecuhar art will be best remembered by his ' King Joash shooting the Arrow of Deliverance, 1844 ; and his sketch for the fresco, ' Neptune as signing to Britannia the Empire of the Sea,' 1847, patated for the Queen at Osborne House ; and of his later works, by his 'Jacob and Rachael,' 1853 ; ' St. JohnleadingHome the Virgin,' 1880 ; and ' George Herbert, of Bemerton,' 1861. He also patated a series of frescoes ta the church of AU Saints, Mar garet Street, Cavendish Square, completed ta 1859, ta which he has strictly followed out the theories of Ms art. It is greatly to be lamented that he did not hve to complete bis great epic legend of King Arthur, the delay upon which, and the controversy to which it gave rise, no doubt accelerated his death, which happened on February 15, 1864. He had passed the latter part of Ms Me at Streatham, and was buried at the parish church. He drew the figure correctly and with grace, but without much originality of style, founding himself rather on the old masters he had made his study. His colour was positive, not graced by the refinements of tint, but was weU stated to the character of his art. His works were more learned than original, marked rather by refinement of taste than an appeal to the feelings. To Ms great attainments ta art he added the accomphshments of a scholar and of a musician well skiUed ta the science of music. He published, ta 1842-43, ' The Book of Common Prayer, with the Ancient Music set to it at the Reformation,' for which the King of Prussia sent him a gold medal ; ' An Essay on Magnetism,' which gained him the Blackall prize at Aberdeen ; ta 1844, ' The Theory of the Fine Arts ; ' in 1851, ' Notes on Shepherds and Sheep : a Letter to J. Rustan ;' ta 1853, 'The National Gallery, its formation and management ; ' in 185S, ' On the Connection of the Arts with General Education ' and ' On the Position of Art ta the proposed Oxford Examinations.' DYER, John, amateur. Was bom at Aberglasney, ta Carmarthenshire, ta 1700. He was the son of a lawyer, and was edu cated at Westminster School, and intended for the law; but his inclinations led Mm to the arts, for which he was professionally instructed, and wandered through South EAG Wales and the adjacent counties, painting the ancient ruins and picturesque features of the scenery. In 1727 he disttagtashed himself as a poet by his beautifully descrip tive poem of 'Grongar HiU,' and about that time went to Italy, and agata his stu dies of nature were described with his pen, instead of his pencU, ta his poem of ' The Ruins of Rome,' 1740. Yet he spent much time in sketching ta the environs of Rome and Florence. On Ms return to England he entered the Church, and held the living of Calthorpe, in Leicestershire, which he exchanged for BelcMord, ta Lincolnshire, EAE and was afterwards presented to Co- ningsby, where, ta 1757, he pubhshed ' The Fleece,' his last work. He died of con sumption, July 24, 1758. Several of his landscapes exist. DYER, Charles, architect. Was born 1794, the son of a surgeon at Bristol. His principal works are at Clifton, where he btalt the Victoria Rooms, the Bishop's Col lege, and the Female Orphan Asylum. He was also the architect of several churches ta the West of England, and ta London of the hah of the Dyers' Company. He died January 13, 1848. E EAGLES, The Rev. John, amateur. He was a clever patater of water-colour land scapes, who resided ta Bristol, and was in 1809 an unsuccessful candidate for admis sion ta the Water-Colour Society. He had the reputation of being a good etcher, and was the author of a paper, ' The Sketcher,' published ta ' Blackwood's Magazine.' He also wrote ' Fehx Farley's Rhymes,' a maca ronic satire on the inhabitants of Bristol, and ' The Bristol' Riots : their Causes, Pro gress, and Consequences.' EARLE, A., marine and landscape painter, fie practised ta London, and first exMbited at the Academy, ta 1806, ' The Judgment of Midas ; ' ta the foUowtag year, ' The Battle of Poictiers ;' ta 1811 and 1812, 'Banditti;' ta 1814, 'Man-of-war's Boats cutting out a French Barque.' In 1815 he exMbited for the last time, his subject ' The Harbour and Town of Calais.' .Two views by him have been engraved — ' Malta, with the Harbour,' and the ' City and Harbour of Valetta.' EARLE, Thomas, sculptor. Was bom at Hull in 1810, and gained the Royal Aca demy gold medal and books for the best historical group of sculpture ta 1839. He was between twelve and fourteen years with Sir F. Chantrey, as designer or lead modeUer, and it is weU known that the equestrian statue of George IV. in Trafalgar Square was Earle's work ta Chantrey's studio. He exhibited from time to time ta the Royal Academy ExMbitions very artistic works such as ' Sin Triumphant,' 'L'AUegro,' ' Hyactathus,' 'Ophelia,' ' Mir anda,' and ' Flower Girl of Capsi,' ta 1873. A portrait of Her Majesty ta his studio at Ms death proves him to have been great ta his portrait busts. He died of valvular disease of heart, brought on by professional disappointment in London, 28 April, 1376. E ARLOM, Richard, engraver. He was son of the vestiy clerk of St. Sepulchre, London, and born there 1743. In 1757 he was awarded a premium by the Society of Arts. He showed an early taste for art, and made copies of Cipriani's aUegorical designs on the panels of the lord mayor's State carriage. This led to his becoming the pupil of Cipriani. He soon acquired a power of drawing, and mastered the tech nicalities of engraving. Alderman Boydell employed Mm to make drawmgs from the Houghton collection, and afterwards to engrave the chief of them in mezzo-tint. In this branch of his art he was self-taught, and introduced many improvements ta the mode of execution. He produced some etchings and some plates ta the chalk manner, but his chief excellence is as a mezzo-tint engraver. His works show great technical skill, and are marked by briffiancy? sphit, and trath; powerful, yet dehcate in a high degree, the drawing good, and the imitation of the master accurate ; yet, possessing these high quahties, they want keeping, the lights being too much scattered ; and they fail in the textures, which are not ta all cases natural. He engraved subjects, landscapes and portraits, both after the old masters and after his contemporaries, and was noted for his groups of flowers after Van Huysum and Van Os. His ' Liber Veri- tatis,' comprising mezzo-tint engravtags after 200 drawtags by Claude, published in 1777, is well known. He possessed a moderate property, yet he quietly pursued his profession, retiring only from practice towards the end of his long life, fie died ta Exmouth Street, Clerken- well, on October 9, 1 822, ta his 80th year, and was buried ta the lower burial-ground of St. Mary, Islington. His son, William 135 EAE EAS Earlom showed great talent for art, but died at the age of 17, in 1789. EARLOM, Richard, engraver. He is said to have been born ta 1728, ta Somer setshire, and to have died in 1794. He is mentioned both by Joubert and Basan as distinct from the foregoing Richard Earl dom. EAST, Thomas, die engraver. He was a ?upil of Thomas Simon, the great medalhst. Ie was appointed engraver of the seals to James II. , and practised in London ta the latter half of the 17th century. EASTLAKE, Sir Charles Locke, P.R. A., historical painter . He was the son of a lawyer of good standing at Plymouth, who filled the office of judge advocate and solicitor to the Admiralty, and was born in that town November 17, 1793. He com menced his education at the Borough Gram mar School, and was then removed to the Charter House, where he acquired a sound education. While here he made up his mind to be a patater, and wrote a boyish but grave letter to his father explaining Ms fixed intentions, wMch were probably in fluenced by the career Haydon was then entering upon. He had received some early instructions from Prout, and ta 1809 became a student ta the Academy Schools, where he worked industriously; attended Sir Charles Bell's anatomical lectures, and early cultivated a sound judgment. Sup ported by an adequate allowance from Ms father, he visited Paris, where he studied industriously for some months. He then settled at Plymouth, where he patated some portraits, and when the deposed Em peror Napoleon was brought into port there on board the 'Belleropbon,'he managed to paint a portrait of him, surrounded by his officers, which gained him notice, and by its sale assisted him in 1816 to set off for Italy and to extend his tour to Greece. Taking Malta and SicUy on his way home, he returned after nearly twelve months' absence. After only a temporary stay at Plymouth, he visited the Low Countries and Germany, and then went agata to Rome, purposing only to make a short stay ; but more and more attracted by the love of Itahan art, and the facilities for study, from time to time protracting his stay, he continued there about 12 years. In 1823 he sent from Rome Ms first contribution, comprising three views ta that city, to the Academy Exhibition; ta 1825, 'A Girl of Albano leading a Blind Woman to Mass,' and at once made himself known. In his next work, exhibited ta 1827, aiming at the highest style in art, he represented ' The Spartan Isadas rushing undraped from the Bath to meet the Enemy,' and was elected the same year an associate of the Academy. TMs was followed ta 1828 by another im- 136 portant workj ' Pilgrims arriving ta" sight of Rome,' which, with slight alterations, he repeated several times. In 1829 he exhi bited 'Byron's Dream;' ta 1830, 'Una delivering the Red Cross Knight ; ' and ta this and some works that followed he aimed to attain a richer style ta his colour. In 1830 he was elected a fuU member of the Academy. Durtag his long residence at Rome he had become used to the customs of the city, and had always been received into the best society ; but on Ms election a feeling of duty to Ms coUeagues induced him, though with great reluctance, to return to England, and ta the fohowing year he had settled in London, and exhibited two Itahan subjects, with his ' Haid6e, a Greek Girl.' In 1833 his ' Greek Fugitives ' was his prin cipal work ; and ta 1834, ' The Escape of Francesco di Ferrara,' with ' The Martyr' and some portraits. He was at tMs time, and for the next few years, entirely devoted to his;art, patating chiefly Itahan subjects, with a few portraits. In 1839 he exhibited Ms ' CMist blessing httle Children,' and ta 1841, ' Christ weeping over Jerusalem.' But he was now led to undertake some pub hc employments of high responsibility, but of great interest and utihty ta the cause of art, for which his varied acquirements, good judgment, and kindly impartiality rendered him peculiarly weU- fitted. He was, ta 1841, appointed secretary to the Royal Commission for the decoration of the Houses of Parhament ; ta 1842, the librarian of the Royal Academy ; ta 1843, keeper of the National GaUery; and in 1850 he was elected the president of the Royal Academy and received the honour of knighthood. He had been subjected to some groundless attacks, and had resigned his appointment at the National Gallery ta 1847 ; but on the reorganisation of the management of that Institution ta 1855, he was appointed to the newly-created office of director, with an annual salary of 1,000/. In fulfiffing tMs invidious trust, he year by year journeyed on the Continent to acquire pictures, and added 139 to the Gallery, including many fine works of the early Itahan school. WhUe occupied with these onerous engagements, and with his literary works and investigations on the principles of his art, he had httle thought or leisure for its practice. He exhibited in 1850 a replica of his ' Escape of Francesco di Ferrara,' which combines some of the finest qualities of Ms art, and has happUy found a place ta the National GaUery. In the foUowtag years he contributed only ttaee unimportant works, and after 1855 did not agata exliibit. His constitution had long been weakly, and broke down at Pisa, where he died De cember 24, 1865. His body was brought to England. A pubhc funeral, wMch the Royal. EBD EDM Academy proposed to give Mm, was declined by his widow, and he was carried to his grave ta the Kensal Green Cemetery, surrounded by his friends. He received the honorary degree of D.C.L. at Oxford, was a chevalier of the Legion of Honour, and an honorary member of some foreign academies. As a patater, he feU short ta Ms maturity of the early promise of Ms youth. His works have great refinement of feeling and idea, beauty of expression and graceful arrangement, but were over-finished, and did not exhibit any largeness of manner or execution. He seemed unable to realise the promptings of his ctativated genius. In office he was a painstaking and conscientious adminis trator, anxious to adapt the usefulness of the Academy over wMch he presided to the wants of the time. As a writer and critic, he was earnest ta the promotion of art and the interests of its professors. His chief published works are — ' Materials for a His tory of Painting,' 1847 ; ' The Schools of Painting ta Italy,' translated from Kugler, 1851 ; ' Kugler's Handbook of Painting,' edited with notes, 1855 ; and to these may be added some writings on subjects of pass ing interest, with reports and addresses to the students of the Academy. EBDON, Christopher, architect and topographical draftsman. He was one of the early painters of tinted views, and a member of the Incorporated Society of Artists ta 1766. He contributed to the Society's ExMbitions ta 1767 and 1770. An interior view of Durham Cathedral by him was engraved and pubhshed ta 1769. ECCARDT (or Eckhardt), John Giles, portrait painter. Born ta Germany. Came to England when young, and was the pupU of J. B. Vanloo. He settled ta London, where he gained some reputation as a por trait painter. He patated Sir Robert Wal pole and his first wife. Catherine Shorter ; Peg Wofltagton, ta 1745 ; Dr. Middleton ; and others? There were several whole- lengths by him ta the Strawberry Hill col lection . His works were carefuUy patated, but showed little of the genius of a master. Walpole addressed to him, ta 1746, ' The Beauties,' a httle poem. His coUection was sold by auction at Langford's ta 1770, and he retired to Chelsea, where he died ta October 1779. ECKSTEIN, John, modeller and por trait painter. Was born ta Germany; studied art ta this country, and was a pupU of the Royal Academy. In 1762 and ta 1764 he gained a premium at the Society of Arts for a basso-rilievo ta Portland stone. In 1770 he exMbited at the Aca demy portraits modeUed ta wax, and ta 1780 was an unsuccessful competitor for the Academy gold medal for a model of 'Adam and Eve.' He was employed by Mr. Carter, and carved the two figures in basso-rilievo, which were greatly admired by Flaxman, R.A., for the Townshend monument on the south wall of Westminster Abbey. He practised for a time in Bir mingham, and sent from thence in 1792 portraits for exhibition at the Academy: In 1796 he resided ta London, and then exMbited 'The Soldier's Return ' and a por trait-group of a lady and children, both paintings in oil. In 1798 he exhibited both models and paintings, and these were his last contributions. EDEMA, Gerard, landscape painter. Born at Friesland (or, as some state, at Amsterdam) ta 1652. He was a pupil of Everdtagen, and came to England in 1670. He then made voyages to Norway, New foundland, and the British Colonies in America, coUecttag subjects for his pic tures, lie dehghted ta the wild scenery of rocks and waterfaUs. He could not paint the figure, and was assisted by Wyck. He hved some time at Mount Edgecumbe, and patated many views ta that neighbour hood. He was intemperate in Ms habits, by wMch his early death, wMch took place at Richmond in 1700, was accelerated. EDMONSTONE, Robert, subject painter. Was born at Kelso, N.B., in 1795, of respectable parents, and was ap prenticed to a watchmaker, but he was so attached to art, that under many difficul ties he found means to pursue it. He brought Ms first works to Edinburgh, and received such encouragement that he was induced to come to London, as a larger field ta wMch to pursue his studies, deter mined to foUow art as bis profession. He became a student at the Academy, and also received some assistance from Harlow. He exhibited some portraits at the Aca demy in 1818, and again ta 1819, when he managed to visit the Continent, fie re mained abroad some years, diligently following his studies in Rome, Naples, Venice, Florence, and other cities. He returned to London and commenced prac tice as a portrait patater, exhibiting from 1824 to 1829 portraits and portrait-groups, but his chief thoughts were directed to subject pictures, works of imagination, into which he introduced chUdren with great truth and grace. In 1830 he exhibited ' Italian Boys playing at Cards.' He was in Italy a second time ta 1831-32, and on Ms return exhibited, ta 1833, 'Venetian Water-Carriers,' and ta 1834, some portraits of children, fiis works were marked by a refined sentiment ; the composition and action of the figures treated with much sim plicity. His career seemed one of much promise, but his constitution had suffered under a severe attack of fever at Rome. His health gave way. He tried his native air, but without relief, and died at Kelso, 137 EDE EDW in his 40th year, on September 21, 1834/ He painted at Rome, ' Kissing the Chains of St. Peter.' His last work was ' The White Mouse.' EDRIDGE, Henry, A.R.A., miniature painter. He was born at Paddington ta August 1769, the son of a tradesman ta St. James's, Westminster, who died young, leaving a widow and five ctaldren with scant provision. He showed an early at tachment to art, and at the age of 14 became the pupil of WUliam Pether, the mezzo-tint engraver and landscape patater. Two years after the expiration of his ap prenticeship he was admitted a student of the Royal Academy, and in 1786 gained the silver medal, and with it the notice of Sir Joshua Reynolds, who permitted Mm to make miniature copies from Ms works. From this time he laid aside engraving, and studying miniature successfuUy, estab lished himself as a portrait painter, and marrying, settled m Dufour's Place, Golden Square. He first exhibited at the Academy, in 1786, ' The Weary Traveller,' a miniature ; in 1803, portraits of the King and the Queen. His earlist works were on ivory, afterwards on paper drawn with black-lead or Indian ink. Then later he abandoned this method, and drawing the figure ta a slight, spirited manner, finished the face of his sitter elaborately ta water- colour. He had a great feehng for land scape art, which he acquired from a study. of Hearne, whom he surpassed ta colour and power. In 1817, and again ta 1819, he visited France and sketched many picturesque subjects in Paris and the Norman cities. In 1820 he exMbited some of these drawings at the Royal Academy, and was elected an associate the same year. There are by Mm two small land scapes in oil. He lost his daughter when in her 17th year, and soon after his remaining child, a boy of the same age. His constitution gave way under this last blow ; he died in Margaret Street, Caven dish Square, where he had resided dm-ing the previous 20 years, on April 23, 1821, and was buried by Ms friend Dr. Monro, in Bushey Churchyard. EDWARDS, Edward, A.R.A.,portrait and subject painter. Was the son of a chairmaker and carver, and born M Castle Street, Leicester Square, March 7, 1738. He had some ability for drawing, and ta 1764-65 received premiums at the Society of Arts. He became a student ta the Duke of Richmond's Gallery and the St. Martin's Lane Academy, and a member of the In corporated Society of Artists. For some time he taught drawing in an evening school to support himself and his widowed mother, with a brother and sister. He was successful in gaining three of the Society of Art's premiums, and was employed by 138 Alderman BoydeU in maMng drawtags for his publication of engravtags from the old masters. In 1770 he resigned Ms member ship with the Incorporated Society, and first exhibited at the Academy, in 1771, ' The Angel appearing to Hagar and Ishmael ; ' ta 1773, 'Bacchus and Ariadne,' followed by portraits, landscape and Shake speare subjects, continuing to exliibit to the year of his death. In 1773 he was elected an associate of the Royal Academy, and ta 1788 was appomted teacher of perspective. In 1775 he managed to visit Italy, it is said with the assistance of Mr. Udney, by whom he had been employed, and on his return settled down in the practice of his profession. He painted a subject from the ' Two Gentlemen of Verona,' for the Shake speare GaUery, but his works were not of a character to attract notice, and such success as he had was due to persevering labour rather than to genius, fie possessed some knowledge of architecture, and was a toler able musician and violin player. He pub lished ' A Treatise on Perspective ' ta 1803, and ' Anecdotes of Painters,' a sort of sup plement to Walpole's work, by wMch alone he is now remembered ; also, in 1792, a series of 52 etchings on various subjects. Weakly in frame and ta constitution, he died December 10, 1806, and was buried in old St. Pancras's Churchyard. A memoir of him is prefixed to his ' Anecdotes of Painters,' pubhshed after his death. EDWARDS, George, draftsman. Born at Stratford, Essex, 1694. Was apprenticed to a tradesman ta London, but having a distaste for his business, he managed to get to Holland ta 1716, and to improve a feeling for art. Two years after he made a voyage to Norway, and explored the rocks and precipices, the haunts of numerous birds ta that arid region. He. passed through Paris on his return to London, and now, with the materials he had coUected, applied himself to the study of natural Mstory, and made coloured drawMgs of birds and ani mals. In furtherance of this study he went, ta 1731, to Holland and Brabant, His abffities led to his appointment, in 1733, as librarian to the CoUege of Physi cians, and he became, by means of the valuable collections placed ta his charge, one of the most eminent ornithologists of his day. His drawtags give Mm a claim to a place ta this work ; of these, above 900 were sold to Lord Bute, about 1759, for 300/. In 1764 he completed a history of birds and afflmals, and then ta Ms 70th year, his sight faffing, he retired to Plais- tow, in his native county, and died there July 23, 1773, ta his 80th year. EDWARDS, Sydenham, draftsman. Born about 1768. He was an accurate botanical and animal draftsman, Ms works highly finished. He exMbited at the Aca- EDW EGG demy, in 1792, a pair of goldfinches, and continued to exMbit, but at distant inter vals, up to 1813, dogs, horses, birds, and flowers. He attracted notice by his work ' Cynograptaa Britannica,' coloured engrav ings of the various breeds of British dogs, with observations on their properties and uses, and became the first botanical drafts man of the time, constantly resorting to nature. He drew for Rees's ' Encyclopaedia,' the ' Flora Londinensis,' the ' Botanical Magazine,' the 'Sportsman's Magazine,' and ta 1809 published, himself, ' Represent ations of 150 Rare and Curious ornamental Plants.' He died at Queen's Elm, Bromp- ton, February 8, 1819, ta his 51st year. EDWARDS, W. H., Camden, engraver. Born at Monmouth about 1780. fie en graved ta the line manner cMefly portraits, practising ta Norfolk and Suffolk, and died about 1840. EDWARDS, William, bridge builder. Born at EglwysUan, Glamorganshire, ta 1719, the son of a farmer, who died when he was otay 2 years old. fie hved with his mother on a smaU farm tiU he was about 16, and showed a natural skill ta repairing the stone fences wMch are used ta that county ; bunt some workshops and mills, and then, with great reliance upon his un taught skUl, undertook the difficult task of throwing a bridge over the Taaf, a river that is subject to violent floods. His first bridge, constructed ta three arches, was soon after its completion carried away by a furious flood, fie commenced a second with one arch of 140 feet span, wMch in the progress of the work sprung on the crown, forcing out the key-stones ; not daunted, however, he lightened the pressure on the haunches of the arch by cylindrical openings. It was completed in 1753, and stands to our day a proof of the self-rehant skill of the btalder. At the time the arch had the greatest known span, and introduced its able constructor at once to notice and employment. He built some other bridges in Wales, and greatly improved the art of construction. He was caUed ta his own locality ' the bridge btalder.' He did not learn English till he had passed his 20th year. He studied the man ner of hewing and dressing his stones from the masonry of the old Welsh castles. He was a man of great probity, was of the sect of Calvtaistic Independents, and about 1750 was ordained their minister. He had six chUdren, and his son David was skUful in bridge building, and erected several fine bridges. He died near CaeiphUly, August 7, 1789. EDWARDS, Francis, architect. Was bom ta Southwark, September 3, 1784. He was apprenticed to a cabinet-maker, and cultivating his taste for drawing, was em ployed ta Sir John Soane's office in 1806, and gained admission to the schools of the Royal Academy. In 1809 and 1810 he exhibited at the Academy arcMtectural designs, and ta 1811 was successful ta com petition for the Academy gold medal for architecture ta Ms design for a theatre. At this time he left Sir J. Soane's office and was employed as a draftsman, continuing to exhibit at the Academy. He sent in 1813 a design for a theatre, and ta 1816 a design for a cathedral. About 1823 he formed some connection, and was employed ta valuations and arbitrations, and did not exMbit after 1830. He btalt one or two mansions, but had httle opportunity to realise his early abffity ta design. He died ta Bloomsbury, August 15, 1857. EGAN, James, mezzo-tint engraver. Was born ta 1799, ta the county of Ros common, of humble parents. In 1825 he was employed by Mr. S. W. Reynolds, and was httle better than his errand boy. Being set by his master to prepare his mezzo-tint grounds, he learnt the first step ta his future art. Quitting this service he com menced his career by laying grounds for engravers, and without money, or indeed friends, he rehed for success upon his own industry and abffity. His application and desire to improve interested all to whom he became known. He worked hard, suffered many privations, but concealed his necessi ties, wtale he educated himself ta his art. Then, when he was about to reap the fruits of his perseverance, his health failed under the great exertions he had undergone, and he sunk gradually, labouring to the end. His latest work, finished under such trying difficulties, was ' English Hospitality ta the Olden Time,' after Cattermole. fie died at PentonvUle, October 2, 1842, aged 43, and left a family, to assist whom a sub scription was raised by his friends. EGERTON, D. T., landscape painter. He was one of the foundation members of the Society of British Artists, and exhibited with the Society some landscape views and compositions ta 1824 and 1829. He was next a contributor, ta 1838 and the follow ing year, of landscapes ta Mexico, intro ducing characteristic groups of figures, which gained him great notice. In 1840 he exhibited his last work, ' Niagara.' He was murdered in Mexico, at a village a few miles from the capital, in 1842. EGG, Augustus Leopold, R.A., subject painter. He was the son of an eminent gunsmith ta Piccadilly, and was born there May 2, 1816. Showing considerable ability in drawing, he entered Sass's Art School ta 1834, and the following year was admitted a student of the Royal Academy. In 1837 he exhibited, at the Suffolk Street Gallery, his first picture ; ta the foUowtag year his ' Spanish Girl,' at the Royal Aca demy, and from that time he became a 139 EGG ELD constant exhibitor. His 'Buckingham Rebuffed,' in 1844, gained Mm much notice. His 'Wooing of Catherine,' ta 1846, and ' Lucretio and Bianca,' in 1847, gave him a high rank as a painter ; and in 1848 he was elected an associate of the Academy. In 1850 he produced his ' Peter the Great and Catherine ; ' and ta 1857, ' The Knighting of Esmond,' a work of very great grace and feeling ; in 1858, a painful subject, ta three parts, representing a seduction and its sad consequences. He was never a robust man, and his health had been seriously affected so early as 1852 or 1853, but he conttaued busily engaged in his art. In 1860 he exhibited 'The Dinner Scene' from 'Taming the Shrew,' a favourite subject, from which he patated an exceUent picture, and the same year was elected a full member of the Academy. His health was at tMs time declining ; for its re-establishment he was advised to winter at Algiers, where he found so much benefit that he was soon able to resume his work. Perhaps with renewed health he was too confident, for imprudently taking a long ride in the face of a bleak wind, all his utaavourable symptoms re turned, and he died of an attack of asthma on March 25, 1863. He was buried at the top of a high MU near Algiers, a spot which his friends chose ta preference to a crowded cemetery. He had married unhappily a few years before his death, and it was a great pain to him — perhaps an aggravation of his Ul-health — that his wife was not re ceived by his friends. His father left him a good property, wliich he had increased by his art. His works were sold at Chris tie's in May 1863. His early pictures were painted with a broad, free pencil, marked by great ease and facility — later by more laborious completion, his execution ta either case excellent. His sense of colour showed a refined and delicate appreciation of tint. His subjects were well conceived, Ms story well told, but too often representing sad ness and sorrow. EGGINTON, Francis, typographical engraver. Was born ta 1781. fie en graved many plates ta Straw's Stafford shire and a large plate of Pont-y-cypte aqueducts. He died at Newport in Staf fordshire, October 22, 1823. EGINTON, Francis, glass painter. Brought up at fiandsworth, near Birming ham, he was celebrated for his improve ments in glass painting, of wliich art he has been called the reviver. He executed numerous works, of wMch above 50 are known. In 1794 he restored the great west window at Magdalen College, Ox ford, and put up eight windows ta the ante-chapel containing whole-length por traits of the bishops, painted in bistre. Reynold's 'Resurrection' at Salisbury is 140 by him, and a ' Resurrection ' at Lichfield^ 'Solomon's Banquet to Queen Sheba,' at Arundel Castle, and a window at Sta tioner's Hall, were also his works, fie died at Handsworth, March 25, 1805, in his 68th year. EGINTON, William Raphael, glass painter. Was known by his numerous works in patated glass. He died near Worcester, September 17, 1834. EGINTON, Harvey, architect. Son of the foregoing. Studied Gotiiic architecture ta Worcester, where he resided, and was engaged ta the restoration of several parish churches. He died at Worcester, aged 40, February 21, 1849. EGINTON, J., engraver. There is a ' Hebe ' engraved by him, after HamUton, R.A^ ta 1791. EGLETON, William Henry, engraver. Practised ta London. Engraved landscape illustrations for the Waverley novels, 1833, and Ulustrations for Heath's 'Book of Beauty,' 1836. EGLEY, William, miniature painter. He was bom ta 1798, at Doncaster, where his family had removed from Nottingham. He was first employed ta the house of a London publisher, but soon determined to try Ms fortune as an artist, and entirely self-taught, had to contend for several years with many difficulties. He first exMbited miniatures at the Academy ta 1824, and improving ta his art and his connection had an extensive practice, and was for many years a large contributor to the exhibition up to 1869. His works were almost exclusively miniatures, wMch were marked by careful finish, truth, and simple purity of colour. He died ta London, March 19, 1870. EH RET, George Dionysius, flower painter. Born at Baden ta 1710, the son of a gardener. He early became celebrated for his abihty as a botanical draftsman. He visited France, and was employed by Jussieu. After this he came to London, but not succeeding here, he returned to the Continent. About 1740 he again came to London, settled ta England, and married the sister of the well-known gar dener and botanist, PhUip Miller. He was much esteemed and employed by our eminent botanists. He made drawtags for Trends ' Planta? Selects ' and Browns ' History of Jamaica,' and was chosen F.R.S. ta 1757. lie patated for the Duchess of Portland above 300 English and 500 exotic plants. By these labours, and by teactang, he realised a moderate independence. He died September 1770. . ELDER, William, engraver. Was born in Scotland, but practised cMefly in London towards the end of the 17th century. He worked mostly with the graver ta the mechanical manner of that ELD ELL time, and was employed by the bookseUers. He engraved Archbishop Sancroft, Bishop Pearson, Dr. Mayeme, Dr. Morton, Ray, the naturalist, Ben Jonson, Ms own por trait, and many others, with several of the heads for Rycaut's ' History of the Turks.' Faithorne.drew his portrait. ELDER, Charles, history painter. His exMbited works prove him to have at tempted the Mgher branches of art. He first contributed to the Academy a ' Sap pho ' ta 1845 ; ' Florhnel Imprisoned,' ta 1846; 'The Death of Mark Antony,' ta 1847 ; ' Ruth Gleaning,' with other works, ta 1848 ; and conttaued to exhibit tiU his death, December 11, 1851, aged 30. ELFORD, Sir William, Bart., amateur. He was of a Devonshire fanniy, and was created a baronet ta 1800. For many years, commencing ta 1784, be was an occasional honorary exMbitor at the Royal Academy, contributing landscape views and effects of sunset and shower up to Ms death at Totnes, ta his 90th year, November 30, 1837. There is at Windsor Castle a land scape by Mm, very good ta effect, wMch he presented to the Prtace Regent ta 1819. ELIZABETH, The Princess, amateur. Daughter of George III. ; born May 27, 1770. She drew with much correctness and taste. Her 'Birth and Triumph of Cupid' was engraved by Tomktas, ta 24 plates ; and a companion work, ' Cupid turned Volunteer,' was engraved by Gar diner ta 1804. She also designed 'The Progress of Genius,' published in 1816. She mamed the Prtace of Hesse-Homburg in 1818, and died January 10, 1840. ELLIOT, William, engraver. Born at Hampton Court ta 1727. He engraved with the point some landscapes ta a free and graceful manner. His best works are after Cuyp, Rosa da Tivoli. and Polemberg, but he engraved largely after the Smiths of CMchester. He also engraved a portrait of Helena Forman, after Rubens, fie died ta Church Street, Sdho, ta 1766, aged 39. ELLIOT, William, marine painter. He patated marine subjects and sea-fights, a httle ta the manner of Serres. The Loss of the Andromeda,' 1770, and some other of Ms works, are engraved. There are some landscapes by Ms hand. Two tame-looking sea-pieces by him are at Hampton Court Palace. He died towards the end of the 18th century. ELLIOT, Archibald, architect. Born ta Roxburghshire, and brought up as a joiner. He made Ms way up to London, where he found employment as a designer of cabinet work. While employed at Douglas Castle, a difference arose between the owner and the arcMtect, and he under took to complete the work. He was next the contractor for building Mona Castle, Isle of Man, and his success was the be ginning of Ms career. He designed Lon- down Castle, erected ta .Ayrshire, 1804 ; the Regent's Bridge, an imposing work, in Edinburgh, 1815-19 ; followed by the City Prison on the Calton HiU; St. Paul's Chapel, and other edifices. He died at Edinburgh, June 16, 1823, aged 62. ELLIOTT, Capt. Robert, R.N., amateur. He was, from 1784 to 1789, an honorary exhibitor of marine subjects of some pretension, painted in oil. In 1784, 'A Frigate and a Cutter ta Chase;' ta 1785, ' The Fleet ta Port Royal Harbour ; ' ta 1786, ' View of the City of Quebec ; ' in 1787, 'Breaking the French Line, Lord Rodney's Action ; ' ta 1788, ' Fire at Kingston, Jamaica ; ' and ta 1789, three naval actions. He sketched durtag his travels many landscape views, from which Prout, Stanfield, and others made drawMgs — cMefly views m the East, M India, Can ton, and the Red Sea. These were en graved and published in parts, 1830-33. ELLIS, .Joseph F., marine painter. He was born ta Ireland, and came to London about 1818. He was only twice an ex hibitor at the Royal Academy — ta 1819, ' Entrance to a Harbour ; ' and in the fol lowing year, 'Morning, the Departure.' One of his early works was exhibited at the British Institution, and was sold for 60/., but he never found such patronage again. He was duped out of several of his best pictures, and, following this loss, a series of reverses left him in the hands of unscrupulous men. For them he laboured at endless views of Venice, which found their way to the auction room, under the name of Canaletti. During the last seven years of Ms life he resided with a house- agent, who dabbled ta pictures ; and in an ill-ventilated bed-chamber, living on a weekly pittance, he worked incessantly ta manuf acturing copies of Canaletti and Ver- net, from originals brought to London for the purpose; and these, when dried and doctored, were placed ta the market. His best pictures, the fruits of his own study from nature, are original ta mannei'j and are rarely met with. He was frugal in his habits, and notwithstanding >, unassuming, his trials, fuU of good humour and goO' nature. He died at Richmond, Surrey, in his 65th year, May 28, 1848. ELLIS, John, scene painter. He was bom ta Dublin, and was apprenticed to a cabinet-maker there. Towards the end of the 18th century he practised as a scene patater ta Dublin, and for a time in London, and was noted for his valuable knowledge of perspective. He also produced some good landscapes in body colours. ELLIS, William, engraver. Bom in London 1747. Son of a writing engraver. Was a pupil of Woollett. Engraved many fine plates, chiefly landscapes, and worked 141 ELL in conjunction with his master. He is known by his plates after Sandby and Hearne, and a set of five 'Views of the Battle of the Nile,' 1800, admirably aqua- tinted, after Anderson. ELLYS, John (called 'Jack EUys'), portrait painter. Born 1701. At the age of 15 he was placed under Sir J. Thorn- hill, and afterwards for a short time under Schmutz. He was an imitator of Van- derbank, and became eminent among the portrait painters of the middle of the cen tury, and one of the few remaining painters of the KneUer school. Several of his por traits in George II.'s reign are engraved. He took Vanderbank's house, succeeded him in his connection, and was allowed to purchase his office of tapestry-weaver to the Crown. He also obtained the post of master-keeper of the lions ta the Tower, and in these easy circumstances did not do much at his profession. He is said to have called upon Reynolds, P.R.A., to see his works on his return from Italy, and to have advised him, ' Ah, Reynolds 1 this wUl never answer. Why, you don't paint in the least degree ta the manner of Kneller ; ' and on Reynolds's expostula tions to have flounced out of the room ta a great rage, exclaiming, ' Shakespeare ta poetry, and KneUer in painting, d me ! ' fiis portraits are well drawn, solidly patat ed, and quiet ta character. There is a good life-sized portrait-group by him of Lord Whitworth and his Nephew, and also a portrait, engraved, of 'Figg, the mighty Combatant.' He was a member of the Artists' Committee appointed ta 1755 to frame the plan of a royal academy. ELMER, Stephen, A.R.A., painter of still-life, fie resided at Farnham, where he dealt as a maltster, but not much is known of his early life. He tried art, and patated dead game and some rural subjects, in which he said he found more pleasure than profit. His work was patated in a bold, free manner, and with great truth to nature. In 1763 he was a member of the Free Society of Artists. He first exhibited at the Royal Academy in 1772, sending nine paintings, and was ta the same year elected an associate. From that year he was a constant exhibitor. In 1775 he sent 'The death of a Fox ;' ta 17S4, 'An Alarmed Poacher.' He conttaued to ex hibit up to his death, at Farnham, ta 1796. He left (with other property) a large col lection of paintings to his nephew, who made an exhibition of them for sale at the great room in the Ilaymarket, in the spring of 1799. TMs exhibition, which was called ' Elmer's Sporting Exhibition,' contained 148 of his own works, with some others he had collected. They consisted of dead game "and still life, and many of them realised very good prices. In 1801 a number of 142 ELS his works were destroyed by fire, and an in surance of 3,000/. was recovered for them. Some partridges by Mm were well engraved by J. Scott. His son was an artist. He patated fruit and game, and practised ta Dubhn and other parts of Ireland about the end of the 18th century. He exhibited at the Academy ta 1783-84 and 1799. ELMES, James, architect. Bom in London 1782. He was educated at the Merchant Taylors' School. Was pupU of George Gibson and a student of the Royal Academy, where he gained the silver medal for an arcMtectural design ta 1805. He exhibited some designs at the Academy between 1808-14, and designed and erected several buildings ta the Metropolis, fie was vice-president of the Royal Archi tectural Society ta 1809, and was appointed surveyor of the port of London, but is better known as a writer on the arts. He died at Greenwich, April 2, 1862, aged 79. He pubhshed ' Lectures on Architecture,' 'Memoirs of the Life and Works of Sir Christopher Wren,' 1823 ; ' The Arts and Artists, 1825 ; ' Bibliographical Dictionary of the Pine Arts,' 1826 ; with some others, more or less connected with the art ; and was a large contributor to the periodical art-literature of Ms day. ELMES, Harvey Lonsdale, architect. Was the son and pupU of the foregoing James Elmes, and was afterwards placed with a surveyor at Bedford, and then with Mr. Goodridge, who practised as an arcM tect at Bath. He was early looked upon as of great promise, and ta 1836, ta com petition with 85 candidates, was selected to erect St. George's Hall for the Corporation of Liverpool, and afterwards the CoUegiate Institution and the Assize Courts ta that town; and the County Lunatic Asylum for West Derby. With reputation and for tune before him, he died of consumption in Jamaica, November 26, 1847, at the early age of 34. His designs were left to the completion of others; his great haU at Liverpool, to the care of C. R. CockereU, R.A., who said the work surpassed every architectural production of this country in the century. He had commenced this fine work ta 1838, and the Prtace Consort was so pleased with it, on his visit to Liverpool in 1846, that he presented him with his gold medal as a mark of esteem. He left a widow and one child, for whom a sub scription of 1,400/. was raised, wMch, on their decease, was to be invested to found two ' Ehnes ScholarsMps ' for arcMtectural students. ELSTRACKE, Reginald, engraver. Bom in England; he flourished in the reigns of Elizabeth and James I. He en graved chiefly for bookseUers, after his own designs. His best works are portraits, wMch, though neat in execution, are hard ELY and tasteless in manner. Portraits of some of the most important persons of the time are from his graver, and these works are greatly prized for their rarity by coUectors. At Sir Mark Sykes's sale ta 1824, Ms plate of Lord Damley and Queen Mary, two whole-length figures, sold for 81/. 18s., and single heads fetched 10/. 15s. each. One of Ms later plates is dated 1611. fiis ' True and hvely Effigies of aU our Enghsh Kings' was dated 1618. ELVINS, Thomas, arcMtect. Practised with, some reputation at Birmingham, and died there, August 23, 1802. EMES, John, engraver and draftsman. He engraved Jefferey's large picture of ' The Destruction of the Spanish Batteries before Gibraltar,' exhibited ta 1783. There are also some clever water-colour drawtags by Mm, broadly treated and pleasing in colour. He exhibited some tinted views of gentlemen's seats at the Academy ta 1790, and some views of the Cumberland Lakes ta the foUowtag year. EMLYN, Henry, F.S.A., architect. He practised ta the latter part of the 18th century. George III. confided to him Some alterations ta St. George's Chapel, Windsor, wMch were executed entirely after his designs, and preserved a due? har mony with the original work. He pub lished drawtags for a new order of archi tecture, founded on the idea of a twtatree, connecting a double pfllar on a single pedestal He died at Windsor, in his S7th year, December 10, 1815. EMMET, William, sculptor. The only record of him is that he succeeded Ms uncle, one Philips; and was sculptor to the Crown ta the reign of Charles II. A very poor mezzo-tint portrait of him by Mmself is known to collectors. EMMETT, William, engraver. He practised ta London at the beginning of the 18th century, and worked with the graver ta a neat maimer. He engraved an interior and an exterior of St. Paul's Cathedral, and two views also of the west ern exterior bear his name. ENGLEHEART, Thomas, sculptor and modeller in wax. He was a student of the Royal Academy, and gained ta 1772, in competition with Flaxman, the Academy fold medal for a bas-rehef, ' Ulysses and _ fausicaa.' He exMbited at the Academy, ta 1773-74, busts, portraits modelled in wax, and conttaued to exMbit medallions and portraits ta wax up to 1780, and once again ta 1786, when his name disappears from the catalogues. ENGLEHEART, George, miniature painter. Was an early exhibitor, com mencing in 1773, of miniature portraits at the Royal Academy, and ta 1790 was ap- potatea 'miniature painter to the King.' He sometimes painted in enamel, but his ESS chief works are on ivory, and are marked by very great character — weU drawn and coloured, and fuU of power. He occa sionally exhibited a group, but rarely any fancy subject. He is said to have made a fortune by his art, and to have died at the end of the 18th century, but he certainly exMbited as late as 1812. ENGLEHEART, Francis, engraver. Bom in London 1775 ; was the nephew of the above George Engleheart. fie was apprenticed to Joseph Collyer, and was afterwards assistant to James Heath. He commenced by some plates after Stothard, R.A., but first gamed notice by his works after R. Cook, R.A. About the beginning of the 19th century he engraved the por traits for a coUection of the English poets. fie then engraved after Smirke, R.A., in cluding nearly 30 of his designs for ' Don Quixote.' His most important works are liis 'Duncan Gray,' after WUkie, and Ms ' Sir Calepine rescuing Serena,' after Hilton. Several of the smaU plates for the annuals are by Mm. After practising nearly half a century, he died February 15, 1849, in his 74th year. ENGLEHEART, 'J. D., miniature painter. He Mst exhibited at the Royal Academy ta 1802, and conttaued with httle intermission to exhibit, enjoying a good practice, up to 1828, after which year there is no further trace of him. ENGLISH, Josias, amateur. He was a gentleman of easy fortune, who lived at Mortlake, and was fond of etching. He imitated the works of HoUar, but without much success, and etched several small plates after Francis Cleyn, to which his name, fecit 1654, is attached. He also etched the 'Four Seasons,' a portrait of Dobson, the patater, and a ' Christ and the Disciples at Emmaus,' after Titian, reputed Ms best production. He died at Mortlake ta 1718. ENNIS, W., history painter. He was born ta Ireland and studied ta Dublin under the elder West. About the year 1754 he was assisted to visit Italy and made some stay ta Rome; on his return to Dublin he practised both ta history and portrait, but his art was weak. He was master ta the Dubhn Art School for teach ing the figure, and held that office till his death ta 1771, in the county of Wicklow, caused by a fall from his horse. ENSOM, William, engraver. There are by tMs graver some Mstorical subjects. He died at Wandsworth, September 13, 1832. ESSEX, James, architect. Was the son of a btalder at Cambridge, and born there ta 1723. He early disttaguished himself by Ms knowledge of the principles of Gothic ar chitecture, and was engaged ta 1757 to make drawings for Bentham's ' Ely Cathedral.' 143 ESS He was entrusted with extensive repairs of King's CoUege Chapel, Cambridge, the additions to Corpus Christi and Em manuel Colleges, and the repairs of several of the colleges there. He also repaired the chapel of Ely Cathedral, Lincoln Minster, and the tower of Winchester College Chapel. He designed, in the Itahan style, the Shire Hall, Cambridge, 1774, and the Guildhall, 1782. He published ' Remarks on the Antiquity of different Modes of Brick and Stone Buildings ta England,' 'Observations on Lincoln Cathedral,' ' On the Origin and Antiquity of Round Churches, and ta par ticular of the Round Church at Cam bridge,' ' On Croyland Abbey and Bridge,' and 'Designs for the new building of Benet's, Kings, and Emmanuel Colleges, Trinity Hall, and the Pubhc Library at Cambridge.' He ranks among the earliest of the practical revivers of Gothic. He died of paralysis at Cambridge, aged 61, September 14, 1784, and was buried ta St. Botolph's Churchyard. ESSEX, John, 'marbler.' Was em ployed to make the figures for the tomb of the Earl of Warwick, in Warwick Church, temp. Richard II. ESSEX, Richard Hamilton, water- colour painter. He was elected an associate exhibitor of the Water-Colour Society ta 1823, and from that year to 1836 was a constant contributor to the Society's Exhibitions. His works were all of an architectural character, almost exclu sively Gothic, with some few architectural designs ; among them were, ta 1823, ' The Quadrangle of Magdalen College, Oxford,' and ithe ' Interior of Beauchamp Chapel, Warwick ; ' ta 1S25, ' Views of the Interior and Exterior of Ely Cathedral ;' ta 1831, of some Belgian edifices ; about 1835, drawtags of several churches. He was also an occasional exhibitor at the Royal Academy of works of the same character, his last contributions being some interiors of Canterbury Cathedral in 1S53. He died at Bow, February 22, 1855, aged 53. ESSEX, William, enamel painter. His name first appears in the Academy catalogues in 1818. He was then living in Clerkenwell, and exhibited a ' Dog's Head' in enamel, aud in the two following years some animals ta enamel. In 1824 he ex hibited a head of the Empress Josephine, after Isabey ; and the next year some groups of flowers and a landscape, also in enamel. In the succeeding years, continu ing to paint in enamel, he exhibited por traits after Jackson, R.A., Lawrence, P.R.A., with an occasional scripture or history subject after the old masters. In 1839 he was appointed enamel painter to the Queen (by whom he was much employed), and in 1841 to Prince Albert. In the lat ter part of his career he painted one or two 144 ETT miniature enamels from the life. He ex hibited for the last time ta 1862, and died at Brighton, December 29, 1869, aged 85. He improved the texture of his art, and his works were greatly esteemed. He was one of the last of several weU-known and emi nent enamel painters who flourished in the present century. His son, William B. Essex, was brought up ta the practice of his father's art. He died at Birmingham in 1852, aged 29. ETHERIDGE, William, architect. He practised about the middle of the 18th cen tury, and among other public works he is distinguished as the designer of the bridge at Walton-on-Thames, 1767- The credit of tMs work gained him the appointment of surveyor of Ramsgate Harbour. He died October 3, 1776. ETTY, William, R.A., history painter. He was bom March 10, 1787, at York, where Ms father, a respectable man, carried on the business of a mUler, and also made gingerbread, wMch his mother sold. He early showed a predilection for drawing, and scribbled over every plain surface that feU ta his way. He learnt httle more dur ing his short schoolmg than to read and write, but picked up what he could among an intelligent family at home, and was piously taught by his parents, who were Methodists. Of a reserved, shy, and affec tionate disposition, he was sent from home ta Ms 12th year, and apprenticed to a letter-press printer ta Hull, where, not withstanding hard work and long hours, he found time to cherish his love of drawing and otherwise to gain knowledge — for seven years drudging conscientiously on, all the whUe dreaming of becoming a painter. Then, Ms prentice work done, an uncle in London, moved by Ms entreaties, invited him to the Metropolis, where he arrived in 1805, and after two or three weeks' work as a journeyman printer, was assisted by his uncle to study as an artist. He drew from prints and everything that came in his way, and having finished from the round a drawing of ' Cupid and Psyche,' he took it to Opie, who gave him an introduc tion to Fuseli, and he gained admission as a student of the Royal Academy ta 1807, and was a most diligent attendant in the schools. He first thought to paint landscape, then inclined to heroic subjects, and then to devote himself, as he said, to ' God's most glorious work, Woman.' In this uncer tainty of aim he was attracted by the works of Lawrence, then at the head of his pro fession, and became, in 1808, by the hberal help of his uncle, his indoor pupU for one yea,r ; after a hard struggle, but with little assistance, he acquired a power of handling and some of the technical manner of his master. He is an example of that perse* ETT EVA verance wMch long waited its reward. He was an unsuccessful competitor for the Academy medals, and Ms works sent for exhibition were rejected year after year ; yet he continued a constant worker in the life-school, his art was slowly developed by bis unremitting study ; and ta 1811 bis ' Sappho,' the first of his works exhibited, found a purchaser at the British Institution for 25 guineas ; and the same year one of his pictures, ' Telemachus rescuing Antiope, ' was hung at the Royal Academy ; and from that time his works found a place both at the Academy and at the British Institution. In 1S16, assisted by his brother, he set out on a long contemplated journey to see the Continental schools. He reached Paris, and crossed the Alps to Florence. But iU-health and spirits, de pressed by home-sickness, sent him home ta less than ttaee months. His works now gained some notice, and Ms genius, aided by so many years' hard study, began to develop itself. In 1820 Ms ' Pandora ' at the British Institution, fohowed by Ms ' Coral Finders' and ' Venus and her youthful SateUites arriving at the Isle of Paphos,' at the Royal Academy, gave him a name ; and Ms ' Cleopatra's Arrival ta Cihcia,' ta the foUowtag year, added to bis reputation, and found a pur chaser. Then Ms temporary success re vived his desire to see the works of the great Italian schools, and ta 1822 he visited Rome, Naples, Florence, and Venice, and copied some of the works of the great mas ters, especially of the Venetian school. Seduced" by the love of the fine works by wMch he was surrounded, he tarried ta Italy about 18 months, aDd then returned reluctantly home, bringing 'with him about 50 studies. He had hitherto lived ta Lambeth ; he now removed to Buckingham Street, Adelphi, and here he began and ended his great career. In 1824 he was elected an associate of - the Royal Academy, and then commenced the first of his long-contemplated series of large pictures, ' Woman pleading for the Vanquished,' 1825. But he patated before the second of the series, ' The Judgment of Paris,' for which he had accepted a com mission, and then commenced his ' Judith,' the story of the delivery of the Jewish people, a triptych, commenced ta 1827 and completed in 1831, of great grandeur, both ta conception and execution, and full of poetry. While engaged ta this great work, wtach was a commission from the Royal Scottish Academy, he was in 1828 elected a royal academician. In 1830 he agata visited Paris. He painted away at the Louvre, boasting that he was a true Eng lishman : was present during the Revolu tion, and on his return gave a vivid description of the scenes he had seen, saying he had had enough of the Continent, and hoped never to leave England again. From this time he vigorously pursued his art and his art-studies, constantly attending the life-school of the Royal Academy till 1S48, when his health declining, he retired to York, where he died of congestion of the lungs, November 13, 1849. In the pre vious June of that year 130 of his paintings were coUected and exhibited at the Society of Arts. He was present at the opening of the exhibition, but in very depressed spirits, and was quite overcome by the con gratulations of Ms friends. He was of a gentle, amiable nature, and hved a long bachelor life, though always falling ta love. He had realised about 17,000/. of funded property, and the sale of his paintings and studies produced about 5,000/. more. He left the bulk of his property to Ms niece and the remainder to his brother Walter. His life by A. GUchrist was pub hshed ta 1845 ; and a simple, unassuming autobiography appeared in the ' Art Jour nal,' 1849. His evenings were always spent, when ta the height of his career, ta the Academy Life-School, his whole hfe ta the continuous study of his art. His earnest study from the nude gave him an unequalled power of imitating flesh, both ta colour and texture. His progress was slow, and he waited long for the hope of encouragement — but his love of art was enduring and his persever ance at last crowned with well-earned fame. He delighted ta painting the beauty of the female form, and while it cannot be denied that his subjects were of a voluptu ous character, pure-minded Mmself, he was hurt that they sh ouldbe so deemed by others. Though a close student from nature, Ms imitation was general rather than individual. His colour and tone were fine, marked by a pecuhar grandeur, and well ta harmony with Ms noble conceptions. His landscape backgrounds never faU to be weU ta cha racter with his subjects. EVANS, David, glass stainer. Bornta Montgomeryshire ta 1793. He came early ta hfe to SMewsbury, and was apprenticed there to Mr. (afterwards Sir John) Betton, who ta 1815 admitted him into partnership. He patated the windows, which were of elaborate design and execution, for Lord Hill's mansion, Hardwicke Grange, near Shrewsbury ; and restored some fine win dows in Lincoln Cathedral and the east wtadow ta Winchester College. He died at Shrewsbury, aged 68, on November 17, 1861. He was a clever student of Ms art, and attained a prominent place in his pro fession. EVANS, GsoB.QE,portrait painter. Was a student ta the St. Martin s Lane Aca demy. He patated portraits occasionally, and was known ta his clay. He exMbited 145 EVA in 1764 and 1766 with the Incorporated Society of Artists, of which body he was a member, and died some time before 1770. EVANS, Richard, copyist. He was for awhile an assistant to Sir Thomas Law rence, and painted drapery and back grounds, and also painted a few portraits. He lived many years ta Rome, where he was chiefly employed in copying. The Raphael arabesques ta the South Kensing ton Museum are Ms copies. Retiring from art, he resided at Southampton, where, after several years, he died ta November 1871, aged 87. EVANS, William, water-colour paint er. Was born at Eton, December 4, 1798, and was the son of W. Evans, a teacher at Eton College. He succeeded his father as drawing-master ta 1818. He was elected an associate of the Society of Painters in Water-colours ta 1828, in which year he contributed a fine drawing of Windsor, with others of Llanberris, Eton, Thames fisher men, and Barmouth. He gained his mem bership in 1830, and died December 31, 1877, in the college where he had been born and educated. His art was eclectic rather than original, and his landscape painting produced no marked or original result in the school of water-colour paint ing. EVANS, William, engraver and draftsman. About 1800 he assisted Ben jamin Smith. He engraved ' The Grand mother's Blessing,' after Smirke. About 1805 he finished some works for Alderman Boydell, and ta 1809 engraved with much ability part of the ' Specimens of Ancient Sculpture.' He soon after sank into a state of morbid melancholy, impressed with doubts of his future state, and traces of Mm disappear. EVANS, William, water-colour painter. Known as ' Evans of Bristol.' fie hved for many years ta North Wales, and patated the mountain scenery, the cottages, and their interiors, with great originality and success. He afterwards visited Italy, and made many fine sketches of the mountain and lake scenery of that coimtry, winter ing successively ta Genoa, Rome, and Naples. He was from 1845 till his death an associate member of the Water-Colour Society. His first contributions to its exMbitions were exclusively Welsh scenes, but after 1852, for the next six years, as exclusively Italian ; but at all times Ms contributions were few. He died ta Mary- lebone Road, London, after a long illness, December 7, 1858, aged 49. EVELYN, John, amateur. He was born at Wotton, Surrey, where his family had settled ta the reign of Elizabeth, on Octo ber 31, 1620. He was educated at the Free School, Lewes, afterwards at Balliol College, Oxford, and then became a student of the 146 EXS law ta the Middle Temple. On the out break of the Civil War he joined the King at Oxford, but, with Ms Majesty's consent, travelled abroad, and went to Rome, where he made some sketches, which were en graved by Hoare. On his return in 1651, he became by marriage possessed of Sayes' Court, near Deptford, where he hved in close retirement, and was the author of several works. In 1660 he published his ' Sculptura,' after that his ' Sylva.' He in troduced Gibbons, the carver, to the notice of the King, and from HoUar having etched several views ta the vicinity of Wotton, is supposed to have befriended him. He was a distinguished lover of the fine arts. He etched five small plates from Ms own draw ings made on Ms journey from Rome to Naples, which bear his cypher, 'J. E., ft.' He died February 27, 1706, aged 86, and was buried at Wotton. EVESHAM, EpiPHANius,sczi/pfor. Was the pupil of Steevens, a Fleming, and prac tised ta the reign of James I. fie is men tioned as the first native sculptor whose name has been rescued from oblivion, but his works are unknown. EWBANK, John W .,B,.8.A.,landscape pa inter. He was born at Gateshead about 1779, and was adopted by a wealthy uncle. Intended for the Roman Cathohc ministry, he absconded from Ms college, and in 1813 engaged Mmself as apprentice to an orna mental painter ta Newcastle. He removed with Ms master to Edinburgh, and showing a talent for art, was allowed to study under Alexander Nasmyth, and soon disttaguished himself both as a teacher and a painter. His sketches from nature showed much freedom and trath ; and a series of views of Edinburgh by him were engraved ta ] 823 by Lizai's. fie patated the banks of riveis, coast scenes, and marine subjects of a ca binet size. About 1S29 he tried works of greater pretensions, and was nominated in 1830 one of the foundation members of the Royal Scottish Academy. He painted ' The Visit of George IV. to Edinburgh,' 'The Entry of Alexander the Great into Baby lon,' and ' Hannibal crossing the Alps,' and was at this time at the height of his repu tation. Fame and wealth were before him, but he gave way to habitual intoxication— his wife and f amUy were reduced to penury, and during the last 12 years of his life, he worked in the most abject misery, selling his pictures wet and unvarnished for a few shillings, to be spent ta sensual gratifica tion, fie died of typhus fever in the Infirmary at Edinburgh, November 28, 1847. fiis works are httle known in Lon don. He made the drawings, 51 in number, for James Browne's ' Picturesque Views of Edinburgh,' published in 1825. EXSH AW, , history painter. Bom in Dublin; studied, some time ta Rome. EYE About 1758 he was ta London and at tempted to establish a drawing-school, but he had no success either as an artist or a teacher. He patated, ta competition for the Society of Arts' .premium, ' The Black Prince entertaining the captive French Monarch after the Battle of Cressy.' fie died early ta 1771, and his studies and pictures were sold by auction ta the AprU of that year. FAI EYRE, James, landscape painter, lie was born at Derby in 1802, and was brought up for the profession of the law, but was led by his inclination to art. He had some assistance from Creswick, R.A., and De Wint, and studied both ta oU and water- colour. He exceUed ta cottage and lane scenes, and Ms works were of some promise, but he died prematurely ta 1829. F FABER, John, engraver. Born ta Hoi-. land, where he drew portraits from the Me on veUum, and also practised mezzo-tint en graving. He came to England about 1687, some accounts say later, and settled ta Lon don, residing for a long time in Fountain Court, Strand. His engraved portraits were many of them drawn from the Me, and his works, though not disttaguished by taste or execution, are no less held ta some estima tion by coUectors. Among them are 25 portraits of the Founders of the Oxford CoUeges, the Heads of the PMlosophers, after Rubens, and many portraits of the time. He died at Bristol ta May 1721. FABER, John, engraver. Son of the foregoing. Bom ta fioUand ta 1684, and when only 3 years old, brought to London by his father, by whom he was instructed. He was also a student ta Vanderbank's Academy. His art was confined to mezzo tint engraving, ta wliich he greatly exceUed, his manner being at once bold and free, with great finish and beauty. He was patronised by KneUer, and his works are very numerous. Among them are the 48 portraits of the Kit-Cat Club, published ta 1735 by Jacob Tonson ; the ' Hampton Court Beauties,' ' Charles II. ta Ms State Robes,' ' The Taking of Namur.' His col lected works, comprising 165 plates, were published ta two f oho volumes. He died of gout, May 2, 1746, at his house ta Bloomsbury. FACIUS, George Sigmund, ) engravers. FACIUS, John Gotlieb, ) Two bro thers, who were born at Ratasbon about 1750. Their father was the Russian consul at Brussels, and both studied engraving ta that capital. They were induced by Alder man BoydeU to come to London ta 1766, and settling here in Ms employment, they executed a great number of plates, chiefly etched, wMch were much esteemed. Among these works are a set of plates from Sir Joshua Reynolds's wtadow at New College, Oxford. They both died, it is said, at the latter part of the last century ; but there is an engraved plate after Reynolds, dated 1802, wliich bears their name. FAG AN, Robert, portrait painter. Studied for some years ta Rome, and was ta that capital 1794-98. He purchased the celebrated Altieri Claudes, and on the entiy of the French troops he suffered im prisonment on this account, but he assisted ta getting the pictures out of Rome, and brought to this country, where one of them is now an ornament of the National Gal lery. FAIRAM, John, portrait painter. Practised ta London ta the first half of the 18th century. Many of his portraits are engraved. FAIRFIELD, Charles, copyist. He imitated with great skiU the works of the Flemish and Dutch schools, and practised ta London durtag the latter part of the 18th century. He was of a retired, diffident temperament, and during a needy and la borious life, passed ta seclusion, was ta the hands of dealers, who avaUed themselves of bis powers, and purchased his exquisite copies for smaU sums, which by their means found their way into many coUections, where they are esteemed as originals. He, however, left behind him some few original works, which are evidence of his ability. He died ta Brompton ta 1804, aged about 45 FAIRHOLT, Frederick William, F. S. A., antiquarian draftsman. Was born in London of German parents in 1818, and brought up in the heart of the city to Ms father's trade as a tobacco manufacturer. He had, however, a taste for literature, and when about 15 years of age contributed two papers to Hone's ' Every Day Book.' He then tried art, and commenced Ms career as a teacher of drawing, also gaining some employment ta scene painting. lie was next engaged in book Ulustration, and made some of the designs for the ' Pictorial Bible,' ' Palestine,' ' The History of England,' and an edition of Shakespeare. From 1839 he was engaged as an antiquarian draftsman, 2 147 EAI FAL and is better known as an antiquary than as an artist. The Percy Society published his ' History of the old City Pageantry.' He also wrote ' A History of Costume ta England,' ' A Dictionary of Terms in Art,' and several other works, and contributed the drawings in illustration of some im- Eortant publications. In the latter part of is life he suffered from spasmodic asthma, which ended in consumption, of wliich he died April 2, 1866, at Brompton, and was buried ta the cemetery there. He left to the Society of Antiquaries a coUection of books on pageants, and an unfinished manu script by himself on the pageants of the middle ages ; to the Stratford Museum a Shakesperian coUection, a few scarce books to the British Museum, and to the Literary Fund the proceeds of the remainder of his library. FAIRLAND, Thomas, engraver, litho grapher, and portrait painter. As a boy he was fond of drawing, and practised from nature ta Kensington Gardens. He after wards entered as a student at the Royal Academy, and obtained the sUver medal ta the antique. He first tried lme engravMg, and became a pupil of Warren, and then, tatang up the new art of lithography, pro duced some very good works after the painters of that time, but from the com petition in tMs art was induced to turn his attention to portrait painting, and had many sitters. His perseverance did not, however, meet with success, and though he was employed by the Queen, he was unable to secure for his family more than the wants of the day. Ill-health could not overcome his resolute apphcation, and he died prematurely in October 1852, aged 48. FAIRLESS, Thomas Kerr, landscape painter. Was bom at Hexham, Northum berland, and was a pupil of Nicholson, a wood engraver at Newcastle, but he was unsettled, and eventually came to London, determined to study art as his profession. From 1848 to 1851 he was an exhibitor at the Royal Academy. He painted landscape ta a free, bold manner, and was a teacher of drawing. He died in his native town ta Ms 28th year, on July 14, 1853, before he had tune to develop Ms art. FAITHORNE, William, engraver and draftsman. Was born ta London in 1616, and was brought up under Robert Peake, the well-known engraver. After working with him for three or four years, on the outbreak of the Civil War, he was induced by his master to join the royal army, and was one of the defenders of Basing fiouse, and on its surrender became the prisoner of the Parliamentarians. He was for a time imprisoned ta Aldersgate, and during his confinement resumed his profession, till the solicitations of his friends obtained his release on condition of leaving the 148 country, and he made Ms way to Paris. Here he is said to have been assisted in his art by both Nantetal and Champagne, but this is doubtful. About 1650 he obtained permission to return to England, and soon after married and set up a print-shop near Temple Bar. He at the same time foUowed his art, and was much employed by the booksellers upon the portrait frontispieces in vogue at that time. About 1680 he left his shop, and devoted himself more exclusively to drawing and engraving portraits, the for mer chiefly ta crayons from the life. At this time he removed to Printing House Square, and here he died, when well ad vanced ta life, in May 1691, and was buried at St. Anne's Church, Blackfriars. fiis early manner was founded on the Dutch and Flemish schools, but he made con siderable improvement whUe ta France. His best portraits are finished with the graver ta a free and delicate style, with much force and colour. He did not draw the figure weU, and confined himself cMefly to the head ; but there are some historical plates from his graver, among them four subjects engraved for Taylor's 'Life of Christ.' Of his numerous portraits, Lady Paston, probably after Vandyke, is con sidered Iris chcf-d'ceuvre; an impression sold at Sir Mark Sykes's sale ta 1824 for 54/. 12s. He pubhshed his 'Art of Grav ing' ta 1662. His friend Flatman says of Iiim — ' A Faithorne sculpsit, is a charm can save From duU oblivion and a gaping grave.' FAITHORNE, William, engraver. Son of the preceding; bom ta London 1656, and instructed by Ms father. He practised solely in mezzo-tint, and produced a few works of some merit ; but Walpole teUs that ' he was negligent and f eU into distress, involving his father ta much care.' He" died prematurely in 1686, and was buried ta St. Martm's Churchyard. About 30 plates by him are known; of these, perhaps the most prominent are 'Mary, Princess of Orange,' after Hanneman; 'Sir Wiffiam Reade, the Oculist;' and 'Thomas Flatman snowing a Drawing of Charles IL' FALCONET, Peter, portrait painter. Was bom in Paris, the son of Falconet, the sculptor, who executed the largest equestrian statue of Peter the Great at St. Petersburg. He came to London, where he practised some years as a portrait painter. He was a member of the In corporated Society of Artists ta 1766, and foimd considerable employment between 1767-73, exhibiting ta the latter year two small whole-lengths in the Academy. He drew the portraits of the 12 most reputed artists ta London, wMch were engraved, FAN and the portrait of Granger, wMch forms the frontispiece to his 'BiograpMcal Dic tionary.' Several of his portraits were also engraved by Val. Green, Dixon, Eariom, and others. He composed some Mstorical subjects, wMch were extravagant in their manner, and patated the decorations of a Chinese temple for the Baroness de Grey at her seat ta Bedfordshire. He is said to have returned to France soon after 1773, but probably not much before 17S0. FANELLI, Francis, modeller anil sculptor. Was a Florentine artist and came to tMs country before 1640, ta which year he called himself 'Sculptor to the King.' He was celebrated for his works ta metal, which were finely finished. There is by him ta Westminster Abbey a bust of Lady Cotttaton, one of Charles I. at the Bodleian, and several of his works are at Welbeck. . FANSHAW'E, Catherine Maria, amateur. Born ta London about 1775. She etched about 20 historical and figure subjects with much abffity. She died about 1834. F ARINGTON, George, history painter. He was of an ancient Lancashire famUy. His father was rector of Warrington, where he was born ta 1754. In 1770-71 he gained premiums at the Society of Arts for landscape views. He received Ms first instructions ta art from his brother Joseph, and then became the pupU of Benjamin West, P.R.A., and an industrious student of the Royal Academy, where he gained the silver medal in 1779, and the gold medal for 'Macbeth' ta 1780. He exhi bited a portrait at the Academy ta 1773, and agata ta 1783. He was employed by Alderman BoydeU, for whom he made some exceUent drawings from the Houghton col lection. In 1782 he was induced to visit the East Indies, where he patated many pictures, and while engaged on a large weak representing the Durbar of one of the native princes, he imprudently exposed Mmself to the night air, and was seized with an Ul- ness which terminated his Me ta a few days in 1788. F ARINGTON, Joseph, R.A., land scape painter. Was the elder brother of . the foregoing, and was born at Leigh, Lancashire, on Nov. 21, 1747. He chose the profession of a patater, and in 1763 was placed under Richard Wilson, with whom he continued for several years, and was esteemed one of Ms best pupils. He gained several premiums at the Society of Arts, and at the age of 21 he was elected a member of the Incorporated Society of Artists. He worked with Ms brother upon the drawtags of the Houghton coUection, and on the completion of this work he returned to Ms own county, and studied the landscape scenery of the lake districts FAU of Cumberland and Westmoreland, ne returned to London in 1781, where he then settled. He was one of the first students of the Royal Academy, and from 1778 to 1813 was a constant exhibitor there of landscapes and landscape views. He was elected associate in 1783, and full member ta 1785, and then gave much time and exercised great tafluence ta the Academy councils. On the suspension of the five members of the council in 1804, Copley, R.A., says 'he was the avowed and active member of the confederacy which led to tMs schism.' In his landscapes he has not shown much poetry or grandeur ; his com position is poor ; his colouring is better, often possesstag power and brilliance; his pencilling is free and firm, but with a tend ency to hardness. He made numerous topographic drawings, using the reed pen with much sphit, and slightly washing ta the breadths with sepia or Indian ink. Many of his views of the English lakes were engraved by Byrne, Medland, Pouncey, and others, and published in 1816 ; and 76 views by Mm, in illustration of the history of the River Thames, were published ta 1794. He died of a fall from his horse in returning from church, December 30, 1821. FA RN BOROUGH, Amelia, Lady, amateur. Daughter of Sir Abraham Hume, Bart. Was born January 29, 1772, and married ta 1793 Sir Charles Long, who was ta 1826 created Lord Farnborough. As an amateur, she was disttaguished by her very clever water-colour drawtags, works of great truth and feeling. She ex hibited 'The Boulevards of Paris' at the Royal Academy ta 1819, and had from 1807 been an honorary exhibitor of many drawtags of considerable merit. She died June 15, 1837. FARRER, Nicholas, portrait painter. Born at Sunderland in 1750. He studied art under Robert E. Pine and ta the schools of the Society of Artists, and was admitted to the friendship of Reynolds and North - cote. He practised as a portrait patater, and imitated the manner of Reynolds. He was much patronised by the Duke of Richmond, and patated the portraits of the Duke and his famUy. He died 1805. FAULKNER, Joshua Wilson, por trait painter. Was a native of Man chester, and practised in that city. lie exhibited at the Royal Academy in 1809 the portrait of a lady in character, and two other works. Soon after he became a member of the Liverpool Academy, and exhibited at that Institution, fie settled in London about 1817, and in that and the two following years exhibited portraits at the Academy. In 1820 he exhibited there for the last time, sending some portrait- groups and ' A Boy with a Butterfly.' FAULKNER, Benjamin Rawlinson, 149 FAY portrait painter. Brother of the above. Was born ta 1787, at Manchester, and ta early life engaged in a commercial house, and had charge of a branch establishment at Gibraltar, where he lost his health from an attack of the plague, and returned to England about 1813. During his conva lescence he developed a taste for drawing, and, assisted by his brother, devoted him self to study from the antique. He then came to London and established himself ta Newman Street. In 1821 he first exhibited at the Academy, and conttaued an ex hibitor, exclusively of portraits, till his death. His works were distinguished by quiet taste and finish, but he did not gain much patronage. Some of Ms best por traits are at Manchester. He died October 29, 1849, aged 62. With great musical talent, he had the gift of a fine voice, and was for some time organist at Lying's church in Hatton Garden. F A Y R A M, J., landscape painter. He practised about the middle of the 18th century. One of Ms landscapes is engraved by Major, and there are some etcmngs by him of views about Chelsea and Battersea, and one of the Hermitage ta Kew Gardens. FEARY, John, landscape painter. Practised ta London. He gained a pre mium at the Society of Arts ta 1775, and painted views of gentlemen's seats and parks. He exhibited at the Academy, first time, ta 1772, and conttaued, with little intermission, an exMbitor up to 1788. FELLOWES, James, portrait painter. Practised with some repute ta the reigns of George I. and Geerge II. He was the reputed patater of ' The Last Supper,' an altar-piece, at St. Mary's, Whitechapel, which gave great offence from the assumed representation of Judas by the portrait of Dean, afterwards Bishop Kennet. This work, which has also been ascribed to Sir James Thornhill, was said to have been re moved to the Abbey Church at St. Alban's. It was engraved, and the Society of Antiquaries possessed a print of it. FERG, Francis Paul, landscape paint er. Born ta Vienna 1689, the son of an obscure artist. He studied under several masters in that capital, and gained a name by his small landscapes with figures, wliich he painted chiefly on copper. Invited by the Court to Dresden, lie passed several years there, and after a short stay at Bruns wick, he came to London ta 1718, and at once found employment and settled. His circumstances became depressed by an im prudent marriage, and he was always poor, not from excess but from indolence. His works, though sought after by purchasers, were no sooner hurriedly finished than they were taken to the pawnbroker, and were rarely redeemed. He is said to have died ta the street, near the door of his lodging, 150 FEE and to have been ta want of common necessaries. TMs happened ta 1740, at the age of 51, and he was buried by a subscrip tion raised for the purpose. His landscapes were pleasing, combining picturesque ruins and small figures weU drawn. His ' Four Seasons' were engraved by Major ta 1754, and Vivares and others engraved after him. He etched eight plates, which he inscribed ' Capricci fatti, per F. P. F.' FERGUSON, William G., still-life painter. Born in Scotland, he learned the rudiments of art there, and then greatly improved himself by travel in France anu Italy. He patated sthi-Me with great skUl, Ms composition good, and hght and shade effective. His principal subjects were dead birds, particularly pigeons and partridges, sometimes hares, rabbits, and other objects. He died in London about 1690. FERGUSON, James, portrait drafts man. He was born ta Banffshire, of very poor parents, ta 1710, and learned to read by hearing Ms father teach Ms elder brother. He had no other instruction, no books ; and servant to a farmer he discovered a peculiar aptitude for mathematics, and studied the stars wtale he minded Ms master's sheep, gaining a knowledge of astronomy by his own contemplation of the heavens. He had also cultivated some power of drawing. Finding at last some friends, he was sent by them to Edinburgh to study, and there, and afterwards ta England, supported Mm self for several years by drawing miniature portraits ta black lead, while pursuing his more serious studies, wMch have given him a weU-known name as an astronomer. Several of these portraits existed at Bristol. He died ta 1776, aged 66. FERNELEY, J.E., animal painter. Was bom inlTSl, and brought up asawheel- wright ; but, urged by a desire to try art, he abandoned Ms trade and studied, with some success, to paint animals. He settled among the sporting men at Melton Mow bray, and Ms first sitter was Mr. Assheton Smith, of fox-hunting celebrity. Others soon foUowed, and from 1818 to 1849 he exhibited at the Royal Academy portraits of Huntsmen and their horses, dogs and fox-hunting, and hunting-groups. He died June 3, 1860, aged 79. FERRERS, Benjamin, portrait paint er. He was deaf and dumb, and practised about the middle of the 18th century. There is a portrait by him of Bishop Hoadly, said to have been his kinsman, which is patated with a good deal of rude vigour, and in the Bodleian Library a small oval portrait of Bishop Beveridge. Seve ral of his portraits are engraved. FERRIERE, F., miniature painter. He is believed to have been a native of Switzerland. He came early to tMs coun try, and practised both ta oil and water- FEE colours. He first exMbited at the Aca demy ta 1793, and continued an exhibitor up to 1822. In 1819 he was appotated portrait patater to the Dowager Empress of Russia. His water-colour, miniatures were executed with much power, and were greatly esteemed. FERRlfiRE, L., miniature painter. Lived ta the same house with the foregoing, and was probably his son. He exhibited miniature portraits at the Academy ta 1817, and agata in 1826-27-28, when there is no further trace of him. FIELDING, Theodore Nathan, por trait painter. Resided near HaMax ; painted ta oil, and enjoyed a considerable local reputation about the middle of the 18th century. His works were marked by an elaborately minute finish, and he was much patronised by the gentry of York shire and Lancashire. He was the father of four artist sons — Theodore, Copley, Thales, and Newton. FIELDING Theodore Henry Adol- phus, water-colour painter. He was the eldest son of the above, and was educated ta art by his father. He exMbited a 'View on the River Tyne' at the Academy ta 1779, and conttaued an occasional exMbitor, cMefly of landscape views, for some years. He was appotated teacher of drawing and perspective at the Mihtary CoUege at Ad- discombe, and resided ta the neighbouring town of Croydon, where he died July 11, 1851, aged 70. He pubhshed a ' Treatise on the Ancient and Modern Practice of Painting ta OU and Water-Colours,' with some other works on art-teaching. FIELDING, Mrs. T. H., water-colour painter. Wife of the above. She was elected a member of the Water-Colour Society ta 1821, and from that year to 1835 was a constant contributor to the Society's ExMbitions. She patated flowers, birds, and insects. FIELDING, Anthony Vandyke Cop ley, water-colour painter. Was the second and most disttaguished son of the foregoing Theodore Nathan Fielding. He was born in 1787, and became early ta Me the pupU of John Varley, and was one of the talented party of young men who were accustomed to meet at Dr. Monro's. He devoted him self to water-colours, and Ms name is first met with as an associate exhibitor of the Water-Colour Society ta 1810, from which time he became a regular exMbitor, and occasionally also sent a painting in oil to the Royal Academy. In 1813 he was elected a member of the Society ; in 1817, treasurer ; and ta the foUowtag year, secre tary. In 1831 he was elected the president, and held this office till his death. His works are very numerous ; for several years his contributions to the Water-Colour So ciety's Exhibitions averaged between 40 and FIL 50. He was at the same time a fashionable teacher, largely employed. Such an amount of labour, added to his teaching, naturally produced mannerism — shght dexterous works, ta, which execution prevailed over individuality and truth ; yet his art was very popular, Ms style agreeable and pleasant, and his works fetch high prices. Some of Ms early drawtags possess great breadth and space, with good colour ; and with them his marine drawings, effects of clouds and storm, may be classed as Ms best works. He exhibited some Italian views on several occasions, wMch were from the sketches of others. It does not appear that he ever visited the Continent. His career was successful, and he amassed some property. He had been in the habit of visiting Brighton, where latterly he chiefly resided. He died at Worthing, on March 3, 1855, ta Ms 68th year, and was buried at Hove. FIELDING, Thales, water-colour painter. He was a younger brother of the foregoing. He drew the figure well, and was a clever artist. In the years 1816-20, when the Water-Colour Exhibition was open to the profession, he was a contributor, sending classic compositions, which were weU grouped and coloured, and landscapes, introducing cattle in the foreground, with some weU-known line of scenery or buUd- tags ta Ms background. He was for many years teacher of drawing at the Woolwich Mihtary Academy. He died in Newman Street, London, December 20, 1837, aged 44. FIELDING, Newton, engraver and water-colour painter. He was the young est of the four brothers. He was an exM bitor of some views at the Water-Colour Society in 1815, and of some cattle ta 1818. He chiefly patated animals, but without much abffity. He produced some works ta aquatint, and is best known as an engraver. lie engraved Sir Humphrey Davy, after Lawrence, 1829, and worked also as a htho- Sapher. fie pubhshed many works on art. e taught the family of Louis PMlippe, and was well esteemed ta France, fie died June 13, 1856. FIELDING, John, engraver. Was born about 1758, and was the pupil of Ryland and also of Bartolozzi. He worked so much for Ryland, that the plates which bear Ms own name are very few ; of these are ' Jacob and Rachael,' after Stothard, and ' Moses saved by Pharaoh's Daughter ; ' also some plates after Angelica Kauffman. His best works are between 1780-90. FILLANS, James, sculptor. Was born in Lanarkshire ta 1808, and was appren ticed to a stonemason at Paisley, fie was afterwards employed there ta modelhng small groups, by which he eventually made himself known, and by hie ability as a bust 151 FIL modeller found employment. In 1835 lie was enabled to visit Paris, where he studied for a time in the Louvre. On Ms return he exhibited at the Royal Academy in 1837, was a contributor up to 1850, and became successful as a portrait sculptor. He visited Vienna, and from thence Italy, and maturing his art he produced some good groups — ' Blind Girls reading the Scriptures,' ' Rachael weeping for her CMld- ren ; ' but his forte was as a bust modeller. He died of rheumatic fever at Glasgow, September 27, 1852, leaving a widow and a large family, for whom in his short career he had been unable to make pro vision. FILLIAN, John, engraver. He was a pupil of Faithome, and practised towards the latter part of the 17th century, but died young, about 1680. Evelyn speaks of Mm as a hopeful young man. There are a few portraits by Mm — a head of Ms master, Faithorne ; of Thomas Cromwell, Earl of Essex; and of Paracelsus. He imitated the manner of Faithorne, and had he hved might have attained some excellence. FINCH, Francis Oliver, water-colour painter. Was born November 22, 1802, the son of a merchant ta Oheapside. A weakly child, he passed his boyhood at Stone, a little village near Aylesbury. When of a proper age he was articled to John Varley for three years, but continued with him for five years. He then made a sketching tour in the Highlands. For a time he patated portraits and made some study of the figure. He also painted some landscapes ta oil, but returning to Ms first art, he was ta 1822 elected an associate, and ta 1827 a member, of the Water-Colour Society. The profits of art were at that time small, and he regretted being so much drawn aside from his art by the necessities of teaching. He was fre quently depressed by a want of confidence ta his abilities, and was slow ta his execu tion. His landscapes were chiefly compo sitions, palaces; gardens, and stately ter races, patated in the early pure manner, but laboured in their execution and follow ing too much the style of Barret. His love of twilight and moonlight scenes, ta which he excelled, was acquired by his rambles when a young man, frequently ex tended through the night, with some fel low-student, sketch-book in hand. He exhibited at the Water-Colour Society from 1820 till his death ; but between 1817 and 1828 he was also an occasional exMbitor at the Royal Academy. lie died August 27, 1862, after a lengthened illness, fie pos sessed a fine voice, and was a good mu sician. He had also some poetical tastes, aud printed a small collection of sonnets and 'An Artist's Dream.' His widow wrote an affectionate memoir of Mm, pub hshed in 1805. * 152 FIS FINDEN, Edward Francis, 1 engravers. FINDEN, William, / Two bro thers, both pupils of James Mitan, who practised their art together, and were largely assisted in their work by their pupils. They first engaged in the illustra tions for the ' Arctic Voyages ' pubhshed by Murray. Next they projected and published the landscape Ulustrations of Byron, fol lowed by ' The Landscape Bible,' Beauties of the Poets,' and some others. Realising a profit by these undertakings, the brothers commenced their most important work, ' The Gallery of British Art, which, by its faUure, involved them ta difficulties they hardly ever surmounted, though the work was both weU planned and ably executed. Their next attempt was ' The Beauties of Thomas Moore,' and this too was unhap pily unsuccessfrd. Edward, the younger brother, died, after a long illness, February 9, 1857, aged 65. He worked cMefly in conjunction with the pupils and assistants, and did not complete any important plates with Ms own hand. William died in his 65th year, September 20, 1852. The best works from his own graver are, ' The High lander's Return ' and ' Naughty Boy,' after Edwin Landseer, R.A., and ' The ViUage Festival,' after Wilkie, R.A. FINLAYSON, John, draftsman and mezzo-tint engraver. Was born about 1730, and practised his art ta London. He was a member of the Free Society of Artists in 1763, and in 1764 and 1773 was awarded a premium by the Society of Arts. He en graved a considerable number of portraits after Hone, Cotes, Zoffany, and Reynolds, and died about 1776. fie also engraved two or ttaee subject pictures, one of them, 'Oandaules showing his Wife as she is leaving the Bath,' after his own design. FINNEY, Samuel, miniature painter. He was born ta Cheshire, of an old county f amUy, and practised his art, both on ivory and ta enamel, with much success in Lon don. He exMbited Ms miniatures with the Society of Artists, of wMch he was a mem ber, 1761-66. He was appotated portrait painter to Queen Charlotte, and exhibited a portrait of Her Majestyin 1765. He quitted his profession on inheriting some family property, and retired to Ms native county, where he died ta 1807, aged 86. FISCHER, John George Paul, mini ature painter. Was born at Hanover, September 16, 1786, and was the youngest of ten sons. His father, a hue engraver, dying the year after Ms birth left the family in very straitened circumstances. At 14 years of age he became the pupil of Hetarich Bamberg, court painter ta fian- over to George III. The youth showed so much talent that he was employed by his master to paint portraits, theatrical scenery, and frescoes, and on leaving the FIS FLA studio was able to support his mother in the long sickness of her last years. In 1810 he fled to England to escape the French Conscription, and was by friends here introduced to royalty, and painted ta miniature Queen Charlotte and aU the younger members of the Royal Family. These are now at Windsor. In 1819, he patated the infant Princess Victoria ta her cradle, and another large miniature of her ta 1820. He occasionaUy patated land scapes ta water-colour, fie was an exhi bitor at the Royal Academy from 1811 to 1871. For the Prince Regent he painted 20 examples of mtaiature costumes, liis last miniature was executed ta Ms 81st year. He died on December 12, 1875, leaving behind him a devoted widow who herself practised art. FISHER, Jonathan, landscape paint er. He was born ta Dubhn, and was originally a draper ta that city. Self- taught ta art, he was patronised by Lord Portarhngton. His works did not go be yond the mechanical imitation of nature, were cold ta colour, and wanting ta all the Mgher quahties of art ; nor did they enable him to gain a maintenance. This he owed cMefly to a situation in the Stamp Office, Dublin, which he held tiU his death, ta 1812. He pubhshed, ta 1782, a set of views of the Lake of KUlarney, aqua-tinted, from Ms paintings, by MazeU, and some Ulustra- tions of Irish scenery. FISHER, Edward, mezzo-tint engraver. Bom ta Ireland ta 1730 ; he was originally apprenticed to the trade of a hatter. He then took to engraving, and was distta guished by Ms plates, after Reynolds, which were brilliant, and the expression weU ren dered. Some of his best are Lady Elizabeth Keppel, Lady Sarah Bunbury, and Lord Ligonier. fiis works are disttaguished by great breadth and delicacy of finish. Reynolds said of him that he was ' injudi ciously exact,' and wasted as much time in fivtag the precise shape to every leaf as e bestowed on the features of a portrait. He was a member of the Incorporated Society of Artists, 1766, and resided ta London, where he died about 1785. FISfiER, Thomas, amateur. Was bom at Rochester in 1782, and was a clerk ta the India Office. He made numerous drawings of antiquarian and other subjects, wMch he etched himself. His best known works are his BedfordsMre antiquities, and that from the paintings in the church of Stratford-upon-Avon. He died at Stoke Newtagton July 20, 1836. FISK, William H., portrait and his tory painter. He was born 1796-97, at Thorpe-le-Soken, Essex, ta which county Ms famUy, a long race of yeomen, had pos sessed some property in land. Educated at Colchester, he came to London at the age of 19, and for 10 years had some mer cantile employment. He had always felt a desire towards art, and when past 30 he turned earnestly to its study. He first gained a place on the Academy walls in 1829, and then, and for several years, exhi bited portraits; but from 1835, with a higher aim, he exMbited historical works — ta 1836, ' The Coronation of Robert the Bruce; 'in 1838, 'Lionardo da Vinci ex piring ta the arms of Francis I. ; ' ta 1839, ' Attempt to Assassinate Lorenzo de Medici ' for which he was awarded, ta 1840, the gold medal at the Manchester Extabition. In 1842 he exhibited ' The Trial of Charles I. ;' and ta 1843, ' Charles I. on his Way to the Scaffold.' From that time his subjects were of a more domestic character, and he was only an occasional exMbitor; but towards the end of his career he exMbited two or three subjects from Scripture. He purchased some pro perty in Essex, to which he had for some years retired, and died at Danbury, in that county, November 8, 1872. Several of Ms works are engraved. FITTLER, James, A.E., engraver. He was born 1758, ta London, and ta 1788 entered the Academy Schools, where he studied his art and attained much distinc tion. He engraved portraits, landscapes, marine subjects, and topographical views, and was appotated marine engraver to George III. He was employed on the illustrations for Bell's ' Theatre ' and Dib- din's ' iEdes Althorpiana?.' His ' Lord Howe's Victory ' and ' Battle of the NUe,' both after De Loutherbourg, are his most important works. He published ' Scotia Depicta,' from drawtags by Claude Nattes, and an ' IUustrated Bible.' He was elected an associate engraver of the Royal Aca demy in 1800. He died at Turnham Green, December 2, 1835, aged 79, and was buried ta Chiswick Churchyard. He worked ta the hne manner ; was powertol ta hght and shade, hard and not agreeable ta manner. F I T Z - O T II O, Thomas, ) medallists. FITZ-OTHO, Hugh, ( They were engravers to the Mint in the reign of Edward I. Thomas was styled ' Die graver ta fee.' FITZ-OTTO, William, medallist. He is styled ' goldsmith,' and was engraver of the dies for the Royal Mint ta the reign of Henry I., having been confirmed to that office, ' the mystery of the dyes,' which Ms father, ta Domesday-book, is described to have held, and which it appears was at that time hereditary. FLATMAN, Thomas, miniature paint er. He was the son of a clerk in Chancery, and bom in London about 1633. Educated at Winchester School, he went from thence to New CoUege, Oxford, where he was elected 153 FLA FLA a fellow ta 1654, but left, without tatang his degree, to study the law in the Inner Temple, and was called to the bar, but it does not appear that he ever followed the profession. He early took up the study of art, and disttaguished himself as a miniature painter, fiis works are somewhat larger in scale than those of his predecessors, and he used more body colour. They are a little after Cooper's manner, but deficient ta Ms refinement of drawing expression, and finish, and are greatly behind him in grace, though they are far from wanting ta merit, and are highly esteemed. Some por traits in oil by him also exist. They are pleasing ta colour, well painted, with no ap pearance of littleness ta manner. He was also a poet, and a small volume of ' Poems and Songs' by Mm, published ta 1674, reached a tMrd edition in 1688. His miniatures were, however, preferred to his writings by his contemporaries, for Lord Rochester says of Mm : ' Flatman, who Cowley imitates with pains, And rides a jaded muse wtapt with loose reins. ' And Granger, ' One of his heads is worth a ream of Ms ptadarics ; ' and it is said also that Ms art was highly esteemed by Vertue. He lived in Tlrree-leg Alley, St. Bride's, London, where he died, December 8, 1688, and was buried ta the parish church. He possessed a small estate at Tishton, near Diss. FLAXMAN, John, modeller. He was of an old Buckinghamshire race, originally from Norfolk, and four brothers of the family fought on the side of the Parliament at Naseby. He was descended from the youngest son, who settled in Buckingham shire. Roubihac and Scheemakers both employed him as a modeller. He kept a shop for the sale of plaster casts ta Covent Garden, and afterwards ta the Strand, where he died about 1795. FLAXMAN, William, modeller. He was the eldest son of the above, and prac tised towards the end of the last century. He exMbited a ' Venus ' with the Free Society of Artists in 1768, and at the Aca demy for the first time in 1781, sending a portrait of his brother ta wax, and contri buted a portrait ta wax to three subsequent exhibitions, the last ta 1793. He is said to have been disttaguished as a carver ta wood. FLAXMAN, John, R.A., sculptor. Second son of the above John Flaxman. Was born ta York city, July 6, 1755. He was a delicate boy, in very weakly health, and finding his amusement at home, pro bably received Ms first inspirations ta art from the classic models ta his father's shop. For this his taste had been quickened by a fan- knowledge of Latin and Greek, fie 154 exhibited at the Free Society of Artists, asearlyas 1767, 'Models from theAntique ;' in the next year, busts ; and ta 1769, ' The Assassination of Julius Caesar,' a model ; probably the ffirst idea of his completed work ta 1781. In 1769 he was admitted a student of the Royal Academy. He had acquired the technicahties of his art from his father, and was dUigent ta his studies. In 1770-71 he exMbited portraits in wax at the Royal Academy ; and ta 1772 was an unsuccessful competitor for the gold medal, and coffld not refrain from tears when the decision was announced. The same year he exMbited a ' Figure of History ; ' the fol- lowtag year, 'A Figure of Grecian Comedy,' with, at the same time, some wax portraits. Continuing to exhibit with little intermis sion, ta 1777 he contributed a clay model of ' Pompey ' and of ' Agrippina ; ' ta 1778, ' Hercules tearing Ms hair after having put on the poisoned Shirt ; ' ta 1781, ' The Death of Julius Caesar ' and ' Acis and Galatea,' two bas-reliefs ; in 1782, a bust of Venus ; ta 1784, ' Prometheus ;' followed in 1785-86 by some monumental groups, including that to the poet Collins at Chi chester Cathedral and to Mrs. Morley at Gloucester Cathedral ; and ta 1787, ' Venus and Cupid.' Durtag these years he was largely employed by Messrs. Wedgwood, and added greatly to his means by Ms designs for their .celebrated pottery, and then for the next seven years he sent no work to the Academy ExMbitions. His early art companions were Stothard, R.A., and Blake, and at this time, leaving his home, he hved ta Wardour Street, where he worked zealously, modelling hi wax and clay, and occasionally maktag a study ta oU. In 17S2 he married Anne Denman, an accomplished yoimg lady of a fanulytathe City, and ta 1787, taking his wife, his helpmate ever by Ms side, as the companion of his travels, visited Italy, where he pursued his studies for .seven years. At Rome, whUe he had to support himself by his work, he attracted great notice, fie executed for the Earl of Bris tol, but for a price wliich proved very in adequate, a marble group of four figures above Me-size from Ovid's ' Metamorphosis,' representing the fury of Athanias. He began his designs in illustration of the great poets — the ' Iliad ' and ' Odyssey,' 80 designs, 1793; from jEschylus, 1795; and Dante, 1797 ; andthese works wereengraved at Rome under Ms supervision by Piroli. On his return home, he was presented with the diplomas of the academies of Florence and Verona, and later he made the designs from ' Hesiod,' wMch were engraved in 1816. He reached England ta 1794, and ta the following year took a house ta Buckingham Street, Fitzroy Square, where he resided FLA tiU his death. His first work was his monument to Lord Mansfield, ta Westmin ster Abbey— a fine monumental group — the great judge represented seated in Ms full robes, with figures of Justice and Mercy, and an emblematic figure, said to be of Death. Following this work, he was elected ta 1797 an associate, and in 1800 a full member, of the Academy. He after wards completed Ms monument to Captain Montague, ta St. Paul's, and the monu ments to Sir Joshua Reynolds, Earl Howe, and Lord Nelson ; and anxious to dis tinguish himself, proposed to erect a statue of Britannia, 200 feet high, on Greenwich HiU, as a naval trophy. Weakly ta frame and constitution, and of a gentle spirit, he qtaetly pursued his art during a long career. Of the numerous works from Ms chisel, these should be specially noticed — ' Michael and Satan,' executed for Lord Egremont ; a monument to the Baring f amUy at Micheldever Church, Hants; toMaryLusbington, atLewisham, Kent ; Earl Howe, in St. Paul's ; and his drawtags and model for the ' Shield of AcMlles,' completed in 1818, comprising upwards of 100 figures, besides animals. He was elected, ta 1810, professor of sculpture to the Royal Academy, and delivered from the professor's chair 10 lectures, which are published. Simple ta aU Ms tastes and habits, his art was founded on the Mghest Greek examples. His imaginative genius is shown ta his numerous drawtags and designs, toll of poetry and sentiment ta their conception, but never sensual ; classic and poetical, religious and monumental, his grouping was disttaguished by its grandeur of style. SkdUed ta the use of Ms model- ltag tool, he was weak and ineffective when he took his chisel ta hand. He was of some reputation as a writer on art subjects. He published, ta 1799, ' A Letter to the Com mittee for raising a Monument to the Duke of Gloucester.' He contributed a sketch of Romney's career to 'Hayley's Life.' He wrote for Rees's ' Encyclopaedia' the ar ticles ' Armour,' ' Basso-rilievo,' ' Beauty,' 'Bronze,' 'Bust," Composition,' 'Cast,' and 'Ceres.' His health declined gradually towards the end of his life, and a bad cold caught at the beginning of December ter minated in a few days ta his death. He was buried ta the ground belonging to St. GUes-in-the-Fields, adj otaing the old church of St. Pancras, where his tombstone tells that 'Ms angelic spirit returned to the Divine Giver, December 7, 1826, in the 72nd year of his age.' He was a disciple of Swedenborg. His wife, who died ta 1820, and Ms sister rest ta the same grave. His property was sworn under 4,000/ . Miss Denman, Ms wife's sister, and his adopted daughter, founded the Flaxman GaUery at the London University CoUege. FLI FLAXMAN, Miss Mary Ann, ama teur. Sister of the above. Her name first appears ta art as an exhibitor at the Royal Academy, both of models and drawtags. In 1786 she was an ' honorary ' contributor of ' Turkish Ladies ; ' ta 1789, of ' Ferdi nand and Miranda playing Chess ' and a portrait ta wax ; ta 1790, of a drawing from Miss Burney's ' Cecilia ; ' and then, after an absence of six years, she again contributes — 1797-1800, designs from the poets ; ta 1802, a portrait of Mrs. Billing- ton. She was, probably at this time, governess ta a family, with whom she travelled in Germany. In 1810 she had returned to London and was living with her brother, and then resumed her contri butions to the Academy, exhibiting in that year ' Sappho ; ' ta 1811, portrait of her friend, Miss Porden ; in 1817, designs for the old ballad, 'The Beggar's Daughter ;' in 1819, ' Maternal Piety,' her last exhi bited work. She died AprU 17, 1833, in her 65th year. Her designs for ' Robin GoodfeUow ' were engraved ; and six illus trations by her for Hayley's ' Triumphs of Temper,' engraved by Blake, were published ta 1803. They are veiy simple ta design, with much original feeling, and though weakly, are not badly drawn. FLETCHER, Henry, engraver. Prac tised in London ta the second quarter of the 18th century. He was chiefly employed upon portrait heads for frontispieces, but is best known as the ffi'st engraver of flow ers in tMs country. Of these Ms ' Flowers of each Month ' (some copies of which were coloured) are good examples. There is a plate by him of the story of 'Bathsheba,'. after Sebastian Conca. FLETCHER, Henry, engraver. Born at the beginning of the 18th century, and about 1750 engraved several views of An cient Rome, after Canaletti. FLITCROFT, Henry, architect. Born September 3, 1697. His father was gar dener to William III. at Hampton Court. He began Me as a carpenter, but faUtog from a scaffold at Lord Burlington's about 1717-18, the accident gained him the notice of that nobleman, by whose patronage and his own merit he attained celebrity and • wealth. He held several offices at the Board of Works, succeeding to the appoint ment of comptroUer ta 1758. He built the church of St. Giles-ta-the-Field, opened 1734, and rebuUt St. Olave's, Southwark and also, about 1745, the church at Hamp- stead, where he built a house for Mmself, and dwelt some time. He also made some extensive alterations at Woburn Abbey, almost rebuilding the mansion, and adding an elevation of much pretension. He was elected sheriff for London and Middlesex in 1745, but declined to serve, and paid the fine, fie died March 5, 1769, and was 155 FLO buried at Tedding'ton. He was nicknamed ' Burlington Harry.' FLOWER, Bernard, 'glazier.' He contracted to paint the windows of Henry VII.'s Chapel, Westminster Abbey, but died about the 4th Henry VIII., before the completion of the work. FLYNTB, Nicholas, die sinker. Was sculptor of the frons for the Royal Mint. 'Sculptor de et pro Ferris,' 2nd Henry VII. FOGGO, James, history painter. Was born ta London, June 11, 1790. His father was a warm advocate for the emancipation of the negroes, and during the suspension of the Habeas Corpus Act in 1799 thought it prudent to leave England, and went with his family to Paris. The son was educated in the schools of the French Academy, and adopted art as Ms profession. In 1815, on the return of Napoleon from Elba, he hastily left Paris and came to London with smaU meaDS, which were soon exhausted. But he did not want perseverance. He patated his ' Iiagar and Ishmael,' which was exhibited at the British Institution, and gained favourable notice. He was also fortunate in obtaining some teaching, which proved his cMef means of support. In 1819 he was joined by his brother George, who was educated ta art with Mm, and from that time they worked together, their pictures being the effort of their com bined talent. In 1822 they completed their large work, ' Christians at Parga pre paring to Emigrate ; ' ta 1824, ' Christ heal ing the Impotent Man at the Pool of Bethesda ; ' ta 1826, ' The Entombment of Christ ; ' but they exMbited very few works, and those generally at the British Institu tion. In 1840-43 they were competitors in the Westminster Hall Exhibitions for the decorations of the Houses of Parliament, but were not successful. The works they produced were cMefly Scripture subjects, and from their unusuaUy large dimensions and treatment, were hardly of a class to find purchasers; but the 'two brothers, working harmoniously together for nearly 45 years, followed the bent of their own genius, undeterred by the want of pubhe ¦ appreciation, while they found by teach ing their chief means of living. James died ta London, September 14, 1860, and was buried ta the Highgate Cemetery. FOGGO, George, history painter. Born AprU 14, 1793. He was younger brother of the above, and was associated with Mm in his principal works, and, like him, drew the figure well. He was an energetic, active man, and was associated with many plans for the advancement of art. He drew and lithographed the Raphael cartoons, and was the author of 'A Letter to Lord Brougham on the History and Character of the Royal Academy,' 1 335 : the ' Report of 156 FOL a Meettag to promote the free Admission to St. Paul's and Westminster Abbey,' 1837 ; ' Results of the Parliamentary In quiry on the new Schools of Design and the Royal Academy,' 1837 ; ' A Catalogue of the National GaUery, with Critical Notes,' 1847. He died September 26, 1869, aged 76. FOLDSONE, John, portrait painter, also styled himself history painter. He practised ta the latter half of the 18th cen tury. He painted smaU heads ta oU ; rapid in his execution, his practice was to attend his sitters at their own houses early ta the morning, generally to dine with them, finish his work ta the day, and to retire with his honorarium. He exhibited por traits at the Spring Gardens ExMbition ta 1769, and smaU whole-length portraits, with two portrait-groups, at the Academy, ta 1771, a classic subject ta 1773, and con ttaued to exMbit up to 1783. He died, early ta life, soon after. His daughter (Mrs. Mee) was a successful miniature patater. FOLEY, John Henry, R.A., sculptor. Was bom in Dublin, May 24, 1818, and at the age of 13 entered the art schools of the Royal Dublin Society, where he studied the figure, architecture, and ornamental design. In 1834 he came to London, and the following year was admitted to the schools of the Royal Academy. In 1839 he first appears as an exMbitor, contribut ing two groups. In the foUowtag year he sent Ms 'Ino and the infant Bacchus,' when Ms abffities were at once recognised. 'Lear and Cordelia' fohowed ta 1841, 'Venus rescuing Eneas from Dioined' in 1842, 'Prospero and Mhanda' in 1843. His attention was then directed to the National Competition ta Westminster HaU, where he exhibited ta 1844 ' A Youth at a Stream,' and ta 1847 his model for a statue of Hampden. In 1849 he was elected an associate of the Academy, but at tMs time Ms contributions to the exhibition were few, a bust or a statuette chiefly. In 1854 he exMbited Ms design for the Wellington Memorial, and ta 1858 was elected a full member of the Academy. Subsequently he contributed in 1859 ' Egeria,' ta 1860 1 The elder brother ta Comus,' his diploma work, in 1861 his ' Oliver Goldsmith' and a part of ' General Nicholson's Monument.' This was the last year ta which he exMbit ed. Some difference with the member charged with the arrangement of the sculp ture at the foUowing exhibition, led to his persistent refusal to .exhibit, which, it is believed, was only overcome just before his death. Among Ms chief works are ' Selden and Hampden' for St. Stephen's Hall, Westminster, 'Goldsmith and Burke' for Trinity College, Dublin, 'Lord Herbert,' 'Lord Hardmge,' 'Sir James Outram,' FOL FOE two equestrian statues for India. 'The group of Asia' for the Prtace Consort's Memorial, Hyde Park, and the seated figure of the Prince, which he did not live to see completed, fie had been long ta declining health, and died at Hampstead after a short Utaess, August 27, 1874, and was buiied ta St. Paul's Cathedral, fiis work was always graceful and dignified ta its proportions, his conceptions are origin al and marked by true talent, whUe Ms works show great beauty and finish. His ' Ino and Bacchus ' is purely classical ta its style, but perhaps Ms equestrian portraits wUl be remembered as amongst his most noteworthy productions, lie possessed much musical talent, and was the writer of several songs published anonymously. FOLEY, Edwaed A., sculptor. Was born ta Dubhn, and was brother to the above, with whom he came to London and resided from 1834 to 1S43. From the former year he was an occasional exhibitor of portrait busts at the Royal Academy up to 1860, when he sent ' Helen of Troy,' m 1869 ' The Nymph ^Enone,' ta 1870 ' Pene lope,' ta 1873 'The Morning Star.' To the Westminster HaU Exhibition ta 1S44 he sent ' Canute reproving his Courtiers.' He was an artist of talent, and reputed an expert carver. He committed suicide early ta the summer of 1874. FOOTTIT, Harrison, miniature painter. He exMbited at the Royal Aca demy ta 1772 and the two foUowtag years, and practised till towards the end of that century, though he does not appear agata as an exMbitor. FORD, M., mezzo-tint engraver. Pro duced several fine portrait plates early ta the latter half of the 18th century. FORD, Richard, amateur. He was the son of Sir Richard Ford, chief magis trate of Bow Street, and was born in London ta 1796. Educated at Winchester School and at Trinity CoUege, Oxford, he was called to the bar at Ltacota's Inn. He then travelled, visiting the chief of the great European capitals. He cultivated the arts, was a very able sketcher, and had a knowledge and judgment of pictures, of wMch he made a good coUection. fiis sketches were used ta the ihustration of Lockharf s ' Spanish Ballads ' and several other works, fie etched several fac-similes of plates by Parmegiano and Meldolla. He wrote a ' Handbook for TraveUers ta Spain,' 1845 ; ' Gatherings from Spain,' 1846 ; and ' Tauromania ; or, The Bull-fights of Spain,' 1852; and contributed several articles to the ' Quarterly Review ' on the art and lite rature of Spain. He died September 1, 1858- FORD, Samuel, history painter, fie was bom at Cork, April 8, 1805. Wreak ta con stitution, he was by his father's improvi dence early inured to privation, and with his pencil and books passed many a sad day ta want ; yet persevering, he acquired a knowledge of Latin, French, and Italian, and studied drawing in the, Cork School, where he was a fellow-student with Mac- hse. In 1828 he was chosen the master of the Cork Mechanics' Institute. He had often been without the means to procure materials for his work, and full of dreamy aspirations of great poetic subjects, he now tried to reahse them. He finished and exhibited ' The Genius of Tragedy,' and in 1827 commenced a large cartoon of the 'Fall of the Angels' (purchased by the Earl of Shannon), by which he hoped to establish a name ; but he took cold, wMch led to consumption, of which he died, July 28, 1828. FORREST, ,glass painter. Wasthe pupU of Jarvis, whom he assisted in the completion of the window ta St. George's Chapel, Wrtadsor, after West's design of ' The Resurrection ; ' and was afterwards engaged there, from 1792-96; on three other windows by West — ' The Angel's Ap pearance,' ' The Nativity,' and ' The Wise Men's Offering.' Later, he patated several windows with Eginton, of Birmingham. FORREST, Robert, sculptor. Born in Lanarkshire, and bred a stonemason ta the Clydesdale quarries. He was self-taught ta art. In 1817 he cut a statue of Wallace, and was subsequently employed to cut a colossal figure of Lord Melville for the pffiar ta St. Andrew's Square, Edinburgh. He also executed the ' John Knox ' in the Glasgow Necropolis, and ta 1843 completed a good portrait statue of Mr. Ferguson, of Raith. He does not appear to have exhi bited ta London ; but ta 1832 he opened an exMbition of about 30 groups, executed by himself, which attracted much notice. fiis works were original, and had merits both of proportion and conception. He died at Eclinburgh, December 29, 1852, ta his 63rd year. FORREST, Theodosius, amateur. He was the son of a solicitor, and followed his father's profession. In early life he was a pupfl of Lambert, and from 1769 to 1775 was a yearly exMbitor of tinted drawtags at the Royal Academy, views of buUdtags and landscapes, with one or two attempts at classic subjects, but he is distinguished as one of the party who left a record < if their ' Five Days' Peregrinations,' with illustra tions by Hogarth. He was wealthy, was a member of the Beef-steak Club, and uni versally known by the artists of his day — a jovial companion, who wrote and sang his own songs. He wrote ' The Weathercock ' for the Covent Garden stage. He died November 5, 1784. FORRESTER, Alfred Henry (pseu donym ' Alfred OrowquUl '), comic drafts man. He was born ta London in 1805, of 157 FOE FOU a family long members of the Stock Ex change, and was educated with a view to that business. He was, however, more attached to hterature than to the money transactions of the City, and at the age of 16 he made a beginning as an anonymous periodical writer. Under his assumed name he first wrote in the ' New Monthly Maga zine,' and ta 1828 he became a permanent contributor ; and from that time he took a large share in the periodical hterature of the day, but did not retire from the Stock Exchange till 1839. His writings were illustrated by his own comic designs, ex ecuted with great facffity and power, and his works were among the most popular. In 184-5-46 he was an exhibitor at the Royal Academy—' The Huntsman's Rest,' 'The Picnic,' and some other of Ms de signs. He was a constant contributor to the ' Illustrated London News,' and pub lished 'Alfred Crowquffi's Sketch-book,' ' Eccentric Tales,' ' Leaves from my Memor andum-Book,' ' Wanderings of the Pen and Pencil,' 'Comic Arithmetic,' and 'Comic Grammar.' He died in May 1872, and was buried ta the Norwood Cemetery. FORRESTER, James, engraver. Prac tised about 1760. He resided some time ta Italy, and ta 1761 sent a large landscape from Rome to the Academy Extabition. He etched some Italian scenes, whose chief merit is their neat execution. FORSTER, Thomas, miniature drafts man. He practised at the beginning of the 18th century. He drew on vellum with the black-lead pencil, and many well-finished miniatures ta this manner, carefully drawn aud expressed, are known. They are dated and signed with Ms name, which is weU worthy of record, though no other particu lars respecting him can be traced. FOSTER, Thomas, portrait painter. Born ta Ireland. Came to England at the age of 15 or 16, and entered as a student of the Royal Academy in 1818, and the next year, and in each succeeding year to 1825, contributed to the Academy ExMbitions. He copied several of Lawrence's portraits, and made rapid advance as a portrait painter. He painted a picture of ' Mazeppa,' which gained him notice ; and in 1823 ex hibited ' Domestic Quarrels ' and a portrait of Miss Tree and of Mr. J. Wilson Croker, in whom he found a friend and patron. In 1825 he exhibited 'Paul and Virginia.' His connections were respectable, Ms man ners and poison agreeable, but Ms love of society interfered with Ms art, in wliich he no less continued to make good pro gress. He is said, however, to have de sponded over an ambitious work he had commenced, or, as was hinted, to have fallen hopelessly in love with a young lady whose portrait he was painting. From whatever cause, he unhappily committed suicide ta 158 March 1826, in his 29th year. He left a note saying that his friends had forsaken him, that he knew no cause, and that he was tired of life. FOULIS, Andrew, ) amateurs. Two FOULIS, Robert, \ brothers, who were eminent printers ta Glasgow, remark able for the beauty and elegance of their editions of the classics. Their taste for the fine arts induced them to establish an aca demy of patating and sculpture ta Glasgow, and to undertake, at their own charge, the instruction of young artists, and even to provide for the continuance of their studies ta Italy. This generous undertaking par- tiaUy succeeded, mainly in the branches of drawing and engraving, but for want of support the efforts of the two brothers were unsuccessful, and the fortunes which they had reahsed by printing were swaUowed up by the charges of then- academy which led to their ruin. Andrew died September 15, 1775, Robert ta the foUowtag year. Men tion wUl be too frequently made ta this work of eminent artists who studied ta Fouhs's Academy to permit of the omission of their names. VOVLSTON,Jomi,architect. Was born ta 1772, and was a pupU of Thomas Hard- wick. In 1796 he commenced practice for Mmself, and ta 1811 was a successful com petitor for a large building at Plymouth, comprising the Royal Hotel, Assembly Rooms, and Theatre. This induced him to settle in Plymouth, and establishing a reputation there, he was the arcMtect of several pubhc and private buUdtags of gieat merit ta the West of England. He died near Plymouth, January 13, 1842. He pub lished Ms cMef designs, ' Pubhc Buildings erected ta the West of England,' 1838. FOUNTAIN, , pen-trait painter. There are engravings of portraits patated by him in the reigns of George I. and of George II. FOURDRINIER, Peter, engraver. Born ta France. He came to this country and settled ta London. He was cMefly em ployed upon plates for the fflustration of books, and engraved the 'Four Ages of Man,' after Lancret ; also the plates for a folio volume of ' The VUlas of the Ancients,' published in 1728, and the plans and eleva tions of Houghton HaU. These architec tural plates are carefully executed, but his manner was weak and black. He died in London, February 3, 1758, leaving many FOURDRINIERE, Peter, engraver. Born in England. He excelled ta archi tectural engraving, and was also largely employed upon Ulustrated frontispieces by the booksellers. He died about 1769. FOURNIER, Daniel, engraver. He is believed to have been origmaUy an en graver by profession, but eventually he row row was of many occupations. He was shoe maker, kept an a-la-mode beef shop, patated, engraved, modeUed ta wax, and taught drawing. He pubhshed, in 1764, ' The Theory and Practice of Perspective, on the Pitaciples of Brooke Taylor,' which he ffiustrated by movable diagrams and 50 plates. With all his undertakings he was seldom free from difficulties. He died about 1766. FOWKE, Captain Francis, R.E., architect. Was bom at Ballystanta, near Belfast, July 7, 1823. When about 12 years of age he was sent to Dungannon CoUege, where he gained a gold medal for mathematics ta a competition open to the whole school. In 1839, at the age of 16, he entered the Woolwich Academy, and passed his probationary examination ta 1840, his theoretical ta 1841, and his prac tical examination, comtag out sixth, ta 1842. The great abffity he had shown, added to his talent ta drawing, secured him the third out of the four engineer com missions only wMch were given ta that year, and he was at once sent to Chatham. In December 1843 he returned to Wool wich, and ta the foUowtag AprU was quar tered at Limerick, from whence, ta AprU 1845, he saUed for Bermuda, and was stationed at Ireland Island, and was soon after employed ta designing the Bermuda Barracks ta St. George's Island. In 1849 he returned to England, and, quartered at Devonport, he designed the Raglan Barracks there, ta the construction of which great regard was paid to the health and comfort of the men. In 1853 he was attached to the South Kensington Museum, as inspector of science and art ; and ta the following year was charged with the machinery of the English department at the Paris Exhi bition of 1855, and subsequently appotated secretary to the British Commission. He was made chevalier of the Legion of Honour ta recognition of his services. He wrote two able reports ta connection with this duty — one on Civil Construction, th£ other on the Strength of Materials, including the results of valuable experiments upon colo nial woods. He was afterwards appotated the arcMtect of the South Kensington Museum, and buflt the fine picture gaUeries, which are admirably constructed with re gard to hght and convenience ; the great north court, whose wide-spread roof is sus pended without support from the floor ; and the south court, with its elegant metal galleries. He was also the architect of the National Gallery of Ireland (interior), a work most pure and unpretentious ta its style, and of the Edinburgh Museum of Science and Art. In 1858 he was appotated a member of the International Technical Commission, and made a separate report on the scheme for the navigation of the Danube. He planned the arcades and conservatory of the Horticultural Gardens, the latter highly decorative and original ta its design ; and the Prtace Consort's Library at Aldershot. The building for the International Exhibi tion of 1862, a work of great constructive power, was also designed by him, the per manent galleries connected with wliich were admirably adapted for the exhibition of paintings. One of his last designs was for a Natural History Museum, and was unan imously adopted, ta an open court compe tition, by the judges appointed by the Government ; but, from changes with re gard to the intended site, has not been carried out. He was charged with the original design for the Albert Hall, but did not hve to complete his plans. He was a man of great invention and constructive power, fie invented the col lapsing pontoons, made improvements ta drawbridges and conical shot and shell, and ta gun-carriages. He constructed on a metal framework the large canvas tent used ta the Horticultural Gardens ; intro duced with great skill terra cotta ta Ms architecture, and other new material, with many other useful inventions. After a short illness, he died suddeMy, December 4, 1865, and was buried ta the Brompton Cemetery. He wrote ta the ' Cornhill Magazine,' No. 3, 'The National Gallery Difficulty solved,' and No. 6, ' London the Stronghold of England.' FOWLER, Charles, architect. He was born ta May 1792, at Collumpton, Devon, where his family had lived for many generations, and was apprenticed for five years to a surveyor and builder at Exeter. On the completion of his apprenticeship ta 1814 he came to London, and was employed ta the office of Mr. D. Laing, where he remained three or four years, and then commenced practice for himself. His first work was the Court of Bankruptcy ta Bas- inghaU Street, finished 1821. In the fol lowing year he competed ta the designs for the new London Bridge, and gained the first premium, but was not employed to carry out Ms design. He afterwards made some designs for other bridges, and ta 1826 was the arcMtect of the bridge over the Dart, at Totnes. He built Covent Garden Market, 1830, and Hungerford Market, 1831, a work of great sltiU, both ta design and m the arrangement of the plan on two levels, but since pulled dov/n ; also Exeter Lower Market, 1835, and in the same year Charmouth Church and Honiton Church, and in 1838, Brickley Church ; also the Devon Lunatic Asylum, 1848, and the London Fever Hospital, 1852. He was for many years honorary secretary of the Institute of British Architects, and after wards vice-president. In 1862, his health 159 FOW failing, he retired into the country, and died at Great Marlow, September 26, 1867, in his 76thyear. FOWLER, William, portrait painter. Was born ta 1796. He is best known by a portrait of Queen Victoria when young, from which an engraving was taken. FOWLER, William, draftsman and engraver, fie was brought up as a car penter at Winterton, ta Lincolnshire ; and was, by Ms ingenious and laborious per severance, a self-taught and trustworthy draftsman. He drew and engraved ' The principal Mosaic Pavements discovered ta Britain,' 'The Stained Glass in York Min ster,' pubhshed in 1805, and some other arcMtectural antiquities. He hved at Winterton during a long life, and died there September 22, 1832, aged 73. FOX, Charles, modeller. Executed from nature groups of animals, modeUed with fidehty and taste. In 1847 he gained the Society of Arts' medal for a '"Group of Children.' He resided at Brighton, and died there ta 1854. FOX, Charles, engraver. He was born March 17, 1794, at Oossey Hall, Norfolk, where his father was steward to Lord Staf ford, and was brought up M the gardens at Cossey. He was then apprenticed to an engraver at Bungay ; on the completion of his term he came to London and engaged himself as an assistant to John Burnet, with whom he remained some time. His best plates are — 'VUlage Recruits,' after Wilkie, R.A. ; Sir George Murray, after PickersgiU, R.A. ; and 'Queen Victoria's first Council,' also after WUltie. He en graved for the annuals, and to illustrate Cadell's edition of Walter Scott's works. He left an unfinished plate of Mulready's ' Fight Interrupted.' fie engraved ta the line manner. He was a man of refined tastes, and painted some water-colour por traits, cMefly of his friends, which have great merit. He died at Leyton, Essex, where he was on a visit, ta his 55th year, on February 28, 1849. FOX, Charles, landscape and portrait painter. Born at Falmouth ta 1749. De voted to hterature from a child, he also showed a taste for drawing, fie began life as a bookseller, but losing aU his pos sessions by a fire, he then tried art, and travelled on foot through Norway, Sweden, and a part of Russia, sketching the wild scenery of those countries. On his return he painted pictures from his sketches, and also had recourse to portraiture as a means of subsistence, but he never was much known as a painter. Later in life he studied the oriental languages, and ta 1797 pubhshed a volume of poems from the Persian, 'The Plaints, Consolations, and Pleasures of Ahmad Ardab6Ii, a Persian Exile.' In 1803 he had prepared for the 160 FEA press two other volumes of translations from the Persian, and a Journal of his Travels, but these two latter works have not found a publisher. He died at Bath ta 1809. FRADELLE, Henry Joseph, history painter. He was born at Lisle about 1778, and came early to England, where he studied ta the Academy Schools. He patated subject pictures, and occasionally portraits, fie exhibited at the Academy, ta 1817, 'Milton dictating "Paradise Lost " to his Daughter,' and conttaued an occasional exhibitor up to 1855; but he priucipaUy exhibited at the British In stitution. His art was not of a high class, but was popular,, and his 'Mary Queen of Scots and her Secretary,' 'Rebecca and Ivanhoe,' ' The Earl of Leicester's Visit to Amy Robsart,' and some other subjects of this class, were engraved. He died March 14, 1865. FRAMPTON, Richard, illuminator. The name of tMs artist is only known as having Uluminated a fine manuscript in the time of Henry V. FRANOIA, Francois Louis Thomas, water-colour painter. Was born at Calais, December 21, 1772, and came early in life to London, where he settled ta the practice of water-colour art. He first exMbited at the Royal Academy ta 1795, and continued to exhibit, with some intermission, up to 1822. He attained much excellence, patating landscape, but chiefly marine subjects. He was appotated painter ta water-colours to the Duchess of York, for whom he made a great many drawings. In 1816 he was a candidate for the asso- ciateship at the Royal Academy. The fol lowing year he returned to France, settled at Calais, and died there on Februaiy 6, 1839. fiis marine subjects were treated with great poetry. His works possessed power, breadth, and an harmonious simple richness of colour. He pubhshed ' Lessons on Sketching and Painting trees ta water- colour,' 1835. His son, A. Francia, sent a picture to the Academy ExMbition in 1841, and agata ta 1842. FRANCIS, John, sculptor. Was born September 3, 1780, ta Ltacotasliire, and brought up to farming. He made some early attempts at carving, and his success led his friends to advise Mm to try the study of art in London. In the Metropolis he became the pupil of Chantrey, and re ceived much friendly assistance from him. He succeeded as a bust modeller, and had very distinguished sitters— among them, Wiffiam IV., the Queen and the Prince Consort. He exMbited at the Academy a bust of Mr. Coke in 1820, his first contri bution, and was then living ta Norfolk. He conttaued an occasional exhibitor of busts, never trying any higher subject, up FEA to 1857. He died, aged 81, at Albany Street, Regent's Park, August 30, 1861. There is a bust of the Duke of Welltagton by Mm ta the National Portrait GaUery. Mrs. Thornycroft, the weU-known sculp tress, is his daughter. FRASER, Alexander, A.R.S.A., sub ject painter. He was bom ta Edinburgh, April 7, 1786, and studied Ms art under John Graham, at the Trustees' Academy. In 1810 he sent his first picture, ' A Green Stall ' to the Royal Academy, followed by two domestic subjects in 1812 ; and ta 1813 he came to reside ta London, and was from time to time an exMbitor ; and trusting to his profession for Ms support, soon gained a fair position. He then engaged as an assistant to Wffirie, R.A., who had been his feUow-pupU ta Edinburgh, and for 20 years painted the detaUs and still-life into Wilkie's pictures, working usuaUy ta Ms studio. The engagement did not, however, Ereclude his painting pictures of his own ; e conttaued to exliibit at the Academy and the British Institution, and at the latter received ta 1842 a donation of 50 guineas for the general merit of Ms works.- fie was elected an associate of the Royal Scottish Academy. His pictures were cMefly founded on Scottish incidents, and he could scarcely avoid imitating Wilkie, yet his story was weU told and Ms work weU patated. For the last 10 years of his hfe the state of Ms health prevented him practising Ms profession. He died at Wood Green, Hornsey, February 15, 1865. His ' Interior of a Highland Cottage ' is ta the South Kensington Museum, fiis ' Robin son Crusoe reading the Bible to Friday' has been engraved, as have some of Ms designs ta illustration of the Waverley novels. FREEBAIRN, Robert, landscape painter. Born in 1765. He was Richard WUson's last pupil, and on Ms master's death went to Italy to pursue Ms studies ta landscape art. fie conttaued there for 10 years, studied ta Rome 1789-91, and formed his art upon the scenery and effects of the country, returning to London in 1792. He patated ta oU. His subjects were ahnost exclusively Italian, and from 1782 to 1807, he was, with httle intermis sion, an exhibitor at the Royal Academy. He was also a 'fellow exhibitor' in 1806 and 1807 at the then newly-formed Water- Colour Society, fiis works were carefuUy and neatly finished, Ms colour brilliant and pleasing, yet they never reached excellence. They were not numerous, and were chiefly patated on commission. He pubhshed, ta 40 plates, 'English and Italian Scenery.' He died of decline, ta Buckingham Place, New Road, January 23, 1808, aged 42, leaving a widow and four ctaldren. FREEBAIRN, Alpred Robert, en- FEO graver. He was a student at the Royal Academy. His cMef work, wMch he only tast hved to finish, is an engraving from Flaxman's ' SMeld of AchiUes.' He died suddenly, August 21, 1846, aged 52, and was buried ta Highgate Cemetery. FREEMAN, John, history painter. He practised ta the latter hah of the 17th century, and was a rival of Isaac FuUer. He went early ta Me to the West Indies, and on Ms return was much employed. In the latter part of his Me he was scene patater to the playhouse ta Covent Garden. There are five paintings attributed to him ta the gaUery of the Louvre. FREEMAN, Samuel, engraver. He practised chiefly in portrait and Mstory. fie engraved Corregio's ' Holy FamUy ' and Raphael's ' Madonna,' ' IMant Christ and St. John,' also Vandyck's ' St. Ambrose refusing the Emperor Theodosius admission to the Church, works of second class merit. He died February 27, 1857, aged 84. FREESE, N., miniature painter. Art ist to the Duke of Cambridge. He exM bited miniatures at the Royal Academy from 1797 to 1813, occasionally contributing a landscape in oU. FRENCH, Thomas, scene painter. Practised towards the end of the 18th cen tury as an antiquarian draftsman and scene painter. He resided chiefly at Bath, and painted! the scenery for the Bath Theatre. fie died there ta September 1803. FRENCH, Henry, history painter. Born ta Ireland. He went to Italy early in the 18th century, and studied many years in Rome, where he gained a medal in the Academy of St. Luke. Returning to England, he patated some historical sub jects, but found no encouragement, and went back to Italy. In 1725 he came agata to England, but was attacked by hlness, and died the foUowtag year. FROST, George, amateur. He was bom at Barrow (some accounts say Ous- den), Suffolk, where Ms father was a builder. Brought up to tMs business, he was afterwards employed ta the office of the Ipswich Coach, a connection wMch he continued tUl within a few years of his death, and ta wMch he gained a compe tence. He early showed a love of drawing, and without instruction acquired by his own perseverance an artistffike love of nature. He drew picturesque buUdtags and. landscape ta a masterly manner, find ing Ms subjects ta Ipswich and its neigh bourhood. He was an ardent admirer and imitator of Gainsborough, and possessed some good drawings and paintings by him. In a note by Constable, R. A., he speaks of him as 'my dear old friend Frost.' He died at Ipswich, June 28, 1821. aged 77, and was buried ta St. Matthew^ Church yard. 161 FEO FROST, William Edward, R.A, figure painter. Was born at Wandsworth ta September 1810. He studied at Sass's, and became a student of the Royal Academy ta 1829, at a time when Etty was a con stant attendant there. He adopted kindred subjects, though his first contribution to the exhibition was a portrait ta 1836. He obtained the Academy gold medal for Ms picture of ' Prometheus bound by Vulcan,' and a third class medal at the Westminster Hall competition ta 1843 for ' Una alarmed by the Fauns.' He patated many portraits, but wfll be better remembered by his figure pictures of Nymphs, Ulustrations of Milton, Spenser, &c. fie exMbited in 1845 ' Sabri- na,' ta 1846 ' Diana and Aeteon,' in 1847 ' Una and the Wood Nymphs,' which was bought by the Queen, ta 1850 ' The disarm ing of Cupid,' ta 1851 'iHylas,' &c, &c. He was chosen an associate of the Royal Aca demy ta 1846, but was not elected a full membertill 1871, and entered the retired list in 1877. His female figures are weU drawn and coloured, but possess none of the vigour of those by Etty, though they have a chaste and graceM character. He was a simple, modest man and passed a quiet, uneventful life. Worn out by constant attacks of the gout, he died June 4, 1877, aged 67. FRY, William Thomas, engraver. Born ta 1789. He engraved after 'Annibale, Caracci, Parmegiano, and Flaxman, R.A., but Ms works did not attain distinction. He died in 1843. FRYE, Thomas, portrait painter. He was born near Dubhn ta 1710, and was but poorly educated. He came to London early in life with Stoppelaer, the artist, and commenced painting portraits. In 1734 he patated a fuU-length portrait of Frede rick, Prince of Wales, for the Saddlers' HaU. Some years later he took the management of the china manufacture established at Bow. In 1749 he took out a Eatent for making porcelain, and devoting imself to this work, spent 15 years among the furnaces, to the great injury of Ms health. His abffity was shown ta the im proved elegance of form and ornamentation, but the manufacture did not succeed. He then journeyed to Wales to restore Ms health, painting portraits with success on the way ; and returning much invigorated and with some money in his pocket, he took a house ta Hatton Garden, and re sumed the practice of his art. He painted portraits in oil, crayons, life-size, in black and_ wtate chalk on coloured paper, and nitaiatures. He was happy ta his hkeness, and enjoyed contemporary reputation, par ticularly for his miniatures, some of winch were higMy finished ta black lead, and some very smaU ta water-colours, for the decoration of jewellery. He engraved several portraits life-size and ad vivum ta 162 FUL mezzo-tint. These works are of great power, the Ught and shade exceUent, the face finely moulded and weU drawn, but the hands, when introduced, are tadifferent. Of these works, the portraits of George III. and Ms Queen, with Miss Pond and the artisf s own, are the most esteemed. A portrait by Mm of Leveridge, the singer, exMbited ta 1760, is mezzo-tinted by Pether. He was very corpulent and sub ject to gout, and confined himself to such a spare diet that, added to Ms close applica tion to his art, a complication of disorders ensued, ending ta consumption. He died April 2, 1762, ta Ms 52nd year, it is said insolvent, ae left a son and two daugh ters, who died ta obscurity. FRYER, Leonard, serjeant-painter to Queen Elizabeth. He held the office till Ms death. FULLER, Isaac, history and portrait painter. Born 1606. Little is known of his early Me, except that he studied art in France under Perrier. He practised in the reign of Charles IL, and patated ' wall- pieces,' wMch were rather ornamental than artistic, decorating thus several London taverns, as was then the custom ; and both ta this manner and ta portraiture, it ap pears, he found much employment, more especiaUy at Oxford. In the chapel at Wadham CoUege he patated his ' Children of Israel gathering Manna.' An altar- piece by him at Magdalen was praised by Addison ; but Walpole speaks shghtingly of a similar work at All Souls, which ne attributes to Mm, though it is, ta fact, by ThornMU. He also patated, ta five large pictures, 'The King's Escape after the Battle of Worcester.' They were presented to the Irish Parliament, and finahy came into Lord Roden's possession. His own portrait of himself at Queen's CoUege is a vulgar painting of a vulgar man, but not wanting ta power and rich ta colour. He etched a set of prints from Ms own designs, which have httle merit. He died ta Blooms- bury Square, July 17, 1672. He left a son, who was brought up to Ms art, and was clever but idle, and died young. FULLER, Charles F., sculptor. Born ta 1830, son of General Francis Fuller. At the age of 17 he entered the 14th Foot, and soon afterwards exchanged into the 12th Lancers. In 1853 he unexpectedly left the army, and going to Florence, placed himself under fiiram Powers, the American sculptor. In 1859 his works first appear in the Royal Academy ExMbition. In that year, 1860, and 1861 he sent some portrait busts ta marble. In 1863 'Launcelot of the Lake ' and ' Queen Guinevere,' in 1865 ' Dahlah,' ta 1867 ' Europa, a marble statue,' in 1868 ' The bhnd flower-girl of Pompeii.' Up to tMs time he had resided in Florence. In 1870 and 1871 he was in FUS Rome, and sent from thence ' The Peri and her CMld ' for exMbition ; about this time also he visited Constantinople, He died at Florence, March 10, 1875. His works, though technicaUy incomplete and some times meretricious, showed nevertheless considerable abffity. FUSELI, Henry, R.A., history paint er. Was bom at Zurich, February 7, 1741. The second son of John Caspar Fuessli, who was himself a painter of land scapes and portraits, a man of learning and a writer on art. Henry Fuseli was educa ted for the Church, took his M.A. degree and entered into holy orders ta 1761, and it is recorded preached his Mst sermon at Zurich from St. PaM's text—' What wiU this babbler say ? ' His strong early predi lection for art had probably otay been stifled, yet he might have conttaued ta the Church had he not umted with Ms friend Lavater ta exposing some peculation by the cMef magistrate of the canton, who proved eventually too strong for him, and he was, with his friend, compelled to quit Zurich. Then he traveUed, visiting several German cities, and at Berlin contributed eight de signs to a work wMch was pubhshed there. He had, wMle pursuing his theological studies, among other acquirements, learnt English and read Shakespeare, whose 'Macbeth,' with 'Lady Mary Wortley Montagu's Letters,' he translated into German. He was induced by the British Minister to the Prussian Court to come to London, where he arrived at the close of the year 1765, his object being to promote some scheme of literary union between England and Germany. He Mst found employment ta translating, occasionally making some designs for book Ulustration, and then accepted the office of tutor to travel with a nobleman's son, for which he was httle suited, and soon resigned. On his return to England in 1767, intend ing to devote himself to hterature, he gamed an introduction to Sir Joshua Rey nolds, whose warm appreciation of his drawmgs induced him to devote Mmself at once to art. He was now nearly 26 years of age. He had not attained even the rudiments of his adopted profession, wMch require great application ; but he looked to Italy as the source of all art inspiration, and set out for that country, arriving at Rome ta the spring of 1770. There he studied earnestly from the antique, and from the works of Michael Angelo, whose great manner he appears to have foUowed, but not by devoting himself to that labori ous attendance at the schools wMch is essential to excellence. He was absent nearly nine years from England. From Rome he sent to the Spring Gardens Ex hibition, in 1775, ' Hubert and Prtace Ar thur ; ' in 1778, ' Caius Gracchus ; ' and FUS in 1783, 'The Pangs of Mona.' Mean- wMle, he had sent to the Royal Academy, ta 1774, Ms ' Death of Cardinal BeaMort ; and ta 1777, his ' Scene from Lady Mac beth.' He set off on Ms return ta 1778, visited Zurich on his way, where he stayed some time with Ms father, and reached London early ta 1779, having made both friends and a reputation in Italy. In 1782 he exhibited his 'Nightmare,' wMch was multiplied by engravings, and soon became very popular, the publisher having, it is said, realised 600/. from the plate. Zealously following art, he did not abandon hterature. He edited the English translation of Lavater's work on Physi ognomy, and contributed an occasional paper to the ' Analytical Review.' In 1786 Boydell's scheme of the Shakespeare Gal lery was set on foot. Fuseh's co-operation was thought important, and he entered warmly into the undertaking, painting no less than eight large and one small subject for the gaUery. fie was elected an asso ciate of the Royal Academy ta 1788, and a full member ta 1790 ; and the same year married a discreet young woman, who had sat to Mm as a model. About this time he projected Ms own Milton GaUery. In this he persevered under some difficulties during nine years ; and though assisted both by the purses and the tafluence of Ms friends, Ms scheme proved, when opened to the pubhc ta 1799, in a pecuniary sense at least, a sad failure; yet it was a great under taking, comprising 47 pictures by his own hand, most of them of large dimensions. His knowledge and hterary attainments made him weU fitted for the office of lec turer on painting ; and to this post he was elected ta 1799. He compued twelve lec tures : viz. on Ancient Art, on Modern Art, Invention (two), Composition, Chiaroscuro, Design, Colour (two), Proportions of the Human Frame, History Patating, and the Modem State of Art. These he delivered with great effect, and they have since been published. He vacated the office ta 1804, when he was elected keeper of the Royal Academy, but was subsequently re-elected to the professorship by the suspension of the bye-laws of the Academy, wliich made the two offices incompatible ; and he then produced ttaee additional lectures, com pleting the above series. In 1802 he visited Paris, and coUected some materials for a work on the art-treasures ta the Louvre, which was not gone on with, pro bably interrupted by the outbreak of war ; and ta 1805 he prepared for publication an eMarged edition of Phkington's ' Dictionary of Painters.' He had also commenced a 'History of Modern Art,' and had com pleted between 500 and 600 pages ta manuscript, bringing Ms subject down to Michael Angelo; and he left many frag- 2 163 GAH GAI mcntary papers connected with art and artists. Among Ms acqufrements are reckoned the Greek, Latin, French, Eng hsh, German, Dutch, Danish, and Spatash languages. He died wMle on a visit to the Countess of GuUdford, at Putney Heath, April 16, 1825, and was buried in St. Paul's Cathe dral. As a teacher he was a great favourite with the students, and had considerable tafluence over them. His energetic man ner, his wild enthusiasm, his caustic wit, and the irritable cynicism with wMch even his instruction was conveyed, took deep hold upon their young minds ; and tales of him are still, and wiU long continue, rife ta the schools. His pupils presented hini on his retirement with a handsome silver vase, designed by Flaxman. That Ms instruc tion was not only appreciated by them, but was sound, is evidenced by the many very distinguished men who passed ttaough the antique school during his keepership. The enthusiastic poetry of his art was hardly for the multitude, though he was made largely popfflar by the many engravings from his works. He was a congenial stu dent of Michael Angelo ; terrible often in his bold energetic style and the wild origin ality of his inventions — never tame or commonplace — the action of Ms figures violent and overstrained, very mannered, yet often noble and dignified. His females were without beauty — aU framed on the same model — unfemintae and coarse. The critics did not spare him, nor he them. Dayes said ' he had no conception of female beauty ; his women were the devh ; ' and Peter Pindar, that 'he was the fittest artist on earth to be appotated hobgoblin painter to the devil ; ' whUe Barry criticis ing his art, said, ' Talk of the beau ideal — it is the beau frightful you mean.' Yet as an Ulustrator of Shakespeare he stands far before all his contemporaries. Wanting in elementary knowledge and the proper train ing of his profession, he has no refinement or accuracy M drawing, and ta some cases Ms attitudes are impossible. He is equally defective with regard to the laws of colour and the processes of patating, and many of his works are fast going to decav. G GAHAGAN, Sebastian, sculptor. He was born in Ireland, and comtag to England was an assistant to Nollekens, R.A. Prom 1802 he was an occasional exMbitor at the Royal Academy. His contributions were chiefly monumental designs ; among them, ta 1816, the ' Victory,' which forms part of Sir Thomas Picton's monument, by him, ta St. Paul's; in 1819, 'The Cradle Hymn,' portraits with sometimes a bust. He last exhibited, 1835, the model of a statue to Earl Grey. In 1810 the directors of the British Institution awarded him a premium of 50 guineas for Ms model, ' Samson break ing his Bonds.' The figures of ' Isis ' and ' Osiris,' ta the front of the Egyptian HaU, Piccadilly, and the Duke of Kent's statue, at the top of Portland Place, are by him. He was one of a family of modellers. One of his brothers, au assistant to Westma- cott, R.A., was killed by the fall of Can ning's statue, on which he was working. GAINSBOROUGH,Thomas,R.A.,j»o»-- trait and landsarpc painter. He was born in 1727 (the day unknown, but baptized May 14), at Sudbury, Suffolk, where his father, a clothier, possessed a smaU pro perty, wluch was soon lessened by a liberal disposition and the charges of a large family. He was early addicted to sketching from the rustic scenery of the neighbour hood, and at the ago of 15 came to London 104 for instruction, and gaining an introduction to Gravelot, the engraver, was assisted by Mm in Ms early studies, and entered the St. Martin's Lane Academy. He afterwards became the pupil of Frank Hayman, with whom he continued nearly four years, and having acquired some skill ta drawing and the technical processes of his art, he found nothing more to be gained ta the insipid conventionalities wMch then prevailed, and returned to his native town, where he began practice as a portrait painter, and occa- sionaUy patated a smaU landscape, for which he usuaUy found a purchaser, at a low price, among the dealers. At the age of 19 he married, in London, a young lady who possessed an annuity of 200/. , and then with Ms wife took up his residence at Ipswich. After practising there some time he was induced te visit Bath, where the fashionable world then used to congregate, and settling there he com menced, about 1758, painting three-quarter portraits at five guineas, which he was soon enabled to raise to eight. In his day he was chiefly employed and esteemed as a portrait painter, whUe bis landscapes were dis regarded. Later, it may be eclipsed by the reputation of Reynolds, his landscapes were deemed his etaef works. It is said that Sir Joshua at an Academy dinner gave, ' The health of Mr. Gainsborough, Hie GAL GAN greatest landscape patater of the day,' to which Richard Wilson, R.A., probably nettled, retorted, 'Ay, and the greatest portrait painter, too ' — an assertion which has now become the opinion of many. Gainsborough's portraits, particularly of females, possess some of the sweetest qua- hties, fresh ta colour, pure and sdvery ta tone, graceful without affectation, the backgrounds excellent. His rustic figures no less delight by their charms of simple nature; and Ms landscapes, into wliich cattle and figures are introduced with great art, are filled with nature's truths by a clever, facUe generalisation wliich, while far from individualised imitation, satisfies by his purely original view and rendering. He has the great merit of having discarded ah the conventionalities of the schools, and de voted himself to the study of nature — of the scenery of his own country, beyond wMch he never wandered. In 1766 he was a member of the Incor porated Society of Artists, and occasionally sent his pictures to London for exhibition. He was chosen one of the f oundation mem bers of the Royal Academy ; and ta 1774, increased ta reputation and confidence, he came to London and first lived in Hafton Garden, but from 1777 tiU Ms death he resided ta the western wing of Schomberg House, Pah MalL He had never shown much interest ta the affairs of the Royal Academy, but had been a constant con tributor of portraits and landscapes to the exMbitions from 1769 to 1784 (except ta the years 1773 to 1776), sending ta 1783 portraits of the King and Queen and 13 of their ctuldren (probably the beautiful series of small portraits arranged ta the Queen's private apartments at Windsor). Upon some disagreement with the councfl as to hanging Ms portrait-group of the ttaee Princesses, a full-length, but now un happily cut down, he withdrew that picture, with 17 others he had sent to the exhibi tion, and did not agata exhibit or take any share whatever in the Academy business . Northcote, R.A. , says : 'He was a natural gentleman, and with aU his simplicity he ad wit too.' His own portrait has per petuated Ms prepossessing countenance ; his sprightly conversation and humour made him a welcome favourite ta all society. He was surely a genius ; possessed of great taste, passionately fond of music, which, with art, formed Iris favourite topic. Dr. Wolcott, a good judge, was once ta an adjoining room, and hearing him play, ex claimed, ' That must be Abel' (at that time a disttaguised musician), ' for, by God, no man besides can so touch the instrument ! ' He had gained both fame and fortune when a complaint ta the neck, to which he had paid little attention, developed itself into a cancer, wMch baffled the stall of Ms physicians, and settling his affairs, he com posed liimseli to meet death. He expired August 2, 1788, and by his own desire was buried as privately as possible ta Kew Churchyard, where a plain, flat stone sim ply records his name, age, and date of death. Reynolds, P.R.A., was one of the pall-bearers. He had visited him on his death-bed, and some coolness having exist ed, the dying man, who wished to be re conciled to Ms brother painter, said, ' We are all gotag to heaven, and Vandyck is of the party.' After his death his paint ings were exMbited for sale by private con tract, at his house hi Pall Mall. The ad mission was at first 2s. 6d., afterwards Is. His elder brother showed a talent for the arts ; a younger brother was a Dissenting Minister at Henley-upon-Thames, anil possessed much mechanical genius, fiis daughter Margaret died unmarried, at Acton, ta 1820. He wih always occupy one of the highest places in the English school, and Ms works now command almost fabulous prices. Some fine examples of Ms art will be found ta the National Gal lery ; among them Ms portrait of Mrs. Siddons and the ' Watering-Place ; ' at the National Gallery, Edinburgh, portrait of Mary Graham ; at the Dulwich Gallery, portrait-group, 'Mrs. Addison and Mrs. Tickell ; ' in the Westminster Gallery, the portrait of a youth, ' The Blue Boy,' and Mrs. Siddons as the ' Tragic ,Muse ; ' at Windsor Castle, the lovely coUection of the famUy of George III., head size. A ' Sketch of Ms Life and Paintings,' by Phihp TMcknesse, was published in 1788. ' His Life,' by Fulcher, 2nd ed., 1856 ; and a Life of him is included ta Cunningham's ' Lives of the Painters.' GAMMOM, James, engraver and draftsman. He practised ta London about 1660. His works are tame and poorly engraved ; among them is a portrait of Catherine of Braganza and of Richard Cromwell. The latter is supposed to have been drawn by him from the life, and to have been the portrait from wMch Samuel Cooper painted the well-known miniature. GANDON, James, architect. He was born in London, February 29, 1742, and was descended from a good French refugee family. He was well educated in classics and mathematics, and developed an early taste for drawing. A loss of property by his father led him earnestly to adopt the study of art, and entering the St. Martin's Lane Academy, he became a constant at tendant. In 1757 he was awarded a pre mium by the Society of Arts, and on the arrival of Sir William Chambers ta London, he found employment in his office, and afterwards became his articled pupU ; and about 1765 he commenced practice on his own account, and was a member of the 165 GAN GAN Free Society of Artists. Soon after, he proposed to publish a continuation of Camp bell's ' Vitruvius Britannicus,' and asso ciating Mmself with Mr. Woolfe, of the Board of Works, he undertook the greater part of the labour, engraving many of the plates himself, fie contributed to the Spring Gardens Exhibitions ta 1765 and the succeeding years. On the foundation of the Royal Academy he entered as a student, and was a successful competitor for the first gold medal awarded ta architecture (1769), and from 1774 to 1780 was a con tributor to the Academy ExMbitions. He sent ta designs ta 1769 for the Dub lin Royal Exchange, and gataed the second premium ; and ta 1776 the Mst premium for a lunatic asylum ta London, but to Ms great disappotatment he was not employed in its erection. He conttaued to labour ta his profession ta London up to 1781, when he went to Dublin on an invitation to erect the new Custom House and docks, relin quishing an offer of Court employment ta Russia ; and under many difficulties and vexatious interruptions, he at once com menced his extensive undertaking, wMch occupied Mm durtag 10 years. At the same time he was engaged upon a new gaol and court-house at Waterford, and upon the erection of the east portico and orna mental circular screen to the Parliament House. In 1788 he commenced the Dublin law courts, stffi harassed by an opposition, wMch was carried mto the Irish Parlia ment. Continuing to reside ta Dublin, he commenced Ms last great work ta that city, laying the first stone of the King's Inns, 1795. In 1797 he came to London, warned by the treasonable dangers which were then impending, and did not return till 1799 to complete Ms Inns of Court. He did not find less difficulties than before, and about lS06,Lord Chancellor Redesdale expressing dissatisfaction at the progress of these works, he wrote a justificatory letter of ex planation, and resigning Ms employments he retired, M 1808, after an arduous career of nearly 60 years, to Lucan, near Dublin, where he had purchased some property, and passed the remainder of his days, fie was a martyr to gout, and died December 24, 1823. He was buried in Dramcondra Churchyard, it is said, ta the same grave with Ms friend Grose, the antiquaiy. His great public buddings and the street im provements wliich he carried out ta Dublin with great skiU and abffity, will always perpetuate his name in that city, fie etched several plates, after landscapes by Wilson, R.A., and wrote an ' Essay on the Progress of Architecture ta Ireland ' and 'Hints for erecting Testimonials.' His ' Life,' by Ms son, was edited by T. J. MMvany, R.H.A., 1846. 166 GANDY, James, portrait painter. Born at Exeter ta 1619. He received some instruction from Vandyck, made many copies from his works, and imitated his manner. His portraits possessed much merit. He was retained ta the service of the Duke of Ormond, whom he accompamed to Ireland, where many of his portraits are much prized. Sir Joshua Reynolds owned that, at the commencement of his career, Gandy's works made a great impression on Mm. He died ta Ireland ta 1689. His cMef works wiU be found ta that country ; a few ta the West of England. GANDY, William, portrait painter. Son of the foregoing. Said to have been instructed by ' Magdalen Smith.' He set tled ta Exeter about 1700, and traveUed ta Devonshire and CornwaU, fainting portraits. Some good portraits by him exist ta these counties, but there are many more wMch are very loosely finished. He rarely indeed finished more than the head and the hands. His best works possessed great force and power, and have been deemed hke Rey nolds's. He was of a proud, intractable disposition, careless of his reputation, ta his latter days only painting when pressed by necessity. He was at Plymouth ta 1714. He affected to be too deep ta the confidence of the Duke of Ormond, who was implica ted in the rebellion of 1715, to render it safe to venture up to London. He is sup posed to have died at Exeter, but the date is unknown. GANDY, Joseph M., A.R.A., archi tect. Born ta 1771. Was a student of the Royal Academy and a pupU of James Wyatt. He gataed the Academy gold medal ta 1790 for his design for a tri umphal arch. He went to Rome in 1794, and the following year received the Pope's medal ta the first class for architecture. He was a frequent exMbitor at the Academy, and was much employed by Sir John Soane ; a man of great imagination and genius, and an excehent draftsman, he was elected an associate of the Academy ta 1803. He made the dra wings for Britton's arcMtectural publications, and some others, and built the Assembly Rooms at Liverpool and some mansions. He published ' Designs for Cottages, Farms, and other rural Build ings,' 1805 ; 'The Rural Architect,' 1806 ; and was connected with Sir William Gell ta Ms ' Pompeiana,' published 1817. He was brother to Gandy Deertag. Odd and impracticable ta disposition, his Me was one of disappotatment and poverty, and is said to have ended ta insanity, fie died ta December 1843. GANDY, Michael, architect. Was born ta 1778, and was the younger brother, and for some time the pupU, of Joseph M. Gandy. Afterwards he was employed in James Wyatt's office, wMch he left to enter GAN GAE the Indian Navy, and served ta India and China. On his return he was employed ta the office of the civfl arcMtect to the Navy. From that service he became assistant to Sir Jeffrey WyattviUe, remaining with Mm till his death, or nearly 30 years, fie otay appears to have been an exhibitor at the Academy ta 1795-96-97. In 1842 he pubhshed 'Architectural IUustrations of Windsor.' He died ta AprU 1862. GANDY, John Peter, R.A., architect. See Deering, wMch name he afterwards assumed. GARDELLE, Theodore, miniature painter. Was born ta Geneva 1722, and was apprenticed to an engraver there. He ran away at the age of 16 and went to Paris, but, persuaded to return, he came back and served out his time. In 1744 he agata went to Paris, and studied painting there till 1750, when, returning to Geneva, he practised for a whUe ta Ms native city, but his immoral conduct was a bar to his success, and ta 1756 he was agata ta Paris. From thence he went to Brussels and to London, arriving probably ta the winter of 1759. Here, practising as a miniature and portrait patater, his career was short. He lodged on the south side of Leicester Fields. His landlady was a woman of light character, and on her resisting his advances and violence he murdered her, and after robbing her, cut her body ta pieces and burnt it. Convicted, he attempted suicide in prison. He was executed ta the Hay- market, April 4, 1761. Hogarth is said to have made a sketch of him on the day of his execution. GARDINER, William Nelson, engrav er. He was bom at Dublin, June 11, 1776. His parents were of the lower class, but he managed to get a good education. Some friends enabled him to pursue an early taste for art, and he studied for three years at the Dublin Academy, where he gataed a medal. After a wMle he made his way as an adventurer to London, and sup ported himself by taking ta black shade pro- ffie miniatures, but was Ul-paid, and he then associated himself with some strobing players, and became their scene painter, yet with httle better success. Meettag accidentally with Captain Grose, he was befriended by Mm and placed with an engraver. Afterwards he worked for Bar tolozzi, whose manner he imitated, and made great progress ta the art. He exe cuted some good plates, several of which bear Bartolozzi's name, among them a por tion of Lady Diana Beauclertfs ihustrations of Dryden's 'Fables.' He was employed on the IUustrations for Harding's edition of Shakespeare and De Grammont's 'Me moirs,' and might have gataed independ ence ; but he left his business and went to Dublin, where he spent aU the money he possessed. Returning to England, he was seized with a conscientious desire to enter the Church, and was admitted to Em manuel, and afterwards to Corpus CMisti College, Cambridge. He remained about five years, with a view of qualifying for holy orders, and was candidate for a f ellow- sMp, and then agata turned to art. He copied portraits ta water-colours with much stall, yet with small gains. Possesstag a considerable knowledge of books, he next set up as a bookseller ta Pall Mall. There, plagued with aUments and a restless spirit, and afflicted with the loss of Ms wife and cliild, he wrote some sopMstical reflections on the pains of Me and the sweetness of death, and committed suicide on June 21, 1814. GARDNER, Thomas, engraver. Prac tised ta the early part of the 18th century, and was cMefly engaged for the booksellers. He engraved a set of plates for the Book of Common Prayer, 1735. GARDNER, Daniel, portrait painter. Born at Kendal. Came to London early ta life, and was admitted a student of the Royal Academy. Was noticed and assisted ta his art by Reynolds, P.R.A., and became fashionable for ins smaU portraits, both in oU and crayons. He exhibited at the Academy in 1771, but rarely afterwards. Thomas Watson engraved 'Abelard and Heloise' after him, 1776, and there are several mezzo-tint engravtags after his portraits. He had a nice perception of beauty and character, and composed with elegance. He realised some property by his art and retired from its practice. He died ta Warwick Street, Golden Square, July 8, 1805, aged 55. Hayley did not think his talents beneath his verse — 'Nor, Gardner, shall the muse ta haste forget Thy taste and ease, tho' with a fond regret.' GARDNOR, The Rev. James, amateur. He was for many years vicar of Battersea, and both drew and engraved with some ability. In 1767 he received a Society of Arts' premium of 25 guineas. He was a frequent contributor to the Academy ExM bitions, but is not classed with the honorary exMbitors. He exhibited from 1782 to 1796 landscapes ta oU and water-colours, views, and at the latter part of the time, subjects on the Rhine. He also painted some portraits. He died at Battersea ta January 1808, aged 79. He contributed some of the illustrations for WUliams's ' History of Monmouthshire,' and published, ta 1788, ' Views on the Rhine.' GARNER, Thomas, engraver. Was born ta Birmingham 1789, and was ap prenticed to an engraver in that town, where he practised durtag the greater part of his Me. His cMef works were ta the line manner and on a small scale, some of 167 GAE the best for the annuals, and generally for book illustration. He died at Birmingham, July 14, 1868. GARRARD, Marc, portrait painter. Son of an animal painter at Bruges, and born there 1561. He practised history, landscape, portrait, and architecture ; also engraved, illuminated, and designed for glass painting. His etchings for iEsop's ' Fables ' and a view of Bruges are stiU esteemed. He came to England soon after 1580, and was appotated patater to Queen Elizabeth and Queen Anne of Denmark, and passed the rest of his life here. His works are numerous, and exist ta the man sions of our old families. They are patated with a neat, facUe peneU — the draperies formal, and emiched with carefidly finished jewels and omaments. His drawing is good, Ms flesh tints thin and suvery, but pleasing in colour. His ' Procession of Queen Elizabeth to Hunsdon, or, as lately described, to a wedding, surrounded by her Officers of State and Laches,' was engraved, as was also his ' Procession of the Queen and the Knights of the Garter, 1584,' the former by Vertue. He patated both Prince Henry and Prtace Charles. He died in England ta 1635. GARRARD, J., topographical drafts man. He practised towards the latter part of the 18th century. R. Pollard engraved after several of his drawings. He dries not appear to have exhibited his works. He is believed to have died suddenly, ta October 1815. GARRARD, George A.R.A., animal painter and modeller, fie was bom May 31, 1760. Was a pupil of Gilpin, R.A., and in 1778 a student of the Academy. In 1781 he first exhibited at the Royal Academy, his earliest works being portraits of horses and dogs. In 1784 he exhibited a ' View of a Brewhouse Yard,' with wliich Reynolds, P.R.A., was so much pleased that he gave him a commission to paint another picture of the same class. Con tinuing to exhibit such works, ta 1793 he sent ' Sheep-shearing ; ' in 1796, some mo dels; in 1800, models of 'Fighting Bulls' and an 'Elk pursued by Wolves.' In 1802, with other paintings, he exhibited 'A Peasant attacked by Wolves in the Snow,' and was ta that year elected an associate of the Academy. About this time his works were largely composed of models, portrait-busts, and some medal lions, but he also continued to paint both in oil and water-colours. In the Woburn collection there is a clever picture by him, 'An Agricultural Show,' full of portrait figures and animals, luminous and powerful ta colour ; and in Sir Walter Fawkes's col lection some good examples of his water- colour art. He died at Broinpton, October 8, 1826. 108 GAS GARRET, William, wood engraver. Lived ta Newcastle. He cut on wood, and published 13 very small designs. They are ta the rudest manner ; the last of the series, ' Death leading a Female to the Grave on a Star-lit Night,' has a wUd originality. They are without date, but were probably executed towards the end of the 18th century. GARVEY, Edmund, R.A., landscape painter. At the commencement of his career he exMbited at the Dublin Exhi bitions, and is supposed to have been of Irish parentage, fie painted landscapes, both ta ofl and water-colour, in a hard, dry manner. His early works were hot in colour, his later have more imitation of nature. He exMbited views ta Italy with the Free Society of Artists ta 1767, and was a constant exMbitor at the Royal Academy from its foundation up to 1808. He gataed a Society of Arts' premium of 20 guineas ta 1769, and from that year to 1777 he hved at Bath, and then came to London, where he settled. He was elected an associate of the Academy ta 1770, and a full member in ] 783, when his preference gave great offence to Wright, of Derby. He patated cMefly views, and, on a small scale, scenes from Rome, the Alps, and of gentlemen's seats. He died in 1S13. Many of his works were sold by auction ta 1816. GASCAR, Henry, portrait painter. He also engraved tachff'erently ta mezzo tint. Was bom ta France, but came to tMs country, and was patronised by the Duchess of Portsmouth ta the reign of Charles II. He left England about 1680, having made here, it is said, above 10,000/. At the commencement of the 18th century he was residing ta Rome, where it is be lieved he died. GASPARS, John Baptist, portrait painter. Born at Antwerp, and studied his art there. He came to England during the Great CivU War, and was patronised by General Lambert, who was Mmself known as an amateur. He afterwards became assistant to Lely, and then to KneUer. He was a good draftsman, pos sessed much taste, and was employed in designing for tapestry. He patated a portrait of Charles II. for Painters' Hall, where it stiU hangs, and a second for St. Bartholomew's Hospital. There is also a portrait of Hobbes by him at the Royal Society. He died ta London in 1691, and was buried at St. James's Church, Piccadilly. GASTINEAN, Henry, water-colour painter. Was a student ta the Royal Academy. He became an associate of the Society of Painters in Water-colour in 1818, and was elected a fuU member ta 1824. He excelled chiefly ta landscapes chosen among wUd and romantic scenery, rocks, cataracts, GAT and rushing streams. He was much en gaged ta teaching. He died at Camber- well January 17, 1876, ta his 86th year. GATLEY, Alfred, sculptor. Was de scended from an old Cheshire family, fie studied under BaUy, R.A., and first ex- Mbiting at the Academy ta 1841, continued an exhibitor of busts, monumental designs, and some other works, for several years. He exhibited some fine works at the Inter national Extabition ta 1S62 — a noble bas- relief ta marble of ' Pharaoh and his Host,' and ' Night' and ' Echo.' He had studied ta Rome for several years, and unknown ta England, he came here during the Exhi bition, but was unappreciated, and finding his works httle noticed he returned to Rome, disappointed and depressed. He was attacked with dysentery ta July 1863, and died there after a short Ulness, aged about 40. He expressed a wish that a fine hon wMch he had carved should be placed over Ms grave. His statues of 'Night' and 'Echo,' with some African and Nubian hons, were sold at CMistie's ta February 1871. GATTY, Margaret, Mrs., amateur. Born at Burnham parsonage ta 1809. She was the daughter of Dr. Scott, chaplain to Lord Nelson, and married the Rev. Alfred Gatty in 1839. She etched some clever landscapes, cMefly wood scenes, between 1837 and 1843 fier trees are weU drawn and show a feeling for nature, but she is better known as the writer of many in teresting tales for ctaldren, wMch combine scientific knowledge with religious teaching. She died October 4, 1873. GAUGAIN, Thomas, engraver. Born at AbbeviUe, France, 1748. Came very young to London, and was the pupU of Houston. He engraved many plates ta the dot and line manner, chiefly after Reynolds, Northcote, Cosway, Henry Mor land, and Hoare. Died at the beginning of the 19th century. GAWDIE, Sir John, Bart., amateur. Bom ta 1639, the second son of Sir William Gawdie, of West Harltag, Norfolk. He was deaf and dumb, and became a pupU of Lely, intending to foUow portraiture as a profession ; but, on the death of Ms elder brother, succeeding to the famUy inherit ance, he conttaued art only as an amuse ment. He died 1708. Evelyn, in his diary, speaks of him as a 'fine painter,' praises his many courteous quahties, and adds, 'that it was not possible to discern any imperfection ta him.' G A Y F E R E , Thomas, architect. His father was the master mason employed M the erection of Westminster Bridge. He ¦was appotated, ta 1802, jointly with his father, master mason to Westminster Ab bey, and was charged with the restora tions of Henry VII.'s Chapel, commenced GED in 1809, a work requiring great skill and ingenuity, and for wliich he made the whole of the drawings. He also restored, 1819-22, the north front of Westminster Hall, fie retired from his employments ta 1823, and died at Burton-upon-Trent, October 20, 1828. GAYWOOD, Richard (or Robert), engraver. Born about 1630. PupU of Hollar. His works are chiefly portrait- Mary, Queen of Scots; Drummond of Ilawthomden, Sir Bulstrode WMtelocke, Holbein, and many others. He also en graved Titian's ' Crouching Venus,' a set of animals and birds after Barlow, and of lions and leopards after Rubens. A view of Stonehenge, drawn by him, was pub hshed ta 1664 by Camden. His birds and animals are engraved with much spirit, but Ms manner was hard and laboured. He died about 1711. GEDDES, Andrew, A.R.A., portrait and subject painter. Was bom about 1789, ta Edinburgh, where his father, a man of taste, was an auditor of assize. He was sent to the High School, and afterwards to the University of Edinburgh, and was then taken into Ms father's office. An early love of art had been checked, but on the death of his father it prevailed. He had risen with the sun to draw, and he now resigned an employment he had held nearly five years, and comtag to London, was admitted ta 1807 to the schools of the Royal Academy. After a few years' close study, he returned to Edinburgh and com menced practice. He exMbited for the Mst time at the Royal Academy ta 1808, whUe he was residing ta Edinburgh, and in 1810, when pursuing Ms studies ta London, his 'Draught Players.' In 1813, having commenced practice, he sent four portraits from Edinburgh for exhibition. In 1814 he returned to London, where from that time he annuaUy spent several months. In 1815 he visited Paris, and ta that and the following ttaee years exhibited portraits ta the Academy, followed in 1821 by ' The Discovery of the Scottish Regalia, with portraits of the Commissioners,' a work which made him known and was engraved. About this time he put down Ms name for the associateship of the Academy, but, disappointed, he did not renew it for many years. He was for several seasons an occasional contributor to the exhibition, but exclusively of portraits. In 1828 he visited Italy, and remaining some time ta Rome he pamted the portrait of Gibson, R.A., Cardinal Weld, and a young lady in Italian costume, wMch with others, he sent home to the Academy Exhi bitions. He returned to London ta January 1831, and the following year was elected an as sociate of the Academy. At tMs time he 169 GEI painted ' Christ and the Woman of Samaria,' an altar-piece, for the Church of St. James, Garlick Hffi, and with a subject picture, ' Devotion,' conttaued to exMbit portraits at the Academy. In 1839 he visited Hol land. Soon after, his health began to give way, and symptoms of consumption ap peared ta 1843, wMch recurred, and he died ta London, May 5, 1844, aged 55. His smaU full-length portraits, several of wMch were engraved, are his best works. He was a good etcher, and some etched portraits by Mm showing much power were exMbited at the International ExMbition, 1862. GEIKIE, Walter, R.S.A., subject painter. Was the son of a perfumer, and bom ta Edinburgh, November 9, 1795. He became deaf and dumb when a ctald, yet he managed to acquire much useful know ledge, and he betook Mmself to a pencil for his amusement. He was educated ta the Trustees' Academy, and patated scenes of every-day life with much trutMM humour. fie first exhibited ta 1815, was elected an associate of the Royal Scottish Academy ta 1831, and a member in 1834. He had no feehng for colour, but was a clever draftsman, and made drawMgs ta Indian ink, filled with small figures animated with character. He also etched the same sub jects, and he pubhshed, ta 1829-31, a series of ' Etchings iUustrative of Scotch Charac ter,' to which a short memoir of him is prefixed. He died August 1, 1837, and was buried ta the Grey Friars' Churchyard, Edinburgh. GELDORP, G^oi.Wi, portrait painter. Was born at Antwerp, fie practised ta this country, but did not show much abffity. He became keeper of the pictures to Charles I. When Lely first arrived ta England he was employed by Mm. His works are not known, but a portrait by him of the Earl of Lindsay was engraved 1642, and also one of the Duke of Richmond. There are, how ever, several notices of him. He rented a large house and garden ta Drury Lane, which Walpole hints was used for assigna tions and intrigues. Rubens was Ms guest in 1637, and Vandyck, on Ms first arrival in England, lodged ta his house. He lived tUl after the restoration, and was buried at Westminster. GELL, Sir William, Knt., architect ami draftsman. Born 1774. He studied in the schools of the Royal Academy, then traveUed ta Greece, and made drawings of some of the celebrated antiquities. In 1804 he published ' Topography of Troy and its Vicinity,' with illustrations ; ta 1807,' ' Geography and Antiquities of Ithaca ; ' ta 1810, ' Itinerary of Greece;' ta 1817, ' Attica ; ' in 1818, ' Itinerary of the Morea ; ' in 1817-19, ta conjunction with Gaudy, 'Pompeiana;' ta 1823, 'Narrative of a 170 GEE Journey to the Morea ;' and ta 1834, ' The Topography of Rome and its Vicinity.' He does not appear to have exMbited at the Royal Academy, and is best known as an archaeologist and a scholar. He resided in Italy from 1820, and was for some time chamberlain to Carohne, Princess of Wales. He died ta Naples, February 4, 1836. GEMINUS, Thomas, amateur. Anearly Enghsh writer and iUustrator of his own works. He pubhshed, ta 1545, a translation of Vesahus's 'Anatomy,' and copied the wood-cuts on copper, fie also published a book on the Weather, the phenomena of the heavens, &c, which he ornamented with a number of plates engraved by Mm self ; and a book on Midwifery, similarly iUustrated, is attributed to him. GENDALL, John, landscape painter. He practised, commencing about 1820, and was largely engaged in the picturesque publications and views then published — Picturesque Views of the Setae,' in con junction with A. Pugta, 1821 ; ' Views of Country Seats,' with WestaU and T. H. Shepherd, 1823-28. He patated many oil and water-colour ruins ta Devonshire, where he was weU known, and of these he was a constant exMbitor at the Royal Aca demy from 1846 to 1863. He resided cMefly at Exeter, and died there March 1, 1865, aged 75, when a large coUection of his works were sold by his executors. GENTILESCHI, Horatio, history painter. Was born at Pisa ta 1563, and studied at Rome under the best masters. He was invited to England by Vandyck to paint the ceffings and waU decorations then ta fasMon. King Charles I. assigned him apartments and a considerable salary, and employed him in the decoration of Green wich and Ms other palaces. He also patated a ceiling at York House and at Cobham. House, Kent. There is a picture by him, at Hampton Court, of 'Joseph and Poti- phar's Wife.' He attempted portrait paint ing, but with httle success. He resided in England about 12 years, and died here in 1647, at the age of 84. He was buried in the chapel in Somerset House. GENTILESCHI, Artemesia, portrait painter. Daughter of the above. Bom in 1590. She came to England and painted both history and portrait, excelling ta the latter. She drew some of the royal family and several disttaguished persons. Graham says 'she was as famous for her amours as for her painting.' Charles I. possessed several of her works. Her portrait, painted by herself, is at Hampton Court, and at Althorp. She died about 1642. GERBIER, Sir Balthasar, Kiit.,paint- er and architect. He was born at Antwerp about 1591, and came to England in 1613 as a retainer of the Duke of Buckingham. GES He prac used miniature painting, but styled Mmself 'painter and architect,' visited Italy and gave himself airs of importance, at tended the young prtace and the duke to Spain ta 1623, ostensibly as a miniature ?atater, and patated the portrait of the nf anta, but was employed m the marriage negotiations. On the accession of Charles!. he was employed ta Flanders to negotiate a treaty with Spain. In 1628 he enter tained the King and Queen at supper, and was knighted the same year. In 1641, continuing ta favour at Court, he was ap pointed master of the ceremonies. He is said subsequently to have been neglected at Court, and to have gone to Surinam with the intention to settle there, but to have been arrested and sent to HoUand by the Dutch. During the Commonwealth he ap pears agata ta London. He was a purchaser of some of the King's pictures which were then sold, and next the founder^ ta 1648, of a short-hved sort of utaversal academy, opened the foUowtag year at Bethnal Green, where he proposed to teach everything — an expedient probably ta his days of poverty. On the restoration of Charles II. he was again ta the ascendant, and prepared the triumphal arches to welcome the King's return. He was appotated to succeed Inigo Jones as the surveyor of the royal palaces, and was naturalised by statute ta 1641. He commenced Hempstead MarshaU, a large mansion, for Lord Craven, which was burnt down, and before the completion of his work died, and was buried there ta 1667. His miniatures are weU drawn and fitashed, his ornamental and arcMtectural drawtags not without merit. He wrote an ' Encyclo paedia of Art,' and treatises and suggestions, but of a superficial character, on several subjects, and published, ta 1662, 'The Ttaee chief Principles of magnificent Build ing ;' ta 1663, ' Caution and Advice to aU Builders.' Walpole calls Mm arcMtect, author, lecturer, diplomatist, quack. He styled Mmself Baron d'OuvUIy,' and ap pears to have been an unscrupulous, clever schemer. GESSNER, Solomon, subject painter. Bom ta Switzerland ta 1730. Practised ta England with some reputation, cMefly for the Ulustration of books, and was ta ad vance rather of the manner of the time. He died in 1788. His son Conrad also practised for a while both ta England and Scotland. GIBB, Robert, R.S.A., landscape painter. Was bom in Dundee. His land scapes are truthful and carefidly finished. On the foundation of the Royal Scottish Academy ta 1830, he was chosen one of the first members. He died, after a short career, ta 1837. Some of Ms works are ta the Royal Academy and Royal Institution in Edinburgh. GIB GIBBON, Benjamin Phelps, engraver. Born in 1802. Son of the vicar of Penally, Pembrokeshire. He was educated ta the Clergy Orphan School, and apprenticed to Scriven, an engraver in the chalk manner. On the completion of his time he placed Mmself with J. H. Robinson, under whom he soon attained great proficiency as a line engraver. He worked both ta the hne and ta a mixed manner. His style is simple, refined, and finished, but wanting ta power. He engraved, after Landseer, 'The Twa Dogs,' 'Jack ta Office,' 'Shepherd's CMef Mourner ; ' after Mulready, ' The Wolf and the Lamb.' He also engraved some por traits, among them a full-length of the Queen. He died unmarried ta London, July 28, 1851, ta his 49th year. GIBBONS, Grinling, carver in wood. The accounts of his birthplace are conflict ing. He is said to have been born at Rot terdam, April 4, 1648 ; of Dutch parents, at Spur AUey, in the Strand ; and of English parents, ta Holland. Evelyn tells that he lived ta BeUe Sauvage Court, Ludgate-Hill, and afterwards removed to Deptford, where he accidentally met with him, discovered his great talent, and made him known, in 1671, to Charles II. The King employed Mm ta decorating several of the royal palaces, and gave him an office under the Board of Works. Fine examples of Ms work ta wood, finished with the greatest truth, refinement, and skill, wiU be found at Windsor, St. Paul's Cathedral, Chats- worth, Petworth, Burleigh, and Trinity College, Oxford. In the later part of his career he produced some fine works ta mar ble. The pedestal of Charles I.'s statue at Charing Cross ta stone is by him, and is a rich and tasteful work. The statue of James II. ta bronze at the back of WMte- haU Chapel cannot be placed among Ms successful works. He was master carver to Charles IL, James IL, William IIL, and George I. He lived M Bow Street, Covent Garden, from 1678 tUl his death, August 3, 1721, and was buried ta St. Paul's, the parish church. His carvings, paintings, and art works were sold by auction ta the November following. He married and had five daughters. GIBBS, James, architect. Bom 1674, near Aberdeen, the son of a merchant of repute ta that city. He was educated ta the Marischal College, had a strong inclina tion to mathematics, and took his M.A. degree. His father, who was a Roman Cathohc, sold Ms property in 1688, and dying early, his son's education was con tinued by an uncle and aunt. There was probably little to induce him to stay ta his native town, and resolving to seek his for tune abroad, about 1694 he left Aberdeen, to which he never returned. He went to HoUand, where he spent some years in the 171 GIB service of an arcMtect and builder, and there, about 1700, he was introduced to the Earl of Mar, who had a great taste for architecture, and assisted him with money and Mtroductions to enable him to visit Italy, where he pursued his studies, includ ing sculpture and architecture, under the best masters for nearly 10 years. About 1710 he came to England. His patron, who was then ta the ministry, and high ta Court favour, recommended him to the trustees under the Act for Building new Churches, but he was not employed by them tUl 1720-21, when he commenced the parish church of St. Martin-in-the-Fields, and soon after the church of St. Mary-le- Strand, completed ta 1726. He also built and repaired several other churches, and rose to much professional distinction. He built at Oxford the Radcliffe Library, his greatest work, and the Gothic quadrangle of All Souls ; and at Cambridge, the King's College Library and the Senate House, fie also built St. Bartholomew's Hospital ; Dytchley House, OxfordsMre ; East An tony House, Cornwall; Braemar, Scotland; and the mansions of many other families of disttaction. The monument to the Duke of Newcastle in Westminster Abbey is after a design by him. He fell upon an opportune time, and with much work to be done, had few rivals. His works are marked by a propriety of character, heavy in their outline and details, and wanting ta genius. His St. Martin's Church, wMch occupies a very commanding site, has per haps been over-praised, but though marked by heaviness, is not without grandeur. St. Mary's, though lighter in outline, is over- ornamented. He published ' The Book of Architecture,' a large folio of his designs, 1728 ; ' Rules for Drawing the several Parts of Architecture,' 1732 ; and a ' Description of the Radcliffe Library, with plans,' &c. 1747. He was afflicted with gravel and stone, and went to Spa ta 1749, but without finding much relief. He died in London, August 5, 1754, and was buried in St. Marylebone Church. He hved a Roman Catholic and a bachelor. He left about 15,000/. among his friends, and an estate of 280/. per annum, with Ms plate and 1,000/., to Lord Erskine, the only son of his patron, who had plunged into the Civil War and was ruined. His books he bequeathed to the Radcliffe Library. GIBSON, Richard (known as 'The Dwarf), portrait painter. Born 1615, it is supposed in Cumberland. He was origin ally page to a lady at Mortlake, and show- tag a taste for drawing was placed under F. Cleyne, who had the management of the tapestry works established there, fie aft erwards studied Lely's works and imitated his manner. His water-colour drawings 172 GIB were well esteemed, but he was best known as a copyist of Lely. His works were good ta colour, spiritedly patated, yet wanting in finish and refinement, fie gained the notice of Charles II. , who ap pointed tarn one of Ms pages. He married Ann Shepherd, the Queen's dwarf, the height of each being the same — 3 ft. 10 ta. She was given away by the King. Lely painted their portraits hand ta hand, and Waller wrote some verses on the occasion. He drew CromweU's portrait several times. He instructed Queen Anne ta drawing, and went to Holland to teach her sister Mary, when Princess of Orange. He died July 23, 1690, ta his 75th year, and was buried in Covent Garden Church. The little couple had nine children, five of whom lived to maturity and attaMed the natural size. GIBSON, Edward, portrait painter. Kinsman of Gibson the Dwarf, Walpole says Ms son. Instructed by Mm. He patated portraits ta od and ta crayons, and found encouragement, particularly ta the latter manner. He was of some promise, but died ta his 33rd year. GIBSON, Susan Penelope, miniature painter. Daughter of Gibson the Dwarf. Patated miniatures and ta water-colours. A portrait of Bishop Burnet, ta his robes as chancellor of the Order of the Garter, is one of her most reputed works. She died ta 1700, in her 48th year. GIBSON, William, miniature painter. Nephew of Gibson the Dwarf, by whom and also by Lely he was taught. He at tained eminence as a miniaturist, and some eminent persons sat to him. fie was an excellent copyist of Lely, part of whose col lection he purchased after his death. He also brought into this country a number of fine works from the Continent. He died ta 1702 aged SS. GIBSON, Thomas, portrait painter. Born about 16S0. Practised ta the first part of the 18th century. He had for many years fuU employment, but his health failing, he disposed of his pictures about 1730, and retired to Oxford. Probably regaining health, he returned to London, where he died AprU 28, 1751, aged about 71. His portraits are weU drawn and patated, the expression good, and also the hands and drapery. Highmore said that when Sir James Thornhill had a figure in diffictat action he always applied to Gibson,. who sketched it in for him. There is a portrait by Mm of Vertue, the engraver, dated 1723, at the Society of Antiquaries, and of Flamstead, the astronomer, at the Royal Society. Many of his portraits are engraved by C. White, J. Faber, Johnston, J. Simon, and one of Sir Robert Walpole, by Bookman. GIBSON, David Cooke, subject paint-. GIB GIB er. Was born ta Edinburgh, March 4, 1827, the son of a portrait painter, by whom he was Mst taught. Left by Ms father's death to early straggles, he visited the neighbouring towns and patated por traits. Of industrious habits, he entered the schools of the Scottish Academy, where he gataed a medal ta 1845, and then by his savings was enabled to come to London, and to visit Belgium and the galleries in Paris. His first work which gained notice was 'The Little Stranger,' wMch with ' Rustic Education ' were Ms first exhibited works at the Royal Academy ta 1855. The foUowtag year he sent ' Un Corrillo Andaluz,' and ta 1857, after Ms death his ' Gypseys of Seville ' appeared on the walls of the Academy. His work was of much promise, careful in finish and strong ta character. In 18-35 he went to Spain to recruit his declining health, but died ta London, to which he had returned, October 6, 1856. His Me with some of his poetry was published by a brother artist ta 1S-5S, and Miss Brightwell has included a short memoir of him ta her ' Men of Mark.' GIBSON, George, architect. Studied his art ta Italy, and practised ta the middle of the 18th century. James Elmes was his pupil. GIBSON, Jesse, architect. Practised ta London towards the end of the 18th century. He designed the church of St. Peter-le-Poor, City, a mediocre erection, finished ta 1792 ; and rebtalt, 1822, the hah of the Saddlers' Company. He held two or three district surveyorships. Died June 24, 1828, aged 80. GIBSON, Thomas, glass stabler. He is cMefly known as a glass stabler, though he showed some talent as an artist. His works on glass decorate several of the churches at Newcastle-on-Tyne and ta the surrounding parishes. He was a member of the Town CouncU, and served the office of sheriff. He died at Newcastle, Novem ber 25, 1854, aged 60. GIBSON, John, sculptor. Was bom at Gyffin, near Conway, ta 1790. His father, poor but honest, hved by Ms daily labour as a gardener. As a cMld he spoke otay the Welsh language. When 9 years of age the f annly purposed to emigrate to America, and with this object went to Liverpool, but there his mother's resolution faUed, it is said under the tafluence of a dream. The family settled ta Liverpool and he was put to school. His first atten tion was attracted by the printseUers' win dows. He was fond of drawing, and for Ms inveterate habit of scribbling ta school he was punished. At 14 he was appren ticed to a cabinet-maker, and at the end of a year managed to get transferred to a carver, whose trade he thought somewhat alhed to art. Then stiU unsettled, and moved by some marble woiks he saw on the premises of Samuel Francis, he tried, at the end of another year, to get Ms in dentures transferred to him, and by Ms dogged resolution at last succeeded. He was now on the right road. Some works he bad designed gained him the notice of Mr. Roscoe, whose patronage assisted him ta every way. He studied anatomy and the works of the great Greek sculptors, and under their influence modelled a life-size 'Psyche,' which was exhibited at Liverpool, and his dawning talent brought him many friends. His ambition was inflamed by a desire to study ta Rome, and he made a dravjing of ' Psyche borne by Zephyrs,' which he ex hibited at the Royal Academy, with two busts, ta 1816. Early ta 1817 he came to London, and with his introductions agata found friends. He exhibited two busts that season ; but haunted by the idea of Rome, he set out for that capital ta the September of the same year, and managed to reach his destination, travelling by Paris and Florence, ta the following month. Intro duced to Canova, he was kindly received and admitted to study with his other pupils. Hitherto he had been without any instruc tion, and did not know how to set about his work; but getting over the Mst dif ficulties, he was admitted to the life academy, where, both assisted and de pressed by the works of his fellow-students, who had attained a masterly style of draw ing, he never flagged ; while in Ms lonely lodgings he thought of home. By the advice of Canova he tried a figure Me-size from his own design, which he caUed 'The Sleeping Shepherd'' and ta 1819 he began a large group, 'Mars and Cupid,' and was, after some months' labour, commissioned by the Duke of Devonshire to execute his group ta marble. The work is now at Chatswortb, but he had named so low a price that he was barely remunerated for his materials. In 1821 be commenced his model for ' Psyche borne by Zephyrs,' and when his group was well advanced, Sir George Beaumont gave him a commission for it ta marble, and the Duke of Devon shire a second commission for a basso-ri lievo, ' The Meettag of Hero and Leander.' Other commissions foUowed. In 1826 he commenced his 'Hylas surprised by the Nymphs,' now ta the National GaUery ; and established and happy in Ms art, was daily inspired with fresh enthusiasm. In 1827 his ' Psyche borne by Zephyrs ' was exhibited at the Royal Academy, and his friends urged his return to England, but the temptation of becoming rich did not weigh with his ambition for fame, which he thought would be best gained in Rome. In 1830 he exMbited a ' Nymph seated,' and a monumental statue, his first 173 GIB portrait work ; and afterwards, from the 'Aminta' of Tasso, modeUed 'Love dis guised as a Shepherd,' of which he pro duced no less than seven repetitions. Next, meettag with a beautiful boy, he conceived and modeUed after him, ' Cupid tormenting the Soul,' which he deemed one of Ms best works. Thus pursuing his art, ta which aU his thoughts were centred, and sendMg Ms works home to the Academy Exhi bitions, that they might be known to Ms countrymen, though they were the constant subject of hostile criticism by the press, he was ta 1833 elected an associate of the Academy, and that year exhibited ' A Sleeping Shepherd Boy ' and a ' Paris.' In 1838 he contributed a ' Narcissus,' and ta 1840 was eleeted a fuU member of the Aca demy, exhibiting that year two bassi-rihevi. fiis powers were now at their height, and enjoying the fame of which he was ambi tious, his days passed happily ta the pur suit of art, by which he was surrounded. After a long sojourn at Rome, with httle relaxation, Ms whole thoughts bent on Ms own art— for he had httle sympathy with the painters — he passed several successive sum mers at Innsbruck, and on his first visit there said that ' he felt as if he were new modelled.' On the death of Mr. Huskisson ta 1831, he was asked to compete for the erection of a statue to him at Liverpool, but declining to do so, the commission was unreservedly given to Mm ; and a second statue, not a rephca, was commissioned for the custom-house there, by Mrs. Huskis son, who induced him, after 24 years' residence abroad, to return to England ta the summer of 1844 to superintend the erection of Ms work, and ta 1847 he came agata for the same purpose, and from that time was almost a yearly visitor. On his first visit the Queen sat to him for the statue of her Majesty, now ta Buckingham Palace. In his endeavours to give the highest finish to tMs work, he first employed a little colour, using shght tints of blue and yellow, fie met the clamorous critics with, ' Whatever the Greeks did was right,' and submitted Ms tinted statue at the Academy ExMbition to the opinion of the pubhc. But he only exhibited agata on two occasions — ta 1851 sending his marble statue of George Stephenson, and ta 1854 Ms bust of the Prince of Wales. ? The effects of the tumultuous period of 1848-49 did not faU to reach him. The successful English sculptors ta Rome, and their exemption from enrolment, were the subject of dangerous remarks. When the French troops neared Rome he fled to Florence, returning in 1850, when the Pope agata took possession of Ms palace. He was then engaged to model a group of the Queen for the new palace at Westminster, into which he introduced the typical figures of 174 GIB Wisdom and Justice. About the same time he commenced Ms ' Venus,' wMch he deemed Ms most ideal and MgMy-ftaished work, and carrying out Ms idea of colour, he gave the flesh the tint of warm ivory, made the eyes a pale blue and the hair blonde, enclosed ta a golden net. This was evidently his cherished work. On the tortoise at the feet he inscribed, ' Gibson made me at Rome : ' and he tells how long and often he sat in contemplation of Ms ' Venus,' and asks how he was ever to part with her. This figure was itself a rephca, and was followed by three more, fie was ta apparent health, though his power was declining, and was ta Rome, where he had dwelt for 48 years, when he was suddeMy attacked by paralysis, and died January 27, 1866. His affections were with the arts and artists of his own country, and by Ms will he left to the Royal Academy the models both of his executed and his unfinished works, includ ing several ta marble, with the earnings of his Me (32,000/.), for he had outlived his two brothers, his oMy relations. He passed a quiet and equable life ta the pur- • suit of an art on which his happiness was fixed, unwearied ta his earnestness and activity. He was entirely without know ledge of the classic languages, and had httle tateUectual cultivation, yet he made the works of the great Greek sculptors his Me-long models, and to approach them was the object of his most earnest study. WMle Flaxman imbibed the spirit of the Greeks, he is accused of having imitated them. He did not seek invention or aim at novelty. He said, 'It is the desire of novelty that destroys pure taste. What is novel diverts us ; truth and beauty instruct us.' He was a member of the principal European art academies, and also of the French Legion of Honour and the Prussian Order of Merit. The son of a Welsh gar dener, he rose to the highest honours ta art. His life, ta wMch an autobiography is embodied, was edited by Lady Eastlake, and published 1870. GIBSON, Benjamin, sculptor. He was born at Liverpool, and was brother to the foregoing, ana cMefly employed as Ms assistant, fie was also his inseparable companion, and having studied the classics, was the authority to whom he constantly referred. He wrote some papers on the antiquities of Italy, and sent to the Society of Antiquaries communications on the ' Ionic Monuments of Zanthus ' and on ' Fresco Painting.' He died at the Baths" of Lucca, August 13, 1851, aged 40. GIBSON, Patrick, R.S.A., landscape painter. Was born in Edinburgh ta De cember 1782. His parents were respect able, and he received an excellent classical education. He showed an early taste both for literature and art, and wishing to follow GIF GIL the latter he was placed under Alexander Nasmyth, and at the same time studied ta the Trustees' Academy. He also extended his studies to arcMtecture, mathematics, and other branches of knowledge connected with the fine arts. By these acquirements he fitted himself for a critic and writer on art, and came to London early ta Ms career for further improvement. In 1805 and the two foUowtag years he exMbited land scape views at the Academy. He contri buted to the ' Encyclopedia Edinensis ' an article on ' Design, and to the ' Edinburgh Encyclopaedia' the articles ' Drawing,' ' En graving, and ' Miniature Painting.' For the 'Edinburgh Annual Register,' 1816, he wrote a ' View of the present State of the Art of Design ta Britain,' and after wards for the 'New Edinburgh Review' an article 'On the Progress of the Fine Arts ta Scotland.' In 1818 he pubhshed 'Etchings of select Views ta Edinburgh,' with letter-press descriptions; and ta 1822 a remarkable jeu cfesprit on the works of the artists then exhibiting ta Edinburgh, but the publication was anonymous, and he remained sUent under the indignant remarks of his brother artists. In 1824 he left Edinburgh, accepting the office of teacher at DoUar. He found this sphere a very narrow one, but he remained there tiU has death, after ttaee years' illness, on August 26, 1829, ta his 46th year. His landscapes were cMefly compositions intro ducing arcMtecture, and much ta the style of the early masters. GIFFORD, George, engraver. He practised about 1640, and engraved, chiefly for the bookseUers, smaU portrait heads, wMch have httle merit. GILBERT, John Graham, R.S.A., portrait painter. Born at Glasgow ta 1794, he was the son of a West India mer chant, and was for a time placed ta Ms father's counting-house, but was determined to be an artist. In 1818 he came to Lon don, and was admitted into the schools of the Royal Academy, where ta 1821 he gataed the gold medal for Ms original painting of ' The Prodigal Son.' He after wards traveUed ta Italy, where durtag two years he pursued his studies of the old masters, especiaUy of the Venetian school. On his return he practised portrait painting in London, and was an exMbitor at the Academy. In 1827 he went to reside ta Edinburgh, where he was very successful, had many sitters, and ta 1833 was elected a member of the Scottish Academy. In 1834 he married and settled ta Glasgow, adding the name of Gilbert to his paternal name of Graham, which he had borne hitherto. Possessed of ample means he conttaued the practice of his art, and ta 1843 renewed his contributions to the Academy ExMbitions ta London, sending in that year 'The Pear-tree WeU,' a ro mantic well near Glasgow, with a portrait ; ta 1845, ' Females at a Fountain ;' ta 1846, 'Christ in the Garden;' in 1853, 'The Young Mother,' with occasionally a por trait up to 1864, when 'A Roman Girl' was his last contribution. His fine portrait of Sir J. Watson Gordon, P.R.S.A., is ta the National Gallery of Scotland. He died at Glasgow, June 5, 1866. He was greatly disttaguished as a portrait patater; his drawing good, the pose of his figure natural, and the expression characteristic ; his colour rich but sober, Ms backgrounds simple, and the whole carefuUy and con scientiously finished. GILBERT, Joseph Francis, landscape painter. Born 1792. In the midst of many family difficulties, he took up art and was an occasional exhibitor at the Royal Academy and the British Institution. He resided for many years at CMohester. Several of Ms early works were engraved — his 'Goodwood Racecourse,' 'Priam win ning the Gold Cup,' and 'View of the Ruins of Cowdray.' He was a competitor at the Westminster HaU ExMbition. He died September 25, 1855, ta Ms 64th year. GILES, James William, R.S.A., land scape painter. He was bom ta 1801, at Glasgow, and ta Ms boyhood was taught by Ms father, who was an artist. He early settled in Aberdeen and devoted himself with much success to portraiture. At the commencement of Ms career he passed a short time ta Italy, and then patated cMefly landscape. In 1830 he was chosen a mem ber of the Scotch Academy, and ta that and the following year sent for exhibition at the Royal Academy ta London 'The Errand Boy' and some landscapes, and on some other occasions, at long intervals, was an exMbitor. He is best known by his ' HigMand Scenery,' ta wMch sporting sub jects are prominently introduced ; and, a keen angler, the result of a good day's sport often proved a tempting subject. He lived principaUy at Aberdeen, where he died October 6, 1870. GILL, Charles, portrait painter. Son of a pastry-cook at Bath. In 1749 he be came a pupU of Reynolds, P.R.A. He exhibited portraits at the Royal Academy ta 1772, two ta 1774, a whole-length and two others ta 1775, but does not appear agata as an exMbitor. He suffered an injury to the leg, which deprived him of the use of the limb. GILLRAY, James, caricaturist. His father was born ta 1720, in Lanarkshire, entered the army, lost an arm at Fontenoy, and was for many years an out-pensioner of Chelsea Hospital. He was bom about 1757, and was apprenticed to an heraldic engraver on plate, but ran away and joined a company of strolling riayers. Disgusted 175 GIL with this Me, he returned to London, and soon after was admitted as a student of the Royal Academy, and acquired a power of correct drawing. His first attempts were as an engraver. In 1784 he published some engravtags, after his own designs, ta illustration of Goldsmith's 'Deserted Vil lage,' and among other works of tins period he engraved a portrait of Dr. Arne, after Bartolozzi, whose pupil, but more probably assistant, he is said to have been. He also engraved some plates after Lady Spencer's drawtags. Several of his known plates have fictitious names to them. His genius, however, led him to carica ture. His first known essay was in 1779, and straying more and more from the higher branches of art, in wMch his know ledge, taste, and feeling qualified him to succeed, he devoted himself entirely to the graphic satire of the pohtics and morals of the day. He attacked the 'No Popery' rioters in 1780; ta 1784, Pitt and his Government ; then the Westminster elec tion and the attendant riots, foUowed by the doings of the Prtace of Wales, with numerous Mts at the lesser fotaes of the time. His pohtical partisanship led to an attack upon Ms house ta 1794. His works were the amusement of the day. He seized with ready wit and great power of delinea tion the points he attacked, and, however grotesque Iris caricature, preserved the features and character of those he repre sented, frequently etching Ms designs at once upon the copper. Upwards of 600 of his engraved works have been collected. Mr. Bohn has pubhshed a large selection from them. He was a man of intemperate habits, and the vice grew upon him. For many years he hved m the house of Mrs. Humphreys, his publisher, ta St. James's Stieet, who supplied aU his wants on condition that he should not work for any other publisher. Gossip said there was a more tender con nection between them, but this scandal had no foundation, fiis latest work is dated ta 1811. Soon after this his excesses brought on imbecility, with fits of deliriurn, duiing an attack of which he threw him self out of the window. He died June 1, 1815, aged 58, and was buried ta St. James's Churchyard, Piccadilly. GILPIN, Sawrey, R.A., animal painter. He was a descendant of Bernard Gilpin, the eminent English divine, called the ' Apostle of^the North,' and was born at Carlisle, November 11, 1733. He was intended for business, and with that view sent to London, but a predilection for art led to his engagement, in May, 1749, as a pupil of Samuel Scott, the marine patater, who then hved ta Covent Garden. Here he was diverted from his master's art to sketch the horses bringing supplies to the 176 GIL market and the groups assembled there. In 1758 he left Mr. Scott to devote himself to animal painting, and went to Newmarket to acquire a knowledge of the horse and of animal anatomy, fie was patronised by the Duke of Cumberland, then ranger of Windsor Park, who gave ruin apartments, with every facihty for his improvement. He was for a time president of the In corporated Society, and exMbited at the Society's Rooms, M 1763-64, portraits of horses; and M 1770, an oil sketch of 'Darius obtaining the Persian Empire by the neighing of his Horse;' and ta the next year, ' Gulliver taking leave of the Houyhnyms,' foUowed by other subjects of the same class. These works gataed him a reputation. From 1786 to 1807 he was an exhibitor at the Royal Academy, and was elected an associate M 1795, and a full member in 1797. His horses were well drawn, his wild animals spirited and tratlrful. fie paMted ta conjunction with Barret, R.A. ; and Zoffany, R.A., patated some figures into his pictures. He etched a small book of horses, a set of etcMngs of oxen, some heads for his brother's 'Lives of the Re formers,' and the examples of his ' Forest Scenery.' His own ' Death of the Fox,' an excehent work, was well engraved by John Scott. He hved many years at Knights- bridge. On the death of Ms wife, he gave up Ms house and went to live with his generous friend Mr. Samuel Whitbread, at his seat ta Bedfordshfre. His health de clining, he returned to pass the remainder of his life with Ms daughters at Brompton, where he died March S, 1807, aged 73. GILPIN The Rev. William, M.A., amateur. Brother of the foregoing. Was born ta 1724, near Carlisle. He entered Queen's CoUege, Oxford, ta 1740, and was ordained ta 1746. He was better known as a writer on landscape beauty than as an artist. Though his sketches are by no means without merit, they are, however, mere vigorous tinttags of picturesque na ture, with httle drawing or topographical correctness. He for many years kept a large school at Cheam. In addition to several religious works, he published the following on art-subjects — ' Tour down the Wye,' 17S2; 'An Essay on Prints,' last edition, 1792; 'Northern Tom;,' 1792, dedicated to the Queen ; ' Scotch Tour,' 2nd edition, 1792 ; ' Forest Scenery,' 1794 ; 'TMee Essays on picturesque Beauty,' 1794 ; ' Western Tour,' 1798. And the fol lowing were pubhshed after his death: ' Tour on the Coasts of Hants, Sussex, and Kent,' 1804 ; ' Two Essays on the Author's Mode of Sketching,' 1804; 'Observations on parts of Cambridgeshire, Norfolk,' &c, 1809. For the chief of these publications the illustrations were both drawn and enr GIL graved by himself. His works were at the time very popular, and passed through several editions, fie was vicar of Boldre, ta the New Forest, and appropriated a large collection of his sketches, which, sold by Christie ta 1802, realised 1,560/., to the endowment of Ms parish school, fie died at Boldre M Ms 80th year, AprU 5, 1804, and is buried M the churchyard there. GILPIN, William Sawrey, water- colour painter. He was the son of the foregoing Sawrey GUpta, R.A. His name first appears as an exhibitor at the Aca demy ta 1797, when, and ta 1799 and 1801, he contributed some landscape views. On the foundation of the Water-Colour Society ta 1804, he was elected the Society's first president, but resigned the office ta 1806, on his appointment as drawing-master at the Royal Mihtary CoUege at Great Mar- low, and his necessary residence ta the neighbourhood. Though very weak ta art, he appears to have made the Society a useful president. He was a teacher of drawing, and his connections had insured him a great practice, which was seriously injured by Ms poor appearance on the walls of the exMbition. He conttaued a member of the Society, and exhibited up to 1814, when he removed with the establishment of the coUege to Sandhurst, and M 1816 his name is no longer ta the catalogue. GIRLING, Edmund, amateur. Clerk ta the Bank at Yarmouth. He produced some good imitations of Rembrandt's etchings, ' The Ttaee Trees,' ' Goldweigher,' ' Descent from the Cross,' and other works. He also etched after Crome and the Dutch school, and was an exMbitor with the Nor wich Society of Artists. His Mst work is dated ta 1817, and he practised towards the end of the first quarter of the 19th century. His brother, Richard Girling, was also an etcher, and made some good copies. GIRTIN, Thomas, water-colour painter. Was bom February 18, 1773, ta Southwark, where Ms father was an extensive rope and cordage niamifacturer. He received some instruction from a drawing-master in Aldersgate Street, and was then for a short time the pupU of Dayes. He com menced art as a water-colour painter, and first studied subjects in the neighbourhood of London — the Savoy ruins, the water- gate of the palace, the picturesque shores and potteries of Lambeth; and on the opposite bank of the Thames, the bowered road, old church and hospital at Chelsea. He then made a tour in Scotland, and visited York, Durham, Cumberland, and Westmoreland. Afterwards he rambled to Ely, Peterborough, Lichfield, and Lincoln, sketching their grand cathedrals and rains. He Mst exMbited at the Academy ta 1794, and ta that and the foUowtag year sent GLO views of Ely, Peterborough, and Lincoln Cathedrals, Warwick Castle, and some others. In 1797-98 he was a large ex hibitor, sending four views of the city of York, .an interior of St. Alban's, and after wards views ta Devonshire, Scotland, and Wales. In 1801 he exhibited for the last time — one work only — a view in oil of 'Bolton Bridge, Yorkshire.' He visited France about twelve months before his death, and his last and best drawings were views ta Paris. From two of these views he patated scenes for Covent Garden Theatre. fie also patated a panorama of London, which was on view when he died. His name wUl be for ever associated with the progress of water-colour art ta this country. His manner was bold and vigor ous; suppressing details by Ms clever generalisation, he gave a gloomy grandeur to his picture. He chose for Ms subjects the picturesque ruins of our old abbeys and castles, and the hilly scenery of the North, to wMch, by his skilful treatment, he gave both sentiment and power. Using a full and flowing pencU, he appreciated the tones wliich truly harmonise with each other and were best suited to his subject, which was wrought with the greatest ease and mastery. A. good example of his art is exMbited M the South Kensington Museum — ' Rivaulx Abbey,' patated 1798. His death, which has been attributed to Ms irregularities, took place at Ms lodgings ta the Strand, at the early age of, his gravestone says, 27, on November 9, 1802. He was buried in the churchyard of St. Paul, Covent Garden. Twenty of his views ta Paris were pubhshed. He etched the outline himself on soft ground, and the effects were slightly put ta in aqua-tint from Ms drawMgs. GISBRANT, John, history painter. An Enghsh artist of the 17th century. He passed many years of his Me at Lisbon, where he was living ta 1680. He painted an altar-piece for the church of St. Mary Magdalen ta that city. GLOVER, George, engraver. Born about 1618, he practised ta the middle of the 17th century. He was cMefly employed for the bookseUers upon portraits, frontis pieces, and emblematical subjects. His portraits are produced entirely with the graver, and in a bold, powerful manner ; the face often finely rendered in line. He apparently engraved from his own designs ; his heads are larger than was usual at the period. Many of his portraits of eminent persons are of much interest. GLOVER, John, water-colour painter. Bom at Houghton-on-the-Hill, Leicester shire, where his father was a small farmer, February 18, 1767. He received a plain education. As an artist he was self-taught, when a child scribbling his designs over 177 GLO every scrap of paper he could appropriate. In 1786 he was chosen master of the Free School at Appleby ; and besides combining the study of art, cultivated music with great success. In 1794 he removed to Lichfield, and gave himself up to drawing and art teaching. He had hitherto only used water-colours, but now began to practise ta oil, and made many etchings. His style pleased, his works became known and ap preciated, and he was induced to come to London, where he settled. He was one of the promoters and first members of the Water-Colour Society, and a large contributor to their first and the fol lowing exliibitions, and was in 1815 elected president of the Society, filling the office only for the twelvemonths. The same year he visited Paris, and afterwards Switzer land and Italy, returning with Ms sketch book stored with the scenery of those coun tries. At this time he painted some large works in oU. His 'Durham Cathedral' sold for 500 guineas, and his 'Loch Katrine,' and some other large works of the same class, were sold for hberal prices. In 1818 he withdrew from the Society to become a candidate for admission to the Royal Academy, but did not succeed ; and ta 1824 was one of the founders and a mem ber of the Society of British Artists. He exhibited with the Society from that year to 1830, but not afterwards, though he continued a member up to 1849. In 1820 he made an exMbition of Ms works, both ta oU and water-colours, ta Old Bond Street ; and for several years continued ta the pursuit of his profession, contemplating his retirement to Ulswater, where he had purchased a house and some land. This scheme was never realised. He suddenly adopted the intention to emigrate — on what inducement does not appear — and starting for Australia, he arrived at the Swan River Settlement ta March 1831, and there, in scenery new alike to Mm and to art, he set vigorously to work, and sent home some of Ms colonial pictures, but they did not find a ready sale. For several of Ms latter years he painted little, passing his time ta reading, chiefly religious works. He died at Launceston, Tasmania, Dec. 9, 1849, aged 82. Glover's art, which was exclusively land scape, including views and an occasional marine, was mannered, and the style Ms own. His execution was rude and blottedj his foliage produced by splitting the hau of his brush, giving great apparent facility of handling; his atmospheric effect and general aerial perspective were good, his colour pleasing. His oil pictures are less satisfactory than his water-colour, and have not improved with age, but appear smooth and painty. He was ta his early career a fashionable teacher, and gave lessons, 178 GOL amongst others to Mrs. SomerviHe. He received very large sums for Ms lessons. GLOVER, Moses, architect and paint er. He practised ta the time of James I. He was associated with Gerard Ctaistmas ta rebtalding (1605) the Charing Cross front of Northumberland House (then caUed Northampton House), and between 1604— 13 was much employed at Sion House. A pla n, dated 1 6 1 5, for rebtalding Petworth is preserved at that mansion, wMch is attributed to Mm. His name is attached to a survey of Syon, Middlesex, with views of the neighbouring royal palaces and mansions. GODBY, James, engraver. Practised ta London at the beginning of the 19th cen tury. In 1812 he engraved the illustrations for ' The Fine Arts of the English School,' also ' The miraculous Draught of Fishes,' after Raphael. GODDARD, John, engraver. Practised about the middle of the 17th centuiy. He produced some book portraits and other works for book ihustration. GODFREY, Richard B., engraver. Born ta London ta 1728, he practised towards the latter hah of the 18th century. His cMef works were views, antiquities, and some few portraits. He engraved for the 'Antiquarian Repository' and for Ben's 'British Theatre.' GODFREY, Robert S., glass painter. Practised ta the last half of the 18th cen tury. His colours were brilliant and well arranged, and he claimed to have revived and rivalled the art of the old painters. GOLD, Captain Charles, R.E., ama teur. An officer of the East India Com pany's Service. He was a tolerable draftsman, and in 1S06 published, ta folio, an interesting collection of ' Oriental Draw- tags, sketched between the Years 1791-98,' representing the costume and customs of the different castes ta Coromandel and the neighbouring coasts ; but his drawing is veryj'ude and weak. GOLD, James, architect. He buUt St. Botolph Without, Bishopsgate, London, 1725-28. GOLDAR, John, engraver and drafts man. Born at Oxford 1729. He was employed by BoydeU, and exMbited with the Free Society of Artists a proof engrav ing ta 1765. fiis works, which are little esteemed, are chiefly of a humorous charac ter. He engraved a series of four plates, called ' Modern Love,' after Collet ; _ and ' Ships after an Engagement,' after Wright. He died suddenly^ of apoplexy, ta Hyde Park, August 16, 1795. GOLDICUTT, John, architect. Born 1793. He was a pupil of J. HakewiU, and studied in the schools of the Royal Academy, and afterwards ta Paris. He then travelled ta Italy, studied ta Rome in GOL GOO 1817, and on Ms return in 1819 exMbited at the Academy a coloured drawing of the interior of St. Peter's, made from measure ment, for which he had received the Pope's gold medal. He was active in his compe titions for pubhc buUdtags — ta 1820, for the new Post Office, when he gataed the third premium ; ta 1823, for the new buildings at King's CoUege, Cambridge ; ta 1S29, for the Middlesex Lunatic Asylum, gaining a premium ; ta 1830, for Fishmongers' HaU ; and ta 1839, for the Royal Exchange. He was one of the secretaries of the Institute of British Architects and a member of the academies of Rome and Naples. He died October 3, 1842, aged 49. He pubhshed, ta 1825, 'An Account of the ancient Paintings and Mosaics discovered at Pompeii.' GOLDING, Richard, engraver. He was born ta London, of humble parents, August 15, 1785, and apprenticed to an en graver ta 1799 ; but on some disagreement he arranged to leave him at the end of five years, and his indentures were transferred to James Parker, who, dying ta 1805, he completed his master's unfinished plates. Gaining by his art an introduction to West,P.R.A., who employed him to engrave his ' Death of Nelson,' he was soon after engaged to engrave, after Smirke, R.A., some of the IUustrations for ' Gfl Bias ' and ' Don Quixote,' and completed these plates with great power and delicacy. In 1810 he assisted William Sharp ta some of Ms works, among wMch were two fine portraits. His reputation conttaued steadily to increase, and ta 1818 he produced, after 30 retouch ings by the artist, Ms fine plate of Sir Thomas Lawrence's portrait of the Princess Charlotte, wMch was greatly admired both here and on the Continent. Commissions were offered to Mm on all sides, among them Lawrence's portrait of Sir Wiffiam Grant, wMch he executed, with some other good works, for which he neither asked nor received a sufficient price ; and he was then engaged upon some plates wMch were not from subjects worthy of Ms art. From tMs cause, probably, he became apathetic, and fell into a desponding state. At the latter end of 1842 he had been in duced to commence a work after Maclise, R.A., for the Irish Art Union. He had at this time, he said, ' been without work for several years, and had given up all further thoughts of practice.' He com menced the work unwiffingly, his powers and eyesight diminishing, and at the end of 10 years it was stiU unfinished. Of shy and reserved habits, unmarried, able to subsist upon smaU earnings, there was nothing to rouse Mm from his desponding indolence. He found some amusement ta angling, a solitary sport suited to his secluded habits, but seems to have neglected all friendly advances. He died in an upper floor ta Lambeth, where he had for some months cooked and performed all domestic offices for Mmself ; and here, though he was not without the means to provide him self with all proper comforts, he ended his days ta neglect and dirt, December 28, 1865. He was buried at fiighgate Ceme tery, and in the following September his body was exhumed, and an inquest held on some entirely unfounded allegations that he had been improperly treated by his medical attendant, who had possessed himself of his property. His art was of a high class, Ms line free and powerful. Proofs of his works are extremely scarce, and of great value. G O O C H, T., animal painter. Hie cMefly painted portraits of horses and dogs, occasionally grouping them with a portrait of their owner, fie exhibited at the Spring Gardens ExMbitions, and first ap pears at the Academy ta 1781. In 1783 he exhibited, with other works, ' The Life of a Racehorse, ta six different stages,' from the birth to the death. He conttaued an exMbitor, with some intermissions, up to 1802, when he left the Metropolis and retired to Lyndhurst, in Hampshire. His art, with small exception, did not extend beyond the mere portraiture of animals. GOOD, Joseph Henry, architect. Was bom November 13, 1775, at Sambrook, SomersetsMre, of which place his father was rector, and was a pupil of Sir John Soane. He early entered Mto several public competitions, and in 1803 gained both the first and second premiums for his designs for the conversion of the Dublin Parliament House into the uses of the- Bank of Ireland. In 1810, in conjunction with Mr. Lochner, he gained the first premium for a design for Bethlehem Hospital. In 1829 he was appotated surveyor to the Pavilion at Brighton, and made several additions to that palace ; and ta 1826 the Commissioners for Building new Churches selected him for their architect. He afterwards held the offices of clerk of the works to the Tower of London, the Royal Mint, and Kensington Palace. He died November 20, 1857, and was buried at the Kensal Green Cemetery. GOOD, Thomas Sword, subject painter. Was a native of Berwick-upon-Tweed, and was bom in 1789. He first appears as an exhibitor of 'A Scotch Shepherd,' at the Royal Academy in 1820, and coming up to London ta 1822, was for fifteen years an exhibitor. His early works were care fully finished, clever and with a leaning to humour. In 1823 he sent to the Aca demy ' Practice,' a boy trying his prentice hand ta shaving a sheep's head; in 1829, 'Idlers;' ta 1830, 'The Truant;' in 1831, ' Medicine,' with occasionally a coast scene n2 179 GOO GOE introducing fishermen. In 1833 he ex hibited for the last time. He died ta 1872, having for nearly forty years aban doned his art ta which he was gaining dis ttaction. His widow bequeathed three of his works to the National Gallery. G 0 0 D A L L , Edward, engraver. He was born at Leeds, September 17, 1795, and was early attached to art. fie first tried landscape painting, and ta 1822-23 exhibited a landscape in oil at the Royal Academy. He was, however, induced by Turner, R. A., to devote himself to engrav ing, and ta this art was self-taught, and was eminently successful. He was largely employed by Turner in engraving his works, and from him must have received much valuable advice. Among the works of Turner which he engraved are the ' Florence,' ' Cologne,' ' Tivoli,' ' Caligula's Bridge,' ' Oxford/ ' Richmond HU1,' and ' Old Lon don Bridge.' He also engraved after Turner for his ' England and Wales ' series, his ' South Coasts,' Rogers's ' Italy,' and Campbell's ' Poems ; ' and after Stanfield, R.A., 'Views ta Italy, Switzerland, and the Tyrol,' with some landscapes after Cuyp and Claude. Later in his career he ex ecuted several works for the ' Art Journal.' But his fame will surely rest upon his fine rendering of the great landscape works of Turner. He died at his house M the Hampstead Road, April 11, 1870. GOODALL, Frederick Trevelyan, subject painter. He was the son of Mr. Goodall, R.A., and was a student ta the schools of the Royal Academy. He ex hibited some studies at the Academy ta 1868-69, and at the close of that year gained the gold medal of the Academy for his original picture, ' The Return of Ulysses.' fie then went to Italy, and un happily lost a life of much promise by an accident at Capri, April 11, 1871, when he had only attained his 23rd year. Howard Goodall, his brother, a subject painter of much promise, died at Cairo, January 17, 1874, aged 24. He had exhibited at the Academy ta 1870 ' Nydia ta the House of Glaucus ' and ta 1873 ' Capri Girls win nowing. GO0DRIDGE, H. E., architect. He practised at Bath, where some of his works show him to have possessed both invention and taste. He erected for Mr. Beckford the well-known Lansdowne Tower at Font- hill. He died at Bath ta 1863 or 1864, aged 63. GOODWIN, Francis, architect. He was born at King's Lynn, May 23, 1784, and gataed much employment on pubhc buildings ta the early part of the 19th century, lie built new churches at the following places : Bordeslcy, near Birming ham, 1820-23; Hulme, 1822-24' Derby, Walsall, Ashton-uuder-Lyne, Kiddemita- 180 ster, BUston, Burton-on-Trent, Portsea, Oldham, and West Bromwich ; and rebmlt and made extensive repairs to several other churches. He also erected the town hall at Manchester and at Macclesfield; the market at Leeds and at Salford ; the ex change at Bradford ; the county prison at Derby, and several mansions. Be was the architect for Hungerford Bridge (of wMch Captain Browne, R.E., was the engineer), a veiy elegant work, which has been lately removed. He exhibited at the Royal Academy, between 1820-30, the designs of many of his executed works. He pub lished ' Rural Architecture,' and ' Cottage Architecture,' and the designs which lie prepared ta competition for the new Houses of Parliament. He died ta London, sud denly, of apoplexy, August 30, 1835. GOOD WIN, Edward, landscape paint er. He practised cMefly ta water-colours, and patated with some ability, ta the early tinted manner, at the beginning of the 19th century. He exMbited at the Royal Academy, from 1802 to 1808, chiefly views ta Wales, and was ta 1806 an unsuccessful candidate for admission to the Water- Colour Society, but contributed to its exliibitions ta 1814-15-16, when they were open to painters generally. GOODYEAR, Joseph, engraver. He was born at Birmingham, and for many years found employment there as an en graver on plate. He was encouraged to come to London, where he found employ ment, and in 1802 placed himself under Charles Heath for three years, and was soon competent to work upon book plates. Continuing to improve by the zealous prac tice of bis art, his last and best work was ' Greek Fugitives' for Finden's ' Gallery of British Art' His health faded over this work, and after a lingering Utaess, he died ta Camden Town, October 1, 1839, aged 41, and was buried ta Highgate Cemetery. GORDON, Sir John Watson, Knt, R.A., P.R.S.A., portrait painter. Was born in Edinburgh in 1790, the son of Captain Watson, R.N., of an old Berwick shire family. Interest was made to gain his admission to the Mihtary Academy at Woolwich, and he was meanwhile placed ta the Trustees' Academy, Edinburgh, under John Graham, to improve Mmself ta drawing. Here he remauied four years, and having made some progress ta his art, and perhaps disappointed ta his expectation of a soldier's career, he tried history paint ing, but found bis true place as a portrait painter. Settled ta Edinburgh, he painted most of the eminent men in that capital, and on the death of Raeburn in 1823, monopolised the chief practice; and hi 1826 became a member of the Royal Scottish Academy, then recently founded. His works and his reputation were, GOE GOU however, mainly confined to Scotland, and it was not tiU 1827 that he began to ex hibit at the Royal Academy ta London. Continuing to improve ta his art, in 1841 he was elected an associate, and ta 1850 a fuU member, of that body, and the same year succeeded to the presidency of the Scottish Academy. He was at the same time appotated the Queen's limner for Scotland, and knighted. Enjoying the society and friendship of many distin guished men, he hved a single life in his native city, where he died rather suddenly on June 1, 1864. His portraits are vigor ous and manly. He seized with great success the character of Ms sitters, uniting frequently great intellect and expression; his aim was rather tone than colour ; his compositions simple, with no attempt at maktag up or backgrounds. He succeeded best with his male beads. His works were greatly admired when exhibited at Paris ta 1855, and won for him a medal. GORE, Charles. Probably an amateur. Drew in pen and tak marine subjects with much freedom, weU coloured, and not with out power. His sMpptag is weU understood and very spirited. There are many of his drawings ta the Cracherode coUection at the British Museum, cMefly dated between 1790-94. GOSSET, Isaac, wax modeller. De scended from a French Huguenot family who took refuge ta Jersey. He invented a composition of wax, ta wMch he modeUed portraits with much abffity. He was a contributor to the first Artists' ExMbition ta 1760, and was a member of the Incor porated Society of Artists. His works are numerous, and include the royal famUy and many distinguished persons from the reign of George II. to 1780. He died at Ken sington, ta his 88th year, November 28, 1799. GOTT, Joseph, sculptor. He was a student of the Royal Academy, and ta 1819 gataed the gold medal for his group of ' Jacob wresthng with the Angel,' which he exMbited with two other works the foUowing year; and ta 1821, his sketch for 'Babes ta the Wood,' a 'Fawn and Nymph,' and ' Sisyphus.' He did not ex Mbit agata tUl 1826, when he sent to the Academy a 'Sleeping Nymph,' and 'A Gleaner.' By the kindness of Sir Thomas Lawrence, and assisted by a gentleman of his own name, but unconnected with him, he was enabled to go to Rome, from whence he sent to the exMbition, in 1830, 'De votion,' and ta 1831 his finished work, ' Babes ta the Wood,' in marble. He next appears ta 1837, with a marble group, ' Sylvia and the wounded Stag ; ' and con tinued an occasional contributor of a work from Rome, where he had settled, up to 1848, when he exhibited, for the last time, 'Mary Magdalene,' a marble group. He died at Rome soon after, leavMg to his son, who took up his residence there, a competence he bad seemed by Ms art. Several of his chief works are at Armley House, Yorkshire; and in the village church there two life-size statues, ' Re signation ' and ' Grief,' and a recumbent figure of Mr. B. Gott At Chatsworth and at Wentworth there are some of his works. GOUGAIN, T. engraver. Lived ta London and engraved some of Sir Joshua Reynolds's works in mezzo-tint. GO UGH, Alexander D., architect. He was bom November 3, 1804. Was at the age of 19 a pupil of Mr. B. Wyatt ; on leaving Mm, joining a partner, he com menced practice. He erected several schools, 12 churches, of which the chief are, St. Saviour's, Camberwell, and St. John's, with a parsonage at Tunbridge Wells. He died September 8, 1871. GOULDSMITH, Harriet, landscape painter. She first appears as an exhibitor at the Royal Academy ta 1809, and with some long intervals continued to exhibit up to 1854. In 1813 she was elected a member of the Water-Colour Society, and contributed to the Society's ExMbitions up to 1820. She also exhibited on one or two occasions in Suffolk Street. Her works were chiefly landscape views, but she painted two or three portraits, and one subject picture from ' Don Quixote.' Her landscapes were pleasing and well esteemed. She published in 1819 four landscape etch ings of Claremont, and ta 1824 four litho graphic views, drawn on stone. About 1839 she married Captain Arnold, R.N., and from that time exhibited in her married name. She died January 6, 1863, aged 76. GOUPY, Louis, miniature painter. He was a nephew of Bernard Lens, to whom he probably owed his instruction in his art. He practised several years ta London early in the 18th century, and painted some clever miniatures, fie was also a good copyist. GOUPY, Joseph, water-colour drafts man. He was a relative of the foregoing, and was bom at Nevers, France. He came to England when very young and settled here. In conjunction with Tille- mans he patated a set of scenes for the opera. He was a clever copyist of the Italian masters, and was very fashionable as a drawing-master. He taught Frederick, Prince of Wales, who employed Mm at Kew and at Clieveden House. George IIL, whom he had also taught, on his accession allowed him a small pension. He drew small figure subjects and miniature portraits in body colours with great truth and fidelity. He also drew landscapes and etched some spirited plates, both from his 181 GOW GEA own drawtags and the old masters. Among the latter, a set of eight landscapes, after Salvator Rosa. He quarrelled with Han del, aud drew a caricatm-e of him with a pig's snout, playing an organ. He died in London, at an advanced age, in 1763. His collection was sold by auction ta 1765. His brother, Bernhard Goupy, practised in London about the same period, and was a clever miniature patater. GOWER, George, portrait painter. He was appointed, 26th Elizabeth, her Maj esty's serjeant-painter in oil for life, the patent granting to him or his deputy the sole privilege ' to make or cause to be made purtraictes of Our person, phisiognomy and proporcon of our body M oyie cullers on bourdes or canvas, or to grave the same M copper or to cuft the same M woode, or to printe the same, beinge cutt in copper or woode or otherwise ; ' making an exception ta favour of Nicholas Hilliard in respect to portraits ' in small compasse ta lymnynge only, and not otherwise.' GRACE, Mrs., portrait painter. She was the daughter of a shoemaker; her maiden name Hodgkiss. She was unin structed in art, but gained much skill and considerable employment as a copyist, and also painted portraits. She exhibited with the Society of Artists, and ta 1767 sent an historical subject, 'Antigonus, Seleucus, and Stratonice.' Two years afterwards, her husband dying, she left off practice with the enjoyment of a competency she had made, and removed to fiomerton, where she died, well advanced M years, about 1786. There is an engraved portrait of her, published in 1785. GRAFTON, William, mezzo-tint en graver. He practised in the first half of the ] 8th century. GiR AH AM.,0:., engraver of portraits and other works. Practised ta the last half of the 18th century, in the dot manner ; and some of his works, as was then the custom, are printed in colours. H e engraved several of the illustrations of ' The Pleasures of Hope,' published ta 1799 ; and also some of Rowlandson's works. GRAHAM-GILBERT, John R.S.A., portrait and subject painter. Was born at Glasgow in 1794, and was originally in tended for his father's business, which was that of a West India merchant. His inclination and taste, however, led him to prefer art, aud in 1818 he came to London, and entered as a student ta the Royal Aca demy, where in 1820 he took the gold medal, and afterwards studied for two years in Italy. In 1827 he set up in Edin burgh as a portrait painter, and became quite fashionable, fiis female portraits were justly distinguished by their great feeling for beauty. In 1830 he was elected a member of the Royal Scottish Academy, 182 and was through life a firm supporter of that body. Though a man of considerable property he always remained Mmly devoted to his art. Four of his pictures, two por traits, 'An Italian Nobleman,' and 'The Bandit's Bride,' his last work, are in the Scottish National Gallery, fie died in Glasgow, June 5th, 1866. GRAHAM, John, history painter. He was an English artist, but passed the greater part of his life M Holland. After studying there for some time he travelled to Paris, London, and afterwards visited Italy to complete Ms studies. He then re turned to the Hague, and practised there about the middle of the 18th century, pahittag, we are told, historical subjects. GRAHAM, John, history painter. He was born ta 1754, and was apprenticed to a coach patater in Edinburgh. He after wards came to London, where he followed the same trade, but aiming at higher things he gained admission to the schools of the Royal Academy, and about this time man aged to visit Italy. In 1780 he appears as an exMbitor of ' Darnel ta the Lions' Den,' and from that year he was a regular con tributor. His subjects, with occasionally a portrait, were, ta 1783, 'Una,' from Spenser ; ta 1786, ' Ceres ta Search of Proserpine • ' ta 1788, ' The Escape of Mary, Queen of Scots, from LocMeven Castle,' wliich was presented by Alderman BoydeU with a portrait of himself, also by Graham, to Sationers' HaU. In 1792 he exhibited ' Mary, the Morning before her Execution ;' and ta 1797, his last contribution, 'King David instructing Solomon,' and is said to have used young Mulready (afterwards R.A.) as his model for the boy. In 178S be was appotated the joint master, and soon after, master of the Trustees' Academy at Edinburgh, and went to reside there. He was most successful ta his office of teacher, which he held till his death, several of the painters who became most distinguished in the next generation having studied under him. He died ta Edinburgh ta November 1817. GRAHAM, James Gillespie, architect. He was born about 1777, at Dumblane.' He practised ta Edinburgh, and erected many fine mansions ta Scotland, where he was extensively employed. He designed a Roman Catholic chapel, erected ta Edin burgh 1813, and another ta Glasgow. He built Murthley House, Perthshire; the halls for the General Assembly in Edin burgh ; and made the designs for HamUton Square, Birkenhead. In conjunction with Mr. A. W. Pugta he was a competitor for the erection of the Houses of Parliament at Westminster, and they were united in some other designs. He died March 21, 1855, aged 77, and was buried at the Grey- friars, Edinburgh. GEA GEA GRANGER, David, engraver. Practised in London about the beginning of the second quarter of the 17th century. There is by him a ' St. George,' after Raphael, and a companion plate. GRANGER, Robert, architect. Born at Newcastle-on-Tyne. He was educated ta a charity school, and by Ms own energy and industry raised himself ta the world, and his marriage with a lady of property enabled Mm to enter tato a large building scheme ta his native town, much ta advance of the provincial street architecture of that day. fie also designed and built there the new market, the exchange, the theatre, dispensary, and some other edifices, wMch were of much merit. His works gave a character to the town, but it is most pro bable that he was not without assistance ta the arcMtectural character of Ms buUdtags. He died July 4, 1861, ta Ms 63rd year. GRANT, William James, history painter. Was born at Hackney ta 1829, and ta 1844 was admitted tato the schools of the Royal Academy. In 1847 he exM bited his first work, ' Rabbits,' and m the following year, with higher aim, ' The Black Prtace entertaining the French King after the Battle of Poictiers.' This work was followed, both at the Academy and at the British Institution, by some sacred subjects. In 1852 he exMbited at the Academy a ' Samson and Deffiah,' a work of large size and much pretension; and ta 1858 his ' Eug&ne Beauharnais refusing to give up his Father's Sword,' and ' The last Trial of Madame Palissy,' attracted much notice. In 1860 he exMbited ' The Morning of the Duel,' a work of patafrd interest. His works conttaued of much promise. He ex hibited for the last time ta 1866, and died on June 2 ta that year, aged 37. GRANVILLE, Mary (Mrs. Delany), amateur. She was born May 14, 1700, aud was a descendant of Sir BevU Gran- vUle. She was first married to Mr. Pen- darves, of Roscrow, and after his death, to Dr. Delany, Dean of Down, ta 1743. She copied ta oU very cleverly many portraits, and some original portraits by her are very good, among them the Duchess of Queens- berry, Prior's ' Kitty, beautiful and witty.' She completed a Flora, comprising 980 plants. She was much ta favour with George III. and his Queen. She died in 1788. Lady Llanover published her 'Autobiography and Correspondence,' 1862. There is a portrait of her by Opie, R.A., at the Hampton Court GaUenes. GRANVILLE, , engraver. Practised early in the second half of the 18th cen tury. He engraved some landscapes after Thomas Smith, of Derby. GRATTON, George, subject painter. The Dublin Society awarded to him, in 1807, 100 guineas for the purchase of his ' Beggar Woman and Child,' patated ta the Society's Schools. He exhibited ta Dubhn agata in 1809. In 1812 he was residing ta London, and that year exhibited three pictures at the Royal Academy — 'The Guard Room,' ' The Gathering,' and 'Noon tide.' But he does not agata appear as an exMbitor. GRAVE, Thomas, architect. Practised in London ta the reign of Elizabeth, and though his name frequently appears, no reference can be made to his works. GRAVELOT, Henry, engraver and draftsman. He is known in England by his assumed name of Gravelot. His real name was D'Anville, and he was the brother of the well-known geographer D'AnvUle. He was born ta Paris, March 26, 1699. After receiving Ms art education in that city, he obtained employment in the suite of the French ambassador at Rome, but loitered at Lyons on his way, and then re turned to Paris, where he spent ta dissipa tion the money given to him for Ms journey. He then went with the governor to St. Domingo, at that time a French colony, aud assisted ta maktag a map of the island. A ship ta which a remittance was made to Mm by his father was lost . Sickness and trouble foUowed, and he got back to Paris destitute. He tried painting for bis sup port, and afterwards designing and etching. In 1733 he was invited to England by Claude Du Bosc to assist Mm ta the plates for Picart's 'Religious Ceremonies,' and was on his arrival here suspected as a spy- He was at once employed by the book- seUers, and gataed some repute by a ' Treat ise on Perspective ' which he published. He was the first who noticed the talent of Gainsborough, R.A., and taking him as his pupU, he employed him ta designing the ornamental borders to Houbraken's en graved portraits. In 1745, on the breaking out of the war, he returned to France, where he chiefly employed himself iu drawing, but after a time was induced to come agam to England, and assisted Hogarth in some of his early plates. He drew for Vertue the 'Monuments of the Kings,' and was also engaged ta Gloucestershire in drawing the churches and antiquities of the county. He both designed and etched the plates for Theobald's ' Shakespeare.' He is also known as one of the earliest caricaturists — the at tacks on Sir Robert Walpole and Lord Bur lington, ' The State Coach,' ' The Funeral of Faction,' and some others are by him. He attempted smaU compositions and conver sation-pieces, and is said to have been a designer by choice, an engraver by necessity. He for a time kept a drawing school in the Strand. During a second residence here of several years he had saved some money, and in 1754 he returned to settle 183 GEA in Paris, and was employed there in Ittus- trating some of the best works at that time published. He died ta Paris, AprU 20, 1 773. He was gifted with great facility and taste, and finished his drawings with much minuteness, but his numerous illus trations are not of a character to maintain his reputation in the present day. GRAVES, Robert, A.E., engraver. He was born in St. Pancras, May 7, 1798, and was a member of the oldest established family of printsellers in London. He be came, in 1812, a pupil of John Romney, the engraver, and studied ta the Me-school, then held in Ship Yard, Temple Bar, and gained a thorough knowledge of his art, practising in the line manner. Among his first works he engraved for the Ulustra- "tion of the Waverley novels, and was soon largely employed. In 1836 he was elected, it is said by a unanimous vote, an associate engraver of the Royal Academy, and com menced a series of important works, among which may be disttaguished, ' The Abbots- ford Family ' after Wilkie, R.A. ; ' The Highland Whisky Still,' after Edwin Land- seer, R.A. ; ' The Slide,' after Webster, R. A. ; ' The ChUdren of George III.,' after Copley, R.A. ; 'The Sisters,' after East- lake, P. R.A. Latterly, he was engaged upon engraving from the portraits of Rey nolds, P.R.A., and Gainsborough, R.A. Of industrious habits and zealously working to the end, his engravtags are very numerous and are highly esteemed, fie died at Highgate Road, February 28, 1873, and was buried in the cemetery at Highgate. GRAY, Paul, wood engraver and de signer. Was born in Dublin, May 17, 1842. He came to London ta 1863 or 1864, and found employment as a drafts man on wood. He designed some book illustrations, but is best known by his cartoons for ' Fun,' a comic weekly periodi cal. His health failing, he was sent to Brighton in the hope to restore it, but died there of consumption, Nov. 14, 1866. GREEN, Benjamin, mezzo-tint en graver. Was born at Hales Owen, Shrop shire, of poor parents, about 1736. He was a member of the Incorporated Society of Artists in 1766, and exhibited with the Society for several years. He was ap pointed engraver to George III. He also held the appointment of drawing-master to Christ's fiospital. He possessed a con siderable knowledge of drawing, and Ms engravings are vigorous and powerfully executed. Some of his plates after Stubbs, A.R.A., are good examples of his art— ' The Horse before the Lion's Den,' 176S ; "The Lion and Stag,' 1770; 'The Horse and the Lioness,' 1774, He also engraved the illustrations for Morant's ' Essex,' and published many plates of antiquities, both drawn and etched by himself; and he was 184 GEE a patater as well as an engraver. He died in London about 1800. GREEN, Amos, flower painter. Brother to the above. Born at Hales Owen. He practised ta the latter half of the 18th cen tury. Though he chiefly excelled in flowers, there are some landscapes by him which are brilliant ta colour and well composed, and some engravtags which he executed at the commencement of his career. He retired about 1757 to Bath, where he lived with a friend, and then did little more in art. He died at York ta June 1807. GREEN, John, engraver. Another brother of the above. Born at Hales Owen. About 1724 was pupil of the elder James Basire. fie excelled both ta land scape and portrait. He engraved some of the plates for Borlase's ' Natural History of Cornwall,' including the seats of the principal nobffity and gentry ; and was for many years employed on the plates for the Oxford almanacs. He died young, about 1757. GREEN, John, draftsman and picture , 'i, dealer. He was well known as 'Johnny i! Green.' Practised 1749—63. GREEN, James, engraver. He was bom in 1755. He practised ta mezzo-tint. His works are beautifully drawn and expressed, his tints excellent. He produced some fine engravtags after Reynolds, P.R.A., in ^-' which the character of the patater is well ) imitated. He died about 1800. GREEN, 3 amzs, portrait painter. He was born March 13, 1771, at Leytonstone, Essex, where his father was a btalder. He was early distinguished by his water-colour portraits, and later more especially by his ,'; paintings in ofl. In 1808 he was a "member and the treasurer of the short-lived ' Asso ciated Society of Artists ta Water-Colours.' He was also for several years, up to 1826, an exhibitor at the British Institution, and in 1808 the directors awarded Mm a premium of 60/. Lately he frequently exM bited at the Royal Academy, and M 1820 sent a good subject picture of large size, 'A Lady preparing for a Masked Ball. His works are graceful and harmonious ta colour; they possess a characteristic ori ginality, of which Ms portrait of Stothard, R.A , ta the National Portrait Gallery, is a fair example. He died at Bath, March 27, 1834, and was buried in Wolcot Church. Several of his portraits are engraved. There is a memoir of him in Arnold's ' Magazine of the Fine Arts ' for May 1834. GREEN, Mrs. Mary, miniature painter. Born in 1776 ; she was the second daughter of William Byrne, the landscape engraver, and married in 1805 to the above James Green. She was a pupil of Arlaud, and became eminent as a miniature painter, regularly exhibiting her works at the Royal Academy, from 1796 till her husband's GEE death ta 1834, when she retired from her profession. She made some excehent studies after Reynolds and Gainsborough ; faith- fuUy rendering the great qualities of both. A portrait by her of Queen Adelaide is engraved, and also one of Lady Alicia Peel. She died October 2, 1845, and was buried at the Kensal Green Cemetery. GREEN, Benjamin R., water-colour painter. Son of the above, Mrs. Mary Green, was born ta London, and studied at the schools of the Royal Academy. He patated both figure and landscape subjects, and was much engaged ta teaching. He Valentine Green. See No. 425. of engraving and publishing from the Dus- seldorf Gallery, and by 1795 he had com pleted and pubhshed 22 plates from that collection ; but the disturbances caused by the Continental war, added to the want of support wMch the undertatang met with, involved both Mm and his son, Robert Green, an engraver, who also painted some miniatures, ta serious loss ; they were nearly ruined. Probably this and advancing years induced Mm, on the foundation of the British Institution ta 1805, to accept the office of keeper, wMch he held tiU Ms death. His works are very numerous. Durtag GEE a practice of nearly 40 years he produced about 400 plates, many of them subject pictures, fie engraved after West, Rey nolds, Romney, Zoffauy, Mortimer, and after Vandyck, Rubens, and the Italian masters, fie died in London, July 6, 1813, ta his 74th year. He published, in 1782, a ' Review of the Polite Arts in France, as compared with their present State in Eng land,' addressed to Sir Joshua Reynolds ; a ' History of the City of Worcester,' 1796 ; and some other writings of an antiquarian character. GREEN, William, engraver and drafts- ,' 403 PORTRAIT OF VALENTINE GREEN, the (Celebrated Eighteenth Century Mezzotint Engraver; haH-length, landscape in background ; beau tifully engraved in pure mezzotint by himself, after the painting by L. F. Abbott, size 18-J in. by 14f in., uniramed, full margins, Brilliant Impression, in Fine State, £3 3s, 1788 Valentine Green, 1739-1813, is one of the great masters of English mezzotint engraving, and his portrait, besides being an excellent specimen of his work, is wanted by nearly every collector of his prints. For a memoir of the artist, and an account of his prints, see No. 296 of this catalogue. 404 LAWRENCE (Sir Thos., R.A.) Poe.tb.ait of him self, half length, painted by him self ; and beautifully engraved in p ure mezzotint by Samuel Cousins , size 17 in. by 12f in., 42s 1830 Very Fine Origioal Impression, bearing I he initials of ; John Meredith, Lawrence's brother- in-law, showing it to be one of the picked impressions. oinanom. GREENHILL, John, portrait painter. He was born at Salisbury, of a good famUy, ta 1649, and was a pupil of Sir Peter Lely, whose style he imitated, both in oU and crayons ; but was jealously, it is said, kept from the knowledge of some of his master's methods. He at first followed his art with great devotion, and has left a few portraits, which will maintain his reputation ; but he became of dissolute habits, and returning from a tavern he fell into the kennel, and, carried home, died ta his bed the same night. May 19, 1676. Graham says, 'He was the most excellent of the disciples of Lely. He was finely qualified by nature 185 402 TAYLOR (Bishop Jeremy) WHOLE WOEKS, including Holy Living, Holy Dying, the Worthy Communicant, the Golden Grove, etc., etc., with Life of' the Author, and a Critical Examination of his Writings by Bishop Hebee, 15 vols, very fine impression of the portrait engraved by Adlard, full bound in sprinkled calf extra, gilt backs, gold lines on sides, contents of each vol lettered outride, by Hayd/uy, £5 15s (cost £16 17s 6d), 1839 ovo A most desirable set of the whole worts of this great divine — " The Homer of Divines," " The | Shakespeare of the Church," and •' The Spenser of English Theological literature," as he has been variously styled — the print being large, and the binding handsome and in nice order, j It comes from Mr. Twopeny's fine library. " The highly0 gifted and learned Jeremy Taylor, j than whom the Protestant Church boasts no fairer name." — Butler. " When the name of Jeremy Taylor is no longer remembered with reverence, genius will have become a mockejy, and virtue an empty shade." — Bazlitt. " The most completely eloquent writer in our language." — Foster. " The most eloquent of divines ! bad I siid of men, Cicero would forgive me, and Demosthenes nod assent." — Coleridge. Scotland — continued. inside one cover, and an old engraving of a sick man being attended to by five doctors, who are administering herbs. 371 Laing (M.) History of Scotland from the Union of the Crowns on the accession of James VI to the Throne of England, to the Union of the Kingdoms in the reign of Queen Anne, with a dissertation on the participation of Mary Queen of Scots in the murder of Darnley ; 4 vols, facsimile of Queen Mary's handwriting, half calf (rubbed), 12s, 18 iq ovo 372 Spalding (J.) The History of the Troubles and Memorable Transactions in Scotland in the Reign of Charles I, original old boards (broken), 7s 6d (pub 12s), 1829 8vo An invaluable work, containing the best account of the family, ecclesiastical, and political history ot the period ; and the celebrated 'Spalding Club' instituted for the preservation of works on Scottish History was founded in memory of the distinguished author. Scotland— continued. bound in 1 vol, full light brown calfjfolished and panelled, tooled back, carmine ei_ 18s 6d [1825] small ^vd These interesting and trustworthy records of particn.. larly painful and important events were collected and1 published by Patrick Walker, of Edinburgh, in 1)18-31. The originals were so rare at the beginning of the 19th; century (having been worn out) that a very nice reprint] of them was made in 182S, and limited to a few copies. This is that reprint, and such a handsomely bound and well preserved copy is seldom seen. It comes from Mr. Twopeny's fine library, and his pretty bookplate is inside.] 375 The Lakes of Scotland, a series of 55 Beautiful Views of the Scenery of the) principal Lakes, engraved on steel in the' highest style of art by J. Swan, from painting! made expressly for this work by J. FLEMING, accompanied by a Historical and Descriptive Account of each View by J. M. Leighton, and Remarks on the Scenery of the High- Jney1~i,bsbEBlF ,JKjji.sgmj-E'\8I-v F.mTioN,, GEE death in 1834, when she retired from her profession. She made some excellent studies after Reynolds and Gainsborough ; faith fully rendering the great qualities of both. A portrait by her of Queen Adelaide is engraved, and also one of Lady Alicia Peel. She died October 2, 1845, and was buried at the Kensal Green Cemetery. GREEN", Benjamin R., water-colour painter. Son of the above, Mrs. Mary Green, was born in London, and studied at the schools of the Royal Academy. He pamted both figure and landscape subjects, and was much engaged in teaching. He was a member of the Institute of Painters in Water-colour, and for many years secre tary of the ' Artists Annuity Fund.' He died in London October 5, 1S76, aged 68. GREEN, Valentine, A.E., mezzo-tint engraver. Born at Hales Owen, Salop, 1739. Intended for the law, he was placed under a solicitor at Evesham, but after two years he was led by his taste for drawing to abandon the law, and, unknown to his family, to place himself with an obscure line engraver at Worcester. Making little progress and dissatisfied, he came to London in 1765, and without further help attempted mezzo-tint. He exhibited two mezzo-tint works at Spring Gardens in 1766, and, self- taught, was original in his treatment in that style of engraving, and attained emi nent success. Hitherto mezzo-tint had chiefly been practised for portraiture, and he was among the first who used it for historical subjects. He gained a great reputation by his plates after Benjamin Wesf s ' Return of Regulus to Carthage ' and 'Hannibal swearing Enmity to the Romans ; ' and engraved some good plates after R. Morton Paye— 'The Sulky Boy,' the companion picture, 'The Disaster of the Milk-Pail,' and ' The Child of Sorrow,' 1783. He was a member of the Incorporated Society of Artists in 1767, and was from 1774 an occasional exhibitor of drawings and engravings at the Royal Academy, and in 1775 was elected an associate engraver, and appointed engraver to George IIL In 1789 he was granted the exclusive privilege of engraving and publishing from the Dus- seldorf Gallery, and by 1795 he had com pleted and published 22 plates from that collection ; but the disturbances caused by the Continental war, added to the want of support which the undertaking met with, involved both him and his son, Robert Green, an engraver, who also painted some miniatures, in serious loss ; they were nearly ruined. Probably this and advancing years induced him, on the foundation of the British Institution in 1805, to accept the office of keeper, which he held till his death. His works are very numerous. During GEE a practice of nearly 40 years he produced about 400 plates, many of them subject pictures. He engraved after West, Rey nolds, Romney, Zoffauy, Mortimer, and after Vandyck, Rubens, and the Italian masters. He died in London, July 6, 1813, in his 74th year. He published, in 1782, a ' Review of the Polite Arts in France, as compared with their present State in Eng land,' addressed to Sir Joshua Reynolds ; a ' History of the City of Worcester,' 1796 ; and some other writings of an antiquarian character. GREEN", William, engraver and drafts man. Born at Manchester in 1761, he was in early life engaged to a surveyor prac tising there, but dissatisfied with his occupa tion, he came to London, where he studied aqua-tint engraving, and produced some good plates. His health failing, he settled hi the North of England, and made in numerable drawings from the beautiful lake scenery, which are distinguished by their careful finish and fidelity. For these works, which he exhibited at Keswick and Amble side, he found a ready sale among the tourists till the peace opened the Continent to them. He pubhshed, in 1809, 78 studies from nature in Cumberland, Westmoreland, and Lancashire, drawn and engraved by himself; and in the following year 60 studies of the same localities, etched on soft ground ; also, in 1822, ' The Tourist's new Guide.' He died at Ambleside, April 28, 1823, aged 62. GREENBURY, , portrait painter. He was employed by Charles I. as a copy ist ; and Walpole mentions two of his copies after Albert Durer as much admired. He died about 1670. There is at New College, Oxford, a half-length portrait by him of Lake, Bishop of Bath and Wells, dated 1626. Sir Theodore de May erne named him among the distinguished painters to whom he dedicated his MSS. on painting and other arts, 1620. GREENE, Edward, die engraver. He held the office of graver to the Mint 5th Charles I., and was a good medallist. He engraved the Irish seals of office for Lord Strafford. GREENHILL, John, portrait painter. He was born at Salisbury, of a good family, in 1649, and was a pupil of Sir Peter Lely, whose style he imitated, both in oil and crayons ; but was jealously, it is said, kept from the knowledge of some of his master's methods. He at first followed his art with great devotion, and has left a few portraits, which wih maintain his reputation ; but he became of dissolute habits, and returning from a tavern he fell into the kennel, and, carried home, died in his bed the same night. May 19, 1676. Graham says, ' He was the most excellent of the disciples of Lely. He was finely qualified by nature 185 GEE GEI for both the sister arts, painting and poetry, but death, taking advantage of nis loose and unguarded manner of living, snatched him away betimes, and only suffered him to leave us enough by his hand to make us wish that he had been more careful of a hfe likely to do great honour to his country.' He left a young widow, reputed of great beauty, with several young children, who were assisted by an annuity of 401. a year from Lely ; but she died soon after, insane. There is a good portrait of hirn, painted by himself, at Dulwich, and also by him a por trait of Bishop Seth Ward, in the town hah at Salisbury. An etching by him of his brother is known to collectors. GREENWOOD, John, engraver. He was born in 1729, at Boston, America, and was self-taught in art. He was for some time in Surinam, where he practised paint ing, and collected some objects of natural history. He afterwards went to HoUand, where for a time he dealt in works of art. From thence he came to England and prac tised as a mezzo-tint engraver and painter. He was a member of the Incorporated So ciety of Artists, and exhibited with the Society from his arrival in 1763 to 1773, when he abandoned art and became an auctioneer. He died at Margate, Septem ber 16, 1792, aged 63. He engraved por traits after Hone and others, and some subject pictures after Rembrandt, Teniers, Metzu. He engraved ' The curious Maid,' from a picture by himself, 1768. GREENWOOD, Thomas, scene painter. Son of the foregoing. Was a scene painter and artist of much eminence. He was for many years the head scene painter to Drury Lane Theatre. He died October 17, 1797. G R E G A N, John Edgar, architect. Was born at Dumfries, December 18, 1S13. He settled at Manchester, and built in that neighbourhood several churches, school- houses, and residences, with some pubhc buildings, including Messrs. Heywood's bank, deemed one of his best works. His designs contributed to the improvement of Manchester. He died there AprU 29, 1S55, and was buried at Dumfries. He was the honorary secretaryto the Manchester Royal Institution, and a feUow of the Royal Institute of British Architects. GRBIG, G. M., water-colour painter. Practised in Edinburgh. There are some good interiors by him of the old buildings in that city picturesquely treated. He ex hibited some interiors of Holyrood Palace at the Royal Academy in 1865, and held an acknowledged place among the artists of Scotland. Died at Edinburgh, May 3, 1867. GRELLIER, William, architect. Was born at Peckham, May 24, 1807. He was articled to his profession and studied in the schools of the Royal Academy. He gained 18S an Academy silver medal, and in 1829 the gold medal for his design for a 'British Senate House.' He was awarded the first premium for his design for the new Royal Exchange, London, 1839, but was not em ployed. In 1846-48 he buUt the Royal Exchange Insurance Offices in Liverpool — his most important work. He died Janu ary 7, 1852, and was buried in the cemetery at Norwood. GRENVILLE, Jones, engraver. Born in Dublin 1723. He engraved landscapes after several masters. Two by him, after Poussin, were published in London. GRESSE, John Alexander, water- colour painter. Born in London 1741. Son of a Genevese. He commenced drawing under Gerard Scotin, engraver, and in 1755 received a Society of Arts' premium for a drawing in chalk. He was afterwards under Major, and then for several years worked for Cipriani, during which time he received some instruction from Zuccarelli. He also studied in the Duke of Richmond's GaUery and the St. Martin's Lane Aca demy, and in both these schools he gained premiums. But with aU this, and with ood abihty, he wanted perseverance to succeed in the higher branches of art. He was a member of the Incorporated Society of Artists in 1776, and in that and several foUowing years exhibited some miniatures and drawings. He became a teacher and the most fashionable drawing-master of the day. In 1777 he was appointed to teach the princesses, and George III. often found some amusement in his gossip. He was corpulent, and Ins companions cahed him 'Jack Grease.' He executed several draw ings for BoydeU, aud etched the figures for Kennedy's account of Wilton and f our other plates. He was a coUector as weU as an artist, and his effects were sold by auction, occupying six consecutive days, in 1794. His father, after whom Gresse Street, Rathbone Place, is named, left him a com fortable property. He died February 19, 1794, in his 53rd year, and was buried at St. Anne's, Soho. GREVILLE, Lady Louisa Augusta, amateur. She was sister to the ninth Baron and second Earl of Warwick, and made some good etchings after Salvator Rosa, Annibale Caracci, and others. She wasawarded three goldmedalsbytheSociety of Arts in 1758 and 1759 for a landscape drawing, and in 1760 for a coloured figure subject after Guercino. GRIBELIN, Simon, engraver. Born at Blois 1661. He came to England 1680, but was for nearly 20 years with httle employment. He attracted notice by his engravingof 'The Tentof Darius,' published in 1707, and then executed with success the first set published of engravings after Raphael's cartoons. He afterwards GEI GEI published six historical subjects from the Kensington Palace coUection, and, in three large plates, Ruben's 'Ceiling of the Banqueting House,' also several portraits and small plates for books. He died in England in 1733, aged 72. He left a son, who practised as an engraver. His own works were executed entirely with the graver in a cold, neat style, weak in drawing and expression. GRIEVE, John Henderson, scene painter. His family had been distinguished in the art from the time of De Louther bourg, and he formed another distinguished link. He died of apoplexy, AprU 16, 1845, aged 75. GRIEVE, William, scene painter. Son of the above. He was born in London in 1800, and as a boy began his career in the scene-loft at Drury Lane Theatre, and both at that house and at the Italian Opera House he made great improvements in scenic effects and arrangements. He raised the reputation of the Opera House by his scenery. The baUet of 'MasanieUo' was greatly indebted for its success to Ms inventive talent ; and on the performance of ' Robert le Diable ' in 1832, the audience called him before the curtain — an unprece dented event — to receive their approving testimony to his success. His moonlights were excehent and his delusions marvellous in effect. He died at South Lambeth, October 24, 1844, aged 44. He left some smaU pictures and water-colour drawings, but his art shone only on the stage. GRIFFIER, John (called 'Old Griffier'), landscape painter. He was born at Amsterdam 1645, and apprenticed to a carpenter, but learning to paint on earth enware, he was aUowed to foUow bis own inclination, and placed himself with a flower painter. He came to England about 1667, and his landscapes were much es teemed. His colour and execution are good, his figures well introduced, and, with his cattle, correctly drawn. Excelling in his views on the Thames, he purchased a vessel, in which Ins whole family passed their time between Gravesend and Windsor. Having amassed some money, he sailed in his vessel from Rotterdam, was wrecked, and lost all his possessions, and but for a few guineas his daughter had sewed up into her girdle, would have been reduced to beggary. Then, after 10 or 12 years' stay, returning to England, he took a house on MiUbank, where he died in 1718. His collection was sold by auction after his death. He etched several small plates of birds and animals after Barlow, and five large half-sheet plates of birds. GRIFFIER, Robert, marine painter. Son of the foregoing. Was born in London in 1688, bred under his father, and made good progress in art. He painted river and marine subjects, and in some of hi sketches excelled his father. His colour and drawing was very good. When, after his shipwreck, his father returned to London, he went to Amsterdam, where he settled, and died at a good old age. GRIFFIER, John, landscape painter. Younger son of ' Old Griffier.' He was noted for his great power as a copyist of Claude. He practised in London as a landscape painter, and died in Pall Mall about 1750. GRIFFITH, Moses, topographical draftsman. He was born in Carmarthen shire, April 6, 1749, and became the servant of Pennant, the antiquarian. Travelling with his master he picked up some know ledge of drawing, and, improved by study in the school of the Artists' Society hi 1771, was ultimately employed by his master, first as draftsman, later as an engraver also, lie made some of the drawings for Pennant's ' Journey from Chester to Lon don,' 1782, and ornamented the margins of his 'Tour in Wales,' 2nd volume. His works have little art merit. They are washed in rather heavUy with Indian ink, and very shghtly tinted. He accompanied his master on all his journeys, and on receiving his ' manumission ' retired to Wales, where he pubhshed, in 1801, some etchings, his first attempts, as supplemental plates to the ' Tour in Wales.' He was living in 1809. GRIGNION, Charles, portrait and history painter. He was born in 1754, in Russell Street, Covent Garden, where his father was a watchmaker of some celebrity. Was pupU of Cipriani and a student of the Royal Academy. At 15 he gained the Society of Arts' premium for a drawing from the human figure, and in 1776 the Academy gold medal for his ' Judgment of Hercules.' In 17S2 he was sent to Rome with the Academy pension. He painted at Rome a large picture of the 'Death of Captain Cook,' and made a number of drawings, some of which were engraved, and was residing in Rome in 1794. Later in life he devoted himself to landscape and produced some works of much exceUence. Lord Nelson sat to him for his portrait at Palermo in 1798. On the French entering Rome he was compelled to leave, and retired to Leghorn, where he died of a bilious fever, November 4, 1804, and was buried in the ground of the English Factory there. He was an exhibitor of portraits and classic subjects at the Academy from 1770 to 1784. He purchased several fine pictures in Italy during the French invasion, and sent them to London, among others the Altieri Claudes. Two drawings by him, ' A Roman Assassination ' and 'A Dancing Group ' were engraved. GRIGNION, Reynolds, engraver. He 187 GEI was much employed by the booksellers. He engraved, from Hayman's designs, the Ulustrations for Baskerville's edition of Addison's works, some of Frederick the Great's battles and sieges, and was employed upon Pennant's ' Scotch Tour ' and a ' History of England,' for which he engraved a series of full-length portraits, mostly fictitious, of the Kings and Queens, with many other works of this class. He does not take much rank in his profession. He died in the King's Road, Chelsea, October 14, 1787. GRIGNON, Charles, engraver. He is reputed to have been born in Covent Gar den, of foreign parents, in 17 16. In early life he studied in Paris under Le Bas for a short time. He was a member of the St. Martin's Lane Academy. He was employed by Hogarth, and engraved his ' Garrick in the Character of Richard III.,' and assisted in engraving the four election pictures. He also engraved many of Gravelot's illustra tive designs. In 1755 he was a member of the Committee of Artists appointed to establish a royal academy. There are some good examples of his art in the Ulustrations to BeU's ' Poets,' particularly those after Stothard, about 1778. Though not engaged on works of large size or high importance, his art is distinguished by a masterly ease of style and purity of execution. But as he advanced in years he was superseded by the more finished and powerful manner of the school wliich then grew up, and after nearly 50 years' labour, was subjected to Eoverty, with its sufferings and trials. He ad arrived at the great age of 90 years, past the practice of Ms art, and had a wife with a daughter nearly blind dependent upon him, when in 1808 subscriptions for his relief were solicited by advertisement, and some provision was made for his few remaining days. He died at Kentish Town, November 1, 1810, aged 94, and was buried hi the churchyard of St. John the Baptist. GRIMALDI, William, enamel and miniature painter. He was born in Mid dlesex in 1751, and claimed descent from the great Genoese family whose name he bore. He studied his art under Worhdge, and afterwards in Paris. He first ex hibited at the Free Society of Artists in 1768-69, and afterwards at the Academy in 1 786, and then as De Grimaldi, but soon omitted the prefix. He practised at Ports mouth, Southampton, Gloucester, Worces ter, Chester, and Shrewsbury; from 1777 to 1785 in Paris, and in this latter year settled in London. He painted both in enamel and on ivory, had many sitters of distinction, and was largely employed. He was miniature painter" to George IIL, to the Duke and Duchess of York, and in 1824 to George IV., but did not continue 183 GEO to exhibit after that year. He resided many years at Albemarle Street, but died in Pimlico, May 27, 1830. GRIMBALDSON, Walter, landscape painter. He practised early in the 18th century. There was a sale of his works, which do not appear to have been much esteemed, in 1738. GRIMM, Samuel Hieronymus, water- colour draftsman. Born at Burgdorf, Berne, the son of a clever mmiature painter there, of whom he learnt his art. He came to London, where he settled, about 1778, and in that and the foUowing year exhibited some views in the Spring Gardens Rooms. He drew with the pen and in water-colours, was much employed in topographical works, and sketched numerous views in Sussex, Derbyshire, Nottinghamshire, and other counties. He made above 100 sketches in Northumberland and Durham for Sir R. Kaye, and the drawings for Sir William BurreU's ' Sussex.' He was occasionaUy employed by the Society of Antiquaries, and the Society published his views of Cowdray House for their ' Vetusta Monu- menta.' Above 500 of Ms drawmgs were sold by auction m July 1795. They were chiefly executed with the pen and shaded with bistre, but some were tinted and more higMy finished. His buildings were correct, his skUl in arcMtecture and per spective respectable, but his trees and foliage stiff and weak. He also was known by Ms caricatures and humorous subjects, many of which were published by Carring- ton Bowles. He exhibited at the Royal Academy in 1769 and several following years. His subjects were ' Falstaff Re- cruitmg,' ' A Swiss Fair,' ' Mortlake Fah,' and several from Shakespeare. There are also some etched plates by him. He died April 14, 1794, aged 60, hi Tavistock Street, Covent Garden, and was buried in the parish church. GROGAN, Nathaniel, landscape painter. Was born in Cork, and appren ticed to a wood turner. Was fond of art, gained some assistance from John Butts, aud then taught drawing in Cork. He served hi the army during the American War, and afterwards returned to Cork, where he tried to gam a livelihood as an artist. He painted landscapes and some humorous subjects illustrating Irish charac ter. His best known works of tMs class are an ' Irish Fair ' and an ' Irish Wake.' He pubhshed views in the neighbourhood of Cork, aqua-tinted by himself, and a large plate of the ' Country Schoolmaster.' He died at Cork about 1807. Though Mghly extolled by Ms countrymen, his works are coarse, and have not much art merit. He left two sons, who practised as artists, struggling to earn the means of living. G R O O M B R I D G E , Willi am, water- GEO GUE colour painter. He practised in the tmted manner in the last quarter of the 18th century, when his works were well esteem ed. He painted landscapes and moonlight scenes, introducmg figures and cattle, and was from 1777 to 1790 an exhibitor at the Royal Academy. In the latter part of Ms career he resided at Canterbmy. GROSE, Captam Francis, amateur, He was born m 1731 at Richmond, where his father, who left Mm an independent fortune, was a jeweller, and was employed to fit up the coronation crown of George II. His brother became a judge of the Court of King's Bench. He received a good classical education, but was never at college. He studied art in Shipley's drawing school, and was m 1766 a member of the Incor porated Society of Artists, and in 1768 exhibited with the Society, 'High Life below Stahs,' a stained drawing. Early in life he devoted himself to sketching the ruins of the old edifices in England. He afterwards visited Scotland and studied the ancient architecture of that country, where he made the acquaintance of Burns. He was 'the chiel amang ye taking notes' of the poet, who wrote some verses upon him, conducing— ' Now by the pow'rs o' verse and prose, Thou art a dainty cMel, 0 Grose ! Whae'er o' thee shall ill suppose, They sair misca' thee.' He next carried his antiquarian re searches mto Ireland, visiting several parts of that country in 1790, to coUect the materials for a work on Irish Antiquities, returning again in 1791- He was noted for his corpulency, it was a constant theme, and the hospitahty of Dublin was too much for him. He bad, as he said, ' been gomg it too hard for three or four days,' when after a convivial dinner he died suddenly, on May 18, 1791. He had a good taste, drew well, and the figure very creditably. He was an honorary exMbitor at the Aca demy of tinted drawmgs, chiefly of arcM tectural remams, in 1769 and for several following years. But he was eminent as an antiquary, and is well known by Ms able researches. His. chief published works are — 'The Antiquities of England and Wales,' 1773-87; 'The Antiquarian Re pertory,' 1775 ; ' Advice to Officers of the British Army,' a satire, 1782; 'Guide to Health,' 1783; 'Mihtary Antiquities,' 1786-88 ; ' Treatise on Ancient Armour and Weapons,' 1786-89 ; ' The Antiquities of Scotland,' 1789-91 ; 'The Antiqmties of Ireland,' 1791 ; ' Rules for drawing Carica tures,' 1791. He held a captam's com mission in the Surrey MUitia and was pay master to the regiment, also from 1755 to his resignation in 1763 the office of Rich mond herald. GROVES, John Thomas, architect. Was one of the contributors to the Aca demy's first exliibitions. He travelled in Italy, and on Ms return in 1791, exhibited the ' Sibyls' Temple.' In 1794 he was ap- pomted clerk of the works to St. James's Palace, and in 1807 architect to the General Post Office. The baths at Tunbridge Wells were designed by him. He died in Great Scotland Yard, August 24, 181 1. There is a good drawing by him of the exterior of Westminster Abbey, which was engraved to a large scale in 1779. GROZER, Joseph, engraver. Born about 1755. Practised in London the greater part of the last half of the 18th century. His works were well drawn and effectively finished in mezzo-tint. He en graved, after Sir Joshua Reynolds, ' Dido,' Shepherds with a Lamb,' 1784; 'Inno cence,' 1788 ; ' Miss Johnson, as a girl, Dancmg,' 1792 ; and some others. GRUBB, Edward, stone carver anil painter. He executed some busts in a rude manner, but with ability. His figures of a boy and a girl at the Bluecoat School, Bir mingham, are examples of his art. He had a local reputation, and painted some famUy portraits, of which the famUy of the Canumgs, at Stratford, possess several. He died at Stratford-upon-Avon, April S, 1816, aged 76. GRUNDY, Thomas Deeming, engraver. Born at Bolton, LancasMre, January 6, 1808, the son of Lieut. Grundy. He was apprenticed to a writing engraver at Man chester, but, aspiring to higher work, at the end of his apprenticesMp he came to London, and was employed upon some plates for the annuals, after Liversege and Stanfield, R.A. Having attamed some power in the hue manner, he was then em ployed by Mr. Doo, and afterwards by Mr. Goodall, the landscape engraver. He pos sessed great taste, and was of some promise m his art, when he was attacked by in flammation, and died in Camden Town, March 10, 1841. He engraved the por traits of several clergymen, and produced some clever etchings. GUEST, Douglas, history painter. He studied in the schools of the Royal Aca demy, and first appears as an exhibitor of a portrait in 1803. In 1804 he sent 'A Madonna and ChUd ; ; in the next year he gained the Academy gold medal for his "Bearing the dead body of Patroclus to the Camp, AcMUes's Grief;' in 1806 he exhibited ' Penelope unravellmg the Web ; ' m 1811, 'Cupid and Psyche.' He had at the same time occasionally exMbited a portrait, and he contributed a portrait in 1816-17, and then he ceased to exhibit up to 1834, when he sent two works to the Academy — ' The second Appearance of the Messiah'' and ' The Judgment of Hercules.' 189 GUL He exhibited once more in 1838, ' Phaeton driving the Chariot of the Sun,' his last exMbited work. He painted, ' The Trans figuration,' an altar-piece 40 feet high, for St. Thomas's Church, Salisbury. In 1829 he published an ' Inquiry mto the Causes of the Decline of Historical Pamting.' GULSTON, Elizabeth, amateur. Daughter of Joseph Gulston, Esq., of Ealing Grove, Middlesex, who possessed a good coUection of English portraits. Of these she reproduced several by her etch ings, which are enumerated in Bromley's ' Catalogue.' She was an honorary ex hibitor at the Academy m 1801, but her uame does not appear subsequently. She died before 1S40. GWILT, George, architect. Appointed in 1770 surveyor of the county of Surrey. Built Horsemonger Lane Gaol, completed 1790, and later the Sessions House, New- ington, since pulled clown. In 1800 he was appointed arcMtect of the West India Dock Company, and built the Company's warehouse m the Isle of Dogs. Died. Dec. 9, 1807, m his 62nd year. GWILT, George, architect. Son of the foregomg. Born May 8, 1775. Brought up to his father's profession. Restored, between 1822-25, the choir and tower of St. Mary Over^s Church, Southwark, and after a visit to Italy in 1825, the Lady Chapel, wMch he completed in 1834. He also designed the first 10 of the alms houses of ' Cure's CoUege,' m that parish. His restorations were made with skiU and accuracy. He communicated some interest ing papers to the Society of Antiquaries. Died May 26, 1856. He had two sons, who gave promise of ability in his pro fession, but died young. GWILT, Joseph, architect. Bom January 11, 1784. Younger brother of the foregomg. Studied in Ms father's office anci in the schools of the Academy. He travelled in Italy during 1816-18, aud on Ms return was engaged in the erection of some residences. The rectoiy at East Woodhay, Hants ; Mackree Castle, Sligo ; and a church at Charlton, are Ms principal works. He exhibited at the Academy on one or two occasions only. He was much employed as a surveyor, and is cMefly known by Ms professional writings. He is the author of the ' Encyclopaedia of Architecture ' and some other useful works. GWINN, jANE8,dcsigner ami engraver. Was bom in the county of Kildare, and is believed to have been self-taught. He was originally a coach painter. He came to London about 1755 and lodged at a public- house in the Broad Sanctuary, Westminster. He painted some marine subjects and was a neat draftsman. He gained his livelihood by his designs for the lids of snuff-boxes for the Battersea manufactory of enamels. 190 GWY But he was an eccentric man, worked at his art only for a mere subsistence, and secludmg himself from everybody, devoted every spare hour to the study of the occult sciences. He feU into great distress, was so absent as often to forget his food, and was found dead m his chamber, probably, it was thought, the victim of a rude joke, April 26, 1769. GWYNN, John, R.A., architect. Was born at Shrewsbury, but the date of his birth is unknown. He was distinguished as a well-educated man. It is not known that he was origmaUy brought up as an architect, but his name first appears as a writer on subjects connected with that pro fession. In 1734 he published an ' Essay on Harmony in Situation and Building;' in 1742, ' The Art of ArcMtecture, a Poem,' followed by two non-professional works ; and in 1749, bis 'Essay on Design.' In this essay, which is the work of a scholar, he vmdicates the genius of Ms country men, shows the necessity that drawing and design should be extensively taught, and suggests the foundation of a pubhc academy. In 1752 he published, m conjunction with Samuel Wale, a clever transverse section of St. Paul's Cathedral. While engaged in measuring outside on the top of the dome for this section, and intent upon his work, he missed Ms footing and shd down the vast convex surface until he was arrested by a small projecting piece of lead, where he remamed until he was discovered and rescued by his assistants. He was an unsuccessful competitor m 1759 for the proposed new bridge at Blackfriars, and on the controversy that ensued as to the use of circular or elliptical arches, he was sup ported by the influence of his steady friend Dr. Johnson. He travelled in the Northern counties, and made numerous drawings. He was a contributor to the first Artists' Exhibition in 1760. In 1764 he pubhshed Ms ingenious work, ' London and Westmm ster Improved,' and at that time projected several main lines of streets, since -carried out. He was m 1768 nominated one of the foundation members of the Royal Academy, having been one of the members of a small committee who, 12 years before, had at tempted to found an mstitution of the same kind. He was a contributor to the early exhibitions, sending, in 1771, ' Designs for erecting the British Museum opposite the Horse Guards by adding to WhitehaU Chapel.' He built two bridges over the Severn, one near Shrewsbury in 1774, the second at Worcester in 1781. He carried out many improvements at Oxford, and built the new bridge over the two arms of the Cherwell at Magdalen Hall; also the market and the workhouse. He passed the latter part of his life at Worcester, where he died February 27, 1786, and was buried. GYE He left Ms property to a natural son, and in case of his death, to the Royal Academy and the Royal Society. Many of his designs are preserved m the British Museum. Mr. Wyatt Papworth contributed a very in teresting memoir of Mm to ' The Builder,' 1863. GYFFORD, Edward, architectural draftsman. He studied in the schools of the Royal Academy, and in 1792 gained the Academy gold medal for his design for a ' House of Lords and Commons.' He ex hibited some drawmgs at the Academy, the last in 1799, when he appears to have held a commission in the West London Mihtia. He published, iu 1807, 'Designs for small picturesque Cottages and Hunting-boxes.' He was a rapid, clever draftsman, but HA I managed only to gain a poor subsistence by his profession. He died about 1834. His son was a gold medal student and painted general subjects. GYLES, Henry, glass painter. Prac tised chiefly at York, where he resided from 1640 to 1700. He painted the east window at University CoUege, Oxford, in 1687, and some other wmdows at Oxford. He also pamted some historical subjects and land scapes. His own portrait in crayons, by himself, m the prmt-room of the British Museum, shows a power of drawing and some taste for colour. He established a school of glass pamters at York, which maintamed a reputation for nearly a cen tury. There is a letter by him in the Ash- niolean collection. II HABERSHON, Matthew, architect. He was born in 1789, of a Yorkshire family, and was articled to an architect. He built a church at Belper, Derbyshire, m 1824, with two other churches m the same county, and a church at Khnberworth, YorksMre. At Derby he built the town hall, smce burnt down, the county courts and the market, and Hadsor House at Droitwich. He was an occasional exMbitor at the Royal Academy from 1807 to 1827. He published 'The Ancient Half-timbered Houses of England,' with 36 plates, m 1836, and several works on the prophetical Scriptures and on the prophecies. He died in London in 1852. HACKERT, Johann Gottlieb, land scape painter. Born 1744, in Germany, of a family of painters. Was pupU of Le Sceur in Berlin, and studied some time m Rome. In 1766 he was in Paris, and in 1771 agam at Rome, when he sent some views in water-colours to the Spring Gar- ,dens Exhibition. In 1772 he accompanied some English gentlemen to London, where, finding encouragement, he settled. In the fohowing year he exhibited some Italian views in oil and water-colours— his first and only contributions to the Royal Aca demy — and a picture of four hounds, wMch was engraved and published by BoydeU. His constitutional weak health soon after faUed. He went to Bath for his recovery, and died there, in his 29th year. HACKETT, David, architect. An Irish architect of this name is reputed to have designed the great church of Batalha, erected by Kmg John of Portugal iu 1430' a work of the pure Gothic of that era. HADFIELD, George, architect. Was the brother of Maria Cosway. He studied in the schools of the Royal Academy, and in 1784 gained the Academy gold medal for his 'Design for a National Prison,' a strange subject. Elected in 1790 to the traveMiig studentship, he went to Rome m that year, accompanied by Mrs. Cosway, and was studying there in 1794. He made drawings of the temples of Palestrina, Mars, and Jupiter Tonans, which he exhibited at the Academy on his return in 1795. A drawing by him of the interior of St. Peter's was much praised at the time. He was soon after invited to America to assist m the erection of the capitol at Washington, and arrived in that city about 1800. He did not long continue m tMs employment, but leavmg it, practised on his own account, and erected several buildmgs there. He died in America in 1826. HAID, Johann Gottfried, engraver. Born in Wurtemburg in 1730, the son of an artist, by whom he was taught. He painted portraits, but cMefly practised as a mezzo-tint engraver. He came to London when young and was much employed by Alderman BoydeU, engraving after Rey nolds, Dance, and, among others, ' Foote as Major Sturgeon,' after Zoffany. He after wards returned to Germany. Died 1776. HAINES, William, miniature painter. He was born in 1778, and was from 1808 to 1830 a constant exliibitor at the Royal Academy. Among his numerous sitters 191 HAK were many mUitary officers. A notable work by Mm in water-colour was a fuU- length portrait of Earl Stanhope, wMch was engraved to the same size by S. W. Reynolds. He succeeded to a considerable property and retired to East Brixton, where he resided several years, and died July 24, 1848. HAKEWILL, John, landscape and portrait painter. His father was foreman to James Thornhill, son of Sir James. He commenced art as a pupil of Wale, R. A., and was a student m the Duke of Richmond's Gallery. In 1763 he gained the Society of Arts' premium for a landscape painting, and m 1764 for a figure from the antique. lie exhibited at the Spring Gardens Rooms, in 1769 and the two following years, por traits and landscapes. He pamted many designs hi arabesque, and though continuing to paint an occasional landscape or a por trait, he found ,his cMef employment in designs for house decoration. He died September 21, 1791, aged about 50. HAKEWILL, Henky, architect. Born October 4, 1771. Son of the above. He was a pupil of Yenn, R.A., and a student in the Academy Schools. Was a frequent exliibitor at the Academy. He was the architect of Rcndelsham, Suffolk, 1801, and of Cave Castle, Yorkshire, 1804, and was employed upon alterations and additions to several fine mansions. He was arcMtect to the Society of the Middle Temple, and was in 1809 appomted architect to the Rugby Schools, wliere he designed the new chapel and residences, wMch he exMbited at the Academy in that year. He built the church at Wolverton, and St. Peter, Euston Square, since burnt down. He published an ac count of a Roman viUa discovered at North- leigh, Oxfordshire. He died March 13, 1830, and was buried at North Cray, Kent. HAKEWILL, James, architect. Younger brother of the foregomg. Born November 25, 1778. He was brought up as an architect, and exhibited some designs at the Academy on oue or two occasions, but preferred painting, and is best known by his publications on art, which are cliiefly of an architectural character. In 1813 he published a ' History of Windsor and its Neighbourhood,' the Ulustrations of which, including the plans of the castle, were drawn by Mmself. On the peace he travelled in Italy, and during 1816-17 collected the materials for his ' Picturesque Tour iu Italy,' published in parts, 1818-20 ; m 1825, a ' Picturesque Tour in the Island of Jamaica.' In 1828 he published ' Plans of the Abattoirs of Paris, with a proposal for their adoption in London, and in 1835 a small tract on 'Elizabethan ArcMtecture.' He was one of the competitors for the erection of the new Houses of Parliament. lie exhibited at the Royal Academy m 192 HAK 1826-27 some architectural designs, and in 1833-34 the drawings of some works he was then executing. He was engaged in collecting materials for a work on the Rline, which was mterrupted by Ms death, in London, May 28, 1843, in Ms 65th year. In addition to his art writings, he was the author of ' Coelebs Suited.' HAKEWILL, Mrs. James, portrait painter. Wife of the above. She acconi- pamed her husband to Italy, and passed there the greater part of the years 1816-17. She exMbited some studies at the Royal Academy in 1808-9, and from that time, with a lapse from 1816 to 1825, was an exMbitor of smaU portraits in oU up to 1838, when she exMbited for the last time. She also exMbited on one or two occasions at Suffolk Street. Her portraits were pleasmg and weU painted. HAKEWILL, Arthur William, architect. Eldest son of the above. He was bom in 1808. Was educated under Ms father, and m 1826 became a pupil of Mr. Decimus Burton, and at this time ex hibited two or three designs at the Royal Academy. But he preferred hterature to Ms professional studies, wMch became dis tasteful to him, and Ms spirits giving way he went for a time to Italy, but returned without much permanent benefit. He had much professional taste and judgment, and his inclmation led him to employ Ms know ledge m literature. In 1848 he was appomted lecturer to the ArcMtectural Society. He published 'An Apology for the Architectural Monstrosities of London,' 1835 ; ' Modern Tombs, Gleanings from the Cemeteries,' 18.51 ; 'IUustrations of Thorpe Hall, Peterborough,' 1852 ; ' Thoughts on the Style to be Adopted m rebuilding the Houses of Parliament,' 1836 ; ' The Architec ture of the 18th Century,' measured, drawn, and etched (with a weak hand) by himself, 1856 ; and some other professional works. He died June 19, 1S56. HAKEWILL, Henry James, sculptor. He was a younger son of the foregomg James HakewiU, and was born at St. John's Wood, AprU 11, 1813. His early love of art tempted Mm to that profession in preference to another, to which he had been destined. He was admitted a student - of the Royal Academy in 1S30. In 1832 he exhibited a statue in armour of the time of Richard I., and m the following year a basso-rilievo from ' Mazeppa.' He also modelled a design for a proposed statue to Earl Grey, and was engaged on other works, when a career of some promise was cut off by his death, March 13, 1834, in his 21st year. HAKEWILL, Edward Charles, archi tect. He was a student in the schools of the Royal Academy, and m 1831 was placed under P. Hardwick, R.A. Practis- HAL ing for himself, he built several churches — Stonham, AspaU, and Grandsburgh. He was appointee! one of the metropolitan dis trict surveyors, but resigning the office in 1867, he retired and settled m Suffolk, where his professional assistance was sought. He was a fellow of the Institute of British Arcliitects. Died October 9, 1872. HALES, , portrait painter. Prac tised m the middle of the 17th century. Pepys sat to Mm m 1666, and this portrait, answering to Pepys's description, was sold by auction in 1848 at Christie's for 50s. , and is now in the National Portrait GaUery. HALFPENNY, William, architect. Practised in London in the first half of the 18th century. He published ' The Marrow of ArcMtecture,' 1722 ; ' The Art of sound Building,' 1725 ; ' Practical Architecture,' 1730^18 ; 'Twelve Designs for Farm Houses,' 1750 ; ' Useful ArcMtecture,' 1760 ; and also a work on Rural ArcM tecture, 1752. HALFPENNY, Joseph, topographical draftsman. Was born in YorksMre, at Bishopsthorpe, where his father was the gardener, October 9, 1748. He was ap prenticed to a house painter, and followed that trade m York for several years. Then he became a teacher of drawing, and made himself known as a draftsman. He pub lished, in 1795-1800, Ms 'Gothic Orna ments,' drawn and etched by himself from the cathedral at York ; in 1-807, his ' Frag- menta Vetusta.' He died July 11, 1811. HALL, , glass painter. He prac tised in London m the early part of the 17th century, and was much esteemed for the rich brilliancy of his colour. The stained glass window of LmcoM's Inn Chapel consecrated 1623, is by him. HALL, Charles, engraver. Born about 1720. He was brought up a letter engraver, but improved himself m art, and found employment m engraving portraits, medals, coins, and other antiqmties. His portraits are his best works, respectable in execution, and faithful copies. He engraved after Holbein, Passe, Hertocks, and others. He practised in London, where he died, February 5, 1783. HALL, John, engraver. Born near Colchester, December 21, 1739. He came to London early in life, but not being designed to foUow art, he was led to its pursuit by his own tastes. In 1756 he was awarded a premium by the Society of Arts. He was a pupU of Ravenet, was employed for a time in pamting on enamel for the works at York House, Battersea, and soon - became distinguished. He engraved after West, P.R.A., 'The Battle of the Boyne' and ' Oliver CromweU dissolving the Long Parliament,' and employed then by BoydeU, HAM he engraved for him the same artist's picture of 'Venus relating to Adonis the story of Hippomenes and Atalanta,' in which he succeeded by a new method in giving great softness and flexibility to the flesh — the difficulty of the engraver's art. His principal works are after Carlo Maratti, Reynolds, Gamsbnrougb, West, Hoare, and Dance. On the death of Woollett he suc ceeded to his place in the profession, aud also as Mstorical engraver to the King. He was a member of the Free Society of Artists m 1763. He ranks among our best Mstorical engravers : his line is good, his work careful, but has a tendency to blackness. He died in Berwick Street, Soho, April 7, 1797, and was buried in Paddington Churchyard. HALLIDAY, Michael Frederick, amateur. His father was a captain in the Royal Navy. He held an appointment in the House of Lords, and when past middle life cultivated a taste for painting. He exMbited at the Royal Academy in 1853 a landscape, and in 1856, ' The Measure for the Wedding Ring,' which was engraved and brought Mm into notice. In 1857 he exMbited ' The Sale of a Heart ;' in 1864, ' A Bh'd in the Hand ; ' and m 1866, his last work, ' Roma vivente e Roma morta.' He died after a short UMess, June 1, 1869. His works were sold at Cliristie's in January 1871. ^ j.» HALLS, J? J57 portrait and history painter. He hved for some time at Colchester, of wMch town he was probably a native. He first appears as the exhibitor of alandscapeat the Academy in 1791, and again in 1798, when he exhibited ' Fingal assaulting the spirit of Loda.' In the following year he came to London, and from that time was a constant exhibitor of portraits, and had many distingmshed sitters. He also occasionally contributed a subject picture ; in 1802, ' Lot's Wife tinned into a Pillar of Salt ; ' in 1808, ' Hero and Leander ;' in 1811, ' Danae.' In 1813 he gained at the British Institution a premium of 200 gumeas for his ' Raising of J anus's Daughter.' But from this time he exhibited only portraits, and was a large contributor. His last exhibited work was in 1827. HALPEN, Patrick, engraver. Prac tised in Ireland in the lme manner 1778-86, and was the only engraver of his class then in Ireland. He was principally employed on vignette illustrations for books. HALPEN, , portrait painter. Son of the above. Studied in the Dubhn Academy, and then commenced art as a miniature painter. Not succeeding, he tried the stage, and appeared at the Crow Street Theatre m Dublin. But again un successful he came to London, and m a new field resumed his art. HAMILTON, Sir James, Knt. , architect. He was a natural son of James, first Earl 193 HAM of Arran, and received letters of legitima tion 1512. He was comptroller of the house hold and the favourite of King James V. of Scotland, and was afterwards appointed the master of the king's works, and em ployed in the repairs and alterations of the palaces at Stirling and Linlithgow, and some other works of importance. He was charged in 15:S9 with inventing engines to assassinate the King, and with embezzle ment in his office, treasons which he could not be brought to confess, and was after a trial beheaded at Edinburgh, in September 1540. HAMILTON, Gavin, history and por trait painter. He was descended from the Hamiltons of Mnrdieston, FifesMre, an ancient Scotch family, but was born in the town of Lanark in 1730. There is no account of his education. He went early in hfe to Rome, where he spent the greater part of his clays, and was looked up to in aU matters of art. He was for a short time resident in London about 1752, and was in 1755 a member of the Artists' Committee appointed to establish a royal academy. He was devoted to the study of historic art, but was persuaded to try portrait, and about this time painted the Duchess of Hamilton and her sister, the Countess of Coventry, two celebrated beauties. These portraits are engraved m mezzo-tint ; and his por traits of DawMns aud Wood, the discoverers of Palmyra, are engraved by HaU. Soon after he went back to Rome, only returning to England, after many years' absence, to take possession of a considerable family estate, which he mherited in 1783 on the death of Ms elder brother. His tastes were pure and founded on classic study, Ms drawing good but timid ; Ms colour and light and shade weak. He pamted several large historical subjects, among them — ' Achilles dragging the body of Hector at Ms chariot wheels,' ' Andromache weep ing over the body of Hector,' both pictures engraved ; and an ' Apollo,' presented to the city of London by Alderman BoydeU, a single figure, above life-size, well and solidly painted, but heavy m colour, which was exhibited at the International, Exhibition, 1862. He also painted, about 1794, an apartment in the Villa Borghese at Rome, in compartments, representing the story of Paris. While residing at Rome he sent classical subjects for exhibition at the Royal Academy in 1770-72-76, and for the last time in 1788. He was engaged at Rome in excavating for antiquities, com mencing the diggings at Hadrian's villa, about 1769, and was fortunate both there and in other places to find some fine speci mens of antique sculpture, wliich for some time graced the Townley and other galleries, and are some of them now in the coUections at the British Museum. He published a 194 HAM volume containmg 40 prints, 'Schola Itahca Picturas,' from the works of the great Itahan masters. Many of his own pictures are also engraved. He died at Rome in the summer of 1797, his death occasioned, it is said, by anxiety on the entry of the French. HAMILTON, James, still -life painter. Bom at Murdieston, FifesMre, and probably of the same family as Gavin Hamilton. He practised m the time of Charles I. and ex ceUed in still-life, painting birds and fruit. On the usurpation of Cromwell he left this country and settled at Brussels, where he lived tiU nearly 80 years old. He had tMee sons, born and educated on the Con tinent, who were painters. John George was an anhnal painter of great ability, whose works wiU be found in the Berlin Gallery and the gaUeries of the Belvidere Palace at Vienna. Philip Ferdinand, a pamter of cattle and stUl-Me, whose works are also in the Belvidere Palace ; and Charles William, several of whose paint- mgs are in the royal collections of the King of Bavaria. In the Vienna catalogues these artists are distingiushed as 'Von Hamilton.' They cannot be claimed as of the English school. HAMILTON, Hugh Douglas, R.H. A., portrait painter. He was born m Dublin about 1734, and studied under James Manning in the art schools of the Dublin Academy. He commenced practice there early in life, and was successful in his crayon portraits, drawn m a slight but pleasing manner. Tempted by his success he came to London, took lodgmgs m Pall MaU, and was extensively employed, the King and the Queen sitting to Mm. His portraits were of smaU size, oval, the prevailing tone grey, finished with red and black chalk, and distinguished by the clever expression of the eyes ; Ms usual price mne guineas. In 1765 he gamed a Society of Arts' premium of 60 gumeas, was admitted a member of the Incorporated Society of Artists, and exhibited 12 chalk portraits at then- gallery in Spring Gardens. After a very successful practice in London, he went to Rome in 1778, and settling there, painted many of the English and Irish visitors to that city. While there, by the advice of Flaxman, R.A., he tried oil, and from that time con fined his art to that material, wMch he soon mastered. In 1787 he was in Florence, and sent home two portraits, which were exhi bited at the Academy, and in 1791 a portrait from Rome. On his return, soon after, he settled m Dublin, where he was elected a member of the Academy, and practised there as a portrait painter up to 1800. He had many eminent sitters, and in oil maintained his early reputation. His works were marked by truth of outline, agreeable expression and good grouping, HA M HAN yet were feeble and wantmg m effect. 'Dean Kirwan Preaching,' in the Dublin Royal Society, is a good example of his art. His best portraits were of females, some of them treated Mstorically. Of his historical attempts, a colossal head of ' Medusa,' ' Prometheus,' and ' Cupid and Psyche' are mentioned as his best. He died m Dubhn in 1806. Earlom land Houston engraved after Mm, the latter Ms portrait of Mrs. Hartley. HAMILTON, Thomas, R.S.A., archi tect. Was born m 1785. He practised in Edinburgh ; designedthe Burns s Memorial, Ayr, 1820, and erected there the Echnburgh High School, 1825-29, a clever adaptation of Grecian art ; and planned the grand fines of approach on the north side of the town ; also the facade of the Physicians' HaU, 1845, and several churches and man sions. He was one of the foundation members in 1S30, and treasurer of the Royal Scottish Academy, and received a gold medal at the Paris Umversal ExM bition, 1855. He died February 24, 1858. He was the author of ' A Letter on the present state of the Fine Arts m Scotland,' 1850. HAMILTON, John, amateur. He painted some landscapes, and in 1766 was a member of the Incorporated Society of Artists. About 1773 he was secretary to the Society, and laterbecame vice-president. He etched in a pamter-like manner the Ulustrations for Ms friend Grose's 'Trea tise on Ancient Armour and Weapons,' 1785. HAMILTON, David, architect. Born in Glasgow, May 11, 1768. He was brought up as an artificer, but he distin guished himself early by his superior abilities, and m 1804 was employed as the arcMtect of the Queen Street Theatre in that city. In 1806 he designed the monu ment erected there to Nelson, and after wards several churches ; in 183!) the Royal Exchange, m the CorintMan order ; and in 1835, St. Paul's Church, m the Iomc order. He was also the architect of several mansions and other important works m Scotland. On the competition for the Houses of Parliament m 1830, he was awarded the ttiird premium. He died at Glasgow, December 5, 1843. HAMILTON, William, R.A., history and portrait painter. He was born at Chelsea in 1751, the son of a Scotchman, who was employed by R. Adam, the archi tect, who early in life assisted him to visit Italy, where he studied under ZuccM, but was too young to take fuU advantage of tMs opportunity. On his return he entered, in 1769, as a student at the Royal Academy. He practised m history, and sometimes painted subject pictures and portraits. He designed for BoydeU's ' Shakespeare,' and for Macklin's ' Bible ' aud edition of the Poets ; also for Tomkins' edition, in 4to, of Thompson's ' Seasons ; ' and was generally much employed m book illustration. He was popular in his day, and many of his paintings were engraved. Some of his water-colour drawings possess much bril liancy and merit. His style was light and pretty, but wantmg in all the essential characteristics of historic art. His male figures were effemmate and tall ; his females, doUs draped in the costume of the stage, and tawdry. His Shakespeare pic tures possessed little of the character of the poet or Ms time. He received 600 guineas for pamting the panels of Lord Fitzgib- bon's state carriage, now in the South Kensmgton Museum ; and painted some antique decorations for the Marqms of Bath's seat m Wiltshire. He was elected associate in 1784, and R.A. m 1789. He was a constant exliibitor at the Academy, commencing m 1774, and took a wide range of subjects. From 1783 to 1789 he exhi bited portraits ; and, at the latter part, theatrical portraits. He died in Dean Street, Soho, of fever, after a few days' illness, December 2, 1801, and was buried in the parish church of St. Anne. His widow became a pensioner of the Academy. HANCOCK, J. G., medallist. Towards the end of the 18th centuiy he executed several good medals. He excelled in his portrait dies. There is a fine medal by him of Lord Nelson. HANCOCK, Robert, engraver. Was born in Staffordshire. He studied under Ravenet and was first engaged at Battersea, and later m the pottery works of his native county, where he was chiefly employed as an engraver, and saved about 6,000^. The Worcestershire printed porcelain owed to him much of its excellence. Losing his savings by the failure of a bank, he commenced as an artist, and practised, in the latter part of the 18th centuiy, in mezzo-tint. His works are chiefly after Sir J, Reynolds, Wright, of Derby, Mjller, and some others. He resided some time at Worcester, and the latter part of his life at Bristol, where he drew in crayons some smaU portraits, several of which, among them Samuel Taylor Coleridge, dated 1796, are engraved m Cottle's ' Early Recollec tions.' He died October 1817 in his 87th year. HAND, Thomas, landscape painter. He was a pupil of George Morland, and became one of the compamons of his excesses. He acquired his master's free manner, and was a fache copyist of Ms works, to which he did not scrapie to add his master's name. He exhibited a small landscape at the Spring Gardens Gallery m 1790, and at the Royal Academy, commenc ing in 1792, rustic and sporting subjects, 2 195 HAN" and continued from time to time an exhi bitor. He died m September 1804. HAND, Richard, glass painter. He was born in Warwickshire, and for a time practised in Ireland, painting landscapes and fruit, and was also employed in copying pictures. About the end of the 18th cen tury he learnt the art of staining glass from a clever chemist in Dublin, and he then applied himself to glass painting. He was an ingenious artist, and succeeding, he made many improvements in his art. He prac tised at the early part of the 19th century, and had then settled in England, and was residing in Belgrave Place, Pimlico. He painted some glass for Carlton House, Arundel Castle, and Donnington Hall. He died shortly before 1817. HANDASYDE, Charles, miniature and enamel painter. Practised towards the end of the 18th century. In 1765 he received a Society of Arts' premium for an historical painting m enamel. He hved in Covent Garden between 1770-80. He exhibited with the Society of Artists m 1761 and at the Royal Academy in 1776, but not subsequently. He etched and mezzo-tinted Ms own portrait. HANNAN, William, decorative paint er. Born in Scotland. Commencmg life as an apprentice to a cabinet-maker, he encouraged a love of drawing, and was employed by Lord Le de Spencer at West Wycombe, where he painted several ceUings, which were chiefly copies from the designs- of others. He, liowever, produced some original works, and some drawings made by him in the gardens at West Wycombe were engraved by Woollett, and published m 1757. His name appears m the Exhibition catalogue of 1769 aud the following years. lie died at West Wycombe about 1775. H ANNEM AN, Adrian, portra it pa in t- er. Born at the Hague in 1611. He painted portraits and occasionally history. Studied the manner of Vandyck, and came to Eng land in the reign of Charles I., and during a residence here of 16 years, part of which he was employed under Mytens, he painted many persons of distinction, whose portraits are preserved in famUy collections. He returned to the Hague, and there became the favourite painter of Mary, Princess of Orange, and was in 1665 director of the Academy. He died m 1680. His heads were very well drawn, coloured and expressed, his hands good, and his portraits gener ally agreeable. Sanderson speaks of Mm as the first who vamped up copies of the old masters and passed them off as the origmals. HANNEMAN, William, portrait painter. Son of the foregoing. Was es teemed as a portrait painter in the reign of Charles I. He died young, and was buried in the church of St. Martrn-m-the-Fields. 196 HAE HARDING, J. W., engraver. Practised in the latter half of the 18th century, work ing in the dot manner, and was chiefly employed upon the works of Angelica Kauffman and some of her contemporaries. Six plates of ' Sketches in North Wales,' coloured to represent drawmgs, and pub hshed in 1810, are probably by him. HARDING, Sylvester, miniature painter. He was born at Newcastle-under- Lyme, July 25, 1745. Sent to an uncle in London at the age of 10 years, he was placed by him to a trade which he disliked — it is said to a hair-dresser — and at 14 he ran away and was not heard of for several years. He had joined a company of stroU- ing players, and under an assumed name had played at Edinburgh, Glasgow, and London, but without any hope of success. His first attachment had been to art, and he left the players in 1775, began practice as a mmiature pamter, and came to London to follow that branch of the profession. From 1777 to 1787 he exMbited his minia tures at the Royal Academy. He was also a copyist in water-colour of old family por traits. A drawing by him, 'Portraits of Printsellers,' was engraved. He then entered upon a publication of some por traits in illustration of Shakespeare, 1793, many of which he engraved, and estab- lishmg himself m Pall Mall, he pubhshed, m 1795, ' The Biographical Mirror,' a work entirely got up by himself and his brother (who was afterwards appointed librarian to the Queen at Frogmore). He also pub hshed the 'Memoirs of Count de Gram- mont,' and made the designs for 'The Economy of Human Life.' He was well known to the coUectors of Ms day. He died in PaU MaU, August 12, 1809. HARDING, Edward, engraver. Son of the above. He engraved some of the works pubhshed by his father, and was rising in his profession, when, at the age of 20 years, he died September 11, 1796. HARDING, George Perfect, water- colour painter. Another son of the fore gomg Sylvester Harding. He commenced art as a portrait pamter, and from 1811 to 1S40 was an occasional exMbitor of por traits at the Royal Academy. But he was distinguished by Ms minute and faitlrful copies m water-colours of many portraits hi our public and private collections, wMch possess historical and antiquarian mterest; of these, some were published by the ' Granger Society,' and the publication was continued, by subscription, by Mm for five years after the expiration of the Society. lie also copied portraits for several his torical publications, the series of portraits of the 'Deans of Westminster,' also for Neal and Brayley's ' History of the Abbey,' 1822-23 ; and ' The Sepulchral Brasses in Westminster Abbey,' 1825. He married HAE late in life and had a large family. Much reduced in means, his chief resom-ce was in the disposal of his accumulated works, wMch were sold by auction. He died m Lambeth, December 23, 1853. HARDING, James Duffield, water- colour painter. Was born at Deptford m 1798. His father was an artist, and had been a pupil of Paul Sandby. He was articled to an attorney, but he very early connected Mmself with art, and was an exMbitor of some views at the Royal Aca demy. In 1818 he gained the Society of Arts' medal for an original landscape, and the same year first appears as an exhibitor at the Water-Colour Society, sendmg ' Greenwich Hospital, Sunset,' and ' Wmd- sor from the Great Park.' Contmumg to exMbit, he was in 1821 elected an associate exMbitor, and the foUowmg year a member of the Society. He had begun life as a teacher of drawing, and at tMs time found fuU employment. In connection with his teachmg he published ' Lessons on Art,' a ' Guide and Compamon to Lessons on Art,' and ' The Principles and Practice of Art.' In 1830 he visited Italy, and on his return exMbited some Itahan scenes. In 1836 he published 'Sketches at Home and Abroad;' and in 1842, 'The Park and the Forest.' He had pamted in oil, and coni- menemg m 1843, was for several years an exMbitor of landscapes in oU at the Aca demy, contributing also to the exMbitions of the Water-Colour Society up to 1847, when he withdrew from the Society to be come a candidate for Academy honours ; but faUing in this, he was re-elected a member of the Water-Colour Society in 1857. In 1861 he pubhshed 'Selections from the Picturesque. ' He also lithographed a series of sketches after Bonington, an exceUent work. He died at Barnes, December 4, 1863, and was buried at the Brompton Cemetery. He was a skUful and rapid draftsman, but mannered and feeble, with a tendency to a meretricious style. He was much connected with lithography, wMch his many publications stimulated and improved. HARDWICK, Thomas, architect. Was born June 1752, at New Brentford, where his father carried on the busmess of a builder. He studied arcMtecture under Sir WUliam Chambers and in the schools of the Royal Academy. He exMbited at the Royal Academy 1772-76, and m the latter year visited the Continent, bemg absent about tiiree years and passing some time m Rome. On his return in 1799, he commenced the practice of his profession, and resuming his contributions to the Academy, wMch continued to the end of the century, he exhibited many important designs — among them, for a palace, a senate house, a pubhc museum, and a HAE public libraiy. In 1790 he was employed to build the church of St. Mary, Wanstead. In 1795 he rebuilt, after the origmal design by Inigo Jones, the Tuscan church of St. Paul, Covent Garden, which had been de stroyed by fire ; and was afterwards en gaged m the erection and repair of several churches, among which the new church of St. Marylebone, a classic structure, was conspicuous. It cost 60,0002. , and was built 1813-17. In 1810 he was appointed clerk of the works for Hampton Court Palace. He died January 16, 1829, and was buried at Brentford. HARDWICK, Philip, R.A., architect. He was born in St. Marylebone, June 15, 1792, son of the above, was brought up m his office, and in 1808 was admitted a stu dent in the schools of the Royal Academy. He was an exhibitor m 1S12-13-14, his principal works bemg a design for the lodge entrance of the MUlbank Penitentiary and for a royal palace. In 1815 he visited the Continent, and after tM-ee years' study re turned to England m 1818, and at once commenced the active practice of his pro fession. One of his first works was the large warehouses, with the dock house, for the St. Katherine's Dock Company, the designs for which he exhibited at the Aca demy m 1825 and 1830. TMs was foUowed by Ms works for the North- Western RaU- way Company, including the principal station m Euston Square and in Birmmg- ham. One of his best works was com menced soon after — the new haU of the Goldsmiths' Company, a fine piece of Ita lian arcMtecture. Of this he exMbited a portion of the interior m 1839 and 1842. He was then engaged upon the erection of a new haU and library at Lincoln's Inn, wMch his faffing health compelled Mm to leave to the charge of his son Mr. P. C. Hard wick. Among his other works may be mentioned the Euston and Victoria Hotels, the Globe Insurance Office, and the City CMb. He was elected an associate of the Academy in 1840, and a fuU member in 1841. He received the gold medal of the Institute of British Architects, and a gold medal at the Paris Exhibition of 1855. He was the architect of Bridewell and Bethle hem Hospitals, of the Goldsmiths' Company, and of the Commissioners of Greenwich Hospital. His mfirm health had long pre cluded him from any active duty, when he died December 28, 1870, and was bmied m the Kensal Green Cemetery. HARDY, J., portrait painter. He prac tised m London towards the end of the 18th centuiy. Several of his portraits arc engraved, among them ' Lady Cavendish, when a child, playing with her Dog.' HARGRA VE, John, sculptor. Was one of the assistants to Nicholas Stone, the master-mason to James I. 197 HAE HAE HARGRAVE, , mezzo-tint en graver. He practised early in the second half of the 18th century. HARGREAVES, Thomas, miniature painter. He was born at Liverpool in 1775, the son of a wooUen draper. He early at tempted miniature painting, and Sir Thomas Lawrence being shown one of his works advised him to come to London, and he was the president's articled assistant for two years, from May 1793, at a smaU weekly pay. He worked in on and continued his employ for several years after the termina tion of the original engagement. But his health failing he returned to Liverpool, and devoting himself to mmiature met with great encouragement. He sent some of his works to the Academy Exhibitions m 1808 and 1809. In 1811 he was a member of the Liverpool Academy, and from that year a large contributor to its exMbitions. He joined the Society of British Artists on its foundation, and was an influential mem ber and one of its exMbitors. After many years of weak health he died December 23, 1846, His mmiatures were well and care fully drawn and fmished, but, imitations of the Lawrence manner, were without any marked character. Three of his sons suc ceeded Mm as miniature painters at Liver pool. One of them, G. Hargreaves, jomed the Society of British Artists. HARLOW, George Henry, portrait painter. He was born m St. James's Street, June 10, 1787, the posthumous son of an English merchant residing at Canton. His mother, a young and handsome widow, left with a competence, spoiled her good-looking boy. He had an early mclination for art, and was first placed under De Cort, then with Drummond, A.R.A., and finally, for about 1 8 months, in the studio of Sir Thomas Lawrence. Here he quarrelled with the mechanical art to which he was set and the cold courtesy of his master, and on leaving him (it is said he was dismissed) had to depend upon his own industry and ability. He painted at a low price smaU portraits of many of the actors of the day, and thus fell mto their society, and bemg of an easy, careless disposition, soon became embarrassed m Ms affairs. He first appears as exhibitor of a portrait at the Royal Academy in 1S05, and from that time till his death was a constant con tributor, his exhibited works, with three exceptions, being portraits. He met with fMl encouragement, and gradually raised his price to 40 giuneas for a three-quarters portrait. In June 1818 he set off for Italy, and stayed some time in Rome, where he was much noticed and flattered. He arrived in England on January 13, 1819, and a few days after was attacked by the mumps, which having been checked and neglected, swelling and ulceration of the glands of the 198 throat ensued, foUowed by mortification- .' He died on February 4, and was buried in a vault at St. James's Church, Piccadilly. After Ms death a collection of about 150 of his works was exMbited. Harlow's chief excellence will be found in his portraits. In 1815 he commenced a series, of small size, of the emment pamters and some of the notorieties of the day; they are refined yet broadly finished, and full of character. He also made portrait- sketches in chalk, slightly tinting the face, many of them admirable in taste and manner. Several of Ms portraits were en graved ; of these, Miss Stevens, the singer, Mathews m character, and Northcote, R. A., were very popular. Two smaU groups of a portrait character, 'The Proposal' and ' The Oongratidation,' were also engraved, and had an extensive sale. Of his Mstorical attempts, the best known is bis ' Trial of Queen Catherine,' m which the portraits of the members of the Kemble famUy are m- troduced, a work wMch was finely produced m mezzo-tint by Chnt, A. R.A. This painting is clever, but more a tableau than a picture, remmding rather of the stage, the persons represented addressmg an audience, than an historical event. His colouring and execution were good, but his drawmg weak, owing to a neglect of early study. It is probable that Ms art would not have improved or Ms reputation have been mcreased had his life not been pre maturely closed. There is a memoir of Mm m Arnold's ' Library of the Fme Arts,' 1831. HARPER, John, architect. Born near Blackburn, Lancashire, November 11, 1809. He practised for some years at York, where he resided, and then traveUed m Italy for his improvement. At Rome he was attacked with fever, and rallied sufficiently to set out for Naples, but he suffered so much from sea-sickness on the voyage that he ched on reaching that city, October 18, 1842. He was a skilful draftsman, and left many clever sketches of architecture, antiquities, and landscape scenery. During lis short career he built the Roman Ca tholic chapel at Bury, Lancashire, the Freetown church and Elton church in the same town, the York CoUegiate School, and several mansions. HARRADEN, R. B., draftsman and engraver. He produced very finely, hi aqua-tint, several of Girtin's views of Paris, published 1802, and made the drawings for the ' Cantabrigia Depicta,' published in 1809 by his father, a bookseller at Cam bridge. He became a member of the Society of British Artists, and exhibited there on two or three occasions. He con tinued a member up to 1849. HARRIS, J., water-colour painter. He was one of the early artists who practised HAE water-colours m the tinted manner. He made some designs Ulustrathig a Bible published by Reeves in 1802, and from that year to 1813 was an exhibitor at the Royal Academy of birds, Msects, and rural and domestic subjects. He died 1834. HARRIS, J., engraver. Practised towards the end of the 17th century. Works by him bear date from 1686 to 1700. His best plates Ulustrate a volume of 'Vitruvius Britannicus,' published m 1739. He was engaged with John Kip in engraving some views of gentlemen's seats. HARRIS, Moses, amateur. Born m 1731. He was a member of a society of entomologists called the 'Aurelians,' and was engaged for 20 years, as a labour of love, in drawing, engravmg, and colouring insects, cMefly moths and butterflies, which he published under the title of ' The Au- relian; or, Natural History of English Insects,' 1766. The insects were aU drawn by Mm from the hfe, the engraving was his first attempt with the graver, and the colouring is veiy brUhant. The work is exceedmgly well done, and considering the date is remarkable for its art. He after wards published ' An Essay mtended as a Supplement to the Aurelian,' 1766 ; ' The Enghsh Lepidoptera,' 1775-78; 'An Ex position of Enghsh Insects,' 1776 ; and a 'Natural System of Colours,' 1811. He exMbited a frame of English msects at the Academy in 1785. HARRIS, Henry, medallist. He was employed m the Mmt in the latter part of the reign of Charles IL, and on the acces sion of James II. was appointed one of the die engravers. He was distmguished by Ms abihty as an artist, but Walpole, con founding him with Joseph Harris, an actor and dramatic writer at the Royal Theatre, says he was ignorant of art and mconi- petent. He died 1690. HARRIS, W., gem sculptor. He ex Mbited at the Royal Academy, 1788-92, engraved gems. ' The Parting of AchiUes and Briseis,' 'The Judgment of Paris,' ' The Entrance of Alexander mto Babylon.' He was appointed gem scMptor to the Dukes of York and Clarence. HARRISON, Mrs. Mary, flower paint er. Was one of the original members of the new Society of Pamters in Water- Colours, now called the Institute. Her fniit and flower pieces, unfailingly exMbited year after year, bore unmistakable marks of taste, feehng, and close observation of nature. Her first works, executed at the beginning of the century, foUowed the trim fashion of the time. Bom in Liverpool m 1788, the daughter of Mr. Rossiter, a hat manufacturer, she married in 1814 Mr. Harrison, a gentleman in easy circum stances; he unfortunately, as his famUy increased, was induced to enter mto a HAE partnership wMch proved disastrous. H e became a broken-spirited invalid, and the duty of providing for twelve children de volved upon Mrs. Harrison. This duty she bravely performed, and many of her loveliest works are pot boilers. Her hus band died m 1861. She herself breathed her last on November 25, 1875, without a struggle, havmg previously ascertamed that her pictures had been safely despatched to the wmter exhibition of the Institute. HARRISON, George H., water-colour painter. Son of the above. Was born at Liverpool m March 1816. He was early taught m art, and at the age of 14 came up to London, with some unsettled notions of bemg an engraver, and for a time sup ported hmiself by the sale of his drawings to the dealers. Afterwards he was en gaged in makmg anatomical drawings and Ulustrations, and studied at the Hunterian Museum m Wmdmill Street. At this time he gamed the notice of Constable, R.A., who advised Mm to sketch from nature. He was also a teacher, leading Ms pupils mto the open fields. He was an exhibitor at the Royal Academy, cMefly in water- colours, from 1840 tUl his death. His works were chiefly landscape and domestic scenes. He had tried most subjects and many mediums, and was setthng down to landscape. His foliage was luxurious and true, his figures weU mtroduced. He was elected an associate of the Water-Colour Society m 1845, and was improving as an artist when, after much suffering, he died of aneurism,. October 20, 1846. . HARRISON, Thomas, architect. Was born at Richmond, Yorkshire, 1744. He early showed a taste for drawmg, and about 1769 was assisted by Lord Dundas to visit Italy, and studied for several years at Rome. While there he made some designs for the embeUishment of the Square of Santa Maria del Popolo, for which the Pope presented him with a gold and a sUver medal. He was also elected a mem ber of the Academy of St. Luke. He travelled home through Italy and France, arriving in 1776, and was at that time an occasional exhibitor at the Royal Academy. Soon after he engaged to build a bridge of five arches over the Lune, a Lancashire river, and constructed the first level bridge erected m England. Having settled at Lancaster, he was employed to execute several extensive alterations at the old castle in that town, and afterwards buUt, on the panopticon principle, the gaol at Chester, and the court-house. He designed the bridge over the Dee, with an arch of 200 feet span, a dimension then unequalled. He also designed the Athensaum and the St. Nicholas's Tower in Liverpool, and the theatre ; and m 1809 the Exchange Bmld- mgs in Manchester, the latter an early 199 HAE attempt at classic design in tMs country. He built several mansions m Scotland, among them Broomhall, m FifesMre, for Lord Elgin, then minister to the Porte, to whom he suggested to obtain casts of the marbles nowin the British Museum, and known as the 'Elgin Marbles,' not sup posing that the originals could be removed. After attaining much local reputation, he died at Chester, on March 29, 1829, aged 85. HARRISON, Stephen, architect. He held the appointment of architect to James I. Some triumphal arches, which he erected on the entry of that long mto London, have been engraved ; but there is no record of any work by which he is distinguished. H ARRISS, D. , icater-colour draftsman. He practised in the early tinted style, imi tating the. manner of Malton, and his works possessed much merit. He exhibited a ' View of a Country Seat' at the Academy m 1799, and was then residing at Oxford. HARTLEY, Miss M., amateur. She is remembered as having produced some clever etcMngs, among tliem a landscape dated 1761, and a portrait, from the life, of Buxton, an arithmetician, dated 1764. HARVEY, Sir George, P.R.S.A., sub ject and landscape painter. Born at St. Ninian's, near Stirling, in 1805. He was early apprenticed to a bookseUer, but soon evinced talents for drawing and a love of art. In 1823 he obtained admission to the Trustees' School m Edmburgh, wdiere he worked diligently and made rapid progress, so that when the Scottish Artists, in 1826, determined to form themselves into a body on the model of the Royal Academy of London, they invited him to join them as an associate, and his contributions to their annual exhibitions won him Ms election as a full member in 1829. The wild scenery of Ms native land, and the struggles of its stern religionists with the Church and State, supplied Harvey with some of Ms best sub jects, and the union of figures and land scape well suited Ms powers ; such were ' Covenanters preachmg,' 1S30 ; ' Covenant ers' Baptism,' 1831 ; ' The Battle of Drum- clog' m 1835, etc. Some of these works were at once well engraved, and aided by the feeling which the writings of Scott (from which some of the subjects were chosen) had aroused, speedily gamed great pi ipularity. He exhibited for the first time in London m 1843, the subject being 'An Incident in the life of Napoleon.' Two of his pictures are m the Scottish National Gallery, 'Dawn revealing the New World to Columbus,' and ' Quitting the Manse.' On the death of Sir T. Watson Gordon, he was elected President of the Scottish Aca demy, and knighted by her Majesty in 1867. His pictures, though somewhat heavy in execution, are picturesque m com- 200 HAS bination and rich in tone of colour. He died m Edmburgh, January 22, 1876. HARVEY, William, wood engraver and designer. Bom at Newcastle-on- Tyne, July 13, 1796. He was apprenticed to Thomas Bewick at the age of 14, and chiefly employed during his apprenticeship upon common trade-work on copper and wood. He also assisted on his master's woodcuts for iEsop's 'Fables.' For Ms improvement he came to London m 1817, and placed himself under B. R. Haydon, contmumg to work all the time as a wood engraver. In 1821 he cut Haydon's ' Den- tatus/'a work which at once, from its ability and unusual size, gave Mm a reputation. Later he devoted himself to designing for iUustrations both on wood and copper ; and m 1824 abandoned wood engraving and at once found full employment m designing, his drawmgs on wood bemg especially adapted to the wood engraver's art. He designed for the Ulustration of the ' Babes in the Wood,' ' The Bhnd Beggar of Beth- nal Green,' Hood's 'Eugene Aram,' and many other works. In 1840 he became largely employed for the iUustration of works pubhshed by Charles Knight. Among his best designs may be cited his ' Arabian Nights' and the tastefid vignettes for Northcote's ' Fables.' He ched at Rich mond, where he had long resided, on January 13, 1866. HASSEL, William, portrait painter. Practised m immature and oU towards the end of the 17th centuiy. One of Ms por traits is engraved by Peter Vanderbank; and John Smith mezzo-tinted a portrait. painted by him m 1707. He sat to KneUer for Ms own likeness. George Lambert was his pupU. H ASSELL, J., draftsman and engraver. He practised about the end of the 18th century. He drew and engraved 16 tmted aqua-tints for a ' Picturesque Gmde to Bath and Bristol Hotwells,' 1793. To several of them Ibbetson added the figures and cattle, giving some spirit to an otherwise tame performance. He published, 1790, a 'Tom- of the Isle of Wight,' with many aqua-tint plates, engraved by himself ; m 1806, 'Life of George Morland;' in 1801, ' CaUograpMa, or the Art of Multiplying Drawings ; ' and m 1820 a ' Progressive Drawing-Book ' m water-colours. HASSELL, Edward, landscape painter. He was the son of an engraver. For several years he was an exhibitor at the Society of British Artists, cMefly of interiors of Gothic edifices. In 1841 he was elected a member of the Society, and exhibited the ' Interior of Gloucester Cathedral ' and the ' Interior of Winchester Cathedral, William and Mary returumg from the Altar.' In 1842 he contributed 'The Mountain Torrent;' in 1S43 and 1844 he was a large exMbitor; HAS HAV in 1850, 'Thames Craft, Moonlight,' and 'Wmter Evenmg;' m 1852, 'Rochester, from Stroud.' This was his last exhibited work. He died shortly after. For some time he fiUed the office of secretary to the Society. HASTINGS, Captain Thomas, amateur. He was an associate of the Liverpool Aca demy. He held the office of collector of customs, and amusing Mniself as an etcher produced some good plates. In 1S13 he published his etcmngs from St. Augustine's and other buUdings at Canterbury, under the title of ' Vestiges of Antiqmty ; ' and in 1825 his coUection of etchings (39 m num ber) from the works of Richard Wilson, R.A. HAUGHTON, Moses, enameller. He was born at Wednesbury, Staffordshire, m 1734, and brought up as an enameller. Employed m ornamental work at a manu factory m Birmingham, he was led by his abilities to try art, and produced some good works, excelling m his still-life, dead game, &c, wMch were cMefly m water-colours, and close imitations to nature. He resided the greater part of his life at Wednesbury, and died at Ashted, near Birnhngham, December 23, 1804. HAUGHTON, Moses, portrait and subject painter. Nephew of the foregomg. Was born at Wednesbury about 1772. Came to London, where he was the pupU of Stubbs, and, admitted a student of the Royal Academy, he gamed there a compe tent knowledge of the figure. He exhi bited two smaU subject pictures m 1792. He commenced Ms art as a portrait pamter, chiefly practismg m miniature. In tMs manner he showed much vigour and power, and Ms hkenesses were marked by great character. He was an early friend of Fuseli, of whom he pamted and engraved a portrait m 1808. He attempted some scriptural and rural subjects in oh. Two of Ms works, ' The Love Dream ' and ' The Captive,' were engraved. ¦ He engraved himself (but it does not appear how far he practised tMs art) Fuseh's ' Death and Sm,' 'Eve's Dream,' 'The dismissal of Adam and Eve from Paradise,' and some other plates. He was a large exMbitor of mima- tures at the Royal Academy, and continued to contribute to the Academy Exhibitions till 1848. HAVELL, William, landscape painter. One of 14 cMldren, he was born at Reading, February 9, 1782. His father was a draw- ing-masterthere, and to make some adchtion to his professional gains kept a small shop. The son gamed a good classical education at the weU-known grammar school m the town. His father wished him to pursue the more certam gams to be made in the shop, but he longed to follow art, and seizing every opportunity to improve, surprised Ms father by his abihty. Then allowed to take his own course, he made his way to Wales, and returned with a well-filled sketch-book. He first exhibited at the Royal Academy in 1804, and in the same year was one of the foundation members of the Water-Colour Society. To study mountain scenery he went to Westmoreland in 1807, where he remained for nearly two years, gathering rich stores for Ms future works. He had now attained distinction as a water-colour pamter, and practised his art with success, exhibiting at the Water-Colour Society, notwithstanding Ms secession on the alteration of the constitution of the Society in 1813, and also occasionally, some times m oU, at the Royal Academy. During tMs time he resided awhile at Hastings, gomg to Reachng to assist Ms father when his uncertam health prevented his profes sional teaching, till 1816, when he was appomted draftsman to Lord Amherst's em bassy, and saUed for CMna m the ' Alceste.' But he did not continue long m this office ; an unfortunate quarrel led Mm to accept the opportmnty of going, in 1817, to India, where he continued in the practice of Ms profession up to 1825, and reahsed a smaU property. On his return he rejomed the Water- Colour Society, and m 1827 visited Florence, Rome, and Naples. But during Ms long absence in the East, added to his Italian travel, Ms art had become forgotten, his place fiUed by younger men, and after three years we miss Ms name hi the Society's catalogues. Probably to regam Ms place m art he tried oU, and became a constant exhibitor at the Royal Academy of works m that medium, Ms subjects cMefly Italian, with occasionally one of Ms old Enghsh MU scenes in Wales or Westmoreland, or a Chmese subject. He had, however, to struggle hard to maintain his position; he was obliged to trench upon Ms small savings, and his trials were aggravated by the f aUure of an Indian bank m which they were mvested. He, however, gamed some rehef as a recipient of the Royal Academy ' Turner Fund.' His long declining health gave way at last, and he died at Kensmg- ton, December 16, 1857. HaveU was one of the real founders of our water-colour school ; his manner ori ginal, true to nature and characteristic, grand and massive in treatment, his colour powerfrd and good, bis figures and cattle well drawn and grouped. His oil pictures show much excellence, and though rather yellow m tone and monotonous, the effect of sun and sunshme is admirably expressed. HAVELL, John, engraver, tie was bom and practised m London. His works evmced much talent, but when gaining a rank m his profession he suddenly suffered a loss of Ms reason some years before Ms death, which took place in 1841. 201 HAY' HAY HAVELL, Robert, and HAVELL, Daniel, aqua-tint engravers. They pub lished m 1812 a series of 'Picturesque Views on the River Thames,' aqua-tinted by them jointly, from the drawings of W. tiavell. Robert also engraved ' Views in India,' published in 1837 ; and Daniel pub lished in 1826, ' Historical and descriptive accounts of the Theatres of London,' Ulus- trated by views of each theatre, drawn and engraved by Mmself . HAVENS, Theodore, architect and painter. Practised m the reign of Charles II. There is in Caius CoUege, Cambridge, a portrait of him painted by himself, and another portrait by Mm which bears the 1 date 1651 f^*' H AWARD, Francis, A.E., engraver. He was born April 19, 1759, and in 1776 was admitted to the schools of the Royal i Academy. He first exhibited m 1783, and ' from that year was an occasional exhibitor. His early and best works were in the pure mezzo-tint manner, but led aside by the popularity of Bartolozzi, R.A., he adopted the mixed style of that artist . He engraved chiefly after Reynolds, P.R.A., and Angelica ; Kaurf'mann, R.A. His ' Mrs. Siddons as the Tragic Muse,' ' Cymon and Ipliigema,' and ' Infant Academy,' are fine works, in the ,,stipple manner. He died m 1797, M Marsh Street, Lambeth, where be had dwelt many years. His widow received the Academy pension during 42 years. HAWKER, Edward, portrait painter. He succeeded to Sir Peter Lely's house and studio, but never enjoyed much reputation as an artist. A portrait by Mm of Titus Oates is engraved in mezzo-tint, as is also a full-length of the Duke of Grafton, and some others. He was admitted a Poor Knight of Windsor, and died about 1723, aged above 80. IIAWKSMOOR, Nicholas, architect. He was born at Nottinghamshire 1661, and at the age of 17 became the domestic clerk and assistant to Sir Christopher Wren, who employed him during the whole time of the budding of St. Paul's, and hi the erection of the many churches rebuilt at that time. He was also deputy surveyor at the building of Chelsea College, 1682-90, and clerk of the works of Greenwich Hos pital, 1698. He overlooked the works at Kensington, Whitehall, and St. James's. Under George I. he was chief surveyor of the new churches then building, and on the death of Wren, of the works at Westmmster Abbey. Several of Queen Anne's intended 50 new churches were designed by Min — St. Mary, Woolnoth; Christ Church, Spital- ficlds ; St. George, MidcUesex ; St. Anne, Limehouse (1724) — one of his best works, unfortunately destroyed by fire in 1850; and St. George, Bloomsbury. In this latter 202 he aroused the critics by placmg the King's' statue on the apex of the steeple — an ec centric piece of originality, surely — which gave rise to a contemporary epigram : 'When Hemy the Eighth left the Pope m the lurch The Protestants made Mm the head ef the Church; But George's good subjects, the Blooms- bury people, Instead of the Church, made him head of the steeple.' He also built the hbrary and quadrangle at Queen's College. Oxford; the towers and quadrangle of All Souls' College, Oxford, 1734 ; and several noble mansions, among them Easton Neston, m Northamptonshire. He was an able constructor, learned m every science connected with Ms art; his builclmgs not without digMty; but in strivmg to be original, his novelty was scarcely arcMtectural. He died at West minster, March 25, 1736, and was buried at Shenley, Herts. HAWTHORNE, Henry, architect. Was appomted clerk of the works at Wmdsor Castle in 1575, and designed, m the Italian style, the gaUery now f ormmg the library. He also planned alterations on the terrace, and made some other improvements. HAY, James, sculptor. Was originally a pupil of President West, but showing a stronger inclination to sculpture than paint- mg, he placed himself under Flaxman, R.A., and duiing two years made great progress m art. He also studied anatomy. He be came the prey of a lingering iUness, and died prematurely at Portsea, AprU 26, 1810, aged 28. A good portrait-group, believed to be by him, is engraved as the frontispiece to the 8th volume of Nichols's ' Anecdotes.' HAY, Ramsay David, ornamental painter. He was born at Edmburgh m March 1798, and was apprenticed there to a heraldic and decorative pamter. He tried some pictures, but was advised to confine his practice to ornamental art, wMch he adopted and followed aU his life. He gamed notice by Ms work ' On the Laws of harmonious Colouring,' 1828, which went through several editions. He afterwards pubhshed several other works on the Prin ciples of Harmony, Form and Colour, and upon the Science of Beauty. He died at Edmburgh, September 10, 1866. HAYDON, Benjamin Robert, history painter. Was born at Plymouth, January 26, 1786, the son of a bookseller and pub lisher there, who claimed descent from an old county famUy. He was educated at the grammar school of the borough and at Plympton, and gained some small share of classical learnmg. He early attached him self to drawing, for wMch he showed some HAY abihty and great enthusiasm, and disliking booksehing, Ms father at last consented that he might come up to London to study as a pamter, and m May 1804 he entered as a student at the Royal Academy. His aims were Mgh art, Ms views inflated, his nature self -willed and obstinate. In 1S07 he exMbited his first picture, ' Joseph and Mary.' Then visiting Plymouth for a time, he made a purse by pahitiug portraits among his friends. Returnmg to London, he gamed permis sion, which he used most vigorously, to study from the Elgm Marbles, and mspired by those great works, produced his ' Den- tatus,' a commission from Lord Mulgrave. He beheved that his picture was to produce a new era m art, and the place assigned to it m the ExMbition of 1809, with the sub sequent rejection of his works, led to his quarrel m 1812 with tire Academy. In 1810 he began his ' Lady Macbeth,' a commission from Sir George Beaumont, which he for feited ; and irritated, m debt, and refused further assistance by Ms famUy, he was plunged mto difficulties, when he was partiaUy reheved by a prize of 100 gumeas awarded to Mm for Ms ' Dentatus ' by the British Institution, and he commenced his ' Judgment of Solomon,' wMch he finished under great privations, and sold for 700 gumeas, the Institution agam awarding Mm 100 gumeas for tMs work. He now (1814) paid a visit to Paris, to study the great works m the Louvre. No commissions awaited Mm on his return ; but not cooled in Ms enthusiasm, he com menced Ms great picture, ' Christ's Entiy mto Jerusalem,' to which he earnestly devoted Mmself, but was compelled to solicit assistance to enable liim, under great pri vations, to continue Ms work. He had, m 1817, established a pamting school at his residence m Lisson Grove, and had several pupUs who rose to eminence. Resolutely EresumMg on the sensation created by is works, Ms ambition was to obtam distinction as a great Mstorical pamter ; but he faUed to gain the appreciation of the pubhc. His ' Christ's Entry mto Jerusalem' was completed m 1820, and its exMbition, at the Egyptian HaU, PiccadiUy, produced Mm 1,1001. Though the picture did not find a purchaser, he at once commenced another great work, 'The raismg of Lazarus,' comprismg 20 figures, on a scale 9 feet high. This picture was exMbited m 1823, and attracted considerable attention. The composition is imposing, the mcidents and groupmg weU conceived, the effect of colour good, m some parts excellent ; but he had been arrested for debt during its progress, and the money received from day to day for its exhibition barely supplied each day's wants. HAY He was not yet 40 years old. He had produced his greatest works under painful difficMties, and the future offered no better prospect. In 1S26 he finished his ' Venus appearing to AncMses,' followed by ' Alex ander tammg Bucephalus ' and ' Euclus,' the latter a very good, pleasmg work. But his difficidties again overcame him. He was thrown mto a debtors' prison, and he appealed to the public for help. He said, 'My "Judgment of Solomon'' is rohed up in a warehouse m the Borough ; my " Entiy into Jerusalem," once graced by the enthu siasm of the rank and beauty of the three kingdoms, is doubled up in a back room in Hofborn ; my " Lazarus " is hi an uphol sterer's shop m Mount Street ; and my " Crucifixion "ma hay- loft in Lisson Grove.' His appeal produced a subscription which restored Mm to Ms art and his family. He commenced portrait painting, for wliich he was ill-smted both in art and character, and was reduced aMiost to actual want ; and he painted his 'Mock Election' from a burlesque scene wMch occurred in the prison ; and then, as a companion picture, his ' Chairing the Member.' He had grown apathetic, his enthusiasm was damped, Ms misfortunes begmmng to teU upon Mm, when the Kmg purchased his ' Mock Election ; ' and the exMbition of that and the compamon picture produced Mm a good sum ; nevertheless he was, in 1830, a second time m prison for debt. On his release the excitement of the Reform BUI prevailed, and he f eU m with the public feehng by painting ' Waiting for the Times,' and then ' The Reform Banquet,' a large portrait subject, a commission by Earl Grey. In 1835 Ms difficulties seem to have cul- mmated ; and in the f ollowmg year he was, for the third time, a prisoner. He was assisted by the proceeds of a raffle for his ' Zenophon,' and took a promment part before the committee upon the Royal Aca demy, of which Institution he was a bitter opponent. About the same time he com menced a series of lectures on art, and for the next two or three years by this means gained some help for the mamtenance of Ms family. He had been long a claimant for State patronage ; and, as a means, had persist ently advocated the decoration of our public bmldings. When, therefore, a royal com mission was issued for the decoration of the Houses of Parhament, he dreamt that his plans would be realised ; and he eagerly entered into the cartoon competition in 1842. But he was doomed to disappoint ment, and as one young artist after another received some employment, and he was passed by, his spirits sank. He struggled to complete six designs for the House of Lords, as a sort of appeal ; but the effort was too much for him ; his mind gave way, 203 HAY and on June 22, 1846, he died by his own hand, after making this sad notice m his journal, ' God forgive me ! Amen. FiMs. — B. R. Haydon. " Stretch me no longer on the rack of this rough world." — Lear.' Haydon was from the first an enthusiast ; he aspired to the first place in the highest walks of historic art ; his attempts were unchilled by the severest trials. His works are marked by great merits and many faults. Commenced without du>-'Study, in the fervour of a first conception, ,md truly original, they are often wantmg ih compo sition and arrangement. With much know ledge of anatomy, his figures are frequently defective m proportion and drawing. His colouring was powerful and harmonious, sometimes briUiant ; his execution hurried and incomplete, yet rapid and powerful. All must no less admit Ms great merits as a painter. He was a frequent contributor on matters connected with art. He wrote an essay on pamting, m 1848, for the ' En cyclopaedia Britannica,' which cannot claim the merit of a weU-eonsidered theme ; and lectures on Pamting and Design, wliich were published. His diary shows much of the excitement of an erratic geMus and a painful record of trials and sufferings : it was evidently a record intended for the world, and was pubhshed m 1853. His widow was granted a pension by the Crown, and some additional provision made for Ms family by a pubhc subscription. II AYES, Michael Angelo, R.H.A. Was born in Waterford, July 25, 1820, and was the son of Edward Hayes, R.H.A., a clever water-colour pamter of landscapes, figures and small portraits, and an exhi bitor of works m oil of marine subjects for several successive years at the Royal Aca demy in London. His first contribution to the R.H. Academy was ' The Deserter ' m the year 1840, aud he became celebrated for mihtary subjects in water-colour, though he subsequently pamted M oU. He was an Associate of the Institute of Paint ers in Water-Colours iu London, and was elected a member of the Royal Hibernian Academy in 1854, and fulfilled the duties of its secretarysMp between 1856 — 1870. Some of his principal works are ' Charge of the 3rd Light Dragoons at Moodtree,' ' St. Patrick s Day at Dublin Castle,' and ' In stallation of the Prince of Wales as Knight of St. Patrick,' in 1871. His death was the result of an accident, he was found drowned in a taMc mto which he had faUen from giddiness, and m falling had been stuuned so that he coidd not struggle out. As an artist he showed considerable ability, and he was a conscientious student of nature. He died December 31, 1877. HAYES, William, animal painter. An industrious artist of the latter part of the 18th century. He pubhshed, m large 204 HAY folio, 1775, 'The Natural History of British Birds, accurately drawn and coloured from Nature ; ' and in 1794, ' Portraits of the rare Birds in Osterley Park,' in 41 numbers, containing 81 plates ; but he never realised enough to keep a large family, and lived in much distress and difficulty. HAYES, John, portrait painter. He had considerable employment, and from 1820 was a constant exliibitor of portraits at the Academy. In his latter years he exhibited some subject Metures. 'He died June 14, 1866, aged 80. * HAYLEY, Robert, animal painter. He was bom m Ireland, and was a pupil of the elder West in the Dubhn Schools. He drew m black and wMte chalk in an original manner, having the appearance of mezzo-tint, both cattle and the human figure. His animals were freely and cor rectly drawn, and had much spirit. He died m Dublm about 1770, from a cold caught while sketching out of doors. HAYLEY, Thomas, sculptor. The natural, or adopted son, of Hayley, the poet, who styled him ' Ms poetic chUd,' ' Ms youtlnul Phidias.' He was the pupU of Flaxman, and showed much ability, but died yoimg, at Eartham, Sussex, May 2, 1810. HAYLS, John, portrait painter. Born m England. He was the contemporary, and m some degree the rival, of Lely. He practised both in oil and m water-colours. Some of his best known portraits are of the Bedford famUy, and m the Woburn coUectiou. He was an exceUent copyist of Vandyck, and was employed by Pepys, who was pleased with his work. He died m Bloomsbury, 1679, and was buried m St. Martin's Church. HAYMAN, N., portrait painter. There is a portrait by an artist of this name, of TaUis, the musician, who died 1585. it is engraved. HAYMAN, Francis, R.A., history painter. Born m Exeter m 1708 ; he was descended from a respectable family. He commenced Ms art education as a pupU of Robert Brown, a portrait pamter ; came to London whUe yoimg, and was employed by Fleetwood, the manager of Drury Lane, as scene pamter. He was also much employed in the Ulustration of books, and designed for Sir Thomas Hanmer's edition of Shake speare, 1744, and for editions of Milton, 1749, Pope, and Cervantes. He pamted a series of historical designs for VauxhaU Gardens, wliich gained Mm a great reputa tion, and he was considered the first histor ical pamter of his day. He was a tolerable draftsman, but was quizzed for his long noses and shamblmg legs. His colour was weak and meffective. He was a member of the St. Martin's Lane Academy, for a short time president of the Incorporated HAY Society of Artists, and a contributor to their exliibitions in 1760-61 and 1764. On leavmg that body he became one of the foundation members of the Royal Academy, contributing Scripture subjects to the exhibitions from 1769 to 1772, and was in 1771 appomted librarian. He was a member of the Beef-steak Club, the Old Slaughter's Club, and several other clubs ; the friend of Hogarth and compaMon of the fast men of the day — a bon vivant, esteemed a good feUow, fond of athletic exercises. In Ms latter days he was a martyr to gout. He died in Dean Street, Soho, February 2, 1776, and was buried m the parish church. There is a pamting of the 'Fmding of Moses' by him at the Foundhng Hospital, wMch he presented to the Institution ; and m the National Por trait GaUery, a portrait of Mmself pamting the portrait of Sir R. Walpole. He etched a few smaU plates. HAYNES, William, engraver. Born m Sussex ; he was about 1800 m practice as an engraver m London. He engraved after Romney 'The Introduction of Slop mto Shand/s Parlour,' and there is also a good plate by him of Louis XVI. and of Marie Antomette. He afterwards pamted some tolerable pictures. HAYNES, John, engraver. Many of the Ulustrations for Drake's 'Eboracum,' pubhshed 1736, are by him ; but they are most formal m their treatment and with out merit. HAYNES, John, painter and etcher. Bom at SMewsbury m 1760. He came to London early in Me, studied under Morti mer, A.R.A., and on his death was some time engaged m etcfung from Ms works, among them, 'PaM preacMng to the Britons ' and ' Robbers and Banditti.' He was afterwards known to Sir Joshua Rey nolds, who aUowed Mm to copy from his paintings. Later, he made an unsuccessful visit to Jamaica, and on his return retired to SMewsbury, and afterwards to Chester, where he found his cMef employment m teachmg. and died December 14, 1829. HAYNSWORTH, William, engraver. Practised m the time of the Commonwealth, workmg with the graver. His manner was dark and stiff. An impression of his, ' Richard, Lord Protector of the Common wealth,' a large whole-sheet print, sold for 42£. — rather from its rarity than its art — at Sir Mark Sykes's sale m 1824. HAYTER, Charles, portrait painter. Practised about the beginmng of the cen tury in crayons and mimature, and was esteemed for the correctness of Ms likeness. His portraits were pleasmg, but weak m drawmg. He was teacher of perspective to the Princess Charlotte, and in 1813, pub lished 'An Introduction to Perspective.' He was for many years an exhibitor of HAY miniatures at the Royal Academy, contri buting for the last time in 1832. HAYTER, Sir George, Knt., portrait and history painter. Son of the above. He was born in London, December 17, 1792, and when very young was admitted a student of the Royal Academy. In 1808 he was rated as a midshipman m the Navy, but m the following year he re turned to his art, and made rapid progress. For Ms p! 'ture of the ' Prophet Ezra,' in 1S15, the irectors of the British Institu tion awarded Mm a premium of 200 gmneas. He practised miniature, and in 1815 was appomted painter of miniatures and por traits to the Princess Charlotte and the Prince of Saxe-Coburg ; and the same year he went to Italy, and studied at Rome nearly three years. In 1820 he exMbited the portraits of some distinguished per sons at the Academy, with a classic sub ject, 'Venus, supported by Iris, complaining to Mars ; ' and in 1825, his ' Trial of Lord Whiiani RusseU, 1683,' a work fuU of figures, carefully grouped and painted, which was engraved, and made Ms art widely known. He afterwards painted ' The Trial of Queen Caroline ' and ' The Meeting of the first reformed Parliament,' both pictures fiUed with portrait-groups, the latter is in the National Portrait Gal lery. In 1826 he went a second time to Italy, returnmg hi 1831, when he again appears as the contributor of portraits to the Academy ExMbitions. On the acces sion of Queen Victoria m 1837, he was ap pomted her portrait and Mstory painter, and pamted a large picture of her coro nation m Westminster Abbey. The fol lowing year he exMbited her Majesty's portrait at the Academy, Ms last exMbited work, and m 1842 he was knighted. Dming his career he had a long hst of very distin guished sitters. His portraits were pleasing and carefuUy pamted, but did not possess any Mgh art qualities. He was member of the academies of ROme, Florence, Bo logna, Parma, and Venice, but did not gam admission to the Royal Academy. He died m Marylebone, January 18, 1871. He wrote an appendix to the ' Hortus Ericseus Wobumensis' on the classification of colours . H AYTLEY, E. , portrait painter. Prac tised in the middle of the 18th century. He exhibited some three-quarters portraits with the Society of Arts in 1761. There is by him at the Foundhng Hospital a view of Greenwich Hospital and a view of Chelsea Hospital, which he presented. These works, dated 1746, are of small size, powerful in light and shade, agreeable in colour, and with figures well introduced. A very good whole-length portrait by him of 'Peg Woffington as Mrs. Ford ' was mezzo-tinted by J. Faber m 1751. 205 HAY HAYWARD, Richard, statuary. He was much employed towards the end of the 18th century, and exMbited some bas-reliefs with the Society of Arts in 1761. He died August 11, 1800. HAYWARD, J. S., amateur. He was an occasional honorary exMbitor at the Royal Academy from 1805 to 1812, sendmg ' Diana and Actseon,' 'Breaking up the Camp, Southsea Common,' ' Mounts Bay, Even ing, Fisherman preparing to go out ; ' and many views in Italy. His works were in water-colours, sketchy and powerfM; Ms figures well drawn. HAZLEHURST, Thomas, miniature painter. He practised at Liverpool m the last half of the 18th century. Some of his earliest works are dated m 1760, and he continued to practice up to ISIS, and ex hibited at the Liverpool Exhibition. His miniatures are cleverly and highly finished, and are frequently signed with Ms iMtials, 'T. H.' HAZLITT, John, miniature painter. He was bom at Wem, m Shropshire, the son of a Unitarian mmister. He came to London shortly before 1788, and exMbited at the Royal Academy from that year to 1819. His works were confined exclusively to miniature. Some few of his latter works were in oU, and there is an oU miniature by him of Joseph Lancaster in the National Portrait Gallery. He did not attam to much excellence m his art. He died at Stock port, May 16, 1837, m Ms 70th year. HAZLITT, William, artist and critic. Younger brother of the above. He was bom in 1778, and educated at the Unitarian College, at Hackney. He commenced hfe as an artist, and m some of his early studies showed much abUity. He appears at the Academy in 1802 as an exliibitor of a por trait of his father, but he early renounced art for hterature. He was distinguished by his numerous critical writings. Of those bearing upon art the chief were —'The Con versations of Northcote, R.A.,' ' Criticisms on Art,' ' A Translation of Quatremere de Quincy'swork on the Madonnas of Raphael,' and Duppa's ' Lives of Michael Angelo and Raphael. He died in Frith Street, Soho, September 18, 1830, and was bmied m St. Anne's Churchyard, where a monument is erected to him. HEAD, Guy, portrait painter. Born at Carlisle, where his father was a house painter. He was instructed m drawing, and showing much ability, he came to London and entered as a student of the Royal Academy, where he was noticed by Rey nolds, and assisted by a friend to study in Italy. He contributed to the Spring Gar dens ExMbition, m 1780, "The Fire at London Bridge Waterworks,' and some smaU whole-length portraits. He resided many years at Rome, where he was settled 206 H E A m 1794, and was employed largely in copy ing ; but he pamted some origmal works, which are not without merit. He returned home shortly after the breakmg out of the French Revolution, and exhibited at the Academy two classic works and a portrait. He died suddenly in London, December 16, 1800. He is best known as a copyist. His works were sold by auction M 1805, but did not attract much notice. C. Turner en graved a horse's head after Mm. HEAPHY, Thomas, water-colour painter. He was born m London, Decem ber 29, 1775. His father was descended from a French family. He commenced hfe as an apprentice to a dyer, '•dishiring which trade, he was transferred to an en graver, but his inclination was rather to pamting, he employed his extra hours in its pursmt, and attended an art school of some repute m Fmsbury. He married before his apprenticesMp expired, had recourse to colouring prints to assist Ms young wife's maintenance, and tried his hand at portrait painting. In 1800 he ex Mbited at the Academy, for the first time, two portraits, and became a student m the schools. He continued an exMbitor, chiefly of portraits, tUl 1804, when he produced a subject picture, ' The Portland Fish Girl.' He had made some successful attempts in water-colours, and was already popular m that art. In 1807 he was admitted an associate exMbitor of the Water-Colour Society, and in the foUowing year a mem ber. His ' Hastings Fish Market,' exMbited with the Society m 1809, was sold for 500 guineas, and raised Mm to the first rank m Ms art. He was appointed portrait painter to the Princess of Wales, whom he pamted m immature, and also many other distin- gmshed persons; but his subject pictures gamed less attention, and many remamed unsold. He soon after (1812) left the Water-Colour Society, and, giving himself up to portraiture, he quitted England for the British camp in the Penmsula, where he was employed in pamting the portraits of the officers, and continued with the army till the end of the war. On Ms return to England he painted a large picture of the Duke of Wellington and Ms Staff, a portrait composition, wliich was engraved, and had great success. For some time after tins he occupied Mm self in a building speculation at St. John's Wood, and his art was only practised occa- sionaUy. When he wished to resume it more actively, he was aware that Ms long absence had quite severed Mm from the Water-Colour Society, and he began to agi tate most actively to found the Society of British Artists, and when formed was elected its president. He contributed nine works to the first exhibition in 1824, but from some misunderstanchng left the Society m HEA 1829. In 1831 he paid a short visit to Italy, and on his return he engaged actively m the formation of the new Water-Colour Society, and was one of its first members, but he did not long survive. He died November 19, 1835. Heaphy was restless and intractable ; always a zealous opponent of the Academy, though friendly with several of its mem bers. His paintings were appreciated from their direct reference to nature, wMch he represented as it appeared to him. Though Ms subjects were not always agreeable, they never faded m character and expres sion. His colouring was good, Ms works sweetly and MgMy finished. Miss Heaphy was an exMbitor of miniatures at the Royal Academy from 1822 to 1845; and Miss Elizabeth Heaphy, from 1838 to 1844. HEAPHY, Thomas F., portrait and subject painter. Son of the foregomg T. Heaphy. He begaD life as a portrait pamter, and first exMbited at the Royal Academy m 1831, and m that and the fol lowing years his contributions were por traits. For the next ten years he did not exMbit, but m 1846 sent ' Mary Magdalene going to the SepMcMe,' and from that year was a constant exMbitor. In 1850 he sent the 'Infant Pan educated by the Wood Nymphs • ' m 1854, ' Sketch from a fancy ball at the Tuileries ;' but up to 1858 his works continued to be cMefly portraits and portrait groups. In 1863 he exhibited 'Kepler m poverty taken for a fortune- teUer,' and then foUowed a series of the peasant girls of various countries. He was a member of the Society of British Artists, and possessed much literary abuity as an art-critic M the periodical publications of his day. He died August 7, 1873, aged 60. HEAR NE, Thomas, water-colour paint er. Born at Brinkworth, near Malmesbury, in 1744. He came to London young, and was mtended for a trade, but an early taste for art gamed Mm a premium at the Society of Arts in 1763, and led to his bemg ap prenticed, in 1765, to Woollett, the en graver, with whom he continued six years, and assisted m many of his works. In 1771 he engaged to accompany the newly- appomted governor to the Leeward Islands, ' ' and during three years and a half was em ployed in makmg drawmgs of the islands under Ms government, their harbours, forts, and other characteristic features, and for nearly two years after Ms return was en gaged m the completion of the work. _ TMs employment gave a new direction to his art. He entirely gave up engravmg, and devoted himself to water-colour paint ing. He was emmently a topographic draftsman. In 1777 he engaged with Wm. Byrne on their weU-known work, 'The Antiquities of Great Britam,' and for this purpose made an extensive tour m England HEA and Scotland, and exhibited his drawings for the work at the Spring Gardens Rooms. The drawMgs are 52 in number, and are dated from 1777 to 1781 ; the latter draw ings exhibiting more artistic feeling, and all are of the highest interest. From this time, but at mtervals, he contributed up to 1802 many drawings of views and anti quarian remains to the Academy Exhibi tions. FoUowing Sandby and Rooker, and next in succession to them, he greatly advanced the new art m water-colours. Though weak in colour, Ms truth and cor rectness of drawing, Ms tasteful finish and composition, added a new charm to the art. He used the pen, but less obtrusively than his predecessors, sometimes so tenderly in tint that, whUe adding greatly to the mi nute beauty of his architectural forms, it gives a. most dehcate sharpness and com pletion. He died at Macclesfield Street, Soho, April 13, 1817, aged 73, and was buried by Ms friend, Dr. Monro, m Bushey Churchyard. HEATH, James, A.E. , engraver. Bom in London, April 19, 1757. Was articled to Collyer, then an engraver of eminence. His first works were several portraits to iUustrate Lord Orford's Works and Cor respondence. He was afterwards engaged upon the illustrations for BeU's 'Poets,' the designs of Stothard for the ' Novelist's Magazine,' and other works ; and making tMs artist his especial study, he gained a great reputation, and by his talent and tasteful execution gave a great impMse to book illustration. He also engraved many smaU plates after Smirke. Among his larger works are 'The Death of Major Pierson,' after Copley ; ' The Riots of 1780,' after Wheatley ; ' The Dead Soldier,' after Wright, of Derby; and 'The Death of Nelson,' after West, P.R.A. In 1780 he exMbited engravmgs at the Spring Gardens Rooms. He was elected an associate en graver of the Royal Academy m 1791, and appomted engraver to the King m 1794. He lost a large property by Me in 1789, and nearly his own life in rescumg his infant child. He had long retired from Ms pro fession, when he died in Great Coram Street, November 15, 1834, in Ms 78th year. He left two sons, one of whom rose to the head of Ms profession ; and a daughter, Mrs. HamUton, who had some skUl as an engraver. HEATH, Charles, engraver. Youngest son of the foregomg. ExceUed m his small plates, and was well known by Ms 'An nuals' and 'Book of Beauty.' He was one of the early members of the Society of British Artists, but soon left the Society. In his latter years he was chiefly engaged m arrangements connected with publica tions of the above class, in which his own graver had only a small share. He 207 HEA engraved after Newton, R.A. ; Lady Peel, after Lawrence ; and ' Europa ' after Hilton, R.A. Mr. Doo and Mr. Watt were his pupils. He died November 18, 1848, in his 64th year, leaving a large famUy. One son was brought up as an engraver. HEATH, William, draftsman. Many humorous domestic subjects by him are published, with some military costumes, and he drew and etched the iUustrations for Sir John Bowling's 'Mmor Morals,' 1834, but his works were of a very mediocre class. He died at Hampstead, AprU 7, 1840, aged 45. HEAVYSIDE John Smith, wood en graver. Was the son of a builder at Stockton-upon-Tees. He did not try art till in his 26th year, and then after prac tising a short time in London he settled hi Oxford, and was cMefly employed m the illustration of archasological works, espe cially those published by Mr. Parker. He died in Kentish Town, October 3, 1864, aged 52. His two brothers practised as wood engravers. HEBERT, William, engraver. He was a pupil of Vivares, gained a premium at the Society of Arts in 1760, and practised in London in the latter half of the 18th century. Six small landscapes, with buUd- mgs, by him were published in 1750. HEIGHWAY, R, miniature painter. He was an occasional exhibitor at the Royal Academy between 1787 and 1793. He sent some mmiatures and some rustic subjects. Some very clever miniatures on glass, painted on the reverse, are attributed to him. He used the reverse of the glass for an apparently rude pamting, which had a good effect on the other side. During the above period he practised in London, Lichfield, and SMewsbury. HEINS, D., portrait painter. A native of Germany, who settled m Norwich, and practised there towards the middle of the 18th century. He pamted the portraits of several members of the Corporation, and scraped some mezzo-tmt plates, but without much merit. There are also some etchings by him. There was in the National Por trait Exhibition, 1868, a smaU, carefully- finished miniature in oil by him of the mother of Cowper, the poet. HEINS, John, portrait painter. Son of the foregoing. Born at Norwich about 1740 ; apprenticed to a stuff manufacturer, but led by his inchnation, he followed his father's profession. He painted portraits both in oU and in miniature, but bis chief excellence was in etchhig. His plates were executed entirely m dry point, without the use of aqua fortis, and were etched directly from nature. The views and monuments for Bentham's ' History of Ely ' were by him, also a ' Cat and Kittens,' after Collet, and some portraits. He died of a decline 208 HEN at Chelsea early in 1771. His art coUec" tion was sold by auction at Exeter Change in May of that year. HEKEL, Augustin, chaser and painter in water-colours. Born at Augsburg. Was the son of a chaser, and brought up to that art. After worMng in several of the Con tinental cities he came to London, where he settled. He understood the figure, and had the reputation of bemg one of the best chasers of Ms time. Having acquired a competence he retired to Richmond, and amused himself by pamting landscapes and flowers m water-colour, and occasionally sold these works, some of wMch were engraved for Bowles and Sayer. He also etched eight plates of Richmond and its environs, a ' Horse,' after Wootton, and a ' Book of Flowers.' A drawing of the ' Battle of Culloden ' by him was engraved by SMlivan. He died at Richmond m 1770, at nearly 80 years of age. His sister, who was unmarried, drew the figure correctly, and engraved m a neat style many of the plates for Kihan's ' Bible.' HEMSKIRK, Egbert, subject painter. Born at Haerlem in 1645. Studied there and came early to England, where he was patronized by Lord Rochester. He pamted pieces of Dutch humour, fairs, drunken scenes and the hke. He died in London 1704, leavmg a son, who foUowed the same profession, but turned a smger at Sadler's Wells, and became a dissolute fellow. HENDERSON, John, architect. He was born at Brechm 1804, and was a pupil of T. Hamilton. He was much connected with the revival of church bmldmg m Scot land. He bmlt St. Mary's Chapel, Dum fries, 1837, three churches at Edmburgh, and St. Jolm's, Glasgow, 1848. His best work is Trinity Church, Glenalmond. He died at Edinburgh, June 27, 1862, aged 58. HENDERSON, John, engraver. Was born in London m February, 1746, and was the son of an Irish Factor. He commenced Me as an artist. He was a student in Shipley's School, and for a time a pupil of the eccentric Daniel Fournier, for whose ' Theory of Perspective ' he etched many of the Ulustrations. In 1762 he gained, for a drawmg, the Society of Arts' medal. But soon after abandoning his art, he went upon the stage, and became one of the most dis tinguished tragedians of the day. He died 1785. His brother was also apprenticed to an engraver, but died young. HENNING,JoHN,scaZpiJo?\ Wastheson of a carpenter at Paisley, where he was born May 2, 1771, and was brought up to that trade. He cidtivated a love of art, and in 1799 went to Glasgow, where he met with encouragement, and then removed to Edinburgh. Here he studied in the Trus tees' Academy under Graham, and made many distinguished friends, of whom his HEE busts and medallions are remembrances. In 1811 he came to London, where Ms admiration of the Elgin Marbles gained him permission to copy them, and deter- mmed his stay in the Metropohs. After a diligent labour of 12 years he completed a restoration of the Parthenon and Pliigalian friezes. He afterwards modeUed in relief, in the same manner, the cartoons of Raphael. He was one of the founders, and for many years an mfluential member, of the Society of British Artists. He died m 1S51, and was bmied m the Cemetery of St. Pancras at FmcMey. His works are plaster nimia- tures, modeUed with great skill and mmute accuracy. HERBERT, Alfred, water-colour painter. He was the son of a Thames waterman, and as a boy began life in Ms father's boat. He was appenticed to a book-bmder, but an early love of art pre vailed, and he cast m his lot as an artist. He drew vigorous coast scenes, with groups of figures and vessels under the mfluence of calm and storm, but his works oMy found a sale at a very smaU price, through a friendly dealer, who was almost his sole pur chaser. Yet he was a frequent exhibitor. He first appears m 1844 and 1845 as a contributor of water-colour drawings to the Suffolk Street ExMbition, and m 1847 ex Mbited at the Royal Academy. His favour ite subjects were found on the Thames— hay-barges, smacks, tugs. Woolwich Reach, Barkmg Reach ; and fishmg boats on the Dutch and Norfolk coasts. His last contri bution to Suffolk Street was in oU, ' French Boats Mackerel fishmg,' m 1855 ; but he continued a yearly exhibitor at the Aca demy up to 1860, and died m 1861. Though he worked earnestly, and under the influence of true genius, he was unknown, and never made an mcome exceedmg 501. a year ; and it was not till his iUness, which was followed by his death, that any brighter prospect opened to him. In the last year of his life Ms income rose to 2001. HERBERT, Arthur John, subject painter. Son of J. R. Herbert, R.A. Studied under his father and m the schools of the Academy, where he first exMbited, m 1855, ' Don Quixote's first impulse to lead the life of a Knight-Errant ; and in the next year, ' Philip IV. of Spam knight ing Velasquez.' He was a young artist of much promise. Died of fever m Auvergne, September 18, 1856, aged 22. HERNE, William, serjeant painter. He was appomted to that office by Patent of 14th Elizabeth, July 12, 1572. HERRING, John, Frederick, animal painter. He ; was the son of American parents, who had settled in London, where Ms father foUowed a trade. Bom in Surrey in 1795, he began his art on signboards and the heraldry of coach panels ; and after a HIB time tried Ms fortune M Yorkshire. Led by his love of animals to Doucaster, he was employed in a stable, and afterwards, while still a young man, drove the coach between Wakefield and Lincoln, and then between York and London. All this time he devoted his leisure to painting, and the horses he drove were often his subjects. He soon gained notice, and then painted the hunt ers of the gentry and their racehorses. After receiving some help in the studio of A. Cooper, R.A, heestabhshed Mmself as an ammal pamter. For many years he pamted the winner of the Doncaster St. Leger and Derby, and combming some subject with his art, pamted ' Returning from Epsom on the Derby Day,' 'Market Day,' 'The Horse Fair,' and other works of the same class, several of wMch were engraved and were very popular. From 1826 Ms works, chiefly portraits of horses, found at mtervals a place m the exMbitions of the Royal Academy. He was also an occasional exhi bitor with the Society of British Artists, and in 1841 was elected a member of the Society, and exMbited with them ' A Mail Coach in the time of George IV.,' 'Bait Stables,' ' Country Stables,' and continued to exhibit up to 1852, when he ceased to be a member. He published ' The Horse ' m a series of 12 plates. He died at Tunbridge Wells, September 23, 1865, aged 70. He held the appointment of animal painter to the Duchess of Kent. HERTOCKS, A., eiv/raver. Bom in the Netherlands. He practised in London towards the middle of the 17th century, Ms chief works being dated between 1626 and 1659. He engraved for the booksellers portrait frontispieces. His best works are portraits produced with the .graver, but M a hard, stiff manner. There are also some rmniatures by Mm. He was very weak m the figure. His works, known to collectors, are valued for their rarity alone. HEWITSON, Christopher, sculptor. lie was bom in Ireland, and went to Rome to complete his studies. He sent a bust to the Academy Exhibition m 1786, and agam in 1790 ; and continued to reside m Rome m 1794, but did not exhibit further m London. There is a fine monument by him to Dr. Baldwm, at TriMty College, Dublin. HEWLETT, James, flower painter. lie practised at Bath at the beginning of the 19th century. His works were esteemed m his day. He exMbited flowers and fruit at the Royal Academy from 1802 to 1807. His colour was good, his flowers weU drawn, and botanically correct. H E Y W 0 0 D, , portrait painter. Practised in the time of the Common wealth, and painted the portraits of the distingmshed men of that time ; among them General Fairfax. HIBBART, William, portrait painter 209 HIC He practised chiefly at Bath, about the middle of the 18th century. There are several heads by him etched in the manner of Worlidge, and a very fine head of Law rence Delvaux in Walpole's ' Anecdotes,' excellently treated. HICK, Robert. ' The only outer and beginner of tapestry within this realm.' Employed at William Skelton's tapestry works at Barcheston, hi Warwickshire : see his will, dated 1570. HICKEY, NoAn, sculptor. Born m Dublin 1756. He was apprenticed to an eminent wood carver. After practising some time in Dublin, he gained the patron age of Mr. Burke, came to London, and was admitted a student of the Royal Aca demy. In 1778 he gamed the gold medal for a bas-relief, ' The Slaughter of the In nocents.' In 1780 he exhibited for the first time at the Academy, and the same year was appomted sculptor to the Prince of Wales. He was greatly lauded by Burke, was of much promise, and had nearly com pleted a model for the Garrick monument, when he died, from the effects of intem perance, at Ms lodgings m Oxford Street, January 12, 1795. HICKEY, Thomas, portrait painter. Brother to the above. Born in Dubhn. Studied in the Academy there, and after wards visited Italy. Returmng to London m 1771, he was appointed to accompany Lord Macartney's embassy to China. He practised in London M the latter part of the 18th century. He exhibited at the Aca demy, in 1775, a small whole-length of the Duke of Cumberland, aud was a constant exhibitor at that time. There is a portrait of Mrs. Abmgdon by him at the Garrick Club, and a good whole-length at the Mag dalen Hospital. J. Watson mezzo-tinted a portrait after him. HICKFORD, , an English artist, who resided in Florence about 1730^40, and was the first teacher of Cipriani, R. A. He was the brother of a well-known danc ing-master, who built a large music-room in Brewer Street, Golden Square. HIGHMORE, Thomas, engraver. He was born in Suffolk, and was brought up as an engraver. His chief works were of an architectural character. He was employed upon a portion of the plate of ' The Corona tion of Queen Victoria.' He died at Isling ton, January 3, 1844, aged 48. HIGH Mi) RE, Thomas, serjeanl-p>a int er to William III. He was connected with the Thornhill family, and Mr. (after wards Sir James) Thornhill served his ap prenticeship to him, and succeeded him as serjeaut-pain ter, 1719-20. HIGHMORE, Joseph, portrait paint er. He was the son of a coal merchant and nephew to the preceding, and was born m London, June 13, 1692. He had an early 210 HIG taste for the fine arts, which was discouraged by his family, who placed him, m 1707, with a solicitor ; but at the age of 17 he abandoned the law, and marrying the fol lowing year, trusted to art for the future. He was for 10 years a student M the Painters' Academy in Great Queen Street, and attended the lectures of Cheselden, the great anatomist, and made the drawings tor his ' Anatomy of the Human Body,' published in 1722. He resided at first in the City, and was much employed in paint- mg family groups. Then, his practice in creasing, he removed to Lmcoln's Inn Fields. Upon the revival of the Order of the Bath m 1725, on a commission from Pine, the engraver, he painted the portraits of several of the knights, some of them whole- lengths ; and a portrait of the Duke of Richmond, attended by three Esqmres, which is now at Goodwood. He also painted, for the King, a portrait of the Duke of Cumberland, which was mezzo tinted by Smith. In 1732 he visited the principal galleries m Holland, and in 1734 made an excursion to Paris. In 1742 the Prince and Princess of Wales sat to Mm. He also produced some subject pictures, ' Hagar and Ishmael,' which he presented to the Foundhng Hospital ; ' The Fmding of Moses,' ' The Good Samaritan,' and others. He made the designs for the origmal edition of his friend Richardson's ' Pamela,' published m 1745, and pamted the portraits of the author and Ms wife, which hang hi Stationers' HaU. They are good specimens of his art ; in the Jervas manner, they are better m colour and more powerful, less hard m the face pamting, the hands good, and weU drawn. He continued in practice as a portrait painter for 46 years, pamting many persons of distmction, and m 1761 retired from the profession. His art coUection was sold in the following year. He hved m Ms retire ment at Canterbury, never revisiting the Metropolis, and died there March 3, 1780, m his 88th year ; he was buried m the south aisle of the cathedral. He was a keen geometer, and had some distinction as a writer. He pubhshed ' A Critical Exami nation of Rubens's Pamtings at the Banqueting House, Whitehall,' 1754 ; 'Observations on Dodswell's Pamphlet agaiust Christianity,' ' The Practice of Per spective,' ' Moral and Religious Essays,' and a translation ' On the Immortality of the Soul.' HIGHMORE, Anthony, landscape painter. Was the son of the foregoing, and educated by his father for Ms profes sion, but his works are now unknown. Some views by him of Kensington and Hampton Court were engraved by John Tinney. HIL HILL, Thomas, portrait painter. Born m 1661. Was taught drawing by Faithorne, and practised in London as a portrait painter about the begmnmg of the 18th centuiy. There is a good portrait by him m the Bodleian Libraiy, and a full-sized tMee-quarters portrait of HumpMey Wan- ley, dated 1711, in the possession of the Society of Antiquaries. He diedat Mitcham in 1734. Many of his portraits are engraved ; they are well coloured and pamted, fuU of character and expression, but not elevated. His work has been attributed to Hogarth. HILL, John, engraver. He was a clever artist, and produced some," good plates m mezzo-tint, among them some lake views, after Charles Dibdm. He emigrated to America, where he was livmg ta 1822. HILL, David Octavius, R.S.A., land scape painter. He was born ta 1S02, at Perth, where Ms father was a bookseller, and snowing a taste for art was sent to Edinburgh to be the pupU of Andrew Wilson. Here he settled ta the practice of his art, and pamted the scenery of his own country. In 1830 he was one of the founda tion members of the Royal Scottish Aca demy, and was elected to the office of secretary, wMch he filled tiU shortly before his death. His early pictures wereiUustra- tive of the manners of the Scottish peasantry. In 1843 he pamted a large picture contain ing 470 portraits — ' The Establishment of the Free Kirk.' His works were chiefly exhibited ta Edmburgh, and were httle known in London. He exhibited at the Royal Academy for the first time in 1852, 'Edmburgh, from Mons Meg, on the Queen's Birthday ; ' in 1861, ' The Castle of Dunure, Ayrshire Coast ; ' ta the fohowing year, ' The River Tay, with the Lower Grampians, Evening ; ' and for the last time, in 1868, ' The Vale of the Forth.' He took an active share ta the warm con troversy wMch arose as to the body by whom the Government art-patronage should be dispensed in Scotland. He pubhshed, in 1841, The Land of Burns,' a series of 60 landscapes. He had long been ta faUing health, and died at Edmburgh, May 17, 1870, aged 68. HILLIARD, Nicholas, miniature painter. Was bom at Exeter 1547. His father was high sheriff of that city and county ta 1560, and was reputed to have been descended from an old Yorkshire family, though Ms father and grandfather resided in the West of England. He was a younger son, and was apprenticed to a goldsmith ; and carrying on that business e studied miniature pamting, especially from the works of Holbein. He was ap pomted goldsmith, carver, and portrait painter to Queen Elizabeth, to make pic tures of 'her body and person ta small HIL compasse in lynmynge only,' and the same office was continued to him by the patent of 15th James I., who also gave him during 12 years the exclusive privUege ' to mint, make, grave, and imprint any pictures of our image or our royal family. ' This right he was empowered to sell and to enforce. He employed Simon Passe as his assistant ta these works. He pamted several por traits of Queen Elizabeth, one, we are told, a whole-length, in her state robes ; a por trait of Mary, Queen of Scots, at the age of 18; and many of the notables of his time. He engraved the Great Seal of England in 1587. He died January 6, 1619, and was buried at St. Martin in-the- Fields. He was the first English painter whose contemporary reputation has been maintained to our day. His drawing was minutely careful and true, his colouring— the flesh tints particularly — was feeble, but has probably faded. He used opaque pigments largely, and gold occasionally in Ms draperies and jewelled ornaments, wMch were exquisitely finished and truthful. HILLlARD, Lawrence, miniature painter. He was the oMy son of the above, and foUowed the same profession. That he was of good ability appears from a warrant of the ComicU M 1624, ordering the pay ment to him of 42Z. for 'five pictures by him drawn.' He was livmg ta 1634, and had ttu-ee chUdren born to Mm after that date. He enjoyed the exclusive patent granted to Ms father tUl the expiration of its term. HILLS, Robert, water-colour painter. Was born at Islington, June 26, 1769. He received some instruction in drawing from John Gresse; but little is known of him tiU he appears as an exhibitor at the Royal Academy ta 1791, when he contributed ' A Wood Scene, with Gipseys,' and the foUow tag year a landscape. His name is next mentioned as one of the six artists who met ta 1804, at Shelley's Rooms, to estab lish the Water-Colour Society. Of this body he was one of the first members, and for many years the secretary. To its ex hibitions he was a constant contributor till 1818, when his name disappears in the catalogue for five years, during which time he exhibited six or seven drawings yearly at the Royal Academy. Then resuming his membership with the Society, he con tinued an exhibitor till his death. Hills was most industrious ta his labours. He exhibited at the Water-Colour Society alone 599 drawings. He made numerous etchings of animals, of which there is a collection in the print-room of the British Museum amounting to 1,240. He pub lished, in 1816, in quarto, 'Sketches in Flanders and Holland,' with some account of a tour through those countries, illus trated by 36 aqua-tinted engravings, etched 2 211 HIL II IN by himself. He died at 17 Golden Square, May 14, 1844, and was buried in Kensal Green Cemetery. He was an animal painter, confining himself exclusively to water-colours, but he placed his animals in sweet bits of ap propriate scenery. He was a most pains taking sketcher of animals from nature, chiefly in pencil, with frequent indications of surrounding park or rural scenery. Many of his sketches are covered with hieroglyphic notes, apparently a .sort of shorthand. From these stores be made bis pictures, seldom patating direct from nature. This deprives Ms work of that clear, vigorous execution, the freshness, and the incidents, which no amount of knowledge can give in the studio. Yet there is great merit in the composition, character, and careful finish of his works. His later drawings, however, became woolly in appearance and over- wrought, hot, and disagreeably foxy in colour. His etchings show great character, but do not usually extend beyond the outline, with some slight indications of light and shade. He often worked in connection with Robson and sometimes with Barret. HILTON, William, portrait painter. Born at Newark. He painted the scenery for a company of actors who played at the chief towns in the Eastern comities, and afterwards practised as a portrait painter at Norwich, and for a time at Lincoln and in London. He exhibited portraits at the Academy m 1776 and 1783. He died 1822. HILTON, William, R.A., history painter. Son of the above. Was born at Lincoln, June 3, 1786. His father pur posed to apprentice him to a trade, but he showed an early attachment to art, and upon his earnest entreaties, and by the assistance of friends, he was taught draw ing, and became the pupil of Raphael Smith, the mezzo-tint engraver. In 1806 he entered the Academy Schools, and at the same time studying anatomy, he soon mastered the figure. His first known works are a series of well-finished designs in oil for an edition of ' The Mirror,' and for ' The Citizen of the World.' He painted the portraits of one or two friends, but did not seek to eke out Ms means by portraiture, though they were evidently straitened. He first appears as an exhibitor as early as 1803, and continued to contribute a classic or historic work up to 1811, when he appears with an ' Entombment of Christ,' for which he was awarded a second pre mium by the British Institution, having received a premium of 50 guineas in the previous year. This work was followed by ' Christ restoring sight to the Blind,' and ' Mary anointing the feet of Jesus,' and for this latter work he was fortunate to 212 find a sale to the directors of the Institu tion, who in 1825 purchased also his fine work, ' Christ crowned with Thorns.' Though bis art was not of a class to be popular, his great merit was early recog nised by his professional brethren. In 1813 he was elected an associate of the Academy. In 1818 he visited Italy, saw the Art of Rome, and in 1820 gained his fuU membership. At this time he pro duced some of his best works, exMbiting one picture annually — in 1821, 'Nature blowing Bubbles for her Children ; ' in 1823, ' Comus, the Lady in the Enchanted Chair ; ' ta 1825, ' Christ crowned with Thorns;' ta 1827, 'The Crucifixion.' He was, both by his acquhements and disposition, well fitted as a teacher, and in 1827 was selected for the office, of keeper, and conttamng to paint great works, he exhibited, ta 1831, his ' Sir Calepine res cuing Serena' and 'The Angel releasing St. Peter from Prison ;' ta 1832, Ms ' Una' (engraved for the Art Union) ; in 1834, his 'Editha seeking the dead body of Harold,' for which the directors of the Institution awarded him a complimentary sum of 1001. ; and ta 1838 his last work, ' Herod.' He had ta 1828 married the sistei of his friend and pupU, Peter de Wint, but had the misfortune to lose Ms wife ta 1835. NaturaUy reserved and sUent, shunning all notoriety, the loss fell heavUy upon him; it aggravated an asthmatic complaint from which he suffered. He lost vigour and spirits, and though eager to work, he became unable to finish any thing ; and wasting away, he died December 30, 1839, ta his 54th year. He was buried in the yard of Savoy Chapel, Strand. _ The neglect and want of appreciation of his works must have weighed heavUy upon him, and it is probable prevented the full development of his powers. On his death several of Ms finest works remauied unsold, and the students of the Academy expressed then- regard for him by purchasing and presenting to the National GaUery his 'Sir Calepine.' This, and other works, will not fail to maintain his reputation if they wiU endure ; but they are suffering from the unfortunate pigments, chiefly asphaltum, which he employed. The ' Sir Calepine' and his 'Editha,' also in the National collection, are falling into hopeless decay. His great triptych, ' The Crucifixion,' at Liverpool, is also in a state of dilapida tion. It is a noble work, grand in its con ception and treatment; the action of his figures fine, the drawing good, and more original than his Scripture subjects gener ally, which have a leaning to precedent. HINCHLIFFE, John Elley, sculptor. Was for the 20 years preceding the death of Flaxman, R.A., bis chief assistant, and after his death completed several of his HIN HOA unfinished works ; among them the statue of John Kemble, in Westminster Abbey. He exMbited at the Academy, conmiencmg in 1814, many groups in high art — ' Christ fighting with ApoUyon,' ' Leomdas at Ther mopylae,' ' Venus and Aurora as the Morn ing and Evening Stars.' About 1818 he tried a few busts, but after 1820 Ms con tributions, wMch ceased about 1850, were entirely monumental figures or bas-reliefs for monuments. He died, aged above 90, about 1867. H I N C K S , William, engraver and painter. He was bom at Waterford, and was apprenticed to a blacksmith. Self- taught, he tried art, and practised towards the latter part of the 18th century. WhUe ta Ireland he drew and engraved ta the dot manner a series of designs represent ing the progress of the linen manufacture, published ta 1782. Ou coming to London, he designed some iUustrations for an edition of ' Tristram Shandy.' He first exhibited at the Academy ta 1781, and was an occa sional exMbitor, sending in 1784 an aUe- gorical patating. He tried both history and portrait, and from 1785 to 1790 ex hibited mtaiatures. He exhibited for the last time ta 1797, and was living in London at the close of the century. HINDE, T., engraver. He practised about the middle of the 17th century, cMefly ta portraits. HIORNE, Francis, architect. Was born at Warwick in 1741, and was reputed one of the early students of GotMc. His church at Tetbury, Gloucestershire, is an instance of his abffity. He also bmlt, 1776, the church at Stony Stratford. The mansion at Foremark, Derbyshire, and the gaol, sessions house, and town hall, at Warwick, are designed by Mm. He died December 9, 1789, at Warwick, and was buried there. HIXON, James Thompson, water- colour painter. He was in 1866 elected an associate member of the Institute of Water-Colour Painters, and in the follow ing year, whilst residing at Algiers, he sent six Algerine scenes to the Society's Exhi bition. He was of promising abilities, but died of pulmonary consumption, at Capri, July 30, 1868, aged 32, and was buried ta the Protestant Cemetery at Naples. HOADLY, Mrs., portrait painter. See Curtis, Sarah. HO ARE, William, R.A., portrait and history painter. Was born at Eye, in Suffolk, 1706. He received a liberal edu cation, and then studied art under Grisoni, an Itahan, practising in London. He afterwards went to Rome, where he availed himself of the opportunities for improving in art ; and, after nine years spent on the Continent, returned to England and settled at Bath, where he established Mmself as a portrait painter, practising both in oil and < m crayons, and finding among his sitters ' some of the most distinguished visitors. ' He wished to follow the grand style, but met with no encouragement. He painted, ¦ however, an altar-piece for St. Michael's Church, Bath, and" also for the Octagon Chapel in that city, as well as a picture for the hospital there ; but these works, if they still exist, do not possess much merit. He was one of the foundation members of the Royal Academy, and contributed to its exhibitions portraits (full-lengths) and groups, with some classic designs in crayons, exhibiting for the last time in 1779. He died at Bath ta December 1792. There are a few known etchings by him. HOARE, Prince, portrait and history painter. Son of the foregoing. Was born at Bath in 1755, and studied art there under Ms father. In 1772 he gained a Society of Arts' premium, and at the age of 17 came to London and entered the schools of the Academy. In 1776 he was sent to Rome, where he was the pupil of Mengs, and was diligent in copying the great works. He returned to London ta 1780, and for a time practised his profession, exhibiting at the Royal Academy in the following year ; and ta 1782, a classical attempt, ' Alceste, devoted to death, recommends her children to Vesta.' He also patated a portrait of Sir Thomas Lawrence, when a child, which was engraved by Sherwin ; and up to 1785 exMbited a portrait and a subject picture at the Academy. But it seems his return had been heralded by expectations he did not fulfil. He ceased to exhibit, and ill- health, probably added to want of success, induced him to make a voyage to Lisbon. He returned ta 1788, and when he again settled in London, he tried literature, and wrote some successful comic operas, pro ducing, between 1788 and 1799, 20 plays, chiefly musical farces, one of which at least, ' No Song, no Supper,' continues to hold its place on the stage. In 1799 he was appointed to the honorary office of foreign corresponding secretary to the Royal Academy. He wrote several works connected with the fine arts — ' Aca demic Annals,' ' Inquiry into the present State of the Arts of Design in England,' 18.J6 ; ' The Artist,' a collection of essays, 1809; and ta 1813, 'The Epochs of the Fine Arts.' He died at Brighton, aged 80, December 22, 1834. HOARE, Sir Richard Colt, Bt., ama teur. Born in 1758, and succeeded to the baronetcy in 1787. He drew many of the views to illustrate Coxe's ' Historical Tour ta Monmouthshire,' published in 1801 ; but was known by his landscapes as early as 1780. He went to Rome with Lord de Tabley, and with him sketched the antique ruins and scenery. He died 1841. 213 HOA HOD HOARE, ¦ , engraver. He practised in the time of Charles I. He engraved some of the sketches made in Italy by Mr. Evelyn, and was of some repute. HOBDAY, William Armfield, mini ature and portrait painter. He was born in 1771, at Birmingham, where his father had realised a good property in manufac ture. An early talent for drawing was encouraged, and he was placed under an engraver ; but he did not like the art, and left Ms master in the sixth year of his time, and at once commenced painting small portraits in water-colours and miniatures, which he exhibited at the Academy in 1794-95-96. He came to London, and though he met with good encouragement, and added considerably to the allowance made to him by his father, yet he rushed into society and expense, to the neglect of Ms art, and in his faUing fortunes mar- ¦ ried, and increased in extravagance. He went yearly to Bristol and to Bath, where he-found much employment, and eventually, about 1802, settled at Bristol, where he painted diuing 14 years, was well supported, and made large gains. But ta 1818 he returned penniless to London, and took a large house. His art could not, however, maintain Ms extravagance ; he sold pictures by commission, and engaged in other specu lations, finishing by bankruptcy ta 1829 ; but his property did not realise a divi dend, and, ruined in fortune and in spirit, he died February 17, 1831. He pamted many portraits and portrait-groups of large size, and some subject pictures, and he re ceived large prices for his pictures. Several of his works are engraved. HODGES, Charles Howard, portrait painter. Born in England in 1774. He passed the greater portion of his life ta Holland, and did not exhibit Ms works at the London Exhibitions. His portraits were life-hke, weU-drawn, and possessed much merit ta tone and colour. He was also a good mezzo-tintist, and imitated Reynolds with great tenderness and expression. He produced some clever plates, vigorously treated, after the Dutch masters. He died at Amsterdam in 1837, aged 63. HODGES, John, engraver. He was a mezzo-tint engraver, and excelled ta that art. His best plates are after Sir Joshua. Reynolds's ' Beggar Boy, Boy with a book,' 1794; and 'Hercules strangling the Ser pents.' He died ta August 1802. HODGES, William, R.A., landscape painter. Born in London l744, the son of a blacksmith, who kept a small shop in Clare Market. He gained some instruc tion in Shipley's drawing school, where he was originally employed as errand boy, and was noticed by R. Wilson, R.A., who took him to be his assistant and pupil. He made rapid progress, and quitting his 214 master he found some employment as scene patater to the theatre at Derby, where he conttaued some time. He exhibited at the Spring Gardens Rooms ta 1770 and 1772, and ta the latter year was appointed the draftsman to Captain Cook's second expe dition ; returning after three years' absence, he was engaged by the Admiralty in com pleting Ms drawings and superintending their engraving. In 1776 he first exhibited at the Royal Academy, and then and in the two following years sent views in Ota- heite and New Zealand, with some Enghsh views. About this time he married, but losing his young wife he was induced to go to India under the patronage of Governor Hastings. Here he acquired some money, and in 1784, on his return, he exhibited views in India, to some of wliich Gilpin added the animals. He also married a second time, and agata, after a few months, losing his wife, he married a third time. In 1786 he was elected an associate, and the foUowtag year a fuU member, of the Royal Academy. He made a tour on the Continent ta 1790, coUected some sketches on the Rhine, and also visited St. Peters burg. When the Pantheon was converted into a theatre for operas, on the destruction of the Opera House by fire, he was ap potated the scene patater, but did not show much abUity for this art. His works are mostly from nature ; with some appearance of power, they are loose and unsatisfactory in their execution, and monotonous in colour. His best productions are the views he brought from India, and a view of Windsor from the Great Park. He patated several subj ects for BoydeU's 'Shakespeare,' but they are mere landscapes, with Shake speare incidents introduced. Two of Ms pictures of this class — 'The Effects of Peace and War,' are in the Soane Museum. He continued to exMbit many works up to 1794, when Ms contributions to the Aca demy ceased. He published four views of India, engraved by different artists ; a col lection of views ta India, in great part aqua-tinted by himself ; and his travels in India, illustrated by bis drawings. A col lection of 25 of his paintings were exMbited in Bond Street, which did not meet with support, and on its close he retired from the profession. His works were then sold by auction, but produced only an incon siderable sum. He endeavoured to retrieve Ms fortune, which bad become impaired, it was said by his publications, by establishing a bank at Dartmouth, where he settled ta 1795, but completely ruined himself ta this under taking. His losses impaired his health, and he died at Brixham, February 27, 1797, leaving a wife and family without any provision. HOD GINS, Henry, scene painter. HOD Born ta Dublin. Was a pupU of Robert Carver, and was for many years engaged at Covent Garden Theatre as one of the prin cipal scene painters. Died at Maidstone, September 11, 1796. HODGSON, Charles, draftsman. An artist of the Norwich School, who was prin cipally occupied ta teacMng early in the 19th century. He was a contributor, chiefly of interiors, by which he is best known, to the exMbitions of the Norwich Society, as was also his son David. HODGSON, Thomas, wood engraver. He gained a premium at the Society of Arts in 1775, and was employed in 1776 by Bewick, who was then ta London. His name appears to one of the plates to Hawk ins's ' History of Music' He was also a publisher. HODGSON, Edward, flower painter. Born ta Dublin. He practised ta London, painting with much abffity both fnut and flowers, ta the last half of the 18th centuiy. He exhibited with the Free Society in 1782 and 1783, also at the Royal Academy ta 1781 and 1782, and again ta 1788. He was treasurer to the Associated Artists of Great Britain. He died ta Great Newport Street, London, ta 1794, aged 75. HOFLAND, Thomas Christopher, landscape painter. Was born at Worksop, NottinghamsMre, December 25, 1777. His father was a cotton manufacturer there, and removed with Mm to Lambeth about 1790, and soon after failed. He was then in his 19th year, and self-instructed, tried landscape. Devoting Mmself to the study of Ms art, he was assisted for a few months by Rathbone, and then had recourse to teaching as a means of existence. He was a volunteer in the King's Own Company at Kew, where he resided from 1799 to 1806, and having attracted his Majesty's notice, he gave him a commission to make drawings of the rare plants in the royal collection ; and afterwards made some other attempts to promote Ms interests. He had durtag the above period exhibited at the Royal Academy ; and about this time he went to the North of England, and then became a member of the Liverpool Art Academy. An opening for a teacher at Derby led him to that town, where he resided for some short time. But coming up to London to copy as a student at the British Institution, Ms love of art prevahed, and in 1811 he returned to the Metropolis at the close of that year, resumed Ms contributions to the Academy Exhibitions, and was successful in his works. In 1814 he received the award of 100 gmneas by the governors of the British Institution for his painting, ' A Storm off the Coast of Scarborough,' which was pur chased by the Marquis of Stafford; and the copies he made from the great masters HOG in landscape found ready purchasers. About 1815 he removed to Richmond, and in 1817 to Twickenham. At this time he received a commission from the Duke of Marl borough to paint a series of pictures of Ms seat of White Knights. To this he devoted Mmself for several years, and also made himself responsible to the engravers em ployed upon the work, to his sad disappoint ment and loss. Driven back to London by this ta 1823, he again engaged in teaching, but not leaving his easel he painted several pictures carefully from nature, and pro duced some of Ms best landscapes — 'A Lake view of Windermere,' ' Jerusalem at the time of the Crucifixion,' with some mooMight and lake views ; ' Windsor Castle by Moonlight,' 1823; 'Llanberris Lake,' ' Twilight,' 1833. He was now ta his 63rd year, and was enabled by the sale of his works to visit Italy. He made some good sketches, but unfortunately attacked by fever at Florence, he hastened home, qmte broken in health. He was a foundation member and active supporter of the Society of British Artists, and a large contributor to the Society's Exhibitions. He hved successively at Kensington, Hammersmith, and Richmond, where he lingered for about two years, then went to Leamington, and died there January 3, 1843, aged 65. His art was peculiar. His aim was to convey poetical impressions, but he never rose to the first rank, probably kept back by the many struggles and difficulties which he had to encounter. An enthusiastic angler, he wrote, ' The British Angler's Manual,' 1839 ; and was generally a well-read man. His widow, who did not long survive Mm, was well known by her literary abilities . HOGAN, John, sculptor. He was born in October 1800, at Tallow, Co. Waterford, where his father was a builder. His mother was a descendant of the Irish Lord Chief Justice Cox. He was placed in 1812 in an attorney's office at Cork, but he had found means to draw in the Academy there, and at the end of two years he quitted his em ployment and gained admission to an archi tect's office. Almost untaught in art, he produced at this time a wood carving in basso-rilievo, ' The Triumph of SUenus,' a group of 15 figures. Studying anatomy he improved in his power, and executed several other carvings, both in wood and stone. In 1823 he modelled a 'Minerva' of so much promise that Ms friends ta Ireland at tempted to raise a fund to take him to Rome. The subscription was headed by the Royal Irish Institution aud the Dublin Society, and 2501. were raised, to which Sir John Fleming Leicester added an aUow- ance of 501. a year for three years. He set off for Rome ta November of the same year. His first production there was his ' Eve picking up a dead Bird,' which was 215 HOG followed by his monumental group to the memory of Dr. Doyle, a fine work, which gained him admission as an associate of the College of Art at Rome. He next com pleted his statue of O'Connell, now in the Exchange at Dublin, and ' The Drunken Faun.' After some stay his funds failed him, and he was again, and unsolicited, as sisted by his Irish friends and Sir John FlemingLeicester. On his return he prac tised inDublin. Irish in all his associations, he was called 'The Irish Sculptor.' He only exhibited at the Royal Academy on two occasions, in 1833, when he sent a ' Marble figure of the Redeemer after Death,' and in 1850 two busts and the model of a mural monument. He died in Dublin, March 27, 1858, in his 57th year, and was buried ta the Glasnevin Cemetery. He left an Italian lady, whom he had married, unprovided for, a widow with 11 children . The Queen granted her a pen sion of 1001. on the Civil List. HOGARTH, William, subject painter. His father, Richard Hogarth, was educated at St. Bees, Durham, and kept a school in that county. He was a man of some learn ing, came to London early in life, and opened a school in the Old Bailey. He was also employed as a corrector of the press. He published, ta 1712, ' Grammatical Dis quisitions,' styling himself ' Schoolmaster;' compiled a Latin Dictionary, and some other works. He died about 1721. Of his son William's early life only scant particulars exist. He was born in London, Dec. 10, 1697, and was baptized at the Church of St. Bartholomew, Smithfield, and appren ticed to a silversmith, to learn the art of engraving arms and cyphers on plate. But he was a youth of a strong and original mind, and soon showed indications of a genius above such work. On his completion of his apprenticeship, he became a student ta the St. Martin's Lane Academy, where he gataed such a knowledge of drawing as enabled him to express his ideas. About 1720 he engaged in business for himself, which at first was confined to his master's trade; but in 1723 he both designed and engraved 12 plates for De la Mottraye's ' Travels.' This work was followed by seven small plates for Apuleius's 'Golden Ass,' and in 1725, by the head-pieces for Beaver's 'MUitary Punishments of the Ancients.' He also designed and engraved the illustrations for an edition of ' Huclibras,' with a portrait of Butler. At the same time he painted por traits, for which he had shown an aptitude by his power of seizing a graphic likeness, and gave a novelty to his work by pro ducing small characteristic groups, which obtained the designation of ' conversation pieces.' The spirit of art was soon aroused in him, and, self-reliant and determined ta 216 HOG Ms pursuits and opinions, he was desttaed to produce an entirely original art, and casting aside all the old traditions, to lay the broad foundations of the English school. His disposition is shown in the incidents of his life. He ran away, in 1730, with Sir James ThornhUl's daughter, when in her 19th year. He resolutely maintained his own original style of painting against his professional brethren — even influencing them to turn to nature for their art. He successfully asserted his rights in a court of law, and was the means of obtaining from Parliament a copyright act, to defend the property of art. He did not fear to aim his graptac attacks at Wilkes, Churchill, Pope, Warburton, Kent, and others who could retaliate. He is said to have drawn his brush across his friend Garrick's por trait on some dispute about the likeness ; and there is another well-known portrait, through which, on some similar provocation, he had run his knife. Steevens says he had not received a hberal education, yet it is hardly probable that his father, who was both a scholar and a teacher, left Mm with out such knowledge as could be gained before Ms prentice days. Opposed to academies and to the foundation of a Royal Academy, he became a member ta 1760 of the Society of Artists, which, on his motion, was entitled ' The Free Professors of Paint ing, Sculpture, and Architecture.' But it does not appear that he showed any further interest ta the young society, and his name does not continue on the hst of members in the following year. At the time of Ms marriage, Hogarth had commenced Ms 'Harlot's Progress,' and the work, which was completed in 1733, is said to have appeased his wife's father. The painter here invented his own story, and first carried out, as he tells us he wished, his design ' to compose pictures on canvas, similar to the representations on the stage, and that they should be tried by the same test and criticised by the same criterion.' This truly original work, both in conception and execution, he followed up by another story of the same class, ' The Rake's Progress ; ' and in 1745 he completed his ' Marriage a la Mode,' in which his art culminated. Divided into six acts or tableau, the story of youth sacrificed to rank, with its sad moral, is well and toucliingly depicted. Every incident tends to the climax ; every accessory, even the smallest, contributes its share to the story ; the background itself studiously combines to fill its part in the drama. Such was Hogarth's true art, on which his imperishable fame will surely rest. But he was tempted to enter into competition with the oilier painters of his day, and to try subjects of high art. For this he was unsuited, and brought upon himself much HOG severe criticism by his ' Paul before Felix,' 'Moses brought to Pharaoh's Daughter,' ' The Good Samaritan,' ' Sophomsba,' and some others, wMch possess none of the qualities of this class of art, and into which some marring incident was sure to creep. Hogarth found Ms engravtags more sale able than his pictures. He was from Ms education used to the graver, and assisted by others he published many plates, which had deservedly a large sale, and spread the knowledge of his art. The serial pictures before mentioned were engraved, so also ' A Midmght Modern Conversation,' 'South wark Fair,' ' The Four Times of the Day,' ' Strolling Actresses in a Barn ' ' The en raged Musician,' ' Industry and Idleness,' 12 plates; 'the March to FincMey,' four election prints, and many others. Hogarth's power of drawing, though it did not qualify Mm for Mgh art, enabled him admirably to imitate the forms witiiin Ms own range of art — to seize their expres sion and character — and to endow them with truth and nature. In this he was surely a master. His colour was simple and pleasing, not wanting ta harmony; his works well and carefully finished. He died chUdless at his house ta Leicester Fields, October 26, 1764, and was buried in Chiswick Churchyard. That he had not amassed money by his art, appears from the fact that the Royal Academy, founded after his death, at once granted his widow a pension of 401. a year. When Ms tomb was opened to receive her, November 21, 1789, his coffin was not to be seen, which led to some conjectures ; but it was after wards remembered that he was bmied in a grave, and the tomb subsequently erected over him. HOGENBERGH, Remigius, engraver. There are oMy scant accounts of Mm. He was one of the engravers who was employed at Lambeth Palace about the middle of the 16th centuiy, by Archbishop Parker, of whom there exist by Mm two engraved por traits. He worked with the graver only, and the rarity of Ms works forms their cMef value. HOGG, Jacob, engraver. Practised ta the last half of the 18th century, usually in the dot manner. He engraved several works after Angelica Kauffman, R.A, after Kirk for the Shakespeare Gallery, and some others of the English painters of his time. HOLBEIN, Hans, portrait and subject painter. He was of an artist famUy, and was the son of an artist. Bom at Augs burg, authorities have differed as to the time of his birth, which has been variously placed between 1495 and 1498, but the first year seems most consistent with the ascer tained date of some of his earhest works. Taught by his father, and imitating his HOL manner, he painted some portraits and other works in his native city ; and about 1515 removed to Basle, where, in 1520, he was invested with the freedom of the city, and was induced to settle, probably from the greater liberty enjoyed there. There also he gained the friendship of Erasmus. He very early attained great technical skill, and evinced a rare power of drawing — hfe- like, full of character, and truthful. He patated the ' Meier Madonna,' one of his finest works, ta 1522 ; the ' Passion of Christ,' ta eight compartments ; with many portraits, among them his patrons, Amer- bach and Erasmus, and the frescoes ta the town haU. At Basle he also made many of Ms inimitable designs for wood engrav ing, his satirical marginal sketches, full of humour, to Erasmus's ' Praise of Folly,' his ' Alphabet of Death,' ' IMtial Letters,' and 'Dance of Death.' While at Basle also he had visited and executed some works at Lucerne and Altorf. But the disorders which befell iu 1525 at Basle, followed by the plague, must have rendered art stagnant. Poverty pos sibly urged him to hsten to overtures made to Mm to tiy Ms fortune ta England, and in 1526 he came to this country, bringing his portrait of Erasmus, with a letter of intro duction from that renowned scholar to Sir Thomas More, who at once received him tato his house at Chelsea. He had begun as a portrait painter, and this was the class of art M which he now found employment. He was ta the full vigour of life and of his art. One of his first works was a portrait of Ms patron, followed by Archbishop Warham, 1527 ; Fisher, Bishop of Roches ter, Sir Henry GuUdford, and his large picture of the More family. He had come to England with small means, possibly ill-provided even for his journey, and had left his wife and chUdren at Basle. Neither country had ta the mean whUe been without serious troubles, times were liard m both, and in the autumn of 1529 he returned to Basle, were he re mained for about two years, and in that time completed his frescoes in the town hall. On coming back to England he found his friend Sir Thomas More removed from his Mgh office, and Archbishop Warham dead. He had satisfied the claims upon him as a citizen of Basle, and with the in tention to settle ta England had probably made some provision for his family, whom he had left behind. He had gained a re putation here, saw a career open to him, and between this time and 1535 patated many fine portraits, of wMch may be men tioned the so-calied ' Ambassadors,' at Longford Castle ; John Reskemer, at Hampton Court ; Sir Wiffiam and Lady Butts, at Antony. It has been generally stated circumstan- 217 HOL HOL tially, that he was introduced to Henry VIII. by Sir Thomas More, but there is no confirmation of this, nor of the date at which he entered the King's service, other than that the first payment made to him by the Crown was in March 1538, and from that year must be dated many of the works by him in the royal collections — several portraits of Henry VIII., the Duke of Norfolk, Sir Henry GuUdford, Edward VI. when a child, a number of fine miniatures, and a large collection of drawings, including 86 portraits. The British Museum also possesses several of his drawings. Many of his works will also be foimd ta private col lections. A very fine full-length portrait of the Duchess of Milan is at Arundel Castle ; a large painting of ' The King pre senting the Charter ' in the possession of the Barber Surgeons' Company, but much injured ; a cartoon of part of the large picture of Henry VII. and Henry VIII., with the two Queens, destroyed at White hall, is at Hardwick Hall ; and at Longford Castle, the ' Ambassadors ' already men tioned, and the portraits of Egidius and Erasmus. Unsurpassed ta many of the highest qualities of portrait art, especially ta Ms life-like character, he was no less so ta the originality, variety, and power of his designs, whether drawings for the wood en graver, for jewellery and ornament, or for works of an architectural character. He has been generally stated by his biographers to have died in England, of the plague, ta 1554, in Ms 56th year. But the discovery in 1861 of the wiU of 'John Holbeine, ser- vaunte to the Kynge's Magestye,'with some other corroboratory circumstances, have led to the adoption of 1543 as the year of his death. HOLDERNESSE, , portrait painter. Practised in the time of Charles I. His works are now unknown, but they did not bear any reputation. HOLDING, Henry James, landscape painter. He was of an artist family, and practised both M oil and water- colours at Manchester, where he exhibited and en joyed a local reputation. He died of con sumption, in Paris, August 9, 1872, aged 39. An exhibition was formed at Manchester for the benefit of his widow. HOLE, Henry, wood engraver. He was a pupil of Bewick, for whose ' British Birds ' he engraved some of the blocks. He also engraved some of the illustrations for McCreevy's poem, ' The Press,' and for Felicia Browne, Mrs. Hemans' 'Poems.' He resided at Liverpool, was a member of the Liverpool Academy, and at the exhi bition there, in 1814, contributed 'An At tempt to restore the Old Method of Cross- lining on Wood,' engraved by himself. But 218 succeeding to an estate .early in life, he abandoned engraving. HOLE, William, engraver. Practised, but without much ability, in the early part of the 17th century. He was chiefly em ployed upon portrait frontispieces for the booksellers. Lfis works find a place in the folios of collectors. He published a copy book called ' The Pen's Excellencie.' HOLL, William, engraver. Was a pupil of Benjamin Smith. His works are chiefly in the chalk manner. He engraved several portraits and Mstorical subjects, and was engaged ta the engraving of the antique marbles in the British Museum. In 1816 he ran the risk of severe jjenalties by con cealing, without any sympathy with his opinions, young Watson, one of the leaders of the Spa Fields rioters, for whose appre hension a large reward was offered by the Government. He died ta London, Decem ber 1, 1838, aged 67. His sons William aud Francis were brought up to his pro fession. HOLL, William, engraver. He was the eldest son of the above, and was born at Plaistow, in Essex, February 1807. He studied Ms art under his father, and became eminent as a portrait engraver, attaining great excellence ta the stipple manner. He engraved for Lodge's 'Por traits of iUustrious Personages,' Knight's ' Portrait GaUery,' and some portraits pub lished by Messrs. Finden ; also after Frith, R.A., 'An English Merry-making,' ' The VUlage Pastor,' and ' The Gleaner and his Wife,' with a number of portrait drawMgs after G. Richmond, R.A. He died in London, after a long illness, January 30, 1871. HOLLAND, Henry, architect. Was bom about 1740. One of his first works was the erection of Claremont House, Esher, 1763-64, foUowed by some large alterations at Trentham HaU, Staffordshire. He was afterwards much employed in the Metropohs. He designed Brooks's Club, St. James's Street, 1778; added the portico aud vestibule to Dover House, Whitehall, 1786 ; and the fine CorintMan portico and Ionic colonnade to Carlton House, PaU Mall, since removed. He rebuUt, ta 1794, Drury Lane Theatre, which was burnt down 1809. He designed the Pavilion, Brighton, 1800, and the Albany, Piccadffiy, 1804. He also made some alterations at Wobum Abbey and Althorp, and bmlt Lord Spencer's mansion at Wimbledon. He held the appoMtment of surveyor to the India House. Died in Hans Place, June 17, 1806. His nephew, Richard Holland, was brought up to his profession, and ex hibited some architectural designs at Spring Gardens 1770, and at the Academy ta 1771. HOLLAND, John, amateur. Practised HOL HOL in London in the reign of Queen Elizabeth, and is mentioned by Walpole as an ingenious painter. HOLLAND, John, engraver. Practised in London in the second half of the 18th century. He engraved some caricatmes, but was chiefly engaged on portraits. HOLLAND, James, water-colour paint er. Born October 17, 1800, at Burslem, where his father was employed ta the pottery works, and liisfamilyhad longbeen engaged ; he was very early set to work as a flower painter on porcelain and pottery, and in 1819 came to London, where he tried flower painting, and supplemented Ms small earn ings by teaching, extending Ms art to land scapes, ta which he introduced arcMtecture, and to marine subjects. Making some progress, he first exMbited a group of flowers, in 1824, at the Royal Academy, and conttaued to exMbit flowers up to 1829. About 1830 he visited France, where he made some arcMtectural studies, and on Ms return produced some works of greater pre tension, extabiting at the Academy, in 1833, Ms 'London, from Blackheath.' In 1835 he first appears as an ' associate exliibitor ' at the Water-Colour Society. In 1843, leaving that Society, he was elected a mem ber of the Society of British Artists, and remained a member tUl 1848, but continued to exMbit occasionally at the Royal Aca demy. In 1856 he was re-elected an associate of the Water-Colour Society, and then exhibited with them, and was in 1858 a frdl member. He was largely employed upon iUustrations by publishers, and pro duced many works for the Annuals ; for this purpose, ta 1836, he visited Venice, returning by Milan, Geneva, and Paris. In 1838 he made a journey to Portugal, and ta 1839 exMbited at the Royal Academy a fine painting of Lisbon. He afterwards visited HoUand and Normandy, and agata Vemce. He died Februaiy 12, 1870. His works were marked by great delicacy and poetry, his views of Venice glowing with' tender colour. HOLLAND, Sir Nathaniel, Bart., R.A. , portrait and history painter. See Dance, Nathaniel. HOLLAR, Wenceslavs, engraver. Was bom JMy 15, 1607, at Prague. His famUy were of the Mgher order of gentry ; as Protestants they had suffered in for tune, and their rain was completed by the confiscations which foUowed the battle of Prague in 1619. He was educated for the law, but having a love for drawing, he began to study art as a means of mainten ance at Frankfort, where he had found a refuge, and afterwards at Strasbourg. In 1625 he published a 'Virgin and Child' and an ' Ecce Homo,' Ms two Mst plates. He then travelled to Antwerp, Cologne, and some of the German cities, returning to Cologne. Here the Earl of Arundel saw some of his drawings, took him under his protection, treated him with great respect, and brought him, on his return, to England in 1637. His first works in England were his plates of Greenwich and a portrait of his patron, the earl, on horseback. He had apartments ta Arundel House, studied uninterruptedly from the noble collection there, was liberaUy remunerated, and had the good fortune to many a young gentle woman, who was under the protection of the countess. His merits were soon recog- Msed, and in 1640 he was appointed to teach the prince drawing. In the same year appeared his fine work, in 28 plates, ' Ornatus Muliebris Anglicanus,' small frdl- length figures of the costume of women in England, followed in 1642-43-44 by simUar works on the Dresses of Women of other European countries. The Civil War now broke out. He was, from his con nections, obnoxious totheParliamentarians, and entered the ranks of the royal army under the Marquis of Winchester. Made prisoner on the surrender of Basing House, he escaped to Antweip, where his patron had already fled, and settled there in 1645. Here he laboured for some years, but not meettag with much encouragement after Lord Arundel left, he was again ta diffi- cMties, and ta 1652 he returned to England. He now found fuU employment m en graving heads and title-pages for book illustrations. In 1654 he was employed by Faithorne, who took him into Ms house, Ms wife having died, and employed him upon plates for Dugdale, VirgU, and other publications. The Restoration, however, brought no blighter prospects for him. He wanted enterprise, was most inade quately paid for his labour, and was con tent to remain in quiet obscurity, while others gained the profit of his laborious work. The times were unfortunate for art. The Fire of London and the Great Plague added to the perplexities of all, and he fell into absolute want, when about this time (1669) he was sent to Tangiers by the King to make drawmgs of the forts and defences, and of the surrounding country. For his two years' labour and his valuable draw ings, some of which are now in the British Museum, he only received 1001. after many supplications and long delay ; and on his return his vessel had to encounter a serious attack by Algerine corsairs. His life had been one long series of trials, and things did not now mend. He lost his only son, a youth of much promise, and his sorrows were full. He died a Roman Catholic, March 28, 1677, in his 70th year, in Gardiner's Lane, Westminster, now a most miserable place, and was disturbed on Ms death-bed, which he prayed to retain 219 HOL for the few hours he had to live, by bailiffs, who entered his apartment, to seize his only remaining piece of furniture. He was buried ta the churchyard of St. Margaret hard by. That he was laboriously indus trious Ms etchings and engravings testify. They have been calculated to number 2,400— costumes, portraits, history, anti quity, views, and landscapes, and a catalogue has been made of his works, which extends to 132 quarto pages. He worked with the point with extraordinary minuteness of finish, yet with an almost playful freedom. His drawings are equally truthful and finished ; many of his views of our cathe drals and antiqmties are exceUent. Wal pole feelingly says of him, ' To have passed a long life in adversity, without the errors to which many men of genius have owed it, and to have ended that life ta destitution of common comforts, merely from the in sufficient emoluments of a profession, and with a strictly moral character, such was the fate of Hollar ! ' Vertue published, ta 1745, a description of Hollar's works, with some account of his life. Gustav Parthey's descriptive catalogue, published at Berlin m 1853, enumerates 2,733 prints by him. HOLLINS, John, A.R.A, portrait and subject painter. Born at Birmingham, where Ms father was a glass painter, June 1, 1798. He was early devoted to art, and first exhibited portraits ta 1818. In 1822 he came to London, where he practised painting in oil and occasionaUy in miniature. In 1825 he travelled to Italy, and studying there two years, returned in 1827. He re sumed portrait painting, contributed largely to the Academy Exhibitions, and from this time tiU his death was a constant exhibitor of portraits, portrait-groups, and subjects, chiefly from the poets and novelists. His likenesses were accurate, his drawing and grouping good, and he excelled in colour. He was elected an associate of the Royal Academy in 1842. He died, unmarried, in Berners'Street, March 7, 1855, ta his 57th year. HOLLINS, William, architect and sculptor. Cousin of the above. Was a self-taught man, and for above half a centuiy practised at Birmingham. He exhibited at the Royal Academy, com mencing in 1821, some busts, a head of Thetis and of Christ. His last contribu tion to the exhibition was ta 1824, ' Model of the Garden of Gethsemane.' He erected in Birmingham the pubhc office and prison, the old library, and dispensary. lie also made some alterations m the mansion at Alton Towers. He designed the Royal Mint at St. Petersburg, but declined to :o to Russia to superintend its execution. le died in 1843, iu his 80th year. HOLLIS, George, engraver. Born at Oxford in 1793. He was a pupil of George 220 H HOL Cooke, and was largely employed on topo graphical works — Hoare's ' History of Wiltshire,' Warner's ' Glastonbury Abbey,' Ormerod's 'Cheshire,' &c. In 1818 he published six views of Chudleigh, from drawMgs by De Cort. He also engraved a series of plates of the Oxford colleges and haUs, some of them from his own drawings. He practised ta the hne manner, and con tributed some of the plates on steel for the ' Oriental Annual,' 1834. In 1837 he finished a large plate after Turner, R.A., wMch was exhibited at the Academy the following year. He died at Walworth, January 2, 1842, aged 49. HOLLIS, Thomas, draftsman. Only son of the foregoing. Entered the schools of the Academy in 1836, and became a pupU of PickersgUl, R.A. In 1839 he commenced, in conjunction with his father, who etched the greater number of the plates, a work on SepMcMal Effigies, on the plan of Stothard's, for which he made the drawings. The first part was pub lished in 1840. Some of the etchings were by him, and showed much spirit. His health gave way soon after, and he died October 14, 1843, aged 25. HOLLOWAY, Thomas, engraver. Born in London 1748. His father was in easy circumstances, and gave him a useful education ; of a Dissenting famUy, he was himself a Baptist. He was apprenticed to a steel engraver, and soon showed his abffity in the ornaments in that material which were then worn. But this fashion passed away, and after trying several branches of engraving he adopted the copper-plate, and produced some portraits and embellish ments for magazines. He was at the same time a student, both drawing and model ling, at the Royal Academy. He first made himself known by the engravings for Lavater's ' Essays on Physiognomy,' an extensive work, containing 700 illustrations. He was also employed od the publications of BoydeU, Macklta, and Bowyer, and on editions of the British classics. He painted some portraits in oil and miniatures, which were exhibited, with some life-size crayon portraits. But he is chiefly known as the engraver of the cartoons of Raphael. He desired to produce a more finished series thau those of Dorigny, and having obtained from the King the exclusive use of the cartoons, he removed to Windsor, where they were then deposited, to commence his work, of which he had scarcely considered the full magnitude. Here, with the assist ance of two former pupUs and of Joseph Thompson, he worked for many years, the labour and expense of Ms undertaking be coming more and more apparent ; and as his work proceeded, his original inadequate price of 3 guineas for the set was increased to 10 guineas. The cartoons, during the HOL HOM Progress of the work, were removed to Hampton Court, and, with his assistants and famUy, he followed them. After many more years' labour, careful drawtags being completed, the artists moved in a body to Edgefield, ta Norfolk ; and then, not find ing sufficient convenience, to Coltishall, near Norwich. Here the sixth plate was in advanced progress, and the seventh and only remaining plate commenced, when Holloway died, in February 1827, aged 79. George III. felt much interest in the work, and appointed Mm Ms historical engraver. He had suffered an early disappointment, and never married. A brief memoir of him, in smaU octavo, was published ta 1827, but contains httle of interest con nected with his art. His careful drawings for the cartoons were sold by auction in 1862. His engravings were neatly and carefuUy finished, but lack the drawing and spirit of the ruder works of Dorigny. HOLMAN, Francis, marine painter. He exhibited yearly at the Royal Academy, commencing ta 1774, and enjoyed a con temporary reputation. He patated storms and sea-fights. In 1778, ' Action between the French and Enghsh Fleets in 1759 ; ' in the foUowtag year, 'The Attack upon Rhode Island ' and ' A Storm at Sea ; ' in 1782, ' Admiral Parker's Fight with the Dutch Fleet,' from a sketch made during the action; ta 1783, Lord Rodney's En gagement with the French Fleet under the Count de Grasse;' and in 1784, a naval action, his last exhibited work. HOLME, Arthur, architect. He prac tised ta Liverpool, where he enjoyed a local reputation. He bunt St. Paul's Church, St. Matthew's Church, All Souls' Church and Schools, St. Andrew's Church and Schools, St. Aidan's Church and Schools, AU Saints' Church, some warehouses, and other buUdtags ta that borough. He died early ta December 1857. HOLMES, James, miniature painter. Born 1777. He showed an early talent for drawing, and was apprenticed to an en graver, with whom he made rapid progress, but on the termination of his apprentice ship he turned to the practice of water- colours, and in 1813 joined the Water- Colour Society. He exMbited, with some portraits, rural subjects, generally treated with humour — ' Hot Porridge,' 'CindereUa,' ' Michaelmas Dinner,' ' Going to School,' 'The DoubtfM Shilling' — which was en graved, and was very popular — ' Girl pro tecting CMckens from a Hawk,' ' The un- skUful Carver' (purchased by the King). In 1822 he left the Society. He had ta 1819 first exhibited at the Royal Academy, and was soon after led to attempt oil patat ing, and in tMs medium, as weU as in water-colour, was for many years an occa sional exhibitor of portraits and portrait groups. He was an active promoter of the foundation of the Society of British Artists, and in 1829 became a member and an ex hibitor, sending a portrait of George IV. in water-colours, with, from time to time, a portrait up to 1850, when he resigned his membership. Soon after he retired from London, and spent the greater part of his latter years in Shropshire. He died February 24, 1860. His chief practice was in miniature, and he met with great en couragement, and had many distinguished sitters, among them several members of the royal famUy and Lord Byron, who preferred his work to any other. He was clever in the choice of a subject, and his works were always most carefully finished and good in colour. Genial and buoyant in sphit, he was gifted with great musical talent. He became a favourite with George IV., and was ta the habit of joining both in staging and playing with his Majesty. HOLMES, P., engraver. Practised ta London at the end of the 17th century. He worked with the graver only, but never attained any excellence. The greater part of the iUustrations of Quarles's ' Emblems ' are engraved by him. HOLTE, Thomas, architect. Was a native of York. Practised in the time of James I. The revival of Gothic architec ture at Oxford is greatly due to him. He built in that city, the square of the public schools, which is of some grandeur and fine ta its proportions. The groined vault under the eastern wing of the Bodleian Library is an example of his skill, as is also the quad rangle of Merton College. The whole of Wadham CoUege is attributed to him. He died at Oxford, September 9, 1624, and was buried there m Holywell Churchyard. HOLWORTHY, James, water-colour painter. He was an occasional exMbitor at the Royal Academy about the beginning of the 19th century, and made himself known by his Welsh views. He was in 1804 one of the foundation members of the Water-Colour Society, and from that time to 1813 a constant contributor to its exhi bitions, sending views chiefly in Wales, the Lake districts of England, and in Yorkshire. He conttaued to practise in London up to 1822. He married in 1824 a niece of Wright, of Derby, who was also known as an artist, and then retired to reside upon some property, the Brookfield estate, which he purchased, near Hathersedge, ta that county. He died in London ta June 1841, and was buried in Kensal Green Cemetery. HOME, Robert, portrait and subject painter. Was the son of an apothecary in London. He studied under Angelica Kauff- man, R.A., and for a time in Rome. He first appears in the Academy catalogue as the exhibitor of a portrait in 1770. He went early to practise in Dublin, and exhi- 221 HON bited there in 1780 no less than 22 por traits and an allegorical picture. He also sent portraits from thence for exhibition at the Royal Academy in 1781-82, and re turned to London in 1789, from whence, at an early age, he went to India. He first settled at Lucknow, and was appointed portrait and historical painter to the Kiug of Oude. He afterwards resigned that office and retired to Cawnpoor, having realised a considerable fortune by the prac tice of his profession. When a picture pleased by the recognised fidelity of the likeness or the faithful rendering of the costume, with the jewellery and the rich accoutrements, the generosity of the royal sitter frequently knew no bounds. In some of his groups of large ceremonials he had to encounter great difficulties from the ig norance of the King, and had frequently, when his Majesty deposed his minsters or beheaded them, to make corresponding changes in his pictures. In 1797 he sent home for exhibition at the Academy, ' The Reception of the Mysore Princes as Host ages by the Marquis Cornwallis,' and ' The Death of Colonel Morehouse at the Storming of Bangalore.' He died about the year 1836. There is a large picture of ' The King of Oude receiving Tribute,' by Mm, at Hamp ton Court. His pictures were carefully and accurately patated, his colouring rich and harmonious. He prepared his colours himself, and Ms pictures stand well. Several of his works are engraved. He published a ' Description of Seringapatam,' 1796, and ' Select views ta Mysore,' wliich represent the chief scenes of the campaign against Tippoo Sultan ta 1797. His two sons were in the Indian army, and one of them was killed at the head of his regiment at the battle of Sobraon. Sir Everard Home, Bt., was his brother. HONDIUS, Jodoous, engraver. Born at Ghent about 1563. Studied there the classics and mathematics, and when about 20 years of age fled to England, where he made mathematical instruments and en graved charts and maps. Besides these, he engraved some portraits, among them Queen Elizabeth, Thomas Cavendish, famed as a sailor, a large print of Sir Francis Drake, &c. He married in London in 1586, and had a family. Removed to Amsterdam, he died there in Kill. HONDIUS, Henry, engraver. Was born ta London about 1588. The son of the above, by whom he was instructed. There are many known portraits by Mm, neatly but stiffly executed. Among them, portraits of Queen Elizabeth, James I., and Charles I. He died about 1658. HONDIUS, Abraham, animal painter. Son of the foregoing. He was born, ac cording to some authorities, at Rotterdam, in 1638, and came to England in the reign 222 HON of Charles II. He painted hunting-pieces and animals, and greatly excelled ta his vigorous and characteristic treatment of dogs. There are a few good etchings by him. He died in London 1695. HONE, Nathaniel, R.A., portrait painter. Born in 1718, at Dublin, where his father was a merchant. He early ac- qmred a love of patating, and (self-taught) practised portraiture. He came to Eng land when young, and followed his profes sion ta several parts of the country, parti cularly at York, where he married a lady of some property. Shortly after he came to London and settled ta St. James's Place. For some years, with increasing reputation, he patated both ta oU and nitaiature, and more especially ta enamel, ta wMch he ex celled, and became the first artist of Ms day. He was a member of the Incorpor ated Society of Artists and one of the foundation members of the Royal Aca demy, but some pique against the president, Reynolds, led bun tato collision with that body. He patated a picture of ' The Conjurer,' wMch was considered, though not very apparent, a covert attack upon Reynolds, and a second work attacMng (it was so con strued) Angelica Kaufhnan. These works the academicians refused to exMbit, and, angry at their rejection, he made ta 1775 an exMbition of his own works, about 60 or 70 in number, including the two wMch had given offence. He was a constant exMbitor of portraits at the Academy from its foundation to Ms death. Sometimes he sent a portrait in character, as 'A Fair Pemtent,' ' St. Cecilia,' ' Hebe,' and one or two subject pictures, ' David when a Shep herd,' ' A Spartan Boy,' 'Nathan and David.' He died at Rathbone Place, London, August 14, 1784, in his 67th year, and was buried at Hendon. His portraits were good, but hot and unpleasant in colour. He drew occasionally in crayons, and scraped some good mezzo-tints from his own pictures, particularly from Ms own portrait, painted in 1782, which is ta the Royal Academy , coUection. There are also a few etchings-; from Ms hand. He had collected many prmts and drawtags, which he distinguished*' by the mark of a human eye. These hel sold during his lifetime. His pictures and x the materials of his art were sold ta 1785. HONE, Camillus, portrait painter. Younger son of N. Hone, R.A. He was an exhibitor at the Royal Academy from 1777 to 1780, and then practised his art with success for several years in the Bast Indies. On his return he settled ta Dublin, and was appomted to a situation in the Stamp Office there. He died in 1837, at a veiy advanced age. HONE, Horace, A.R.A., miniature painter. Son of the above. He practised HOO both in water-colour and ta enamel, and occasionally ta oU. From 1772 to 1782 he exMbited at the Royal Academy, and was ta 1779 elected an associate. He then went to Dublin, where he settled, and was re siding in 1791, when his reputation brought Mm more commissions than he could exe cute. In 1795 he was appointed miniature patater to the Prince of Wales, and that year exMbited a number of miniatures at the Academy. But on the UMon his fashion able sitters fell off, and he soon foUowed them to London. He resided then in Dover Street, PiccadiUy, had a large practice, and resuming his contributions to the Academy, he conttaued to exMbit up to 1822. He died after a short Utaess, May 24, 1825, ta Ms 70th year, and was buried in St. George's Chapel Yard, Oxford Road. Many of Ms miniatures are engraved. HOOD, Thomas, humorous draftsman. Was born in the Poultry, a ' Cockney,' as he said, May 23, 1799 ; the son of a book- seUer, and apprenticed to his uncle as an engraver, by whom he was transferred to one of the Le Keux. He early abandoned this art for hterature, ta which his first attempts had been made. But he bad much abffity of drawing, and the quaintness of his Ulustrations to his writings added to their just celebrity. His ctaef works so embellished were his ' Whims and Oddi ties,' ' Hood's Maga^ane,' and ' The Comic Annuals.' He also etched and published a large plate fuU of humour and character, called 'The Progress of Cant.' His memory, however, belongs to hterature. He was a most original and powerful geMus ; a poet, serious and comic ; a novehst, a humorist, writing under the pressure of pecuniary difliculties and of bodUy suffering. As he desired, it was recorded on his tomb ta the Kensal Green Cemetery, 'He wrote the Song of the Shirt.' This song consisted of a few patafuUy serious verses, of wMch the moral effect was inconceivable. After a lingering ilMess of several years, aggravated by many trials, he died ta the AdelpM, May 3, 1855. A pension of 1001. a year granted by the Queen to his wife just before his death, then fast approaching, was his last solace. HOOD, John, marine painter. He was a shipwright, living at Limehouse, and practised ta water-colours soon after the middle of the 18th century. In 1765 he exMbited 'SMpptag' at the Spring Gardens Rooms. Houston engraved after him, ta mezzo-tint, ' A Naval Engagement.' HOOKE, Dr. Robert, architect. He was bom July 18, 1635, at Freshwater, Isle of Wight, of wMch parish his father was the mimster. He was for a short time a pupil of Sir Peter Lely, but was early removed to Westminster School, and from there to Christ Church, Oxford, where he took his HOE M.A. degree about 1662. A good mechan ician, he tried many astronomical and mechanical inventions, and was one of the promoters of the foundation of the Royal Society; and became the curator in 1662 and the secretary in 1677, and read many phUosophical papers at the Society's meet ings. He was also Gresham professor of geology. For some time he was an assist ant to Sir CMlstopher Wren, and after the Great Fire in 1666 was his competitor, having submitted a model for rebuilding the City. He was appointed one of the com missioners for surveying and adjusting the sites of the different owners ; and was the designer of several well-known buUdtags, the cMef of which have been taken down to make way for modem improvements. He buUt, in 1663, the Duke of Montague's house ta Bloomsbury, which was burnt clown in 1686 ; part of the old CoUege of Physicians, Warwick Lane ; Aske's Hospital, Hoxton ; and Bethlehem Hospital, on its removal to Moorfields, ta 1675. After a life of great activity, he died, qmte worn out, March 3, 1702-3. His works, and a record of his in ventions, with a memoir of Mm, were pub hshed 1705. In Ms own day he was known as a great astronomer and miser. HOOPER, S., topographical draftsman- He practised ta the latter part of the 18th centuiy, and made many of the drawings used by Gough in his ' Monumental Anti quities/but they are of an inferior character. HOPKINS, Thomas, enameller and. engraver. He was chiefly employed in enamelling and chasing watches and jewel lery at a time when such work was fashion able, and when Bone, R.A., found the same employment. He died in London, August 4, 1794. HOPLEY, Edward W. J., subject painter. He practised at Lewes in the early part of his life, but ta 1850 came to London, and from that year to Ms death was a fre quent exMbitor at the Academy. In 1851, ' Psyche ; ' ta 1853, ' A Little Bit of Scan dal;' ta 1860, 'Sappho;' ta 1863, ' The Spanish Coquette.' His last exhibited work was a portrait of Professor Owen. He was also an exhibitor at the British Institution. He died in London, April 30, 1869, in Ms 53rd year. HOPPER, Thomas, architect. Was the son of a surveyor, and was brought up under him. He gained the notice of Walsh Porter, who enjoyed the reputation of a man of taste, and was introduced by him to the Prince Regent, who became his patron . He buUt Slane Castle, Ireland, altered and added largely to Penrhyn Castle, Bangor, and was ei gared ta the alteration or erec tion of several other fine mansions. In the Metropolis he bmlt Arthur's Club-house, St. James's Street ; the Atlas Fire Office, in Cheapside ; the Legal and General Fire 223 HOE Office, in Fleet Street ; and St. Mary's Hospital, Paddington. He was for nearly 40 years surveyor of the county of Essex, and adapted the large county gaol at Springfield to the cellular system. He made designs for a national gallery for works commemorative of British victories ; com peted for the erection of the General Post Office, and published his designs ; and also for the new Houses of Parliament. From the year 1833 he was a frequent exhibitor at the Royal Academy. He died August 11, 1856, aged 79. HOPPER. Humphrey, sculptor. Studied Mthescnools of the Royal Academy, and in 1803 gained the Academy gold medal for his original group, ' The Death of Meleager.' He was, commencing in 1799, an occasional contributor to the Academy Exhibitions. His first works were of an ornamental character, but in 1807 he exhi bited designs for the Pitt and Nelson Monuments ; then some classic figures, 'Venus,' 'Bacchus,' 'A Bacchante.' In 1815 and the following years hewas an exhi bitor of busts, with sometimes a monumental figure. He exhibited for the last time in 1834. The public monument in St. Paul's to Major-General Hay, a group of three figures, is by him. HOPPNER, John, R. A., portrait paint er. Was born at Whitecnapel, April 4, 1758. His mother was one of the German attendants at the palace, and Ms father, not withstanding some mystery had been made with respect to his parentage, also a German, had for some time been settled here. He commenced life as a chorister in the Chapel Royal ; afterwards showing a strong incli nation for art, the King made him some small allowance, aud iu 1775 hewas admitted a student of the Royal Academy. Continuing to study diligently, lie gamed the gold medal in 1782 for an original painting from ' King Lear,' and the same year married Miss Wright, whose mother was celebrated for her small portraits modelled in wax. His early devotion was to landscape, but he soon adopted portrait as his profession, and had many sitters. In 1780 he first appears as an exliibitor at the Academy, and for some years he continued to send por traits of ' A Lady' or ' A Gentleman,' it not then being the custom to give the name of the person represented. He retained some friends in the palace, for ta 1785 he exhi bited the portraits of three of the princesses, andin 1789isdistinguishedasportrait patat- er to the Prince of Wales, and then painted the portraits of the Prtace and the Duke and Duchess of York. He had attained a high position in his profession, and rank and fashion surrounded Ms easel. His contri butions to the Academy ExMbitions were numerous. Lawrence recognised in him his most powerful competitor, and the public 224 HOE looked upon the two as rivals. His art was confined to portraiture ; he made few Mgher attempts. He was elected ta 1793 an as sociate, and in 1795 a member, of the Royal Academy. Hoppner succeeded best in his portraits of ladies and cMldren. His handling was free, his execution unlaboured, but his drawing often faMty. His colouring was deemed brilliant by his contemporaries ; it has become hard and horny by time, and from the use of defective materials many of Ms pictures have fallen into a sad state of decay. The best examples of his art are in the State apartments at St. James's Palace. He was an imitator of Reynolds, to whom some of his best works owe their inspiration. He conttaued to exhibit, but later with some intermission, up to 1807. A cMonic state of iU-health, aggravated by restless irritabUity, shortened Ms days. He died January 23, 1810, aged 51, and was buried ta the cemetery of St. James's Chapel, Hampstead Road. He pubhshed, in 1803, ' A Select Series of Portraits of Ladies of Rank and Fastaon,' patated by Mm ; and ta 1806 ' Oriental Tales trans lated into Enghsh Verse.' HOPPNER, LASOELJ,ss,subjectpainter. Son of the above. He was a student ta the Royal Academy, and in 1807 gained the Academy gold medal for Ms painting, ' The Judgment of Solomon.' He exhibited por traits at the Academy from 1811 to 1815. There is a spirited picture by him, ' The Market-place, SevUle,' at HoUand House, Kensington, and a fine crayon sketch of 'The Apotheosis of Santa Clara,' after Murillo. HOPWOOD, James, engraver. Born about 1752, at Beverley. He was without any help to knowledge m Ms profession, but was foimd surrounded by a famUy of six chUdren, and was then, at the mature age of 45, making a second attempt on copper, having already by great industry engraved and published a plate by subscription. By the sale of these two plates, wliich he had finished under great privations, he was en abled to make Ms way to London. Mr. Heath kindly permitted Mm to work ta his house, and, struggling with difficulties, by his great assiduity he made up for the deficiency of his early framing. In 1813 he was elected secretary to the Artists' Fund, and held this office till 1818, when he re signed, and duiing Illness was assisted from the Fund. He died September 29, 1819. HOPWOOD, James, engraver. Son and pupil of the foregoing. He was born in 1795. He engraved m the dot manner, chiefly portraits, a coUection of which was published in Paris. He both designed and engraved some clever book Ulustrations. HORNE, Galyon, glass painter. De scribed as of the parish of St. Mary HOE HOU Magdalen, glazier. He was one of four contractors ta Henry VIII.'s reign for completing 18 of the patated windows of the upper story of King's CoUege Chapel, Cambridge. HORNEBAND, Gerard Lucas, por trait painter. Born at Ghent in 149S. He came to London, where he practised as a portrait painter, was employed by Henry VIII., and died in 1544. • His sister, Susannah Horneband, a miniature paint er, also came to England, and is said to have married an Enghsh sctaptor named Whorstley, and to have died at Worcester. HORSBURGH, John, engraver. Was born at Prestonpans, near Edinburgh, November 16, 1791, and lost his father early in Me. He studied drawing at the Trus tees Academy, and when fourteen years of age was apprenticed to Robert Scott the engraver, with whom, after serving his full time, he conttaued for several years longer, and then began his own professional career. He practised in the line manner and was much engaged ta book Ulustration. His chief works are ' MacMe the actor, as BaUlie Nicol Jarvie' after Sir William Allan, ' Prince Charles reachng a despatch ' after William Shnson, a portrait of ' Sir Walter Scott ' after Sir Thomas Lawrence, and 'Itahan Shepherds' after Mclnnes. He also engraved some fine plates after Turner, R.A., with some vignettes by hbn to Illustrate Sir W. Scott's works. For the last fifteen or twenty years of Ms life he may be said to have retired from his pro fession. For nearly forty years he filled gratuitously the office of pastor in the Scotch Baptist Church. His pastoral ad dresses, preceded by a brief memoir, was published ta 1869. He died ta Edinburgh, September 24, 1869, aged 79. HORWELL, Charles, sculptor. He was a student ta the Royal Academy, and in 1788 gataed the gold medal for his group, ' The Grief of AchUles at the Death of Patroclus.' He had previously exhibited at the Academy, and ta 1789 sent a ' Cupid and Psyche,' with some other designs ; in 1791, ' The Murder of Duncan, King of Scotland.' He did not exhibit again till 1799, when, trying portrait art, he exMbited busts of Ms son and daughter. In 1807 he exhibited a design for Nelson's monument, and from that time the trace of Ms art is lost. HOSKING, William, architect. He was born ta 1800, at Buckfastleigh, Devon, and was taken when young to New South Wales, where he was apprenticed to a buUder and surveyor. He returned to England in 1819, and the foUowtag year articled himself to an architect, and subse quently spent a year ta Italy to improve in his profession. He exhibited, but on one occasion only, a drawing at the Royal Aca demy. In 1834 he was appointed engineer to the West London Railway, and in 1840 to a professorship of construction and archi tecture at King's College. In 1844 he was appointed one of the referees under the Metropolis Building Act. He built Trinity Chapel, Poplar, and the chapels and other edifices in the Abney Park Cemetery ; but he is httle known in the actual practice of his profession. He published, in 1827 (in connection with J. Jenkins), ' A Selection of Architectural and other Ornaments ; ' in 1842, ' Abstract of Reports concerning the Restoration of St. Mary's, Redcliffe, Bristol,' ' A Treatise on the Principles and Practice of Architecture ; ' and his ' Lectures at King's College ; ' in 1848, ' A Guide to the proper Building of Towns ;' and ta 1849, Healthy Homes.' He wrote the articles ' ArcMtecture,' ' BuUdtags,' ' Masonry,' and some others, for the 7th edition of the ' Encyclopaedia BritanMca.' He died in London, August 2, 1861, and was buried ta the Highgate Cemetery. HOSKINS, John, miniature painter. Commenced the practice of his art in oil, afterwards took to miniature, ta which his chief excellence hes. Charles I., his Queen, and many of the nobility sat to him. His works are trathfM and well drawn, but bis flesh tint has a tendency to hotness. Sir Kenelm Digby, in his ' Discourses,' says ' that by his paintings in little he pleased the public more than Vandyck.' Samuel and Alexander Cooper were his pupils. He affixed his initials to his works, groupiug the I witMn the H. He died iu February 1664, and was buried ta Covent Garden Church. HOSKINS, John, miniature painter. Was a son of the foregoing, and exceUed M the same art. His works are greatly prized. He painted a portrait of James II. in 1686, for which he was paid 101. 5s. He signed the initials ' I.H.' separately. HOUGHTON, Arthur Boyd, subject painter. Was the son of Captata Houghton of the Indian Navy, and born in 1836. He became first known by his very clever illus trations of books, and was perhaps one of the most skilfM draftsmen on wood of the time. His Ulustrations to the ' Arabian Nights ' are marked by their spirited cha racter and richness of incident. He was elected an associate of the Society of Paint ers in Water-Colours in 1 87 1 , and sent to their exhibitions many works of high merit. He also patated ta oil, and his first contribution to the Royal Academy was ' A Fisher ' in 1860, and' Here i' the Sands," The Mystery of Folded Sleep ' in 1864, and ' John the Baptist rebuking Herod ' in 1870, besides other works. He was cut off in the midst of a career of great promise at the early age of 39. He died at Hampstead, November 23, 1875. 225 II OU HOW HOUSTON, Richard, engraver. He was bom in Ireland, and was apprenticed to John Brooks, ta Dublin. He settled in London when a youth, and practised in mezzo-tint with great success. His works are highly esteemed. They are chiefly portrait, and those after Reynolds, P.R.A., have rarely been excelled. His ' Duchess of Marlborough and Child' is a fine work, aud his plates after Rembrandt and some running horses are excellent. He also painted a f ew miniatures . He was of very dissipated habits. Sayer, the printseller, advanced him some money, and was then avoided by him. Sayer then arrested him, and confined him in the Fleet Prison, that he might, as he said, have him under his own eye and know where to find him, and in this state he continued for many years. He was released on the accession of George III. He died August 4, 1775, in Ms 54th year. HOWARD, Henry, R.A., history and portrait painter. Born in London, Jan. 31, 1769. He received an average education, and intended for the arts, at the age of 17, he became the pupU of Philip Retaagle, R.A. In 1788 he was admitted a student of the Academy, and ta 1790 gained the first two medals of the year — the first silver medal in the hfe school, and the gold medal for his original painting of ' Caractacus recognising the dead body of his Son.' Thus distinguished, he set off for Italy in the following year, visited the principal cities, and sent home, in competition for the travelhng studentship, a large painting of ' The Death of Abel,' but was unsuccessful. Returning home by Vienna and Dresden, he reached London ta 1794. He had, wMle in Italy, made many care- fta drawings of the antique sculptures, and was, on his return, employed by the Dilettanti Society upon a series of simhar drawing's for their publications. His tastes led Mm to the poetic and the classic rather than to the more severe style, and Ms works were chiefly from the poets. From 1795 he was a large contributor to the Academy ExMbitions, sending classic, and exception ally sacred subjects, with, from 1798 to 1824, a considerable number of portraits. But from the latter year his exMbited works were more of his own pecuhar class. He continued an exhibitor till his death. He married, in 1801, Miss Remagle, the daughter of his old master, and the same year was elected an associate, and in 1808 a member, of the Academy. In the latter year he exhibited his ' Christ blesstag httle Children,' which now forms the altar-piece of the chapel ta Berwick Street, St. James's. He made some designs for book illustration, and for the ornamentation- of Wedgwood's pottery. In 1811 he was appotated secre tary to the Academy. In 1814 he gained 226 the- premium for designing a medal for the Patriotic Fund. He also prepared the designs for the Great Seals andothermedals. About tliis period he produced some of Ms best works — ' Sunrise,' for which the British Institution awarded him 100 guineas ; in 1815, ' The Birth of Venus,' ' The Story of Pandora ; ' his ' Lady in a Florentine Dress,' exhibited 1824. He was elected professor of painting in 1833, but as a lecturer he showed little originality of thought, and his manner and matter both failed to interest the student. In 1843 he was awarded one of the 1001. premiums at the Westminster HaU competition. He died at Oxford, when on a visit to his son, October 5, 1847. Distinguished at the outset of Ms career by the Mghest Academy honours to be gataed by a student, Howard fills only a second rank in art. His works are graceful and pretty, pleasing ta composition, correct in drawing, but cold and feeble in style. Patated to a smaU scale, and stated to the taste of the day, they have found a place in many collections. His art did not, however, meet with much encouragement, and he was glad to add to Ms income by portraiture and as a designer. His lectures were pub lished, with a short introductory memoir, by his son. HOWARD, Frank, designer and drafts man. Son of the above. Born 1805. He showed an early love of art, and was his father's pupil aud a student ta the Aca demy. He commenced his career as an assistant in the studio of Sir Thomas Lawrence, and afterwards patated a number of small-sized portraits, and designed for work in gold and sUver. He first exMbited at the Academy ta 1825, and in that year and up to 1833 sent subjects from the poets and from Scripture. From that time he only exMbited ta 1839, 1842, and 1847. He was gifted with some ability as a lecturer. About 1842 he went to Liverpool, where he settled, but managed to gain only a scanty h vehhood by painting and maktag drawings, which he sold for a small price, added to teaching and lecturing, and some trifling pay as theatrical critic for one of the local newspapers. He died at Liverpool ta much distress, June 30, 1866. He published ' Lessons on Colour ; ' ' The Spirit of the Plays of Shakespeare,' a series of outline designs, 1827 ; ' The Sketcher's Manual,' 1837 ; ' Colour, a means of Art,' 1838 ; 'The Science of Drawing,' 1839 ; ' Imitative Art,' 1840 ; 'A Course of Lectures on Painting,' and his father's Lectures, with a memoir, 1S4S. HOWARD, Hugh, portrait painter. Born in Dublin, February 7, 1675. His father practised there as a doctor, and driven from Ireland by the political troubles wMch followed the Revolution, he brought his son with Mm to England. The young HOW HUD lad showed a talent for drawtag, which he improved by a journey through Holland to Italy, in the suite of the Earl of Pembroke, ta 1697. He returned home in 1700, and after passtag some years ta Dublta, settled ta England, and practised portrait patating ; but Ms friends obtaining for him the office of keeper of the State Papers and pay master of the Royal Palaces, he abandoned the professional practice of Ms art, and amused himself by maktag a coUection of books, prints, and medals. He died ta Pall MaU, March 17, 1737, and was buried at Richmond. He bequeathed his coUection to his brother, the Bishop of Blphin, whose eldest son was created Baron Clonmore and Earl of Wieklow. There are one or two etchings by him. His coUection of prints and drawings was sold ta 1853 and produced nearly 50002., but a very important selec tion had been previously made for the British Museum, and a considerable portion was retained and sold subsequently. HOWARD, William, engraver. Prac tised in the latter half of the 17 th century. There is a set of sea-views, with shipping, by him, dated 1665. His works, though very inferior in merit, are ta Hollars manner. HOWES, John, miniature and enamel' painter. First exhibited at the Royal Aca demy in 1772, and conttaued a contributor of portraits for several years. In 1780 he exhibited ' The Death of Lucretia,' an enamel, and occasionaUy a classic subject in the same material, ' Cleopatra sailing down the Cydnus,' 1789 ; ' Imogen dis covered in the Cave,' 1790 ; and m 1793, ' Venus attended by the Graces,' his last exMbited work. HOWISON, William, A.R.S.A., en graver. Born at Edinburgh in 1798. He was educated at Heriot's Hospital and apprenticed to an engraver. He worked in comparative obscurity for many years after the termination of Ms apprenticeship. He first gataed notice by his plate of ' The Curlers,' after Harvey, R.S.A. He then undertook ' The Polish ExUes,' after Sir William Allan, foUowed by the ' Cove nanter's Communion,' after Harvey, works which gave him a reputation. He was elected an associate of the Scottish Aca demy. He died at Edinburgh, December 20, 1850. H O W I T T, Samuel, animal painter. Born about 1765. He was self-taught ta art, but there is little record of his early life. He first exhibited at the Spring Gar dens' Rooms in 1783, and at the Royal Aca demy ta 1793, ' Jaques and the Deer ' and ' A Fox Hunt ; ' and in the foUowtag year, ' Smugglers Alarmed.' His name then dis appears as an exMbitor. He went to India and passed many years in Bengal, where he made numerous drawtags, particularly of Q the wUd hunting of that country. From these he pubhshed 50 engravings iu 1801 ; ' The British Sportsman,' 70 coloured plates, 1812 ; in 1814, Ms groups of ani mals in illustration of iEsop's 'Fables,' and 'Foreign Field Sports,' 100 plates; in 1827, ' British Preserves,' 36 plates, etched by himself from Ms own drawings. In 1814—15 he was agata an exliibitor at the Academy, but only ta these two years. He died suddeMy, ta Somers Town, in 1822. His drawing was marked by spirit and cha racter ; Ms etchings are carefully finished and truthful. His works almost entirely relate to animals and the sports connected with their pursuit. HOWLETT, Batholomew, engraver and draftsman. He was born at Louth, and came to London, where he was ap prenticed to Heath. He was much em ployed ta topograpMcal and antiquarian works. He engraved, ta 1805, a selection of views ta Lincolnshire, a work of some note, and was engaged on AVUldnson's 'Lon- dina Ulustrata,' Bentham's 'Ely,' Frost's ' Notices of HuU,' and other works. In 1817 he commenced a topographical account of Clapham, for which he had made the drawings, but oMy one number was pub lished. He left a series of drawings of the church of St. Katharine, near the Tower, which he had completed, and above 1,000 ftaished drawtags from the seals of the monastic and religious houses ta his king dom. His latter days were embittered by pecumary distress. He died at Newtagton, December 18, 1827, aged 60. HOWSE, G., water-colour painter. He patated landscape, views of towns, and coast scenes. He was from 1837 a member of the Institute of Water-Colour Painters, and a large contributor to their exMbitions. He died about the end of the year 1860. HUDSON, Thomas, portrait painter. Born in Devonshire in 1701. He was the pupU of Richardson, and became a mem ber of the Incorporated Society of Artists. He drew the face well, and his unaffected representations pleased the gentry of his time, but he had httle abihty to paint more than the face, the restwas left to the drapery man. He lived for many years, in Great Queen Street, Lincoln's Inn Fields, and, succeeding Jervas, became the fashionable portrait patater of his day, and was the first English patater who gataed that dis tinction. He was soon, however, eclipsed by Reynolds, who had been his pupil, and he retired contentedly to Twickenham. Celebrated ta his own day, scant justice has been done him in the present. He is only spoken of as the master of Reynolds. His first wife was the daughter of Richardson, who had been his teacher ¦ and towards the close of Ms life he married a second time, a lady of good fortune. There is a portrait 2 227 HUD HUL of Handel by him ta the National Portrait Gallery. He had a large collection of draw ings, many of them probably came into Ms possession from Richardson. He died at Twickenham, January 26, 1779. HUDSON, Henry, engraver. Bom in London. He practised ta mezzo-tint about the end of the 18th century, but little is known of him. He engraved ' Belshazzar's Feast,' after Rembrandt ; 'David and Bath- sheba,' after Castelli; and Sir WiUiam Hamilton and some other portraits, after Sir Joshua Reynolds. He died abroad in 1762. HUGFORD, Ignatio, 'history painter. Born in England. He settled early in life at Florence, where he practised as an his torical painter. Some of his works are ta the Ducal collection, and the altar-piece of Sta. Felicity, ta that city, is by him. His works have not much merit. He is chiefly remembered as the master of Bartolozzi, R.A. He died 1778, aged 75. HUGGINS, William John, marine painter. Began life as a saUor, and passed his early days at sea in the service of the East India Company. Of the circumstances and opportunities which made him an artist httle is known, but he was early in Me settled ta LeadenhaU Street, painting the portraits of ships, some of his first being those in the East India Company's service. In this he found remunerative employment, and gradually improving his work was ad mitted to the Academy Exhibition, and he continued for several years an occasional exhibitor. In 1834 he was appotated marine painter to WiUiam IV. , who esteemed his work rather for its correctness than its art. He paMted for his Majesty three large pictures of the ' Battle of Trafalgar,' wMch are now at Hampton Court. His works are tame ta design, skies bad ta colour, seas thin and ipoor. He died May 19, 1845, aged 64. Several of his paintings are engraved. HUGHES, Henry, wood-engraver. Born about 1796. He practised Ms art in London, and engraved the illustrations for many works, among others, ' The Beauties of Cambria,' the landscape views of which are cut with much ability. HUGHES, Robert Ball, sculptor. Student of the Academy. Gained the gold medal in 1823 for his group of ' Mercury and Pandora.' He exhibited a bust at the Academy in 1822, his gold medal group iu 1824 ; in 1825, ' Achilles ; ' ta 1826, two busts ; and in 1828, Ms ' Shepherd Boy ; ' after wliich he went to America, and Ms name no longer appears in the catalogues. HUGHES, YV ilham, wood-engraver. Was a native of Liverpool, and apprenticed to Henry Hole. His earliest works were for the illustration of Gregson's 'Fragments of Lancashire ; ' some of his most finished 228 for Ruttert 'Delineations of FonthiU.' He also engraved for Dibdta's 'Decameron,' 1817, and Johnson's ' Typographia,' 1824. He had great power of imitation, and two blocks after Holbein and some of his iUus trations for Ottley's ' History of Engraving ' are exceUent. He died in Lambeth, Feb ruary 11, 1825, aged 32. His works are neat ta fifflsh, and though dry and hard possess much merit. HUGO of St. Alban's. He is recorded as the master painter of St. Stephen's Chapel, Westminster, temp. Edward I. HULETT, J., engraver. He practised ta London ta the reign of Charles I., and found his chief employment with the book sellers. There is, both drawn and engraved by him, a portrait of Robert Devereux, Earl of Essex, and of Sir Thomas Fairfax. HULETT, James, engraver. Towards the middle of the 18th century he practised M London, and was cMefly employed by the booksellers. He executed the cuts for an edition of ' Joseph Andrews,' and many of the plates for Coethgon's ' Dictionary. of Arts and Sciences,' and for a ' Life of Queen Anne.' He died M Red Lion Street, Clerkenwell, January 1771. HULL, Thomas H., miniature painter. First exhibited at the Royal Academy in 1775, and continued to contribute up to the year 1800. HULLMANDEL, Charles Joseph, lithographer. Son of a German musician. He was bom in London, and devoted him self to art; travelled, and made on the Continent many sketches and studies. In the year 1818 he tried lithography, and printed many of Ms own drawings. He was so successfM that his instruction was sought both by artists and amateurs ; and he determined to devote himself to the new art, wMch was indebted to Mm for great improvements. He succeeded in producing a graduated tint, and in the use of white for the high lights. He was en gaged ta the fine folio works of Stanfield, Roberts, Harding, Nash, Haghe, and others. After many experiments, he invented the litho-tint process, the use of liquid ink on the stone with a brush, and in tMs manner published the works of Cattermole, aud afterwards gave greater variety ta the art by the use of the stump on the stone. He ched ta Great Marlborough Street, Novem ber 15, 1850, ta Ms 62nd year. HULSBERG, Henry, engraver. Was born at Amsterdam. He practised in London many years, but the time of his arrival here is not known. His chief works are portraits. Some arcMtectural plates by him in the ' Vitruvius Britannicus ' and a large view of St. Peter's, Rome, are weU engraved ; but bis works, though neat, are tasteless in manner. He was paralysed for two years before his death, and was assisted HUM by a Dutch club, and by the community; belonging to the Lutheran Church ta the1 Savoy, where, on his death, in 1792, he was! buried. HUMBERT, Albert J., architect. Began his career in partnership with Mr. Reeks, who is now in the Office of Works. They made drawtags for the New Govern ment Offices, wliich obtained a premium at the ExMbition of Westminster Hall. In 1S54 he rebuUt the chancel of Whipping- ham Church, and when in 1860 the old church was entirely re-built, he furnished the designs. He also designed the mauso leum of the late Duchess of Kent at Frog- more, near Windsor, ta 1860, and in 1S62 the mausoleum for the Prtace Consort, though the decorations were the work of Professor Griiner. He subsequently re buUt Sandrtagham House for the Prince of Wales. He died at Castlemona, Isle of Man, December 24, 1877, aged 55. HUMPHREY, Ozias, R.A., miniature painter. Born at Honiton, September 8, 1742, and educated at the Grammar School there. He was the representative of the ancient famUy of Homfrey mentioned by Holinshed. His love of drawing induced his parents to send Mm to London, and under the advice of Reynolds, P.R.A., he studied at the St. Martin's Lane School and the Duke of Richmond's Gallery. At the end of about two years the death of his father led to Ms return home, and he was then placed under Samuel Collins, the well- known miniature painter at Bath, and on Ms master's removal to Dubhn he succeeded to his Bath connection. In 1764, en couraged by Reynolds, he settled in Lon don, and ta 1766 a miniature, which he exMbited in the Spring Gardens' Rooms, was purchased by the King, who gave him a commission to paint the Queen and other members of the royal famUy. He was a member of the Incorporated Society of Artists, and now occupying an eminent place ta Ms profession, he continued to practice with success tiU, ta 1772, Ms system suffered severe mjury from the effects of a fall from Ms horse, and he sought relax ation and rehef by a visit to Italy. He left England ta March 1773, accompanied by Romney, and made Ms way to Rome, where he studied the works of the great masters and drew ta the French Academy estab lished ta Rome. He also visited Naples, Florence, Venice, and Milan. He returned ta 1777, reaching London in September. He settled in Newman Street, and hoping to profit by his earnest studies in Italy, where he had practised ta oil, he tried the Mgher walks of art, but without encouragement. He exhibited portraits at the Academy ta 1779-80, whole-lengths and others, and again in 1783. His attempts on large canvases did not, however, realise HUM the hopes promised by his early miniatures ; and with some sense of his disappointment he went to India, to find a competence at the native courts. He embarked for Bengal in the beginning of 1785, and there, and subsequently at Calcutta, Moorsheda- bad, Benares, and Lucknow, he painted the miniatures of the native princes and persons of disttaction, and realised some property. In 1788 ill-health compeUed his return, and he resumed miniature painting in St. James's Street. He had been elected ta 1779 an associate, and in 1791 was made a full member, of the Academy. He foimd plenty of employment, and among other engagements he undertook to orna ment a cabinet, for the Duke of Dorset, with miniatures from the portraits at Knole. He had finished 50, when, from the excessive application, added to his weak health, bis sight failed. He then directed Ms attention to crayon portraits, and was in 1792 appointed portrait painter ta crayons to the King. His success in this mamier gataed him sitters, and he exhibited many portraits at the Royal Academy. In 1797 the Prince and Prin cess of Orange sat to Mm. But these were nearly Ms last works ; he did not exhibit after that time. His sight suddenly and entirely failed, and he retired to Kfflghts- bridge. He died in Thornhaugh Street, Bedford Square, March 9, 1810, aged 67. As a miniaturist he was eminently success ful. Though without loss of originality, he possessed more of the character of Rey nolds than any other painter. Simply composed, well drawn, sweetly coloured, and graceful, not wanting in character or resemblance, his miniatures possess a charm which will always maintain for them a high place among works of art. He signed his initials in Roman capitals,;H. wittan the O. HUMPHREYS, William, engraver and draftsman. Born about 1740. He obtained, in 1765, the Society of Arts' pre mium for an engraving after Rembrandt. He practised towards the end of the 18th centuiy, and excelled ta mezzo-tint, but used also the graver and the needle. His mezzo-tints after Reynolds, P.R.A., possess very high merit, and were esteemed among the best of the time. HUMPHREYS, William, line-en graver. Born at Dublin. He went early ta life to America, and was much employed in PhUadelphia on vignettes for bankers' notes, adopted for their art excellence as a security against imitation and forgery. On his return to London he had some similar employment, aud engraved the head of Queen Victoria for our postage stamps. Among his more important works are Leslie's 'Sancho and the Duchess,' the Dresden ' MagdaleD,' after Correggio ; 229 HUN Reynolds's 'Coquette;' and Lawrence's ' Master Lambton.' He also engraved for ' The Bijou,' ' Forget-me-not,' and some other of the annuals. He died at Genoa, where he had gone for the restoration of Ms health, Januaiy 21, 1865, aged 71. HUNNEMAN, Christopher William, miniature painter. He had a good prac tice iu London M the last quarter of the lSth century, and was from 1777 till Ms death an exhibitor of portraits at the Aca demy ta oil and crayons, but chiefly in miniature. He died November 21, 1793. HUNT, IL, engraver. Practised in the latter part of the 17th century. He worked for the booksellers, and there are some slight engravings of natural Mstory by him, dated 1683. HUNT, Thomas F., architect. He was the labourer in trust attached to Kensing ton Palace, and was an exMbitor on one or two occasions at the Royal Academy. He designed the Burns Mausoleum at Dumfries. He published ' Hints for picturesque Do mestic ArcMtecture,' 1825; 'Designs for Parsonage Houses, Almshouses,' &c, 1827; ' Architettura Campestra, Lodges, Gar deners' Houses,' &c; ' Exemplars of Tudor ArcMtecture, adapted to Modem Habita tions,' 1829. He died at Kensington, January 4, 1831, aged 40. HUNT, William, water-colour painter. Born March 28, 1790, ta Belton Street, Long Acre, where Ms father kept a shop as a tin-plate worker. His education was but scanty. A sickly cMld, he amused Mmself by drawing, and, overcoming Ms father's objections, he was apprenticed to John Varley, and M 1808 was admitted a student of the Royal Academy. He had the previous year exMbited there three oU pictures, and conttaued an exMbitor yearly to 1811. He became a visitor to Dr. Monro's, and the associate of the rising water-colour painters of the day. He often stayed with the doctor for a month at a time, and was paid by Mm 7s. 6d. per day for the drawings he produced. In 1S14 he first connected himself with the Water- Colour Society as an exliibitor, and con tributed occasionally to the exliibitions. In 1824 he was elected an associate, and in 1827 a member, of the Society. From 1824 he was a large and constant exhibitor, for many years his contributions ranging between 20 and 30 works. He will always maintain a veiy high place in the school of water-colour art. Com mencing his practice when that art was ta its itaancy, Ms early drawings are M the tinted manner, some of them drawn in with the reed pen; yet in these the original qualities of Ms matured art may be traced. As this was developed, aU the resources and methods are employed to give texture, brilliancy, and power, and hi all these he 230 HUE excelled. His best works are wonders of colour and imitative execution — his fruit and flowers unrivalled in truth and com pleteness of finish ; Ms rustic groups weU drawn, ftal of life and humour, the real children of the soil, redolent of country nature; his landscapes no less trutMul and excellent. Sicldy from infancy, he was during his long hfe more or less an invalid, and hved much at Hastings. Always indefatigable in his art, he conttaued to work to the last, and his numerous drawtags from their varied and Me-like character and artistic exceUence wiU never fail to be esteemed and valued. He caught cold, which ter minated in apoplexy, and died ta Stanhope Street, London, February 10, 1864, ta his 74th year. HUNTER, William, portrait painter. Practised ta London the latter part of the 18th centuiy. He made some attempts at Mstory. HUNTER, Robert, portrait painter. Was bom ta Ulster, and studied under Mr. Pope, seMor. He practised ta Dubhn about the middle of the 18th century. He had a large and profitable practice. His likenesses were good, his colouring studied and harmonious, and his art generaUy respectable. He was deemed the first portrait patater in Ireland, and maintained that position tUl the arrival of Mr. Home, about 1780. He had great knowledge of all matters of interest relating to the fine arts ta his country, and readUy concurred in the plan for founding theDublta Society's Art School. His portrait of the Rev. L. Madden, 1 745, is mezzo-tinted by R. Purcell. HUQUIER, James Gabriel, portrait painter. Son of a French patater, who came to England late in life. He practised Ms art ta London, and obtained some cele brity as a patater of smaU portraits in crayons. He exhibited occasionally at the Academy from 1770 to 1786, and about 1783 resided for a time at Cambridge. He died at Shrewsbury, far advanced ta years, June 7, 1S05. HURDIS, John Henry, amateur. De scended from an old Warwickshire family. He finished his education ta France, and then, by Ms own wish, became a pupU of James Heath, the engraver. His property did not necessitate Ms foUowtag art pro fessionally, but he was well known by Ms etchings as an amateur. He long resided near Lewes, and both by Ms portrait and topographical etchings has left many memo rials of that neighbourhood. He died at Southampton, November 30, 1857, aged 57. H\]Rl&l:0'^,RienA^.T>,portrait paint er. Practised ta London the latter part of the 18th century. In 1764 he was awarded a premium at the Society of Arts. He contributed portraits to the Royal Aca- HUE HUS demy ExMbitions ta 1771-72-73, and in the latter year went to Italy with Wright, of Derby. Immediately after his return to England he was kUled by lightning, wMle riding across Salisbury Plata ta a storm. He was an artist of some promise. A portrait by Mm was mezzo-tinted by Dean. His picture of Sterne's 'Maria' was also engraved. HURLSTONE, Frederick Yeates, portrait and history painter. He was the grand-nephew of the above, and was born ta London in 1800. He was early engaged ta the office of the ' Morning Chromcle, of wMch paper his father was one of the pro prietors, but attached himself to art, and was admitted to the schools of the Royal Academy in 1820. He became a pupU of Sir WiUiam Beechey, and also received some instruction from Sir Thomas Lawrence and B. R. Haydon. He first exMbited at the Academy, in 1821, 'Le Malade Imagtaaire ;' and the foUowtag year, ' The Prodigal Son,' with a portrait ; ta 1823, portraits ; ta 1824, portraits, with 'The Contention between the Archangel Michael and Satan for the body of Moses,' a work wMch had gained the Academy gold medal ta the competition of the preceding year, and from that time to 1830 he exMbited several portraits yearly. In 1824 he was also an exMbitor at the newly-founded Society of British Artists, and continuing an occasional exMbitor, was in 1831 elected a member of the Society, and for the foUowMg 14 years exMbited exclusively with its members, sending a large number of portraits and occasionally a subject picture. In 1835 he was elected E resident of the Society, and ta that year e first visited Italy. In 1844 he resumed his contributions to the Academy ExMbi tion, sending his ' Prisoner of ChiUon,' with some portraits, and exhibiting there agata in the foUowtag year, but then for the last time. He visited Spain ta 1851-52, and ta 1854 Morocco ; and at this time, greatly influenced by the art of Spain, he patated some ^Spanish subjects, boys naif-clad, in the manner of MuriUo, and some Moorish scenes. He became much opposed to the Royal Academy, and was one of the party who gave evidence against the constitution and management of that institution ta the parliamentary encruiries instituted in 1835. He fihed the office of president of the Society of British Artists nearly 30 years. He had a knowledge of foreign literature, made several visits to Italy, and studied ta Spain the works of the great Spanish painters. He was ta 1855 awarded a gold medal at the Paris ExMbition, but his latter works did not maintain Ms reputa tion. Of those most esteemed may be mentioned ' Armida,' from Tasso ; ' Eros,' 'Constance and Arthur,' 'Card-players in a Posada in Andalusia,' ' BoabdU el Chico, mourning over the Fall of Granada, re proached by his mother,' and ' Monks at the Convent of St. Isidore distributing Provisions.' He died June 10, 1869, ta his 69th year, and was buried m Norwood Cemetery. HURTER, John Henry, miniature painter. Was born at Schaffhausen, Sep tember 9, 1734. He was induced to visit this country by Lord Dartrey,- and was much employed here practising in enamel, and cMefly as a copyist. He exhibited at the Academy about 1782. He returned to Switzerland. J. F. C. Hurter, beheved to have been his brother, worked with Mm. HUSSEY, Giles, portrait painter. Was descended from an old Dorsetshire famUy, and was born at Marnhull, ta that county, February 10, 1710. Educated at Douai and St. Omer, where he acquired a taste for drawing, he was, in opposition to the wishes of Ms family, permitted to fol low art, and placed with Richardson, the portrait patater, as his pupil. But he soon left Richardson, and placed himself under Damtai, a Venetian patater then ta Eng land, and after four years' study went with him to Italy. On their arrival at Rome the master decamped, robbing his unsus pecting pupU of all his money and the best of his clothing. Assisted by the English Minister, he remained several years in Italy, chiefly at Bologna, and returned to England in 1737. He did not, however, settle in London till 1742. He then was obliged to submit to what he called the drudgery of portrait painting for Ms subsistence, and worse than that, he for some time earned his scanty meals by maktag copies of a likeness of the Pretender, which he had painted at Rome. He imagined that, after having long sought the unerring principles of art, they had been mysteriously revealed to him in Italy ; that the drawing of the human race, on a ruling principle of concord in nature, should be corrected by the musical scale, and that after the key-note had been obtained, the proportions of the face shoidd be determined by it. He was wounded by the jealousy, as he deemed it, with which his discovery and his art were received, and he complained that his spirits were depressed, Ms ardour cooled, and he conceived a disgust for the world and a dislike for his profession. His temper was soured, and in October 1768 he retired into the country, to recover the wounds inflicted on a too sensitive mind. In 1773, his elder brother dying, he suc ceeded to the family estate at Marnhull, where he amused himself with his favourite studies and in gardening, till 1778, when, from religious motives, he resigned aU his worldly possessions to a near relative, and retired to Beeston, near Ashburton, where 231 HUS he died suddenly in June 1788. There is a memoir and portrait of him in the 8th volume of Nichols's ' Literary Anecdotes.' His portraits are simple and character istic, and have much elegance. His draw ings are chiefly in pencU, pm-e and free in line ; many of them are preserved ta the Academy at Bologna. Reynolds praised his pure, classic taste. Barry, who defended him against what he called his mean de tractors, said few could conceive the perfec tions that were possible in him ; and he placed his portrait behind that of Phidias in his ' Elysium ' at the Society of Arts. West also possessed some of his chalk heads, which he declared had never been surpassed. HUSSEY, Philip, portrait painter. He was born at Cork, and beginning Me as a seaman, he was five times shipwrecked. He commenced art by chawing the figure heads of ships' sterns, and, self-taught, was ta time able to gain a practice ta Dublin as a portrait painter. He painted some fair whole-lengths. He was a clever man, and made himself a tolerable florist, botanist, and musician, and his house was the rendez vous of the artists and literary men of Dublta. He died there at an advanced age ta 1782. HUSSEY, , animal painter. He IBE is said to have been a surgeon and apothe cary, practising in Covent Garden, to have left that profession for the arts, and to have excelled particularly as a painter of race horses ; but there appears no known trace of these works. He died ta Southwark, August 26, 1769. HUTCHINSON, Henry, architect. He was of some promise, and designed and executed the additions to St. John's College, Cambridge ; but his career was short. He died at Leamington, November 22, 1831, aged 31. HUYSMANN (or HOUSEMAN), Jaoob, portrait painter. Born at Antwerp in 1656, he came early ta life to England, and practised portrait patating, and occa- sionaUy history, in the reign of Charles II. He painted several portraits of Catherine of Braganza, one of which, a \?ork of much pretension — a fuU-length seated figure, surrounded by cupids and a lamb — is at Buckingham Palace. The altar-piece at the German Chapel, St. James's, is by Mm, as is also a portrait of Isaac Walton, in the National Portrait GaUery. He died in London in 1696, and was buried at St. James's Church, PiccadUly. His heads are weU drawn and coloured, the character and expression good. I IBBETSON, Julius Cesar, landscape and figure painter. His father was one of the first who joined the Moravian frater nity at Fulneck, Yorkshire, but, marrying, was expelled the society. His mother, in consequence of a fall, died in premature labour, and he was brought tato the world December 29, 1759, by the Caesarian oper ation, hence his Christian name. He was educated for a time by the Moravians, and then sent to a Quaker school at Leeds. Showing an early inclination for art, he was apprenticed to a ship-painter, and though he could only learn from him the mechamcal part of his art, his invention soon showed itself in his appropriate ornaments. When only 17 years of age he patated the scenery for a piece acted at the York and Hull Theatres, which gained Mm a local celebrity. He says : ' Having from my earliest youth had a most violent propensity for art, with out ever meeting with instruction or en couragement, I at last, on making my way up to Loudon, found myself safely moored hi a picture-dealer's garret.' This was ta 232 1777, and without money or friends he laboured unknown and in durance for seve ral years. In 1785 he first appears as an exMbitor at the Academy, contributing in that and the two foUowtag years views in the suburbs of the Metropolis. He had in the interim married^ and managed to remove to KUburn, where he devoted himself to the study of nature, painting both cattle and rustic figures. Many of these works were of much merit, but were sold at very inadequate prices to the dealers. But whUe so employed he acquired knowledge, partictaarly of the Dutch and Flemish masters, as well as of the tricks of the picture-dealing trade, as then carried on. He became acquainted, too, with Captain Baillie, the well-known amateur, formed a better connection, and improved his fortunes ; and as he was a man of extensive reading and of acute observation, he found his way tato much good society. In 1788 he accompanied, as draftsman, Colonel Cathcart's embassy to CMna, but the ambassador dying on the IBB voyage the vessel returned to England. He had been arrested by his quondam master on arranging to accompany the embassy, and a long delay arising before only a part of his claim was settled, he was hi great difficulties, and he had gataed httle by his voyage but a knowledge of saUors and ships, wMch appears in Ms works from this time. On his return he was for many years a large contributor ta oil and water-colours to the exMbitions at the Academy. His works at first were chiefly coast scenes, but later, landscapes, introducing cattle and figures, with rustic incidents. He found employment ta patating for a publisher the auimals for the ' Cabinet of Quadrupeds,' which are rendered interesting by theh characteristic incidents and pic turesque backgrounds. In 1794 be lost his wife ; he had previously lost eight chUdren tasuccession, and Ms excessive grief brought on brain fever, on recovering from which he found he had been robbed of everything that cotad be removed ; and, disposing of the httle that was left, he put his three re maining chUdren to school and broke up Ms household. Then, led tato convivial society and increasing embarrassments — driven to seek his amusement ta doiibtfM company, he accepted bills and became surety for payments far beyond his means, and at last, as the only means of escape, left London ta 1798 for Liverpool, where an art commission was procured for Mm, and from thence visiting Westmoreland, Hull, and Edin burgh, returning to London in 1800. In June 1801 he married a second time, and a few months later was attacked by his old creditors, wMth whom he believed a friend had settled, and he was agata plunged into hopeless embarrassments. He had, however, many commissions to execute, and managed to escape to his own qtaet native vihage of Masham, M YorksMre, where, out of the way both of duns and parasites, who . had preyed upon him, he was, by pinching economy, enabled to live. From thence he sent some pictures to the Academy Exhi bition—Ms last in 1812 ; and there he died, from the effects of a cold wMch settled on the lungs, October 13, 1817, aged 58. He painted both in oU and water- colours. His works possess considerable merit, but did not find purchasers. His manner was clear and firm, Ms colouring subdued, having a tendency to a clayey hue ; his landscape pleasing, with cattle and figures weU introduced. He published, in 1803, ' An Accidence or Gamut of Painting ta Oil and Water-Colours,' treating solely of the mediums and colours to be used, exem plified by examples ; but in a short intro duction, iUustrated by some clever head and taU pieces etched by himself, he shows Mm self a humourist and a clever writer. He advises artists to avoid picture-dealers as INC serpents ; says they are to living painters as hawks to singing-birds, and be proposes to publish a work, for which he says he has collected a prodigious quantity of materials, to be entitled 'Houibuggologia' — anecdotes of picture-dealers, picture cleaning, and pictures ; but this, like a promised second part of his ' Gamut of Painting,' has never appeared. The boon companion of George Morland, Ms foUies and faffings were of the same class. ILLIDGE, Thomas Henry, portrait painter. Descended from a Mghly respect able Cheshire famUy, he was born at Bir mingham, September 26, 1799. His father removed to Manchester when he was a chUd, and dying early left his famUy with oMy scanty provision. He was educated at the Manchester Grammar School, and showing a taste for art, was taught chaw ing, and afterwards became successively the pupU of Mather Brown and Wffiiam Bradley. His inclination would have led liim to landscape, but he had married early, and with a young famUy he thought it more prudent to try portraiture. His abili ties were assisted by many kmd friends, and he found full employment in the manufac turing districts of Lancashire. He was an exhibitor ta Liverpool ta 1827 ; and from 1842, when he came to reside in London, he was a constant exMbitor at the Royal Academy. On the death of H. P. Briggs, R.A., M 1844, he purchased the lease of Ms house ta Bruton Street. Of a cMtivated mind and refined manners, ta the middle of a career of great promise, he died there of fever, after a short illness, May 13, 1851. A portrait of Colonel Clayton by him hangs ta the court-house at Preston ; of Sir Joshua Walmesley, at the Collegiate Insti tution, Liverpool, presented by the artist ; and one of the late Earl of Derby, ta the board-room of the coUege. IMBER, Lawrence, master carver. Was employed ta that capacity on the erec tion of Henry VII.'s Chapel, Westminster. INGE, Joseph Murray, water-colour painter. He was born about 1806. His parents resided at Presteign. In Decem ber 1823 he became a pupil of David Oux, and conttaued with him until early m 1826. He then came to reside ta London, and ex hibited landscapes at the Royal Academy. About 1832 he was living at Cambridge, where he made many drawmgs of the arcM tecture of the place, for which he found purchasers there; and then, about 1835, resided for a time at Presteign. He continued an occasional exliibitor at the Academy of landscapes, both in oU and water-colours, up to 1847, and up to 1858 at the Society of Artists. He inherited some property on the death of Ms parents, and died shortly before 1860, probably at Pres teign. His small drawings were well and 233 ING IEE carefuUy coloured, and are among his best works. INGALTON, William, subject painter. He was born at Worplesdon, Surrey, in 1794, and was the son of a shoemaker. He painted domestic and rustic scenes, which showed great ability, living the greater part of the time at Eton. He exMbited at the British Institution, 1818, 'Preparing for the Fair ' and ' The Vestry ; ' and yearly, from 1816 to 1823 — after which Ms name no longer appears — he contributed to the exhibitions at the Royal Academy subjects of a domestic character — ' The Wedding Ring,' ' Skittle Players,' ' Bargaining for China,' and ' The Battle Interrupted.' When about 30 years of age, owing to extreme Ul-health, he ceased to practise as an artist, and became an architect and builder at Windsor. He resided ta the latter part of his life at Clewer, where he gataed much good wiU, and died ta 1866. INGLIS, Hester, ornamental designer. She was celebrated for her great skill ta caligraphy, but has claims to a place among the artists for her embeUishments and clever head and tail pieces. She practised ta the reigns of Elizabeth and James I. To the Queen she presented a copy, ta French, of the Psalms of David in her own writing, now in the Libraiy of Ctaist Church, Oxford. Her manuscripts are higMy curious. She wrote 'Les Proverbes de Salomon' in 1599, every chapter of wMch is in a different hand. There are two manu scripts by her in the Bodleian Library, Oxford. In the Royal Library there is a collection of 50 emblems by her, finely drawn and written. INGRAM, John, engraver. Born 1721, ta London, where he learnt his art. In 1755 he went to Paris, and settling there greatly unproved his style. He produced several plates after Boucher, but was chiefly employed on small plates for book Ulustra- tion, most of them vignettes, engraved ta a neat, formal manner. iNSKIPP, James, subject painter. He was originally ta the Commissariat Service, from wtach he retired with a pen sion, and then resided in Soho, where he practised as an artist. He was from 1S20 a constant contributor, with one or two periods of absence, to the Academy ExM bitions. His Mst works were landscapes, followed by some portraits and domestic subjects. He was also, from 1825, an ex hibitor with the Society of British Artists of works both ta oil and water-colours, and up to 1835 was a large contributor ; but from that time he exliibited at the Aca demy only, sendiug in 1839 ' An Italian Vineyard;' in 1840, 'A Hencoop,' which was higMy spoken of at the time ; and in 1841, ' ZingareUa,' his last exMbited work. 234 Of an irritable temper, he was iU-fitted to contend with the trials of portrait painting, and is said to have dismissed a disttaguished sitter, on the second sitting, telling Mm with an oath that he hated him and would not paint him. About this time he retired to Godalming, where he did not altogether lay aside Ms art, practising for his amuse ment. He died there, March 15, 1868, aged 78, and was buried in the Godalming Cemetery. He published ' Studies of Heads from Nature,' in 1838. INWOOD, William, architect and surveyor. Was born about 1771, near Highgate, where his father was bailiff to Lord Mansfield. He designed several country mansions, and in 1819-22, assisted by his sons, he designed and erected the fine new church at St. Pancras. In 1821 he planned the new gaUeries for St. John's Church, Westminster, and ta 1832-33 the new Westminster Hospital. From 1813 he was for several years an exhibitor of archi tectural designs at the Royal Academy. He died ta London, March 16, 1S43. He pub lished ' Tables for purchasing Estates,' 1819, which has run tMough 18 editions. INWOOD, Henry William, architect. Bom May 22, 1794. Son of the above. He was educated under his father, and ta 1819 traveUed ta Greece, where Ms studies are evinced by the classic church at St. Pancras, the jotat work of his father and himself. He was also connected with his father in the erection of St. Martin's Chapel, Camden Town, 1822-24 ; Regent's Square Chapel, 1824-26; Somer's Town Chapel, 1824-27. He saUed for Spain ta March 1843, and the vessel was lost with aU on board. He was for many years, commenc ing ta 1809, an exhibitor at the Royal Aca demy. He published ' The Erechtheion at Athens,' 1827, and commenced ' The Re sources of Design in the Architecture of Greece, Egypt, and other countries,' but of this two parts only appeared. INWOOD, Charles Frederick, archi tect. Bom November 28, 179S. Younger brother of the above. He was brought up in his father's office, and was his special assistant. He designed All Saints' Church, Great Marlow, opened 1835, and the St. Pancras National Schools. He exhibited some designs from time to time at the Royal Academy. He died June 1, 1840. IRELAND, Samuel, engraver and draftsman. Was originally a mechanic in Spitalfields. He commenced dealing in prints and drawtags, and ta 1760 he gained a Society of Arts' medal, and soon attained some skill ta drawing and engraving. He exhibited at the Royal Academy in 1782— the only occasion — some water-colour land scapes and a drawing of ' ChUdren,' and was able, never having travelled, to com pile and publish, in 1790, 'A Picturesque IEE JAC Tour through Holland, Brabant, and part of France.' Encouraged by this fiction he produced, in 1792, ' Picturesque Views on the River Thames; 'and ta 1793, 'Pic turesque Views on the River Medway,' followed by ' Picturesque Views on the River Severn.' These works were produced ta mezzo-tint by his own baud, from his own sketches, and pleased the taste of his day. In 1794 he pubhshed an ingemous work, ' Graptac IUustrations of Hogarth,' wMch must not be confounded with the work ' Hogarth Illustrated,' edited by John Ire land, with whom he was ta no way connected. His last work, published after his death, was ' Picturesque Views, with an Historical Account, of the Inns of Court.' His son has a bad reputation for Ms Shakespeare forgeries, and he was un able to defend Mmself successfully from the suspicion of comphcity M this daring fraud. He published two angry, Ill-judged pamph lets on the subject. He died in Norfolk Street, Strand, in July 1800. His daughter, Jane Ireland, patated some clever minia tures. IVORY, James, architect. Was self- educated in his profession. He practised in Dublin, and on the foundation of the Dublin Society's School was the first professor of architecture, and held the office tUl his death in 1786. He built the Blue-Coat Hospital, Dublin, commenced in 1773, an important, well-proportioned Ionic struc ture, and the only monument of Ms abffity. IVORY, Thomas, architect. Practised at Norwich about the middle of the 18th century. He built the Assembly House in that city, and the Octagon tihapel in Colegate Street, surmounted by a dome supported by Corinttaan columns, 1754-56, and the theatre, 1757. He ched 1780. JACKSON, Robert, engraver. There are some early mezzo-tint portraits and a woodcut by an artist of this name ta the reign of James II. JACKSON, John, R. A., portrait paint er. Was the son of the village tailor at Lastingham, in the North Riding of York shire, where he was bom. May 31, 1778, and was apprenticed to Ms father, who cotad not for some time be induced to let him follow his strong predisposition for art, saying, ' He is as good a tailor as ever sat on a shop-board, and how can he do better"? ' He soon, however, made Mmself known by his attempts to draw the likenesses of his compamons, and was rescued from Ms apprenticeship by the contributions of some friends when he had stiU two years to serve. His portraits had been slight attempts ta pencd, weakly tinted, but a portrait by Reynolds was lent him to copy ta oU, in wMch Ms success led to his going to Lon don, in 1804, to study art as Ms profession. In tMs he was assisted by the generosity of Sir George Beaumont, and in 1805 he was admitted a student of the Royal Academy. The foUowtag year he exhibited a portrait- f-oup of Lady Mulgrave and the Hon. Mrs. hipps, and continued to exhibit his works at the Academy for several years, the names of Ms sitters showing how largely he was supported by Lord Mulgrave's family. He pursued Ms studies with assiduity, but his portraits in oil did not afford much promise. His water-colour portraits were however, as he gained power, greatly ad mired — they were faithful in resemblance, well drawn, and carefully finished. Many of the heads in CadeU's ' Portraits of Illus trious Persons of the 18th Centuiy ' were drawn by him ta this manner, and his practice in water-colour was extensive, and produced him a handsome income. But he aimed at chstinction ta oil, and soon attained complete success. In 1815 he was elected an associate of the Academy, and traveUed through Holland and Flanders, studying the works of the Dutch and Flemish mas ters. In 1817 he became a fuU member, and the same year the directors of the British Institution awarded him a premium of 2001. for the general merit of his pictures. In 1818 he visited the chief cities of North ern Italy and Rome, and was elected a member of the Academy of St. Luke. He continued to exhibit at the Academy, but exclusively portraits, up to 1830. He had many men of great distinction as sitters, and several of his most eminent contemporaries ta the Academy. As a portrait painter he occupies a high rank. His works are faithful in resemblance, but wanting ta elevation of character ; solidly and powerfully patated, avoiding meretricious graces. He par ticularly excelled ta subdued richness of colour, and had great facility of execution. He was of the Methodist persuasion, and of deep religious feeling. In the two last years of his life he fell into a low despond- 235 J AC tag state of health. He died at St. John's Wood, June 1, 1831. He was twice mar ried, and though his professional earnings had been large, he left his second wife, the daughter of James Ward, R.A., and three infant chUdren, without any provision. There is a memoir of Mm in the ' Library of the Fine Arts,' 1831.*" JACKSON, John, wood-engraver. He resided for many years ta Smithfield, and was much employed, in the latter part of the 18th century, in engraving illustrations for children's books. He was a man of eccentric habits, of whom httle can now be learnt. JACKSON, John Baptist, wood-en graver. Was born ta 1701, and was ap prenticed to Kirkall, from whom he learnt his art. From want of employment at home, he went to Paris about 1726, where he applied to Papillon, then eminent as a wood-engraver, who says, in his ' Traite de la Gravure en Bois,' that he gave Mm a few things to execute to supply him with the means of subsistence, and charges him with ungratefully attempting to sell a dupli cate, which he had dishonestly made, of a design entrusted to him to execute. For some time he finished works on speculation, and was glad to seU them for what he could get, till, disgusted with Ms position, and almost destitute, he was Mduced to accompany a painter to Rome about 1731, and from thence to Venice. He resided there till 1742, and in 1745 published 17 large woodcuts ta chiaroscuro, chiefly from the great Venetian masters. After 20 years spent in France and Italy he returned to England, and finding no employment, he engaged himself in a paper-hanging manu factory at Battersea, where he conttaued in 1754, after which time no further record of him appears. He was employed upon vignettes and ornamental cuts for books, produced a fine ' Descent from the Cross,' after Rembrandt, and published six land scapes, printed in colours, of which process he claimed to be the inventor. JACKSON, John, wood-engraver. Was born at Ovingham, AprU 19, 1801. He was a pupil of Armstrong, and after wards of Bewick; but, disagreeing with his master, after about twelve months he came to London, and was for a time under Harvey. He soon commenced on his own account, and was largely employed on Mr. Charles Knight's publications, especially upon his ' Shakespeare.' He employed many assistants, and his works, if not of the first class, were suited to the pubhea- tii ais for which they were required. Some of his engravings of cattle, after Harvey, may be referred to as among his best works, as also some of his blocks for Noithcote's ' Fables.' He published, with Chatto, ' A Treatise on Wood Engraving, Historical 236 JAC and Practical ' — a work which is due to his enterprise. After four years of declining health and suffering, he died March 27, 1 848. Hewas buriedin Highgate Cemetery. JACKSON, John Richardson, mezzo tint engraver. Was born at Portsmouth, December 14, 1819, and was the second son of Sir. E. Jackson, banker. In 1836 he became the pupil of the late R. Graves, A.R.A., and at first practised line-engrav ing, but before long he abandoned this method in favour of mezzo-tint. His first work of importance was ' The Otter and Salmon,' after Sir E. Landseer, engraved ta 1847; but he subsequently confined himself almost entirely to portraits. Among them may be mentioned ' Lord Lansdowne,' after Sir F. Grant, P.R.A. ; ' Archbishop Trench,' ' Duke of Buccleugh,' ' Bishop Wilberforce,' and many others, after G. Richmond, R.A. ; ' Sir A. Fairbairn,' after G. F. Watts, R.A. ; 'The Queen,' after Fowler- 'The Princess Royal and her Sisters, after Winterhalter, etc., etc. His drawing was careful and his execution re fined and delicate, and his best works are characterised by much richness of colour. He died at Southsea of relapsing fever, May 10, 1877. JACKSON, Samuel, water-colour painter. He was born at Bristol, where Ms father, a merchant, brought him up ta bis office. He travelled ta Scotland and Ireland, and made a voyage to the West Indies to establish his failing health. In his travels the contact with nature de veloped a love of art, and at the age of 30 he commenced its study as a profession, and was the pupil of Danby, A.R.A., who was then residing at Bristol. He formed a friendship with Prout, Pyne, and some others ; and gaining a footing ta art, was in 1832, while stiU residing at Bristol, elected an associate exhibitor of the Water- Colour Society, and from that time was a yearly contributor of views ta Wales and landscape compositions up to 1848, when he withdrew from the Society. In 1853 he exhibited at the Royal Academy a ' Roadstead after a Gale, TwUight,' and ' Towing a dismasted Vessel into Port,' both in water-colours ; and the following year a ' Coast Scene, a Calm.' When well advanced in life, he made a tour in Switzer land, and painted some of his most success ful pictures. Well versed iu the techni calities of his art, he successfully studied the treatment of landscape, which he ren dered with much poetry and effect. He died ta 1870, aged 75. His son, Mr. S. P. Jaokson, is a member of the Water-Colour Society. JACKSON, William, amateur. He was born ta 1730, at Exeter, the son of a tradesman ta that city, and became dis tinguished as a musician and teacher of JAC music. He was a friend of Gatasborough, had a good taste for art, and was known ta his day by Ms clever landscapes. In 1771 he was an honorary exhibitor at the Aca demy ; but his chief merit was as a copyist, partiefflarly of the works of Gainsborough, of whose Me he wrote an interesting sketch. He also published some works on music and on some misceUaneous subjects. He died JMy 12, 1803. JACOBSEN, Theodore, architect. Was descended from a family who pos sessed considerable property ta London at the time of the Great Fire. He built the Foundhng Hospital, London, and the Royal Hospital at Gosport. He was a feUow of the Royal Society and of the Society of Antiquaries. He died ta May 1772, and was buried in Allhallows' Church, Thames Street. His portrait is ta the Foundling Hospital, of wMch institution he was a governor. JAGGER, Charles, miniature painter. Practised at Bath, and does not appear to have exMbited ta London. His works are marked by peculiar breadth and character, and are esteemed for their ability. A por trait by him of the Duke of Clarence is engraved. He died at Bath, after two days' Utaess, in 1827, aged 57. JAMES, Isaac, statuary. He prac tised ta London in the reign of Charles I. Nicholas Stone was his pupU, and was afterwards connected with him ta some monumental work. JAMES, John, architect. He was, ta 1705, appotated clerk of the works, and afterwards surveyor, of Greenwich Hos pital, and being much employed at Green wich, he settled there in 1718, and built the parish church. In 1710 he buUt Or leans' House, TwickeMiam, and ta 1713-15 added a new body to the church, leaving the ancient tower standing. In 1721 he buUt a large mansion at Blackheath for Sir Gregory Page, since puUed down. He also buUt Canons for the Duke of Chandos, and the church of St. George, Hanover Square, finished in 1724, and St. Luke's, Middlesex. He was partner in Ged's scheme of block printing, and sunk a considerable sum of money, which he lost. He translated Perrault's ' Ordonnance des cinque EspJces de Colonnes selon la Methode des Anciens,' 1712, and wrote ' The Theory and Practice of Gardening,' 1737, and a pamphlet on the schemes for rebtalding Westminster Bridge. He died early ta 1746. JAMES, George, A.R.A., portrait painter. Was born ta London, and went early to Rome to study art. On his return he settled ta Dean Street, Soho, to practise his profession, but did not meet with much encouragement, and then removed to Bath, where he had little better success. He was a member of the Incorporated Society of J A M Artists, and in 1764 exhibited with them the 'Death of Abel,' a large picture, fol lowed, in the succeeding years, up to 1768, by portraits. He exhibited portraits at the Royal Academy, some of them whole- lengths, from 1770 'to 1777; and in 1771, 'Cupid stung by a Bee.' He afterwards resided at Bath, from whence he sent some small subject pictures to the Academy Exhibition ta 1789 and 1790. His works, though carefully painted and designed, possess little merit. He was elected an associate of the Academy ta 1780. His grandfather built Meard's Court, Soho, and he inherited this property. He also married a lady of some fortune, so that he was independent of his profession. He had the reputation of being a bon vivant, a clever comic singer, and a good mimic. He went to reside at Boulogne, and was thrown into prison by Robespierre. His constitution suffered, and he died early in 1795. JAMES, William, landscape painter. Practised m the latter part of the ISth centuiy, and was ta 1 766 a member of the Incorporated Society of Artists. He also dealt ta pictures. When Canaletti was in London he was his pupU, or rather, per haps, his assistant, and an imitator of Ms manner. He exhibited at Spring Gardens, from 1761 to 1768, views of London from the bridges and ta the parks ; and at the Royal Academy some Egyptian temples and Oriental scenes in 1769 and 1770 ; and in the following year (after which Ms name disappears) two views of London and Westminster. There are some views by him ta the Hampton Court GaUeries. They are veiy literal, and entirely without art. JAMESON, Mrs. Anna, amateur. She was born ta Dubhn ta 1796, and was the eldest daughter of Mr. Murphy, an artist of some repute, who filled the appoint ment of patater in ordinary to the Princess Charlotte. She married, in 1823, a gentle man who held the office of vice-chancellor of Canada, but the marriage was not a happy one, and a separation soon followed. In 1834 she pubhshed anonymously her ' Diary of an Ennuyee,' which was written during a tour ta Italy ; and from that time, encouraged by the success of her work, commenced a hterary career. She visited Germany in 1837, and America in 1839. She died at Ealing, after a few days' Al ness, March 17, 1860. Among her numer ous publications, those more immediately referring to art are, ' Sketches of Germany, Art, Literature ' &c, 1837 ; ' Handbook of the Public Galleries of Art in and near London,' 1842; 'Memoirs of the Early Italian Painters,' 1845; 'Memoirs and Essays, illustrative of Art, Literature,' &c, 1846 ; ' Decorations to the Garden Pavilion, 237 JAM Buckingham Palace,' 1846 ; ' Sacred and Legendaiy Art,' 1848; 'Legends of the Monastic Orders, as represented in the Fine Arts,' 1850; 'Legends of the Ma donna, as represented in the Fine Arts,' 1852 ; ' Hand-book to the Art of Modern Sculpture, Crystal Palace,' 1854; ' History of Our Lord, as exemplified ta Works of Art,' 1864. Several of these works are profusely ffiustrated by careful drawmgs, made, and some of them etched, by herself. JAMESON, Alexander, engraver. He was a descendant of the above, and engraved the family group of 'Jameson, with his Wife and Son,' ta 1728. He is supposed to have practised as an engraver at Edinburgh, but nothing is known of him. JAMESONE, George, portrait painter. He was the son of an arcMtect and member of the guild at Aberdeen, and was born there in 1586. He was sent — it is not known under what tafluences — to stiidy art under Rubens, at Antwerp, where he was a fellow-pupil of Vandyck. He re turned to Aberdeen in 1620, married there in 1624, and his conttaued residence in that city may be traced up to the end of 1630. In 1635 he is described as dwelling ta Edin burgh, and later, as a burgess of the city. On settling in Aberdeen he applied himself to portraiture, practising in oU, but there are some historical subjects and landscapes ta his hand. He also patated some minia tures. His portraits are usually rather under life-size. His oU-paintings are deli cately finished and weU coloured, remark able as the works of a native patater of his time. We are told that when Charles I. held a parliament in Edinburgh, in 1633, and rode with his nobles from the palace to the Parliament House, the magistrates, to please the King's well-known love of art, collected aU the paintings by Jamesone they were able, and hung them on either side the Nether Bowport, through which the King had to pass ; and that the King's attention being attracted, he stopped his horse a considerable time, and admired the paintings and the fidelity of the likenesses. This introduced the painter to the King, who sat to him for a full-length portrait. He died at Edinburgh ta 1644, and was buried in the Greyfriars' Church, but with out a memorial stone. Walpole tells, that by his whi, dated ta July 1641, 'he pro vided for his wife and children.' Other authorities state that his sons met early deaths, and that one daughter alone sur vived him. She inherited some of her father's genius, and executed several large Scripture subjects in worsted-work for the decoration of the church of St. Nicholas, Aberdeen. JANSEN, Bernard, architect. Little is known of his early life. He is believed to have been a Fleming. Ho lived in South- 238 JAE wark ta the reign of James I., and was employed on several extensive works. He built Audley Inn, 1616 ; the Lord Treasurer Howard's palace in Essex, an enormous pUe, near Saffron Walden, also attributed to Thorpe ; Northumberland House, Charing Cross, except the Strand front; and other mansions ; but the best inform ation respecting him and Ms works is scarcely authentic. JANSSEN, VAN CEULEN, Corne lius, portrait painter. Bom M 1590, at Amsterdam, but some writers say in Eng land, of Flemish parents. His first works in England are dated in 1618, and at that time he lived at Blackfriars, and was folly employed. Between 1630-40 he resided much in Kent, near Barham Down. He was engaged in the service of James I., and patated several fine portraits of him and the royal f amUy. Industrious by habit, during a residence of nearly 30 years in this country, many eminent persons were his sitters. His reputation faded on Van dyck's arrival, and the Civil War breaking out he left England ta October 1648, and died at Amsterdam ta 1665. His works will be found in many old family coUections. He is distinguished by the careful finish and calm truth of his portraits. His tints are qtaet and dehcate; his draperies fre quently black, and relieved by some tasteful bit of colour. He patated sometimes to a small size, and occasionaUy copied his own works ta that maimer. He sometimes signs Ms pictures Jonson. His son Cornelius was bred to his profession, and followed him to HoUand, where he died poor. JARMAN (or JERMAN), architect. Was surveyor to the city of London at the time of the Great Fire ta 1666. He rebmlt the Exchange, destroyed by fire in 1638, at a cost of 58,962Z. ; also the Drapers' HaU, the Fishmongers' Hail, since pulled down, and Merchant Taylors' HaU. He died 166S. JARVIS, Thomas, glass painter. He was born ta Dubhn, and originaUy practised there. Advised to try his fortune in Lon don, he was on Ms arrival employed by Lord Cremorne upon some small works for his house at Chelsea. He made an ex hibition ta 1776 of his works in stained glass, comprising effects of mootaight, fire light, frost, &c. In 1777 he commenced the west windows for New CoUege, Oxford, and introduced 'Two Shepherds' from Reynolds's ' Nativity ' and several aUegori- cal figures. He also patated West's ' Re surrection ' (lately removed) for St. George's Chapel, Windsor. He is said to have introduced great improvements in his art, but he tried effects and a realistic manner, which are quite unstated to glass painting. He died at Windsor, after some years' JAE retirement from his profession, August 29, 1799. JARVIS, John, glass pa in ter. Born at Dublin about 1749. He was engaged with the foregoing Thomas Jarvis in most of his works, and was probably his brother. He commenced his art in Dublta, where be was assisted in his chemical studies by Dr. Cunningham. He came early in life to London, where he gained some disttaction, and died in 1804. JEAN, P., miniature painter. Was born at Jersey, and brought up ta the Navy. On the peace which foUowed the American War he studied miniaturepainttag, and practised with much skUl. He also patated ta oU, and executed a whole-length of the Queen, but it was without any original merit. He exMbited mtaiatures, with, on one or two occasions, an oU portrait, at the Royal Academy from 1787 to 1802. He died at Hempstead, in Kent, September 12, 1802, aged 47. JEAVONS, Thomas, engraver. He was born in 1816, and became of some repute as a landscape engraver, worMng ta the line manner. 'Dutch Boats ta a Calm,' 1849, is a good work by him, after E. Cooke, R.A. He retired to Welshpool, where he resided many years, and died November 26, 1S67. JEFFERE i"S, James, marine painter. Born at Maidstone 1757, the son of a patater there of coach panels, and occasionaUy land scapes. He was placed under WooUett, the engraver, but became a student of the Royal Academy, and studied painting. In 1773 he obtained the Academy gold medal for the best Mstorical patating ; the foUowtag year the gold palette at the Society of Arts; and ta 1775 was selected to go to Rome by the Academy, on the allowance provided by the DUettanti Society. He returned at the end of four years, but was careless of Mmself, and died of a decline, January 31, 1784, aged 27. His picture of the ' Destruction of the Spanish Batteries before Gibraltar,' his only contribution to the Academy, was exhibited ta 1783, and was engraved by James Ernes. JENKINS, D., engraver. Practised ta London towards the end of the 1 8th century. He engraved several plates after Angelica Kauffman. There are two plates by Mm of horse races, dated 1786. JENKINS, Thomas, history painter. Born in Devonstare, he studied ta London under Hudson, and accompamed Richard Wilson to Rome, where he was residing ta 1763. He studied historical painting, but does not appear to have ever exMbited ; and not succeeding, he became a dealer ta anti- qmties, and also the cMef English banker ta Rome, where he amassed a considerable fortune. He was instrumental to the pur chase of many works of antique sculpture brought home by his countrymen. On the JEW occupation by the French,, they confiscated his property, and he escaped to England. He died at Yarmouth in 1798, immediately upon landing after a storm at sea. JENNER, -^— , engraver. Practised ta the latter part of the 18th century. He engraved Sir J. Reynolds's ' Girl with a Muff,' 1777.,. >.- >¦¦> . JENNINGS, Robert, master mason. Was employed ta the erection of Henry VII.'s Chapel, Westminster. JERVAS, Charles, portrait painter. Born ta Ireland about 1675. He received a good education, and showtag a decided taste for art, was placed under Sir Godfrey Kneller, ta London, for about a year. He copied the cartoons ta little, and sold Ms copies to Dr. Clark, of Oxford, who assisted him to visit Paris and Italy. At Rome, when 30 years old, he stuched art — Walpole says ' drawing.' On his return, he found full employment, married a widow lady with a fortune of 20,000£., and was ap potated principal patater to George I., and afterwards to George II. He was the head of the art of Ms time, and was a gentleman, a man of letters, and a wit ; the intimate friend of Pope and Addison, by whom his natural vaMty was inflamed. The former addressed a complimentary epistle to him ; but he was sadly wanting in aU the art qualities for wliich he was so unmeaningly praised. His portraits are slight, both in drawtag and character, but his art has been unjustly depreciated. That he was not without merit will be evident from Ms portrait of the Duchess of Queensbury, recently added to the National Portrait GaUery, and Ms other portraits ta that collection. He affected to be violently ta love with Lady Bridgewater, and after finding a fault ta her ear, as the only feature short of perfection, pointed to Ms own as a perfect model. He is known by his English Edition of ' Don Qmxote ;' but his friend Pope, evidently referring to Mm, says he translated this work without under standing Spanish. In 1738 he visited Italy a second time for his health, but oMy survived a short time, dying November 2, 1739, at his bouse at Cleveland Court. Here, in the following year, Ms coUections, the fruits of 40 years, were sold by auction. His paintings, statues, ctana, Raphael- ware, and other works of art, occupied nine days ; Ms drawings foUowed, ta 2,275 separate lots, and occupied 25 more days. There is a portrait of Pope by him in Lansdowne House, and of Newton at the Royal Society. JEWITT, Thomas Orlando Sheldon, wood-engraver. He was bom ta Derby shire, of a famUy known in hterature, ta 1799, and as a boy attempted wood-en graving. In his 16th year he Ulustrated in wood his elder brother's ' Wanderings of Memory ; ' and later ' The Northern Star ; 1239 J 0 H JOH or, Yorkshire Magazine,' which was pub lished by his father. He then devoted himself to the pursuit of art, and becoming known, he connected himself with Mr. Parker, of Oxford, in his architectural publi cations, producing the illustrations for the 'Memorials of Oxford,' the first editions of the 'Glossary of Architecture,' 'Domestic Architecture of England,' and some other works. In 1838 he removed to Oxford, and gaining a name by Ms architectural engravings, was employed upon Murray's ' Cathedrals,' Scott's ' Westminster Abbey,' Street's works on Spain and on Venice, and many other publications of the same class. He was a good naturalist, and illustrated Harvey's 'Sea Weeds,' Ben- tham's ' British Flora,' Reeve's ' Land and Fresh-water Mollusks,' and in the latter drew many of the specimens himself from nature. He died at Camden Town, May 30, 1869. JOHNS, Ambrose Bowden, landscape pamter. Was born at Plymouth in 1776, and was apprenticed there, as a bookseller, to the father of B. R. Haydon. _ He with drew from that business early in life, to seek success ta the neighbourhood as a landscape patater, residing there, and but little known beyond the locality. His works possessed some originality, both in their composition and treatment. He was an exhibitor at the Royal Academy ta 1822, when he contributed ' Evening, Pirates landtag their Cargo and a Female Captive,' and exhibited views ta the neighbourhood of Plymouth in 1828, 1836, and 1S38. Some of Ms landscapes are in Lord Morley's collection at Saltram, and in several other Devonshire mansions. He died at Ply mouth, December 10, 1858. JOHNSON, C, engraver. Hewas one of the few who early practised the art in England. His works, which are chiefly Eortraits, have little merit. There is by im a head of the queen of James I. j 0 H N S 0 N, Gerard, modeller. A Hollander, who lived in the parish of St, Thomas the Apostle, London, and is stated, in Dugdale's ' Diary,' to have made the monumental bust and tomb of Shakespeare at Stratford-upon-Avon. JOHNSON, Isaac, antiquarian drafts man. Was a resident at Woodbridge, and practised as a surveyor. He made many drawings of antiquities, which were es teemed for their fidelity, and between the years 1799 and 1816 drew nearly every church ta the county. Some of bis drawings are engraved in Gongh's ' Monumental Antiquities ' and ta Loder's ' History of Framlingham.' JOHNSON, James, engraver. Prac tised in London about the' middle of the 18th century. His works, both portrait and history, are chiefly in mezzo-tint. He 240 engraved after Coreggio, Le Brun, Rubens and others. JOHNSON, John, architect. Bom at Leicester in 1754. He left his native town early in life, and by bis strong natural abUities made himself known ta his pro fession. He was for 26 years arcMtect and surveyor to the county of Essex. He built, at Chelmsford, in 1787, the handsome one- arch stone bridge, and in 1792 the county hall. He enlarged and improved the county prison, and ta 1806 btalt the new house ' of correction. He died ta 1814, aged 60. JOHNSON, John, wood-engraver. Was a pupil of Bewick. He showed much taste for drawtag, but died at Newcastle about 1797, shortly after the termination of his apprenticeship. A few of the tail-pieces to the ' British Birds ' are by him. He was cousin of the fohowing Robert Johnson. JOHNSON, Lawrence, engraver. Prac tised at the beginning of the 17th century. Engraved the heads for ' The General His tory of the Turks,' 1603. He worked entirely with the graver, but was without merit. JOHNSON, Martin, medallist. Prac tised in the first half of the 17th century. He began art as a painter of English views, and his works showed much taste, freedom of execution, and colour. He then turned medallist, and was an assistant and a worthy rival of Simon. He died about the begin ning of James II.'s reign. Evelyn men- i i < tions him in bis ' Sculptura ' as excelling ta medals and intaglios. JOHNSON, Robert, painter and en graver. Was bom at Shotley, a vUlage in Northumberland, in 1770, and was appren ticed to Bewick as a copper-plate engraver. He was led aside from tins laborious art, in which be did not excel, by his love of sketching from nature in water-colours. Durtag his apprenticeship he made, ta water- colours, with admirable ftaish, the designs for some of the tail-pieces in Bewick's ' Water Birds,' and for most of the wood cuts in Ms ' Fables.' Some of these were copied on the block by Wiffiam Harvey, the rest by Bewick himself. A number of the original drawtags were purchased by the Earl of Bute. On the completion of his apprenticesliip, he left Ms work on copper, and devoted himself to water-colour draw ing. In 1796 he was employed to copy the portraits by Jamesone at Taymouth Castle ; and neglecting a severe cold caught there, it terminated in fever, under which his delicate constitution sank, and he died at Kenmore, Perthshire, October 26, 1796, in his 26th year. JOHNSON, Thomas, architect. Was born at Stone, Staffordshire, December 24, 1794. He bad a talent for drawing, and after an apprenticeship ta Lichfield, he came JOH to London, and was employed in the office of Mr. Shaw, the arcMtect. Returning in 1825 to Lichfield, he established himself there, and was the architect of churches at Longton and Stoke, and of a club-house in Manchester. In Lichfield he buUt Christ Church, the com exchange and market, and some other public edifices. He died May 7, 1865, at Lichfield, and was buried there. JOHNSON, Thomas, draftsman and engraver. Practised in London in mezzo tint ta the latter part of the 18th century. There are several good mezzo-tint portraits by Mm, some from the life ; also, after his own drawtag, ' A View of Canterbury Ca thedral,' ta Dugdale's ' Monasticon.' Strutt says that Faber adopted Johnson's name to engravings to wtaeh he did not choose to affix his own. JOHNSTON,' Andrew, engraver. There area few mezzo-tint portraits by tMs artist. A portrait of Henry Sachevereh, after Gib son, is by him. JOHNSTON, Francis, R.H.A., archi tect. Born in Ireland. Practised at Armagh 1786-93, and superintended the erection of the cathedral tower. He resided afterwards for some time ta Dubhn, and completed there the Castle Chapel, St. George's Church, 1802, a good example of • the lofflc order, the steeple, elegant and original ta its design. The castaer's office of the Bank of Ireland, 1804; the Post Office, 1817 ; and the Richmond General i Pemtentiary, are also by him. In 1824 he commenced, at his own expense, the erection of the Royal Hibernian Academy, including the exnibition rooms, schools, and keeper's residence, wMch he .completed ta 1826, at a cost of 14,000Z. , and presented to that institution ta perpetuity. He was the same year elected the president. He held the office of architect to the Dublin Board of Works. Died March 14, 1829. JOHNSTON, Richard, architect. Bom in Ireland. Practised with some repute ta Dublin ta the latter half of the 18th century. He btalt the Dublta Assembly Rooms, a fine suite of apartments. JOHNSTONE, William Borthwick, R.S.A., landscape and history painter. Was brought up as a solicitor, but allured by a love of art, he at last turned to its study with great enthusiasm. He tried both history and landscape, and ta 1843 went to Rome, and, led by the art which surrounded Mm, tried some works ta the early Italian style. In 1840 he was elected an associate, and in 1848 a member, of the Scottish Academy. Here his chief works were exhibited, and he became the curator of the National Gallery for Scotland on its establishment ta 1858, an office for which he was well fitted by bis knowledge of the history of his art and of archaeology. After . his first manner he tried an elaborate finish, JON and later relapsed into a more free and larger treatment. He does not appear as an exhibitor at the Royal Academy in London. He died iu Edinburgh, June 5, 1868, in his 56th year. JONES, CuAni>orrE,miniature painter. She was an exhibitor at the Royal Aca demy, commencing in 1801, and held the appointment of miniature painter to the Princess of Wales, and her portrait of the princess is engraved. She continued to ex Mbit until 1823, when her name appears for the last time in the catalogue. She died September 21, 1847. JONES, Emma (Madame Soyer). Born ta London in 1813. She is reputed to have drawn likenesses with great fidelity before the age of 13 years, and devoted herself to the study of art. She patated portraits and groups of children, and was a frequent contributor to the Suffolk Street Exhibition ; one of her groups is engraved in mezzo tint. In 1836 she married M. Soyer, the well-known chefde cuisine of the Reform Club. She died ta chUd-bed August 29, 1842, and was buried m the Kensal Green Cemetery. Her works are hard and black, with little feehng for colour or light and shade, but are not iU-drawn, and are good ta their expression. » JONES, Inigo, architect. Was born near St. PaM's, London, about 1572, the son of a citizen and cloth-worker, a re spectable man, in religion a Cathohc. He was apprenticed to a joiner, early dis tinguished himself by his pencil, and gained notice for his landscape skUl and his designs. He was evidently weU educated for Ms station m hfe. His talents introduced him friends, and the Earls of Pembroke and Arundel, it is said, though doubtful, assisted him to visit Italy. He studied some time at Rome, and then for several years at Venice. Here the reputation he had ac quired gataed Mm the notice of Christian IV., King of Denmark, who appointed Mm bis arcMtect, and employed him at Copen hagen. It seems most probable, between conflicting accounts, that he accompanied the King on a visit to this country in 1606, and that soon after his arrival Queen Anne, the sister of the King of Denmark, ap pointed him her architect, and he was granted the office of surveyor-general ta reversion ; Prince Henry also appotated him his architect. He first shewed his ingenuity and sMU ta the preparation of the Court masques, then the fashion. On theuntimely death of the young prtace ta 1612 he again went to Italy, where he remained some years, maturing his powers by study. Then his reversionary office fell vacant and he returned to England. He commenced the Banqueting House in Whitehall ta 1619, and designed for James I. the magnificent palace of which it was 241 JON to f orm a part ; but the time passed, James died, and the great designs, which his_ son inherited, were set aside in the sad times which followed. They are, however, pre served by Kent ta the volumes published by Lord Burlington. He was appointed in 1620 one of the commissioners for the repair of St. Paul's, but did not commence the work till 1633. He renewed the sides with the bad Gothic which then prevailed, adding to the western entrance a Roman Corinthian portico, which must have pos sessed much stately grandeur, but was no less incongruous and unstated to the ancient parts of the building. At Winchester, ta the same manner, he introduced into the Gothic cathedral a Roman screen. On the accession of Charles I., who esteemed him a man of genius, he was continued in his office of Crown surveyor, and as architect to the Queen. Meanwhile his restoration of old St. Paul's weut on, in cluding the erection of the far-famed stately Corinthian portico. Among his other cMef works are— the quadrangle of St. John's College, Oxford; the Queen's Chapel, St. James' ; the Piazzas and Church, Covent Garden ; Lincoln's Inn Chapel ; the Queen's House, Greenwich ; and Surgeons' Hall. To these works must be added several fine mansions — Gunnersbury pulled down ta 1802, ColesbUl, Cobham Hall, Kent; The Grange, Hants ; and others imputed to him, but of which little certain is known. He also designed the movable scenery and contrivances for the Court masques, and was thus associated with Ben Jonson, with whom a quarrel arose, wliich ended only with life ; and the poet satirised him without mercy as ' Lantern Leatherhead ' and 'Inigo Marquis Would-be.' He had made a handsome fortune, but was a great sufferer at the Revolution. In November 1640, upon the complaint of the parish of St. Gregory, London, he was brought before the House of Lords, for damages done to the church of that parish. He was not only a favourite of his deposed royal mas ter, but also a Roman Catholic, and in 1646 be was compelled to pay 545Z. for his de linquency and sequestration. He had buried his accumulation of ready money in Scotland Yard, but on a proclamation encouraging informers, he removed it to Lambeth, where he again concealed it. On the Restoration, Charles II. continued him in his post. He did not long survive ; grief, misfortune, and old age ended his life, and he died at Somerset House, July 21, 165]. But the accounts of the date both of his birth and death are very con flicting. He was buried at St. Bennet's, Paul's Wharf. His only daughter and heiress married John Webb, his pupU and executor. JONES, John, engraver. Bom about 242 JON 1740. He devoted Mmself to mezzo-tint and the dot manner. He practised in London, and Ms mezzo-tint plates have gataed him much reputation both ta por trait and history. He engraved many fine works after Reynolds, Gainsborough, Romney, Hone, Mortimer, and others. His works are dated between 1774 and 1791. They are powerful, but black ; his flesh defective in colour.' He died 1797. JONES, George, R.A., battle and sub ject painter. Son of the foregoing. He was admitted a student of the Royal Aca demy, and was an exMbitor for the first time m 1803. Durtag the Peninsular War he joined the South Devon Militia, after wards held a lieutenantcy ta the Stafford shire Militia, and was promoted to a company in the MontgomerysMre Militia. He hkewise, with his company, volun teered for active service, and in 1815 joined the Army of Occupation in Paris. On the termination of the war he resumed the practice of his art, and ta 1820 was elected an associate of the Royal Academy, ta 1824 a full member. In 1820, and agata in 1822, he received premiums from the British Institution. He was appointed the librarian to the Academy ta 1834, wMch he resigned to fill the office of keeper ta 1840, and conttaued to hold the latter appointment tiU 1850. He painted the picturesque towns of the Continent, filling them with characteristic groups and in cidents. Later he patated several battles. His ' Battle off Cape St. Vincent, Nelson Boarding,' was purchased by the directors of the British Institution and presented to the gallery at Greenwich Hospital. The directors also commissioned him to paint the ' Battle of Waterloo,' wliich they pre sented to Chelsea Hospital. Several other of his works are ta the Vernon Gallery, now in the South Kensington Museum. He died ta London, September 19, 1869, aged 83. He was one of the executors of the will of Turner, R.A. He wrote 'Re collections of the life of Francis Chantrey, R.A.' JONES, Owen, architect and orna mental designer. Was of an old Welsh descent, and his father, a fur merchant, gained a well-merited distinction by his collection of Welsh poetic literature. He was born ta Thames Street, London, Feb ruary 15, 1809. Losing Ms father when young, he was placed by Ms guardian at the Charterhouse, but was afterwards re moved to a private school, and it was in tended that lie should be brought up for the Church. Instead of tins he became, at 16, the pupU of Louis Vulliamy for six years, whom he served with great zeal, studying at the same time at the Royal Academy ; yet though he became a good draftsman he did not master the figure. JON On the completion of Ms pupUage he travelled, and setting out in the autumn of 1830, visited Paris, Milan, Vemce, and Rome. After a short return to France, he started ta 1833 for the East, and saw parts of Greece, Alexandria, Cairo, Thebes, and Constantinople. In this journey Ms mind received, while in Egypt, that strong impression of Arabic form and ornament which founded the ideal of Ms future art, and led him ta 1834 to Granada, where he was aUured by the great Moorish work, the Alhambra, which he made the object of his study. Returning to England ta 1S36, he began Ms work on ' The Alhambra,' and revisiting Granada ta 1837, spent another year on the work, which was not completed tul 1845. He devoted himself entirely to it, and not oMy drew the details, but trained artists to assist him ta the best use of gold and silver for their reproduction ; and fur ther, sold a property his father had left him in Wales, and also incurred habihties ta the undertaking, wMch was unsuccessful, and caused him much difficidty and anxiety. He then ffiustrated Lockhart's 'Spanish Ballads,' foUowed by some other works of the same class. In 1842 he issued his designs for ' Mosaic and Tesselated Pave ments ;' in 1846, ' The Polychromatic orna ment of Italy; ' in 1851 he was appotated to superintend the works of the Great Ex Mbition, and took an active part ta the decoration and arrangement of the bund ing; in 1852 he pubhshed an 'Attempt to define the principles wMch regtaate the employment of Colour in Decorative Arts,' and afterwards lectured on the principles he had adopted. In the same year he was joint-director for the decoration of the Crystal Palace, and specially designed the Egyptian, Greek, Roman, and Alhambra Courts ; in 1856 he published his ' Gram mar of Ornament ; ' in 1867 his ' Examples of Chinese Ornaments.' He exhibited at the Royal Academy ta 1831 his design for the 'Town HaU, Birmingham;' ta 1840, for ' St. George's HaU, Liverpool ; ' in 1845, ' Mansions ta the Queen's Road, Kensing ton,' and some designs for shop decoration. His works, the result of fifty years earnest labour, were founded upon the true prin ciples of structural ornamentation and symmetry ta line with harmony of colour. Possessing great f ertihty of invention, bis art tended greatly to the decorative im provement of our manufactories, such as wall-papers, carpets, and furniture. He received the gold medal of the Institute of British Architects, of the Paris Inter national Exhibition of 1867, and of the Vienna International Exhibition of 1873. He died in Argyll Place, April 19, 1874, and was buried in Kensal Green Cemetery. JONES, Thomas, landscape painter. Was bom about 1730, and practised in JOS London. In 1750 he was studying in Rome, where he appears to have continued till 1768, when he was awarded a premium at the Society of Arts. He first exhibited at the Royal Academy in 1784, and con tinued to exhibit Italian and Welsh views up to 1788, but did not exhibit again till 1798, when he contributed four Italian views. His name does not again occur. Woollett engraved after him, ta 1776, the 'Merry VUlagers;' and Bartolozzi and others engraved his works. Mortimer, A.R.A., painted the figures in some of Ms landscapes. JONES, John E., sculptor. Was born ta Dublta ta 1806. He studied ta that city as a civil engineer, but having a taste for sculpture, he came to London to study for that profession, and practised here. He first exhibited at the Royal Academy in 1844, his contributions in that year being busts of 'Daniel O'Connell' and other eminent Irishmen ; and settling in London, found great encouragement, and had many eminent sitters — the Queen, the Prince Consort, Lord Brougham, the Emperor of the French, the Duke of Cambridge, Duke of Welltagton, Louis Philippe, the King of Holland, and others. He died in Dublin, JMy 1862. His art was confined to busts, and was weU esteemed. JONES, William, landscape painter. He was a native of Ireland, and practised there in the latter part of the 18th centuiy. His views of the ' Waterfall ' and the 'Salmon Leap,' county of Wicklow, have been engraved. JONSON, VAN CEULEN, Cornelius. See Janssen. JOSEPH, George Francis, A.R.A., portrait and history painter, - He was bom November 25, 1764, and in 1784 entered the schools of the Royal Academy. He first appears as an exhibitor ta 1788, and then contributed a portrait family group and 'A Bacchante,' an impression from a gem, and, on a subsequent occasion, a work of the same, class. He conttaued to exMbit portraits, with, ta 1792, a sub ject picture 'Eve met by Adam,' and in that year gained the Academy gold medal for his original painting, 'A Scene from " Coriolanus." ' Shortly after he exhibited miniatures, and for some time conttaued a large contributor of them, with sometimes an oil portrait or a subject picture. In 1797 he patated 'Mrs. Siddons as the Tragic Muse ; ' ta 1808, ' Flora dispensing her Sweets to Zephyr.' He was also an exhibitor at the British Institution, and was awarded by the directors two premiums —in 1811, 1221, for ' The Return of Priam with the dead body of Hector ; ' and the next year, 100 gtaneas, for his ' Procession to Mount Calvary.' This success was foUowed by his election, ta 1813, as an 2 243 JOS associate of the Academy. He drew the Uustrations for a serial publication of Shakespeare's works, commenced in 1824. But his practice was as a portrait patater, and he found his chief employment in that branch of art. There is a portrait by him of Mr. Spencer Perceval ta the National Portrait Gallery. He retired to Cambridge in 1834, and died there ta 1846, having continued an occasional exhibitor at the Academy up to that year. He was buried in St. Michael's Churchyard. JOSEPH, Samuel, R.S.A., sculptor. He was a son of the treasurer of St. John's, Cambridge, and cousin to the foregoing. Commenced as a pupil of P. Rouw, and studied at the Academy, in 1815 obtaining the gold medal for his group of ' Eve sup plicating Forgiveness.' After practising for some time in London, exhibiting yearly at the Academy busts and portrait me dallions, he removed in 1823 to Edmburgh, where he met with great encouragement, and was elected a member of the Royal Scottish Academy. He was induced ta 1828 to return to London, and settled ta Great George Street, but did not meet with the support he had been led to expect. After the first year his contributions to the Academy were few, and ceased alto gether after 1846. He died in London ta 1850. He found Ms chief employment as a modeller of busts, and executed by com mand in 1830 a bust of George IV. His likenesses were accurate, and Ms work tasteful and well finished. There is a fine full-length characteristic statue by liim of Wilberforce, ta "Westminster Abbey, and a statue of Sir David Wilkie, R.A., ta the vestibule of the National Gallery. JOS I, Christian, engraver. Was bom in Holland, and coming early to tins country, he stuched Ms art under J. R. Smith. He engraved aud published many fac-similes of Dutch drawtags, but early abandoned the more active pursuit of art, and possessing great knowledge, found profitable employment as a restorer and dealer ta engravings and drawings. He died in London about 1825. His son, Henri Josi, was appointed keeper of the prints and drawtags in the British Museum, and held that office till his death, in 1845, in his 43rd year. JOY, Thomas Mugrave, subject paint er. Was born in 1812, at Bougnton, Min- chelsea, Kent, where his father possessed property. An only son, fond of art, and allowed to choose for himself, he came to London, and was the pupil of Drummond, A. R.A. He first exhibited at the Society of British Artists in 1832, and at the Aca demy in 1833, and continuing to exMbit at both these institutions, he early made himself known. In 1841 he received some commissions from the Queen, and painted 244 JUF for her Majesty portraits of the Prtace and Princess of Wales. With occasionaUy a portrait, ta 1842 he exhibited at the Aca demy, 'Le Bourgeois Gentilhomme ;' in 1853, 'A Medical Consultation;' in 1863, ' Prayer ; ' and among his last works — an important attempt — ' The Meeting at. Tattersall's before the Race,' 1864. He died of bronchitis, after a short Utaess, April 7, 1866. JOY, William, ) marine painters. JOY, John Cantiloe, ( Their father was guard to the Yarmouth coach. William was born ta 1803, John Cantiloe ta 1806. They practised for many years ta Yarmouth, working almost invariably together, and painting both in oil and water-colours, but chiefly in the latter. Self-taught and in dependent, they thoroughly understood the trim and rigging of vessels, and their works are deservedly esteemed. In 1824, and agata ta 1832, WUham was an exMbitor at the Royal Academy. Leaving their native town, where many of their works are trea sured, they lived some time ta London, and then removed to Chichester, where they both ched, within a short time of each other, ta 1857. JUDKIN, The Rev. T. K., amateur. He was for many years minister of the Episcopal Chapel at Somers Town, and was known ta art by Ms clever landscapes, usually patated direct from nature. He was an occasional exliibitor at the Aca demy from 1822 to 1848. He died ta October 1871, aged 83. JUDKINS, Elizabeth, mezzo-tint en graver. Practised ta London ta the second half of the 18th century. She engraved some fine works after Reynolds — 'Mrs. Abtagton,' 1772; 'The careful Shepherd,' 1775 ¦ and also after Cotes. JUKES, Francis, painter and en graver. Bom at Hartley, Worcestershire. He began art as a topograpMcal landscape painter, but by great perseverance raised himself to much distinction as an aqua-tint engraver. This art he brought to great perfection ; and by tinting his impressions, gave them the effect of drawtags. His works, which are principally sea-pieces and landscapes, are very numerous. He died in 1812, in his 66th year. He engraved Walmesley's 'Views in Ireland,' Nichol son's ' Views ta England,' and was employed on Gilpin's works. JUNE, John, engraver. Practised about the middle of the 18th century. He engraved some portraits and portrait front ispieces for books, also some landscapes after CoUett, and some scenes after Ho garth; and ta 1770, 'Race-horses,' after Sartorius. JUPP Richard, architect. He was appointed architect to the East India Com pany, and designed the new fagade to the JUF India House in Leadenhall Street, since puhed down; a work simple ta its pro portions, with an Ionic portico well in troduced. He also added the front to the Skinners' HaU. In 1762 and 1763 he exMbited with the Society of Artists, and also contributed to the early exhibitions of the Royal Academy. He was one of the original members of the Architects' Club, founded in 1791. He died in London, AprU 17, 1799. JUPP, William, architect. Brother of the foregoing. He was a member of the Incorporated Society of Artists. He rebuilt the ' London Tavern,' Bishopsgate Street, 1765, and designed the entrance haU and staircase of the Carpenters' Company's HaU, 1780. He died 17SS. JUPP, William, architect. Son of the foregoing WiUiam Jupp. Was an occa sional exhibitor at the Academy, 1794-1S04. Held the appointment of architect to the Skinners' Company, and designed the ex- KAU terior of their hall, Dowgate Hill, 1808. He was also architect and surveyor of the Merchant Taylors', Ironmongers', and Apo thecaries' Companies. He died at Upper Clapton, April 30, 1839. JUTSUM, Henry, landscape painter. He was born ta London ta 1816. Sent to school ta Devonstare, he imbibed a love of landscape, and on his return made Kensing ton Gardens a place of study. He first exhibited at the Academy in 1836, and in 1839 became a pupil of James Stark. Then tryMg water-colour painting, he was ta 1843 elected a member of the new Water- Colom: Society ; but he continued a contri butor to the Academy Exhibitions, and in 1847 left the Society, determined to devote Mmself to painting in oU. He was also an exhibitor at the British Institution. He painted exclusively the scenery of his country, and was distinguished by his pleasing style. He died at St. John's Wood, March 3, 1869. K KAUFFMAN, John Joseph, portrait painter. He was born ta Switzerland, and practised ta this country for several years, but was a veiy tadifferent painter. He contributed sacred and poetic subjects, with an occasional portrait, to the exhibitions of the Royal Academy, from 1771 to 1779, and in the foUowtag year retired with his daughter to Rome. KAUFFMAN, Angelica Maria Catherine, R.A., history and portrait painter. She was daughter of the above, and was born October 30, 1740, at Coire, the capital of the Grisons. She veiy early developed a talent for music and drawing, and when between 10 and 11 years of age drew portraits in crayons. Brought up to art from a cMld, she was taken by her father to the Academy in boy's clothes, to improve ta drawtag. In 1754, when ta her 15th year, she went with Mm to Milan, and there patated the portraits of some eminent persons. She afterwards spent about a year ta Florence, and then, ta 1759, accom- Eamed her father to Rome. She had made erself complete mistress of the German, French, Itahan, and Enghsh languages, and higMy excelled both ta vocal and instru mental music. With these advantages she had many sitters, and her reputation as a painter greatly advanced. In 1764 she removed to Vemce, and there became acquainted with the wife of the English ambassador, whom she accom panied to England in 1765. Learned, refined, and amiable ta manner, she was introduced to the young Queen, and her talents, joined to her elegant person, at tracted general notice. In 1769 she was nominated one of the foundation members of the Royal Academy, and the same year she was unhappily deceived tato a secret marriage with the valet of Count de Horn, who contrived to pass Mmself off as his master. Ill-treated by tMs fellow, he was at last induced by a payment of Z001. to take himself off to Germany, and she was relieved of him for ever. She contributed to the first and eveiy subsequent exhibition of the Academy up to 1782, sending in that year a work catalogued from 'Abroad.' She usually exhibited three or four classic subjects and one or two portraits. After settling at Rome she exhibited a classic picture ta 1788, 1789, 1796, and ta 1797 a portrait of a lady of quality, her last con tribution. She decorated a room for the Queen at Frogmore, still called the ' Flower Room,' where some of her ffower-groups remain. She married a second time, in 1780, Signor Antonio Zucchi, a Venetian painter, who had long resided in England, and retaining her maiden name, after travelling with him in Italy, and making some stay in Naples, she retired with him in 1782 to Rome, accompauied by her father. Here she resided 25 years ta the full enjoyment of her popularity, and died after a long and painful illness, November 5, 1807, ta her 67th year. 245 KAY Her works are numerous, and will be found in many of the collections wMch date from her time, though they are now held in httle esteem. Her reputation was widely spread by the numerous engravings from her patatings. Ryland, Bartolozzi, and Schiavonetti engraved after her, and Alder man BoydeU published no less than 60 of her works. Yet, though her paintings were gay and pleasing in colour, they are weak and faulty in drawing, and lack hfe and originality. They are chiefly taken from the classics and her own poets, and all par take of the same effeminate stamp. There are some slight etchings by her. KAY, John, miniature painter and caricaturist. He was born near Dalkeith, ta AprU 1742. His father was a stonemason, and desttaed him for the same business, but dying early, he was placed with some rela tives, who treated Mm with much cruelty. At the age of 13 he was apprenticed to a barber in Dalkeith, and after serving with him six years came to Edinburgh and set up for himself. The trade was a lucrative one in those days, and he tMove in his shop. He had, as a boy, made some attempts at drawing, and he now in his leisure tried some miniatures. His Mienesses were faitMul, and a wealthy customer assisted him to pursue art, and dying ta 1782, his son settled upon him an annuity of 201. a year ; and with this help he abandoned his trade, and depended upon his limning, to which he added etching. His principal employment was as a minia ture painter. His works were minutely finished, and he managed to seize a like ness strong in the peculiarities of Ms sitter —full of individuality, but without art, of which he was ignorant, or flattery. In 1784 he published an etched caricature of a well-known crazed individual, wMch attracted notice, and led him to attempt others. These possessed the same qualities as his miniatures — caricatures, but extreme in their resemblance, humorous, exagger ating, and intensifying httle points of character, they gave offence. Many were bought and destroyed. The artist was cudgeled and charges brought against him before the magistrates. Yet Ms works are only the exaggeration of truths, and are not offensive. They are highly interesting, elaborately minute in finish, but, like his miniatures, make no attempt at art — the offspring of great natural, but untaught genius. He died 1830. He etched nearly 900 plates, perpetuating the characters, during nearly half a century, of persons of every class in Edinburgh, and Ms small shop-window was filled with these productions. His etcliings are published in two quarto volumes, under the title of ' Kay's Edinburgh Portraits.' KAY, Joseph, architect. Was born ta 246 KEA 1775, and was a pupil of Cockerel!, R.A. About 1802 he went to Italy, and studying some time in Rome returned in 1805. The east side of Macklenburgh Square was de signed by him ta 1812. He was'appointed architect to the General Post Office ta 1814, and designed the new Post Office in Edin burgh. In 1823 he received the appoint ment of architect to Greenwich Hospital, and designed several alterations which have freatly improved the hospital approaches. le was also architect to the Foundling Hospital. He died ta Gower Street, De cember 7, 1847. KEAN, Michael, miniature painter. He was born in Dublta, and studied ta the Dublta Academy,' where he gataed the gold medal in 1779. He was originally a pupU of Edw. Smith, the sculptor, but he turned to miniature painting, practising at the same time in crayons. He came to London, and between 1786-90 exhibited crayon por traits at the Royal Academy. At the early part of the 19th century he became a partner ta the Derby China works. He died in London in 1823. KEANE, John B., architect. He held an appointment ta the Dublta Office of Works, and practised for many years ta Dubhn. He sent a ' Design for a Temple ' to the Academy Exhibition ta London in 1840, but was not again a contributor. He designed two large Roman Catholic churches, and ta 1846-50 the Queen's College Galway. He died October 7, 1859. KEARNEY, William Henry, water- colour painter. His works were cMefly landscape, though he sometimes tried figures. He was one of the foundation members and a vice-president of the In stitute of Painters ta Water-Colours. His works, which were weU esteemed, were careful, simply coloured, and patated in the early pure manner. One of Ms last exhibited works was ' Love's young Dream.' He died June 25, 1858, in his 58th year. KEARSLEY, T., portrait painter. He practised m London with some repute about the end of the 18th century. He exhibited at the Royal Academy from 1792 to 1802. He patated several theatrical portraits, some of them whole-lengths. KEATE, George, amateur. He was born at Trowbridge, of a good f amUy, about 1729. Educated for the Bar, he travelled, became fond of art, and was admitted a member of the Incorporated Society of Artists. He was an honorary exMbitor at the Academy from 1770, with some inter mission, to 1789, Ms contributions being chiefly coast views. He published his ' Sketches from Nature, taken and coloured in a journey to Margate,' in two volumes, 1779. The iUustrations were on wood, and the writing a weak imitation of Sterne's KEA style. He was a F.R.S. andF.S.A. He died June 28. 1797. KEATING, George, engraver. Born in Ireland in 1 762, he was a pupU of Wilham Dickenson, and practised in London towards the end of the 18th centuiy, both ta the mezzo-tint and the dot manner, and was weU esteemed. He worked after Reynolds, Gainsborough, Henry Morland, and others. KEEBLE, William, portrait painter. Practised ta London about the middle of the 18th century. He was a member of the St. Martin's Lane Academy ta 1754. A whole-length portrait by Mm of Sir Crisp Gascoyne, lord mayor of London ta 1753, was mezzo-tinted by McArdeU. KEEFE, Daniel, miniature painter. He practised ta London, and exMbited mtaiatures at the Royal Academy from 1771 to 1783. KEELING, Michael, portrait painter. He practised his art in Staffordshire, where his works were weU esteemed. He exhi bited portraits on two or tlu-ee occasions at the Royal Academy, 1800-1809. He died near Stone, StaffordsMre, ta 1820. KEENAN, J., portrait painter. He first appears as an exMbitor at the Royal Academy ta 1792, and was then residing at Bath. From 1794 to 1799 he was practis ing in Exeter, and was a regfflar exhibitor, and ta 1801 he came to London. He had several sitters of disttaction, and was esteemed for his portrait-groups of chUdren. In 1806 he went to reside at Windsor, and about that time patated many mtaiatures. In 1809 he was appotated portrait painter to Queen Charlotte, and continued to hve at Windsor and contribute to the Academy ExMbitions up to 1815, when further trace of him is lost. His wife was an occasional exMbitor of landscapes. KEENE, Henry, architect. Practised about the middle of the 18th century, and was surveyor to the Dean and Chapter of Westminster. He was also for about 20 years the arcMtect to Magdalen CoUege, Oxford. He designed the new buUdtag at Balliol CoUege, wMch forms a fiandsome front of street arcMtecture, 1769 ; also the haU, chapel, and quadrangle of Worcester CoUege, and was much employed ta Oxford. He died 1776. KELLY, Richard, architect. He built Hill HaU, Essex, a large quadrangular edifice, commenced in 1548, for Sir Thomas Smith, who was principal secretary to King Edward VI. and to Queen Ehzabeth. KELSEY, Richard, architect, lie was a student of the Royal Academy, and ta 1821 gataed the Academy gold medal for his 'Design for a Theatre.' He became principal assistant to Mr. D. Latag, who buUt the custom-house. But his name does not appear as an exhibitor, and there is no further trace of his art career. KEN KEMP, George Meikle, architect. He was born in 1794, the son of a shepherd on the Pentland HUls, and was apprenticed to a joiner. He had acquired a knowledge of construction, and, of an unsettled disposi tion, his love of GotMc buildings led him to visit the great cathedral towns of Scot land and England, finding the means by woridng at his trade. He then returned to Glasgow, and after a time removed to Edinburgh in 1S17, and continued there, stiU working as a ruechamc, tUl 1824, when he made Ms way to London, and visited France and Belgium, where, gaining em ployment, he managed to remain during two years, sketching and measuring the ecclesiastical edifices and antiquities. He afterwards settled ta Edinburgh, and com menced business as a master joiner, but being unsuecessfol, he was compeUed to return to journey work. He also gataed some employment as an architectural draftsman, and was engaged for two years ta making a model of Dalkeith Palace. This led to other engagements. He made the drawings for the ' Ecclesiasti cal Antiquities of Scotland ; ' among these were included Glasgow Cathedral, and on the question of the restoration of tins edifice, he made, 1837-39, a carefid model, representing his project and design for its repair. WhUe so employed, and unknown, the proposal for Sir Walter Scott's monu ment afforded him an opportunity of distinction. Among numerous competitors Ms design was selected. He was appotated the architect, and his work was rapidly rising, when the career wliich had just opened to him was suddenly closed. Re turning home on a dark night from a pro fessional engagement, be was accidentally drowned, March 6, 1844, in his 50th year. He left a widow and chUdren, for whom a subscription was raised. KENDAL, John, engraver and drafts man. Practised ta the first half of the 18th centuiy. His works are mostly portraits in mezzo-tint. K E N D A L E, John, architect. Was supervisor of all the King's works through out the realm ta the reign of Edward IV. KENDALL, John, architect. He was engaged from 1805 to his death upon the new works at Exeter Cathedral, where he made several important restorations, which brought him much repute. He died at Exeter ta October 1829, aged 63. He pub hshed ' An Elucidation of the Pitaciples of English Architecture, usuaUy denominated Gothic,' 1818. KENDRICK, Josephus, sculptor. He was a student in the Royal Academy Schools, and in 1813 gained the gold medal for his group of ' Adam and Eve lamentiug over the dead body of Abel,' and from that time was a contributor to the Academy 247 KEN KEN Exhibitions. In 1815 he sent a ' Model for a National Monument in St. Paul's ; ' in 1817, 'Prometheus Chained;' in 1819, ' Adam and Eve ; ' and ta that and the following year a ' Model for a National Monument.' With these works he exhibited busts, and was a frequent competitor for public works. Two of the pubhc monu mental tablets ta St. Paul's are by him, but he appears to have met with httle encouragement. He exMbited for the last time in 1829. KENDRICK, Miss Emma Eleonora, mmiature pa inter. Daughter of the above. She first exhibited at the Academy in 1811, and became successful as a miniature paint er, and was a large contributor to the Aca demy Exhibitions for many years. She was also, between 1815 and 1820, an 'exhibitor' at the Water-Colom- Society, sending with her miniatures ' Cupid and Psyche,' Cleo patra dissolving the Pearl,' ' Dido expiring on the Funeral Pile.' In 1831 she was appomted miniature painter to the King. After 1835 she exhibited only on two or three occasions, the last in 1840. She also occasionally exhibited classic subjects and portraits at the Society of British Artists down to 1841. She published, in 1830, a work on Miniature Painting. She died April 6, 1871, aged 83. KENNEDY, William DENHOLM.frmd- scape and figure painter. Was born at Dumfries, June 16, 1813. He went to Edinburgh early in life, and was well edu cated there. In 1830 he came to London, and in 1833 entered the schools of the Royal Academy, • where be gataed the friendstap of Etty, R.A., by whom Ms future art was influenced. In 1835 he was a successful competitor for the Aca demy gold medal — the subject ' Apollo and Idas,' and ta 1840 he was elected to the travelling studentship. He went at once to Italy, where he studied about two years, returning with a large coUection of studies and sketches. He first exMbited at the Academy in 1833, commencing with domes tic subjects, and was a regular contributor up to ]841, when he went to Rome. In 1814, after his return, he exhibited some landscape compositions with figures, and thenceforth the influence of his Italian studies was apparent. With the exception of the years 1855, 1856, and 1857, he was an unwearied contributor to the Academy Exhibitions up to his death. He tried every class of subject, except portraiture, but his chief works were classic landscape compositions, founded upon Italian scenery — freely painted, rich iu colour, and with groups of figures well introduced. But be was unable to maintain his early promise, and did not gain good places on the walls of the exhibition. His health also failed, and he fell into a state of despondency 248 and neglect. He had suffered about two years from dropsy, and was also tried by the loss of his brother, when on June 2, 1865, having the previous evening been left in his usual state of health, he was found dead in his bed. On an inquest, he was shown to have died from natural causes. KENT, William, architect and paint er. He was born of poor parents in Yorkshire, in 1685. After receiving the rudiments of a common education, he was apprenticed to a coach-painter, but ran away from his master and came to London about 1704. He had at least learnt the use of Ms colours, and tried to support himself as a portrait pamter, maktag some attempts at history. It is said Ms genius gataed him friends, who made a purse and sent him to Rome ta 1710. There he studied painting, and gained a second-class medal. Continu ing to devote Mmself to his studies, his first resources became exhausted, and one of his countrymen aUowed him 40£. a year for seven years. Afterwards he gained the notice of Lord Burlington, who assisted and patronised him. He returned to England for a short time and made a second journey to Rome, and then comtag back ta 1719 he settled ta London, and had an apartment ta Lord Burlington's house. He first, through his patron's tafluence, found em ployment as a portrait patater, but his likenesses had no tadividuahty, and were ta every respect meretricious. He painted an altar-piece for St. Clement's Church ta the Strand, wliich Hogarth, who did not spare Mm on other occasions, caricatured ; and the bishop ordered its removal ta 1725. He ventured to design the conceited monument of Shakespeare ta Westminster Abbey. He then undertook ornamental design, to wliich Ms tastes were better suited He decorated Wanstead House, Rataham, and several ceilings for Sir Robert Walpole at Hampton, in the usual allegorical style of the period, and the praises bestowed upon some of the architecture in these painted designs induced him to try that art, with wMch he combined landscape gardening, but Ms chief works are m architecture. He assisted Lord Burlington, who was an amateur ta that art. He buUt DevonsMre House, Piccadilly ; the Earl of Yarborough's house in Arlington Street ; the Horse Guards, Whitehall ; and altered and decor ated Stowe, Houghton, and Holkham, his favourite work — the elevation of which is mean and poor in its parts. He made another journey to Italy ta 1730. He had great tafluence on the taste of his day, and was consulted on every description of furniture, utensil, and even dress. He designed some of the illustrations for an edition of Gay's 'Fables,' Pope's Works, and Spenser's ' Faerie Queen,' aU of them very poor. As an ornamental gardener he KEE -enjoyed great repute. Following the Mst attempts of Bridgman, he introduced a new style of gardening, and quitting the clipped forms, the prude lines, the trim terraced and waUed gardens, which had till then prevailed, he displayed the natural and pic turesque beauty wliich had since charac terised Enghsh gardens ; grouping the fine varieties of trees, and instead of the formal canal and basin, produced streams and lakes in their own true forms. By the patronage of his friends he was appotated master car penter, arcMtect, keeper of the pictures, and principal patater to the Crown. He died at Burlington House, April 12, 1748, in his 64th year, and was, ta compliance with Ms wish, buried ta Lord Burlington's vault at Chiswick. He left about 10,000/. wMch he had accumMated . KERRICH, The Rev. Thomas, amateur. He was born ta 1747, and educated at Mag dalen CoUege, Cambridge, where he held the office of librarian to the University. He had a talent f or art, and ta 1 7 7 6 received the gold medal of the Academy of Painters, at Antwerp. He drew ta black and red chalk many of the disttaguished members of the UMversity. These works possessed much character, and were highly finished. Many of them were engraved. He also etched a few plates of monuments. He was one of the four residuary Trustees of Nollekens, R.A. He died May 10, 1821. KERSEBOOM, Frederic, portrait and history painter. Was born at Solingen, Germany, ta 1632. He studied painting at Amsterdam, and ta 1650 went to Paris, and for several years worked under Le Brun. He then went to Rome, where he was maintained for 14 years by the French Chaneehor. He came to London to prac tise as a history patater, but not meettag with encouragement he tried portraiture, with more success ; but his colour was black and his drawing weak and loose. He died ta London ta 1690, and was buried at St. Andrew's, Holbom. There is a por trait by him of Robert Boyle at the Royal Society. KETEL, Cornelius, portrait painter. He was born 1548, at Gouda. When about 18 years of age he went to Delft, and studied there and at Fontataebleau, where heworked some time, and then returned to Gouda. In 1573 he came to England, where he married a Dutch woman, and found good employ ment as a portrait painter. He gataed an introduction to Court by an allegorical pic ture of ' Strength vanqMshed by Wisdom,' and then patated Sir Christopher Hatton, the portrait now at Ditchley ; Lord Pem broke, Lord Arundel, and in 1578, the Queen. He practised ta England till 1581, when he went to Amsterdam, settled, and painted several important works. Then he laid aside Ms brushes, and painted only KEY with his fingers; and Walpole says that, increasing in his folly, he next tried his toes. He died 1602. KETTLE, Tilly, portrait painter. He was born in London about 1740, the son of a coach-painter, from whom he learnt the first rudiments of Ms art. He studied in the Duke of Richmond's GaUery and the St. Martm's Lane Academy, and for some years practised ta London as a portrait pamter. In 1762 he repaired Streeter's great ceffing picture ta the theatre at Oxford. He was a member of the Incor porated Society of Artists ta 1765, and a constant contributor to the Society's Exhi bitions. Afterwards he went to the East Indies, where he stayed from 1772 to 1776, and acquired a fortune ta the practice of his art. He returned to London about 1777, where he settled and married, and the same year he first appears as an exhibitor of portraits at the Royal Academy. In 17S1 he exhibited ' The Mogta of HMdostan re viewing the East India Company's Troops,' with some portraits : and ta 1783 exMbited for the last time. He built himself a large house ta Bond Street; but, unsuceessftd ta his art, he became bankrupt. He then left London for Dubhn, but did not remain long in that city. He resolved to revisit the East Indies, the scene of his first suc cess; but, taking the overland journey, he died at Aleppo, on Ms way to Bengal, in 1786. His portraits, though weak in draw- tag, are agreeable ta colour, and the like ness good. KEYES, Roger, architect. He practised early in the 15th century, and was the joint- architect of All Souls' CoUege, Oxford, and was employed as surveyor and architect by Archbishop CMcheley. KEYL, Frederick: William, animal painter. Was born September 17, 1823, at Frankfurt am Main, and began his art career M the ateher of Verboekhoven. He arrived in London in May 1845, having come to England expressly to study under Sir Edwin Landseer. He was a great favourite with his master and remained his sole pupil, and was introduced by him to the favourable notice of the Queen and Prtace Consort in 1847. He frequented the Zoological Gardens, and made many drawings and studies there. He first ex hibited at the Royal Academy ta 1847, ' Fidelity,' and for the last time ta 1872, ' Waiting ' and ' Lambs,' — these two works were exhibited after his death. He painted many pictures of her Majesty's dogs, ponies, and other pets for the Royal Collection. In 1852 he sent four works to the Academy; in 1854, 'Halt on the Road;' ta 1858, ' Sheep ; ' in 1859, ' Companions : ' in 1863, ' Setters ' and a ' Hillside Flock.' He was very fastidious about his work, and was of a nervous and irritable disposition, so that 249 KEY he had a great dislike to exhibiting his pictures. He died in London, December 5, 1871, of inflammation of the lungs with typhoid symptoms, and was buried in Kensal Green Cemetery. KEYSE, Thomas, still-life painter. He contributed to the first exhibition M 1760, and was iu 1763 a member of the Free Society of Artists, continuing an occasional exMbitor. He was for 30 years keeper of the Bermondsey Spa, a sort of tea-garden, and had great repute as a patater of still- life. In 1768 the Society of Arts awarded him a premium of 30 guineas for a method of setting crayon drawings. He showed a gallery of his own works, ta which the master-piece was a butcher's-shop, with its contents admirably imitated. He boasted of a visit from Sir Joshua Reynolds, and a critic wrote of him — ' Keyse's mutton Show'd how the painter had a strife With nature, to outdo the life.' He died at his tea-gardens, February 8, 1800, ta his 79th year. KIDD, William, R.S.A., subject painter. Was bom ta Scotland, and was apprenticed to a house-painter and decor ator in Edinburgh. He came to London early in his career and practised as an artist, patating numerous subjects embody ing the. pathos, but more frequently the humour, of Scottish life, several of which have been engraved. He first exhibited at the Royal Academy in 1817, and for many years was a constant contributor. About 1840 his contributions feU off. In 1849 he was elected an honorary member of the Scottish Academy, and only exhibited agata at the Royal Academy ta 1851 and the two following years. He was also an occasional exhibitor at the Society of British Artists. He was a gemus, quite incapable of man aging his worldly affairs, was never well off at any period of his life, lived from hand to mouth, and towards the end of his days fell Mto hopeless difficulties. He was as sisted by his friends, and was a pensioner of the Royal Academy. He died ta London, December 24, 1863. KIDD, John Bartholomew, R.S.A., landscape painter. He was a pupil of Thomson, of DuddMgstone, and one of the original members of the Royal Scottish Academy. He resided at Edinburgh for a whUe, and left that city about 1836, and then settled as a teacher of drawing at Greenwich. He resigned his membersMp of the Scottish Academy in 1858. There are a few etchings of Mghland scenery by him. KILLIGREW, Anne, amateur. Was born in 1660. Her father, Dr. Henry Killigrew, was master of the Savoy, and one of the prebendaries of Westmmster. 250 KIN She patated landscapes and portraits in the manner of Lely, and drew James II. and Mary of Modena, and some pieces of stUl- life and history. She died in London of smallpox, June 16, 1685, and was buried in the Savoy Chapel. Her portrait, after a painting by herself, was engraved by Becket, the early mezzo-tintist. Three pictures by her were sold at Admiral KUligrew's sale in 1727. She was maid of honour to the Duchess of York, and is highly praised by Antony Wood, who said ' she was a Grace for beauty, and a Muse for wit ;' and Dry den celebrated her gemus in poetry and paint ing. Her poems were pubhshed after her death, in 1686. KING, Daniel, amateur. Practised about the middle of the 17th century. He worked in the manner of HoUar, and pro bably learnt Ms art from Mm. He executed some works for the ' Monasticon ' of Dug- dale, who caUed Mm an ignorant, silly knave. He wrote 'Miniatura; or, The Art of Limning,' and published, ta 1656, a thin foho of 'The Cathedral and Conventual Churches of England and Wales,' drawn by Mmself, comprising 50 plates, of wMch tliree or four are by Hollar. He also published, ta 1656, ' The Vale Royal of Cheshire, Illustrated by engravings from Ms own drawmgs. He etched, besides many views of castles, churches and ancient buildings. KING, Captata John Duncan, amateur. Patated landscapes with much abffity, and was an occasional honorary exMbitor at the Royal Academy between 1824 and 1851 — Ms subjects, views on the coasts of Spain and Portugal, and later, of Ireland. He had seen much service in the early part of his Me, and was for many years of Ms latter Me a mihtaiy knight of Windsor. He died there August 21, 1863, aged 74. KING, Giles, engraver. Was born in England, but settled in Dubhn, and prac tised there for many years about the middle of the 18th century. He engraved views of the ' Salmon Leap ' and ' WaterfaU,' Wick- low, ' The taking of Cape Breton,' and some other works. KING, George, engraver. Practised ta the reign of Queen Anne. His works were chiefly for book ornamentation. He en graved a few portraits, some from the hfe, but they are poor ta manner. KING, John, Mstory and portrait painter. Was bom at Dartmouth ta 1788, and showing talent for drawing, he came to London at the age of 20 and gained admis sion to the schools of the Academy. He first exhibited at the Royal Academy ta 1817. He aimed to excel ta history, and under much difficulty and discouragement patated several pictures — 'Christ ta the Garden,' 'Christ Bound,' 'Abraham and Isaac,' 'Lear and Cordeha,' 'Ferdinand KIN smd Miranda,' but he met with no encour agement. About 1826 he tried portrait, and might have succeeded better, but he disliked this branch of art. He continued to exMbit up to 1845, and died at Dart mouth, July 12, 1847. His works, most of wMch remaMed on his hands, were sold by auction the same year, and produced only small sums. KING, Margaret, portrait painter. Practised ta the latter part of the 18th century. She exMbited crayon portraits at the Royal Academy in 1779, and continued an exhibitor up to 1786. KING, Thomas, portrait painter. Was a pupU of Knapton, and attained consider able abffity, but was eccentric, restless, and dissipated. He died about 1769, and was buried ta Marylebone Churchyard. There is a mezzo-tint of his portrait of Matthew Skeggs playing on a broomstick ; and Houston engraved after him the portrait of Maddox, a celebrated rope-dancer. KING, Thomas, antiquarian drafts man and engraver. He hved at CMchester, and published a series of plates of the cathedral and other antiquities of the city. He died August 9, 1845. KINSBURY, Henry, draftsman and engraver. He practised ta London between 1750-80, engraving ta the mezzo-tint and dot manner, cMefly subject plates. KIP, William, engraver. Practised m London at the beginning of the 17th cen tury. There are some triumphal arches engraved by Mm, dated 1603. KIP, John, engraver. Was born at Amsterdam, and came to England soon after the Revolution. He was employed to engrave views of the Royal palaces and the mansions of the nobUity and gentry for the ' Britannia IUustrata,' published ta 1 7 14. He engraved the arcMtectural and topo- grapMcal views in Strype's edition of Sfowe's Survey,' 1720 ; and also, on a large scale, the mansions of Gloucestershire, for Atkyns's history of that county. These are bird's-eye views, most minutely and curiously executed. He also engraved some portraits, birds after Barlow, and other plates. He died ta Westminster ta 1722, when nearly 70 years of age, leaving a daughter, whom he had brought up to painting. KIRBY, Richard, architect- BuUt HU1 HaU, Essex, a stately structure, in the latter part of the 17th century, for Sir Thomas Smith. KIRBY, John, amateur. Was originally a schoolmaster at Orford, in Suffolk, and afterwards occupied a mill at Wickham Market, his native place. He then resided some time at Ipswich, where he pubhshed, 1735, ' The Suffolk Traveller,' a road-book with antiquarian notices, from an actual survey he made of the whole county in the KIE years 1732-33-34. He died December 13, 1753, aged 63, and was buried at Ipswich. KIRBY, Joshua, F.R.S., topographical draftsman. Son of the foregoing. Was born at Parham, Suffolk, in 1716, and settled at Ipswich as a coach and house painter about 1738. He was induced by an early friendship with Gainsborough to try landscape patating. He made a number of drawings for an intended county history, and of these he published 12, with some descriptive letter-press, ta 1748, the plates etched by himself, followed by a series engraved by J. Wood. He also studied linear perspective, and lectured on that science at the St. Martin's Lane Academy. He was appointed teacher of architectural drawtag to the Prince of Wales, afterwards George III., whose favour he enjoyed, and by whom he was appointed clerk of the works at Kew Palace. He edited, ta 1754, a second edition of Brook Taylor's ' Per spective;' and ta 1761 pubhshed 'The Perspective of. Architecture,' wliich was printed at the expense of the King. He was secretary, and was in 1770 elected president, of the Incorporated Society by the faction which had excluded Frank Hayman from that office ; but the same year, on the plea of ill-health, he resigned the post, which he had littleclaim to occupy. He exhibited with the Society, 1765-70, views in Richmond Park, Kew, &c. His views of Kew Palace were engraved by WooUett ta 1763. He died June 20, 1774, aged 58, and was buried in Kew Church yard. William Kirby, probably his son, who was ta 1766 a member of the Incor porated Society of Artists, died suddeMy at Kew ta 1771. KIRK, John, medallist. He was a pupU of Dassier, on whose death he was much employed. In 1762 and 1763 he received premiums from the Society of Arts. He was a member of the Incorporated Society of Artists, and exhibited medals of the King, Queen, &c, 1773-75-76. He died in London, November 27, 1776. KIRK, Thomas, painter and engraver. Studied mider Cosway, R. A., and practised during the last half of the 18th century. He was an eminent artist. He patated well-chosen subjects in history with great fancy and vigour, the drawing good and the colour agreeable. His vignette illustrations to Cooke's ' Poets ' are excellent. He Mst exMbited at the Academy, m 1785, ' Venus presenting love to Calypso,' and conttaued to exhibit ta alternate years up to 1791. Then, after two years' interval, he exhibited, in 1794, some scriptural subjects, a portrait and a frame of fancy mtaiatures ; and in the following year 12 subjects, evidently designed f or book-Ulustration. In 1796 he exhibited, for the last time, ' Evening ' and 'A Dream.' Some few mtaiatures wMch 251 KIE KNA he painted are full of feminine elegance, his chUdren also sweet and weU-coloured. His engravtags were in the chalk manner, and of great merit. Supported in Ms chair to touch a proof the day before he ched, he was cut off by consumption, November 18, 1797, and was buried at St. Pancras. Dayes said, ' He passed like a meteor through the region of art.' ' Titus Andronicus,' for the Shakespeare Gallery, was both painted and engraved by him. KIRK, Thomas, R.H.A., sculptor. Was bom M Cork in 1784, and studied in the schools of the Royal Dublta Society. He practised his art in Dublin, and was an exhibitor at the Dubhn Exhibition in 1810. On the foundation of the Royal Hibernian Academy ta 1823 he was one of the first members. One of his earliest public works was the colossal statue of Nelson for the memorial pillar erected to Mm in Sackville Street, Dublin. The statue of George IV. and of the Duke of Welltagton are also by him, as are the figures of Justice and Clem ency in the court-house, Londonderry ; the statue of Lord Monteagle, Limerick ; and several of the busts in the library of Trinity College, Dublin. His 'Orphan Girl' and ' Young Dog Stealer ' were much esteemed ta Ireland ; and his marble statue of Admiral Sir Sidney Smith ta the Patated Hall, Greenwich Hospital, was one of his last works. He exMbited at the Royal Academy M London, M 1825, busts of Mr. Wilson Croker and his daughter, and was also an exhibitor in 1839, 1845, and 1846. He died ta Dublin in 1845. KIRKALL, Edward, engraver. Was the son of a locksmith at Sheffield, and born there about 1695. He was instructed ta drawing ta his native town, and came to London, where he found employment as an engraver of arms, stamps, anci ornaments for books. He is supposed by the initials to have engraved the plates, wliich have much merit, for an edition of 'Terence,' published in 1713. In 1722 he published by subscription 12 mezzo-tints, produced by a method he had invented — a combina tion of etching and mezzo-tint with wood blocks — the outlines and darks printed from copper, the tints printed afterwards from wood blocks ; but though the process had merit, he does not appear to have been able to perfect it. In 1724 he published 17 tinted engravings after Vandevelde. He engraved on copper the illustrations to Rowe's translation of ' Lucan's Pharsalia,' 1718 ; and to Iuigo Jones's ' Stonehenge,' 1725. In mezzo-tint he engraved the seven cartoons of Raphael. KIRKALL, L., engraver. Practised about the beginning of the lSth century. There are by liim three large engravings — 'A Bear Hunt,' 'WUd Boar Hunt,' and 'Stag Hunt.' 252 KITCHEN, George, engraver. He; practised about the middle of the 18th century. There are some clever heads, elaborately engraved, by him, and some views ; he also engraved some maps. He was chiefly employed upon book-Ulustra- tion. Thomas Kitchen practised about the same time, but was mostly engaged on map-engraving. KITCHINGMAN, John, miniature painter. He was a pupil of Wm. Shipley, and was admitted a student of the Academy, where he gataed a good knowledge of the figure. He obtained several premiums at the Society of Arts. He exhibited minia tures at the Free Society of Artists 1766- 68, and from the year 1770 at the Academy, some of these beMg theatrical portraits in character. He also painted in oU some genre subjects, marines, and land scapes. Fond of the water, he gataed in 1777 the silver cup at the Thames sailing match ; and he painted four pictures, wliich were engraved by Pouncey, to Ulustrate the progress of a cutter. These he exhibited at the Academy, his last contribution, in 1781. He married early ta hfe a girl as young as Mmself, and separated from her after a few years. He then fell tato habits of intemperance and irregtaarity, and died, aged about 40, December 28, 1781, immedi ately after the amputation of Ms leg, the bone of wMch was diseased. KNAPTON, George, portrait painter. Born ta London ta 1698, the son of a book- seUer. He was the pupU of Richardson, and Ms early works were ta crayons. In 1740 he went to Italy, and wrote an inter esting account of the discoveries at Hercu- laneum. He held the office of painter to the DUettanti Society, and in 1765, of keeper of the King's pictures. He was associated with Arthur Pond in engraving and publishing engravtags from the draw ings of eminent masters. At Hampton Court there is a large and pretentious group by him of the family of Frederick, Prtace of Wales. The widowed princess forms the centre, with the child born after its father's death in her lap, surrounded by her four other daughters aud four sons, and in the background a full-length portrait of her late husband. All the figures are life-size and ta action, the portraits, dresses, and draperies carefully patated, and every part defined with a scruptaous care that defied art. The grouping is formal and unpleas ant, all the figures cut out from the back ground. But some of his portraits M the Dilettanti Society give a better optaion of his art, which is by no means without merit. He died ta 1778, aged 80, and was buried at Kensington. KNAPTON, Charles, engraver and publisher. Brother of the foregoing. Pub lished, in 1734-35, some aqua-tint imita- KNE KYT tions of drawmgs ta bistre ; and a number of other works are ascribed to him. He died in 1760, aged 60. KNELL, William Adolphus, marine painter. Began to exhibit in the Royal Academy in 1835, when he sent 'Folkestone from the Dover Road ; ' in 1838 he con tributed ' The Port of Leith ; ' ta 1846, ' Vessels off the Flemish Coast.' He was a constant contributor to the annual exhi bition of the Royal Academy down to 1866. The Queen has one or two of Ms pictures in her coUection wMch are cleverly painted. He died July 10, 1875, and was buried ta the Abney Park Cemetery. KNELLER, Sir Godfrey, Bart., por trait painter. Was born of an ancient famUy, at Lubeck, ta 1648. Designed for the army, he was sent to Leyden to study mathematics and fortification ; but a love of art predominated, and he was for a time the pupU of Bol, at Amsterdam, and had some instruction from Rembrandt. In 1672 he went to Italy, visited Rome, made some stay at Venice, and in 1674 came to Eng land. He did not purpose to remain here, but gaining the patronage of the Duke of Monmouth, who introduced him to Charles II., he was engaged to paint the King's Eortrait, and the work pleased so weU that e was induced to stay. Charles was inter ested ta him, sat to Mm several times, and sent him to Paris to paint the portrait of Louis XIV. He was equaUy in favour with James IL, and the death of Lely left Mm without a rival. He patated the por traits of aU who were most eminent in Ms day— the 43 celebrities of the Kit-Cat Club, the ten 'Beauties,' at Hampton Court; and no less than ten sovereigns, were his sitters. He held the office of state painter to Charlas IL, James IL, WUham III. (who kmghted Mm ta 1692), Queen Anne, and George I., by whom, ta 1715, he was created a baronet. He was lauded in the verse of Pope, Dryden, Addison, Steele, TickeU, and Prior ; and though he lost 20,000?. ta the South Sea scheme, he left an estate of 2,000?. a year. He hved ta Covent Garden from 1681 to 1705, and afterwards at Kneller HaU, near Twicken ham. He died from the effects of a violent fever, November 7, 1723, and was buried at Twickenham Church. There is a monu ment to Mm ta Westminster Abbey. His portraits have great freedom, and are weU drawn and coloured, but are slight, and have much sameness and want of com pleteness. The great number of his works was a bar to their exceUence. Their ctaef fault is the absence of all simplicity and nature — steeped ta a vicious, common-place aUegory, wMch deprives them of truth and character. Yet to him is due, during a practice of 30 years ta England, the remem brance of our greatest men of his time. KNELLER, John Zaohary, ornament al painter. Born at Lubeck ta 1635. Was the elder brother of the foregoing, and came with him to England in 1674. He painted architectural decorations in fresco, and still- life in oil, and copied some of Ms brother's portraits in water-colours. He died ta Covent Garden in 1702, aged 67, and was buried ta the church there. KNIGHT, Charles, engraver. Prac tised in London in the second half of the 1 8th century. There are many works by him after Kauffman, Wheatley, Bunbury, Singleton, Hoppner, and others. He was one of the governors of the Society of Engravers, founded in 1803 for the relief of members of the profession. KNIGHT, Mary Anne, miniature painter. Was born ta 1776, and was a pupU of Andrew Plimer. She was a good miniaturist. She first exhibited at the Academy ta 1807, and from that time was for many years an occasional exMbitor. She was unmarried, and died in 1851. KNIGHT, William Henry, subject painter. Bom September 26, 1823, at Newbury, where his father kept a school. He was placed under a solicitor, but he had an early love of drawing, and en couraged by the exMbition of two pictures at the Society of British Artists, and dis liking Ms profession, he came up to London in 1845 to try his fortune as a portrait painter, and entering the schools of the Academy, just managed to live. In 1846 he exhibited for the first time at the Aca demy, ' Boys playing at Draughts ; ' and getting over his first difficMties, conttaued to exhibit at the Academy and the British Institution tiU Ms death. His cMef pamt ing are — ' Boys Snow-balling,' 1853 ; ' The Young Naturalist,' 1857 ; ' The Lost Change,' 1859 ; with ' Peace versus War,' and 'A Troublesome Neighbour,' 1862. His works are of small size, truthfully patated, usuaUy introducing chUdren. He died July 31, 1863, leaving a widow and young family. KYSELL, Edward, engraver. Prac tised in London, chiefly ta portraits, about the middle of the 17th century. There is an equestrian portrait of Ohver Cromwell by him. KYTE, Francis, mezzo-tint engraver. He occasionaUy painted portraits, and there are several by him rather loose and unfin ished, but agreeable for tone and colour. He was convicted in 1725 of uttering a forged bank-note, and sentenced to the pillory; from that time he assumed the translated name of Milvius. He engraved two portraits of Gay, the poet ; to the first is attached his real, to the second his assumed name 253 LABELYE, Charles, architect. Was a native of Switzerland, and naturalised in England. He is said to have first gained his livmg "as a barber. He had no less a great skUl in geometry and architecture, and was for a time employed by Hawks- moor, the arcMtect. He built Westminster Bridge, upon which he was occupied from 1739 to 1747. In 1744 he planned a har bour between Sandwich Town and Sandown Castle, a scheme which was brought under the consideration of Parliament. He after wards retired to France for Ms health, and died at Paris, February 18, 1762. He published an account of the method he used in laying the foundations of the bridge. LACON, , portrait painter. He painted water-colour portraits, and set up a Euppet-show at Bath, which was much the ismon. He died about 1757. LADBROOKE, Robert, landscape painter. Was apprenticed to a printer, but turned to art, which he began by patating portraits at 5s. each. He hved at Norwich, was early associated with old Crome, and the two painters married sisters. He was a member of the Norwich Society of Artists from its foundation in 1805, and a contribu tor to its exMbitions, his works comprising the picturesque localities ta Norwich, and views in North AVales. Between 1809 and 1816 he exhibited several landscapes in oil at the Royal Academy. He gataed a small competence, and died at Norwich, October 11, 1842, in his 73rd year, leaving sons who followed the arts. LADBROOKE, Henry, landscape painter. Second son of the above. He was born at Norwich, April 20, 1800. He was well educated and intended for the Church, but at the desire of Ms father he reluctantly turned his energies to the study of art, to which by degrees he became attached, and pursued with unflagging energy. He painted landscape with great truth to nature, quiet ta harmony of colour. He exceUed in his moonlight scenes, and enjoyed a local reputation, but does not appear to have exhibited at the Royal Aca demy. He died November 18, 1870. His brothers, E. Ladbrooke and J. B. Lad- brooke, exhibited landscape views at the Academy on one or two occasions, about the year 1820. LADD, Anne. Painted portraits and fruit-pieces. She died unmarried, of small pox, ta London, February 3, 1770, aged 24. LAGUERRE, Louis (called ' Old La- guerre'), history painter. Born in 1663, at Paris, where Ms father was master of the 254 Royal Menagerie. He was godson of Louis XIV. and intended for the Church, but having an impediment ta his speech, was allowed to follow the bent of his own inclination, and was placed under Le Brun, with whom he studied art for some time, as also ta the academy at Paris. In 1683 he came to England, and was engaged by Verrio, for whom he patated a large part of the work Verrio was then engaged upon at St. Bartholomew's Hospital. He soon rose into great esteem, and was employed on his own account to decorate the halls, stair cases, and ceilings of many fine mansions. King Wilham gave him lodgings at Hamp ton Court, where he patated the 'Labours of Hercules,' and injured by Ms repairs Mantegna's great work, 'The Triumph. of Caesar. He also patated the eeiltags and staircases at Burghley; DevonsMre House, London ; Petworth ; Marlborough House, St. James's ; WMtton ; and others. He was chosen by the Commissioners for repairing St. Paul's to decorate the interior of the cupola, but was set aside by theS tafluence of Thornhill. Queen Anne com missioned Mm to design tapestry ta com memoration of the UMon, and he made the drawings, but the intention was carried no further. In 1711 he was elected the director of an academy of painting, then estab lished ta London. There is an etching by him of ' Midas sitting ta Judgment between Pan and ApoUo.' He died suddetay in Drury Lane Theatre, where he had gone to be present at Ms son's benefit, April 20, 1721, and was buried ta St. Martin's Church yard. As an artist he must take Mgh rank with his cotemporaries. His compositions are good, his drawtag vigorous ; his tone of colour subdued, but pleasing. His large works on the staircase of Marlborough House, which have just been released from the coats of paint under which they have so long been hidden, are proofs of his great ability. LAGUERRE, John (called ' Jack La- guerre'), decorative painter. Was the son of the above. He was born in London, and educated as an artist under Ms father. He worked for a time for Hogarth, but having a good voice he tried the stage. He was engaged as a singer both at Lmcoln's Inn Fields and Covent Garden Theatres, and he also painted some of the scenes. He assisted Verrio in the plafonds at Windsor Castle. He engraved some plates himself, and published a set of plates from the farce of ' Hob ta the Well,' which, though tadiffer- ently executed, had a large sale. He wanted application, not talent. He was a know- LAI tag f eUow, known to eveiyone worth know ing, a great humourist, stager, mimic, and wit, the founder of a school of caricaturists ; but withal he diedtatadigentcircumstances, in March 1748. It is not known where he was buried. LA1NG, John Joseph, wood-engraver. Bom in Glasgow, and practised for some time there. Later he came to London, where he found employment. His cMef works were architectural subjects for ' The Builder.' He died at Glasgow ta December 1862, aged 32. LAING, David, architect. Was born 1774, the son of a London merchant, and became the pupil of Sir John Soane. In 1810 he was appotated surveyor of build ings to the Custom House, and soon after was commissioned to prepare designs for a new custom-house, which was just com menced west of the old bmldtag, when that edifice was destroyed by fire. The new building, erected after his designs, was completed between 1814-17, when a few years after the centre failed, either from a defect ta the foundation or the construc tion, and the repair and necessary altera tion were transf erred to Sir Robert Smirke. Some htigation followed, and Latag retired from practice. He exhibited at the Royal Academy from 1814 to 1822, cMefly de signs for the custom-house, exterior and interior, and views of St. Dunstan-ta-the- East, which he was at that time rebuUdtag. He died at Brompton, March 27, 1856, at the age of 82. He pubhshed, ta 1800, a smatt work, ' Hints for DweUings ; ' and ta 1818, Ms ' Plans of BuUdtags, Pubhc and Private, including the New Custom-house.' LAMB, Edward Buckton, architect. He was very early an exhibitor of designs at the Academy, commencing ta 1824, and about 1830 found active employment in his profession. He gataed a reputation for the correct propriety of his Gothic designs, but does not appear to have been engaged ta any works of magmtude. The design for the Smithfield Martyrs' Memorial Church ta ClerkenweU was one of his last works. He died August 30, 1869, aged 63. LAMBERT, General John, amateur. He was of a good famUy, was born ta 1619, and was brought up to the Bar. On the breaking out of the CivU War he entered the army of the Parhament, and gataed great distinction ; was a personal friend of romweU, and the first president of Ms councU. He had been instructed ta art by Baptiste Gaspars, and when banished for Me to Guernsey on the Restoration, he found a solace ta flower-painting, ta which he exceUed. There is at Goodwood a smaU portrait of CromweU at an ale-house door, wMch is traditionally said to be after an original by General Lambert ; a portrait of him, se ipse pinxit, is mezzo-tinted by LAM J. Smith. After a residence of nearly 30 years in Guernsey, he died in the Roman Catholic faith in 1692. He left some fruit and flower pieces which he had patated. LAMBERT, John, amateur. Son of the above. He painted portraits and left several which are said to be known in some English collections. Lord Ribbes- dale exhibited two portraits by him at the Leeds Exhibition. He died at his estate in Yorkshire. LAMBERT, George, landscape and scene painter. He was bom in Kent in 1710, and was the pupU of Hassel and Wootton. In his art he was an imitator of Gaspar Poussta, and his landscapes have much grandeur, excelling those of his con temporaries. He did not succeed in his figures, some of wliich are attributed to Hogarth, with whom he was a convivial friend. He was a mannerist, and his manner was sceMc, some of Ms best works being patated for the stage. He was first employed as a scene painter at the Lincoln's Inn Fields Theatre, and so early as 1736 was engaged as the principal scene painter at Covent Garden Theatre, an office he held many years, and assisted Manager Rich ta carrying out great scenic improve ments. He was the first president of the Incorporated Society of Artists, and was one of the jovial party at Old Slaughter's, a merry companion at all times, and the founder of the 'Beefsteak Club,' wMch first held its meetings ta the scene-room at Covent-Garden, caUed the ' Thunder and Lightning' loft. His portrait was engraved ta mezzo-tint by the younger Faber. He died November 30, 1765. In conjunction with Samuel Scott he painted some views of the Indian settlements for the Bast India Company's house in Lead- enhall Street, now puUed down. There is a good landscape by Mm at the Found hng Hospital. Vivares and Mason en- f raved after Mm; and two etchings by im are known, one an upright landscape and ruins, with three small figures, coarse ta execution. Some of his best scenery was destroyed when Covent Garden Theatre was burnt down in 1808. LAMBERT, James, landscape painter. He practised in the latter part of Ms life at Lewes. He gained a premium of 25 guineas at the Society of Arts in 1770, and was an exMbitor at the Royal Academy in 1774, and conttaued to exhibit landscape views tUl his death. He died near Lewes M 1779. His son, James Lambert, during the same period exhibited stiU-Me, fruit, and flowers. LAMBERT, Mark, engraver. Appren ticed at Newcastle-on-Tyne, and became an assistant to Thomas Bewick. He was distinguished for the truth and carefulness of his drawtags. In the latter part of his 255 laM' LAN life he was employed chiefly in ornamental engraving of a mechanical character. He died at Newcastle, September 28, 1855, aged 74. LAMBORNE,_ Peter Spendelowe, engraver and miniature painter. Born in London 1722. He practised at Cam bridge about the middle of the century, and was employed in drawing and engraving architectural and other antiquities. He also painted miniatures and etched por traits. He etched a head of Cromwell after Samuel Cooper, and of Dr. Johnson from his own drawing. He engraved many of the plates for Bentham's 'History of Ely Cathedral,' printed at the Cambridge University Press in 1771. His architectural drawings and views are elaborately careful, washed in with Indian ink, and tinted. He was a member of the Incorporated Society of Artists in 1766. He died at Cambridge in November 1774. LANCASTER, Hume, marine painter. He exhibited at the Academy in 1836, and about the same time with the Society of British Artists, of which body he was elected a member in 1841. He conttaued to ex Mbit with both Institutions up to 1849, contributing scenes chiefly on the French and Dutch coasts, with some landscapes in Normandy, and views on the Scheldt. His abihties were checked by his domestic troubles, which were a bar to his progress in art. He had lived for some time at Erith, Kent, and died there July 3, 1850. LANCE, George, still-life painter. He was born at Little Easton, near Col chester, March 24, 1802. His father was then adjutant of the Essex Yeomanry, and afterwards for many years an inspector of the Bow Street horse patrol. He was in tended for manufacture, and was placed with a relative at Leeds, but he disliked his occupation, and came to London, where he tried art, and became the pupil of B. R. Haydon and a student of the Royal Aca demy. He first exhibited with the Society of British Artists in 1824 — 'The Mis chievous Boy' and two fruit-pieces. In 1828 he sent his first work, ' Still-life,' to the Academy, but did not exhibit there again till 1835, in the interim exhibiting, in 1830 and 1831, with the Society of British Artists. Continuing to paint still- life, in 1839 he also sent to the Academy ' Rolando showing Gil Bias the Treasures of the Cave ; ' but in this and some suc ceeding subject pictures the motive was found ta the rich accessories to which they lent themselves. Soon after 1845 he re turned exclusively to still-life, exhibiting principally fruit, and for the last time in 1862. His imitation of fruit, flowers, with the varied accessories of plate and rich textures, was excehent, as was the skill with which they were grouped. His feel- 256 ing for colour was good, but rather gay.' He died at Sunnyside, near Birkenhead, June IS, 1864. LANDELLS, Ebenezer, wood-engraver. Bom at Newcastle-on-Tyne in 1808, where his famUy carried on a draper's business. He was a pupil of Bewick. Came to Lon don when 21 years of age, and was em ployed in the illustration of several of the periodical publications. He was connected with ' Punch ' from its origin. In 1842 tie was commissioned to sketch and engrave the Queen's visit to Scotland for the ' Illustrated London News,' and afterwards several of her Majesty's visits, both at home and on the Continent. He origin ated the 'Illuminated Magazine.' He worked in a broad, clever manner, but wanted delicacy and refinement both ta his line and his drawing. He died at Brompton, September 1, 1860, aged 51. LANDELLS, Robert Thomas, illus trator and designer. Was for many years the special artist of the ' Illustrated Lon don News,' and in this capacity was present ta all the recent campaigns, from the Cri mean War to the Franco-German War. In this latter he contracted the illness which caused his death. He received four medals from foreign governments in recog- Mtion of his services and courage, and his war-sketches were much esteemed. The Queen has several commemorative drawings by him. He died at Chelsea, July 5, 1877, aged 43- LANDSEER, John, A.E., engraver. Was bom at Lincoln in 1769, the son of a jeweller. Was apprenticed to William Byrne, the landscape engraver, and, through him, was connected by pupUage with a long hne of eminent engravers. Among Ms first works were his vignettes after De Louther bourg for Macklm's ' Bible ' and Bowyei-'s ' History of England,' wMch were of great merit. In 1795 he engraved 20 views of the South of Scotland. He was an active supporter of his profession by bis pen also ; and in 1806 lectured at the Royal Institu tion upon engraving, and asserted the Mgh position of the art. An opponent, of the Royal Academy, on the ground of the ex clusion of the engravers, he was, ta 1806, elected an associate engraver, but did not cease to complain of the imfair position ta which the engravers were placed by being deemed ineligible for the full membership, and he never ceased to agitate upon this question ; and since his death this honour has been conceded to them. He com menced a ' Periodical Review of the Fine Arts,' which hved only to the second volume, and at a later period he published ' The Probe,' a weekly periodical, in which the artists were sharply handled, but it did not continue above half a year. He engraved in a large, bold manner, LAN LAN making much use of the needle. His works were higMy esteemed. He died February 29, 1852, in Ms 83rd year, leaving ttaee sons, who had become eminent ta art. In addition to the two periodical works above mentioned, he published, ta 1807, ' Lectures on the Art of Engraving ;' in 1817, 'Observations on the engraved Gems brought from Babylon;' in 1823, 'Sabaean Researches: Essays on the en graved HieroglypMcs of Chaldea, Egypt, and Canaan ; ' ta 1833, ' Engravtags ulus trathig the Holy Scriptures ; ' ta 1834, ' A Descriptive Catalogue of Fifty of the earliest Pictures ta the National GaUery,' and ' Some Account of the Dogs and the Pass of St. Bernard.' LANDSEER, Sir Edwin Henry, Knt., R.A., animal painter. He was the third and youngest son of the foregoing, and is stated to have been born in Queen Anne Street, London, 7th March, 1802, the date which was placed on his coffin, though there is some question, even in Ms family, as to the year of his birth. Surrounded by art associations, he seemed destined to be an artist : Ms young gemus was very early developed under Ms father's teaching, and he received a premium for Ms drawing of ' A Horse for Hunting ' from the Society of Arts. Fond of animals and of the sports to which this attachment naturaUy led, as a boy he haunted the itinerant wUd beast shows, and, sketch-book ta hand, watched the action of dogs when matched to fight or at rat-MUing. So trained, at the age of 14 he was admitted to study ta the Academy schools, and was also an exM bitor at the Academy Exhibition, sending ' The Heads of a Pointer Bitch and Puppy ; ' and ta 1817, to the Water-Colour Society, wMch then admitted works ta oU, Ms ' Mount St. Bernard Dogs ; ' and in 1818, ' Fighting Dogs getting Wind ; ' and at the same time he exhibited at the Academy, ' Brutus,' the portrait of a dog, with the portrait of an f01d Horse.' Up to this time Ms studies had been cMefly from nature, and Ms father now introduced him to B. R. Haydon, who superintended his progress, though he did not become Ms pupU, and advised him to dissect and make anatomical studies of ammals. In this course, taking advantage of the death of a hon ta one of the mena geries, he studied carefully its anatomy, which gave Mm a power ta the drawtag of that animal notable ta his future works. Maktag rapid progress, in 1820 he exhi bited at the British Institution ' Alpine Mastiffs reanimating a Distressed Travel ler ;' ta 1821, at the Academy, a ' Prowling Lion ; ' in 1822, a ' Lion Disturbed ; ' and at the Institution, the same year, 'The Larder Invaded,' for wMch the directors awarded him 150?.; and ta 1824, 'The Cat's Paw,' a monkey seizing the cat's paw to take the roasting chestnuts from the fire, one of the Mst of his paintings ta which a weU-known moral was so happUy combined with humour. By these works he had already established a reputation. In 1825 he exhibited at the Academy a 'Portrait of Lord Cosmo Rus- seU,' a boy on Ms rough httle pony scam pering over the heather, followed, in 1826, by the ' Interior of a Highland Cottage ' and ' Chevy Chase ; ' and having reached the prescribed age of 24 years, he was at once elected an associate of the Academy, and now commenced the exhibition of a series of fine works, addressed to the com prehension and tastes of all, fully confirm ing the high optaion so early formed of his art, and higMy popular — in 1827, he exhi bited at the Academy ' The Monkey who had seen the World,' a carefM work, fuU of genius and sly humour ; ta 1832, ' The Pets,' a sweet picture of a child feeding a fawn. At the British Institution, in the same year, ' Lassie Feeding Sheep ;' and in 1833, at the Academy, a ' Jack ta Office,' and 'The Hunted Stag.' As he matured bis art, the field before Mm widened, and attracted by the talk of HigMand sport and the allurements of deer stalking, he was led to visit the Highlands, where, in his yearly succeeding visits, he foimd so many attractive subjects for his pencU. In 1834 he exhibited at the Aca demy a 'HigMand BreaHast,' a young mother suckling her babe, with a group of eager dogs, one with a litter of pups at its teats, feeding at her feet, and 'Bolton Abbey ta the Olden Time.' In 1835 he sent to the Institution 'The Sleeping Bloodhound,' a simple but probably one of his best coloured aud most vigorous works ; and to the Academy, in 1835, a ' HigMand Drover's Departure for the South,' a fine and elaborate work, crowded, perhaps over crowded, with Ms fertile conceptions, inci dents so fuU of feehng that not one would willingly be spared. In the mean time he had been elected a full member of the Academy ta 1831, and had now reached the taghest rank ta his profession. His works were justly esteemed by all, the theme of popular achmration, yet, receiving oMy very inadequate prices for them, and even these not promptly paid, he suffered pecuniary taconveMences patafrd to his sus ceptible nature. Of the works which he now exhibited at the Academy, maintaining the high reputa tion he had gained, the following may be mentioned : — In 1837, ' The Return from the Chase,' with ' The Old Shepherd's Chief Mourner, his faitMul dog watching beside the coffin, its action, and the whole of the accessories of the picture, forming a work of almost human pathos ; 1838, ' A Dis- 257 LAN tinguished Member of the Humane Society,' represented by a noble Newfoundland dog ; and 'There's Life ta the Old Dog yet;' 1839, ' Tethered Rams ;' ta 1841, 'Peace,' and the companion picture, ' War ; ' 1842, ' The Highland Shepherd's Home ; ' 1847, ' The Drive, Shooting Deer on the Pass,' one of Ms largest works, purchased by the Queen; 1848, 'Alexander and Diogenes,' two dogs ; 1850, ' A Dialogue at Waterloo,' the aged Duke of Wellington with his daughter-in-law visiting the field; 1851, 'Scene from the Midsummer Night's Dream,' which may be esteemed his last great work ; 1856, ' Highland Nurses ; ' 1858, 'The Maid and the Magpie;' 1860, 'Flood ta the Highlands;' 1861, 'The Shrew Tamed' and the 'Fatal Duel.' During the whole of these years, wtale as a member of the Academy he sent his chief works to their exhibitions, he conttaued to exhibit at the British Institution, and probably from early associations supported that body by the contribution of his works tUl nearly its final collapse. Up to tMs time Ms deserved prosperity and success had, to the world, appeared unclouded, but it was not so. A hvely companion, gifted with all that made Ms company desirable, he was admitted and esteemed in the first society, even the Queen's. But from his youth patafMly sensitive, nervously alive to censure, he had suffered occasionally from long periods of mental depression, and then felt most acutely the slights, no doubt purely im aginary, of Ms distinguished friends. In 1851-52 he was attacked by illness, arising from these causes, and ta those years he did not exhibit. lie had when so young reached, and so long maintained, such great excellence in his art that his friends, seeMg now some faffing off, feared, after his 40 years' practice, they must be prepared to find his place on the Academy walls a blank; but it was not yet. He happily rallied, and again Ms works appeared, yet ta faded excellence. In 1864 he exhibited, with other works, Ms ' Piper and Pair of Nutcrackers ; ' in 1866, ' The Stag at Bay,' a model ; ta 1868, ' Rent-day in the Wilds,' the concealed tenants paying their rents for their exiled chief ; in 1869, two ' Studies of Lions,' with ' The Swannery,' a work which had long lain unfinished in his studio ; and continuing to send two or three pictures in the following years, in 1873 he exhibited bis last work, 'An Un finished Sketch of the Queen.' He produced a number of etchings which are highly prized,, and modelled the four noble hons which ornament the base of the Nelson column in Trafalgar Square, a commission which he kept many years in hand. Towards the end of his Me his nervous state of health was aggravated by a raU- 258 LAN way accident ta the north, in November 1868, which left a scar on the forehead visible ta his coffin. From this time his failing memory became more affected, and for the last two or three years he was a great sufferer. He had lived, since 1825, in the same house at St. John's Wood Road. He was unmarried, but was sur rounded by the members of his famUy, and also by his many dogs and animals, whose natures, faculties, and actions, were his amusement and the object of his continual, almost unconscious, study; and here he died on October 1, 1873, and was buried M St. PaM's Cathedral, his funeral attended by his family and friends, the president and members of the Royal Academy, with many persons of distinction and eminence, nor was it unaccompaMed by many marks of public sympathy. His art wUl fiU a permanent place ta the memories of all. His skUl endowed ammals with something more than instinct — sometimes highly pathetic, sometimes of the most subtle humour. His fertile invention and happy incidents were unrivalled, the titles of his works so cleverly, sometimes wittily, chosen ; his drawing tratMul and correct ; his power of execution dexterous and rapid M the extreme ; the f acUe treatment of his textures — wool, fur, skin, or feathers — un surpassed, and all that the Dutch painters reached by the most elaborate skill; his composition without effort, yet always good. But Ms colour was often heavy, and latterly grey and leaden. His portraits, of wMch he patated several, when his subject was evidently his own choice and his own taste, bore all the successful impress of his art ; not so, however, when he was oppressed with the sense of an uncongemal task, perhaps too good-naturedly undertaken. His works have been so largely circu lated by the numerous excellent engravings of them, including almost without excep tion all those mentioned here, that they have become known and have found a place in the affections of all. Eminently happy in the engravers employed, his ' Bolton Abbey,' and ' Midsummer Night's Dream,' are especially disttaguished by the happy talent with wliich they are rendered; and ' The Mothers,' a coUection of small designs admhably etched, are tributes no less to the engraver than the patater. He was fortmiate ta receiving all the honours which art could give him. He was knighted ta 1850, was awarded the large gold medal at the Exposition Universelle in Paris, 1855, and on the death of Sir C. Eastlake, ta 1865, was formally offered, but refused, the office of President of the Royal Academy. He realised, ta the latter part of his life, largely from the sale of the copy rights of Ms pictures, a handsome fortune, his personal property betag sworn under LAN LAN 160,000Z. The Queen, his gracious patron, possesses many of his works. The nation is fortunate in the number of his best paintings, wMch were bequeathed to it by the munificence of Mr. Sheepshanks, Mr. Vernon, and Mr. Jacob Bell, and are now open to the pubhc ta the gaUeries of the National Gallery and the South Kensing ton Museum. A large coUection of his works was exhibited at the Royal Aca demy Winter Exhibition ta 1874. LANE, John Bryant, history painter. He was bom in Cornwall, and brought up to the medical profession, but turning to art he was noticed and assisted by Lord de DunstanviUe. He exMbited some sacred and classic subjects at the Royal Academy — ta 1808, an ' Altar-piece ; ' in 1810, ' Ar- temesia preparing to Drink the Ashes of her Husband; ' in 1811, 'Ctaist mocked by PUate's Soldiers ; ' M 1813, ' Eutychus restored to Life by St. PaM.' He then went to Rome, and after a time it was known that he was engaged upon a large and important work. Year after year passed away. He was continually increas ing the size of his canvas, and continuing his labours, refused all requests to see his work. Then, at the end of 14 years, he announced the completion of bis picture, 'The Vision of Joseph.' The work was crowded with figures, full of errors, and when seen by his artist friends, pronounced an utter failure. It was also offensive to Roman Cathohc prejudices, and the artist had to leave Rome with Ms work. He went to Dresden to study Coreggio, and sent his great picture to London, and ta 1828 it was exMbited at Charing Cross in a part of the Royal Mews. He exhibited some portraits of his patrons at the Aca demy in 1831-32 and 1833, and for the last time ta 1834, when Ms name disappears. His picture was deposited at the Pantech- Mcon ta Belgravia, tiU the rent exceeded its value, and it was destroyed by dust. LANE, Samuel, portrait painter. Was born at King's Lynn, JMy 26, 1780, of a respectable Staffordshire family. From an accident when a chUd he became deaf, and nearly dumb also. TMs misfortune, added to a taste for art, determined his profession. He was placed for a time under Farrington, R.A., and afterwards under Sir Thomas Lawrence. He became known as a por trait patater cMefly from the accuracy of his likenesses, and though wanting in the higher qualities of Ms art, he had some distinguished sitters. He first exhibited at the Academy ta 1804, and for nearly 50 years was a constant and large contributor of his portrait works. Soon after 1853 he retired to Ipswich, and sent from thence, in 1856, Ms last contribution to the Aca demy ExMbition. He died at Ipswich, July 29, 1859. LANE, Theodore, subject painter. Was born in 1800, at Isleworth, where his father, a drawing-master, had retired. He was apprenticed to an engraver, and studied assiduously, but his genius tempted him to original design. He exMbited at the Aca demy, as early as 1816, the portrait of a dog ; and ta 1819, 1820, and 1826, female portraits. Then, in 1827, finding the true bent of his genius, 'The Christmas Present, or Disappointment ;' and the following year, ' Disturbed by the Nightmare.' This latter picture, and ' The Enthusiast,' two humor ous works, which are well known, are engraved, and he was rising into notice, when, faffing through a skylight, hewas kffied on the spot, May 21, 1828. He left a widow and three chUdren, for whose benefit his ' Enthusiast '—a gouty old man fishing ta a tub in his chamber — was pub hshed. There are also some caricatures drawn and etched by him. LANE, William, portrait painter. He commenced art as a gem engraver, and from 1778 to 1784 exhibited at the Aca demy classic heads on cornelian and other precious stones. In 1785 he exhibited a head of Mrs. Siddons ta crayons, and from that year occasionally sent a portrait, but from 1797 estabhshed himself as a popular portrait draftsman. His works were slight, and cleverly drawn ta hard coloured chalks. He was a large contributor of portraits and portrait-groups up to 1815. He died at Hammersmith, Januaiy 4, 1819, ta his 73rd year. Anna Louisa Lane, apparently his wife, also exhibited some portrait drawtags ta 1778-81 and 1782. LANE, Richard James, A.E., engrav er. He was the son of the Rev. Dr. Lane, prebendary of Hereford. His mother was the niece of Gainsborough, R.A. Bom in 1800, he was at the age of 16 articled to Charles Heath, the line engraver, and made good progress in his art ; but on the com pletion of his pupilage, the higher branches of engraving suffered great discouragement from the attempts to widen its diffusion by greater cheapness, and in 1824 he was tempted to try the new art of lithography, to which, after many struggles, he finally devoted Mmself, and soon attamed great excellence, standing foremost in delicacy of finish and perfection of style. Among his first works were a charming series of ' Sketches by Gainsborough,' 1823 ; followed by ' Imitations of British Artists,' among which are works that stand unrivalled in lithography. His imitations of ' Sketches by Sir Thomas Lawrence, P. R.A.,' are no less distinguished by their extreme tender ness and delicacy, and are quite deceptive ta their imitative power. He executed for the Queen, who appotated him her litho grapher, many prints of the members of the Royal family after Winterhalter, and 2 259 LAN' LAF also some excellent prints after his friend, Alfred Chalon, R.A. In 1827 he was elected an associate engraver of the Royal Academy. In 1864 be was appotated director of the etching class at the South Kensington Museum, an office for which he was peculiarly fitted by his large knowledge of art, and his patient, gentle temper. He died at Kensington, November 21, 1872. He wrote ' Life at the Water-cure.' L ANGLE Y, Batty, architect. Was the popular architect of his day. He preten tiously attempted to adapt the proportions of the Gothic to the Roman, and invented five orders of his new style. These he pub lished, also ' An accurate Description of Newgate,' 1724 ; and a ' Design for a new Bridge at Westminster,' 1736. He also published a useful ' Builders' Price-book,' successive editions of which have conttaued to the present time ; and a ' Survey of Westminster ' which he had made ; and on some squabble with the city authorities, who preferred the Swiss architect (Labelye) to him, in a vignette to Ms work, introduced his foreign rival hung by the neck under an arch. He had sufficient assurance and influence to corrupt the taste of the time. He died March 3, 1751. Walpole calls him a ' barbarous architect ; ' but he was one of those who, in his day, helped to keep ahve a taste for Gothic architecture. Thomas Langley, brother of the above, engraved many of Ms plates, and was joint author of several of his works. LANGTON, John, glass painter. He was origmaUy a writing-master at Stamford, and presented to Queen Anne specimens of his penmanship. He made some experi ments in glass painting, and painted the east wtadow of the church at Stamford, 'Christ blessing the Elements,' M 1700; and claimed to have revived the art of painting on glass. LANIERE, Nicholas, portrait painter. Was one of the sons of Jerome Laniere, an Itahan, who came to England with his familyta thelatter partof Queen Elizabeth's reign, and belonged to her Majesty's band. He was painter and musician, and sldlled in both these arts. Charles I. employed him as his agent in the purchase of pictures, and sent him to Italy, where he laid out large sums on the commission given by his Majesty. When the royal collection wassold by the order of Parliament, he was a large purchaser, and deposited his acquisitions ta Ms father s apartments at Greenwich, and, taking care to remove them before the Restoration, none could be recovered. He wrote the music and painted the scenes for a masque by Ben Jonson, which was per formed ta 1617 ; also a vocal composition for a funeral hymn on his royal master. As a musician, he had a pension of 200?. a year for Me, aud he also held the office of closet- 260 keeper to the King. His portrait by him self, in the music school at Oxford, proves him to have possessed great powers as an artist ; it is well drawn and coloured, the composition and expression excellent. He died November 4, 1646, and was buried at St. Martin-in-the-Fields. He published a Drawing-book, in which the examples were engraved by himseh, and there are also some etchings by him. LANKRINK, Prosper Henry, land scape painter. Born ta Antwerp ta 1628. He was the son of a German soldier ta the Dutch service. His mother had devoted him to the Church, but showtag a talent for painting, she sent him to the academy at Antwerp, were he made rapid progress. On his mother's death, he came to England ta the reign of Charles II. , after having visited the chief gaUeries ta Italy. He had copied much from Salvator Rosa, and was an able imitator of Ms works. His own landscapes, tato wMch he introduced small figures, were much admired ; and Sir Peter Lely employed Mm on his landscape back grounds. Many of Ms works were lost in a fire. As he advanced ta Me he became idle and dissipated. He resided several years ta PiccadUly, and dying in Covent Garden ta 1692, was bmied ta the Church there. J. Smith mezzo-tinted 'Nymphs Bathing ' after Mm. L A N T, Thomas, amateur. He was portcullis pursuivant to Queen Elizabeth, and a gentleman in the service of Sir Pliilip Sydney. He drew the funeral pro cession and obsequies of his master, which were engraved ta 34 plates by De Brie. LAPIDGE, Edward, architect. He was the son of the gardener at Hampton Court Palace. He exMbited some designs at the Academy m 1808 and foUowtag years, but was rarely an exhibitor. He was the architect of Kingston Bridge, completed in 1828, and in the following year btalt St. Peter's Church, Hammersmith ; also a chapel on Ham Common. He was a com petitor, sending in a set of designs, for the new Houses of Parliament in 1836. He exhibited at the Academy, ta 1850, a design for a suspension bridge on a new principle. He died in March 1860. LAPORTE, G. H., animal painter. He was an occasional exhibitor at the Suffolk StreetExliibitionfrom 1825, andatthe Royal Academy from 1827. On the foundation of the Institute of Painters ta Water-colour he became a member and a constant exhi bitor, but his yearly contributions did not exceed two or three works, chiefly animals and figures, military and Arab groups, and some hunting subjects. He was appomted anhnal painter to the Duke of Cumberland. He died October 23, 1873. LAPORTE, John, water-colour painter. He first appears as an exMbitor at the la: LAI Royal Academy in 1785, and from that year, with few exceptions, was a constant contributor of landscape scenery. He was one of the masters at the MUitary Academy at Addiscombe, and was greatly engaged also ta private teaching. He painted land scapes, introducing cattle, with effects of sunset and morning, of rata and showers, and some views of lake scenery. There are some attempts by him ta oU, wMch he exhibited at the British Institution. ' Cha racters of Trees ' was published by Mm ta 1799, followed by 'Progressive Lessons sketched from Nature.' He died in London, July 8, 1839, aged 78. LARGILLIERE, Nicholas, portrait painter. Was born at Paris ta 1656, and was intended for commerce, but showing a love for art he studied at Antwerp. At the age of 18 he came to England, and was em ployed by Lely to repair some of the royal pictures at Windsor. There he gataed the notice of Charles IL, who commissioned Mm to paint several pictures, but he soon left England and settled ta Paris, where he was patronised by Louis XIV. On the coronation of James II. he was invited to return to London, when he painted the King's portrait ta armour, wearing an immense wig, also the Queen's with a pro fusion of lace and brocade. He afterwards went back agata to Paris, and was a tMrd time tempted to come to London by the large prices paid for his works, but the hostility of the artists, it is said, drove Mm back to Paris, where, having been appointed Director of the Academy and treated with much distinction, he died ta 1746. His works are very numerous. They include several portraits of the exUed Stuarts and some large Mstorical works, among wMch 'The Crucifixion' for the Church of St. Genevieve, Paris, is speciaUy mentioned. LAROON, Marcellus (known as ' Old Laroon'), subject painter. Hewas bornat the Hague ta 1653, and taught by Ms father, who was an artist. With Mm he came, when young, to England, where he studied closely from nature, and formed a style of Ms own. He hved several years in Yorkshire, and on returning to London was employed by Sir Godfrey Kneller as Ms drapery painter. He drew correctly, and patated history, subject and conversation pieces, and landscape. He had great power in imitating the styles of the great masters, and both engravedtamezzo-ttatandetched. He drew and engraved Tempesta's weU- known ' Cryes and Habits of London ' and ' The Coronation Procession of WUliam and Mary.' There is also a book upon Fencing by him. He resided ta Bow Street, Covent Garden, from 1680 till Ms death, of con sumption, March 11, 1702, which took place at Richmond, where he was buried. LAROON, Marcellus (known as 'Captain Laroon'), subject painter. Son of the above. He was born ta Bow Street, Covent Garden, April 2, 1679. He early gataed power as a rapid draftsman. At the age of 18 he went as a page to Sir Joseph Wiffiamson, one of the plenipo tentiaries to the Congress at Ryswyck ; and from thence travelled in the suite of the Earl of Manchester, the ambassador to Venice, betag absent altogether about a year. He had studied both painting and music, and quarreUing with his father, went on the stage as an actor ; and at the end of two years turned again to his paint ing tiU 1707, when he obtained a com mission and joined the army in Holland, where he fought at the battle of Oudenarde and the sieges of Ghent and Tommay. In 1710 he was with the army ta Spain, served a campaign as deputy quartermaster-gen eral, marched with the army to Madrid, and, taken prisoner, was detained till 1712. On the Rebellion, ta 1715, he was again on service with the royal army at Preston. There he was placed on half-pay tUl 1724, when he was appointed to a troop of dra goons, ta wMch he served tiU 1734. His art is now known by his drawings — music parties, groups ta conversation, sometimes introducing portraits and camp sketches. These are freely drawn with a reed pen, with sometimes a slight shadow washed ta. About 1740 he was living at Worcester. He Med at York, some accounts say Oxford, June 2, 1772. He had a great genius both for painting and music. He sold a coUec tion of his own works, with many of Ms father's, in 1725. LATHAM, James, portrait painter. Born M Tipperary. Studied his art at Antwerp, and practised in Ireland about 1725^0. He was one of the earliest of Ireland's paMters, and was greatly esteem ed. He practised for a time ta London. He patated ta a pure style, and among his works left an exceUent portrait of Peg Woffington. His portraits are frequently met with in the old Irish mansions, and some of them are engraved. He died in Dublta about 1750. LATILLA, Eugenio, subject painter. After exhibiting for several years with the Society of British Artists, he was in 1838 elected a member, and ta that and the two following years was a large contributor to their exhibitions. In 1842 he weut to Rome, and sent from thence a Pfift'eraro, ' Abraham dismissing Hagar and Ishmael,' 'Preparing for the Carnival,' and other works. In 1847-48 he was at Florence, and returning to London in 1849, he exhi bited 'Jane Shore's Penance,' and some others. In 1851 he resigned his mem bership and went to America, where he died. LATOMUS, Henry, architect. Prac- 261 LAU LAW tised at the beginning of the 14th century. ( In 1319 he rebmlt the church at Evesham. LAUDER', James Eckford, R.S.A., subject painter. He was born in 1812, at SUvermills, near Edinburgh, and was younger brother of the foUowtag, by whose help his early love of art was rapidly deve loped. He studied at the Trustees' Aca demy, and ta 1834 joined his brother ta Italy, where he studied zealously nearly four years. On his return he settled in Edinburgh, where he was a yearly con tributor to the exhibition, sending among other works, 'The Unjust Steward' and 'The Ten Virgins,' wmeh latter was en graved. His works yearly attracted much notice, and in 1839 he was elected an associate of the Scottish Academy, and M 1846 a full member. He was also an occa sional exMbitor at the Royal Academy ta London, where he exhibited, in 1841, 'A Scene from The Two Gentlemen of Verona;' followed by, ta 1842, ' Cherries ; ' in 1843, ' Hop-Scotch ; ' ta 1845, ' Night and Day ; ' making his last contribution ta 1846. In 1847 he was awarded, ta the competition at Westminster Hall, a premium of 200?. for his ' Parable of Forgiveness.' He had continued to practise in Edinburgh, and died there March 27, 1869. He enjoyed a reputation in Scotland, and for a long period Ms works filled an important place on the walls of the Scottish Academy. LAUDER, Robert Scott, R.S.A., subject painter. He was bom at SUver mills, near Edinburgh, in 1802. Stirred by an early love of art, on leaving school he gained admission to the Trustees' Aca demy in Edinburgh, and after ttaee years' study there he came to London, and for about ttaee years drew at the the British Museum and in a private Me academy. In 1820 he returned to EdMburgh and re newed his studies at the Trustees' Academy, and was elected an associate of the Royal Institution, and on the foundation of the Royal Scottish Academy ta 1830 he became one of the first members. At this time he patated a number of smaU portraits, and in 1833 visited the Continent, where he re mained for five years, chiefly studying at Rome, and at Bologna, Florence, and Venice. He returned in 1838, and from that time resided mostly in London. In 1839 he exhibited at the Royal Academy Ms 'Bride of Lammermmr and 'Rose Bradwardine ; ' in 1840, ' The Trial of Effie Deans ;' in 1842, ' Ruth,' and ' Meg Mer- rilies and the dying Smuggler ; ' ta 1S45, 'Hannah presenting Samuel to Eh;' and in 184S, ' Mother and Child,' with, during the same years, occasional portraits. In 1847 he exhibited at the Westminster Hall competition, 'Christ walking on the Sea.' He afterwards returned to Edinburgh, and painted' his 'Christ teacliing Humility,' 262 which was purchased 'by the Society for promoting the Fine Arts ta Scotland. Struck with paralysis in 1861, he was un able to continue his art, and died at Edin burgh, AprU 21, 1869. His colour and light and shade are rich and powerful, his expression and character good, his aspira tions lofty and original. LAURIE, Robert, engraver. Was bom in London about 1740, practised ta mezzo tint, and was also a printseller. He was awarded a Society of Arts' premium ta 1771, and one ta 1776 for an invention ta mezzo-tint engraving, wMch facihtated working the plates in colours. There are some good plates by Mm after Rembrandt, Rubens, Vandyck, Ostade; and portraits after the Enghsh artists of his own day, including George III. and his Queen. He died about 1804. LAWLESS, Matthew James, subject painter. He first appears at the Royal Academy as an exhibitor in 1858. In 1860 he exhibited 'The King's Quarters at Woodstock ; ' ta 1861, ' Waiting for an Audience ; ' in 1862, ' The Widow of Ho garth selling her Husband's Prints ; ' and ta 1863, Ms last contribution, 'A Sick Call,' the visit of a priest, probably sug gested by his own failing health. He died at Bayswater, ta the autumn of 1864, in Ms 28th year. His works were carefully finished, and Ms latest works showed an improvement in character and refinement. He made many designs for wood engraving, which have great merit. L A W R A N C E , Richard, amateur. He was a veterinary surgeon, and a friend of B. R. Haydon. He published in 1818, 'Fifty Outlines from the Elgin Marbles,' drawn and etched by himself. LAWRANSON, Thomas, portrait painter. An Irish artist, of whom little is known. He practised ta London about the middle of the 18th century, and was a member of the Incorporated Society of Artists, exliibiting with them portraits, whole-lengths, and some miniatures, ta 1764-73. He patated chiefly in oil, and drew and pubhshed a large engraving of Greenwich Hospital. There is a portrait of O'Keefe by Mm ta the National Portrait Gallery. He died after 1778. LAWRANSON, William, portrait painter. Son of the foregoing. He painted subject pictures and portraits ta London ta the latter part of the 18th century. He gained premiums at the Society of Arts ta 1760 and 1761. He was a member of the Incorporated Society of Artists, and ex hibited with them crayon portraits 1765-70, and first appears as an exhibitor of crayon portraits^ at the Royal Academy ta 1774, and conttaued to contribute ta the succeed ing years. His portrait of ' Nan Catley as Euphrosyne,' is engraved by Dunkarton, LAW and there are many fine mezzo-tints after his works ; of these are ' Palemon and La- vtaia,' ' Rosahnd and Celia,' ' Cymon and IpMgema,' ' Lady Haymaking,' 1780, his last contribution to the Academy E xhibition. LAWRENCE, Andrew, engraver. He was born ta Westminster ta 1708, and was the natural son of Andrew Lawrence, apothecary to Queen Amie. He learnt drawtag under Mons. Regnier, who then taught ta Soho. He became a good lin- guist and musician. He also drew in crayons and patated ta oil. On the death of his father he tried alchemy, and soon lost the fortune left Mm. Then a ruined man, he made Ms way to Bologna and from thence to Paris, where he was employed by Le Bas, and etched for him many plates, receiving about a franc and a half a day. Among the works so executed are the ' Halte d'Officiers,' ' Les Sangliers forces,' after Wouvermans ; ' Le Soir,' after Berg- hem; and some others. Afterwards he worked for A. Pond. Salvator Rosa's ' SaM and the Witch of Endor ' is engraved whoUy by him, as are also some plates after De Loutherbourg and Wouvermans. His engravings, published ta Paris, have the name A. Laurent under them. He etched with great taste, was also a clever patater, and possessed much professional knowledge. He died at Paris, July 8, 1747. LAWRENCE, Mary, flower painter. She first exMbited at the Academy ta 1794, and conttaued with small exception a yearly contributor up to 1814, when she became, by marriage, Mrs. Kearse, and in that name exMbited up to 1830. She pub lished, ta 1797, 'The Various Kinds of Roses cultivated ta England,' wliich she drew and coloured from nature, and en graved with great tenderness. LAWRENCE, Sir Thomas, Knt., P.R.A., portrait painter. Was born at Bristol, May 4, 1769. His father, the son of a clergyman, tried many means to gain a livelihood. At the time of Ms son's birth he kept the 'WMte Lion Inn,' and his business faffing there about three years after, he took another tan at Devizes. Young Lawrence was a handsome boy, and both repeated poetry and drew like nesses with a very precocious taste : two years' schooling and a few lessons in French were the sum of his education. His family removed successively to Oxford, Weymouth, and Bath, where he received some art-help from Wm. Hoare, R.A., and commenced his career by drawing chalk heads ta ovals at one guinea and one and a half guinea each. He gained a premium from the Society of Arts ta 1785, and Ms sitters mcreastag he doubled his prices, and he made some attempts at historical subjects, though probably only ta chalk. In 1787 he came with his famUy to LAW London, and was admitted a student of the Royal Academy. He exhibited there in that year four female portraits — ' Mad ,Girl,' ' A Vestal Virgin,' and ' Mrs. Esten as Behidera;' ta the following year, six portraits; ta 1789, 13 portraits, one of them of the Duke of York," and in 1790, the Queen, the Princess Amelia, and 11 other portraits. He was not long in gain ing public patronage and royal favour. In 1791, though under the academic age, he was elected an associate of the Aca demy, and with 10 portraits, exMbited a classic subject, ' Homer reciting his Poems.' In 1792, when in Ms 23rd year only, he was appoMted by the King his painter in ordinary, on the death of Sir Joshua Rey nolds; that year exhibited his Majesty s portrait, and ta 1794 was admitted to his foil honours as member of the Academy. Reynolds's death had left the profession open; he soon distanced his competitors, and stood first ta the front rank, enjoying the cMef honours and profits of Ms pro fession. In 1801 an incident occurred wMch, for a short time, diminished the number of Ms female sitters. He was re quired to paint the portrait of the Princess of Wales, and for a time occupied a room at her Royal Highness's residence, which was made a subject of scandal and of ta- qmry before the Commission of 1806, then caUed ' The Dehcate Investigation,' but no aUusion whatever was made to Lawrence M the report. On .the opening of the Continent in 1814, he hastened to Paris to see the great art collection in the Louvre, but was recalled to receive an important commission from the Prtace Regent, who had not before em ployed him. He was appointed to paint the portraits of the eminent statesmen and soldiers who had aided ta the restoration of the Bourbons (many of whom were then expected to visit London), to form a com memoration gallery at Windsor. In 1815 the Prince Regent sat to him and conferred on him the honour of knighthood, and ta 1818 he visited Aix-la-Chapelle, where the Congress sat, and afterwards Vienna and Rome, for the completion of the Prince's commission, returning ta 1820, after an- absence of 18 months, durtag which he had seized the opportunity to visit the principal Italian cities. The president of the Academy had died durtag his absence, and on the very day of Ms arrival in London he was unanimously elected the new president. Fortune seems invariably to have favoured him. He con tinued to paint the portraits of the most dis tinguished of his countrymen and country women. In 1825 he went to Paris to paint for the King, Charles X., and the Dauphin, and had the Legion of Honour coMerred upon Mm. At the height of his fame, 263 LEA LEB favoured in every respect, and not ta the least anticipattag the termination of Ms career, after only a few days' Utaess, he died, of ossification of the heart, on January 7, 1S30, and after lying M state at the Royal Academy, was buried with great ceremony ta St. Paul's Cathedral. In the spring of the same year a fine collection of Ms works, which included 91 pictures, was exMbited at the British Institution, and the proceeds, which amounted to 3000?., were presented to his nieces by the directors. Lawrence had never married ; an early engagement to the daughter of Mr. Siddons was broken off by the lady's father, on the ground of the inadequacy of the young painter's income ; and fond of female society, on one or two other occasions he is said to have entered tato engagements, wMch, however, still left him a bachelor. The pro fits of his profession must have been large. His last list of prices was — head, 210?. ; kit-cat, 315?. ; half-length, 420?. ; Bishop's half-length, 525?. ; fuU-length, 630?. ; extra full-length, 735?. For the portrait of Lady Gower and chUd he received 1500 guineas, and for his Master Lambton 600 guineas. Upon a fine collection of drawings which he made, he is estimated to have expended 60,000?. On his death they did not realise 20,000?. He could not resist the tempta tion of a fine drawing, if he cotad command the money. But he was durtag his whole career needy, and sometimes compelled to seek payment for his works before they were finished. His only extravagance was ta the purchase of works of art, and he had a family of sisters and brothers, who depended largely upon him. Lawrence early adopted a style of Ms own, and made little change ta Ms maimer, seeking no new methods of execution. Beside his great predecessor's works, his appear tMn and weak, his colouring tinty and artificial ; his drawing, though refined, effeminate ; and Ms works marked by an artificial look approaching Msipidity. His compositions want variety, and Ms back grounds were too frequently merely com monplace. He painted some large historical subjects— in 1797, his ' Satan ' which was severely criticised ; next ' Coriolanus,' which he called a half -history picture; followed by ' Rolla,' ' Cato,' aud ' Hamlet,' which he placed above aU his works, except the ' Satan.' His art was highly esteemed by Ms contemporaries; and as much as he had risen above his true rank hi Ms lifetime, on his death he fell beneath it. But time, which has failed to place him in the position he once enjoyed, has now assignee! to Mm his true place ; yet this is not in the front rank. A life of him by D. E. Williams was published in 1831, but it is a verbose performance. LEA, Richard, architect. Practised 264 with much reputation ta the reign of Henry VIII. He is said to have mixed the GotMc and the classic ta a strange manner, which probably refers to what is now termed the ' Tudor style.' LEADER, William, engraver. Prac tised in London, in mezzo-tint, about the middle of the 18th century, working chiefly after the old masters. LEAHY, Edward Daniel, portrait painter. He was born in London, and first appears as an exMbitor at the Aca demy M 1820, when he contributed ' Mrs. Yates as Meg MerrUies ; ' and conttaued an exhibitor of portraits, with an occasional subject picture, up to 1853. In 1830, ' Jacques and the wounded Stag ; ' in 1837, 'Escape of Mary, Queen of Scots, from Lochleven Castle ; ' ta 1844, ' Lady Jane Grey summoned to Execution;' ta 1852, ' Un piccolo Pfifferaro.' He died at Brighton, February 9, 1875, aged 77. LEAKE, Henry, portrait painter. He was the son of an eminent bookseller at Bath, and a pupil of Hoare, R.A. He came to London about 1764, and exhibited por traits ta 1765-66, remaining about two years. He then went to the East Indies, but did not long survive. LEAKEY, James, portrait and minia ture painter. Was born at Exeter ta 1773 ; and early ta the present century painted with much success portraits and miniatures ta oil, wMch were weU coloured and finished with great care. He was established at Exeter, and, weU known, was employed in the Western counties, where his miniatures were held ta esteem. He resided ta London ta 1821-22, and ta those years exhibited at the Royal Academy ' The marveUous Tale,' ' The Fortune TeUer,' and two Devonshire landscapes. In 1838, wMle residing at Exeter, he sent to the Academy three por traits, with two landscapes. He died at Exeter, February 16, 1865, aged 92. LEBANS, John, master mason. Was employed in this capacity ta the erection of Henry VII.'s chapel at Westminster. LE BLOND, Christopher James, en graver. Was born at Frankfort in 1670. Studied in Italy under Carlo Maratti, and afterwards practised as a immature patater in Amsterdam. He was fond of mechanics, and discovered a process of printing mezzo- tmt plates in colours. He came to England, and executed several plates by tins process, but they were not much esteemed, and he disposed of them by lottery. He pubhshed his process under the title of ' Coloretto.' He then set on foot a project for working the Raphael cartoons in tapestry, made the drawings and erected looms for the work at Chelsea, but he did not meet with support, and suddenly disappeared. He went to Paris, where he died ta a hospital ta 1740. His coloured prints, though the colours were LEB flat and dirty, had some, merit. Among them were the portraits of George II. , Louis XIV., and Vandyck. LE BLUND, Ralph, die engraver. Was presented to the office of ' cutter of the king's dies,' 52nd Hemy III. LE CAPELAIN, John, water-colour painter. Was born ta Jersey about 1814. He was a self-taught man, and came to London ta 1832 to make art his profession. He patated upon the wrong side of veneered paper in a wet condition, wMch made the colours run together, and blend in a very harmoMous manner. His works had but httle outline, wliich caused Stanfield to speak of Mm as the 'foggy painter.' He made the drawings for the Jersey Album, presented to the Queen after her visit there, and this led to her Majesty's giving him a commission to paint the scenery of the Isle of Wight. WhUe executing these drawings he caught cold, and died of rapid consumption ta Jersey ta 1848. His works were coUected after his death, and pre served in the Jersey Museum. His sketches met with a ready sale, and he had many pupils. LE CAVE, P., water-colour painter. He practised ta the early tinted manner, painting landscapes with cattle and figures, pleasing but weak imitations of Berghem, and was employed ta teaching. There are also by him some smaU works of the same class ta oU. In 1769 he was an applicant for assistance to the Incorporated Society of Artists, and he is agata heard of ta 1803, when, much ta debt, he left Ms lodgings, promising to return, but no further trace of Mm could be gataed. LE DAVIS, Edward, painter and en graver. Born in Wales about 1640. He was apprenticed to Loggan, but soon left him, and entered service as a domestic. Accompanying his master to Paris, he found there the means of pursuing his art, and practised both as a painter and engraver, but is best known by his engraved works, wMch are cMefly portraits. He died about 1684. LEDBEATER, S., architect. He practised ta the early part of the 18th cen tury. The mansion of Nuneham Courtenay, Oxfordshire, was erected by Mm, the eleva tion plain and weU proportioned. It is engraved ta Woolfe and Gandon's work. LEE, Anna, botanical painter. Was a pupU of Parkinson, and practised ta London with much repute ta the latter part of the 18th century. She patated and drew plants, shells, and insects with great perfection. She died in the prime of life about 1790. LEE, J., wood en/graver. Between 1794-98 he engraved the cuts for 'The cheap Repository,' wMch, though coarsely executed, had great merit. LEE, James, wood engraver. Son of the LEE foregoing. When young he practised some time in Paris, returning 1786. He executed the portraits ta Hansard's ' Typographia,' 1805 ; also, after Craig's designs, the illus trations to a reading-book, ' A Wreath for the Brow of Youth,' for the Princess Char lotte of Wales, and was largely employed in the iUustration of books for children. He died 1804. LEE, A., portrait painter. Practised in the reign of George II. Some of Ms works are engraved. LEE, Joseph, enamel painter. Hewas an occasional exhibitor of enamel nitaia- tures from the Me, as well as copies, at the Academy, commencing ta 1809. In 1818 be was appotated enamel patater to the Princess Charlotte, and that year exhibited her portrait, and again exhibited her Royal Highness's portrait in 1823, after Dawe. In 1832 he was appointed enamel patater to the Duke of Sussex, whose portrait, after Phiffips, R.A., he exMbited, and also George iV.'s, after Lawrence, P.R.A. After a career of 44 years, wMch does not appear to have been successful, he exhi bited for the last time in 1853. There is a clever example of Ms art at the South Kensmgton Museum. He died at Graves- end, December 26, 1859, aged 79. LEB, William, water-colour painter. His chief subjects were Enghsh rustic figures, and later, French coast figures. He was elected M 1846 a member of the Insti tute of Water-Colour Painters, and con ttaued a contributor to the Society's Ex Mbitions up to his death. Among his last works were ' The Long Sermon,' ' The Drinking Fountain,' ' The Rustic Beauty,' 'Thoughts of the Future.' He died ta London, January 22, 1865, aged 55. LEECH, John, humorous designer. Of Irish descent, hewas born ta the city of London ta 1817, and sent very early to the Charter-house, where he remained eight years. He drew in his chUdhood, and had only a school-boy teacMng m drawing. On leaving the Charter-house, he studied medi cine and surgery, and entered St. Bartholo mew's Hospital. Though qualified for the practice of medicine, the love of art grew too strong, and upon the commencement of ' Punch 'he was among its first graptae con tributors, and for 20 years continued to be the life of its weekly iUustrations. Then the unceasing nature of the work proved too much for him, Ms system f eU tato a state of exhaustion and nervous irritability^ and he died suddenly, without any alarming pre- momtory symptoms, at Kensington, Octo ber 29, 1864. He was bmied at Kensal Green Cemetery. His humour was uni versal, without the least taint of Ul-wiU, and was enj oyed by aU — amiable, aiming at trath and goodness, and iUustrating every phase of Me ; Ms females incomparably ladies, 265 LEE and Ms children inexpressibly childlike. His landscape backgrounds, fresh and charming, were evidences that he was an ardent horseman and fisherman ; his sketch-book was filled with notes from the life whUe the objects were before him, and was a mine for bits of every description. LEFEBVRE, Claude, portrait painter. He was bom at Fontataebleau in 1633, and studied in the gallery there. He patat ed flowers, history, and portraits, in wMch latter he chiefly excelled. He came to England, and settled here in the reign of Charles IL, and was well esteemed, but little is known of his works. He prac tised for some years in London, where he died in 1675, aged 42. He etched his own and his mothers portraits, and some other plates. LEFEVRE, Roland (known as ' Lefevre of \* 'enice'), portrait painter. Was born at Anjou in 1608. He painted portraits and small historical groups, and came to England, where he was patroMsed by Prtace Rupert. He is known by a method of staining which he adopted, and was not much esteemed as a painter. He died ta Bear Street, Leicester Fields, in 1677, and was buried at St. Martin's Church. LEGAT, Franois, engraver. Born in Scotland in 1755, he was educated ta Edin burgh under Alexander Runciman. He came to London in 1780, when about 26 years of age, and was employed by the publishers, but chiefly by BoydeU. He engraved the ' Continence of Scipio,' after Poussta, in 1784 ; and ' Mary, Queen of Scots, resigning her Crown,' after Hamil ton, in 1786 ; followed by Northcote's ' CMldren ta the Tower.' About the end of the century he engraved ' Ophelia before the King and Queen,' which procured him the appointment of engraver to the Prtace of Wales. Wishing to try a plate on his own account, he bespoke Stothard's ' Sir Ralph Abercrombie ; but when far ad vanced he was unable to publish it success fully, and Ms spirits gradually gave way under the disappotatment. He died soon after, on April 7, 1809, in Ms 55th year, and was buried in old St. Pancras's Church yard, leaving behind Mm debts, wliich a friend discharged. He engraved in a fin ished style, imitating themannerof Strange, and was disttagtashed by his correct draw ing. LEGREW, James, sculptor. Was born ta 1803, at Caterham, Surrey, of which place his father was the rector. He was well educated ; had a knowledge of Latin, Greek, Hebrew, and Syriac, as well as of French, Italian, and German, and to these acquirements he added a love for the arts, which led to his being placed under Sir Francis Chantrey, R.A. He at the same time entered the schools of the Academy, 266 LEI and, after gaining the sUver medal ta 1824, was awarded the gold medal ta 1829 for his group of 'Cassandra dragged from the Altar of Minerva.' He had exhibited some groups at the Academy, commencing ta 1824 ; ta 1830 exhibited his gold medal group ; and M the foUowMg years con tributed busts, with an occasional group. Between 1S40 and 1842 he traveUed in Italy, studying for a time M Rome. On 'his return, after first livmg M Pimhco, he settled in Kensington, and produced 'Sam son breaking Ms Bonds,' ' The Murder of the Innocents,' ' Rachael mourning for her ChUdren,' ' Milton dictating to his Daugh ters,' a 'Sea Nymph,' 'Musidora,' 'Venus,' with several monumental works. In 1844 he sent to the Westminster HaU competi tion ' The last Prayer of Ajax,' a work of great merit. He had been for some time affected with mental delusions, which, though mitigated, he had never recovered from, and on the loss of Ms father and a brother, he suffered a succession of attacks, under wMch, in spite of medical assistance and the affectionate watching of his rela tions, he committed suicide at Kensington, September 15, 1857. LEICESTER, Sir John Fleming, Bart., amateur. Born ta 1762. He was taught both by Vivares and Paul Sandby, and travelled ta Italy with Sir R. Colt lioare. He drew ta Indian ink, and tinted with bistre, and is described as an occasional honorary exhibitor at the Royal Academy ; but his name does not appear M the cata logues, unless he exMbited under initials. He was distMguished for Ms knowledge aud patronage of Enghsh art, and was one of the earliest to form a coUection of the works of his countrymen, to whom he readUy threw open his gallery. He was one of the originators of the British Institution in 1805, of the CalcograpMc Society 1810, and of the Irish Academy 1813. He was created Baron de Tabley ta 1826, and died June 18, 1827. LEIGH, T., portrait painter. Heprac- tised with some repute about the middle of the 17th century There is a portrait by him of Robert Davis, of Gwysaney, a distinguished royalist, dated 1643. LEIGH, Jared, amateur. He was a proctor ta Doctors' Commons, who patated for his amusement — chiefly landscapes and sea views. He exhibited at the rooms of the Incorporated Society in Spring Gar dens. He died about 1769, ta the prime of life. LEIGH, James Mathews, history painter. Was born in 1808, the son of a publisher in the Strand, and the nephew of the elder Matthews, the well-known actor. He showed a taste for art, and in 1828 became a pupil of Etty, R. A., and was from 1830, when he exMbited 'Joseph presenting LEK his Brettaen to Pharaoh ' and ' Jephthah's rash Vow,' an occasional exhibitor at the Academy. He early made a visit to the Continent, seeing the principal art galleries ta France, Italy, and Germany. On his return he was occupied more with literature than art, and then he travelled again, principaUy to see Spain. In 1840 he re sumed his contributions to the Academy, and continued to exhibit cMefly sacred sub jects, and in the later years some portraits, up to 1849. He made many good sketches ta a vigorous style, and, establishmg an art school, became well known as a teacher. He died ta London, April 20, 1860. He wrote ' CromweU : a Drama,' 1838 ; and ' The Rhenish Album.' LE KEUX, John, engraver. Was born ta Bishopsgate, June 4, 1783, and was apprenticed to his father, a large pewter manufactuier. At about 17 years of age he tried .engraving on copper, and beMg encouraged by Basire, he was turned over to Mm for the remataing term of Ms apprenticesMp. Under Basire he imbibed his master's taste for arcMtectural subjects, and working ta the hne manner, refined upon his style, attaining both greater minuteness and freedom. 'Easby Abbey ' and 'Rome,' after Turner, R.A., are pro bably his best works. He contributed, by his abffity and taste, to the success of many of the publications of his day, and was largely engaged with Britton. He engravedforhis ' ArcMtectural Antiquities,' ' Cathedrals,' and other works ; for Pugta's ' Antiquities of Normandy ' ' Gothic Speci mens and Gottae Examples ; ' for Neale's ' Memorials of Oxford ;' and other works of this class. His works are distinguished by great truth and refinement of finish. He died April 2, 1846. His eldest son, J. H. Le Keux, foUowed his art. LE KEUX, Henry, engraver. Younger brother of the foregoing. Was born ta 1787, and was articled to James Basire. He was first engaged upon Basire's large plates for the Society of Antiquaries and the ' Oxford Almanacs,' and afterwards on the Ulustrations for the ' Beauties of England and Wales;' and took a part with his brother ta Britton's 'Cathedrals.' Later, with Blore, he produced the ' Monumental Remains.' He also engraved for the ' For get-me-not,' and some other of the annuals, after Martin and Prout, and after Turner for Rogers' ' Poems.' He was a member of the Associated Society of Engravers, and one 'of Ms last works was Claude's ' Em barkation of St. Ursula' for that Society. He left his profession about 1838, and retired to Booking, in Essex, where he joined ta a crape manufactory; and after 30 years died there, October 11, 1868. He worked ta the line manner, was unassisted LEL by pupUs, and Iris productions are models of industrious painstaking. LELY, Sir Peter, Burt., portrait paint er. Was born 1617, at Soest, ta West phalia, the son of a captain of infantry, who changed the name of Van der Vaas to Lely, and studied art under Peter de Grebber at Haerlem. He came to England at the age of 24, and patated history and landscape ; but Vandyck had just then died, and he soon found there was a place open for him, and much better encouragement, as a por trait patater. He was introduced to Charles L, whose portrait he patated. He also painted CromweU's portrait; and on the Restoration was favoured by Charles II. , who appotated Mm his principal painter, made him a baronet in January 1679-80, and was pleased by his conversation. For more than 30 years he stood alone as the poptaar painter, and aU that were eminent and distinguished sat to Mm. By this great practice he acquired a considerable fortune. He married an Enghsh lady of famUy, but her name cannot now be traced. He had a town house and a house at Kew, where he had purchased an estate. He kept a handsome table, and is described by Pepys as ' a mighty proud man, and full of state.' His society was sought by men of the greatest eminence. He hved for some years ta Drury Lane, and from 1662 to 1680 ta the Piazza, Covent Garden. Here he died of apoplexy, November 30, ta the latter year, and was buried ta the adjoining church of St. Paid. His monument, with a bust by Gibbons, was destroyed by fire when the church was burnt down ta 1795. He left a son and a daughter, who died under age. His large collection of pictures and drawtags were sold by an auction which lasted 40 days, and produced 26.000?. The drawings ta his coUection were aU marked ' P. L.' His estate was worth 900?. a year, and went to a nephew ta Holland. From the records of the Free Society of Artists, it appears that the widow of John Lely, his grandson, who died November 25, 1728, and who was a face-paMter, fell tato great distress, and solicited the charity of the Society ; and that she afterwards found a refuge in Megg"s Almshouses, Mile End. His portraits, though meretricious and slight, had many good qualities. They are pleasing in colour, freely executed, and weU drawn, particularly the hands ; but they want individuality and character, are affected, and too frequently revel ta un meaning allegory. The eyes of Ms females have a drowsy languor, which became quite a mannerism. He designed in Indian ink, touching ta the high lights with white. There are some drawtags by him ta crayons and a few in water-colour. His ' Beauties ' at Hampton Court are well known, and are good examples of his art. There are some 267 LEN historical subjects by Mm — a 'Magdalen' and a 'Sleeping Venus,' at Windsor; ' Susanna and the Elders,' at Burghley ; a 'Judgment of Paris,' engraved by Lens; and some others. LENEY, William S., engraver. Was born M London, and apprenticed to Tom- kins. He established himself as a stipple engraver, practised towards the end of the 18th century, and produced a large plate of ' The Descent from the Cross,' after Rubens. He also engraved after Downman and Smirke for the Shakespeare Gallery, and after Westall and De Wilde. His work was but indifferent, and afterwards he emigrated to America, where he made some money by engraving bank-notes, and pur chased a farm up the St. Lawrence, to which he retired, and was living there ta 1808. LENS, Bernard, enamel painter. He did not attain much excellence, and little is known of Mm. He ched February 5, 1708, aged 77, and was buried in St. Bride's Church, Fleet Street. LENS, Bernard, mezzo-tint engraver and draftsman. Son of the foregoing. Born in London 1659. He was instructed ta art by his father, and made many draw- tags for other engravers, and also taught drawtag. He excelled ta mezzo-tint, and engraved ta this manner Lely's ' Judgment of Paris ' and a number of portraits, land scapes, and historical subjects. There are also some good etchings by him. He drew, in Indian ink, views and topographical sketches. Died AprU 28, 1725, aged 66. He published, in 1697, ta connection with the well-known J. Sturt, a broad-sheet prospectus of their drawing-school in St. Paul's Churchyard, which sets forth, quite in the style of the present clay, the value which drawing wiU prove to all classes — mechanics, professional men, and others. LENS, Bernard, miniature painter. Born ta London 1680. Son of the above, and taught by him. He was considered one of the best miniaturists of his day, and was appointed enameller and miniature painter to George II. He excelled also in his water-colour copies from Rubens, Vandyck, and other great masters. He was drawing-master to William, Duke of Cumberland, and the Princesses Mary and Louisa, aud to Horace Walpole. He also held the appointment of drawing-master to Christ's Hospital. His 'New and Com plete Drawing-book' (published after his death) 'for curious young Gentlemen and Ladies that study and practise the noble and commendable Art of Drawtag, Colour ing,' &c, contains 62 plates etched by himself, with full instructions and recipes. He also scraped some mezzo-tint plates. He died at Knightsbridge, December 30, 1740, leaving three sons ; two followed his 268 LEE profession, one of whom was living in 1780. He made two sales of Ms pictures and works. LENS, Andrew Benjamin, miniature painter. He was the son of a miniature painter — most probably of the above. He exhibited with the Incorporated Society of Artists from 1765 to 1770, and ta the latter year was in Antwerp. His collection of miniatures by himself and Ms father was sold in 1777. He used the monogram ' A.B.L.' Peter Paul Lens, a miniature painter practising ta London in 1747, may be assumed to have been his brother. LEONL Giacomo, architect. Bom in Venice. He was for some time architect to the Elector Palatine, but came to this country, where he settled ta the practice of his profession, ta the early part of the 18th century. He built the Duke of Queens- buiy's house ta 1726, on the site now occu pied by the branch of the Bank of England in Burlington Gardens ; the mansion in Moor Park, Herts, which has great pre tensions to magnificence ; Lyme Hall, Cheshire, and Bodecton Park, Sussex. He superintended Lord Burlington's edition of ' PaUadio,' published 1725, and afterwards published Alberti's ' ArcMtecture,' to which be added many of Ms own designs. .He ched June 8, 1746, aged 60, and was buried ta old St. Pancras's churchyard. LE PIPER, Francis, designer and etclier. Of Flemish extraction. His famUy settled at Canterbury ta the reign of Elizabeth, and he was born ta Kent about 1698. His father was wealthy,. gave him a good education, and he was intended for commerce ; but idle and fond of pleasure he rambled on foot over the greater part of Em-ope. He sketched landscapes and humorous groups; and, a jovial fellow, his performances were done ta taverns, where he etched droU figures on his friends' snuff-boxes. Having dis sipated his patrimony, he tried in the latter part of his Me to turn his abihties to some account, and made some drawings for Becket to execute ta mezzo-tint, and designs for Rycaut's ' History of the Turks ; ' but on the death of his mother, who left him a fortune, he relapsed into his old ways, fell agam into a Me of dis sipation, and bled for fever by an ignorant surgeon, who pricked an artery, he died in 1740. He was bmied at St. Mary Mag dalen, Bermondsey. Faithorne drew his portrait ta crayons, and Lutterel engraved a good portrait of Mm. LERPINIERE, Daniel, engraver. He was a pupU of "Vivares and practised ta London, working after the manner of his master, both with the needle and the graver. He engraved many fine land scapes, views, sea-fights, which have much merit, and some historical subjects. Among LES LES his works are three landscapes after Claude, six sea-fights after Paton, and after Vernet a ' Calm ' and a ' Storm.' He exhibited ta 1778 some arcMtectural engravings with the Free Society of Artists. He died M 1785, aged 40. LESLIE, Charles Robert, R.A., sub ject painter. Was born ta ClerkenweU, of American parents, October 11, 1794. The family left England for Philadelpliia in 1799, and settling there, the future artist, the eldest of a young family, was at the age of 10 years left to the charge of a widowed mother. His earliest wish was to be a paMter, but his mother's straitened means led to Ms apprenticesMp to a book seller and publisher. His wish, though repressed, clung to him; a likeness he sketched from recoUection showed so much abffity that a fund was raised by his friends to enable him to visit Europe to improve himself, and provided with letters of intro duction, he arrived ta London ta 1811. He was ta 1813 admitted a student of the Academy, and devoting himself to the study of Ms profession, the same year ap pears as an exMbitor of ' Murder,' with a quotation from Macbeth, and the foUowing year of the 'Witch of Endor.' He next exMbited, ta 1816, ' The Death of Rutland.' He added to Ms means at this period by painting the portraits of his friends, and in 1817 visited Paris, Brussels, and Ant werp, and after enlarged study he found the true bent of his gemus in humorous comedy, and patated his 'Slender and Anne Page.' In 1819 he exhibited 'Sir Roger de Coverley,' wMch made a great impression, and was induced to follow this walk ta art, apparently determined to settle ta England. He was fortunate to make, about this time, the friendstap of Lord Egremont, for whom he patated 'Sancho Panza ta the Apartment of the Duchess,' a work which led to numerous commissions, and enabled Mm to marry ta 1825. He had been elected an associate of the Academy ta 1821, and ta 1826 was ad mitted to his fuU membersMp. In 1831 he exhibited a large group, upon which he had been for some time engaged, 'The Dinner at Page's House,' from the ' Merry Wives of Windsor,' one of his finest works. In 1833 Ms brother, without Ms knowledge, asked and obtained for him the appoint ment of teacher of drawing at the American Mihtary Academy at West Point, on the Hudson, and induced Mm to accept it and remove with his family to America ; but it was a mistake, the regret at leaving his art and art friends ta England could not be overcome, and he returned early in the following year, in the full vigour of his powers, and resumed his art and his old friendsMps. He painted from Shakespeare, Cervantes, Sterne, Goldsmith. In 1838 he painted, by command of her Majesty, ' The Coronation of the Queen ;' and in 1 84 1 ,' The Christening of the Princess Royal.' He was a constant exhibitor at the Academy, and his works never failed to please and attract the public. A family and a happy household surrounded Mm. He had been appoMted the professor of painting ta 1847, but resigned the office in 1852 on the ground of delicate health. The loss of a daughter, shortly after her marriage, was a shock too great for him; he gradually declined, and died May 5, 1859. Leslie entered into the true spirit of the writer he ffiustrated. His characters ap pear the very individuals who have filled out minds. Beauty, elegance, and refine ment, varied and fuU of character, or sparkling with sweet humour, were charm ingly depicted by Ms pencU, wMle the broader characters of another class, from his fine appreciation of humour, are no less trutMully rendered, and that with an entire absence of any approach to vulgarity. The treatment of his subject is so simple that we lose the sense of a picture, and feel that we are looMngupon a scene as it must have happened. He drew correctly, and with an innate sense of grace. His colouring is pleasing, bis costume simple and appro priate. Leshe was also a pleasant, intel ligent, and kindly writer. He pubhshed, ta 1845, ' The Memoirs of John Constable, R.A.,' and the substance of Ms own lec tures ta Ms ' Handbook for young Painters ' in 1855. Some ' Autobiographical Recol lections ' of him, edited by Mr. Tom Taylor, were published M 1860, and Ms materials for a Me of Reynolds, on which he was engaged, continued and concluded by the same writer, were published in 1865. A coUection of 30 of his works was exhibited with the works of the old masters at the Royal Academy M 1870. LE SOEUR, Hubert, modeller and sculptor. Born ta France. He studied under John of Bologna. Was a Huguenot refugee, and settled ta England, where he was much employed by the Court and the nobihty. He was living in St. Bartholo mew's Close ta 1630, when his son Isaac died, who was buried ta the adjacent church of that name. The bronze statue of Wffiiam, Earl of Pembroke, ta the picture gaUery at Oxford, is by him, as is also the fine statue of Charles I. at Charing Cross. The latter was cast ta 1633, for the space in front of the church ta Covent Garden, and was removed to Charing Cross ta 1678. In Westminster Abbey, the figure of Sir George Villiers and the bust of Sir Thomas Richardson, dated 1635, are also by his hand. Many of Ms works, particularly those in bronze, have disappeared. He died ta England about 1652. 269 LES LE STRANGE, Hamon, amateur. He was bom at Hunstanton Hall, Norfolk, January 25, 1815, and was the representa tive of an old famUy in that county. He undertook to decorate with his own hand the nave of Ely Cathedral. As a labour of love he devoted Mmself for several years to this self-imposed task, and had painted on the vault some of the subjects of the ' His tory of Man,' but died suddenly ta London, when in the prime of hfe, July 27, 1862. His work has been carried on ta the same spirit by Mr. Gambier Parry. LETHBRIDGE, W. S., miniature painter. He practised in London for many years, and was from 1801 to 1829 an ex hibitor at the Royal Academy. Several popular actresses sat to him, some in char acter; and in 1817 he exhibited a minia ture of Dr. Wolcot, which is now ta the National Portrait Gallery. LEVERTON, Thomas, architect. He had a considerable practice ta the last quarter of the 18th centuiy, residing in the Metropolis, and buUdtag many villa residences in the adjoining counties. Be tween 1771 and 1803 he was a constant exhibitor of his designs at the B,oyal Academy. In 1783, when the improved construction of our prisons was under the consideration of the Government, he re ceived a premium for his designs for peni tentiary houses. Grocers' HaU may be mentioned as one of his chief works. LEWIN, William, amateur. He does not appear to have been prof essionaUy an artist, but in 1789 he published, drawn and engraved by himself, seven quarto volumes of the ' Birds of Great Britain,' exceedingly well dehneated ; followed, ta 1795, by the ' Insects of Great Britain,' executed in the same manner. LEWIS, Charles, still-life painter. Was born at Gloucester ta 1753, and was apprenticed to a Birmingham manufacturer, in whose employ he exceUed ta the decora tion of japanned tea-boards. In 1776 he went to Dublta, where, on the failure of an engagement, he went upon the stage ; but not succeeding, again tried the arts. In 1781 he visited Holland, and from thence came to London, where he practised for a time, patating fruit and birds, wMch were well finished and grouped. He was then invited by a kind patron to Scotland, and died in Edinburgh, July 12, 1795. LEWIS, George Robert, portrait painter. Born in London, March 27, 1782, lie entered the schools of the Royal Aca demy, where he studied under Fuseli. In his early days be was an ardent and patient student of the figure, as weU as of outdoor nature. In 1818 he accompanied the Rev. Dr. FrognaU Dibdin on his 'BibliograpMcal and Picturesque Tour through France and Germany,' for wliich work he made all the 270 LEW illustrations, combining ta them a very wide range of subject, which subsequently gained him the eulogium of all connoisseurs. He also executed some of the Ulustrations to Dr. Dibdin's ' Decameron,' and was the author of a series of 'Groups of the people of France and Germany.' He was, commenc ing in 1820, an exhibitor of portraits at the Academy, and had some distinguished sitters, and sent also, occasionally, a subject picture. Among the latter were some con nected with his tour — ta 1820, ' PUgrirnage to the Monastery' and a 'View in the Temple Gardens;' in 1825, 'Baby with Playthings ; ' ta 1845, ' Austrian Pilgrims, Tyrol ;' ta 1850, 'Boulevard des Itahens;' and his last works ta 1854, 1856, and 1859, landscapes. He also pubhshed his work on the ' Muscles of the Human Frame,' the plates engraved by himself, after drawings made from Ms own dissections ; ' IUustra tions of KUpeck Church, with an Essay on Ecclesiastical Design ; ' ' Shobden Church,' 'The Early Fonts of England,' 'British Forest Trees,' and some other works. He had resided the last six years of his hfe at his son's, at Hampstead, and died there, .May 15, 1S71, ta his 90th year. His works are evidence of Ms varied powers and his great devotion to art. LEWIS, Frederick Christian, en graver and draftsman. Brother of the above. Bom ta London, March 14, 1779, he was apprenticed to Stadler, a German engraver, settled ta London, and studied in the schools of the Royal Academy. He was first employed to make the engravings for Mr. Young Ottley's 'Italian School of Design,' and during the five years he was so employed he hved at Enfield, and sketched early and late from nature. Soon after Sir Thomas Lawrence engaged Mm to engrave, ta the stipple manner, some of his chalk portrait drawings, and until the death of Sir Thomas ta 1830, he was almost wholly employed on this work, for wliich he was especiaUy fitted by the refinement and dehcacy of his art. He had studied landscape, which he paMted with great ability, and was a frequent exhibitor from 1815 to 1820 at the Water-Colour Society, and up to 1853 at the Royal Aca demy. He was also a contributor to the British Institution. His first exMbited works were his studies made ta the neigh bourhood of Enfield; his more matured works, scenes from the vaUeys and streams of Devon ; wlule engaged on which he made the acquaintance, ending ta friendstap, with Mr. Calmady, of Langdon Hall ; and on his introduction, Sir Thomas Lawrencepainted his favourite portraits of 'The Calmady Children.' In 1821 he pubhshed, sketched and engraved by himself, 'Picturesque Scenery of the River Dart;' ta 1823, 'Scenery of the Tamar and Tavey;' ta LEW 1827, his ' Sceneiy of the Exe.' Almost his last large work was from the drawings by Claude M the British Museum, com prising 100 plates. He held the appoint ment of engraver to the Princess Charlotte ; to Leopold, King of the Belgians ; to George IV, Wiffiam IV., and Queen Victoria. He died at Enfield, December 18, 1856. Two of his sons are distinguished ta art, one a member of the Royal Academy, the other eminent as an engraver. LEWIS, William. Brother of the above. He held some office ta the Car penters' Company, and from 1815 to 1838 was an exMbitor at the Royal Academy of landscapes and cottage scenes in oU and water-colours. LEWIS, John Frederick, R.A., figure painter. Was bom inLondon, July 14, 1805, and was the eldest son of F. C. Lewis, the engraver, under whom he studied the ele ments of his art. His first efforts were devoted to animal patating, and he exhi bited at the British Institution as early as 1820, and at the Royal Academy ta 1821, ' Puppies, a study from Nature.' There is, ta the Royal CoUections, a portrait by Mm of ' Old Clark of the Sandpit gate,' ta which deer are introduced, a very early work. In 1825 he published a coUection of etcMngs. He early turned his attention to water- colours, and was elected an associate of the Society of Painters in Water-Colours ta 1828. In pursuit of Ms art he visited Italy and Spain, where he remained nearly two years, returning ta 1835. His visit pro duced a series of pictures patated ta water- colours, ta a large and bold manner, rich in colour, and varied in character, the picturesque costume of Spain contributing greatly to their attractions, and the inci dents of the CivU War providing him with interesting subjects, such as ' A Christian Spy brought before Zama,' &c. In 1836 he published ' Sketches ta Spain,' hthographed on stone, which was very successful. He again visited Italy ta 1838, and painted a large picture of ' Easter Day ta Rome,' ex hibited ta 1841. In 1843 he went to Cairo, and remained in the East until 1851, in which year he married and settled at Walton -on -Thames. While ta Cairo he completed a picture of the ' Interior of a Harem,' a work of most elaborate and minute finish, great purity of colour, and careful and learned drawtag. It was selected for exhibition at the first Paris Inter national ExMbition in 1856. Numerous Eastern subjects foUowed, Ms manner being much changed from Ms - earlier Spanish pictures, much more minute in detail, and brighter M colour. He became President of the Society of Painters in Water-Colours ta 1857, and was also elected an honorary member of the Scottish Aca demy. He recommenced painting in oil LIE about 1S54, and in 1858 was elected an associate of the Royal Academy, and a full member in 1865. His failing health caused him to withdraw on to the retired list in the Spring of 1876, but he did not long enjoy repose, he died at Walton, August 15, 1876. LEWIS, F. C, brother of the above, resided in India for many years, and painted the large pictures of the Durbars, Nautches, &c, held there, and which were engraved by his brother, Charles C. Lewis. LEYLAND, Joseph Bentley, sculptor. He was the son of a weU-known naturalist at Hahfax, where he was born March 31, 1811. He showed a talent for modelling, and exhibited at Manchester a greyhound and a colossal statue of 'Spartacus.' In 1843 he sent to London for exhibition a colossal head of ' Satan ; ' and soon after came to reside in the Metropolis, and studied under B. R. Haydon. He next produced the 'Sinless Maiden' from Hogg's 'Queen's Wake,'which was purchased by the Literary Society of HaMax. His latest works were a statue of Dr. Beckwith, of York, and an ' Anglo-Saxon CMef.' He does not appear to have been an exhibitor at the Royal Academy ; but ta 1834, and again in 1839, he sent a group of hounds, modeUed from life, to the Suffolk Street Galleries. He died at HaMax ta his 40th year, January 26, 1851. LI ART, Matthew, engraver. Was bom about 1736, ta Compton Street, London (not, as is usually said, in Paris). He was of French extraction, but both his grand father and his father were shopkeepers in Soho. In 1764 he received a premium from the Society of Arts. He was the pupil of Ravenet, and a student ta the schools of the Society of Artists and of the Royal Academy, gaining the silver medal ta the life school of the latter. He engraved after the old masters, but his two best works are the 'Venus and Adonis' and 'Cephalus and Procris,' after West. He died about the year 1782, and was buried at Pad- dington. LIGHTFOOT, William, engraver and draftsman. Practised ta the latter half of the 17th centuiy. He was a good perspec tive draftsman, andpainted some landscapes in oil. Wren employed him ta the decora tions for the Royal Exchange. He also engraved some plates ; and Evelyn, in his ' Sculptura,' speaks of his special talent for this art. He died 1671. LILLY, Henry, limner. In James I.'s reign he was rouge dragon and pursui vant of the College of Arms, and possessed great stall in limning and iUuminating. He completed a fine genealogy of the Howard family, enriched with portraits, armorial bearings, and tastefta compositions. Died 1638. 271 LIE LIO LILLY, E., portrait painter. There is by him at Blenheim a large full-length portrait of Queen Anne. It is an indiffer ent work, weak in drawing and expres sion, cold and grey in colour. It is dated 1703. LINCOLN, Anna Maria, Countess of, amateur. Daughter of the Earl of Har rington, married the Earl of Lincoln, after wards Duke of Newcastle. She painted about 1780, and C. White engraved after her, in the dot manner, a plate representing two females placing a wreath on the bust of Diana. She died in 1807. LINDSAY, Thomas, water-colour painter. He was from 1837 till his death a member of the new Water-Colour Society. His pictures were chiefly of Welsh scenery, feeble in colour, and, though pleasing, not of a high character. He resided from about 1848 at Hay, near Brecon, and died there January 23, 1861. LINES, Samuel, landscape painter and designer. Was born near Coventry, Feb ruary 28, 1778, and was brought up on his uncle's farm. When 14 years of age he showed a taste for art, wliich led to his betag placed, ta 1794, with a clock dial enameller at Birmingham, and on the com pletion of his apprenticeship he found employment there as a designer for the manufacturers ; and ta 1809 established a life Academy, in which several young men, afterwards known in art, were students, and during forty years he was always active in promoting the interests and advancement of art ta Birmingham, where he died November 22, 1863. LINES, Samuel Restell, landscape painter. Third son of the above, was born at Birmingham, January 15, 1804, and studied under his father. He attained great skill in sketching, particularly trees, and ta 1828 he was engaged to assist in a series of lithograpliic drawing-books. In 1831 he undertook to bring out a work exclusively on trees. He drew well ta water-colours, and some of the old wood-timbered houses at Coventiy and ta the Midland counties are memorials of his ability. He died prematurely at Birmingham, November 9, 1833. He was one of the founders of the Birmingham School of Art. LINNEL, , wood carver. Was a member of the St. Martin's Lane Academy. He practised about the middle of the 18th century, aud excelled in his art. LINTON, J., portrait painter. Prac tised ta the reign of William III. Several of his portraits are engraved ; among them one of Sir Wiffiam Ashurst, lord mayor ta 1694. LINTON, William, landscape painter. Was born ta Liverpool in 1788, and was articled to a merchant ta that city, but feeling little inclination for mercantile pur- 272 suits, he turned to the study of art, and after a tour in Wales, repaired to London in pursuit of it. In 1821 he exhibited at the British Institution 'The Morning after a Storm,' which obtained Mm several com missions. In visiting the Continent he returned with a store of sketches suited to the style of classic landscape, which he adopted. At that period, the realistic school, paintingdirectlyfromnature, had not arisen, and the painters of the day produced as a rule, compositions founded upon sketches made on the spot. He took part with the Society of British Artists, and for years exhibited there, and only occasionally at the Royal Academy. He was -a competitor in the Westminster HaU competition. In 1842 he made an exhibition of his sketches in Sicily, Colchis, and Greece, at the gallery of the Society of Painters in Water-Colours. In 1858 he published a pamphlet on paint ers' pigments, and an Ulustrated work, entitled ' The Scenery of Greece and the Islands.' He died September 18, 1876, in Ms 88th year. LINWOOD, Miss Mary, ornamentist in needlework. She was born at Bir mingham ta 1755, and early in Me removed to Leicester. She opened an exhibition of her work ta worsted at the Hanover Square Rooms ta 1798, which she removed to Leicester Square, and afterwards to Edin burgh, Dublin, and the cMef provincial towns. Her collection comprised above 100 works from originals by the great masters. She enjoyed a great reputation and popu larity ta her lifetime, and died ta her 90th year, March 2, 1845. Her coUection, sold by auction, fetched oMy a trifling sum. LIOTARD, John Stephen, miniature painter. Bom at Geneva ta 1702. Was mtended for a merchant, but had a desire for art, and'when ta Paris ta 1725 he found the means of study, and drew portraits in chalk and in miniature. In 1738 he accom panied the Neapohtan ambassador to Rome, and whUe there was induced by two Eng lish noblemen to visit Constantinople with them. He adopted the Eastern dress, grew a long beard, and was caUed ' the Turk.' After a stay of four years, he travelled by Jassy to Vienna, where Maria Theresa and the imperial famUy sat to him. He then went to Paris, and from that city came to London with powerful introductions, and painted the Princess of Wales and her sons. About 1756 he went to Holland, where he married ; and in 1772 he came again to London, bringing with him a collection of pictures, which lie sold by auction. He exhibited at the Royal Academy crayon portraits ta 1773 and ta the following year. He returned to Switzerland ta 1776, and is said to have died about 1790. He painted miniatures well, both ta water-colour and LIS enamel, but his best works are in crayons. His likenesses are exact and literal, yet very stiff and graceless in manner; his minia tures laboriously finished, the colour good. He met with great encouragement in Eng land, and was for a time deemed no mean rival of Reynolds, a proof of the false taste of the day. He etched his own portrait and some others. He taught drawing ta many families of rank. He was the con vivial associate of our artists, and his name repeatedly occurs ta connection with the art of this country. His brother, John Michael Liotard, practised as an engraver in Paris and ta Venice. LISTER, Martin, M.D., amateur. Bom at Radcliffe, Bucks, about 163S, he originally practised at York, but removed to London ta 1683. He became physician to Queen Anne, and was a learned natural ist. He pubhshed, among other scientific works, a ' Historia Conchyhorum,' the drawtags for whish were made by himself, and, with the assistance of bis daughters, engraved also. He died February 2, 1711. LlSTER, Anna, j amateurs. Two LISTER, Susanna, j sisters, daughters of the above, whose etchings are not with out merit. Some of their etchings are pub lished in his ' Historia Conchyhorum,' 1688. LITTLE, Thomas, architect. Born ta February 1802. Was the pupU of Robert Abrahams. He exhibited at the Royal Academy in 1832, and agata in 1840, after wMch he conttaued an occasional exhibitor, his designs being chiefly residential. In 1844 he was successful ta a competition for the chapels at the Nunhead Cemetery, which he erected, and was then employed upon several churches. He built All Saints', St. Jolin's Wood, 1845 ; St. Mark's, Regent's Park, 1852; St. Saviour's, Pad- dington ; Fairlight, near Hastings ; also the paroctaal schools of St. Marylebone and Bishop Duppa's Almshouses, Richmond. He died December 20, 1859. LIVERSEEGE, Henry, subject paint er. Was born ta 1803, at Manchester, where his father held some employment in a cotton mUl. He was fond of drawing as a child, and early employed himself in painting portraits for a very small remu neration. He then tried some compositions, wMch showed a feeling for romance and poetry, and exhibited at Manchester, in 1827, three smaU pictures of Banditti, which gataed him notice. He came about the end of the same year to London, and in 1828 exhibited at the Academy ' Wild- rake presenting Col. Everard's Challenge to Charles IL' Making rapid progress, he exhibited, in 1830, his 'Black Dwarf,' from Sir Walter Scott's romance. His practice was to come to London occasionally for ttaee or four months, when he studied at the British Museum and the British Institu- LI2 tion. He exhibited the ' Grave Diggers,' from ' Hamlet ; ' ' Catherine Sey ton,' ' Ham let and Ms Mother,' with other compositions. He also exhibited occasionally at Manches ter, and painted several subject pictures in water-colours. He was of a weakly consti tution from an organic defect in the chest, always ailing, despondent in temperament, and died suddenly at Manchester, January 13, 1832. His style was dramatic, his colour ing brilliant and powerful, but his works wanted refinement and beauty. He had no conception of landscape. His works, ' Re- coUections of Liverseege,' were published in mezzo-tint, in 12 parts, 1832-35. LIVESAY, Richard, portrait painter and engraver. He practised in London towards the latter part of the 18th century, and about 1781 lodged some time with Hogarth's widow ta Leicester Fields. He was a pupU of President West, who em ployed Mm M copying some pictures at Windsor Castle, and subsequently ta assist ing on his own works. This induced him to remove to Windsor, where he settled and was residing ta 1790. He was appointed to teach George III.'s family drawing, and many of the Eton boys sat to him for their portraits. There is by him a group of 'Eton Boys going to Montem,' containing many portraits, and also a group of George III. with his Queen and family, to whom the Duchess of Gloucester is being introduced ; and his portrait of the Earl of Charlemont, not a good specimen of his art, is in the National Portrait GaUery. His portraits, some of them whole-lengths, are usually of smaU size, and he also painted some mtaia tures in oU and some domestic scenes. He was appointed drawing-master to the Royal Naval College at Portsmouth, and removed to Portsea in 1796. He exhibited at the Academy ta 1802, and about this time painted the six prize ships taken by Admiral Lord Howe from the French, with some other marine subjects. He ched at Southsea about 1823. There are several portraits 1 >y him, engraved by himself, and 16 plates after Hogarth. LIZARS, William Home, engraver and subject painter. He was born in 1788, in Edmburgh, where his father, Daniel Lizars, was well known as an engraver and copper plate printer. Brought up under him he also studied from 1802 to 1805 in the Trus tees' Academy, was industrious and soon showed marks of talent. He engraved, about 1807, ' The Escape of Queen Mary from Lochleven Castle,' and soon after patated some portraits and subject pic tures, ' Reading the Will ' and ' A Scotch Wedding,' exhibited at the Royal Academy in 1812, where they gained favourable notice, and were engraved. The loss of his father at this time, left a widow and large famUy dependent upon the business, and he 273 LLO sacrificed his highei hopes in art to carry it on. He died in Edinburgh, March 30, 1859. LLOYD, Mrs. Mary, R. A., flower painter. See Moser, Mary, R.A. LOAT, Samuel, architect. Was a stu dent at the Royal Academy, and ta 1827 fained the gold medal for his design for a lational Gallery. He was awarded the travelling studentship, and went to Rome ta the following year ; returning ta 1832, he exhibited that year a design for an Italian palace, after which there are no traces of his art. L 0 C H N E R, W. C, architect. He studied in the Royal Academy Schools, and first exhibited some designs at the Academy in 1803 and 1804, and in 1805 gained the gold medal for his ' Design for a Villa.' In 1808 he exhibited a design for a ' Triumphal Building;' and in 1810, in conjunction with J. II. Good, he was awarded the first premium for his design for Bethlehem Hospital, in St. George's Fields, which he exhibited in that year, his last contribution to the Royal Academy. LOCKE, William (of Norbury Park), amateur. He was distinguished as a col lector and the associate of artists. He was at Rome ta 1760, and brought to this coun try the ' Discobulus,' ' Alcibiades's Dog,' and the ' St. Ursula,' by Claude, now in the National GaUery. He died October 5, 1810, aged 78. LOCKE, William (of Norbury Park), amateur. Son of the foregoing, educated at the Rev. W. Gilpin's school at Cheam. He painted several allegorical subjects. He is best known by a ' Death of Wolsey,' which is engraved. Madame d'Arblay records ta her Diary — ' Mr. W. Locke, ma'am,' said Mrs. Delany (addressing the Queen), ' I understand is now maktag the same wonderful progress ta painting that he has done before m drawing.' ' I have seen some of his drawings,' said the Queen, ' which were charming.' This was ta 1785, when he was 18 years old. There is by him a good allegorical design, the nude figures well drawn, engraved by Legatt, as a frontispiece to Webb's ' Memorials,' 1802. Fuseli, R. A., inscribed to him his 'Lectures on Painting.' Captain Looke, of the same family, an amateur of much talent, was drowned on the Lake of Conio, AprU 15, 1832, aged 28. LOCKEY, Rowland, portrait painter. He practised at the end of the 16th century. He was a pupil of Ililliard, ' was skilful in limning, and in oil-works and perspectives,' and is reputed (see Nichols's ' History of Leicestershire) 'to have painted in one table, ' portraits of Sir John More, a judge of the Court of King's Bench, temp. Henry VIII., and of lus wife, and of Sir Thomas More, lord chancellor, his son and his wife, and of aU the lineal heirs male descended from 274 LOG them, together with each man's wife, unto that present year living,' a description which appears to resemble the well-known group generally attributed to Holbein. LOCKIE, Nicholas, portrait painter. Practised in the reign of Queen Elizabeth. A portrait by him of King, bishop of Lon don, who died in 1621, is engraved by Simon Passe. LOCKLEY, David, engraver. Prac tised early in the 18th century, but did not attain any excellence. There is a large plate by him of the new church in the Strand. He also engraved portraits. • LODGE, John, engraver. Practised in the last half of the 18th centuiy, and both drew and engraved with some spirit, but in a slight, unfinished manner. He died April 4, 1796. LODGE, William, amateur. Was born at Leeds, July 4, 1649, the son of a mer chant, from whom he inherited an estate of 300?. a year. He was educated at Jesus College, Cambridge, and was afterwards a law student at Lincoln's Inn. He ac companied Lord BeUasis on his embassy to Venice, and translated there Barri's 'Viaggio Pittoresco,' published ta 1679, with portraits etched by Mmself. He also etched several drawings of views which he had made in his travels, and some views of London, York, and other places. On his return to England he etched some portraits, and also assisted Dr. Lister in drawings of natural history, which were presented to the Royal Society, among them 34 different species of spiders. He was the friend of Francis Place, with whom he made long sketching excursions. He died at Leeds, August 27, 1689. On carrying Mm to the grave, the hearse broke down near Hare- wood, and so he.was buried ta the church there. LOG GAN, David, draftsman and en graver. Was born at Dantzic about 1630. He had some instruction there from the younger De Passe, and afterwards ta Hol land, under Hondius. He came to England before the Restoration, and made himself known in London by his drawings. Later, be went to Oxford, where he matriculated as UMversity engraver, and published in 1672, drawn and engraved by himself, ' Habitus Academicorum Oxotaas a Doc- tore usque ad Servientem ; ' and in 1675, 'Oxonia IUustrata,' ta 44 plates. This latter work the University granted him a license for selling for 15 years. He then went to Cambridge, where he stayed some time, drew the colleges, and published, in 1688, 'Cantabrigia IUustrata.' He appears to have had a little dealing in pictures. He drew portraits in black-lead with great delicacy and truth, and was the best por trait engraver of his time. He engraved the Ulustrations for Morrison's ' History of LOM Plants,' which was not published till 1715. An exceUent portrait by him of Bishop Mew belongs to the see of Worcester — weU painted, the finish and expression in the test manner. He married an English lady of good famUy, and left a son, who was fellow of Magdalen CoUege, Oxford. He hved the latter part of his life in Leicester Fields, where he was settled in 1675, and let his lodgings to persons of quahty. He died there in 1693. There is a half-length portrait ta oil by him of Sheldon, arch bishop of Canterbury, in the Earl of Home's collection. LOMBART, Peter, engraver. Born in Paris 1 612. A Huguenot refugee, he came to England some time before the Revolu tion, and found employment cMefly in book frontispieces. His 12 half-lengths after Vandyck, known as ' The Countesses,' are considered his best works. He engraved 'Charles I. on Horseback,' after Vandyck ; afterwards he erased the face and substi tuted CromweU's, and, as times changed, agata inserted the King's. The latest known work by him is dated 1672. He returned to Paris, where he died. LONG, J. St. John, engraver. He was bom ta Ireland and claimed a high descent, - but was believed to have been the son of a poor basket-maker, named O'Driscoll. On the introduction of an Irish nobleman, he received some kind assistance from John Martin, who formed a poor opfoion of his art abilities. He for a wtale assisted in the studio of W. Young Ottley, and though brought up as an engraver, he did not follow that profession. A mere sketcher, he tried painting, and in 1825 exhibited at Suffolk Street, 'Elijah comforted by an Angel,' ' The Temptation ta the Wil derness,' and 'Abraham entertaining an Angel ; ' and in the following year, at the British GaUery, 'His Majestys Entrance tato Cowes Castle ; ' essays perhaps of some merit, wMch attracted notice. He soon after took up the profession of a cMropo- dist, and then professed to cure consump tion, but a patient dying under his care, he was tried for manslaughter at the Old Bailey ta February 1 831, but was acquitted. Not depressed by this adventure, he con tinued to reside at his house ta Harley Street and to keep his carriage. He died of the complaint he had professed to cure, July 2, 1834, aged 37. He had managed to save a property, surely not by his art, and he directed by bis wiU that 1000?. should be expended upon his tomb. He is buried in Kensal Green Cemetery, where a handsome temple of Greek design, decor ated with Esculapian emblems, covers his remains, and sets forth that it is intended to record the benefits derived from his ' remedial discovery.' LONGMATE, Barak, engraver. Bom t LOU in Westminster. He engraved some topo graphical drawings, but he was particularly distinguished as a heraldic engraver. He edited an edition, in eight volumes 8vo., of 'Collins's Peerage 'in 1779, and the sup plemental volume in 1784. Died July 23, 1793, in his 56th year. His son Barak. Longmate succeeded him in his profession, and died in 1836, aged 68. LONSDALE, James, portrait painter. Was born ta Lancashire, May 16, 1777. Tried art there and then came early in life to London. He was received into Bolo ney's house as his pupil, and entered the schools of the Academy. On the death of Opie, R.A., he purchased his house in Berners Street, and resided there the rest of his life. He was largely employed in portraiture, and had many distinguished sitters, chiefly gentlemen. He was ap pointed portrait patater in ordinary to the Duke of Sussex. He exhibited a fine picture of ' Talma as Hamlet,' at the Roj'al Academy in 1818, and painted for the Duke of Norfolk a large historical subject — ' King John signing the Magna Charta.' He was one of the founders of the Society of British Artists, where he exMbited from 1824, with some intervals, to 1837. He died in Bemers Street, January 17, 1839, aged 62. His art was bold and natural, Ms portraits made little attempt at flattery. LOTEN, John, landscape painter. Born in Switzerland (some writers say HoUand), he came early m life to England ta the reign of Charles II. Settled here, he studied landscape from nature with great success. He patated, frequently of a large size, cloudy effects, storms, and rocky subjects. His colouring was cold, and had a tendency to blackness; his light and shadow well mastered ; Ms execution spirited, yet well finished. He died ta London 1681. LOUGH, John Graham, sculptor. Was born at Greenhead, near Hexham, in North umberland, ta 1806, and is said to have followed the plough in his youth, lie was apprenticed to a stone-mason named Marshall, aDd subsequently worked at Newcastle. The captain of a collier be friended him and gave him a free passage up to London, where he at once devoted himself to the study of the Elgin Marbles, at the British Museum. Here amongst his fellow students it was understood that he had been a blacksmith. He first exhi bited at the Royal Academy in 1826, when he sent a bas-relief of the 'Death of Turnus.' In the following year he contri buted an ideal statue, 'Milo,' which pro cured him the notice of B. R. Haydon, and which, together with a companion statue, ' Samson, was bought by the Duke of Wel lington. In 1832 he exhibited 'Duncan's Horses,' and two years afterwards he went to Italy to study, and spent the time 2 275 LOU between 1834-38 in Rome. There are ten full-length statues by him at Sir M, White Ridley's house in Carlton Terrace, por traying characters from Shakespeare. The statue of her Majesty, executed for the Royal Exchange in 1845, and that of the Prince Consort for Lloyds in 1847, together with the colossal statue of the Marquis of Hastings for Malta in 1848, are among his best known works. He also produced the monument to Southey ta Keswick Church, and the statue of Dr. Broughton in Canter bury Cathedral, with many other portrait statues and busts. He received in the first instance the commission to execute the lions at the base of the Nelson Monu ment in Trafalgar Square. His works shew a broad manner and are large in style. He was much beloved in private life, and married a sister of Sir James Paget, the eminent surgeon. He died AprU 8, 1876. LOUND, Thomas, amateur. He was engaged ta a large brewery at Norwich, but was devoted to art and excelled as a landscape painter both ta oil and water- colours, patating with great freedom and power. From 1846 to 1855 he was a fre quent contributor to the Academy Exhibi tions, chiefly of works of oil, river and coast scenes. He died at Norwich, January 18, 1861, aged 58. LOVELACE, Francis, amateur. Held a commission as colonel in the army. He painted a portrait of his brother Richard Lovelace, the poet, who died 1658 ; a good head, which Hollar engraved in 1660, and is prefixed to the poet's ' Lucasta.' LOVELL, Peregrine, engraver. Prac tised his art about the middle of the 17th century. There are some spirited heads etched by him in Delia Bella's ' Drawing- book,' published in 1634; and some small engravings of Flemish soldiers are by his hand. He etched in Hollar's manner, and is said to have imitated him. LOVER, Samuel, R. H.A., miniature painter. He was born February 24, 1797, at Dublin, where his father was a member of the Stock Exchange. He began art at an early age, and both sang and wrote songs professionally. He practised miniature painting in Dublin, and had some distin guished sitters ; and in 1822 was elected a member of the Royal Hibernian Academy. In 1832 he first exhibited at the Academy ta London, sending a miniature of Signor Paganini, and continued to contribute yearly up to 1843, when, tempted by the success of his ' Irish Evenings,' which had become a popular entertainment, he visited the United States, returning in 1S48. At this time he appears to have devoted him self chiefly to hterature, and only was an occasional exhibitor at the Academy. In 1851 he sent a ' Drawing on the Ohio ; ' in 1852, ' Rapids and Falls of the Niagara,' 276 LOW followed by some paintings in oil ; in 1858, ' The Thames at Chiswick ; ' in 1861, ' The Chesil Beach ; ' and in 1862, ' The Kerry Post on Valentine's Day.' But he will be best remembered by his writings — his novels ' Rory O'More,' 1841, and ' Handy Andy,' 1842, both Ulustrated by designs etched by himself; and his tender and graceful songs, ' The Angel's Whisper,' the ' Four-leaved Shamrock,' ' Molly Carew,' and some others. He was granted a pen sion of 100?. a year on the Civil list, and during the last four years of his life re sided at Jersey, where he died July 9, 1868. He was buried in Kensal Green Cemetery. In addition to the above works and some ballad poetry, he published 'Legends and Tales of Irish Character,' 1832; 'Irish Sketches,' 1837; 'Treasure Trove,' 1844; 'Lyrics of Ireland,' 1858. His life by Bayle Bernard was published in 1874. LOW, William, portrait painter. Prac tised in Edinburgh about the middle of the 18th century. LOWE, Mauritius, history painter. He was reputed a natural son of Lord Sunderland, from whom he had a small annuity, and was a student of the Royal Academy and a pupil of Cipriani, R.A. He exhibited mtaiatures at the Spring Gardens' Rooms ta 1776 and 1779, and in the latter year a ' Venus ' also. He gained the first gold medal awarded by the Aca demy for his historical painting, 'Time discovering Truth,' and was elected to receive the Academy travelling pension for three years. He went to Rome, but was indolent and spent bis time ta dis sipation, and not sending home a picture to the Academy, as required by their laws, forfeited his pension in the second year. He exhibited historical works at the Academy, and in 1783 sent his 'De luge,' ' There were Giants on the Earth in those Days,' a large picture, which was rejected, and subsequently admitted at the sohcitation of Dr. Johnson, and placed alone M the Antique Academy. The Doctor said of the picture, ' It is both noble and probable.' Northcote, ' that the manner of painting was execrable,' and that the painter ' was too idle and inattentive to attain any excellence.' The picture was in 1S35 in the hall of Sutton Place, near Guildford. His best work was a drawing, exhibited 1777, of ' Homer singing his Iliad to the Greeks.' He married a servant girl, by whom he had a large family. Dr. John son stood godfather to one of his children, befriended Mm, and left him a small legacy. Some of his conversations are recorded by Boswell ; but Fanny Burney, ta her diary, tells most about him : ' There is a certain poor wretch of a villainous painter, oDe Mr. Lowe, who is ta some measure under Dr. LOW LUC Johnson's protection, and whom therefore he recommends to aU persons he thinks can afford to sit for their pictures.' Among these he made Mr. Seward, and then applied to Mr. Crutchley, who was also obliged to go to the painter's. He says, 'I found Mm in such a condition! A room aU dirt and filth, brats squaffing and wrang ling, up two pair of stab's, and a closet of which the door was open, that Seward well said was Pandora's box. It was the repository of ?all the nastiness and stench and filth and food and drink, and Oh ! it was too bad to be borne ! And " Oh ! " says I to Mr. Lowe, " I beg your pardon for running away, but I have just recol lected another engagement ; " so I poked ttaee guineas ta Ms hand and told him I would come agata another day, and ran away with all my might.' He was living, ta 1778, in Hedge Lane, now Whitcombe Street, and died ta an obscure lodging ta Westminster, September 1793. He was the reputed writer of the 'Ear- Wig,' an abusive art periodical, published ta 1787. LOWRY, Strickland, portrait painter. Was born at WMtehaven, and about 1768 went to Ireland, where he practised and then returned to Ms native town, where he hved by painting portraits. He also practised in various parts of Shropshire, Staffordshire, and Worcestershire. He had some local repute, and his portraits were simple and broadly treated. There are 13 views of churches engraved by him for a ' History of SMewsbury,' pubhshed 1779. LOWRY, Wilson, engraver. Bom January 24, 1762, at WMtehaven. Son of the above, when a chUd was taken by his parents to Ireland, and some years later returned with them. WhUe yet a boy he removed to Worcester, found some employ ment as a house painter, and commenced engraving. When 17 he came to London, and was admitted to the schools of the Royal Academy. Persevering, but poor, he worked hard. His early plates do not bear his name. He engraved most of the mactanery for the Ulustrations to Rees's ' Encyclopaedia,' Crabbe's ' Technological Dictionary,' and the ' Philosophical Maga zine.' His art was purely mechanical, but Ms great scientific attainments eminently fitted Mm for this class of work. He was a good mathematical draft»mau, had a knowledge of anatomy, surgery, mineral ogy, and geology, and was learned in the quahties and values of precious stones. About 1790 he invented his celebrated rul ing machine, and etched with the diamond and other hard stones, instead of the steel point, which gave an unexampled beauty to Ms ruling. Some of his best specimens as an architectural engraver wUl be found in the iUustrations of Murphy's ' Batalha,' Nicholson's ' Architecture/ and Gandon's 'Designs for the Dublin House of Com mons. He died in London, June 22, 1824, after a lingering Ulness, during which he was assisted by the Artists' Fund. His son, Joseph Lowry, was brought up to his profession. LOWRY, Robert, engraver. See Laurie, Robert. LUARD, John Dalbiao, subject paint er. Was born M Lincolnshire in 1830, the son of an officer in the army, and was educated at the Royal Military School, Sandhurst. He obtained a commission in the 82nd Foot, and served five years ta the regiment. Then led by a love of art, he left the army to study painting as a pro fession, was for a time a pupil of Phillip, R.A., and exhibited his first picture at the Academy ta 1855. Later ta the same year he joined his brother, who was serving ta the Crimea, returning to England in Feb ruary 1856. In 1857 he exMbited a Cri mean subject, 'The Welcome Arrival;' the following year, 'Hearing Home' and ' The Girl I left behind Me ; ' and in 1859 commenced another work, but his health failed. He tried a voyage to America and back, which had only a temporary effect, and retiring to the house of a relative near Salisbury, died there in August 1860, leav ing much promise of a reputation ta art. LUC AN, Margaret, Countess of, amateur. Was well known as a clever copyist of the early miniature painters — Hosktas, the Olivers, and Samuel Cooper. She also painted some good original minia tures, low in colour, with landscape back grounds weU introduced. She undertook the ffiustration of Shakespeare's Mstorical plays by means of portraits, tombs, land scapes, heraldic devices, flowers, birds, and insects. This work, ta five vols., which occupied her 16 years, is preserved ta the libraiy at Althorp. She died in 1815, aged 66. Walpole, who flattered her, is thus addressed by Peter Pindar — ' Do not to Lady Lucan pay such court, Her wisdom wUl not surely thank thee fort; Ah ! don't endeavour thus to dupe her, By swearing that she equals Cooper.' LUCAS, John, portrait painter. Born in Loudon, July 4, 1807. lie-was a pupil of S. W. Reynolds aud began hfe as a mezzo-tint engraver ; but he early turned to the practice of painting, and met with encouragement as a portrait painter. In 1828 he first exhibited at the Royal Aca demy, and from that time was a constant contributor. Several ladies of distinction were among his sitters, also the Prince Consort and the Duke of Wellington. About sixty of his portraits have been engraved. He died at St. John's Wood, April 30, 1874. His pictures and sketches 277 LUC were sold at Christie's the foUowtag Feb ruary. L UCY, C, portrait painter. Was born in London in 1692. He commenced the study of art when 13 years of age. Was for eight years the pupil of Cignani, and studied at Rome and Bologna. His por traits are graceful and well drawn. Dr. Pepusch aud Farinelli, by him, are en graved by Van Hacken. LUCY, Charles, historical painter. He was born at Hereford, and was appren ticed to his uncle, a chemist there ; but he turned to art, and became a student in the Ecole des Beaux Arts at Paris. He exhi bited a portrait at the Royal Academy in 1838, and was then living at Hereford ; followed, in 1840, by the ' Interview be tween Milton and Galileo,' and from that time he devoted himself purely to his torical art. In 1844 he exhibited 'The Good Samaritan' with 'Burns and his Mary ; ' and for the Westminster Hall competition he commenced a series of large historical works, which first made him known, exhibiting there, ta 1844, ' Agrip- pina interceding for the Family of Ca- ractacus,' for wliich a premium of 100?. was awarded to him : in 1845, ' Religion supported by Faith, Hope, and Charity ; ' and in 1847, 'The Departure of the Pil grim Fathers.' In 1848 he exhibited at the Royal Academy ' The Landtag of the Pilgrim Fathers in America;' ta 1849, ' Mrs. Claypole's Death-bed at Hampton Court ; ' in 1850, ' The Parting of Charles I. and his Children;' in 1852, "The Part- tag of Lord and Lady Russell in 1683;' and continued an exhibitor of subjects chiefly connected with the history of his country up to the year of his death. He had for many years taught in a drawing- school established in Camden Town, and had visited France in 1858-60, and agata in 1862. His health had long been failing. Devoted to the highest branch of art, his works, important by then- subject and the scale on wliich he painted, failed to gain the attention they merited, yet many of them have been engraved— ' The Pilgrim Fathers,' 'The Death of Mrs. Claypole,' ' Shakespeare before Sir Thomas Lucy,' ' Nelson iu the Cabin of the Victory.' He died at Notting HiU, May 19,U873, aged 59. LUMLEY, George, amateur. Was a solicitor settled at York, where he was born. He was a friend of Francis Place, and produced iu mezzo-tint several por traits towards the middle of the 18th cen tury. He died at York, October 12, 1768, aged 6(1. LUNDGREN, Egron, water-colour painter. Received his art education in Paris, where be resided about four years, but he was a Swede by birth. He lived 278 LUP also four years in Italy and five ta Spain, and he travelled in Egypt and ta the East. His first introduction to England was due to J. PhiUip, R.A., whom he met at Seville in 1851. He came to London ta 1853,- and was ta 1864 elected an associate of the Society of Painters in Water-Colours, and a year or two later, a full member. He was a frequent and successful exhi bitor, and his works were noted for their rich colour and full tones. A specially fine one is ' Dominican Friars ta the Library of Seville.' In 1874 he exhibited ' Lent ta Spain,' 'Dolores,' 'No cares,' and other works. Among his numerous pictures are several executed for the Queen which have not been exMbited. The sketches he made in India by command of Lord Clive were sold at Christie's in 1875. The King of Sweden made him a knight of the order. of Gustavus Vasa in 1861. Two books by him were published at Stockholm, ' Letters from Spain' and 'Letters from India.' He was a good linguist and an accom plished man. He died at Stockholm, De cember 16, 1875, ta the 60th year of Ms age. L 0 NY, Thomas, marine pain ter. Prac tised in London in the second half of the 18th century, and for some time lived in Ratchffe Highway. He first exhibited at Spring Gardens in 1777-78, and at the Academy ta 1780, continuing to exliibit naval actions, coast scenes, and views of the dockyards, up to 1793 ; after wliich he only exhibited again in 1802, when, stirred by the battle of the NUe, he exMbited a painting of that victory. Four pictures by him of the ' Essex,' East Indiaman, on her stormy passage to Bombay, are en graved ta aqua-tint. His 'Burning the Spanish Batteries before Gibraltar aDd 'Admiral Rodney's Action' are also en graved. He died at Teignmouth, Sep tember 30, 1S37, aged 79. At the Found ling Hospital there is a painting by Mm of ' Vessels attacking Land Batteries,' which is carefully painted and truthful, but with out any attempt at effect. In 1863, 17 paintings by Mm were sold at Christie's — sea-pieces and coast scenes, with 'Lord Exmouth's Bombardment of Algiers,' and a companion picture, 'The British Fleet leaving Algiers.' L U P T O N , Thomas Goff, engraver. He was the son of a working goldsmith in Clerkenwell, and was born ta 1791. He became the pupil of G. Clint in 1805, and on the completion of his articles he was able to establish himself ta his profession. He produced some good plates after Sir T. Lawrence and the most esteemed portrait painters of his day. In 1822 he received the gold Isis medal of the Society of Arts for his application of soft steel to the process of mezzo-tint engraving. He was JL, U X McA successful in establishing the use of steel, and worked both ta that metal and copper. Among his more notable works are the 'Infant Samuel,' after Sir J. Reynolds; ' Belshazzar's Feast,' after John Martin'; with many fine plates after Turner, R.A. ; 'Newcastle-on-Tyne,' 'Warkworth Castle,' and ' Dartmouth,' for the ' Rivers of Eng land.' He re-engraved a selection of 15 plates for the 'Liber Studiorum,' 1858. He died May 18, 1873. LUTTEREL, Henry, engraver and painter. Was born at Dublin about 1650, and came early ta Me to London. He studied the law at New Inn, but the love of art tempted Mm to change his profes sion. He became the pupil of Ashfield, and applied himself to portraiture ta cray ons, ta which he exceUed. He designed a series of heads for Kennet's 'History of England,' which were engraved by Vander- bank. On the invention of mezzo-tint, he took up the new art, and joining Isaac Becket, they were the earliest Enghsh en gravers in that manner. But Becket soon left Mm, and he brought out a print which had a large sale, and fomiMg an acquaint ance with Vansomer, by bis help soon mastered the whole process. He tried a method of laying the ground with a roller, and discovered a means of drawtag crayon portraits on copper. He finished many heads, and assisted Becket, his former col league, ta giving better completeness to his work. He died about 1710- LYNCH, German, die engraver. Was master of the Mint ta Ireland and graver of the puncheons 39th Henry VI. LYNE, Richard, engraver. Was emi nent ta his day as a patater, and was also a good engraver. He was engaged by Archbishop Parker, about 1570, as one of his engravers at Lambeth Palace. LYNN, Samuel Ferrers, A.R.H.A., sculptor. Was born at Belfast ta 1836. He at first studied architecture under his brother, Mr. W. H. Lynn, but having determined upon becoming a sculptor, he came to England and entered the schools of the Royal Academy, where he obtained a sUver medal for the best study from the Me ta 1857, and ta 1859 the gold medal. He first exhibited at the Royal Academy 'The Peri's Daughter' in 1856 ; in 1857 he sent 'The Silent Thought;' in 1859, ' Psyche ; ' and ta 1860, 'Achilles and Lycaon.' While a constant contributor to the Royal Academy exhibitions, he was also much em ployed on ornamental sculpture for public buildings in Dublta. Between 1863-66 he assisted the late J. Foley, R.A., in his studio. His last work at the Royal Academy was ' Lord Lurgan's Master McGrath,' exhibited in 1875. Hislatter habits were intemperate, and he died suddenly, at Belfast, April 20, 1776. LYSARDE, Ntoholas, history painter. He had been in the service of Henry VIII. and Edward VI., and was appointed ser- jeant-patater 2nd and 3rd Philip and Mary, and afterwards to Queen Elizabeth. He was a patater of historical subjects, and as the custom then was, presented a picture to the Queen on her birthday. He died in 1570, and was buried at St. Martin's on April 5. LYSONS, The Rev. Daniel, amateur. He was born ta 1760. He drew and etched many of the illustrations for his 'Environs of London,' published 1792-96, and for his ' Magna Britantaca.' He died January 3, 1834. LYSONS, Samuel, amateur. Brother of the above. He was born at Rodmarton in Gloucestershire in 1763, studied at the Middle Temple, and was caUed to the Bar. Between 1785 and 1796 he was an occa sional exliibitor at the Royal Academy of views of old buildings. He etched the plates for ffis ' Account of the Roman Ruins dis covered at Woodchester,' 1797, and for his ' Reliquiae Britantaca Romanse,' 1813. He assisted his brother on the 'Magna Britan taca.' He was distinguished as an anti quarian, and was appointed keeper of the records ta the Tower of London. His studies were principally directed to the Roman antiquities in Britain. He died June 29^ 1819. LYTTELTON, Lady, amateur. Second wife to the third Lord Lyttelton. She both patated and drew in crayons the portraits of her friends, and between 1774-80 was an honorary exhibitor at the Spring Gar dens' Rooms and the Royal Academy. M MoALISTER, George, glass painter. Was bom ta Dublta 1786, and brought up as a jeweUer, but devoted Mmself to study and experiment ta glass painting, and at the age of 21 his great abffity ta this art was recognised by the diploma of the Dublta Society. He finished a fine wtadow for the cathedral at iLismore, and had com menced another of larger dimensions for Tuam, but anxiety and the heat of the fur nace at which be worked produced inflam mation of the brain, of which he died, June 14, 1812, ta his 26th year. This last work was completed from his designs by his three 279 MoA sisters, to whom he had communicated his processes. MoARDELL, James,wzzo-?i?i? engrav er. Was born about 1710, M Dublin, and apprenticed in that city to John Brooks. At the age of 17 he came with his master to London. He attained great excellence in his art, and has left numerous Mie works from his hand. His portraits are admir able for expression, accuracy, and force. lie engraved many after Reynolds, with whom he was a great favourite ; also after Hogarth, Hudson, Zoffany, and Cotes, R.A. Reynolds, whose fame lias been so widely spread by his works, is said to have ex claimed that he should be immortalised by him. His historical works, after Rubens, Vandyck, Rembrandt, Muiillo, and others of the great masters, are admirable. He was also a publisher, a jolly companion at the artists' clubs, and well known in the green-room; a sworn brother of Quin, whom he painted in the character of Falstaff, and engraved after his own paint ing. He died in London, June 2, 1765, and was buried at Hampstead. McCULLOCH Horatio, R.S.A., land scape painter. Was born ta November 1806, at Glasgow, where his father was a weaver. He managed to gain a good edu cation, and was instructed in art by a painter settled ta his native city, in the neighbourhood of which he patated for some time. When in his 20th year he was first an exhibitor, and continuing the successful practice of his landscape stuches, he was in 1834 elected an associate, and ta 1838 a member, of the Scottish Academy, where he was a constant exhibitor. He only appears to have exhibited at the Royal Academy in London, where Ms art was too little known, in the year 1844, when he con tributed two of his native landscape scenes. He devoted his art to the fine scenery of his own country, and painted with great brilliancy, freshness, and truth its character istic lochs, forests, and mountainous wUds, with their mists and poetic effects of light and shadow, spring and autumn. For the last 20 years of his life he resided ta EdM burgh, and died there June 24, 1867. MAODONALD, Lawrence, sculptor. Was born in Perth ta 1799, and went to Rome in 1822. He was with Gibson, East- lake, Penry- Williams, Severn, Bonomi, etc., oneof thefoundersof the British Academyof Arts iu Rome in 1823, and was a trustee of the Institution at the time of his death. He devoted his time principally to portrait busts, and during the fifty years that he was in Rome produced a very large number of works. 11 e ci mtributed a very hue statue, ' Ulysses aud his Dog,' to the Paris Exhi bition of 1855, which is now the property of Lord Kitmnrey. He first exhibited at the Royal Academy, ta 1828, a marble bust 280 McD of ' Sir David Baird,' and from that time tUl 1855, when he contributed three busts, was a constant exhibitor. In 1835 he sent a marble statue of ' A Girl and Carrier Pigeon;' in 1837, 'Female Suppliant,' also a statue, besides portraits ; ta 1840, ' Lord Crewe ; ' in 1844, ' Marble Group ; ' ta 1849, 'Euiydice ; ' in 1853, 'LadyPakenham.' He died in Rome, March 4, 1878, ta his 79th year. McDOWELL, Patrick, R.A., sculptor. He was bom August 12, 1799, the son of a tradesman at Belfast, who died while he was an infant, leaving his family with very hmited means. His schoolmaster had been an engraver, and encouraged his love for drawing. When about 12 years old, Ms mother came to England, and he was placed for two years under a schoolmaster in HampsMre. He was then apprenticed to a coachmaker ta London, and Ms master becoming bankrupt at the end of four years, his indentures were cancelled. He found lodgings in the house of Peter Chenu, a well-known sculptor, and ta his leisure hours strove to acquire a knowledge of the art, and was fortunate in selling some reduced copies which he made. He exhibited at the Royal Academy, in 1822, a posthumous bust, and ta 1826 six busts and a model for a monument, and ta the tMee following years was an exhibitor, sending ta 1829 a ' Bacchus.' He had thus, self-taught, found himself a profession, and in 1830 was admitted a student ta the Academy Schools. He con tinued to get employment upon busts, but his first ideal work wMch gataed notice was from Moore's ' Loves of the Angels,' and found a purchaser ta a feUow townsman at Belfast. In 1S37 bis ' Statue of a Girl reading,' which was greatly admired, was also purchased by a gentleman who became a liberal patron, for whom, ta 1840, he finished another work, 'Girl going to Bathe,' wMch he exhibited ta that year; ta the next year ' Prayer ; ' and ta 1841 he gained his election as an associate of the Academy. In 1842 he exhibited 'Cupid' and his 'Girl going to Bathe ' ta marble. In 1844, 'Love Triumphant,' a marble group. In 1846 he completed a';monumenta5 statue of Viscount Exmouth for Greenwich Hospital, and was elected a full member of the Academy. Continuing to exhibit a bust from time to time, he sent, ta 1847, ' Early Sorrow,' a marble statue, and 'Virginius and his Daughter,' an important work, which he executed in marble ta 1850. In 1849 he exhibited ' Cupid and Psyche ' in basso- relievo, and an ' Eve ; ' ta 1853, ' The Day Dream ; ' in 1856, a fine statue in bronze of the Earl of Belfast ; and in 1858, a bronze figure of Viscount Fitzgibbon, for the city of Limerick. He executed also for the palace at Westminster some bronze statues MAC MAC and a marble statue of WUham Pitt and of the Earl of Chatham. He continued to exMbit, but for the latter years cMefly busts, up to 1869, and, having completed tas ' Europe' for the Albert Memorial, had just accepted the position of retired academician when he died in London, December 9, 1870. His works are carefully studied and mas terly ta execution, graceful in their form and composition, his female forms full of delicacy and beauty. His busts were sim ple ta their design and trutiiful ta their portraiture. MACDUFF, Archibald, amateur. Born ta England about 1750. There are by him some drawtags, and plates produced by the union of etching and aqua-tint, but he is supposed to have worked only as an amateur. Of Ms etchings there are, after Barry, R.A., 'The Temptation of Adam,' ' Job andhis Friends,' 'The Birth of Venus,' ' King Lear,' dated ta 1776 and 1777, and a ' Holy FamUy,' after Raphael. McLAN, Robert Roland, A.R.S.A., subject painter. Was born ta Scotland ta 1803, of an ancient HigMand race. His early life was passed on the stage, and after having been for some years a member of the Bath and Bristol company, he appeared in London ta ' Rob Roy,' and gained a reputation for his clever performance of the ' Dougal Creature.' But he was ctati- vattag a love for the arts, and during his engagement at the English Opera House he was, ta 1835 and 1837, an exhibitor at Suffolk Street ; and ta 1836 and 1838 at the Academy. In 1839 and 1840, when engaged at Drury Lane, he exMbited a ' Highland Cateran ' and the ' Covenanter's Wedding.' About this time he retired from the stage to try his fortune ta art, and painted, 1842, ' Harold the Dauntless ; ' 1843, ' HigMander defending a Pass,' "The Battle of CuUoden,' ' An Encounter in Upper Canada,' and other works, treated with great earnestness and vigour, and founded almost exclusively on incidents of HigMand courage and character. He died at Hampstead, December 13, 1856, ta tas 54thyear, and was buried ta the cemetery at Highgate. His widow, an artist, was for many years mistress ta the Govern ment School of Design. MACKENZIE, Alexander Macdonal, architect. Was for more than 30 years architect to the city of Perth, and designed and executed many churches, public build ings and mansions. He died near Perth, February 15, 1856. MACKENZIE, Frederick, water- colour painter. Was a pupU of John A. Repton, and became disttaguished by his careful drawtags of our ancient edifices, in which the architecture and perspective are weU understood. He exMbited at the Royal Academy ta 1804_and 1809, and with the Water-Colour Society in 1820, and was elected an associate exhibitor in 1822, when he contributed 'The Coronation of George IV. ta Westminster Abbey.' In 1823 he was chosen a member of the Society, and in 1835 the treasurer. He conttaued an exliibitor till his death. His contributions were usually oMy one or two each year; his subjects the interiors of cathedrals and ancient churches, which had almost entirely their inspiration from the Gothic ecclesiastical edifices. He published, 1812, ' Etchings of Landscapes,' intended as progressive lessons for students ; ' Speci mens of Gotliic ArcMtecture,' 1825, selected from the ancient buUdtags at Oxford ; and in 1844, ' Architectural Antiquities of St. Stephen's Chapel, Westminster.' He made all the drawings for Britton's ' Salisbury Cathedral.' He died April 25, 1854, aged 67, and was buried ta Highgate Cemetery. MACKENZIE, Samuel, R.S. A.,portrait painter. He was a native of Cromarty, North Britain, and commenced hfe as a stone carver. Comtag to Edinburgh, he was struck with the works of Sir Henry Rae- burn, and was inspired with the desire to be himself a portrait painter ; and devoting himself zealously to art he succeeded, and gaining a reputation, was in 1830 chosen a member of the newly-formed Royal Scottish Academy. His female heads, though deficient in force, were generally very successful, and his art popular. He died ta 1847, aged 62. McKEW AN, David Hall, water-colour painter. He was an occasional exhibitor of drawings at the Royal Academy from 1837 to 1849, and at Suffolk Street from 1840 to 1844. In 1848 he was elected a member of the Institute of Painters ta Water-Colours, and from that time exhi bited with this society, being always a large contributor. He died in his 56th year, August 2, 1873. He pubhshed ' Lessons on Trees ta Water-Colours.' MACKLIN, Thomas, engraver. He undertook in 1793 the publication of Bun- bury's 'Shakespeare,' ffiustrated by 48 plates, for which Bunbury made the draw- tags. He engraved 'Peace and War,' after Guercino, ta 1779, and some other plates. MACLEAN, Alexander, subject paint er. First exhibited at the Royal Academy in 1872. In 1874, his picture of ' Covent Garden Market, 1873,' attracted great attention, and this success he followed up by contributing ' Looking Back,' in 1876 ; and 'At the Rahings, Covent Garden,' 1877. His health had been failing for some time, and he died at St. Leonard's- on-Sea, October 30, 1877. He was a very promising young painter. MACLEOD, John, animal painter. He practised in Edinburgh, and painted with 281 MAC much success portraits of favourite horses, dogs, &c. He died February 17, 1872. MACLISE, Daniel, R.A., subject and history painter. Born at Cork, January 25, 1811, hewas the son of an officer of the Elgin Fencibles, a Scotchman of an old race. His mother was the daughter of a Cork merchant, whom his father first met while serving in Ireland. This statement has been generally received; the date is that given by the artist himself, and the whole has been adopted by his biographer and friend. But, on the contrary, it is stated, and supported by pubhc documents, that ' Alexander McLish, a soldier in the Elgin Fencibles, was married in the Pres byterian Church, at Cork, to Rebecca, daughter of Mrs. Buchanan, Almshouse, December 24, 1797,' and the birth of their son, Daniel McLish, is recorded February 2, 1806 ; and this child, who afterwards spelt Ms name McClise, is identified with the artist. On an inquiry, the Secretary of State for War says, and so far verifies the latter statement, ' that no officer of the name of Maclise or McLish can be traced as having served in the Elgin Fencibles about the period referred to.' Brought up in his native city, he received a plain edu cation. He had an early desire to be an artist, but his father thought Mm better placed as a clerk to a banker ta Cork. At the age of 16 he managed to leave this employment, and gained admission to the Cork School of Art ; he att he same time made a practical study of anatomy, and had the character of an tateUigent and industrious student. The 14th Dragoons were then stationed ta the city, and making some friends among the officers, he first found profitable employment ta sketching their portraits. In 1826 he made a sketch ing tour in Wicklow, and then resuming his portrait practice ta Cork, he saved a purse of Ms own, and was enabled in July 1827 to make his way to London, where in 1828 he entered the schools of the Royal Academy, and rapidly improving ta his power of drawtag, he gained successively the silver medals in the life school and ta the painting school, and ta 1831 the gold medal for his ' Choice of Hercules.' He had brought to London some friendly introductions, and made the acquaintance of influential men engaged ta hterature. On his first arrival he produced a happy sketch ta the theatre of Charles Kean, which was published, aud brought him a handsome sum. And his talents, aided by his friends, opened to him a career in that branch of art. But he was not anxious to devote himself to portraiture. In 1829 he first appears on the walls of the Academy with his 'Malvolio affecting the Count.' In the following year he exhibited several portraits, among them one of his friend 282 MAC Miss L. E. Landon ; and at the same time he visited Paris, with the intention of reaching Madrid, but when near the Pyre nees he was attacked by ffiness, and obliged to return. In 1831 his exhibited works were portrait drawings, and the same in the next year, with his 'Puck disenchanting Bottom.' In the autumn he visited Ire land, and enjoyed All HaUow Eve at the house of the parish priest, where he sketched the scene for the picture he exMbited ta 1833, so weU known by the popular engraving. Arising out of a dispute with Sir John Soane, R.A., who was annoyed by Maclise's portrait of him — afterwards destroyed by a friend — there appeared an etched fuU- length sketch of Sir John ta ' Eraser's ?Jagaztae,' by 'Alfred Croquis' (a name assumed by Maclise), wMch was so popular that it was followed by a series extending to 72 numbers of the magazine, of which it became a feature, representing the emi nent hterary and scientific men-of the day. From Ms connection with the magazine he was led to contribute a clever poem; which occupies nine pages, ' Christmas Revels,' an epic rhapsody. Continuing to find em ployment in portraiture, he exMbited, in 1834, his ' InstaUation of Captain Rock ; ' and in 1835, Ms great work, ' The cMvalric Vow of the Ladies and the Peacock,' wMch fully established his power as an artist, and gataed him his weU-deserved election as an associate of the Academy ta the same year. From this time tas exhibited works were confined to subject pictures, his por traits to an occasional oU picture of a literary friend, with some scenes from ' GU Bias ' and the ' Vicar of Wakefield.' He exMbited, ta 1838, ' Merrie Christmas in the Baron's HaU ; ' ta 1840, when he was elected a member of the Academy, the ' Banquet Scene ta " Macbeth ; " ' ta 1841, ' The Sleeping Beauty ; ' ta 1842, the ' Play Scene in "Hamlet,"' now ta the South Kensington Museum ; ta 1844, ' A Scene from " Comus " ' and ' A Scene from " Un dine ; " ' in 1S46, 'An Ordeal by Touch;' a succession of works by which his art will be best known. At this time he entered the hsts as a competitor for the great works offered ta the decoration of the palace at Westminster, for which his art and his powers of execu tion eminently fitted him. He was, with others, selected by her Majesty's Commis sioners, and after many wearying delays received a commission for two frescoes — the ' Spirit of Justice ' and the ' Spirit of Chivalry.' His chief thoughts from this time must have been occupied with these engagements; his contributions to the Academy fell off; but ta 1850, while en gaged on the above two works, he exhibited there the ' Gross of Green Spectacles;' in MAD MA J 1851, 'Caxton showing his Printing-press to Edward IV. ; ' ta 1854, ' The Marriage of Strongbowand Eva,' an important pic ture, which the commissioners wished him to repeat on the walls of the palace, but proposed a very Madequate remuneration. He had visited Paris agata ta 1844, and he now (1855) made Ms third visit, and extended his journey to Turin, Genoa, Florence, Naples, and Rome. He had in 1851 expressed a wish to undertake the decoration of the Royal Gallery, which restated ta the commis sioners offering, as a commencement of that work, two subjects — ' The Meeting of Wel lington and Blucher after the Battle of Waterloo' and 'The Death of Nelson.' The spaces these two pictures were to occupy were each 48 ft. long ; and he commenced his designs for them ta 1S58, and ta the following year he completed an elaborate cartoon of the first, fuU of the most careful detaU, which is now possessed by the Royal Academy. But on commencing the work in fresco he found so many insurmount able difficulties that he resigned the task ta that material, yet was wiffing to make a trial of it ta oU. To remove this difficulty, at the request of Prtace Albert, the presi dent of the commission, he went to Berlin ta 1859 to inform himself of the water- glass process, and consented to commence his subject on tMs principle. Working incessantly in the gloomy gallery it was to occupy, utterly abstracted from aU else, depressed and plagued, he finished his great work ta December 1859, representing accu rately even the smallest detaUs of portrait, costume, and the minor accessories; and was then commissioned to commence the companion picture, which, under the most discouraging and depressing circumstances, he completed ta 1864, abandoning aU claim to the amount of remuneration which he might justly have claimed. These two large water-glass patatings have been engraved in line for the Art Union of London. Between 1857, when he completed an outline series of designs, ' The Story of the Norman Conquest,' for the Art Union, and 1865, while engaged on the works of the Royal Commission, he had only exMbited one unimportant picture at the Academy. In each of the following years, including the year of tas death, he exhibited, bis pic tures cMefly from Shakespeare; but his energies, great as they were, had been ex hausted, and he succumbed after a short iUness, dying at his house in Cheyne Walk, Chelsea, on April 25, 1870. He was buried at the Kensal Green Cemetery, Ms grave surrounded by his friends. He ffiustrated Moore's ' Irish Melodies,' Lord Lytton's 'Pilgrims of the Rhine,' and some other works, and designed the Svviney Cup for the Society of Arts, the Medal for the International Exhibition, 1862, and the Turner Medal for the Royal Academy. Of a high and generous nature, fertile in invention, of great power of execution, and an excellent draftsman, but deficient ta colour, he was always original and pleasing ta his art. As a man he was modest, gentle, and frank-hearted. Wedded to his art, he ched unmarried. Indifferent and almost careless in money matters, tas will was proved under 40,000?. personalty. A memoir of him was published in 1871 by Ms friend Justin O'Driscoll. MADDEN, Thomas, sculptor. There is a fine tomb to Sir Hugh Hammersley by tliis unknown artist ta the Church of St. Andrew Undershaft, London. The knight is represented kneeling under a canopy, and behind him his wife,, with two finely- conceived cavaher figures on each side, 1636. MADDEN, Wtndham, portrait painter of the last half of the 18th century. Dick inson mezzo-tinted a portrait by him. MADDOX, George, architect. He was an exMbitor at the Royal Academy M 1796, 1807, and 1819, afterwards he became a member of the Society of British Artists, and contributed to their exhibitions classical compositions ta architecture, fragments of sculpture, and ornaments ta the antique taste. CockereU, R.A., Decimus Burton, and Professor Hosktag were his pupils. He died October 9, 1843, in his 83rd year. MADDOX, Willis, portrait and his tory painter. Was born at Bath in 1813. Was noticed by Mr. Beckford, of FontMU, for whom he executed several works — ' Christ's Temptation on the Mount ' and ' Agony M the Garden.' And from him he probably received an impulse towards oriental subjects. He first exhibited at the Academy ta 1844, his early contributions betag still-life. He painted the portraits of several distinguished Turks, and was invited to Constantinople, where he painted the Sultan. He exhibited at the Academy, in 1849, a portrait of Risk Allah ; and in 1850, of Aina Felleck, the ' Light of the Mirror.' The chief subject picture which he exhi bited is his ' Naomi, Ruth, and Orpah,' 1847. There is a portrait of the Duchess of Handlton by him, painted ta 1846, and at Bath many of his portraits, which are truthful and vigorous. He died of fever, at Pera, near Constantinople, June 26, 1853. MAINWARING, William, medallist. Practised ta England towards the end of 18th century. MAJOR,, Thomas, A.E., enr/raver. Born in 1720. In the early part of his life he resided several years in Paris, and was eventually imprisoned there, as a reprisal for some French troops captured at Culloden. He engraved, while in Paris, several plates after Berghem, Wouvermans, and others. 283 MAL On his return to England he engraved por traits, landscapes, and subject pictures. He united a free style of etching to a more finished manner than had been practised in landscape engraving. His foliage is grace ful. He held for 40 years the office of seal engraver to the King, and in 1770 was elected associate engraver of the Royal Academy, and was the Mst engraver who received that distinction. He published, in 1768, a set of 24 plates of the ' Ruins of P*stum.' He lived many years in St. Martin's Lane, and afterwards ta Tavistock Row, Covent Garden, where he died De cember 30, 1799, in his 80th year, and was buried ta Camber well Churchyard. MALCOLM, James Peller, draftsman and engraver. Was bom in PMladelpMa, August 1767. He came to England, to improve himself ta art, some time ta 1788 or 1789, and entered the schools of the Academy, where he studied three years. He was assisted by BenjamMWest,P.R. A., and by Wright, of Derby, but did not suc ceed as a painter, and then tried engraving, in which he was self-taught. He is sup posed at this time to have gone back to America, but to have returned shortly to England. He found employment in con nection with the ' Gentleman's Magazine,' ta which work a weU-etched design appeared in 1792, and was engaged ta works chiefly of a topographical character. Some of Ms best and most finished productions will be found ta his ' Excursions tMough Kent,' and ta Nichols's ' History of Leicestershire,' to which he devoted himself both as drafts man and engraver for nearly 20 years. He engraved also for Granger's ' Biographical History of England ' and a ' History of Caricaturing,' wliich he published in 1808 ; ' Anecdotes of the Manners and Customs of London during the 18th Century,' with 50 views, chiefly of buildings, drawn and etched by himself. He died in London, April 5, 1815, after a long illness, leaving a destitute wife and family, for whom a subscription was raised. MALTON, James, architect and drafts man. Practised towards the end of the 18th century, his topographical drawtags showing great accuracy and merit. He published ' Picturesque Views of the City of Dublin,' from drawings taken 1791—95 ; in 1798, an 'Essay on British Cottage Architecture ; ' in 1800, ' The Young Painter's Maulstick,' being a practical trea tise on perspective. He died of brain fever, in Norton Street, Marylebone, July 28, 1803. MALTON, Thomas, architectural drafts man. Born in 1726. Originally kept an upholsterer's shop ta the Strand. In 1769 he was in Dublin, and is said to have left London under some pecuniary embarrass ments. Here he continued several years, 284 MAN teaching perspective for a living, in great poverty. He was one of the early exhi bitors at the Royal Academy, contributing, in 1772, a drawing ta water-colour of ' The , Queen's Palace from St. James's Park ; ' and in 1774, ' The Interior of Walbrook Church.' In the same year he published 1 The Royal Road to Geometry ; ' and in 1775, ' A Treatise on Perspective on the Principles of Dr. Taylor.' His drawings were finished in Indian ink, slightly tinted. He lived for some time ta Porter Street, Newport Market, and afterwards ta Poland Street, where he advertised, in 1775, a course of lectures on Perspective. He died ta Dublin, February 18, 1801, ta his 75th year. MALTON, Thomas, architectural drafts man. He was bom M 1748, the son of the above. He received a premium at the Society of Arts in 1774, and a student in the schools of the Royal Academy, he gained the gold medal ta 1782 for his ' Design for a Theatre.' He was for a time ta Dublin with his father, and for1 ttaee years was employed ta the office of Gandon, the archi tect, who was satisfied with Ms ability, but was compeUed to dismiss Mm for his irre gularities. He exMbited at the Academy, in 1774, some stained drawtags, views on the Thames from the AdelpM ; in 1780, views of Bath, where he was then living ; ta 1790 and 1798, views of St. Paul's ; and in 1803, ttaee views of Oxford. He painted several successful scenes for Covent G arden Theatre. In 1792 he published ' A Picturesque Tour through the Cities of London and West minster,' with 100 iUustrations drawn and aqua-tinted by himself ; and ta 1802, 'Pic turesque Views of the City .of Oxford.' There are also many aqua-tint engravings by him of some of the chief buildings of the city of London. He died in Long Acre, March 7, 1804. His brother, William Malton, was also a draftsman. MANBY, Thomas, landscape painter. He painted ta the reign of Charles II. He paid several visits to Italy, and his best works are in the Italian manner. Several notices of him appear ; he is mentioned by Beale as putting ta the background to a portrait, and that a good coUection of pic tures which he brought from Italy were sold about 1672. He died M London about 1691. MANN IN, James (frequently spelt Manning), flower painter. Hewas born and educated in France, and came over to Dublin, where he settled, and was appointed in 1746 to fill the office of master in the class of ornament and flower patating in the Dublin Society's Schools then established. Several artists, who afterwards disttaguished themselves, were trained under Mm. He died 1779. MANNIN, Mrs., miniature painter. MAN MAE She exhibited at the Academy from 1829 to 1S32 in her maiden name as Miss Milling- ton, and from that year, under her married name, she was a constant exhibitor up to 1859. She died at Brighton ta October 1864. A clever artist, she was largely em ployed, excelling taher portraits of children. MANNING, Samuel, sculptor Was a pupU of Bacon, R.A., and studied in the Academy Schools. He first exhibited a bust in 1819, and the next year a statue of the Princess Charlotte ; followed in 1821 by a marble bust of Warren Hastings for his monument in Westminster Abbey ; in 1825, a model of a statue of Charles Wesley, and from that time occasionaUy busts and a portrait statue. In 1845 he exMbited ' Prometheus,' his only classic work ; and in 1846, a bust, Ms last contribution. Three of the smaU tabular pubhc monuments in St. Paul's are by him. He died December 7, 1847. MARCH ANT, Nathaniel, R.A., gem engraver and medallist. Was born in Sussex ta 1739, and was a pupil of Burch, R.A. In 1766 he was a member of the Incorporated Society of Artists. He visited Rome for his improvement, was there in 1773, and studied there during several years, both from the antique gems and the most celebrated antique groups ta marble, sending impressions from intaglios to the Royal Academy from 1781 to 1785. On his return to London some time before 1789, he gained great reputation, especially for his gems, which have rarely been ex celled. He was appotated probationary engraver to the Royal Mint in 1782, and afterwards first engraver, holding the office till 1815, when he resigned. He was also gem engraver to the King. He was elected an associate of the Royal Academy in 1791, and academician in 1809, and conttaued an exliibitor up to 1811. Died ta Somerset Place, London, in April 1816, aged 77. He was a member of the Academy at Stock holm and at Copenhagen. He pubhshed a catalogue of 100 impressions from gems, engraved by himself. MARCHI, Giuseppe Filippo Liberati, portrait painter. Born ta Rome. Brought to England in 1752, when about 15 years of age, by Sir Joshua Reynolds, he studied for a time at the St. Martin's Lane Aca demy, and was ta 1766 a member of the Incorporated Society of Artists. He was employed by Sir Joshua to set his palette, paint draperies, and forward his numerous copies and duphcates — being his ready assistant in aU matters connected with his studio. About 1770 he attempted to estab lish Mmself as a portrait painter in the Metropolis, and then in Wales, but not succeeding, he returned, and conttaued with Sir Joshua till his death. Reynolds patated a fine portrait of him in an oriental di'ess. From his knowledge of Ms master's manner of painting he was skUf ul in repair ing and restoring his works, after several of which he executed mezzo-tint plates of some merit. He had saved enough while with Reynolds to provide for his old age. He died m London, April 2, 1808, aged 73. MARCUARD, Robert Samuel, drafts man and engraver. Was born in England 1751. Was the pupil of Bartolozzi, and esteemed one of his best scholars. He practised ta the dot manner, but occasion ally in mezzo-tint, and chiefly from the works of his contemporaries — Cipriani, Angelica Kauffman, W. HamUton, Hopp- ner, Flaxman, Reynolds, and Stothard. He died about 1792. MARLOW, M., engraver. He practised towards.the last quarter of the 17th centuiy, and was chiefly employed bythe booksellers, but his works are httle known or esteemed. MARLOW, William, landscape painter. Was born ta Southwark in 1740. Studied under Scott, the marine painter, and at the St. Martin's Lane Academy, and became a member of the Incorporated Society of Artists. Exhibited at the Spring Gardens' Rooms 1762-63-64. He painted several noblemen's seats ta England, and then, by the advice of the Duchess of Northumberland, who[ admired his works, he travelled in France and Italy from 1765 to 1768. On his return he again exhibited at the Spring Gardens' Rooms, and estab lished himself in London, living several years in Leicester Square. In 1788 he was residing at Twickenham, and that year exhibited at the Royal Academy for the first time, and continued to exhibit yearly to 1796. In 1807 he exhibited again, and for the last time, contributing 'Twicken ham Ferry by Moonlight.' He painted from his Italian sketches, some of which he etched, and also views of London, chiefly on the Thames. His landscapes are pleas ing, his colour good, but he aimed little at picturesque effect, and his trees, which he rarely introduced, are weak. His Itahan sketches are slight and weakly tinted, but his works possess a quiet truth. Some of his works are at the Foundling Hospital, and have also a place ta several collections. He realised a moderate competence, and died at Twickenham, January 14, 1813, ta Ms 73rd year. His View of Westminster Bridge ' and of ' Blackfriar's Bridge,' with some other of his works, are engraved. MARMION, Sir Edmund, amateur. He etched in the time of Charles I. and Charles II. There are some portraits by him, in the manner of Vandyck, etched with much freedom, and some shght etchings of domestic scenes, after his own designs. MAROCHETTI, Baron Charles, R.A., sculptor. Was bom at Turin, of French parents, in 1805, and ta early Me went with 285 MAE his family to Paris, where his father prac tised as an advocate. He was educated in the Lycee Napoleon ; and at the age of 17 went to Rome, where he stuched about eight years. In 1829 he returned to Paris, and exhibited there ' A Girl playing with a Dog,' which gained him a medal at the Beaux Arts. lie afterwards went to Turin, and produced several statues aud smaUer works, which made him widely known. He also presented to the City his noble equestrian statue of Emmanuel Philibert, and the King conferred upon him the title of Baron. An equestrian statue by him of Charles Albert also decorates his native city. Going back again to Paris, he was employed there on many fine works, and was made a chevalier of the Legion of Honour in 1839. On the death of his father he inherited a mansion in the sub urbs of Paris, where he resided tiU 1848, when, on the Revolution, he came to Eng land. Here he was at once noticed by the Queen, and was employed upon several public works, and completed an equestrian statue of her Majesty, erected at Glasgow. He exhibited for the first time at the Aca demy in 1840, ' Sappho,' a statue in marble, and in the following year, a bust of Prince Albert ; and continuing to exhibit, chiefly busts, sent in 1856 a bust of the Queen. His last exhibited work was a bust of Sir Edwin Landseer, presented, as his diploma work, to the Academy. In 1851 Ms eques trian statue of ' Richard, Cceur de Lion,' made him widely known ; and this group has been since executed ta bronze, and placed on the west front of the Houses of Parliament. Before comtag to England he executed an equestrian statue of the Duke of Wellington for the city of Glas gow, and afterwards completed a second for Strathfieldsaye. He also designed the Scutari Monument for the Crimea and the monument to the Guards' Officers at Ink- erman ; Lord Melbourne's tomb ta St., Paul's; and Lord Clyde's statue (his last work) in Waterloo Place. He was elected an associate of the Royal Academy in 1861 and a full member ta 1866. He died suddenly at Passy, near Paris, December 28, 1867. MARQUIS, , portrait painter He practised in the reign of James I. His portraits were in oil, but on a small scale. MARRABLE, Frederick, architect. He was the son of the secretary of the Board of Green Cloth. Articled to Mr. Blore, upon the termination of his pupilage he pursued Ms studies on the Continent, and then set up ta his profession, com peting for such works as offered. In 1856 he was appotated architect to the Metro politan Board of Works, and designed and carried out the great plan of the Holborn 286 MAE Viaduct, which unfortunately proved de fective ta its construction. He was also the architect of the new churches, St. Mary Madgalen, at St. Leonard's ; and St. Peter, Deptford ; of the Garrick Club and the adjoining dwelling-houses ; of the offices of the Metropolitan Board, at Spring Gar dens ; and of Archbishop Tenison's School, in Leicester Square. In 1862 he resigned his appointment under the Metropolitan Board. He died suddenly, June 22, 1872. He was a frequent exliibitor at the Royai Academy of designs for works he was executing. MARSHAL, Alexander, water-colour painter. Practised ta the latter half of the 17th centuiy. He drew some of Mr. Tra- descant's choicest flowers and plants, and made veiy careful copies after Vandyck. MARSHAL, Edward, sculptor. He practised towards the middle of the 17th century. There is a monument by him at Derby, dated 1628, of WiUiam, Earl of Devonshire, and his countess ; another at Tottenham, dated 1644, of Sir Robert Barkham, his wife, and eight children; and at Chatham a third, of Sir Dudley Digges, consisting of an Ionic column sup porting an mn, with four females, life-size, representing the cardinal virtues. There is also a monumental work by him at Stavesey, Cambridgeshire. MARSHAL, Joshua, sculptor. Pro bably the son of the above, with whom he was for some time employed. Was master mason to Charles IL, the successor of Stone, and was much employed at the time of the Restoration. There is a monument by him at Campden, ta Gloucestershire, dated 1664, to Edward, Lord Nevil, and Ms lady. The figures are of wMte marble, life-size, and are represented standing in their winding-sheets within a cabinet, with folding doors of black marble thrown open. MARSHALL, Benjamin, animal painter. He practised both at Newmarket and in London, and drew the portraits of horses for the ' Sporting Magazine.' There lire several portraits of horses by Mm ta the Stud Park. He was an occasional ex hibitor at the Academy, commencing ta 1801, of horses, and from time to time of a portrait. Two celebrated race-horses were carefully engraved after Mm by George and William Cooke. He ched ta 1835, aged 6S. MARSHALL,'George, portrait paint er. Was a native of Scotland, and a pupU of the younger Scougal ; also studied under Kneller. He painted awhile in York, and after a long practice in Scotland, at the beginning of the 18th century he went to Italy, but did not much improve by travel. He died about 1732. MARSHALL, Thomas Falcon, subject painter. Was born in Liverpool, Decern- MAE MAE ber 18, 1818, and early showed a wish to become a painter. He first exhibited at the Royal Academy at the age of 18, and was constantly represented upon its walls until his death. At 21 he gained the sUver medal for an oil-painting, awarded by the Society of Arts. At the beginning of his career he painted several portraits. His works are well known in Manchester and Liverpool. He died ta Kensington, AprU 2, 1878, aged 59. MARSHALL, William, engraver. His early works date in the reign of James I., and he appears to have practised for 50 years. His works are very numerous ; they are cMefly portraits, many of them of great interest from the persons represented, and are probably executed by Mm from the Me ; among these is a portrait of Milton at the age of 21. They are stiff and poor ta style. The dates of his works range from 1591 to 1646. MARSHALL, William, engraver and dealer in art. He edited ta 1771 Des- godef s fine work, ' The Ancient Edifices of Rome.' MARSHALL, Peter. He practised as an artist, and is remembered as the inventor of the peristrephic panorama. He died ta Edinburgh, January 27, 1826, aged 64. MARTEN, John, water-colour painter. He practised about the end of the last century and the beginning of the present. He exhibited at the Royal Academy, in 1794, 'A view of St. Augustine's Mon astery,' and in 1808 was again an exhibitor. He lived at Canterbury. His drawings possess some merit. Marten, R. H., practised ta water-colours about the same time. MARTIN, David, portrait painter and engraver. Born at Anstruther, Fife, in 1736, was pupil of Allan Ramsay, and when very young went with him to Rome. On his return he studied ta the St. Martin's Lane Academy, and gataed premiums for his drawing from the life. He was a mem ber of the Incorporated Society of Artists, and in 1773 the Society's treasurer. About 1775 he was ta Edinburgh, and had the chief practice ta that city. He was ap pointed principal patater to the Prtace of Wales for Scotland, and was held ta repute. He practised also as an engraver, and scraped some mezzo-tint plates, among them a good portrait of Roubihac, the sculptor ; and from his own patating, a full- length of Lord Mansfield. He married a lady of some property, was living ta 1779 in Dean Street, Soho, and resided there some years. On her sudden death he re tired to Edinburgh, where he died in 1798. MARTIN, Elias, A. R.A, subject and landscape painter. Was bom in Sweden about 1740, and having gataed some skUI in drawing, he travelled to improve him self. He was ta England in 1769. In that year he gained admission to the schools of the Academy, and also con tributed to the exhibition a 'View of Westminster Bridge, with the King of Denmark's Procession,' and a water-colour view in Sweden. In 1770 he was elected an associate of the Academy. He painted portraits, several of which are engraved in mezzo-tint, subjects and landscapes, and practised both in oU and water-colours. He has also been styled an engraver, in support of which it appears from the cata logue that he exhibited at the Academy in 1773, 'The tender Mother educating her Daughter from her Birth to her Marriage,' six prints in imitation of red chalk. After having passed 14 years ta England, he is said to have returned to Stockholm in 1780, on the invitation of the King, who appointed him his Court patater. His contributions to the Academy cease in that year. But he appears again, and for the last time an exhibitor, in 1790, when he gave his address at Bath, and sent eight pictures, chiefly subjects. His reputation is founded on his early works ; he became, later, vain and careless. He died in 1804, but his name was not removed from the list of associates tUl 1832. His brother, Johann Friedrich Martin, an engraver, passed 10 years ta London, and then re turned to Stockholm. He engraved after his brother, ta 1787, a 'Group of Elias Martin and his Family.' MARTIN, F. B., engraver. Practised in the second half of the 18th centuiy. There is by him a portrait of Maria Cos- way, after Cosway, R.A., and of Sophia Western, after Hoppner, R.A. MARTIN, John, landscape pamter. Was bom at Haydon Bridge, near Hex ham, July 19, 1789. Having a taste for drawing, he was intended for a herald painter ; and he says of himself ' he began as a coach patater, then as a china painter.' After running away from coach painting, he was placed by his father under an Italian at Newcastle (the father of Charles Muss, the well-known enamel and minia ture painter), and, a few months after, came to London in September 1806. He supported himself for a time by patating on china and glass and by teaching, and meanwhile he was a dffigent student of perspective and architecture. At 19 years of age he married, and necessitated to work and ambitious for fame, he produced, in 1812, bis first picture, ' Sadak in search of the Waters of Oblivion,' which at once found a purchaser; followed in 1813 by ' Adam's first Sight of Eve ; ' and in 1814, by his ' Clytie.' The exhibition of this last picture, which he thought inadequately hung, was the 287 MAE commencement of hisrapture with the Royal Academy, of which he was through Me an angry opponent ; but it did not prevent his continuing to exliibit on the Academy walls. In 1816 he sent his ' Joshua commanding the Sun to stand still,' which gained him great notice, and in the following year, at the British Institution, a premium of 100?. He was at the same time appointed 'his torical landscape painter to the Princess Charlotte and Prince Leopold.' In 1819 he sent his large picture, ' The Fall of Babylon,' to the British Institution ; and in 1821, his ' Belshazzar's Feast,' which gained the premium of 200 guineas, and is by many deemed his best work. On the foundation of the Society of British Artists he became a zealous supporter of that body, and exhi bited at their rooms in Suffolk Street, from 1824 to 1831, and agata ta 1837-38; but in the latter year he withdrew from them, and from that time his best and more im portant works were sent to the Academy, though he did not abate his opposition. There he exhibited his 'Deluge' in 1837, his ' Eve of the Deluge' ta 1840, his ' Pan demonium' in 1841, and continued to ex hibit regularly till 1853. He patated many clever views' ta water- colour, ta wliich Ms peculiar manner is apparent. The valley of the Thames, the Wandle, and the Brent, the Surrey Hills, and the eminences round the Metropolis, were the subjects of his pencU. Many of his works are engraved, some by his own hand. Of these are the ' Belshazzar's Feast,' the ' Ascent of Elijah,' ' Christ tempted in the Wilderness,' the 'Joshua,' 'Marcus Curtius,' ' The Fall of Nineveh,' ' The Fall of Babylon,' and some others. The popu larity of his works also led to his betag engaged in the illustration of books. In 1832-33 he received 2000?. for his designs for ' Paradise Lost,' which show great poetic grandeur; and in 1833 commenced, with Westall, the illustrations of the Bible. He was active, too, in schemes for the improve ment of the Metropolis — the water supply, the sewage, and the docks. In the midst of his occupations, and while at his easel, he was attacked by paralysis. He thought a remedy might be found in abstinence, and refusing nourish ment, except in the smallest quantities, he at last gradually sank, and died on Febru ary 17, 1854, in the Isle of Man, where he bad gone for the restoration of his health. The public were surprised by Martin's works, which they were unable to judge ; the artists were disposed to call them meretri cious, tricky, scenic ; but it must be admit ted that they were highly original and full of poetic imagination, embodying visions of art not hitherto displayed, though the manner became tedious by its repetition ; but his colouring was hot and disagreeable, his 288 MAS figures sadly wanting in drawing. He was a knight of the order of St. Leopold of Austria. The unfortunate lunatic who set fire to York Minster was his brother. MARTIN, William, history painter. He was a pupU of Cipriani, and ta 1766 was awarded a gold palette by the Society of Arts. His name first appears in the Academy catalogue in 1775, when, and in several succeeding years, during which he continued to exhibit, he was living with Cipriani, R.A., to whom he was a pupU. The works which he exhibited up to 1784 were almost exclusively classic — ' Antiochus and Stratonice,' ' Perseus and Andromeda,' ' Thetis comforting Achilles,' ' Venus at tended by Iris,' with an occasional portrait. Then for the following seven years he did not exhibit,but ta 1791 he contributed' Lady Macbeth surprised in her Castle ; ' ta 1800, sketches for patatings he was executing at Windsor Castle. Among his latter works he exhibited, in 1810, 'Celadon and Amelia,' a sketch; in 1812, 'Serena falls tato the Hands of the Savages;' and ta 1816, an ' Allegorical sketch for a Picture ta memory of Nelson,' his last work. He held the appointment of history painter to George III. Bartolozzi engraved after him ' Edward and Eleanor,' ' Lady Jane Grey,' ' Imogen's Chamber ;' and J. Watson, ' The Confidants,' ' Colibert,' ' Louise and the Gardener.' M ARTINE AU, Robert Braithwaite, subject painter. Was born ta London, January 19, 1826. He was educated in the London University School, and in 1842 adopted the law for tas profession, but after four years' study under articles, he gave it up and devoted himself to art. During two years he laboured ta a drawtag school, and then gataed admission to the schools of the Academy, and was for a short time the pupil of Mr. Holman Hunt. He first exhi bited, in 1852, ' Kit's Writing Lesson,' and although some lesser works occupied him in the interval, his mind was chiefly engaged upon Ins ' Last Day ta the old House,' ex Mbited at the International Exhibition ta 1S62. This work was a highly laboured production, a drama of the artist's own invention, and attracted great notice ; but he was unable to produce another work of equal importance or power. He died Feb ruary 13, 1869, of heart disease, after only a short illness. MASCALL, Edward, portrait painter. He practised during the Commonwealth, and there is a portrait of CromweU by him. His portrait of himself is engraved by James Gammon. He made some of the drawtags for Dugdale's ' Monasticon,' and there is an etching of Viscount Falconberg by him, dated 1643. MASON, Abraham John, wood-en graver. Born in London, April 4, 1794. He lost both his parents early ta hfe. Edu- MAS M A T cated in Devonshire, he was articled to Robert Branston ta 1808, and at the end of his seven years' apprenticeship was em ployed by him for five years further. In 1821 he commenced on his own account. He also gave some lectures on his art at the London Mechauics' Institution, the Royal Institution, and the London Institu tion. In November 1829 he saUed for New York, and settling there was elected an associate of the New York Academy of Design and professor of wood engraving. George Crtakshank's 16 Ulustrations to "Tales of Humour and Gallantry,' 1824, are engraved by him. MASON, George Hemming, A.R.A., subject painter. He was born at Witley, in Staffordshire, of a good family, possesstag property in the county, and was intended for the medical profession, for which he studied durtag five years at Birmingham. But he was attracted to art, and quitting his profession he traveUed on the Continent in 1844, visited France, Germany, Switzer land, and Italy, and finally settled at Rome, where he resided several years. He sent Ms first picture, ' Ploughing ta the Cam- pagna,' to the Academy in 1857, and ra- turned to England in the following year, when he exhibited ' In the Salt Marshes, Campagna ; ' ta 1862, ' Mist on the Moors ; ' in 1864, ' Returning from Ploughing ; ' ta 1865, ' The Gander' and ' The Oeese ; ' in 1867, 'The Unwilling Playmate ; ' ta 1868, ' The Evening Hymn,' which was followed by his election as an associate of the Royal Academy. Then ta 1869 he exhibited his 'Dancing Girls' and 'Only a Shower;' in 1871, 'The MUkmaid' and 'Blackberry Gathering ; ' and ta 1872 his last and greatest work, ' The Harvest Moon.' He had for many years suffered from heart disease, to which he fell a victim October 22, 1872, aged 54. His early Roman scenes are powerful and fuU of rich colour, the climate finely studied. His English scenes are equaUy fine as studies of climate, tender ta mists ; his ' Dancing Girls ' and 'The Gander' lovely bits of nature; his ' Harvest Moon ' f uU of sweet poetry. MASON, William, animal painter. He practised in the latter half of the 18th century. J. Jenkins and R. Pollard en graved horse-races after him ; and Val. Green produced in 1783 a fine mezzo-tint of his ' Scene in a Countiy Fair at Race Time.' MASON, James, engraver. Born ta 1710. He gained a reputation as a clever artist, and particularly ta landscape — to which Ms art was almost confined— repre senting the effect of colour with much skill. He was ta 1766 a member of the Incor porated Society of Artists. Employed by BoydeU, he produced for him some plates jointly with Vivares, Canot, and others. He engraved after Claude, Poussin, and some of the Dutch masters; and after George Lambert and several of his own contemporaries. He died about 1780. MASQUERIER, John James, portrait painter. Was born at Chelsea, of French Protestant parents, ta October 1778, and returned with them ta 1789 to Paris, and studied art ta that capital. He became a favourite pupU of Vernet, and was a witness of the frightful scenes of the revolution of 1792. He then found the means of getting to England, and was admitted a student of the Academy. In 1796 he first exhibited a portrait, with 'The Incredulity of St. Thomas,' which is still the altar-piece of the chapel in Duke Street, Westminster ; and was from that time a frequent con tributor to the Academy Exhibitions at the commencement of the 19th centuiy. His works were almost exclusively portraits, but in 1800 he exhibited 'The Fortune Teller ; ' in 1803, ' The First Meeting of Petrarch and Laura;' in 1808, 'January and May ; ' with, occasionally, a portrait in character. In 1800 he visited Paris, and was enabled to make a sketch of the First Consul : this work he exhibited in London in the following year, and betag the first genuine likeness of Buonaparte seen here, produced him a profit of 1000?. He then commenced a successful career as a portrait patater, and in 1812 married a lady of good connections. He had ta 28 years practice patated about 400 portraits, and in 1823 he retired upon a competence he had earned by his profession to Brighton. But he continued an occasional exhibitor of por traits at the Academy, and in 1831 exhi bited 'A Marriage ta the Church of St. Germain l'Auxerrois, Paris ; ' followed ta 1838 by 'Buonaparte and Marie Louise viewing the Tomb of Charles the Bold at Binges,' his last exhibited work. He died at Brightomafter 30 years' residence, March 13, 1855. Baroness Burdett Courts has a full-length portrait by Mm of Miss Mellon as 'Mrs. Page' in the 'Merry Wives of Windsor,' which he exhibited in 1804. MASSON, Andrew, landscape painter and drawing master. Was born near Edinburgh in 1750. In 1824 he resided for six weeks ta the Bell Rock Lighthouse, making studies of the action of the waves from thence, for J. M. W. Turner, R.A. He made a spirited drawing of the light house in a storm, engraved by J. Horsburgh as a frontispiece to Robert Stephenson's ac count of the peculiarities of structure, and de tails of erection. He died ta N o vember 1 825 . MATHESON, Robert, architect. Was born at Tain in Rossshire, in 1 808. He cam e early to Edinburgh, and entered the office of Mr. Reed, the King's architect, and afterwards that of Mr. Nixon, and on the death of the latter he was ai (pointed 289 MA'T his successor as architect to the Scottish Board of Works. During his tenure of office, he designed ' The Palm House,' in the Botanical Gardens, and the ' General Post- Office ' at Edinburgh, and many additions to public buildings, both in that city and other towns of Scotland. He died in Edin burgh, March 4, 1877. MATHIAS, Gabriel, subject painter. Was long a student in art. He exhibited in 1761 and during the two or three follow ing years. One of his pictures, ' A Sailor splicing a Rope,' is engraved by McArdell. But be was unsuccessful in art, and retired from his profession on obtaining an appoint ment in the office of the Keeper of the Privy Purse. He afterwards became deputy paymaster to the Board of Works. He resided chiefly at Acton, where he died, at a very advanced age, in 1804. MAUBERT, .James, portrait painter. Was a pupil of ' Magdalen Smith,' and prac tised ta the reign of George II. He patated smaU portraits, and there are by him por traits of the English poets, copied ta small ovals and surrounded with flowers ; and in the National Portrait Gallery a portrait of Dryden. He did not attain to much excel lence. He died 1740. MAUCOURT, Charles, portrait paint er. Bom ta Germany. Practised portrait painting ta London for several years, both ta oil and water-colours, and also ta minia ture. He was a member of the Incorporated Society of Artists, and an exhibitor from 1761 to 1767, sending in the former years full-length portraits. He also practised in mezzo-tint. Some of his works have much merit. He ched in London in January 1768, leaving a child quite destitute. MAURER, J., draftsman and engraver. Practised in the first half of the 18th cen tury. He drew several views and occur rences of the time, usually with the pen, in a careful manner, anci engraved them on copper. There is by him a view of Rosa mond's Pond and the Parade, St. James's Park, 1742 ; a view of Vauxhall Gardens, 1744 ; Tower Hill and place of execution of Lords Kilmarnock and Balmerino, 1746 ; with other views of London. MAWLEY, George, landscape painter. Was born in London, November 1838, and received his art education at Car/s School of Art and the schools of the Royal Aca demy, lie first exhibited at the Royal Academy in 1858, and continued to do so till the year of his death. He was also a constant contributor to the Dudley Gallery water-colour exhibition, to which he sent ' A Pine Wood,' ' Storm clearing off North Wales,' ' Hanibledon Lock,' etc. His best known oil pictures are ' The way across the Marsh,' ' Autumn,' ' A deserted Sand-pit.' He died prematurely in London, March 24. 1873. 2B0 MEA MAXWELL, George, . er. Was born ta 1768. He exhibited in the Royal Academy in 1787-88-89, when his pictures obtained the favourable notice of Sir Joshua Reynolds. He died De cember 28, 1789. MAY, Hugh, architect. He was the brother of ' Bab May,' keeper of the Privy < Purse to Charles IL, and practised ta that reign. He built, about 1665, Berkeley House, Piccadilly, which was greatly lauded by Evelyn, aud occupied the site where Devonshire House now stands. He was the architect of Cashiobury, and surveyor of the works at Windsor Castle. He is introduced in Verrio's picture of 'Christ healing the Sick,' costumed in a long periwig, as one of the spectators of the miracle. MAYNARD, John. An English painter of this name practised ta the reign of Henry VIII., and was employed upon the tomb of Henry VII. in Westminster Abbey. MAYNARD, T., portrait painter. He practised in London, was weU employed, and exhibited portraits ta oU at the Royal Academy from 1780 to 1812. MAYOR, Bakma'&y, engraver and paint er. He was a member of the Incorporated Artists' Society, and practised early in the last half of the 18th centuiy. A picture of Wenlock Abbey by him is engraved by Valentine Green. He died July 8, 1774. MAZELL, Peter, engraver. Practised his art during the last half of the 18th cen tury. He was a member of the Incorporated Society of Artists 1774, and exhibited with them his engravings during several years. He was employed ta the Ulustration of some scientific publications ; and by Pennant, who calls him Ms engraver. He produced some plates for BoydeU, after G. Smith, of Chichester, published 1763 ; and engraved aU the Ulustrations for Cordtaers's ' Remark able Ruins and Romantic Prospects in North Britain,' published 1792. MEADOWS, J. Kenny, designer. Was born ta Cardiganshire, November 1, 1790, and was the son of a retired naval officer. He first became known ta art by his de signs on wood for book Ulustration. Some of his earliest works of this class were for children, such as 'Granny's Wonderful Chair,' 'Jack Ketch,' 'Swift's hints to Servants ;' but he is best esteemed for Ms ' English heads of the People ' and ' Illus trated Shakespeare ; ' the latter published be tween 1842-45, and probably his best work. He exhibited some drawings on three occa sions, the last in 1834, with the Society of British Artists, and also sent twice or thrice to the Royal Academy. His ffiustrated works published, exceed twenty in number. Though his designs have some claim to grace, they are too often trivial and affected. He was the companion of the humourists of tas day. For the last ten years of his MEA MEE life, he received a pension from the civil list. He died in August 1874, and was buried ta the St. Pancras Cemeteiy at Finchley. MEADOWS, Robert Mitchell, en- qraver. Practised tas art chiefly ta the latter half of the 18th century, engraving in the stipple manner, and attained much distinction in his profession. He engraved for Boydell's ' Shakespeare Gallery,' and after WestaU, HamUton, and others. He published, ta 1809, ttaee lectures on En graving, and died some time before 1812. MEDINA, Sir John Baptist, Knt., portrait painter. Was the son of a cap tata ta the Spanish service, and born m 1660, at Brussels, where he studied paint ing. He married young, and came to England ta 1686. After practising portrait painting in London for several years, he was induced to visit Edinburgh, where he settled, and patated the portraits of n^any of the Scotch nobility and of the professors ta Surgeons' Hall, Edinburgh. He occa- sionaUy patated history, and he designed the illustrations for an edition of MUton's 'Paradise Lost,' foho, 1688. There are also some landscapes by him, but he found Ms best encouragement ta portraiture. His manner was Mm and bold, better suited to his male than his female sitters ; the ex pression and character good. He worked with great facility and industry. He was knighted by the Lord High Commissioner to the Scotch Parliament. He died in Edinburghin 1711, and was buried at Grey- friars. Some of his portraits are engraved. MEDINA, John, portrait painter. Grandson of the foregoing. Practised his art in Edinburgh, where he is supposed to have been bora, and for a time ta London, where he exMbited ta 1772 and 1773. Little is known of Ms works, but he was much employed as a copyist and a picture cleaner. He repaired the coUection at Holyrood Palace, and made many copies of a valued portrait of Maiy, Queen of Scots. He died at Edinburgh, ta his 76th year, September 27, 1796. MEDLAND, Thomas, engraver. Prac tised ta the latter half of the 18th century, and excelled inthe delicate truth and finish of his landscape engravtags. He exhibited some topograpMcal views of the Metropolis, in water-colours, ta 1777-78-79, and" was an occasional exMbitor for many years. He engraved several plates in conjunction with WUliam Byrne — 'Mount Etna,' in 1788 ; ' Views ta Cumberland and West moreland,' published in 1789 ; ' Cities and Castles of England,' 1791. He engraved with much spirit Stothard's illustrations to ' Robinson Crusoe,' which were afterwards engraved by Heath ; the iUustrations to Barrow's ' Embassy of Lord Macartney to China,' 1804 ; two of Lord Howe's sea- fights, after R. Cleveley ; 45 plates to Sir W. Gell's ' Topography of Troy.' About 1808 he appears to have been appointed an art teacher at the East India College, Hertford, and went to live ta that neigh bourhood, and from thence sent his works occasionally to the Academy Exliibitions up to 1822. MEDLEY, Samuel, portrait and. ani mal painter. He was born about 1748, and commenced art by attempts at histo rical patating. He exhibited ' The Last Supper ' at the Academy in 1792, foUowed by some historical and classical subjects. About 1797 he tried portraiture, and settled ta the practice of a portrait and animal painter, in which he became known as a clever artist. He exhibited at the Academy, with some intermission, up to 1805. A good group of portraits by him, ' The Medi cal Society of London' was engraved ta 1801 by Branwhite (see this life for a curious account of the plate). He was living ta 1853. Betag tired of his profession he went on to the Stock Exchange, where he made a comfortable tadependence, and was one of the founders of University College, London. He was the maternal grandfather of Sir H. Thompson, the celebrated surgeon. MEE, Mrs. Anne, miniature painter. She was the eldest daughter of John Fold- sone, an artist, who died young. She received a good education in a well-known school kept by a French lady, in Queen's Square, Westminster, and was deemed clever as a musician, poetess, and painter. She must have commenced practice very early as a miniature painter, to assist in the wants of the family, and had formed a large and influential connection. Miss Berry, ta her memoirs, says of her, ' She has a mother and eight brothers and sisters to support,' and intimates that it is dangerous to pay for her portraits before they are finished. She began an engraved work, ' Beauties of the time of George IIL' The Prince of Wales, afterwards George IV., gave her many commissions, and a number of miniatures she painted for him are in the royal coUection at Windsor. She married a man who pretended to family and fortune, and had neither. Her name first appears in the Academy catalogues ta 1815, and then as Mrs. Mee. From that year she continued an occasional exhibitor up to 1836, about which time she retired from practice. She died at a very advanced age, May 28, 1851. MEEN, Margaret, flower painter. She practised in water-colours, and first appears as the exhibitor of a small land scape at the Royal Academy ta 1775, and from that year to 1785 was a contributor of flowers and groups of flowers. She patated with much ability ta a large, vigor ous manner. 2 291 M E II MEHEUX, Francis, engraver. Born) at Dover in 1644, and practised till the end of that century, both with the graver and! in mezzo-tint. [ MEHEUX, John, painter. Practised in the second half of the 19th century. WU ham Blake engraved after Mm ' Clortada ' and ' Robin Hood.' : MELLISH, Thomas, marine painter. He practised about the middle of the 18th centuiy, patating seaside scenes with figures, shipping, &c. MERCIER, Philip, portrait painter. Was born at Berlin, of a French refugee family, in 1689, and educated in the Aca demy of that city. He stuched ta France and Italy, and afterwards went to Han over, where Frederick, Prince of Wales, appointed him his portrait painter and brought him to England, retaining him ta his service. After nine years he lost the prince's favour, and was dismissed. He then talked of abandoning tas profession, and bought a small property ta the country, but he soon returned to London, and took a house ta Covent Garden, where he painted portraits and subjects of familiar life. He afterwards went to York, where he met with encouragement, and for a short time to Portugal and Ireland. There is a por trait by him of Queen Anne, and at the GarricklClub of Peg Woffington. Houston mezzo-tinted his 'Avarice' and ' Innocence,' and Faber and McArdeU also engraved after Mm. He died July 18, 1760. MERCIER, Charlotte, painter and engraver. She was the daughter of the above, and, brought up to art, was skiUed both as a painter and engraver. Her ' Four Ages : CMldhood, Youth, Womanhood, and Decrepit Age,' were engraved by Ravenet. She was unmarried, and abandoning her self to a vicious hfe, she died ta the work house of St. James', Westminster, February 21 1762. METZ, Miss Caroline M., subject painter. She was the daughter of Conrad Metz, a German artist, who came to Lon don. She first exhibited flowers and fruit at the Academy in 1773-74, and in 1780 contributed drawings, and from that time finished designs ta chalk — in 1781, ' Antony and Cleopatra ; ' ta 1782, ' Boadicea ; ' in 1783, 'A Spartan Youth charged with Intemperance ; ' ta 1788, ' The Feast of the Gods ; ' and continued to exhibit sub jects of the same class, with occasionally a portrait or a landscape, up to 1794. Her ' Country School ' is engraved by C. Turner. In 1772 Miss Gertrude Metz exhibited fruit and flowers at the Spring Hardens' Rooms. MEVES, Augustus, miniature painter. He practised early in the 19th century, but does not appear to have exhibited. He died suddenly at Shoreditch, where he was 292 MEY living, in 1818 ; and founded on some am biguity in his wUl, and the statements of Ms widow, Ms sou, then 33 years of age, assumed to be the Dauphin of France, pro bably with less ground of claim than other pretenders. MEYER, Jeremiah, R.A., miniature painter. Was bom at Tubingen, Wurtem- berg, 1735, and came to this country with his father at the age of 14. He entered as a student ta the St. Martin's Lane Aca demy, of which he was for many years a member. Hestudied under Zincke 1757-58, paying 200?. for the two years' pupilage. In 1761 he gataed the Society of Arts' pre mium for a profile of the King, to be used for a die. In 1762 he was naturalised, and was ta 1764 appointed miniature patater to the Queen and enameller to the King. In 1769 he was one of the foundation mem bers of the Royal Academy, and was a con stant exhibitor, tas works including several portraits of the King and Queen, the Prince of "0 ales and Duke of York. He last ex hibited in 1783. He patated in oU and water-colours, and also ta enamel, but his mtaiatures on ivory were unrivalled ta his day. By Ms study of Reynolds he attained great power and elegance, and his works please by then- Me-hke trath and expres sion, added to a quiet refinement of colour. He married Barbara Marsden, a young lady of great art talent, who gataed several premiums from the Society of Arts. He lived many years on the south side of Covent Garden. At the latter part of his hfe he retired to Kew, where he died (January 20, 1789, ta his 54th year) and was buried. Hayley comphmented his art — 'Though smaU its field, thy pencil may presume To ask a wreath where flowers eternal bloom.' MEYER, H., landscape painter. Was a native of Holland, and obhged to leave his country, betag involved ta the revolution of 1788. He came to London, and gataed a reputation as a landscape patater ta water- colours, exhibiting at the Academy, cMefly Dutch scenes, 1790-91 and 1792. His works are usually of a small size, painted in the manner of Ostade, and highly finished. He introducedfigures into his landscapes, wliich were drawn with great care and neatness. Some of his works are ta tempera. He died in Bemers Street, February 1793. MEYER, Henry, engraver. Was bom ta London about 1783, and was the nephew of Hoppuer, R.A. He was the pupil of Bartolozzi, and foUowtag his style, his chief works are in the dot manner, but he also worked ta mezzo-tint. He was principally engaged upon portraits, and engraved many. They are worked in the dot man- MID MIL ner, the drawtag good, and the expression and hkeness weU preserved. Latterly he occasionaUy drew portraits, and was very successful in tas likeness. He was active in the foundation of the Society of British Artists, one of the foundation members, a large contributor to their first exMbition ta 1824, and an occasional contributor up to 1831. Among other works, he engraved the 'Princess Charlotte and Prince Leo pold,' after A. Chalon, R. A. ; ' Miss O'NeUl as Belvidera,' after Devis ; ' Sir Roger de Coverley,' after Leshe, R.A. He died May 28, 1847, aged 64. MIDDIMAN, Samuel, engraver and draftsman. Was a pupU of Byrne. He appears as an exhibitor of landscape draw ings at the Free Society ta 1771, and at Spring Gardens ta 1773 and 1775. In 1780 he exhibited 'stained drawings' at the Royal Academy, and conttaued an occa sional exMbitor of views up to 1797- He practised bis art in London, and was em ployed as an engraver by Alderman Boy- delL He was greatly disttaguished for Ms etctang, and was engaged by Pyne, content to receive a weekly wage without ambition ; but tas great skill and taste soon made him known. He engraved after the old masters, and after Smirke, Farington, Gainsborough, Barret, Hearne, Cipriani, and finished Ms numerous works with scruptaous care. He excelled ta landscape, and engraved 'Select Views ta Great Britain,' pubhshed 1784-92; 'Picturesque Views and Antiquities of Great Britain,' published 1807-11. He died ta Cirencester Place, December 18, 1831, aged 81. MIDDLETON, John, landscape paint er. He was born at Norwich in 1828, and developed a love of art. He had some instruction from Crome, and was also assisted by Stannard. Practising ta his native city, he first appears as an exhibitor at the Royal Academy in 1849, and from that year was a constant contributor. He patated effects of the seasons, particularly the early spring. He died at Norwich, of consumption, November 11, 1856. MIDDLETON, Charles, architectural drafts-man and engraver, lie was in 1766 a member of the Incorporated Society of Artists, and on the estabhshment of the Royal Academy, and up to 1790, contributed to its exhibitions. He made many designs for country residences and garden decor ations, and published some professional works — ' Designs in Architecture, Cottages,' &c, ' Designs for Park Gates, Fences,' &c, ' Design for Coldbath Fields Prison,' 1788 ; and the same year, ' Design for the Pavilion at Brighton.' He was appointed architect to George III. He engraved several of his own designs. Died about 1818. MIDDLETON, J. J., draftsman and landscape painter. He practised at the beginning of the 19th century, his subjects being chiefly architectural views and views of towns. He was also engaged in panorama painting. His views of the remains of ancient buUdtags ta Rome were pubhshed ta 1820. MILBOURN, Sow, portrait painter. PupU of F. Cotes, R.A. He gained a Society of Arts' premium in 1764, and practised in the latter half of the 18th century. He exhibited small whole-length and crayon portraits at the Royal Academy ta 1773-74. A picture of ' Matrimony and Courtship,' by him, was engraved by Gaugain in 1789. MILES, Edward, miniature painter. He was a native of Yarmouth. He prac tised ta London in the latter part of the 18th centuiy, and exhibited at the Royal Academy yearly, from 1786 to 1797- He was miniature patater to the Duchess of York and to Queen Charlotte. He ched at Yarmouth. MILLER, James, water-colour drafts man. He was one of the early painters ta water-colour and there are some good works of the time by him. He practised ta the last half of the 18th centuiy, and exhibited at the Academy landscapes, introducing figures and cattle, 1773-75. MILLER, Andrew, mezzo-tint en graver. He was bom ta London, it is believed, of Scotch parents, and was taught Ms art under Faber. He practised many years in Dublin, and was ta that city in 1740. He is erroneously stated by Stratt to have been born there. He engraved, in mezzo-tint. Dean Swift, 1743 ; Robert Boyle, the chancellor of Ireland, 1747 ; and other works. He engraved Frank Hayman's designs, was one of his boon companions, and was much addicted to drinking, which accelerated his death. He died M Dublta about the middle of the century. MlLLER, William, history and por trait painter. Born about 1740. Had much reputation in his day as a painter of historical subjects, and was engaged on Boydell's ' Shakespeare Gallery.' He also patated some portraits, which were solidly and faithfully executed. He was an exhi bitor at the Academy from 1790 to 1803. He contributed whole-length portraits oc casionaUy. In 1792, ' Ariadne ; ' in 1801, ' Death of Adonis,' and subjects of a lower clas3. Many of nis works are engraved, among them — ' Mrs. Jordan as The Romp,' by Carey ; Scenes from ' Werther,' by Laurie; 'Last Moments of Louis XVI.', by Schiavonetti ; and ' Lotas XVI. at the Bar of the Convention,' by Gaugain. He died about 1810. MILLER, John, engraver. He gained a premium from the Society of Arts in 1764, and practised about the middle of the 18th century. He had considerable 293 MIL MIT merit, and among other works by him are portraits of George III. and his Queen from the hfe. MILLER, John, architect. He had studied in Italy, and practised ta London in the last half of the 18th and the be ginning" of the 19th century. He exhibit ed at the Royal Academy, 1781-87, some drawings of London houses and architect ural views in the Metropolis. He pub lished 'Elements of Architecture restored to its original Proportion ' and ' The Country Gentleman's Architect,' 17S7. He designed in the Palladian style. MILLER, John, flower painter and engraver. Born in London about 1750. He practised as a flower painter, and in 1766 received a premium from the Society of Arts. His flowers are natural, careful, and correct in their botanical details. He pubhshed, 1770-77, ' Illustratio systematis sexualis Linna?i,' the plates for which are drawn, etched, and coloured by himself. MILLER, J., miniature painter. In the middle of the 18th century he practised in London, with some reputation. He died ta Southampton Street, Bloomsbury, Jan. 8, 1764. MILLINGTON, James Heath, minia ture and subject painter. Was originally from Cork, though not of Irish parentage. He became a student of the Royal Aca demy in 1826, and gained most of the Academy prizes, though unsuccessful ta his attempts to obtain the gold medal. He last exhibited at the Royal Academy ' A Magdalene,' in 1870. He was curator of the School of Painting for a short time tffl his death in 1873. MILLNER, Thomas, architect. His de signs for ' Gregories,' a mansion in Buck inghamshire, erected in 1712, is engraved in Campbell's ' Vitruvius Britannicus.' MILLS, Alfred, wood-engraver. He was for above 40 years engaged in design- tag and cutting works for the illustration of children's books, in which he showed much ability. He died at Walworth, De cember 7, 1833, aged 57. MILLS, George, medallist. He re ceived three gold medals from the Society of Arts, and was distinguished by his medals of General Moore, Watt, West, Admiral Duckworth, George IV., and Sir F. Chant- rey, R. A., his last work. He was an exhi bitor at the Royal Academy from 1S16 to 1823, and died at Birmingham, January 28, 1824, aged 31. MlLN, Robert, engraver. There are by him some plates, in a weak manner, of Scottish antiquities, published at Edinburgh in 1710. MILTON, William, engraver. Prac tised in London, and was chiefly employed by the booksellers on illustrations. He died in 1790, and was buried at Lambeth. 294 MILTON, John, medallist. He was one of the engravers of the Royal Mint and medallist to the Prince of Wales. He was an exhibitor at the Academy from 1785 to 1802, but his contributions do not seem to have been works of a high class. MILTON, Thomas, landscape engraver. Was born about 1745. He practised his art in London, and for several years in Dublta. He gataed a great reputation. He engraved for 'Views of Gentlemen's Seats,' 1799 ; ' The Stafford Collection of Pictures,' ' Views of Castles ta Ireland,' 1787 ; and ' Views ta Egypt.' His grand father was brother to the author of ' Para dise Lost.' He was a governor of the Society of Engravers. Died at Bristol, February 27, 1827, aged 84. MILTON, John, marine and landscape painter. Practised ta the last half of the 18th century as a patater of landscapes, marine views, and animals, excelling in dogs. He exhibited with the Free Society of Artists, 1769 to 1771, shipping, storms, rocks, &c. Several of his works were en graved — 'A Strong Gale,' in mezzo-tint, by R. Laurie, 1774 ; ' The English Setter,' by J. Cook ; six dockyard views, by J. Canot. MIT AN, James, engraver. Born ta London, February 13, 1776. He was ap prenticed in 1790 to a writing engraver, and was assisted in drawtag by Agar, then by Cheeseman, and aspiring to be an artist, entered as a student ta the Royal Aca demy. On the expiration of Ms appren ticeship be gataed employment with some of the best engravers, and became dis tinguished by his abffity as a line engraver. His' best works are the illustrations of Inchbald's ' Theatre,' Stothard's vignettes to the 'Irish Melodies,' Smirke's 'Don Quixote,' Dibdta's 'Bibliographical Tour,' and a plate of Leslie's ' Anne Page.' He made some attempts at architectural de sign, produced an elaborate drawtag for a chain" bridge over the Mersey, and was a competitorfor the proposed Waterloo monu ment. His health became impaired. He suffered an attack of paralysis, and died August 16, 1822. MITAN, S., engraver. Was brother and pupU of the above. He engraved for Batty's ' Views of France,' and was employed upon Messrs. Ackerman's publications. MITCHELL, John, engraver. Born in 1791. He practised ta Edinburgh, and was distinguished by the finish and style of Ms works in the Mie manner. He engraved, after Wilkie, 'Alfred M the Neatherd's Cottage,' 1829; 'The Rat catchers,' 1S30. He died 1S52. MITCHELL, Robert, architect. He was an exhibitor at the Royal Academy from 1782, contributing in that year de signs for a church, and ta 1798, the last occasion of tas extabition, ' Design for the M 1 X MOE Front of a Cathedral.' He erected several fine residences — Selwood Park, Berkshire ; Moor-place, Herts; Heath-lane Lodge, Twickenham ; Cottesbrooke, Northamp tonshire; Preston Hall, Edinburghshire; and published, 1801, plans and views of the buUdtags he had erected. MITCHELL, Edward, sculptor. He exhibited at the Academy in 1854 a me dallion bust ; in 1863, ' Venus surprised,' a marble bas-rehef; followed, in 1864, by two busts. He was employed upon two colossal figures for Sir Arthur Guinness — ' Erin ' and the ' Archangel Michael,' when, owing to depression, caused by the loss of his wife, he committed suicide, AprU 17, 1872, aged 41. MITCHELL, Thomas, amateur. He was Master Shipwright's assistant at Chat ham dockyard, and afterwards became Assistant Surveyor of the Navy. He was a good sailor and stap-btalder, added to which he was a clever patater of marine subjects. He was an occasional honorary exhibitor at the Royal Academy from 1774 — when he exhibited 'his Majesty's yacht coming to anchor ta the Downs' — to 1789, and bis exhibited works include ' The Burning of the French Fleet at La Hague,' ' A Storm, with sMpwreck,' etc. MOGFORD, Thomas, portrait painter. He was a native of Devonshire, and prac tised for many years ta that county, residing at Exeter. From 1838 to 1854 he was an occasional exhibitor of portraits, with some times a subject picture, at the Royal Aca demy—in 1838, ' Caught in the Fact ; ' in 1844, 'The Sacrifice of Noah;' in 1846, ' Loves of the Angels.' He had been for several years ta faffing health, and died at Guernsey in 1868. MONAMY, Peter, marine painter. Born about 1670 ta Jersey. His parents were poor, and he was sent to London when a boy and apprenticed to a bouse- patater on London Bridge. He was clever, and gradually improving Mmself in art, became a good painter of marine subjects, exhibiting his paintings ta his windows to the many seafaring men who congregated in the neighbourhood. He was an imitator of the Vandeveldes, his execution good, his vessels well drawn, and his knowledge of art considerable. There is a large picture by him ta Paper Stain ers' Hall, dated 1726, and a sea-fight at Hampton Court, luminous and carefully pamted, the colour good, but tame ta its treatment of the sub ject. He is reputed to have excelled in calms. There are some pen drawings by him in Indian ink. He decorated a car riage for the unfortunate Admiral Byng with ships and naval trophies. He died at Westminster ta the beginning of the year 1749. MONOYER, John Baptiste, flower and ornamental painter. Born at Lille, 1635; educated at Antwerp, where he studied as a history painter. But returning to Lille he applied himself to flower patating, and with so much success that he was employed by Le Brun in the ornamental part of his work at VersaUles, and in 1663 made a member of the French Academy. He was brought to England by the Duke of Mon tague to embellish his house in Blooms- bury, and was afterwards employed by several of the nobility, and by Queen Mary. He commenced the publication of a large collection of flowers and fruits, which he etched himself ta a bold, free style. He died in London in 1699, aged 64. Antony Monoyer, his son and pupil, patated flowers and fruits with much skill. MONRO, Henry, portrait and subject painter. Born ta London, August 30, 1791. Was the son of Dr. Monro, who was well known as a physician and by his friendship with the early painters in water- colours. He was educated at Harrow, and entered the navy, wliich he quitted before he was formally placed on the books of the frigate he had joined. For a short time he had a wish to enter the army ; but he at last decided upon art, and ta 1806 was admitted a student of the Royal Aca demy. When a little advanced he attempt ed portraiture, chiefly in crayons, and there is a portrait by him of his father in tins manner at the College of Physicians of more than ordinary merit. He then vigor ously commenced painting ta oil, making studies for some great works which he pro jected, and occasionally sketching from nature. In 1811 he exhibited at the Aca demy 'A Laughing Boy,' 'Boys at Mar bles,' and some portraits and works of the same class in the following year. In 1811 he visited Scotland, and falling from his horse was seriously injured, and from this and subsequent neglect suffered a danger ous UMess. On his restoration to health in 1812, he painted 'Othello, Iago and Desdemona,' exhibited at the Academy in the following year ; and at the British In stitution, 'The Disgrace of Wolsey,' for which the directors awarded Mm a premium of 100 guineas. These were the only pic tures of a high class he patated; but he left some clever drawings on grey paper in black and white chalk, and some etchings. In January 1814 he was seized with a fatal malady, of which he died on March 5 fol lowing, in his 23rd year. MORE, Sir Antonio, Knt., portrait painter. Was born at Utrecht in 1525, and studied under Schoreel and at Rome. In 1552 he went to Spain, and patated a portrait of Philip II. in the same year. He became a favourite with this prince, and was sent by him to take the portrait of Donna Maria Infanta of Portugal, his 295 ll MOO first wife. He afterwards came to Eng land and painted the Princess Mary, Philip's second wife. He stayed in this country till her death, and painted the ortraits of many distinguished persons rere, as he held the office of painter to their Majesties. He returned to Spain with Philip after the Queen's death, but having oflended this monarch by an Ul- timed familiarity, retired to the Nether lands, where he practised both at Antwerp and Brussels. He was a very handsome man, and was accustomed to hve in great state. His works are marked by their correct drawing and rich tone of colour, and by their breadth of treatment in light and shade. The exhibitions of the old masters at the Royal Academy and Lord Derby's portrait exhibitions, brought many fine pictures by this painter before the public which have hitherto been hidden in private collections. He died at Antwerp ta 1581, aged 56. MOORE, Jacob, landscape painter. Born 1740, in Edinburgh, where he was apprenticed, and studied art under Alex ander Runciman. He went to Rome about 1773, and acquired his reputation in landscape there, fie laid out for Prince Borghese the grouuds adjoining his viUa on the Pincian Hill, giving the Romans the first specimen of an English garden ; and decorated a room in the prince's villa. He painted, in the manner of Claude, sub jects from the Campagna and in the sub urbs of Rome ; and though of much repute in his day, was weak and poor in manner and colour. But the ambitious character of his art is evidenced by the works which, between 1784 and 1789, he sent from Rome to the Royal Academy for exhibition. For instance, ta the former year, ' The Erup tion of Mount Vesuvius, ta which the elder Pliny lost his life;' in 1788, 'The De luge,' and other works of this class. He resided chiefly in Rome, where he died of bilious fever in 1 793. Miss Berry mentions in her journal having visited his studio there in 1783 ; and Goethe, in 1787, speaks with high praise of the works then ta bis studio. He left some property ; and some plates of his works, with other effects, were sold in London after his death. John Landseer engraved after him, in 1795, 20 views of the South of Scotland. MOORE, George Bnmus, architectural draftsman and teacher. Was a frequent exliibitor of pictures at the Royal Academy, and a teacher of drawing at the Military Academy, Woolwich, and University Col lege, London. He wrote 'Perspective, its principles and practice,' and 'The Prin ciples of Colour applied to decorative Art,' both published in 1851. lie is said to have drawn out the perspective in the Rail way Station by W. Frith, R.A. He died 296 MOE early in November 1875, in Ms 70th year. MOORE, Alexander Poole, architect ural draftsman. He was an accurate and faithful draftsman, and from 1793 till his death a constant exhibitor at the Royal Academy. His first contributions were drawings of the City churches. About 1797 he was employed in the office of the Surveyor of Christ's Hospital. In 1801 he exhibited the elevations of St. Paul's, and of St. Peter's, at Rome. He died young, July 11, 1806. MOORE, Mary, amateur. Mentioned by Walpole as having painted some por traits about the middle of the 17th century. There is a portrait by her, in the Bodleian Library, of Cromwell, Earl of Essex, but believed to be a copy only. MOORE, Francis John, sculptor. Born ta Hanover ; settled in London. In 1766 he was awarded a premium by the Society of Arts for an aUegorical bas-rehef. He was a successful competitor for the Beckford monument, elected in the Guild hall. There is also a monument by him to Dr. Thomas WUson, ta St. Stephen's, Walbrook. But neither of these works say much for his abUity. He died in York Place, New Road, January 21, 1809. MOORE, James, engraver. Practised about the middle of the 18th century, aud was ta 1763 a member of the Free Society of Artists. There are by him a portrait of Whitfield, after Jenkins, ' The Four Quarters of the World,' 'Joseph and Potiphar's Wife,' etc. MOORE, Samuel, amateur. Was em ployed ta the Custom House in the reign of Queen Anne, and as an amateur drew and etched several laborious works, among them ' The Coronation Procession of William and Mary ; ' and some medleys, imitating paintings, drawings, prints, and other objects grouped together. He engraved some of the plates for a series of 'Costumes a la Mode.' His work was coarse and heavy in manner. He practised about 1715. MORIER, David, portrait arid animal painter. Born at Berne about 1705 ; he came to England in 1743, and was intro duced to the Duke of Cumberland, who settled upon him a pension of 200?. a year. He painted portraits, horses, dogs, and battle-pieces, and met with great encour agement, both George- 1, and George II. sitting to him. He was in the Fleet Prison in 1769, without hope of release. He died in January 1770, and was buried in St. James's, Clerkenwell, at the expense of the Incorporated Society of Artists, of which he was a member. M 0 R I S 0 N , Douglas, water-colour painter. Was pupil of Mr. Frederick Tayler, and was admitted an associate exhibitor of the Water-Colour Society hi MOE *843. He died young ta 1846 or 1847. He is known by some views of Haddon Hall, which he published. M 0 R L A ND, H., portrait painter. Bromley catalogues portraits painted by an artist of this name in the reign of WiUiam III. MORLAND, George Henry, subject painter. Born the begtaning of the 18th century. He lived on the south side of St. James's Square, patated genre subjects, and found encouragement. Hewas assisted, ta 1760, by an advance of money by the Society of Artists. Many of his works are engraved, among them — ' The Pretty Ballad Singer,' by Watson, 1769 ; ' The Fair Nun unmasked,' 1769 ; ' The Oyster Woman,' by Ptalip Dawe. He died some time after 17S9. MORLAND, Henry Robert, portrait painter. Son and pupU of the above. He patated portraits both ta oil and crayons, chiefly the latter. He also scraped ta mezzo-tint, and was » picture-cleaner and picture-dealer ; but with aU these means of living he became bankrupt. He was a man of unsettled habits, frequently chang ing his residence. His cMef works were ta crayons. He left numerous drawings, wliich are usuaUy signed, and though his works aimed no Mgher than the mere domestic incidents of life, they are not without merit. He exhibited ta 1772-74 and 1776 at the Free Society, ta the latter year no less than 26 works, and was from 1771 to 1793 an exhibitor of portraits and domestic subjects at the Academy. He patated a portrait of George IIL, which was engraved by Houston ; a portrait of Garrick as ' Richard III ' which is in the Garrick Club ; and at Lord Mansfield's, Caenwood, are portraits ta oU by him, called the two beautiful Miss Gunnings, but are more probably from his own daugh ters. They are both, as was his manner, employed, the one ta washing, the other honing ; carefully drawn, and laboriously Miished, expressive but cold, thin, and starved in colour. They are published among Carington Bowles' by no means select series of prints as 'Lady's Maid ironing' and 'Lady's Maid soaping linen.' Many of his later works shew much greater power, and there are some fine mezzo-tints after him. At the latter part of his life, he dwelt ta Stephen Street, Rathbone Place, where he died, November 30, 1797, aged 85. Maria Morland, bis wife, was an exhibitor at the Academy ta 1785-86. MORLAND, George, animal and sub ject painter. Son of the above. Was bom in the Haymarket, June 26, 1763. He very early showed a talent for drawing. He was carefully, even strictly brought up, receiving the elements of a fair education, and ta art Ms dawning abUities were most MOE assiduously cultivated and encouraged by his father. In 1779 the name of ' Master George Morland ' first appears as an hono rary exhibitor of sketches at the Royal Academy. He exhibited at the Associated Society of Artists' Exhibition as soon as 1775. He was very early admitted to the Academy Schools, where he studied during several years. Copying also from the mas ters of the Dutch and Flemish Schools, he made great progress. He continued to exhibit occasionally at the Academy, but as he became conscious of his own powers, he rebelled against the restraints of home, and shortly broke entirely loose. His innate dislike to work was soon apparent. He gave himself up to idle foUy and extrava gance, and fell tato the hands of a picture- dealer, ta whose house he boarded. After a time he escaped from this bondage, went to Margate, where he found employment ta patating mtaiatures, and from thence to France, where he might have earned a sub sistence, but reckless and unable to settle to any continuous occupation, he returned to his idle companions. Soon after he went to live at Kensal Green, where he painted his ' Idle and In dustrious Mechanic,' which were engraved and published and had a large sale. Upon this success he married, in 1786, the sister of his friend, WUham Ward, the mezzo tint engraver, and again hving quietly for a while he improved in his art ; but tas handsome young wife losing her first chUd, and a long Ulness succeeding, he was tempted from his home, and allured by his love of company and passionate fondness for music, again fell tato idle and unprofit able connections, and became confirmed in habits of intemperance and dissipation, from wliich he never after was able to dis entangle himself. Painting from hand to mouth, surrounded by a class of unprincipled men, who made a traffic of his art, the victim of chicanery and fraud, hunted from place to place by his creditors, and always at Mde-and-seek, his art was debased and degraded. Yet ta 1791-93 and 1794 be sent some pictures to the Academy, and struggled for a time to give some complete ness to his works ; but a rapid pencil was required to meet his constantly recurring wants, and he was fast exhausting his memory, on which he relied, and his powers. His toU was nevertheless excessive. He seldom left tas painting-room, and his com plaints of the slave-like labour to which he was subjected are truly touctang. Between 1800 and 1804 he patated for his brother alone, who was a dealer in Ms works, no less than 192 pictures, and probably as many more for other persons. Such was his Me. His excesses increased. Taking his meals by his easel, drinking strong liquors all day long, surrounded by dogs, pigs, 297 MOE MOE birds, and other animals, living in constant dread of a prison, in November 1799 he was arrested, and taking a house within the rules, it became a rendezvous for all his pro fligate companions. He was intoxicated frequently, lay the night through on the floor, and the ruin of his health and cha racter was complete. In 1802 he was re leased under the Insolvent Act, but was broken-hearted, downcast, harassed by diseased fears, and his sight and intellect both impaired. In this state he was soon a prisoner again for a publican's score, and overwhelmed with misfortune and despair, died in a spungtag-house in Eyre Street, Cold-Bath Fields, on October 29, 1804. His neglected, wronged wife died three days after, and both were buried together in the new ground attached to St. James's Chapel, Hampstead Road. His works were founded upon the every day life about him, and were over and over again repeated, his boon companions fre quently tas models. His pictures, hastily conceived, were patated with little thought or previous study. They display little mind or invention, yet, easily understood by all, they were popular, and he enjoyed a reputation in his day which has not been maintained. In his colour the greys and ochres predominate ; his landscape is want ing iu atmosphere ; his pamting slight, and frequently slovenly. He was largely assisted by his pupils, and his works have been the prey of many copyists. There is a spirited etching by him of ' A Fox with a Pullet.' His life was written, with critical observations on his works, by J. Hassell, 1804 ; by his friend, G. Dawe, 1807 ; by Blagdon, with list of the possessors of Ms principal pictures, and 20 large tinted illustrations, 1806 ; and ta the ' Memoirs of a Picture,' by William Collins, 1S05. MORLEY, Frances, Countess, amateur. Daughter of Thomas Talbot, Esq. Married, in 1809, to the first Earl of Morley. She made many good copies from the old mas ters, which decorate the drawing-room and other apartments at Saltram. Died Decem ber 7, J857. MORRIS, Robert, architect. Practised in the early part of the 18th century. He built Wimbledon House for Lord Spencer, a well-balanced, neat elevation, published in Wolfe and Gaudon's work ; a small man sion for Mr. T. Wyndham, on the Thames, at Hammersmith, of a simple and pleasing elevation -and the Duke of Argyll's seat at Coome Bank, Kent. He published, 1728, ' An Essay ta Defence of Ancient Architec ture ; ' 1734, ' Lectures on Architecture ; ' 1754, ' Rural Architecture,' MORRIS, Thomas, engraver. Born about 1750. Was the pupil of Woollett, and much employed by Alderman BoydeU. He died towards the end of the century. 298 Among other works, he engraved two large- sized street views, after Marlow — ' View of St. Paul's ' and ' View of the Monument,' 1795, both boldly executed and crowded with figures ; ' Skiddaw,' after De Louther bourg ; ' Landscape and River,' after R. WUson ; ' Hawking and Fox Hunting,' after Gilpin ; ' La Femme rusee,' after Collet. MORRISON, Sir Richard, Knt., archi tect. Was the son of an architect at Cork, and originaUy intended for the Church, but became a pupil of Gandon, the well-known architect of Dublin. He then bad a civil appointment in the Ordnance, which he held only a short time, when, taking up the practice of his profession, as an architect, he obtained considerable employment. He buUt the Clinical Hospital at Dublta, and several of the county court-houses. He acquired a good property, and was knighted by the Lord Lieutenant of Ireland in 1841. Died at Dublta, aged 82, October 31, 1849. MORTEN, Thomas, subject painter. Was born at Uxbridge ta 1836. He studied at Mr. Leigh's art school, and was largely employed ta designing for the illustration of periodical and other works. His designs for an edition of 'GuUiver's Travels ' showed much invention and humour. He exhi bited at the Royal Academy, ta 1863, ' Conquered, but not Subdued ; ' and in 1866, his last work, 'Pleading for the Prisoner,' wliich was of much promise. But greatly embarrassed M Ms affairs, he un happily committed suicide, September 23, 1866. MORTIMER, John Hamilton, A.R.A., history painter. Born in 1741, at East bourne, where his father owned a mill, and afterwards held the office of coUector of customs. He imbibed a love of art from his uncle, who was a painter of some abffity, and was sent to London, and placed for three years under Hudson, studying at the same time ta the Duke of Richmond's Gal lery, and later at the St. Martin's Lane Academy. He is also said to have studied under Edge Pine, and Reynolds. With such teaching he acquired a good knowledge of the figure, and obtained several premiums from the Society of Arts for his drawings from the antique. In 1763 he gained the Society's first premium, and ta 1764, in competition with Romney, the award of 100 guineas for tas ' St. Paul preaching to the Britons.' He was a member of the Incorporated Society of Artists, and exhibited with them occasionally from 1763 to 1773. In the latter year he was vice-president of the Society, and was looked upon as of much promise, though he did not gain employ ment. He disliked portraiture, and was not happy in his likenesses. His portrait, how ever, painted by tamself, is ta the National MOE MOS Portrait Gallery. He hved ta the neigh bourhood of Covent Garden, made acquaint ance with the wits of the day, was fond of company and sports, and a great cricketer, a fascinating and dangerous companion, he became extravagant and dissipated. His strong frame and handsome person were shattered by his excesses, and his progress in art no longer justified the early expecta tions entertained of him. But in 1775 he married, and was happUy able to abandon Ms vicious habits. Quitting the tempta tions of his London life, he went to reside at Aylesbury, and whUe there painted ' The Progress of Vice' and 'The Progress of Virtue,' and a few portraits ; also a ceding at Brocket HaU, for Lord Melbourne. With restored health and vigour his en thusiasm for tas art returned. He exhibited at the Academy for the first time in 1778, contributing a smaU whole-length family group, a subject from Spenser, and some landscapes, and was elected an associate of the Academy ta the November of that year. He returned to London in the same month, and resided ta Norfolk Street, Strand. Here, after an Utaess of only 12 days, he died of fever, February 4, 1779, in his 38th year. He was buried at High Wycombe, where his picture of ' St. Paul,' wMch gained the Society of Arts' premium, is the altar-piece of the parish church. Eight works by him were exhibited, as, it is said, he intended, at the Academy in 1779 — they comprised ' The Battle of Agincourt,' ' Vortigern and Rowena,' a smaU landscape, and some washed drawtags. Mortimer possessed an unbridled imagin ation. He loved to paint the grotesque and horrible — banditti and monsters. His attempts at character from Shakespeare, though praised at the time, are extravagant and unreal. He was not successful as a colourist. He devoted his time to trifles, and is better known by his drawings than his pictures ; they possess much spirit and are good ta composition. He etched many of his own designs, of which 11 large plates were published in 1768 and nine ta 1778, but many more were finely etched by Blyth. Val. Green mezzo-tinted a portrait of him by himself. Ryland engraved his ' Battle of Agincourt.' lie designed the ' Elevation of the Brazen Serpent' for the great wtadow at Salisbury Cathedral, and made the car toons for the stained glass at Brasenose College, Oxford. He designed also for Bell's 'Theatre,' BeU's 'Poets,' and other publications. MORTON, Andrew, portrait painter. Bom at Newcastle-on-Tyne, July 25, 1802. He was a student ta the schools of the Royal Academy, gataed a silver medal in the life school ta 1821, and the same year exhibited a portrait, his first contribution. From that time he was a constant exhibitor of por traits, with occasionaUy a portrait-group. He was of some name in his art, which did not extend beyond portraiture, and had many sitters of disttaction. He was assisted by the Fitz-Clarence family, and there is by him a good portrait of Wdliam IV. in the gallery of Greenwich Hospital. He died August 1, 1845. MOSER, George Michael, R.A., ena meller anci modeller. Was born ta 1704, the son of a sculptor at St. Gall, and came to England at an early age. Soon attract ing notice by tas abffity as a chaser, he was employed by an eminent cabinet-maker as a chaser for the brass-work with which the furniture of that day was decorated. He also distinguished Mmself as a carver and enameller, and found employment ta the decoration of trinkets ta the manner then iu vogue. He painted in enamel, for the watch of George IIL, the portraits of his two eldest sons. He was also an excellent medalhst and designed the King's Great Seal. He was for many years a member of the St. Martin's Lane Academy, and was elected the treasurer and manager, and was also, 1766, a member of the Incorporated Society of Artists. He was one of the most active of the founders of the Royal Academy, and became the first keeper, an office for which his knowledge of the figure made him well qualified. In 1769 and 1770 he exhibited some chasings and medals, his only contri butions to the Academy. He had high merits as an artist, excelling not only as a chaser but as a medallist, and he painted ta enamel with great beauty and taste. He died in his apartments at the Royal Academy, January 23, 1783, aged 78, and was buried at St. Paul's, Covent Garden. His large collection of works of art were sold by auction by Mr. Langford in the same year. MOSER, Mary, R.A. (afterwards Mrs. Lloyd), flower painter. Was the only ctald of the above. She showed an early inclination to art, and gained the Society of Arts' premiums for her drawings ta 1758 and the foUowtag year. She exhibited at the Spring Gardens' Rooms ta 1761 and 1762, and distinguished herself by the admirable way in which, with great taste, she patated flowers, well composed, sweetly coloured, and most carefuUy finished. She was elected a member of the Royal Aca demy on its foundation ta 1768, and was, from its first exMbition up to 1790, a con stant contributor, except m the years 1786 and 1787. Her works were chiefly flowers, with an occasional portrait or classic sub ject. In 1789 she exhibited 'Atalanta and Hippomenes;' in 1790, 'Proserpine gathering Flowers ; ' ta 1792, a landscape, and her name next appears in 1798 as Mary Lloyd. In that year, and ta 1800 and 1802, 299 MOS her last contribution, she exhibited a classic or historic work. Queen Charlotte em ployed her to paint a room at Frogmore, where her work stUl exists, for which she received above 900?., and her Majesty for many years showed a friendly interest in her. She was very near-sighted, an ami able, clever, lively woman, and is charged with a passionate flirtation with Fuseli,R.A. After many years' practice in her profession, she married Captain Hugh Lloyd, and then painted as an amateur. She was left a widow, and died in Upper Thornhaugh Street, Bedford Square, May 2, 1819, and was buried at Kensington. MOSER, Hans Jacob. Was the brother of the foregoing George Michael Moser. He came to England at the age of 9 years, and practised here as an artist, towards the middle of the 18th century, with some success. MOSER, Joseph, enameller. Bom in Greek Street, Soho, in June 1748, son of the above Hans Jacob Moser. He was in tended for a painter, and studied art durtag 15 years. He was a constant exhibitor at the Academy from 1774 to 1782, chiefly of enamel heads from the antique f or j ewellery , with an occasional portrait ta enamel, and, after a lapse of four years, exhibited for the last time in 1787. Then marrying, he was enabled to lay down his palette and retire into the country. Later ta life he was appointed a pohce magistrate, and sat at the old Queen Square Court, and after wards at Worship Street. MOSES, Henry, engraver. He com menced practice early ta the 19th century, and passed a long Me ta the pursuit of his art, ta which he attained great skUl and accuracy, and was one of the engravers attached to the British Museum. Among his chief works, which were mostly ta outline, are ' The Gallery of Pictures painted by Benjamin West,' 1811; a ' Collection of antique Vases,' 1814 ; ' Pic turesque Views of Ramsgate, 1817 ; 'Vases from Sir H. Englefield's Collection,' 1S19- 20 ; and in parts, ' Sketches of Shipping,' drawn and etched by himself, 1825, fol lowed by the ' Marine Sketch-book.' There are also engravtags by hini after Barry, R.A. ; Northoote, R.A. ; Opie, R.A.; Retsch, and others. He died at Cowly, Middlesex, February 28, 1870, ta his 89th year. MOSLEY, Charles, engraver. Prac tised in London about the middle of the 18th century. He was chiefly engaged on portraits, aud employed by the booksellers. But he both designed and engraved some political caricatures, 1745. He assisted Hogarth in engravMg 'The Gate of Calais.' There is a fine plate by him after Van dyck's ' Charles I. on Horseback,' and an engraving of the shooting of three High- 300 MOS landers on the parade ta the Tower 1743. He died about 1770. MOSNIER, Jean Laurent, portrait painter. Was bom in France, and became patater to Louis XVI. and member of the academy in Paris. He fled to this country on the Revolution, settled here as a portrait painter, and met with encouragement, many distinguished persons sitting to him. He exMbited at the Royal Academy from 1792 to 1795, and was at that time living in London. MOSS, William, architectural drafts man. He was a student of the Royal Academy, and exhibited there from 1775 to 1782. In 1778 he received the Academy gold medal for tas design for a church in the Corinttaan order. He did not exliibit after 1782, M which year he contributed a design for a cathedral, a work of great merit. He patated some landscapes, and both drew and etched. Two views of Somerset House by him were aqua-tinted by F. Jukes. MOSSMAN, William, sculptor. He was a Scotch artist, and coming to London, was for some time employed by Sir Francis Chantrey, R. A. He practised for a time in London, and afterwards both ta Glasgow and Edinburgh. He died 1851. MOSSMAN, George, sculptor. Hewas younger brother of the above, and was born in Edinburgh. He removed to Glasgow, and studied ta the art school there. After wards he came to London and entered the Academy Schools, gaining the medal ta the Me school. In 1846, while ta London, he exMbited at the Academy ' The Guardian Angel forsaking Paradise,' a basso-relievo, and 'Prince Charles after CuUoden.' His health failing ta London, he returned to Glasgow, and assisted ta bis brother's studio. His chief work was a Me-size figure of ' Hope.' He died at Glasgow, in 1863, aged 40. MOSSOP, William, medallist. He was bom in Dublin in 1751, and early ta life found employment ta cutting stamps for the linen manuf acture. Attempting better things, he produced ta 1784 a medal of Ryder, the comedian, wMch gataed him employment on works of a higher class, He died of apoplexy, ta 1804, aged 53. MOSSOP, William Stephen, R.H.A., medallist. Son of the above. Was born in 17S8, educated ta Dublin, and at the age of 14 years was admitted to the art schools of the Dublin Society. He was the private pupil of Francis West, and had at the same time the assistance of Edward Smith. Be fore completing his 17th year he produced his first medal, a work of much promise. He made his designs ta wax, always larger than his intended medal, and first undraped. From these he commenced his die ta metal. He had attained great purity MOU MUL of taste, and about 1820 he began a series of Irish medals, of which he finished six — Usher, Swift, Charlemont, Sheridan, Grat- tan, Moore. On the visit of George IV. to Ireland he published a medal, the reverse a figure of Hibernia, and though finely exe cuted, it did not remunerate him. He was a partisan, and party stood in his way. He soon after began a medal of 'Hercules slaying the Hydra,' whose heads repre sented those of three prominent political agitators ta Dublta; but the work never got beyond the model. He died in the early part of 1S27, aged 39. MOUNTAGUE, William, architect and surveyor. He was a pupil of George Dance, R.A., and for many years his chief assistant. In 1S12 he was appointed sur veyor to the Improvement Committee, and was charged with the formation of the • Pavement, Finsbury, and also with the erection of the Debtors' Prison ta White- cross Street. He had conttaued Mr. Dance's assistant, and on his resignation of the office of ' clerk of City's works,' he succeeded him ta 1816. He was also one of the district surveyors of the City, and had besides an extensive private practice. He died April 12, 1843, aged 70, and was buried ta the BuntaU-fields Burial-ground. His employment was more that of surveyor than architect. Among his chief works, in addition to the above, are the Guildhall Courts of Law, 1821 ; Farrtagdon Market, 1824; the library, GuUdhall, 1825, since removed; the committee-rooms and lobbies, GuUdhaU, 1841. MOUNTSTEPHEN, E. G., wax model ler. Was born ta the county of Meath. He came to London about 1781, and set tling ta the Metropolis, commenced prac tice as a portrait modeUer ta wax, and arrived at great exceUence. He was an exhibitor at the Royal Academy from 1782 to 1791, ta 1789 exhibiting a very fine head of the Duke of Orleans. He afterwards went to the Continent, where he died. MULLER, William James, landscape and figure painter. Born at Bristol in 1812. His father, a German clergyman, was the curator of the Bristol Museum, and published some scientific works. He was an apt scholar, and had a taste for botany and natural history. He was in tended for an engineer, but gave early indications of a genius for drawing and adopted art. He received his Mst instruc tions ta art from J. B. Pyne, a feUow- townsman, but he soon turned to nature as his guide. He exMbited at the Royal Academy, for the first time in 1833, ' The Destruction of Old London Bridge, Morn ing.' In 1833-34 he visited Germany, Switzerland, and Italy, and returning to Bristol, he commenced Ms professional career there, without finding much encour agement. In 1836 he exhibited both at the Royal Academy and in the Suffolk Street Gallery ; at the former his ' Peasants on the Rhine waiting for the Ferry Boat,' and at the latter he continued to exliibit in the two following years. In 1838 he visited Greece and Egypt, and again re turned to Bristol. About the end of 1839 he came to reside in London, and his works soon found purchasers. He sent his pic tures again to the exhibitions, and exhi bited yearly at the Academy till his death. On the Government expedition to Lycia ta 1841, he asked and obtained permission to join it, and that he might freely follow his own art, he defrayed his own expenses. He made a valuable collection of sketches, from which his 'Burial-ground, Smyrna,"' exhibited at the Academy, 1844, and his ' Tent Scene, Xanthus,' were painted. His merits were now fully recognised. He received many commissions, but he was unequal to the task. His heart was dis eased ; he was greatly reduced in strength by a continued haemorrhage from the nose ; he returned to Bristol, seeking rest and advice, and though he conttaued to paint occasionally, he gradually succumbed to his disease, and died there September 8, 1845. His manner was original. He pamted in a simple and broad style, rich and glittering in colour; his figures were characteristic and well introduced, and tas Eastern land scapes well studied and true to nature, yet his art somewhat approached scene painting. He published, in 1841, ' Pictur esque Sketches of the Reign of Francis I.' At a three days' sale of his works at Chris tie's, in May 1846, they realised 4600?. A memoir of his Me by N. N. Soley was pub lished in 1875. MULLER, John Sebastian, engraver. Was bom in 1720. He engraved Hay- man's designs for MUton's ' Paradise Lost,' and was living ta 1760. MULLINS, George, landscape painter. He was bom in Ireland, and studied ta the Dublin Schools under James Manning. He found employment in a manufactory at Waterford, where he painted snuff-boxes and trays in imitation of the Birmingham ware. He came to London, where he prac tised landscape painting for several years. His works are spoken of as excelling in tone and colour, and showtag much painter- like feeling, fie is stated to have died in Dublta about 1771, but it seems probable he was living in London several years later. MULREADY, William, R.A., subject painter. Was born at Ennis, Co. Clare, April 30, 1786. His father was a master leather-breeches maker, and soon after the birth of Ms son removed to Dublin with his family, and carried on his business there for two or three years, and then came to London, and resided ta Compton Street 301 MUL Soho. Here the son was put to school, and was afterwards placed under a Romish priest, and gained some knowledge of Latin. He had early showed an aptitude for draw ing, and at the age of 15 was admitted to the schools of the Royal Academy. In 1807 he illustrated a etald's penny book — "The Butterfly's Ball; or, The Grass hopper's Feast,' which was so popular that it was followed ta the same year by 'The Lion's Masquerade,' 'The Peacock at Home,' and ' The Lioness's Ball ; ' and in the following year by ' The Elephant's Ball,' 'The Lobster's Voyage to the Bra zils,' 'The Cat's Concert,' "The Fishes' Grand Gala,' ' Madame Grimalkin's Party,' ' The Jackdaw at Home,' ' The Lion's Par liament,' ' The Water-king's Levee ; ' and in 1809 by ' Think before you Speak,' which concluded the interesting httle series. These works show what were some of his early employments in art, which it is well known were very various. He drew portraits, taught drawing, which indeed he continued to do all his life, and assisted in some panorama painting. In 1803 he exhibited his first picture, ' The Crypt in Kirkstall Abbey,' at the Royal Academy, followed in 1806 by some views in York city ; ta 1807, ' Old Caspar,' his first figure subject, at the British Institution. In 1808 he exhibited some old houses ta Lam beth, and 'The Battle' at the Academy. Before this time, when he was only 18 years of age, and was literaUy earning his daily bread, he had married, but early ta life separated from his wife. His first works were landscape, but he soon found the true bent of his genius, and studying devotedly the Dutch masters, his progress was un usually rapid. His first important work was ' The Carpenter's Shop,' exhibited in 1809 at the British Institution, a quiet scene of everyday life, with no other story. In 1811 he exhibited 'The Barber's Shop' — a loutish boy brought to the vUlage barber to be shorn of Ms unkempt locks ; and still showtag marked improvement — with more attempt at character and ex pression — continuing to make boys the foundation of his subject, he painted, in 1813, ' Boys Fishing ; ' in 1815, ' Idle Boys,' which secured him his election as associate of the Academy in that year, and ta 1816, ' His Fight interrupted,' the big bully of the school vanquished by a little hero, over whom he had attempted to tyrannise. TMs work added to his growing reputation, and he was in 1817 elected a fuU member of the Academy. He was now the father of four boys ; he had gained the full honours of Ms profes sion, and also, with the favour of the pub lic, confidence in his own powers, and from this time a gradual change took place in his art, and he became more original in his 302 MUL manner. He painted 'The Village Buffoon,' 'The Dog with two Minds,' and another popular work, ' The Wolf and the Lamb,' exhibited 1820. Continuing ta this course, his ' Interior of an English Cottage,' 1828, was a work of Mgh finish and great art merit. His ' Seven Ages ' had more of subject and design than is usual with him, and was followed by his 'Giving a Bite,' 1838; 'The Sonnet,' 1839, and 'First Love;' and in 1838, 'AU the World's a Stage,' in wliich works the peculiarities and power of Ms art are fuhy displayed. In 1840 his illustrations on wood to an edition of the 'Vicar of Wakefield' were pubhshed, and from these graceful de signs he paMted some of his most perfect pictures — 'The WMstonian Controversy,' ' Burchell and Sophia,' and ' The Wedding Gown.' In 1848 a fine coUection of his pictures and drawMgs was exMbited at the Society of Arts, intended as the first of a series of the works of our eminent living artists. At Mr. Thomhill Baring's sug gestion he designed the first postage en velope in 1840. His life was passed ta constant study. He said, when examined by the Royal Academy Commission, 'I have, from the first moment I became a visitor in the life school, drawn there as if I were drawing for the prize ; ' and to this his chalk studies, wMch are inimitable for their drawtag and exquisite finish, are a witness, and a proof of Ms rernarkarjle powers. His choice of subject was feeble, but if on this ground his works lack the interest of those of some of his contemporaries, they will always possess a charm to the lover of art from his beautifully minute execution, the brilliant harmony of his colour, and the extreme completeness of every part of his work. In all these he has left a great example to the students of the English school. His hfe was a solitary one, but was devoted to the last to his art. His last evening was spent at the Academy; on the foUowtag morning, July 7, 1863, he was no more, fie was bmied ta the Kensal Green Cemetery, where Ms friends raised a monument to Ms memoiy. The nation is rich ta his works by the bequests of Sheep shanks and Vernon, now at the South Kensington Museum. WUham Godwin wrote a book entitled ' The Looking-glass Life of a Genius or Painter,' which con tained the incidents of this painter's life, and was illustrated by some of tas earliest works, drawn when he was three and four years old. MUL VAN Y, Thomas James, R.H.A., landscape painter. He was born in Ire land, and practised there early in the 19th century. He contributed to the Dublin Exhibition in 1809 ; was a strenuous ad vocate for the grant of a charter of tacor- MUL MUE poration to the artists of Ireland, and one of the members of that body when incor porated ta 1823, and became the keeper of the Institution ta 1841. His works were well esteemed in Dublta, but he does not appear to have exhibited ta London. He edited the ' Life of James Gandon, Archi tect,' and died, about 1S45^46, before the entire completion of this work. MULVANY, George F., R.H.A., sub ject painter. Son of the foregoing. He was born in Dublin ta 1S09. fie studied in the schools of the academy there, and afterwards in Italy. In 1832 he was elected an associate of the Royal Hibernian Academy, and succeeded as keeper on his father's death. He was greatly instru mental ta the foimdation of the National Gallery in Dublta, of which he afterwards became the director. He sent to the Royal Academy, London, M 1836, an 'Infant Bacchus ; ' and ta 1S39, ' Various Attrac tions, a Scene ta the Louvre.' Among Ms works may be mentioned Ms ' WMte Man cast upon the Red Man's Shore/ ' First Love,' 'The Peasant's Grave.' fie died ta Dublin, February 6, 1869. MUNN, Paul Sandby, water-colour painter. His name Mst appears as an exMbitor at the Royal Academy, ta 1798, of views ta the Isle of Wight. He was then hving at Greenwich, and continued to exMbit Welsh and other views up to 1805, when he became an associate exMbitor of the Water-Colour Society ; and from that time to 1813 exhibited with that body views, chiefly ta the North of England, and once again, in 1815, when the Society was open to the whole profession. His works, partaking of the early manner, are clever, but weak. Some of them have been en graved. He died at Margate, February 11, 1845, aged 72. James Munn, probably a relative, exhibited with both the Incor porated and the Free Society landscape drawings, 1767-73- MUNRO, Alexander, sculptor. He was born ta 1825, ta Inverness, where he early made himself known by his abUities, and with a friendly introduction he came to London ta 1848, and was employed on the stone carving for the Houses of Parlia ment. He first exhibited at the Royal Academy, in 1849, some busts ; and con tinuing to exhibit from that time, his chief work was portrait sculpture, busts, medal lions, and occasionally a group. In 1852 he exhibited ' Paolo and Francesca,' a marble group; and ta 1853, a portrait-group of chUdren, wMch was greatly praised. For the houses of Parhament he executed a statue of Queen Mary ; for Birmingham, a colossal statue of Watt; and a nymph, serving as a fountain, in Berkeley Square, is by him. For many years Ms constitution, which was always weak, was quietly failing, and without giving up his London studio, he resided much at Cannes, where he had built himself a studio, and died there on January 1, 1871. Of true genius and feel ing, his works are graceful and spirited, but are sketchy in their execution. MUNTZ, J. H., landscape painter. He was much employed by Lord Orford. He exhibited at Spring Gardens, in 1762, a landscape painted in encaustic ; and pub lished, 1760, a small volume describing the process, which he claimed as his invention. But neither his process nor his drawings, of which there were several in the Strawberry Hill collection, had much merit. He ex hibited in 1763 for the last time. Little is known of Mm, but he is said to have married a servant of Lord Orford's, and to have left his lordship abruptly. MURPHY, D. B., miniature painter. An artist of some note, who lived in Dubhn at the end of the 18th centuiy, and who subsequently held the appointment of painter in ordinary to the Princess Char lotte. By her orders he copied Lely's 'Windsor Beauties' (now at the South Kenstagton Museum), which were after wards engraved from his copies. From ' 1800 to 1827 he was an occasional exhi bitor, at the Royal Academy, of mtaiatures on ivory and in enamel, but they were not of a high class. He was the father of Mrs. Jameson, the well-known writer on art. MURPHY, G., portrait painter. There is by him in the National Portrait GaUery a portrait of Plunket, archbishop of Ar magh, who was executed 1081. Bromley catalogues portraits by him painted about that time. MURPHY, John, engraver and drafts man. Bom ta Ireland about 1748. He practised ta London, both ta the dot manner and ta mezzo-tint, and had the reputation of an able artist. Towards the end of the century he executed a number of plates in mezzo-tint, good impressions of which are prized by collectors. He engraved after the old masters, also after Northcote, and some portraits after Reynolds and Romney. In 1787 he finished a plate of ' The Royal Family,' after Stothard, R.A. His works are well drawn, light and shade good, general effect of his best plates brilliant. MURPHY, James Cavanagh, archi tect. Was born at Blackrock, near Cork, and was originally a bricklayer. He showed a talent for drawing, and made his way to Dubhn, and afterwards to Portugal, and later held some diplomatic office from that country to Spain. He pursued his art study in Spain, and published two works on the buildings, arts, and antiquities of that kingdom, 1789-90. He also made plans, elevations, and sections of the Portuguese church and monasteiy of Batalha, which he published in London, 1792-96. He died 303 MUE MYT in London, September 12, 1814. His ' Arabian Antiquities of Spain ' were pub lished 1813, 'History of the Mahometan Empire in Spain,' 1816. He also pub lished ' Travels in Portugal,' 1795 ; and a ' General View of the State of Portugal,' 1798. MURRAY, John, portrait painter. In the 'Gentleman's Magazine' there is an obituary record of an artist of this name, as ' of Southampton Row, a famous face painter, worth 40,000?. ; died June 1, 1735.' MURRAY, R., portrait and subject painter. Practised in London about the middle of the 18th centuiy. He patated portraits, genre, and history. There is a mezzo-tint by J. Watson of 'The En chantress ' after him. MURRAY, James, architect. Was bom at Armagh, December 9, 1831. He was articled to an architect at Liverpool ta 1845, and on the completion of his articles he practised in that town. Later, he came to London, and was associated ta some works with Welby Pugin. Afterwards he settled at Coventry, where he died in 1862. He built churches at Warwick, Bolton, Sunderland, Newcastle, Birmingham ; some provincial justice-rooms, and other works of this character. MURRAY, Thomas, portrait painter. Was born in Scotland in 1666, and came to London at an early age. Studied under Riley. He was remarkable for his good looks and elegance of manner, and following his master, he had great success in portraiture. There are portraits of King WUliam and Queen Mary by him at the Fishmongers' Hall ; of Sir Hans Sloane, at the College of Physicians ; of Halley, the astronomer, at the Royal Society ; and many of his works at Oxford ; also his portrait, by himself, in the Florence Gallery. Many of bis portraits were engraved by the best contemporary artists. He had accumulated property, and died ta 1724, aged 58. His portraits are poor and timid in drawtag, m a low but not agreeable tone of colour, aud were re puted good likenesses ; but they do not rank high ta art merit. MUSS, Charles, enamel and glass painter. Born 1779. Was the son of Boni face Musso, an Italian artist, who followed his profession at Newcastle-on-Tyne, and was an exhibitor at the Spring Gardens' Rooms. Hewas employed in Mr. Collins's well-known glass works, near Temple Bar, aud struggled through many difficulties to eminence in his art. He painted several large enamels for George IIL, and was appointed enamel painter to George IV. ' His Holy Family,' after Parmegiano, is an enamel of unusual size, and one of his best works. He was in 1802 an exhibitor at the Academy of two miniature portraits, 304 and the following year of a ' Psyche,' and then did not exhibit again till 1817, from which year he was chiefly a contributor of miniature enamels after the old masters, but a few from the life. His last contribution was 'Duncan Gray,' after Wilkie, R.A., in 1823. The stained-glass window at St. Bride's, Fleet Street— a copy of Rubens's 'Descent from the Cross — is by him. Thirty-three original designs from Gay's ' Fables,' drawn and etched by him, were pubhshed ta 1825. He died in 1824. His early works are dirty in the shadows and defective ta drawing; but he overcame these defects, and tas later works are well coloured. MYLNE, John, architect. Was the King's principal master mason ta Scotland, 1648. The steeple of St. George's Church, Edinburgh, is by him. MYLNE, Robert, architect. Was the King's master mason in Scotland, 1671. He made some additions to Holyrood Palace, and built several other edifices. MYLNE, Robert, architect and en gineer. Was bom January 4, 1733-4, at Edinburgh, where Ms father, a descend ant of the above, practised as an arcM tect, and was one of the city magistrates. With a desire to improve in his profession he visited Paris, and from thence went to Rome, where he studied five years ; and in 1758 gained the first prize for archi tecture ta the academy of St. Luke. He afterwards went to Naples and Sicily, and on his road homeward saw Florence, Bologna, Venice, and the Lombard cities. On his arrival in London he was a com petitor for the erection of Blackfriar's Bridge, and his designs, which were distin guished by the first employment of the elliptical arch, were, after much contention, accepted. This work, the first stone of which was laid in 1761, was completed in 1765, for the estimated sum of 153,000?. He was appointed the surveyor of St. Paul's Cathedral and of the extensive works of the New River Company; and was for 15 years clerk of the works to Greenwich Hospital. He built the assembly rooms at St. James's, known as Abnack's, and many private residences; but notwith standing his numerous employments, did not amass property.- He died May 5, 181 1, and was buried in St. Paul's Cathedral. He married ta ] 770 the daughter of Mr. Home, the surgeon, and left four daugh ters, and one son who succeeded him as surveyor to the New River Company. MYNDB, J., landscape painter. He practised about the middle of the 18th cen tury, chiefly in London, and was employed by the booksellers. He lived to a good age, and was but an inferior artist. MYTENS, Daniel, portrait painter. Was born at the Hague about 1590, and NAI was a pupU of Rubens. He came to this country early, but the date is not known. He, however, lived ta St. Martin's Lane from 1622 to 1634. On the accession of Charles I., he was in 1625 appointed one of his Majesty's painters. On the arrival of Vandyck, and his appointment to be the principal painter, he wished to retire, but the King kindly solicited him to remain, and he stayed some time longer. None of his known works ta this coimtry are dated NAS later than 1630. He returned to Holland. The time of his death is uncertain, and mistakes have arisen from a confusion of facts between him and his son, who was a patater, and bore the same Christian name. Many of Mytens's portraits exist in the Royal, Knowle, Bodleian, and other col lections ta this country. They are noble works, fine in tone and colour, bearing the impress of truth ; with good backgrounds, usuaUy landscape. N NAISH, William, miniature painter. He was born at Axbridge, Somersetshire, and practised tas art ta London, where he had many sitters, including some of distinction. He was a constant exMbitor of Ms minia- tures at the Royal Academy from 1783 to 1800, ta which latter year he died. His brother, John Naish, was also an artist. NASH, Edward, miniature painter. Bom 1778. He was, from 1811 to 1S20, an occasional exhibitor at the Royal Academy. He afterwards went to India, where he made some money by the practice of tas profession, and returning to England, died here ta 1821. NASH, Frederick, water-colour paint er. He was bom ta 1782, ta Lambeth, where his father was a btalder, and aspiring to be an artist, was placed under Malton, and was occasionally employed as a drafts man by Sir R. Smirke, R.A. He first ex hibited ta 1800, at the Academy, 'The North Entrance to Westminster Abbey,' and conttaued an occasional contributor up to 1847. In 1808 he was elected a member of the Water-Colour Society, and was soon after appointed draftsman to the Society of Antiquaries. On the change ta the consti tution of the Water-Colour Society ta 1813 he was one of the seceders ; but he contri buted to their ExMbition in 1817 and 1820, and in 1824 was re-elected a member. His art consisted in the pictorial treatment of arcMtecture, with the introduction of groups of figures. His chief exhibited works were views of Paris and Versailles, and in 1824- 25 he was engaged in the drawings for a work on the French palaces. Continuing to exhibit till his death, his best works were French, their inspiration being ta the archi tecture of the French cities. Later he made drawtags ta Switzerland, Normandy, and on the MoseUe and the Rhine. Some of his works produced prices unusually high at the time. He retired to Brighton in 1834, and the pictures he afterwards exhi bited were found ta the scenery and inci dents of that neighbourhood. He died at Brighton, December 5, 1856. Among his published works are 12 views for ' The Illus trations of London ' 1810 ; the Ulustrations for Ackerman's ' fiistory of Westmtaster Abbey and its Monuments -. ' and for the ' History of the University of Oxford,' 1814 ; the series of drawings for a work known as ' Nash's Paris,' commenced in 1819, foUowed, ta 1824, by his ' Environs of Paris.' NASH, John, architect. AVas of Welsh extraction, and born in London ta 1752. He was a pupil of Sir Charles Taylor. Commencing about 1795, he designed and erected some important cottage and vUla residences, and several large mansions. He made alterations at Corsham House, WUts, and at Bulstrode. He was an exhibitor at the Royal Academy from 1797 to 1814, after which year tas contributions ceased. Hewas one of the arctatects attached to the Board of Works, and was employed on the important improvement M the metro polis, which carried Regent Street tMough a mass of poor buildings to the Regent's Park, which was formed at the same time ; and he designed the dwellings and shops ta this important thorougMare, with the church of All Souls ; also York Terrace, and Sussex Terrace ; but with a great. opportunity, which rarely happens, he pro duced nothing great. He was the private architect of George IV., and high ta the royal favour ; and for the king he designed Buckingham Palace, though it was not completed by him or after his designs, with the Marble Arch, since removed to Cumber land Gate ; and be was engaged in the de coration of the Palace at Brighton. He also built the church of St. Mary, Hagger- stone, and a new church at Shoredltch. His architecture is mean and wanting in cha racter ; marked only by its absence of in vention. He made a large fortune, chiefly by his undertakings as a speculative buUd- er. He was the butt of the critics and ; 305 NAS caricaturists of the day. He died at his seat, East Cowes Castie, Isle of Wight, a mansion he had built for himself, May 13, 1835, in his 83rd year. He published, in 1825, ' Illustrations of the Palace at Brigh ton.' His collections of books, prints, and drawings were sold by auction. NASMYTH, Alexander, landscape painter. Born at Edinburgh in 1758, and educated there. He came early in life to London, and commenced art as the pupil of Allan Ramsay. He then visited Italy, where he studied during several years both historical and landscape painting ; but his inclination led him imperceptibly to land scape, and he filled his folio with elaborate drawings of the picturesque scenery of the country. On his return he settled ta Edin burgh and commenced practice as a portrait painter. He had many distinguished men as his sitters ; but was more successful ta his landscapes, and eventually abandoned portraiture, fie was an occasional exhi bitor of Scotch landscape scenery at the B.oyaI Academy, London, between 1813 and 1826. Assisted by his family, he painted the stock sceneiy for the theatre at Glasgow. He devoted also much of his time to teaching, and adopted landscape gardening as a profitable part of his profes sion. His landscapes are carefully coloured and finished, but are timid and wanting in the true characteristics of art and genius. He published, in 1822, 16 views of places described by the author of Waverley. He was a member of the original Society of Scottish Artists, and an Associate of the Royal Institution. The Society of Arts possess a large ' River Scene ' by Mm. He died at York Place, Edinburgh, April 10, . 1840, aged 82. NASMYTH, Patrick, landscape paint er. Son of the foregomg. Was born ta Edinburgh, January 7, 17S7. Christened Peter, he persisted in calling himself Patrick, and is known by that name. He had an early love of nature, and played truant to wander in sunny fields, and attempt to sketch from the surrounding sceneiy. An early injury compelled him to learn the use of his left hand in painting, and an illness resulted in deafuess. He came to London at the age of 20, and his talents were soon appreciated. In 1809 he exhibited his first picture at the Royal Academy, and was from that time an occasional exhibitor up to 1830. He became a member of the Society of British Artists on its foundation in 1824, and was an exhibitor till his death. His first exhibited works were chiefly from Scotch scenery ; his latter works from the domestic sceneiy of the English counties. In his art he imitated the Dutch school, painting our lane scenes, hedgerows, village- suburbs, and commons, and chosing the dwarfed oak in preference to other trees. 306 NAT His manner has a tendency to meanness, his foliage is over-detaUed, his work black in the shadows. Adopting a low tone, his skies looked brilliant. He painted English nature in her simplest moods, without any attempt at the poetry of art, yet with great force and truth. His loss of hearing threw him too much on his own resources, and ta tas solitude he was prone to indulge in ex cess. His constitution became undermined, and catching cold ta sketching, when scarcely recovered from influenza, his weak frame gave way. He died at Lambeth, where be had for some time lodged, August 17, 1831, during a thunder storm which, at his own request, he had been raised in his bed to contemplate. He was buried at St. Mary's Church, aud the Scottish artists ta London placed a gravestone over him. NASON, R., portrait painter. He ac companied Charles II. to England ta 1660, and practised in the latter half of the 17th century. He painted a portrait of Charles II., which is engraved by Van Dalen, and some other portraits, which are exquisite in finish. NATTER, Lawrence, gem engraver. Bom at Biberach, Suabia. Studied ta Italy, and afterwards resided several years hi England. In 1743 he was in Denmark, and in 1744 he went to Holland to make a medal for the Prtace of Orange. He pub hshed in London, ta 1755, a treatise com paring the antique with the modem method of engraving precious stones. He held the office of engraver to the Mint, and was a fellow of the Royal Society and the Society of Antiquaries. He died December 27, 1763, at St. Petersburg, whither he had gone the preceding year on the invitation of the empress. There is a medal of Sir Robert Walpole by him. NATTES, John Claude, water-colour painter. Was born in England about 1765, and was a pupil of Hugh Deane. An early draftsman of the water-colour school, his works were mostly connected with topo graphy, on which his art was founded. Be tween 1797 and 1S00 he travelled in Scotland, making the drawings which he published in 1804 under the title of ' Scotia Depicta.' In 1802 he published ' Hibernia Depicta ; ' in 1805, ' Select views of Bath, Bristol, Malvern, Cheltenham, and Wey mouth ;' and ta 1806, 'Bath Illustrated.' He was one of the foundation members of the Water-Colour Society in 1804, but was expelled in 1807 for having exhibited, in his own name, drawings not by his own hand, to increase his share of the profits of the exhibition. At the Academy he was an exliibitor from 1782 to 1804, and from 1807 to 1814, when he exhibited for the last time. His early contributions were almost exclusively views in Italy, but later Scotch and English. He drew ta a loose NEA style, and his works are ta the tinted man ner, weak and poor. NBAGLE, John, engraver. Was born in London about 1760. Some accounts cah him an Irish artist. He produced a con siderable number of works ; among them ' The Royal Procession to St. Paul's,' 1789. For the Shakespeare Gallery scenes from ' The Comedy of Errors ' and ' Love's Labour Lost,' after Wheatley, R.A., and two sub jects from the first part of ' Henry IV.,' after Smirke, R.A. ; also the iUustrations for Murphy's ' Arabic Antiquities of Spain,' 1816. He practised ta the line manner. His works were greatly esteemed, and he took high rank among the engravers of Ms day. NEALE, John Preston, water-colour draftsman. Was born ta 1771, and began life as a clerk ta the Post-office. He early attached himself to topographic art, and appears to have been the son of a patater of insects, who exhibited at the Academy at the end of the 18th centuiy. He patated a few works ta on, but his chief works are in water-colours, drawn in with a pen and tinted. To give greater truth to his buUd tags he stuched architecture. He was, com mencing ta 1801, a contributor from time to time to the Academy exhibitions, and ta 1817-18 to the Water-Colour Society. He made the elaborate and artistic drawings for ' The History and Antiquities of the Abbey Church at Westminster,' pubhshed 1818-23. He travelled through Great Bri tain, and made the drawings for the ' Views of the most interesting Collegiate and Paro chial Churches,' published 1824-25 ; and also made the drawtags for two series of ' Views of the Seats of the NobUity and Gentry of the United Kingdom ' — the first series pubhshed 1822-24, the second 1829 ; and drew and designed for many other pub lications. He died near Ipswich, November 14, 1847. NEALE, Thomas, engraver. Practised in London towards the middle of the 17th century. He is said to have been a pupU of Hollar, and worked ta his manner. He engraved the 24 plates of Holbein's ' Dance of Death,' published ta 1657; some of Barlow's ' Buds,' 1659 ; and is assumed to have been employed upon the plates for the eighth edition of OgUvy's edition of ' iEsop.' NEELE, Samuel John, engraver. Was employed on antiquarian iUustrations and engineers' plans, but chiefly as a map and writing engraver. He amassed a fortune by his profession. Died ta 1824, aged 66. NELSON, John, sculptor. Was known in Shropshire and the neighbouring counties for his skiU as a statuary. Sir Rowland Hul's statue, on the column to his memory in Hawkstone Park, and the statue of Sir R. Montgomery, ta SMewsbury Castle, are by him. He died at SMewsbury, April 17, 1812, aged 86. NEW NELSON, John Henry, sculptor. He is believed to have been born in Ireland. Resided some time in Dublin. Executed a fine statue of ' Venus Attiring,' which he exhibited at Manchester in 1847. He died there December 26, 1847, aged 47, leaving a widow and four children without provision. NESBITT, Charlton, wood-engraver. Born ta 1775 at Swalwell, Durham. He was, at the age of 14, apprenticed to Beilby and Bewick, and was one of their first pupils. He gataed the Society of Arts' premium for his view of the church of St. Nicholas,- Newcastle, which was executed on no less than 12 distinct blocks. He engraved a few of the tail-pieces for the ' British Birds ' during his apprenticeship ; and, except two, aU the tail-pieces to the poems by Goldsmith and Parnell, published 1795. On the completion of his appren- ticesMp he engraved a large cut (15 in. by 12 in.), from a drawtag by his fellow-pupil Johnson, and was agata rewarded by the Society of Arts' premium. About 1799 he came to London, where he settled, and found full employment. He engraved many of Thurston's designs ; also, for a histoiy of England, published by Scholey ; and for the 'Religious Emblems,' published by Acker- man, 1808. In 1815 he retired to his native village, where he continued till 1830, and though he did not abandon his art, his works were comparatively few. In that year he returned for a time to London. He died at Brompton, while on a visit to the Metropohs, November 11, 1838, aged 64. Among his best works are the ' Illus trations of Hudibras,' ' Sir Egerton Brydges Works,' an edition of Shakespeare, and Northcote's ' Fables. ' He attained a broad, clever style, his textures were variously and truly rendered, and great brilliancy of effect preserved. His figm'es well drawn and simply treated. NEVE, Cornelius, portrait painter. Practised ta the time of Charles I. Several of his works, though not of much excellence, have survived. There was a group of himself, tas wife and children at Petworth. NEWCOURT, Richard, topographical draftsman. He practised ta the middle of the 17th century. Several views of old Religious Houses by tarn are engraved for Dugdale's 'Monasticon Anglicanum,' by Hollar. NEWENHAM, Frederick, portrait painter. He was an occasional exhibitor of portraits at the Royal Academy, with some times a domestic subject, from 1844 to 1855. He patated a portrait of the Queen for the Junior United Service Club, and exhibited, in 1845, ' The Mother's Letter ; ' ta 1849, a Spanish subject ; in 1855, ' The Toilette.' He died March 21, 1859, aged 52. NEWMAN, John, architect. The Roman Catholic Chapel ta Mooifields 2 307 NEW commenced in 1817, is by him. From that time to 1838, in which year he sent a de sign for the Roman Catholic Church pro posed to be erected in St. George's Fields, he was an occasional exhibitor at the Royal Academy. He died at Paris, January 3, 1859, aged 72. NEWTON, Francis Milner, R.A.,por- trait painter. Born in London ta 1720. He was pupil of Marcus Tuscher, and a member of the St. Martin's Lane Academy. He acted, in 1755, as secretary to the Artist's Committee, to found an academy ; afterwards he was secretary to the Incor porated Society of Artists, aDd on the foun dation of the Royal Academy was the first secretary. He was a very indifferent artist, but had many sitters, and exhibited his portraits at the Academy from 1769 to 1774. He resigned his office of secretary to the Academy ta 1788, when his powers were declining. Soon after a large fortune was left to Mm by an acquaintance, who dis approving of the marriage of his only son, disinherited him. To this estate near Taunton he retired, and ched there, August 14, 1794. He held for some time the office of 'Muster Master' for England, and generally wore the Windsor uniform. NEWTON, Gilbert Stuart, R. A., sub ject painter. Was born at Halifax, Nova Scotia, September 2, 1795, the son of a British officer who was driven from Boston when that city was occupied by the troops under General Washington, fie was the nephew of Gilbert Stuart, who was distin guished in America as a portrait painter, and after Ms father's death his mother returned with him, in 1803, to Charleston, near Boston, where he was placed with a merchant and intended for a commercial life, but art prevailed. He had some little art instruction from his uncle, but did not long agree with him, yet was soon spoken of as a lad of much promise. In 1817 he visited Italy, where he remained some months, and then weDt to Paris. Here he met with Leslie, afterwards R.A., and came with him to England by Brussels and Ant werp, arriving in London the same year. fie was admitted a student of the Royal Academy, and though fond of society, was diligent in his studies, and soon made him self known. In 1821 he exhibited at the British Institution his small head called ' The Forsaken,' with ' Lovers' Quarrels,' and ' The Importunate Author.' He also at this time painted some portraits, but his subject pictures were so eminently suc cessful that he was led to continue them, and was a regular exhibitor at the Royal Academy, fie contributed, ta 1823, ' Don Quixote in his Study ; ' in 1824, ' Monsr. de Pourceaugnac ; ' in 1826, ' Capt. Mac- heath upbraided by Polly and Lucy ; ' and ta 1828, the 'Vicar of Wakefield recon- 308 NEW ciling his Wife to Olivia,' a work of touch ing interest and beauty, and was the same year elected an associate of the Academy. This was succeeded by bis finest works. In 1830, ' Yorick and the Grisette,' ' Shylock and Jessica,' ' Abbot Boniface ; ' and in 1831, ' Portia and Bassanio,' with ' Cordelia and the Physician.' These great works secured his election ta 1832 as Royal Academician. The same year he visited America, where he married, and came back to England with his wife within the twelvemonth. During his stay in America he had shown some slight signs of insanity, which unhappily increased after his retnrn. His last exhi bited work was in 1833, 'Abelard in his Study ; ' but he painted no picture of im portance after his election as academician. His mind became seriously affected, con firmed insanity ensued, and he was confined in a private lunatic asylum in Chelsea, where Ms Me was terminated by rapid consumption on August 5, 1835. He was buried in Wimbledon churchyard. His widow and son returned to America shortly after his death, and she soon afterwards married agata. Dunlap, his American bio grapher, says, ' That he congratulated him self upon being born a subject of the King of Great Britain, and that on one occasion at New York, at a large dinner-party, he got up and disclaimed betag a citizen of the United States.' His works are marked by a refined sense of colour and a great feeling for female beauty, with a pure sweetness of expression and character, but they are wanting in drawing and executive power. His sub jects are well chosen ; his story, whether quiet humour or pathos predominate, is simple and well told. His pictures are very few in number, but are always agreeable and full of interest, and the chief of them are well known from their engravings. NEWTON, James, engraver. Was the son of Edward Newton, an engraver, of whom there is no record, and was bom ta London in 1743. He practised in London ta the latter part of the 18th centuiy chiefly in portrait, but there are landscapes by him after Zuccarelli and Claude, and some sub jects after Cipriani and Reinagle. NEWTON, William, architect. Brother to the above James Newton. Was clerk of the works of Greenwich Hospital, and designed some of the additional buildings. In 1766 he was a member of the Incor porated Society of Artists, and ta 1776 and 1 780 was an exhibitor at the Royal Aca demy. He published ' The Architecture of Vitruvius,' 1772, and superintended the publication of the third volume of Stuart's Antiquities of Athens.' Died at Sidford, Devon, in July, 1790. NEWTON, Sir William John, Knt., miniature painter. Was bom ta London NEW 1785, and was the son of the above James Newton. He practised miniature patating with success, after exhibiting at the Aca demy ta 18J8, and from that year con tinuing a large contributor. His art was popular, and he had many disttagtashed sitters. He was appotated miniature patat er to Queen Adelaide, and ta 1837 received the honour of knighthood. He died ta London, January 22, 1869. He was a weak draftsman, his works graceless, and wanting ta composition and taste. He tried some groups of miniatures of a large size on a plan of Ms own for uniting several pieces of ivoiy. NEWTON, Richard, caricaturist and miniature painter. He gave promise of abffity, but his works were chiefly convivial and licentious. He died in London at the early age of 21, December 9, 1798. The 'Blue Devils,' 1795, drawn and etched by him, is a clever design. NEWTON, Mrs. Mary, amateur. She was the daughter of Mr. Joseph Severn, her Majesty's Consul at Rome, who is well known as an accomplished artist. She married Mr. Charles J. Newton, of the British Museum, and her early taste for art was assisted by Mr. Richmond, R.A. She drew the figure accurately, received several commissions from the Queen, and drew portraits ta crayons and water-colours. She exhibited at the Royal Academy in 1855, ' Chess ; ' in 1856, ' Summer and Winter;' ta 1864, 'Letty;' and in 1865, three portraits. She died of measles, January 2, 1866, aged 33. NICHOLLS, Sutton, engraver. Prac tised ta London early ta the 18th century. He was chiefly employed upon plates for booksellers. Some shght etchings of shells and other objects are among his best works. He engraved the views in London for Stowe's 'Survey,' and published ta 1725. ' Prospects of the Most Considerable Budd ings about London,' both drawn and en graved by himself. NICHOLS, Joseph, topographical painter. Painted, ta 1738, A View of Stocks' Market,' ta the City, since removed; and a companion picture, ' A View of the Fountain ta the Temple,' both of which were engraved. In the first some well- painted figures were introduced, and the work was for some time attributed to Hogarth. Of the patater nothing is now known. NICHOLSON, Francis, water-colour painter. Was bom at Pickering, York shire, where his famUy possessed a small property, November 14, 1753. He showed an early disposition to the arts, and had some lessons from an artist at Scarborough. After two visits to London, he settled at Whitby in 1783, married there, and was employed in patating portraits of horses, NIC dogs, and dead game, and was also engaged in teaching. In 1789 he exhibited for the first time at the Academy. He left Whitby in 1792, and resided for a time at Knares- borough, then at Ripon, and from thence, approaching the Metropolis, at Weybridge, and finally came to London, where he estab lished himself as an artist. He was one of the founders of the Water-Colour Society iu 1804, and continued a member and exhi bitor up to 1815. His subjects, frequently waterfalls or rushing streams, were found ta Wales and the hilly country of the north of England, and in Scotland. He became distinguished in the new art, though he never attained excellence. Later he de voted much of his time to lithography, and made above 800 drawings upon the stone, . and had much influence in the advance ment of the art. About 1822 he published a work on ' The Practice of Drawing and Patating Landscape from Nature.' He discovered a process of treating the high lights M water-colours, wMch consisted in securing them with a composition, not soluble in water, but which might be readUy removed with a higMy rectified spirit, leav ing the lights pure. Having acquired a competency, he gave up the practice of his own art, and amused himself by experi ments, patating in various oil vehicles, sometimes, unfortunately, upon the best of Ms own drawings ta his possession, and conttaued to the end of his long life in these occupations. He was a man of various attainments, and much practical knowledge. He died in London, March 6, 1844, aged 90. His collection of pictures, drawings and sketches were sold at Ctais- tie's ta the same year. NICHOLSON, Alfred, water-colour painter. Son of the above Francis Nichol son. Was born ta Yorkshire, and early in Me entered the Royal Navy, and saw some service on the coasts of Holland and Por tugal. After a few years he left the Navy, and commenced his career as an artist, fie visited Ireland in 1813, resided there three or four years, and made a large coUection of sketches elaborately finished. About 1818 he settled permanently in London, and was almost exclusively employed as a teacher of drawtag. In 1821 he made an excursion through North Wales and a part of Ireland, adding largely to his collection of sketches, and ta the foUowtag summer visited Guernsey, Jersey, and Yorkshire, assiduously pursuing his art. His drawings combine much graceful finish with force and general effect. His works are usually of a small size. He died ta London, No vember 23, 1833, aged 45, having suffered durtag the last three or four years of his hfe from a painful illness. He left a widow and two infant chUdren. NICHOLSON, Isaac, wood-engraver. 309 NIC Was bom at Melmerby, ta Cumberland. Was apprenticed to Bewick, and approaches nearer to him ta style than any of his other pupils. He was clever and ambitious. fie engraved the illustrations for Flower's ' Heraldic Visitation of the County of Dur ham,' Shaip's ' History of the Rebellion ;' also, among others, for a History of Eng land, Watts's Hymns, 'Robinson Crusoe.' He died October 18, 1848, aged 59. NICHOLSON, Peter, architect. Was the son of a stonemason, and was bom at Preston Kirk, East Lothian, July 20, 1765. He was taken from the parish school at 12 years of age to assist his father, but was afterwards apprenticed to a cabinet-maker, and then worked as a journeyman in Edin burgh and London. He commenced teach ing in an evening school ta Soho, and, abandoning journey- work, published ta 1792, 'The Carpenter's New Guide,' for which he himself engraved the plates. Arising out of his teactang, he next pub lished, "The Student's Instructor,' "The Joiner's Assistant,' and ' The Principles of Architecture,' a serial publication com menced ta 1794, and completed ]809. He returned to Scotland in 1800, and settled in Glasgow, where he gataed employment as an architect. His chief works are a wooden bridge over the Clyde, and some modern residences, which gave a new cha racter to the city buildings. He after wards practised for a time at Carlisle, and was appointed architect to the county, then, after two years, returned again to London, and resumed tas literary labour. He published at this time his ' Architectural Dictionary,' ' Mechanical Exercises,' ' The Builder,' ' The Workman's New Director,' with some other works of a scientific cha racter, and in 1827 commenced the publi cation of his ' School of Architecture and Engineering,' of wMch only five out of the twelve numbers proposed were issued. This work failed, and disappointed by the failure and the loss which it entailed, he removed in 1829 to Morpeth, and in 1832 to Newcastle-upon-Tyne, where he was chiefly occupied in teaching ; but with all his labours he was poor, and in old age, and struggling with difficulties, a subscrip tion was raised for him in the town, and ta 1835 a small pension was granted to him from the privy purse. In 1841 he removed to Carlisle, and died there June 18, 1844. His son, Michael Angelo Nicholson, who died ta 1842, was the author of the ' Carpenter and Joiner's Companion.' NICHOLSON, Otho, architect. Prac tised in the reign of James I. The old conduit at Carfax, Oxford, a singular structure, was by him, and bore his initials. It was removed in 1787 to Nuneham Park, and is engraved, forming the plate to the Oxford Almanack, 1833. 310 NIX NICHOLSON, Thomas Henry, wood- engraver and modeller. He was at the commencement of his career chiefly em ployed on book illustrations, and was known by tas very clever drawtags of the horse. These gained him the notice of Count d'Orsay, ta whose studio at Gore House he for some years found employment. He assisted in modelling the small equestrian statuettes, for which the Count gataed some reputation. On the breaking up of the establishment at Gore House in 1848, he returned to his wood engraving ; but of a shy and retired disposition, he did not enjoy the credit wliich Ms works deserved. He died at Portland, Hants, 1870. NICHOLSON, James, glass stainer. Lived ta Southwark ta the 16th century, and was much employed. He was one of the four contractors for the 18 patated windows in the upper storey of King's College Chapel, Cambridge, ta the reign of Henry VIII. NICHOLSON, William, R.S.A., por trait painter. He was born at Newcastle- on-Tyne, 1784, and sent from thence, in 1813, two portraits, tas first contribution to the Academy ExMbition, foUowed in 1816 by a portrait of W. Bewick. In 1820 he was settled ta Edinburgh, where he practised as a portrait patater, and sent an occasional portrait to the Academy Exhi bition ta London. His best works were his water-colour portraits, which were es teemed for their faithful resemblance and true art merits. He was one of the pro moters and founders of the Royal Scottish Academy, to which his most mature works were contributed, was active ta securing the assistance of the most influential of his brother artists, and became himself the secretary, thus successfuUy opposing the lay directors of the Royal Institution, where the Scottish artists had previously exMbit ed. He etched and published a series of portraits with short biographical notices, and engraved some of his own works with much painter-like feeling. He died at Edinburgh, after a short illness, August 16. 1844, in his 60th year. NICHOLSON, William Adams, archi tect. Was born ta Southwark, and was pupil to J. B. Papworth. In 1827 he settled at Lincoln, and was much employed. He built several mansions and churches in the neighbourhood, and enjoyed some local reputation. Died at Boston, AprU 8, 1853, aged 49. NIXON, JonN, amateur. Towards the middle of the 18th centuiy he was noted for his humorous sketches and caricatures. He died in 1818. NIXON, Samuel, sculptor. Was em ployed on works of a decorative class, and in portrait sculpture. He was an exhi bitor at the Royal Academy from 1824 to JN IX NOL 1846, contributing some works of high aim — ' The Reconciliation of Adam and Eve,' 1828; "The Birth of Venus,' 1830. His later works were chiefly portrait sculpture. The sculptural decorations for the Gold smith's Hall, especially the groups of the Four Seasons at the foot of the grand staircase, are by him, aud are gracefully and finely carved, as is also the statue of John Carpenter, at the City of London School; and his chief work the granite statue of WUham IV., erected by the City Corporation ta Cannon Street, fie died at Kenntagton, August 2, 1854, aged 51. NIXON, James, A.R.A., miniature painter. Born about 1741. He was a member of the Incorporated Society of Artists, and was one of the first students of the Royal Academy. He first exhibited at the Academy ta 1772, and was elected associate ta 1778. His works were chiefly miniatures, ta which he attained much ex- ceUence, sometimes portraits of actresses and others ta character, with occasionally a portrait ta oil, and a few historical sub jects. He also designed some iUustrations for books. He held the appointment of limner to the Prince Regent, and of minia ture patater to the Duchess of York. Died at Tiverton, May 9, 1812, aged 71. Some of his works were engraved. NIXON, John, engraver. Bom 1706. His best works are smaU portraits executed ta a very neat style, the faces finished in the dot manner ; among them the Prtace of Wales, Duke of Cumberland, Lord GranvUle. NOBLE, George, engraver. He was employed by BoydeU, and enjoyed much reputation at the beginning of the 19th century. His cMef works are for the Shake speare Gallery, and are after Wheatley, Westall, Smirke and Tresham. He also engraved some of the Ulustrations after R. Cook, R.A., for Goldsmith's MisceUane- ous Works, fiis brother, S. Noble, was employed on some of the same works. NOBLE, Matthew, sculptor. Was bom at Harkness, near Scarborough, ta 1818, and was a pupU of Francis. He first ex Mbited at the Royal Academy M 1845, when he contributed two busts, one that of the ' Archbishop of York.' His best known pubhc works are, 'Her Majesty the Queen at St. Thomas's Hospital,' ' Lord Derby in Parliament Square,' and ' Sir John FrankIM in Waterloo Place.' He was a regular ex hibitor at the Royal Academy Exhibitions. His talents were not of a rare order, but he had the art of judiciously availing himself of professional assistance. He died at Kensington June 23, 1876, aged 58. NOBLE, William Bonneau, landscape painter. Was the son of a bookseUer, and born September 13, 1780. He commenced Me as a teacher of drawing, and exhibited at the Academy, in 1809, three Welsh views which were of some promise ; but disap pointed by the rejection, in 181!), of some works sent for exhibition on which he had spent much labour, though his landscapes were exhibited in 1811, aud suffering at the same time from a disappointment in love, he fell tato despondency and habits of reck less irregularity, and in November 1825 made a desperate attempt on his life. He died at Somers'Town, September 14, 1831. He left behind hhn a long poem in manu script, called "The Artist.' NODDER, R. P., Jlower and animal painter. He found his employment chiefly as a painter of natural history, and held the appointment of botanic painter to George III. From 1786 to 1820 he was an occa sional exhibitor at the Royal Academy. His contributions comprised flowers, and portraits of horses and dogs. NOLLEKENS, Joseph Francis, called ' Old Nollekens,' portrait painter. Was the son of a painter who had resided some time ta England, but was born at Antwerp, June 10, 1702. He came to London in May 1733, and studied under Peter Tille- mans. He painted landscape, figure and conversation subjects, particularly chUdren, and copied after Watteau and Paulo Panntai. He was employed on some decora tive works at Stowe by Lord Cobham, and was also employed by Lord Tylney. He was a Roman Catholic, and is said to have been so much alarmed by the Rebellion in 1745, that he could not rally, and died in St. Anne's parish, Soho, January 21, 1748, leaving a widow with a large family, but not without some provision, fie was buried at Paddington Church. A number of his patatings for Lord Tylney were long pre served at Wanstead fiouse, but were sold by auction, with the rest of the furniture, ta 1822. They were chiefly landscapes with figures, and realised good prices — one of them, a ' Converzatione,' fetching 127?. At Windsor there is a small and very clever little portrait-group by him of Frederick Prince of Wales and sisters, the character and expression very true and good, the group well composed, and gaUy but agree ably coloured. NOLLEKENS, Joseph, R. A., sculptor. Son of the foregoing. Was bom in Dean Street, Soho, August 11, 1737. His mother, a French woman, soon after his father's death married a modeller named WUliams, who was employed in the Chelsea Porcelain Works, and went with her husband to Flan ders. Her son's education was neglected, but he early set to work to fit himself for an artist, and for a short time studied in Shipley's school. At thirteen he was em ployed by Scheemakers, and it is said that the drudgery of his tasks, the little prospect before him, and his natural chsposition, led 311 NOL him into dissipation, but that he was after wards able to resume habits of temperance and industry. In 1759 and ta 1760 he gained the premiums of the Society of Arts, and he nad at that time by his indus try saved the means of getting to Rome, where he worked hard to matatain and improve himself. In 1761 he was again successful and received a premium of 50 guineas from the Society of Arts for a group ta marble, and further, the gold medal of the Roman Academy. He exe cuted some busts and some good groups, sending home to the Free Society's Exhi bition ' Two Victors ta the Panathenian Games,' 1766, and some busts ta 1770, and returned to London ta that year with a purse which he had saved, and soon after wards marrying a lady with a handsome portion, he speedily acquired employment and celebrity. On his return he was a constant exhi bitor at the Royal Academy. His contri butions consisted largely of busts, but he no less exhibited classic groups, repetitions of Diana, Juno, Venus, Adonis, Cupid, Mercury, and other classic divinities. As a restorer of antique marbles he was much and advantageously employed, and he also speculated very profitably ita such restora tions on his own account. In 1771 he was elected an associate, and the following year a full member, of the Academy. He was patronised by George IIL, with whom he was in much favour. His bust of Fox made a great impression upon the public. Pitt's bust had equal notoriety. Of the former he is said to have sold 100, and of the latter 150 repetitions, at 100 guineas each. To this profitable branch of his art he chiefly devoted himself and graduaUy raised his price to 150 guineas, fie, how ever, occasionally produced a group. His ' Cupid and Psyche,' ' Bacchus,' ' Arria and Partus,' and several Venuses — among them his ' Venus with the Sandal,' esteemed his best work. There are also some fine monu mental groups by him. His monument, in Westminster Abbey, of the three captains who feU in Rodney's action, 1782 ; Mrs. Howard, of Corby Castle, and his statue of Pitt at Cambridge, for which he was paid 3000 guineas, are of great merit ; but his chief excellence is in his busts, which, if wanting in vigour, are marked by great simplicity and truth. fie carefully imitated nature. His like nesses were good, distinguished by exact finish, and an absence of manner, but bis gods and goddesses wanted individuality and freshness. He worked with the most persevering industry till Februaiy 1819, when he suffered from a sudden paralytic attack, but partially recovering, he amused himself in his studio for about two years, when increasing infirmities rendered tarn 312 NOE incapable of any further labour. He died April 23, 1823, and was buried ta Padding ton churchyard. Eccentric and singular in his habits, shrewd in his dealings, given to petty economies, he had amassed a large property, and being without heirs, left 6000?. to his assistants and servants, and above 200,000?. between four of his friends. His life — ' Nollekens and his Times ' — was written by John T. Smith, one of his ex ecutors, who was for many years keeper of the prints in the British Museum — a gossiping book full of interest, but mixed with many petty domestic affairs which a more tender biographer would hardly have recorded : also by Allan Cunningham, in his 'British PaMters, Sculptors, and Architects.' NORDEN, John, engraver. Supposed to have been born in Wiltshire in 1546. He was educated at Oxford, and took there the degree of Master of Arts in 1573. He re sided at Hendon, Middlesex, and was patronised by Lord Burleigh and his son the Earl of Salisbury, and was, ta 1614, Surveyor of the King's Lands. His prin cipal work as an engraver was his ' Specu lum Britannia?,' a description of Middlesex and Herts, with a frontispiece and maps. He also engraved, in 1609, a view of Lon don, introducing the Lord Mayor's show. He died about 1626. NORDEN, Frederick Ludwig, topo- cgraphical. draftsman. Born in 1708, at Gliickstadt, ta Denmark, he was brought up to the sea, and became a sliip's captain. He was employed by Christian VI. to travel ta Egypt and Nubia, and he took the opportunity to make drawings of the inter esting scenery and remains of antiquity, aud on his return they were engraved. He afterwards came to England and published, etched by his own hand, ' Ruins and Collos- sal Statues at Thebes.' He ched here ta 1742. N ORG ATE, Edward, limner. Was born at Cambridge. Son of the Master of Bennet College. He had a talent for limning and heraldry, came to London to pursue this branch of art, and was intimate with the best painters of the time- He gained the notice of the Earl of Arundel, who, in 1633, appointed him Windsor Herald, and afterwards Uluminator of the Royal Patents. His works of this class showed exquisite taste and finish. His initial letters, grouped portraits, and bor ders of appropriate designs, were deemed unrivalled. In 1640 he held the office of Clerk of the Signet and attended the King to Scotland, fie was deprived of his office before the execution of Charles I. Fuller states that he died at the fierald's College, December 23, 1650, and was buried in the adjacent Church of St. Bennet ; but Dalla- way says that his work, ' Miniature, or the NOE NOE Art of Limning,' in his own handwriting, is dated July 8, 1654. NORRIS, — engraver. Was living in 1750. Engraved from his own drawiugs, architectural monuments and rains. NORRIS, John, architect. He prac tised early in the 18th century. Rebuilt Lord Stamford and Warrington's seat ta Cheshire, 1739. NORTHCOTE, James, R.A., historical an 1 portrait painter. Descended from a respectable Devonshire family, claiming an ancient pedigree, he was the son of a watch maker at Plymouth, where he was born, October 22, 1746. Though he showed an early attachment to art, his prudent father bound Mm Ms own apprentice, and he served his full time to the trade. Durtag these long seven years his spare hours were spent in drawtag, and on their termination he devoted himself to art, and commencing portrait painting, gained some notice ta his own town ; and then, at the age of 25, in May 1771, he came to London furnished with an introduction to Sir Joshua Reynolds. The kind president not only admitted his young townsman to his studio, but to his house, and he continued with Mm for five years, picking up such knowledge as he could. He also became a student at the Academy, and between the two must have gataed the technical power he most needed ; but his progress was laborious and slow. In 1775 he left Reynolds with mutual regret, and returning to Devonshire, soon made a httle purse by portrait painting. In March 1777 he set out alone for Italy, not knowing any language but his own, and travelled by Lyons and Genoa to Rome, where he spent the greater part of his time ta copying, occasionaUy on commission, and ta the study of the old masters, espe cially Titian, fie returned home by way of Flanders at the end of three years, arriving in London ta May 1780, and again had recourse to portraiture, which he tried for a time in Ms native county, and then set tled ta London. From the first his desire had been to paint subject pictures, and in 1783 he exhibited some works of a domestic class, one of which was engraved for Boy deU and had much success. This induced him to continue, meeting at the same time, however, good encouragement as a portrait painter. But his impulses led him to a higher aim, and for this the opportunity was afforded, which he earnestly seized, when the great scheme of the Shakespeare Gallery was started. He produced, ta 1786, his first truly his toric work — ' The Young Princes murdered in the Tower,' and was ta the same year elected an associate of the Royal Academy ; ta the spring of the next year a full member. His success was followed by the ' Burial of the Princes in the Tower,' and his great work, the ' Death of Wat Tyler,' for the Corporation of London. In the succeeding years he continued to work for Boydell's gallery, but did not abandon portraits, and e commenced another series, the career of two servant girls, a moral composition in ten pictures — "The Diligent Servant and the Dissipated,' a female version of Hogarth's ' Idle and Industrious Prentice.' The work was published in 1796, and though success ful, yet, from the absence of character and humour, the plainness of the coarsely told incidents, and the omission of all the minor graces, it did not approach the work of his great prototype, fie was successful as a patater of animals. He introduced them well tato his pictures, and pamted some subjects of animals — 'The Dog and Heron,' ' The Tiger and Crocodile,' ' The Lion Hunt,' with others, and his fondness for animals seems to have been an inducement to com mence his 'Fables,' published in 1828, ta which they are conspicuous. In 1825 the directors of the British Institution pur chased for 150 guineas tas ' Entombment of our Saviour,' and presented the picture to Chelsea new church ; and ta 1827, his ' Christ's Agony in the Garden,' which they presented to Hanover Chapel, Regent Street. He was a man of marked natural abilities. Entering art late ta hfe, unprepared by his general education, he showed great energy and industry ta conquering the difficulties of his position. He was observant in aU that related to his art, reflective by habit, and able to express clearly his ideas both orally and with his pen. His first literary attempts were printed ta ' The Artist,' a periodical commenced in 1807. In 1813 he published Ms ' Life of Sir Joshua Reynolds,' to which his intimacy with Reynolds and Ms knowledge of art gave a peculiar cha racter and value. He had great convers ational powers, and ta 1866 his convers ations, written by Hazlitt, who was his constant visitor, appeared ta the 'New Monthly Magazine.' They were followed by Ms ' Fables,' many of which were written as well as illustrated by himself. His last work was his ' Life of Titian,' pubhshed in 1830. He hved for nearly 50 years at 39 Argyll Street, where his sister kept his house, and there he died on July 13, 1831, ta his 86th year, having amassed a fortune by his profession. His compositions were faulty and un studied. His light and shade conventional, and frequently untrue. His processes of Eatating careless. Yet his groups are often appily conceived, bold and vigorous, free from affectation, and, largely circulated by engraving, became popular. He fairly takes rank with the eminent men of his day, who were following the same art. In manner he was eccentric, and is charged with an 313 NOE habitual cynicism, which hardly belongs to him. fie was prudent in his habits, benevolent to those who asked his help, and courteous to the young painter who sought his advice. NORTON, Christopher, engraver. Studied at St. Martin's Lane Academy. In 1760 he was at Rome, and the same year gained a premium at the Society of Arts. fie practised in the second half of the 18th century, and engraved after Vandevelde, ' The Tempest,' and also after PUlement, Canot, and others. NUGENT, Thomas, engraver. Bom in Drogheda. fie studied his art in Dublin, and about the end of the 18th century practised in London, sometimes ta imitation of chalk drawings, excelling in portrait. NUNEHAM, Simon IIarcourt, Vis count (afterwards second Earl Harcourt), amateur etcher. There are by him some landscape views, dated about 1760, among them several after Paul Sandby. He ex hibited some etchings at the Spring Gar dens' Rooms in 1763, and the same year published four views of the 'Ruins at oco Stanton Harcourt,' drawn and etched by himself. Walpole speaks of them in ex travagant terms for which there is httle warrant. He died AprU 20, 1809. NUTTER, William, draftsman and engraver. Bom in 1754. Was the pupU of I. Smith. He practised in the dot manner, and finished a number of plates after West- all, Morland, Bigg, Paye, and Wheatley, with portraits after Hoppner, S. Shelley, and Russell. He resided ta Somers Town, and died March 14, 1802, aged 48, and was buried at St. John Baptist, Kentish Town. NUTTING, Joseph, engraver. Prac tised ta London at the beginning of the 17th century, and probably commenced engraving about the time of the Restor ation. He was cMefly employed on book illustrations. Some of his best works are his small portraits, among them one, on a plate with five others, from the Me of Dr. Monk, Bishop of Hereford, who died in 1661 ; but their chief value arises from their rarity. They are weak ta line, and laboured ta maimer. 0 OAKLEY, Octavius, water-colour painter. Born ta April, 1800. He began his artist life as a portrait painter in water- colours, and resided at Leamington, where he had » considerable practice, and ta Derby, and while living there ta 1826 and 1827, sent portraits to the Academy exhi bitions, lie also made occasional studies of rustic subjects, and was reputed for his gipsy groups, in which be depicted the character of the race, with great truth. In 1842 he came to reside ta London, and was elected an associate, and in 1845 a member of the Water-Colour Society. Latterly he painted picturesque landscape sceneiy, in troducing figures with much ability. He was an occasional contributor of a portrait to the Academy exhibitions up to 1860. He died at Bayswater, March 1, 1867. His works were "fairly drawn and truthful, but feeble both ta colour and light and shade. OAKMAN, John, wood-engraver. Was born at Heudou, Middlesex, and towards the middle of the 18th century was ap prenticed to a map engraver. He after wards cut the illustrations on wood for many children's books with some abUity. But he fell into intemperate habits, aud then joining two of his boon companions, opened a shop in the Haymarket for the sale of humorous prints. This faffing, he 314 turned song and baUad writer, and wrote some cheap novels, ta one of which, ' The Life of Ben Brass,' he described some of the scenes of his early career. His last novel, 'Wiffiam WUliams, the African Prince,' had a good sale, fie died ta dis tress, December 1793 OCKS, , medallist. He was one of the engravers of the Mint in the reign of George I. He died in 1749. OCKS, Ralph, medallist. For many years he was one of the engravers of the Royal Mint. He died at Battersea in 1788, aged 84. O'CONNOR, James A., landscape painter. Was born in 1793, at Dubhn, where his father practised as an engraver, and brought him up to the same profession, which he left early ta Me for the easel, and gained some proficiency as a landscape painter ta oil. In 1813 he made his way with his friend Danby to tiy his fortune ta London, but his means were soon ex hausted ; he walked back disappointed to Bristol aud got from thence to D ublin. After many years of hard labour and neglect, he left Ireland early ta 1822, and came to re side ta London, and in that and the three following years was an exhibitor, chiefly of Irish views, at the Royal Academy. During this time his works found some purchasers in the sale rooms, and by the intervention 0D0 OLI of the dealers ; but the prices which he re ceived left him poor, and in May 1826 he went over to Brussels, where he remained about twelve months, made many sketches, and was unfortunately the victim of a swindling transaction, by which he was a great sufferer. From 1827 to 1832 he con tinued ta London, and then visited Paris, sending some pictures he patated there to London, where they realised fair prices. From Paris he went tato Rhenish Prussia, where an Ulusory introduction and the loss of a letter with remittances was the cause of much difficulty. In November 1833 he returned to London, and from that time to 1839 he continued to labour, yet with smaU remuneration, at his easel, and was an occasional exMbitor at the Academy and at Suffolk Street. But his health began to fail. His income, wMch had at the best been irregular and uncertain, now feU off, embarrassment was added to iUness, and after a MewMch had been one long struggle, he died at Bronmton, January 7, 1841, M his 49th year, fie left a widow, for whom an appeal for assistance was made in the 'Art Journal,' ta 1845. His landscapes are boldly painted, show great feeling, and are good ta tone and colour, but rather green. O'DOHERTY, W. J., sculptor. Was bom ta Dublta in 1835, and studied ta the schools of the Dublta Society, and after wards under Kirke, R.fi.A. In 1854 he came to London, and ta 1862 exhibited at the Academy ' Alethe,' a marble statuette ; and the two foUowtag years some busts, which were not without promise. About 1865 he set out for Rome, to complete there his design for ' The Martyr,' and was lost sight of tUl Ms death was announced as having taken place in February 1867, at the Maison de Charite, ta Berlin, fie had probably been taken iU, and, unknown, was removed to that institution. OGBORNE, John, engraver. Born ta London, about 1725. He was a pupil of Bartolozzi, and practised ta the dot manner, engraving many works, chiefly after Smirke, J. BoydeU, Stothard, Hamilton, WestaU, Angelica Kaufftaan, Lely, and also, after his own designs, 'Music' and 'History.' Two or tiiree of his plates were for the ' Shakespeare GaUery ; ' and there is a good engraving by him after Sir Francis Bour geois, ' ChUdren at their Mother's Grave.' His engravtags possess much power, and are weU drawn. In his latter plates, by introducing line, he produced more variety of texture. He died about 1795. He was assisted by Mary Ogborne on some of his O'KEEFE, Daniel, miniature painter. See KEEFE, Daniel. He died at Bromp- tom June 22, 1787. O'KEEFE, John, miniature painter. Brother of the above. Was born in Dublin, in 1748. He studied at the Dublta Aca demy, and for a time in London, under Hudson, and there are some humorous designs by him. He afterwards went upon the stage, and performed low comedy in London and Dublin with success, and left the arts. He was the author of several popular dramatic pieces. He died at Southampton in 1833, ta Ms 86th year. There is a portrait of him by Lawransonin the National Portrait GaUery. OKEY, Samuel, engraver. He was awarded premiums at the Society of Arts in 1765-67. He practised towards the end of the 18th century, working in mezzo-tint. There is a plate by him after Sir J. Rey nolds ; also after PMe, and others. OLIVER, Isaac, miniature painter. Was born ta 1556. Lord Orford says he could find no account of his family, and he is supposed by some to have been of French extraction, but Nichols, ta Ms ' History of Leicestershire,' quotes an authority which relates that he was said to be of a famUy holding lands in East Norton. It seems also that he was a relative of John Oliver, master-mason to James I. He was a pupU of HUliard, and also studied under Zuc- chero, and attained great excellence ta miniature art. That he was highly appre ciated is shown by his having received 40?. for four miniatures, a considerable sum at that time. He patated Queen Elizabeth, Mary Queen of Scots, Prince Henry, Ben Jonson, a full-length of Sir PhUip Sidney, and many other persons of distinction. He sometimes worked in oU, but Ms portraits in this medium are flat and minutely finished, though full of character. He painted in oU the portraits of Mmself, his wife, and his children. He drew weUwith the pen, and made some historical designs of smaU size, which evince much power. He died at his house ta Blackfriars in 1617 (some accounts give a later date), and was buried in the church of St. Anne's there. His monu ment and bust, erected by his son, were destroyed in the Great Fire. He wrote a treatise on limning. His drawings are usually signed ' Olivier ; ' tas miniatures with the monogram *. OLIVER, Peter, miniature painter. Eldest son of the foregoing. Born ta Lon don in 1601. He was the pupil of his father, and surpassed him ta excellence, often painting with him on the same miniature. Many fine portraits by him are cherished in old family collections. He was also dis tinguished for his miniature copies ta water- colours of the historical works of the great masters. He etched some subjects of the same class. He died, as appears by the probate of his wUl, in 1660, aged 59, and was buried near his father. OLIVER, John, glass painter. Hewas 315 OLI OFI born in London, in 1616, and was the nephew and pupil of the above Peter Oliver, and a descendant of John Oliver, the master-mason to James I. He prac tised as a glass painter durtag a long life. He was appointed the city surveyor, and was one of the three surveyors for regulat ing the plan of rebuilding London after the fire of 1666, and became possessed of a great part of the MSS. designs of Inigo Jones. The armorial bearings of the Percies, iu the great window of the chapel at Petworth House, are by him ; and so is also the window at Christ Church, Oxford, representing the delivery of St. Peter from prison, and is inscribed, 'J. Oliver, setat. sua? 84, anno 1700 ; pinxit deditque.' He ched the following year. From the dis couragement of glass painting during the Commonwealth, his long life had rendered him almost the sole depositoiy of the art. OLIVER, Isaac, engraver. Son of the above John Oliver. There are mezzo-tint portraits by him of James II. and of Lord Chief Justice Jefferys, with some etchings, but these works are also attributed to his father. OLIVER, Archer James, A. R.A. por trait painter. Was born in 1774, and was admitted a student at the Royal Academy in 1793, and in 1803 elected an associate. He had for a time a large and fashionable practice, and from 1800 to 1820 was a large contributor of portrait works to the Aca demy exhibitions. His practice soon after falling off', he was appointed curator to the painting school, but his health faffing, he was chiefly supported from the Academy funds. He conttaued to contribute to the exhibitions till his death, in 1842, but his latter works were mostly smaU pieces of still-life, fruit, nuts, and an occasional sketch. OLIVER, Samuel Euclid, portrait modeller, fie practised in wax, and exhi bited at the first opening of the Royal Aca demy in 1769, but his name does not appear subsequently. OLIVER, William, water-colour paint er. He was a member of the New Water- Colour Society. His works were chiefly views of foreign scenery, and were slight and unfinished. He painted a few works in oil. Died November 2, 1853, aged 48. OMER, Rowland, topographical drafts man. He was born in Ireland. He prac tised about the middle of the 18th century, and drew many of the buildings in Ireland, especially in Dublta, which were engraved by Mayell and others. O NEAL, Jeffrey Hamet, landscape painter. Born in Ireland. Practised in London during many years. He painted landscapes, birds, flowers, small conversa tion pieces, with sometimes a miniature, and contributed for several years to the 316 Spring Gardens' Exhibition. He hved up to the end of the 18th century. O'NEILL, Hugh, architectural drafts man. Bom ta Bloomsbury, April 20, 1784, the son of an architect who built part of Portland Place. He was one of the young artists who found a friend M Dr. Monro, who gave him access to his collections. He had a good knowledge of perspective. He spent his early days chiefly iu Oxford, but was weU known in Edinburgh, Bath, and Bristol. In these cities he taught drawing, and made many carefully-finished drawings, and above 500 sketches of the architectural antiquities of Bristol alone, fie died in that city April 7, 1824. Some of his sketches of the ruins of Christ Church, Oxford, were published 1809 ; and 50 of his ' Sketches of Antiquities in Bristol ' were pubhshed in etching, by J. Skelton, F.S.A., 1826. OPIfi, John, R.A., historical and por trait painter. Was born at St. Agnes, near Truro, in May, 1761, the son of the village carpenter, a respectable man, who intended him to continue the family trade. He gave early proofs of a strong under standing, and an attachment to drawing, which was secretly encouraged by his mother, and though at first checked by his father, he was at length allowed to follow. He soon made sufficient progress to get employment travelhng about the neighbour hood as a portrait painter, and at Truro attracted the notice of Dr. Wolcott (Peter Pindar), who befriended Mm, and about 1780 brought him to London, on an arrange ment to divide the profits of his work, and introduced him as ' The Cornish Wonder.' ' The Cornish boy in the tin mines bred, Whose native genius like his diamonds shone In secret, tiU chance gave Mm to the sun.' Opie's compact with Dr. Wolcott soon came to an end, and in December 1782 he married his first wife, the daughter of a respectable citizen, who proved unfaitliful, and he obtained a divorce in 1796. His first works exhibited ta London, commenc ing ta 1782, were studies of heads and portraits, and ta 1786 he added three sub ject pictures, ' The Assassination of James I. of Scotland,' ' A Sleeping Nymph,' and ' Cupid Stealing a Kiss.' In the next year he exhibited bis great work, ' The Murder of David Rizzio. His progress had been marked and rapid. He was at once, 1787, elected an associate, and ta the following spring, 1788, a full member of the Academy. How fully he was employed ta portraiture at this time appears from the fact that in the following seven years he exhibited at the Academy 20 pictures, all of which were portraits. But from 1796, without aban doning portraiture, he exhibited many sub ject pictures, and was engaged ta Boydell's 'Kr Orme, of Pant on Street, HaynarKe t, pupil to the late l'r. J. ii. Sherwin, is appointed Eistorioal Engraver to his Royal Highness the prince of wales1 (London Chronicle 14-6 Oct. 1790, Ixviii. £7rn OPI OTT great series of Shakespeare illustrations, to which he contributed five pictures, increas ing in power ta the progress of the work. On their completion he had agata to rely more on portraiture for his chief means of support ; and availing himself of some introductions at Norwich, he met there the clever Ameha Alderson, who became his second wife, and ta her memoir of him tells of the painful struggles, and the persever ance with which he strove to gain a com petence ; and that, stimulated to efforts beyond his strength, taking no rest, a disease affecting the brain ensued. He died AprU 9, 1807, and was buried with some pomp ta St. Paul's Cathedral. He was .a man of great natural intellect ual powers, and early devoted himself to supply the defects of his education. Literary men, highly qualified to judge, were greatly impressed with his knowledge and power of thinking and expressing himself ta con versation. His first work was a ' Memoir of Reynolds,' in Watkin's edition of Pilktag- ton. He then published a letter on the ' Cultivation of the Arts of Design ta Eng land.' He delivered four lectures on Art at the Royal Institution, and on his election in 1805 as Professor of Painting at the Royal Academy he lectured on design, invention, ctaaro-scuro, and colour. These four lectures were pubhshed after his death, with a memoir, by his widow, who enjoyed a high hterary reputation. As an artist his works prove Ms great genius and ori ginal powers. His ' David Rizzio ' is full of vigour and freshness, though coarse and slovenly ta execution, and marred by many faults. Later his compositions were more simple, Ms hght and shade better under stood, and his works have a vigorous and manly strength which contrasts with the feeble inanities of many of his contem poraries. He had no feehng for female beauty. His forte was the grand and terrible. OPIE, or Oppet, portrait painter. He was bom ta Cornwall, and of humble origin, but is beheved not to have been any connexion of the foregoing John Opie. He was self-taught. He exhibited with i the Incorporated Society of Artists ta 1780, and is described 'Master Oppey, Penryn —a boy's head, an instance of genius, not having seen a picture.' His work was rtatedat the time to have been good both for colour and expression, and he attracted ;ome notice, but he died young ta Maryle- me, November 25, 1785. ORAM, William, called 'Old Oram,' andscape painter. Was educated as an rctateet, but took to landscape painting, nd practised ta the manner of Wootton, jwards the middle of the 18th centuiy. ^n those sterile days he was of some dis tinction. Sir Edward Walpole had several of his drawings and paintings, and by his influence he was appomted Surveyor of the Board of Works, and, ta 1748, Master Carpenter of all his Majesty's Works. He was much employed in the decoration of halls, staircases, and the panels over chimney pieces, as was then the fashion. ORAM, Edward, landscape painter. Son of the above, He was an assistant to De Loutherbourg, and practised in London in the last half of the 18th century. He designed a triumphal arch (which was en graved) for the coronation of George IIL, and the scenery for the Well-close Square Theatre. Iu 1766 he exhibited with the Incorporated Society of Artists, and for the M'st time at the Academy in 1775, and then and ta succeeding years contributed small landscapes, views, and morning and evening effects up to 1790, and agata in 1798-99, after which his name no longer appears in the catalogues. He published, ta 1810, ' Precepts and Practice on the Art of Colouring in Landscape Painting,' with plates. ORCHYERDE, William, architect. Was the architect of the extensive build ings of Magdalen College, Oxford, 1473- 1485, under the direction of Bishop Waynfleet, the founder. ORDE, Thomas, amateur. Born in 1746. When an undergraduate at Cam bridge he etched some caricatures — ' A Cambridge Concert,' and some Cambridge characters. He also etched some family portraits. There is a burlesque of Voltaire by him signed 'T. O., fecit. 1772.' He assumed the name of Powlett ta addition to Orde ta 1795. He was secretary to the Duke of Rutland when Lord Lieutenant of Ireland, and was created Baron Bolton in 1797- He died July 30, 1807, ta his 61st year. ' OREWELL, John, medallist. He held the office of graver to the Royal Mint from the 10th to the 19th, Henry VI. ¦b- ORME, Daniel, enc/raver and minia ture painter. Practised ta London about the end of the 18th century. Commencing in 1797, he exhibited many miniature por traits, with one or two in oil, at the Aca demy, his last contribution being in 1801. He engraved in the clot manner portraits of the chief heroes of the time, with some battle-pieces, and from a picture painted by himself, 'Alexander the Great and Thais.' OSBORN, J "ohn, portrait painter. An English artist of the 17th centuiy, who practised at Amsterdam. There is a por trait by him of Frederick Prince of Orange. OTTLBY, William Young, amateur. Born at Thatcbam near Newbury, August 6, 1771. Son of an officer in the Guards. From his love of art he became a pupil of Cuitt, studied in the Academy Schools, 317 OWE PAC and in 1794 was pursuing the study of art in Rome. But he is best known as a writer on art, who ffiustrated Ms works by his own etchings. He published in 1816 ' An Inquiry into the Origin and Early History of Engraving upon Copper and on Wood;' ta 1818, "The British GaUery of Pictures,' twenty selected engravtags from the Stafford Gallery ; in 1823, ' The Italian School of Design,' with etchings by him self ; in 1825, "Etchings by himself after the Paintings and Sculpture of the Floren tine School;' in 1826, ' Fac-similes of Rare Etchings by Celebrated Painters of the Italian, German, and Flemish Schools.' Some vigorous pencil and tinted drawtags by him, dated 1804, show much mastery of drawing and imagination. He was an honorary exhibitor at the R,oyal Academy on one occasion only, in 1823, of a spirited but unfinished drawing, ' The Battle of the Angels,' and was in 1833 appointed keeper of the prints in the British Museum. He ched May 26, 1836. OWEN, Samuel, water-colour painter. Born 1768. His name first appears as the exliibitor of a sea view at the Academy in 1794, followed in 1797 by the ' British and Spanish Fleets,' commanded by Sir John Jervis, and by marine subjects in 1799 and 1807. He was a member of the short-lived Society of ' Associated Artists ta Water- Colours,' founded ta 1808. He chiefly drew marine subjects. His works are carefully coloured and finished, and have much merit. He made the 83 drawings Ulus- trating Bernard Cooke's ' The Thames,' which have great pictorial interest, the shipping correctly drawu, and weU intro duced. He had long left off the practice of his art, and died at Sunbury, December 8, 1857. OWEN, The Rev. Edward Prvce, M.A., amateur. He was born in March, ] 788, and, a clergyman of the Church of England, made himself known as a painter and etcher. He pubhshed, ta 1820, ' The Ancient Buildings in Shrewsbury,' and in 1852, 50 etchings of rustic scenery, views in Shrewsbury, cattle, figm'es, &c. He died at Cheltenham, July 15, 1863. OWEN, William, R.A., portrait paint er. Was the son of a bookseller at Ludlow, where he was bom in 1769. He was edu cated at the grammar school of the town, and gave early indications of tas genius by sketcMng the scenery of its environs. In 1786 he came to London, and was admitted a student of the Academy in 1791. He was at the same time a pupU of Catton, R.A. In the following year he first exhi bited, sending a portrait, and a home re membrance, a ' View of Ludford Bridge,' but his inclination was to rustic subjects, and we find him exhibiting, 'The Blind Beggar of Bethnal Green,' ' The VUlage Schoolmistress,' 'The Fortune-teller,' and works of this class. His true, art was, however, portraiture, and in this his power increased with the number of his sitters, of whom he had a distinguished list. He was at the height of his practice in 1804, and was in that year elected an associate, and ta 1806 a fuU member of the Academy. In 1810 he was appotated portrait painter to the Prtace of Wales, and ta 1813 prin cipal portrait painter to the Prince as Prince Regent. The appointment did not add much to Ms income, which had now reached 3000?. a year. He had for some time resided ta Pimlico, and had a studio ta Leicester Square, but ta 1818 he removed to Bruton Street and united the two. Soon after his health failed ; an affection of the spine ensued, and he was confined for several years to his room, and ta the latter years unable to work. He died suddenly on February 11, 1825, from the effect of laudanum, taken tta'ough the mistake of a chemist's assistant. To Ms natural genius he added unwearied diligence. His draw ing was superficial, his painting not without powei, his colour, with a tendency to be hot and monotonous, was good, his land scape backgrounds showedfeeling and taste, and the truth and character of his portraits made Mm popular, more especiaUy ta his male portraits ; but the reputation of his own clay is not sustained in ours, and he only holds a good place in the second rank. Some of bis subject pictures were engraved and were very popular. PAAS, Cornelius, engraver. Bom in Germany. Came early in hfe to London, where he practised nearly 40 years. He was appointed engraver to George III. Died in Holborn, January 8, 1806, aged 65. PACK, Christopher, portrait painter. Was born at Norwich in 1750, the son of a Norwich merchant of an old family. He 318 was engaged there in trade and amused himself by patating. His affairs suffering a reverse, he sought tas support from the practice of art. fie gataed an introduction to Sir Joshua Reynolds, and in 1781 made some good copies from his works. But his health failed, and he returned to Norwich, where he practised as a portrait patater, PAD PAP and then went to Liverpool, in 1787 return ing to London. He then went, on an in vitation, to Dublta, where he was successful as a portrait painter, and afterwards re turned to London about 1796, exhibiting at the Academy in that year, and continuing to practice with some repute ; but he does not appear again as an exMbitor. PADUA, John op, architect. See Thorpe, John. PAEST, Henry, portrait painter and copyist. He practised in the reign of Charles IL, and found employment under Barlow and Henry Stone. There is a copy of Lucca Giordano's 'Cyclops' by Mm, wMch was in the royal coUection at St. James's Palace. PAINE, James, architect. Was a student in the St. Martin's Lane Academy, and attained the power of drawtag both the figure and ornament weU, and was the designer of the ornament for his own works. He was a member of the Artists' Com mittee appotated 1755 to plan the estab lishment of a Royal Academy. In 1765 he buUt an exhibition room for the Society of Arts, and about the same time rebMlt Salisbury Street, Strand. He erected several fine mansions, among tas earliest, NosteU Priory, Yorkshire, simple but heavy ta character ; also Wardour Castle, WUts, Worksop Notts, Thorndon HaU Essex, and the mansion at Whitehall known as Dover House. He was clerk of the works at Greenwich Hospital, and was appotated architect to the King, but Ms office was one of those abolished by Mr. Burke's act. He was an influential mem ber of the Incorporated Society of Artists in 1765, afterwards president, and for several years exhibited Ms designs with the Society, but Ms presidency was the cause of great recrimination and Ul-wiU. He exhibited ta 1781 at the Royal Aca demy his design for a national monument to the Earl of Chatham. He published in 1775, 'Plans of Doncaster;' and in 1783, his 'Plans and Elevations of Noblemen's and other Houses,' with 176 plates. He hved ta a spacious house which he had built for himself ta St. Martin's Lane, and then removed to the neighbourhood of Chertsey, where he had a fine coUection of drawings, and ta 1783 was high sheriff for Surrey. He retired to France and died there in 1789, in his 73rd year. There is now a good portrait of him and his son in "Dmversity Gallery, Oxford. His daughter married TiUy Kettle, the painter. PAINE, James, water-colour drafts man. Son of the above. Was a member of the St. Martin's Lane Academy, and exhibited stained drawings at the Spring Gardens' Exhibitions, 1761-64-70. PALMER, Sir James, amateur. Was a favourite in the household of Charles I. and Deputy Chancellor of the Order of the Garter, fie copied several of the pictures in the Royal collection; among them, Titian's "Tarquin and Lucretia.' These copies were probably 'limnings.' He is also said to have painted a ' Feast of Bac chus.' He was an agent for the purchase of some pictures for the King. PAP WORTH, George, R.H.A., archi tect. He was born ta London about 1781, and was first employed in the office of an elder brother, in 1804 he went to North ampton, and in 1806 to Dublin, where he settled. He was for some time engaged to superintend the manufacture of stone tubes for piping, and made some inventions, which were profitable to him; and from 1812-18 was employed as an architect and arbitrator. His reputation increased, and he erected several public buildings ; among them the King's Bridge, a novel, light hon structure, over the Liffey. In 1831 he was elected a member of the Royal Hibernian Academy. In 1851 he buUt the Museum of Irish Industry at Dublta. Died there March 14, 1855. PAP WORTH, John Buonarotti, architect. Elder brother of the foregoing George Papworth. He was an exhibitor at the Academy from 1816-41, chiefly of architectural designs. About 1823 he was appotated architect to the King of Wurtem- burg, for whom he designed a palace ; and on the establishment of the Government School of Design in 1837, he was appointed the director, and he fitted up and arranged the schools. He also made designs for fur niture, and was occasionally employed ta the embelhshment of gardens. Was a vice-president of the Royal Institute of British Architects. He published an essay on ' The Dry Rot in Timber ' 1803 ; .' Hints on Ornamental Gardening, 1834; 'Hints on Rural Architecture.' After 50 years' practice he retired to St. Neots, where he died June 16, 1847. PAPWORTH, John Thomas, R.H.A., architect. Eldest son of the above, was bom ta 1813, aud was professor of Archi tecture ta the Royal Dublta Society, and secretary to the Institute of Irish Archi tects, fie died prematurely ta Paris, in October 1841, aged 27. PAPWORTH, John Woody, architect. Son of the foregoing J. Buonarotti Pap worth, was bom ta Marylebone, March 4, 1820, and at the age of 16 entered Ms father's office. On the opening of the new Government School of Design he filled for twelve months the office of secretary to the CouncU. In 1839 he was admitted to study in the schools of the Royal Aca demy, and from that time for many years exhibited his architectural designs at the Academy ; among them, a design for the fagade of the Cathedral of Santa Maria at 319 PAP Florence, and for improving the approach to Westminster Abbey. He also made many designs for art manufactures, and wrote several suggestions and papers connected with art. fie died July 6, 1870. PAPWORTH, Edgar George, sculptor. Nephew of J. Buonarotti Papworth, and a pupil of Bucley's. He was a student of the Royal Academy, and first exMbited there ta 1832. In the following year he gained the Academy gold medal for his group, ' Leucothea presenting the Scarf to Ulysses,' and in 1834 was elected to the travelling studentship. In 1836 he sent from Rome to the Academy exhibition a 'Psyche.' In 1838 he had returned, and that year exhibited a ' Flora ' aud a head of ' Psyche.' Soon after he married a daughter of Bailey, R. A., ta whose studio he was employed. He continued to exhibit chiefly busts, statuettes, and sketch de signs. In 1856 he sent a marble figure, ' The Moabitish ¦ Maiden,' a commission from Prince Albert ; in 1 859 his last works, ' The Young Emigrant ' and ' The Bride.' He died in 1860. PARISET, D. P., engraver. Was born at Lyons in 1740. He was a pupU of Demarteau, the inventor of the chalk man ner. He came to England ta 1769, and etched for Ryland, and afterwards worked for Bartolozzi. fie engraved a series of plates of the drawings of the great masters, and portraits of English artists after Peter Falconet. PARK, Thomas, amateur engraver. Was born about 1750, and practised in mezzo-tint. He engraved 'Mrs. Jordan as the Comic Muse,' after Hoppner, 1786; ' Holman and Miss Brunton as Romeo and Juliet,' after Browne ; and also after Reynolds, Beechey, Paye, and others. PARK,Patriok, R.S.A., sculptor. Was born at Glasgow in 1809. In the earlier part of Ms career he studied M Italy. In 1840 he came to live in London, and then ¦«as first an exhibitor at the Academy. In 1841 he contributed a 'Warrior;' in 1843, ' Hector,' a colossal statue, sending also an occasional bust ; in 1850 lie sent busts for exhibition from Edinburgh; in 1853 and the two next years from Manchester. He excelled as a bust modeller, Ms works embodying character and tenderness. He was elected a member of the Royal Scottish Academy ta 1850. He died in the prime of life at Warrington, August 18, 1855. PARKE, Robert, architect. Practised in Dublin, and between 1787-94 made con siderable additions to the exterior of the Irish House of Commons, adcUng a fine Ionic portico to the western entrance. PARKE, Henry, architect. Was ori ginally intended for the bar and received a good classical and mathematical education. lie then became the pupil of Sir John Soane, 320 PAE and travelled to complete his studies, visit ing Italy and Egypt. He brought home many original measured drawings of the monuments of these countries. In 1830 he exhibited at the Academy an ' Interior of a Sepulchral Chamber,' a clever work, and in 1831 an excehent drawtag of the ' Tem ples in the Island of PhUce.' He painted both in oil and water-colours, and made some elaborately finished views, which were powerful both ta effect and colour, and some naval drawings of much ability. A large collection of his drawings is deposited ta the Institute of British Architects. He was engaged by his brother architects to design the medal which they presented to Sir John Soane. He died May 5, 1835, aged about 45. Many of his works were sold by auction at Sotheby's in May 1836. PARKER, Frederick, wood-engraver. Son of Mr. John Parker, the publisher. Was of much promise. Died young, De cember 16, 1847. PARKER, James, engraver. Bom 1750. PupU of Basire. He joined WiUiam Blake in a print shop ta 1784, but on some dis agreement quitted tarn ttaee years after. fie was chiefly employed ta the illustration of books, and his plates were greatly es teemed. He engraved, after Stothard, for the 'Vicar of Wakefield,' 1792, and 'Fal coner's Shipwreck,' 1795. He also engraved after Flaxman, Smirke, Northcote, and for Boydell's 'Shakespeare.' He worked chiefly in the line manner, was neat and careful iu his execution, but wanting ta power. He was one of the founders and a governor of the Society of Engravers. He died suddenly May 26, 1805, and was buried at St. Cle ment's Lanes, burial-ground. PARKER, John, history and portrait painter. Bom about 1730. He went to Rome to study, resided there several years, and painted an altar-piece for the Church of St. Gregorio, Monte Celio^ about 1762 he returned to England, and in the foUowtag year exhibited with the Free Society of Artists, of which he was a member, ' The Assassination of Rizzio,' and his own por trait. He died soon after at Paddington, it is said, in 1765. PARICER, John, landscape painter. Studied in the Duke of Richmond's gallery, and received some instructions from the Smiths of Chichester. In 1765-66 he ex hibited landscapes and flowers with the Free Society, fie went to Rome, where he was about 1768. He had returned to Eng land in 1770, and then in the following year exhibited landscapes at the Academy. In 1776 he exhibited, for the last time, three small landscapes, introducing subjects from classic story. PARKES, David, amateur. Bom at Hales Owen, Shropshire, February 21, 1763. He was educated in the vffiage school, and PAE PAE afterwards was a schoolmaster at Shrews bury. He sketched in water-colours the churches and antiquities of the county with much knowledge and correctness, and was for many years a well-known contributor of drawings and antiquarian papers to the 'Gentleman's Magazine.' fie died at Shrewsbury, May 8, 1833. PARKES, James, draftsman. Son of the above. Practised as a drawing-master at SMewsbury. He etched 12 views of monastic and other remains in ShropsMre, wliich were published ta 1829. Died March 31, 1828, aged 34. PARKINSON, Thomas, portrait and subject painter. He practised in the last quarter of the 18th century, and painted portraits and theatrical groups. He exhi bited at the Academy, ta 1775, a good group from ' She Stoops to Conquer,' ta the manner of Zoffany (mezzo-tinted by R. Laurie), foUowed by a scene from ' Cymon,' 1775, a scene from the ' Duenna,' 1 776. He was thenceforth chiefly employed in portrait ure, continuing an exhibitor up to 1789. PARMEN'TIER, James, history and portrait painter. Bom ta France, 1658. Was the nephew and pupil of Sebastian Bourdon, fie came to England in 1676 and was employed by La Fosse to assist ta his works at Montague House. WUham III. sent him to Holland to ornament his palace at Loo. But he quarreUed with the surveyor, and on Ms return, not finding employment ta London, he went tato York shire, where he hved several years, painting portraits and some historical works, an altar-piece at HuU, and another at St. Peter's Church, Leeds. The staircase at Worksop is by him, and at Painters' Hall, London, is his picture of ' Diana and En- dymion.' On the death of old Laguerre ta 1721, he hoped to find more encouragement, and then settled in London, where he died, in indifferent circumstances, December 2, 1730, and was buried at St. Paul's, Covent Garden. PARR, Remi, engraver. Born at Roches ter in 1723. Leamt the rudiments of his art in London, and then studied on the con tinent. He engraved portraits and book plates ; horses after Seymour, Wootton, and Tillemans, and many humorous plates, with several works of an architectural character ; ' Views of the remarkable Buildings ta Flo rence,' 1750 ; ' Views of St. Paul's ; ' ' View of London from under the Arch of West minster Bridge ' 1757, and a ' South-east View from the Bridge.' PARRIS, Edmund Thomas, portrait and history painter. Was bom June 4, 1793, and first exhibited at the Royal Aca demy ta 1816. He painted the gigantic panorama of London at the Coliseum, ta the Regent's Park, which occupied Mm from 1825 to 1829, and wMch was afterwards removed to New York. He was appointed historical paMter to Queen Adelaide in 1 838. He patated a portrait of Queen Victoria, and ta 1839 her Coronation, from both of which engravtags have been published. In 1843 he took a prize for his cartoon of ' Joseph of Arimathea converting the Jews,' at the competitive exhibition at Guildhall. From 1853 to 1856 he was employed in restoring the pictures of Sir James Thornhill in the dome of St. Paul's Cathedral, a work of great labour and difficulty. He died November 9, 1873. PARRY, William, A.R.A., portrait painter. He was born in London, 1742. Son of the celebrated blind harper. Studied at St. Martin's Lane Academy and the Duke of Richmond's gaUery. fie gained premiums at the Society of Arts in 1760, and was one of the first students ta the Royal Academy schools. He also became a pupil of Sir Joshua Reynolds, and making good use of Ms advantages, was looked upon as of considerable promise. In 1766 he was a member of the Incorporated Society of Artists. By the assistance of Sir W. W. Wynne he went in 1770 to Italy, and returned to London in 1775, when he married. In the following year he exhi bited fuU and half-length portraits at the Royal Academy, and was elected an asso ciate. He continued to exliibit portraits- in 1777-78 and 1779, but did not meet with the employment he hoped, and, involved in annoyances by the imprudence of his wife's brother, he retired to Wales, where his wife dying, twelve months after he revisited Rome. He was again, and for the last time, an exhibitor at the Academy ta 1788. He had acquired a small fortune with his wife, and finding sufficient employment, remained at Rome till his health failing he set off home, and arrived in London only in time to die, February 13, 1791. He etched a benefit ticket for his blind father, whose hkeness it bears. PARS, William, A.R.A., portrait painter. Was the son of a chaser, and born in London in 1742. He studied in the St. Martin's Lane School, and also in the Duke of Richmond's gallery. He ex hibited at the Society of Artists in 1761, a portrait and miniatures, and was in 1763 a member of the Free Society of Artists, and in the following year obtained the Society of Arts' medal for a historical paint ing, fie was, in June of the same year, selected by the Dilettanti Society to accom pany as draftsman Dr. Chandler and Mr. Revett to Greece, and was absent till No vem- ber, 1766. On his return he accompanied Lord Palmerston totheContinent, andmade drawings at Rome, but chiefly in Switzer land and the Tyrol. In 1770 he was elected an associate of the Royal Academy, and in 1774 was chosen by the Dilettanti Society 321 PAE to complete his studies at Rome on their student's pension, and started ta the sum mer of 1775, remaining there till the autumn of 1782, when he died of fever. He was a constant exhibitor at the Academy from its establishment, chiefly of small whole-length portraits, with some life-size ; and of draw ings, stained views of temples in Asia Minor and Greece, his last contribution being sent from Rome in 1776. Woollett engraved the Mer de Glace and four other Swiss views after him, Sandby several of his views in aqua-tiut, and William Byrne a selection of his Greek drawmgs for the Dilettanti Society. PARS, Henry, draftsman and chaser. AVas the elder brother of the above. He was brought up to his father's business as a chaser. On the falling off of this trade, he was employed, about 1763, to manage the St. Martin's Lane School, which was thence called Pars' School, and ta connexion with which his name became well known. In this employment he conttaued till his death, ta his 73rd year, May 7, 1806. His brother, Albert Pars, was a successful modeller in wax. PARSONS, Francis, portrait painter. Student in the St. Martin's Lane Academy. He exhibited with the artists at Spring Gardens' Rooms, in 1763, a portrait of one of the Indian Chiefs then in London, and of Miss Davis as Madge ta ' Love ta a VU- lage.' He was a member of the Incorpor ated Society of Artists, 1766, but had not much success as a patater, and for many years kept a shop as picture-dealer and cleaner. McArdell engraved his Indian chiefs, and Dunkarton a portrait by him of Brindley, the engineer. PARSON, William, amateur. Bom in London, 1736. Was the son of a. buUder in Bow Lane, and was educated at St. Paul's School. At 14 he was apprenticed to an architect, and took several premiums at the Society of Arts. On the completion of his apprenticeship, he went on the stage, and became a very popular comic actor, hut he never entirely relinquished his art. He painted architectural subjects, landscapes, and fruit pieces, the latter his best produc tions. He died February 3, 1795. PARTRIDGE, John, portrait painter. He was born February 28, 1790. Little can be traced of his early career. In 1S15 he appears as an exhibitor at the Royal Academy, sending portraits in that year, and in 1817-18-19, and from that time was a regular contributor to the exliibitions. He sent on one of two occasions only a subject picture— ta 1830, ' Titania, Puck, and Bot tom ¦/ in 1836, 'Sketch of a Sketching Society, the Critical Moment.' In 1843 he exhibited two portraits, the Queen and Prince Albert, both of which were engraved ; and ta 1845 he was appointed portrait 322 PAS painter extraordinary to her Majesty and the Prince. In 1846 he exhibited for the last time, sending portraits of Lord and Lady Beauvale. fiis portraits were care fully drawn and painted, his likeness good, and his portrait of the Queen was popular. He for 30 years occupied an exceUent posi tion as a portrait painter, and made a property by his art ; but he did not attain to the first rank. He was a member of the Sketching Club. He died November 25, 1872, in his 83rd year. PA SSE (or De Passe), Crispin, engrav er. There is great uncertainty both as to the place and time of his birth. He is generaUy stated to have been bom at Utrecht, or Ameminden, about 1560. He was a man of letters, and early studied art. He was invited to Paris to teach drawing, and from thence came to England, where he executed numerous works, both portraits and subjects from tas own designs and after various masters. He drew the figure weU, and the extremities with much knowledge. He worked entirely with the graver, in a fine clear style, but hard. His portraits, many of which he drew from the life, are his best works. Among his English por traits are Queen Elizabeth ta a sumptuous di'ess ; James I., Henry Prtace of Wales, and his brother Charles, the Count Palatine and Elizabeth his wife. Vertue supposes he left England before 1635, as none of his works dated here are after that year. He pubhshed ta four languages a book on the art of painting and drawing. He also illustrated with sixty plates, ta folio, ' In struction du Roi en l'Exercise de monter a Cheval.' PASSE (or De Passe), Crispin, engrav er. Eldest son and pupil of the above. There are a few plates by his hand ; but so little is known of him — not even the fact that he practised his art in England — that his place in this work is questionable. PASSE (or De Passe), Magdalen, engraver. Daughter of the elder Crispin. Was born at Utrecht, 1583. She practised about 1620 in the same manner as the rest of her family, using the graver only, and ta a neat literal style. There is a portrait by her of Catherine Duchess of Buckingham, some plates after classic pictures, and land scapes. She worked ta Germany and Den mark as well as ta this country. PASSE (or De Passe), Simon, engrav er. Born at Utrecht, 1591. Son of the elder Crispin, with whom he is supposed to have come to England. His earliest work here is dated 1613. He engraved the por traits of many disttaguished persons, among them a whole-length of Queen Elizabeth ; several portraits of James I. ; his Queen on horseback, with a view of Windsor, dated 1617; Prince Henry; Vilhers Duke of Buckingham, 1617 ; Carr Earl of Somerset PAW and his Countess. He practised ta England about ten years, and then went to Copen hagen in the service of the King of Den mark, and died there soon after 1644. PASSE (or De Passe), William, en graver. Was the eldest son of Crispin. Born at Utrecht, about 1590. Some of his best works are dated London, and were executed between 1620-27. His works are very numerous, some of them from the life, and are rare and much esteemed. He engraved James I., with his family; the Bohemian family, signed ' WiU. Pass, fecit ad vivum figurator, 1621 ;' Frances Duchess of Richmond and Lennox, 1625, with many others. PASTORINI, Benedict, engraver. An Itahan, who practised in London ta the latter part of the 18th century. He had some instruction from Bartolozzi and en graved ta his manner. He worked after Angelica Kauffman, Rigaud, and others. He was one of the governors of the Society of Engravers, founded 1803. PASTORINI, J., miniature painter. He was an occasional exhibitor at the Royal Academy from 1812 to 1826, and died in Newman Street, August 3, 1839, aged 66. PATCH, Cozens, subject painter. There is at Petworth a patating m the Hogarth manner, and of the same period, by an artist of this name. PATCH, Thomas, engraver and paint er, fie went to Italy with Sir Joshua Reynolds, and is supposed to have died there some time after 1772. He engraved a series of caricatures, dated 1768-70 ; 26 folio plates after the frescoes of Masaccio ; GMberti's Baptistery Gates ; Studies from Fra Bartolommeo, 1771 ; two landscapes after Poussin. He also painted some land scapes and figures, and there is a large plate of Florence, weU drawn and etched, by him.' In the Royal Collection at Hampton Court there are two pictures by this artist. PAT ON, David, portrait painter. Practised ta Scotland about the middle of the 18th century. He patated miniatures in black and white, drew many small por traits, and copied hkenesses from pictures, finishing the draperies and accessories with great minuteness. His portraits are simple and pleasing, and he had for his sitters persons of disttaction. Some of his portraits are engraved. Robert White engraved his portrait of Sir James Dalrymple of Stair, president of the Court of Session. PATON, Richard, marine painter. He is said to have been born in a low sphere of life, and was found a poor boy on Tower Hill by Admiral Sir Richard Knowles, who took him to sea. How he gained a knowledge of art is unknown. He patated the Lord Mayor's Show by water, the figures by Wheatley, a picture which is now ta the GmldhaU. He exMbited, 1762-68, with Y PAX the Incorporated Society of Artists, of which he was a vice-president, but after a very angry correspondence, resigned his membership in 1771. In 1774 he finished a set of views, the figures by Mortimer, of Count Orloff's victory over the Turks. He also painted four excellent views of the dockyards, broad and rich in colour, in one a ship on fire, the effect cleverly managed. These four works are now at Hampton Court Palace. From 1776 to 1780 he was a large contributor to the exhibitions at the Royal Academy. His works were engraved by Woollett, Fittler, Canot, and others, and there are three marine views etched by himself. He held for many years an office in the Excise, and rose to be the general accountant, but of early habits, he managed to continue his art. fie died ta Wardour Street, Soho, after a long and painful Ul- ness, March 7, 1791, aged 74. PATTEN, George, A.R.A., portrait and history painter. Born June 29, 1 80 1 . He was of a family of artists, and entering the schools of the Academy in 1816, studied first as a miniature patater, and practised that art till 1830. fie then painted life- size portraits in oil, and some subject pic tures. In 1837 he went to Italy, and visited the chief art cities, and was elected an associate of the Academy in the same year. In 1840 he visited Germany, and painted there the portrait of Prtace Albert, who subsequently appotated him his por trait-painter in ordinary. He painted many full-length portraits for presentation to different institutions, and a number of classical, with two or three scriptural, sub jects, fie was a large contributor to the exhibitions of the Academy from 1819 to his death. Though he had been a diligent and laborious student, and had acquired great power as a patater, he failed to attain that excellence which would have gained him the membership of the Academy. He had resided the latter part of his life at Ross, in Herefordshire, but returned to the neighbourhood of the metropolis, where he died, March 11, 1865. PAUL, J. S., engraver. Practised in mezzo-tint in the latter half of the 18th century. There is a portrait by Mm of Mrs. Barry, the actress, after Kettle, some portraits after Reynolds, and a ' Conversa tion ' after Jan Steen. His works possess much ability. PAUL, Robert, engraver. Studied at the Glasgow Academy and practised in that city, of which there are several views slightly etched by Mm, and a north view of the Cathedral Church, dated 1762. PAXTON, John, portrait and history painter. He is believed to have been in structed ta Foulis' Academy, at Glasgow. He was a member of the Incorporated Society of Artists, 1766, and sent from 2 323 PAT Rome to their exhibition in that year, ' Samson in Distress,' and in London, ta 1772 and 1773, was also a contributor. To the first exhibition of the Royal Academy, 1769, he sent a small whole-length por trait, a boy in the character of Cupid, and a girl playing on a musical instrument. His portraits were well patated and fin ished, and gained him a reputation. He afterwards went to the East Indies, and died in Bombay, in 1780. PA YE, Richard Morton, subject painter. Was born at Botley, in Kent, and first employed in London as a chaser. He was soon distinguished by the fine sculpturesque manner of his classic and allegorical groups. He also occasionally practised painting. His easel pictures were carefully finished, his light and shade excellent, but his painting woolly. His subjects were chiefly domestic and familiar, for his feelings were now roused by family cares, aud he for a time enjoyed some popularity. But few of his works are known. His ' Miraculous Increase of the Widow's Oil,' in which he introduced his wife and some of his chUdren, is said to have been sold as a Velasquez, and another picture by Mm as a Wright of Derby. In 1773 he exhibited at the Royal Academy both portraits in oil and wax models, and the same in the following year. He was a contributor in 1783 to the extabition of the Incorporated Society and of the Free So ciety. In 1787 seme emblematical designs by him were published in the 'Artists' Repository.' When Dr. Wolcott quarrelled with Opie he took up Paye, lodged him ta his house, and praised and flattered him, but the con nexion was soon dissolved. He painted a loutish stupid lad, said to be a natural son of the doctor, which he exhibited at the Academy in 1785, as 'Portrait of a Sulky Boy.' This was supposed one cause of quarrel ; and he satirised the doctor in a sketch as a bear seated at an easel. His employment was precarious. He tried modelling, oil painting, miniature painting, and engraving to procure a subsistence. Shy and diffident in his habits, be did not mix with his brother artists, or in any other society. He was soon known to be in difficulties. His powers began to faU. He suffered from rheumatic fever, followed by an attack which paralysed Ids right hand, and, stimulated by necessity, he learned to work with his left ; but em barrassed by poverty and neglect, he fell tato obscurity. He did not exhibit after 1802, and was lost sight of by his friends. The date of his death even is unknown, but it has been traced with tolerable ac curacy to have happened in December 1821. Many of his pictures were engraved by J. Young, who befriended him. Val. 324 PEA Green engraved, in 1783, his, 'Child of Sorrow,' and two or ttaee others ; and he himself engraved, after his own pictures, ' Puss ta Durance,' and ' No Dance, no Supper.' PAYE, Miss, miniature painter. Lived for several years with the above, and was probably his daughter. She was an ex hibitor at the Royal Academy, commenc ing in 1798, and ampng her works were the portraits of many persons of rank. She exhibited in 1800^ 'L'Allegro-' 1801, ' Cupid ; ' 1803, ' Sylvia ; ' 1805, ' Mrs. Sid dons,' with many others, but ceased to exhibit in 1807. PAYNE, John, engraver. Was a pupil of Simon de Passe. His chief works are frontispieces, book-plates, and portraits ; but he also engraved landscapes, animals, birds, fruit, and flowers. He is reputed to have been the first English artist who practised line engraving. Evelyn com mends tas portraits, and also a very large plate by him of Phineas Pett's 'Royal Sovereign.' Walpole says he was an idle genius, who neglected the fame and for tune which his talent would have secured him, and died in tadigence, before the age of 40, shortly before 1648. A plate by him is dated ' London, 1620.' His works are prized by coUectors. PAYNE, William, water-colour paint er. He originally held a civU appointment ta the engineers' department at Plymouth, and, having a love of art, pursued it him self, and, self-taught, struck out a new style, fie resided at Plymouth ta 1786, and in that year sent to the Academy exhibition some views of the neighbouring scenery. He had great dexterity of hand, working with the brush, almost excluding outline. His colour was brilliant, his style marked by vivid effects of sunshine and light and shade produced by the opposition of warm colours and grey aerial tints. He exMbited at the Spring Gardens' Rooms in 1776 and in 1790, when he came to reside in London, and was soon the fashionable teacher of the day. But he was seduced further and further from nature by his great facility, and fell into a mere man nerist. He was, in 1809, elected an asso ciate exhibitor of the Water-Colour Society, but appears to have withdrawn in 1813, with other seceders, when a change was made in the constitution of the society. Sir Joshua Reynolds spoke in Mgh terms of some small drawings made by lnta of the slate quarries at Plympton. PEACHAM, Henry, amateur. Born at South Minims, near St. Albans. Studied at Trinity College, Cambridge, and took the degree of M.A. He was for a time a teacher at the Free School at Wymondham, Norfolk, and then became tutor to the chUdren of Lord Arundel, and accompanied PEA PEA Mm to the Low Countries. Afterwards he visited Italy. He was distinguished for his attainments ta music, painting, and engraving, and was deemed both a scholar and an artist. He took hkenesses, and engraved a portrait after Holbein. He published 'The Complete Gentleman,' 1634, wMch, among other matters, gives instruc tion for drawing and painting, and was much studied by the younger gentry of that age, though it does not seem probable that they would gain much art knowledge from it. He also published 'The Gentleman's Exercise, or An Exquisite Practice as well for Drawing all maimer of Beasts ta then- true Portraiture; as also the making of Colours for Limning, Patating, Tricking and Blazoning of Coats of Arms, 1630.' He is supposed to have died about 1650. PEACKE, Edward, 1 engravers. Prac- PEACKEJ Robert, j tised about the middle of the 17th century, working to gether. There are by them several plates of friezes and architectural ornaments. PEACKE, William, engraver and painter. There are some portraits by an artist of this name, who practised ta the reign of James I. PEAK, James, engraver and drafts man. Was bom about 1730, and brought up ta London. He was employed by Alderman BoydeU, and engraved land scapes after Claude, R. Wilson, the Smiths of CMchester, PiUement, and others. There are also several spirited painter-like etch ings by him. fiis numerous works are much esteemed. He died about 1782. P E A K E , Sir Robert, Knt., painter and engraver. He was brought up as an engraver, and, as was common at that day, was also a printseUer. He was a good draftsman, and patated portraits in mmia ture. He painted for King James, ta 1612, ttaee portraits, for which he was paid 20?. ; and he engraved the portrait; — supposed from his own drawtag — of Charles I., with his family. In the revolutionary war he took the royal side, and held a com mission as lieutenant-colonel under the brave Marquess of Winchester. He was present at the siege of Bastag House, and was made a prisoner. He was knighted by Charles at Oxford, ta March 1645. He died ta 1667, aged about 75, and was buried in St. Sepulchre's, London. Faithorne and Dobson were his pupUs. ; PEARCE, William, portrait painter. Bom in London, about the middle of the 18th centuiy, and at its close exhibited one or two portraits at the Academy. He also patated some rustic subjects, and C. Turner engraved 'The MUkmaid' after him. PEARCE, Sir Edward Lovett, archi tect. He held the office of ' engineer and surveyor-general ' in Dublta, and, in 1729, designed and commenced the Parliament House, a noble piece of architecture, though the design has been attributed to Castells. He also designed the theatre in Aungier Street, a fine work. He died in 1733, and was buried in the old churchyard of Donny- brook, near Dublta. PEARSON, James, glass painter. Was born in Dublta. Learnt his art in Bristol. In 1776 he completed the window at Braze- nose College, Oxford, of ' Christ and the Four Evangelists,' after the designs by Mortimer ; and also executed after that artist, ' The Raising of the Brazen Serpent ta the Wilderness,' for the great window at Sahsbury Cathedral. He also patated some designs after Barry, R.A. The altar- wtadow ta Aldersgate Church, London, is by him. He married a daughter of Paterson, the weU- known book auctioneer. He died in 1805. PEARSON, Eglington Margaret, glass painter. Daughter of Samuel Pater son, the bibliopolist auctioneer, and origi nator of the noted Darien Scheme. She married the foregoing James Pearson, and assisted him ta his paintings. She was much reputed for her work, especially her copies after the cartoons of Raphael. Of these she made two sets, and commenced a third ta 1821, but her close application brought on a complaint which ended ta her death on February 14, 1823. PEARSON, Mrs. Charles, portrait painter. Her maiden name was Dutton. She married early in life Mr. Pearson, the city solicitor, and later, member of Parliament. She exhibited portraits at the Royal Academy from 1821 to 1837, sending ta the years 1836-37 a portrait of the Lord Mayor, and exhibited once more in 1842, again a portrait of the Lord Mayor. She died AprU 15, 1871, aged 72. PEART (or Paert), Henry, copyist and portrait painter. PupU of Barlow, and afterwards of Henry Stone. He was an indifferent artist, chiefly employed as a copyist, and copied most of the historical pictures ta the royal collections. He died ta 1697 or 1698. A portrait by him of a Morocco ambassador, 1682, was engraved. PEART, Charles, sculptor. His origi nal practice was as a modeller in wax. He obtained the Royal Academy gold medal ta 1782, for his group of ' Hercules and Om- phale,' and from that time was an occasional exhibitor at the Academy of a classic work ta plaster. In 1784, 'Prometheus ;' 1787, ' Neptune and Amphitrite ; ' but his chief practice appears to have been smaU por traits in wax. He was an exhibitor from 1778 to 1797. PEAT, T., portrait painter. He prac tised ta the latter half of the 18th century, and was an imitator of Reynolds, but his practice was chiefly as a patater in minia ture, sometimes ta enamel. He exhibited 325 PEC at the Academy from 1791 to 1805. Miss M. Peat, his sister, painted miniature, and was an exhibitor ta 1796-97. PECK ITT, William (known as 'Peckitt of York '), glass painter. Was born ta April 1731, at Hursthwaite, in the North Riding, and was a pupil of Price. He was inferior to his predecessors in the art, but, a good chemist, he attained great brilliancy of colour. He commenced glass-painting in York in 1751. Between 1765-77 he com pleted the windows of the north side of New College Chapel, with apocryphal portraits. In 1767 he put up at Oriel College, 'The Presentation of Christ in the Temple,' from the design of Dr. WaU, a physician, who amused himself by painting. In the library at Trinity College, Cambridge, he painted from an allegorical design by Cipriani, a wtadow, consisting of 140 square feet of glass, for winch he was paid 500?. There are also some specimens of his work ta York Minster and ta the City Town HaU. He died at York, October 15, 1795, in tas 65th year. PELHAM, Henry, history and minia ture painter. He resided with Copley, R.A., was most probably Ms pupil, and while under him exhibited at the Academy, in 1777, his first contribution, ' The Find ing of Moses,' which was finely engraved by W. Ward in 1787. At the same time, and ta the following year, he exhibited someminiatures ta enamel and water-colour, after which there is no further trace of Ms works. PELHAM, Peter, engraver. Born ta London about 1684, and practised there early ta the following century. There are many fine mezzo-ttat plates by him, among them Cromwell after Walker, George I. and George II. , and others after KneUer. He died about 1738. PELHAM, J. O, portrait painter. Was the son of the above, and was born about 1721. He practised ta London, painting portraits, and occasionaUy an historical subject. PELTRO, John, engraver. In 1779 he exhibited with the Free Society some en gravtags after Taverner and others. He found his chief employment in engraving, after the designs of Repton, the miniature views of gentlemen's seats, for the annual ' Polite Repository.' He died at Hendon, August 5, 180s, aged 48. PEMBROKE, Thomas, historical paint er. Born 1702. Was a pupU of Laroon, whose manner he imitated. He patated several pictures for the Earl of Bath, and J. Smith mezzo-tinted after him ' Hagar and Isbmael,' which was published by Boy deU. He died in 1730, aged 28. PEN, Jacob, a Dutch painter. A good draftsman aud colourist, who came to this country, where only his works are known, 326 PEN and was cMefly employed by Charles II. He died in 1678. PENLEY, Aaron Edwin, water-colour painter. He first appears ta 1835 as an exhibitor of portraits in water-colours at the Royal Academy, and continued an occa sional contributor up to 1857, sending ta 1842 a ' Flower Girl,' and ta 1850 a ' Welsh Peasant Girl.' He was elected a member of the new Water-Colour Society (now the Institute) ta 1838, and exMbited with them, but feeling his works did not receive in the exhibitions the place due to their merit, he withdrew from the Society ta 1856. In 1851 he was appotated professor of drawta" at the Addiscombe East India CoUege, and fiUed that office tiU the dissolution of the College. He also held, till his death, a simhar appointment at the Woolwich Mili tary Academy, and was water-colour painter to WUham IV. and Queen Adelaide. In 1864 a reward was advertised ta one of the London daUy papers for any taformation respecting him, living or dead. What this related to does not appear. His death took place suddenly at Lewisham, January 15, 1870, ta his 64th year. His coUection and works were sold at Christie's in the follow ing AprU. He was the author of 'The Elemeuts of Perspective,' 1851 ; ' The Eng lish School of Painting ta Water-Colours,' 1861 ; and ' Sketching from Nature ta Water-Colours,' 1869. PENNACOHI, Girolamo (caUed Da Trevige), painter and architect. He was bom at Trevigi ta 1508. An imitator of Raphael, he became a good portrait patater, and practised with disttaction ta several cities ta Italy. He then came to England and entered the service of Henry VIII., who employed him chiefly as an architect and engineer. He was tailed when serving the king before Boulogne in 1544. PENNETHORNE, Sir James, Knt., architect. He was born at Worcester, ta June 1801, and having been educated ta that city, he came to London ta 1820, and was placed under Augustus Pugta, and afterwards under John Nash. In the autumn of 1824 he visited Italy, and after a careful course of study at Rome, he visited the other great art cities, returning to England at the end of 1826. He was then employed iu the office of Mr. Nash, who was at the time largely engaged upon Government works. In 1832 he was Mm self appointed by the Commissioners of Woods to plan some of the Metropolitan improvements then ta contemplation, and for many years was their adviser and ex ecutive officer, and ta addition to extensive street improvements, he designed Victoria, Kemitagton, and Battersea Parks. From 1840 his entire services were required by the Government, and ta 1843 he visited Ireland to report upon the construction of the workhouses. In 1845 he commenced the Museum of Economic Geology, a good example of his abihty, aud its succcess led to his employment on the Public Record Office, a very important work, wliich, com menced M 1851, occupied nearly the re mainder of Ms hfe. Among his other official works were the alteration of the Quadrant, taking away the heavy colonnade : the addition to the Ordnance Office, Pall MaU, and of a new wing to Somerset House, and the erection of the University of Lon don at the back of Burlington fiouse, his last and best work. Soon after, on some changes made in the Office of Works, he was with little notice removed, in 1870, from an appointment he had so long and with so much disttaction held, by the abohtion of his office. He received, ta 1857, the medal of the Institute of British Architects, and was also presented by the members of his profession with a special medal, ta recogni tion of Ms talent and services, followed by the honour of knighthood by the Queen on his quitting office. He died at Maiden, Surrey, September 1, 1871. PENNINGTON, James, chinapainter. He was the son of a Liverpool potter, and was apprenticed to Messrs. Wedgwood of Etruria. On the completion of tas time he was employed ta the Worcester works, when he painted a fine service for the Duke of York, with appropriate naval designs. His son, John Pennington, was apprentised to Messrs. Wedgwood of Etruria, ta 1784, to learn the art of engraving ta aqua-tint as applicable to china. PENNY, Edward, R. A., portrait and subject painter. Was born at Knutsford, Cheshire, ta 1714, and showtag an inclina tion for art, was placed under Hudson, and completed his studies ta Rome, where he was some time before 1748. On his return to England he met with much employment, painting smaU portraits ta oU. He also produced some subject pictures, several of wMch were engraved. Of these, the chief were his 'Death of General Wolfe,' the impressions of which had a great sale ; and ' The Marquis of Granby Relieving a Sick Soldier.' He also designed the Ulustrations for an edition of ' The Novelists,' which were engraved by R. Houston, fie was vice-president of the Chartered Society of Artists, and was one of the foundation members of the Royal Academy, and the first professor of patating, an office which he held tUl 1783. He was an exhibitor at the first exhibition — his early subjects from Sliakespeare and portraits. But his art degenerated tato the lesser sentiment alities, and later he fell in with the moral fashion of art at that time. In 1774 he exMbited ' The Profligate Punished,' with its proper pendant, 'The Virtuous Com forted;' ta 1782, his last contribution, PET ' The Benevolent Physician,' ' The Rapa cious Quack,' and 'The Distraint upon a Widow's Cow.' About the same time he married a lady of property, and retired to Chiswick. He died November 15, 1791. PERIGAL, Arthur, history painter. Gained the Royal Academy gold medal, 1811, for his historical painting, ' Themis- tocles taking Refuge at the Court of Admetus.' He had previously exhibited at the Academy, and in 1813 sent ' The Mother's last Embrace of her Infant Moses before placing him ta the Ark.' In 1814- 15 he did not exhibit. But in 1816 he painted agata Ms subject exhibited in 1813. In 1817 he exhibited a portrait, and iu 1821 he was living at Northampton, and exhibited for the last time, 'Going to Market.' PERRY, Francis, engraver. Was born at Abingdon, and brought up to the trade of a hosier. Afterwards he was placed under Vanderbank, the engraver, with whom he learned httle, and then under . Richardson ; but not making more progress as a painter than as an engraver, he was employed as clerk to a commissary; and foing down with him into Staffordshire, e made drawings of Lichfield Cathedral, wMch he etched, and from this time made many topographical drawtags, and resumed engraving, fie was employed for the mag azines, but could barely earn a livelihood by Ms industry. There are by him two or ttaee portraits, a series of English silver medals and coins, neatly engraved, and three or four numbers of a gold series, which he had commenced. He died iu London, January 3, 1765. PETER of Colechurch, architect. He was the chaplain of St. Mary, Colechurch, and the architect of the old London Bridge. He died in 1205. PETERS, The Rev. Matthew William, R.A., portrait and history painter. He was born in the Isle of Wight, but Ms parents removing to Ireland while he was an infant, he has been supposed to have been born there. His father held an ap pointment ta the Customs at Dublta. He was for a time a pupU of West, the master of the Academy of Design in that city. He gained a premium from the Society of Arts ta 1759. OriginaUy intended for the Church, his love of art led him twice to Rome, and he passed some months at Venice in 1773-74. While in Italy he copied the San Gierolomo at Parma, and Ms copy is over the altar of the church at Saffron Walden. He also copied, in 1782, for the Duke of Rutland, Le Bran's picture ta the Carmelite Church at Paris. He painted with success both historical sub jects and portraits. He was engaged for Boydell's Gallery, and contributed scenes from ' The Merry Wives of Windsor ' and 327 PET PET ' Much Ado about Nothing.' There is a full-length portrait by him of George IV. when Prince of Wales in Freemasons' HaU. His works were engraved by Bartolozzi, J. R. Smith, and others. He was ta 1771 elected an associate, and ta 1777 a fuU member, of the Academy. He had some years previously entered Exeter College, Oxford, but he continued to paint after he had taken his degree, and ta 1783, when he is first described as ' The Reverend ' in the catalogue, he exhibited his first sacred subject, 'An Angel carrying the Spirit of a Child to Paradise.' fie only exhibited once again, in 1785. He held successively three livings, was a prebendary of Lincoln Cathedral, and chaplain to the Prtace Regent. It does not appear whether by conscientious, or what other reasons, he was led in 1790 to resign his Academy honours, and to give up Ms professional practice, but the few paintings he after wards produced as an amateur, and did dot exhibit, were of a religious class, though some of his early engraved works were not unexceptionable in character. He died at' Brasted Place, Kent, March 20, 1814. He married a niece of Dr. Turton, a physi cian of large practice, the bulk of whose ample fortune went to the painter's second son. He was an object of Peter Pindar's merciless satire. PETERSON, Frederic, enamel paint er. He was a pupil of Boit, and practised in London at the beginning of the 18th century. He died in 1729. PETHER, Abraham, called 'Moonlight Pether,' landscape painter. Was born at Chichester in 1756. He early showed a great genius for music, and then took a turn for painting, and was instructed by George Smith, fie soon gained distinction a? an artist. He exhibited at the Academy in 1784, a 'Moonlight;' next, in 1788, ' Mount Vesuvius,' and the following year, ' Ship on Fire at Night, ta a Gale of Wind,' and continued to exhibit at intervals up to 1811, when he sent his last work, an ' Eruption of Mount Vesuvius.' He chose rural scenes, selecting the beautiful. His colouring was clear and good. He had great power of handling; his distances treated with great truth and sweetness ; but he had little idea of light and shade. His favourite subjects were effects of artificial light and moonlight. A picture caUed the 'Harvest Moon,' was the subject of much contemporary praise. He was an ingenious man, and good mechanic. He made telescopes, microscopes, and lectured on electricity, using instruments of his own making, added to which he was an excel lent musician. He was a member of the Incorporated Society of Artists. Died at Southampton, April 13, 1812, aged 56, leaving a widow and nine children. 328 PETHER, Sebastian, landscape paint er. He was the eldest son of the foregoing, and painted subjects of the same class. He first exhibited at the Royal Academy in 1814, 'View from Chelsea Bridge,' the ' Destruction of Drury Lane Theatre,' and then only once again till 1826, when it was evident that friendly help was given to him, as he patated on commission for Sir John F. Leicester, Bart., ' A Caravan over taken by a Sand Storm ta the Desert,' and for the Royal Manchester Institution, the ' Destruction of a City by a Volcano ; ' but these were his last exhibited works. He married veiy young, and had a large family, whose support was a hard task for his pencil. His only purchasers were the dealers ; but the prices he received did not .keep his famUy from the most paiMul privations, and his talent missed opportunity for suc cess. After a short Ulness he sank under an inflammatory attack, and died at Batter sea, March 18, 1844, aged 54. He was a well-educated man, and gifted with a me chanical talent. A subscription was raised for his destitute famUy. PETHER, William, mezzo-tint en graver. Was born at Carlisle ta 1731, and was cousin of the foregoing Abraham Pether. In 1756 he received a premium from the Society of Arts. He was a mem ber of the Free Society of Artists, 1763. He commenced art as a portrait painter, practising both ta oil and in miniature, and occasionally exhibiting mtaiatures at the Royal Academy from 1781 to 1794; he also patated some tolerable landscapes. But tas true art was mezzo-tint, which he studied under Thomas Frye, and soon gataed great distinction. His portraits in oU are rare; they are Mmly and power fully painted. His miniatures are spirited works ; ta mezzo-tint, his works are de servedly prized, well drawn, the expression well maintained, but ta treatment rather cold and hard. He drew and mezzo-tinted the portraits of the ttaee Smiths of Chi chester, and produced mezzo-tint plates after Rembrandt, Dow, Teniers, Wright of Derby, and others. He died about 1795. PETHER, Thomas, wax modeller. He appeal's to have been a son of Abraham Pether. He exhibited portraits ta wax and in crayons with the Free Society of Artists, 1772 to 1775. PETIT, The Rev. Louis John, amateur. Was educated at Cambridge, and took his B.A. degree at Trinity College in 1823. He was an honorary member of the Insti tute of British Architects, and read some papers at their meetings ; a member of the Archaeological Institute, and a clever sketcher in water-colours, Ulustrating many of tas antiquarian papers. He also pro duced some good etchings. He died at Lichfield, December 1, 1868, aged 67. He PET PET wrote 'Illustrations of Church ArcMtec ture,' which he illustrated by 200 etchMgs, 1841 ; ' On the Principles of GotMc Archi tecture as Apphed to Ordinary Parish Churches,' 1846; 'A Description of the Abbey Church, Tewkesbury,' 1848 ; ' Lec tures on Architectural Principles,' and in 1854, ' Lectures on Architectural Studies.' PE'TITOT, John, enamel miniature painter. He was born ta 1607, ta Geneva, where Ms father practised as a sculptor and architect. Intended for a jeweller, in the practice of that trade, he attained great abffity in the use of enamel ; and united with Bordier, who afterwards be came his brother-in-law, ta its application to miniature painting ; and went with him to Italy, where they improved in then- art by the help of the best chemists, and ta the study of the works of the great painters. Then coming to England, he was assisted by Sir Theodore Mayerne, the chief physi cian to Charles L, and the most distinguish ed chemist of his day, and made great im provements ta his scale of colours, and the means of vitrifying them. By Mayeme, who was his countryman, he was introduced to the King, who gave him employment, assigned him an apart ment in WhitehaU, and, it is said, knighted him. The time of Ms arrival is unknown, but about 1640 he produced here some works wMch are among the finest speci mens of Ms art. The civU war breaking out destroyed his prospects at the Enghsh Court, and he went to France ; some ac counts say that he attended the royal famUy to Paris. He was well received by the French king, who gave him a pension, with a residence at the Louvre. But he was a zealous Protestant, and on the revo cation of the edict of Nantes, ta 1685, then greatly advanced ta years, he asked the king's permission to return to Geneva, but as he still conttaued to practise tas art, the king, though pressed by repeated me morials, was unwilling to part with him, and appointed Bossuet to convert him. In this position Ms anxiety brought on a fever, and, obtaining his liberty, he made Ms escape to Geneva. Here employment followed him, and so great was the number of his visitors, that he retired to Vevay, where he died suddenly, ta 1691. He had 17 chUdren, one of whom became a major- general ta the English service, and one only foUowed his art. Petitot's enamels excel ta aU the great qualities of the art, and are unsurpassed in the beauty of their drawing, ta refinement of expression, ta tender sweetness of colour, and the complete mastery of materials. A large number of them are possessed ta tMs country. PETITOT,John, miniature painter. Son of the foregoing, by whom he was taught the art. He settled in London, and practised with much success. His miniatures are hot ta colour, and wanting in the exquisite character and finish of his father's. He died in London, and after Ms death his famUy removed to Dublin, where they were settled in 1754. An Mscription on the' back of one of his miniatures shows him to have been 35 years of age ta 1685. P E T R I E, James, portrait painter. Was a native of Aberdeen. In the latter part of the 18th centuiy he settled ta Dub lin, and practised his art there. In the disturbed times which ensued he was a firm loyalist ; but many of the patriot party were his sitters, among them Lord Edward Fitzgerald, Emmet, and Curran. PETRIE, George, R.H.A., landscape painter. Son of the above. Was bom at Dublta, in 1789, and, aUowed to follow the bent of his own inclination, he adopted art, studied in the schools of the Dublin Society, and, ta his 14th year, gataed a silver medal. He early took an interest ta antiquarian studies, and ta tas sketching expeditions made careful notes of antiquarian remains. Up to 1809 his studies had been confined to the counties of Dublin and Wicklow. In 1810 he visited Wales, and in 1813 Lon don, in company with Danby, A.R.A., and O'Connor. In 1816 he was an exhibitor at the Royal Academy, and for the next few years was largely engaged in landscape views, drawn chiefly ta monochrome, for the Ulustration of pictorial works on Ireland. These drawtags were careful, and truttxfuUy accurate, showing much poetry of treat ment. In 1826 he became an associate of the Royal Hibernian Academy, and was a contributor to' their first extabition, held that year. In 1828 he was elected a fuU member, and was from that time a constant exhibitor of landscape scenery Ulustrating the national antiquities. In 1831 he was appotated librarian to the Academy, and the same year visited the Isles of Arran, led both by art and antiquarian tastes. His hteraiy tastes were indeed developed with tas art, and Ms first essays on anti quarian subjects were contributed to the ' Dublin Examiner' and the 'Dubhn Penny Journal' as early as 1816 ; and, with a growing love of Irish antiquities and Ms tory, literature graduaUy superseded art. In 1833 he became connected with the Ordnance Survey of Ireland, which, for the next six years, with httle intermission, en gaged his whole time and thought. ¦ He was placed at the head of a staff whose duty it was to collect every possible information, antiquarian and topographical, and to ex amine and compare all ancient documents. But this work was suspended in 1839 on a question of cost, and, returning to his easel, he set vigorously to work, and produced 329 PET some of his best landscapes. At the same time he was occupied ta bringing out his great work, ' On the Ecclesiastical Archi tecture of Ireland.' In 1845 he visited Scotland. In 1847 the University of Dublin conferred on him the degree of LL.D., and in 1849 he was granted a well-earned pen sion on the Civil List. He was president of the Royal Hibernian Academy, and in 1859 resigned the office. He died ta Dublta, January 17, 1866, and was buried ta the Cemetery Mount St. Jerome. His ' Life and Labours in Art and Archeology ' was published by Dr. W. Stokes, Dublin, 1868. PETTIT, John, engraver and drafts man. Practised ta London, ta the dot manner, in the latter part of the 18th cen tury, fie engraved a portrait of George Prince of Wales, and ' Yorick and the Grisette ' 1784. PHELPS, Richard, portrait painter. He practised in the first half of the 18th century. J. Faber engraved after him a portrait of Bampfield Moore Carew. PHILIPS, R., portrait painter. He was much employed towards the middle of the 18th centuiy, and died ta 1741. PHILIPS, Charles, portrait painter. He was born in 1708, and was the son of a portrait painter (probably of the foregoing), and painted many persons of disttaction, among them the Princess Augusta of Wales and Frederick Prtace of Wales. His por traits are usuaUy of a small size. He is also known as a painter of conversation pieces. Earl Cathcart has a work of this class, a family group of Lord and Lady A. Hamilton and chUdren, carefuUy finished, comprising eight figures, looking hke doUs, in a great library, and aU evidently posed for the portrait patater ; faithful likenesses, no doubt, and well painted, but very poor in composition. It is signed and dated 1731. There is also a portrait by Mm of Bishop Warburton in the National Portrait Gallery. Several of his portraits are engraved. He died in 1747. PHILIP, John Birnie, sculptor. His name first appears in 1858, when he exhi bited at the Royal Academy an alto-relievo of ' The Archangel Michael and Satan,' for St. Michael's Church, Cornhill. This was followed by some monumental works, and in 1863 by the reredos for St. George's Chapel, at Windsor, and a recumbent figure of Lady Herbert of Lea. He was at tliis time engaged upon the Prince Consort's memorial in Hyde Park, and executed 'Geology' a statue, and 'Geometry' a statue ; but he will be best remembered by his figm'es ta alto-relievo representing archi tecture and sculpture, on two sides of the podium of the monument, which gave him a well-earned reputation. He also ex ecuted eight statues for the Royal GaUery hi the Palace at Westmtaster, and the 330 PHI statues in front of the Royal Academy at Burlington House. Probably his only classical work was Ms 'Narcissus,' exhibited ta 1873. He died of bronchitis at Chelsea, March 2, 1875, aged 48, and was bmied in the Brompton Cemetery. PHILLIP, John, R.A., subject and portrait painter. Was born at Aberdeen, the son of an old soldier, April 19, 1817. He early showed a great talent for painting and produced a good likeness of his old grandmother. To improve himself he got employment with a house-painter, but was injured by a faU, and soon found his mis take. He then gained the notice of an artist at Aberdeen, who gave him some advice and assistance. He earned a few shiUings by painting the portraits of Ms acquaintance, and with the assistance of a skipper trading to the Thames was enabled to carry out a plan that possessed him, of comtag to London to see the exMbition. He was then 17 years of age, and during one week's stay he spent six days at the Academy, and managed also to see the works at the British Institution, and the Elgin marbles at the British Museum. On tas return he set resolutely to work upon a group of four figures, which being shown to Lord Panmure, he sent him to London in 1836, placed Mm under T. M. Joy, and provided Mm with the means to continue his studies. During the three foUowtag years he studied ta London, and patated some por traits. In 1837 he was admitted to the schools of the Royal Academy, and ta 1838 and 1839 he exhibited a portrait at the Academy; ta 1840 sending nis first subject picture, 'Tasso M Disguise, relating his Persecutions to Ms Sister,' and the same year returned to Aberdeen. There he painted a few portraits, and ta 1841 came back to settle ta London, but did not exhibit at the Academy tUl 1847, when he contributed 'Presbyterian Catechising,' and conttaued to contribute Scotch subjects, his ' Baptism in Scotland,' 1S50, giving the first promise of his future excellence. This was followed, in 1851, by ' Scotch Washing,' ' The Spae Wife,' and 'A Sunbeam.' His constitution, always weak, now showed signs of faUure, and, advised to try a warmer chmate, he determined to visit Spata, and ta 1852 did not exhibit. _ At Seville, where he spent some months, his health improved, and his art found a new development. FiUed with admiration for the works of the Spanish painters, espe cially Velasquez, and no less so with the picturesque peasantry, their rural customs and celebrations, and the glowing scenery by wliich they were surrounded ; both Ms art and his subject were thenceforth Span ish, and his future works found their inspir ation in Spata, and rivaUed the great PHI PHI master's by whom it was incited, ta its power and freshness. In 1853, he exhibited at the Academy, ' Life among the Gypsies at SeviUe,' and at the British Institution, ' A Spanish Gipsy Mother.' In 1854, at the Academy, ' A Letter- writer of SevUle ; ' the next year, ' El Paseo,' portraits of two sisters, purchased by the Queen, and, return ing to a home subject, ' Collecting the Offer tory in a Scotch Kirk.' In 1856 he again visited Spata, and that year exhibited ' Agua Fresca ' ou one of the bridle roads in Spain, ' A Gipsy Water-carrier ta SevUle,' and two other Spanish scenes. In 1857, ' The Pri son-window ta Seville,' a favourite picture, and ' Charity,' SevUle. He was elected an associate of the Aca demy ta 1857, and ta the following year exhibited several Spanish subjects, and a portrait of the Prtace Consort. In 1859 he became a fuU member of the Academy. In 1860 he made a third journey to Spata, and was represented at the Academy by a picture patated for her Majesty, 'The Marriage of H.R.H. the Princess Royal ' — a group of portraits, glowing with brilliant colour ; and, continuing Spanish scenes, he in 1863 also exhibited his portrait subject, ' The House of Commons,' and M the next year one of Ms greatest works, ' La Gloria,' a Spanish wake. In 1865 and 1866, also Spanish subjects, with one or two portraits. In the latter year he went to Rome, wMch resulted ta his two pictures of the ' Lottery,' and then, with relapsed health, bis mind reverted to home scenes, aud two Scotch subjects were exhibited on the walls of the Academy in that year. But they were his last and were sent by Ms friends. Before the exhibition he was strack with paralysis, and though favourable accounts were given of Mm, he died suddetay, about ten days after the attack, at Campden HU1, Kensing ton, on February 27, 1867, and was bmied inKensalGreenOemetery. He hadattained the first rank ta art. His subjects were weU conceived and fuU of tratMul charac ter— carefrdly studied, weU composed, drawn with great vigour, powerful, and broad ta execution and light and shade, and brffiiant in harmonious colour. His works have secured him a place among the best paint ers of the Enghsh School. Several of his finest pictures have been eDgraved in the best manner. His collected works were exhibited at the International Exhibition, 1873. PHILLIPS, Charles, engraver. Was bom ta 1737, and studied ta London. He was employed by Alderman BoydeU, about 1765. His best works are in mezzo-tint, but there are some plates by him ta the dot manner. He engraved chiefly after the old masters — Parmegiano, Spagnoletto, Rembrandt, Francesco Mola, and others. There is a fine mezzo-tint by Mm of the daughter of Hone, R.A., powerfM and luminous in colour. PHILLIPS, Thomas, R.A., portrait painter. Was born of respectable parents at Dudley, in Warwickshire, October 18, 1770. fie received a good education, and showing an early love for art, his inclina tion was encouiaged by his parents, who placed Mm with Mr. Egtaton, the well- known glass painter, at Birmingham. At the end of 1790 he came to London to follow art as a profession. He was admitted a student of the Academy, and was for a time employed by Benjamin West, P.R A., who was then designing the glass windows for St. George's Chapel, Windsor. In 1792, he first appears on the walls of the Aca demy, tas work a ' View of Windsor Castle,' foUowed next year by an Mstorical attempt, "The Death of Talbot, Earl of Shrewsbury,' and ' Ruth and her Mother-in-law.' In 1794 he exhibited attempts of the same class, with one portrait, fie soon appears to have found the scope of his talent, and from this time to 1804, portraiture was Ms chief pursuit. In this he was not without good rivals ; but he industriously made his way. He removed to George Street, Han over Square, ta the latter year, and was elected an associate, and ta 1808 a member of the Royal Academy. His presentation picture, ' Venus and Adonis,' was the last of his creative subjects. Sitters of eminence now came to him. In 1806 he patated the Prtace of Wales, the Marchioness of Stafford, the Stafford family, and Lord Egremont, who was his friend through life. He had established a reputation. His portraits were numerous ; they were characterised by simplicity of style and truthful finish, solid, and care fully executed, and he has preserved to us many of the most distinguished in literature and art, among them, perhaps the best portrait of Lord Byron. In 1824 he was elected the Academy Professor of Patating, and visited Italy, ta company with his friend Hilton, R.A., to prepare for his new duties. His lectures embraced a history of painting, invention, design, composition, colour, light and shade, and the duty of art as a teacher. These lectures were pub lished in 1832. He wrote several articles connected with the fine arts for Piees' ' En cyclopedia.' He.was one of the chief pro moters of the General Benevolent Institu tion. He died April 20, 1845, at his house ta George Street, where he had dwelt 41 years, fie left two daughters and two sons, one of whom foUowed successfully tas profession. PHILLIPS, Henry Wyndham, poi- trait painter. Son of the above, and studied Ms art under his father. He first appears an exhibitor in 1839, and was from that year to 1868 a constant contributor to the 331 PHI Academy exhibitions. His works were almost exclusively portraits ; but between 1845 and 1849 he tried some sacred sub jects. He was for several years the secre tary to the Artists' General Benevolent Institution. He acquired some repute as a portrait patater, but died suddenly, De cember 5, 1868, aged 48. PHILLIPS, Giles Firman, landscape painter. He painted almost exclusively river scenes, introducing vessels, and these, with hardly any exception, views on the Thames, and in water-colours. He was an exhibitor at the Royal Academy from 1836, when he was residing at Greenwich, to 1858. He pubhshed ta 1838 "The Theory and Practice of Painting in Water-Colours,' and since, other works connected with his art. He died March 31, 1867, aged 87. PHILLIPS, S., engraver. Practised in London about the end of the 18th centuiy. He engraved ' The Birth of Shakespeare,' after Westall, and ' The Guardian Angel,' after Maria Cosway. PIC ART, Charles, engraver and drafts man. Born about 1780, practised in Lon don. He engraved several dramatic por traits after Clint and Wivell, and some of the illustrations for the ' Description of the Ancient Marbles ta the British Museum.' He executed some of the plates for Dr. Dibdin's work and for Lodge's portraits. He died about 1837. PICKEN, Andrew, lithographic drafts man. Was the son of an author. Born 1815. When of sufficient age he was placed under Lotas Haghe to learn the art of lithography. He distinguished himself by his landscape and other Ulustrations, and ta 1835 exhibited at the Academy a ' Tomb ta Narbonne Cathedral' He had long suffered from delicate health from the rupture of a blood vessel, and ta 1837 was sent by his physician to Madeira. During a two years' residence ta the island, he devoted tamself to art, and made a series of drawings which he afterwards published under the title of 'Madeira IUustrated,' a work of great truth and skiU. Re turning to England ta 1840, his failing health compelled a second voyage to Madeira ; but his disease gained ground, and he came back to London, where he died June 24, 1845, in his 30th year. His short life had been chiefly devoted to litho graphy, and Ms productions maintain a Mgh rank ta that art. PICKERING, Henry, portrait painter. Practised ta the first half of the 18th cen tury. His portraits are after the allegorical manner of KneUer. Faber engraved a ' Shepherdess ' after him, a portrait of that PICKERSGILL, Henry William, R.A., portrait painter. Was born in Lon- 332 PIC don, December 3, 1782. He was adopted early in life ,by a connexion, a Mr. HaU, who sent him to school at Poplar, and in tended him for his own business, that of a silk mantaacturer. This business having declined in consequence of the French war, he was led to the study of art. He became a pupil of George Amald, A.R.A., and was admitted as a student of the Royal Aca demy ta 1805. When he first began to paint, he exhibited historical and mytho logical subjects, but he soon devoted him self to portraiture. He was elected an associate of the Royal Academy ta 1822, and a fuU member in 1826. In 1856 he succeeded J. Uwins, R.A., as Librarian to- the Royal Academy, wMch office he held many years. His portraits are generally satisfactory as likenesses, though they are not very disttaguished for their artistic qualities. After the death of T. Phillips, R.A., he became the fashionable portrait patater of the day, and painted likenesses of nearly aU the celebrated people of the time. Many of his best portraits are in the coUege halls of Oxford. His portraits of Wordsworth ta the National Portrait Gallery, and of Mr. Vernon ta the National Gallery, are good specimens of his style. He also painted a veiy fah full-length portrait of the ' Duke of Wellington' for General Lord HU1, and many portraits for Sir Robert Peel's coUection at Drayton. He exhi bited every year at the Royal Academy, portraits and other works, tUl 1872. He placed himself upon the retired Academi cians hst in 1873, and died at Barnes, AprU 21. 1875, aged 93. PICKERSGILL, Henry Hall, sub ject and portrait painter. Eldest son of the above. He studied ta the Netherlands maktag careful studies of the old masters, and afterwards visited the art cities of Italy. He first exhibited at the Royal Academy, in 1834, 'The Troubadours;' ta 1837, ' Holy Water ; ' the foUowtag year, ' Charity ; ' and continued to exhibit works of this class. He was then induced to visit St. Peters burg, and on his return, after two years spent there, he exhibited, ta 1846, ' Fisher men of Rebatzky on the Neva ; ' and in 1847, ' A Ferry on the Neva.' Returning to his earlier subjects he exhibited, ta 184S, ' The Right of Sanctuary ;' ta 1851, ' Cupid and Psyche,' and ' The Finding of Moses ;' in 1852, ' Romeo and Juliet' Soon after he foimd tas chief employment as a portrait patater, practising almost exclusively in Manchester and Wolverhampton, and in the adjacent counties, Shropshire and Herefordshire, from 1855 to 1860, extabit- ing only portraits. He died January 7, 1861. PICKFORD, J., architect. He built Sandon, ta Staffordshire, a mansion of plain, simply-proportioned elevation, about 1770, flU PIN wMch is engraved in Woolf e and Gandon's work. PICOT, Victor Marie, engraver. Was born at Abbeville, ta 1745, and studied Ms art ta Paris. He was brought to England about 1766 by Wynne Ryland, and about 1770 was living with Ravenet, whose only daughter Angelica, herself a clever artist, he married. About 1773 he kept a print-shop in St. Martin's Lane, about ten years later in the Strand, and afterwards ta Chandos Street. In 1766 he was elected a mem ber of the Incorporated Society of Artists. He exceUed in the then prevailing dot manner, and engraved after Series, Bar- ralet, De Loutherbourg, and others. He returned to France in 1790, and died about. 1805. PIDDING, Henry J., subject painter. He chose humorous scenes and subjects from still-life, exceffing in his patating of dead fish. He exhibited at the Royal Aca demy, commencing ta 1824, works of this class, and from the same year with the Society of British Artists, of which body he became a member ta 1843, and conttaued an exMbitor tUl his death. He enjoyed some reputation, and several of Ms pictures were made popular by engraving. Of these may be named, ' The Fair Penitent,' a ' Negro ta the Stocks,' ' The Battle of the NUe Re-fought,' two Greenwich pensioners laying out a diagram of the battle with fragments of tobacco pipes, both of wliich were engraved by Mmself. He died at Greenwich, June 13, 1864, aged 67. PIERCE. Edward, ornamental pamter. He practised M the reign of Charles I., and was noted as a patater of Mstory and land scape. He patated several ceilings and altar-pieces, and was skUled also ta archi tectural design, but his chief works were destroyed by the Great Fire. He was some time engaged by Vandyck as an assistant. After the Restoration he was employed ta repairing the injuries done by the Puritans to the altar-pieces ta the Lon don churches. He died soon after this time, and was buried at Stamford. He etched a book of designs for friezes, 1640. PIERCE, Edward, statuary and archi tect. Son of the above. Was pupU of Edward Bird. He practised in the latter half of the 17th century, and was some time assistant to Sir Christopher Wren, under whom he built the Church of St. Clement, Strand. He executed the statues of Sir Thomas Gresham and of Edward III. for the Old Royal Exchange, the four dragons at the angles of the pedestal of the monument on Fish Street Hill, the busts of Newton and Wren for the theatre at Oxford, a fine vase for Hampton Court Palace, and, his ctaef work, a large and pretentious monument to William, Lord Maynard, at Little Easton, Essex. He died at Surrey Street, Strand, 1698, and was buried ta the Savoy. PIERCE, John. Another son of the foregoing, who was bred a painter, and is said to have attained some eminence, but no traces remain of his art. PIETERS, John, history and portrait painter. Was born at Antwerp, 1667, and studied painting there. Came to England in 1685. WTas very poor, and not meettag with the encouragement he had hoped as a history painter, he engaged himself as an assistant to Sir Godfrey Kneller, who em ployed him upon the draperies and back grounds of Ms portraits. In 1712 he left Sir Godfrey and found the same employ ment with others. He was a good copyist of the works of Rubens, but Ms chief busi ness was as a repairer, fie became drunken and imprudent, and died in London, 1727. He was buried ta the churchyard of St. Martin's. PILKINGTON, Sir William, Bart., amateur. He was of a very ancient famUy, and succeeded to his title ta 1811. He was a good scholar, a man of taste, and a clever landscape painter. He also showed some skUl ta architecture, and Butterton HaU, Staffordshire, was buUt after his designs. He died near Wakefield, September 30, 1830, aged 75. PILLANS, R., marine painter. He practised ta the second half of the 18th cen tury, and painted both storm and calm, sea shore views with fishermen, harbours, and PILLEMENT, Jean, landscape and marine painter, fie was born and educated at Lyons. Went to Paris for his improve ment, and then to Vienna. After the peace of 1763 he came to London, and enjoyed here a great reputation. Between 1773-80 he was an occasional exhibitor with the Artists' Free Society. He painted land scapes, marines, subject-pictures, and also flowers. His landscapes were greatly in vogue, and he was the fashionable teacher of his day. He worked both ta oil and pastelle, but he was best known by his water-colour drawings. He was fond of gay colours and violent effects. His manner was spirited, and his compositions pleasing. Many of his works were engraved in Eng land, WooUett, Mason, Elliot, and others working after him. He advertised the sale of his paintings and drawings in 1773, being, on account of his health, advised to relinquish all business, and retire to Avig non. He styled himself painter to the King of Poland and to Marie Antoinette, Queen of France. He died at Lyons, where he passed his latter days, in 1808, in his 80th year. He was a clever etcher. PINE, John, engraver. Born 1690. He kept a print-shop in St. Martin's Lane, 333 PIN and was the convivial friend of Hogarth, who painted his portrait, andalso introduced him as the friar in his picture of ' Calais Gate,' from which he obtained the nick name of ' Friar Pine.' He became known by his series of engravings, published in 1725, representing the ceremonial of the revival of the Order of the Bath by George I., and established a high reputation by his fine engravings from the House of Lords' tapestry of the ' Destruction of the Spanish Armada.' He designed and engraved an illustrated edition of 'Horace,' the text itself engraved on the plates, and ornament ed from gems and ancient bas-reliefs. He also engraved some portraits, an etching of himself, and a mezzo-tint of Garrick. In 1743 he was appointed blue mantle in the Heralds' College, where he went to reside, and died, May 4, 1756. He was one of the committee of artists who, in 1755, attempted to found a Royal Academy. PINE, Robert Edge, history and portrait painter. Born in London, 1742. Son of the above. He early distinguished himself ta art. In 1760 lie gained the Society of Arts' first premium of 100 guineas for his ' Surrender of Calais,' the figures in which were life-size ; and in 1763 he again obtained the Society's first prize for his ' Canute Reproving his Courtiers.' He was a member and occasional exhibitor of portraits at the Spring Gardens' exhibi tion, 1764-70, and at the Royal Academy, and contributed to that exhibition his last work, 'Lord Rodney in Action on board the Formidable, attended by his Principal Officers.' In 1771 he angrily erased his name from the lists of the Spring Gardens' Incorporated Society, on the ground of an insult by the president. He went to Bath at this time, and practised portrait paint ing there till 1779- In the early part of 1782 he was in London, and exhibited a col lection of his pictures from ' Shakespeare ' in the great room at Spring Gardens, but the exhibition was not successful. He was a restless, morbidly-irritable, little man, and about this time went with his family to America, ostensibly to paint the heroes of the Revolution, and Washington, with others, sat to him ; but little is known of him there. He died at Philadelphia in 1790. His colour and composition were agreeable, but his drawtag feeble. He took several of his historical pictures to America, where they were unfortunately destroyed by fire. His 'Surrender of Calais' was placed in the Town Hall at Newbury. There is a good whole-length portrait of George II. by him at Audley End : and a whole-length of the Duke of Northumberland at Middlesex Hospital. His portrait of Garrick is highly esteemed. Many of Ms theatrical portraits were en graved by McArdell, Valentine Green, J. 334 PIS Watson, Dickinson, and C. Watson, and were very popular. i PINE, Simon, miniature painter. Brother of the foregoing. He resided a few years in London. He practised in Dublin and Connaught, but chiefly at Bath, from whence he sent miniatures to the Spring Gardens' exhibition from 1768 to 1771. He also exhibited at the Royal Academy in 1772. and died in that year. PINGO, Thomas, medallist. Born in Italy, he came to England, and was ap pointed an engraver to the Royal Mint, ii. George III. In 1763 he was a member of the Free Society of Artists. His best works are dated between 1745 and 1764. There is a good medal of the Pretender by him, executed in 1750. He modelled for Wedgwood, in 1769, the battles of Plassy and Pondicherry. He died ta December 1776. PINGO, Lewis, medallist. Son of the above. Was appointed chief engraver to the Royal Mint, xix. George IIL, and was eminent in Ms art. He was a member of the Free Society of Artists, 1763. He retired from his office ta 1S15, and went to reside in Camberwell, where he died, August 26, 1830, aged 87. PINGO, John, medallist. Brother to the above Lewis Pingo. He was appoint ed assistant engraver to the Mint, xxvii. George IIL, and in 1768 and 1770 ex hibited medals and wax models with the Free Society of Artists. PINWELL, George John, water-colour painter. Was born in London, December 26, 1S42, and began his art education at Hatherley's School of Art. He first be came known as a book Ulustrator, and as a draftsman his reputation for brilliant drawing was very early established. Among his most important works were his illus trations for Dalziel's 'Wayside Poems,' ' Vicar of Wakefield,' 1S64 ; " Good Words,' ' Once a Week,' and ' London Society.' He exhibited his first water-colour drawing at the Dudley Gallery ta 1865, and from that year his success was continuous. He was elected an associate of the Society of Painters in Water-Colours in 1869, and a full member two years later. He exhibited that year ' The Pied Piper of Hamlin ; ' ta 187-2,' ' Gilbert a Becket's troth ; ' in 1874, ' The Beggar's Roost, Tangier, Morocco ; ' and in 1875, 'We fell out, my Wife and I.' He was elected an honorary member of the Belgian Society of Painters in Water- Colour, and was rapidly becoming one of the foremost men ta tins branch of art, when he was prematurely cut off at the early age of 33. He died in London, Sep tember S, 1875. PISTRUCCI, Benedetto, medallist. An Italian. Encouraged by an English gentleman, he came to England ta 1816. PIT PLA On his way he was arrested in Paris as a spy and confined many weeks ta prison. fie was bringing with Mm some fine en graved gems as specimens of his power, and was compeUed to part with them for Ms support. He alleged that his detention arose from an intrigue to get possession of his gems. He owed his release to his English friends. On his arrival in London he obtained' an introduction to the Prince Regent, whose portrait he produced as a cameo on a, fine gem. He soon after re ceived commissions for the Royal Mint, and was employed as an assistant on the new sUver coinage. On a vacancy in 1817 he was appointed the chief engraver, with a salary of 500?. He engraved the dies, using, it is said, the wheel of the gem en graver for the coins of the end of George III.'s and the early part of George IV.'s reign ; and about the same time produced three fine heads of the King, cut ta jasper. In 1820 he engraved the Coronatiou Medal, and in the following year a medal ta com memoration of the King's visit to Ireland. He had refused to use the portraits of this sovereign by Sir Thomas Lawrence and Sir Franeis Chantrey as his models, and his conttaued refusal, contrary to the King's wishes, to use Chantrey's bust as his model for the new coinage was, it is said, the chief cause of the discontinuance of Ms services by the Mint, and of an arrangement by which he was retained as medallist with a reduced salary of 350?. This was the cause of much irritation. He felt his position a false one and ex pressed Ms discontent. He was then employed upon a Waterloo Medal, and commenced one on a large scale, but its completion was delayed from time to time and the pubhc were dissatisfied. He was at the same time engaged upon some private medals. On the accession of Queen Victoria he produced the Coronation Medal. It did not, however, please. In 1849 he completed Ms Waterloo Medal, which he deemed Ms chef-d'oeuvre. It was no less than five inches ta diameter, and contained altogether 60 figures ; but he confessed his inabihty to harden it, and no one else ven tured upon the responsibility, so the toU of so many years was of no further use than to strike a proof impression on soft metal. His original appointment in the Mint was the subject of much censure, and his con duct in a difficult position left him open to animadversion; but his abUities as an artist, if not exactly suited to his office, cannot be questioned. He executed some marble busts of a colossal size. He died at Englefield Green, near Windsor, Sep tember 16, 1855, aged 73. PITTS, William, sculptor. Bom 1790. His father, to whom he was apprenticed, was a chaser in sUver. He gataed a Society of Arts Medal in 1812, and distinguished himself by modelling part of Stothard's 'Wellington Shield, and afterwards by", chasing Flaxman's 'Shield of AchUles.' He also modelled in sUver, with great abUity, Le Soeur's statue of Charles I. He married at 19, and then, impeUed by his genius and his necessities, he set vigorously to work and produced in rapid succession, first exhibiting at the Academy in 1823, ' The Deluge,' a sketch ; 'The Creation of Eve,' 'Samson Killing the Lion,' 'Herod's Cruelty,' 'Cupid under the Mantle of Night,' ' Pandora brought to Epimetheus,' and 'Puck.' In these varied yet truly classic subjects he greatly excelled, and they were admired and appreciated. They brought him also plenty of employment. He made many models of silversmith's work. He executed a large proportion of the bas-reliefs for Buckingham Palace and sculpture for other buUcungs, besides several monuments. Among his later works were 'The Shield of Eneas,' exhibited in 1828 ; ' The Pleiades adorning the Night,' 1833 ; ' The Sliield of Hercules,' 1834; a bas-relief of the Sovereigns of England from the Con quest to WUham IV., with their several attributes, 1837 ; and a ' Design for the Nelson Memorial,' 1839. He also drew with great facUity, and projected a series of outline iUustrations of Virgil, two num bers of which were published; a series from Ossian, of which he completed two large plates ta mezzo-tint, which are un published, and he made many drawtags to illustrate Horace and Euripides. In the midst of such active labours a rash en gagement, relative to an elaborate and expensive work, is supposed to have preyed upon his mind, and in a fit of depression, from which he suffered much, he took poison and terminated his existence, April 16, 1840. His numerous works had pro duced him little profit. He had been sub ject to ill-health, and he left a widow and four children without provision. PIXELL, Miss Maria, landscape paint er. She was probably a pupil of S. Gilpin. She practised both in oU and water-colours, patating views and compositions. From 1796 to 1811 her works occasionally found a place ta the Academy exhibitions, and were extravagantly praised by the press ta her day. PLACE, Francis, amateur. Was born in Yorkshire. He was descended from a Durham family, and was articled to a soli citor in London, where he conttaued till the breaking out of the Plague ta 1665, when he left the metropolis, and found an excuse to abandon a profession he disliked. He then amused Mmself with art. fie had some assistance in etctang from HoUar, and he painted, etched, tried the new art 335 PLA of mezzo-tint, and drew many local build ings and objects. His drawings are done with the pen, slightly shaded in the fore ground with Indian ink or bistre, minute and weak in manner, and chiefly date between 1673 and 1713, signed with his initials only. He etched some animals and insects which were published, and mezzo-tinted some portraits after Vandyck and Kneller. He tried an experimental porcelain manufactory, and some specimens of his work still exist. He resided some time ta Dimsdale, Durham. Died at the Manor House, York, 1728. PLACE, George, miniature painter. Was the son of a fashionable linen-draper in Dublin, and a student in the schools of the Irish Academy. He came to London and practised here with repute for several years, exhibiting at the Academy yearly from 1791 to 1797. Afterwards he went to Yorkshire, where he followed his pro fession about the end of the century. PLAYFAIR, William Henry, R.S.A., architect. Was bom ta London, in July ] 780, the son of an architect known in his day. He settled in Edinburgh, and ta 1829 became one of the foundation mem bers of the Royal Scottish Academy. His works ta Edinburgh are ta the classic style, in which he excelled. He was the archi tect of St. Stephen's Church, the Royal Institution, the National Gallery, the Free College, the Surgeons' Hall, and of Donald son's Hospital, an edifice in the Tudor style. He died ta Edinburgh, after a long Ulness, March 19, 1857. PLAYFORD, , miniature painter. He practised ta London with some ability in the latter half of the 18th century. Died in Lamb's Conduit Street, October 24, 1780. PLAYTER, C. G., engraver. He prac tised in the dot maimer in the second half of the 18th century, and was employed on the Shakespeare Gallery. He engraved after Rigaud, ' A Scene from the Comedy of Errors;' after Hamilton, R. A., 'Lady Godiva,' and two subjects after Samuel Shelley. PLlMER, Andrew, miniature painter. He was born at Bridgwater, and first exhi bited at the Royal Academy, in 1786, some miniatures in ivory and on enamel, several of them in character. His finish was ex cellent, his portraits powerful, admirably drawn and expressed. He resided at Exeter, and continued to exhibit up to 1819. He died at Brighton, January 29, 1m:'.7, aged 74. P L 1 M E R, Nathaniel, miniature painter. Brother to the above. Born 1751, at Wellington, Shropshire. He ex hibited miniatures at the Academy for the first time in 1787, and from that year was an occasional exliibitor. His works were 336 POC carefully drawn and finished, but weak in execution, and not agreeable in colour. He died in 1822. PLOTT, John, miniature painter. Born at Winchester in 1732. Commenced life as clerk to an attorney and accountant. Had a taste for painting, came to London in 1756, and was for awhile the pupU of R. Wilson, R.A., and was afterwards with Hone, R.A., whom he assisted in miniature, both enamel and water-colour. On leaving him he practised as a miniature painter, and in 1777 was living in London, and ex hibited at the Academy, to wliich he con tinued an occasional contributor. Later he went to reside at Wm Chester, and was elected a member of the City Corporation. He patated a few portraits ta oU. He had also acquired a knowledge of natural history, and executed some drawings of natural objects which had great merit. He commenced a history of ' Land SnaUs,' and had made some of the drawings, which showed great truth and beauty, fie died at Stoke, Winchester, October 27, 1803, aged 71. POCOCK, Nicholas, marine painter. Born about 1741. He was the son of a - Bristol merchant of good famUy, and when * a young man commanded a merchant vessel sailing from Bristol. He bad a great taste ' for drawing and illustrated tas journal with sketches which he met with on his voyages. Then cultivating art, and entirely self- taught, he left the sea to adopt art as his profession. He drew portraits, landscapes, and sea pieces, devoting Mmself chiefly to marine subjects. In 1780 Sir Joshua Reynolds wrote Mm an encouraging letter criticising his first picture in oU, which had arrived at the Academy too late for exhi bition. Continuing to reside at Bristol, he was a constant exhibitor of marine subjects from 1782 to 1789, and at that time removed to London, and continued to exhibit up to 1815. He early attained distinction, and painted the chief naval battles of the war. One of these is in the gaUery at Greenwich Hospital, and two others in the Hampton Court Galleries. These latter are large pictures, careful and literal, but lifeless, and wanting the interest and spirit of a battle. He was one of the original mem bers of the Water-Colom- society, aud from 1805 to 1S13, when he resigned his mem bership, a constant contributor of marines, with an occasional Welsh landscape, to the Society's exhibitions, and continued so up to 1817. He designed the Ulustrations for an edition of ' Falconer's Shipwreck.' He ched at Maidenhead, March 19, 1821, aged 80. POCOCK, Isaac, portrait and history painter. Was born at Bristol, March 2, 1782, son of the above. He showed great abffity for drawing when a child, and was, POC POP in 1798, the pupU of Romney, and after wards of Sir William Beechey. He exhi bited subject pictures aud portraits at the Academy in 1800-4 and 5, and was, on a competition, awarded 100?. by the Directors of the British Institution ta 1807 for his picture of ' The Murder of St. Thomas k Becket.' He painted several historical sub jects and portraits. He was a member of the Liverpool Academy ta 1812, and ex hibited there many designs, both in oU and water-colours. From 1810 to 1819 he was also an occasional exhibitor, chiefly of por traits, at the Royal Academy ; but he had before Mm the prospect of an independent fortune, and he relaxed in Ms pursuit of art. In 1815 he succeeded to a property left him by his uncle, and soon after retired to Maidenhead, and to the pursuits of a country gentleman added hterature in pre ference to art. He produced several veiy successful farces and melodramas. 'Yes or No,' a farce; 'Twenty Years Ago,' a melodrama ; ' Any Thing New,' ' The MiUer and his Men,' and others. He died at Maidenhead, August 23, 1835, ta his 54th year. Hayley addressed a sonnet to Mm : ' Ingenious son of an ingenious sire! Pocock ! with friendly joy I saw thee start For honour's goal ta the career of art.' POCOCK, W. F., architect. He first commenced art as a landscape patater; then, turning to architecture, he was an exMbitor at the Royal Academy from 1799 to 1827 of works, not of importance, which he was executing ; but ta 1806 he contri buted, a larger attempt, a 'Design for a Temple of Fame.' He published ' Modern Finishings for Rooms,' 'ArcMtectural Designs for Rustic Cottages,' &c, 1811. POLACK, Solomon, miniature painter. Was bom at the Hague ta 1757. fie came to England early ta life and settled here. He first appeared as an exhibitor at the Royal Academy 1790, and was from that time for above 40 years a constant con tributor. He practised for a time ta Ireland, towards the end of the century. Died at Chelsea, August 30, 1839. fie designed and etched the plates to a Hebrew Bible. POLLARD, Robert, engraver. Was bom at Newcastle-on-Tyne, and was appren ticed to a silversmith in that town. He afterwards became a pupU of Richard Wilson. He commenced art as a painter of landscapes and marine subjects, and later practised as an engraver, fie worked with the point, etched, aqua-tinted, and produced manyplates from his own designs, among these ' The Blind Beggar of Bethnal Green,' and ' Lieut. Moody Rescues Him self from the Americans,' and a hunting piece 'At Fault.' Also after Serres, Smirke, Wheatley, Paye, and; after Dayes, the elaborate drawtag of "The Trial of Warren Hastings,' crowded with figures. He was the last surviving member of the Incorporated Society of Artists, and in 1836 ne gave over to the Royal Academy the books and papers of the Society. After experiencing great privations and vicissi tudes, he died on May 23, 1838, aged 83. POND, Arthur, painter and engraver. He was born about 1705, and was educated in London. He travelled to Rome with Roubiliac, the sculptor. In his engravtags he worked with the needle, and also in the chalk and crayon manners, and produced several plates, in which he admirably imi tated, by the means of etching and aqua tint, the manner of the Poussins, Salvator Rosa, and others. In 1734-5 he published imitations of the Italian masters ; and afterwards, in connexion with Knapton, 90 plates after the great painters; also a set of caricatures after the Cavaliere Ghizzi, with some others. He patated several portraits during George II.'s reign, and a portrait of William Duke of Cumberland, which was engraved by Ravenet. McArdell and Grignion also engraved after him, and he engraved some fine plates himself, after Raphael, Parmegiano, Caravaggio. He was elected a Fellow of the Royal Society in 1752, and Fellow of the Society of Antiquaries the same year. He had a house ta Queen Street, Lincoln's Inn Fields. He died September 9, 1758. His collection of drawtags by the old masters was sold in the foUowtag year, and realised 1449?. POPE, Alexander, amateur. Born in London, May 22, 1688. The celebrated poet, fie was an amateur patater, proud of his attainments ta art. He was from a child fond of drawing, was for 18 months the pupil of Jervas, and made considerable progress. He painted and copied portraits and worked hard to excel. He says, in a letter to Gay, dated 1713, after his eyes had been opened to the superior abilities of his friend Jervas, ' I have thrown away three Swifts, each of which was once my vanity, two Lady Bridgewaters, a Duchess of Montague, half-a-dozen Earls and a Knight of the Garter.' Some proof, indeed, that he had tried to succeed. When Jervas went to Ireland we are told that Pope took up his abode in the painter's London house, and as a relaxation drudged away at his easel morning, noon, and night. He designed a fan, the Story of Cephalus and Procris, which was purchased by Sir Joshua Reynolds, and a frontispiece for a small edition of his own ' Essay on Man.' A head of Betterton by him, a copy after Sir Godfrey Kneller, is in the possession of the Earl of Mansfield. He died at Twickenham, May 30, 1744. POPE, Somerville Stevens, amateur. Was the son of a miniature painter in Ireland, under whom, and also under 337 POP Thomas Roberts, he studied art about the middle of the 18th century. He was chiefly known as a devoted copyist of the works of Vernet. But he became High Sheriff of Dublin, and his practice of art was thenceforth rather as an amateur than professional. POPE, Alexander, miniature painter. Was younger brother of the above. He was born at Cork, and was a student in the Dublin Art School, under West. He practised portrait painting in Cork with success, and occasionally performed on the stage. In 1783 he came to London, and made his appearance in Covent Garden Theatre. He succeeded in tragedy, aud was well known for his performance of Othello, Henry the 8th, and other charac ters. He first exhibited at the Royal Academy in 1790, and was an occasional exhibitor up to 1821. He died in London in 1835. POPE, Mrs. Clara Maria, flower and miniature painter. She was a daughter of Jared Leigh (amateur pamter), and married at an early age Wheatley, R.A., and exhibited at the Academy, in 1796, a portrait, and for several years after por traits and httle domestic subjects, intro ducing children; in 1804, 'A Ride ta a Wheelbarrow.' About this time, having become a widow in 1801, she married the above Alexander Pope. She painted both miniatures and flowers. Her portrait of Madame Catalani became very popular, but she excelled in her flowers, for which she enjoyed a great reputation. She was a frequent exhibitor at the Royal Academy. She died December 24, 1838, at an advanced age. Her portrait was painted by Hamil ton, R.A. PORDEN", William, architect. He was born at Hull, and was the grandson of Roger Pourden, of York, architect. He showed an early attachment to drawing and poetry, and gaining the notice of Mason, the poet, was introduced by Mm to James Wyatt, who admitted him into his office, where he studied architecture for some time, and was afterwards the pupil of Samuel P. Cockerel! He then became Secretary to Lord Sheffield, who appointed him paymaster to the 22nd Dragoons, a regiment raised by his lordship in 1770. After the reduction of this regiment he turned again to architecture, and in 1778 exhibited at the Academy designs for a Gothic church, and continued an occasional exhibitor, fie was employed by the parish of St. George, Hanover Square, and super intended the fitting of Westminster Abbey for the Handel Festival in 1785-86, and was afterwards appointed by Earl Grosvenor surveyor of his estates in the metropolis. He built the stables at Brighton for the Prince of Wales, and Eaton Hall, Cheshire, 338 POE for Lord Grosvenor, but was, for some cause, superseded in the latter employment. This preyed upon his spirits, and he died two years after, on September 14, 1822, aged 67. He had a numerous family, all oil whom died ta infancy except two daughters — the elder married Mr. Kay the architect. The younger, Eleanor Anne, was distinguished, by her poetic talent. She published 'Cceur de Leon' in sixteen cantos, with some other poems. She was a great favourite of Flaxman, R.A., who called her his daughter, and became the first wife of Captain Franklin, R.N., the arctic explorer. She died young, in 1825. PORTER, Sir Robert Kerr, Knt., his tory painter. Was born at Durham in 1777. His father, descended from an old Irish family, was surgeon to the 6th En- niskillen Dragoons, and, dying young, left his famUy ta very low circumstances, and his mother then retired with them to Edin burgh. He made early attempts at draw- ing,which induced his mother to take him to West, P.R.A., by whose advice he en tered the schools of the Royal Academy ta 1790. He made rapid progress, and com menced art on a large scale. In 1793 he painted ' Moses and Aaron,' an altar-piece, commissioned for Shoreditch Church, and, in 1794, presented ' Christ stilling the Waves ' to the Roman Cathohc Chapel at Portsea, and. 1798, 'St. John Preaching' to St. John's College, Cambridge. In 1800 he was employed ta scene-painting for the Lyceum Theatre, and then undertook, when only 22 years old, to paint ' The Storming of Seringapatam,' 120 feet long, wliich contained 700 life-size figures, and was completed in ten weeks. This pano ramic effect was exhibited in the Theatre, and was followed by two others of nearly equal magnitude : ' The Siege of Acre ' and ' The Battle of Agincourt.' It has been said of him that if he was not a great painter he surely patated great pictures, which seems to be the sum of his art merits. At this time he exhibited some easel pic tures at the Royal Academy, and of these, in 1801, ' Mr. and Mrs. Harry Johnston as Hamlet and Ophelia.' But he was of a restless as well as a vigorous nature : in 1803 he was appointed a captain ta the Westminster Militia, and in 1804 was invited to Russia, where he was appointed historical patater to the Emperor. He was employed in the decoration of the Admiralty Hall, and painted several large pictures. He fell in love with the Princess Scherta- koff, but left Russia, travelling through Finland to Sweden, where he was knighted by the King. Here he met General Moore, whom he accompanied to Spata and shared the hardships of the campaign endtag with Corunna. fie then went agata to Russia, where he married his princess, and, com- POT pelled to leave the country, arrived in Eng land in 1813, and was knighted by his Sovereign. From 1817 to 1820 he was travelling ta the East. While there he was created Knight of the Lion and Sun of Persia, and made many sketches, which are now in the British Museum. In 1S26 he was appotated consul at Venezuela, where he resided tUl 1841, when he returned on leave of absence, and visiting St. Peters burg, he died suddenly of apoplexy on May 4, 1842, aged 65, and was buried ta the foreign cemetery there. He was by turns, during Ms active and adventurous career, artist, soldier, author, and diplomatist. Several of his pictures were engraved. He designed the illustrations for an edition of ' Anacreon,' 1805 ; published ' Traveffing Sketches ta Russia and Sweden,' 1S08 ; ' Letters from Portugal and Spata during the March of the Troops under Sir John Moore,' 1809 ; ' Narrative of the late Cam paign ta Russia,' 1813 ; and ' Travels ta Georgia, Persia, and Armenia,' 1821-2. His sisters, Jane and Maria, were distta guished as novelists. There is a tablet to the memory of the famUy in Bristol Cathedral. POTT, John, engraver. He practised in London in the latter half of the 18th century, and engraved after Sir Joshua Reynolds, TUly Kettle, and others. POUNCY, B. T., engraver. Was the pupU and brother-in-law of WooUett. Be gan art as an engraver of seals and anti quarian fac-simUes, but soon showed great abffity in landscape, and ta the latter part of the 18th century engraved some fine plates after R. Wilson, Heame, Faring- ton, and several others. He exhibited some engraved landscapes at the Spring Gardens' Rooms, 1778, and architectural views at the Academy in 1782—89, and food views of English towns. He died ta 'ratt Street, Lambeth, August 22, 1799. POWELL, C. M., marine painter. He commenced life as a sailor, and, used to the sea and ships, was self-taught in art. He was first able in 1809 to exhibit a painting PEA on chiua, exhibited in the same name, between 1812 and 1822 are by him. POWELL, John, landscape painter. Born about 1780. Painted first in oil, views in Wales and parts of England. He exhibited at the Academy ta 1797, and several succeeding years, ta water-colours, in which his abilities are best shown, and was a candidate, but unsuccessful, for ad mission to the Water-Colour Society, on its foundation. He was much engaged in teaching, and published some etchings of the different varieties of trees for the use of his pupils. Also eight landscape etchings, of much merit, from the old masters, fie continued an exhibitor at the Academy up to 1829. POWELL, Joseph John, history paint er. Was born of English parents, at Douai, France, in January, 1834. He commenced the study of art there, and conttaued his studies at Lisle till 1851, when he came to London, and entered the schools of the Royal Academy. He was reserved in his habits, had httle assistance from his friends, who could not afford him help, and was subjected to much difficulty and privation ; but neither poverty nor Ul-health damped his zealous application. At the Academy, in 1852, he gataed a silver medal, and the following year two. In 1855 he was the successful competitor for the gold medal, the subject ' The Death of Alcibiades.' His work was of great promise, and he was preparing to compete for the travelling studentship, when he was seized with illness. A month's tour in the Isle of Wight and Guernsey produced an apparent improve ment, and with exhausted resources he was returning to his work, when Ms illness recurred ; he lingered a few weeks at South ampton, and died there September 20, 1856. P O W I S , William Henry, wood- engraver. Was much esteemed in his art. There are some excellent cuts by him in the ' Illustrations of the Bible,' 1833 ; and ' Scott's Bible,' 1834. Also in some of the illustrations of the ' Solace of Song.' He at the Royal Academy, and conttaued a' was making good progi'ess, but ruined his regular contributor up to 1820, of marine subjects, calms and storms, in oU colours. His works, which are numerous, were of some promise, but he was an improvident man, and fell into the hands of the dealers. He died May 31, 1824, leaving a widow and eight children ta sad distress. POWELL, John, portrait painter. Was an assistant to Sir Joshua Reynolds, and was often employed ta copying his pic tures in small size in oU, which he did with much fidelity and taste. He exhibited portraits (chiefly small size) at the Aca demy in 1778, and in two or three subse quent years, contributing for the last time in 1785 — unless some enamelled portraits, health by his close and continuous labour, and died in 1836, aged 28. POWLE, George, engraver and drafts man. Was a pupil of Worlidge, and en graved some portraits in his style, among them Sir Richard Berkeley, Chief Justice of the King's Beuch. He exhibited some Eortraits with the Free Society in 1776. everal views by him of the City of Here ford are engraved by James Ross. He practised about the middle of the 18th century. PRANKER, Robert, engraver. Was chiefly employed for the booksellers, lie was a member of the Free Society of Artists, 1763, and practised in London in 2 339 PEA the latter half of that centuiy. His work was in the line manner, but was only of a mediocre class. He married one of Gerard Vaudergucht's daughters. PRATT, Sir Roger, Knt., architect. He was employed by Charles II. with Mr. Wren (afterwards Sir Christopher Wren) to survey the foundations of old St. Paid's, and he obstiuately opposed the plans of restoration proposed by Ms disttaguished colleague. He built Clarendon House, Piccadilly, pulled down in 1683, for Lord Chancellor Hyde, at a cost, it is said, of 40,OJ0?. He was knighted by the king for his exertions connected with the rebuilding of London after the Great Fire. PRATTENT, T., engraver. Practised about the end of the 18th century, chiefly upon topographical landscape. There are some good etchings of this class by him in the ' Gentleman's Magazine,' which appear to be from his own drawings. PRENTIS, Edward, subject painter. He resided a time at Monmouth, and painted scenes of domestic life, usually humorous, and not without a moral. ' The Profligate's Return from the Ale-house,' 1829 ; 'Valentine's Eve,' 1835 ; ' The Hypo crite,' 1838; 'Morbid Sympathy,' 1843; ' The Folly of Extravagance,' 1850. Several of his works are engraved. He was, ta 1823 and 1824, an exhibitor at the Royal Academy, and became one of the early members of the Society of British Artists, where he exhibited from 1829 to 1850. He died in December, 1854, aged 57, leaving a widow and 11 children. PRESTON, Thomas, engraver. He is sometimes styled ' Captata Preston.' He practised, without repute, in the reign of George II. There is a head of Pope by him, and a portrait of Admiral Blake, with ships introduced under it. He died Oc tober 29, 1785. PREWITT, William, miniature paint er. He was a pupil of Zincke, and prac tised in London towards the middle of the 18th century. His works are in enamel, brilliant ta colour, and possess much merit. There is a good whole-length group by him in the miniature collection at the South Kensington Museum. PRICE, John, architect. He buUt a mansion for the Duke of Chandos in Mary lebone Fields in 1720, and the church of St, George the Martyr, Southwark, 1733- 36, and practised for several years ta the metropolis. PRICE, Joshua, glass painter. He restored in 1715 Van Linge's windows at Christ Church, Oxford, which were broken by the Puritans. He also painted the Apostles and Prophets in the chapel at Magdalen, and finished the windows at Queen's College. PRICE, William, glass painter. Bro- 340 PEO ther to the above. Was the pupil of Henry Gyles, of York, and succeeded him. He painted the ' Nativity ' after Sir James Thornhill, for Christ Church, Oxford, in 1696 ; the great east window of Merton CoUege, 1700; and the Life of Christ in six compartments, for the same College, in 1702. He also repaired the windows of the chapel of Queen's College, 1715, and patated the centre window ta the chancel. He died in 1722. PRICE, William, glass painter. Son of the above Joshua Price. Was employed on the windows of Westmtaster Abbey, 1722-35, funds for the work betag voted by Parhament. He patated the 'Genealogy of Christ,' for the chapel at Winchester College, and repaired and completed several of the Flemish windows from the designs of Rubens, New College, Oxford. 'The Herbert Family' at Wilton is also by him. Both Ms colour and his drawing were good, and his ornament superior to any of his predecessors. He enjoyed a great reputa tion. Died unmarried ta Kirby Street, Hatton Garden, July 16, 1765. PRIEST, Thomas, landscape painter. Resided at Chelsea towards the middle of the 18th century, and patated chiefly views on the Thames. He pubhshed » set of etchings of Chelsea, Mortlake, and other places on the river's banks, executed in a coarse but spirited manner. PRITCHETT, J., architect. Was bom at St. Peter's, near Pembroke, of which parish his father was the clergyman, Oc tober 14, 1788. He was articled to Mr. Medland, in Southwark, and wMle with Mm, M 1808 and 1809, exhibited designs at the Royal Academy. He was after wards employed in the Government Barrack Office, and ta 1812 commenced practice for himself, the following year removing to York, where he succeeded John Carr, the well-known architect of that county. He gained a wide field of practice ta the north ern counties. In York city, he was the architect of the Deanery, the New Art Schools, and the Savings Bank. In the county, of the Wakefield Asylum, the Court-house and Gaol at Beverley, and many other works. He died May 23, 1868, ta his 80th year. PROCTOR, Thomas, sculptor and his tory painter. Was born at Settle, ta Yorkshire, April 22, 1753. His father, a man in humble circumstances, apprenticed him to a tobacconist in Manchester ] but, tired of this occupation, he found his way to London, and gataed employment in a merchant's counting-house, w'tach, after some time, he quitted, to devote tamself to the study of art, but without losing the friendly assistance of his late masters. He was admitted a student of the Royal Academy in 1777, and, tacited by the works PEO PEO of Barry, he painted a large picture of ' Adam and Eve.' In 1782 he obtained a premium from the Society of Arts ; ta 1783, the Academy sUver medal ; and, in 1784, the gold medal for his original pamt ing from ' The Tempest,' and was carried round the quadrangle of Somerset House on the shoulders of his enthusiastic fellow- students, shouting, ' Proctor ! Proctor ! ' He then tried modelhng, and, as a sculptor, claims a Mgh rank among British artists. He first produced his ' Ixion,' wMch he exMbited at the Academy in 1785 ; and the work was so warmly praised by the president of the Academy that it was purchased by Sir Abraham Hume, Bt. Thus encouraged, he set earnestly to work upon a larger subject, ' Diomedes Devoured by his Horses,' a noble work, which, exta bited ta 1786, attracted great admiration in the Academy,' but unfortunately was unsold. It had cost him 12 months' labour. He had spent his smaU patrimony ta the study of Ms profession, and not having the means to pay for a place where he might deposit his model, he destroyed it ta a fit of sad despondency, and abandoned sculp ture ta despair. His first contributions to the Academy exMbitions, ta 1780 and 1783, had been portraits : and ta 1789 he again sent a portrait. Then, in 1790, continuing to paint, he exMbited ' Elisha and the Son of the Shunammite ' and ' The Restoration of Day after the FaU of Phaeton,' a sketch. In 1791, ' Hannah declines to accompany her Husband to the Yearly Sacrifice.' In 1792, 'Pirithous, the Son of Ixion, de stroyed by Cerberus,' a group ta plaster, and two portraits. Then reverting to painting, ta 1793, ' The Final Separation of Jason and Medea,' and three portraits. In 1794, 'Venus approaching the Island of Cyprus.' The period had now arrived for the Academy to elect a student to send to Rome, and Proctor was chosen. But for the last four years he had exhibited with out giving an address, and tas very abode was unknown. This was ta 1793. The president, West, humanely sought him. Hewas ta a miserable attic ta Clare Market, had subsisted day by day on a penny roll with water from a neighbouring pump, but, unable to pay the pittance for Ms lodging, had wandered about till health quite gave way. The president immediately assisted him, cheered him, told him to prepare for his journey to Italy, and promised him kind introductions. But all too late. The broken-hearted man drooped, his mind was disturbed, and a few days later he was found ta his solitary bed, where he had died unheeded. He was m his 41st year, and was buried ta Hampstead Churchyard. Professor Westmacott, R.A.; exhibited Ms 'Ixion' and Ms group of 'Pirithous' at his lecture to the students, and expatiated upon them as the works of true genius. PROUT, Samuel, water-colour painter. Was born at Plymouth, September 17, 1783, and educated at the Grammar School of the town, and in art by a drawing- master established there. When a child he had suffered from a sunstroke, and was afterwards weak and aUtag. A love of drawtag was predominant. Chance threw him in the way of John Britten, who was collecting materials for his 'Beauties of England and Wales,' and the two went together into Cornwall — the young artist's expenses being defrayed in consideration of the service he might render. But his first attempts were very discouraging ; he cried over his failures, and after several efforts was compelled to return home. This was in the autumn of 1801. In the follow ing May be sent Mr. Britton some sketches of old buUdtags, which proved he had made considerable progress ; and it was eventu ally agreed that he should come to reside with him in Clerkenwell for two years, durtag which time he was employed in copy ing after the best topographical draftsmen of the day. In 1805 he returned home, chiefly on account of his ill-health. He had, in the previous year, first exMbited at the Royal Academy, and was, for the next 10 years, an occasional exliibitor ; his works chiefly views and coast scenes in Devonshire. In 1812 he came again to the Metropolis, and resided in Stockwell ; and, improving in his art, he was, in 1815, an exhibitor, and, ta 1820, elected a member of the Water- Colour Society. He at this period found employment as a teacher; and in 1816 Ackermann published in parts his ' Studies,' executed in lithography, followed by ' Pro gressive Fragments,' ' Rudiments of Land scape,' ' Views in the North and West of England,' with other works calculated to assist in teaching. In 1818 he was induced by increasing weak health to visit the Continent, fie seemed naturally to have been led to marine subjects, but his early architectural employment for Mr. Brittun had prepared him for the picturesque studies afforded by Havre and Rouen, and determined his future path in art ; and he soon became celebrated as the patater of the cathedrals, churches, and market places of Normandy. He was gifted with a strong feeling for the picturesque, and did not fail to seize the grand proportions of his buildings, but he was without sufficient knowledge to detail their beautiful tracery, marking only the general features with his broad reed- pen ; but ta the arrangement of his picture — his groups of living figures, and various accessories sparkling in colour— he was un- rivaUed. In 1824 he visited Venice, and 341 PEO afterwards other parts of Italy and Ger many, malting yearly excursions to the Continent, and adding variety to his pic torial art. He published ta lithography facsimiles of sketches made in Flanders and Germany, views in France, Switzer land, and Italy ; also a series of drawings from antiquarian remains, etched by him self ta a simple laige manner. He was a frequent sufferer from ill-health duiing his latter years, but continued a constant con tributor to the exhibitions of the Water- Colour Society tUl the end of his life. He died at Camberwell, February 10, 1852, aged 68. PROUT, J. Skinner, landscape paint er. Was born in Plymouth ta 1806, and was the nephew of the above Samuel Prout. He was largely self-taught. He practised ta water-colours, and turned his attention to the study of old buildings. He pub lished, ta 1838, ' The Antiquities of Ches ter,' a foho volume with large plates, and ' The Castles and Abbeys of Monmouth shire.' He resided a long time in Bristol, and published a work on ' The Antiquities of Bristol,' the sketches for which were made in company with the painter Miiller, with whom he had early formed a friend ship. It was in subjects of this character that he delighted, and though he had not the facility and power achieved by his uncle, he had much refinement and de licacy of colour. Early ta life he visited Australia, and lived some time ta Sydney and Hobart Town, and he afterwards ex hibited the sketches he made there at the Crystal Palace. He was elected a member of the Institute of Painters in Water- Colours, and continued to exhibit with the Society until his death, wliich took place in Camden Town, August 29, 1876. PR U DDE, John, of Westminster, ' glazier.' Engaged to paint the windows of Beauchamp Chapel, built for the great tomb of the Warwick family, ta the reign of Henry VI. PRYKE, Robert, engraver. PupU of Hollar. He practised in the reign of Charles II. Published Pierre le Muet's 'Architecture,' 1675. PUG II, Edward, miniature painter. He practised in Loudon, aud from 1793 to 1806 was an occasional exliibitor of minia ture portraits at the Royal Academy. In 1808 he sent a ' Welsh Landscape.' He made the drawings to illustrate ' Modern London,' published 1805 ; and for ' Cambria Depicta.' He died at Ruthin, ta 1813. PUGH, Charles J., landscape painter. He practised chiefly in water-colour, his works only washed or tinted with colour. He exhibited occasionally at the Academy from 1797 to 1803, views ta the Isle of Wight and in Wales. PUGH, Herbert, landscape painter. 342 PTJG Born ta Ireland. Came to London about 1758. In 1765 he received a premium at the Society of Arts. He was an early exhibitor and was, ta 1766, a member of the Incorporated Society of Artists. There was a large landscape by him in the Lock Hospital. He tried two or three pictures in Hogarth's manner, but they are only mean representations of low scenes. They were poorly engraved by Goldar. He dwelt in the Piazzas, Covent Garden, and was living ta 1788, but died shortly after, having shortened his Me by his intemperance. PUGIN, Augustus, architectural drafts man. He was born ta France in 1762, and having fought a duel early ta Me he fled suddetay to this country, M the troubled times of the Revolution. Not betag under stood at the Post Office, he was placed ta great diffictaty, for the want of remittances which had been sent to him, untU he met with a French artist named Merigot, then ta this coimtry, by whom he was assisted both in his art and his pecuniary trials. He had a talent for drawtag, and was ad mitted to study ta the schools of the Royal Academy, where, commencing ta 1799, he was an occasional exhibitor, contributing cMefly views of Gothic buUdtags. Soon after his arrival in London, replying to an advertisement, he gained employment ta the office of Mr. Nash, the architect of Waterloo Place and Regent Street, ta whose service he continued above 20 years. He was, from 1807, an exhibitor at the Water-Colour Society, and was, in 1821, elected a member, but tas contributions to the Society's exhibitions were very limited. He sketched ta a bold expressive style, and was much employed by Mr. Ackermann upon his publications. He added the architecture and backgrounds to Rowland- son's figm'es, contributed to that publisher's ' Microcosm of London,' 1808-11, and made a series of drawings for the 'Views ta Islington and PentonvUle,' 1813; also for the Histories of Westminster Abbey, Ox ford, and Cambridge, many of which are finished with great care and accuracy of detail. In 1821 be published tas ' Speci mens of Gothic Architecture,' a work which was at once appreciated for the accuracy of its details. This was foUowed by Ms ' Antiquities of Normandy,' ' Gothic Ex amples,' ' Ornamental Timber Gables,' and 'Paris and its Environs.' These careful Ulustrations of early arcMtecture rendered important assistance to students, and laid the foundation of much that has since been achieved ta the revival of the Gothic style. He had gained much practical knowledge during his long engagement with Mr. Nash, and was himself occasionally employed as an architect, but the Diorama in the Regent's Park and some country villas are the extent of his executed works. He PUG PUG also educated several pupUs, who have risen to eminence ta art. He married an Enghsh lady, and long resided in Great Russell Street, Bloomsbury, where he died December 18, 1832. P UGIN, Augustus Welby Northmore, architect, only son of the above. Was born ta London, March 1, 1812, and was edu cated under his father. n.e was taught to draw with readiness and accuracy the grand forms, as weU as the minute detafls, of GotMc architecture, and became an enthu siast for mediaeval art. He was by nature restlessly energetic. Before he was 15 years of age he was employed to make designs for f urtature and goldsmith's work. He tried scene-painting, and gataed a knowledge of the machinery and contriv ances which aie the accessories of scenic effects, and patated the complete scenery for an opera. Then, his genius tatang another turn, he purchased a small vessel and cruised about in the stormy Channel, gathering archaeological and natural curi osities on the French and Belgian coasts, and at last was wrecked penniless on the Scotch coast. He then commenced an extensive enter prise, founding and training an establish ment for the mamrfaeture of carved orna ments, and Gothic decoration of every class. He had married ta the mean time. His undertaking ended ta loss, almost rata. His young wife died, and with such large experience in life he was a father and a widower, and yet not 20 years of age. Sobered by his sorrows and his trials he turned to arcMtecture, and at once found fuU employment, and having earned the means, he buUt himself a large house ta his favourite style, married a second time, and set eagerly to work. He visited many of our cathedrals, and his fine taste was dis gusted by the neglected decay of some, and the patched-up attempts at restoration ta others ; and with the assumed conviction tha.t the Romish Church is the oMy one by which the grand and sublime style of eccle siastical architecture can be revived, he on that ground quitted the Protestant faith, wliich was possibly never very strong ta him, and entered the Romish Church. FoUowtag this idea on his secession, he published, ta 1836, his ' Contrasts,' placing ta juxtaposition — most powerfully, but most uMairly it must be added — the finest mediseval examples with the weakest mo dern attempts in stucco — and both ta his Ulustrations and Ms letter-press treated the latter with indignant scorn. He was engaged ta the erection of several Roman Catholic churches, and the large cathedral in St. George's Fields. He entered enthu siastically tato projects for the reform and perfection of his adopted Church, occupied his restless mind with aU the adjuncts of its architecture — painted glass, metal work, and embroidery of all kinds. But even here he met with mortification and disappoint ment. He was difficult to restrain, and was alternately checked and flattered by the heads of Ms Church. He then set about the erection of a church of his own at Ramsgate, which he found consolation in decorating with a zealous love, and piously joined in the daily services, and at times ran out with bis vessel into the Channel to meet the storms and waves. He had, too, the charge of a house full of chUdren again motherless, and was busied ta battling for his cherished Gothic, and now to all this was added the charge of aU the decorative fittings and designs, under Sir Charles Barry, for the Houses of Parliament — a work for which he was pecuharly fitted. Thus, his busy mind crowded with occupation, his time passed till 1851, when he plunged into the great Papal effort to establish a Hierarchy ta England with his 'Earnest Address,' which astonished and embarrassed the holders of the newly-assumed dignities. He was denounced as a doubtful believer, and, mortified with grief, careworn with his many labours, the news burst upon his friends that he was in Bethlehem. The circumstances connected with tMs confine ment are unknown; but the generous, broken-hearted man was only released by the efforts of his friends, to expire ta his own house. He died at Ramsgate, Sep tember 14, 1852. His chief publications, omitting those of a controversial character, are : ' Gothic Furniture, Style of 15th Century,' 1835; ' Contrasts, a Parallel between the Noble Edifices of the 14th and 15th Centuries and the Present Day,' 1836 ; ' The True Principles of Christian and Pointed Archi tecture,' 1841; 'Present State of Eccle siastical ArcMtecture in England,' 1843; 'Apology for the Revival of Christian Architecture in England,' 1843; 'Glossary of Ecclesiastical Ornament and Costume*' 1844; 'Floriated Ornament,' 1849; "Trea tise- on Chancel Screens and Rood Lofts,' 1851. His 'Life,' published 1861, was written by tas friend, Benjamin Ferrey, architect. PUGIN, Edward Welby, architect. Son of the above, was born March 11, 1834, and succeeded to his father's business when only seventeen years of age. He devoted Mmself entirely to the practice of GotMo arcMtecture, and completed his father's unfinished buildings, not only in England and Ireland, but in America and Belgium. His best known works are : St. Michael's Priory, Belment, near Here ford ; the Augustinian Church ta Dublin. Scarisbrick Hall, Lancashire; the Gran ville Hotel, Ramsgate ; some large parish 343 PUE PYN churches in Liverpool, and the Roman Catholic College of St. Cuthbert, Ushaw. He died in London after a brief illness, June 5, 1875, in his 40th year. PURCELL, Richard, mezzo-tint en graver. He was born in Ireland about 1736, and studied in Dublin under John Brooks. He for a while practised there, engraving 'Jenny Cameron,' a mere copy of Latham's ' Peg Wofbngton,' the ' Countess of Berke ley,' ' William at the Siege of Nanmr,' after Wyck, which is, in fact, a copy after Faber's print ; after Rembrandt, ' The Jewish Bride.' He afterwards came to London and engraved the works of Rey nolds, Cotes, Ramsay, Frye, and some of the most eminent painters of the time. He was depraved in habit and licentious in manner, and had the character of being one of the wags of the day, and, probably for concealment, adopted the signature, 'C. Corbutt' — but neither the cause nor the time of this change of name are known. He died in London, ta a state of great dis tress, about the year 1765. His engraving showed much ability, but was weak ta drawing. PYE, Charles, engraver. Bom in 1777. He practised at the beginning of the 19th century. There are some plates by bim in illustration of Dibdin's ' Biblio graphical, Antiquarian, and Picturesque Tour,' 1829. PYE, John, engraver. Was bom at Birmingham, April 22, 1782. He early shewed a talent for drawing, and acquired a good deal of self-taught skill. When about eighteen he left Birmingham, and obtained paid employment under James Heath in London, to whom he apprenticed himself, and worked for him a considerable time. Devoted chiefly to landscape en- f raving, he engraved about 1811 'Pope's 'ilia,' after Turner, R.A.,the figures by his master. This work gained him much notice, especially from the great landscape painter, who employed him to engrave his Temple of Jupiter ta Egina.' He was again successful, and from this time his progress was rapid, and his reputation established. He mastered in copper aU the gradations by which space, is expressed, and colour suggested. He was one of the founders of the Artists' ' Fund,' and was among the foremost opponents of the Constitution and PrivUeges of the Royal Academy. He lived for a considerable time in Paris, and was elected a correspond ing member of the French Institute, which awarded him a medal of honour. He was also hon. member of the Imperial Academy of Arts in St. 1'etersburgh. Some of his best works are after Turner, but among his other plates should be mentioned ' The Annunciation,' after Claude, a ' Classi cal Landscape,' after Casper Poussta, 344 ' Holy Family,' after Michael Angelo, and after Barrett, 'Evening.' He died in London, February 6, 1874, ta his 92nd year, fie wrote ' The Patronage of British Art,' an historical sketch, 1845, a work full of information connected with artists and the art institutions of his country. PYE, John, engraver. Was born in 1745. He was a pupU of Major, and gained a premium at the Society of Arts in 1758. Commencing in 1780, he was for nine years a constant exhibitor of views in water-colour in the Royal Academy. As an engraver he was employed by Alderman BoydeU, and his landscape plates were much esteemed. He worked with the needle, and both in the hue and dot manner. He en graved a ' Holy Family,' after Polemberg, ' Tobit and the Angel,' after Karl du Jardin, and after Claude, Watteau, Wootton, Pynaker, and others. PYE, Thomas, historical painter. He studied ta Dublin under the elder West, and was at Rome ta 1794 pursuing Ms studies from the old masters, but no further notice of Mm can be obtained. PYLE, Robert, portrait painter. He practised ta London early ta the last half of the 18th century, and ta 1763 was a member of the Free Society of Artists. He painted allegorical subjects, portraits, and conversation pieces. His art was weak, his figures stiff and poorly composed. The ' Power of Music and Beauty,' by Mm, was engraved by J. Watson, and Ms ' The Four Elements,' by C. Spooner. His portrait of Queen Charlotte is also engraved. PYM, B., miniature painter. He prac tised ta London, and found much employ ment about the end of the 18th century. For some time he was a regular contributor to the Royal Academy Exhibitions, but his name does not appear after 1793. PYNE, William Henry, water-colour painter. Was the son of a leather-seller m Holborn,and born 1769. His early love of diawing induced his father to place him under a clever draftsman, but he disliked his master, aud refused to be apprenticed to him. fie, however, managed to attain a great facility with his pencU, and showed much taste in the selection of objects for tas sketches. He practised only in water- colour. He first appeared as an exhibitor at the Royal Academy in 1790, contributing ' Travelling Comedians,' ' Bartholomew Fah-,' and a 'Puppet Show,' and M the succeedmg years exhibited chiefly rural subjects up to 1796. In his early works his foregrounds are carefully drawn with the pen and tinted with warm colour, his middle distances put in with grey. In his rural landscapes figures and animals were cleverly introduced. He was one of the original members of the Water-Colour Society 1804, but he resigned in 1809, and PYN then once more, ta 1811, exhibited at the Academy. The first part of ' The Micro cosm of London,' pubhshed ta 1803, and completed in 1806, contained 600 smaU groups of well-drawn and characteristic figures, and was followed, 1808, by ' The Costume of Great Britain.' He became connected with Mr. Ackermann, the pub lisher, and suggested many of his under takings. His 'Royal Palaces' was one of these. The work, in three volumes, com prised Windsor, St. James's, Carlton fiouse, Kensington Palace, Hampton Court, Buck ingham -House, and Frogmore, but he undertook only the hterary part, and the latter part of his life was devoted almost entirely to hterature. He wrote ' Wine and Walnuts,' and interesting gossip for the ' Literary Gazette,' remarkable alike for its stories of facts and its painstaking accuracy. The work was afterwards pub hshed ta two volumes. Then he edited the ' Somerset House Gazette,' a weekly peri odical devoted to art and artists, wliich only existed for two years, though its merits should have ensured it success. He con tributed to ' The Library of the Fine Arts,' and to 'Arnold's Magazine of the Fine Arts ; ' and ' The Greater and Lesser Stars of old PaU Mall,' wMch appeared in 'Era ser's Magazine,' is by him. He was also the author of 'The Twenty-ninth of May : a Tale of the Restoration.' He was closely connected with the literary and artistic world during the greater part of his life, EAD was a social and amusing compamon, full of clever projects, but wanting in that steadtaess and perseverance which lead to wealth. He underwent many sad diffi culties, and died at Paddington, after a long and depressing Ulness, May 29, 1843, aged 74. PYNE, James Baker, landscape painter. He was born at Bristol in De cember 5, 1800, and was originally intended for the law, but he early abandoned that study, and, self-taught, under many diffi culties struggled to make tataself an artist. In 1835 he left Bristol to try his fortune in London, and for the next four years was an exhibitor at the Royal Academy. He was also an exhibitor with the Society of British Artists, and in 1842 was admitted a member of the society, and then on oue occasion only was again an exhibitor at the Academy. In 1846 he visited Switzerland, Germany, and Italy, and in 1851 revisited Italy, fie was a frequent contributor to the ' Art Journal.' He published ' Windsor and its Environs,' ta 1838 ; ' The English Lake District,' 1853; and 'The Lake Scenery of England,' 1859; and by these picturesque works he was widely known. He died July 29, 1870, aged 70, and was buried ta Highgate Cemetery. He chose tas subjects, as seen from the banks of rivers, was fond of powerful contrasts both of colour and light and shade, and had a tendency to extravagance in his works, which did not meet with appreciation. Q QUELLIN, Thomas, statuary. Was the son of a statuary of great repute at Antwerp. He came to this country in the reign of James II. , settled in London, and was well employed. He carved the well- known monument to Mr. Thynne in West minster Abbey, which is the only work with which his name can be safely identified. Died in St. GUes's ta the last half of the 17th century, aged 33. QUINTON, George, engraver. He was born at Norwich ta 1779, and was first known when keeping sheep ta the ad joining county. Self-taught as an engraver, some works of his appear ta the ' Gentle man's Magazine' 1796, and some portraits. R RADCLYFFE, William, engraver. Was bom at Birmingham, and practised his art there during Ms life, engraving in the line manner, chiefly landscape. He was much employed for book illustration. 'The Graphic Illustrations of Warwick shire,' published 1829, were engraved by him ; also ' Roscoe's Wanderings in North and South Wales.' Among his last plates were 'Muller's Rest in the Desert,' and Collins's ' Crossing the Sands,' published in the ' Art Journal,' 1847 and 1848. Some works by him, after Turner, R.A., were exhibited at the International Exhibition, 1862. In 1814 he was associated with the founders of the first school of art, in 345 EAD EAI Birmingham. He died there, December 29, 1855, in his 73rd year. RADCLYFFE, Edward, engraver. Son of the above. AYas born at Birmingham about 1809, and studied under his father. His principal works were for the ' Art Union,' for which society he etched some plates after David Cox. He was also much employed for the 'Annuals,' and produced some engravings for the 'Art Journal.' He died at Camden Town, ta November, 1863. RADCLYFFE, William, portrait painter. Brother of the foregoing. He practised with some repute at Birmingham, and afterwards in London, and on one or two occasions was an exliibitor at the Royal Academy, but died young of paralysis, April 11, 1846. RAEBURN, Sir Henry, Knt., R.A., portrait painter. Was born at Stock- bridge, near Edinburgh, March 4, 1756. He was the son of a respectable manufac turer, and at an early age was left an orphan. He gataed a good education at Heriot's School, and at fifteen was appren ticed to an eminent goldsmith in Edin burgh. His love of art tempted him to try miniature painting, and Ms success induced his master to encourage Mm. He had no instruction, but David Martin, who then held the first rank as portrait painter in Edinburgh, was kind to him, praised his attempts, and lent Mm some of his own paintings to copy. His miniatures were much admired, and he soon gataed so much employment, that he arranged to give up part of his earnings to his master for a portion of Ms time. He made another step during his apprenticeship — he began to paint in oU, and soon adopted this larger medium ta lieu of miniature ; on completing his time he took up the profession of a por trait patater. His manner was spirited, and he was successful in impressing on tas canvas the character of his sitters. He was rising by the efforts of his own genius, and fortune assisted him, when ta his 22nd year, by tas marriage with an estimable wife, who possessed some property. He then came to London, and introduced himself and his works to Sir Joshua Rey nolds, who received him kindly, advised him to visit Italy, and offered him intro ductions and even pecuniary help. The latter was not needed, but be set out for Rome with the president's introductions, and spent two years in study in Italy ; on his return, in 1787, he settled ta Edin burgh, and gataed full employment. Both his art and his society were esteemed. He was surrounded by friends, and painted the most disttaguished of his northern country men. He paid only short visits to London, and knew little of the art or the artists of the Metropolis. But honours f eU thick upon 346 him in his native city. In 1812 he was elected President of the Society of Artists in Scotland ; in 1813 an associate of the Royal Academy, London, and the following year an academician, fie had been an occasional exhibitor at the Academy from 1798, and from 1810, though still residing in Edin burgh, he was a constant contributor to the Academy exhibitions. He was said to have consulted Sir Thomas Lawrence about setthng ta London, but he was assuredly well advised to remain where he held undisputed pre-eminence ta art, and was surrounded by friends, nor is it at all cer tain that his pecuhar manner of painting would have pleased the fashionable world. On the visit of George IV. to Edinburgh, in 1822, he was knighted, and on a vacancy in the foUowing year was appointed his Majesty's Limner for Scotland. He died at a house he had buUt for himself ta the suburbs of Edinburgh, on July 8, 1823. His life seems to have been one of great pros perity ; but it is said that ta Ms mid-career, his affairs were sadly embarrassed, from having incautiously become security for a near relation who was ta the West India trade, which swallowed up a little fortune he had acquired by his pencU. This loss he, however, bore with great firmness. He worked at his easel with increased zeal, so that he not only completely re-established tas affairs but agata secured an independ ence for himself and his family. His por traits were disttagtashed by their breadth, and marked by great individuality of character and truiliful expression, they were true as portraits, and possess some interest as works of art. RAILTON, William, architect. His design for the Nelson Column ta Trafalgar Square was the one selected, ta competition with many others, on two separate occasions. He died at Brighton, October 13, 1877. RAIMBACH, Abraham, engraver. Bom ta Cecil Court, St. Martin's Lane, London, 1776, the son of a SwisSjwho had settled here. He was the pupil of J. Hall, and on the termination of his apprenticeship, entered as a student of the Royal Academy. He found at the same time some employ ment from the booksellers, and painted a few miniatures, of which, from 1797 to 1805, he was a constant exhibitor at the Academy. But he eventually devoted him self to engraving, and followed the line manner. His drawing was good, his line pure, the expression and character well defined. He engraved after Reynolds, a ' Venus,' and the ' Ugohno.' About 1812 he commenced engraving after Wihue, and produced ' The Village Pohticians,' foUowed by the ' Rent Day,' 'The Cut Finger,' 'The Parish Beadle,' ' Blind Man's Buff,' ' The Spanish Mother,' and some other of his works. He died at Greenwich. January 17. e*Jli , k,, «. ,8 Its. or .117,104-. bwr.eJTH 1843v/His 'Memoirs and Recollections,' edited by his son, were privately printed ta the same year. RALPB1, G. Keith, portrait painter. He was an exhibitor of portraits at the Royal Academy from 1778 to 1795, and also of an occasional subject picture. He held the appointment of portrait painter to the Duke of Clarence. RAMAGE, David, medallist. Was one of the Corporation of Moneyers of the Mint, and was engaged by the Corporation in 1649 to produce, with his own hand, speci men coins, ta competition with the speci mens of Blondeau, who was eventually compelled, by the opposition of the man agers to leave England. These specimens, which comprise the half-crown, stalling, and sixpence, are now very rare, and com mand large prices. A pattern staffing of the Commonwealth soldin 1874 for 17?. RAMBERG, John Henry, subject painter and engraver . Was born at Han over ta 1763, and came early ta life to England. He is reputed to have been for a time pupU of Sir J oshua Reynolds and of Bartolozzi, R.A. From 1782 to 1788 he was a contributor to the Academy exhi bitions, and ta 1789, with the sanction of the King, he drew and engraved the por traits of the princesses, lie patated many subjects for book Ulustration, and was en gaged on Boydell's Shakespeare Gallery. He was employed ta the decoration of Carlton House. There are some humorous caricatures also by him. He engraved ta aqua-tint, and ta the chalk manner, and etched. Among his engravtags are 20 allegorical subjects after the Princess Eliza beth, then Princess of Hesse Homberg, printed at Hanover, ta 1834. He travelled in Italy, France, fioUand, and Germany, and is supposed to have died at Hanover, July 1, 1840, but the accounts of him are very conflicting. A clever picture drawn by Mm of Sir J. Reynolds showing the Prince the paintings ta the Royal Academy exhibition, 1784, the room filled with pleasing groups, is weU engraved ta line. RAMSAY, Allan, portrait painter. Son of the author of ' The Gentle Shep herd.' Bom 1713, at Edinburgh. ChurchiU equivocally says, — "Thence came the Ramsays, name of worthy note, Of whom one paints as weU as t'other wrote.' His early love of art was encouraged by his father, and when about 20 years of age he visited London, became a member of the St. Martin's Lane Academy, and after studying there some time, he returned to Edinburgh, and from thence set out for Italy ta May 1736. He pursued his art at Rome under the best masters, confining himself almost exclusively to portraiture. EAN On his return he practised chiefly in London, where, in 1758, he had attained great dis ttaction ; but he also practised occasionally in Edinburgh. In 1766 he was Vice-Presi dent of the Incorporated Society of Artists. He was introduced to the Prince of Wales, afterwards George IIL, by Lord Bute, and ta 1767 was appotated principal patater to his Majesty. He entirely engrossed the professional business which properly be longs to Ms office. At this time he was residing M Soho Square, and his painting room was crowded with portraits of the youug King in every stage of progress ; and with all the assistance he could procure he could scarcely keep pace with the de mands for the Royal portrait. Shortly after Ms return from a second visit to Rome the Royal Academy was founded, and, without any information on the subject, it seems strange that he did not become a member. In 1775 he made a tour for his health, and again visited Rome. He was at the time at the height of his reputation. His por traits are graceful and easy in pose, possess a calm representation of his sitter, expres sive, without affectation of attempted graces, but are deficient ta power, fie was an agreeable man, of matured literary tastes, a good French, Itahan, and Latin scholar, and learnt Greek in his old age. He pub lished some essays on history, politics, and hterature, under the title of ' Investigator.' Sir J. Reynolds said 'he was the most sensible man of all the living artists,' and Johnson also praised him, saying, ' You wUl not find a man ta whose conversation there is more instruction, more information, and more elegance.' He paid a fourth visit to Italy, and died on his return at Dover, a few days after landing, August 10, 1784, ta tas 71st year. He was buried at St. Marylebone Church. He left a son, who attained the rank of general, and a daugh ter, born in Rome, who married Sir Archi bald Campbell. RAMSAY, J ames, portrait painter. He commenced his art in London, and exhi bited for the first time at the Royal Aca demy in 1803, and practising with success, and having made eminent sitters, he was a regular exhibitor. In 1837 he painted a portrait of Earl Grey for the Town Hall at Newcastle-on-Tyne, and in 1847 he retired to that town, but continued an exhibitor till his death there, June 23, 1854, aged 70. There is a portrait of Thomas Bewick by him in the National Portrait Gallery, and a good portrait of Grattan by tarn is engraved. RANDALL, James, draftsman and painter. Practised in London about the beginning of the 19th century. He painted, ta oU, landscapes, introducing architecture, and made, in water-colour, a series of draw- tags, which were published in aqua-tint in 347 EAN 1806 'A CoUection of Architectural De signs for Mansions, Casinos, Villas, Lodges and Cottages in the Greek, Gothic, and Castle Styles.' He exhibited at the Royal Academy designs of this class from 1798 to 1814. RANKLEY, Alfred, subject painter. He was born in 1819, and was a student in the schools of the Royal Academy. His name first appears in the Academy Cata logue in 1841, when he exhibited a 'Scene from Macbeth ; ' next, in 1843, contribut ing a portrait, and from that time he was a constant exhibitor, seldom sending more than one work and never exceeding two. His paintings were generally domestic sub jects, conscientiously finished, and inculcat ing some healthful thought. Of some of his best works may be mentioned • The Lonely Hearth,' 1857 ; ' The Return of the Prodi gal,' 1858 ; "The Day is Done,' 1860 ; "The Doctor's Coming,' 1864 ; 'Follow My Lead er,' 1867. His last exhibited works were ' Following the Trail,' and ' The Hearth of his Home,' 1870, with ' The Benediction,' 1S71. He died at Kensington, December 7, 1872. RANSOM, Thomas Frazer, engraver. Born at Sunderland in 1784, he was appren ticed to an engraver at Newcastle. In 1814 he received the Society of Arts' medal for an engraved portrait. In 1818 he entered warmly tato the controversy then existing as to the prevention of the forgery of Bank of England notes, and was himself tried for having a forged bank-note ta his possession, but was acquitted, the jury believing the note to be genuine. In 1821 he gataed the Society of Arts' gold medal for a line en graving, and in 1822 a second gold medal for his engraving from Sir D. WUkie's ' Duncan Gray.' R A S T E L L , John, wood-engraver, printer, and mathematician. Was greatly reputed in London in the first half of the 16th century. He was brother-in-law of the celebrated Sir Thomas More. He pub lished, in 1529, with many wood-cuts by his own hand, which have been erroneously attributed to Holbein, ' The Pastime of the People, or the Chronicles of Divers Realmes, and more especially of the Realme of Eng land.' This work was republished by Dibdin in 1811. He died in 1536. RATHBONE John, landscape painter. Was born in Cheshire ta 1750. Self-in structed ta art, he acquired some proficiency, and practised both ta oil and water-colours. He was the boon companion of George Morland, and of Ibbetson, who painted figures into his landscapes, and some others, birds of the same feather. He exhibited at the Royal Academy from 17S5 till his death. His contributions were landscape views, with figures— chiefly lake scenery — with effects of morning and evening ; 348 EAV storms, wood scenes, with cattle. He died in 1807. RAT TEE, James, carver. Bom at Funden Hall, Norfolk, and educated at the village school. He was apprenticed to a carpenter, and nourished an inborn love for the beauties of Gothic carving, in which he displayed great skill and ingenuity. He was associated with A. Welby Pugta in restorations at Cambridge, and G. G. Scott at Ely. In 1852 he travelled for the im provement of his health, and to gain know ledge by visiting the great Gothic edifices in Belgium, Cologne, and Hamburgh. On his return, he was entrusted with the sole charge of constructing the reredos at Ely, composed of highly-chased stoneand alabas ter, and, a martyr to ill-health, he died at Cambridge, from the effects of a cold, March 29, 1855, aged 35. He had shortly before been appotated wood-carver to the Cam bridge Camden Society, and had erected some extensive works at Cambridge. RAVEN, John S., landscape painter. Was born in Suffolk, August 21, 1829, and was the son of a clergyman, himself a very clever water-colour patater, as will be seen by some drawings given bytam to the South Kensington Museum, and some others ex hibited at the Grosvenor Gallery Winter Exhibition ta 1877. He studied in no school and under no particular , master, though his earlier works shew the in fluence of the Norwich School. His first exhibited picture was ' Salmsley Church ' in 1845, when he was only sixteen years of age. fiis last contribution to the Royal Academy was ' Barff and Lord's Seat from the slopes of Skiddaw,' ta 1877. Among his most important works are 'Midsummer, Moonlight, Dew rising,' 1866 ; ' A Hamp shire Homestead,' and ' The Monk's Walk,' 1872 ; ' The Lesser Light to rale the Night,' 1873 ; ' The Heavens declare the Glory of God,' 1875. The Pre-Raphaelite school seems to have had some influence upon Ms art work, but led him rather to greater realization of details, than to the ignoring of art. His landscapes were not only of a realistic character, but exhibited a high feeling for the poetical and imaginative ta nature, and he always subjected his imita tion of nature to some preconceived idea of the subject. He was accidentally drowned while bathing. He was painting from a tent on the Sands at Harlech ta North Wales, and his wife on going to take him his luncheon, found only his clothes, and was met by some fishermen bearing his hfeless body. This sad event occurred July 14, 1877. RAVENET, Francois Simon, A.E., engraver. Was born in Paris in 1706. He wasa pupil of Le Bas, and attained consider- ablereputation. HecanietoEnglandshortly before 1745, and settled in London, where E AV EEA Ms art was highly esteemed. He was em ployed for a time at the Battersea enamel works, and gained aSociety of Arts' premium in 1761, and was in 1766 a member of the Incorporated Society of Artists. He is said to have been invited to this country by Hogarth, to assist ta engraving his ' Mar riage a la Mode,' the 4th and 5th plates in which series are by him and dated 1745. He became one of his ablest coadjutors. Hewas also employed by Alderman Boy- dell, and he executed many plates for the bookseUers. His best works were however executed for BoydeU, ' Charity after C. Agneri,' 1763 ; ' The Lord of the Vineyard paying his Labourers,' after Rembrandt, 1767 ; 'The Prodigal Son,' after Salvator Rosa, 1767 ; ' George II. on Horseback,' after D. Morier, 1757, and there is a good portrait of himself wliich he engraved after Zottany. His engravings are remarkable for imitation of colour, as weU as for their briUiancy and careful drawtag. He was elected an associate of the Royal Academy in 1770, and exhibited there some proofs of Ms works. He hved many years at Lambeth Marsh, but removed to the Hamp stead Road, nearly opposite to the ' Mother Redcap,' where he died, April 2, 1774, and was buried ta St. Pancras' old churchyard. RAVE NET, Simon, engraver. Was bom ta London about 1755, and was the son of the above, by whom he was instructed in his art. Soon after his father's death he went to Paris, and studied there under Boucher. He then went to Italy, and finaUy settled at Parma, where be under took to engrave aU the works of Correggio in that city. This labour occupied Mm from 1779-85, and gataed him, on its com pletion, the disttaction of Chevalier. He was living, according to some writers, ta 1813. RAWLE, Samuel, engraver and drafts man. Practised in London about the begin ning of the 19th century. He exhibited a landscape view at the Royal Academy ta 1801, and agata in 1806. There is an artistic engraving, also drawn by him, of the Middle Temple Hall, in the ' Gentle man's Magazine for 1798. He engraved some of the illustrations of Murphy's ' Ara bian Antiquities of Spain,' published ta 1816. RAWLINS, Thomas, gem and die- engraver. Was born about 1610. Hewas intended for a goldsmith, and early cut in metal and precious stones heads and coats of arms. Charles I. appointed him first engraver to the Mint ta 1648, and he was again employed after the Restoration. The dies for the coinage struck at Oxford are by him, as weU as several medals commemo rative of the period, and are works combM- ing great spirit with careful details. Evelyn, in his ' Seulptura,' mentions him as exceU- Mg in medals and intaglios, and in Fleck- noe's'Miscellanies'thereisapoem 'on that excellent cymilist or sculptor in gold and precious stones, Thomas Rawlins. ' fie wrote 'Rebellion, a Tragedy,' with some ether pieces for the stage, and ' Calanthe,' a book of poems, 1648. He died 1670. RAWLINSON, James, portrait painter. He was a Derbyshire artist, and was a pupU of Romney. In 1799 he exhibited at the Academy, Ms only appearance there, ' An Old Woman Knitting.' A portrait by him of Darwin, the poet, is well engraved by Heath. Hayley mentions him ta his ' Life of Romney.' He died July 25, 1848, in his 80th year. READ, Charles David, draftsman: Bom 1790. Hewas a drawing-master at Sahsbury, and produced a number of land scape etchings, which he pubhshed in 1840, but they possess little merit. He also painted some landscapes in oU. He died at Kensington, May 25, 1851. R E A D, Miss Katherine, portrait painter. Practised in London, both in oil and crayons, ta the early part of George III.'s reign. She hved in the neighbour hood of St. James's, and gataed consider able reputation. In 1765-68 she contri buted crayon portraits to the Free Society's exhibitions, and was later an exhibitor at the Royal Academy. About 1770 she went to the East Indies, where she stayed some time, but probably not long, as ta 1771-72 she exhibited at the Spring Gardens' Rooms. On her return, resuming her practice in London, she painted a portrait of Queen Charlotte, and a group of Prince George and Prince Frederick when chUdren, with a large dog. Valentine Green en graved after her, and Robert Lowry en graved her Elizabeth Duchess of HamUton. From 1773 to 1776 she exhibited crayon portraits at the Royal Academy. Her best works are ta crayons, but her own portrait ta oU, still ta the possession of her family, is a veiy clever work. Her portraits are well drawn and grouped, and are marked by their pleasing natural expression . She patated a miniature of Hayley, the poet, when a boy ; and ta his poetic epistles he commemorates 'the soft pencil of the grace ful Read.' She died , unmarried, in London, December 15, 1778. READ, Nicholas, sculptor. Was a pupil of Roubiliac, and after his death occupied his studio and premises in St. Martin's Lane, succeeding also to much of his professional connexion. He showed some early ability, and in 1762-63 gained premiums of the Society of Arts, and in 1764 was awarded the first premium of 150 fuineas for a marble statue. He is said to ave cut the skeleton figure of death iu Mrs. Nightingale's monument, which is remarkable for its excellent tooling, but he 349 EEA EED was of a conceited, vain disposition, and an annoyance to his master, whose somewhat exuberant style he exaggerated to an extravagance approaching absurdity. In 1779 he exhibited with the Free Society of Artists a very pretentious design for Lord Chatham's monument. His monu ment to Rear-Admiral Tyrrell in West minster Abbey has been called ' the pan cake monument.' There are several other monuments by him in the south aisle of the Abbey, fiis mind, unfortunately, be came impaired in the prime of life, and a short time before Ms death he was totally deprived of reason. He died at his house in St. Martin's Lane, July 11, 1787. READ, Richard, engraver. Was bom about 1745. He was a pupil of Caldwall, gained a Society of Arts' premium in 1771, and practised his art in London during the latter part of the centuiy. He worked chiefly in mezzo-tiut, but sometimes in the dot manner. He engraved ' The Dutch Lady,' after Rembrandt ; ' Moses in the Bulrushes,' after Le Soeur ; ' The Queen of Scots,' after Hamilton, R.A., and other works. He died towards the close of the centuiy. READER, William, portrait painter. Was bom at Maidstone, the son of a clergy man, and practised his art in the 17th cen tury. Was for a loug time in the service of a nobleman. His portrait of Dr. Blow, the musical composer, is engraved in mezzo tint. He died poor ta the Charter House. READING, «Burnet, engraver. He was born at Colchester, and practised in London between 1770-90, working in the dot manner. Some of his works, as was then the fashion, are printed in red. There is by him, ' Charlotte at the Tomb of Werther,' and after Bigg, R.A., 'La- viuia and her Mother.' There is also a portrait of him drawn and etched by him self. He was riding and drawing-master to the Earl of Pomfret at Windsor. READING, Sarah, engraver. Prac tised at the same time, and ta the same manner as the above. A smaU oval by her, ' Olivia and Sophia,' is known. READY, William James Durant, marine painter. Was bom in London, May 11, ls-23. The son of a clerk in the Customs, he was a self-taught artist. Early in life be took some of his produc tions to a dealer, who bought them all, and advised him to study the rules of art, and to work directly from nature. Upon the last part of the advice alone he acted. He went to America for four or five years, and on Me return again sold his drawings to the same dealer (who subsequently bought nearly all his productions), aud with whom he frequently stayed by the sea-side, making also many excursions along the coast. D. Roberts, R.A., thought highly 350 of his ability, and induced him on one occasion to send two pictures to the Royal Academy. In consequence of their being exhibited, the Inland Revenue sent him an income-tax paper to fill up, which alarmed him so much, that he never agata exhibited. He patated both ta oil and water-colours, and nearly always finished his work upon the spot. His exertions out-of-doors were fatal to Ms health : he became very 1U at Brighton, and when on his seeming to be somewhat better his brother went down there to remove him to London, he fainted ta the carriage, was carried back to his lodgings, and died at Brighton, November 29, 1873. He usually signed his pictures W. F. R.,orW. F. Ready. REBECCA, Biagio, A.R.A., history and ornamental painter. Of Italian ex traction. He became a student of the Royal Academy in 1769, and an associate in 1771, in which year he exhibited a pic ture of ' Hagar and Ishmael,' and in the following year, ' A Sacrifice to Minerva.' He contributed some weakly drawn Ulus trations to Bell's poets, fie was prin cipally employed ta patating staircases and ceilings with arabesques, and during several succeeding years he does not appear as an exhibitor. He probably became known to the royal family by his employment as a decorator, for it is said that he contributed to their amusement at Windsor by his facetious drawings and professional freaks. He died at his lodgings in Oxford Street, February 22, 1808, aged 73. REDE, William, architect. He was bishop of Chichester in 1369, and deemed the best mathematician of his age. He built the Mst library at Merton College, and the Castle at Amberley, Sussex, fie died 1385. REDFERN, James F., sculptor. Was born in Derbyshire, and while yet a young village boy showed a talent for art, which was strikingly displayed by his carvings and modeUings from the woodcuts of illus trated newspapers. Mr. Beresford Hope, on whose estate he was bom, placed him under the tuition of Mr. J. R. Clayton, and the fruit of this pupUage was a fine group, 'Cain killing Abel,' which called forth the warm approval of J. Foley, R.A. His patron also sent him to Paris for six months, where he gataed some knowledge of the language and of the work in its ateliers. After this he devoted tamself chiefly to works of a Gothic character. He executed a very elaborate reredos for St. Andrew's Church, Wells Street, a series of figures for the west front of Salisbury Cathedral, and some sculptures for Bristol Cathedral, which, owing to an outburst of party spirit, have not been allowed to be placed there. He died at Hampstead, June 13, 1876, aged only 38. EED REDMOND, Thomas, miniature paint er. Was the son of a clergyman at Brecon, and was apprenticed to a house-painter at Bristol. He came to London, studied a short time at the St. Martin's Lane Aca demy, and improved himself as an artist. In 1763 he was a member of the Free Society of Artists. He then settled at Bath, where he practised his art with suc cess. He exhibited portraits ta miniature and in crayons at the Royal Academy from 1775 to 1779. He died at Bath in 17S5, aged about 40 years. REED, Joseph Charles, landscape painter. Was born in 1S22. He was elect ed an associate of the Institute of Painters ta Water-Colours in 1860, and became a full member about six -years later. He sought for subjects for his art M various parts of England, and contributed many landscapes to his Society's exMbitions from Wales, Scotland, and Ireland. He died ta London, October 26, 1877. REED, Robert, architect. He was bom at Edinburgh, November 8, 1774, and practised in that city, where he de signed and erected several important public edifices. Among them St. George's Church ta Charlotte Square, the Law Courts and Courts of Justice in Parliament Square, and the Bank of Scotland. He exhibited at the Royal Academy, ta London, in 1818- 19-20, Ms designs for several national works. He held the appointment of Queen's arcMtect for Scotland. He died in Edinburgh, March 21, 1856. REINAGLE, Philip, R.A., animal and landscape painter. Was born 1749, and was admitted to the Schools of the Royal Academy ta 1769. He was after wards employed by Ramsay, the court painter, and assisted him ta the numerous repetitions of the royal portraits he was commissioned to supply. In 1773 he first exMbited at the Academy, and in that year and up to 1785 his contributions were exclusively portraits. He then tried animal painting with great success, and ex hibited some subjects, introducing animals and birds, but from 1794 chiefly landscapes. His hunting pieces, sporting dogs, and dead game were excellent, and ta 1787 he was elected an associate of the Academy, but he did not gain his election of Academician till 1812. He had great powers of imita tion, and copied the Dutch masters — Ruys- dael, Hobbema, Wynants, Wouvermans, and others, with such careful accuracy, that many of his copies pass for fine originals in good collections. He patated birds well, the plumage well coloured, and pencilled with great lightness and truth, and towards the end of the century exhibited some illustrations for Thornton's 'Botany,' continuing an exhibitor up to 1827. fiis ' Sportsman's Cabinet,' a work EEI comprising all kinds of dogs used for sport, was engraved by Scott, and published 1803. He died at Chelsea, November 27, 1833, aged 84. REINAGLE, Ramsay RionARD, R.A., portrait and animal painter. Born March 19, 1775. Hewas the son of the foregoing. He painted both history and portrait, and also animals and landscapes, hut chiefly ex celled ta the latter, exhibiting at the Aca demy at a very early age. Some of his early life was passed in Italy, and ta 1796 he was studying ta Rome, and afterwards in Holland from the Dutch masters. In 1806 he exhibited with the Water-Colour Society some Italian Landscapes, and ta 1807 was elected a member of the Society, and con tinued to exhibit, mostly scenes ta Italy, up to 1 8 1 2, when be was appointed the treasurer, but in the next year he left the Society on the changes which then took place. He had during this time been a regular exhibitor also at the Academy, and in 1814 he was elected an associate and 1823 a full member. In 1848, having purchased a landscape and exhibited it at the Academy as his own, he was, after a full Mquiry, called upon to resign his diploma. He did not, however, cease to exhibit at the Academy, sending for the last time two landscapes ta 1857, nor did the Academy withhold their assist ance from him ; he received till his death a liberal allowance from the Academy funds. He died at Chelsea, November 17, 1862, aged 87. REINAGLE, George Phillip, marine painter. Son of the above, by whom he was instructed ta art. Was a successful copyist of the Dutch masters, particularly Backhuysen and William Vandevelde, and probably from them gained bis feeling for marine subjects. He first exhibited at the Academy ta 1824, and in that and the three followtagyearscontributednavalscenes. He accompanied the English Fleet and painted with great success "The Battle of Navaiino,' which, with other subjects connected with the battle, he exhibited in 1829-30-31. He was also with Admiral Napier's fleet ta the action with the Portuguese, and exhibited ' Napier's Victory over the Miguelite Fleet,' ta 1835, his last contribution to the Aca demy, lie painted both in oil and ta water- colours, had a good knowledge of shipping, and was of much promise as a marine painter. He died, prematurely, at Camden Town, December 6, 1835, aged 33. REISEN, Charles Christian, medal list. Was bom ta the parish of St. Clement's Dane, London, the son of a Norwegian goldsmith who had come to this country and settled in London, 1666, practising as a seal engraver. His genius soon gained him employment, and his great ability be coming known on the Continent he received commissions from Denmark, Germany and 351 EEM France. He was greatly befriended by the Earl of Oxford. He lived chiefly in the vicinity of Covent Garden, and had also a house at Putney. He was director of KneUer's Academy. He made a large col lection of medals, books, and drawings. He died of gout, December 15, 1725, aged about 46, and was bmied in the churchyard of St. Paul's, Covent Garden. He left the bulk of a large property which he had amassed to an unmarried sister who kept his house. REMSDYKE, John, draftsman. Was born in Holland. Settled at Bristol, and practised there in the latter half of the 18th centuiy. His chief employment was in drawing natural history, fie made many drawings for the publications of Dr. WiUiam Hunter ; and, with his son, Andrew Rems- dyke (who gained a medal at the Society of Arts in 1767), published ta London, in 1778, a volume of natural history, the illustrations drawn and etched by himself and his son, from objects in the British Museum The son, who painted portraits, died at Bath in 1786. RENNIE,GEORGE,«c?i?p?or. He studied in the schools of the Royal Academy, and afterwards pursued his studies in Italy. He executed several groups in marble, some of which have great merit. From 1828 to 1837 he was an exliibitor at the Royal Academy, sending, in the first year, ' A Gleaner ' and ' A Grecian Archer ; ' in 1831, 'Cupid and Psyche;' and a marble group of four figures, in 1837, after which his name disappears. RENNOLDSON, , engraver. Prac tised in mezzo-tint in London, about the middle of the 1 8th century. ' The Dancing Mistress,' after J. Collet, is by him. REN'TON, John, p>ortrait painter. He was, commencing in 1821, an exliibitor of portraits at the Royal Academy, and his works were well esteemed. In 1827 he exhibited ' King Charles setting up Ms Standard at Nottingham,' a sketch ; in 1839 a landscape, and, in 1840, some intaglios, his last contribution. REPTON, Humphrey, landscape gardener. Born 1752, at Bury St. Ed munds, where his father possessed a small estate. He received a fair education, and became known to the Rt. Hon. W. Wind ham, who, on obtaining the appointment of Secretary of State for Ireland, in 1783, took Mm to Dublin, in the hope of finding some suitable employment for him, which was prevented by the short life of the ad ministration. He was a tolerable draftsman, and between 1788 and 1791 was an honor ary exhibitor of some landscape views at the Royal Academy. He also tried land scape gardening — introducing a more natural arrangement — and architecture. Among other gardens and parks laid out by him may be named those at Cobham, 352 EEV Wobum, and Richmond. He published numerous works, his chief being ' Observa tions on Landscape Gardening and Archi tecture ' 1806, and ' Fragments on Land scape Gardening, with some Remarks on Grecian and Gothic Architecture,' 1816. He also maintained a smart disquisition, which was printed, with Uvedale Price and R. Payne Knight, who attacked the pro fessional principles which he adopted. 'The Bee,' an art publication, 1787, is attributed to him. Some of the vignettes of the ' Polite Repository,' a small pocket diary, are also by him. He died near Romford, Essex, March 24, 1818, ta his 66th year. REPTON, John, Adey, architect. Son of the above. He was born at Norwich, March 29, 1775, and was deaf from his Mfancy. At the age of 14 he became the pupil of WilMns, the father of the Acade mician, who was then practising in Norwich. In 1796 he was employed as an assistant to John Nash, with whom he conttaued four years, and then joined Ms father. He ex hibited drawtags and designs at the Aca demy, commencing in 1798, contributing for the last time in 1805, when he is styled an honorary exhibitor. In 1809 he gataed the first premium for a design for the pubhc buildings then proposed to form ' Parlia ment Square,' Westminster ; and, later, the second premium for a design for Bethlehem Hospital. He assisted his father ta some of his published works, and after his death was consulted in professional matters. But his deafness proved a great bar to the pursuit of his profession, and he went to reside at Springfield, near Chelmsford. From this comparative retirement he was roused to prepare drawings ta competition. for the new Houses of Parliament, in 1835. He sent several communications to the Society of Antiquaries, which appear in the Society's publications. He died un married, November 26, 1860, in his 86th year. REPTON, John Stanley, architect. Brother of the above. He was a pupil of Augustus Pugta, and afterwards an assist ant to Nash, under whom, ta 1816-18, he superintended the alteration of the Italian Opera House ; and, in 1819, designed St. Philip's Chapel, Regent Street. He married privately, in 1817, Lady E. Scott, daughter of Lord Chancellor Eldon ; and on a recon ciliation, soon after, with her family, re tired from Ms profession. He died June 29, 1853. REVE, Thomas, 'glazier,' or glass painter, of St. Sepulchre's, London, was one of the four contractors in the reign of Henry VIII. who supplied the 18 painted windows ta the upper story of King's Col lege Chapel, Cambridge. REVELEY, Willey, architect. Was a EEV pupil of Sir WUliam Chambers, and in 1781 first appears as a contributor of arcM tectural designs to the Royal Academy exhibition. In 1785 he was in Rome, and from thence sent to the Academy a design for a theatre. In 1789 he contributed a design for a metropolitan church ; and ta 1793 exMbited for the last time. He travelled in Greece with Athenian Stuart, and edited the third volume of Stuart's 'Antiquities of Athens.' He made many drawings and studies ta Greece, had a good knowledge of classic antiquity, and great professional attainments, added to a high opinion of his profession. But he was eccentric, expressed Ms opinions sar castically, and did not succeed to the mea sure of Ms abUities. His principal work was the new Church of All SaMts, South ampton, ta which his design was, however, curbed of its fuU merits. He submitted to Parliament plans for wet docks on the Thames, wMch showed great professional ability. He died, after a few hours' ffiness, in the prime of Me, at his house ta Oxford Street, July 6, 1799. REVETT, Nicholas, architect. He was descended from an old county famUy in Suffolk, where he was born in 1721. He had a fine natural taste, and had gataed so much knowledge of art that he determined to foUow it as a profession, and went to Italy, in 1742, to pursue his studies. He was practising as a patater in Rome when he formed a friendstap with Athenian Stuart, and, ta 1748, accompanied him to Naples, and then to Greece, to study the Greek monuments of art, which the Turks seemed bent upon destroying. He arrived at Athens, with Stuart, m 1751, and was occupied there tiU 1754, measuring and drawing the ancient remains, when he left to pursue his studies in other parts of Greece, and was seized by corsairs, to whom he paid a ramsom of 600 doUars, and was able to continue his researches, but under great difficMties, tiU 1755. He then re turned to London, and was occupied with the arrangement of his materials till 1764, when he was induced by the DUettanti Society to visit Ionia, with Dr. Chandler and WiUiam Pars, A.R.A., where for two years he was engaged in drawing the anti quities. His chief architectural work was the Church of Ayott St. Lawrence, Herts, wMch he designed after the style of the early buUdtags of Asia Minor. The ' Anti quities of Ionia,' ta which he had so large a share, was published, the first part m 1769, the concluding part in 1797. He also published ' Baalbec and Palmyra.' He died in June 1804. ; REYNELL (or RENNELL), Thomas, portrait painter. Bom 1718, of a good fanuly, near Chudleigh, Devon. He was educated at the Exeter Grammar School, EET and, showing some genius for art, was sent to London as the pupU of Hudson. He returned to Exeter, and, with a wife and famUy, settled, residing there many years. His works found admirers in the neigh bourhood, and the Duke of Kingston, at tracted by his abffity, offered him some assistance to come agata to London for his improvement ; but he was too indolent to avail Mmself of this offer; and he then went to Dartmouth, where he hved ta great poverty. He was known to have lata idly in bed for a week together, with no other sustenance than a bit of cake and water. He did httle ta art, and he no sooner re ceived any money for his work than he purchased any stray object that attracted Mm, though he was at the time in want of both food and clothing. An asylum was at last provided for him by the generosity of a friend. He died at Dartmouth, October 19, 1788. He patated portraits and some few indifferent landscapes. His portrait of Dr. Huxham, M.D., of Plymouth, was mezzo-tinted by Fisher. He had several scientific acquirements. He was a chemist, a musician, and composed some pieces, and he pubhshed some poetry, fie also in vented and constructed a musical instru ment for himself. REYNOLDS, Sir Joshua, Knt., P.R. A., portrait painter. Was born July 16, 1723, at Plympton, where his father, who was in the Church, was master of the Free Gram mar School. He was educated under him, but never made much progress ta classics. He was intended to be a physician, but a love of art prevahed, and ta 1741, at the age of 18, he was sent to London and placed under Hudson, the fashionable painter of the day, with whom he con tinued three years. He then returned to Plympton, and found employment in paint ing portraits at a low price. He does not at this time appear to have gone much be yond the common-place manner of Ms master, and he had a very weak knowledge of drawing, Which stood in his way during his whole career ; but he had now a great opportunity of improvement. Ho was in duced by Captata, afterwards Lord Keppel, to accompany him ta his vessel to the Mediterranean, and landing at Leghorn M 1749, he proceeded at once to Rome, where he stuched nearly two years, and afterwards visited Florence, VeMce, and the other great art cities of Italy. The works of Titian, Correggio, Raphael, Michael Angelo, were his favourite study, but he made few copies, filling up tas time most probably in portrait painting, on which lie must have depended mainly for Ms support. He returned to London in October 1752, and in 1755 his name ap pears as a member of the St. Martin's Lane Academy. After a short residence A A 353 EEY in St. Martin's Lane, he removed to Great Newport Street, and in 1761 to the west side of Leicester Square, where he bought a house, and added a painting room and gaUery. He was, on his return, immedi ately disttaguished, and was soon looked upon as the head of Ms profession. It must surely have been a cause of mortifi cation, that, on a vacancy in the office of Court patater, he was passed over ; but he never was a favourite of the Court, and the king never sat to him but on one occasion, that he might present the royal portrait to the Academy. There must have been some cause for this neglect, but whether from a want of appreciation of tas art, or a dislike to the painter, there seems no sufficient explanation. fie was one of the first members of the Incorporated Society, wrote the preface to the eatalogiie for 1762, and was a regular contributor to its exhibitions up to 1768 ; and though he had httle iu common with the Society, he was, up to 1764, a member of the managing committee, and apparently gave such attendance as his engagements would permit. On the foundation of the Royal Academy, the artists unanimously elected him their first president; yet he was only very reluctantly induced to accept the office. To add to its importance the honour of knighthood was conferred upon him. _ He had arrived at the height of his practice. In the next 15 years he exhi bited no less than 147 works : these, though chiefly portraits, included, in 1773, his ' Ugolino,' and ' The Strawberry Girl ; ' in 1777, ' The Fortune Teller ; ' ta 1779, ' The Nativity' Two of his pictures, ,' The Duke of Clarence,' and 'PhUippe Egalite Due d'Orleans,* were burnt at the fire at Carlton House, June 8, 1824; as, however, there were some remains of each, they were re stored in 1874, and are now ta Hampton Court Palace. Up to this time he had, during Ms long career, continued to paint almost without interruption, when ta 1782 he experienced a slight shock of what he feared was para lysis, but he soon recovered from it, aud returned at once to his easel. In that year he exhibited 15 works, the next year 10, and in 1784 no less than 16, including the ' Nymph aud Cupid,' and his celebrated portrait of Mrs. Siddons. In 1785 again 16, and in each of the two foUowtag years 13, and in 1788, 18 ; so that if, as is gener ally stated, he looked upon the attack he had suffered as premonitory, he no less set himself greater tasks, and worked harder than ever. But these exertions were fol lowed by a more severe attack in 1789, and, finishing what he was able of the works he had in hand, he exhibited for the last time in 1790, leaving a blank on the walls of the Academy wliich has not yet been fiUed. 354 EEY As a portrait painter Reynolds has in the English school always been placed before all others. He gave an taterest and a value to his works beyond the mere portrait, breaking away at once from the stiff air of portraiture, he seized every new action, every true expression that nature offered to him. His chUdren have aU the artless graces of childhood, his women are lovely, his men endowed with dignity. Untram- meUed by rules of practice he ran a free career, and aiming at beauties beyond the reach of his materials, striving to attain a higher excellence, he used indiscriminately fading colours and fugitive mediums which led to the premature decay of many of his works, and have brought many more into the hands of cruel restorers, fiis contem poraries eulogised him as a history patater, but ta that art he retains no rank in the present day. fiis conceptions did not rise to history, the form and character of his creations never went beyond his model. Yet in all tas works we see great power, luxuriant and glowing colour, excellently treated draperies, and most appropriate and beautiful backgrounds. He was on terms of intimacy with the most eminent literary men of his time, and maintained an uninterrupted friendship with Dr. Johnson to the end of his life. The doctor said of Mm, ' I know of no man who has passed ttaough Me with more observation than Reynolds;' and again, ' when Reynolds teUs me anything, I con sider myself as possessed of an idea the more.' He was himself disttaguished by his literary abUities. He wrote, 1759-60, three papers for ' The Idler ' No. 76, ' False Criticisms on Painting,' No. 79, ' On the Grand Style ta Painting,' No. 82, 'On the True Idea of Beauty ¦, some annotations to Du Fresnoy's .' Art of Painting,' and his ' Discourses on Painting,' which formed his yearly addresses to the students of the Royal Academy, were not only so admirable in their precepts aud art teaching, but of so Mgh literary merit, that he was at the time, though it is now known unjustly, denied the full merit of their authorship. He paid a short visit to Holland and Flan ders in 1781, aud again in 1783, and pub lished an account of his journey. He had returned from Italy with almost a loss of hearing, but during a long and particularly successful hfe had enjoyed uninterrupted health. He was of a mild and amiable temper, happy in disposition, and possess ing social qualities which made Ms company desirable. With a careless hospitality he drew round Mm many of the most distta gtashed persons of his time, and by his gemus hi his art, no less than by distin guished abilities and high personal charac ter, he gave a position to the new Academy, ¦and especiaUy to his profession, which it EEY had never before enjoyed. His name wUl never be forgotten ta the Enghsh school. FoUowtag Ms last sad attack Ms sight was suddenly affected, and he soon found that he had lost the use of his left eye, and dreading the loss of the other, he sorrow- fuUy determined, what was indeed too apparent, that he could paint no more. He was not, however, without resources. He was surrounded by friends, and able to enjoy their society till the latter part of the year 1791, when some painful symp toms recurring, he sank tato despondency. His complaint had now developed itself. After suffering about ttaee months from an etaarged liver, he died, unmarried, at his house in Leicester Fields, on February 23, 1792. His body lay ta state at the Royal Academy, and was buried with unusual pomp at St. Paul's Cathedral. He left a good coUection of pictures, many paintings of his own finished and unfinished, and about 80,000?., the bulk of which, on the death of his sister Frances, reverted to his niece Miss Palmer, who became, by marriage, Marchioness of Thomond. Far- ington, R.A., published 'Memoirs of the Life of Sir Joshua Reynolds,' 1819 ; Malone, an account of Ms life and writings ; Mr. Cotton, in 1858, a list of his portraits ; and in 1859, his notes and observations on pictures; and in 1865, Leshe, R.A., and Mr. Tom Taylor, his 'Life and Times.' In 1813 the British Institution had a Reynolds commemoration, and exhibited 113 of his works, but ta 1867, no less than 155, including many of his finest, were included in the National Portrait Exhibi tion of that year. REYNOLDS, Miss Frances, amateur. Bom at Plympton, May 10, 1729. Was the youngest surviving sister of Sir Joshua Reynolds, and for many years kept his house in Leicester Fields. She painted miniatures, and found great pleasure ta copying her brother's pictures. It has been said that she practised professionally, but it seems more probable oMy as an amateur; and we learn that the Duke of Marlborough made her a present of a gold snuff-box — not a mode of professional payment; — for her copy in miniature of Sir Joshua's painting of the Duke's chUdren. Dr. Johnson wrote of her, in 1758, ' Miss is much employed in miniatures ; ' and many years later, ta 1783, ' I sat for my picture, a three-quarter, painted ta oU, to Miss Reynolds, perhaps for the tenth time, and I sat for near three hours with the patience of mortal born to bear. At last she declared it finished, and seems to think it fine ! ' But he did not think so himself, for he told her it was 'Johnson's grimly ghost' Yet one of the last occupations of his life was to sit to her. She does not, indeed, seem to have met with much encouragement, for Goldsmith A EHO offended by telling her she loved pictures better than she understood them ; and Northcote says, ' Nothing made Sir Joshua so mad as Miss Reynolds' portraits, which were an exact imitation of all his defects. Indeed, she was obliged to keep them out of his way. He said (jestingly) they made everybody else laugh and him cry.' But upon his death she took a large house ta Queen Square, Westminster, and here she exhibited her own works, decorating her rooms with them. She died November 1, 1807. REYNOLDS, Samuel William, en graver. Was descended from a f amUy who possessed property in the West Indies, and was born in 1773. He studied in the schools of the Royal Academy, and was a pupU of Hodges, R.A. He commenced art as a painter, and painted in oil many portraits, some genre subjects and land scapes of great merit, contributing his works to the Academy exhibitions from 1797 to 1811. His landscapes were spoken of by his contemporaries as boldly patated and rich ta tone and colour. Afterwards he tried engraving, and became distta guished by his fine plates in mezzo-tint, as weU as by some excellent works in aqua tint, he brought his work on steel to great perfection. He gave some lessons in draw ing to the daughters of George IIL, and engraved a fine mezzo-tint portrait of the king from a smaU etching which he had made and touched from the life. He en graved many portraits after Reynolds, Dance, Northcote, Jackson, Owen, Dawe, Phillips, and some fine plates after Rem brandt; also some subject pictures after G. Morland, Northcote, and Stephanoff. In 1826 he went to Paris, where he resided some time, and engraved several important works after the French painters, by whom his art was highly esteemed. His engrav ings are spirited, brUliant, powerful, excel lent ta expression and drawing, but rather wanting in refinement ta the tints. He died in 1835 at Bayswater, and was buried ta Paddington churchyard. He brought out ta six foho volumes the works of Sir Joshua Reynolds, to whom be believed that his famUy was collaterally related. They are engraved ta a small size in mezzo tint, and were at that time supposed to comprise all Sir Joshua's known works. His landscapes in oil have many of the characteristics of his great namesake, and have been sought for ta Paris on that account. His daughter Elizabeth was an artist. See Elizabeth Walker. RHODES, John N., landscape and animal painter. Was born at Leeds, in 1809, and was the son of Joseph Rhodes, a self-taught painter, who practised nearly half a century in Leeds, and died there in 1854. He was brought up to art under his a 2 355 EHO father, and painted with much fidelity rustic scenes and groups of cattle. He exhibited in London, and eventuaUy settled there. Attacked by inflammation ta the eyes, and suffering generally from weak health, he returned to Leeds, where he died in December 1842, aged 33. RHODES, Richard, engraver. Prac tised ta the line manner, in which he ex celled. He engraved some of the illus trations of the 'Ancient Terra-cottas ta the British Museum,' 1810, and some Ulus trations of the English poets. In the latter part of his career he was for many years the principal assistant to Charles fieath. He died at Camden Town, November 1, 1838, aged 73. T RICHARDS, John Inigo, R.A., land scape and scene painter. He chose as Ms landscape subjects the ruins of old domestic and ecclesiastical buUdtags, but was chiefly distinguished as a scene painter. In 1763-65 he exhibited views at the Spring Gardens' Rooms. He succeeded Datl, in 1777, as the principal scene painter at Covent Garden Theatre, and held that engagement for many years. He was one of the found ation members of the Royal Academy, and a contributor of landscapes and figm'es, from 1769, to the exhibitions. In 1788 he was appointed the secretary to the Academy, and from that time was only an occasional exhibitor. He repaired the cartoon by Leonardo da Vinci, wliich belongs to the Academy. After suffering many years from Ill-health, he died ta his apart ments at the Academy, December 18, 1810. His scenery for 'The Maid of the Mill' delighted the town, and in 1768 one of the scenes was engraved by Woollett, and had a large sale. Both Hearne and McArdeU engraved after him. RICHARDSON, George, architect. He received a Society of Arts' premium ta 1765, and was ta full professional practice at the end of the 18th century, fie pub hshed, in 1794, 'A Complete System of Architecture ; ' also ' A Supplement to Vitruvius Britanmcus,' and ' The New Vitruvius Britanmcus: Plans and Eleva tions of Modern Biuldings.' He hved many years in Tichfield Street, became very distressed ta his old age, and was often assisted by the generosity of the sculptor Nollekens. RIC IT A R S 0 N, Jonathan, portrait painter. He was born ta 1665, and lost his father when only five years of age. His mother married a second husband, a scriv ener, to whom he was articled against his inclination. But, released ta the sixth year of his apprenticeship by the death of his father-in-law, he choose art for his pro fession, and became the pupU of John RUey, with whom he conttaued four years, and ended by marrying tas niece. He 356 EIC acquired enough of Ms master's manner to support a solid and lasting reputation, even durtag the hfetime of Kneller and DaM ; and on their deaths he ranked with Jervas as at the head of the profession. Walpole says of Mm : ' His men want dignity, his women grace ' — which, if true, is redeemed by the honest character and great individu ality of his portraits. His heads are well and carefully drawn, and weU coloured, and some half-lengths by him may be praised, but hardly his whole-lengths. He etched a few portraits in a slight but spirited man ner, fie was also disttaguished as a writer. Dr. Johnson said of him, ' He is better known by his books than his pictures,' a doubtfta compliment for a patater, which, if true ta the Doctor's days, is assuredly not ta ours. He wrote ' An Essay on the whole Art of Criticism ta Relation to Paint ing,' 1719; ' An Argument in behalf of the Science of a Connoisseur,' 1719; 'An Ac count of some Statues, Bas-reliefs ta Italy, &c.,' 1722 ; ' Explanatory Notes and Re marks on MUton s Paradise Lost, with the Life of the Author,' 1734. In his writings he was much assisted by the classic attain ments of Ids son, some witless allusions to which in tas preface to his ' Notes on Mil ton,' led to a caricature of both father and son by Hogarth, and to the reply of Prior, when asked by him what title he should give to one of his books, ' The memoirs of yourself and your son Jonathan, with a word or two about painting.' We learn also that he inflicted upon aU coiners to Old Slaughter's, Button's, and WUl's his ' Notes on Milton,' which he persisted ta reading to them. He had many years re tired from the practice of his profession, when he died suddenly, at tas house, in Queen's Square, Bloomsbury, May 28, 1745. His coUection was sold by an auc tion taFebruary, 1747, wliich lasted 18 days. His drawtags produced 2060?. , his pictures about 700?. Hudson, who had married one of his daughters, purchased many of the drawtags. RICHARDSON, Jonathan, portrait painter. Only son of the above. Tie paint ed only as an amateur. Living with his father in great harmony, he assisted him ta all his pursuits, and shared in his labours. A portrait of Matthew Prior by him is en graved. He died in Queen Square, Blooms- bury, June 6, 1771, aged 77, and was buried in the churchyard of St. George-the- Martyr. RICHARDSON, Thomas Miles, land scape painter. Was born at Newcastle- on-Tyne, May 15, 1784. His famUy were well-descended, and possessed property in North Tynedale. He was apprenticed to an engraver in Newcastle, and, on tas death, transferred to a cabinet-maker. On the conclusion of Ms apprenticeship he com- EIC EIC menced business, which he carried on for five years. On the death of Ms father in 1806 he was appointed to succeed him as master of the St. Andrew's Grammar School, and then first directed Ms atten tion, in Ms spare time, to drawing, and at the end of seven years gave up his school to devote himself whoUy to art. He prac tised both ta oU and water-colours. His first picture of any importance was a view of Newcastle from Gateshead FeU, which was purchased by the corporation of that town. This was followed by many land scapes and marine views ta the neighbour hood. He was an occasional exhibitor at the Royal Academy from 1814, when he sent a 'View of the Old Fishmarket of Newcastle,' and ta 1S22 a. ' View of Edin burgh Castle from the Grass-Market,' and after a long intermission, from 1841 to 1845, was a yearly exMbitor of river views in the north, fie also exMbited at the British Institution, and later at the New Water-Colour Society, of wMch he was a member. In 1816 be commenced, with a partner, an Ulustrated work M aqua-tint, of the scenery about Newcastle, but only a few numbers were issued ; and ta 1833, ta conjunction with his brother, he began a work in mezzo-tint, engraved entirely by himself — ' The Castles of the English and Scottish Borders,' but this work was not completed. He died March 7, 1848, leav ing a widow and large famUy. His eldest surviving son is a member of the Old Water-Colour Society. His landscapes were pamted in a bold and original manner. He exceUed in sunset effects, and enjoyed a good repute ta his profession. RICH ARDSON, Charles James, archi tect. He was a pupU of Sir John Soane, and first appears as an exhibitor at the Academy in 1837, from wliich time he con tinued an occasional contributor. His ex Mbited works were chiefly of a decorative character, designs for Elizabethan ceilings, and other interior fittings. He btalt a mansion for the Earl of Harrington in Queen's Road, Kensington, and a group of five houses at Queen's Gate, in that neigh bourhood. He was much employed in the literature of his art, and the author of many Ulustrated works — ' Architectural Remains of Elizabeth and James I.,' 1840 ; ' Studies of Ornamental Design,' 1848 ; ' A Popular Treatise on Warming and Ventila tion,' 1856 ; ' The Englishman's House, from a Cottage to a Mansion,' 2nd edition, 1871; 'Cottage Architecture,' .'Village ArcMtecture ' 'Old Title Pages,' and some others. He died at Kensington, November 20 1871, aged 65. RICHARDSON, Edward, sculptor. He first appears as an exMbitor at the Royal Acaidemy in 1836, and in that and the foUowtag years contributed classic works of much pretension. Then Ms contribu tions were chiefly busts, and ta his later years monumental works, mostly in relief. fie restored the effigies of the Knights Templars ta the Temple Church, and the recumbent effigy of the Earl of Powis, at Welshpool. He was an active member of the London and Middlesex Archaeological Society. He died in July, 1869, aged 57- • RICHMOND, Thomas, miniaturepaint- er. He was bom at Kew in 1771, and was a pupU of George Engleheart, and a student at the St. Martin's Lane Academy. He first exhibited at the Royal Academy in 1795, was well known in tas day, and was for many years an occasional exhibitor. His works were well drawn and finished, but formal and stiff ta character. He died ta London ta 1837. Mr. Richmond, R.A., is tas son. RICHTER, Christian, portrait paint er. Was the son of a silversmith at Stock holm, and came to England ta 1702. He patated in oU, studying the works of Dahl, but be is best known by his mtaiatures. Later in life he applied himself to enamel painting, but did not hve to attain much proficiency. He died in November 1732, at the age of 50. He had a brother a medallist, several of whose medals, modelled from the hfe, were produced ta silver. RICHTER, Henry J., water-colour painter. He was of German extraction. He practised ta London, and was, as early as 1788, an exhibitor at the Royal Aca demy of two landscapes, and continued for many years a fitfta contributor. In 1813 he was elected a member of the Water- Colour Society, but was a small and uncer tain contributor to its exhibitions, and no less uncertain in Ms connexion with the Society. On the change which took place M its constitution ta the year of tas election he appears to have resigned Ms member ship. Next year, and up to 1820, he was connected with the Society as an ' exhi bitor' only. In 1821 he again became a member, but did not exliibit in that or the following year, and in 1823 he appears ta the new class of ' Associate Exhibitors.' In 1826 he is again a member, and in 1828 an associate exhibitor. In 1829, once more elected a member, he continued ta that rank, and contributed his works to the ex hibitions till his death. He painted exclu sively figure subjects, chiefly domestic and well chosen, and popular in character. Some of his subjects are from Shakespeare. ' Christ giving Sight to the Blind,' exhi bited at the British Institution ta 1813, was purchased by the directors for 500 guineas. His ' School in an Uproar,' ' Tight Shoe,' ' Brute of a Husband,' a work in oil, exhi bited at the Academy in 1827, and others of his works, have been engraved. He was 357 EIC an earnest disciple of Kant, and published, in 1817, with this singular title, ' Daylight, a Recent Discovery in the Art of Painting, with Hints on the Philosophy of the Fine Arts, and on that of the Human Mind, as first dissected by Emanuel Kant.' He died ta Marylebone, April 8, 1857, aged 85. RICKARDS, Samuel, miniature paint er. Practised iu London at the latter part of the 18th century, and exhibited- at the Royal Academy in 1776 and 1777. RICK MAN, Thomas, architect. Bom of an old Sussex family at Maidenhead, June 8, 1776. His father was-a surgeon, and he studied for that profession tUl 1797, when he came to London and was for a time with a chemist. He then completed his surgical studies, and joined his father at Lewes, where he practised medicine for two years. In 1803 he returned to London, and was clerk to a corn factor, and five years later removed to Liverpool, where he was employed by one of the chief brokers ; and, having spare time, devoted himself to the study of architecture, minutely examin ing the characteristics of the Gothic style. After his somewhat erratic course, he seems to have found a vocation suited to his tastes. He began to design monumental and other small works, and became a competitor for some of the many new churches at that time erecting. On one occasion he was successful, and summoned to London to execute his design, he at once abandoned the certainty which he held, to commence the new career which his abflity and perse verance had opened to him. He conttaued, however, to reside in Liverpool, till finding his engagements in many parts of the coun try increase, he removed to Birmingham and finally settled there. He was attacked by apoplexy in 1834, and from that time his constitution gradually gave way. He died at Birmingham, in January 1841, aged 64. Among his best works may be men tioned the buildings of St. John's College, Cambridge, a good example of Gothic de sign; the church at Oulton, near Leeds; and Hampton Lucy Church, Warwickshire. He published ' An Answer to the Observa tions on the Plans for a New Library at Cambridge,' .1831 ; and 'An Attempt to Discriminate the Styles of Architecture from the Conquest to the Reformation,' 1848. RIDDEL, John, marine draftsman. Practised in the second half of the lSth centuiy. Aut. Walker engraved after Mm. RIDLEY, William, engraver. Prac tised with some distinction about the close of the 18th century, and was much em ployed on book illustration. Many of Ms portraits, well drawn and expressed, appear in the ' Evangelical Magazine.' fie died at Addlestone, where be had for many years retired, August 15, 1838, aged 74. 358 EIL RIGAUD, John Francis, R.A., history and portrait painter. Was born at Turin, May 18, 1742, the son of a respectable merchant, and descended from a French Protestant family. He early studied art, was appointed painter to the King of Sweden, and traveUed in Italy for his im provement, making some stay at Rome, Bologna, and Parma; and ta 1766 was elected a member of the Academy at Bologna. In 1772 he went to Paris and from thence came to London. He was an exhibitor at. the Royal Academy for the first time in the same year, was soon dis tinguished, was elected an associate of the Academy ta that year, and ta 1784 a full member. His diploma picture of ' Samson,' presented to the Academy, was much esteemed. He found employment both ta historical works and in portraiture, con tinuing to practise and to exhibit yearly in both styles up to 1810. He patated for the Shakespeare, Historic, and Poet's Gal leries, and decorated several ceUings. among them the ceiling of the Court Room in the Trinity House, Tower Hill. He also painted ta fresco an altar-piece for the Parish Church at Packington, and one for St. Martin Outwich, London. He was found dead in his bed at the house of Ms patron, Lord Aylesf ord, at Packington, December 6, 1810. fie translated tato English Leonardo da Vinci's ' Treatise on Painting,' 1806, and was a contributor to ' The Artist.' RIGAUD, Stephen Francis, water- colour painter. He was a student of the Royal Academy, and first appears as an exhibitor ta 1797, and for many years was an occasional contributor both of portraits and of subject pictures, sacred and classic. In 1801 he gained the Academy gold medal for his historical painting, ' Clytemnestra Exulting over Agamemnon ; ' and ta 1804 he was one of the foundation members of the Water-Colour Society, and a regular contributor to its exhibitions; his works chiefly of a sacred character. In 1805, ' Satan Discovered ta the Bower of Adam and Eve;' in 1806, 'Martha and Mary;' in 1807, 'Sin and Death,' with an occa sional subject from the poets. In 1812 he was the treasurer of the society, but on the change ta its constitution, in the following year, he was one of the seceders. In 1814 he exhibited a large picture, which he had painted, of the Invasion of France in 1813,' with portraits of the Duke of Wel lington and his generals. He last exhibited at the Royal Academy in 1815, 'David going forth against Goliath.' But in 1849- 50 and 51, he exhibited some classic subjects with the Society of British Artists. RILEY, John, portrait painter. Was born in Bishopsgate parish, London, 1646, and was the son of the Lancaster Herald, who was also Record Keeper at the Tower. EIP ¦He was the pupU of Soest and Fuller, and practised his art in London ; little noticed till the death of Lely, Jie then rose into pubhc estimation. He painted the portrait of Charles II. , who is said to have dis couraged the modest painter when looking at his portrait, by exclaiming, ' Is this like me ; Then, odd's fish, I'm an ugly fellow! ' James II. and his Queen sat to him, and he was appointed their state painter ; and William and Mary were painted by him - several times. His art was original, founded on his own observation of nature, his draw ing careful, expression natural and pleas- tag, and his heads and hands weU paMted. . There are several of his portraits in the National Portrait Gallery, a good example . of his work at Hampton Court, and Ms portraits find a place ta many old mansions. He died of gout in 1691, aged 45, and was buried ta St. Botolph's Church, London. Richardson married a mece of RUey, and. inherited many of his pictures and other effects. RIPLEY, Thomas, architect. Was bom .in Yorkshire, and came early M life to London. He worked as a carpenter, and also kept a coffee-shop in Wood Street, Cheapside. Improving his means by his industry, he married a servant of Sir Robert Walpole, and by Ms patronage obtained employment under the Crown, and a seat at the Board of Works, of which department he became the comptroller. He buUt Houghton Hall for Sir Robert, but chiefly after the plans of CampbeU, and afterwards Wolterton ; and ta 1718 he rebuUt the Custom House, which had been destroyed by fire in 1714. He buUt also the Admiralty, WhitehaU, except the facade, 1726. He died ta 1758,and was buried at Hampton, Middlesex, fiis work was with out invention, or taste ta design ; but was convenient ta arrangement, and weU con structed. His success was not without remark. He was said to have been raised . from a house carpenter to an arcMtect by the patronage of Walpole, and he f eU under the ridictae of Pope. RIPPINGILLE, Edward Villiers, subject painter. Was bom at King's Lynn, the son of a farmer, ta 1798,and was, as an artist, entirely selfrtaught. fie exhibited his first picture, ' Enlisting,' at the Royal Academy in 1813, a ' Scene in a Gaming House' in 1815, and ta 1819 gataed pubhc notice by his ' Country PostiOffice.' Stimu lated by his success, he devoted Mmself to the representation of rural scenes, illustrat ing English manners and customs. The in ventor of his own subject and story, of his works of this class may be distinguished tas 'Recruiting Party,' 'Stage Coach Break fast,' now a recoUection of the past, 'Going to the Fair,' and, about 1834, ' The Pro gress of Drunkenness,' a series of six pic- EIT tures. In 1837 he went to Italy, and the following year sent from Rome to the Academy exhibition, ' Father and Son, Calabrian Shepherds.' He appears soon after to have returned to London, and to have been again in Rome, where he made a short stay in 1841, From his first visit his subjects and inspirations were Italian,' and it was not till 1846, that, returning to home subjects, he commenced and con tinued to exhibit Enghsh scenes up to 1857. In 1843 he was a successful competitor- in the Cartoon Exhibition, Westminster Hall, gaining one of the prizes. He was also a writer and lecturer on art. In 1824. he commenced a series of lectures on the necessity of art to manufactures, which he dehvered at several of the large provincial towns, and at the Royal Institution, Lon don. In 1843 he commenced a monthly periodical, 'The Artists' and Amateurs' Magazine,' but it was not supported, and only existed 12 months. He was also the author of several brigand tales in ' Bent- ley's Magazine,' ' The Wanderings of a Patater in Italy ; ' and in the ' Art Journal ' 'Personal RecoUections of Great Artists.' He sometimes quoted from a poem of his own, ' The Consolation of Hope,' but it does not appear that it was ever printed. He died suddetay April 22, J859, at the rail way station, Swan Village, Staffordshire. RISING, John, portrait and subject painter. Practised in London, and was a contemporary of Reynolds. His portraits are vigorously painted, and Ms colour good. He exhibited at the Royal Academy from 1785 to 1814, when Ms name disappears. fiis works were chiefly portrait, but he occasionally exhibited a domestic subject; — ' Ballad Stagers,' .' Infant Piety,' ' A Match Girl,' ' Girl with Grapes.' W. Ward mezzo tinted two plates — ' Juvenile Amusement ' and ' JuvenUe Employments,' painted by J. Rising and J. Reynolds. RITCHIE, John, sculptor. Was bom at Musselburgh, near Edinburgh. His father was a brick and tile- maker, and amused himself in modelling, In this art the son soon became a proficient, and struggled hard to distinguish himself in his native city. Among the works by him may be mentioned, as one of tas best, his statue at Glasgow of .Sir Walter Scott. He was a dreamer, and fond of telling his dreams, and he embodied one of them in his fine group ta clay, ' The Deluge,' ex hibited in Edinburgh, 1822, and at the Royal Academy, London, his only contri bution there, in 1840. fie for many years assisted his more talented brother, Alex ander, and while so employed he received a commission to execute his model of ' The Deluge ' ta marble. This induced him to make a journey to Rome. He had hardly 359 EIT reached that city, when he was attacked by fever, and died there towards the close of the year 1850, aged 41. RITCHIE, Alexander Hendyside, A.R.S.A., sculptor. Brother of the fore going, fie was born at Musselburgh, near Edinburgh, in 1804, and of tas own genius became a modeller almost from his child hood. He was from 1830, at intervals, an exhibitor at the Royal Academy, London, as weU as at the Scottish Academy, and was elected an associate of the latter in 1846. In the following year he was employed upon some of the decorative sctapture for the Houses of Parliament, and from that time was chiefly devoted to .architectural sculpture, of which there are examples at Edinburgh, in the Bank of St. Andrew's Square, and the pediment of the Commer cial Bank ; and at Glasgow in the Duke of Hamilton's monument. His principal works exhibited ta London were busts, but ta 1857 he sent ' The Scottish Lassie,' a statue ta marble. He died early ta May 1870. RITSON, Jonathan, wood carver. Was born at Whitehaven, about 1776, and brought up to Ms father's trade of a car penter, fie was employed upon the Duke of Norfolk's estate, and attracted the Duke's notice by Ms able carvings ta wood. At the Duke's request he removed to Arundel, and executed the chief of the carvings ta the library and Baron's Hall of the Castle. In 1815, on his patron's death, he was em ployed by the Earl of Egremont ta com pleting the work at Petworth, left unfinished by Gibbons. He showed great abUity ta combining groups of birds, fruits, and flowers, with much skill and natural light ness. Treated here with too much tadta- gence, and tempted by an inordinate love of strong beer, he feU into habits of intem perance and sought the lowest company. fie ched at Petworth, AprU 9, 1846, aged 69. His portrait by Clint hangs there as a pendant to the portrait of Gibbons. RIVIERE, William, painter. Was the son of a drawing-master, and was born in London, October 22, 1806. He became a student of the Royal Academy, and sent his first work for exhibition in 1833, con tinuing a constant exhibitor for the next teu years, of portraits and other works, fie contributed a cartoon of ' A Council of An cient Britons,' to the Westminster Hall Competition. In 1S49 he accepted the ap pointment of teacher of drawtag in Chel tenham College, wliich he held for ten years. He then settled at Oxford, where he con tinued to teach till a short time before his death, which took place August 29, 1876. ROBERT, Charles, engraver. Born in Edinburgh, in 1806, he was articled to an engraver there, studying also In the Trustees' Academy. His first works were chiefly vignette portraits. He engraved 360 EOB 'The Widow,' after Sir W. Allan; 'The Rush-plaiters,' after Sir G. Harvey; 'The Expected Penny,' after A. Fraser ; and also engraved after Noel Paton and Eck- ford Lauder. About 1850 he was engaged upon the engravtags for the London Art Union, for which he produced some good plates. He just hved to complete ' The Battle of Preston Pans,' perhaps his most important work. He died in Edinburgh, September 5, 1872. ROBERTS, David, R.A., landscape painter. Was bom at Stockbridge, near Edinburgh, October 2, 1796. His parents, persons in humble life, tas father a shoe maker, managed to give him some educa tion, aud when at a suitable age, he was apprenticed to a house-decorator ta Edin burgh. Here during seven years he leamt the use of the materials of art, and attained a power and readiness of hand ; and then tried his skiU as scene painter to a company of strolling players at Carlisle, and had oc casionally to take his part on the stage. This led to his employment, in 1820, in the scene-room at both the Edinburgh and Glas- fow Theatres, and to tas engagement at >rury Lane Theatre ta 1822. fie had, in 1820 and the fohowing year, sent pictures to the Edinburgh Exhibition, and in 1824, having joined the Society of British Artists, he contributed to their exhibition ta Suffolk Street. In the same year he strayed to France, and visited the coast towns of Dieppe, Havre, and Rouen ; and ta the following spring exhibited scenes which were taken from the fine Gothic of these cities ; but he conttaued to hold an engagement at Covent Garden, and did not abandon scene painting. In 1826, his first work, ' Rouen Cathe dral,' appeared on the walls of the Aca demy. In 1828 he produced a work of another character, ' The Departure of the Israelites out of Egypt,' which he sent to Suffolk Street, and for the next seven years sent his easel pictures to this yoimg society. But gradually withdrawing tamself, he re signed tas memberstap ta 1836, and growing ta reputation sought the honours of the Royal Academy. Of this body he was elected an associate ta 1839, and an acade mician in 1841. He had already, ta the pursuit of his art, visited France, Belgium, Germany, Spain, Morocco, and Holland ; and seeking more distant scenes, in 1838, Egypt and Syria. For the ten succeeding years his works, with only an occasional exception, were eastern, and he had attained the summit of his reputation, producing his best pictures, and exhibiting almost exclu sively at the Royal Academy. He visited Italy for the first time in 1851, returning by the way of Vienna, and from that year to 1860 his themes were Itahan, the decaying temples of Rome and the gran- EOB EOB deurs of Venice, Pisa, and MUan, his inspir ations. Then, as age crept on and travel tired, he found subjects nearer home, and commenced a fine series of views on the Thames. He had completed six of these views, and was actively engaged upon another when, on the morning of November 25, 1864, he was seized with an apoplectic attack in the street, and died the same evening. His art was essentiaUy scenic, his sub jects picturesque architecture, giving all the splendour and magnificence of the ancient structures, enriched by groups of accessories. His style was formed at the theatre. He had no synipathy with realis tic imitation. Broad, simple, and conven tional, agreeable ta his colour, though not like nature, his pictures charm by their ease and power. He worked both ta oU and in water-colour, and his pictures have from first to last a marked equahty ta excel lence. His works were eminently stated for publication. He made for four years drawmgs for the ' Landscape Annual.' In 1837, he pubhshed in lithography, his ' Pic turesque Sketches ta Spain ; and ta 1842 commenced his weU-known work ' Sketches in the Holy Land and Syria.' In 1859 his last work appeared, ' Italy, Classical, His torical, and Picturesque.' fiis paintings are numerous, and by them and Ms pubhcations he realised a considerable fortune, which he left to an oMy daughter. He was Mghly esteemed by his countrymen, and was by them entertained at Edinburgh, in 1842, at a banquet given ta Ms honour. In 1858 he received the freedom of Ms native city. He was appointed one of the Commissioners for the Great Exhibition of 1851, and was a member of several foreign art academies. His Life by James BaUantine was published in 1866. ROBERTS, James, portrait painter. Was bom in Westminster, but brought up in Oxford, where he commenced the prac tice of his art. He gained a premium at the Society of Arts in 1766, and was an exhibitor at the Royal Academy of tMee- quarters portraits, and small whole-lengths, commencmg ta 1773. A group of Lord Charles and Lady Charlotte Spencer, in character, patated by him ta 1788, is en graved in mezzo-tint, but it is a poor, stiff composition. A portrait of Sir John fiaw- kins, in the Music School, Oxford, is by him. He painted some scenery for private theatricals at Blenheim, engravings of which were published, and he was similarly em ployed at Windsor. Not meeting with sufficient encouragement at Oxford, about 1793 or 1794 he returned to Westminster, -where he settled. He was about this time appointed portrait painter to the Duke of Clarence, and continued to exhibit up to 1799. There are some water-colour draw ings by Mm in the British Museum, much laboured but deficient M art. ROBERTS, James, engraver. Son of the above. Was born ta Devonshire, ta 1725. He practised in landscape. There are by him a set of f our plates, ' Fox Hunt ing,' after Seymour ; two smaU marine views, after PUlement, 1761 ; four English views, after Barrett, and others after Smith of Chichester. He died in Cold Bath Fields 1799, aged about 74, and was buried in St. Andrew^ new burial-ground, Gray's Inn Road. ROBERTS, Henry, engraver. Towards the middle of the 18th century- he kept a print-shop in Hand Court, Drury Lane. fie engraved some large landscapes, among them one by T. Smith of Derby, 1743. He published some humorous prints, a drawing- book, &c. Careless in habit, he engraved chiefly such works as would find a quick sale ta his shop. He died some time before 1790, aged about 80 years. ROBERTS, Thomas, landscape paint er. Was the son of an architect, and was born at Waterford. He was a pupU of George MuUens, and his works had con siderable merit, possessing great freshness, and his foliage, though rather hard, much beauty of pencilling. He practised towards the end of the 18th centuiy. The Duke of Letaster and Lord Powerscourt, who pa tronized him, possessed many of his best works. His irregularities brought on con sumptive symptoms, and he went to Lisbon for the recovery of his health, and died there, fiis sister was a tolerable patater of landscape, and painted several scenes for the theatre at Waterford. ROBERTS, Thomas Sotelle, R.H.A., landscape painter. Younger brother of the above. Was originaUy articled to James Ivory, the architect. On the completion of his time Ms tastes led Mm to landscape painting. He practised for several years in London, and from 1789 to 1811 was an ex Mbitor, contributing largely at the Royal Academy. He exhibited once more in 1818. His name does not recur again. He was engaged subsequently in maktag views of the principal cities and towns ta Ireland, many of which are engraved. In 1823 he was one of three artists chosen to select 11 others to be the members of the Incorpora tion of Artists ta Dublin, founded in that year, and was himself one of the first members. ROBERTS, Edward John, engraver. Was pupU and assistant of Charles fieath, and was much employed upon the 'Annuals' under him. But the occupation ta which he most excelled was in etching the en graver's plates ; and as he was largely en- faged in this manner his name is little nown. The plates for Prout's ' Continental Annual,' 1832, were etched ta by Mm ; and 361 EOB EOB also for Bulwer's ' Pilgrims of the Rhine,' after Roberts, R.A. ; but some few of the Elates for these works were completed by im, and to these his name appears. He died March 22, 1865, aged 68. ROBERTSON, Andrew, miniature painter. He was the son of a cabinet-maker at Aberdeen, where he was born October 14, 1777. A clever lad, he commenced prac tice as an artist at the age of 14, and for two years was a pupU of Alexander Nas- myth. When only 16 he was director of the concerts at Aberdeen — at the same time teaching drawtag, and painting scenes, portraits, miniatures, and anything that offered. In 1794 he took his M.A. degree at the Aberdeen University. He walked up to London in 1801 to see the exhibition, and soon after was noticed by West, then president of the Academy, who sat to him for his portrait, and during his protracted sittings advised him on its art and complete finish, and induced him to stay ta London. He entered the schools of the Academy ta the same year, and his miniature of West was exhibited at the Academy in 1803, and was noticed from its original manner and powerful colour. By his abilities he gradually made his way. Through West's kindness he painted the Princesses at Windsor, and passtag his hfe in the practice of his art, had many distin guished sitters, among them, ta 1812, the Prtace Regent, and at the peace visited France and Italy. He was appotated miniature painter to the Duke of Sussex. In 1808 he was a member and the secretary of the short-lived Associated Artists in Water-Colours. He conttaued his early love of music, and became distinguished as an amateur violin player ; and he was actively engaged in the business of several charitable institutions, to which he devoted much of his time. He had several pupils, who afterwards were distinguished in minia ture art, and on his retirement from Ms profession in 1841, after thirty years' prac tice, with great reputation, the rntaiature painters recognised him as the father of their profession and presented him with a Siece of plate. He died at Hampstead on 'ecember 6, 1845. His miniatures were well finished and carefully drawn, but Ms power ful masses of pure colour are somewhat op posed to due refinement. An elder brother, Archibald, went to New York in 1791, to practise portrait painting, and was after wards followed by another brother, Alex ander, a miniature patater and pupU of Shelley. . ROBERTSON, George, landscape painter. Born in London. Was the son of a wine-merchant, and brought up to that business. He early showed an abffity for drawing, and studied in Shipley's school, where his drawings, especially of horses, for 362 which he received a Society of Arts' pre mium in 1761, were much admired. This gained him the notice of Beckford, with whom he travelled ta Italy, and studied, chiefly at Rome, during several years. He returned to London about 1770, and though recommended in every way by Beckford, he did not meet with much encouragement, and was induced to make a voyage with him to Jamaica. He patated some views in the island, and, coming back again to England, exhibited them in 1775, with the Incorporated Society of Artists, of which body he was for some time the vice-presi dent. These views were engraved, and created much interest ; but he received no better encouragement than before. He had married, and by teaching and drawtags which he made for the dealers and engrav ers, he managed to support his famUy. fiis health, always faffing, was aggravated by a fall from his horse, when he was happUy relieved by a small competency left him by an uncle, fie gave up his teacMng, took a modest house in Newtagton Butts, and not surviving long, died there, Septem ber 26, 1788, before attaining his 40th year. He painted a few pictures in oU, aiming at the grand style, and his ' St. Martin divid ing his Cloak,' is ta the Vintners' Hall ; but his art was essentiaUy landscape. His com positions were too scenic ; his trees, though spirited, were fancifta and exuberant ta their forms, yet Ms works are by no means without merit, and many of them are en graved. He etched some of Ms own land scapes in a very spirited manner. ROBERTSON, Walter, miniature painter. Was the son of a jeweller in Dublta, and practised there about the end of the 18th century, holding for many years the first place in miniature art in Ireland. He went from Dublta to America in 1793 with GUbert C. Stuart, on his re turn, and was called ' Irish Robertson.' He gained much notice by tas miniature copies of Stuart's portraits. He afterwards went to the East Indies, where he died. ROBERTSON, Charles, miniature pamter. Younger brother of the above. Practised in Dublta about the end of the 18th century, and gataed much repute for the extreme neatness of his finish. He came to London about 1806, and in that and several following years exhibited miniatures and miniature groups at the Royal Academy. He exceUed in his female portraits. Was a contributor to the Dublin Exhibition in 1809, and a strenuous sup porter of the claims of Irish artists for the grant of the charter obtained ta 1823. ROBERTSON, Mrs. J., miniature painter. She was a niece of George Saunders the mimature patater, and her art was well known. She was from 1824 an exMbitor at the Royal Academy, sometimes EOB EOB sending a portrait in oil, up to 1844, about wliich time she went to Russia, where she was elected a member of the Imperial Aca demy at St. Petersburg. ROBINEAU, C, portrait painter. He practised ta Paris and was well known there about the year 1780. At first he drew portraits, but afterwards painted them in oil. In 1806 he was Inspector of the Pupils at the Government Drawing-School in Paris. There are two small full-length portraits in the Royal collections by him, one of George, Prince of Wales, and a portrait, life-size, of Abel the composer. ROBINS, William, engraver. Prac tised ta mezzo-tint ta the reign of George I. There are special mezzo-tint portraits by him dated about 1730. ROBINSON, Joss, portrait painter. Born at Bath in 1715. Was a pupil of Van- derbank ; made good progress, and became distinguished as a portrait patater. He mar ried a wife with a good fortune, and taking Jervas's house ta Cleveland Court, came at once tato an extensive practice, yet he was weak and feeble ta colour, and his attempts to dress his sitters in Vandyck's costume were ta poor taste. He died in 1745, before completing his 30th year. Faber mezzo tinted ' The Amorous Beauty ' after him. ROBINSON, Peter Frederick, archi tect. Was the pupU of Henry HoUand. From 1795 he was a frequent exhibitor at the Academy. In 1816 he travelled ta Italy, and on his return sent drawings of Itahan architecture to the exhibition, to which he continued to contribute. His chief work was the Egyptian HaU, ta Piccadilly, 1811, but he was the author of many professional works : ' IUustrations of Mickleham Church, Surrey,' 1824; 'Rural Cottages,' 1834; 'Designs for Ornamental Villas,' 1836; ' VUlage Architecture,' 1837 ; ' Designs for Farm BuUdtags,' 1837 ; 'Designs for Gate- Cottages, Lodges, and Park Entrances,' 1837. He went to reside in Boulogne from pecuniary difficulties, and died there ta June 1858, aged 82. ROBINSON, William, architect. Was secretary to the Board of Works, and from 1746 to 1775 clerk of the works to Green wich Hospital. In 1767 he rebuilt the west side of the Old Royal Exchange. He was also the architect of the Excise Office in Old Broad Street, a work of much merit, since pulled down, and of the additional west wing to Castle Howard. ROBINSON, William, portrait paint er. Was bom at Leeds in 1799, and was apprenticed to a clock dial enameller. De termined to foUow art, he made his way to the Metropolis ta J 820, and with some introduction was admitted by Sir Thomas Lawrence to his studio, and became a student of the Academy. In 1823 he was able to return to his native town, and com mence practice as a portrait painter, and in that and following years exhibited his portraits at the Academy. He was well received, and painted the portraits of several Yorkshire celebrities. He also patated four whole-lengths for the United Service Club in London. For one of these the Duke of Wellington gave him several sittings ; the others were chiefly patated from well-known portraits. He gained a local name and repute. Died at Leeds ta August, 1839, aged 39. ROBINSON, Thomas, portrait painter. He was descended from a good Leicester shire family, and brought up as a portrait painter, he practised ta London, living in Golden Square, early ta the 18th century. He visited Italy for his improvement m art, made Mmself master of the language, and was a good musician. He became afflicted by a disorder in the eyes, which ended in a total loss of sight, and was then supported by the musical talents of Ms daughter, the celebrated Anastasia Robin son, who was secretly married to the Earl of Peterborough, and died in 1755. ROBINSON, R., engraver. He practised in mezzo-tint about the end of the 17th century. There are by him portraits of the seven bishops sent to the Tower, each ta a smaU oval. ROBINSON, Thomas, portrait painter. Was born at Windermere, became the pupU of Romney, and resided with him about 1785. He was invited to Ireland, and after visiting Dubhn and the northern part of the country, he settled at Belfast in 1801, where he remained till 1808, pa tronised by Dr. Percy, Bishop of Dromore, and painting many portraits. A picture of the ' Combat between the King's Troops and the Peasantry at Ballynahinch,' which he painted ta 1 799, was purchased by the Marquis of Hertford. A large painting of the ' Giant's Causeway ' was disposed of by raffle. His ' Military Procession at Belfast in Honour of Lord Nelson,' is in the Har bour Office in that city. His portraits were reputed good, and he had a fair knowledge of art. He was president of the Society of Artists ta Dubhn. Died there July 27, 1810. ROBINSON, John Henry, R.A., en graver. He was bom at Bolton, Lancashire, m 1796, and was a pupil of James Heath. He engraved some good works for the illustration of books ; among them, for Rogers's 'Italy,' and a number of fine portraits. He engraved 'Little Red Riding - Hood,' after Lawrence, P.R.A., 'Napoleon and Pius VII.,' after WUkie, R.A., and "The Wolf and the Lamb' for the Artists' Fund, for which it is said to have realised nearly 1000?. ; after Leslie, R.A., 'The Mother and Child;' and after Partridge, 'The Queen,' a very carefully 363 EOB finished portrait. From the old masters he engraved Murillo's ' Flower Girl' and Van dyck's ' Emperor Theodosius Refused Ad mission to the Church,' with, one of his latest works, Vandyck's fine portrait of the Countess of Bedford. He was one of the engravers who petitioned Parliament, in 1836, on the state of his art, and especially upon the position of engravers ta the Royal Academy. In 1856 he was elected an asso ciate engraver of that body, and ta 1867 a full member. He had made money by his profession, and late in life he married a lady with some property, and soon after retired to Petworth, where, after a long state of declining health, he died, October 21, 1871. He practised in the line manner, and attained great excellence. He was one of a great school of engravers, of whom he left few his equals. ROBSON, George Fennel, water-colour painter. Was born at Durham ta 1790, the son of a wine merchant in that city. He had an early propensity for drawing, which school discipline could not check, and he is said to have haimted the artists who visited the locality, showtag the greatest interest in the progress of their work. He got his first instruction from a Mr. Harle, a drawing-master — and the only one — in Durham, lie came to London at the age of 16 with only 5?. ta his pocket, and in less than 12 months, by the sale of his drawings, was able to return this sum to his father. He was a most per severing student. In 1808 he published a view of his native city, and the profits enabled him to visit the Highlands of Scotland, through wliich he wandered until he became familiar with their changing aspects, and had laid up a large stock of materials. On his return, he published ' Outlines of the Grampians. ' He first ex hibited at the Royal Academy in 1807, and conttaued a contributor till 1813, when, under the altered laws, he was an exhibitor at the Water-Colour Society, and was the following year elected a member. He published, in 1819, his 'Scenery of the Grampian Mountains,' comprisiug 41 large coloured plates. In 1820 he filled, for that year, the office of president. He was at all times a most zealous member of the society, wrapt up ta its success ; a very large con tributor to its exhibitions, sending in the 19 years which followed his election no less then 653 pictures. In 1826 Britton pub lished from his drawMgs 'Picturesque Views of the English Cities.' He attained great reputation in Ms art. His mountain scenery was treated with much poetry, skill, and power. R. Hills, who lived for some time ta the same house, was associated with him in many of his works, painting the animals in the foregrounds, the two artists working together with great skill. 364 EOE He embarked in excellent health on board a? steam-boat to visit his friends in the north, and, being taken seriously ill, was landed at Stockton-on-Tees. Medical aid was pro cured ; his malady was not stayed ; he was sent home to his house ta Golden Square, London, where he died, eight days after being put on shore, September 8, 1833. His last words were, 'I'm poisoned ; ' but a, post mortem examination afforded no satisfac tory solution. R 0 C H A R D , Francois, miniature painter. Was born ta France,"1798, and studied his art for several years in Paris. He first tried some subject pictures, but shortly before 182J he came to London, following his brother, Simon James Roch- ard, who had practised miniature art here successfully since 1815, and whom he pro bably for some time assisted. He had exhibited at the Academy, commencing in 1819 ; but from 1823 appears to have prac tised on his own account. His art soon became fashionable, he had many sitters of disttaction, and conttaued to practise up to about 1850, when he married, and retired upon tas savings to Notting HiU, where he died ta 1858. He practised exclusively ta water-colours, and was careful ta his draw ing and finish. Some of his portraits have been engraved. ROCHE, Sampson Towgood, miniature painter. Practised in Bath ta the early part of the 19th century. He sent some miniatures from thence to the Academy exhibition in 1817, the only occasion on which he was an exliibitor. He painted a good miniature, but his practice seems to have been entirely local. ROESTRAETEN, Peter, portrait and still-life painter. Was bom at Haerlem, ta 1627, and was the pupU of Frank Hals, whose daughter he married. He came to England in the reign of Charles II. , was well received, and practised portraiture, painting many of the nobility ; but that art was almost monopolized by Sir Peter Lely, and he tried still-life, and patated many good subjects in that style, particularly wrought plate, in which he excelled. From an injury he received at the fire of London, he was lame during the rest of his days. He died in James Street, Covent Garden, in 1698, and was buried ta the neighbouring church. ROETTIERS, John, called 'old Rot- teer,' medallist. Was the son of a gold smith and banker ta Paris, who was sup posed to have supplied Charles II. with money during tas exile, and was on the Restoration invited by the king to Eng land. He came over accompanied by his family, and was employed in the Mint, superseding Simon, who had made the dies for the Commonwealth coinage. He was an excellent artist, skilled in metal dies as EOE "well as in intaglios in stone. An authentic account of the famUy appears in the report of a commission appointed in 1697, by WUliani IIL, 'To inquire into the mis carriages of the offices of the Mint.' The report states that 'old Rotteer and Ms three sons were brought over by Charles IL. and 325?. per annum allowed to the father, with the addition of 450?. per an num to the three sons — viz. 150?. a-piece for their several hves, which hath been constantly paid Mm that remained here, notwithstanding one of them went several years since to Flanders, and the other fled to France, where he now is ta the French King's service.' The report also states that the master of the Mint produced ' an agree ment made by him and the younger of the Rotteers, to pay to him the said Rotteer, over and above the said 325?. per annum and 450?. annuity, the further sum of 800?. yearly.' Then speaking of their character, it sets forth that the Rotteers were violent Papists, refused to take the oaths required bylaw, and were carrying on a treasonable correspondence with France, and receiving a salary from the French King, at the same time they were paid the above salaries. Of the father the report adds : ' That he was stiU conttaued in the graver's house in the Tower, though he will not nor ever did own the king, or do anything as a S-aver since the Revolution, and that the overnor of the Tower had declared him to be a dangerous person to be ta the Tower, and that he would remove him if he could.' But it seems he could not bear the close watch kept upon him, and, leav ing the Tower, he retired to a house ta Red Lion Square. He had, as may be supposed from his large salaries, amassed considerable wealth, and old and infirm, was living on the succession of Queen Anne, and was induced to commence a medal on her accession, but died ta 1703, before its completion. He was taken to his grave ta the Tower, and was buried there in the church of St. Peter ad Vincula. A memoir of the Roettiers famUy, by Jacob Henry Burn, was read before the Numismatic Society, and pubhshed in 1841. ROETTIERS, John, ) medallists. ROETTIERS, James, Sons of the ROETTIERS, Norbert, ) above, and mentioned ta the foregoing report. John, who was bom ta Paris, 1661, came early to this country, worked for his father, and was appointed one of Ms Majesty's en- f ravers. He died young. James, said to ave been born in London in 1663, was employed by his father, and ta other ways found much employment. He was also appointed one of his Majesty's engravers. He was hurt by a faU from his horse at Bromley, and died there ta 1698. Nor bert was bom ta 1665, at Antwerp, where EOG his mother had taken refuge during the plague. He also received the same ap pointment as his brothers, and continued in the service of the Crown, receiving a large pay, till the Revolution. He is erroneously stated to have made the coro nation medal for Wilham and Mary. His art was very poor, and had but httle em ployment, fie is beheved to have remain ed in this country tUl the early part of 1695, when, disturbed by the inquiries made and the reports concerning him, he left Ms office and went to Paris, where he was employed by Louis XIV. fie died in May, 1727. ROETTIERS, Joseph, ) medallists. ROETTIERS, Philip, \ Brothers of ' Old Rotteer.' Joseph accompanied him to this country, and was appotated to an office ta the Mint, with a handsome salary, and on his successful establishment here was followed by Philip, to whom is attri buted the King's medal, on the reverse of which the face of the beautiful Mrs. Stuart is engraved as Britannia. Discontented and jealous of the greater favour shown to their nephews, both the brothers left England, Joseph, in 1672, to enter tato the service of the King of France ; and PhUip, in 1678, went to Flanders, and was employed by the King of Spain. ROFFE, John, engraver. Practised, with some merit, in the early part of the 19th century. He was chiefly engaged upon architectural works, and engraved some of the plates for the description of the marbles ta the British Museum, 1812; and for Murphy's 'Arabian Antiquities of Spain,' 1816. He died at Upper Holloway, December 14, 1850, aged 81. ROGERS, Philip Hutchins, marine and landscape painter. Was born at Plymouth ta 1794, and educated there. His works, some of which were close imita tions of nature, were views in that neigh bourhood, and find a place in the collection at Saltram. About 1813 he painted a large picture, 'The Bombardment of Algiers,' which was engraved ; and about 1820 some views on the Spanish coast. He was an occasional exliibitor at the Royal Academy up to 1835. In the latter part of his life he resided on the Continent from motives of economy, and died at Lichtenthal, near Baden Baden, June 25, 1853. ROGERS, George, landscape painter. Practised only as an amateur, fie exhi bited at the Spring Gardens' exhibition in 1761 aud 1762, and tas works were said to possess considerable merit. He resided at the Isle of Wight and married a daughter of Jonathan Tyers, the proprietor of Vauxhall. Died about 1786. ROGERS, William, engraver. Was born in London about 1545. Practised in the reign of Elizabeth, of whom there is a . -365 EOG fine engraved portrait by him, and other frontispiece portraits, in a neat formal style, with some ornamental plates for book illustration. He reached consider able perfection iu his art, and was probably one of the earliest English artists who was so employed. There is also by Mm a whole-length portrait of the Emperor Maximilian. ROGERS, William Gibbs, carver in wood. Was bom at Dover, August 10, 1792, and having very early m hfe shown great abffity ta carving and modelling, he was apprenticed to a carver in London. He rose to great disttaction ta his pro fession, both from the delicacy of Ms exe cution and the beauty of Ms design. He decorated ' Carlton House,' ' The Pavilion ' at Brighton, 'Kensington Palace,' 'St. Anne's Church,' Limehouse, ' St. Michael's,' Comhill, and ' St. Mary ' at HU1. In 1872 the Queen granted Mm a pension of 50?. a year, in reference to the Mfluence he had had on art decoration, especiaUy with re gard to the art of wood carving ta this country. He died March 21, 1875. ROGERSON,R., portrait painter. Practised about the middle of the 17th century. He patated a room in the Pope's Head Tavern, in 1688, of wliich Pepys says, ' I do not like it at all, though it be good for such a public place.' ROGIERS, Theodore, ornamentist. Practised as a chaser ta the time of Charles I., and designed and executed several pieces of plate for the King, ornamented with poetic subjects, among them a sUver ewer, with the Judgment of Paris, after a de sign by Rubens. Among the artists drawn by Vandyck is a head of Rogiers. ROLLES, John, medallist. Was chief engraver to the Mint ta the reign of George II. He died May 20, 1743. ROMA, Spiridone, portrait painter. Was born in Italy, but came to England and settled here. He exhibited a portrait at the Academy in 1774 and 1775, and in 1777 and 1778, his last contributions, de signs in water-colours. Among other works the ceiling at the East India House, now pulled down, was by him. It was, however, a feeble work, and he was best known as a picture-cleaner. He died suddeMy in the street, ta 1787. ROMNEY, George, portrait painter. Was born December 26, 1734, at Dalton-le- Furness, Lancashire, where his father, a man of many occupations and projects, was builder, farmer of a smaU freehold, and dealer. He was apprenticed to a cabinet maker and acquired some stall at his trade, and also ta wood carving. A clever lad, he showed a taste for music, made himself a fiddle, and learnt to play upon it. He had also an early notion of mechanics, and a love of art. In 1755 he was stiU in the 366 EOM workshop, but soon after faUing in the way of an itinerant artist, an unprincipled fel low, he became his pupU, continuing with him about two years. Suffering from fever he was nursed by a young girl, with whom, in 1756, he contracted a hasty marriage. fie soon after left his young wife and ram bled about the northern counties, patating portraits at two guineas a head, and smaU whole-lengths at six guineas. Thus em ployed he managed to save 100?., and giv ing 70?. to his unoffending wife, who was now burthened with two children, he aban doned his famUy, to seek Ms fortune in the Metropolis. fie arrived in London ta 1762, and maktag an attempt at historic art gained a premium at the Society of Arts for tas ' Death of General Wolfe.' In 1764 he paid a short visit to France, and in the following year gataed a second premium at the Society of Arts for his ' Death of King Edward.' In 1766 he was a member of the Incorporated Society of Artists, and in 1769 was admitted to study at their school. He exhibited with them, 1770, ' Melancholy ' and 'Mirth.' In 1771, Mrs. Yates as the 'Tragic Muse,' a whole-length portrait ; and in 1772 some portraits. He was also an exhibitor with the Free Society. He rapidly established himself in public favour, and we are told was making 1200?. a year by his profession, when he determined to visit Italy, and in March 1773, set off ta company with Ozias HumpMey, a brother artist. Arrived at Rome he separated himself from hisfeUow- traveUer and led a recluse life, holding no intercourse with his countrymen studying there. On his way home he made some stay at Venice and Parma, and reaching London ta July 1775, he with much nervous anxiety settled himself ta a large house in Cavendish Square, and commenced practice as a portrait painter. Charging 15 guineas for a head life-size, and proportionately for whole and half- lengths, he soon found himself surrounded by sitters, and his labours were attended by such success that ta 1785 he received 3635?. for his portraits. His prices had then risen to — full-length, 80 guineas ; half whole-length, 60 guMeas ; half-length, 40 guineas ; kit-cat, 30 guineas ; head, 20 guineas. Yet he wotad have it believed that he disMied portrait painting, for he wrote to his friend Hayley, the poet, ' This cursed portrait painting, how I am shackled with it ; I am determined to live frugally and cut it short as soon as I can.' He was ambitious of higher attempts, and having been successful at the commencement of his career was desirous to return to historic art. He had made acquaintance with Hayley soon after his return to London, visited him every season at Eartham, ta Sussex, where he resided, was praised by EOM Mm in florid verse, and incited to paint classic subjects ; but he was imperfectly educated in art, could have possessed little anatomical knowledge, and impatient to see his conceptions on the canvas, sadly wanted that perseverance essential to the comple tion of a great work. He had become acquainted with Emma Lyon, who sat as a model to painters, and, after many vicissitudes, became notorious as the wife of Sir WiUiam HamUton. Her graceful poses suggested many subjects, and her attractions, to wliich he was not insensi ble, lured him to attempts at high art, but the most of them were mere beginnings, not canied further than the hasty sketch of the first idea. When Alderman BoydeU at this time (1786) made known his scheme for the ' Shakespeare GaUery,' Romney entered heartUy tato it, and commenced his picture of 'The Stapwreck' from the 'Tem pest.' He patated from his witching model Magdalenes, St. CecUias, Sapphos, and Bacchantes, but his best finished work is, probably, his ' IMant Shakespeare.' After an uninterrupted career of employment for above 20 years, he retired, ta 1798, to Hampstead, where he displayed more whim than taste m the construction and decora tion of his house ; but soon after, his health declining, he disposed of his house and Ms collection. Since abandoning his famUy he had visited them only once, ta the year 1767. He had, we learn, supported them and protected them from poverty — and now, his dream of ambition past, Ms health and youth gone, he selfishly determined to re turn to them. His forgiving wife, patient under her protracted wrongs, received him without reproach, and under her affectionate care, having relapsed tato the helpless state of infancy, he died at Kendal, November 15, 1802. Romney was by nature an enthusiast — morbidly shy ta his associations — impul- sively eloquent and sUent by turns — abste mious — easily irritated, timid, fuU of pro jects, but conscious of a defective education — associating httle with his professional brettaen, rather shunning them, while he complained of their neglect, and never ex- Mbiting at the Royal Academy after his return from Italy, he was not eligible to be elected a member of that body. He was higMy popular as a portrait painter, divid ing for a time the fasMon with Sir Joshua Reynolds, yet Ms reputation, though stUl high, has hardly been maintained ta our day. He was deficient ta drawing, his colouring is coarse and heavy, devoid of aU the refinement which tint gives — and his portraits want individuality, yet they are pleasing, especiaUy Ms female portraits, and endowed with great breadth of treatment and originality. His ' Life,' by Hayley, was EOO published ta 1809 ; a ' Memoir,' by his son, the Rev. John Romney, 1830. There is also a memoir of him in the 'European Magazine,' vol. 43, by Richard Cumberland, and a memoir in Cunningham's ' Lives of the Painters.' ROMNEY, Peter, portrait painter. Brother of the foregoing. He practised for a whUe at Ipswich, and then removed to Cambridge, where he was arrested for debt, and thrown into prison in 1774. Though a clever man, he underwent many difficulties, and depressed by his misfortunes and trials sank into an early grave. ROMNEY, John, engraver and drafts man. He engraved ' Sunday Morning, — the ToUette,' after Farrier, and in 1830 ' The Orphan Ballad Singer/after Gill, also some of Smirke's Ulustrations to Shakes peare. He was employed on the plates of the ancient marbles m the British Museum, and pubhshed some 'Views of Ancient BuUdmgs ta Chester,' 1851. He died at Chester, February 1, 1863, aged 77. R O 0 K E R, Edward, engraver and draftsman, Was born ta London about 1712. He was a pupU of Henry Roberts and a member of the Incorporated Society of Artists. He attained great excellence as an engraver of architecture, and his ' Section of St. Paul's Cathedral,' after a drawtag by Gwynn, R.A., the figures by Wale, R.A., has very great merit. The plates for Sir WUliam Chambers' ' CivU Architecture ; ' several of the plates for Stuart's 'Athens,' and Adams' 'Dioclesian's Palace at Spalatro,' are by him. Many of the headings of the Oxford Almanacks are also by him, as are four views in Italy, six views in London, and twelve views ta England. He started a periodical called 'The Copper-plate Magazine,' by which he made a considerable sum of money. He etched in a bold, free style, ta con junction with Paul Sandby, a' fine set of illustrations to Tasso's 'Jerusalem.' He had another talent. He played at the Drary Lane Theatre, and was esteemed the best harlequin of his time. He died November 22, 1774. ROOKER, Michael Angelo, A.R.A., water-colour painter and engraver. Was the son of tne foregoing, and was born ta London in 1743. Intended for an en graver, he was taught by his father, and studied ta the St. Martin s Lane Academy. He also received some instructions in land scape painting from Paul Sandby. In 1769 he was admitted a student of the Royal Academy, and the following year was elected an associate. He attained much excellence as an engraver, and for several years both drew and engraved the headings of the ' Oxford Almanack,' proving Mmself also an excehent topographical artist. His sight becoming injured, he gave up engraving, 367 EOO and obtained the appointment of principal scene patater to the Haymarket Theatre, but he conttaued his work for the Almanack. About 1788 he began his autumn pedes- j trian tours, choosing the most romantic of the English counties, and made views of the picturesque ruins in Norfolk, Suffolk, Somerset, Warwick, and other places. He had from his admission as a student been a constaut exhibitor of his water-colour views at the Academy, and contributed yearly up to his death, fiis works are drawn with conscientious accuracy, and show a sweet pencil, coupled with a fine taste and finish, which give him rank among our early water-colour painters. His animals and figures are weU introduced. He was a weU-read man, reserved ta manner, shy to show his drawings, and betag discharged from his office of scene patater, it is said to reduce the expenses of the estabhshment, he fell tato dejection of spirits, from which he never rallied. He died March 3, 1801, and was laid in the burial-ground of St. Martta-in-the-Fields, in the Kentish Town Road. In the following month his draw ings, &c, were sold by Squib, and produced 1240?. He contributed some of the Ulus trations to an edition of Sterne's works, 1772. ROOM, Henry, portrait painter. Prac tised cMefly in Birmingham, and enjoyed a reputation there. He was residing in Pen- tonvUle ta 1826, and exhibited a portrait at the Academy, and ta 1827-28 sent portraits from Birmingham for extabition. In 1830 he came to London, and conttaued to ex hibit his portraits, and whUe practising here painted ' The Interview of Queen Adelaide with the Madagascar Princes at Windsor,' and 'The Caffre Chief's Examination before the House of Commons' Committee.' Many of his portraits are engraved for the ' Evan gelical Magazine.' fie did not exhibit at the Academy between 1840-47, but in 1848 sent his last work. He died August 27, 1850, aged 48, and was buried ta St. GUes's Churchyard. ROOS, John, die engraver. He suc ceeded Thomas East, his uncle, as one of the engravers of the Royal Mint, and held that office tUl the accession of George I. ROPER, , animal painter. He was a student at the St. Martin s Lane Academy, and patated sporting pieces, race-horses, dogs, and dead game. He exhibited at the Spring Gardens' exhibition ta 1761 and the succeeding years, but did not survive long after, fiis art powers were not more than sufficed to gratify the gentlemen of the turf and the stable. ROSE, Susan Penelope, miniature painter. Was a daughter of Gibson, the dwarf, and married a j eweUer . She painted ta miniature with great freedom, and had several eminent sitters. She died in 1700, 368 EOS aged 48, in Covent Garden, and was buried ta the church there. ROSE, William S. , landscape painter. He practised exclusively in oU, and painted chiefly the rural scenery of the home counties. He was a constant exhibitor from 1853 at the Royal Academy, and exhibited occasionally at the British In stitution, To the former he sent, 1853, ' Kentish Heath Scene ; ' 1857, ' Road to a Farm, Bucks;' 1859, 'Clover Time;' 1863, 'A Rustic VUlage;' 1866, 'Rough Pastures ; ' 1870, ' Ashdown Forest ; ' and ta 1873, ' Hobday on the Heath, Summer Day.' After long suffering from illness, he died at Edenbridge, May 25, 1873, in his 63rd year. ROSENBERG, George F '., water-colour painter. He was elected an associate of the Water-Colour Society in 1849, and exhibited from that year landscapes, chiefly mountain scenery, painted with much abihty, with usually a fruit or a flower- piece. About 1862 he contributed many Norwegian scenes, and towards the end of his career some good Scotch landscapes. He introduced into his foregrounds watery pools, with their luxuriant sward and weeds. He resided at Bath, where he died September 17, 1869. ROSLANEY, Wells, ornamental painter. An tagemous designer, who prac tised ta London. He died October 1, 1776. His widow, inconsolable for his loss, starved herself to death. ROSS, H., miniature painter. His father was of a Ross-stare famUy, and became gardener to the Duke of Marl borough. He exhibited at the Royal Aca demy from 1809 portraits and portrait groups in miniature. ROSS, Mrs. Maria, portrait painter. Wife of the above. Practised in London, and also tried history. She was sister to Anker Smith, the engraver. She was an occasional exhibitor at the Academy, com mencing ta 1811, and contributed portraits in oiL In 1814 'The Adoration of the Shepherds.' Died in Charlotte Street, Fitzroy Square, March 20, 1836, aged 70. ROSS, Sir William Charles, R.A., Knt., miniature painter. Was the son of the foregoing, and was born in London, June 3, 1794. He found, as a chUd, amusement in drawtag, and very early evinced great abffity. In his boyhood he gaMed several medals at the Society of Arts, and entering the Academy schools in 1808, his student career was rewarded by five sUver medals. In 1809 he Mst appears as an exhibitor at the Academy, and then, 15 years of age only, contributed ' Mordecai Rewarded,' 'The Judgment of Solomon,' and ' Portrait of a Lady and Child ta the Character of Venus and Cupid,' and for several foUowtag years, with an exceptional EOS EOS portrait, his exhibited works were of a classic character. At the age of 20 he became assistant to Andrew Robertson, a distinguished miniature painter, but found time to devote to historic art. In 1821 he gained the Society of Arts' gold medal for is oU painting of ' The Judgment of Brutus,' and ta 1825 he exhibited at the Royal Academy a large work in oil, the figures Me-size, ' Christ Casting out the Devils from the Maniacs in the Tombs.' But there was then httle encouragement for the grand style, and whatever may have been his predUections for it, he left it to devote himself to miniature. In this he soon established a high reputation, and was surrounded by fastaonable sitters. In 1837 the Queen sat to him, and pleased both by his art and his simple manners, commissioned Mm to paint her husband and chUdren. He was in the fuU tide of fortune ; ta 1838 he was elected an associate of the Royal Academy, and ta the following year a full member, and received the honou r of knighthood. He painted the King and Queen of the Belgians with the other members of the Saxe-Gotha famUy. He went to Lisbon to paint the King and Queen of Portugal, with several of their court. Prince Louis Napoleon also sat to him. His miniatures exceed 2200, and include the most distinguished of his country. His work was confined to ivory. He did not attempt enamel. His passion for history was revived by the cartoon competition in 1843, and his 'Angel Raphael Discoursing with Eve,' which he sent in anonymously, was rewarded with a premium of 100?. In his style the influence of Reynolds was apparent. He was refined and accurate ta his drawtag, his composition pleasing. The colouring of his flesh excellent, and his draperies and accessories brilliantly and powerfuUy patated. His resemblance was faithful, the tadividuahty and expression weU maintained. Taking the first rank in his art, he lived to see it superseded by the cheap attractions of photography, and on his death-bed lamented ' that it was all up with future miniature painting.' Of amiable manners, true ta his friendships, loyal in his art, he passed a peaceful, uueventful, but eminently successful life. In 1857 he suffered an attack of paralysis, from which he never entirely recovered. He died un married, January 20, 1860, and was buried at the Highgate Cemetery. An interesting exMbition of his works was made at the Society of Arts ta the summer of the same year. ROSS, F. W. R., amateur. Commenced Me in the Royal Navy, in wliich he held the King's Commission. Later, retiring to Topsham, in Devonshire, he made drawings ihustrating natural Mstory. For this he had the advantage of scientific knowledge, and he showed great talent in his accurate and skilful finish, and also in colour. He particularly excelled in birds. He died at Topsham, December 25, 1 860, aged 68. ROSS, James, engraver and draftsman. Practised in the latter part of the 18th century. He was a pupil of R. Hancock in 1765, and had the reputation of being the best engraver of transfer plates for pottery. There are by him some neatly executed smaU plates of views in the city of Here ford, after drawings by Powle. Also ta illustration of Val. Green's ' City of Wor cester,' where he appears to have resided, and numerous plates in a ' History of Tewkesbury.' He died at Worcester, Sep tember 16, 1821, aged 76. ROSSI, John Charles Felix, R.A., sculptor. Was born at Nottingham, March 8, 1762. His father, a native of Sienna, practised medicine there and afteiwards in Leicestershire. In this county tas early years were passed, and he was then placed under an Italian sculptor in London. Upon the completion of his apprenticeship he continued with his master at wages of only IS.*, a week, but afterwards found some more profitable employment ta Messrs. Coade and Seeley's works. He had entered the schools of the Royal Academy, and in 1781 gained the silver medal, followed ta 1784 by the gold medal for his group of ' Venus Conducting Helen to Paris ; ' and ta 1785 was sent to Rome as the travelling student of the Academy. He had made a hard struggle to gain this position, and he made diligent use of tas opportunities in Italy, and. at Rome executed a Mercury, exhibited at the Academy, and a Britannia, the latter 15 feet high. He returned to London ta 1788, was fortunate to obtain employment on works of high art, and was a constant contributor to the Academy exhibi tions. In 1798 he was elected an associate of the Academy, and a full member in 1802 . His chief works were the memorials in St. Paul's Cathedral, commemoratingtheheroes of the war ; of these, the most important are to the Marquis Cornwallis, Lord Heath- field, and Lord Rodney, and later he was employed ta the decoration of Buckingham Palace, and was appointed by George IV. his sculptor ii> ordinary. He also received several commissions from Lord Egremont. But he made no provision for his latter days, and became a pensioner of the Aca demy. He died at St. John's Wood, February 21, 1839, in his 77th year, and was buried in St. James's Church, Hamp stead Road. ROSSI, Henry, sculptor. He was one of the foundation members of the Society of British Artists, and exhibited with them in 1824, 'An Equestrian Group of the Duke of Wellington ;'and in 1837, 'The Sportsman,' b 369 EOT a sketch for a monument. The terra-cotta ornaments for the interior of St- Pancras' new church are designed by Mm. His name is omitted from the list of members of the Society in 1844. ROTH, William, portrait painter. Practised both in oil and miniature. He exhibited at the Chartered Society in 1768, and about 1770 was at Reading, and painted several portraits there and in the neighbourhood. He died soon after. ROTHWELL Richard, R.R.A., por trait painter, fie was born at Athlone ta 1800, and in 1815 commenced his studies in Dublin, and practising there, was early elected a member of the Irish Academy. He afterwards came to London, and was employed in the studio of Sir Thomas Lawrence, whose manner he imitated. His early portraits were of much promise. He first exhibited at the Royal Academy ta 1830, and again in 1831 and 1832, number ing among his sitters the Duchess of Kent, and other persons of disttaction. He then travelled on the Continent, and does not appear again as an exhibitor tUl 1835, when, with some portraits, he sent a ' Seren ade,' and ' Kate Kearney.' From this time he was a yearly exhibitor of his por traits, with an occasional subject picture, up to 1847 ; but he was unable to maintain the opinion wliich his first works gataed him. In 1848, he went for a time to Dub lin, and from thence sent a picture to the exhibition, and for the next two years exhibited without giving his address, but appears to have returned to London. In 1858, he was residing in Leamington, and sent from thence ta that year to the exhi bition, ' A Remembrance of the Carnival ; ' and ta 1862, ' The Student's Aspiration,' his last exhibited work. He was disap pointed and discouraged, and went over to Paris, where he settled in the practice of his profession, and was almost lost sight of. He died at Rome in September, 1868. ROTHWELL, Thomas, engraver. He was of good repute in his profession. He ched at Birmingham, January 16, 1807, aged 65. ROUBILIAC, Louis Francois, sculp tor. Was born ta Lyons in 1703 ; some accounts give an earlier date. He received a fair general education, and was the pupil of Balthazar at Dresden. He is said to have come to England in 1720, but Dussieux, in his ' Artistes Francais a FEtranger,' says he could not have come here in that year, as he was in France in 1730, and gataed the second grand medal in sculpture, though the two statements are not absolutely inconsistent. His princi pal works were, however, executed in Eng land. He was first employed ta this coun try by Thomas Carter, and we are told that he picked up a pocket-book containing a 370 EOU large sum of money, which introduced him to the owner, Sir Edward Walpole, by whose assistance he obtained better employ ment under Henry Cheere, and was after wards enabled to set up for himself in St. Martin's Lane. He was chiefly employed M monumental works, and some of his best will be foimd ta Westminster Abbey. That to the Duke of Argyll is a fine example — the figure of 'Eloquence,' part of the group, has been much praised, both by Bacon, R.A., and Canova, who deemed it the finest piece of modem art he had seen in this country. Mrs Nightingale's monument has also been highly esteemed, as weU as Sir Isaac New ton's and Handel's ; and the monument of the Duke and Duchess of Montagu at Boughton ranks among his finest works. There is also at the British Museum, a noble statue of Shakespeare, executed by him for Garrick ; and at the Senate House, Cambridge, statues of George I. and Charles, Duke of Somerset. His art was of a decorative and ornamental character, his finish elaborately careful. Flaxman, R.A., whose own severe art would not lead to an appreciation of RoubUiac's, admitted that he possessed considerable talents ; but spoke depreciatingly of Mm, saying 'his thoughts were conceits, and his composi tions epigrams.' He paid a short visit to Italy in com pany with Arthur Pond, and stayed only three days in Rome, where he laughed at all the remains of ancient sculpture. Ber nini was his model. He was a great en thusiast, and did not lack conceit. Gay- fere, the abbey mason, found him one day with folded arms, his eyes fixed upon one of his figures on which he was at work, and, as he approached, the artist said in a whisper, ' Hush, hush ! he vUl speake pre sently.' He died from the effects of mi- skUful bleeding, January 11, 1762, and was buiied ta the French church, St. Martin's-le-Grand. His funeral was at tended by Reynolds and Hogarth. He was so seriously ta debt, notwithstanding the large patronage he had enjoyed, that his effects only paid Is. 6rf. in the pound. ROUQUET, Jean, enamel painter. Born in Geneva, of French extraction. Came to England ta the reign of George IL, and practised his art ta London for nearly 30 years. He imitated Zincke with some success, and was the companion of Hogarth, Garrick, Foote, and the wits of the day. He published in Paris, in 1755, 'L'Etat des Arts en Angleterre,' a work highly laudatory, of which a translation was afterwards published M London. He had returned to Paris, and died there in 1758. ROUSSEAU, James, landscape painter. Was born in Paris, 1626, and was a pupU EOU of Swanevelt. He went early to Rome, and patated some fine views in the suburbs of that city. He excelled ta landscape, introducing classic architecture with great skiU. On his return to Paris he was em ployed by Louis XIV., and was elected a member of the French Academy. He was at the height of his reputation, when on the revocation of the Edict of Nantes, he left Paris to avoid persecution as a Pro testant, and took refuge in HoUand, from whence he came to England. Here he found employment. He was engaged ta the decoration of Montague House ; and painted several landscapes and perspective views for Hampton Court Palace. He etched some spirited compositions of land scape with architecture and figures. He could only have practised in England a short time, and died ta London in 1694. ROUW, Peter, gem engraver and mo deller. From 1795 to 1840 he exhibited his works at the Royal Academy Exhibi tions. In 1819 he was appotated ' modeller of gems and cameos to the Prtace Regent,' and from that time he called his works ' medaffic portraits,' for wMch he gained a veiy high reputation, and had the most distinguished sitters — among them the Princess Charlotte. He died at Penton- viUe, December 9, 1852, aged 81. His father, Peter Rouw, practised the same art, and was an exMbitor at the Academy up to 1777. ROWBOTHAM, Thomas Leeson, water-colour painter. Was born in Dublta, May 21, 1823, and was the son of Thomas L. Rowbotham of Bath, also an artist. TiU twelve years of age he hved at Bristol, where he met many painters who then re sided ta that city. He studied his pro fession under his father, and ta 1847 made a sketching tour ta Wales, followed in the succeeding years by visits to Scotland, Germany, Normandy, and Italy. He was graduaUy led by his love for sunny effects to paint only marine subjects under Italian skies. He succeeded his father as drawtag- niaster to the Royal Naval School, New Cross, and in 1858 was elected a member of the Institute of Painters in Water- Colours. He was a good musician. His health was never very strong, and he died at Kensington, June 30, 1875, aged 52. ROWE, Edward, glass-painter. He did not attain aDy excellence, and little more than the record of his name can be traced. He died in the Old Bailey, April 2, 1763. ROWELL, John, eglass-painter. Was born at High Wycombe, and was originally a plumber at Reading. He was employed to paint some glass for the Earl of Pem broke, the Bishop of Worcester, and for the Duke of Richmond, at Goodwood. The windows of fiambledon Church, Bucks, BB BOW are by him. He is said to have succeeded William Price in the art, but it is not stated by whom he was instructed. He patated one or two scripture subjects, but he was chiefly employed upon coats of arms. His processes were uncertain, his glass was imperfectly burnt, and some of his colours fail — but he is lmown to have discovered a tine red, of which the secret was lost with him. He died at Reading, September 2, 1756. ROWLANDSON, Thomas, caricaturist. Was born ta the Old Jewry, the son of a respectable tradesman, ta July, 1756. His talent for drawing was exhibited on the margins of his scliool books, and he be came early ta boyhood a student of the Royal Academy. At the age of 16 he was sent to Paris, where he studied drawing for two years, and then, on his return, resumed liis- place in the Academy schools. He gained a good knowledge of the figure, and combined a rapid power of drawtag with much finish. He was thrown upon his own resources before be had attained manhood by the pecuniary embarrassments of bis father ; but he was liberally assisted by his aunt, a French lady who had mar ried his uncle, to whose indulgence may be attributed some of the careless habits of his early life. He was fitted, both by his talent and his art education, to have filled a place in the higher ranks of art, and could draw with elegance and grace. In 1775 he exMbited at the Academy, ' Dehlah visits Samson M Prison,' and afterwards some portraits ; but he was careless and idle, and, receiving 7000?., with other valuable property, under the will of his aunt, he gave himself up to gaming, and soon dissipated above half his fortune. He was known in most of the London gaming-houses, and on one occa sion sat uninterruptedly at the gaming table for 36 hours. Such habits were in consistent with any studied attempts, and he fell back upon fiis early talent for cari cature, where the execution may be as rapid as the idea. In this manner his works are numerous, drawn chiefly with the reed pen, and slightly tinted, they are full of humour, excelling in a most humor ous fancy, rarely political, but touching the manners of society — not always free from vulgarity, nor from too broad a treatment. Too thoughtless to seek employment, he was supplied with subjects by Mr. Acker- mann, the publisher, for whom he illustrated the well-known 'Dr. Syntax in Search of the Picturesque,' and ' The Dance of Death ' and ' Dance of Life,' works by which he will be remembered. In the former of these, his designs, contributed from month to month, suggested the subject, and Mr. Combe, without knowing the artist, wrote tas humorous poem to them. By his 2 371 ROW companions he was dubbed ' Master Row ley,' and though careless of his reputation, he was scrupulously honourable, and bis word was always good in all his transactions. He died at his apartments in the Adelphi, after two years' illness, April 22, 1827. R 0 W L E T T , Thomas, draftsman. Practised in Loudon, about the middle of the 13th century, both as a draftsman and etcher, chiefly in portraiture. There is a portrait of Dobson, the painter, etched by him. RUBENSTEIN, — , drapery and portrait painter. Born in Germany. He came to England, early in life, and found employment chiefly in the drudgery of drapery painting, but he occasionally paint ed still-life and portraits. He was a mem ber of the St. Martin's Lane Academy. Died in London about 1763. RUNCIMAN, Alexander, history painter. Was born in 1736, in Edinbuigb, where his father was a builder, and was apprenticed to a coach-painter, under whom he acquired some knowledge oi colours. He studied for a time ta Foulis's Academy at Glasgow, and is said to have been the pupil of an eminent landscape painter, under whom he made much progress. About 1766 he managed, with his brother, to travel to Rome, where he stuched during five years, and painted his large picture, ' Nausicaa at Play with her Maidens,' aud sent home, in 1767, a picture which he ex hibited that year with the Free Society of Artists. On his return he lodged, ta 1772, in Leicester Square, aud was an exhibitor at the Royal Academy. In 1773 he settled ta Edinburgh, and was fortunate in betag appointed the manager to the Trustees' Academy, with a salary of 120?. a-year, which gave him the means of applying himself to ambitious works. He decorated the great ball of Pennicuik with a series of subjects from Ossian, and painted several easel pictures, ' The Prodigal Son,' ' Cymon and Ipbigenia,' and ' Sigismunda Weeping over the Heart of Tancred,' reputed his best work. An altar-piece for the Epis copal Chapel at the Cowgate, Edinburgh, was his last completed work. He etched several plates ta a loose sketchy manner. On October 21, 1785, he fell down in the street, aud died suddenly. RUNCIMAN, Jons,'hisforical painter. Was brother of the foregoing, born at Edinburgh in 1 744, and an artist of much promise. He went with his brother to Rome and died at Naples, where he had gone for the recovery of his health, in 1766. Among his works are 'Judith aud Holo- fernes,' ' Christ and the Disciples at Eni- niaus,' ' King Lear in the Storm.' He was of much promise, and the Scottish Academy erected a monument to him and his brother at the Canongate Church, Edinburgh. 372 BUS Barry, R.A., spoke highly of him. A clever picture by him was exhibited at the International Exhibition, 1862. He etched some of Ms works, and some others are engraved. RUPERT, The Prince, amateur. Was born in 1619, the third son of the Prince Palatine of the Rhine and the Princess Elizabeth, and consequently nephew of Charles I., on whose side he fought during the civil war, but with more courage than prudeuce. On the termination of the war he retired to Paris, where he sought amuse ment in the pursuit of art. While in Eng land he was Governor of Windsor Castle, and principally resided in that fortress. He was a mathematician aud a chemist, but it is as a mezzo-tintist he finds a place here. He has been credited with the in vention of this charming art. He certainly learned the secret eaiiy, practised it, and introduced it to the artists of this country by whom it was first employed. There are several known plates by him, some of them marked with his initials and a crown, and some fine impressions, which show con siderable art-merit, in the print-room of the British Museum. He also produced some etchings. He died, unmarried, in 1682, having completed his 63rd year. RUSSEL, Theodore, portrait painter. Was the son of a jeweller at Bruges, and was born ta 1614. He was the nephew of Cornelius Jansen, with whom be lived several years, and afterwards with Van dyck, whose pictures he copied, smaU size. He was much employed ta the famffies of the Earls of Essex and HoUand. Some of his works are in the Royal collections. Small whole-lengths by him of Charles II. and James II. , removed from Hampton Court, are at Holyrood Palace. They are well drawn, and vigorously patated, but the flesh is black and disagreeable ta colour, and the draperies crude. RUSSEL, Antony, portrait painter. Son of the foregoing. Said to have been a pupil of Riley, whose manner he imitated, but without much success. Both Vertue and J. Smith engraved after him, the latter bis portrait of Dr. Sacheverell. He died in July, 1743, aged above four score years. RUSSELL, John, R. A. , portrait painter. Born at GuUdford, where his father was a bookseller, in April, 1744. The Society of Arts awarded him a pre mium in 1759, and hewas afterwards pupil of Cotes, R.A., and a student at the St. Martin's Lane Academy. He practised in crayons, but occasionally in oil, and pro duced some excellent crayon portraits. His early works in crayon were in the man ner of his master, but he attained more power, both in colour and effect. His groups are pleasing, well drawn, and the expression natural. In 1768 he first ex- BUS EYL hibited at the Spring Gardens' Rooms. He greatly excelled in his art, and invented a method of preparing his crayons. Of this process he gave an account, with some valuable instructions, in his ' Elements of Paiutiug with Crayons,' published in 1776. He painted a variety of subjects, and tried Mstory in crayons. Fond of astronomical studies, he invented an apparatus for ex hibiting the moon's phenomena, which he patented ta 1797. He was elected an associate of the Royal Academy in 1772, and an academician in 1788, and held the appointment of portrait painter in crayons to George III. and to the Prtace of Wales. He was a constant and large contributor to the Academy exhibitions, sending between 1789-93 on an average 16 works yearly, comprising portrait groups, conversation pieces, and portraits ta character. He visited some of the provincial towns in the pursuit of his profession, and died of typhus fever, ta tas lodgings at Hull, AprU 20, 1806, and was buried at Trinity Church in that town. A large number of tas portraits are engraved. His crayon portraits are excellent — powerful, brilliant ta colour, weU grouped and expressed. RUSSELL, William., portrait painter. Son of the foregoing. Practised ta London. Painted also some genre subjects. He exhibited portraits at the Academy from 1805-1809, after which year his name no longer appears ta the catalogue. RYALL, Henry Thomas, engraver. Was bom at Frome ta August, 1811, and was a pupil of S. Reynolds. He made Mmseh known by his works for Lodge's portraits, and was then employed upon some miniatures of the Royal farmly after Sir WiUiam Ross. He also engraved HayteiJs ' Coronation of Queen Victoria,' Leslie's ' Christening of the Princess Royal,' and after Wilkie, Landseer, Ansdell, Rosa Bonheur. He held the appointment of Mstorical engraver to the Queen. His manner possessed some originahty. He employed a mixture of stipple and line with good effect, aud was correct ta his drawing and finish. He died at Cookham, Berks, September 14, 1867. RYDER, Thomas, engraver and drafts man. Born 1746, was a pupil of Basire, and one of the earliest students at the Royal Academy. He was intended for a painter, but took to engraving, and was one of the best engravers of his time. He worked in the dot manner after Opie, West, Shelley, Kauffman, and executed eight of the large plates in the Shakespeare Gallery for Alderman BoydeU, which are his best works. Many of his plates are printed in brown, some in colours. He died 1810. His son of the same name also practised as an engraver. RYLAND, Edward, engraver, but worked chiefly as a copper-plate printer. lie was born in Wales, and coining to London, settled in the Old Bailey, and died there July 26, 1771. ..-*- - >" '. RYLAND, William Wynne,, engraver.' Wlis born iu London in July, 1738, thei sou of the foregoing, and named after bis godfather, Sir Watkin Williams Wynne. He was, about 1752, apprenticed for seven years to Ravenet, then living ta Lambeth, and showed great application and ability. On the completion of his apprenticeship, about 1760, he set out to visit the French and Italian schools, ta company with Gabriel Smith^ and remained on the Con- < tinent for several years, improving himself ' with great assiduity. In Paris he gained a gold medal ta the French Academy, and at Rome was received with much consider ation. On the accession of George III. he was still abroad, and on his return, soon after, he was, on the refusal of Strange, employed to engrave the fine portraits of the King and Lord Bute, by Ramsay, and the Queen, after Cotes, R.A. These works are examples of a finished style of engrav ing, the lines shewing great taste, the quality of the lace, fur, and other textures well expressed. They gained him the ap pointment of engraver to his Majesty, with a salary of 200?. a-year, and at once made him a reputation, fie also engraved, in the same style, some fine plates after the old masters, and after Angelica Kauffman. In 1766 hewas a member of the Incorporated Society of Artists, and exhibited with them in 1767. From 1772 to 1775 he also exhi bited at the Royal Academy, his contribu tions consisting of some drawings after Angelica Kauffman, with small portraits. In his later manner he adopted the imitation of chalk drawings, which lent itself to a cheaper class of art, and was suitable for colouring and to print with tints, and when combined with line and etching has produced some fine and artistic effects, though it proved eventually injuri ous to the engraver's art. He afterwards entered tato a partnership/ in a print-shop,! in CornhiU, and traded largely in engrav ings, but he formed an iMcit connexion with a young female, who involved him iu large expenses. He was extravagant, be came bankrupt^and had contracted a habit , of gaming, lie then took on his own ac- ¦ count a shop ta the Strand, which, though promising success, he gave up, retired to Pimlico, and afterwardsremovedto Knights- bridge. While living here he was charged with the forgeiy of two bills on the East India Company for 7114?., which, with other genuine bills, he deposited with Ms bankers for an advance of 3000?. On the discovery of the forgery, which was most ingeniously executed, and the offer of a large reward/ 373 EYL for his apprehension, he fled from justice, and took a poor lodging in Stepney under an assumed name{ Here he was discovered by Ms name in a shoe which he had sent to a cobbler to be mended. Arrested, he attempted suicide by cutting his throat, and taken to Bow Street, he was committed for trial in July, 1783, and after a long investi gation, was convicted at the Old Bailey of uttering the forged bills, and sentenced to death. Unavailing efforts were made to save him. He was hanged at Tyburn, August 29 following, the execution being delayed for some time by a violent thunder storm, and was buried at Feltham, Middle sex. In his defence he pleaded that his circumstances placed him above the impu tation ; that, in addition to his salary from the King, his business was every year pro ducing him 2000?., and his stock-in-trade was worth 10,000?. He died declaring his innocence, fie left a widow, for whom, with her six children, a subscription was raised, and she kept a print-shop for many years at the corner of Oxford Street and Berners Street. One of his daughters be came a teacher of drawing, and it is said the Princess Elizabeth was one of her pupils. fiis works are numerous. He published, in the dot manner, above 200 plates, many of them only smaU ta size, but excelling in their delicate finish and excellent texture. Some of them, printed in coloured inks, had great merit, fiis works in the line manner, from their great artistic qualities, place tarn high in the ranks of his profession. A short authentic memoir of him was pub lished in 1784* His brother was, ta 1782, convicted of highway robbery, and'only reprieved on the morning fixed for his execution. ,><*'• '^.-.;k-> .-'..-", R Y L E Y , Charles Reuben, history painter. Was born in London about 1752, the son of a private in the Life Guards. He was fond of art. First tried engraving, and received a premium in 1767 from the Society of Arts. Afterwards became a pupU of Mortimer, and in 1778 gained the Royal Academy gold medal for his painting of ' The Sacrifice of Iphigenia.' From 17S0, till bis death, he was a constant exhibitor at the Academy, but his works were chiefly drawings and sketches, not having any high aim, or giving proof of any sustained effort. He was employed by the Duke of Richmond ta the decoration of Goodwood, and was EYT afterwards engaged ta the decoration of several other mansions, but he found his chief employment ta designing for book ffiustration and as a teacher of drawing. In early Me he was of a Methodistical turn, but he became of irregtaar and debauched habits, wMch shortened his life. He died in the New Road, Marylebone, October 1, 1798. RYSBRACK, John Michael, sculptor. He was born at Antwerp, where Ms father practised as a landscape painter, June 24, 1693, and studied there under an eminent sculptor. He came to England in 1720. He showed much abihty in modelling small figures in clay, and soon found employment on portrait busts, and afterwards was en gaged in monumental works of a larger class. For some time he was employed by the architects Gibbs and Kent, but as they shared the profits, he soon abandoned de pendence upon them, and for many years some of the most important works were entrusted to him. At Westminster Abbey the monuments of the Duke of Newcastle, Earl Stanhope, Sir Godfrey Kneller, and Mrs. Oldfield.the latter after Kent's design, are by Mm. Bishop Hough's monument at Worcester, and the bronze equestrian statue of WUliam III. at Bristol, must also be classed among his best works. His princi pal busts are of Pope, Gibbs, Sir Robert Walpole, the Duke and Duchess of Argyle, the Duchess of Marlborough, Lord Bolmg- broke. He retired from his business in January 1766, and sold Ms models, casts, &c, by auction. He had resided many years ta Vere Street, Oxford Street, and died there January 8, 1770. He was bmied in Marylebone churchyard. He made a great number of highly finished drawings from historical subjects, as weU as designs for sculpture, some of which wUl be met with in good collections. He was simple in his monumental works, happy ta the action of his principal figures, but without much invention. Fuseli says hardly of him, ' He was a mere workman ; too insipid to give pleasure, too dull to offend greatly.' RYTHER, Augustine, engraver. Prac tised in London about the close of the 16th century, He engraved the plans of the Spanish Invasion, with cuts of the several exploits and conflicts with the Spanish Fleets, 1590. He also assisted Saxton upon his maps of Yorkshire, wliich are embellished by views ta the margins. 13'"-" 374 SAD SAM s SADLER, Thomas, portrait and minia ture painter. He was the son of a master ta Chancery, who was greatly esteemed by Cromwell, and was educated for the law, but acquired a love of art from his intimacy with Sir P. Lely, and received some instruc tions from him. He first apphed himself as an amateur, and then, reduced by mis fortunes, he followed art as his profession, and practised ta the reign of Charles IL, and up to the time of WiUiam III. His heads are well drawn and expressed, not so his hands, simple ta colour and low in tone. One of his best works, a portrait of Bunyan, is engraved in mezzo-tint ; a good miniature of the Duke of Monmouth by him is also mentioned. SADLER, William, portrait painter. Was bom ta England, the son of a musician, but studied his art ta Dublta, and practised there both ta oU and immature, and was an artist of some abffity. He also scraped some mezzo-tint portraits. He died in Dublta about the end of the 18th century. SAILMAKER, Isaac, marine painter. Bom 1633, it is said, ta England. He was a pupU of George Geldorp, and was much in favour with CromweU, who employed him to paint the fleet before Mardyke. There is an engraving, dated 1714, of a painting by Mm of the Confederate fleet under Sir George Rooke engaging the French fleet. He died June 28, 1721. ST. AUBYN, Miss Catherine, amateur. There are several etchings by her. ' A young Woman reading,' a copy after Bartolozzi, 1788; 'Dorothy Pentreath,' after Opie, R.A., 1789 ; ' Pevensey Castle,' two views, 1797-98. Two drawtags by her of St. Michael's Mount are engraved. SALMON, Mrs., portrait painter. She was an English artist, and enjoyed great reputation about 1700-15 for her clever portraits modelled ta wax. She also at tempted some historical designs ta the same material. Her art was conttaued by her descendants. SALT, Henry, draftsman and traveller. Was bom at Lichfield about 1785, and edu cated in classics and mathematics at the Grammar School there. He then came to London and commenced the study of art, and ta 1802, accompanied Lord Valentia (afterwards Earl Montnorris) to India as draftsman, and after a residence of four years with him in the East, which he traversed from north to south, also visiting Ceylon, he furnished the illustrations for his lordship's 'Travels' pubhshed 1809. He was afterwards employed by the Govern ment to carry presents to the King of Abyssinia, and negotiate an alliance with tain. On his return ta 1809 he published 24 views taken ta India, the Red Sea, Abyssinia, and ta 1814 the narrative of a second journey to Abyssinia. In 1815 he received the appointment of Consul-General for Egypt, and devoted himself to the study of its antiquities, assisting with all his in fluence the researches of learned travellers, and particularly of Belzoni. He published in 1814, an ' Account of a Voyage to Abys sinia,' and travels ta the interior of that country, iu 1809-10 ; ' Egypt,' a descrip tive poem with notes, 1824 ; ' Essay on Young's and Champollion's Phonetic Sys tem of Hieroglyphics,' 1825. His ' Life and Correspondence' was published ta 1854. He died on the route from Cairo to Alex andria, August 30, 1827. SALTER, William, historical and portrait painter. Was born ta 1804, at Honiton in Devonshire. He came to London ta 1822, and was a pupil of North cote for five years. He then went to Florence, where he patated a picture of ' Socrates before the Judges of the Court of Areopagus,' wliich he exhibited 'at the Belle Arti ; this work gataed him great reputation, and he was elected a member of the Academy of Fine Arts at Florence, and a professor of the first-class of history. After remaining in that city for five years, he went to Rome, and subsequently to Parma, where he distinguished himself by Ms studies from Correggio, and where he was elected a member of the Academy. Returning to England in 1833, he painted a remarkable picture of the annual ban quet given by the Duke of Welltagton at Apsley House, in commemoration of the Battle of Waterloo, which picture is now ta the possession of G. Mackenzie, Esq. He also patated scenes from Shakespeare, and historical events from the lives of the Stuarts. He was a member and Vice- president of the Society of British Artists, and he but rarely exhibited at the Royal Academy. He died in London at West Kensington, December 22, 1875. SALWAY, N., engraver. Practised in mezzo-tint, chiefly portraits. His works are dated about the middle of the 18th century. SAMUEL, Richard, portrait painter. He was twice adjudged the gold medal of the Society of Arts for the best original historical drawing, and was a frequent exhi bitor at the Royal Academy from 1772 to 375 S A M 1779, contributing small whole-lengths, conversation pieces, and portrait heads, with occasionally a subject piece. There is an engraving after him of the ' Nine living Muses of Great Britain '—Mrs. Sheridan, Mrs. Montague, Angelica Kauffman, &c, but it is only a poor affected work. In 1773 the Society of Arts awarded him a premium for an improvement in laying mezzo-tint grounds. He published, in 1786, a short pamphlet ' On the Utihty of Drawtag and Painting.' SAMUEL, George, landscape painter. He practised both ta oil and water-colours, chietly the latter. A clever view of the Thames by him, from Rotherhithe Stairs during the frost of 1789, the shipping frozen in and surrouuded by groups of figures, was much praised at the time. He made draw ings for the illustration of ' Grove Hill,' a poem, published ta 1799 ; and at the begin ning of the 19th century had already gained a reputation, and his landscapes were much esteemed. He was a good draftsman and skilful painter. From 1786 to 1823 he was an exhibitor at the Royal Academy, and also exhibited at the British Institution. Soon after the last date he was killed by an old wall falling upon him while he was sketching. F. Jukes engraved after him two views of Windsor. SANDARS, G., portrait painter. Prac tised in the reign of George II. SANDARS, Thomas, engraver. Was the son of a painter at Rotterdam, where he was born. He came to London, was a member of the St. Martin's Lane Academy, and exhibited up to 1775. He etched the ' Italian Fisherman,' after Joseph Vernet, and drew and engraved 15 views of market towns in the county of Worcester, 1777— SI. He was also a teacher of drawing. SANDBY, Paul, R.A., water-colour draftsman. Was descended from an old county family, and was born at Notting ham in 1725. In that town he and Ms brother, clever young men, kept a school, and, by the help of their borough member, in 1741 gained employment in the military drawing office at the Tower. In 1746, when, on grounds of military policy, it was determined to improve the roads in the Highlands of Scotland, the scene of the memorable campaign of 1745-46, he was engaged as draftsman to the Survey, and made' many sketches of the grand sceneiy which surrounded him. But, tired of the employment, he quitted it in 1752, and went to live with his brother Thomas at Windsor, and ta the picturesque architec ture of the castle and at Eton he found many subjects for Ms pencil, completing about 70 drawings. Many of these were purchased by Sir Joseph Banks, and making his acquaintance, he accompanied him to Wales, and drew the chief castles and resi- h SAN deuces in the Principality and was then induced by Sir Watkin W. Wynne to con tinue his stay and his labours. He was a member of the St. Martin's Lane Academy, and one of those who in 1753 wished to extend andgive permanence to art teaching ; but the plan was opposed by Hogarth, and the prints which were then published to ridicule ' The Line of Beauty ' were attributed to him. He also carica tured Vestris, in the costume of the day, teaching a goose to dance. He contributed largely to the Artists' Exliibitions from 1760 to 1764, was a member of the Incor porated Society of Artists, and, on the in stitution of the Royal Academy in 1768, was nominated one of the original members. The same year he was appointed the chief drawing-master at the Woolwich Military School, and was also known as a fashion able teacher. He possessed Mdefatigable industry, and was a constant contributor of his water-colour views to the Royal Aca demy exhibitions. He pubhshed a folio of etchings from the sketches he made when engaged upon the survey ta Scotland, and became distinguished ta the art, etching with great neatness, skill, and truth. He aqua -tinted and published his Welsh sketches, and was the first Enghsh artist who attempted this style of engraving, ta which he showed great abUity and brought to much perfection in Ms later publication of 'Views in the Encampments ta the Parks,' 17-80. He has been styled the father of the water-colour school. He was certainly among the first who practised in this me dium ; but his landscapes did not get beyond topography and the mere tinted imitation of nature. His best works are carefully drawn ta with the pen, worked up with washes, aud finished with colour. Some of his larger works are ta body-colour. He introduced freely into his landscape groups of figures by no means ill-drawn, and add ing great taterest, but he was frequently assisted by others— his brother Thomas and Wheatley, R.A., are mentioned. He was a master of perspective, and drew ar chitecture well, and his views of cities, with their grouped buUdtags, are gracefully and truthfully executed. Earnest in ah that interested tas profession, his name is inse parably connected with the art and artists of his day. Age creeping on, he resigned his appointment at Woolwich ta 1799, and was succeeded by his son. He died Novem ber 9, 1809, in his 84th year, at 4, St. George's Row, Bayswater Road, and was laid in the burial-ground adjoining. SANDBY, Thomas, R.A., architect. Was brother to the above, and born ta Nottingham, 1721. Like his brother, he was employed in the military branch, and was appointed draftsman to the Chief SAN Engineer in Scotland. He was at Fort WiUiam when the Pretender landed in 1745, and was the first to convey intelli gence to the Government. This service, added to Ms professional skill, led to his appointment as draftsman to the Duke of Cumberland, and he foUowed the Duke ta his Flanders campaigns. In 1746 he was made Deputy-Ranger of Windsor Great Park, andplanned the large lake known as Virginia Water. He published eight draw- tags, Ulustrathig his alterations and im provements in the Park. He was one of the committee to found a Royal Academy in 1755, a member of the Incorporated Society 1766, and was nominated one of the members of the Royal Academy estab lished in 1768, and the first Professor of ArcMtecture, and contributed architectural views to the early exhibitions at the Aca demy. He buUt the Freemasons' Tavern and Hall in 1775, and designed some of the oak carvings in St. George's Chapel. He held the office of Deputy- Ranger above 50 years, died ta the Ranger's House June 25, 1798, and was buried at Old Windsor. He was a clever draftsman, possessing more spirit and artistic feehng than Ms brother. Many of his drawings are ta the Royal Collection at Windsor, and some are pos sessed by the Soane Museum and the British Museum. His collection of draw ings was sold by auction at Sotheby's, in 1799. SANDERS, John, portrait painter. Practised ta London, and first appears as an exMbitor at the Academy ta 1771, con tributing portraits in oU, and subject pictures, fie conttaued to exhibit, send ing with portraits a 'St. Sebastian,' in 1772; 'A Jael and Sisera,' ta 1773, and later exhibited crayon and water-colour drawtags. SANDERS, John, portrait painter. Lived at the same address, and probably the son of the above. Practised the same class of art. He was an exMbitor for the first time at the Royal Academy in 1775, and then sent two smaU crayon portraits with ' A Foundling Girl,' and ' Jacob and the Angel.' In 1778 he removed to Nor wich, and afterwards returned to London, continuing to exhibit occasionally tUl about 1820. SANDERS, John, engraver and draftsman. Was born in London, about 1750, and formed his art under the in fluence of Bartolozzi. But he did not work exclusively ta that manner, as he produced some plates both ta mezzo-tint and in aqua-tint. He went to St. Petersburg, made sketches of the collection of pictures in the ' Hermitage,' and was appointed en graver to the Emperor. He afterwards published his works under the title of Galerie de l'Hermitage.' Delatre en- SAS graved after him ' May-day, or the Happy 'Lovers,' and P. W. Tomktas 'Sir John Falstaff.' SANDERS, John, architect. He was a pupU of Sir John Soane, and a student of the Royal Academy. He contributed de signs to the exhibition of 1788-87 ; aud in 1788 gained the Academy gold medal for his design for a church. He held the appointment of architect to the Barrack Department in 1805. He designed the Royal MUitary Asylum at Chelsea, com menced in 1801, and about 1811, the Royal MUitary College, built at Bagshot. fie continued an occasional exhibitor of his architectural designs at the Academy up to 1821. SANDERSON, John, architect. Prac tised in London, towards the middle of the 18th centuiy. He built the mansion at Kirtltagton Park, Oxfordshire, a good Ionic work, and the Duke of Bedford's seat at Stratton Park, Hants, fiis de signs are engraved in Woolfe and Gandon's work. He is mentioned as the friend of Hogarth. SANGSTER, Samuel, engraver. He was a pupU of W. Ftaden, and was well reputed, practising in the hne manner. He was much employed upon the Annuals, and also upon the illustrations for the ' Art Journal.' The ' Gentle Student ' and 'The Forsaken,' by Newton, R.A., are good examples of his art. fie had for some time retired from practice, and died June 24, 1872, M his 68th year. SARTORIUS, Francis, animal paint er. He practised in London during the latter part of the 18th century, and was esteemed for his portraits of , horses, to which his art, though he painted some hunting subjects, was almost exclusively confined, fie was an exhibitor, both with the Free Society of Artists and the In corporated Society, from 1772 to 1780, and from 1775 to 1790 at the Royal Academy. He died about 1806. Several of his works have been engraved in mezzo-tint, and some are at Saltram House. SARTORIUS, John N., animal paint er. Son of the above. He exhibited works of the same character at the Royal Academy, from 1778 to 1824. Some racing subjects by him are engraved. S A S S, Henry, portrait painter and teacher. Born in London, April 24, 1788, the son of an artist of no distinction. He studied ta the Schools of the Royal Aca demy, and ta 1808 exhibited his first work, 'The Descent of Ulysses tato Hell,' fol lowed by portraits and an occasional his torical attempt. In 1816 he visited Rome and the chief seats of art in Italy ; and exhibited, in 1817, 'Infancy, one of a series to illustrate the Seven Ages of Woman,' which proceeded no further. He 377 SAS was never able to obtain any notice as an artist, and devoted himself to elementary art teaching preparatory to the Academy Schools, in which he was very successful. many of his pupUs becoming distinguished. He did not meanwhile cease to exhibit, and between 1820 and 1838 many portraits by him found a place on the walls of the Academy. He had retired from his school for some time owing to a protracted illness, and died June 21, 1844. He pubhshed his 'Journey to Rome and Naples,' and "The Arts of Patating and Sculpture ta England.' SASSE, Richard, water-colour painter. Was born in 1774. He was cousin to the above, but added the final e to his name. He first exhibited at the Academy ta 1791, and continued a large contributor up to 1813. His subjects were landscape, intro ducing cattle and figures, with occasionally a waterfall, a favourite subject with him. In his practice he attempted to use more colour than the 'tinters' of his day. In 1811 he was appointed teacher to the Princess Charlotte, and afterwards land scape painter to the Prince Regent. On the termination of the War in 1815, he travelled on the Continent, and in 1825 he settled ta Paris, where he died, September 7, 1849. He was much patronised, but never attained excellence. His works, though clever and effective in colour, want decision and character. He tried many manners without succeeding ta forming one of his own. There are examples of his art in the collection at South Kensington. He published a series of etched sketches from nature in 1810. SAUNDERS, George L., miniature painter. Was born at Ktaghom, Fifeshire, 1774, and was educated in Edinburgh. He showed a great aptitude for drawtag, and was apprenticed to a coach-maker, a man of considerable taste. On leaving him he practised in Edinburgh, principally in painting miniatures, and as a teacher of drawing. He also, early ta his career, painted a panorama of the city from the guard-ship ta Leith Roads, fie was in duced by his success, and the advice of his friends, to come to London in 1S07, and at once took a disttaguished position as a miniature painter, the Princess Charlotte being among his first sitters. About 1812 he tried life-sized portraits in oil, which were for some time commissioned at large prices, but his art friends were more ap preciative of his miniatures, aud he was piqued and estranged from the general body of the profession. He very rarely exhibited at the Royal Academy ; but in 1829 he contributed three miniatures; in 1830, Prince Esterhazy, and some others ; in 1831, the Duke of Cumberland and Prince George. He did not then exliibit 378 SAV again tiU 1838, when he sent Lady Clemen tina ViUiers ; and ta 1839, his last contri bution, the Marchioness of Downshire. He had many disttaguished sitters ; among them, Lord Byron, whom he patated several times. One of his portraits, 'Lord Byron standing beside Ms boat,' was engraved by Finden, 1831, and is well known. He died ta Marylebone, March 26, 1846. SAUNDERS, George, F.R.S., archi tect. Practised ta London, and in 1780 built the stone facade to the theatre at Birmingham. Was some time architect of the British Museum, and built the Townley Gallery. He held the appointment of Sur veyor to the Commissioners of Sewers. He was distinguished as an antiquary, and was the author of 'A Treatise on Theatres,' pubhshed 1790, and of ' Observations on the Origin of Gothic Architecture.' He died ta 1839, aged 77. SAUNDERS, Joseph, miniature painter. He practised in London towards the end of the 18th century, and was weU employed. He was an exhibitor at the Academy from 1778 to 1797. His works were principally portraits of ladies. His son, R. Saunders, followed the same pro fession, and exhibited on a few occasions at the Academy. SAVAGE, John, engraver. Born in London about 1640. fie practised his art ta the Old Bailey, and was chiefly employed on portraits for the bookseUers. fie en graved WUliam III. and Queen Mary, Algernon Sydney, Bishop Latimer, and many of the heroes executed before the neighbouring gaol ; also some of the plates for Tempest's ' Cries of London,' and for Evelyn's ' Numismata.' He worked chiefly with the graver, but, though careful ta execution, he was without taste, and his drawing defective. SAVAGE, AVilliam, painter and en graver. Was born about 1785, and studied ta the schools of the Royal Academy. He made experiments in printing with a suc cession of wood blocks for decorative works, and pubhshed, ta 1822, the results of his labours, the illustrations cut by his own hand, 'Practical Hints on Decorative Printing, with IUustrations Engraved on Wood and Printed ta Colours by the Type Press.' SAVAGE, James, architect. He was born at Hackney, April 10, 1779. Articled to Mr. D. A. Alexander. He was also, in 1798, admitted to the schools of the Royal Academy, and in 1799 he was first an exhibitor, sending a design for a mansion ; and in 1800 a design for a triumphal monument. At the same time, when in his 22nd year only, he was awarded the second premium of 150?. for his design for improving the City of Aberdeen. In 1805 his designs were selected for the erection SAV of Ormond Bridge, over the Liffey, Dublta ; and ta 1808 for Richmond Bridge, over the same river. In 1815 he was the successful competitor for a three-arch bridge over the Ouse at Tempsford, Bedfordshire. In 1819, in a strong competition for building St. Luke's Church, Chelsea, Ms designs were selected. The work possesses great merit, notable for its general design, and especially for its fine vaulted roof and ex cellent construction. His design, in 1823, for London Bridge, and his plan for im proving the river Thames, by a southern embaukment, though not adopted, were works of much labour and judgment. He was appointed arcMtect to the Society of the Middle Temple ta 1830, and erected the HaU, Clock Tower, and other works, and up to this time continued an occasional exMbitor at the Academy. In 1840 he was employed to prepare designs for the restoration of the Temple Church, and had commenced the work, when, from difficulties which arose between the two societies in terested, the completion was entrusted to others, but it was finished according to his original intentions. Among his other works the chief were — Trinity Church, Sloane Street ; St. James's Church, Ber- mondsey ; Trinity Church, Tottenham Green; St. Mary's Church, Ilford; St. Michael's Church, Burleigh Street, Strand ; St. Thomas the Martyrs Church;- Brent wood; St. Mary's Church, Speeuhamland, near Newbury; St. Mary's Church, Ad- dleston, Surrey. He was one of the active supporters of the plan for restoring and opening to pubhc view the Lady Chapel of St. Saviour's, Southwark; a member of the Surveyors' Club, the Graphic Society, the Institution of CivU Engineers, of the Architectural Society, and for a short time of the Institute of British Architects ; but withdrew from a difference of views upon some matters of regulation. He had much practice in arbitration cases, and was suc cessfully employed by the defendant in the case of the Crown v. Peto. He died May 7, 1852, in tas 74th year, and was buried at his church ta Chelsea. He presented to the Architectural Society, in 1806, an essay on bridge budding, and published, ta 1836, j Observations on Style ta Architecture,' in reference to the designs proposed for the Houses of Parliament. SAVILLE, Dorothea, portrait painter. Practised in London in the first half of the 17th century. Both Hollar and Thomas Cross engraved after her. SAXON, James, portrait painter. He was born ta Manchester, and practised for a time in London, exhibiting portraits at the Royal Academy in 1795-96. He after wards went to Edinburgh, where he was practising in 1803, and about 1805 came again to London, and ta that and the fol- SAY lowing years, up to 1817, was au exhibitor of portraits — sometimes of actors in charac ter — at the Academy. He then went to St. Petersburg, where he was for several years successfully employed, and on his return, he lived for a short time in Glasgow. He died in London ta the year 1816 or 1817. His characteristic portrait of Sir Walter Scott holding a large dog, with a landscape background, has been engraved, and is well known. SAXTON, Christopher, engraver. He hved near Leeds, and was a domestic serv ant. Shewing au ability for engraving, he was encouraged by his master to undertake a set of county maps, which, after six years' labour, he completed, mostly with his own hand. They were, some of them, decorated with views, published ta 1579. They were the M-st known in England, and were dedicated to Queen Elizabeth. S A Y, "William, mezzo-tint engraver. Was born in 1768, at Lakenham, near Norwich, in which neighbourhood his father was land-steward to the proprietors of several estates. He was left an orphan at the age of five years, and was brought up by an aunt, who dissuaded him from an early desire to go to sea. After trying several pursuits, he came up to London at the age of 20, and a love of art, which had been for a time uppermost, induced him to place himself under James Ward, R.A., who was then practising as an engraver. He worked assiduously, and soon made great progress, and his merits gained him full employment. In 1807 he was appointed engraver to the Duke of Gloucester. The greater number of impressions to be taken off steel had brought steel plates largely into use, and about 1820 he engraved the Mst mezzo-tint which had been successfully produced on steel. He executed no less than 335 plates, with his own hand, many of them historical and portrait works of large-size. The British Museum possess a complete set of Ms works engraved between 1795-1834. He engraved 16 plates for 'Turner's Liber Studiorum,' several for ' Turner's River Scenery,' ' The Dilettanti Society,' after Sir Joshua Reynolds, and several after Fradelle. He died in Wey mouth Street, Portland Place, August 24, 1834. SAYER, James, caricaturist. Was the son of the master of a trading vessel at Yarmouth, where he was born ta August, 1748. He commenced hfe as an articled clerk in an attorney's office, served his time and practised for a while in Yarmouth, where he became a member of the Borough Council. His father having left him a small fortune, he did not continue to practise in the profession, but following the bent of his inclination, he drew caricatures and wrote songs. There is a political poem by him 379 SCA (then caUed Sayers of Yarmouth), ' The New Games at St. Stephen's Chapel.' Tak ing the side of Mr. Pitt, who was then in opposition, he came to London about 1780, and produced in 1783 his first work, satiriz ing the Ministry, and from that time to 1794 published above 100 political carica tures. The success of this led to numerous others, and in the great political struggle wliich followed the Whig India Bill, he zealously supported Mr. Pitt with his pencU, and his works had an extensive safe and influence, so great that Mr. Fox tamself once observed that Sayer's caricatures had done him more harm than all the attacks made upon him ta Parliament, or by the press. On succeeding to office Mr. Pitt rewarded him with a post in the Exchequer and he became Marshal of the Court, Receiver of the sixpenny duties, and one of the Cursitors. But while holding these offices he conttaued occasionally to publish his caricatures. On the death of the Minis ter in 1806, he wrote ' Elijah's Mantle,' which has been ascribed to Canning. He had not much power of drawtag, and his works were weak, his wit coarse, but they will always form a part of the great poli tical contest which was then waged. He died ta Curzon Street, May Fair, AprU 20, 1823, and was buried in the vaults of St. Andrew's Church, Holborn. SCANDRETT, Thomas, architectural draftsman. He was born at Worcester in 1797. He first appears as an exhibitor of two portraits at the Academy in 1825, and from that time, at long intervals, sent an architectural chawing. He died in 1S70. SCHARF, George, miniature and sub ject painter. Born in Germany. He prac tised in London ta the first half of the 19th centuiy He painted ' The Parliament at Westminster,' which was engraved ta 1820, and ' The Lord Mayor's Feast,' of which a lithograph was published, and was an occa sional exhibitor at the Academy. But he is principally known as one of 'the earlier lithographic draftsmen. He died November 11, 1860, aged 72. SCHEEMAKERS, Peter, sculptor. Was born at Antwerp in 1691, studied there, and early in life made his way to Denmark, where he worked as a journeyman ; aud from thence, supported by his love of art, travelled on foot to Rome, selling his shirt for his subsistence when near the end of his weary journey. He remained in Italy only a short time, and starting again on foot, came to England. In 1728, he returned to Rome, where he studied two or three years, gaining a reputation by his small models from the Antique. Iu 1735, he came again to England, and establishing himself in St. Martin's Lane, settled here in the prac tice of bis profession. He soon found con siderable employment, was encouraged by 2S0 SCH the Court, and shared the patronage o; the time with Roubiliac and Rysbrack. He excelled in busts, three of wliich by Mm are in Westminster Abbey, where there is also, carved by him, a monument to Shakespeare, after Kent's design ; and a good monument to Dr. Chamberlain, one to Dr. Mead, ta the Temple Church ; a Statue of Edward VI. ta bronze, at Guy's Hospital ; and many statues in the gardens at Stowe. His models, pictures and marbles, were sold by auction by Langford in 1756 ; and, some remaining, ta the following year. In 1769 he retired to Antwerp, where he soon afterwards died. SCHEEMAKERS, Thomas, sculptor. He was the son of the foregoing, and suc ceeded Mm ta his business. He exhibited busts and bassi-relieviwith the Free Society of Artists ta 1765 and 1768, and commenc ing ta 1782, he was an occasional exhibitor of models for monumental figures, with sometimes a medaffion portrait, or a bust at the Royal Academy. He died July 15, 1808, aged 68, and was bmied ta St. Pancras' old churchyard. SCHETKY, John Alexander, amateur. Born ta Edinburgh in 1785, and descended from an old Transvlvataan family. He was educated in that City for the mechcal pro fession, and at the same time studied draw ing in the Trustees' School. He served with much disttaction as surgeon to the Portu guese forces, under Lord Beresford, and on the termination of the war ta 1814, he re sumed Ms art studies ta EdMburgh ; and ta 1816-17 exhibited some scenes in Portu gal at the Water-Colour Society. In 1821, he also exhibited at the Academy some works of the same class, and in 1825, his brother exMbited there two patatings of frigate actions, patated ta conjunction with Mm. In 1S19, he was called into active service. He was ordered to Ceylon, and afterwards exchanged with a brother officer for Sierra Leone, bis object being to foUow Mungo Park's route of exploration. He died at Cape Coast Castle, September 5, 1824. Some of the Ulustrations to Sir Walter Scott's ' Provincial Antiquities ' are by him. His landscapes and marines showed great abffity, and he was a clever linguist. SCHETKY, John Christian, marine painter. Elder brother of the above. He was born in Edinburgh, August 11, 1778, and was educated at the High School, where he made many enduring friendships. He studied art for a while under Alexander Nasmyth, and at the age of 17 was able to gain a livehhood by teaching scene painting, &c. In 1801 he visited the Continent, and walked from Paris to Rome ; on his- return, he was induced to take up his residence in Oxford as an art teacher. In 1808 he was appomted Professor of Drawing at the SCH Royal Mihtary College, then at Maiiow, and afterwards at the Royal Naval College, Portsmouth, where he conttaued for 25 years, and on the dissolution of that institu tion, was appointed to the East India College, at Addiscombe, from which he retired in 1855. In 1813-14 he spent his summer holidays in the Peninsular, with his brother Alexander, then with the British Army, fie first appears as an exhibitor at the Royal Academy ta 1805, and occasion ally, with some long intervals, was an ex hibitor up to 1872. At the Westminster Hall competition in 1847 he exhibited ' The Battle of la Hogue,' a painting of large size, in oil He held the appointment of marine painter to George IV., Wiffiam IV., and Queen Victoria. He published in 1867 his ' Veterans of the Sea,' foUowed by ' A Cruise on the Scotch Waters.' His ' Rescue of a Spanish Man-of-War' is ta the United Service Club. He died January 28, 1874, in the Regent's Park, London, ta his 96th year. SCHIAVONETTI, Lewis, engraver. Was the son of a stationer ta humble cir cumstances at Bassano, where he was bom, April 1, 1765. He had an early taste for drawing, and was placed under Giuho Colita. He became acquainted with an indifferent engraver named Testolini, and made for him some imitations of Bartolozzi's works, wliich Testolini passtag off as his own, made the means of an introduction to Bartolozzi, who was then ta London and in great repute. This was foUowed by an invitation, which, from interested motives, he managed to get extended to Schiavonetti, who came to this country ta 1790. The true character of Testolini was soon discovered, but Bar tolozzi induced Schiavonetti to join him, aud took him into tas house ta Sloane Square, where he conttaued for a time. Schiavonetti improved under his friend's instructions, and then was enabled to be independent in the practice of his art. He executed several plates of subjects connected with the French Revolution, which, though got up ta haste, showed much merit, and were profitable to the publishers. Then employed on works of a higher class, he produced a ' Mater Dolo rosa,' after Vandyck ; a portrait of Vandyck in the character of Paris ; Michael Angelo's Cartoon of the ' Surprise of the Soldiers on the Banks of the Arno ; ' etchings from Blake's illustrations of Blair's ' Grave ; ' De Loutherbourg's ' Landing of the British Troops in Egypt ; ' and he left unfinished the plate of Stothard's ' Canterbury Pil grims.' of which he had only completed the etching and some of the principal figures. He was largely engaged in works for book illustration. He died at Brompton, June 7, 1810, and was buried in Paddington church yard. He was eminent for his power both SCH in the line and the clot manner. The force, clearness, aud freedom of his line are admirable. His dot manner was equally clever, and he was reputed in both as well for correct expression and drawing as for his careful finish and correct imitation of the master. SCHIAVONETTI, Niooolo, engraver. Was born at Bassano, the younger brother of the foregoing, with whom he came to England ta 1790. He chiefly worked in conjunction with his brother, and after Ms death was employed some time upon his incomplete plate of the ' Canterbury Pil grims,' which was eventually finished by Heath. He engraved in his brother's man ner, but did not approach him in excellence. Died at Hammersmith, April 23, 1813, aged 42. SCHMUTZ, Johann Rudolph, portrait painter. Was born at Regensberg, Swit zerland, and was a pupil of Mathias Fuessly. He Mst attempted" historical subjects, but not succeeding, tried portraiture. When Kneller was at the height of his reputation he came to England, and imitating his manner, had many sitters. Both J. Smith and Vertue engraved after him. He died in London in 1715. SCHNEBBELIE, Jacob C, topographi cal draftsman. Was born August 30, 1760, in Duke's Court, St. Martin's-in-the- Fields. His father, a native of Zurich and a lieutenant in the Dutch Navy, quitted that service and settled at Rochester as a confectioner. He followed his father's busi ness, first at Canterbury, then at Hammer smith, but having acquired some knowledge of drawing under Paul Sandby, he left his shop and commenced teaching drawing, fie was afterwards appointed draftsman to the Society of Antiquaries, and made drawings for Morris's ' Monastic Remains,' ' The Gentleman's Magazine,' and the early num bers of ' The Antiquaries' Museum.' fie was chiefly employed on antiquarian and topographical subjects which he drew and etched or aqua-tinted. From 1786 he exhibited at the Royal Academy views of buildings possessing an antiquarian charac ter. He published four views of St. Alban's Abbey, etched by himself. He died in London, of rheumatic fever, February 21, 1792, in his 32nd year. He left a young widow, for whom a subscription was raised. SCHNEBBELIE, Robert Bremmel, topographical draftsman. Was the son of the foregoing. He was a good draftsman. Commencing in 1803, he occasionally ex hibited at the Academy a drawing of some old building ; but he did not long continue an exhibitor. He was engaged ta drawing for the ' Gentleman's Magazine ' and other periodicals, and made also the drawtags for ' London IUustrata.' He was rather weak in his intellect, capricious in his work, and, 381 SCH losing his mother, was scarcely able to take care of himself. He was found dead in his lodgings, which were almost destitute of furniture, and it was clear that his death had been hastened by starvation. This happened about 1349. SCHOLES, Joseph John, architect. Was born in London in 1798, and was edu cated in a Roman Catholic School. In 1812 he was articled to Mr. Ireland, and in 1822 he travelled to complete his studies in the Levant, Egypt and Syria, making some careful surveys of the holy places. In 1826 he returned to England and commenced practice. He built St. Peter's Church, Great Yarmouth, his first important work, which was foUowed by several commissions for Roman Catholic churches. Of these the most elaborate is the Church of the Imma culate Conception in Farm Street, Grosvenor Square. He also btalt the residence of the Oratory at Brompton. He was honorary secretary and afterwards a vice-president of the Institute of British Architects. He died December 29, 1863. SCHWANFELDER, Charles Henry, animal painter. He was born at Leeds ta 1773, and chiefly practised in his native town. He painted animals, landscapes, and, occasionaUy, portraits. He was ap pointed painter of animals to George III., and afterwards to the Prince Regent. He exhibited at the Royal Academy in 1809, and was an occasional exhibitor up to 1826. His works were almost exclusively portraits of dogs and horses. He died ta 1837. SCHWEICKHARDT, Heinrich Wilhelm, landscape painter. Born at Brandenburgh, supposed of a Dutch fartaly, in 1746. He studied under an Italian, and practised some time in Holland, where he held the appointment of Director of the Academy at the Hague, and produced many good works. In consequence of the dis turbances in Holland he came to London in 1786, and settled here. He painted land scapes, marine subjects, and later a few portraits, aud was an exhibitor at the Royal Academy from the time of his arrival, fie died in Belgrave Place, Pimlico, July 8, 1797. He published in London several etchings, among them ' Eight Etchings of Animals,' dedicated to Benjamin West, P.R.A. SCORE, W., portrait painter. He was a native of Devonshire, and about 1778 became a pupil of Sir Joshua Reynolds, and yearly, from 1781 to 1794, with one exception, was an exhibitor of portraits at the Royal Academy. SCOTIN, Louis Gerard, engraver. Born in Paris about 1690, he practised up to the middle of the 18th century. Hewas brought over to this country soon after 1733 to assist in the engravings for a trans lation of Picart's 'Religious Ceremonies.' 382' SCO He engraved, in 1745, two of the. original plates of Hogarth's 'Marriage a la Mode,' also several plates after Frank Hayman, one of whose boon companions he was. SCOTT, Edmund, engraver. Born ta London, aljout 1746. AVas a pupU of Bar tolozzi, and worked ta the dot manner. He excelled ta this style, was much employed, and was appointed engraver to the Duke of York. He engraved the Prince of Wrales, after a portrait drawn by himself, and several subjects after George Morland, Stothard, Bamberg. He died about 1810. SCOTT, John, engraver. Was bom, March 12, 1774, at Newcastle-on-Tyne, where his father worked in a brewery, and was apprenticed to a tallow-chandler in that town. Towards the end of his term he began to show an attachment to drawing, which he practised in his leisure hours. He was first employed to engrave the pro file portraits for Angus's ' fiistory of the French Revolution,' published 1796, and gaining confidence, he came to London and was assisted by Pollard, a feUow-townsman, who was then practising as an engraver, and who gave tarn such gratuitous instruction as enabled tarn to gain employment. After working some time for tas master he pro duced his ' Breaking Cover,' and ' The Death of the Fox,' which, by their abffity, gained him the Society of Arts' gold medal, and made him known to the publishers. Afterwards he was engaged upon ' The Fine Arts of the English School,' 1812 ; Brit- ton's ' Cathedral Antiquities,' 1820 ; ' The Sportsman's Cabinet,' ' A series of fiorses and Dogs,' and Daniel's ' Rural Sports.' He particularly distinguished himself as an en graver of animals. Their character and action was well rendered, and the character of their fur or skin seized with great truth. He suffered a paralytic stroke ta 1821, and feU tato difficulties, but a subscription was raised for him, and he was for a wtale en abled to resume his work ; but he again fell Ul and eventually lost his reason. He died at Chelsea, early in March 1S28, aged 54. SCOTT, Samuel, marine painter. He is said to have been born ta London about 1710, but little information exists of his early life. He was one of the boon com panions of Hogarth and his friends, and one of the jovial water-party to Gravesend in 1732. He drew well, and his works were well coloured. He was one of the early draftsmen in water colours, but his chief works are in oil. He gained a great repu tation for his sea-pieces, and for his topo graphical views, which are fiUed with groups of figures, well drawn and painted ; but his works are not much esteemed in the present clay. He exhibited at the Spring Gardens' Rooms in 1761, and ta 1771 at the Royal Academy, ' A View of the Tower of London on the King's Birthday.' He was then living SCO at Bath, where he had retired after a long practice in the Metropolis, and there, in Walcot Street, he died of gout, which had long harassed him, October 12, 1772, leaving an only daughter. His collection of drawings, prints, &c, was sold by Messrs. Langford, at the Piazza, Covent Garden, ta January 1773. SCOTT, Robert, engraver. Was born November 13, 1771, at Lanark, where tas father was a skinner and glover. He early showed some abUity in drawtag with his pen, and was apprenticed in 1787 to Alex ander Robertson, an engraver at Edin burgh, who was employed upon the views of old biuldings, which then appeared in the ' Scot's Magazine.' He also studied in the Trustees' Academy. He engraved a series of views round Edinburgh, and the plates for Dr. Anderson's ' Bee, with many other works. His engravtags were careful and wen-finished, and he gained the reputation of the first engraver of his day in Scotland. He brought up several pupUs who became distinguished. He died ta January 1841. SCOTT, David, R.S.A., history painter. Son of the above. Was born ta Edinburgh, October 10 or 12, 1806, and was educated at the High School ta that city. He early turned to art, and both designed and en graved for book Ulustration ; and he engraved, after Stothard, R.A., a series of designs for Thomson's ' Scottish Melodies.' He then devoted himself to painting, and attempting the grand style, produced, ta 1828, ' The Hopes of Early Gemus Dis pelled by Death.' In 1830 he was elected an associate of the Scottish Academy, and in 1832 he was enabled to visit Italy, where he made sketches or remembrances of the fine works of art in the chief cities. In Rome he conttaued more than 12 months, including in his studies there anatomy and painting : and from thence he sent home a large picture, ' Family Discord, the House hold Gods Destroyed.' Returning with ex hausted funds, he settled ta Edinburgh in 1834. In the following year he exhibited at the Scottish Academy, and continuing to exhibit there sacred and classic subjects, was elected a member of the Academy. In 1838 and again ta 1841, his pictures were selected for prizes by the Committee for Promoting the Fine Arts in Scotland. He sent ta competition designs to the two first exhibitions in Westmtaster HaU, but his works were unnoticed. He was from Ms boyhood of a sad tem perament, and was distressed by Ms want of success, and failure in gaining public appreciation; but by his great power in drawing and indefatigable application, he completed many large pictures. His great picture, 'Vasco de Gama,' is now in the Board-room at the Trinity House at Leith ; the 'Alchymical Adept Lecturing,' is ta SCO the possession of Sir J. Gibson-Craig ; the 'Dead Rising,' ta the collection of Mr. Leathart, of Newcastle. His pictures, grandly and poetically conceived, were wanting in that finish, colour, and taste which could alone render them saleable. A disappointed man, of dreamy and mis anthropic habits, some of his sad thoughts are embodied in his fragmentary poetry, of which he left many examples. He pub lished a series of outlines which he called ' Monograms of Man,' and 25 etched illus trations to Coleridge's 'Ancient Mariner,' which were not more successful than his patatings. He also contributed to ' Black wood's Magazine ' a series of papers on the characteristics of the great masters. He died ta Edinburgh, March 5, 1849, aged 42. An affectionate memoir of him was published by his brother, a well-known writer on art and also an artist, in 1850. SCOTT, Sir George Gilbert, R.A., Knt., architect. Was born in 1811, at Gawcott ta Buckinghamshire, of which place his father (the son of the author of the ' Commentary on the Bible ' ) was the tacumbent. While yet quite young, he began to study and draw from Gothic churches, and this led tas father to place him in an architect's office, where he learnt the practical part of Ms profession, but httle of the particular style congeMal to his own inclinations. However, when he entered into practice for himself, he de voted himself entirely to Gothic archi tecture. In 1841, when ta partnership with Mr. Moffatt, he designed the ' Mar tyr's Memorial' at Oxford; and in 1842, after the church of St. Nicholas, Hamburg, had been destroyed by fire, his designs for a new budding were those chosen, ta a competition open to all Europe. The spire of this church, while those of Cologne remain unfinished, is the highest in the world. Some years later he was again selected to erect the Senate House, and the Hotel de VUle ta the same city. In 1848 he designed the Cathedral Church at St. John's, Newfoundland, which is not yet completed. He was largely engaged upon the restoration of many English Cathedrals, those of Ely, Hereford, Ripon, Gloucester, Chester, St. David's, St. Asaph's, Bangor, Salisbury, Exeter, Peterborough, Worcester, Rochester, and Oxford, baying been placed under his care, and at the time of his death he had just entered upon the restoration of St. Alban's. Besides this, he re-arranged the interior of Durham Cathedral ; in conjunction with Mr. Slater he reconstructed the central tower and spire of Chichester Cathedral, and also superintended several improvements ta the abbey church of Westmmster. He built many new churches ta various parts of England, and restored many old ones ; his 383 SCO SCE last new church in the Metropolis was that of St. Mary Abbot's, Kensington, which remained unfinished at his death. But he undertook many secular buildings besides these. He was, in conjunction with Sir Digby Wyatt, the architect of the New India Office, aud he also built the New Foreign Office, and the Home and Colonial Offices. He restored Exeter, Merton, and New Colleges at Oxford, and carried on extensive alterations to St. John's College, Cambridge. He designed the New Mid land Railway Station at St. Pancras, the Town Hall at Preston, and a great number of private residences ta all parts of the country. He was also appotated by the Queen to be architect to the National Memorial to the Prince Consort erected ta Hyde Park. He was elected an associate of the Royal Academy in 1852, and a full member in 1860, aud received besides the honour of knighthood. He was the author of several works upon his own branch of art, such as ' Remarks on Sectaar and Do mestic Architecture,' published ta 1850 ; ' Gleanings from'Westminster Abbey,' 1862 ; and ' Conservation of Ancient Architectural Monuments,' 1864. He was Professor of Architecture at the Academy, and founded the Architectural Museum, now in "West minster. While we owe much to Mm from the impetus he gave to Gotliic architecture in this country, his works are rather marked by their clinging to precedent than by any great originality of conception. He died almost suddenly, from heart disease, in South Kensington, London, March 27, 1878, aged 67. SCOTT, William, water-colour painter. He resided all his life at Brighton, and painted the home scenery and cottages of Sussex and Surrey, seldom straying beyond. In 1811 he was elected an associate exhi bitor of the Water-Colour Society, and continued a contributor to the Society's exhibitions to 1850. He published, in 1812, six ' Etchings on Stone,' to imitate drawings in black and white. SCOTT, Miss, water-colour painter. Daughter of the foregoing, who practised at Brighton. She was elected a member of the Water-Colour Society ta 1S23, and was yearly an exhibitor of flowers and fruit up to 1834, when she married a Mr. Brooksbank, and iu that name continued to exhibit up to 1839. SCOUGAL, , portrait painter. A Scotch artist, who practised with much repute in Scotland in the reign of Charles II. He was a pupil of Sir Peter Lely, and in his manner painted many of his Scottish ladies. But the accounts of tam are obscure aud conflicting. SCOUGAL, George, portrait painter. Tie was the son of the foregoing, and brought up to art, but was inferior to his 384 father. He practised for many years after the Revolution, and standing almost alone ta Scotland was much employed. Yet his portraits were stiff in manner, careless in finish, and incorrect in hkeness. SCOULAR, William, sculptor. He studied in the Trustees' Academy, Edin burgh, and in London, where be first ex hibited a bust, in 1815, and in 1817 gained the Academy gold medal for an alto-relievo of 'The Judgment of Paris.' He con tinued to exhibit busts, wax portraits, and occasionally a classic group, and ta 1825 was sent to Rome with the Academy tra velling studentship. He sent from thence to the Academy exhibition, in 1826, ' Adam and Eve bewailing the Death of Abel,' and was the same year appointed sculptor in ordinary to the Duke and Duchess of Clarence. From that time tiU 1834 he did not exliibit. He had purchased the busi ness of Sarti, a well-known Italian modeller, but this not succeeding he appears again as an exliibitor, contributing busts ; in 1838, 'Paris and Helen,' a marble statue of ' Sir Walter Scott,' and conttaued to exhibit, sending several groups ta marble, up to 1846. SCOULER, James, miniature painter. He received a Society of Arts' premium for a drawing in 1755, and was then about 14 years of age. Exhibited with the Society of Artists ta 1761-62, and was a member of the Free Society 1763. On the foundation of the Royal Academy he was a constant exMbitor of mtaiatures with that body up to the year 1787, and occasionally contributed a work ta crayons or a group. SCRIVEN, Edward, engraver. Was born at Alcester, near Stratford-upon- Avon, ta 1775. He showed a strong dis position for art, and became a pupil of Robert Thew, living with him during seven or eight years, at Northall, in Hertford shire. He appears then to have come to London, where he was employed on some of the principal works of' the day. He engraved for the Dilettanti Society, the ' Shakespeare Gallery,' and the ' Fine Arts of the English School,' and was employed generally by the publishers. A series of portraits, chiefly after Sir Peter Lely, and West's studies of heads for his ' Christ Rejected,' are by Mm. He held the ap pointment of engraver to the Prince of Wales. His works are chiefly in the dot manner, ta which he attained great excel lence, but some of bis later productions are in the line manner. They show great taste, and are clever representations of the peculiar art of the. painter. He was a use ful member of his profession, giving much of his time to promote its interests, and was the founder and secretary of the Artists' Fund. He died August 23, 1841, SCE leaving a widow and five chUdren, and was buried at the Kensal Green Cemetery. SCROPE, William (of Castle Coombe, Esq.), amateur. He patated, with some ability, landscape sceneiy, and early in the 19th century was an occasional exhibitor at the Royal Academy. In 1801 he con tributed ' A Scene from SchiUer's Robbers.' In 1807 a subject from "The Lay of the Last Minstrel'; ta 1811, 'View of Melton Bridge ; ' and in 1834, at the British In stitution, a carefully painted picture of the decayed convent of St. Vivaldo, Tuscany. He published, ta 1808, 'The Landscape Scenery of Scotland,' engraved from his own drawtags. He died July 20, 1852, aged 81. SCROUDOMOFF, Gabriel, engraver. Was bom in Russia, and was a pensioner of the Empress Catherine. He came to this country, where he resided from about 1774 to 1782, and engraved a great many plates, among them a portrait of De Loutherbourg's beautiful wife. SE ATON, Christopher, gem-engraver. He was a pupU of Reisen, and practised in London about the middle of the 18th cen tury. He was a contributor to the first exhibitions held in the Metropolis, and was a director of the Incorporated Society of Artists, 1765. He died October 6, 1768. SEATON, John Thomas, portrait painter. Son of the foregoing. He was a pupil of Frank Hayman, studied ta the St. Martin's Lane Academy ; and was also a member of the Incorporated Society of Artists. He exhibited half-length por traits at the Royal Academy ta 1774. He was practising in Edinburgh about 1780, and was ta high repute, which his works merited. He was living ta 1806. SEDDON, Thomas, landscape painter. He was bom ta London, the son of an eminent cabinet-maker, August 28, 1821, and was intended for his father's business, but he could not overcome his dislike to it; and having a taste for art, which he wished to follow, he was sent to Paris ta 1841 to study design. On his return he became the designer for tas father's works and superintended their execution. In 1848 he gataed a prize offered by the So ciety of Arts for an ornamental design, and aspiring to the practice of art he dili gently studied the figure. In 1849 he spent some time in Wales sketching the scenery, and ta 1850 made an excursion to Paris and Fontainebleau, and after a severe illness again visited Wales ta 1851. In 1852 he exhibited his first work, 'Pene lope,' at the Academy, but subsequently turning to landscape, exhibited in 1853, and again in 1854, a 'View in Brittany.' In these two years he was travelling in the East, where he painted some most care ful and elaborately finished sketches and SEG studies, which he brought home with him and exhibited two of them at the Academy in 1856. Setting out again for the East he was attacked with diarrhoea and died, after a few days' ffiness, November 23, 1856, at Cairo, where he was buried. His friends purchased and presented to the National Gallery, his 'Jerusalem and the Valley of Jehosaphat,' a work which affords a good notion of his conscientious and painstaking art. His collected works were exhibited at the Society of Arts in 1857. His brother pubhshed a memoir of him ta 1859. SEDGWICK, William, engraver. Was born ta London, 1748, and practised there iu the dot manner, to which, under the tafluence of Bartolozzi, he devoted him self. There are plates by him after An gelica Kauffman, E. Penny, R.A., and others. He died about 1800. SEEMAN (sometimes spelt Zeeman), Enoch, portrait painter. Bom 1694. Was the son of Isaac Seeman, a portrait painter at Dantzig, who brought him when young to London. Here he patated many portraits ta a minute, careful manner, some of which are engraved by Faber, G. Bartch, and others, fie died suddenly ta 1744. SEEMAN, Isaac, portrait painter. Brother of the foregoing. Practised his art ta London, where he died April 4, 1751. He left a son who followed his profession. SEEMAN, Paul, portrait painter. Was the son of the above Enoch, and practised portrait painting here. Some subjects from stiU-hfe are also attributed to him. SEGAR, William, 1 Two English por- SEGAR, Franois, j trait painters who practised in London ta the 16th cen tury. They are spoken of ta 'The Wit's Commonwealth,' London, 1598. Maclow speUs the name ' Seagar. ' SEGUIER, William, topographical landscape painter. Was born ta London in 1771, eldest son of David Seguier, weU known as a picture-dealer in the time of Sir Joshua Reynolds. He studied under George Morland, and for some time fol lowed the profession of an artist, and patated some interesting views in and around the Metropolis. 'Covent Garden Theatre when on fire ; ' 'the Church of St. Paul, Covent Garden, on fire ; ' ' a view of Seven Dials.' They are painted in a neat but free hand, which recalls the manner of his master, are pleasing in colour, and filled with groups of figures well introduced. Later in life he devoted himself to picture- restoring. His professional skill, taste, and knowledge of art, gataed him several important appointments. George IV. ap pointed him Keeper of the royal pictures. He was also the first director of the Na tional GaUery, and superintendent of the o 385 SEG British Institution. He died at Brighton, November 5, 1843. SEGUIER, John, topographical land scape painter. Younger brother of the foregoing. He was born in London in 1785. fie commenced his studies as an artist in the schools of the Royal Academy, where he gained a silver medal in 1812, and from that time up to 1822 was an ex hibitor at the Academy. He painted local views, some of which iu the neighbourhood of Paddington and Marylebone became of considerable topographical interest. Among his best pictures may be mentioned two of Oxford Market, two of Mr. Watson Tay lor's House ta Cavendish Square, and a view of Kew Bridge. He succeeded his brother as superintendent of the British Institution, fie died in London in 1856. SELDEN, -, wood-carver. Was a pupU and assistant of Grinling Gibbons, and lost his life at Petworth, in saving from the flames a fine vase carved by his master, in imitation of the antique. SENEX, John, engraver. The London almanacs from 1717 to 1727 (except the year 1723) are engraved by him. He died in 1741. SERRES, Dominic, R. A.,marine paint er. Was born in 1722 at Auch; in Gascony, and was educated in the public school there. He is said to have been nephew of the Archbishop of Rheims. His parents de signed him for the Church, but this being repugnant to him, he ran away from his native town, and made his way on foot tato Spata. He then went on board a vessel bound for South America as a common sailor, and passing through the ordinary gradations as a seaman, became master of a vessel trading to the Havannah, where, during the war of 1752, he was taken pri soner by a British frigate, and brought to this country. Released on parole, he re sided for a time in Northamptonshire. He was in great difficulties, and, having had some instruction ta drawing, he tried to earn a living as an artist. His sea expe riences led him to marine subjects, and by unremitting exertions, and some kind as sistance from Brooking, he made his way, married, and determined to settle iu Eng land. This seems the most reliable of the several accounts of his early career. The naval wars of the period did not fail to provide subjects for his pencil, and his works became popular. In 1765 he was a member of the Incorporated Society of Artists, and exhibited with them in that and the following year. On the establish ment of the Royal Academy in 1768, he was chosen one of the foundation members. His name appears as a constant exhibitor, contributing, up to the year of his death, marine-pieces, illustrating the naval ex ploits and victories of the day. In 1792 he 386 SEE was appointed librarian to the Academy. For this office he was well qualified, fie spoke English with fluency, was a good Latin and Italian scholar, and was tolerably versed in French, Spanish, and Portuguese. Hewas also appotated marine painter to George IIL, but he did not long hold these offices. He died November 6, 1793, and was buried at St. Marylebone old Church. There are several large sea-pieces by him in the gallery at Greenwich Hospital, and at Hampton Court Palace. They are weak ta execution, and want purity in colour, and some of them, from his manner of patating, sadly have decayed. He left two sons, both artists ; the eldest was distinguished as a marine painter — the younger was only known as a teacher of drawing. His daugh ters, Miss J. Serres, and Miss E. A. Serres, were honorary exhibitors at the end of the century. SERRES, John Thomas, marine paint er. Eldest son of the foregoing, fie was born ta December 1759, and, brought up under the eye of his father, naturally imbibed a taste for art. Having attained manhood, he looked to teaching for his future support, and was drawing-master to a Marine School then at Chelsea. But he soon appears as an exhibitor at the Royal Academy, sending ta 1780 two water-colour views and a painting of ' Sir George Rodney engaging the Spanish Squadron ;' and con tinuing an exhibitor of landscape and marine views. He had saved the means of visit- tag Italy, and was preparing to start when he was introduced to Miss Olive Wilmot, the daughter of a house-pataterof Warwick, and the niece of the Rev. J. Wilmot, vicar of Barton, ta that county. 'He fell at once ta love aud became engaged to her, but in 1790 he started on Ms projected tour, made a short stay ta Paris, visited Lyons, Mar seilles, Genoa, Pisa, Florence, and Rome, where he passed five months, sending a pic ture to the Academy, and then proceeded to Naples. He had spent little more than one of the three years which he proposed, when a letter from Miss Wilmot hurried him home, and, notwithstandingthe opinions of his friends, he was married to her on September 1, 1792. On the death of his father in 1793, he succeeded to the office of marine painter to the King, and was also appointed marine draftsman to the Admiralty, and in the execution of his duties in the latter office was frequently employed during the war to make sketches, for the assistance of the Admiralty, of the harbours on the enemy's coasts. For this a vessel was appointed for his service, and he was paid 100?. a month while on actual duty, fie also contributed regularly to the Academy exhibitions, chiefly shipping' and marine subjects. But the intrigues, depravity, violence, and ex- SEE travagance of his wife, who called herself Princess of Cumberland, and founded large claims upon this assumption, ruined him. She even forged bUls ta his name. From all this a deed of separation in 1803 did not relieve him, and in 1808 he went to Edin burgh to avoid the peraecutions to which he was subjected, and to hide himself as weU as the nature of his occupation would per mit, and for the next seven years withheld his pictures from the Royal Academy. It was, however, of no avail ; he was soon arrested and tin-own into prison, and the same round of persecutions continued, till at last, impatience of his misery hurried Mm to attempt suicide, which was happUy frustrated. NotwithstandMg such difficulties, he had, from his Government employment and other sources, saved some money, and he embarked 2000?. ta the spectaation for budding the Cobourg Theatre, to which he was to have been appointed the scene- painter, but the spectaation faUed, difficul ties increased, and he was compelled to take advantage of the Insolvent Act. He had smUed only at his wife's great pretensions, but they lost Mm the royal favour, which he could never regain. He exhibited at the Academy ta 1817, and once more ta 1819. Teaching now became his chief occupation and support. Desponding, labouring early and late, his health failed, his mental suf fering aggravated a tumour ; he was moved into the rules of the King's Bench, but the removal hurried on his death, which took place on December 28, 1825. fie was bmied beside his father in Marylebone churchyard. In his whi he declared that tas wife had ' assumed the name and title of the Prin cess of Cumberland without the least foundation whatever for a claim to royal birth.' He translated and pubhshed in 1801, 'The Little Sea-torch,' a guide for coasting-ships, with a large number of aqua- tinted and coloured views, very literally but artistically treated ; and in 1805 his ' Liber Nauticus,' or instructor in the art of marine drawing. An exculpatory memoir of Mm was published by ' A Friend ' in 1826. SERRES, Olive, amateur. Wife of the foregoing. Bom in 1772. She was an honorary exhibitor of a landscape at the Royal Academy ta 1794, and also exhibited landscapes yearly from 1804 to 1808, and at the British Institution ta 1806. In 1807 she styled herself ' landscape patater to the Prince of Wales,' but that title is omitted in the fohowing year. Her claim to be the daughter of Henry Frederick Duke of Cum berland was brought before the House of Commons ta 1822. She died November 21, 1834. Her daughter (Mrs. Lavinia Janetta Horton Ryves), who did not disclaim her mother's high pretensions, died December 7, 1871. SEY SERRES, Dominio, M., water-colour draftsman. Younger son of D. Serres,, R.A. He was a teacher of drawing, and on his brother leaving England in 1790 he gataed part of his connexion. He exhi bited landscape views at the Academy from 1783 to 1787, and supported himself for many years by his art, but at last fell tato hopeless despondency and lost his em ployment. He then became dependent upon tas brother, but died after a few years. SEYMOUR, James, animal painter. Was born ta London in 1702, the only son of a banker, who was fond of art, drew himself, and was intimate with Lely and other artists. He excelled ta sketching horses with the pen, showing great spirit and character, but he was a weak colourist, and, too idle to apply himself, he never attained excellence beyond the mere sketch. Few of tas finished works are known. He died June 30, 1752. R. Houston engraved after him 12 plates of race-horses ; and Thomas Burford some hunting-pieces and hunters. SEYMOUR, Edward, portrait painter. Was a formal imitator of Kneller. He died in January, 1757, and was buried in the churchyard at Twickenham. SEYMOUR, Colonel, amateur. Patated some good miniature portraits in the reign of Queen Anne. SEYMOUR, Robert, caricaturist. Born in the Metropolis about 1800. He was apprenticed to a pattern-drawer in Spital- fietds. On the completion of his time he painted in oU, and in 1822 exhibited at the Royal Academy, a subject from Tasso, fol lowed by others of some pretence, and some portraits and miniatures. But his true talent was soon developed, and he was fully employed ta drawing on wood for book Ulustration ; his works being almost exclu sively of a humorous character. In 1830 ' The Odd Volume ' was published with his designs. In 1832-34, ' The Comic Maga zine ;' and 1831-36 the ' Figaro ta London.' He was also an etcher. In 1827, he etched the illustrations for ' Vagaries in Quest of the Wild and Wonderful ; ' and in 1835 the 36 illustrations to ' The Book of Christmas.' Shortly after he proposed a series of designs of sporting life, introducing the members of a Cockney Club, which he claimed to have been the origin of the ' Pickwick Papers,' by Charles Dickens, a claim which involved him in some controversy. At the same time he was attacked with much virulence by the Editor of ' Figaro,' with which publication he had been so intimately connected. He was harassed by the many claims upon his pencil, and these added troubles were pro bably too much for him. He became sub ject to fits of despondency, and on April 20, 1836, committed suicide. o2 387 SHA S H A A, Edmund, die-engraver. Was graver to the Mtats of London and Calais 2nd Edward IV. SHAA, John, die-engraver. Was graver of the coining irons of gold and silver within England and Calais 1st Richard III. SHACKLETON, J ohn, portrait paint er. Succeeded Kent, as principal painter to George IL, in April 1749, with a salary of 200?. Hewas one of the Artist Committee of 1755, appotated to estabhsh a Royal Academy. In 1766 he exhibited portraits with the Free Society. There are by him portraits of George II. and his Queen ta Fishmongers' Hall, and a portrait of the King at the Foundling Hospital. He died March 16, 1767. SHALDBRS, George, water-colour painter. His name first appears as an exhibitor at the Royal Academy M 1848. He was then living at Portsmouth, and was an occasional exhibitor of views m Surrey and Hants, and M 1858 and 1859 of Irish scenery. In 1863 he was elected an asso ciate, and in 1865 a member, of the Institute of Water-Colour Painters, and from that time contributed to their exhibitions, land scapes, ta which he skilfully introduced cattle, especially sheep. Absorbed in his art, and compelled by tas necessities to exert himself above his strength, he was struck with paralysis, and died, after a few days' illness, January 27, 1873, aged 47. His artist friends raised a subscription f or his three motherless children, and a col lection of sketches and pictures they had made with the same object was sold at Christie's in 1874. SHARP, William, engraver. Was the son of a gun-maker M the Minories, and was born there January 29, 1749. He received a premium from the Society of Arts, and was apprenticed to Barak Long- mate, an engraver on plate, and after his apprenticeship continued to work for him till he married, and set up for himself as a writing engraver. He continued this busi ness for some time with good encourage ment, till aspiring to something better than card-plates and door-plates, lie made a drawing from Hector, the old lion in the Tower, which he engraved on a smaU quarto plate, and exposed for sale in his window. About 1782 he quitted his shop and went to reside ta a private house at Vauxhall, and then commenced the higher branch of his art. He engraved from the old masters, executed some plates for the 'Novelists' Magazine' after Stothard, and about the same time completed the plate of West's ' Landing of Charles II.,' which WooUett had left unfinished at his death. He also engraved some of the Ulustrations for 'Captain Cook's Voyages,' and Benwell's ' Children ta the Wood,' His success in Ms profession, and some money left bim by SHA Ms brother, enabled him to remove to a better house ta Charles Street, Middlesex Hospital. From thence heremoved to Tich- field Street, and then, quitting the Metro polis, to Acton, and finally to Chiswick. Among his finest works are — after Guido, ' The Doctors of the Church disputing ' and ' Ecce Homo ; ' after West, P.R. A., rKing Lear ta the Storm ' and ' The Witch of Endor ; ' after Trumball, ' The Sortie from Gibraltar ; ' after Copley, ' The Destruction of the Floating Batteries at Gibraltar;' and after Sir Joshua Reynolds, the portrait of John Hunter and two plates of ' The Holy Family,' one of which, to the great discredit of Bartolozzi, was converted by him into the dotted style, but happily not before 100 impressions had been taken off. Sharp's style of engraving is masterly and entirely original : the half-tints of his best works rich and full ; the play of his lines marked by taste and genius ; the colour and cha racter of the master excellently rendered. His works are known throughout Europe, and though he received presstag invitations from the continent, he never left his own country. He was elected honorary member of the Imperial Academy at Vienna, and of the Royal Academy at Munich. But at home be espoused the cause of the en gravers, who stood aloof from our Academy, of which, by Ms own choice, he never became a member. He held very pecuhar opinions. In his young days he was a republican, dabbled ta the pohtics of Tom Paine and Home Tooke, and so loudly expressed his opinions, that he was examined on treasonable charges before the Privy CouncU ; but ta tas frank, jolly manners the CouncU soon saw that there was no danger to the State from the poor deluded artist, who is said to have pulled out his subscription hst for a work he was publishing, and asked the CouncU to add their names. Though a staunch behever ta the Scriptures, he was by turns a convert to the opinions of the self-styled prophets Brothers, Wright, and Bryan,'and under a portrait of the former, with the title of ' Prince of the Hebrews,' he engraved, ' B'ully believing this to be the man whom God has appointed, I engrave his like ness.— WUliam Sharp, 1795.' Having heard of Joanna Southcott, he suddenly set off to Exeter, where she was gaining her living as a charwoman, sought her out and brought her to London, where he maintained her at his own expense for a long time, and expressed the tamest faith ta her divine mission. After a short residence at Chiswick, he died there, of dropsy on the chest, July 25, 1824, aged 75, and was buried in the parish churchyard. His credulity may account for his dying poor, though industrious and successful ta tas art. SHA SHARP, "Michael W., portrait and subject painter. He was born in London. Was a pupU of Sir WiUiam Beechey, and studied in the schools of the Royal Aca demy. In 1801 he appeal's as an exhibitor, and for several years contributed portraits and portrait groups, with an occasional sub ject picture to the Academy exliibitions. He was also an exhibitor at the British Institution, and ta 1809 was awarded a premium of Mty guineas. After about 1818 he confined himself to the latter class of art, but patated some subjects, into wMch he mtroduced portraits. In 1820, he exMbited ' Sunday Morning ; ' in 1823, 'The Shakespeare Jubilee,' with portraits of the principal Covent Garden performers ; in 1825, 'The Barber Politician;' ta 1828, ' The SaUofs Wedding ; ' and in 1836, Ms only othercontribution, ' Taitangthe Shrew.' He died at Boulogne, in 1840. His art, wMch had a tendency to vulgarity, was well known by his engraved works : ' Sunday Morning,' ' The SaUoi^s Wedding,' ' Bees wing,' "The Black Draught,' "The Last Pinch,' ' Spoilt CMld,' and others. He was a member of the Sketching Society. SHARP, John, engraver. Though his labours tended to advance his art, he never rose to much eminence. He died ta 1768, and was buried at ChigweU, Essex. SHARPE, Edmund, M.A., F.R.I.B.A., architect. Was born at Knutsford, October 1809, and educated at St. John's College, Cambridge. Heafterwards studied architec ture for three years ta France and Germany. On his return home he settled ta Lancashire, and after some time withdrew from the practice of his profession to taform himself as to the history and principles of the art. He was one of the few systematic students of Gothic architecture, and the author of several works upon this branch of art, such as ' Architectural ParaUels,' ' Rise and Progress of Decorated Wtadow Tracery,' 'Seven periods of Gothic Architecture,' and ' Christian Architecture.' He died at MUan, May 8, 1877, in his 68th year. SHARPE, John, medallist. He held the office of graver to the Royal Mint, 1st Henry VIII. SHARPE, Louisa (afterwards Mrs. Seyffarth), water-colour painter. Hername first appears in 1817 as an exhibitor of portrait drawtags at the Royal Academy, and she conttaued an occasional exhibitor up to 1829, ta which year she was elected a member of the Water-Colour Society. She then patated domestic subjects, and her art was much appreciated. Among her first contributions to the Society's exhibitions were ' The Wedding,' ' Juliet,' ' Brunetta,' from Addison, 1832; "The Good Offer,' 1835; 'Constancy' and 'Inconstancy,' 1840 ; ' The Alarm in the Night,' 1841 ; and in 1842, "The Fortune Teller.' In SHA 1834 she married Dr. W. Seyffarth, of Dresden, and resided in that city till her death there, January 28, 1843. SHARPE, Miss Eliza, water-colour painter. Eldest sister of the above. She was au occasional exhibitor of portraits at the Royal Academy, from 1817 to 1829 ; and in the latter year she was elected a member of the Water-Colour Society. She was never a large contributor to the Society's exMbitions, seldom sending a second picture M the year. Her subjects were chiefly domestic, or some incident from the poets. In 1850 she was placed on the hst of ' Honorary Members,' and ta 1861 classed with the 'Associate Members,' and was an occasional exhibitor tUI her name was removed in 1870. In her last days she found some employment as a copyist ta the GaUeries of the South Ken sington Museum. She died ta Chelsea, June 11, 1874, aged 78 years. SHARPLES, Mrs., portrait painter. She was the widow of an artist who prac tised with much repute in America, and painted the portraits of many eminent men of the time of the Rebellion. She resided some time at Bath; and was ta London about 1807, and ta that year exhibited at the Royal Academy mitaatures of General Washington and Dr. Priestly, now ta the National Portrait Gallery. She afterwards practised at Bristol, where she settled, and after a residence of some years, died, well advanced in years, in March 1849. Left alone ta the world she bequeathed aU her property to establish a Bristol Academy of Art, and erect an echfice to be devoted solely to artists; her legacy, with a pre vious donation, amounting to 4662?., was the means of founding a permanent art institution. SHARPLES, Miss Rolinda, portrait vainter. Daughter of the above. She practised her art in Bristol. She exhibited at the Royal Academy ta 1820 ; and ta 1823 sent ' Rataham Ferry,' with portraits ; and at the Suffolk Street GaUery, ta 1832, ' The Trial of the Bristol Rioters,' an elaborate work, filled with smaU portraits. She was an honorary member of the Society. She died February 10, 1838, and left several of her father's portraits to the Bristol Society of Arts, which afterwards formed part of the institution to which her mother's pro perty was bequeathed. Her brother, James Shaples, was a portrait painter, and an exhibitor at the Royal Academy. He died at Bristol ta 1839. SHAW, William, architect. He held the office of Master of the Works at Holyrood Palace, where there is a portrait of him. He died ta 1602. SHAW, J ames, animal painter. Lived in Mortimer Street, Cavendish Square, where he btalt a room suitable for horses, 389 SHA which he chiefly patated. He exhibited with the Society of Artists, 1761, ' Brood Mares,' and ' A Stallion,' and contributed to the first extabition at the Royal Aca demy. He died about 1772. SHAW, J ames, portrait painter. Born at Wolverhampton. Was a pupil of Penny, R.A. He lived for some time ta Charlotte Street, Rathbone Place, and practised as a portrait painter. He exhibited at the Royal Academy ta 1776 and 1784, but did not attain celebrity. Died shortly after the latter year. SHAW, John, F.R.S., architect. He had considerable practice, and btalt the new Hall at Christ's Hospital, 1829, the new Church of St. Dunstan, near Temple Bar, and other important edifices. He was a member of the Royal Institute of British Architects. Died from a sudden affection of the heart July 30, 1832, aged 56. SHAW, Henry, F.S.A., architectural draftsman. Born in London, July 4, 1800. He developed an early taste for drawing, and found congenial employment ta assist ing John Britton ta his ' Cathedral Anti quities of Great Britain.' The Ulustrations for Wells Cathedral, part of this great work, published in 1824, are chiefly by his hand ; and he was also largely engaged upon the illustrations for Gloucester Cathedral, pub lished in 1828. The following year he pubhshed a work of his own, drawn and engraved by himself, ' The Antiquities of Luton Chapel,' and then commenced his uurivaUed series of illuminated works, the industrious labours of a long life. He published, ta 1832, ' A Series of DetaUs of Gothic Architecture,' foUowed by ' Ihumin- ated Ornaments,' ' Specimens of Ancient Furniture,' ' Ancient Plate and Furniture,' 'Dresses and Decorations of the Middle Ages,' 1839 ; ' The Encyclopedia of Orna ment,' 1842; 'Alphabets, Numerals, and Devices of the Middle Ages,' 1S45 ; ' Decor ative Arts of the Middle Ages,' 1851 ; ' The Handbook of Medineval Alphabets,' ' Arms of the Colleges of Oxford,' 1855 ; ' Orna mental TUe Pavements,' 1858 ; with several other works of analogous character. The examples for these were selected with great knowledge and taste from the purest and best specimens ; but the labour of 40 years met with no other reward than the gratifi cation foimd in a cherished pursuit. He died June 12, 1873, aged 73. SHEE, Sir Martin Archer, P. R.A., portrait painter. Was descended from an old Connaught family, and was born Decem ber 20, 1769, at Dublin, where his father, a well-educated man, was a merchant. In his boyhood he shewed a fondness for art, and was placed ta the Dublin School of Design, fiis father dying soon after, he was taken in charge by a married aunt, whose partiality for him caused some words 390 [SHE with her husband, which, coming to Ms ears, he suddenly left the house penniless. He was able to find some employment ta por trait painting, and continuing to work hard at his studies, he gataed, in 1787, the chief medal in the Dublin School. In June, 1788, he came to London, and bringing a kind introduction from Burke as ' bis httle rela tive ' to Reynolds, he was advised by him to enter the schools of the Royal Academy, which he did in 1790, though he thought himself beyond such instruction. He most earnestly employed his time and oppor tunities. He had, in 1789, exMbited two heads, and was employed both by BoydeU and Macklta to make reduced copies of pictures for engraving, but though he does not appear to have found remuneration for his labours, he refused his aimt's help, and practised great self-denial. In 1791 he exhibited his first whole- length at the Academy, and struggling on, he quietly gained a name and place ta art . His earliest works were theatrical portraits. Lewis (an excellent full-length now ta the National GaUery), Stephen Kemble, Pope, Fawcett, and others were patated by Mm ta character. At this time he attempted an historical work, which, he says, cort him at intervals three years' thought and toU. His subject was 'The Daughter of Jephthah lamenting with her Companions,' exhibited in 1794. In 1798 he completed a large equestrian portrait, wliich added to his reputation, and in the foUowtag year was elected an associate, and ta 1800 a full member, of the Academy. He then made a tour on the continent with Samuel Rogers the poet. Though his true art and occupa tion was ta portraiture, he painted some subject works, but they did not add much to his reputation. These were ' Lavinia,' ' Belisarius,' his presentation picture, ' Pros- pero and Miranda.' Meanwhile he had established Ms reputation and his position. In 1796 he took a large house ta Golden Square, and married, and in 1798 removed to Cavendish Square, where he patated a portrait of the Duke of Clarence, which was engraved. His genius was not, however, confined to his pencU. Early ta tas career he had contributed a series of criticisms to a daUy journal, and ta 1805 gataed a literary repu tation by his ' Rhymes on Art,' of which he wrote a continuation in 1809 under the title of ' Elements of Art.' After several lesser literary works, chiefly connected with art aud its taterest, he wrote ' Alasco, a Tra gedy,' wMch was withdrawn from the stage in consequence of some excisions insisted upon by the licenser of plays, but was printed in 1823, with, an'angiy preface ap pealing to the public, and, though coldly received, the copyright is said to have brought him 500?. In 1829 he published SHE anonymously ' Old Court,' a novel in three volumes, wMch attraoted httle attention. He had gained the esteem of the public and of his profession. A man of many talents, good breeding, gentlemanly man ner, of business habits, an orator able to express himself well on all occasions, he was, on a vacancy in 1830, elected to the office of president of the Academy, and received the honour of knighthood, fie did not, how ever, receive the same lucrative commissions which had been enjoyed by his predecessors, whUe his office and ostensible position en- taUed much expense and a great devotion of Ms time. His presidency had also faUen in troubled times. He had to maintain, against much opposition, the privileges the Academy had so long enjoyed in the pos session of their rooms at Somerset House, and shewed great judgment and abffity ta the defence of the Academy and of the interests of art, ta the widest sense, ta tas examination before a Parliamentary com mittee ta 1836, most successfully replying to the attacks of the assailants of the Academy. Among his later works he pamted, in 1834-35, the portraits of WUham IV. and Queen Adelaide, which are now at Windsor Castle ; and ta 1842 a portrait of Queen Victoria for the Royal Academy. In 1845 an illness, from which he had some time suffered, increased, and be tendered the resignation of his office of president. But on the unanimous solicitation of the Aca demy he withdrew it, and at the same time accepted a yearly aUowance of 300?. voted to Mm, to assist Mm duly to maintain the office, which had much encroached on his means ; and to this, 200?. a year was added from the pension hst by the Queen, with reversion to his daughters, fiis health, however, graduaUy declined, and his death, accelerated by the sudden death of his wife, took place at Brighton, August 19, 1850. He was of the Roman Cathohc faith, and was, at his own request, buried in the Brighton Cemetery. His life was published in 1860 by one of Ms sons. In his early portraits he shewed much abffity, clever, easy action, good drawing and individuality of character, but with a tendency to redness in his flesh tints, which increased ta his later works. As he advanced in art, he departed from the sharper and more forcible execution which marked tas first portraits, and feU into a method of giving the flesh a soft, unnatural smooth ness — an over-laboured appearance— and did not fulfil ta his later the promise of his earlier years. He was, however, a zealous supporter of the interests of the art and artists of his country, and wiU be always remembered with sincere respect. SHELLEY, Samuel, miniature paint er. He was bom ta WMtechapel, about SHE 1750. He gained a Society of Arts' premium ta 1770, and was in a great measure self- instructed in art, copying much from Rey nolds, upon whom he is reputed to have found his style. He first appears as an exhibitor at the Royal Academy ta 1774, when he was hving in Whitechapel, and was for several years a constant contributor. He worked hard to improve his art, and raised himself to celebrity. He was dis tinguished for his miniatures, especiaUy of females, they display great finish, taste and elegance, are often treated allegoricaUy and powerfully coloured, though a grey tone predominates. He was one of the original members of the Water-Colour So ciety, which was planned and founded in his house, and at the first exhibition ta 1805, it will give some idea of his art to say that he exhibited, together with miniature por traits, 'Psyche,' 'Nymphs feeding Pegasus,' ' Cupid turned Watchman,' Love's Com plaint to Time,' ' Cupid solicits New Wings,' and some other ; and ta the three f ollowMg years was a large contributor of works of the same character. He made some designs, which are defective ta drawing, for book Ulustration, and engraved some of Ms own works ; and J. R. Smith, Caroline Watson, Bartolozzi and Ryder engraved after him. He died in George Street, Hanover Square, December 22, 1808. SHENTON, Henry Chawner, en graver. Was born at Winchester in 1803, and was a pupil of Charles Warren, whose daughter he married. He practised in the line manner, produced a number of fine works, and was greatly distinguished. Among his more important works are ' The Stray Kitten,' after Coffins, R.A. ; 'The Loan of a Bite,' Mulready, R.A. ; ' Country Cousins,' Redgrave, R.A. ; some good plates for Finden's Gallery of British Art, and the Annuals ; and an excellent engraving after Cross of ' Richard Cceur de Lion,' for the Art Union. He died suddenly ta Camden Town, September 15, 1866, but had not, owing to the failure of his sight, practised tas profession for some time previous to his death. SHENTON, Henry Chawner, sculptor. Was the eldest son of the foregomg, and the nephew of Luke Clennell. fie was a pupil of Behnes, and in his 18th year was admitted a student of the Royal Academy. He studied for a time in Rome, and completed three very ambitious groups. At the West mtaster Hall Competition he contributed a colossal group of the ' Burial of the Princes in the Tower,' and to the Royal Academy ta 1 843, his ' Christ and Mary.' He also modelled a statue of Archbishop Cran ner, and was engaged upon a model of the Cruci fixion, the act of nailing Christ to the Cross, when he died, after a few days' illness, February 7, 1846. His son, William - 391 SHE Kernot Shenton, born in June, 1836, was also a sculptor. His ability was only mode rate. He died ta 1877. SHEPHARD, W illi AM,portrait paint er. Practised in the reign of Charles II. There is by him a good portrait of Thomas Killigrew, the jester, with his dog, well in troduced, in the possession of Sir J. Buller East, Bart. It is brilliant in colour, well but freely drawn, and an original com position. This portrait, and another by him, are well engraved by Faithorne. Little is known of him. Walpole says he retired to YorksMre, where he died. Francis Barlow was his pupil. SHEPHEARD, George, water-colour painter. He was of a family long known ta Herefordshire. He commenced the study of art in the schools of the Royal Academy, and from 1811 to 1830 was an occasional contributor to the Academy exhibitions. ¦ He painted chiefly the landscape scenery of Surrey and Sussex, with one or two subject pictures. SHEPHEARD, George Wallwyn, water-colour painter. Eldest son of the above. He was born ta 1804, and was originally intended for the law, but was led to the study of art ; and travelled, sketch book in hand, through France, Germany, and Italy, and in 1838, wlhle staying in Florence, married an Itahan lady. From 1830 to 1851 he was an exhibitor of land scape views and studies at the Royal Aca demy. He died ta 1852. His brother, Lewis H. Shepheard, also an artist, pub lished in 1873, 16 of his sketches, in pencil and sepia, reproduced by the autotype process. SHEPHERD, George, engraver. Was born about 1760. He practised his art during many years ta London. Engraved ' Lady Hamilton's Attitudes,' ta 15 plates ; 'The Fleecy Charge,' after G. Morland and many portraits, which he etched and finished in mezzo-tint. SHEPHERD, Robert, engraver. Sup posed to have been a pupil of David Loggan, from whose drawings he sometimes engraved. He practised at the commence ment of the latter half of the 17th century. His best works are portraits. He made a reduced, but poor, copy of 'Alexander's Battles,' from the engravings of Gerard Audran. His works were ta the hue man ner, laboured and careful. SHEPHERD, George Sidney, water- colour painter. He was from about 1821 an exhibitor at the Royal Academy, contri buting chiefly views in Devonshire. Later he exhibited views of Metropolitan build ings—in 1830, 'Old Covent Garden Market ;' in 1831, ' The Zoological Gardens ;' in 1835, 'Old London Bridge.' He was in 1833 elected a member of the New Society of Painters in Water-Colours, and was from 3S2 SHE time to time an exhibitor up to 1860, when his name disappears. His drawings were well-coloured, and possessed much artistic merit. SHERIDAN, J., portrait painter. Was born in the county of Kilkenny. He stuched in the Dublin Academy, but came to London to practice before he had qualified himself for success by sufficient study, and from 1785 to 1789 exhibited a portrait yearly at the Royal Academy. With such help as his friends could give him be struggled hard to succeed, but borne down by his late troubles, he died in London in 1790. SHERIFF, William Craig, subject painter. He was born near Haddington, October 26, 1786, and studied in the Trustees' Academy, Edinburgh. He was deemed of great promise, and had com menced a clever picture of ' The Escape of Queen Mary at Lochleven,' when he was seized with rapid decline, and, just living to complete his work, ched March 17, 1805, at the early age of 19. His work was engraved by W. fi. Lizars. SHERLOCK, WiLLiAM,portrait paint er and engraver. Was born about 1738, at Dublta, the son of a prize-fighter. In 1759 he was a student ta the St. Martin's Lane Academy, London, and the sameyear gataed a premium at the Society of Arts, fie was afterwards a pupil of Le Bas ta Paris. He exhibited portraits, small whole-lengths, and miniatures, painted both ta oU and in water-colours, with the Incorporated Society of Artists (of which body he was one of the Directors), from 1764 to 1777, and at the Royal Academy from 1802 to 1806. His principal engraved works are the portrait heads for Smollett's History of England, but there are also some land scapes engraved by Mm. There was another artist of the same family and the same name who exhibited miniatures at the Aca demy in 1803, SHERLOCK, William P., topogra phical draftsman. He was bom about 17S0, and was an occasional exhibitor of views at the Royal Academy, chieffy archi tectural, from 1796 to 1810, and drew many of the iUustrations for Dickinson's ' Anti quities of Nottinghamshire,' 1801-6 ; and published, 1811, 24 soft-ground etchings after drawings by Girtin, Payne, Powell, and others ; he also engraved in the stipple manner some copies of small size of some rare portrait plates. He was a great imi tator of the landscapes of Richard WUson, R.A., and many of his works have been sold as originals by this master. SHE RR IFF, Charles, miniature painter. He practised M Edinburgh, and came to London ta 1773, first exhibited at the Royal Academy in 1771, and conttaued to contribute his miniature portraits and groups for several years, attaintag a high SHE rank among the miniature painters of his day. Mrs. Siddons spoke of him M her cor respondence in 1785 'as more successful in her portrait than any miniature painter she had sat to.' He was deaf and dumb, and ta 1796, and up to 1800, was living at Bath. He is believed to have afterwards visited India to follow his profession there. SHERWIN, William, engraver. Was born at Welltagton, Shropshire, about 1650, the son of a clergyman. He engraved por traits, many of them from his own draw- tags. His earliest work is dated 1670, and he continued to practice till 1711, and died within ttaee or four years after. He was one of the early mezzo-tintists, and left a few indifferent plates ta that manner, not reaching any exceUence ta either braneh of his art. He is said to have had the office of engraver to the King conferred upon tarn by patent, a veiy unusual distinction. SHERWIN, John KEYSE,engrarer and history painter. Was bom at Eastdean, in Sussex, the son of a labourer, and was himself, as a lad, employed as a wood-cutter on the estate of Mr. Mitf ord, near Petworth. Showing a great imitative power of draw ing, he gataed a medal at the Society of Arts ta 1769, and was then sent to London and placed imder John Astley, and after some time under Bartolozzi, with whom he served three years. He was admitted a student in the Royal Academy, and, after gaining a silver medal, carried off, ta 1772, the gold medal for his original painting of ' Coriolanus taking Leave of his Family.' His name from this time appears ta the Academy as an exhibitor of drawtags ta chalk, some of wMch attracted much notice, and his genius soon raised him from very limited means to comparative affluence, and rendered Mm careless and indolent. He was rapid and shght ta his manner, of great assurance, and tempted by his vanity to try works above his power. His ' Deserted VUlage,' into wMch the portraits of his famUy are introduced, and ' Siege of Gib raltar,' were very poor performances ; but his 'InstaUation of the Knights of St. Patrick,' fifty or sixty feet long, so far as it was carried, was an absolute failure. It is as an engraver that he wUl rank high among our artists. His line was good, the treatment weh studied, and his textures weU rendered. His 'Christ bearing the Cross,' after Murillo ; ' Christ appearing to Mary Magdalen,' and some of his portraits, possess very great merits ; wtale his en gravings from his own works are meagre in style and mannered. Of this, his ' Find ing of Moses,' ta which the portraits of the Princess Royal and of several ladies of rank who sat to him are introduced, is an example ; whUe, as tas own composition, it is devoid of all historic character and feel ing. In addition to Ms works after the old SHI masters, he engraved after Gainsborough, Edge Pine, Dance, and Angelica Kauffman. He also made some water-colour drawtags. He held the appointment of engraver to George III. and the Prtace of Wales. His talent and his speculations should have turned to his advantage, but he had no prudence, and he so ill-used the gifts of fortune, that he ruined his constitution, disgusted his friends, and so embarrassed Ins circumstances, that he took refuge in the house of a print-seUer on Cornhill, afraid to appear abroad, and forced to the drudgery of daily labour. Broken in health and fortune, he died, forlorn and comfort less, in a poor lodging at a public-house in Oxford Street, on September 24, 1790, aged 39. SHIELS, William, R.S. A., animal and subject painter. Was a native of Berwick- stare, and practised in Edinburgh. He was a member of the Scottish Academy, and was an occasional exhibitor at the Royal Academy in London. In 1813 he sent ' The Gipsies ' and ' A Friendly Visit ; ' in 1814, ' A Courtship ; ' and was not again a contributor till 1851, when he exhibited 'The Interior of a Scotch Fisherman's Cottage ; ' and in the following year, ' Pre paring for a Visitor.' But he was best known as an animal patater. He died August 27, 1857, aged 72. SHIERCLIFFE, Edward, miniature painter. He practised at Bristol about the latter part of the 18th centuiy. His works were delicately and weU finished. He was living ta 1776. SHIPLEY, William, portrait and landscape painter. Was originally a draw ing-master at Northampton, and afterwards in London. He studied portrait patating under C. Philips, and there is a mezzo-tint by Faber of a painting with the name of Shipley as the painter. But he is better known as the founder of the St. Martin's Lane Academy, known as ' Shipley's School,' where the best artists of a whole generation studied. He also planned and originated the Society of Arts. He died at Manchester, ta December, 1803, aged 89. He was brother to Dr. Jonathan Shipley, Bishop of St. Asaph. SHIPLEY, Miss Georgina, amateur. Was daughter of the Bishop of St. Asaph, and niece of the foregoing. Miss Burney, writing to a friend, says of her, in 1782, ' She is very much accomplished, and her fame for painting and for scholarship I know you are well acquainted with ; ' but she describes her as full of herself, eager for notice and conceited. She was an honoraiy exhibitor at the Royal Academy in 1781 : ' Portrait of a Lady and Two ChUdren.' In Hare's Memorial of a ' Quiet Life,' it says of her, ' Her extraordinary artistic talents were cultivated under the eye of 393 SHI Sir J. Reynolds, who, 'when they were in London, was almost a daily visitor at her father's house.' She married Francis Hare Naylor, who inherited the old mansion and estate at Hurstmonceux. She lived many years abroad, devoted to the education of her children, who afterwards became dis tinguished in literature. She died in 1S06. SHIPSTER, Robert, engraver. Was a pupil of Bartolozzi. He engraved for Macklin's Bible West's ' Witch of Endor,' a very creditable work ta the line manner, tolerably drawn, but wanting ta power. SHORT, R., draftsman and painter. Practised ta the middle of the 18th cen tury, painting mffitary scenes and shipping. BoydeU published twelve plates of naval engagements between French and Spatash vessels engraved after him by Caroline AVatson. SHUTE, John, painter and architect. Born at CoUumpton, Devon. He is re ported to have practised before Hilliard, and brought miniature linmings ta books to rare perfection. He was patronised by the Duke of Northumberland, and was sent by him to Italy, ta 1550, to improve him self in architecture, and at Rome he studied under the best architects. Died September 25, 1563. He pubhshed, ta 1563, ' The Fhst and Chief Groundes of Architecture,' with illustrations on wood, and styles himself ' patater and architecte.' lie is mentioned also by Heydock in his translation of 'Lomazzo on Painting,' published 1598. SHUTER, Thomas, portrait painter. Practised early ta the 18th century. There is a, full-length portrait by tarn at West- wood Park, Droitvvich, signed and dated 1725. It is in the semi-Roman style of that time, aud is reputed to have more of pretence than merit. SIBELIUS, M., engraver. Born at Am sterdam. He practised after the manner of Houbraken, and came to this country,where he was much employed by Sir Joseph Banks, and was eminently truthful ta his botanical illustrations. He died in Lisle Street, Leicester Square, February 11, 1785. SIBSON, Thomas, subject painter. Was born in Cumberland, the son of a yeoman, in March, 1817. He was sent to Manches ter to commence Me in an uncle's counting- house, but, preferring the uncertainty of an artist's career, he came to London in 1838, and issued an etched work called ' Scenes in Life,' which was extravagant in design and drawtag, and had no success. After some other attempts be went to Edinburgh, where he found some employment as a book designer. In 1842 he made his way to Munich to study, and worked for a short time under Kaulbach, but his health suf fered, and he returned to England. He proposed to winter in Italy, but died at Malta, November 28, 1S44. 394 SIE SIDDONS, Mrs. Sarah, amateur. Bom July 14, 1755. The eminent tragic actress. She had much taste as a modeller. She exhibited a bust of Adam from the ' Para dise Lost ' at the Royal Academy ta 1802. At the Garrick Club there is a bust by her of herself, and another of her brother. Died June 8, 1831. SIEVIER, Robert William, engraver and sculptor. He was born in London, July 24, 1794, and showed a precocious talent for drawing. In 1812 he was award ed the Society of Arts' sUver medal for a pen and ink drawing ; and, designed for an engraver, he was placed as a pupil with John Young, and subsequently with Edward Scriven, and was, ta 1818, admitted a student of the Royal Academy. He early practised as an engraver, and produced many good works, chiefly ta the dot man ner — a portrait of Lord Ellenborough, after Lawrence, P.R.A. ; Lady Jane Grey, after Holbein, 1822 ; Mr. Courts, after Beechey, R.A. ; ' The Importunate Author,' after Newton, R.A.,and several plates after Etty, R.A. fie had at the same time practised modelling for his improvement M the figure, and had also studied anatomy under Mr. Brookes, the weU-known anatomical lecturer. His last works as an engraver precede 1823, and his studies and tastes then led him graduaUy to sculpture. His Mst at tempt was a bust of Ins father ; ta 1824 Lord ChanceUor Eldon sat to him, and rapidly improving, his great facihty of seizing the hkeness and characteristic ex pression of his sitters led many persons of distinction to his studio. He exhibited several of Ms busts at the Royal Academy. In 1842 the Prince Consort, and the late King of Prussia, both sat to him. Among his works were also the busts of the Persian Ambassador and Lord Brougham, from whom, to save him the time of sitting, he took a plaster mask of the face ; the Earl and Countess of Sheffield, with several other eminent persons. In the Soane Museum there is a bust by him of Lawrence, P.R.A. But his art was not hmited to busts. He executed ta alto relievo a fine colossal figure of Christ ; the monument in the chapel at Windsor to the Earl of Har court, the pedestal representing ta alto relievo four of his mffitary achievements ; a statue of Dr. Jenner ta Gloucester Cathe dral ; 'Affection,' a group exhibited at the Academy in 1828; and in 1829, a ' Girl with a Lamb ; ' also ' Musidora ; ' a ' Sleep ing Bacchante ;' a 'Boy with a Tortoise.' There is also by tarn a statue of Charles Dibdin at Greenwich Hospital ; a fine monument to St. John Long ta the Kensal Green Cemetery ; a statue of Sir Wiffiam Curtis at the Foundling Hospital ; and some good monumental tablets introducing SIL figures at St. John's Church, Upper Holloway. Of an active inventive mind; he had suc ceeded in two very separate branches of art, when his thoughts were turned into a new direction. He was weU versed ta sub jects of a scientific character, and had es tablished a spacious laboratory with valuable apparatus ; and distinguished also by tas manners and power of conversation, he was, in 1840, elected a FeUow of the Royal Society. In his latter career, absorbed in scientific and mechanical pursuits, to the neglect of art, he buUt a large manufactory for the production of elastic fabrics, made great improvements in the uianuf acture of carpets, was associated with the original India-rubber works, and rendered good early service ta electric telegraphy. He resided many years at Henrietta Street, Cavendish Square, where he had built a studio, and had also a house at Upper HoUo- way, where his manufacturing inventions were carried on. fie died AprU 28, 1865, and was buried ta the Kensal Green Cemetery. S I L L E T T, James, miniature and flower painter. Was born at Norwich ta 1764, and commenced Me as an ornamental and herald painter. He then came to Lon don, and from 1787 to 1790 studied at the Royal Academy. He was an exhibitor in 1796, and conttaued to exhibit occasionally for nearly 40 years. He chiefly excelled in miniature, but he patated stiU-life, fruit and flowers both ta oU and water-colours, and ' was also for a time employed in the scene room of both Drury Lane and Covent Gar den Theatres. About 1804 he went to King's Lynn, and whUe there drew the views for Richards's ' History of Lynn.' In 1810 he returned to settle ta Norwich as a patater of stiU-Me, and died there May 6, 1840. SIMMONS, John, portrait painter. Born at Nailsea, SomersetsMre, about 1715. He was weU known both as a painter of history and portraits. The altar-piece at AU Saints', Bristol, and at St. John's, Devizes, are by Mm. He was an exhibitor of portraits at the Royal Academy in 1769- 72-76. Many of his portraits are engraved. He carried on the business of a house and sMp-patater at Bristol, and died there January 18, 1780. SIMON, Jean, engraver. Bom in Nor mandy, 1675. He was of an artist family, who belonged to the Protestant Church at Charenton, near Paris, where he studied his art, and engraved some good plates ta the line manner. A refugee, he came to London, and settled. He tried mezzo-tint, made some improvement ta the method of working, and produced some good plates, wMch nave also the merit of a correct imitation of the originals. On Kneller's disagreement with John Smith, Simon was SIM employed by him to mezzo-tint his portraits, which he did with much success ; and also worked after Data, Hoare, Thomas Murray Van Loo, and others. He engraved several historical subjects after the old masters, including some from the cartoons, fie died in London about 1755. His collection of prints was sold by auction, November 3, 1761. SIMON, Peter J., engraver. Born some time before 1750. He practised his art in London for many years, following the dot manner. He was early engaged upon Worhdge's 'Antique Gems,' published 1768, and engraved many of the plates for Boydell's ' Shakespeare Gallery,' and other works after the principal contemporary artists of the English school. He died about 1810. SIMON, Thomas, medallist. Was born ta Guernsey. His genius led him to art, and he became a pupil of Briot, a French artist, who was employed by Charles I., both ta the English and S'cotch mtats. Simon assisted him in the latter, in 1633, upon dies both for medals and the coinage. In the same year he engraved the seal for the high admiral, on which a ship ta full saU formed part of the composition. In 1646 he succeeded Briot as chief medallist at the London Mint, and engraved many medals for Charles I., and afterwards, for Cromwell, who appotatedhim chief engraver. The Great Seal, and the dies for crowns, half-crowns, and shillings during the Com monwealth are by Mm, and many of his best works were executed at that time. On the Restoration he was thrown Mto prison, and there executed a fine crown-piece of Charles IL, on the margin of which he engraved a petition to the king. This fine work gained hhn not only his liberty, but his office of cMef medaUist. An impression of this celebrated coin, known as ' The Petition Crown,' was sold by auction, ta 1832, for 225?. ; his fifty-shiffing piece of Oliver Cromwell, in 1874, for 43?. He was compeUed to give place to the brothers Roettiers, ta 1663, but he was certainly employed in the following year, and is sup posed by Vertue and others to have died, some say of the plague, about 1665, it seems probable, at his official house in the Tower. Samuel Pegge, in a letter to the ' Gentleman's Magazine,' Vol. 58, supposes him to have been living in 1674, and says that, ' in bis latter days he used to stroU about from place to place, ta a long coat, with a long staff, and a long beard,' a state ment which appears rather to belong to his brother Abraham, the facts of whose life have in other instances been confounded with his. He was a great artist ; he drew well ; his reliefs are low and broad ; his manner of treating the hair beautiful, and rarely excelled by any other medallist. 395 SIM Vertue drew and engraved tas 'Medals, Coins, and Great Seals,' 1753. SIMON, Abraham, medallist and modeller. Elder brother of the foregoing, to whom he was some time an assistant. He was born ta Yorkshire, and intended for the church, but turned to art. He practised ta the reign of Charles II. , and excelled in his portrait models in wax. He went to Sweden, on the invitation of the Court, and accompanied Queen Christina to Paris, from whence he went to Holland, and returned to England. He modelled, hi wax, Charles II.'s portrait for the medal of the proposed order of the Royal Oak. The king was greatly pleased with his work, and presented him with 100 guineas, and the Duke of York then sat to him, and asking the price of his work, was told that the king had paid 100 guineas for the same. The duke thought that 40 guineas would be enough, to which Simon replied, by squeezing the soft model tato a shapeless lump, highly offeuding the Duke. It is said this proud temper marred his prospects. He lost the Court favour, and with that his employment; became slovetay and care less, eccentric and cynical, wearing a long beard, and died in obscurity soon after the Revolution. He had continued to wear the dress which prevailed in Charles I.'s reign. There is a portrait of Mm engraved by Blooteling. SIMONS (or SYMONDS), Rudolph, architect. Practised ta London about the middle of the 16th century, and was con sidered one of the most skilful architects of his day. Among his works are Emmanuel CoUege and Sidney Sussex College (1596-8). In the master's house at the latter there is a fine portrait of him. He made also some additions to Trinity College. SIMPSON, Archibald, architect. Was born at Aberdeen, and educated at the Marischal College. He was placed under an architect in London, and then visited Italy to complete his studies. On Ms return he settled at Aberdeen, and had an extensive practice. He erected several public buildings— the Church at Elgin, a bridge across the Spey, and some fine man sions ta Aberdeenshire and the adjacent counties. He also built part of Gordon Castle. He died at Aberdeen in 1847, ta his 59th year. SIMPSON, Francis, amateur. Filled the offices of alderman and mayor of Stamford, and was known by his skill as a draftsman. He made many drawings in water-colours, and published from his drawings a volume of Baptismal Fonts and the West Front of Croyland Abbey. He died at Stamford, July 29, 1861, aged 65. SIMPSON, John, portrait painter. He was born in London, hi 1782, and studied in the schools of the Royal Aca- 396 SIM demy. For many years he was an assist ant to Sir Thomas Lawrence, and from 1807 was an exhibitor, and later a large contributor of portraits to the Academy. In 1834 he went to Lisbon, and was ap pointed painter to the Queen of Portugal. fiis art was confined to portraiture. He exhibited for the last time ta 1845, and died ta Carlisle House, Soho, ta 1847. He drew the head and hands careftaly, but his work, though not without character, is weak, fie painted WUliam IV. and some other distinguished persons. SIMPSON, Philip, portrait painter. Son of the foregoing, fie studied ta the schools of the Royal Academy, and was brought up to art. He patated in 1824, 'I wUl fight,' which was exhibited at Suffolk Street, was engraved, and is now in the South Kensington Museum. His chief subject pictures exhibited at the Academy were, ' The Young Piper,' 1829 ; ' Boys with a Monkey,' 1830 ; and in 1836, ' Girl and Boy with a Parrot,' tas last con tribution. His brother, Charles Simpson, who died young, ta 1848, was also brought up as an artist, and was an exhibitor on one or two occasions at the Academy. SIMPSON, Joseph, engraver. Prac tised ta the reign of Queen Anne. He began Me as an engraver on plate, and gaining some knowledge at the Artists' Drawing Academy, he was employed by TUlemans on a plate of his picture of New market, which helped to make Mm known M a better rank of art. He also engraved after Wootton and Wyke, and his works are chiefly hunting subjects. There is also by Mm a series of six mezzo-tints, after Monamy and Vandevelde, printed ta green, and some plates after Ms own designs. SIMPSON, Joseph, engraver. Son of the foregoMg. He was brought up to Ms father's profession. He completed a good plate of a 'Holy FamUy,' after Fihppo Lauri, in 1728; and a portrait of Charles I., on a white horse, after Vandyck, 1731, and was deemed of much promise, but he died young, in 1736. SIMPSON, Matthew, painter. Was drawing-master to the children of Charles I., and afterwards went to Sweden. There is a miniature by him of Charles I., signed M. S. SIMPSON, William, engraver. Prac tised towards the middle of the 17th centuiy, and was chiefly employed by the booksellers. He engraved the plates for an edition of 'Quarles' Emblems.' S I M S O N , George, R.S.A., portrait painter. Born at Dundee ta 1791. Brought up a printer, he did not attempt art till his 30th year. He was early elected a mem ber of the Scottish Academy, and was for many years a contributor to the exhibi tions, sendtag portraits, with sometimes a SIM subject picture, or a landscape. He died. in Edinburgh ta 1862. SIMSON, William, R.S.A., portrait and subject painter. Brother of the above. Was born at Dundee in 1800, and studied at the Trustees' Academy, Edin burgh. He commenced with small coast scenes, and for the first ten years of his' career he patated pictures sketched on the sands of Leith and the shores of Fife, wMch found a ready sale. In 1829 he made a higher effort, and patated 'The Twelfth of August,' foUowed by ' Highland Deer Stalkers, and ' Sportsmen Regaling.' In 1830 he was chosen a member of the newly-founded Royal Scottish Academy, and then for three or four years tried por trait patating, and was, by his savings, enabled to visit Italy for his improvement. Returning ta 1838 he settled ta London, and exhibited his 'Camaldolese Monk,' and ' Cimabue and Giotto,' and the next year, at the British Institution, his ' Dutch FamUy,' and at the Academy 'Columbus and Ms Child at the Convent of Santa Maria di Rabida,' wMch gataed Mm much notice ; but his subsequent works did not maintain the expectation which these pic tures had raised! He feU into ill-health, and died in Sloane Street, August 29, 1847. His works showed much vigour, powerful ta colour and light and shade. SIMSON, David, R.S.A., landscape painter. Was born at Dundee, and was the youngest of the three brothers who aU distinguished themselves in art. He was a member of the Royal Scottish Academy, and died ta Edinburgh, March 29, 1874. SINGLETON, Joseph, miniature painter. First appears as an exMbitor at the Royal Academy ta 1773, and continued to contribute up to 1784. He exhibited portraits, and also, in miniature, ' A Holy FamUy,' a ' Little Bacchus.' SINGLETON, William, miniature painter. He practised ta London, and was, from 1779 to 1791, an occasional ex Mbitor of miniature portraits at the Royal Academy. SINGLETON, Henry, history painter. Was born ta London, October 19, 1766, and his father dying while he was a chUd, he was assisted by his uncle, the above WUham Singleton, with whom he resided for many years at the commencement of his career. He showed early indications of genius, exhibited at the Spring Gardens' exhibitions as ' Master H. Singleton, aged ten years,' ' a Soldier Returned to his Family,' drawn with the pen, and gained admission to the schools of the Royal Academy. At the age of 18 he gataed the Mst silver medal, and, in 1788, for his original paint ing from Dryden's ' Ode,' the gold medal. In 1793 he painted, on commission, a por trait group of the Royal Academicians SEE assembled in Council, an important work, now in the possession of the Academy. He occasionaUy patated portraits. He first exhibited at the Academy in 1784, and contributed constantly to his death. He put Ms name down for election as associate for the first time in 1807, aud, indignant at his rejection, did not again become a candidate. He was largely employed as an illustrator of books, for which he was well suited, by his fertile pencil and ready invention. Towards the end of his life be completed a series of small-sized pictures from Shakespeare. He lived in Charles Street, St. James', was in easy circum stances, and of moderate, industrious habits. He died at the house of a friend, in Ken sington Gore, September 15, 1839, and was buried in the vaults of St. Martin's Church. His works were mannered, but showed great talent and refinement. There are engravtags after him by Gillbank, J. Daniel, Scott, A. Cardon, and many others. Miss Sarah M. Singleton, apparently bis sister, resided with him for some time, and was, from about 1790 to 1820, an exhibitor of miniature portraits at the Academy. SISSON, , portrait painter. Born in Ireland, where he practised both ta oil and miniature. Mr. Burke mentions hav ing sat to him for a miniature. He died some time before 1774. SKELTON, William, engraver. De scended from an old Cumberland family. He was born ta London, June 14, 1763, and was for some time pupil to James Basire, sen., and afterwards to WUliam Sharp. He also studied ta the schools of the Royal Academy. He distinguished himself by his engraving in the line manner and early found employment. He was engaged on the specimens of ancient sculpture for the British Museum, and by the Dilettanti Society, for which he executed some of his best works. He also engraved in the dot manner for BoydeU's ' Shakespeare.' Later he engraved and published on his own account a series of royal portraits of the famUy of George III., which was very popular and had a large sale. From this work and tas other labours he realised a competence, and retired to Ebury Street, Pimlico, where he died August 13, 1848, leaving an only daughter, who had lived with him for half a century. He was buried in Brompton cemeteiy. SKELTON, Joseph, engraver. Younger brother of the above. He studied in Lon don, engraved for 'Cantabrigia Depicta,' pubhshed 1809, and for ' Oxoma IUustrata,' 'Pietas Oxoniensis,' and 'The Antiquities of Oxfordshire.' lie also engraved a series of 154 etchings of the collection of armour at Goodrich Court, 1823. He went to France for a time, and was employed in engraving the collection at the Versailles 397 SKI SMA Gallery then publishing in Paris. He afterwards published himself, ' Le Chateau d'Eu IUustre.' SKILLINGTON, , architect. He practised in the 16th century, and built Kenilworth, ta 1575, for the Earl of Leicester. SKILL MAN, William, engraver. Practised in the reign of Charles II. There is an engraving by him of the facade of Albemarle House, and of the Banqueting House, Whitehall. SKIPPE, John, amateur. He was a native of Ledbury, Herefordshire. He published, between 1770 and 1812, several chiaroscuro wood engravings, after drawtags by Parmigiano, Correggio, Raphael, and other masters of the Italian School. They were printed with three or four blocks, and were the first which had been attempted in this manner since John B. Jackson's work ta 1754, to which they were much superior. He sketched with much vigour ta bistre landscape compositions and sacred subjects; his figures were fairly drawn, and well composed. SK IRVING, Archibald, miniature painter. He was born in Haddingtonshire ta 1749, and studied at Rome in 1794. He practised some time in London, confining himself to miniatures in water-colour and crayon portraits. His miniatures are ex cellent for their drawing, colour, and ad mirable expression. He possessed great taste, was ingenious, eccentric, and aspired to wit. He died in 1819. SLATER, Joseph, landscape painter. Practised in the reign of George II. Painted landscapes, introducing architec ture and figures. He executed some orna mental ceilings, and other works ta fresco at Stowe and Mereworth. SLATER, J. W., miniature painter. He went early ta life to Ireland, and prac tised in Dublta, where his works were well esteemed, about 1770. He then came to London, and in 1786-87 was an exhibitor at the Royal Academy. He was a good miniaturist. SLATER, T., engraver. Practised in the reign of Charles I. There is a portrait head by him, but little is known of his works. SLATER, William, architect. He was brought up to his profession under an architect of some local repute, and dis tinguished himself by bis many church restorations in Northamptonshire — the line early Saxon churches at Kingsthorpe, Brixworth. Scaldwell, Pitsford, Burton Latimer, Cransley, and Higham Ferrers. He was also employed ta Scotland and in Ireland, and repaired the old mansion of Holdenby. He died about the end of 1872, and was buried at Hazelbeach, where his family had possessed considerable landed property. 398 SLAUGHTER,' Stephen, portrait painter. He was some time in Ireland; practised there between 1730-40, and his works are frequently met with in the old mansions. He was appointed keeper of the King's pictures in succession to Parry Walton's son. He retired to Kensington, and died there May 15, 1765. His por traits possessed some merit for colour, but were black and heavy in the shadows. His sister had some repute for her drawings. S L E A P, Joseph Axe, water-colour painter. Was born in London, May 30, 1808. His drawings prove him to have been an artist of some ability, but he does not appear to have exhibited tas works at any of the London GaUeries ; nor does he seem to have succeeded in a pecuniary sense, for on his death, October 16, 1859, his widow was left in distress. SLOANE, Michael, engraver. Was a pupU of Bartolozzi, and practised up to the beginning of the 1 9th century, working in the dot manner. He engraved Correggio's celebrated ' Notte ; ' ' The Christening,' after Wheatley, R.A.. and other works. SM ALLWOOD,William Frome, archi tectural draftsman. Was born June 24, 1806, the son of a hotel-keeper in Covent Garden. He was a pupU of Cotttaghani ; was several times on the continent, and made a number of clever sketches, some of which he exMbited at the Royal Academy, and at the Suffolk Street exhibition. Many of bis drawings were engraved for the ' Penny Magazine.' He died of brain fever April 22, 1834. SMART, John, miniature painter. He was bom about 1740, and in 1755 received a premium for a head ta chalk from the Society of Arts. He was a pupil of Daniel Dodd, and a fellow-student with Cosway in the St. Martin's Lane drawtag school. He was a member of the Incor porated Society of Artists, exhibited with them miniature and crayon portraits at the Spring Gardens' Rooms in 1762-63-64, and occasionally to 1783, and became one of the Society's vice-presidents. He went about tins time to Ipswich, from whence he sent to the exhibition of the Royal Aca demy miniatures, and occasionaUy an oil portrait, up to 1788. In that year he went to Madras, and afterwards, it is believed, to Calcutta and Lucknow, and met with great encouragement and success. He re mained about five years ta India, and on bis return, was an occasional exhibitor at the Academy tiU his death. His minia tures usually bear the signature 'J. S.' They are weil drawn, and distinguished by great delicacy, both of minute finish and colour, and are highly esteemed. He died in Russell Place, Fitzroy Square, May 1, 1811, hi his 70th year. His son, John Smart, exhibited mtaiatures at the Acav SMA demy in 1800 and 1808 ; died at Madras in 1809. Another sou, also an artist, com mitted suicide in 1856. SMART, Samuel Paul, miniature painter. He resided in the east of London, and from 1769 to 1787 was a constant ex Mbitor of miniature portraits at the Royal Academy. S M I B E R T, John, portrait painter. Was born in Edinburgh ta 16S4, and served an apprenticeship to a house-painter there. On its completion he came to London to better his fortune, and for tas subsistence worked as a coach-painter, at the same time copying pictures for the dealers, and improving himself ta drawing. He studied a time in Sir James ThornhUl's Academy, and then managed to visit Italy, where he spent three years copytaa; the portraits of Titian, Rubens, and vandyck. On his return, he practised for some time in Ms native city, and was intimate with Allan Ramsay, the poet. He afterwards settled M London as a portrait patater, and found employment. In 1728 he was tempted to join in Bishop Berkeley's phil anthropic scheme to establish a universal coUege of science and art, and engaging himself as a professor, he set sad for the Bermudas, but tMs failing, he left the Bishop at Rhode Island, and settled at Boston. There he married a lady of con siderable fortune, and continued the practice of his art, exercising great influence on the young American artists. He died at Boston in March, 1751, leaving two chUdren, one of whom, Nathaniel, foUowed his profes sion, but died young. SMIRKE, Robert, R.A., subject painter. Was born at Wigton, near Car lisle, ta 1752, of a family supposed of foreign descent, who removed there from the West Riding of Yorkshire. His father, a clever man, who soon after died, brought him to London in 1766, when 13 years old, to develop a talent which he manifested for art, and apprenticed him to a herald painter. He was a member of the Incor porated Society of Artists, and ta 1772 entered the Royal Academy schools, and exhibited ta 1786, for the first time at the Academy, Ms subjects 'Narcissus' and 'Sabrina,' and ta 1791 'The Widow,' a humorous subject. He was elected the same year an associate of the Academy, and ta 1793 an academician, presenting for bis diploma picture ' Don Quixote and Sancho.' He also entered tato the plan of the Shakespeare Gallery, for which he painted ' Katherine and Petruchio,' 'Juliet and her Nurse,' ' Prince Harry and Falstaff,' and some others. At the same period he exhibited at the Academy pictures, usually of a small size, from our poets, chiefly from Thomson. In 1804 he was elected the keeper of the Royal Academy, but he was SMI known to have expressed strong and revo lutionary opinions, and the King refused to sanction his appointment. He continued to paint subjects of do mestic nature, in which a quiet humour chiefly predominated; aud in his later years was devoted to ' Don Quixote,' ' GU Bias,' ' Shakespeare,' and the ' Arabian Nights.' He was also much employed in the illustration of books, for which his art was peculiarly adapted. He died ta Osna- burgh Street, Regent's Park, January 5, 1845, ta his 93rd year. His works are numerous, marked by a graceful, quiet humour, well drawn, cleverly painted, and always pleasing. He was modest in Ms opinion of his own works, impatient of the judgment of amateur critics, and was the author of a Catalogue Kaisonne of the annual exhibition at the British Institu tion, 1815, in which he satirised the titled SMIRKE, Sir Robert, Knt., R.A., architect. Was the second son of the fore going, and was bom ta London, October 1, 1780. He was educated at Apsley School, Bedfordshire. At 15 he began to study architecture, and in 1796 was a pupil of Sir John Soane, but for one year only, and at the same time was admitted a student in the Royal Academy. In 1799, having previously gained a silver medal, he was awarded the gold medal for the best archi tectural design for a National Gallery for Patating. In 1801 he visited Holland, and in September 1802 set out on tas travels through France, Italy, SicUy, Greece, vig orously pursuing his professional studies, and returned through Germany to England in January, 1805. His reputation did not leave him ta want of employment. He was engaged on the erection of Lowtber Castle, for Lord Lonsdale, a fine specimen of domestic architecture, and was, in 1807, appotated architect to the Royal Mint, and erected the present new structure on Tower HU1. He was also engaged to rebuild Covent Garden Theatre, destroyed by fire, which he completed ta 1809, within 12 months of its destruction. He was elected an associate of the Academy in 1808, and ta 1811 to full membership. Continuing to find full employment on large public works, he erected, 1823-29, the General Post Office, and at the same time, 1823- 47, his most imposing work, the British Museum; also the College of Physicians, Trafalgar Square ; King's College, forming the east wing of Somerset House; the Carlton Club, afterwards altered by bis brother ; the Union Club, the Oxford and Cambridge Club, his most decorative design, and some other works. His style was classic. fie chiefly employed the Ionic order, and his buildings, though grand and imposing ta their proportions, were frequently .heavy. 399 SMI He seldom tried Gothic, yet in that style he built the Temple Library, and superin tended the restoration of York minster after the fire of 1829. He was for several years one of the architects of the Board of Works, and on the abolition of that office in 1831 he received the honour of knight hood. In 1845 he relinquished further employment, and soon after his office of treasurer to the Royal Academy, which he had held for 30 years, and in 1850 retired to Cheltenham. This was followed, in 1859, to make way for younger men, by the surrender of his diploma as Royal Academician. After so long and prosperous a career, during which he left such import ant marks of his ability in the Metropolis, he died at Cheltenham, AprU 18, 1867. He published 'Specimens of Continental Architecture.' SMIRKE, Richard, antiquarian draftsman. Was born in 1778, and was the elder brother of the above. Like him he was brought up to art, studied in the Royal Academy Schools, and in the same year, 1799, gained the gold medal, ta his case for painting, the subject being ' Sam son and Delilah.' But he was led from high art to the study of antiquities, par ticularly of early costume, and was much employed as their draftsman by the Society of Antiquaries. His works were distin guished by great accuracy and truthfuMess. The fac-simile copies of the ancient paint ings in St. Stephen's Chapel, Westmtaster, were made for the Society by Mm. He had much scientific knowledge, particularly in chemistry, and he made several useful discoveries ta the qualities of colours. He died May 5, 1815, in his 37th year. SMIRKE, Sydney, R.A., F.R.I.B.A, architect. Was born in London ta 1798, son of Robert Smirke, R. A., and younger brother of Sir Robert Smirke, in whose office he began his professional career. He gained the gold medal of the Royal Aca demy ta 1819, and the travelling student ship ta 1825, going that same year to Italy. He was elected an associate of the Academy in 1847, and a full member in 1859. fie was also appointed Professor of Architecture, and on the death of Mr. Hardwick, Treasurer of the Royal Aca demy. In connexion with his brother he designed the University Club ta 1835, aud jointly with Mr. Basevi, the Conservative Club in 1844. In 1847 he restored the 'Temple Church,' and published an ac count of this interesting building, entitled, ' Architecture of the Temple Church.' He was architect to the Hospitals of Bethle hem and Bridewell, and Surveyor General of the Duchy of Lancaster. He built Paper buildings, and partially restored Lichfield Cathedral and York minster. In 1846 he succeeded his brother as architect to the 400 SMI British Museum, and constructed the large Reading-room. On the removal of the Royal Academy to Burlington House, he erected the schools and exhibition rooms, and added a storey to the original building. He retired to Tunbridge WeUs, and died there, December 3, 1877. SMITH, Anker, A.R. A., engraver. Was the son of a silk merchant in Cheapside, where he was born in 1759, and educated at the Merchant Taylors' School. He was articled to his uncle, an eminent convey ancer ; but showing great ability in copy ing engravings with his pen, his uncle was induced to cancel his indentures and trans fer him to James Taylor, an engraver, from whom he soon learnt the mechanical part of his art, and then became assistant to James Heath. Some time after he was employed on the plates for Bell's ' Poets ' and other Ulustrated works of the same kind. He commenced his art in the dot manner, and in this style executed 10 fine plates for Boydell's ' Shakespeare,' and was also employed on the ' Ancient Marbles ' and the ' Ancient Terra Cottas,' pubhshed by the British Museum. Later he prac tised in the line manner, and produced another series of plates of great exceUence, among them ' The Holy Family,' after Da Vinci ; ' A Magdalen,' after Correggio ; and ' Sophonisba,' after Titian. He was elected an associate engraver of the Royal Academy in 1797, and "died June 23, 1819. SMITH, Frederick William, sculptor. Was the son of the above, and was born ta Pimlico. He studied ta the schools of the Royal Academy, and was a pupil and assist ant to Sir F. Chantrey. In 1819 and 1820 he exhibited some busts at the Academy, and iu 1821 he gataed the gold medal for his group ' Ha?mon and Antigone,' but faUed in Ms competition for the travelhng studentship. In 1824 he exMbited a group from the ' Murder of the Innocents,' with some busts ; ta 1825 ' Ajax,' and in 1827 a ' Nymph and Cupid.' He exMbited for the last time in 1828. In tas busts of Allan Cunningham, Chantrey, and Brunei, the character was well expressed, and he was of much promise ; but his health faUed, and he died young, at Shrewsbury, January 18, 1835. SMITH, Herbert Luther, portrait and subject painter. Born 181 1. He was the younger brother of the above, and a student at the Royal Academy. After exhibiting portraits in 1831 and 1832, he exhibited a subject of ' Bonner Requiring the Removal of Cranmer's Bible from the Churches.' He continued to exMbit por traits, sending, also, in 1834, ' Non Angli sed Angeli ; ' ta 1835, ' Christ Raising the Sick of the Palsy ;' ta 1838, ' Leonidas ;' in 1845, 'Jonah's Impatience Reproved ; ' ta 1846, ' Abraham and Isaac' These were SMI his principal works, though he afterwards exhibited. He was, iu the latter part of his life, employed by the Queen as a copyist. He died March 13, 1870. SMITH, Benjamin, engraver. Was a pupU of Bartolozzi, and practised in the dot manner. He gained an early reputa tion, wMch he hardly merited, and was employed by BoydeU on the Shakespeare GaUery. He engraved after West, Rigaud, Copley, Romney, and the pronnnent artists of his day. His pupils were largely em ployed on Ms plates. He died in Judd Place, London, ta 1833. SMITH, Charles, portrait painter- He was a native of the Orkneys, and ne phew of .the well-known Caleb Whitefoord. fie studied his art in London. In 1789 he exhibited a portrait group at the Academy ; ta 1791 portraits of two young laches danc ing ; in 1792 the tafant Shakespeare nursed between Tragedy and Comedy. In 1793 he resided in Edinburgh, and exhibited a ' Nymph ' and an ' Infant Bacchus,' aud the same year went to India, where he was appotated painter to the Great Mogul. In 1796 he had returned to London, and ex Mbited an ' Andromeda,' and in 1797 'Cymon and Iptagenia,' and some other works, his last contributions. He wrote a musical entertaMment, in two acts, ' A Trip to Bengal,' published in 1802. Died at Leith, December 19, 1824, aged 75. There is a smaU portrait of him, etched by himself, and two mezzo-tint engravings of Mm from a portrait painted by himself. SMITH, Charles Harriot, architect. Was bom ta London, February 1, 1792, the son of a respectable stone-mason, and was employed ta that business, devoting him self, after the ordinary hours of work, to drawtag and modelling, his chief employ ment being in stone-carving. He soon met with encouragement, and, gaining admis sion to the schools of the Royal Academy, he apphed Mmself to the study of arcMtec ture, both classic and GotMc, and M 1817 he gataed the Academy gold medal for his ' Design for a Royal Academy.' Of studious habits, he became an archaeologist, and acquired a knowledge of geology, minera logy, and chemistry. He was appotated a member of the Royal Commission to deter mine the best quarry to supply the stone for buUcltag the new Houses of Parliament ; and was ta 1855 elected a member of the Royal Institute of British Architects. He exhibited at the Academy designs in archi tecture, models, and portrait busts ; was a lecturer, and wrote an essay on linear and aerial perspective ta Arnold's ' Library of the Fine Arts.' He died October 21, 1864. SMITH. Charles John, F.S.A., en graver. Was bom ta 1803 at Chelsea, where his father practised as a surgeon. At the age of 16 he was apprenticed to SMI Charles Pye, the engraver. On the expira tion of his term, he was chiefly employed in the illustration of topographical and antiquarian works — Cartwright's ' Rape of Bramber,' Stothard's ' Sepulchral Effigies,' Dibdin's ' English Tour,' and publications of the same class. He engraved also a series of ' Autographs of Royal, Noble, and Illus trious Persons ; ' and had proceeded as far as the sixth number of a work, ' Historical and Literary Curiosities ' ; when, ta appar ently perfect health, he was attacked by paralysis, and died November 23, 1838. SMITH, Colvin, R.S.A., portrait paint er. Was born at Brechin in 1795, where his father was a merchant. He was sent to London to learn his art, and entered the schools of the Royal Academy. He also drew in NoUeken's studio, where Gibson was afellow-pupU. Subsequently he visited Italy. He returned to Scotland about 18271 and settled ta 'Edmburgh ; Ms first exhibited work there being the portrait of the Chief Commissioner of the Royal Insti tution. Two years afterwards he joMed the Royal Scottish Academy. He executed many portraits, one of Sir Walter Scott was so successful that he repeated it more than twenty times. He last exhibited in 1871, and died July 21, 1875. SMITH, Edward, engraver. Finished some good plates ta the line maimer ; 'Puck,' after Sir J. Reynolds ; ' The Piper,' and ' Guess my Name,' after Wilkie. He was engaged on Finden's Royal Gallery, and engraved ' The Contadita Family Prisoners with Banditti,' after Sir Charles Eastlake. SMITH, Edward, sculptor. Was born of a respectable family ta the county of Meath, 1746, and was apprenticed to Verpyle, an inferior artist, who at that time had good employment in Dublta. His first pubhc work was the statue of Dr. Lucas, in the Pvoyal Exchange, Dubhn, 1772, an extraordinary production for so young a man. From this time to 1802 hewas little noticed. Few exliibitions were ta the interval held in Dublin, and from size and other considerations his works were unstated to extabition, for he was chiefly employed on chimney-pieces, tablets, and ornamental designs. On the arrival of Gandon, the arcMtect, ta Dublta, he fully appreciated and employed him. He modelled 12 de signs representing the rivers of Ireland, to decorate the Dublin Custom House. He designed for the noble portico of the Four Courts — ' Clemency,' ' Justice,' ' Moses,' 'Mercy,' and 'Minerva,' works of incontest able merit, and some large emblematic figures ta bas-relief for the interior of the dome. Also, two caryatide figures and two groups ta bas-relief for the King's Inn. These works were all executed for Gandon, as were also the corbel ornaments, the heads for the key-stones, and the admirable groups d 401 SMI of cherubs' heads for the ceiling ornaments of the Castle Chapel. He had for some years received a large income, but had saved nothing, and he was glad to accept, with a salary of 100?. a year, the office of master of the School of Sculpture, which the Dublin Society established ta 1806, and to hold the office tiU his death, when he was succeeded by his son, John Smith. He was born, studied, and hved only in Ireland, and died there towards the end of 1812. Vigorous, original, and inventive, he was eminently distinguished as an Irish artist, and both father and son were remarkable alike for their genius and their misfortunes. SMITH, Francis, architect. He prac tised at Warwick and ta the neighbouring counties in the first quarter of the 18th cen tury. He is said to have rebuUt Warwick Church. He built some good mansions which had the character of being convenient and handsome, but were marked by great sameness. He died in 1730. There is a portrait of him by Winstanley. SMITH, Francis, landscape painter. Said to have been born in Italy. Patated landscape, and somesmaU domestic subj ects. He travelled in the East with Lord Balti more and made drawings. ExMbited at the Royal Academy M 1770 a picture of Constantinople, and in 1772 some views ta Naples, and in 1773 some sketches on the Thames, his last contribution. Some of tas drawings of the ceremonies of the Turkish Court were engraved. He died ta London some time before 1780, supposed in 1779. S M I T H, Frederick Coke, water- colour painter. He was born June 26, 1820, travelled largely ta the pursuit of Ms art, and attained a very rapid but unfinished manner of execution. He went to Turkey, and in 1835-36 finished a number of sketches at Constantinople, which were ^:l|thographed by J. F. Lewis in 1837, and afterwards went to Canada, and published his sketches made ta that colony, fie died May 13, 1839. SMITH, Gabriel, engraver. Was bom in London in 1724, and stuched theelements of his art there. He then went to Paris for his improvement, and on his return commenced practice in the dot manner. His best works were executed for Alderman BoydeU, and were engraved after Tintoretto, Snyders, Salvator Rosa. He travelled on the Continent for his improvement, accom panied by Ryland, and in the latter part of his life was employed by Mm, and etched for Mm almost exclusively M the chalk manner. He ched ta London ta 1783, with the reputation of an able artist. SMITH, George, architect. He prac tised in the City, and built St. Paul's School 1823, and many other buUdtags in London. He was architect to the Mercers' Company, and buffi; for the Company, 1825, 402 SMI Whitttagton's CoUege, near Highgate. He was an occasional exhibitor at the Royal Academy, sending, ta 1827, with other works, a design for Tottenham Church, and in 1829 a design for the London Corn Ex change. He died in 1869, aged 87. SMITH, George, architect. Was bom ta 1793, and was an assistant of W. Bum, of Edinburgh, who offered to take him tato partnership, which offer he declined. He was arcMtect to the Improvement Scheme of Edinburgh of fifty years ago, and con structed the fine thoroughfare which begins with Castle Terrace and ends with the George IV. Bridge. He also designed the Normal School, which was held up by the Privy Council Committee on Education as the best model of its day. He was the author of a work on cottage architecture, a prize essay of the HigMand Society, and he gave many courses of lectures on ArcM tecture at the Society of Arts. He ched in Edinburgh, October 1S77, aged 84, and was buried in the Warriston Cemetery. SMITH, George, history painter. Was bom ta London ta 1802. He was brought up as an upholsterer, but having a great talent for art, on coming of age he turned to it as a profession, fie entered the schools of the Academy, subsisted by the sale of his drawtags and by teaching, and ta 1S29 gataed the gold medal for Ms original patating, ' Venus Entreating Vul can to Forge Arms for iEneas ; ' and the following year he was sent to Rome as the traveUing student of the Academy. He returned home at the end of 1833, and resumed the practice of his profession, but he met with httle encouragement, his health failed, and he died from rupture of a blood vessel, October 15, 1838. He was of much promise, a good colourist, a vigor ous draftsman and patater. There is a painting by him ta the South Kensington Museum. SMITH, George, landscape painter (known as 'Smith of Chichester'). His father was a baker, and afterwards a cooper in the South of England, but also exercised the f mictions of a general Baptist minister. He was born ta Chichester ta 1714, and, with his brothers, studied art ta the sur rounding scenery, chiefly painting rural subjects, and compositions of a pastoral class. His works were pleasing, weh coloured, with a tendency to blackness, but mere imitations of Claude and Poussin. In his day they were lauded beyond their merits, fashion placed him ta the front rank, poets apostrophised him, and the Society of Arts awarded him ta 1760 their first premium in competition with Richard Wilson. His name lives in the works of Woollett, Elliot, Peak, and others, whom it was his fortune to have as the engravers of his works. Jointly with his brother SMI John he published 53 small plates, wliich they had etched and engraved from their landscapes. And Vivares and others en graved after them a coUection of 'Select Views ta England and Wales.' In 1763 he was a member of the Free Society of Artists. He was a good musician, an ex cehent violoncello player, and frequently performed at the Chichester concerts. He was also gifted with some poetic taste, and published ta 1770 six pastorals and two pastoral songs, of which ta 1S11 his three daughters published a second edition. He died September 17, 1776. SMITH, John, landscape painter. Younger brother of the foregoing. Was bom ta 1717. He also patated landscape, but was inferior to Ms brother. He was a member of the Free Society of Artists. Died at CMchester, July 29, 1764. SMITH, William, portrait and land scape painter. Elder brother of the two foregoing. W7as bom M GuUdford ta 1707. He devoted himself chiefly to portraiture, but later he tried landscape, and after wards fruit and flowers. He was a mem ber of the Free Society of Artists. He died at Shopwich, near Chichester, October 4, 1764. SMITH, J. Catterson, P.R.B.A., por trait painter. He was born ta England, and studied in the schools of the Royal Academy. In 1838-40 he exhibited there one or two portraits, and about ten years later went to Ireland. He first settled in Kerry, and then removing to Dublta, he painted some subject pictures, afterwards settling down as a portrait patater. He was elected a member of the Royal Hibernian Academy, and later the President, and had many sitters ta the Irish Metropolis. His portrait of the Queen is ta the Dubhn Mansion House, of Daniel O'Connell ta the City HaU, and of several successive Lords- Lieutenant in the castle. He died ta Dublin, May 31, 1872, aged 65. SMITH, Jacob, engraver. Practised about 1730. Among other works, he en graved on one plate portraits of Sir Isaac Newton and Sir Hans Sloane, executed ta one continuous spiral hue, commencing ta the centre, and running to the extremities of the plate. SMITH, James, architect. Practised in Scotland about the end of the 17th century, and was esteemed the most experienced architect of his day M that kingdom. He designed and executed, 1692, Melvin House, which is engraved iu CampbeU's ' Vitruvius Britannicus.' SMITH, James, sculptor. Was a student in the E,oyal Academy, and ta 1797 gataed the gold medal for Ms group, 'Venus wounded by Diomed.' He was also a successful competitor for the monu ment in GuildhaU to Lord Viscount Nelson, I DD SMI which he executed ta 1808. He was em ployed by Flaxman, R.A., and assisted Mrs. Darner ta many of her works, fie died in Upper Norton Street, AprU 28, 1815, ta his 44th year. S M I T II , John, mezzo-tint engraver. Was bom at Daventry, in 1652, and was the son of an engraver. He is said to have served his time under one Tillet, and was afterwards a pupU of Beckett, from whom he learnt the new process of mezzo-tint, in the technical process of which he was fur ther assisted by Vandervaart. His early works attracted the attention of Sir G. Kneller, who took him into his house, em ployed him in engraving his works, and instructed Mm ta their correct imitation. Here he made great improvement in his art, engraved the chief of KneUer's works, and was esteemed the first engraver of his day, but some time before KneUer's death they disagreed and he left him. He is commonly said to have died ta London in 1719, but it has been shown that he was one of the mourners at KneUer's funeral in 1723, and he is supposed to have lived till after 1727, as a portrait by him of George II. bears that date. It has, however, now been ascertained that he died January 17, 1742, at Northampton. There is a tablet to tas memory ta St. Peter's Church there. His works are very numerous, above 500 have been catalogued. They are cMefly portraits, but he also produced some veiy fine plates after Correggio, Titian, Paul Veronese, and Maratti. fiis works united great power with sweetness, finish, and freedom, and are very highly prized by collectors. His portrait, by KneUer, is in the National GaUery. SMITH, John (known as 'Warwick Smith '), water-colour painter. Was born at IrtMngton, Cumberland, July 26, 1749, and was educated at St. Bees, fie was one of the early draftsmen ta water-colours; and following Sandby, he advanced the art, giving greater force and colour to his works. fie accompanied Lord Warwick to Italy, and hence tas designation. Some of his Italian sketches are dated between 1786 and 1795, the earliest mere tinted draw- tags ta the manner of the time, the latter enriched by local colour boldly used. His works are elegant in composition, and have a pleasing freshness of manner. II e j oined the Water-Colour Society ta 1807, con tinued a member when a large secession took place in 1813, and was President of the Society in 1816. He died ta Middlesex Place, Marylebone Road, March 22, 1831, and was buried ta the vault under St. George's Chapel, Uxbridge Road. SMITH, J. John, landscape painter. Was bom ta London about 1775, and was educated to art. He patated views in troducing figures and animals, and also 2 403 SMI some sea-pieces. He was an exhibitor at the Royal Academy 1813-19-21; in the latter year a view of Lisbon, taken on the spot. There are eight views of villages, well-etched plates, by him. SMITH, John Orrin, wood-engraver. Was born at Colchester in 1799. fie was educated as an architect, but on comtag to London he made some successful attempts at wood-engraving, and in 1824 placed himself under William Harvey. His first works of importance were the illustrations to Seeley's Bible, and some spirited heads, after Kenny Meadows. In 1835 he com menced the illustrations for a French edition of ' Paul and Virginia,' which were very successful, and in the same year was engaged upon ' The Solace of Song.' Fol lowing this, he engraved the designs for 'The Illustrated Shakespeare,' by Kenny Meadows ; also for La Fontaine's ' Fables,' Beranger's ' Songs ' and other works of the same character, fie died from apoplexy, caused by the shock of a shower-bath, October 15, 1843. SMITH, Joseph Clarendon, water- colour painter. He was bom ta 1778, in London, where his father was a, buhder. Left without provision, he was sent to sea, and after serving about three years he was admitted to the mathematical school of Christ's Hospital to improve himself ta navigation. But he showed a desire to try art aud was placed under an engraver, with whom he worked with credit, but not upon plates that bear his name. Some of his best works on copper wiU, however, be found in Weld's ' Topography of KiUamey.' After a time he appears to have quitted engrav ing, in which he was little known and Ul- rewarded, to try painting in water-colour. He exhibited some views of churches at the Royal Academy, in 1806-1807. His sub jects were chiefly of a topographical charac ter. The undercroft of Canterbury Cathe dral, 1807 ; Henry VII.'s Chapel ; Waltham Cross, 1809 ; the Saxon town of Bury St. Edmund's ; and St. Augustine's Gateway, Canterbury. He worked zealously at Ms new art, but he was suffering from a pulmonary attack and went to Madeira. He died on his passage home in August 1810. SMITH, Nathaniel, modeller. Was a student ta the St. Martin's Lane School, and in 1755 became the pupU of Roubilliac. He gained several premiums at the Society of Arts, the first in 1759, and later was employed for many years as the principal assistant to NoUekens, R.A. He carved the River Gods at Somerset House, after the designs of Cipriani, R.A. Some of his drawings were published in his son's ' An tiquities of London.' He is described on a good portrait etching as 'Sculptor and Prtatseller.' 404 SMI SMITH, John Thomas (called 'Anti quity Smith '), topographical draftsman. Son of the foregoing. Was born in a hackney coach, June 23, 1766. His great- uncle was Admiral Smith, known as ' Tom of Ten Thousand.' He entered the Schools of the Royal Academy, and was placed under Keyse Sherwin, the engraver, but he left him at the end of three years, and sought an engagement on the stage. This failing, he practised for many years as a drawing-master, residing at Edmonton. In 1798 he was an unsuccessful candidate for the appointment of drawing-master at Christ's fiospital. For a time also he prac tised as a portrait painter. He was a clever draftsman and a tolerable engraver, and his antiquarian feeling led him at last to topography. He was employed ta drawings of that class, and tas name is largely con nected with recoUections of the Metropolis. His publications are numerous. In 1791, ' The Antiquities of London and its Envi rons ; ' in 1797, ' Remarks on Rural Scenery,' with 20 etchings of cottages from nature ; in 1807, ' The Antiquities of Westminster ; ' between 1810-15,' The Ancient Topography of London,' ' The Streets of London,' 1815, drawn and etched by himself. In 1816 he was appotated keeper of the prints in the British Museum, an office he held tiU his death ; but it did not interrupt his busy literary pursuits, for he produced, in 1817, ' Vagabondana,' with 60 portraits drawn and etched by himself from the life, of noted mendicants ta the Metropolis. He wUl, however, be best known to the public by his ' NoUekens and Ms Times,' pubhshed in 1828, which, descending to the meanest domestic incidents of his friend's Me, was attributed to disappotatment from no men tion in bis wffi. He ched ta University Street, Tottenham Court Road, March 8, 1833, in tas 67th year, and was buried ta St. George's burial-ground, Bayswater Road. His 'Book for a Rainy Day' was published after tas death. His drawings in water-colour shew great power in that art. His etchings are truthful and clever. His imitations of Rembrandt and the Dutch landscape painters very close. S M 1 T H , Tom, engraver. PupU of Charles Grignon. He executed some plates with C. White ; but, thoughtless and good- natured, he cared little for his art, and being left a property of 300?. a-year, he was dubbed ' Squire Smith.' He died young, of fever, ta 1785, and was buried at Clerkenwell Church. SMITH, Thomas, landscape painter, known as ' Smith of Derby,' where he was bom and chiefly resided. He was a self- taught painter, and acquired a respectable eminence by his own industry. He painted views of Chatsworth, dated 1744, Dovedale, the Peak, and bther picturesque parts SMI of the comity; and also in Yorkshire, Westmoreland, and other northern counties. He was one of the first ai'tists who depicted the beautiful scenery of England. A col lection of 40 plates from Ms Derbyshire views, engraved by Vivares and others, was published by BoydeU ta 1760. He died at the Hot Wells, Bristol, September 12, 1767. SMITH, Thomas Coreggio, miniature painter. Was the eldest son of ' Smith of Derby,' and was educated by him as a patater, but from want of abffity or of ap plication, succeeded no further than to be come a bad miniature painter, and by this, aided by a small patrimony, he contrived to hve. From 1785 to 1788 he exMbited at the Academy small portrait drawings and miniatures. He died at Uttoxeter, somewhat beyond the middle age. SMITH, John Raphael, painter and mezzo-tint engraver. Born 1752. Younger brother of the above. Commenced life as the apprentice to a linen-draper at Derby. He then for a time served as a shopman in London, and occupied tas leisure, to in crease his means, by painting miniatures. Making some progress in art, he tried en graving, and produced a print, called ' The Pubhc Ledger open to all Parties,' which had so great a sale, that he was induced to turn engraver. He soon distinguished Mmself by Ms works M mezzo-tint, and in 1778 was residing ta Bateman's Btaldtags, Soho, in the ftal practice of his art. fie produced about that time his plate of 'Edwin,' after Wright, and of 'Mercury inventing the Lyre,' after Barry, both works of much skill. He afterwards en graved many of Reynolds's works with great success, and a fuU comprehension and rendering of Ms manner. These works were very popular, and he was ap pointed engraver to the Prince of Wales. fie formed an extensive connexion as a publisher and dealer in prints, and should have realised an independence ; but he was a man of pleasure, fond of company, which led to dissipation, became a sportsman, or rather sporting-man, an adept in field sports, pugilism, and the stage, and a good judge in all such matters, fie was a boon friend of George Morland, and one of his best speculations was his 'Morland GaUery.' He drew ta black and red chalk with great spirit, and having gained the first rank as an engraver, was ambitious to distinguish himself as a patater, and drew with great ability small whole-length por traits in crayons, and subject pictures, and from 1779 to 1790 was an exhibitor at the Academy, contributing, in 1782, a group of the Duke and Duchess of Gloucester and their children. His subject pictures were of the class then fashionable, 'The Widow's Tale,' 'The Unsuspecting Maid,' 'The SMI Moralist,' 'Inattention,' and such like. When the print trade feU off, he devoted himself exclusively to this, and, becoming itinerant, visited professionally York, Shef field, Doncaster, and other towns. His portraits of Mr. Fox, the Duke of Bedford, Sir Francis Burdett, and Home Tooke are proofs of his ability. His latter portraits are slight and hasty, a manner suited to tas disposition, and their number was in calculable. He could finish one in an hour, but he was lost to tas higher art. His mezzo-tints were tender, charming ta draw ing and expression, and full of colour. The last three years of bis life were spent at Doncaster, where he died suddenly, of asthma, on March 2, 1S12, in his 60th year, and was buried in Doncaster Church yard. Possessed of art talents ta an emi nent degree, he was liberal, communicative, and an able critic and adviser. He was also gifted with great conversational powers and varied information. Chantrey, R.A., whom ta early years he had encouraged in Sheffield, modelled a most characteristic bust of him. His son, J. R. Smith, was for several years at the beginning of the 19th century, an exliibitor of works of the same class as his father's. S M I T H, Miss Emma, water-colour painter. Daughter of the foregoing. Born about 1787. Had a talent for drawing. She exMbited at the Royal Academy in 1805 ' Hector taking leave of Andromache,' and ta 180S joined the Society of Associ ated Artists ta Water-Colours, during its brief existence. SMITH, Samuel, engraver. Was born ta London about 1 745. He practised land scape, using both the etching-needle and the graver. He completed some good plates — ' The Finding of Moses,' after Zuccarelli, 1788. He also engaged in some plates in conjunction with other artists ; and in the 'Niobe,' after WUson, R.A., by Sharp, the landscape is by him, 1803. SMITHSON, Robert, architect. He is supposed to have been the pupil and suc cessor of John Thorp. He built several fine mansions and was architect to the Earls of Newcastle, for whom he built part of Welbeck. He died October 15, 1614, aged 79, and was buried at Wollaton, Notts. SMITHSON, Huntingdon, architect. He was the architect of Bolsover Castle, and when it was proposed to rebuild this immense pile, which he commenced ta 1613, he was sent to Italy by the Earl of Newcastle to collect materials for the improvement of his work. He btalt the famed riding-house there in 1623, and the stables in 1625. He died December 27, 1648. SMITHSON, John, architect. Son of Huntingdon Smithson ; was well reputed as an architect. He died ta 1678. 405 SMI ' SMITZ, Gaspar (called 'Magdalen Smith'), subject ami portrait painter. Bom in Flanders. He came to "England soon after the Restoration to follow his profession, and was induced to visit Ire land, where he settled. He studied for a time in Rome. He patated miniature portraits in oil, and attained much repute for their colour, life-like nature, and re semblance. He was, however, best known by his Magdalens, wliich were well drawn, and finished in a chaste, clever style, but painted from a woman he kept and called his wife. He usually introduced a deli cately finished thistle ta the foreground. There is a Magdalen by him in Painters' Hall, dated 1662. He was also a clever flower-painter. He had high prices for his works, and was fully employed, yet his extravagance kept Mm always ta diffi culties, and he died ta Dublta, ta great distress, in 1707- SMYTH, John Talfourd, engraver. Was born ta Edinburgh, and was a zealous student ta the Trustees' Academy there. In 1835 he determined to foUow the pro fession of an engraver, but his master dying in the first year of his pupUage, he was tas own teacher, and soon gave proofs of tas ability. In 1838 he removed to Glasgow, where he worked on plates wliich produced hbn money, without advancing his art, and he was induced to return to Edinburgh, and there gained employment of a Mgher class. He engraved ' John Knox Dispens ing the Sacrament,' from Wilkie's unfinished picture : Mulready's ' School,' from the Vernon collection ; Sir WUham AUan's ' Tartar Robbers Dividing then Spofl.' He was engaged upon other works of this class, when he ched after a short illness, from an attack on the brain, May 18, 1851, aged 32. SNELLING, Matthew, p>ortrait and min iature painter. Practised in the reign of Charles II. He painted chiefly female heads, but was not of much repute. A portrait of Charles I. by him, dated 1647, was exhibited at Kensington Museum in the Loan Collection, 1862, and there is a passable portrait by him at the College of Physicians. SOANE, Sir John, Knt., R-A.^architect. Was the son of a bricklayer, m humble circumstances, and was bom near Reading, September 10, 1752. He was educated at Reading, and showing a love of art, was first employed as an errand boy, and then admitted to assist hi the office of George Dance, the architect. Subsequently he was employed for a time in Henry Holland's office, where he acquired a practical know ledge of the profession, remaining with him tUl 1766. Meanwhile he studied ta the schools of the Royal Academy. In 1772 he obtained a silver modal, and ta 1776 the gold medal for Ms ' Design for a Triumphal 406 SOA Bridge,' and was then elected the travelling student. He travelled for three years in Italy, diligently engaged ta study, return ing in the summer of 1780. He was tempted to return at that time by an offer of employment from the capricious Hervey, Earl of Bristol, which he did not realize ; but entering into competition for public works he made himself known, and in 1788 gained the appointment of arcMtect and surveyor to the Bank of England, which laid the foundation of his fortune, fie bad married in 1788, and through Ms wife, who died in 1815, he eventuaUy received a con siderable property. Success waited upon him. In 1791 he was appointed clerk of the works at St. James's Palace, the Houses of Parliament, and other pubhc buUdings; in 1795 archi tect to the Department of Woods and Forests. Then professional honours came. He was ta that year elected an associate, and ta 1802 a full member, of the Academy, ta 1806 Professor of Architecture. In 1807 he was appotated clerk of the works to Chelsea fiospital, and erected the new in firmaries, and about the same time the new Picture GaUeries at Dulwich College. On a commission from the Treasury he made designs, in 1820, for the New Law Courts, ta the following year for a Royal Palace on Constitution Hill. The former was earned out, only after long contention, to be after wards altered; the latter was never pro ceeded with, to his great chagrin, and pro bably the pubhc loss. Buckingham Palace was patched up instead. In 1831 he was knighted, and ta 1836 completed the State Paper Office, tas last work. fie had been fortunate ta holding the first professional appointments, had amassed a fortune, built a house for himself in Lincoln's Inn Fields, and made it a store house of art-treasures ; but he was not without his share of the world's troubles. Of two sons, one died young, the other lived to be a constant irritation and annoy ance, and his obstinate temper found a con solation ta disinheriting his only surviving chUd. Arrived at 80 years of age, his sight faUed, and ta 1833 he resigned all his ap pointments and professional engagements. fie had long contemplated leaving his col lections, with his house, to the nation, for the benefit of his profession, and he lived to see Ms intentions carried out under the sanction of a private Act of Parliament. He died at his house in Lincota's Inn Fields, now ' The Soane Museum,' January 20, 1837, aged 84. He was bmied in the ground belonging to St. Giles-ta-the-Fields, adjoining the Old Church, St. Pancras. fiis art was founded on the Greek, its proportions pleasing, its masses broad and simple, the arrangements well considered and convenient to their intended uses, but HUli the style was marked by mannerism, especi aUy in the ornamentation. The buildings at the Bank, the exterior of which he re- btalt, are usually pointed to as his best and most pretentious work. He did not hve to feel the annoyance which must have been suffered by the alteration of the Law Courts, the destruction of tas fine facade to the public offices in Whitehall, and the entire demolition of his State Paper Office, an erection of great perfection and merit, both ta its elevation, interior arrangement, and fittings. He published, iu 1778, ' De signs in Architecture;' in 1788, 'Plans, Elevations, and Sections of BuUdtags erect ed ta Norfolk, Suffolk, Yorkshire,' &c. ; in 1793, ' Sketches in Architecture ; ' in 1827, ' Designs for Public and Private BuUdtags.' He also published a statement respecting the new Law Courts and the Privy CouncU Office, and ta his latter days amused him self by preparing an account of his house and museum. S 0 E S T , Gerard (sometimes spelt Zoest), portrait painter. Was bom in Westphalia about 1637. He leamt his art ta his native country, and came to London with an established reputation about 1656, and was soon appreciated. His portraits were weU-coloured, simple, and natural, and those of smaU size were much esteemed. His draperies were frequently satin painted in imitation of Terburgh's manner, which he afterwards enlarged by the study of Vandyck. His male portraits were the best. There is a good whole-length by Mm of Lord Mayor Sheldon at Drapers' HaU, and a head of Dr. John Waffis at the Royal Society. He is commonly said to have died in 1681, aged 44 years, but in Mr. Beale's Pocket-book, well known to anti quaries, there is a note, ' February 11, 1680-1 ; Mr. Soest, the patater, died. Mr. Flessiere,the frame-maker, said he believed he was near 80 years old.' "SOLDI, Andrea, portrait and history painter. He was born ta Florence, and, after a visit to the Holy Land, he came to England about 1735, and was then about thirty years of age. A good draftsman, and surpassing many of Ms contemporaries, he found good employment as a portrait patater ; but he was extravagant, lost his patronage, and feU into misfortunes. He was a member of the Incorporated Society of Artists in 1766, but did not long survive this date. SOLOMON, Abraham, subject painter. Was bom ta London in 1824, of a respect able, but not wealthy, Jewish family. At the age of 13, he was placed in a drawing- school in Bloomsbury, and the same year was awarded a medal at the Society of Arts. In 1839 he was admitted a student of the Royal Academy. In 184.3 he exhibited there his first picture, a subject from Crabbe; SPA in 1847 a story from the ' Vicar of Wake field ; ' and continuing a yearly exhibitor, sent in 1857 ' Waiting for the Verdict,' a picture which made him known. In 1862 he exhibited Ms last work, ' The Lost Found.' He was suffering from disease of the heart, and, hi the hope of relief, visited the south of France, and died at Biarritz, December 19, 1862. SOLY, Arthur, engraver. Was a pupil of Robert White, and engraved for Trim. He practised in the reign of Charles II. , and there are some good" heads by Mm ; among them a portrait of Richard Baxter, dated 1683. A portrait of Mm, by Ms master, was engraved in the same year. He died about 1695. SOMERVILLE, Andrew, R.S.A.,smJ- ject painter. He was bom, it is beheved, ta Edinburgh. Educated in the Trustees' Academy, he practised in that city, and was in 1833 elected a member of the Royal Scottish Academy. He died ta the same year, when about only 30 years of age. His ' Flowers of the Forest,' and ' The Bride of Yarrow,' may be mentioned among tas successful works. SONMANS, William. Practised ta London in the first half of the 18th century, chiefly in making drawings of natural his tory. The drawings for the Ulustration of Morrison's ' Historia Plantarum,' 1715, are by him. SOUNES, William Henry, art teacher. Was bom ta London ta 1830. He received tas art education ta the Government School of Design, Somerset House. In 1855 he was appointed modeffing-master at the Birmingham School of Art, and subse quently became head-master of the Sheffield School. He died at Sheffield ta 1873. SOWERBY, James, draftsman and engraver. Was well known by his many drawtags for the Ulustration of botanical works. Of these the chief are Smith's 'Icones Pictae Plantarum Rariorum,' 1790; Smith's ' Gleanings of Botany,' ' Specimens of the Botany of New Holland,' 1793 ; Shaw's ' Zoology of New Holland. He was also the publisher himself of ' The Florist's Delight/ 1791, an easy introduction to drawing flowers ; ' English Botany,' 1790 ; coloured figures of British fungi, 1796. He resided some of the latter part of tas life ta Paris. Died October 25, 1822, in his 66th year. SOYER, Madame, subject painter. (See Jones, Emma.) SPACEMAN, Isaac, still-life painter. Was known as a patater of animals, princi pally birds. He practised about the middle of the 18th century. Died at Islington, January 7, 1771. SPANG, Michael Henry, modeller. Was a native of Denmark. Hie exhibited busts and models in wax with the Society 40.7 SPA of Artists in 1761, and carved the figures in the pediment of Lord Spencer's house, St. James's Park— a veiy respectable work —and the decorations on the screen of the Admiralty. He drew the figure well, and with great anatomical truth. He died shortly before 1767. His widow was relieved by the Artists' Society. SPANGLER, , modeller. He was brought from London, ami was employed at the Derby China works about 1798, where he gainedagreat reputation, and was considered the best modeller of the figure in biscuit and iu finish, equal to any modeller of his time. SPENCE, William, sculptor. Was bom at Chester, and at an early age placed imder a wood-carver and teacher of drawing at Liverpool. He was fortunate in making the acquaintance of John Gibson, R. A., the eminent sculptor, who assisted him to em ployment, and he soon distinguished him self as a draftsman and modeller. He was appointed professor of drawing in the Antique School of the Liverpool Academy, and regularly contributed to its exhibitions, and ta 1843 and 1844 sent some Scripture subjects and busts to the Royal Academy. But he was admitted a partner into a Liver pool house, and, withdrawing himself from his profession, was successful in business. He died at Liverpool, July 6, 1849, aged 56. SPENCE, Benjamin Edward, sculptor. Son of the foregoing. He was born at Liverpool in 1822. At the age of 16 he modelled a very successful bust of Mr. Roscoe, and later a group, which was awarded a prize at the Manchester exhi bition. He then went to Rome, where he was assisted by John Gibson, R.A., and became the pupil of R. T. Wyatt, and soon made up his mind to settle there ta the practice 'of Ms profession. Some of his first works were not sent to this country, but from 1849 he occasionally sent a work from Rome to be exhibited at the Royal Aca demy. In 1 85 I, ' Ophelia ; ' in 1856, ' Venus and Cupid ; ' in 1861, ' fiippolytus ; ' and in 1867, ' The Parting of Hector and Andro mache. In 1862 he was a contributor to the International Exhibition. He did not attain much eminence. His works had httle originality ta their conception, but were not without elegance and feeling. He died at Leghorn, October 21, 1S66. SPENCER, Gervase or Jarvis, minia ture painter. Was a gentleman's servant. He bad a talent for art, and amused him self by drawing. He made such a successful copy of a miniature of one of tas master's family that he was encouraged aud assisted by him to try art ; and he studied with so much perseverance as to become the fashion able painter of his day. He practised towards the middle of the 18th century both ou ivory and in enamel, fie exhibited 408 SPI with the Society of Artists iu 1762 some portraits ta enamel, and some fine minia tures ta that material bearing the initials ' G. S.', seem properly attributable to him. His portrait was painted by Reynolds, from which he etched a good plate, to which the name of George Spencer has been errone ously added. Some slight portrait etchings by Mm M the print-room at the British Museum evince a refined power of drawing. He died October 30, 1763. SPENCER, Lavinia, Countess, amateur. Daughter of the Earl of Lucan, married in 1781 the second Earl Spencer. Between 1780-90 she made some good original draw ings, several of which were engraved. GUI- ray engraved ta the dot manner ' The Orphan,' by her, and Bartolozzi her ' New Shoes.' She ched June 8, 1831. SPICER, , engraver. Practised in mezzo-tint ta the latter half of the 18th centuiy. There are by him, after Reynolds, plates of Kitty Fisher, Lady Stafford, and some others. SPICER, Henry, miniature painter. He was born at Reepham, Norfolk, and was the pupU of Gervase Spencer. He first appears as a contributor of miniatures to the exhibitions of the Incorporated Society of Artists ta 1766, and was their secretary ta 1773, continuing to exhibit yearly with them up to 1783. At the Royal Academy he first extahited ta 1774, and in 1795 contributed the portrait of the Prtace of Wales, who appotated him his portrait patater ta enamel. In 1776 he went to Dublin and patated the portraits of many of the most eminent persons ta Ire land. For 20 years he conttaued an exlii bitor at the Academy, practising both ta enamel and on ivory, and attained much excellence ta his art ; his works were power- fid and the Mteness strongly impressed. He died in Great Newport Street, June 8, 1804, aged 61. SPILLER, John, sculptor. Was born in 1763, and was a pupil of Bacon, studying also in the schools of the Royal Academy. The statue of King Charles, which stood in the centre of the piazza of the Royal Ex change, before the fire ta 1838, was his work. He was an occasional exhibitor at the Aca demy, commencing in 1778. He contributed wax models and portraits. In 1785 ' Venus Introducing Helen to Paris,' a group ; and in 1792, when he exhibited for the last time, designs for two churches. The elder D'Israeli says of him, 'the energy of his labour and the strong excitement of his feelings had made fatal inroads upon his constitution, and he only lived to finish his statue of Charles.' He died 1794. SPILSBURY, F. B., amateur. Was surgeon to H.M.'s ship' Le Tigre,' and was in the campaign in Syria and Palestine, 1796, where he made many sketches of S.f i views and costume. He published ' A Series of Picturesque Scenery ta the Holy Land and Syria,' and also ' A Voyage to the Western Coast of Africa,' 1805, illustrated by tas own sketches of the natives, but they are rudely drawn and without character. He also painted several pictures ta oil. SPILSBURY, John, mezzo-tint engraver. Born ta 1730, he gataed a premium from the Society of Arts for a mezzo-tint in 1761 and 1763, and scraped a great number of small plates and portraits after Reynolds and others ; also, after Rubens, the heads of two monks reading from the same book. He designed and engraved ad vivum; and in this manner there is a niezzo-ttat portrait of the Prtace of Wales, dated 1757 ; and a second, dated 1764 ; and in the same year portraits of the King and the Queen ; also a portrait as large as Me, dated 1766, of Arthur Pond's sister, the lady mentioned ta the ' Idler,' who rode 1000 miles ta 1000 hours. He also en graved in the dot manner ' A CoUection of Gems' and some NoncoMontasts' portraits. In 1770-71-73 he exhibited at the Spring Gardens' Rooms, and was from 1776 to 1784 an exhibitor of portraits at the Royal Academy, and ta 1777 contributed two scriptural subjects. About 1782 he was drawing-master at Harrow. His work was food and careful, but rather black and ard. He kept a shop ta RusseU Court, Covent Garden, and styled himself en graver, and map and print-seller. He died about 1795. SPILSBURY, Miss Maria, portrait and subject painter. Daughter of the above. Born in London in 1777. She showed a taste for art, to wMch she de voted herself . Her best works are peasants and chUdren. She paMted ' The Seven Churches of Glendalough,' with a fair ta the foreground — and ' fiolyeve.' Her at tempts of a higher class were not successful. In 1792 she was an honorary exMbitor at the Academy, and M 1807 exMbited eight works, wMch were much praised. Several of her works are engraved, and she herself engraved one, 'A Shepherd's FamUy.' Many of her works are ta Ireland. She was noted for her musical abUities. She married Mr. John Taylor, and died about ten years after in Ireland. SPOFFORTH, Robert, engraver. Practised ta London towards the end of the 18th century. He was cMefly employed on portrait frontispieces for book iUustration. SPOONER, Charles, mezzo-tint en graver. Was bom ta the county of Wex ford, and apprenticed in Dublin to John Brooks. On the invitation of McArdell he came to London when about 23 years of age. He practised ta mezzo-tint, and produced several excellent plates after Reynolds, Cotes, Miss BenweU, Chatelaine, STA Rembrandt, Schalken, and Teniers. His best works are dated between 1752-61. He ched in London, December 5, 1767, aged about 50, and was buried beside his fellow-pupil and friend, McArdeU, at Hampstead. His hfe was shortened by Ms habits of roystering intemperance. SPRY, William, flower painter. He practised ta London with much ability, patating both in oil and water-colours. From 1S34 to 1847 he was an exliibitor at the Royal Academy, and ta the last year contributed a mmiature group of flowers in oU. SPYERS, James, landscape painter. Practised ta London ta the second half of the 18th century, principally painting. landscape views. Six views of fiampton Court by him were engraved by J. Jukes, and six views of coimtry mansions were. mezzo-tinted by G. WUls. S T A C K H O U S E , J. , flower painter. He practised ta London towards the end of the 18th century, and painted flowers. and fruit. STADLER, Joseph Constantine, engraver. He was a native of Germany. He came to England, and practised in London 1780-1812. fie engraved views cMefly ta aqua-tint. After De Louther bourg he engraved ' The Fire of London,' ' The Defeat of the Spanish Armada,' and 'Six Views of the Picturesque Sceneiy. of Great Britain.' After Farington, R.A., he etched for Alderman BoydeU views of London Bridge, Westminster Bridge, Black- friar's Bridge, Somerset Place, Adelphi ; also numerous views Ulustrathig Coombe's ' History of the River Thames,' published 1794. STAEVARTS, Palamedes, portrait painter. Born 1607 in London, where he practised tas art, and died ta 1638. Pon- tens engraved Mary Countess of Warwick after him. STAINES, Robert, engraver. He was born in London, October 21, 1805, and was a pupil of J. C. Edwards, line-engraver, but finished his term of apprenticestap with the FMdens, and was afterwards employed by them. He engraved for the 'Literary Souvenir,' the 'Friendship's Offering,' and the ' Art Journal.' He died October 3, 1849. STAINIER, R, engraver. Practised in London, ta the dot manner, ta the latter part of the 18th century. He was chiefly employed on portraits. He engraved ' Cleopatra,' after Wheatley, R.A., 1788 ; ' Linclor and Clara,' by the same artist. STANFIELD, William Clarkson, R.A., marine painter. Was born at Sun derland, of Irish parentage, ta 1794. His father was the author of an 'Essay on Biography,' and esteemed a writer of some reputation. As a boy he chose the marine 409 STA service, went to sea, and gained some ex perience, perfecting himself as a seaman. Fond of sketching ships and marine sub jects, he formed a taste for art, and while afloat patated the scenery for a play got Up by the erew. His talent was first noticed while serving as clerk on board a king's ship, and bis desire was, when an opportunity offered, to try art as a pro fession. So when temporarily disabled by a fall, and discharged from the navy, he was able to gratify tas wishes by an en gagement about 1818 to paint the scenery for the old Royalty, a sailors' theatre in Wellclose Square. Improving ta his ca pacity for this art, he was afterwards engaged at the Cobourg Theatre, where his labours and promptitude were unre mitting, and his success soon led tarn to a higher field. He got an engagement at Drury Lane Theatre, and painted there scenery equal to any which had been known on the London stage, effecting great improvements in the art. Continuing ta this profession for several years, he produced at the same time some small marine views, and Ms reputation grew as a marine patater. He first ex hibited in 1823 with the Society of British Artists, founded in that year, of wliich he became a member, and also at the British Institution. In 1827 he exhibited at the Academy, and encouraged by the success of his easel pictures and a premium of 50 guineas awarded to Mm at the British Institution, he abandoned scene-painting about 1829, and the fohowing year made his first tour on the continent. Having resigned Ms connexion with the Society of British Artists, he in 1831 exMbited at the Academy, and was ta the following year elected an associate, and in the same year was commissioned by William IV. to paint ' The Opening of New London Bridge,' and 'Portsmouth Harbour,' works which he exhibited at the Academy in 1832, fol lowed ta 1833-34-35 by some Italiau scenes, chiefly Venetian. He was at the same time much engaged in illustrations for 'The Picturesque Annual.' In 1835 he was elected a full member of the Academy, and in 1836 he exhibited 'The Battle of Tra falgar,' a large work painted on commission for the United Service Club. He had been much impressed by the scenery of Italy, and spent the greater part of 1839 there, aud in the four following years his contributions to the Academy were chiefly Italian, and from that time indeed, the scenery of Italy, with views off the Dutch coasts, formed the subjects of his best works. In 1847 he exhibited a notable work, ' The French Troops fording the Magra ta 1796 ; ' in 1854, ' The " Vic tory," bearing the body of Nelson, towed into Gibraltar;' ta 1857, "The Wrecked 410 STA Spanish Armada;' in 1860, 'Vesuvius and the Bay of Naples;' ta 1864, 'War' and 'Peace.' These are among his most esteemed works. He exhibited for the last time ta 1867. For some time he had been ta a de clining state of health, and on May 18, 1867, he died at Hampstead, where he had for many years resided, fie was bmied ta St. Mary's Roman Catholic Cemetery at Kensal Green. He was a master of Ms art ; Ms knowledge of seamanship gave a trath to the grandeur of Ms marine sub jects, and his traMing ta the scene-loft a picturesque beauty to his landscape views. But his art was too scenic, and the taflu ence of stage effects prevailed to the last. He was for many years an influential member of the Sketching Society. Among his works should be mentioned a series of ten pictures of large size, patated for the banqueting room at Bowood, and a second series for Trentham HaU. fie also painted a number of views of coast scenery for Heath's ' Annual,' and pubhshed a col lection of lithographic views on the Rhine, Moselle, Meuse, &c. The Royal Academy included in their exhibition of the old masters ta 1870 a large coUection of Ms works, but it did not tend to maintain the very high reputation which he had enjoyed ta his hfetime. { STANFIELD, George Clarkson, landscape and marine painter. Son of the above. Was born at Buckingham Street, Strand, London May 1, 1828. He learnt the first principles of his art under his father, and was also a student of the Royal Academy. He first exhibited ta the year 1844, and was from thenceforward a contributor to each year's annual gather ing at the Academy without interruption clown to 1876. fie painted principaUy continental landscapes, being marine sub jects and the scenery of towns. His art was similar ta kind to that of his father, and did not present any stri ki n goriginality . He died of disease of liver, at Hampstead, March 22, 1878, in tas 50th year. STANLEY, Caleb Robert, landscape painter. Born about 1790. He practised ta London, and studied for a time ta Italy, where he made many sketches. He painted ta oil, and produced a few works ta water- colours,tatroductagfiguresandarchitecture. He exhibited at the Royal Academy from 1S20 to 1863 landscapes in oil, and at the commencement of his career on a few occa sions landscapes, both ta oU and water- colours, with the Society of British Artists. His execution was good but mannered. He died ta London, February 13, 1868. STANLEY, Montague, A.R.S.A., landscape painter. Bom at Dundee, in January 1809. He was taken by his parents to New York, where he lost his STA father. His mother marrying again, they removed to Halifax, and thence to Jamaica. A precocious cMld, he was engaged when eight years old, to play the part of ' Ariel,' which led to his becoming an actor. When about ten years old, he returned with his mother, again a widow, to England, and continued his theatrical career, chiefly ta Edinburgh, where he became a favourite, till 1808. Then having previously studied landscape painting, he left the stage, partly from conscientious scruples, to follow art. His pictures were greatly esteemed and fetched good prices ; he was rising ta the profession, and had been elected an asso ciate of the Royal Scottish Academy, when he was attacked by consumption, and died ta the Isle of Bute, May 5, 1S44. His sketches and other works were accidentaUy destroyed by fire on the raU on their way to auction at Edinburgh. STANNARD, Joseph, landscape and marine painter. He was born September 13, 1797, at Norwich, where, with a taste for art, he managed to gain instruction from Robert Ladbrooke, and was assisted to visit and study in the Dutch galleries. He practised ta his native city, was a member of the Norwich Society and a contributor to the Society's extabition in 1811, and to the exMbition of the Society of British Artists ta 1824. He patated a large picture, 'The Annual Water Frohc at Thorpe,' introducing portraits. His works are chiefly coast and river scenes, with some portraits, for wliich he enjoyed a local repute. He was a good etcher, and published a set of etchings of much promise. He died young in 1830. STANTON, Edward, sculptor. Prac tised ta London ta the latter part of the 16th century. He erected a fine monu ment in the Church at Stratford-upon- Avon, and three good monuments of the LyttonfamUy at Knebworth Church, 1704- 10. STANTON, Thomas, landscape painter. Was born about 1750, and practised his art ta London. He painted views and land scapes introducing architecture. S. Middi- man engraved after him a large plate of Stonyhurst CoUege. STARK, William, architect. He prac tised with great repute in Edinburgh and Glasgow about the beginning of the 19th century, fie died at Edinburgh, in October 1813. STARK, James, landscape painter. Was the son of a well-to-do dyer at Nor wich, and was bom there ta 1794. He showed an early love of art, and ta 1811 was articled to John Crome for three years, and the same year he contributed five land scapes ta oU to the exMbition of the Nor wich Society, and was elected a member. In 1817 he came to London and entered STE the schools of the Royal Academy, and in that and the two following years he ex hibited with the Water-Colour Society. About the same time he also became an ex hibitor at the British Institution, where his works found purchasers, and the Governors awarded him a premium of 50?. But he was compelled by a painful affliction, the nature of which is not told, to return to his family at Norwich, where he remained about 12 years, and duiing that time married. Continuing in the practice of his art, he commenced, m 1827, a publication on ' The Scenery of the Rivers of Norfolk,' but when completed in 1834, notwithstand ing its great merit and taterest, it produced no adequate reward. He exhibited at Suffolk Street from 1824 to 1839, and at the Royal Academy from 1831 to 1859. He was not a constant contributor to either extabition, but he frequently sent his works to the British Institution, in 1830 he came agata to the Metropolis, and hved near the Thames, in Beaufort Row, Chelsea, and after 10 years' residence there, following the stream, he went to Windsor, and then after some years he returned to London, for the greater advantages of educating his son in art. He died March 24, 1859, ta the 60th year of his age. His art owed much to Ms master, Crome, but it was original and purely English, the local character and in cidents well preserved, yet wanting in rich ness and force, its simple and unobtrusive trath failed to wake enthusiasm. STAYLER, Alen, illuminator. He practised as an Utamtaator and miniaturist in the reign of Henry III., and illustrated the books of the Abbey of St. Alban's. STAYNER, J., engraver. Practised in London ta the latter part of the 18th cen tury. There are two plates by him of humorous subjects, after CoUet, and some other works in mezzo-tint. STEEL, Aaron, omamentist. He was employed ta Messrs. Wedgwood's manu factory, commencing in 1785, and acquired great skill in drawtag the figures on their fine Etruscan vases. He died in 1845. STEELE , Edward, nicknamed ' Coimt Steele,' portrait painter. Was born at Egremont, Cumberland, about 1730, and brought up to art. He studied for a time in Paris, and practised at York and ta the Northern counties, painting portraits at four guineas each, which were by no means without merit, his works betag correctly drawn and painted ta a free, broad manner. Sterne was one of his sitters. He was eccentric and unprincipled, and ran away with a young lady, his pupil, assisted in tliis affair by Romney, who was then study ing under him. His collection of pictures, prints, and drawings were sold by auction ta 1759. STEENWYCK, Henry, painter of 411 STE STE interiors. Was born in Flanders about 1589, the son of a painter of great reputa tion, under whom he studied Ms art. Van dyck encouraged him to come to England, employed him occasionally to paint archi tectural backgrounds to his pictures, and introduced him to Charles I. His usual subjects were the interiors of churches and other large edifices, wliich, in his latter works were more luminous and less dark than Ms earlier pictures. He died in London. STEEVENS, Richard, sculptor, painter, and medallist. Born ta the Netherlands. He came to this country and practised here in the reign of Eliza beth, with much distinction. The tomb of the Earl of Sussex, Lord Chamberlain to the Queen, at Boreham, Suffolk, was erected after his design, and the figures are by his own hand. He paMted a full- length portrait of the Queen ta a dress embroidered with sea-monsters, and one of Mary Queen of Scots. It is said that his portraits were attributed to Holbein ; but they have little claim to this, and are wanting in his power and finish. Some of his medals are engraved in Evelyn's ' Dis course on English Medals.' STENNET T, William, amateur. W~as a merchant at Boston, Lincoln, who had antiquarian tastes, and was a good drafts man. A drawing of Boston Church by him was engraved in 1715 ; and one of Walpole Church in 1734. He made drawings of other churches ta Lincolnshire, and styled himself ' Delineator.' He died in poor cir cumstances at Boston, about 1762. STEPHANOFF, Fileter ~8., portrait painter. Bom hi Russia. Came to London and settled here. Exhibited at the Royal Academy ta 1778, and about the same time exhibited some stained drawings, views, with the Free Society. He patated por traits, but was chiefly employed on decora tions for ceilings, and was for a time en gaged in painting scenes for the circus ta St. George's Fields. He produced some landscapes ta India ink, slightly tinted, or, as it was then called, ' stained.' fie com mitted suicide some time before 1790. STEPHANOFF, Gertrude, flower painter. Wife of the above. Painted flowers, fruit, and stiU hfe with great finish and skill. She exhibited at the Royal Aca demy in 1783 and 1805, and was a teacher of draw ing. Died at Brompton, January 7, 1808. Her daughter, Miss M. G. Ste- PHANot'F, was a flower pamter and also an exhibitor. STEPHANOFF, Francis Philip, subject painter. Son of the above. Born ta 1788 at Brompton. lie commenced art at the age of 16, and was, from 1810 to 1845, a constant exhibitor at the Academy. His best works are, ' Poor Relations' ' The 412 Reconciliation,' 'The Trial of Algernon Sydney.' He painted both in oil and water- colours, and from 1815 to 1820 was a con tributor to the Water-Colour Exhibition, sending, among some other works, some drawings for Pyne's ' Royal Residences.' He gataed a premium of 100?. at the West minster Hall competition. Many of his works are engraved. He died at West Hannani, Gloucestershire, May 15, 1860. He furnished most of the costume portraits for the Garter-King-at-Arms' sumptuous work, ' The Coronation of George IV.,' and produced a fine series of historical drawings ta water-colours, ' The Field of the Cloth of Gold.' His works were not of a high class, but were popular. STEVENS, Alfred, sculptor and decorator. Was born at Blandford in 1817. He was a short time at the Royal Academy schools, and at 16 went to Italy to prose cute tas studies, where he was much im pressed by the works of Michael Angelo. For a time, he assisted Thorwaldsen, who thought higMy of Ms powers and gave him many commissions. He came back to England in 1826, and was principally en gaged ta decorative works ta sculpture, painting, and metal. The finest specimen of tas house-decoration is, perhaps, Mr. Holford's mansion in Park Lane, London. In 1850 he went to hve at Sheffield, and his influence on the local metal manufactures there was very marked, and he also became connected with its School of Art. The smaU lions on the iron posts ta front of the British Museum are by him ; and he made a design for one of the Mosaic spandrels under the dome of St. Paul's. He received from Government a commission to ex ecute the National Monument to the Duke of Welltagton, in St. Paul's Cathedral, wMch after causing him sad trouble and vexation he left unfinished at his death. StUl, it is probable, that two groups from it, ' Valour Triumphing over Cowardice,' and 'Truth Plucking out the Tongue of Falsehood,' wiU achieve for him a lasting reputation. He died at Haverstock Hhi, London, May 1, 1875. Godfrey Sykes was his pupil. STEVENS, Alexander, architect. He is best known by works wMch are of an engineering character. His bridge over the Liffey at Dublta, the docks and works on the Grand Canal, Ireland, and the aqueduct over the Lune, at Lancaster. He died at a very advanced age at Lancaster, January 20, 1796. He was noted as a clever draftsman. He executed many works in the north of England and ta Scotland. STEVENS, D., portrait painter. Prac tised in the time of George I. A portrait of that king by him is engraved by J. Faber. J STEVENS, Edward, A.R. A., architect. STE Pupil of Sir WUham Chambers. In 1762 he gained a premium at the Society of Arts. He was a member of the Incorpor ated Society of Artists, 1764, and was one of the early exhibitors at the Royal Aca demy, commenctag in 1770 with designs for the Dublta Royal Exchange, followed by designs for mansions, a sepulchral church, &c. • He was elected an associate of the Royal Academy in 1770, and died at Rome ta 1775. STEVENS, Francis, water-colour painter. Little is known of the career of this artist. He was born November 21, 1781. In 1S04 he was first an exhibitor at the Royal Academy, and then received some instruction from Paul S. Munn. In 1806 he joined the Water-Colour Society, and in 1808 was one of the founders of the well-known Sketching Society. In 1810 he appears as a member of the Norwich Society of Artists, and having given up tas membersliip of the Water-Colour Society, he exMbited in 1S13 ttaee oU landscapes at the Royal Academy, and ta 1819-1822 was also an exhibitor of works ta oU and water-colours ; and was living at Exeter. Since then the trace of Mm is lost. Pro bably he was a native of that city, as he was sometimes designated ' Stevens of Exeter.' He had great merit. His draw ings are weU composed and drawn, and richly coloured ; his figures well Mtroduced. He etched the drawings for Ackerman's Fami-houses and Cottages, 1815. STEVENS, Jom*,R&A.,subject paint er. He was born at Ayr, N. B. , about 1793. He came to London to study, and ta 1815 was admitted to the schools of the Royal Academy. He then returned to his native town, where he practised portrait painting, but after a whUe went to Italy, fie passed the greater part of his Me ta Rome. In 1831 he exhibited at the Royal Academy, ' PUgrims at their Devotions ta an Itahan Convent.' Advanced in age, the shock of a railway accident ta France was the proxi mate cause of his death, which took place in Edinburgh, June 1, 1867. STEVENS, John, landscape painter. Born in HoUand. He came to this country and patated small landscapes of a second- rate-class. Died ta London, 1722. STEVENS, John, engraver. Practised in London about the middle of the 18th centuiy. He engraved with C. Grignon a series of English views. STEVENS, Thomas, modeller. Was employed upon the magnificent tomb of the Warwick famUy, time of Henry VI., in Warwick Church. The principal figure and the small figures which occupy the niches are in copper richly gilt, and are attributed to him. They are exceedingly wgII cxscirtcd STEVENSON, Thomas, landscape STE painter. Was a pupU of Robert Aggas, and practised towards the end of the 17th cen tury. He painted landscape in oil, intro ducing architecture and figures in distem per, but was little more than a second-rate scene painter. He made the designs for the pageant of the jubUee of the Goldsmiths' Company ta the mayoralty of Sir Robert Vyner. He also patated portraits, one or two of which were engraved. STEWARDSON Thomas, portrait painter. Was born at Kendal, of Quaker parentage. _ He served a short apprentice ship to a patater there, and then came to London, and was a pupil of Romney. Early in the century he commenced portrait painting ta Leadenhall Street, and in 1804 was first an exhibitor at the Royal Aca demy. Soon attracting notice by his abUity, he moved westward and was well employed. He attempted some subject pictures, and exhibited at the Academy, ta 1818, ' The Indian Serpent Charmer,' and in the foUowtag year ' Aladdin.' He painted George III. and bis Queen. Many of Ms portraits are engraved. He was appointed portrait patater to Queen Carohne. Died at Ms lodgings in PaU MaU, August 28, 1859, aged 78. STEWART, Anthony, miniature painter. Was born at Crieff, Perthshire, m 1773. Showtag a taste for art, he was placed under Alexander Nasmyth, ta Edin burgh, and studied as a landscape painter. He made many sketches and drawtags of Scotch scenery, which display great feehng and merit ; but at an early period of his life he turned to miniature, which he adopted as his profession, and, after practising for a time in Scotland, came to London, where he established Mmself. He paMted a miniature of the Princess Charlotte, and afterwards the first miniature of the Prin cess Victoria, who sat to him for several years in succession. Greatly excelling ta the portraits of chUdren, he devoted himself for the last 15 years of his practice almost exclusively to them. He was a man of superior education, a good judge of art, and made a fine collection of etchings and en gravings. His mtaiatures were weU drawn and coloured, and pleasing in expression. He died in London in December 1846, and was buried in Norwood Cemetery. His daughters, Margaret and Grace Campbell, exceUed as miniature painters, and the latter was an occasional exhibitor at the Academy between 1843 and 1848. STEWART, George, architect. Built the large mansion in Earlstoke Park, Wilts, 1786-91. He exhibited some architectural designs at the Royal Academy in the latter year. STEWART, James, portrait painter. Was appointed Serjeant-Painter to George III. ta 1764 He painted for Alderman 413 STE Boydell portraits of all the artists employed on the Shakespeare GaUeiy, but the work did not possess much merit. STEWART, James, R.S.A., engraver. WasborntaEchnburghiii 1791, and appren ticed there in 1804 to a line-engraver. He was also a student ta the Trustees' Aca demy. His first engraved work of any importance was "Tartar Robbers dividing their SpoU,' after Allan, R.A. TMs was followed by ' The Circassian Captives,' after the same painter. In these works he proved himself, by Ms refined yet vigorous manner, an accomplished line-engraver ; and, con tinuing to engrave after Allen, R.A., he produced ' The Murder of Archbishop Sharp,' and ' Mary signing her Abdication.' He was next employed upon some of the lesser works of Wilkie, R.A, and then upon his ' Penny Wedding,' ta which he success fully imitated the painter's manner. About tMs time some disappointment in his art, added to the cares of a large family, led him to emigrate, aud ta 1833 he arrived with them at Algoa Bay, where he invested his savings in the purchase of a farm ; but the Caffre insurrection breaking out in the following year, his farm was destroyed, and, compeUed to fly with his famUy, they with great difficulty reached the settlement at Somerset. He then agam feU back upon Ms art, and by paMting portraits and teach ing he saved sufficient to purchase another property, on wMch he resided for many years, and became a magistrate of the settlements and a member of the legislature. He died M the colony M May 1863. STOKER, Bartholomew, portrait painter. Born iu Ireland, the son of an upholsterer ta Dubhn, and worked at that trade wMle studying in the Dublta art schools. He afterwards practised portrait ure in crayons with great success in that city and the neighbourhood. He died, of decline, in Dublin, 1788. STONE, Edward, architect- He was appotated clerk of the works to the Cor poration of London in 1477, and was the first who held that office, which he filled only for one year. STONE, Nicholas, sculptor and archi tect. Born at Woodbury, near Exeter, ta 1586. Worked some time ta Londou, and on the termination of his apprenticeship went to Holland, and was employed at Amsterdam by Peter van Kcyser, the arcM tect of the city, whose daughter he married. He returned to London, and found fuU employment, chiefly ta monuments, which he erected to many persons of distinction. In 1616 he was sent to Edinburgh, to decorate the Royal Chapel with sculpture ; and ta 1619 was employed on the orna mental work at the Banqueting House, Whitehall. He built the chapel in the Charter House to the memory of Thomas 414 ' STO Sutton, 1615 ; the front of St. Mary's at Oxford ; aud executed several works at Windsor Castle, to which edifice he was appointed by Charles L, in 1626, his master- mason and architect, fie recorded as among his chief works — Lord Ormond's tomb, KUkenny ; Lord Northampton's, at Dover Castle ; the Earl of Bedford's ; the poet Spenser's, in Westminster Abbey ; and Sir Edmund Bacon's, at Redgrave, fiis works of architectural monuments were so numer ous, that he seems to have monopohsed tMs class of the art of Ms day. He had three sons, Henry, Nicholas, and John, who aU attained excellence as artists, fie died August 24, 1647, aged 61, and was buried in the old church of St. Martin's-in-the- Fields. STONE, Henry (known as ' Old Stone'), painter and statuary. Was the elder son of the foregoing. Passed many years of lus life in Holland, France, and Italy ; con ttaued ta the latter country four years, and wtale at Rome received some instruction from Bernini, returning to England ta May 1642. He at first practised as a sculp tor, and on tas father's death cairied on his business ta conjunction with his brother John ; but his time was cMefly given to paMting. His portraits are careful and earnest in expression and finish. He copied Titian and other Italian masters, and his copies of Vandyck have fetched large prices as originals, fie wrote a work on the art of painting. Died in London, August 24, 1653, the last survivor of his family, who were all buried ta the same grave, with the inscription, ' Four rare stones are gone, the father and ttaee sons.' STONE, Nicholas, sculptor. Second son of the above Nicholas Stone. Studied Ms art ta Italy. He reached Rome ta October 1638, was admitted to the studio of Bernini, and made some good studies from the antique iu terra cotta. fie also copied several fine works, among them Bernini's ' Apollo and Daphne.' He was a good draftsman, and made drawtags and sketches of the Itahan buildings. Lady Berkeley's monument in alto-relievo at Cranford is by him. He returned to Eng land ta 1642, and died September 17, 1647. He was bmied ta the same grave with his father. STONE, John, modeller. Third son of Nicholas Stone, senr., was educated at Oxford, and intended for the Church, but became the pupil of Thomas Cress, the engraver. He joined the Royal army dur ing the civU war, and on the final defeat of the King, he fled, and after many adven tures, reached France, where he is supposed to have subsisted as he best could for several years. On his return to England, he devoted himself to art, and, ta conjunction with tas brother Henry, carried on his late father's STO business, but little is known of his works. He published, anonymously, ' Enchiridion,' a book on fortification, with smaU engrav ings by himself ; and one of the plates ta Dugdale's ' History of Warwickshire ' is by him. fie died, probably early, in 1653. STONE, Frank, A.R.A., subject paint er. Was born at Manchester, where his father was a cotton spinner, August 22, 1800. He was brought up to tas father's business, and was not attracted to art tiU Ms 24th year. Then, setting to work, he studied diligently, and making good pro gress, he came to London in 1831. He was elected, in 1837, an associate exhibitor of the Water-Colom- Society, and produced works of sentiment, finished with much taste and pretttaess. In 1S37 he began to exhibit at the Academy, and tried the Mgher medium of oU, and ta 1841 was awarded a premium of 50 guineas at the British Institution. In 1843 he was elected a member of the Water-Colom- Society, and exMbited that year, and up to 1846, with the Society. In 1847 he resigned Ms mem bership. His oU pictures had meanwhile a great popularity. ' The Last Appeal,' ' Checkmate,' and 'Mated,' 'The Course of True Love,' and others, were engraved, and known in every part of the kingdom. He was elected an associate of the Academy ta 1851. His works were assuming a Mgher character both ta subj ect and treatment. His ' Gardener's Daughter,' and some French subjects painted at Boulogne, showed im provement, when he died suddenly, in London, of disease of the heart, November 18, 1859, and was buried ta Highgate Cemetery. STOOP, Dirok or Peter, painter of battle-pieces. Was born in HoUand about 1612. Practised some time ta Portugal, and came from thence to England with Queen Catherine ta 1662. fie patated battle and hunting-pieces, and views of the seaports, but he is best known as an etcher of much spirit. Among tas etchings, there are seven views of Lisbon dedicatee! to the Queen, and eight large plates representing the ' Procession of Queen Catherine from Portsmouth to Hampton Court on her Arrival ta England ; ' also several plates to OgUvy's ' iEsop,' after Barlow. He died in England about 1686. Other accounts say he returned to Holland ta 1678, and died there ta that year. STOPPELAER, Herbert, portrait painter. Was bom in Dubhn, and made his way to London with Thomas Fiye. He tried many means to gain a living. He patated portraits, and exhibited with the Society of Artists in 1761-62. De signed many of the humorous subjects pubhshed ta tas day by Bowles, and was an actor, dramatic writer, and singer. With Charles Dibdin he planned the Patagonian STO Theatre, over the Exeter Change ; the pros cenium six feet wide, and the actors ten inches high ; and while Dibdin wrote the pieces and the music, he painted the scenes and spoke for the puppets. He was en gaged by manager Rich, and played the doctor ta 'Harlequin Skeleton,' but he appears to have done better in art ; for on a proposal to renew Ms engagement, he answered, ' Sir, I thank you for the fever you intended me, but have a violent cold and hoarseness upon me this twelve months, which conttaued above six months, and is not yet gone, and I am apprehensive it will return. I can but just keep my head above water by painting, therefore do not care to engage ta the playhouse any more.' He died ta 1772. STOPPELAER, Michael, portrait painter. Brother to the above, was born in Ireland, and practised portrait painting. A portrait by him of Joe Miller, painted ta 1738, is engraved. He also had dra matic tastes, was famed as a comic stager, and performed low characters with much originality. ST 0 R E R, James, draftsman and engraver. He hved chiefly at Cambridge, and devoted himself to the ancient architec ture of Great Britain, which he both drew and engraved with great detail and accu racy, and had very considerable merit as an engraver. He published ' The Rural Walks of Cowper ta a Series of Views near Olney,' 1803. He made the Ulustrations for ' The Antiquities of the Inns of Court and Chancery,' 1804 ; for ' Select Views of London and its Environs,' 1805 ; and ta the same year for ' Views in North Britain,' Ulustrative of the works of Burns ; with a work of the same character illustrating the works of Bloomfield ; and in 1807-11 for the ' Antiquarian and Topographical Cabinet.' In 1812 he published 'A Description of FontbiU Abbey,' with views. In 1814 he commenced his ' History and Antiquities of British Cathedrals,' an accurate and excellent work, which was foUowed by ' An Elucidation of the Principles of Gothic Architecture.' He resided the latter part of Ms life M the Metropolis, where he died December 23, 1853, aged 72, and was buried at St. James's Chapel, PentonvUle. STORER, Henry Sargant, draftsman and engraver. Son of the foregoing, and associated with his father in his chief works. fie resided many years at Cambridge, and drew and engraved views of King's College, Trinity College, and other edifices at Cam bridge. He ched ta the prune of hfe, January 8, 1837, and was buried at St. James's Chapel, Pentonville. STOTHARD, Thomas, R.A., subject painter. Was born at the ' Black Horse,' Long Acre, a house kept by his father, August 17, 1755, and being a delicate child 415 STO was, when five years old, sent to an uncle at Acomb, near York, where he grew strong, and gained some instruction at a vUlage school, and afterwards at a school near Tadcaster. At the age of 13 he returned to his parents in London, and then went to a school at Uford. In 1770 his father died, leaving him 1200?., and having shown an aptitude for drawing, he was apprenticed to a pattern draftsman for brocaded sUks in Spitalfields, and occupied tas leisure by designs from the poets. Some of these faUing under the notice of the proprietor of the ' Novelists' Magazine,' he employed him to make a few designs, and though he did not then receive further employment, his thoughts were turned ta that direction, and when, from a change ta the sUk trade and the death of Ms master, he was released a year before the completion of his appren ticeship, he at once devoted himself to art. His first designs engraved were for an edition of ' Ossian,' and for ' BeU's Poets,' and the talent they displayed led to his employment on a series of designs for the ' Novelists' Magazine.' These subjects were well suited to his tender, simple tastes, and their truth and grace at once established a reputation. He was at first paid half a guinea each, which was soon raised to one guinea. Of these illustrations, the eleven illustrating ' Peregrine Pickle,' published in 1781, are admirable, the characters excel lent, having all the flavour of Smollett. They were followed by some graceful de signs for Richardson's ' Clarissa,' and ' Sir Charles Grandison,' fuU of a sweet imagery, which has rarely been surpassed. He after wards designed from Shakespeare and Cer vantes, Ulustrated ' PUgrim's Progress,' in 1788, followed by ' Robinson Crusoe,' and in 1798, ' The Rape of the Lock,' in which tenderness and grace are combined with allegory. The foregotag designs were exclusively for book Ulustration, and were usuaUy drawn and washed ta with India ink, some times sweetly coloured, but he painted many pictures ta oil. He had entered the school's of the Royal Academy iu 1777, and was a contributor to its exhibition. Commencing in 1778, his exhibited works were chiefly his book designs, which after his election as an associate in 1791 were chiefly M oU, with occasionally a work of more import ance; but his contributions, though con tinued till his death, did not often exceed one each year. His last work of note was his ' Venus Attended by the Graces,' in 1824. He was elected a full member ta 1794, and ta 1810 was appointed the libra rian. Among his oil pictures were his works for Boydell's Shakespeare Gallery, ' The Canterbury Pilgrims,' and 'The Dun- mow Flitch.' Also, the great staircase at Burleigh, on which he was employed during 416 STO the summer months for four successive years ; and the staircase of the Advocates' Library in Edinburgh. He was engaged likewise ta designing for goldsmiths' work ; and his Wellington Shield, modeUed ta sUver, is a noble example of his talent. He had been an industrious worker during a long hfe, and his designs have been estimated at 4000 ; above half that number have been engraved. Their ele gance and grace gave a charm to book iUustration, in wliich he stands unrivaUed. But his oU paintings are not equal to his drawings; they are crude and defective ta tone. Female beauty and purity are conspicuous in his works, but, wanting individuality, they are too much of one conventional type. His art did not, how ever, reach the sacred or historical. His conceptions were not of the severe charac ter such subjects demand, and his works of tMs class are wanting in elevation of charac ter and expression. He had married early and had a large famUy. He hved ta New man Street from 1794 tUl his death, April 27, 1834. He was buried ta BunbUl Fields' ground. His life, with personal reminis cences, was published ta 1851 by Mrs. Bray, the widow of his son Charles Alfred. STOTHARD, Charles Alfred, anti quarian draftsman. Son of the foregoing. Was born July 5, 1786. He early showed a taste for drawing, and was admitted a student of the Royal Academy. He started ta art with an attempt ta the grand style, and in 1810 patated the murder of Richard II. in Pomfret Castle, but did not meet with encouragement; and having made some drawings of the old monuments at Burleigh, wlnle Ms father was engaged there, lie turned Ms attention to the iUus tration of our national antiquities, and ta 1S11 published the first number of 'The Sepulchral Effigies.' He was painstaking and accurate, and soon established a name as an antiquarian draftsman, and from this time till 1815 travelled in England, often taking long journeys on foot, ta pursuit of antique monuments. He was associated with Lysons ta tas 'Magna Britannia,' and was elected historical draftsman to the Society of Antiquaries. In 1816 he was employed by the Society to make drawings of the Bayeaux Tapestry, and while in Normandy made several' anti quarian researches, and discovered the tombs of the Plantagenets, the existence of which had been doubted. He had com pleted nine (out of twelve) numbers of his ' Sepulchral Effigies,' having etched 127 of the plates with his own hand, and had commenced the collection of materials to illustrate the age of Elizabeth, when he met Ms untimely death. He went tato Devonshire to make drawings and notes for the ' Magna Britanma,' and whUe tracing STO a church window at Beer Ferrers, he fell, and was found dead on the floor, May 28, 1821. His widow, who published a memoir of him ta 1823, afterwards married the clergyman of the church. STOTHARD, Henry, sculptor. Was the brother of the foregoing, and the third son of Thomas Stothard, R.A. He was a pupU of Flaxman, R.A., and was admitted to the Schools of the Academy, where he fained the first medal ta the antique school. le suffered an attack of apoplexy, and after betag for 20 years unable to follow Ms profession, obtained admission to the Charter House ta 1840, and died in that institution, February 26, 1847, aged 56. STOTHARD, Alfred Joseph, medal list. Was the sixth son of Thomas Stoth ard, R.A. His works are weU known. He reproduced Chantrey's bust of Sir Walter Scott, and medallions of Lord Byron and Mr. Canning. Also a good medallion por trait of George IV. He exhibited portrait medals at the Academy, for many years, commencing in 1825. fie died October 6, 1864, aged 71. STOW, James, engraver. Was born near Maidstone, about 1770, the son of a Kentish labourer. He showed such an early abffity for art, that the gentry of the neighbourhood raised a subscription and apprenticed him to WooUett, on whose death he was transferred to WUham Sharp, with whom, after completing his appren ticeship, he conttaued for some time as assistant. He worked ta the line manner, and was employed upon some of the best works of his time. For BoydeU's ' Shake speare,' between 1795-1801, he engraved eight plates. For Du Roveray's ' Homer,' 1806, 12 plates. He also engraved some por traits, ta which he excelled, and some good landscapes, among them Gainsborough's ' Boy at the Stile. But he did not realise his early promise ; his exaggerated talent had not aided him, he became irregular M his habits, then embarrassed in his circum stances, and on his death left a family in indigent circumstances. Among his latter works his plates for ' Londina IUustrata,' 1811-23, are very inferior. STRANGE, Sir Robert, Knt, en graver. Was born at Pomona, Orkney, July 26, 1721, of an ancient Fifeshire family, who had settled there. He was classicaUy educated at Kirkwall and in tended for the law, but showing some talent for drawing, was apprenticed to Richard Cooper, an engraver, then prac tising in Edinburgh. He first began busi ness himself as an engraver ta that city, and held a respectable position there when, on the breatang out of the CivU War, it was occupied by the Young Pretender and his troops in 1745. He joined the Jacobite side, and was appointed engraver to Prtace STE Charles, a half-length portrait of whom, bearing the initials ' C. P. R. and R. Strange, sculp.,' gained him a great re putation. There exist several portraits ta pencil by him at tins time of the Prince and his adherents, which, though weakly drawn, have the character of truthful indi viduality. He is reputed to have fought in the ranks at Cidloden, and after the loss of the battle to have escaped to Paris. Here he studied under Le Bas, and ta 1751 returned to London, where he established himself, and was recognised as an engraver of great eminence. On the accession of George III. he was invited to engrave the full-length portraits of the King and his prime minister Lord Bute, by Ramsay, and gave great offence, which probably his previous career in creased, by refusing this commission ; and he thought it well to carry out at once a wish he had long entertained, of visiting Italy. Here he studied with great dffigence at the principal cities, cMefly at Rome and Bologna, and produced some of his finest works. He also spent several years in Parts, where, as ta Italy, tas works were held in veiy high estimation. He engraved some of the finest pictures by Gtado, Do- menichtao, Titian, Raphael, Correggio, Van dyck, and other masters, and was elected member of the Academies of Rome, Florence, Bologna, Parma, and Paris. In several of the highest qualities of his art he is un surpassed, fiis tender flowing line gives a pecuhar delicacy and transparency to his flesh, and his works are excellent ta power, drawing, and character — qualities which he had attained by his practice of making the most careful studies ta red chalk. He was a member of the Incorporated Society of Artists, 1766. He resented the laws of the Royal Academy, which did not allow the election of engravers, thought himself excluded by petty intrigues, and was a bitter opponent of that body. In 1775 he published an attack upon them, imder the title of 'An Enquiry into the Rise and Progress of the Royal Academy of Arts at London,' to which he prefixed a letter, complaining that Lord Bute had shown his resentment by engaging an emissary to learn the works of the great masters which he intended to engrave ta Italy, and then employing Bartolozzi to engrave these very pictures from drawings dishonourably obtained ta the King's name. It does not appear when he returned to London, but he did not regain the Court favour till 1787, when he engraved, after West, the apotheosis of the three children of the King, who died in their infancy, and in the same year received the honour of knighthood. He had been long in a de clining state of health, and died at his house in Great Queen Street, Lincoln's e 417 STE Inn" Fields, July 5, 1792. He was buried ta St. Paul's Churchyard, Covent Garden. At Sir Mark Sykes's sale ta 1824, his works fetched high prices, and 51?. was paid for a proof of his Charles I., after Vandyck. His wife was of an old Jacobite famUy, and it is told of her that, when aged and bedridden, some one ta her presence speaking of Prince Charles as 'The Pre tender,' she started up and exclaimed, ' The Pretender be d d to you ! ' The ' Memoirs of Sir Robert Strange and An drew Lumisden,' the brother of this lady, were published in 1855. STREATER, Robert, history painter. Was born in Covent Garden ta 1624, the son of a painter, and was a pupil of Du Moulin, said to have been celebrated in his day. He painted history, portraits, land scape, and still-life. Charles II. appointed him his Serjeant-Painter. He patated several ceilings at Whitehall, which were destroyed at the fire ; ' Moses and Aaron,' for St. Michael's, CornhUl; the Chapel at All Souls' College, Oxford, and a large ceiling at the theatre there, deemed bis best work ; the flying Amortai on it are good, and though a pretentious attempt, it is not without merit. He patated scenes for the King's masques, and etched the Battle of Naseby and several architect ural plates. Pepys describes him ' as an excellent patater of perspective and land scape,' and says ' he had great popularity during his life.' He was attacked by ill ness, and the King sent to Paris for an eminent physician to attend him, but he arrived too late. He died in 16S0. It appears that his son succeeded him as Sergeant-Painter, and died in 1711. STREETES, Gwillim, portrait painter. Was an Enghsh artist, and was painter to Edward Vl. ta 1551. Strype records that the King paid him 50 marks for two pictures of the King, and a third of Henry Howard, Earl of Surrey, who was beheaded in 1546-7. STRINGER, Daniel, portrait painter. He was a student of the Royal Academy about 1770, and obtained the power of drawing with great beauty and spirit, and was also a good colourist. He produced some admirable heads, and made some sketches which showed great comic power. But he sacrificed his great talent to the company of country squires and the love of Cheshire ale, and the admirers of bis art lost sight of him. STRINGER, E., topographical drafts man. Practised in the last quarter of the 18th century. Was a member of the Liverpool Academy, anci contributed to their exhibitions. Some of his works, which have no art merit, were engraved for the 'Gentleman's Magazine' about 17S5. 418 STE STROEHLING, P. H., portrait paint er. He was a Russian subject, and was educated at the expense of the Emperor, finishing his studies in Italy. He came to this country about 1804, and in that and the two following years was an exhibitor at the Royal Academy. He does not again appear as an exhibitor till 1819, and from that year till 1826 sent his works to the Academy. His portraits are cMefly ta oil, but he also painted some good miniatures, and had many distinguished sitters. S T R U T T , Joseph, painter and en graver. Was born at Springfield, Essex, October 27, 1749, and nas the son of a miller who possessed some property. His mother, who had been many years a widow, apprenticed him, at the age of 14, to the unfortunate W. Wynne Ryland. In 1769 he was admitted to the schools of the Royal Academy, and having gained a silver medal, he was, ta 1770, awarded the gold medal for his historical patating of ' iEneas stopped by Creusa.' An introduction at this time to the Libraiy of the British Museum turned his attention to literature, which divided his thoughts with art, and in 1773 he published tas ' Regal and Eccle siastical Antiquities of England;' in 1774 the first volume of what he called his great work, ' The Manners and Customs of the EDglisb,' followed by the remaining two volumes ta 1775 and 1776. His art was the handmaid to tas antiquarian tastes. He made his drawings, engraved his plates, and wrote bis letter-press commentary. In 1775 the first volume of his 'Chronicle of England' appeared, and the second in the foUowtag year ; but it did not receive sufficient encouragement to induce its continuance. At this time he was greatly afflicted by the death of his wife, followed by the death of his mother, and it is not till 1785 that he agata appears. In that and the fol lowing year he published bis 'Dictionary of Engravers,' in the second volume of which he was assisted by the elder Bacon, the sculptor. He suffered from asthma, and ta 1790 he retired to Bramfield, near Hertford, where he resided five years, and engraved the greater part of the plates for ' Pilgrim's Progress.' But he returned to London, where alone he could find materials to gratify him ta his studies, and began to collect materials for his work, ' The Dresses and Manners of the English,' which he published ta 1796-9. To this, in 1801, he added his last work, 'The Sports and Pastimes of the English.' He had com menced a work to illustrate the usages of the 15th century, styled ' Queen Hoo HaU,' which he laid aside to undertake a new edition of his ' Manners and Customs,' but death put an end to his industrious labours. STE He died in Charles Street, Hatton Garden, October 16, 1802, and was buried in St. Andrew's Church. As an artist he painted only five or six historical works. His drawtags, however, both in chalk and body colour, are numerous and carefully exe cuted. His engravings are in the dot and the chalk manner, very tender and spirited, weU drawn and expressive. In addition to the ' PUgrim's Progress ' there are some landscapes after Claude, aud some plates after Le Soeur, Cipriani, and Stothard. But by his antiquarian labours his name will always be remembered. STRUTT, Jacob George, landscape painter. He studied tas art in Loudon, and first appears as an exhibitor of por traits at the Royal Academy ta 1S22 and 1823. In the foUowtag year, and up to 1831, his exhibited works were exclusively forest scenes. Soon after be went to Lausanne, and after residing there some time went to Rome. He sent from thence, in 1845, 'The Ancient Forum,' and ta 1851, ' Tasso's Oak, Rome,' and the same year returned to London. He exhibited an 'Itahan Scene' ta 1852, his last con tribution to the Academy. He published, 1823-25, 'Sylva Britannica,' drawn and etched by Mmself ; also 'Delicia? Sylvaram.' STUART, James (known as 'Athenian Stuart'), architect. Born of humble pa rents, (his father a Scotch mariner, ta Creed Lane,) London, ta 1713. He evinced an early talent for drawing, and a power of attaintag knowledge. By painting fans for Goupy, a famous maker, who kept a shop in the Strand, he materiaUy assisted to support Ms widowed mother and her young family, and found means also to improve himself. He became a correct draftsman, geometrician, mathematician, and to these attainments he added Latin and Greek. These studies led him to architecture. He was of a robust constitution, and gifted with great courage and perseverance. When almost in penmy he conceived the idea of visiting Rome and Athens, but he de layed Ins journey till he could make some provision for tas mother, with a young brother and sister. On their fortunate employment, and his mother's death, he started, with an almost empty pocket, ta 1741, for Rome on foot, travelling through Holland and France, but of necessity stopping at Paris and other places to earn money for the prosecution of tas journey. At Rome he met with Nicholas Revert, with whom his name is indissolubly con nected, and remained with him there for six or seven years, closely employed in the study of patating, and during this time they conceived the plan which they jointly made known in 1748, of publishing an au thentic description of Athens. With this purpose they left Rome ta March 1750, STU but did not reach Athens tiU the following March. Stuart bad, while on the Con tinent, made hhnself a master of the art of fortification, and voluntarily served at this time a campaign as chief engineer, in the army of the Queen of Hungary. Then, returning to Athens, he applied himself closely to the study of Athenian architec ture, making exact measurements and drawtags. In 1753 he left Athens, accom panied by Revett, and visited Thessalonica, Smyrna, and the Islands of the ArcMpelago, and returned to London with his companion early in the year 1755, after a laborious expechtion of five years. In 1762 he pub lished, in conjunction with Revett, the first volume of the ' Antiquities of Athens,' a work which wUl form a memorial of his accuracy, skUl, and perseverance. The second volume, which he had completed, was published after his death, in 1789. The drawtags were nearly completed for the third and concluding volume, which was published in 1795, edited by Reveley. From 1771 to 1783 he exhibited with the Free Society of Artists, contributing views in water-colours of the ' Ancient Buildings ta Athens,' 'Views of Athens,' 'Grecian Antiquities,' and designs, which were mo delled by Thomas Scheemakers, ' Cupid UnveUing Modesty,' ' Judgment of Paris,' ' The Story of Cyrus,' and some others. In 1780 he was President of the Society. He practised as an architect, erected several fine mansions in London, was ap potated surveyor to Greenwich Hospital, . and rebuUt the chapel, after its destruction by Me. His drawtags were chiefly made in body colour. He was twice married, first about 1760, to his housekeeper, a good woman, by whom he had one son ; and a second time, about 1781, to a young lady by whom he had four chUdren. He died, in Leicester Square, February 2, 1788, and was buried in the vaults of the church of St. Martin-ta-the-Fields. He left a con siderable fortune, amassed entirely by his own industry. In addition to the acquire ments already mentioned, he was skilful in engraving and carving, and disttaguished by his general antiquarian knowledge. STUBBS, George,. A.R.A., animal painter. Was born ta 1724, at Liverpool, where his father practised as a surgeon. Little more is known of his early life than that he was an earnest anatomical student, and about 1754 visited Italy, extending his journey as far as Rome. It is probable that he studied there for a time, as Barry, R.A., twice mentions him in his letters from Rome, and speaks in terms of high praise of some works he was patating. On his return he settled in London, soon be came known as a painter and anatomist, devoting Mmself largely to the dissection of animals. He was patronised as a horse- e e 2 419 STU painter by all who delighted in art. He was a member of the Incorporated Society of Artists, and in 1773 their President. In 1766 he published his ' Anatomy of the Horse,' a work on which he had been long engaged, and had drawn and etched, from dissections made by himself, the 18 plates with which it was illustrated. In 1780 he was elected an associate of the Royal Aca demy, and the following year an academi cian ; but he declined to present a painting by himself to the Academy, ta pursuance of the rule, and preferred to remain an associate. In painting the portraits of horses, he aspired to something more than the mere lay-figure treatment which had hitherto prevailed, and aimed at showtag the animal's form in variety of motion, and also grouped and in combination with the higher animals. Of this class are his ' Horse frightened at a Lion,' and ' Lion kiffing a Horse.' He also painted tigers and other wild animals with great ability. He was fortunate that engravers of such distinction as Woollett, Earlom, and Val. Green spread the fame of his works. His ' Fall of Phaeton,' which he is said to have repeated four times, is always mentioned as one of his best works, but it does not maintain its reputation. He had been long engaged on an anatomi cal work, comparing the human structure with that of the tiger and other animals, but he only lived to complete three out of the intended six parts. He tried some enamels of large size on iron plates, and ta 1782 exhibited the portrait of a dog and of an artist ta that material. He died in Upper Somerset Street, Portman Square, July 10, 1806. He had resided there for 40 years, and during that time had been a strict water-drinker, yet he hved to enjoy 82 years of vigorous life. STU BBS, George Townley, engraver. Son of the foregoing. Was born ta London about 1756, and learnt his art under his father, many of whose works he engraved inmezzo-tint. Healso engraved after others, and some of his works are ta the dot man ner and printed in colours. He exhibited with the Incorporated Society in 1775-76 mezzo-tints and stained drawings. He died in 1815. STUBLEY, P., portraitpaintcr. Prac tised in London about 1730. His portraits are very well drawn and composed. There is a good engraved portrait of Peter Mon- amy, the marine painter, after him, and some other portraits engraved by J. Faber. STUMP, Jon x S., miniature painter. He was a student, in the schools of the Royal Academy, where he was for many years and up to 1845 a constant contributor to the exhibitions. He contributed minia ture portraits, many of them theatrical portraits in character, and one or two classic 420 SUM subjects also ta mmiature. He also exM bited subjects of the same class, from 1824 to 1845, with the Society of British Artists ; and M his early career contributed some landscape scenes and portraits to the Water- Colour Society. There are likewise a few oil portraits by his hand, and some Swiss landscape scenes. He held a high place as a miniature patater, his work betag marked by great tone and breadth. He was a member of the Sketching Society. He died ta 1863. STURT, John, engraver. Bom in Lon don, April 6th, 1658. Was apprenticed, at the age of 17, to Robert White. His works had not much art merit. He en graved the Lord's Prayer within the com pass of a silver penny, fiUed the curls of a royal wig with pious praises, and some other like feats ; but his chief work was bis Com mon Prayer Book, published bysubscription ta 1717, which was engraved in two columns on sUver plates, with borders round each plate, initial letters, and small histories at the top. The work is of large octavo size, and contains 166 pages, besides 22 which comprise title, dedication, preface, por traits of George L, and of the Prince and Princess of Wales, &c. He afterwards engraved, in the same manner, a Companion to the Altar, and some other works, among which deserves notice Anderson's Scotch Records, which he left unfinished. He grew aged and poor, refused a place ta the Char ter House which was offered to him, and died in August 1730. Faithorne drew his portrait, which was engraved by W. Humphreys. SULLIVAN, Luke, engraver. Was born 1705, Co. Louth, Ireland, and is re puted to have been the son of one of the Duke of Beaufort's grooms, and to have found his first employment in the stable. He came early M Me to London, about 1750, and was a pupil of Thomas Major, the engraver. He is chiefly known as an engraver, and was an assistant to Hogarth, fie engraved his ' Paul before Felix,' ta wliich picture the face of the angel was drawn from him ; and the ' March to Finchley,' an exceUent work. He painted in water-colour some architec tural and landscape views, and engraved himself Ms ' View in the Park,' with a group of figures, 1751 ; and also a series of six seats — Cleveden, Esher, Wilton, Ditchley, and Woburn, 1759. He also excelled highly in mtaiatures, especiaUy of females, and from 1764 to 1770 was an ex hibitor, chiefly of miniatures, with the Incorporated Society, of which he was a member and director. He was of dissipated habits, passing his time in brothels and taverns, and died at the 'White Bear,' Piccadilly early in 1771. SUMMERFIELD, John, engraver. Was the favourite pupil of Bartolozzi, R.A., 7 Sturt (John) The Book of Common Prayer, 12mo, with engraved frontispiece, portrait of Queen Anne, and fifty five fine plates by John Sturt, morocco, tooled back and aides, 15s 1705 Bookplate of William Lord Craven. 43 Heraldry of Worcestershire, being the Roll of Arms by the various Families, with Genealogical Notes, by S. Grazebrook, thick sq. 8vo, cloth, 7s 6d 1873 SUN and was early disttaguished by his talent. He executed, ta 1800, a fine plate of ' Rubens and his Wife going to Market,' for which he received the Society of Arts' gold medal, and some other excellent works ; but to so low an ebb was the art then re luced, that he is said to have suffered from actual want. He died in BucMngham- sliire ta March 1817. SUNMAN (or Sonman), Wtllem, por trait painter. Was born hi Holland, came to England ta the reign of Charles IL, and was much employed after the death of Lely, but was jealous of the rising ability and favour of John Riley, and retired to Oxford. Here he was employed by the University, and patated the series of large apocryphal pictures of the founders of colleges now ta the Picture GaUery, works which do not give a Mgh idea of his abUities. But there is by him a good portrait at Wadham of an old female servant of that college. Some of his portraits are engraved, fie died ta 1707, in Gerrard Street, Soho. SUTCLIFFE, Thomas, water-colour painter. He was born ta Yorkshire, and durtag Ms art career hved at Headingly, near Leeds. He first exhibited in London at the Royal Academy, ta 1856, ' A Study in Harewood Park,' and was soon after admitted an associate of the Institute of Painters in Water-Colours, and exMbited landscape views with that Society up to tas death ta December 1871. SUTHERLAND, Thomas, engraver. Was bom about 1785, and practised bis art in London. He is chiefly known by his plates in aqua-tint, some of which are printed ta colours. Among Ms works are the Peacock Tavern, Islington, from whence the northern mails started ; some hunting subjects, and views of Dover and Calais. SUTHIS, William, architect. He was a citizen of London, and held the office of Master Mason and Architect of Windsor Castle, on the reign of Charles I. He died October 5, 1625, and was buried at Lambeth. SUTTON, John, modeller and, carver. Was employed upon the famous tomb of the Earl of Warwick. Temp. Bichard the Second. SUTTON, Baptist, glass painter. Painted two windows for the Church of St. Leonard, Shoreditch, some time prior to 1634. SWAINE, Francis, marine painter. He was a member of the Free Society of Ai'tists 1763, and was an exhibitor with them and the Incorporated Society till his death. He gained the Society of Arts' medal ta 1764, and again ta 1765, for Ms marine views. He painted marine moon lights, sea-fights, and was an imitator of the Dutch masters. There are two small SYK sea-pieces by him at Hampton-Court, but they do not support the reputation be enjoyed in his lifetime. He resided many years in Stretton Ground, Westminster, and removed to Chelsea, where he died in 1782. Two of his works are engraved by Canot. Monamy Swaine, probably his son, was also a painter, and an exhibitor of marine subjects. SWAINE, John, en/graver. Born at Stanwell, Middlesex, was a pupU of Jacob Schnebbelie, and on his death, in 1791, was transferred to Barak Langmate, a writing engraver, and then to his son. He was chiefly employed on works of an antiquarian character, and was painstaking and accurate, but feeble. He executed very clever fac- simUe imitations of old engraved portraits. He died ta Dean Street, Soho, November 25, 1860, aged 85. His son; John Barak Swaine, who was brought up as an en graver, and was of some promise, died prematurely ta 1828, aged 23. SWAN, Abraham, architect. Practised ta London in the middle of the 18th century, and published, ta 1757, ' A Collection of Designs in Architecture.' SWIFT, John Warkup, marine paint er. He was brought up at Hull in the midst of shipping, and was for several years a saUor. He first became scene painter to an amateur dramatic club, and improving in art, he settled ta practice at Newcastle- on-Tyne, and became well known in the north of England. He painted, in 1863, ' The Channel Fleet running into Sunder land,' and ' Shields Harbour,' both large works. He also painted a few landscapes. Some of his works were produced in chro- mo-lithography. He died suddenly, at Newcastle-on-Tyne, May 7, 1869, aged 54. SYBRECHT, John, landsca/ie painter. Born at Antwerp in 1625. lie came to England, and was employed during four years in the decoration of Cliefden House, and afterwards at Newstead and Chats worth. He painted ta the decorative man ner of Du Jardin and Berghem. He died in London ta 1703, and was buried at St. James's Church, Piceadillly. SYrKES, , portrait painter. Hewas one of the artists consulted, ta 1 727, on the value of Thornhill's patatings at Greenwich Hospital, fie died in Lincoln's Inn Fields shortly before 1733, and his collection of pictures was sold in' June of that year. He was considered of some eminence in his day. SYKES, Godfrey, ornamental model ler. Was born at Malton, and was succes sively student, pupil- teacher, and master of the Sheffield School of Art. He was afterwards employed at the South Ken sington Museum, and united with Captain Fowke, R.E., ta the decoration of the new Museum buildings and the arcades of the 421 SYM conservatory in the Horticultural Gardens. The columns for the lecture theatre at the Museum are examples of his taste and genius. His style was distinctly formed, and showed great fertility of invention, controlled by sound principles. After a long illness, he died at Brompton, February 28, 1866, ta his 41st year. SYME, Patrick, R.S. A., flower-paint er, lie was born September 17, 1774, in Edinburgh, where he was educated, and at an early age followed the profession of his elder brother, succeeding, on his death ta 1803, to his practice as a teacher of draw ing. He was a regular contributor from 1810 to 1816 to the exhibitions of the Society of Associated Artists. He died at Dollar, N. B., in July, 1845. He was a man of several attainments — a botanist, entomologist, had made collections of shells and insects, and some of his natural history drawings were deemed his best works. He was also a writer of poetry and fiction. His ' Treatise on British Song Birds ' was pub lished iu 1823. He also published an TAN" edition of Werner's 'Nomenclature of Colours.' SYME, John, R.S. A., portrait painter. Nephew of the above. He was born in 1795 ta Edinburgh, where he studied ta the Trustees' Academy, and afterwards prac tised. He was a pupil of Sir Henry Rae- burn, and on his death,, completed his unfinished works, and was successful as a portrait painter. He was one of the founda tion members of the Royal Scottish Aca demy, and took an active share in its management. His portrait, pamted by himself, is in the Academy Gallery. He died in Edinburgh ta 1861, after a severe illness, wliich had for several years prevented the exercise of his profession. S Y M 0 N D S, Symon, glass-painter. Lived in St. Margaret's parish, Westminster, and, conjointly with Francis WiUiamson, contracted for the painted windows of the upper story of King's College, Cambridge, 18th Henry VIII., of ' Orient Colours and Imagery of the Story of the Old Law and of the New Law.' T TACONET, Charles, sculptor. Studied in the schools of the Royal Academy. In 1790 he exhibited ' The Death of Milo,' and ' Venus Instructing Cupid ta Archery,' and in the same year he gataed the Aca demy gold medal for his model of ' Samson.' In 1791 he exhibited a design for a portrait medal, and in 1792, ' Atlas,' after which there is no further trace of Ms art. TAGG, Thomas, etcher. Was well known for the great taste of his etchings. His name does not appear as an exhibitor. He chiefly forwarded plates for engravers. He suffered for some months from epileptic fits, pro bably aggravated by poverty, and was iu great pecuniary want. His artist friends raised a subscription for him, but only in time to provide for his funeral and pay the debts contracted during his illness. He died at Kennington, ta November, 1809. TALFOURD, Field, portrait painter. Born at Reading ta 1815. He first exhi bited at the Royal Academy in 1845, aud from that year was an occasional con tributor chiefly of portraits. From 1865 he sometimes exhibited a landscape, and his last woiks sent to the Acav emy in 1873 were two Welsh landscapes. His portraits were frequently drawn in crayons. He died in Sloane Square, after a short illness, iu March 1874. He was the younger brother of Mr. Justice Talfourd. TALLEMACHE, William, sculptor. He studied in the schools of the Royal 422 Academy, and ta 1805 gained the gold medal for Ms group, ' Chaining Prometheus to the Rock.' He does not appear to have followed up this success. He only appears agata as an exhibitor of small models, to be cast in bronze, on two occasions, in 1812 a 'Model of the King;' and 1814 a ' Bacchus ' and an ' Ariadne.' TALMAN, William, architect. Was born at West Lavtagton, Wilts, where he had an estate. He was Comptroller of the Works to William IIL, and was employed on many considerable buildings. In 1671 be built Thoresby House, Nottinghamshire, wliich was burnt down ; in 1681, Chats worth, Derbyshire ; ta 1698, Dynham House, Gloucestershire ; and later, Swallowfield, in Berkshire. TALMAN, John, amateur. Son of the foregoing. He went to Rome with Kent to study, in 1710, and passed much of his time in Italy, where he made numerous drawings of the churches and public edifices, some of which are sketched with the pen and others tinted in water-colours. A few of these drawings are possessed by the Society of Antiquaries. TANNER, John Sigismund, medallist. Was a native of Saxe-Gotha, and came to England about 1733. He was first employed in the domestic service of Frederick Prince of Wales, and showtag a taste for carving and chasing he obtained some appointment ta the Royal Mint, and by his ability rose to TAN be chief engraver ta 1740. He executed medals of the Prince and Princess of Orange, the large family medal of George I., his Queen, and their children, and a medal of Sir Isaac Newton. After nearly 40 years' service in the Mint he retired, fie died in Edward Street, Cavendish Square, March 16, 1775. TANNOCK, James, portrait painter. Was bom about 1780, at Kilmarnock, where his father, to whose trade he was appren ticed, was a shoemaker. He was so bent upon painting that he was at last allowed his own way, and getting employment as a house-painter, he tried portraiture with sufficient success to gain notice ta his own town. He then went to Glasgow and had some practice there, and was, from 1806 to 1809, at Greenock, where he painted chiefly miniatures, but some few oU portraits also, and again for a time resided at Glasgow, where his art was much esteemed. About 1813 he came to London, and lived for many years in Newman Street. His por traits possessed some merit, and from 1813 to 1841 he exhibited, with httle intermis sion, at the Royal Academy. From about 1820 to 1830 his son, W. Taxnock, was also an exMbitor of portraits. TASSAERT, J. Philip, portrait and drapery painter. Was born at Antwerp, and came to England when veiy young. He was some time with Hudson the por trait patater, probably as Ms assistant. He was, iu 1769, elected a member of the In corporated Society of Artists, and in 1775 a president of the Society, exhibiting with them for several years landscapes and sub ject pictures. On one or two occasions ne sent a smaU whole-length portrait to the Academy. His works were frequently pasticcios and copies, and he can hardly be classed as an original painter. He was also known as a picture-cleaner and dealer. He issued, ta 1777, a plan for ' A Most Noble and General Exhibition of Arts and Sciences,' which was partly to be formed of works on loan, fie died ta Soho, October 6, 1803. T A S S I E, James, gem-engraver and modeller. He was born near Glasgow, of humble parents, in 1735, and was brought up as a country stonemason. Going into Glasgow on the occasion of a fair he saw the Foulis coUection of pictures, and was struck with the desire to be an artist ; and removing into Glasgow, where he got em ployment at his trade for his support, he obtained admission to Foulis' Academy, where he acquired a power of drawing and modeffing. "fie exhibited at the Royal Academy, in London, in 1769, two modelled portraits, and continued an exhibitor up to 1791. He then went to Dublta to seek em ployment, and his talent made him known there to Dr. Quin, who was engaged ta TAT making pastes in imitation of precious stones, and, taking him into his confidence, he showed him his processes, and to this art he devoted himself, imitating some of the most precious relics of antiquity in gems and coins. In 1766 he came to London to prepare and sell his pastes, but, diffident to excess, he struggled long under difficulties, from wliich he slowly emerged, and gained a competence by the perfection of his art, Ms imitations being so fine as to be sold for originals. He executed about 15,000 for the Empress of Russia. He collected materials of great art value, increasing his stock of casts and pastes to 20,000 impres sions. He was an excellent artist, a man of taste, judgment, and research, and exe cuted many likenesses, possessing great accuracy, of men eminent in his clay. He died in Leicester Square, 1799, and was succeeded by his nephew, William Tassie, who was the fortunate winner, in 1805, of the Shakespeare Gallery, erected ta Pall Mall, the great prize in Alderman Boydell's lottery, and died at Kensington, in 1860. TATE, W.Christopher, sculptor. Was born at Newcastle-on-Tyne, where he was apprenticed to a marble-mason, and after wards worked for a sculptor. Leaving him, and struggling hard to establish himself as an artist, he produced a ' Dead Christ,' and a statue of 'Blind Wffiie,' by which he is known. He then tried bust-modelling. Several persons of tafluence sat to him, and he exhibited at the Academy in 1828-29-33, but not afterwards. Later he produced a ' Judgment of Paris,' a well-designed group, and a 'Musidora.' His health failing, he made a voyage to the Mediterranean, but his disease making rapid progress, he re turned, and died, on his way home, in London, March 28, 1841, aged 29, leaving a widow and two children without auy pro vision. There are many monumental tombs by him in the neighbourhood of his native town. TATE, William, portrait painter. He was a pupil of ' Wright of Derby,' and prac tised with some reputation at Liverpool M 1776 ; then, for a short time, in London, at Manchester in 1787, and later, at Bath. He exhibited portraits, with one or two attempts at subject pictures, at the Royal Academy, between 1776 and 1802. He died at Bath, June 2, 1806. T ATI! A M, Charles Heathcote, archi tect. Studied his art in Italy. Was several years at Rome and Bologna, and was elected a member of the academies of those cities. He exhibited at the Royal Academy, commencing in 1797, designs and orna mental works, and was early in his career well employed, chiefly on works of a deco rative character. He published ' Etchings from the Best Examples of Ancient Orna mental ArcMtecture, drawn from the Ori- 423 TAV ginals at Rome,' 1799, and a second volume ta 1803 ; 'Etchings representing Fragments of Grecian and Roman Architectural Orna ments,' 1806 ; and the same year, ' Designs for Ornamental Plate.' In 1811, Ms own complete works, ' The Gallery at Castle Howard,' and ' The Gallery at Brocklesby.' He also wrote the letter-press for Carey's ' Ancient Cathedrals,' aucl for some other publications. He was warden of Norfolk College, Greenwich. Died April 10, 1842, in his 72nd year. TAVjERNER, Jeremiah, portrait painter. Practised early ta the first half of the 18th century. There is a portrait by him, mezzo-tinted by J. Smith. He was the author of several plays. TAVERNER, William, amateur. Was born ta 1703. He was the son of a proctor in Doctors' Commons, and grandson of the above, and followed the profession of a proctor, devoting his leisure to art. His drawtags are chiefly ta body colour, imi tating the Italian masters, mostly woody scenes, and, though clever, do not by any means maintain the great reputation which he enjoyed ta Ms own day. He was the author of two plays, ' The Maid the Mis tress,' 1732, and 'The Artful Husband,' 1735. He died October 20, 1772. TAYLOR, Alexander, miniature painter. Exhibited at the Royal Aca demy, for the first time, in 1776, and con tinued an occasional exhibitor till 1796. TAYLOR, Charles, engraver. Was born in London in 1748, and became the pupil of Bartolozzi. He engraved a number of plates after Angelica Kauffman. TAYLOR, Edward Clough, amateur. He was educated at Trinity College, and took Ms M.A. degree M 1814. He hved at Kirkham Abbey, Yorkshire, and was disttaguished as a clever etcher. Died May 14, 1851, aged 65. TAYLOR, Isaac, draftsman and en graver. Was bom at Worcester, Decem ber 13, 1730, the son of a brass founder, and in connexion with this business he learnt to draw ornaments and the figure, and did a httle engraving on plates and cards. He came to London in 1752, walk ing by side of the waggon, and with an empty pocket. By good fortune he ob tained some employment with a silversmith. He then married, and went to Brentwood, where he tried land-surveying, but found it more advantageous to return to London and resume his work as an engraver. He had engraved plates for the ' Gentleman's Magazine,' aud he now found employment of this nature, gradually gataing notice. Between 1766-70 he exhibited several en gravings for books, engraved after his own designs. He also drew and engraved the plates for an edition of ' Sir Charles Grandi- son,' which were highly esteemed, fiis 424 TAY style was finished, his execution good, aud he possessed talents wliich should have given him a wider reputation. He died at Edmonton, October 17, 1807, aged 77, having for many years retired from the practice of his profession. He was Secre tary to the Incorporated Society of Artists from 1774 to the collapse of the Society. TAYLOR, Isaac, engraver and drafts man. Son of the above. Was born in London about 1750, and was a pupil of Bartolozzi. He is chiefly known by his engraved works for Boydell's Shakespeare Gallery, ' Rizzio,' after Opie, 1791 ; ' Henry VIII.'s first sight of Anne Boleyn,' after Stothard, and ' Falstaff frightened by sup posed Demons,' after Smirke. He also made the designs forBoydeU's 'IUustrations of the Holy Bible,' many of which were engraved by his father. About 1786 he re tired to Suffolk, and afterwards became minister of an Independent congregation, at Colchester and at Ongar, at which latter place he died December 11, 1829. His daughters, Jane and Ann Taylor, were well known by their ' Original Poems.' T A Y L 0 R, James, designer and en graver. Was younger brother of the first Isaac Taylor, fie was employed for many years as a china-painter at Worces ter, and then came to London and worked as an assistant to his brother. He died ta Coldbath Fields, December 21, 1797, aged 52. He was the master of Anker Smith, A.E. TAYLOR, John, portrait painter. Nephew of the water-poet. He practised at Oxford ta the middle of the 17th century. His portrait, painted by tamself, is in the Bodleian Library, and also two portraits of ' The Water-Poet,' patated ta 1655. TAY'LOR, John, landscape painter. Was born at Bath about 1745. Studied in London with much reputation. He painted marine landscapes with figures and cattle. Goupy and Lerpiniere engraved after him, and he was tamself an etcher. He-died at Bath, November 8, 1806. TAYLOR, John (known as 'Old Taylor'), portrait painter. Was born ta Bishopgate in 1739, the son of one of the principal officers of the customs. He was a pupil of Frank Hayman and a student of the St. Martin's Lane Academy. In 1766 he was a member of the Incorporated Society of Artists. For some years he de voted himself to portrait drawtags ta pencU, which he finished with great minuteness, but did not attain excellence. Commencing in 1779 he was an occasional exhibitor for above 20 years at the Academy, sending domestic scenes, but more frequently por traits in miniature and drawn in pencil. Later he took up teaching as more profit able, adend ma a smaU competence, invest- TAY ing bis earnings in the long annuities expiring ta 1840. It was just sufficient for his unusually long life, fie died in Ciren cester Place, November 21, 1838, in his 99th year. He was a man of cheerful humour, full of never-failing reminiscences of art and artists. TAYLOR, Sir Robert, Knt., architect. Was the son of a stone-mason, who made a good deal of money, but spent it. He was the pupU of Henry Cheere, and managed to travel tu Rome for his improvement. He worked at the commencement of his life as a statuaiy. General Guests monument, near the north door of Westmtaster Abbey, is one of his best works. The bas-relief in the tympanum of the pediment of the Mansion House portico is also by Mm. He afterwards relinquished statuaiy and con fined himself to architecture. He made some important additions to the Duke of Grafton's house ta Piccadilly, Lord Howe's ta Hertfordshire, and Lord Radnor's ta WUtsMre. His chief buUdtags are Ely House, Dover Street ; Gorhambury, Hert- fordsliire ; Hevtagham HaU, Essex ; and Stone Buildings, Lincoln's Inn. He was appointed arcMtect to the Bank of Eng land, the Admiralty, Greenwich Hospital, and the Foundling Hospital, and held several other offices. He filled the office of sheriff ta 1783, and was then knighted. He was of very active habits, rose very early, and made his journeys by night. He died September 27, 1788, aged 74, and was buried at St. Martta's-in-the-Fields. He left a fortune of 180,000?., which he had accumulated dm-ing an active practice of 40 years. TAYLOR, Simon, botanical draftsman. Was educated at Shipley's Drawtag School, and ta 1750 was awarded a medal by the Society of Arts. About 1760hewasengaged by Lord Bute to make botanical drawings, for which he had given proof of early abffity, and continued ta his employ for many years. He painted on veUum ta water-colours, in a very accurate and mas terly manner. He was afterwards engaged in the same manner by Dr. Fothergill. fiis works are very numerous. His usual price foradrawtagwasthree guineas. LordBute's collection was. sold by auction ta 1794 by Leigh and Sotheby. Dr. FofhergiU's was purchased by the Empress of Russia. He died about 1798. TAYLOR, Thomas, engraver. Prac- ' tised about the middle of the 18th century. Was employed by Alderman BoydeU, and engraved Henry VIII., after Opie, for the Shakespeare Gallery. Also engraved after Salvator Rosa and Van Harp, and some allegorical designs by Gwynn. TAYLOR, Thomas, engraver and, print-seller, fie practised m London, 1680-1720. TEM TAYLOR, William B. Sarsfield, landscape painter. Was the son of a map- engraver at Dublta. He commenced hfe in the Commissariat Service, and was present at the siege of St. Sebastian. He afterwards tried art, but without much success, and is better known by bis writings. He was au exhibitor at the Royal Academy from 1820 to 1S47. Commencing with landscapes, he contributed some military scenes, and some marine subjects among tas later works. His publications are — ' A Description of Trinity College, Dubhn,' with Ulustrations from his own drawtags ; ' A Translation of Merimee's Practice of Painting ; ' ' A His tory of the Fine Arts ta Great Britain and Ireland ; ' and ' A History of the Practice of Fresco Painting.' He also wrote on the penitentiary system of the United States, and was an art critic. In the latter part of his life he was curator of the St. Martin's Lane Model Academy. He died December 23, 1850, aged 69. TAYLOR, William Dean, engraver. He was bom in 1794. He practised in the hne manner, and tas art was well esteemed. Among his works are ' Acis and Galatea,' after R. Cook, R. A., and a portrait of the Duke of Welltagton, after Lawrence, P.R.A. He died suddenly in 1857. TAYLOR, Zachary, statuary. Was one of Charles I.'s 'surveyors and car vers,' and was employed in carving the marble enrichments of the great doors of old St. Paul's, when restored by Inigo Jones. T E L B I N, William, scene painter. He attained great reputation by his scenery painting, and tas drop-scene for the ' Over land Route' at Drury Lane Theatre was much applauded. He was a member of the Institute of Water-Colour Painters from 1839 till his death, yet never a large contributor to their exhibitions. He ex hibited at the Royal Academy ta 1859, and on two occasions at the Institute of British Artists. He was for several years an invalid, and never recovered the depres sion caused by the sudden loss of his son, ta an Alpine avalanche. He died Decem ber 25, 1873, in Ms 61st year. TEMPEST, Pierce, engraver and print-seller. Received some instructions from Hollar, and assisted him in his works- He engraved James II. and his Queen, but is best known by the ' Cryes and Habits of London,' engraved ta 50 plates after old Laroon, and commonly called "Tempest's Cries,' published 1688. He practised 1670- 1705. Died 1717, and was buried at St. Paul's, Covent Garden. TEMPLE, W. W., wood-engraver. Was apprenticed to Bewick, and engraved for his 'British Birds,' the rough-legged I falcon, pigmy sand-piper, red sand-piper, I and the eared grebe. On the completion 425 TEM of his apprenticeship he abandoned art and became a draper and silk-mercer. TEMPLE, George, architect. De signed and erected Temple Bridge, Dublin, 1752, and was much reputed in his pro fession. He published, late ta life, a trea tise, valuable at that time, on ' Building ta Water.' TEMPLETOWN, Viscountess, ama teur. Born Lady Mary Montagu, she married Viscount Templetown in 1796. Fond of art, she designea some groups, which were executed by Messrs. Wedg wood. There is by her a clever drawing in Indian ink, a wood scene, ta the South Kensington Museum. She died October 4, 1824. TENNANT, John F., landscape paint er. He was born at Camberwell, in Sep tember 1796, and commenced life iu a merchant's office, but he early turned to art, and ta 1820 exhibited some landscapes at the Royal Academy, introducing figures and cattle. On the foundation of the Society of British Artists he was a large contributor to their first exhibitions, and in 1842 was admitted a member. He lived some time ta North Wales, after wards in Devonshire, and later at fiendon. His landscapes were picturesque in their character and treatment. He exhibited occasionally at the Academy up to 1847, and for many years later with his own Society. He died in 1872. TERASSON, IL, engraver. Practised in London in the early part of the 18th centuiy. He engraved some plates of insects, and there is a view of the Ban queting House, Whitehall, drawn and engraved by him in 1 713. T E R N 0 U T H , J. , sculptor. He was from 1819 to 1849 an exhibitor at the Royal Academy. His works were almost exclusively portrait busts, and be had some distinguished sitters, fie exhibited one or two monumental works, and in 1847 a ' Musidora,' his only work of a poetic character. He died ta 1848 or early ta 1849. TERRY, G., mezzo-tint engraver. Was a member of the St. Martin's Lane Aca demy, and was chiefly employed iu engrav ing portraits about the last quarter of the 18th century. T HACKER, Robert, engraver. Practised in the reign of Charles II. , and styled himself engraver to the King. There is by him a large engraved plate of Salisbury Cathedral, in four sheets. THACKERAY, William Makepeace, amateur. He was born at Calcutta in 1811. His father was of a good Yorkshire family, and was iu the Civil" Service of the East India Company. He was educated at the Charter House, and went to Cam bridge, but did not take a degree. Un- 426 THE decided for a while in his tastes between hterature and art, he spent some time on the continent, chiefly with a view to the study of the latter ; but Ms early sketches gave little indication of abUity, and his great literary genius soon showed the true bent of his talent. His 'Vanity Fair,' 1846, followed by 'The Newcomes,' 'Pen- dennis,' 1849, and ' Esmond,' 1852, placed him in the first rank of the literary men of his day. For some of tas early works, bis papers in ' Punch,' his ' Irish Sketch- Books, and also his contributions to the ' CornMU Magazine,' which he established in 1S60, he designed many of the illustra tions on the wood, 'but they were crude, poorly drawn, and had little pretensions to art. He died, suddenly, at Kensington, December 24, 1863, and was buried at the Kensal Green Cemetery. THEAKSTONE, Joseph, sculptor. Was born of respectable parents at York, and was a pupil of the elder Bacon. He afterwards assisted him, was then employed for several years by Flaxman, and for a time by Baily. He exhibited occasionally at the Royal Academy, from 1817 to 1837, his contributions not rising higher than a bust or a monumental design ; but for the last 24 years of Ms life he found constant employment ta Chantrey's studio, chiefly upon the draperies, ta which he had at tained great skill and dexterity. He showed much judgment, and used his chisel with great cleverness. He died ta Pimlico, AprU 14, 1842, aged 69. THEED, William, R.A., sculptor. Was born in 1764, and commenced art as a student ta the Royal Academy Schools in 1786. He first practised as a patater of classic subjects and portraits, sendtag to the exhibition in 1793 a 'Venus and Cupids.' He then went to pursue his studies ta Rome, where he remained several years ; married at Naples a French lady, and returned to England some time ta 1794. In 1798 he again exhibited some paintings, and in 1799, 'Nessus and De- janira,' a model, and soon after began to design and model for the Messrs. Wedgwood, the potters, in whose employ ment he continued for several years, and was then employed in designs for gold smiths' work by Messrs. Rundell & Bridges, with whom he remained, receiving a handsome fixed salary, about 14 years. During this time he continued to exliibit a work occasionally at the Academy; in 1800, ' Cephalus and Aurora,' a painting ; in 1806, ' Thetis with the Arms of Achilles,' a wax model ; ta 1811, three classic models, and was in that year elected an associate of the Royal Academy, and in 1813 a member. He continued an exhibitor of models, comprising a large figure of Mer cury, a life-size group, and a Thetis, in THE bronze. His last designs were of a monu- meutal character. He died in 1817. His son has become emtaent ta his father's profession. THEW , Robert, engraver. Born in 1758, at Partington, Holdernesse, where Ms father kept a village tan. He was ap prenticed to a cooper, and served his time, and was a private ta the Northumberland MUitia durtag the war. Though without education, he had much natural abihty. In 1783 he settled in Hull, aud engraved shop-bUls, cards, &c, and then a plan of HuU, and, advancing ta his attempts, the head of a well-known puppet showman. Later he engraved a good plate after Gerard Dow, and through it gained an introduc tion to Alderman BoydeU, who gave him employment. He practised in the dot manner, and engraved no less than 19 of the large plates for the Shakespeare GaUeiy, wMch are finished with great de licacy and character. A plate by Mm, after Westall, of Cardinal "ft olsey entering Leicester Abhey is one of his best works. He held the appomtment of engraver to the Prince of Wales. He died at Stevenage, Herts, in August 1802. THIRTLE, John, water-colour painter. He was born in Norwich in 1774, the son of a shoemaker. He first practised as a miniature painter, and then began business as a frame-maker, carver and gilder, at Norwich. Was a member of the Norwich Society, with which he exhibited, and prac tised at Norwich ta the beginning of the 19th century. He exhibited at the Royal Academy ta 1808, but only on this occasion. His drawings were good, well-coloured examples of pure water-colour art. He married the sister-in-law of J. Sell Cotman. fie did not leave his native city, and died there September 29, 1839, and was buried in the Rosary Cemeteiy. THOM, John, subject painter. Was bom ta Edinburgh about 1785, and studied the elements of his art there. Later he came to London, where he met with en couragement, fiis 'Young Recruit' was engraved by A. Duncan in 1825. THOM, James, sculptor. Was born in Ayrshire in 1799, and found Ms first em ployment, obscure and unfriended, as a stone-cutter. Uneducated, he produced in stone some clever natural groups, which attracted the notice of bis own country men, and induced him to try his fortune in London. Here he found employment, and his ' Tam O'Shanter' and ' Old Mortality' were produced ta plaster, sold throughout the country, and made him famous. He entrusted these two groups to an agent to exhibit in America, and, never receiving any returns, he crossed the Atlantic to look after tas property, and was induced to re main. He settled at Newark, where m THO exploring for stone for his own purposes, he discovered a valuable quarry, fie re produced from this stone his two favourite groups and a statue of Burns, and several commissioned groups for the decoration of pleasure-grounds. He made a profitable contract for the stone-work and for much of the decorative stone-carving for Trinity Church, New York, and was enabled to purchase a farm on the line of the Erie Railroad, and to build himself a house. He appears then to have abandoned his profession. He died of consumption, in his lodgings at New York, April 17, 1S50, aged 51. He left a widow and two children. THOMAS, Matthew Edward, archi tect. Was a student of the Royal Aca demy, and ta. 1815 gained the 'gold medal for his design for a palace. This he ex hibited the following year, and then tra velled in Italy, and was elected a member of the Academy at Florence and of St. Luke at Rome. On his return, he exM bited at the Academy in 1820-21-22, and his name then disappears. The works con tributed in these three latter exhibitions were architectural drawings, not designs. THOMAS, John, sculptor. Was of a Welsh family, and was born ta 1813 at Chalford, Gloucestershire. He came to London to undertake part of the decora tive sculpture of the new Houses of Parliament, and was chiefly engaged in works of that class. From 1838 to 1862 he was a constant exhibitor at the Aca demy. His contributions were chiefly busts, on which he appears to have been weh employed, with an occasional design of a monumental character. The pediment and figures in front of the Great Western hotel are by him, as also are the allegorical bas- reliefs of London, Liverpool, Manchester, and other cities, at the Euston Square station. He designed the new works at the head of the Serpentine river, and the great majolica fountain (now ta the Horti- cinal Gardens) for the International Exhi bition in 1862. Of his works of higher pretension are a ' Musidora,' in marble ; ' Lady Godiva,' ' Una and the Lion.' He suffered from overwork and anxiety, and died at Maida Hill, April 9, 1862, aged 49. THOMAS, John Evan, sculptor. Was born in Wales, and came to London, where he studied under Sir Francis Chantrey. fie was from 1835 an exhibitor at the Royal Academy. His works were chiefly, and for many years exclusively, busts, but he executed several statues in marble and bronze, and some portrait statuettes. Among his statues may be mentioned a colossal bronze figure of the ' Marquis of Bute,' at Cardiff, ' The Duke of Welling ton,' at Brecon, and 'Prince Albert,' on the Castle Hill, Tenby. He only exhibited 427 THO at the Academy on two occasions after 1857. He retired from London and resided in Breconshire, in which county he fflled the office of Sheriff. He died at a some what advanced age ta October 1873. THOMAS, William, architect. Prac tised in London in the second half of the 18th century. He was from 1780 to 1794 an occasional exh;Htor at the Academy of architectural designs, but they were not of an important character. He published, 1783, 'Original Designs in Architecture,' 27 plates, comprising villas, temples, grottos, tombs, &c. He was a member of the celebrated Artists' Club. THOMAS, George Housman, portrait and subject painter. He was bom in Lon don, December 17, 1824. He was appren ticed to a wood-engraver, and commenced practising that art in Paris, and then designed on the wood. From thence he went to America to Ulustrate a New York newspaper, and while there, staying about two years, he designed the notes for the States' bank. He returned to Europe on the ground of ill-health, and visited Italy, was ta Rome when that city was besieged by the French, and sent many sketches of the events of the siege to the 'Illustrated London News.' Settling ta London, he was employed upon that paper. He first exhibited at the British Institution, but was a frequent exhibitor at the Aca demy, commencing in 1854. He was for tunate in gaming the patronage of the Queen, and patated for her. Majesty ' The Marriage of the Prince of Wales at Wind sor,' 'The Marriage of the Princess Alice at Osborne,' ' The Princess Royal doing Hom age as Crown Princess at the Coronation f the King of Prussia,' ' The Distribution of the Victoria Medals by the Queen,' and several others. He also painted ' Rotten Row,' 1862; 'Soldiers' Ball, Camp at Boulogne.' He died at Boulogne, July 21, 1868, aged 44. In the following year his collected works, several of wliich are en graved, were exhibited in Bond Street. His sketches and studies were sold at Chris tie's ta July, 1872. His works were pleasing, • gay in colour, and correctly drawn, but he aid not attain to a higher feeling iu art. THOMPSON, William John, R.S.A., portrait painter. Hewasbornat Savannah, Georgia, 1771, the son of a Scotch Ameri can loyalist, and was brought to England when a child. As a lad he was compelled to labour for Ms support, when, finding his way up to London, he attached himself to art, and tried portraiture. In 1808 he joined the Associated Artists in Water-Colours. Gain ing employment he improved, and practised ta London tiU 1812, when he removed to Edinburgh, where he settled. In 1829 he was elected a member of the Royal Scottish Academy. His works were life-like and 428 THO spirited, and for many years he enjoyed a reputation. He painted some ftae portraits ta miniature. He died in Edinburgh, March 24, 1S45 aged 74. THOMPSON, Charles, engraver. Prac tised in London early in the 19th century. He engraved several plates for the almanacs, and the Ulustrations for ' JSdes Althorpianas,' 1822. THOMPSON, E. W., portrait painter. Had a considerable practice. Resided many years in Paris, where he was well known and employed. He sent five portraits from Paris to the Academy in 1832, and the following year, when he had returned to London, and agata ta 1840, but only on those occasions was a contributor. He died at Lincoln, December 27, 1847, aged 77. THOMPSON, John, portrait painter, known in his day as ' Thompson, the City painter. ' Practised in London, 1590-1610, and was a member of the Painters' Com pany, in Little Trinity Lane, where there is his own portrait, and several others by his hand. THOMPSON, Thomas, glass-painter, of Coventry. Patated the great east wta dow of York Minster in the reign of Henry IV. THOMPSON, William (nicknamed 'Blarney'), portrait painter. Was bom ta Dublin. Learned Ms art ta London, where he practised. He exhibited whole and half- length portraits with the Society of Artists, ta 1761, and continued to exhibit with that Society tUl 1767. He was a man of educa tion, possessed of a specious address. His portraits were esteemed for then' hkeness, but his art was feeble, and man-yiug a wife with a fortune, he relinquished Ms profes sion, ta which he wanted the abffity and the industry to succeed. On her death he married a second time, and agata a lady possessbig a fortune. Yet he got into difficulties, and tato the King's Bench prison, and made some stir by noisUy assert ing the iUegahty of confinement for debt. He was for some time secretary to the Incorporated Society of Artists. Hefounded a school of oratory, held at the noted Mrs. Cornely's, ta Soho Square, wliich was open to both sexes, and at which he was the moderator, an office ta which he acquitted himself with more success than reputation. He pubhshed 'An Enqtaryinto the Elemen tary Principles of Beauty ta the Works of Nature and Art.' He survived tUl the early part of 1800, when he died suddenly ta London. Two of tas portraits were engraved ta mezzo-tint. THOMPSON, John, wood-engraver. Was born in Manchester, May 25, 1785, and was a pupU of the elder Branston. He attained great distinction ta Ms art. His works are marked by correct drawing and THO true artistic feeling ; his manner excellent and purely original, free from the mechani cal treatment so often shown on wood. Some of his best works are after the designs of Thurston, whose illustrations he en graved for the works issuing from the Chiswick Press, "The "London Theatre,' 1814-1818 ; Fairfax's ' Tasso;' and in ISIS, Butler's ' Hudibras.' He was then engaged by the Bank of England to produce a note wMch, from its art, it woidd be impractic able to imitate, and about the same period was much employed by the French pub lishers. Then foUowed his Ulustrations to the ' Blind Beggar's Daughter of Beth- nal Green,' 1S32 ; Gray's ' Elegy,' 1832 ; Shakespeare's Works, 1836 ; ' The Ara bian Nights,' 1841 ; ' The Vicar of Wake field,' after Mulready, 1843 ; the chief of the Ulustrations to Yarrell's works on natural history, and many fine works after Stothard. He was employed by the Gov ernment, in 1839, to engrave, ta rehef, on gun metal, Mulready's design for the post age envelope ; and ta 1852, to engrave, ta rehef, on steel, the figure of Britannia which is still printed on the Bank of England notes. He was, from September 1852 to July 1859, the director of the Female School of Engraving at the South Kensing ton Museum, and in 1853 delivered a very instructive course of lectures to the stu dents. He presented to the hbrary of that Institution his coUection of wood-engrav ings. In 1855 ' he received the Grand Medal of Honour at the Paris Exhibition. He died at Kensington,- February 20, 1866, aged 81, and was buried at Kensal Green. THOMPSON, Charles, wood-engraver. Brother of the foregoing. Was bom in London, ta 1791, and was the pupU of Bewick and of Branston. The demands from Paris for wood-engravings by our artists induced him, ta 1816, to visit that capital, and meeting with considerable en couragement he settled there, and was held in much estimation. He introduced the practice of engraving on the end of the wood, then unknown on the Continent. He founded a reputation by his contributions to many illustrated works published in Paris, and ta 1x24 was decorated with the gold medal, and on Ms death the French Government granted Ms widow a pension. The cMef publications on which he was engaged were ' L'Histoire de l'ancien et du nouveau Testament,' 1835 ; 'Fables de la Fontaine,' 1836 ; Thierry's ' Congutte de 1'Angleterre,' 'Corinne,' 1841. fie died May 19, 1843, at Bourg-la-Reine, near Paris. THOMPSON, Charles Thurston, wood-engraver. Was the son of the above John Thompson, and was bom at Peckham, July 28, 1816. He was brought up to his THO father's profession, and followed it for some years, attaining great excellence. His works Ulustrate many of Messrs. Van Voorst's and Messrs. Longman's publica tions. He was a man of great taste and judgment, and took a prominent share in the arrangement of the Great Exhibition of 1851. After this, having undertaken the superintendence of the works of the photo graphers, he became attached to that art, which was rapidly developing its powers. In the following year he was employed by the Exhibition Commissioners to super intend the photographic printing which was done at Versailles, and from that time devoted himself to this new art. He was then engaged by the Science and Art Department, and in their employ made several visits to Paris, Spain, and Portugal to photograph objects of interest. During his residence ta the two latter countries his health was much shaken, and an old attack returnMg, he died at Paris, after a short Ulness, January 22, 1868, ta tas 52nd year. He was buried at Kensal Green. THOMPSON, George, architect. Prac tised in Scotland towards the middle of the 17th century. He was employed on the building of the King's CoUege, at A nPT*nPPTl THOMPSON, Thomas Clement, R.H.A., portrait painter. He was an exMbitor at Dubhn ta 1809, and was a zealous advocate for the Charter granted to the artists ta 1823, and one of the foundation members of the Royal Hibernian Academy then established, fie had, how ever, a considerable practice as a portrait painter ta London. He was first an exhi bitor at the Royal Academy in 1817, and was then residing ta Dublin, but the fol lowing year he settled ta London, and was from that time' a large contributor to the Academy Exhibitions, exclusively of portraits, exhibiting for the last time in 1842. THOMPSON, James Robert, archi tectural draftsman. He appears to have been first engaged in maktag drawtags for John Britten's publications, and was from 1808 an occasional exhibitor at the Royal Academy, his contributions consisting of landscapes and architectural designs. In 1818 he sent five scenes representing the mode of hunting and capturing elephants in Ceylon ; in 1822 a ' De-ign for a Temple of Peace,' and ta 1830. when he last exhibited, his finished sketch designs for the new London Bridge. THOMSON, Henry, R.A., historical painter. Was the son of a purser in the Navy, and was born in London, July 31, 1773. He was educated at a school at Bishops Waltbam, where he continued nearly nine years. In 1787 he went with his father to Paris, and on the breaking 429 THO out of the Revolution, returned to London. Choosing art for tas profession, he became the pupil of Opie, R. A., and in 1790 entered the schools of the Royal Academy. In 1793 tas father took him again to the Continent for the completion of his studies, and he visited Parma, Bologna, Florence, Rome, and Naples, occupied by the art of these cities till 1798, when, still accompanied by his father, he went to Venice, and after a few months' residence there, to Vienna and Dresden, and in 1799 journeyed homewards by Berlin and Hamburg. On his return, the artists were busy upon Boydell's Shake speare Gallery, and he contributed ' Perdita,' and one or two subjects from the ' Tempest.' In 1800 he exhibited a classic subject at the Academy, followed by some domestic scenes and portraits, and was, ta 1801, elected an associate of the Academy. In 1804 he exhibited ' Mercy Interceding for a Fallen Warrior,' and some portraits, and continued to exhibit portraits and subject pictures ; ta 1815, ' Cupid Disarmed ; ' ta 1S20, ' Christ Raising Jairus' Daughter ; ' ta 1822, ' Miranda's First Sight of Ferdi nand; ' and in 1825, 'Juliet,' his last, and Erobably his best, work. In the same year e was appointed keeper of the Royal Aca demy, but resigned the office at the end of two years from severe illness and suffering, and retired to Portsea, where, his health rallying, he was able to amuse himself in sketching the marine and landscape views of the neighbourhood. He died at Portsea, April 6, 1843, and was buried in Portsmouth churchyard. THOMSON, The Rev. John, Hon., R.&.A.,amateurlandscapepainter. Known as ' Thomson of Duddingston,' was the son of the minister of Dailly, in Ayrshire, and was born there September 1, 177S. He was brought up to the Church, and succeeded his father ta 1800, removing to Dudding ston, near Edinburgh, on his nomination to the church of that parish in 1S05. He was an excellent scholar, a man of great taste, showed an early talent for art, and, assisted by Alexander Nasmyth, made great pro gress. He painted mountain and lake scenery with great breadth and truth, and was distinguished by an amount of artistic power seldom attained by amateurs. He first exhibited in 1S0S, and conttaued au exhibitor to his death, but rarely except in Edinburgh. He was appointed an honorary member of the Royal Scottish Academy, having refused to join that and other art institutions on account of the clerical pro fession to which he belonged. Died at Duddingston Manse, October 20, 1840, aged 62. THOMSON, James, engraver. Was born at Mitford, Northumberland, the son of a clergyman of the Established Church. Showing an early attachment to drawtag, 430 THO he was apprenticed to an engraver in Lon don, and embarking at Shields for the Metropolis, he was nine weeks at sea, and supposed to have been lost. He disliked his master, and the style of his art, and after assisting tarn at the close of his appren ticeship for two years, set up for tamself. His best known works are ' The Three Nieces of the Duke of Wellington,' after Sir Thomas Lawrence ; the equestrian por trait of ' The Queen, attended by Lord Melbourne,' after Sir F. Grant, P.R.A. ; ' The Bishop of London,' after G. Richmond, R.A. ; and ' Prince Albert,' after Sir William Ross, R.A. He engraved also many of the plates for Lodge's Portraits, the Townley Marbles, and other works. He died in Albany Street, Regent's Park, September 27, 1850, aged 61. THOMSON, Paton, engraver. Was bom about 1750. fie practised in London, and produced some good works, chiefly por traits. He engraved a portrait of Edward Jerningbam, 1794; and 'John Anderson my Joe,' after David AUan, 1799. THORNBURY, Walter J., art critic. Was brought up as an artist, and studied his profession at Leigh's School of Art, but took to literary pursuits, and became an author. He died June 11, 1S76. THORNHILL, Sir James", Knt., historical painter, fie was born ta 1676, at Melcombe Regis, of an old county family, whose property his father had dissipated. Compelled to seek some profession, follow ing his own tastes he came to London, and was placed by tas uncle, the celebrated Dr. Sydenham, under Thomas Highmore. Little is known of his early art career, but he is reputed to have soon made great progi'ess. He was patronised by Queen Anne, who commissioned bun to paint the interior of the Dome of St. Paul's, and appointed him her Serjeant-Painter. Other work of the same character followed. He painted the Great Hall at Blenheim ; the saloon and hall of the mansion at Moor Park, of which he was the architect ; the Princesses' apart ments at Hampton Court ; the hall and staircase at Easton Neston ; the Chapel at Wirnpole ; and the Great flail at Green wich, on which he was engaged from 1708 to 1727. About 1715 he made a tour through Holland, Flanders, and France, and had then acquired the means of pur chasing some good pictures. He made careful copies of the cartoons at Hampton Court, now ta the possession of the Royal Academy, upon which he was occupied for three years. He patated the altar-piece at All Souls and at Queen's College, Oxford. In May 1720 he was knighted by George I., and was the first native painter who re ceived that distinction. He had the singu lar satisfaction to re-purchase his family estates, and was elected to represent Mel- THO combe Regis in the first Parliament of the King's reign. He proposed to found a Royal Academy for Art, and on failing to gain the assistance of the Government, ne opened a private academy in his own house m 1724, which he maintained during his life-time. He had amassed considerable property, yet many statements are made of the inade quate pay which he received for his public works. By some intrigue he was removed from Ms office, and, suffering in Ms latter days from the gout, he retired from his pro fessional practice, and died at the mansion he had erected on Ms property near Wey mouth, May 13, 1734. His daughter was clandestinely married by the painter, Ho garth, who said, ' he was the greatest his tory painter this country ever produced,' an eulogium which wiU certainly not find an echo now. His works were chiefly aUe- gorical, and though they show great inven tion and genius, do not rise above the character of decorative art. He left a coUection of pictures and some etchings, by his own hand, in a loose, bold manner. THORNHILL, John, marine painter. Only son of the foregoing. Painted sea- pieces and landscapes, excehtag in the former. Succeeded his father as Serjeant- Painter to George II. ; resigned the office, 1757. THORNTHWAITE, J., engraver. Born ta London about 1740. Practised ta London both in mezzo-tint and as an etcher. There are several portraits by him. He engraved for Bell's ' Shake speare,' ta 1787, and for the ' BookseUers' British Theatre.' THORNTON, John, glass-painter, of Coventiy. Patated the tine east window in York Cathedral, about 1338, and some of the west windows, and his works show Mm to have been ertanently skilled. THORPE, John, architect. Practised ta the reigns of Elizabeth and James I. He designed Holdenby, for Sir Christopher Hatton, 1580 ; Longleat, 1597 ; and the great mansions of Burleigh, Wollaton, Hat field, 1611 ; Longfield Castle, 1612 ; Buck- hurst, and HoUand House, 1607 ; Audley End, completed 1616 ; and is reputed the arcMtect of old Somerset House, London. He resided some time in Paris, and was employed there. He is by some supposed to be the individual caUed 'John of Padua,' who was employed by Henry VIII. A book containing 280 original manuscript plans and elevations by him, formerly in the possession of the Earl of Warwick, is now in the Soane Museum. THURSTON, John, wood-engraver and designer. Born at Scarborough in 1774. He was originally a copper-plate engraver, and assisted James Heath on some of his plates. Later he both designed and en graved on wood for book Ulustration, finahy TIL devoting himself exclusively to designing, Among his works of this class are— ' Religious Emblems,' 1808; 'Shakespeare's Works,' pubhshed by Whittingham, 1814 ; Somerville's ' Rural Sports,' ' 1818 ; Fal coner's ' Shipwreck,' 1817. He was for a time the principal artist in London who had any repute as a designer on the wood, and contributed largely to the formation of the modern school of wood-engraving. His compositions were slight and pleasmg, mostly for the Chiswick Press, and very numerous. He made some clever designs ta water-colour, chiefly in Indian ink and tinted, and was in 1806 a Fellow and exhi bitor of the Water-Colour Society. Died at Holloway, in 1822, aged 48. THYNNE, John, architect. Practised with great reputation in the reign of Henry VIII. TIDEY, Henry F., water-colour paint er. He was born at Worthing, where his father kept an academy, January 7, 1815. He was fond of chawing, as a boy, and in 1839 he first appears as an exhibitor of por traits in water-colours at the Royal Aca demy. He painted many groups of chUdren, in which he was successful, and met with good encouragement, continuing a constant exhibitor. In 1858 he was elected an associate, and the next year a full member of the Institute of Painters in Water- Colours, and exhibited with that body many fine drawtags painted to a large scale. In 1859, ' The Feast of Roses,' purchased by the Queen ; ta 1861, ' Dar Thule,' from Ossian ; ta 1863, ' Ctaist Blessing little Children ' — the children portraits ; ta the same year at the Royal Academy, where he did not cease to exhibit, ' Saxon Captives at Rome.' His last works were, 'Sardana- palus,' 1870 ; and, ' The Flowers of the Forest,' 1871. He was a good draftsman and an industrious and clever artist, devoted to art profession. He died July 21, 1872. TILLEMANS, Peter, landscape and animal painter. Was born at Antwerp, the son of a diamond cutter, in 1684, and was the pupil of a landscape patater. He came to England in 1708, and was em ployed by a dealer in copying, particularly after Teniers. He painted some seaports, hut chiefly landscapes, introducing horses and dogs, hunting-pieces, races ; and when he became known he was employed to paint views of country mansions, intro ducing portraits of the owners, with their horses and dogs. His works were carefully composed and painted, the animals excel lent ta action and treatment, the portraits characteristic. He was much employed by William, fourth Lord Byron, who became his pupil. He patated a good picture of Chatsworth, for the Duke of Devonshire, and a very large picture, now in the pos session of Earl Manvers, of the second 431 TIL Duke of Kingston and a shooting party, with mounted attendants, the dogs in the foreground forming the most prominent objects, and an extensive view of the park and mansion, the whole admirably finished in a low tone and quietly coloured. It is signed and dated 1725. He united with Joseph Goupy in painting a set of scenes for the opera. He made nearly 500 draw ings for Bridge's ' History of Northampton shire,' many of them dated 1719. They are ta Indian ink, in a slight, masterly manner. He was paid one guinea per day while so employed, and had the run of his em ployer's house. He suffered for many years from asthma, and died at Norton in Suffolk, where he had some time resided, December 5, 1734, and was buried ta the churchyard of Stow Langtoft. He was painting a horse on the day of his death. T I L S 0 N , Henry, portrait painter. Was born ta Yorkshire ta 1659, and was a grandson of the Bishop of Elphta. He was a pupil of Lely, soon after whose death he went to Italy, in company with Dahl, studied there during seven years, copying the works of the best masters, and was at Piome in 1687. On his return to England he patated portraits, both ta oU and cray ons, and was rising in reputation, when he shot himself from disappointment ta love, in 1695, at the age of 36. There are many portraits by him ta the reign of Wiffiam IIL, and several have been engraved, but his works are stiff in manner and heavy in colour, appearing overwrought. TIMBRELL, Henry, sculptor. Was born at Dublta in 1806, and studied there, under John Smith. In 1S31 he came to London, and assisted BaUy, R.A., who employed him occasionally for several years. He was at the same time a student ta the Royal Academy, and exhibited, ta 1832, ' Phaeton ; ' ta 1833, ' Satan in Search of the Earth;' ta 1834, 'Sorrow,' a monu mental group. In 1835 he gained the gold medal for his group of 'Mezentins tying the Living to the Dead.' In 1S43 he was elected to the travelling student ship, and went to Italy, and that year sent to the exMbition, ' fiercules and Lycas.' In the second year of his residence in Rome he completed a fine hfe-size group, ' In struction,' which was wrecked in the vessel bringing it to this country, and almost totally destroyed. He was engaged upon two figures commissioned for the new Houses of Parliament, and a Me-size statue of the Queen, in marble, when he was at tacked by inflammatory fever, and ended a life of much promise, at Rome, on A] nil 10, 1849. His brother, James C. Tim- brell, who exhibited some domestic sub jects, died at Portsmouth, January 5, 1850, aged 39. TINNEY, John, engraver and print- 432 TOL seller. Practised in London about 1740- 50, and for a time ta Paris. He worked in mezzo-tint and also with the graver, and is now best known as the master of ttaee distinguished pupils, Wffiiam Woollett, Anthony Walker, and John Browne, A.E., who were apprenticed to him. He died in 1761. There are eight views by him of Kensington and Hampton Court, after ADthony Highmore. fie wrote a small book on Anatomy for artists. TITE, Sir William, Knt., C.B.,F.S.A., F.R.S., architect. He was born in 1802, the son of a London merchant, and was the pupil of Mr. Latag, architect of the Custom House. He was first employed in super intending the rebuilding of St. Dunstan's- ta-the-East, and was soon after actively engaged ta the competitions of the day — in 1819 for the new Church of St. Luke, Chelsea; in 1822 for the rebuilding of London Bridge ; in 1825 for the restoration of St. Saviour's Church, Southwark ; and the new National Scotch Church ta Re gent's Square, Gray's Inn Road, and in the latter was the successful competitor and the architect of the bunding, fie was then much employed upon railway buUd tags, on the London and South- Western Line, the Blackwall Line, the Caledonian and Scottish Central Line. He was the architect of the Woking Cemetery. He built, in conjunction with Professor Cock- erell, the London and Westmtaster Bank at Lothbmy, and in 1841 he was chosen, on competition, the architect for the erec tion of the Ptoyal Exchange, his great work upon which his reputation wiU rest. In 1S54 he exhibited at the Royal Aca demy, a composition from the works of Inigo Jones. He was ta early life unusuaUy fortunate, aud his success attended a long career, fie amassed a considerable fortune, was popular in tas profession, and generous ta assisting those less fortunate. Of active habits, he was in 1855 elected member for Bath, and represented that city tUl his death. He was the president of the Architectural Society, a member of the Institute of British Architects, and a f eUow of the Royal Society, and the Society of Antiquaries. He received a bachelor knighthood in I860, to which was after wards added the Companionship of the Bath. He died at Torquay, after a short illness, April 20, 1873. His personal property was sworn under 41)0,000?. TOBIN, J., engraver. Practised about the commencement of the last quarter of the IS th centuiy. He etched several smaU landscapes after H. Giimm, and engraved after Both, Ostane, and others. There are also some tinted impressions by him. TOL M IE, James, ornamented carver. He designed and executed some good ornamental sculpture. His work may be TOM seen on the exterior of the Whitehall Club, the Inns of Court Hotel, and the Prince Consort's Mausoleum at Frogmore. He died at Lambeth, ta December 1866. TOMKINS, William, A.R.A., land scape painter. Was born in London about 1730. His father and uncle were both artists, but their works are unknown. He was a member of the Free Society of Artists, and afterwards of the Incorporated Society. In 1763 he obtained the Society of Arts' premium for landscape. He made copies after Claude, Hobbema, and several of the Dutch painters, and patated many landscapes and views of gentlemen's seats in the West of England, and on a commis sion from the Earl of Fife he painted some views of Ms mansion ta Scotland. He was an exMbitor at the Academy from 1769 tiU his death. His contributions were chiefly views, with sometimes a bird and dead game. He was elected an associate of the Academy ta 1771. Some of his works are in Lord Morley's collection at Saltram. Six views of Windsor Castle by him are engraved. He died ta Queen Anne Street East, January 1, 1792, leaving four sons, two of whom practised art. TOMKINS, Peltro William, en graver. Son of the foregoing. Was born in London ta 1760, and was a pupU of Bartolozzi. FoUowtag the manner of his master he engraved ta the dot manner, and soon established a reputation. He was appotated engraver to Queen Charlotte ta 1793. He executed many good plates for the work — ' Original Designs of the most Celebrated Masters of the Bolognese, Roman, Florentine, and Venetian Schools,' 1812; also, ' Tresham's Gallery of Pic tures,' 1814; the 'Marquis of Stafford's Collection,' 1818 ; ' IUustrations of Modem Scripture,' 1832. He also engraved after Angelica Kauffman, and other artists of his time. After his own designs he en graved ' Innocent Play,' ' Love and Hope,' and some others. He died AprU 22, 1840. TOMKINS, Charles, painter and en graver. Eldest son of W. Tomkins, A. R. A. Was born in London about 1750, and edu cated there. He was awarded in 1776 a premium by the Society of Arts for a view on Milbank. He painted landscapes, chiefly landscape views, which he exhibited at the Academy, and many of which he engraved. He engraved with Jukes, Cleveley's ' Float ing Batteries before Gibraltar,' 1782 ; and in 1796 produced ' A Tour ta the Isle of Wight,' illustrated by 80 views, drawn and engraved by himself. He also drew and engraved a large coloured print of the 'Review ta Hyde Park, 1799,' with views of the houses in Park Lane ; ' Views of Reading Abbey and the Churches origin- ahy connected with it,' 1805 ; and in the TOM same year ' Illustrations of Petrarch's Sonnets.' _ TOMLINSON, J., engraver. Studied Ms art iu London, where he originally prac tised, and made a good income, lie was invited to Paris and was employed there for a time, but fell into bad habit's and ex treme degradation, and ta a fit of intoxica tion threw himself into the Seine in 1824 and was drowned. He engraved chiefly views. TOMPSON, Richard, mezzo-tint en graver. Practised in London ta the latter part of the 17th century, and engraved after Lely and Kneller. His works are power ful, the textures good, but the drawing and hght and shade want refinement. A good print of Nell Gwynne and her two sons bears his name, fie kept both a printing office and a shop, and it has been questioned how far the excellent prints, which bear his name, are by his hand ; but ta his time the artist and the dealer were frequently one. He died ta 1693. His portrait, patated by Soest, was engraved by F. Place. T O M S, William Henry, engraver. Born about 1700, practised ta London, chiefly engraving topographical and archi tectural subjects. There are, however, some book-plates and some portraits by him. He engraved R. West's ' Perspective Views of all the Ancient Churches in Lon don,' 1736-39 ; a number of views of gen tlemen's seats ; a series of 12 plates of shipping ; and in 1747 English views, after Chatelaine. He died about 1 750. ' Alder man Boydell's love of art is said to have been aroused by a plate of his, and he be came his apprentice. TOMS, Peter, R. A., portrait painter. Was the son of the foregoing. Became a pupil of Hudson, and practised portraiture, but his chief excellence was as a drapery patater, and he was employed on draperies by Reynolds, Cotes, and sometimes by West. On the appointment of the Duke of North umberland as Lord-Lieutenant of Ireland in 1763, he went in his suite as portrait patater, but did not meet with success. He returned to London, and was in 1768 nomi nated one of the foundation members of the Royal Academy. At that time he was almost wholly employed by Cotes, on whose death he became melancholy, it is said in temperate, and committed suicide towards the. end of 1776. During the whole time he was a member he only exhibited four works, fie was fastidious, and would spend two or three hours in arranging the folds of a robe ; but when once settled, would paint it with great spirit and correctness. His price for the draperies, hands, and accessories of a full-length portrait was 20 guineas, for a three-quarter three guineas. He was the last of the drapery painters. He held the appointment of pursuivant at the Heralds' CoUege. 433 TOO TOOKEY, James, engraver. He prac tised about the beginning of the 19th cen tury. The animals ta Church's 'Cabinet of Quadrupeds ' are engraved by him after Ibbetson. He also engraved some of the plates in BeU's 'British Theatre.' His works are chiefly in the line manner, slight and weak in execution. TOPHAM, Francis William, water- colour painter. Was bom ta Leeds, April 15, 1808, and as an artist was self-taught. When a boy he had a great wish to become a painter, but his father knowing nothing of art, apprenticed him to a writing-engraver. He came to London at the age of 21, and practised for some years engraving from pictures. After attaiuing considerable suc cess ta this art, he deserted it entirely for paintiug. He was first a member of the Institute of Painters in Water-Colour ; but quitting this body in 1847, was immediately elected tato the older Society, of which he became a full member in the next year, and his most important works have been exhi bited there. He drew tas subj ects from Ire land, Scotland, Spata, and Italy. Some of the best known are — ' The Spinning Wheel,' 'The Whiskey Still," Card Players,' "The Letter Writer,' ' Eve of the Festa,' ' Vene tian Well,' ' Barnaby Rudge,' etc. He died at Cordova, ta Spata, March 31, 1877, aged 69. TOREL, William, sculptor. Descended from an English family named in the re cords from the days of Edward the Con fessor. He finished the figure of a King for Henry III.'s tomb ta Westmtaster Abbey, and executed ta 1291 three effigies of Eleanor, Queen of Edward I., one for Westminster, one for Blackfriar's Monas tery, the third to be placed over her viscera in Lincoln Cathedral. The first remains ta good preservation, and is a proof by its idealised style and fine execution of the advanced state of art in England at that time. TOROND, , enr/raver. Practised towards the middle of the 18th century. Little is known of him beyond the state ment that he was classed among the humorous draftsmen of his clay. TOTO, Anthony, portrait painter and architect. An Italian artist who came to this country about 1531, in the reign of Henry VIII., who appointed him his Ser jeant-Painter. He was naturalised in 1543, and practised in England 20 years. His works are all lost or unknown. T 0 U S S A I N T, Augustus, mm iature painter. Was the son of an eminent jeweller in Denmark Street, Soho. In 1766 he gataed a premium at the Society of Arts. lie was apprenticed to Nixon, A.R.A., and practised his art in London for some time. fie exhibited at the Royal Academy from 1775 to 1 788 miniatures both on ivory and 434 TOW in enamel. But on succeeding to the pro perty amassed by his father he retired to Lymmgton, where he died between 1790 and 1800, and was buried in the churchyard there. TOWNE, Francis, landscape painter. He was probably a pupil of William Pars, gained a premium at the Society of Arts in 1759, and was in 1762 a member of the Free Society of Artists, where he exhibited, and at the Spring Gardens' Rooms in 1769. In 1775 he exhibited some water-colour views at the Royal Academy, and in 1779, when he was residing at Exeter, a ' View on the Exe,' and some others. He appears to have visited Italy, as, from the above date to 1794, he extabited views ta that country and Switzerland. He then settled ta London, and continued an exMbitor at the Academy up to 1810. His works were well esteemed in his day. He died in Lon don, July 7, 1816, ta tas 77th year. TOWNE, Charles, landscape and cattle painter, fie first appears as an exhibitor of the portraits of animals at the Royal Academy, commencing in 1795, and later of landscape, introducmg cattle and sheep. He continued an exhibitor up to 1812. About tliis time he went to reside at Liver pool, where he practised, and was in 1813 vice-president of the Liverpool Academy. His works were carefully studied and finished, but were tame, and sadly wanting both ta originahty and the freshness of nature. He is believed to have died, at an advanced age, about the year 1850. He painted some works in water-colours, and was ta 1809 a candidate for admission to the Water-Colom- Society. TOWNLEY, Charles, engraver and painter. Son of the Rev. J. Townley, Head-Master of the Merchant Taylors' School. Was born in London ta 1746, and after studying there some time went to Italy for his improvement, and pursued his studies for several years in Rome and Florence. He was first known as a minia ture painter, but he also produced many portraits both ta crayons and in oil. He exhibited chalk portraits with the Free Society 1782. He copied many portraits of the Itahan painters, and engraved them both in mezzo-tint and ta the dot manner. About 1776 be practised ta Berlin, and was appointed engraver to the King of Prussia. In 1789 he went to Hamburgh, and later he returned to England, and then produced some excellent mezzo-tint plates after Rey nolds, Romney, Hoppner, Opie, Dance, aud Cosway, and a plate of 'Bull's fighting,' after Stubbs. T O W N S H END, George, Marquis, amateur. He was born February 28, 1*24, and was created a marquis in 1787- He had a great reputation for his humorous burlesques, some of which he is said to TEA have etched himself. His caricature of the Duchess of Queensberry, and of a cele brated Irish physician are mentioned as fuU of clever humour. He was in 1767 Lord-Lieutenant of Ireland, and said him self that he had caricatured every officer of his staff. He died September 14, 1807. TRACY, , antiquarian draftsman. Was chiefly engaged upon the antiquities of the county of Kent. Was living at Brompton, near Chatham, ta 1792. He made the drawtags for Thorpe's ' Antiqui ties.' TRAIES, William, landscape painter. He was born at Crediton in 1789, and prac tised his art at Exeter, where he gained a iocal reputation. In 1820, and on one sub sequent occasion, he was an exMbitor at the Royal Academy. He drew the iUustra tions for a work on natural history, by Dr. Neal. He died at Exeter, AprU 23, 1872. TRENCH, Henry, historical painter. Was born ta Ireland. Towards the com mencement of the 18th centuiy he went to 'Italy, where he stuched for several years, and gained a medal ta the Academy of St. Luke at Rome. He came to England, and professed historical painting, but, meettag with no encouragement, returned to Italy, and for two years conttaued his studies. In 1725 he came agata to England, and died in London the following year. He was buried at Paddtagton. TRESHAM, Henry, R.A., history painter. Was born in Dublta about 1/56, some accounts say 1749, and, showtag an early taste for art, was placed ta the Dublin School, under West. After exhibiting some attempts at Dublta, he came to London in 1775, and found employment in drawing smaU portraits. He was then invited by Lord Cawdor to travel with him ta Italy, and conttaued for fourteen years on the continent, chiefly at Rome, where he studied zealously from the antique. He returned to England ta 1789, having made himself a good draftsman and attained much knowledge and skUl in matters of art and taste. He was also a member of the Academies of Rome and Bologna. He exhibited at the Academy in that year, and in 1791 sent an 'Adam and Eve,' 'Phryne,' and a subject from St. Luke. These works confirmed Ms continental re putation, and he was ta the latter year elected an associate of the Royal Academy. He was chiefly employed on the Ulustrated publications of the time, eschewing por traiture, but he added to his income by dealing in art. He is said to have bought of a servant of Mr. Thomas Hope a number of Etruscan vases, the refuse of a collec tion purchased by his master, who gave them to him, and to have afterwards sold one moiety of the coUection for 800?., and TEO for the remainder, with some additions, to have received from Lord Carhsle an annuity of 300?. With some dealers he opened a gallery of the works of the old masters for sale. In 1795 and 1796 he exhibited his torical subjects, and ta 1799, 'Christ and Nicodemus,' and was elected a member of the Royal Academy, and ta 1807 professor of painting, an office which he resigned ta 1809 from failing health, and afterwards only exhibited again on two occasions. He contributed three paintings to Boydell's Shakespeare GaUery. His drawings ta pen and ink and in black chalk are his best productions. He made some designs in water-colour. He was generally an accom plished man and a writer. He published at Rome ta 17S4, ' Le Avventure di Saffo,' 18 designs of no merit produced by himself ta a rude kind nf etching mezzo-tint ; and, after his return to England, ' The Sea-sick Minstrel ; or, Maritime Sorrows,' a poem, 1799 ; ' Rome at the close of the Nine teenth Century,' 1796 ; ' Britannicus to Buonaparte, an Heroic Epistle,' 1803 ; and he edited for Messrs. Longmans, contri buting the descriptive letter-press, 'En gravings from the Works of the Ancient Masters in the British Collections,' a costly work. His health became visibly impaired after tas return from Italy, and for several years before his death he was reduced to a state of great feebleness and tatamity. He died ta Bond Street, June 17, 1814. TREVETT, Robert, draftsman and engraver. Practised at the beginning of the 18th century. He painted architecture, and planned, with Vertue, ta 1710, a work on St. Paul's Cathedral, for which he made several drawtags of the interior and the exterior ; some of wMch were engraved, but the work was not completed, fiis last en graving was an extensive view of London, on several sheets, from the tower of St. Mary Overy, but he died ta 1723, and left it unfinished. He was master of the Paper- stainers' Company. TREVINGARD, Anna, subject painter. Practised in London in the second half of the 18th centuiy. She painted a romantic class of subjects. Some of her works were engraved. TROLLOPE, Robert, architect. Built Capheaton near Newcastle-on-Tyne, 1659, and also the old exchange at Newcastle. Buried at Gateshead, December 11, 1686. TROTTER, S. C, portrait painter. Native of Ireland. Drew, in 1782, a por trait of Dr. Johnson, which was engraved in 1784. The doctor said, when he saw the drawing, 'Well, thou art an ugly fellow, but like the original.' There are by him three other portraits of the doctor, which were engraved ; oneof them, a whole-length, in the dress he wore in the Hebrides. TROTTER, Thomas, engraver. Was r 2 435 TEO born in London, the son of a clergyman, and was apprenticed to a calico-printer. Having some talent for drawing, he tried engraving, and soon produced some excel lent portraits. Hereceived some instruction from Blake, who was his fellow-engraver, and finished a plate or two after Stothard, R. A. In 17S5 he exhibited a chalk drawing of Dr. Johnson from the life. Being un able to work as an engraver by an acci dental injury to his sight, he found employ ment as a draftsman, making drawings of churches and monuments for antiquarian publications. He died February 14, 1803, and was buried in the graveyard of the new chapel, Broadway, Westmtaster. TROUGHTON, Thomas, draftsman and painter. He undertook a voyage to Africa, and was shipwrecked on the coast of Morocco, where from 1747 to 1780 he was detained in slavery, and suffered great hardships. He published some account of his sufferings. Died 1797. TRUCHY, L., engraver. Was bom in Paris, 1731. Practised Ms art in London. He worked for Alderman BoydeU. En graved a village dance after Teniers, and 12 plates after Highmore, in illustration of 'Pamela.' He died ta London, 1764. TUCKER, Nathaniel, portrait paint er. Practised in London about 1740-60. His works are engraved by J. Faher and some others. TUER, Herbert, portrait painter. His father and grandfather were in the Church. His mother was niece to George Herbert, the poet. He withdrew to Hol land after the execution of Charles I., and applying himself to art, made good progress ta portrait painting, but his works are almost unknown in England. One or two of his portraits are engraved. He is believed to have ched at Utrecht some time before 1680. TULL, N., landscape painter. Was the schoolmaster at Queen Elizabeth's school ta Tooley Street, Borough. Patated for his amusement close rural scenes, lanes, and cottages ; drew in black and white chalk, on coloured paper. There are also some portraits attributed to him. He exhibited landscapes with the Society of Artists in 1761. Vivares aud Elliot engraved after Mm a set of six plates. He died in 1762. TURNER, Charles A. E., engraver. Was born at Woodstock in 1/73, and entered the schools of the Royal Academy in 1795. On commencing his art, he was influenced by the manner of Bartolozzi, and was employed by Alderman BoydeU. He produced some dot engravtags of very high merit, and then used the needle and aqua-tint with great success. In this manner he engraved the early numbers of Turner, R.A.'s ' Liber Studiorum,' and his fine painting of 'The Wreck,' imitating 436 " TUE with much truth this great master's bril liant lights and reflections, and the depth and clearness of his shadows. In 1828 he was elected an associate engraver of the Royal Academy. He engraved some fine portraits after Lawrence, P.R.A., Jackson, Shee ; ' The Beggars,' after Owen ; Rey nolds's large group of 'The Marlborough Family,' with many other important works. His latest and best works are in mezzo tint, with the needle partially employed. He was a great artist, admirably trans lating his original picture, and excelling in every style he used. He died in Warren Street, Fitzroy Square, August 1, 1857, aged 83, and was buried ta the Highgate Cemetery. TURNER, David, draftsman and en graver. Was, in 1790, the pupU of John Jones, engraver ta London, fie devoted himself to painting landscape and architec tural views. He exhibited, about the end of the 18th centuiy, views on the Thames — • Lambeth from Millbank, Somerset House, Temple Gardens, St. Paul's from West mtaster Bridge, contributing for the last time in 1801. These works were smaU, carefully finished, usually in oil, but weak, showing little art power. He was also an etcher, and there are some etchings by him of the castles, monuments, and abbeys ta Scotland, a view of Peterborough Cathe dral, and of St. Ouen at Rouen. TUPtNER, James, portrait painter. Practised 1745-90. Exhibited miniatures with the Society of Artists in 1761. Some of his portraits are engraved. TURNER, Joseph Mallord William, R.A , landscape painter. Was born April 23, 1775, the son of a hairdresser of small means ta Maiden Lane, Covent Garden. Had the rudiments of an ordinary educa tion. His love of art was developed early, since he was admitted to the schools of the Royal Academy in 1789. He had pre viously contributed to the extabition, and the following year sent a ' View of Lambeth Palace.' He was weU grounded in per spective under Thomas Malton, and was for a short time ta the office of Mr. Hard- wick, the architect of the St. Catherine's Docks. He studied, with Girtin and others, in the friendly house of Dr. Monro, coloured prints, put ta architects' backgrounds, gave some lessoDs, and by these means, and the sale of Ms sketches, managed to support himself. Then gaining some notice, and continuing to improve ta his art, he made excursions in to the Midland counties, Wales, and the South Coast, Yorkshire, and the lakes, and sketching views for the topogra phical publications at that time in vogue, but continued to foster that love of rivers and river scenery which first attracted him on the picturesque Thames. His art was founded on a dUigent study of TUE nature, though he owes some obligations to John R. Cozens, who was one of his fellow- students at Dr. Monro's. His sketches, and indeed many of tas early exhibited pic tures, were in water-colours, very rarely ta oU, and were all views. Some of these studies are, however, merely pencil outlines, faitliful, firm, and well drawn, full of truth and detaU of every kind, while those in water-colour, including every sort of sub ject, are varied in like manner from mere washes of tint, truly beautiful and effective, to bits of foreground, and objects more mi nutely rendered, but all sparkling in the freshness of nature. Of such studies, wtach are innumerable, many are now displayed on the National GaUery walls at South Kensington. By them the true genius of the patater was nourished, and ta 1793 be exMbited ta oU, "The Rising Scruall,' ta wMch the poetry of nature was attempted. In 1796, among other works, a subject picture, ' Fishermen at Sea,' and the next year ' Moonlight,' foUowed by paintings in wMch aU the changing phases of nature were attempted. These works gataed him admission to the Royal Academy. He was elected an associate ta 1799, and then eschewing altogether the topograpMcal imitation of landscape for a more noble art, he looked beyond the mere details to a larger treat ment of nature, seizing aU the poetiy of sunshine, and the mists of morn and eve, with the grandeur of storm and the glow of sunset. Yet he does not appear to have at once established a new art for himself. In some of his earher works the influence of the great masters of the Dutch school is apparent, as ta his noble picture of ' The SMpwreck,' 1805, now M the National Gal lery ; then Poussta attracted him, and later Claude, with whom he especially desired to be placed in rivalry, bequeathing two of his finest works to the National GaUery on the condition that they should be hung between two of the most esteemed works of that master. In 1802 he was elected a member of the Academy, and about that time visited Scotland, and afterwards France, Switzerland, Italy, and the Rhine. In the succeeding years he produced some of his finest pictures, enlarging his range of sub jects—his 'Jason,' "The Tenth Plague of Egypt,' 'The Blacksmith's Shop,' "The Unpaid BUI.' In 1807 he was appotated the professor of perspective. From this time his works included some of his most expressive marine subjects — 'The Wreck of the Minotaur,' ' The Shipwreck,' ' The Gale,' and some others. His ' Apollo and Python' foUowed in 1811; 'Dido and iEneus,' 1814; 'Crossing the Brook,' 1815; 'The Decline of Carthage,' 1817; 'Richmond Hill,' 1819. About 1820 a great change was manifest TUE in his method of painting. In his first manner dark predominated with a very limited portion of light, and he painted solidly throughout with a vigorous and full brush ; now he adopted a principle of light with a small proportion of dark, used a light ground, and by scumbling obtained infinitely delicate gradations, using the purest orange, blue, purple, and other powerful colours, and in this manner he produced his ' Bay of Baias,' and in 1829, one of his most beautiful and poetic works, ' Ulysses Deriding Polyphemus,' ta which, while in no way gaudy, it seems impossible to surpass the power of colour which he has attained, or the terrible beauty ta which he has clothed his poetic conception, a work almost without a parallel in art. Such was tas art ta oil, but he was no less eminent in water-colours. He soon foimd the heaviness which resulted from laying in the gradations of light and dark with grey, and afterwards representing the hue of each object by tinting it with colour, and proceeded to treat the whole surface of his picture as colour, using at once the pig ments by wliich it might be represented, and by delicate hatchings achieving wonderful qualities of broken hues, ah- tints, and atmosphere. Thus he mastered the whole mystery of the art, and while others ex ceUed ta one particular phase of nature, for which they were distinguished, his art compassed aU they chd collectively, and more than equaUed each ta what he most excelled. Turner's art was appreciated in his early career, and he amassed a large property, of wtach a considerable portion arose from the engravings from his works, for which be was able to make close bargains with the publishers, and to retain an interest. He commenced ta 1808 tas ' Liber Studio- rum,' a work of the highest artistic merit, of great and now of rare value. This led to his employment as an Ulustrator of books, and his ' Southern Coast Scenery,' ' England and Wales,' ' Rivers of France,' and ' Rogers' Italy,' are great examples of his geMus and taste. Several of his finest pictures have also been produced by our best engravers in line or mezzo-tint. A genius of the highest class, endowed with great refinement in art, he had none of the personal characteristics which we associate with such gifts. Clumsy in figure, common in manner, slovenly in dress, he led a retired life without companionship even in art. Taciturn and reserved, he was no less a jovial associate at the occasional meetings of his professional brethren, and full of jokes which it was difficult to com prehend. Full also of art knowledge, which he was ready to communicate, but which his manner made a riddle to understand, but well worth the thought to construe. At the 437 TUE age of 25 he had been able to establish himself ta a house ta Harley Street. Thence he removed to Hammersmith, and follow ing his favourite Thames, he took a small house at Twickenham, where he lived for several years, having at the latter part of the time a house also in Queen Anne Street, Marylebone. Thrifty, shrewd in his deal ings, of untiring industry, he was making money fast, and unsocial, without any inducements to expense, it accumulated. He has been caUed avaricious, and seeking only his own glorification in his wealth. But he devoted it to art, which had been tas only pursuit and happiness in life. He had long been accustomed to absent himself at intervals, and without having been missed, his friends learnt suddenly that the great painter was lying dead at a small cottage on the banks of the Thames, just above Battersea Bridge. In this house lie had been accustomed to lodge occasion ally, and had formed a connexion, under the assumed name of Brooks, with the female who kept it. Here his last illness seized him, and here he died on December 19, 1851. His body was conveyed to tas house in Queen Anne Street, and was buried ta the crypt of St. Paul's Cathedral. By tas wUl, after leaving some smaU an nuities to his relations, he gave the bulk of his property, sworn as under 140,000?., for the benefit of art and artists ; but his wUl, drawn by himself, was so unskilfully framed and so vague, that after four years' litiga tion, by the advice of the Lord ChanceUor, a compromise was arranged. The Royal Academy received 20,000?., his pictures and drawings were assigned to the National Gal lery, his real estate to the heir-at-law, and his large collection of prints, with other pro perty, to the next of kin. The Academy set aside the sum adjudged to them as ' The Turner Fund,' for the relief of distressed ai'tists, not members of their body, and to perpetuate his memory founded a ' Turner' gold medal to be awarded biennially ta competition for the best landscape painting. TURNER, William (known as ' Turner of Oxford'), water-colour painter. Was bom at Blackbourton, Oxfordshire, Novem ber 12, 1789. Losing Ms father at an early age, he was brought up by an uncle, who, observing Ms love for drawing, sent him to London and apprenticed Mm to John Varley, with whom he made fair progress. After leaving Varley, he settled at Oxford, where he was chiefly employed as a teacher, finding pupils among the members of the university and the neighbouring families. He first exhibited ta 1S08, and in 1S09 was elected a member of the Water-Colom' Society. Residing during his whole career in Oxford, many of his subjects were found in that city and its suburbs. But he also painted the moor and down sceneiy of 438 TWE England, introducing groups of sheep and cattle, as well as the mountain scenery of Wales and Scotland. He was a close and industrious student of nature, indefatigable in his work ; tas drawing's, possessing many good quahtes, carefuUy coloured and fin ished, are yet deficient in composition and art treatment, and his works failed to gain popularity. He married ta 1824, and was for 54 years an exhibitor of his works. He died, childless, August 7, 1862, in his 73rd year, and was buried at Shipton-on- Cherwell, near Woodstock. His numerous drawings and sketches were sold by auction in March 1863. TURNERELLI, Peter, sculptor. Was born the latter end of 1774 at Belfast. His father was an Itahan modeUer, and resided many years ta Dublin ; his mother a native of that city. He was intended for the priesthood, but a love of art prevahed. He came to London at the age of 18, was placed with M. Cbenu, an able artist, and ad mitted a student of the Royal Academy. His works early attracted notice and em ployment. He was engaged to teach the Princess of Wales, and also many of the nobUity, modelling ta wax, and he exhibited the tafant Princess Charlotte ta wax, which was much admired. In 1810 George III. sat to him for his bust, and the work was so popular that he made no less than 80 copies of it in marble. He was appotated sculptor to the Queen, and also to the Princess of AY ales. Some of the most dis tinguished men of the day were his sitters, and in 1813, when- he visited the continent, Louis XVIII. sat to Mm for Ms bust. He executed several monumental works : Sir John Moore, in Canterbury Cathedral ; Admiral Sir John Hope, ta Westminster Abbey ; and Bums at tas plough, for the Dumfries monument. He died, after a few hours' illness, ta Newman Street, March 20, 1839, leaving a wife and famUy ta great destitution. He had the reputation of being a charming amateur stager. TWEEDIE, William Wehzies, portrait painter. AYas born ta Glasgow ta 1826, and was the son of a naval officer in Her Ma jesty's service. He was himself intended for the Navy, but shewed such talent for portraiture when only six years old, that bis father was persuaded to allow him to study art instead. He entered the Edinburgh Academy at 16 and remained there four years, gaming durtag his studentship the prize for the best copy of Etty's picture of ' The Combat.' At twenty years of age he came to London and became a student of the Royal Academy, and afterwards studied for three years ta Paris, under Couture the painter. His first exMbited picture was a half-length portrait in oU, which was hung at the Royal Scottish Academy when he was only 17 years of age. From 1858, TYL when Ms portrait of Mr. Graves, M.P., was exhibited, his contributions were some times accepted and sometimes rejected by the Royal Academy, down to 1874, when he contributed portraits of Gathorne fiardy, M.P., and his son. In the following years his pictures were refused, which caused him to fah tato iU health, and he died of grief March 19, 1878. TYLER, William, R.A., scidptor and architect. He exhibited some busts with the Society of Artists ta 1761, and was one of the Directors named ta the Charter when f ranted, 1765. On the foundation of the Loyal Academy ta 1768 he was nominated a member, and was trustee and auditor, taking an active interest in the yoimg in stitution. To the earlier exliibitions he contributed busts and monumental designs, but later he is described as an architect, and from 1780 exhibited arcMtectural de signs. In 17S6 he designed the Freemasons' Tavern, to wliich, ten years afterwards, Thomas Sandby added the large hall. He exMbited for the last time in 1787, and died in Caroline Street, Bedford Square, Septeni- TJWI ber 6, 1801, never having attained distinc tion either as a sculptor or as an architect. TYSON, Michael, amateur. Was a fellow of Bennet College, Cambridge, and both painted and etched for his amusement. He practised about 1770. Of the etchings by him there is a portrait of Archbishop Parker, copied from a print by R. Hogen- burg, said to be one of the earliest engrav ings produced in England ; from an illumin ated manuscript, a portrait of Sir WUliam Paulet, and of Jane Shore, from the por trait at King's College, Cambridge. TYTLER, George, lithorgraphic drafts man. He travelled ta Italy about 1820, and published several lithographic views which he had made there. He also com- pUed from his sketches a pictorial alphabet, of which a lithographic impression was sold, and it was then produced on copper. He also pubhshed in lithography a large pano ramic view of Edinburgh. He died in Clement's Lane, Strand, in great destitu tion, October 30, 1859, aged 62. He held the appointment of draftsman to the Duke of Gloucester. u UNDERWOOD, Richard Thomas, water-colour painter. He was a man of scientific attainments, and, possessed of an independence, can hardly be said to have foUowed art as a profession. He was one of the group of artists who studied at Dr. Monro's, and exhibited some of his draw- tags at Cooke's exhibition in Soho Square. He died at Autetal, near Paris, in 1836. UNWIN, R., enamel painter. He was distinguished by his skiU and taste in enamelling watches, jewelry, &c. He ex Mbited at the Royal Academy from 1705 to 1801, and the last time in 1812, con tributing miniature portraits, designs, sub jects from the poets, and landscapes. UWINS, Thomas, R.A., subject paint er. Was bom at Pentonville February 24, 1782, and was educated at a day-school ta the neighbourhood. He was apprenticed to an engraver ta 1797, but, ambitious to become a painter, quitted him at the age of 16, and was admitted a student of the Royal Academy. He began to draw portraits, and about 1808 was engaged ta book Ulus tration. He Ulustrated 'Robinson Crusoe,' ' Young's Night Thoughts,' and many other works, but chiefly by a frontispiece aud vignette only for each. He also drew for Ackermann's ' Repository.' In 1808 he was admitted an associate of the Water-Colour Society, and ta the following year a fuU member, and was in 1813, for a short time, secretary to the Society. His contributions to the Society's exhibitions were chiefly of a rustic character, introducing children. In 1810, 'The Little Housewife;' in 1811, ' Children returning from School ; ' 1812, 'Higler's Boy going to Market;' 1813, ' Girl decorating Tier fiead with Hops,' with one or two subjects of a higher class. In 1814, his health faUing, he went to reside ta the south of France, where he made many sketches and studies, but designing for booksellers formed his chief employment up to 1817. At tMs time he was subjected to some pecuniary difficulties from the default of a person for whom he had been surety, and in 1818 he resigned suddenly his member ship in the Water-Colour Society, and de voted himself to the drudgery of art tUl he honourably discharged his obligations. He settled for a time in Edinburgh, and was successful ta portraiture, chiefly drawn in chalk. In 1824 he went to Italy, and during seven years' study there visited Florence, Rome, Naples, and the other art cities, returntag in 1831 with the materials he had gathered. Hitherto his art had been chiefly M water-colour. His works had not been seen ta the London exliibitions 439 VAN for several years, and now, approaching his j 50th year, he was prepared to commence a j fresh career with a new art. His inspir- | ations hitherto had been purely Enghsh, now they were of Italy. He exhibited his works ta oil at the Royal Academy, aud at once established a reputation by his Italian scenes, 'The Tarantella,' aud ' The Saint Manufactory.' In 1833 he was elected an associate of the Academy, and, growing in public favour, ta 1838 academician. Further honours waited upon his later days. In 1844 he was ap pointed librarian of the Royal Academy, and ta 1845 surveyor of the Queen's pic tures, foUowed, ta 1847, by the appointment VAN of keeper of the National GaUery. Then, his health failing, he resigned the two latter offices, in 1855, and retired to Staines, where he died, aged 75, August 25, 1857, and was buried, fiis art is weU represented in our national collection by his ' Vintage in the Claret Vineyards, south of France,' and 'Le Chapeau de Brigand,' both of wliich have been finely engraved ; and also in the Sheepshanks collection at South Kensington by his ' Itahan Mother teach ing her Child the Tarantella,' with some other of his works. His widow published, ta two volumes, ta 1858, ' RecoUections of Thomas Uwins, R.A.' V VANASSEN, Benebictus Antonio, designer and engraver. Practised towards the end of the 18th century as a designer for books, but in a poor weak manner. He exhibited occasionally at the Royal Aca demy from 1790 to 1803, and there is a full-length portrait of Belzoni the traveUer, 1804, which is engraved by him. He drew and etched ' Emblematic Devices ; ' 48 plates published 1810. He also en graved Mortimer, the patater, after a pen and ink drawing, 1810, and ttaee nymphs and an infant sacrificing to Pomona and Ceres, a good work ta the dot manner. He died in London about 1817. VAN BELKAMP, John, copyist. Was a Dutch artist ; came to England early in Charles I.'s reign, and was employed under Vanderdoort to make copies of the King's pictures. The copy of Holbein's large picture, the original of which was burnt in the fire at Whitehall, containing a full- length of Henry VII. and Henry VIII., is by iiim ; also the portraits of several re markable persons of the reigns of Henry VIII., Elizabeth, James I., and Charles I., the originals of which were dispersed. By a vote of the House of Commons in 1649, he was appointed one of the Trustees for the sale of Charles I.'s goods. He died ta this coimtry, aDd R. Symonds notes ta 1653 that he is said to be lately dead. VAN BLECK, Peter, mezzo-tint engraver. Born ta Flanders ; came to England in 1723. His works are neatly finished, and have much merit. He en graved several theatrical portraits, and some portraits both drawn and engraved by himself, and among them his own por trait, dated 1735, and those of two then renowned players in the ' Alchemist.' fie died July 20,' 1764. VANBRONDEBURGH, Gilbert, die- 440 engraver. Was appotated graver to the Royal Mint, 9th Henry V., and the ap pointment was continued ta the reign of Henry VI., when his office was defined as 'Sculptor of the dies of gold and sUver within the Tower of London,' where the Mint was then established. VANBRUGH, Sir John, Knt., archi tect and dramatist. He was the grandson of a Protestant refugee, whose famUy had long been merchants of repute in Flanders, and had fled to England. His father settled in Chester, and is said to have acquired wealth there as a sugar baker, and to have married a daughter of Sir Dudley Carleton. Several of tas brothers and sisters were born ta Chester. With regard to him, however, the accounts are very conflicting; but it seems most pro bable that his father, who held the office of Controller to the Treasury, settling ta London, he was born ta the parish of St. Stephen, Walbrook, ta the year 1666. Yoimg Vanbrugh was the secoud of eight sons, and of a very lively disposition. He received a liberal education, which he finished in France, and then commenced tas career with an ensign's commission ta the army, wtach he did not hold long. When about nineteen years of age he went agata to France, where he remained for several years, fie cultivated a taste for the drama, and wrote ' The Relapse,' which was acted with great success in 1697, and was followed by 'The Provoked Wife, played ta Lincoln's Inn Fields' Theatre in 1698, and 'The Confederacj',' comedies which Walpole erroneously said would en dure as long as his, the author's, edifices. About tMs time he must have studied architecture, but under what circumstances he was led to the study does not appear. His talent in this direction must have been VAN unexpected, for Swift, one of the sath'ists of the day, referring to him, wrote : — ; ' We may expect to see next year A mouse-trap man chief engineer.' Nevertheless in 1702 he was employed on his first great work, and began Castle Howard, a noble Corinthian edifice, which so pleased his employer, the Earl of Car lisle, that he appotated his architect De puty Earl Marsnall and Clarenceux King at Arms, thus placing Mm above all the Heralds, and notwithstanding their re monstrances, and his own want of know ledge of the duties of the office, he held it till Ms death. His reputation established, on the completion of tMs work he com menced a succession of noble mansions. He btalt Eastbury, ta Dorsetshire, since taken down ; King's Weston, near Bristol ; Easton Weston, Northamptonshire ; Dun- combe Park, Grimsthorpe ; Seaton Delaval, Blenheim, his great work for which, though Parliament voted the building, they refused to provide the money, and several others. He also was the main promoter and archi tect of a ftae theatre erected in the Hay- market, and on its completion ta 1706 he became the Manager, and produced ' The Confederacy,' a play fuU of humour; but the speculation faUed, and he soon after quitted all connexion with the stage. On the accession of George I. in 1714, he was knighted, and was appotated Surveyor of Greenwich Hospital ta 1716. Ten years later he died at Whitehall on the 26th of March, 1726, and was buried ta the family vault, at St. Stephen's, Walbrook. He left one son, who was kiUed at the battle of Fontenoy. His widow died at the age of 90, ta 1776. Some unfriendly wit wrote his epitaph : ' Lie heavy on him, Earth, for he Laid many a heavy load on thee.' A partizan himself, he had to bear, which we are told he did with much superiority, the attacks of party, and the sarcasms of Swift aud Pope. Opinions upon his art were much divided. Walpole speaks veiy disparagingly of him; says he wanted all idea of proportion ; that his style was of no age or country; that he had no ima gination ; that he undertook vast designs, and composed httleness. But Sir Joshua Reynolds tells us that there is in his works a greater display of imagination than we shaU perhaps find ta any other; that he had originality of invention, and great skill in composition ; and such is now the pre vailing opinion. His works, with many faults, impress us by their grandeur. His style, though founded on the classic,_ was not subservient to its rules ; but aimed rather at the picturesqueness of the Gothic. His plays, of which he wrote altogether VAN twelve, abounding in wit and satire, are too immodest to retain their place on the stage of our day. VANDERBANK, Peter, engraver. Of Dutch extraction, he was born ta Paris in 1649, and was a pupU of De PoUly. He came to England about 1674, and soon gained a name for the laboured finish of his work, chiefly portrait heads, some of which are of unusuaUy large size. In the absence of higher equalities he had a good knowledge of the mechanical part of his art ; but he was unappreciated and under paid. He married the sister of a gentle man of good landed property, at Bradfield, ta Hertfordshire, and when reduced and ta difficulties, found an asylum ta his house. He engraved many portraits of Mstorical taterest, of such are the heads for Kennet's ' History of England ; ' also some of Verrio's patatings at Windsor. He is supposed to have been connected with the manufacture of tapestry. He died and was buried at Bradfield in 1697. He left three sons, one of whom, of the same Christian name, was brought up to his profession. His widow sold his plates to a well-known print-seller, who made a large profit by them. VANDERBANK, John, portrait painter. Son of the above, was born in England towards the close of the 17th cen tury, and studied his art here. He was much employed in the reign of Anne and of George I., was a bold and masterly draftsman, and painted a good likeness, but, with great facffity of execution, was too careless and extravagant to be success ful. There is a portrait of Newton by him at the Royal Society, and at Hampton Court a large group of figures, crowded together with little attempt at composition, or light and shade. He was known as a caricaturist. He designed the iUustrations for a translation of ' Don Quixote ' by Lord Carteret, who thought him superior to Hogarth. He headed the rebel party who seceded from Sir James Thornhill's aca demy, and established himself a drawtag academy, to which, introducing the living model, he gave a short existence. He had a brother who practised as an artist. fie died of consumption ta Holies Street, Cavendish Square, December 23, 1739, aged about 45, and was buried at Marylebone Church. VANDERBORCHT, IIekry, flower painter. Was born at Brassels in 1583, the son of a painter of the same name. He was sent to Italy by the Earl of Arun del, in whose service he continued tUl the Earl's death. He was then employed by the Prince of Wales, afterwards Charles II., and lived ta London many years. He chiefly excelled in flowers and fruit, but there are some etchings by him— a ' Virgin and CMld,' after Parmigiano, dated London, 441 VAN VAN 1637; a 'Dead Christ,' an 'Apollo,' and a ' Cupid.' He returned to Antwerp, and died there in 1660, aged 77. His portrait was engraved by fiollar. VANDERDORT, Abraham, modeller. Was born ta HoUand, and was employed by the Emperor Rudolphus. He then came to England, and was appointed keeper of Prince Henry's medals, an office soon vacated by the Prince's death ta 1612. On the accession of Charles I., he was at once engaged in his service, with a salary of 40?. a-year ; aud in 1625 he was ap pointed by patent to make designs for his Majesty's coins, and was paid an addi tional 40?. a-year. By a second patent ta the same year he was appointed keeper of the King's pictures ; aud the King's favour, in the exercise of the Royal prero gative, was further shown by the recom mendation of tarn by letter, in the way of marriage, to Louysa Cole, relict of James Cole, no doubt a wealthy widow. He com piled careful catalogues and lists of the King's collections, which still exist, com prising the paintings, medals, and other works of art and vertu. A miniature, by Gibson, of ' The Parable of the Lost Sheep,' was given tato his special charge by the King, and was so carefully laid by that, when asked for by the King, he could not find it, and hanged tamself in despair, but it was afterwards found and restored by his executors. VANDBR-EYDEN, John, portrait painter. Studied his art at Brussels, came to England, aud found employment as an assistant to Sir Peter Lely, chiefly in dra pery painting. He afterwards practised in Northamptonshire, where he married. He ched about 1697, and was buried at Stapleford, ta Leicestershire. VANDERGUCHT, Michael, engraver. Was born at Antwerp ta 1660, came to this country, and was the pupil of David Loggan. He engraved many anatomical figures ; and for the Ulustration of Claren don's ' History of England.' There is also a portrait of Mr. Savage, esteemed his hest work, and a large print of the Royal Navy. He was much afflicted with gout, and died October 16, 1725, aged 65. fie was huried at St. Giles's Church. VANDERGUCHT, Gerard, engraver. Born in London, he was a son of the fore going, and a pupil of Lotas Cheron. lie began life ta the practice of his profession, and his name will be foimd to many small book plates. He then traded as a dealer in works of art, paintings, prints, busts, and curiosities, fie was the founder of the Art Gallery in Lower Brook Street. He died March 18, 1776, aged 80, and his stock- in-trade, comprising a large collection of engravings, was sold in the following year. He was the father of 30 chUdren. The 442 ' Four Seasons,' after Coypel, are by him, and he was employed by Sir Hans Sloane. VANDERGUCHT, John, engraver. Was another son of the above Michael, and was born in London in 1697. He learned his art from his father, and studied in the Painters' Drawing Academy. He chiefly practised etching, sometimes using the graver with the poMt. He engraved the plates for Cheselden's ' Osteology,' and was largely employed on the plates, from Thorn- hiU's designs mider the dome of St. Paul's. He assisted Hogarth on several of his early plates, and was himself a caricaturist and humourous designer. He died in 1776, aged 79. VANDERGUCHT, Benjamin, portrait painter. Was the only son of the above John Vandergucht. He studied at the St. Martin's Lane Academy, and on the founda tion of the Royal Academy, was one of the first students admitted, fiis early works were of much promise. He exMbited at the Free Society in 1770, and at the Royal Academy, in 1774, a good half-length por trait of Woodward, the performer, which he presented to the Lock Hospital ; in 1779, a portrait of Garrick, foUowed by portraits of several other performers, which were engraved ta mezzo-tint. He also exhibited 'A Scene ta the Register Office,' and some scenes from popular plays, but he ceased to exhibit in 1786, and quitting art, turned picture-cleaner and picture-dealer. He possessed a coUection of pictures to which he admitted the public on the payment of Is. He was drowned, near Mortlake, in crossing the Thames from Chiswick, Sep tember 21, 1794. His collection was sold by Christie in 1796. He gave an ' Entomb ment,' by G. Seghers, to the Church at Mortlake. VANDERHAGEN, Johann, marine painter. Was born at the Hague, and completed his studies there. He afterwards came to London, where he met with encour agement, but settled in Ireland, aud for several years practised ta Dublta and some of the other towns. lie shewed much ability in his art, but was eccentric and idle, and in his latter days only worked when he had spent his last shilling. He was relieved by the Artists' Society in 1768, and died ta Dublin soon afterwards. 'A Sea Storm ' by him is engraved by Watson. VANDERMYN, UEmAS, portrait and history painter. Was the son of a clergy man, and was bom at Amsterdam in 1684. Intended for the Church, he received a good education, but a love of art prevailed, and he was placed under a flower-painter, and excelled in that branch of art. fie then tried historical subjects. In 1716 he visited Munich and Antwerp, and in 1718 Paris, from whence, or as some accounts say, from Antwerp, he came to London, in VAN 1719, in great difficulties. Here he was engaged ta painting the portraits of several of the nobility, which, with the draperies and accessories, he finished with extreme minuteness, and was patronized both by the Court and the City. Among Ms sit ters were Frederick, Prince of Wales, the Prince of Orange, and the Duke and Duch ess of Chandos. He received 500?. for re pairing the patatings at Burleigh, and de manded large prices for his portraits, but he had married imprudently, was extrava gant, and ta constant difficulties, to avoid which he returned to Holland ta 1736, but came back to England shortly before his death, wliich happened in London in 1741, leaving eight chUdren, some of them brought up as painters, fie painted ' A Jupiter and Danae,' 'Peter Denying Christ,' aud other historical works, which were highly esteemed ta his day. VANDERMYN, Agatha, flower paint er. Was the sister of the above, and came with him to London. In 1763 she was a member of the Free Society of Artists. She patated stiff Me, fruit, flowers, and game. VANDERMYN, Frank, portrait paint er. Was the son of the foregoing Herman, and practised in London, where he became disttaguished in Ms art. He was ta 1763 a member of the Free Society of Artists. He constantly indulged ta his pipe whUe paint ing, by wtach he lost many sitters, and there is a mezzo-tint from a portrait of Mm, painted by himself, lettered 'The Smoker.' He died in Moorfields, August 20, 1783, aged 68. His wife practised as a flower and fruit-painter, and exMbited her works. VANDERMYN, Robert, portrait painter. Was born in London, 1724, and practised about the middle of the century, patating portraits and many landscapes, fruit and flower pieces. VANDERVAART, John, painter and engraver. Was born at Haarlem, in 1647, and came to England ta 1674. Here he became the pupil of Old Wyck, but did not confine himself to his master's art. For some time he patated portraits and stiU Me, and for the latter gataed much reputa tion. Afterwards he painted draperies for Wissing, and then, seUtag his collection, ta 1713 he turned picture-repairer, and found that more profitable than painting. Later he assisted John Smith on tas mezzo-tint plates, and mezzo-tinted some of tas own works, several of which are also engraved by others, and there is a well-known mezzo tint by him of Charles IL, after Wissing. He built a house for tamself in Covent Gar den, near wtach place he lived about fifty years, fie died of fever, unmarried, ta 1721, and was buried in St. Paul's, the parish church. VAN VANDEVELDE, William (distta guished as 'Old Vandevelde '), marine painter. Was bom at Leyden, in 1610, and commenced life as a sailor, but he must have shown an early ability for chawing, as his art was known by the time he was 20 years of age, and his great technical know ledge of shipping is due to the early part of tas career, fiis talent recommended him to the notice of the States of Holland, and he was granted a small vessel to be present with the fleet, and witnessed, in 1665-66, the great sea-fights, not without exposure to imminent danger, between the Duke of York and Admiral Opdam, and between Admiral Monk and Admiral De Ruyter. Charles II. , who had known him in fiol- land, invited him to England, and he arrived here in 1675. The King at once took him tato his service, to make draughts of sea-fights,' with a salary of 100?., which was conttaued by James II. He was a rapid and able draftsman, and painted chiefly ta black and white, and dated aU his later works. There is a series of 12 naval battles and sea-ports, by him, in the Hampton Court collection, fie died at his house, ta Greenwich, and was bmied in St. James's Church, PiccadUly, where there is this tablet to his memory — 'Mr. WUliam Vandevelde, senior, late painter of sea-fights to their Majesties King Charles II. and King James. Dyed 1693.' fiis art had little connexion with the English school, and his chief claim to insertion in this work is the appointments he held under two sovereigns. VANDE V ELDE, William, the younger, marine painter. Was the son of the fore going, and was born at Amsterdam, in 1633. He studied under his father, and afterwards under Simon de Vheger, an eminent Dutch marine painter, and soon surpassing all his contemporaries, rose to great exceUence ; correct ta the graceful form of his vessels and their rigging, deli cate and yet spirited in his finish, admirable in the introduction of tas numerous figures, depicting with equal skill the calm, the breeze, and the storm., Ms works had risen to great estimation in his own country, when he was induced to follow Ms father to England, and joined him in his house at Greenwich, where he chiefly resided. The King received him with great favour, and by a warrant of the 26th of his reign (1674), granted him a salary of 100?. for putting the drafts of his father tato colours for the King's particular use. He was also largely employed by the nobility, but it is probable that many of the fine works by him in our collections were painted before his arrival here. His sea-pieces are very numerous, and are now very highly prized, recent sales showing, in several instances, an increase of value tenfold, within a few years. He was 443 VAN gifted with a very rapid power of sketching, and the number of his drawings, often very slight, is incredible ; about 8000 were known to have been sold hy auction between 1778 and 1780. His finished drawings have kept pace ta price with his pictures, and at a sale at Amsterdam, in 1833, several very large sums were realised. He died at Tavistock Row, Covent Garden, April 6, 1707, aged 74, and was buried at St. James's Church, Piccadilly. VANDEVELDE, Cornelius, marine painter. Was the son of the foregoing, and practised in London at the beginntag of the 18th century. He made some good copies of tas father's works, but is only remembered as a copyist. VAN DIEST, Adrian, landscape paint er. He was born at the Hague, in 1655, the son of a marine patater, and was his father's pupil. He came to England at the age of 17, and found employment as a land scape painter, but occasionaUy painted por traits. He was employed for several years by Lord Bath, and drew several views and ruins in the West of England. His works are of unequal merit, as his narrow circum stances and the necessities of tas family compeUed him to work for low prices. He decorated the wainscot ta old houses with slight landscapes and mountainous back grounds. His best works are luminous, well coloured, and finished. Sir Peter Lely possessed seven of his landscapes. He painted his own portrait, the right hand holding a landscape. He died in London, of an attack of gout, ta 1704, and was buried at the church of St. Martin-ta-the- Fields. There are several sets of landscapes etched by tarn in a slight but masterly manner. He left a son, who practised as a portrait painter. VANDYCK, Sir Anthony, Knt., por trait and history painter. Was born at Antwerp, March 22, 1599, the only son of a wealthy merchant in that city. He first studied art under Henry Van Balen, a clever painter, and then, attracted by the works of Rubens, he entered his studio ta 1615, became tas favourite pupU, and his assist ant ta many of his great pictures, con tinuing four years with him. By Rubens' advice he visited Italy, and presenting his master with a portrait of his wife Helena Forman and two other of tas own works, in return for the present of a horse by Rubens, he set off for Venice ta 1621 to study the masterpieces of Titian. From thence he went to Genoa and Rome, where he stayed some time, lived in much luxury, and paint ed the portraits of several distinguished men, among them, Cardinal Bentivoglio, for whom he also painted some historical subjects ; but he refused to join ta the carousals of the artists, who became the severe critics of tas works, and he returned 444 YAS to Genoa, where he was received in the most flattering manner, and found fuU em ployment. On an invitation from Palermo he visited that city, and patated the por traits of the Prince of Savoy, the Viceroy, and some other persons of emtaence. Then, on an outbreak of the plague, he left Pa lermo, and afterwards returned, ta 1626, to tas native city. The reputation he had gained ta Italy had preceded him, and the citizens of Ant werp were ready to welcome him. He was employed to paint St. Augustine for the church of the Augustines, and the picture increased his fame. He was overwhelmed with commissions for the public edifices of Antwerp, Brussels, Mechlin, and Ghent. He painted, ta grisaille of small size, the portraits of the eminent artists of his time, which have been many times engraved, and he etched several with Ms own hand. But his success gave rise to jealousy. His old feUow-pupUs depreciated his works ; the canons of the cathedral church of Courtrai, among others, abused the pictures they bad commissioned him to paint, and be readily accepted an invitation from Frederick Prince of Orange to visit the Hague, where he patated the portrait of the Prince and the principal personages of his court. He is believed to have been a short time in Eng land ta the spring of 1621. In 1629 he was induced to come here agata by the en couragement giveu to the arts by Charles I., and lodged with his friend Geldorp, a painter ; but, faUing to gam the Kiug^s notice, he went away chagrined, and this reaching the ears of the King he sought his return. In 1632 he was speciaUy Mvited by the Earl of Arundel, at the command of the King, who showed him the greatest favour and immediately employed him. He was knighted the same year, and soon after appotated painter to tas Majesty, with an annuity for hfe of 200?. The King, Ms Queen, and their children sat to him re peatedly, and we are indebted to him for the most complete historic portraiture of his time. He was indefatigable in Ms labours, and Ms works wUl be found M most of the mansions of England's old families. He married Maria Ruthven, daughter of Dr. Ruthven, a physician, and grand-daugh ter of the unfortunate Earl Gbwrie, whose great personal beauty was her only dower. Soon after his marriage he took his wife on a visit to his family at Antwerp, and thence to Paris. It is supposed that he was anxious to have been employed upon the decoration of the Louvre, but he was disap pointed, and, returning to England, he pro posed to paint the history and procession of the Order of the Garter on the walls of the Banqueting House, Whitehall, of wMch Rubens had decorated the ceiling. For this VAN he prepared sketches, and submitted them to the King, but the work was probably postponed by the state of the royal finances, and the signs of approaching troubles. He was fond of pleasure, and of expen sive habits. His luxurious and sedentary hfe induced gout, aud injured his fortunes, which he sought to repair in the pursuit of alchemy, then a prevalent folly, fie had on settling in London, lodged among the King's painters at Blackfriars, and there he ched, cut off, in the vigour of Ms life, December 9, 1641,and was bmied ta St. Paul's Cathe dral, fie left an only daughter, who mar ried a gentleman named Stepney, and her grandson was the poet Stepney. His pecu liar genius is displayed in his portraits, particularly of females. Refined, elegant, exquisite ta taste and colour, his art is almost unrivalled. His hands are noted for their beauty, his heads unconstrained and full of Me and truth ; the action, simplicity and digtaty of his figures and grace of his draperies are unsurpassed. His historical pictures, though partaking of the fine quali ties of his portraits, do not equal them in merit. His ordinary prices were, for a half- length, 40?. , a whole-length, 60?. It is said that he named an extravagant sum, 8000?., for the proposed decorations for the Ban queting fiouse ; but the King was weU able to make a bargain with him, as appears by a document ta the State Paper Office, in wMch the King has made large deductions from his charges for portraits patated. Mr. Carpenter, of the British Museum, pub lished, ta 1844, a ' Memoir of Sir Anthony Vandyck.' VANDYKE, Peter, portrait painter. Born ta 1729. He was a descendant of the Seat Vandyck. He was invited over from olland by Sir Joshua Reynolds to assist him, particularly ta tas draperies, and re mained with Mm for many years. He afterwards settled at Bristol, where he prac tised as a portrait painter, and was reputed for his hkenesses. He exhibited with the Incorporated Society of Artists ta 1762, a 'Diana,' an historical subject, and a por trait ; and in 1764 ' Portraits of a Lady and ChUd in the Character of the Madonna.' At the Free Society in 1767 he exhibited three whole-lengths and three other por traits. There are portraits by him of the poets Coleridge and Southey, ta the National Portrait Gallery. A portrait of Samuel Taylor Coleridge, 1 795, is engraved, as is also a view with many figures introduced. VAN GAELEN, Alexander, battle- painter. Practised ta Holland, where he was in repute as a patater of battle pieces and animals. He foUowed the Court of WUliam III. to England, and was employed by the King to paint the Battle of the Boyne on a large scale. Settling ta London, Queen Anne commissioned him to paint VAN her Majesty in her state coach drawn by eight horses, and accompanied by her Horse Guards. He was also commissioned by a nobleman to paint three of Charles I.'s battles. VAN GELDER, P. M.. sculptor. Was a student of the Royal Academy, and in 1771 gained the gold medal for a bas relief of ' The Choice of Hercules,' but there is no trace of his further career. VAN HAECKEN, Alexander, en graver. Was born ta the Netherlands in 1701, and coming to England settled ta London, where he practised ta mezzo-tint. There are many fine works by his hand, chiefly portraits ; among them George II. and his Queen, after Amicota. Works by him are dated down to 1754. VANE AECKEN (or VANAKEN), Joseph, portrait painter. Was bom at Antwerp, where he studied his profession. He came to England in the reign of George II., and found full employment with our face painters, many of whose art chd not extend beyond the head of their sitter. He added the figure with the background, and though worthy of better things, he found it to Ms taterest to confine himself to this branch of the art. The stage coach brought him canvasses to complete from the most remote parts of England, and two painters agreed to pay him 800 guineas a year, to work only for them. His draperies were in excellent taste, natural, and extremely well painted, not unfrequently the best part of the por trait. He died in London, July 4, 1749, aged about 50. Hogarth, who knew how essential bis art was to the portrait paint- el's, caricatured them, following his coffin in procession as mourners. He left a brother who was employed ta the same professional work. VAN HOVE, Frederick Henry, en graver. He was bom at Haarlem about 1625. He came to London, where he settled, and was much employed by the booksellers on portrait frontispieces between 1648-1692. There are portraits of many emtaent Englishmen of that date engraved by him. He was found murdered, October 17, 1698. VAN LEMPUT, Remy, copyist. He was born at Antwerp, and was known as an ahle copyist of the works of Vandyck. He came to this country where he was chiefly employed in copying, but there are some portraits by him. fie purchased at King Charles's sale the fine Vandyck portrait of the King on horseback, and was compelled to give it up. He died in November 1675, and was buried in the churchyard at Covent Garden. His daughter was known as an artist ; she married the brother of Robert Streater the painter. VAN LINGE, Bernard, glass painter. He was a Fleming, and came to England 445 VAN in James I.'s reign, and gataed a great reputation by Ms art. Probably Ms earliest work in this country is at Wadham College, Oxford, 1622. Among other paMttags by him is the chapel at Wroxton, 1632 ; the seven windows at Lincoln College, Oxford, 1629-31, are generally attributed to him. Some writers, without questioning that these works are by him, doubt whether he ever came to this country. VAN LINGE, Abraham, glass painter. Supposed to have been the son of the fore going. He painted many fine windows ta this country. At Christ Church, Oxford, 1640; Balliol CoUege, 1637; Hatfield, Wroxton, Queen's College, 1635 ; Univer sity College, Lincoln's Inn Chapel, 1641 ; Peterhouse, Cambridge. VAN LOO, John Baptiste, portrait painter. Was born at Aix in Provence, ta 1684, and at a very early age obtained con siderable reputation in art, and patated altar-pieces for the churches in Toulon, Aix, etc. This led to his going to Turin, where he patated portraits of the grand ducal family. The Prince of Carignan sent him to Rome, where he studied under B. Luti, and restored Giulio Romano's Eicture of the ' Loves of the Gods.' Later e went to France, v/here he restored Primaticcio's pictures at Fontataebleau. In 1737 he came to England and patated a portrait of McSwtaey the actor, which obtained him great employment. Walpole states that he soon bore away the chief business of Londonfrom every otherpatater. fiis hkenesses were strong but not flatter ing, aud Ms heads forcible in colouring. His work was laborious, though he only demanded five sittings from each person. His portraits are largely engraved. He etched one plate representing ' Diana flis- covering Endymiou in a Forest.' He re turned to Paris ta 1742, but soon retired to Aix, where he died in 1746, aged 62. VAN N 0 S T , John, sculptor. Was born ta PiccadUly, where his father made statues in lead for the decoration of gar dens. About 1750 he went to Dublin, where he settled and was much esteemed. The equestrian statue of WUliam III. on College Green, is by him ; also, the eques trian statue of George II. , on St. Stephen's Green, and many statues and ornamental works about the castle. He was appointed statuary to the King. About 17S0 he re turned to Loudon, but went back to Cork on the invitation of the Corporation, and erected in that city a statue of the Mayor. He died in Dublta, in 1780. VANSOAIER, Paul, portrait painter. AA'as born at Antwerp in 1576. Practised for some while in Amsterdam. Then came to England. 'The time of his arrival is not known, but it was certainly before 16J6. He settled here, painted James I. with his 446 VAN Queen, and many of the nobUity and other' persons of disttaction. His portraits pos sess many fine qualities, grand, dignified, and characteristic, particularly ta his male portraits, powerful in light and shade, and quiet in tone and colour, excellent in his landscape back-grounds and ta general pictorial treatment. There are many noble examples of his art in the royal and other coUections. He died in London, aged about 45, and was buried at the church of St. Martta-ta-the-Fields, January 5, 1621. VANSOMBR, Paul, engraver. Born at Amsterdam, 1649, he resided some time ta Paris, and then came to London, where he settled and was one of the first artists who practised ta mezzo-tint. He also etched and engraved, but without attaining excellence ta either manner. He executed a plate of the Duke of Bavaria and his secre tary ta 1670, before bis arrival ta England, and many other portraits. There are also many historical engravings by Mm. ' Tobit Burying the DeacL' ' Moses Found ta the Bulrushes,' ' The Baptism of Christ,' ' The Adoration of the Shepherds,' from a design by tamself ; ' A Drawing Book,' and some other works. His works are dated as late as 1690. He died in London, 1694. VAN SON (or 'Vanzoon'), Francis John, still-life and flower painter. Was bom at Antwerp about 1650, and studied art under his father, who was a flower patater. He came early to England, settled here, and marrying the niece (some accounts say the daughter) of Robert Streater, he succeeded to much of his practice. He paMted stiUiife, fruit, flowers, china, rich sUks, and tissues, imitating them from the objects with great fidelity aud trath, rich in colour, and picturesquely composed. Into some of his works he introduced rare botanical plants studied at the Physic Garden in Chelsea. He lived cMefly ta Long Acre, and died ta St. Alban's Street ta 1700. VAN VIANEN, Christian, modeller and clmser. He practised ta the reign of Charles I., and was distinguished by the beauty of his designs and workmanship in silver plate. His works were treasured in . the Royal Collection and in the households of several of our nobUity. That he prac tised ta this country is vouched for by his initials, ' C. V., Lond.' VANVOERST, Robert, engraver. Was born at Arnheim, Holland, about the end of the 16th century, and came to England early in life. He engraved the portraits of many distinguished Englishmen, chiefly after Vandyck,' Mirevelt, and Honthorst, particularly the ftae portrait of Charles and bis Queen, by Vandyck ; Elizabeth of Bohemia, after Honthorst ; and his own portrait, by Vandyck. He used the graver almost exclusively, and his plates are neatly VAE and carefully finished. Vanderdoort, ta his Catalogue, styles him 'The King's En graver.' fiis last known work is dated 1635, but he is believed to have hved till 1669. VARDY, John, arch itect. AA'as a pupil of Kent. He was a member of the In corporated Society of Artists, and was the arcMtect of several fine mansions. He btalt the Horse Guards, it is said, after a design by Kent, 1753. He exhibited at Spring Gardens, ta 1761,.' A Design for a Blinding for the Dilettanti Society,' 'A Design for the British Museum, prepared by order of the trustees, 1754'; 'A De sign for a Royal Palace fronting the Park,' 174S, on the spot where the Horse Guards was afterwards placed, and ' A Design for the North Front of St. James's Palace : ' 'Earl Spencer's House,^, looking tato St. James's Park, and, in 1762, ' Uxbridge House, Burlington Gardens,' now a branch of the Bank of England. He held the office of Clerk of the Works at Kensington Palace. He died ta 1765. VARLEY", John, water-colour painter. His father, a native of Epworth, Lincoln shire, settled for a time in Yorkshire, where he married, but his circumstances not prov ing prosperous he came to London, and his son was born at Hackney, August 17, 1778. The father became tutor to Lord Stanhope's son, and was a man of very scientific at tainments. He discouraged the taste of his son, John Varley, for art, and he was sent on liking to a silversmith, with the intention to apprentice him to that trade ; but his father dying, he managed to free himself from the engagement, and found some employment with a portrait painter, and when about ] 6 years of age, with an arcMtectural draftsman, and ta tas spare hours sketched everything that came in his way. He was taken on a tour by his master to sketch the principal buildings ta the towns they visited, and ta 1798 he*ex- hibited his first work, a ' View of Peter borough CathedraL' In the next year he made a tour in North AVales, and here he found the true field for the exercise of his art. He made numerous studies, revisited Wales ta 1800, and agata in 1802, and afterwards the northern counties of Eng land. Meanwhile he was one of the class of young painters that met continually at the house of Dr. Monro, and had profited by association in their studies. He had exhibited his works at the Royal Academy up to 1804, when he became one of the foundation members of the AVater- Colour Society, and thenceforth contributed to its exhibitions alone, sending no less than 42 works, almost entirely AVelsh sub jects, to the Society's first exhibit! ¦,, and continuing to contribute so largely that he extabited 344 diawtags in the first eight VAE years, so that it is no wonder there are so many slight and inferior works by his hand. Many of his subjects at this period are from the banks of the Thames, and, evi dently painted on the spot, possess greater individuality and truth than his more aspiring compositions. But he had married in 1803 ; a family had now to be cared for, and he was obliged to work for the dealers, and at theu- prices ; and from this resulted weak and common-place work. He con tinued a member of the Water-Colour Society, when a large secession took place ta 1813, and clung to it during its several changes and vicissitudes, constantly con tributing to its exhibitions. AU his latter works were chiefly compositions, mountains and lake sceneiy, produced from a stored memory, but not possessing the qualities of the works of tas middle period. Part of his income arose from teaching, and he had several pupUs, who became eminent ta art. Some of his lady pupils, and some who came to purchase his draw- tag, had another object. He was an en thusiastic astrologer, and they enticed him to cast their nativities. He was ta some degree a sincere believer in his power, and many strange coincidences are told in respect to his predictions. A man of a liberal and genial character, he was full of clever conversation on many topics, and amusing on all. As artist, teacher, and as trologer, he managed at one period of his life to make a good income ; but in the latter part he fell tato difficulties, not from any extravagance or indolence, hut rather from mismanagement and neglect of his house hold affairs. He had suffered from an affection of the kidneys, and sitting down to some sketch that allured him he had a relapse, was unable to reach tas home, and died ta a friend's house on the 17th November, 1842. His landscapes have great breadth and simplicity, his tints are beautifully laid with a full and free pencil, his colour fresh, pure: and simple, and no body colour is used in his best works. He was rather mannered, but a great master of the rales of com position, which he applied with true genius. His foliage is large and massive rather than imitative, fie usually painted com mon sunlight and summer foliage, seldom autumnal tints, and rarely sunsets or other eflects. He w as happy in the introduction of figures. He published some strange books, for he had not mastered the art of writing. A treatise on ' Zodiacal Physi ognomy,' 1828; 'Observations on Colour ing and Sketching from Nature,' 1830; and a 'Practical Treatise on Perspective.' His eldest son, Albert Fleetwood Var ley, a water-colour painter, and teacher in good practice, died at Brompton, July 27, 1876, aged 72. 447 VAE VARLEY, William Fleetwood, water- colour painter. Was younger brother of the above, and commenced art under his instructions. He exhibited views at the Royal Academy in 1804 and 1805, and regularly from 1809 to 1817. About 1810 he taught drawing iu Cornwall, and after wards at Bath and at Oxford, at wliich latter city, by the thoughtless frohcs of a party of the students, he was nearly burnt to death. His nerves suffered a shock from which he never recovered, and he experienced great distress. In his latter days he was sheltered in the house of his son-in-law. H e died at Ramsgate, February 2, 1856, aged 71 years. VARLEY, Cornelius, water-colour painter. Brother of the two foregoing. He was born at Hackney, November 21, 1781, and on the death of his father, when he was only ten years of age, was taken charge of by his uncle, a manufacturer of philosophical instruments and apparatus, under whom he gained a knowledge of mechanics, optics, and chemistry. He re mained with his uncle till about his 20th year, and was engaged ta many ingenious inventions and experiments, but left him about 1800, owing to some family disagree ment, and joining his elder brother, John Varley, he set himself to study art. Mak ing several visits to Wales, he sketched direct from nature, and was soon engaged in teaching. He first appears as an ex hibitor of ' A Wood Scene, a Composition,' at the Royal Academy m 1803, and in the following year was one of the artists who met and founded the Water-Colour Society, of which he was one of the first members, and from its formation a constant con tributor to its exhibitions. He was also a member of the Sketching Society. In 1808 he extended his sketching excursions to Ireland. Among his chief works were, in 1809, 'A Mountain Pastoral;' 1810, 'The Sleeping Shepherd ;' 1811, 'Evening,' and ' Palemon and Lavinia ; ' 1815, ' View of Ardfort, Ireland,' and the same year he was appotated Treasurer of the Society ; in 1816 he exhibited 'Evening in AVales;' 1819, ' Ruins of Troy ; ' 1820, ' The Vale of Tempe;' and ta 1821, on changes which then took place, he resigned his member ship. His works were few, chiefly of a classical character, introducing architecture and groups of figures, compositions care fully and elaborately finished. He had, while a member of the AYater-Colour So ciety, occasionally sent a picture to the Academy exhibition, and he now exhibited his principal works there, seldom more than one, and usually a landscape composition. He exhibited for the last time in 1859. He was a man of many attainments, and, active in scientific pursuits, was a frequenter of the Royal Institution, and took to the 448 VEN last an earnest interest in the proceedings of the Society of Arts, of which he was the oldest member. His practice in art was carried on without abandoning scientific pursuits. He made various improvements in the camera lucida, the camera obscura, the microscope, for which he received the Society of Arts' Isis gold medal ; and he in vented the graphic telescope, for which he also received a medal at the Exhibition of 1851. He was the last survivor of the founders of the Water-Colour Society. In the enjoyment of his faculties to the end, he died at Highbury, October 2, 1873, in his 92nd year. He published ' Etchings of Boats and other Craft on the river Thames.' VASLET, Lewis, miniature painter. Practised at York about 1770, and from 1775 to 1782 at Bath, and was an occa sional exhibitor at the Royal Academy, contributing for the last time in the latter year. VAUGHAN, Robert, engraver. He practised about the middle of the 17th cen tury, and engraved the portraits of some eminent men, but tas works do not possess much merit. He also engraved for Dug- dale's ' AVarwickstare,' Morton's ' Ordinal,' and for Ashmole's ' Theatrum Chemicum.' During the Protectorate he appended so offensive an inscription to a portrait of Charles II. , that proceedings were taken against him after the Restoration. His latest known work is dated ta 1655. He died about 1667. VAUGHAN, William, engraver. Prac tised ta the last half of the 17th century, and was chiefly employed upon frontis pieces for the booksellers, fie engraved after Barlow, ' A small Book of such Beasts as are most useful for Drawtag, Graving, Arms Patating, and Chasing,' 1664 ; and three plates for a smaU folio pamphlet, 'The Sufferings of Sir Wiffiam Dick, of Braid.' VENDRAMINI, John, engraver. Was born near Bassano in 1769. Pursued the study of his art there till the age of 19, when he came to England, and, settling ta London, completed his studies under Bar tolozzi, with whom he remained till tas master left England, when he succeeded to his house at North End, Fulbam. In 1802 he married an English lady, and in 1805 he made a journey to St. Petersburgh and Moscow, and during a stay of two years in Russia was greatly esteemed, and was patronised by the Emperor, who made every effort to induce him to stay, and, his pass port being refused, he escaped from the country in disguise. On reaching England he resumed the practice of his profession, and worked with great diligence on works of a high class. The chief of these are, 'The Vision of St. Catherine,' by Paul VEE Veronese ; ' St. Sebastian,' by Spagnoletto ; ' Leda,' by Da Vinci ; and ' The Raising of Lazarus,' after the Sebastian del Piombo, now ta the National Gallery. He died in Regent Street, February 8, 1839. VERELST, Simon, portrait and flower- painter. Was born at Antwerp in 1664, and disttagtashed himself there by his flower and fruit pieces. He came to Eng land in the reign of Charles II. , and then took to portrait patating, surrounding his portraits with flowers and fruit. His por traits ta this manner became popular. They were, as well as the flowers, painted with extreme delicacy and finish, and he received large prices for them. Many anecdotes are told of Ms immoderate vanity, which Walpole says led to tas con finement as a madman. He called Mm self ' The God of Flowers,' and did not recover his reason tiU towards the close of his life. In 1683 he was liviug in Jermyn Street, St. James's ; he died ta Suffolk Street ta 1710. VERELST, Herman, flower-painter. AY as the elder brother of the above. He practised for some years in Vienna, where he gained a reputation as a flower-painter. He sometimes attempted history painting. About 1683 he came to England, where he settled, and continued to paint the same subjects. He died about 1700, and was buried at the Church of St. Andrew, Hol- born. His works are engraved by Becket, Faber, Smith, and others. VErtELST, Maria, portrait painter. Daughter of the above and his pupil. Born in 1680. She patated small delicately fin ished portraits ta oU, and some historical subjects. She was mistress of several languages, a great proficient ta music, and a very accomphshed woman. VERELST, Cornelius, portrait paint er. Son of the above Herman. Was bom at Vienna ta 1667, and accompanied his father to England, where he practised por traiture ta oil with some repute. He died March 7, 1734. VERELST, William, portrait painter. Son of the above. Practised, ta London, portraiture ta oil, and was esteemed in his day. There is a good portrait of Smollett by Mm, dated 1756, sohdly and carefully painted. He died unmarried soon after that date. VERGAZON, Henry, landscape and portrait painter. He was a native of Holland, where he practised as landscape painter. In the reign of William III. he came to England and settled here. He painted portraits of a small size, but was chiefly employed by Sir Godfrey Kneller in painting the back-grounds of his portraits. VERNON, Thomas, engraver. He was born in Staffordshire about 1824, and studied tas art both in Paris and in Eng- VEE land. He practised in the pure line man ner, and maintained a high reputation, excelling in his figures. Among his chief works are ' The Madonna and Child,' after Raphael ; ' The Virgin and Child,' after Dyce, R.A. ; ' The Princess Helena,' and ' The Lady Constance Grosvenor,' after Winterhalter ; 'Olivia Unveiling,' after C. R. Leslie, R.A. ; ' The First-born,' after Cope, It. A. ; and ' Christ Healing the Sick,' after Muiillo, probably his ftaest work. His art was finished and elaborate, and falling in times when engraving of a high class met with little appreciation, found only a poor remuneration. He died January 22, 1872. VERPYLE, Simon, sculptor. Was born ta England, and was a pupil of Scheemaker. Towards the end of the 18th century he was invited to Dublin by the Earl of Charle- mont, and for some time, and about 1764, found full employment and practised there. He was considered a clever bust-modeller, but his art did not extend beyond this. He practised for many years in Dublin, and died there. His widow was relieved by the Artists' Society. VERRIO, Antonio, history painter. Was born at Naples in 1634. After making some progress iu his art he visited France, and settled at Toulouse, where he met with employment, and patated an altar-piece for the church of the Carmelites. lie came to England in 1671, on the invitation of Charles IL, who purposed to re-establish the tapestry manufacture at Mortlake, wtach had been interrupted by the civil war ; but seeing some painting which he had executed for Lord Arlington, the King preferred to employ him in the decoration of AA'indsor Castle, where he was engaged for several years in patating the principal chambers. Most of the ceilings are by him ; the Chapel, and one side of St. George's Hall. For these works he was paid nearly 7000?. He held also the place of master gardener, had a lodging assigned him in St. James's Park, and lived sumptuously. He was continued in his employment at Wind sor by James II., and there is in the great hall of Christ's Hospital a painting ninety feet long of the Governors, accompanied by the oflicers and children, in large life- size groups, returning thanks to that mon arch for the grant of the Hospital Charter — a work of great pretension and power. On the Revolution we are told he refused to paint for William III. and was for some time employed at Burleigh by Lord Exeter, and afterwards at Chatsworth. He was then induced to work for the King, and painted his well-known work, the great staircase at Hampton Court. His sight failing, Queen Anne granted him a pension of 200?. a year, and soon after he died at Hampton Court, June 17, 1707. His works gg 449 VEE have been smartly criticised by Pope and others, whose ridicule is not unwarranted by many absurdities ; but injustice has no less been done to the painter and his merits, and the great fitness of his art as a deco rator overlooked. His great facility, the easy pose of his figures, the fresh and de corative look of his surface, are qualities which might well make him popular in his own clay , and demand recognition in ours. VERTUE, Robert, statuary. Was em ployed as master mason in the erection of Henry VII.'s Chapel, at AVestminster. VERTUE, George, F.S.A., engraver. Was born of respectable parents in the parish of St. Martin, London, 1684. At thirteen he was apprenticed to an engraver of arms on plate ; but after between three and four years, his master failing, he re turned to his friends, and devoted himself to study drawtag. He then entered tato an engagement with Michael Vandergucht for three years, which he prolonged to seven ; and afterwards in 1709 began to work for himself, studying closely not only to im prove in his art, but also to acquire the French, Italian, and Dutch languages, and to cultivate a love of music, fie was one of the first members of the Academy (caUed KneUer's Academy) founded in 1711, in Great Queen Street, Lincoln's Inn Fields, for the study of the human figure, and drew there for several years, fiis works were beginning to attract attention, when, on a commission from Lord Somers, he engraved a fine plate of Archbishop Tillotson, which at once gave him a reputation, and on the accession of George I., he engraved a por trait of him, which had a very considerable sale and was followed by the portraits of the Prince and Princess. As early as 1713 he commenced his researches tato the lives of our artists, and his collection of whatever might assist ta his contemplated history of the arts in England. He also practised in water- colours, copying antiquities and relics, and sometimes attempting portraits ; and ac quiring a love of antiquarian research, he became a member of the Society of Anti quaries, and was in 1717 appointed En graver to the Society. He was full of employment. He visited the principal galleries and the old mansions of the no bility, as well as the Universities, in search of English portraits, and, taking great care for their proper identification, he engraved a great number of them, fie also made sketches and notes of statues, busts, tombs, and art memorials of every kind. He en graved the Oxford Almanacs from 1723 till his death. In 1730 be completed his twelve heads of the poets, followed by a series of heads of Charles I. and the loyal sufferers in his cause, and the Ulustrations to Rapin's' History of England.' Altogether 450 VIC he is said to have engraved above 500 portraits alone. Some of his works show much merit ; but truth and correctness were preferred by him to art, and tas manner is laboured and dry. His literary works are held in much esteem. His reputation stands higher as an antiquarian than as an artist, fie pub lished ' On Holbein and Gerrard's Pictures,' 1740 ; ' Medals, Coins, Great Seals, Im pressions from the Elaborate AVorks of Thomas Simon,' 1753 ; ' Catalogue and Description of KMg Charles the First's Capital CoUection of Pictures, Limnings, Statues, &c.,' 1757 ; ' Catalogue of the Collection of Pictures belonging to King James IL, to which is added a Catalogue of the Pictures and Drawings ta the Closet of Queen Caroline ; ' ' Catalogue of the Curious CoUection of Pictures of George Villars, Duke of Buckingham ;' 'Descrip tion of the Works of that Ingenious De lineator and Engraver, W. Hollar,' 1745, second edition 1759. He died July 24, 1756, as he had lived, a strict Roman Catholic, and was buried ta the Cloisters of AVestminster Abbey, where there is a tablet to his memory, fiis prints, drawings, and books, were sold by auction in March, 1757. His pictures, models, hmnings, carts, coins, and medals, ta the May follow ing. After his death his large coUection of notes and memoranda were purchased by Horace Walpole, and formed the material for his ' Anecdotes of Patating ta England.' VERTUE, James, portrait painter. AVas the brother of the foregoing. He practised as a portrait painter and drafts man at Bath, and died there about 1765. His drawings were sold by auction in Lon don ta 1766. His brother George engraved, after a drawtag by him, ' The Interior of the Abbey Church at Bath.' VICKERS, Alfred, landscape painter. Was born at St. Mary Newington, Septem ber 10, 1786. He was early devoted to art, and was self-taught. He patated smaU pictures from Enghsh scenery with great facUity, wtach were truthful and pleasing, but did not reach to higher exceUence. fie was a frequent exhibitor at the Royal Aca demy from 1813-59, and the other exlii bitions. He died ta 1868, aged 82. ArICKERS, Alfred Gomersal, subject and marine painter. Son of the above. Was born ta Lambeth, April 21, 1810. He commenced art with httle instruction, except such as he may have received from his father. He painted both in oil and ta water-colours, and was a constant exhi bitor at the British Institution, and from 1827, till his death, at the Royal Academy, and at Suffolk Street. In 1833 he was employed to visit Russia to make sketches for publication, and made some excel lent drawings, which were pubhshed in the VI L Annuals. He died when beginning to make Mmself known, January 12, 1837. His works were sold in the foUowtag February at Messrs. Christie's. VILLIERS, Francois Huet, miniature painter. Born ta Paris. Son of au animal patater. He took refuge in this country on the breaking out of the French Revo lution, and settled here in the practice of his art. He painted cMefly portraits, but also landscapes and ammals, and was, ta 1808, a member of the Associated Artists ta Water-Colours. His portraits were ta miniature, on ivory, and in chalk and oU. He made some drawings of Westminster Abbey, wliich were published, as was also his Drawing Book for cattle and trees. He held the appointment of painter to the King of France, and was appointed minia ture painter to the Duchess of York, and was a constant exMbitor at the Academy from 1804 to 1813, contributing mitaatures — some of them on marble — animals, and studies from nature. He was a respectable artist, his portraits well finished, and effec tive ta colour, but stiff and graceless. He found good employment in bis versatile practice. He died in Great Marlborough Street, July 28, 1813, aged 41, and was buried ta St. Pancras old churchyard. VINCENT, W., engraver. Practised ta London towards the end of the 17th cen tury. Engraved mezzo-tint portrait heads and history, and some plates after his own drawings. His works are much esteemed. VINCENT, George, landscape and marine painter. Was born at Norwich in June 1796, and was educated ta the gram mar school of that city. He was a pupU of old Crome, and his name first appears as a contributor to the Norwich exhibition ta 1811. The next year he sent two pictures, and ta 1814 no less than 15, and the same year, and up to 1823, was an occasional exhibitor at the Royal Academy, senchng also one or two works to the Water-Colour Exhibition. In 1817, and the foUowing year, he was an exhibitor ta London at the British Institution, and then, leaving Nor wich, be settled ta London in 1819. In 1820, when the Society's exhibitions were open to others than members, he exhibited with the Water-Colour Society,' 'London from the Surrey Side of Waterloo Bridge,' a fine work in oU ; and in 1824, on the foundation of the Suffolk Street GaUery, exMbited there, and continued to do so up to 1830, after which Ms name does not appear. On a commission from Mr. Car penter, of the British Museum, he painted his best work, ' A View of Greenwich Hos pital,' which was exhibited at the Interna tional Extabition ta 1862. He had married and fitted up a good house in Kentish Town, but he fell tato bad habits, followed by debts and difficulties ; his pictures were G VIV to be seen in dealers' windows, aud became more slight and less studied ; he was lost sight of, and the date of his death is uncer tain, but it is supposed that it occurred about 1831. His 'Greenwich Hospital' gives Mm high rank as an artist. The hospital is seen from the river at full tide, crowded with craft and shipping, the sun ta the picture obscured by the vessels, and the light dispersed, the sky pearly and luminous. In his latter pictures he painted subjects as seen under the sun, using large masses of greyish shadow, tipped and fringed with the solar rays. He did not frequently introduce trees or foliage as his principal objects. He had powers, which show he might have rivalled the great landscape painters of his day. VIOLET, Pierre, miniature painter. AVas a native of France, where he attained much reputation, and was miniature patater to Louis XVI. and Marie Antoinette. On their execution, in 1793, he came to Lon don, and settled here in the practice of his art. He exhibited occasionally at the Royal Academy ; among other works, a portrait of the Prince of Wales, and con tinued an exhibitor up to 1819. He also gave 'lessons in water-colour drawing. A likeness of Bartolozzi by him is engraved. He wrote an introduction to mmiature painting. He died in London, ta his 71st year, December 9, 1819. VISPRE, Victor, miniature painter. Was born in France. Towards the end of the 18th century he was residing in Dublin, ta the practice of Ms art. He sent from thence to the Spring Gardens' exhibitions, 1770-78, smaU life portraits. He also exe cuted smaU crayon portraits, among which maybe mentioned those of Garrick and his wife. His brother, Francis Zaverius Vispre, practised in Dublta at the same time, painting fruit pieces in oU and on glass, and also exhibited at the Spring Gardens' Rooms. VIVARES, Francis, landscape engraver and draftsman. Was born near Mont- pelier, France, July 11; 1709, and contrary to his will, was appenticed to a tailor. He was, however, fond of drawing, and prac tised it. He etched some landscapes, which he finished with the graver, and early in life — it does not appear on what induce ment — he came to London, arriving here at the age of 18. He attracted the notice of Chatelain, who befriended him, and took him as his pupil. He studied, with such help, both drawing and engraving, soon made his way to distinction, and became the founder of a school of landscape en gravers. In 1766 he was a member of the Incorporated Society of Artists. His line is good, his light and shade well preserved, and his figures well drawn. He published ' A New Book of Shields.' He engraved G 2 451 VIV VUL some fine plates after Gaspar Poussin, Gainsborough, Vanderneer, Smith of Derby, and the Smiths of Chichester ; and espe cially Claude, whose works he rendered with great truth and ability. His laud- scape works are very numerous. The spirited character of his foliage, and the richness of his foregrounds, were the admir ation of AVoollett. He drew with the pen in a very spirited manner. He died in Great Newport Street, where he had lived 30 years, November 26, 1780, and was buried in Paddingtou churchyard. He had married thrice, aud had 31 children. VIVARES, Thomas, engraver and draftsman. Son of the foregoing, he was born in London about 1735. In 1761 he gained a Society of Arts' premium. He practised as au engraver, but he was also a teacher of drawing, and iu 1783-87 exhi bited some moonlight scenes at the Royal Academy, but his works are little known. Several of the architectural plates to the works of R. and J. Adam, published in 1773, are engraved by him, aud there is a set of six landscape views near London wtach are both drawn and engraved by him. VOGELSANG, Isaac, landscape and cattle painter. AVas bora at Amsterdam in 1688, and studied his art there. Prac tised in London in the time of George I. ; then visited Ireland, and was much em ployed there. He painted landscapes, animals, battle-pieces, and occasionally accessories and draperies for the portrait painters. From thence he went to Scot land, but not succeeding, he returned to London, where he settled", and died June 1, 1753. VON HOLST, Theodore, historical painter. Was of a Livonian family, and born in London, where his father was a musical teacher, September 3, 1810. He showed an early talent for drawing, and was admitted a student of the Royal Aca demy, where he gained the notice of Fuseli, and of Sir Thomas Lawrence, who pur chased some of his drawings. As he advanced ta art, he was led aside by the promptings of his wild genius, and chose subjects of unreal, gloomy romance, wliich were unstated to the English taste ; and he frequently visited Germany, nourishing a love for German art. He exhibited at the Royal Academy in 1S29 ' Students Watching the Clock of Eternity ;' in 1833, 'Pleasure a Vision;' in 1S34, 'A Seducer,' and 'The Treasure-Seeker ; ' and occasionally a por trait, sending his last contribution ta 1843. Hisprtacipal works are 'The Drinking Scene in Faust,' ' The appearance of the Ghost to Lord Lyttelton,' ' The Raising of Jairus' Daughter,' which is engraved, and for wliich the Directors of the British Institution awarded him a donation of 50 guiueas. He was disappointed in his art, resolutely re- 452 sisted advice, and following his own bent, wasted his real powers. He died after a short illness in Percy Street, Bedford Square, February 14, 1844, aged 33. He illustrated an edition of Shelley's ' Frankenstein.' VORSTERMAN, Luke, engraver. AA'as born at Antwerp in 1580, and com menced life as a student of painting in the atelier of Rubens. He afterwards devoted himself to- engraving. In the reign of Charles I. he came to England, and resided here from 1623 to 1631. fie engraved several fine pictures in the King's collection for the Earl of Arundel, and made some drawings aud painted some small pictures while ta England, among them a portrait of Prince Henry. His last-known work is dated 1656, though this has been attributed to his son, whose Christian name was the same. VULLIAMY, Lewis, architect. His father was celebrated as a clock-maker, and the firm had for above 130 years held the appointment of clock-makers to the Crown. He was brought up for an archi tect, was articled to Mr., afterwards Sir Robert, Smirke, and was admitted to the schools of the Royal Academy. In 1813, he gained the Academy gold medal for his design for ' A Nobleman's Country Man sion,' and was in 1818 elected to the Aca demy traveUing studentship, and passed several years of study on the continent, chiefly ta Italy, and also visited Greece and Asia Minor. In 1822 he exhibited at the Academy ' A Design for the Court of a Palace;' in 1823, the 'Portion of a Design for a Bridge ; ' ta 1S24, ' Examples of Ancient ArcMtecture, Greek, Italian,' &c., and settling ta London, he soon estab lished an extensive professional connexion. He did not agata exhibit till 1830, when he sent the ' Front of the Law Institution,' theu erecting in Chancery Lane ; in 1831, ' The Designs for a Church ' he was build ing at Highgate ; ta 1833, ' The Elevation of a Church ta Woburn Square ; ' and in 1837-38, the front and other portions of the Royal Institution, his last exhibited works. During » practice of nearly half- a-century he was the architect of several fine mansions, and altered and enlarged several others. Among his works of this class, Dorchester House, Park Lane, and AArestonbirt, Tetbury, should be mentioned. He built no less than 28 new churches, of which St. Barnabas, Kensingston, is a good example, and so is, among liis later works, the London and Westminster Bank. But he may well rest his reputation upon his last work— Mr. Holford's noble mansion in Park Lane — conspicuous by the classic proportion and taste of its design— the fine entrance hall and staircase, and the excel lent adaptation of the building to its site. He died at tas residence, Clapham Common', WAD January 4. 1871- He published in 1826, with coloured plates, ' Ornamental Sculp ture in ArcMtecture, from the Originals ta WAL Greece, Asia Minor, and Italy.' 'The Builder,' ta 1871, published a complete hst of his numerous executed works. w WADDINGTON, S., landscape paint er. He painted some good landscapes in a classic style, and was of some promise, but died at the age of 22 ta 1758. WAGEMAN, Thomas Charles, por trait painter. He first exhibited at the Academy in 1813, and continued a con tributor of portrait drawtags ta water- colour, with sometimes a miniature, up to 1848. He exhibited many portraits of eminent actors in character. He was ap pointed portrait patater to the King of Holland. Died June 20, 1863, aged 76. WAGGONER, , landscape painter. There is a view of the Fire of London by a patater of this name ta Painters' Hall, London, and a painting of the same subject, hke ta many of its details, at the Society of Antiquaries, supposed by the same hand. The effect of the conflagration is well repre sented, but the painting has generaUy no artistic merit. The latter picture is engraved by MazeU, for Pennant's ' London.' AVAINWRIGHT, Thomas Griffith, subject painter. He claimed a good Welsh descent, and was educated under Dr. Bur- ney. From 1820 to 1823 he was a con tributor, under the name of 'Janus Weathercock.' of some humorously flip pant, impertinent art-criticisms to the 'London Magazine,' and in 1821, exhi bited at the Royal Academy, ' A Romance from Undine,' fohowed in 1822 by ' Paris in the Chamber of Helen;' ta 1824, by 'The Milkmaid's Song,' and ta 1825, when he last exhibited, by a ' Scene from der Freischutz,' and a ' Sketch from la Gerusa- lemme Liberata.' He was then hving in Great Marlborough Street, and was well received in artistic and literary society, and afterwards lodged with the widow of an officer at Mortlake, one of whose daughters he clandestinely married. In 1830 he in sured the life of his wife's sister, for a short period, within which she died sud denly. The Insurance Office successfully disputed his claim, and the dark suspicion that strychnine, then little known, had been used, clung to him. He wandered about for a while in France ; but, return ing to England in 1836, he was at once apprehended on the charge of forging bis wife's and her trustees' signatures to the transfer of 5200?. stock ; and, pleading giuity at the Old Bailey, was transported to Van Diemen's land. In 1854 he was admitted to the General Hospital at Hobart Town, where he remained several years, and when discharged he recurred to his own profession. But known, his cha racter surrounded with the gravest sus picion, he was disliked and shunned, and is said to have again attempted poisoning. After seven years he petitioned for a "Ticket of Leave,' which was refused by the Governor, fie died in the Hobart Town Hospital, of apoplexy, about 1852. He had some art reputation in his day, but the traces of tas works are lost. Sir Edward Lytton told the story of his crimes ta 'Lucretia,' a novel, and Mr. Justice Talfourd, ta his 'Memorials of Charles Lamb.' WAIT, Robert, portrait painter. Was born in Scotland, and was a pupil of the younger Scougall, aDd had some instruction from Kneller. fie was much employed as a portrait painter from 1708 to 1722, and later patated still hfe. He died in 1732. WAKEFIELD, William, architect. Practised in the reign of George I. He erected, in 1713, the Mansion at Buncombe Park, Yorkshire, a grand pile in the Doric order, which has been attributed to Vanbrugh; and in 1723, Rookby Park, in the same county; also Atherton Hall, Lancashire, a work of much pretension and merit. He gave the design for 'Helms- ley, once proud Buckingham's delight.' His works are engraved in Campbell's 'Vitruvius Britannicus.' WALDRE, Vincent, history painter. He was a native of Vicenza, and having painted some ceilings at Stowe, on the in vitation of the Marquis of Buckingham, who was then Lord-Lieutenant of Ireland (1787-90), he went to Dublin, and was em ployed to decorate Saint Patrick's Hall, with three large paintings, the subjects from Irish history. He afterwards produced some easel pictures. Later he was ap pointed architect to the Board of Works, but has left no edifice by which he can be remembered. He married an English lady, and settling ta Dublin, died there, aged 72. AVALE, Samuel, R.A., history painter. Was bom in London (some accounts say Yarmouth), and was apprenticed to a sUver plate engraver. He studied drawing at the St. Martin's Lane Academy, and had some assistance from Frank fiayman, whose 453 WAL manner he imitated. He practised paint ing, and executed several ceilings ; but his chief employment was as an illustrator of books. His designs were chiefly made with the pen and tinted with Indian ink, and are many of them from English his tory, but they are weak and spiritless, wanting both in drawing and ta light and shade, fie was one of the foundation members of the Royal Academy, and first lecturer on perspective, of which he was a master, and also professed a knowledge of architecture. He lived ta the same house with John Gwynne, R.A., the architect, and assisted tarn both in the artistic and literary part of his publications. There is an engraving from a jotat drawing by them of the ' Interior of St. Paul's Cathe dral,' decorated according to Sir C. Wren's original intention. He painted some signs, and one of ' Shakespeare ' was of some notoriety. On the death of Richard Wilson he was appotated librarian to the Academy. H» was an exhibitor at the Academy from 1769 to 1778, contributing sacred and his toric subjects, but chiefly tinted designs only. In the latter year he was placed upon the Academy Pension Fund, and was the first member who participated ta its benefits. He died February 6, 1786, in Little Court, Leicester Square. There are works by him ta Bethlehem Hospital, St. Thumas's Hospital, Christ's Hospital, and the Foundling Hospital, at the latter a small landscape, good in colour and light in shade, with figures well introduced. There are also some slight etchings by him. The iUustrations for ' London and its En virons Described,' 1761, are by him, as are also those for an edition of Izaak Walton's ' ADgler.' WALES, James, landscape painter. Was born of respectable parents, at Peter head, in 1748, and was educated at the Marischal College, Aberdeen. Choostag landscape, his love of art was fostered by travel. He went to the East Indies ta 1791, and devoted tamself to make draw ings of the ancient architecture aud sculp ture. Twenty-four of tas drawings of the Temple of Ellora are engraved by Thomas Dauiell, R.A., in his work on ' Hindoo Excavations,' 1803. He also made draw ings of the Temple of Elephanta, and in 1788 and 1789 was an exhibitor of portraits at the Royal Academy. He died in 1796, at Salsette, on the coast of Malabar, where he had gone to make drawings. He patat ed some good portraits of the Indian Princes and their ministers. WALKER, Anthony, engraver and draftsman. Was born at Salisbury in 1726. Other accounts say Thirsk, and that tas father was a hatter. After gaining some knowledge of his art he came to London, placed himself under John Tinney, 454 WAL and was admitted a member of the St. Martin's Lane Academy. He engraved the figures in his fellow-pupil Woollett's ' Niobe.' He was for some time employed on frontispieces and vignettes for book illustrations, which he both designed and engraved. In 1754 he pubhshed five ex cellent plates, after his own designs, from ' Romeo and Juliet,' and was then noticed and employed by Alderman BoydeU, for whom he engraved after Pietro di' Cortona, Holbein, Rembrandt, Chatelaine, WooUett, and others. He exhibited his 'Angel,'- after Rembrandt, at the Spring Gardens' Rooms, 1765. fie died at the early age of 39, near Kensington, May 9, 1765, leaving a promise of much excellence, and was buried in Kensington churchyard. AArALKER, William, engraver. Brother of the above, and one of a famUy of 10 chUdren, aU of whom were remarkable for theu- love of drawing. He was born at Thirsk, in November 1729, and served his apprenticeship to a dyer. AV'hen his time was out he came to London, bent upon following art, and was taught by his brother, whom he for some time assisted. He was employed for nearly 30 years upon the Ulustrations of the publications of the day, and also engraved some good plates for Alderman BoydeU. Early in Me he dis covered the valuable art of re-biting, and AA'ooUett, who occasionally used the process, when successful, was wont to exclaim, 'Thank you, AA:Uham Walker.' Unable to overcome the loss of his daughter, he died in Rosoman Street, ClerkenweU, February 18, 1793. WALKER, John, engraver. Son of the foregoing. Practised ta London ta the second half of the ISth century, and finished many of his father's plates. He engraved views ta England, Ireland, and Scotland, which were pubhshed, 1794-96, ta a serial called ' The New Copper- Plate Magazine.' WALKER, Frederick, A.R.A., sub ject painter. AYas born ta Marylebone in 1S40. His father and his grandfather were both lovers of art. He began his art career by drawing at the British Museum, and at 16 was placed for 18 months with an architect named Baker. From him he returned to the British Museum, and studied at the same time at Leigh's even ing classes, while he entered soon after the schools of the Royal Academy. He had already begun to draw on wood ; and to improve himself in this art, he placed himself with a wood-engraver, and remain ed with him three years, drawing three clays a- week. An introduction to Thack eray led to his illustrating for the ' CornhiU Magazine,' and be also worked for ' Sunday at Home,' 'Good AVords,' 'Once a Week,' and other periodicals. The last books he WAL illustrated were Miss Thackeray's novels. He was elected an associate of the Society of Painters ta AA'ater-Colours in 1864, and a full member in 1866, and was the only Englishman who took a medal for water- colour ta the Paris International Exhibi tion of 1867. Among his finest works ta this medium are ' PhUip in Church,' ' The Fairy,' ' The Fishmonger's Shop,' etc. His first oU picture ta the Royal Academy was 'The Lost Path,' extabited in 1863— fol lowed by 'The Bathers,' ta 1864; 'The Vagrants,' 1868; 'The Old Gate,' 1869; 'The Plough,' 1870; and 'The Harbour of Refuge,' 1872. fiis last work sent to the Exhibition was ' The Right of AA'ay.' He became an associate of the Royal Academy in 1871, and was the first painter elected tato the academical body while still a member of the Water-Colour Society. His early death deprived English landscape art of a follower whose genius was through out strikingly original. His works are marked by a method of their own, the drawtag, colour, and execution, ahke pe cuhar to himself. They are at once refined and pathetic ta sentiment, and novel in their conception of nature and her effects. His figm'es have at the same time the true feeling of rustic hfe with the grace of line of the antique. His subjects were chiefly chosen from the events, novels, etc., of his day, and as such wUl be interesting to future times as characteristic of the date at'wMch he hved. He died at St. FiUan's, Perthshire, of consumption, June 5, 1875, aged 34, and was buried at Cookham-on- the-Thames, a place he had loved in hfe. His brother artists erected a tablet to Ms memory in Cookhani Church. WALKER, James, engraver. Was born in 1748, the son of a captain in the merchant service, and at the age of 15 be came the pupil of Valentine Green. He practised in the mezzo-tint manner, and on finishing his apprenticeship he engraved after Penny, Romney, Northcote, and other contemporaries, and ta 1784 went to St. Petersburgh, on the appointment of en graver to the Empress of Russia, where he resided for 17 years, and engraved the por traits of the Imperial famUy, and many plates from the old masters, which were his own property. In 1802 he returned to Eng land with a pension, but unfortunately his valuable plates were lost by the ship's foundering off Yarmouth. He died in London about 1808. WALKER, George, landscape painter. Practised in the second half of the 18th century, and painted many English views wMch were engraved by Byrne. He died about 1795. WALKER, Humphrey, sculptor and founder, lie practised in the reign of Henry VII., and was employed, with others, AVAL about 1512, in the decoration of that King's Chapel at Westmtaster Abbey. WALKER, Robert, portrait painter. AATas contemporary with Vandyck, and studied his works, but founded a manner of his own, more severe in style and colour, aiming at great truth and character. Dur ing the Commonwealth bis works were greatly esteemed by the Republican party, and he painted the. Protector and the prin cipal officers of his army, and is known as ' Cromwell's Portrait Painter.' There is a fine portrait of him, by bis own hand, at Hampton Court ; another in the University Galleries, Oxford. He had for some time an apartment ta Arundel House, in the Strand, and died there about 1660, but under an engraved portrait by Lombart, he is stated to have died ta 1658. His portraits were vigorous, truthful, and ex pressive, and full of character, possesstag many of the highest qualities. WALKER, J. Rawson, landscape painter, lie practised at Nottingham, where his works were well known and esteemed. He introduced, with some skffi, figures and architecture into his landscapes. fie exhibited at the Academy, in 1817, ' The Feast of Eleusis at Athens,' and in 1819 some landscape compositions. A view of Nottingham by him is engraved. AVALKER, Thomas Larkins, architect. Was the son of Adam Walker, M.D., and a pupU of Augustus Pugin. fie published the Mstory and anticruities of the Vicars' Close Wells ; of the Manor House and Church of Great Chatfield, WUts ; of the Manor House of South Wraxhall and the church of St. Peter at BUdestohe, Wilts ; these works forming the first three parts of 'Examples of Gothic Architecture,' a series which went no further. He then removed from London to Nuneaton, and afterwards to Leicester, and finally, it is supposed from some unfortunate specula tions, was Mduced to try to better his for tune in China. He died at Hong Kong, October 10, I860. WALKER, William, water-colour painter. Was bom at Hackney, July 8, 1780, and was a pupU of Robert Smirke, R.A. In 1803 he went to Greece to draw the architectural remains and monuments, and on his return, published ' Six pictur esque Views of Greece.' In 1808 he was a member of the short-lived Society of Associated Artists in Water-Colours, and in 1813 was admitted as an exhibitor of the Water-Colour Society, and was a regular contributor to its exhibitions. AVhen the Society was reconstituted ta 1821, he was elected an associate exhibitor. His woiks were chiefly views on the shores of the Mediterranean, with some marine subjects, and he also tried some works with figures. He conttaued to contribute to the Society's 455 VTAL exhibitions, but did not rise out of the rank of associate. From 1824 to 1834 he ex hibited chiefly pictures in oil at the Royal Academy, principally scenes in the East. In 1836 his last exhibited work, ' Athenian Soldiers,' appeared at the AVater-Colour Society. He lived mostly in the neighbour hood of London, but died at Sawbridge- worth, September 2, 1868. AV A L K E R , AVilliam, historical en graver. Was horn in Mid Lothian, in 1793, and studied his art under Mitchell, at Edinburgh. In 1816 he came to Lon don, and under T. AVoolnoth leamt stipple engraving, carrying this manner to great excellence. fie afterwards took some lessons in mezzo-tint from Lupton. In 1819 he returned to Scotland, and engraved some fine portraits after Sir H. Raebum, and iu 1826 a portrait of Sir Walter Scott by the same artist, which he had com missioned him to paint, followed by a por trait of the artist himself. These works were in the stipple manner, of which they are admirable examples. He also com missioned Sir Thomas Lawrence to paint a portrait of Lord Brougham, from which he completed an engraving in 1831. In 1832 he came again to London, where he settled, and engraved many portraits and some historical works. ' The Passing of the Reform Bill,' 'The Reformers presenting their protest at the Diet of Spires,' after Cattermole, 1847 ; ' Caxton Presenting his Proof Sheet,' after Maclise; ' The Aberdeen Cabinet,' 1857. His last work was 'The Disttaguished Men of Science hving in Great Britain in 1807.' He was always the publisher of his own works. He died of paralysis, in Margaret Street, Cavendish Square, September 7, 1867, and was buried in BromptoD Cemetery. AVALKER, Elizabeth, miniature painter. AAife of the above, and second daughter of S. AV. Reynolds, the mezzo tint engraver. AATas born in London in 1800. She began to learn engraving when only 14 years of age, under Lupton, and executed many plates, amongst which was a portrait of herself by Opie. She then be gan drawing and painting on ivory, and, after some lessons from Clint, A.R. A., followed miniature painting as a profession, and was appointed miniature painter to William IV. She exhibited her portraits for mauy years running at the Royal Academy. A full- length portrait in oil which she executed of Lord Devon, is now placed iu the hall of Christ Church, Oxford. She married, in 1829, AVilliam AValker, the engraver, and afforded her husband much assistance in his profession, while not ceasing to work at her own branch of it. She died Novem ber 29, 1876, at Margaret Street, Cavendish Square. WALL, John, M.D., amateur. Born 456 WAL at Po wick, Worcestershire, 1708. Hewas educated at Oxford, and became eminent as a physician practising at Worcester. His chemical experiments largely contri buted to the establishment of the manufac ture of china in that city. He showed also a talent for painting, and a wtadow, ' Christ's Agony in the Garden,' was exe cuted after his design ; as also the chapel wtadow of the Bishop's Palace at Hartle- bury. He died at AVorcester, July 12, 1783. AVALLACE, AVilliam, portrait paint er. He was a native of Falkirk, and from about 1820 to 1833 practised in Edinburgh, removing in the latter year to Glasgow, where tas art was well esteemed. He died July 8, 1866, aged 65. AV A L L E R , J. , portrait painter. He practised about the end of the 17th centuiy. Bernard Lens engraved a portrait by him of John Lord Cutts, surrounded by Mars, Minerva, and Apollo. AVALLlS, Joshua, water-colour paint er. He practised for many years in Lon don, but does not appear to have been a member of any of the art societies. His works were low ta tone, well, though per haps too highly, finished, and represented effects of hght, such as sunsets on the snow. They had much merit, but he faUed to attain any reputation. He extabited some of his works at the Royal Academy about 1820. He died at Walworth, February 16, 1S62, aged 72. AVALLIS, John William, landscape painter. AVas bom in Scotland about 1765. He travelled ta Italy, and was at Rome ta 1802, when no other English artist was residtag there. In 1812 he travelled in Germany, and painted a fine view of the Castle of Heidelberg, which was highly esteemed, but he patated httle afterwards. He began to deal in pictures, and fiuaUy abandoned painting. From Holland, Belgium, and more especially from Spain, many highly-prized works were introduced tato England by his active agency. AVALMISLEY, Frederick, genre and portrait painter. AAras a student of the Royal Academy, and a pupU of H. P. Briggs, R.A. Early in life he became paralysed ta the lower hmbs. His works were very mannered from want of power to study. He died December 25, 1875, aged 60. He was an occasional exhibitor at the Royal Academy and the Institute of British Artists. AVAL MSLEY, Thomas, landscapepaint- er. Born in Dublin in 1763. He came to London, aud studied under Columba, then principal scene-painter at the opera-house. Returning to Dublin, he patated scenery for the Crow Street Theatre. He exhi bited a AVelsh view at the Spring Gardens' Rooms ta 1790, and from that year to 1795 WAL he lived in London, and exhibited Welsh Lake scenes at the Royal Academy. About 1795 he published 'Picturesque Views ta Wales,' and 'Views on the Lake of Kil- larney,' engraved by Jukes. He painted, chiefly ta body-colour, some small land scapes of merit. His works were remark able for the great luminousness of his skies. He retired to Bath ta ill-health, and died there in 1805. AVALTERS, John, architect. BuUt a good Gothic chapel on the London Hos- Sital estate, the Auction Mart near the lank of England, and the parish church of St. Paul, Shadwell. He died at Brighton, October 4, 1821, aged 39. AVALTERS, Edward, architect. He was born ta London, where his father prac tised as an architect, and was early in life left an orphan. He was for a time em ployed M Mr. Lewis Vulliamy's office, and was then engaged by Sir John Rennie to superintend the erection of a small-arms' factory at Constantinople. On his return he settled at Manchester, and after a while he succeeded ta establishing himself in practice. He erected there the Free Trade HaU, the Cavendish Street Chapel and Schools, the Bank ta Mosley Street, and other works, including some fine AVare- houses, which will maintain his name in that city. He died at Brighton, ta his 64th year, January 24, 1872. WALTON, Nicholas, architect. Was ' Master Carpenter and Engineer of the King's Works for the Art of Carpentry ' ta the reign of Richard II. The magnificent timber roof of AA'estminster Hall and of Eltham Hall are attributed to him. WALTON, Henry, portrait painter. Was bom about 1720. His portraits, usually of smaU size, are tolerably drawn, and tenderly painted, with some attempt at expression. He also painted domestic incidents, in wtach he introduced portraits, and extabited some subjects of this class at the Royal Academy in 1777-78 and 1779. He was an active member of the Society of Artists. Died about 1795. Several of Ms works have been engraved. WALTON, Parry, still-life painter. Was a pupU of Robert Walker, and painted stiU-hfe, but never attained to any distinc tion as an artist. He is better remembered as a picture-repairer, and for Ms knowledge of the works of the masters, particularly of the Italian School. He was keeper of the pictures to James IL, and repaired several of the pictures in the Royal col lection. He also restored Rubens's Ceiling at Whitehall Chapel, for which he was paid 212?. He lived ta Lincoln's Inn Fields, and died there about 1700. His son suc ceeded him ta his employment, but was only known as a copyist. WALTON, James Trout, landscape WAE painter. He was born at York, and prac tised his art in that City. From 1852 to 1863 he was an occasional exhibitor at the Royal Academy, contributing views in oil, chiefly Scotch, with figures introduced. He died at York, October 17, 1867. AV A R D, Francis Swain, landscape painter. AVas born in London about 1750, and studied his art there. In 1769 he was elected a member of the Free Society of Artists. He travelled ta England and AA'ales, and made sketches and drawings of the ancient castles and mansions, from which he painted pictures both in oU and water-colours. Later he entered the ser vice of the East India Company, and went to Calcutta, and there are numerous draw ings by him of the Indian pagodas, tombs and ruins. He died about 1805. WAR D, AVilliam, A.E., mezzo-tint engraver. Born in London in 1766. He was apprenticed to J. R. Smith, and on completing his time, was engaged to assist Ms master, who placed his own name on AVard's plates, on which there was little of bis work, a practice not then unusual. In 1795 his name Mst appears as an exhibitor at the Academy. In that and several fol lowing years he contributed ' A Portrait of a Lady.' He was eminently skilled ta his profession, and in 1814 was elected Asso ciate Engraver of the Academy, and from that time was an exhibitor of an engraving till his death. His works are veiy artist- like, full of spirit and truth, excellent in the feeling of colour, the flesh tints tender with out weakness, light and shade powerful. He was of a quiet and domestic turn, of serious habits aud feelings, and early withdrew from some jovial companions with whom he had become connected, diligently following his art. He married a sister of George Mor land, many of whose works he engraved. He died very suddenly at Morntagton Place, on the 1st December, 1826. He held the appointment of mezzo-tint engraver to the Prince Regent and the Duke of York. WARD, James, R.A., animal painter and enr/raver. fie was born ta Thames Street, London, October 23, 1769, and veiy early commenced the study of engraving under Ms elder brother, WiUiam, serving with him (if we except a few months with John R. Smith) an apprenticeship of nine years, and studying anatomy under Brooks. He soon distinguished himself by the artis tic character of his mezzo-tint engravings, that of ' Cornelius ' after Rembrandt, and that of ' Mrs. Billington ' after Sir J. Rey nolds having rarely been surpassed. Hav ing in 1792 aud 93 exhibited some clever rustic pictures, he was appointed in 1794 ' Painter and mezzo-tint engraver to the Prince of Wales.' Among his early paint ings was his ' Bull-bait,' a work of great ability, full of figures cleverly grouped, 457 WAE fine in colour, and full of animation and character, which, though the talk of the day, was purchased by a dealer for 40?. He continued a large contributor to the Academy exhibitions ; commencing with domestic subjects, he soon introduced animals, and became distinguished as a cattle-painter. About the end of the cen tury he painted some fine cows and bulls, and his great picture of "The Bull,' re cently purchased for the National Gallery, for 1500?. , was a work of this date. He was elected an Associate of the Academy in 1807, and a, full member ta 1811. In 1817 he gained the premium offered by the Directors of the British Institution for an ' Allegory of the Battle of Waterloo,' and was commissioned by the Directors to paint a large picture from his sketch for 1000?. ; but the picture was a faUure, the subject being uisuited to his art. In 1822 he painted 'The Boa Serpent seizing » Horse,' the horse beinga portrait of Adonis, a favourite charger belonging to George IIL: and he was for several years chiefly em ployed as a painter of favourite horses. In his latter days he painted many subjects very miscellaneous in character. His works are very numerous. He retired about 1830 to Oheshunt, and continuing an exhibitor at the Academy up to 1S55, he died November 23, 1859, ta his 91st year. WARD, William James, mezzo-tint engraver. Son of the foregoing AVilliam Ward, and of an artist race, his talent was early developed. At the age of twelve years he gataed a medal at the Society of Arts for a drawing after Raphael, and under the teaching of tas father, soon excelled ta his art. He engraved manyportraits in a highly effective manner, combining great depth with richness of colour, and was most success ful in. his rendering of Reynolds's works. He became insane, arising, it was said, from an imprudent use of the cold bath, and ched 1st March, 1840, aged about 40. WARD, Martin T., animal painter. Brother of the above, with whom he some times lived. He studied under Landseer, and first exhibited at the Academy ta 1820, and tathat year and 1822-24-25 contributed portraits of dogs and horses. His name appears once more ta 1S30, when he sent two pictures of animals to the Institute of Brit ish Artists. From this time he is lost sight of, but about 1840 he was leading a most eccentric life in Yorkshire, where his works were well known. Two or three years later he took up his residence in York, and till his death was never known to have left that city. He died February 13, 1874. He had kept his room forseveral clays, aud was found insensible on the door in a scene of great wretchedness and squalor. WARD, The Rev. Samuel, caricaturist. Hewas celebrated as a teacher at Ipswich ta 458 W A E the reign of James II. , and no less as a cari caturist. He designed a print published in 1621, ' Spayne and Rome Defeated,' repre senting the Pope in Council and the Gun powder Plot. On the complaint of the Spanish Ambassador, he was imprisoned by the Court of Star Chamber. On his release he returned to Ipswich, and confined himself to the ornamentation of his published ser mons, and his 'Woe to Drunkards,' 1635, on the title-page to which are two designs. Later he fell into the iron grasp of Bishop Wren and Archbishop Laud. He died ta 1639. WARE, Samuel, architect. Hepractised in London, and enjoyed some reputation. He extabited some designs at the Academy in 1807- In 181 1 he was one of the compe titors for the erection of Bethlehem Hospital. The Burlington Arcade, erected in .1819, is Ms best known work. He published a ' Treatise on the Properties of Arches.' AVARE, Isaac, architect. AVas originally a chimney-sweeper's boy, and one day chalk ing the side of a house, he attracted the notice of a gentleman, who befriended and educated him, and sent Mm to Italy to pursue his studies, but it is said, the stain of his original calling was not obliterated on Ms return. He was the architect of Chester field House, finished iu 1749 ; of the man sion at AA7rotham Park, Middlesex ; and of a part of Bloomsbury Square. He was a member of the Artist Committee formed ta 1755 to plan a Royal Academy, and one of the Surveyors of the Board of AVorks. He edited an edition of ' Palladio,' a ' Complete Body of Architecture, with some Unpub lished Designs of Inigo Jones,' and ' Plans, Elevations, and Sections of Houghton, Nor folk.' He amassed considerable property, resided ta Bloomsbury Square, and built himself a country house at AVestbourne. He was a constant visitor at old Slaughter's coffee house, and the associate of the wits who met there. He died 1766. WARING, John Burley, architect. Was born at Lyme Regis, June 29, 1823, and was the son of a captata in the navy. He was sent to a school at Bristol in 1833, and in 1840 was apprenticed to an architect. in London, and was a student at the Royal Academy. Partly on the ground of weak health he went to Italy, where he visited the chief cities, maktag many studies and sketches. On his return he became assist ant as draftsman to many eminent archi tects, for which he was well qualified by Ms studies of the figure in Paris. He also visited Spain. It is, however, by his pub lished works that he is chiefly known ; such as, in 1850, 'Architectural Art in Italy and Spain,' 'Designs for Civic Architecture;' 1857, 'The Art Treasures of the United Kingdom ; ' 185S, ' The Arts connected with ArcMtecture M Central Italy ;' 1862, ' Mas- WAE terpieces of Industrial Art and Ancient Sculpture,' ' Ceramic Art ta Remote Ages,' etc. He was engaged in the superintend ence of the Manchester Art Treasures Exhibition, 1857, and the ExMbition of Works of Art at Leeds, 1S68. He died March 23, 1875. WARREN, John, architect. Was the btalder of St. Mary's Church, Cambridge, where he is bmiedj and there was a tablet to his memory agamst the east wall of the chancel, now removed to the vestry, which records that ' with the church Ms own life finished,' December 17, 1608. %• WARREN, Alfred William, engraver. He practised in London about the middle of this century, working both in line and in mezzo-tint. He engraved 'The New Coat,' after AYUkie ; some portraits of the British poets, and for the Ulustration of Pope's ' Essay on Man ' ; ' The Arabian Nights,' after Smirke ; and Coxe's ' Social Day.' WARREN, Charles, engraver. He was bom in London, June 4, 1767, and married when about 18 years of age ; but httle is known of Ms early career. In 1802 he emerged from the difficulties attending upon a large young family, and, employed chiefly on book Ulustrations, became dis tinguished for works of that class and largely known. In his youth he had been employed ta engraving on metal for calico- printing, and was able to perfect the pro cess of engraving on steel plates attempted by Raimbach, and was awarded a gold medal by the Society of Arts. But he did not seek to secure the advantage to himself by a patent. He ffiustrated an early edi tion of the ' English Poets,' and engraved two plates from the BoydeU Shakespeare. He lived ta Gray's Inn Road, and was im provident and fond of society. He died suddenly in Wandsworth, April 21, 1823, and was buried in the vaults of St. Sepulchre's church, Old Bailey. WATKINS, Joseph, R.H.A., sculptor. He was late ta commencing the study of his art. He practised ta Dublin : was of much promise, and was elected a member of the Royal fiibernian Academy in 1869. He exhibited a bust at the Royal Academy, London, ta each of the years 1867, 1868, and 1870, and died in Dublta at the close of the year 1871, aged 33. WATSON, William, portrait painter. He practised ta Dublta, patating both ta oil and crayons. He was known as an admirable flute-player. His wife patated flowers and fruit. WATSON, James, mezzo-tint en/graver. Was born ta Ireland in 1740, and was brother of the above, and equally distin guished in his art. He engraved many fine portraits after Vandyck, Reynolds, Gains borough, Romney, and also some fine his- WAT torical and subject plates. He exMbited some mezzo-tints at the Spring Gardens' Rooms in 1775. His works are full of colour, powerful, the flesh tenderly ex pressed. He resided many years in Little Queen Street, near Portland Chapel, fie died ta 1790. WATSON, Caroline, engraver. Daughter of the above James Watson. Born in London about 1760. She made many drawings of celebrated paintings, which she afterwards engraved, working both in mezzo-tint and ta the dot manner. She also engraved some good portraits. Her works are well drawn and expressed, and possess great merit. She was ap pointed engraver to Queen Caroline in 1785. She engraved Correggio's 'Marriage of St. Catherine,' and Reynold's 'Death of Cardinal Beaufort.' She died ta Pirnhco, June 10, 1814, ta her 54th year, and was buried ta St. Marylebone Church, where there is a tablet to her memory with some lines by Hayley. She was singularly modest and retired ta her habits, and was highly esteemed. WATSON, Thomas, engraver. Was born ta London, 1743, and was apprenticed to an engraver on plate. He gave early proofs of talent, practising ta the dot man ner, but his later and best works are in mezzo-tint. In this manner he engraved the ' Windsor Beauties,' after Kneller, many fine portraits after Reynolds, which constitute Ms most esteemed works, and also after West, Nathaniel Dance, and others. He exhibited at the Spring Gar dens' Rooms ta 1775 and several foUowtag years. For a while he kept a print shop in Bond Street with W. Dickenson. Some fine plates after Rembrandt and Correggio by him are greatly valued. He died ta 1781, at Bristol, and was bmied there. WATSON, John Burgess, architect. Practised ta London with some repute, and was a good draftsman. He btalt the Gothic church at Staines in 1820. He was a member of the Institute of British Architects. Died in 1847. AV A T S O N , John, portrait painter. Was born ta Scotland ta 1685, and studied ta the Trustees' Academy, Edinburgh. He emigrated to New Jersey in 1715, and is said to have been the first painter who settled in America, and, though a very in different patater, to have amassed a pro perty by the practice of his art. He paid one visit to his native country, and took back with him a collection of pictures. He died in America, August 22, 1768. AVATSON, Musgrave Lewthwaite, sculptor. Was born at Hawkesdale, near Carlisle, 1804, the son of a small independ ent yeoman. At the age of 17 he was articled to a solicitor at Carhsle ; but he 459 WAT WAT did not take to the law, and after two years quitted it, and comtag up to London in 1824, he made Mmself known to Flax- man, R.A., by whose advice he entered the schools of the Royal Academy. He articled himself to R. AA'. Sievier, the sculptor, for a short time, and then, follow ing the advice of Flaxman, went to Italy in 1825 on an allowance made by his father, and stuched duiing two years in Rome. He returned to London in 1828, having seen the principal works ta Italy, and setting up a studio, completed a small figure of Sigismunda, and two small sta tuettes of Chaucer and Spencer ; but com tag to the end of his money, he obtained employment as a modeller to Chantrey, R.A. This engagement he threw up on the refusal of his application for an increase of pay, and was then employed by BaUey, R.A., and afterwards by Behnes, and, gaining strength, he determined to work on his own account. On the death of Chantrey, he was employed to complete for New College, Oxford, the colossal statues of Lords Eldon and Stowell, for which Chantrey has left slight sketches, but he was only able to finish the plaster models. He executed the model for one of the bas- reliefs of the ' Battle of St. Vincent ' for the pedestal of the Nelson Column ta Trafalgar Square. His chief other works were a Hebe and Iris at Bowood, a monument to Dr. Cameron, the statue of Queen Ehzabeth in the Royal Exchange, a bas-relief ta the Hall of Commerce, Threadneedle Street, and a monunent to his friend, AUan Cun ningham. He had suffered for some years from heart complaint, and died just as he was rising into reputation, October 28, 1847. His ' Life and Works ' was published by Dr. Lonsdale in 1866. WATSON, Samuel, carver and sculp tor. AVas born at Heanor, Derbyshire, in December 1663. He was employed on the works at Chatsworth, and executed some of the fine carvmgs commonly attributed to Grinhng Gibbons. The dead game over the chimney-piece in the great chamber is by his hand, and for this and other decora tions in the same chamber in lime-tree wood, all completed in 1693, he was paid 133?. 7s. The trophy containing the cele brated pen over the door in the south-west corner room is likewise his work, fie also executed the arms in the pediment of the west front ta 1704; the stone carvings in the north front, finished ta 1707 ; and other of the decorations, both in wood and stone. Walpole says that Gibbons had several disciples and workmen, and that AVatson chiefly assisted him at Chatsworth, where the caived boys, and many of the other ornaments in the chapel, were executed by him ; but it seems clear, from his having made his own biU for the above works, 460 ' that he executed them on his own account. He died at Heanor, March 31, 1715. WATSON, George, P.R.S.A., portrait painter. AA'as born ta 1767, at Overmatas, Berwickshire, where Ms father possessed some property. After receiving some elementary instructions from Alexander Nasmyth, he came to London at the age of 18, and patated in Sir Joshua Reynolds's studio for about two years. He afterwards settled ta Edinburgh, where he was exten sively employed, and was long the con temporary of Sir H. Raeburn, with whom he maintained an honourable rivalry. From 1808-12 he presided over the Associated Artists of Scotland, and at that time sent some portraits to the Royal Academy ex Mbition in London. On the foundation of the Royal Scottish Academy in 1830, he was elected the president, and held that office tiU his death, at EdMburgh, August 24, 1837. WATSON, William Smellie, R.S.A., portrait painter. Son of the above, was born at EdMburgh ta 1796. He studied under his father, and at the Trustees' School in Edinburgh. In 1815 he came to London, and entered as a student at the Royal Academy, where he conttaued five years. He was also nearly a year with AAUkie, and, it is said, helped him while he was painting ' The Penny Wed ding,' and other pictures. When he re turned to Edinburgh to settle, he practised as a portrait patater. He was one of the original members of the Royal Scottish Academy, and a constant contributor to its exMbitions. He died ta November 1874. AA'ATT, James Henry, engraver. AVas born ta London, 1799, and at 16 became a pupU of Charles Heath, but by Ms careful study developed a manner of his own, and was greatly distinguished as a line-en graver. He always worked upon copper. His art is marked by great decision, dexterity, and taste, is brilliant and finished, and evinces great art power. Among his best works are Stothard's ' Procession of the Fhtch of Bacon,' Eastlake's ' Christ Blessing Little ChUdren,' and Landseer's ' HigMand Drov ers.' Suffering from illness, added to domestic affliction, he died in June 1867, aged 6S. AVATTS, Walter Henry, miniature painter, fie was, ta 1808, a member of the short-lived Society of Associated Ai'tists ta AVater-Colours, and was from that year to 1S30 an exhibitor of miniatures at the Royal Academy, sometimes painting a subject ta oU. But he gataed a name as a miniature painter. WATTS, John, landscape painter. Born about 1770, he practised his art ta London. He drew views in Scotland and AVales, and painted several subjects in oil. WAT His works attracted some attention in his day. WATTS, John, engraver. He prac tised in London about 1760-80, working in the mezzo-tint manner. 'Vandyck ta the character of " Teams," ' 1778, is a powerful work by Mm. WATTS, AVilliam, engraver. Was born early in the year 1752, in the neighbour hood of Moorfields, where his father was a master silk-weaver. He got his education in art under Paul Sandby and Edward Rooker, and on the death of the latter, he continued the 'Copper-plate Magazine,' commenced by him. This also suggested to him a work of his own, ' The Seats of the NobUity and Gentry,' which he began in 1779, and finished in 1786. Up to this time he resided at Kemp's Row, Chelsea, but now seUing his furniture and his art coUection, ta wtach there were some rare drawings and prints, he travelled in Italy, reaching Naples ta September, 1786. After about a year's absence he returned, and then hved at Sunbury. In 1789 he went to Carmarthen, the following year to the Hot-wells, Bristol, and ta 1791 to Bath, where he spent two years, and brought out his 12 views of that city, which are fine specimens of line-engraving. At this time he became an enthusiast ta the events of the French Revolution, and went to Paris. He had inherited property from his father, a large portion of which, with his own earnings, he invested in the French funds, and the whole was eventually confiscated, though a remnant was recovered at the Peace ta 1815. On this loss he was com pelled to return to the active practice of his profession, and published, in 1800, Ms 'Select Views of London,' and between 1801-1805 completed his last work, 60 views for Sir R. Ainshe's ' Turkey and Palestine,' and then retired from his profession. He lived a short time at Mill Hffi, Hendon, and in 1814, purchasing a small property at Cobham, m Surrey, he settled there, and died December 7, 1851, aged 99. He was a good French and Italian scholar, and a weU read man. Though ta his latter years deprived of sight, he enjoyed good health. WATTS, Jane, amateur. She was the daughter of Mr. Waldie, a Scotch clergy man, and married Captain Watts, R.N. Possessing a talent for drawing, she patated landscapes ta oil, and exhibited on one or two occasions at the Royal Academy and the British Institution. She had also hterary tastes, and published 'A Pano ramic Sketch of the Field of Waterloo,' 'Sketches of Italy,' 'Continental Adven tures,' ' Rome in the Nineteenth Century.' She died July 6, 1826, in her 34th year. WATTS, Simon, wood-engraver. He practised in London about the middle of WEB the 18th centuiy. There are two or three large woodcuts by him, dated 1736, and some small circular portraits of painters freely engraved. A portrait of Queen Elizabeth, 1773, and of Dudley Earl of Leicester, 1775, with some other works, are also attributed to him. WEBB, Duncan, engraver. Attained great repute as an engraver of animals, especially of horses and dogs. He fell down ta the street and expired suddenly in the prime of life ta 1832, leaving a widow with a large family in distressed chcumstauces. AV E B B , AVestfield, portrait painter. He exhibited, in 1762, the whole-length portrait of a celebrated female singer, and conttaued to exMbit for the following ten years not only portraits, but landscapes and flowers, but in none of Ms works was shown any art of an enduring character. He resided in St. Martin's Lane, then the resort of painters, and died soon after 1772. WEBBE, John, architect. Was of a Somersetshire family and was born in . London in 1611. He was the nephew of Inigo Jones, and married his only daughter. He was also his pupil and assistant. From the designs of his master he built Ames- bury, WUts, and from his own designs WUton House, after the fire, 1648 ; Gun- nersbury House, 1663; Ramsbury Manor House, WUts; Horse-heath, Cambridge shire, 1669, a handsome and commodious structure ; the large houses in Queen Street, Lincoln's Inn Fields, and the north-west quadrangle of Greenwich Hos pital. In 1656 he designed and painted the scenery for the siege of Rhodes. His works do not evince much originality. He died in 1672, at Butleigh, m Somerset shire, his native place, aged 61. He pub hshed Inigo Jones's 'Treatise on Stone- henge,' and a vindication of it against Dr. Charlton ; also an essay to prove that the Chinese is an original language. WEBBER, John, R.A., landscape painter. Was born in London in 1752, the son of a Swiss sculptor, whose name, Weber, he Anglicized, fiis father, who executed some monumental works in this country, sent him to Paris, where he studied five years, and then, returning to his family in London, in 1775 he became a student of the Royal Academy. By the influence of Dr. Solander he was appointed, in 1776, draftsman to Captain Cook's third and last voyage, and on his return, ta 1780, he superintended the engraving of thedrawings he had made for the Admiralty ; and also etched, aqua-tinted, and coloured a series of views of the principal places he had visited. There he pubhshed on his own account, and they were very popular. In 1784-5 and 1786 he exhibited views taken on his voyage. He then travelled in 461 WEB WEE England, Wales, and Scotland, and after wards, in 1787, in Italy, France, and Swit zerland, and made numerous drawings, some of which were the subjects of his oil pic tures. He had been elected an associate of the Royal Academy ta 1785, and in 1791 was made a full member, fiis last ex hibited works were views of England. He died at his lodgings in Oxford Street, May 29, 1793. His drawings are careful aod accurate, but weak, his figures incorrect. His colouring thin and green, and his works wanting in light and shade. The illustra tions of his voyage are his best works. His drawing of the death of Captain Cook, of which he was an eye-witness, was engraved by Byrne and Bartolozzi. WEBBER, Henry, sculptor. Was a student in the Royal Academy, and ta 1776 gained the Academy gold medal for his group, ' The Judgment of Midas.' He had exhibited some wax models ta the preceding year, and in 1779 exhibited a J Bacchus and Ariadne,' a basso-relievo, after which his name disappears. AVE BSTER, Joseph Samuel, portrait painter. Practised in London in the reigu of George II. There is a portrait hy him in the hall of the Drapers Company, and several mezzo-tints from his portraits, by McArdell and J. Watson. He also painted some ideal figures. He died ta London, July 6, 1796. WEBSTER, Moses, water-colour paint er. Born in 1.792, ta the town of Derby, hewas apprenticed at the china works there, and soon excelled in flower-painting on por celain. AVhen out of his time he continued for a while ta his employment at the works, and was then engaged for four years at the china works in the city of AVorcester, and afterwards went to London, where for some time he found employment ; hut returned to Derby and to his painting in the china works, fie was well skilled also as a flower- painter on paper, and noted for his finished execution. In 1818 he exhibited some flowers with the AArater-Colour Society. About 1827 he commenced teaching as a profession and found many pupils in Derby and Nottingham. He drew several views in these counties, which he published. He also patated some landscape in oil. Ad vancing in years, he was admitted tato the Liversege alms-houses, where he died October 20, 1870. WEBSTER, Simon, water-colour paint er. He was, in 1766, a member of the In corporated Society of Artists, wliich, in 1 769, voted him a sum of money in consideration of his losses by a fire. He practised in the early part of the present century, fie drew landscapes, and was one of the artists who etched for the clever work published by Ackerman— ' Views of Cottages and Farm houses in England,' 1817-19. 462 ' WEBSTER, G., marine painter. He was an occasional exMbitor of marine sub jects at the Royal Academy from 1799 to 1S28. He practised in oil, but painted a few works in water-colours. He went on a sketching tour in Wales with Varley ta 1802. His works are not without merit. In 1801 he exhibited a 'View on the Gold Coast, Africa; taken on the Spot, 1799 ;' in 1807, 'Shipping, a Fresh Breeze;' and in 1825, 'The Battle of Trafalgar.' WEBSTER, Thomas, architect. Bom in the Orkneys, February 11, 1772. He was brought up as an architect, and from his tastes became much connected with the school of water-colour painters ; and from his acquired proficiency was elected an honorary member of the Sketching Society. He built the lecture theatre of the Royal Institution, which is reputed for its acoustic properties and fitness. He was a man of several scientific attainments. He died ta London, December 26, 1844, aged 72. WEDGWOOD, John Taylor, engraver. Practised in London, and was engaged on the plates to illustrate the marbles in the British Museum, 1812. There are also by him, in the line manner, some good histori cal plates, and portraits of Scott, Byron, Bernadin St. Pierre, and others. He died at Clapham, March 6, 1856, aged 73. W E E K E S, Henry, R.A., sculptor. Was bom at Canterbury ta 1807. He began his art career with Behnes, to whom he was articled by his father for five years, fie entered the schools of the Royal Academy in 1823, and later engaged himself as an assistant to Chantrey, with whom he re mained tiU he died, succeeding to many of his commissions, and occupying his studio tiU tas own death. He was elected an associate of the Royal Academy ta 1857 and a full member in 1863. Among his principal works are, a bust of her Majesty, the first that was taken after her accession to the throne ; monuments to Shelley and Mary Woolstoncraft at Christ Church, Bournemouth ; statues of Dr. Goodall at Eton ; Lord Bacon at Trinity College, Cam bridge; the Duke of AVellington; John Hunter for the Museum of the College of Surgeons ; three statues for the Martyr's Memorial at Oxford ; and one of the groups for the Albert Memorial in Hyde Park; besides numerous busts, among wliich those of Deau Buckland, Sir G. C. Lewis, Lord Truro, etc., should be mentioned. He also executed a statue of Charles II. for the House of Lords. He was professor of sculpture for several years at the Royal Academy, and was awarded a gold medal by the Society of Arts for the best treatise on the Fine Art Section of the Great Ex hibition m 1851. He did not excel ta the figure, but was a good portrait sculptor, WEH some of his busts having great merit. He died ta Pimlico, May 28, 1877, in his 71st year. WEHNERT, Edward Henry, water- colour painter. AVas the son of German parents, who settled in London. His father carried on a large business as a tailor. He was sent to Germany for Ms education, and was a student at Gdttingeu. He returned to England at the end "of four years, aud began the study of art. He first exhibited at Suffolk Street and the British Institu tion, and then passed two years in Paris, where he acquired a good knowledge of draw ing, and, after staying some time in Jersey, came back to London in 1S37; and he joined the New Society of Painters ta Water-Colours in the same year, and was a constant and important contributor to its exhibitions. In 1845 he was a competitor in the Cartoon Extabition at AA'estminster HaU. About 1858 he went to Italy, but Ms studies were impeded by Ul health. He brought home few sketches. His works were usuaUy subject pictures of large size, weU finished, the figures carefully drawn, but the colour unpleasant, and the light and shade weak, and were generally marked by a German feeling and character. He died unmarried ta Kentish Town, September 15, 1878, aged 54. An extabition of his col lected works was made in the gallery of the Institute of Water-Colom' Painters in the following spring. WELLE R, J., portrait painter. There is in the British Museum a portrait of this artist se ipse pinxit, correctly and carefully drawn in chalk, and dated 1718, setat. 30. WELLS, William Frederick, water- colour pain ter. He was born in London ta 1762. At the age of 12 years he became a pupU of Barralet, and under tas teaching his first efforts were chiefly in pencil or crayon. It does not appear when he first tried water-colours, but he was among the first who practised the new art. He exta bited at the Royal Academy in 1795, con tributing Scotch views, and the following year Penmaen Mawr, North Wales. He visited the continent, and ta 1804 extended his travels to Norway and Sweden, and made numerous sketches, some of which on Ms return he patated ta oU. In 1804 he was one of the original founders of the Water-Colour Society, and ta 1806 the pre sident, and thenceforth he practised chiefly in that medium. He exhibited with the Society up to 1812, contributing with some Welsh scenery some views ta Norway, and also some views in Oxford and Cambridge. For many years he was a successful teacher in the Metropolis, and had several distin guished pupils. He was one of the pro fessors of drawing at Addiscombe Col lege, an office which he filled for nearly 30 years, and until his death in 1836. WES Several of his drawings have been published hi aqua-tint. His daughter, who died ta 1872, was an occasional exhibitor. AA'ELLS, Joanna Mary, subject painter. Her maiden name was Boyce. She had a natural taste for art, aud at the age of 18 commenced its study as a profession, and in 1855 exhibited her first work — ' Elgiva,' a head, at the Royal Academy. She then studied for a time at Paris, and in 1857 spent a year in Italy, .and, while at Rome, was married to Mr. Wells, since R. A. Returning to London in the foUowing spring, she exhibited at the Academy 'Peep Bo !' 'The Heather Gatherer,' and 'La Veneziana,' works of much promise ; but she unhappily died in chUdbed in her 30th year, July 15, 1861. WELLS, Thomas, medallist. Was born in London about 1770. He cut a few good likenesses in steel, and also practised as a portrait modeller ta wax, exhibiting at the Royal Academy between 1786 and 1791. AVEST, Benjamin, P.R.A., history and portrait painter. Was born October 10, 1738, in Chester County, Pennsylvania, where his father, descended from an old Quaker famUy of Long Crendon, Bucking hamshire, had emigrated in 1715. He seems to have been born an artist. Gather ing as he could his own materials, where none could be purchased, he drew, when only seven years old, a likeness of his baby sister in her cradle, and earned the fond kisses of his surprised mother. His bent was,so decided that, when 16 years of age, his Quaker relatives consented to his follow ing art— a profession at least doubtful with their sect; — and he began to paint portraits, first in his own neighbourhood, and then in New York. Meeting with encouragement in his art, and assisted by his friends, he determined to visit Europe, and ta 1760, when in his 22nd year, he embarked for Leghorn to study art in Italy. Arrived in Rome, the young painter from the New World was an object of curiosity and tater est, and though dazzled by his reception, was no less impressed by the elevated art of the Capitol, as well as of Florence and Bologna, which heafterwards visited, spend ing three years studying iu Italy, fie then came to London, arriving ta the summer of 1763, provided with good introductions, and preceded by a reputation. In the following year he exhibited a portrait in the great room at Spring Gardens, and, settling down in his art with the intention of remaining ta England, he married a young American lady, to whom he had been engaged in Philadelphia, and who was conducted to London by her father. In 1765 he was chosen a member and one of the directors of the Incorporated Society of Artists, and sent his first historical picture— the 'Orestes and Pylades ' (now in the National GaUery) 463 WES —to their exhibition in 1766, with ' The Continence of Scipio,' and received several commissions. He painted ' Agrippinawith the Ashes of Germanicus' for the Arch bishop of York, who was so much pleased with it that he introduced him to George III., who gave him a commission to paint ' The Departure of Regulus from Rome,' the commencement of a long course of Royal patronage and favour. In 1768 he was one of four artists who submitted to the King the plan for a Royal Academy, which received His Majesty's sanction, and he became one of the first members. In 1772 the King appointed him his historical painter, and employed him upon a large series of pictures at \\'tadsor Castle illustrative of English history, and upon the portraits of himself, his Queen, and the Royal Family, both singly and in groups. In 1790 he was appointed Surveyor of the Royal Pictures, and iii 1792 be was elected, on the death of Reynolds, President of the Royal Academy, but declined the proffered honour of knighthood. On some difference as to the power of the Council, and some fancied coldness on their part, he resigned the presidentship, but at the next annual election, 1805, he was re-elected, it is said unanimously, with the exception of one vote for Mrs. Lloyd, then an Academician, and that Fuseli, being taxed with giving this vote, said: 'Well, suppose I did, she is qualified, and is not one old woman as good as another ? ' an instauce certainly of his little appreciation of AVest. Among his works at this period were several sacred subjects, but his most popular pictures were his Death of AVolfe,' ' Perm's Treaty with the Indians,' and ' The Battle of La Hogue,' in the former of which, aban doning classic costume, he had the courage to adopt the modern and appropriate dress, and by his success to establish that mode of treating heroic subjects of our own time. During 33 years he painted for the King, and had received from his gracious patron 34,187?., and his employment only ter minated with the illness which led to his sovereign's death. He then painted several large sacred pictures, ' Christ Healing the Sick,' now in the National Gallery, for wliich he received 3000 guineas ; ' Christ Rejected,' exhibited ta 1814; and 'Death on the Pale Horse,' 1817. But his long career was drawing to a close, and he died in Newmau Street on the 1 1th March, 1820, in his 82nd year, and was buried with great ceremony in St. Paul's Cathedral The greater part of the pictures which remained in his possession on his death were sold by auction, by Robins, in May, 1829. They amounted to 181 in number, and realised 19,137 guineas. His 'Death on the Pale Horse ' fetched 2000 guineas ; 'Christ Rejected,' for wtach it is said he I 464 WES had been offered 8000?., only 3000 guineas ; but when the class of subjects is consi dered, these are really high prices, which would not at this time even be realised, though they are no doubt less than would have been attained when he was in the height of his career. His large picture of ' The Annunciation ' was sold by auction ta 1840. It bad for some years been placed in Marylebone Church, and at the sale the Vestry's minute was read, ordering West's price "of 800?. to be paid to him for it. After a considerable time 10?. was bid, and the picture was really sold for that price. It is indeed difficult to account for the Mgh position which he held ta art ta his own day as compared with ours. It cannot be attributed wholly to Royal patronage, for it was loudly expressed by his brother artists, and echoed by the press and the pubhc. Sir Thomas Lawrence in his annual address, 1823, said : ' Mr. AVest produced a series of compositions from sacred and profane history, profoundly studied and ex ecuted with the most facile power, wMch not only were superior to any former pro ductions of English art, but far surpassing contemporary merit on the continent, were unequalled at any period below the schools of the Caracci ; ' and Sir Martin Shee, when examined before a Committee of the House of Commons ta 1835, characterised Mr. AA'est almost ta the same words as ' the greatest historical painter, I have no hesi tation ta saying, since the days of the Caracci.' But comtag down to later times, Mr. Haydon, assuredly no friend of acade micians, wrote of him in 1829 : ' In drawtag and form his style was beggarly, skinny, and mean. His light aud shade was scattered, his colour brick-dust, his impression un- sympathetical, and his women without beauty or heart.' The pubhc, too, showed no interest in his works. Three years after tas death the exhibition of his coUected labours was totaUy neglected and deserted. Exalted to a high pinnacle ta tas lifetime, he has since been unjustly depreciated. His aim was at least high, fie attempted great works, deemed no subject, even the most sacred, above Ms powers, and we owe to him the abandonment of classic costume iu the treatment of modern events. Yet it must be admitted that his compositions are more studied tbau natural, the action is often conventional, aud his works faU to sustaiu his great aims. His figures want indi viduality ; his manner is flat, painty, and his textures all alike ; his backgrounds are devoid of contrasts ; his colour hot and wanting in variety of tint. During his long and laborious life he patated above 400 works, besides numerous sketches. 'The Progress of Genius,' memoirs of his early life and studies, by John Gait, was pub hshed in 1816. fiis works were engraved WES by some of the greatest artists of our school, James Heath, Sharpe, WooUett, and Hall. WEST, Raphael Lamar, history painter. Eldest son of the above. AVas born ta England in 1 769. He was a student in the Academy and a good draftsman, but did not apply tamself earnestly to art. Leshe, R.A., said 'he had more talent than industry.' He patated ' Orlando and Oliver' for the Shakespeare GaUery, and ta 1800 visited America, but meettag with no encouragement, he was glad to return in 1802. fie drew the figure with anatomical correctness, and in a masterly style. His daughter was often painted by the Presi dent, and she sat to Leshe for Anne Page, in the picture which he painted of "The Dinner at Page's House.' He inherited, with his brother, the property left by Presi dent West. He died at Bushey Heath, May 22, 1S50. AVEST, Robert, topographical drafts man. He drew perspective views of all the ancient churches and other btaldings iu London and AVestminster, wtach were pub lished 1736-39. AVEST, Charles, engraver. Born about 1750 ta London, lie engraved many plates in the dot manner, and also used the needle with the graver. He engraved ' The SUver Age,' after Henry Walton, 1787, 'A Circas sian Lady,' and ' Diana with her Dogs.' WEST, Robert, history painter. Was the son of an alderman of Waterford, and was sent early ta Me to Paris, where he studied under Van Loo, and gataed the first medal in the French Academy. He was greatly distinguished as a draftsman, and was for nearly 20 years master of the Dublta Society's Schools, but ta consequence of mental infirmity, his place was filled by Ennis, one of his pupUs, on whose death in 1770 he was agam appointed, but died a few weeks after his appointment. WEST, Francis Robert, history painter, son of the above. He studied in Paris under Boucher and Van Loo, and acquired a great academic power of draw ing. In 1770 he succeeded his father as master of the Dublta Society's Schools, and held that office tiU his death. Remarkable for the accuracy of his drawtag, he trained several artists who attained great distinc tion, and some of his own chalk drawtags from the life were esteemed master-pieces. He exhibited in London with the Free Society of Artists, 1774, ' The Adoration of the Shepherds,' a drawing. He did not paint much in oil, and showed little power as a colourist, but he took a high rank in the Irish school. He died in Dublin, January 24, 1809, aged 60. WEST, Robert Lucius, R.H.A., his tory painter. Was the son and grandson of the foregoing. In 1808 he exhibited at the Academy ta London, ' A Subject from H WES Gray's Elegy' In 1809 he succeeded his father as Master of the National Academy of Design, and on the incorporation of the Royal Hibernian Academy in 1823, he was chosen one of the first members. AVEST, Samuel, pmrtrait and subject painter. Born in Cork, he came early to London, and soon gained some repute. From 1840 he was an exhihitor at the Royal Academy,, chiefly of portraits and portrait groups of chUdren, in which he exceUed. In 1841 he sent for exhibition ' Cardinal Wolsey leaving London after his Disgrace,' and the following year, ' Charles I. instructed in Drawing by Rubens.' fie exhibited portraits, his last contributions in 1866 and 1867. In the latter part of his career he excelled as a copyist of the old master in water-colours. WEST, AVilliam, landscape painter. Was a native of Bristol, where he practised the greater part of Ms life. He first exhi bited at the Royal Academy in 1845, send ing 'The Israelites passtag through the Wilderness preceded by the PUlar of Light,' afterwards some AVelsh and Norwegian scenery. In his early career he patated many views ta Norway. Later he found his subjects in the rocky coast of Devon shire and the hill scenery of Wales. His works were close imitations of nature, with httle attempt at art. He was ta 1851 elected a member of the Society of British Artists, and was a large contributor to the Society's exhibitions. In the last few years of Ms life he resided at Chelsea, where he died ta January 1861, ta the 60th year of his age. WESTALL, Riohard; R.A., subject painter. Was of a Norwich family, and was born at Hertford in 1765, and appren ticed to an engraver on sUver in London ta 1779. But he had abihties for higher work, and, studying to improve himself after the hours of labour, he exhibited in 1784 a portrait in chalk at the Royal Academy, and was ta 1785 admitted to the Academy schools, and the foUowing year, on the com- Eletion of his apprenticeship, commencing is career as an artist, he joined Lawrence, a fellow-student, and the future President, in a house in Soho Square. He exhibited largely designs for book-illustration, with occasionally a few portraits, and first at tracted notice by his designs in water- colour, ta which medium be executed some well-finished historical subjects: 'Esau seeking Isaac's Blessing,' ' Mary Queen of Scots going to her Execution,' ' Sappho,' rich and full of colour, and of great beauty in execution. His art had naturally led him to book-illustration, ta which he found his true place, and gained much employ ment ; but he exhibited pictures in oil, chiefly domestic or rural subjects, his largest contributions betag, however, his designs in i 465 WES water-colours, which were very numerous. In 1814 he made an exhibition of his paint- tags and drawtags at his gallery. 54, Upper Charlotte Street, Fitzroy Square. He made a series of designs for an edi tion of Milton, for Alderman BoydeU, and painted five subjects for the Shakespeare Gallery. His illustrations for the Bible and Prayer-Book were suited to the public taste, and were very popular. He designed also for the ' History of England,' Crabbe's ' Tales,' Moore's ' Loves of the Angels,' ' The Arabian Nights' Entertainments,' and nu merous other publications, and by these works he made money and acquired a com petence. In 1813 the directors of the British Institution purchased for 450 guineas his ' Elijah restoring the AVidow's Son to Life.' His large pictures ta oil chd not, however, find purchasers, and are now httle known. One, his 'Ctaist crowned with Thorns ' is placed over the altar at All Souls, Langham Place. In 1792 he was elected an associate, and in 1794, a full member of the Royal Academy. Later in tas career he engaged ta some unfortunate speculations ta pictures by the old masters. The artist-dealer was led tato improvident purchases, enchng ta pecuniary embarrass ment. His means were dissipated, and he became the pensioner of the Academy. His last employment was ta giving draw ing lessons to the Princess Victoria. He died December 4, 1836, aged 71. He will be best known as a book-iUus- trator and painter ta water-colours, and claims to be ranked among the founders of the new art. His works are marked with great sameness and pretttaess, both ta colour and design, and are effeminate and wanting ta character. He succeeded best in sub jects admitting a decorative treatment. Some of his httle rural scenes are among his best works. He painted some good small whole-length portraits in water-colours. He pubhshed ta 1808 a volume of poems with his own Ulustrations, 'A Day in Spring.' AVE STALL, AVilliam, A.R.A., land scape painter, brother to the above, was born at Hertford, October 12, 1781. He studied under his brother and ta the schools of the Royal Academy. He had a great talent for drawing, and at the age of 19 was selected for appointment in 1801 as draftsman to Captain Flinder's Voyage of Australian Discoveiy. After nearly two years' employment in this duty, he was wrecked on the north coast, was picked up by a ship bound for China ; here he re mained several months, visited the interior of the country, and made many interesting sketches. From thence he secured a pas sage to India, and on landing at Bombay made an excursion into the neighbouring mountains of the Mahratta country, and 466 WES to the excavated temples of Kurlee and Elephanta. He returned to England after about four years' absence. Finding his services were not immediately required in connexion with the publication of Captain Flinder's voyage, he set off for Madeira, where by great exertions he made a num ber of sketches, wliich were all lost, and he was nearly drowned, by the upsetting of the boat on leaving the island. But he prose cuted his j ourney to the West India Islands, and was so charmed with the scenery that ta 1805 he again visited Madeira, and made a large coUection of drawings, and on bis return to England patated many views of foreign scenery. From 1805 he was a frequent contributor to the Academy exhibitions. In 1810 he was engaged upon the draw ings to Ulustrate his Australian voyage, and he patated several pictures on commis sions from the Admiralty, some of which were exhibited at the Royal Academy in 1812. His works had hitherto been chiefly in water-colours, and ta 1811 hewas ad mitted an associate exhibitor of the AVater- Colour Society, and in the following year a member, but appears to have resigned, as the same year he was elected an associate of the Royal Academy. He extabited some landscapes ta oU, but they were not much esteemed. His principal employment was upon Ulustrated publications, mostly land scape views, which he rendered with great fidelity and skUl. The cMef of these works are ' Views of Sceneiy ta Madeira, the Cape, China, and India,' 1811; 'Views of the Yorkshire Caves,' 1818; 'Britannia Deli neate.,' and, jointly with Samuel Owen, 'A Picturesque Tour on the River Thames.' He died from the effects of an accident, at North Bank, St. John's Wood, January 22, 1850, aged 68. WESTMACOTT, Sir Richard, Knt., R.Ay sculptor. AA'as the son of a statuaiy in Mount Street, Grosvenor Square, and was born in London in 1775. Brought up with his father, he imbibed an early taste for art, and was sent to Italy ta his 18th year, arriving at Rome ta January, 1793. fie was furnished with good introductions, made rapid progress, and gained the gold medal for sculpture ta the Academy of St. Luke, aud removing to Florence, the pre mium of the first class in sculpture ta the Academy there. He afterwards received the Pope's medal at Rome. In 1797 Italy was alarmed by the advance of the French army upon Rome, and he travelled home wards by Bologna to Venice, crossed the Adriatic to visit the German galleries, and reached London at the close of the year. He first exhibited at the Academy in 1797. and from that year exhibited monumental figm'es and groups, with an occasional bust. SteadUy pursuing his art, his Mst im- WES portant work was his statue of Addison for Westminster Abbey in 1806, followed by statues, for the same edifice, of Pitt, Fox, and Percival. In 1820 he exhibited his first classic group, 'Hero and Leander;' foUowed iu 1822 by a ' Psyche ' and ta 1827 by 'Cupid made Prisoner, fie executed several statues for Saint Paul's, erected by the State to the memory of the oflicers engaged ta the French revolutionary war, among them those of Sir Ralph Abercromhie and Lord Colltagwood. Of his other works, should be distinguished his statue of Lord Ersktae, for Lincoln's Inn ; Lord Nelson, for the Liverpool Exchange ; and his Monu mental group to Warren fiasttags. Among his latest works were the large ornamental group for the pediment of the British Mu seum portico; his ' Euphrosyne,' a classic group ta marble, exhibited in 1837, fol lowed by two monumental works, the last exhibited in 1839. He was elected an associate of the Royal Academy in 1805, and an academician ta 1815. In 1827 he was appotated Professor of Sculpture, and in 1837 received the honour of knighthood. He died in South Audley Street, Septem ber 1, 1856, aged 81. fie will be remem bered by his many pubhc works. Remark able for his bold and powerful hand, Ms figures, if not attaining a high degree of refinement, are never wanting in grandeur of proportions and solidity. He was well versed in Greek art, wtach he had made bis study. WESTMACOTT, Richard, R.A., sculptor. Born in London in 1779. He was the son of the foregoing. His early desire was to be brought up for the Bar, but yielding to his father's wishes, he en tered his studio, and soon showed a talent for art. In 1818 he was admitted to the schools of the Royal Academy, and two years later was sent by Ms father to pursue his studies in Italy, where he continued till 1826. The following year, he first appears as an exhibitor at the Academy, sending a simple, graceful statue ta marble, of a ' GUI with a Bird,' foUowed ta 1829 by ' The Reaper,' both of these works showtag the result of careful study. They were fol lowed by a succession of his best works, groups in marble. In 1830, ' The Guardian Angel,' part of a monument; ta 1831, 'Venus carrying off Ascanius;' in 1832, 'The Cymbal Player;' ta 1833, 'Nar cissus.' These were succeeded hy some works in alto-relievo, in which art he ex ceUed. In 1834, ' The Pilgrim'and 'Hope ;' in 1837, ' Mercury presenting Pandora to Prometheus.' and ' WicMiffe Preaching ; ' in 1838, 'Venus instructing Cupid,' with ' Paolo and Francesca.' In this latter year he was elected an associate of the Royal Academy, and ta 1849 a fuU member. In 1857, he was elected Professor of Sculpture hh2 WEE Of his remaining works, his 'Memorial Angel,' 1841, statue of Archbishop Howley in Canterbury Cathedral, and the sculpture for the pedimeut of the Royal Exchange, must be mentioned. After 1840, his chief works were busts, on which he was largely employed, and monumental sculpture, but he did not exhibit after 1855, and retired from his profession, withdrawing from the Royal Academy about a year before his death, which occurred at Kensington, on April 19, 1872. He was well known as a writer and lecturer on art. He published ' The Handbook of Ancient and Modern Sculpture,' 1864 ; a pamphlet ' On Colour ing Statues ;' and contributed some articles to ' The Encyclopedia Metropolitana,' "The English Encyclopedia,' and ' The Penny Cyclopedia.' AVHEATLEY, Francis, R. A., portrait and landscape painter. Was bom in 1747, in AVild Court, Covent Garden, the son of a master tailor, who placed him under an able teacher of drawing. He afterwards studied in Shipley's school, and at the Royal Academy, and by his early ability carried off several of the Society of Arts' premiums. He was employed ta the decoration of Vauxhall, and assisted Mortimer in the ceiling at Brocket Hall, and by persever ance and the strength -of his natural abili ties, attained considerable skill as a painter. In early hfe he made many theatrical ac quaintances, and was led into extravagance and debt. At this time he became ac quainted with Mrs. Gresse, the wife of the water-colour patater, and compelled to leave London to avoid his creditors, she fled with him to Dublin. Here he met with much encouragement as a portrait painter, and painted many small whole-lengths, and the Irish House of Commons, with portraits of the members, some of the first of whom he is said to have rubbed out to give place to others, who hke them, but later, had subscribed for the engraving. The work, which was eventually disposed of by a ratfle ta Dubhn, was then unfinished. He had introduced his companion as his wife, and when the deception was found out he was obliged to leave Dublin, and then returned to London. He first exhibited at the Royal Academy in 1771, commencing with portraits, and afterwards sending some rustic and genre subjects, both in oil and water-colour. On his return he painted a large picture of the riots in London in 1789, which was unfor tunately burnt, but is well known by Heath's fine engraving. He also contributed some good pictures, both to the Shakespeare GaUery and Macklin's Poets' Gallery. He at the same time patated portraits, and his large picture, still in the possession of the famuy, of ' The Second Duke of Newcastle and a Shooting Party,' the principal fig ares 467 WIIE on horseback, with keepers, dogs, and dead game, in a fine wooded background, is an example of his great ability. For subjects of this class, and for rural subjects gener ally, he became very popular. He painted chiefly in oU, and in a masterly manner, but he also painted many subjects in water- colours, which are mostly drawn with the pen, the shadows washed in with Indian ink, and the whole slightly tinted. His landscapes showed great taste, bis figures were well introduced, but his rustics, espe cially his females, were meretricious and unreal. The popularity of his works is evidenced by the number engraved. There is ajnezzo-tint by him, and an etching dated 1785. He was elected an associate of the Royal Academy ta 1790, and an academi cian in 1791, and soon after became a pen sioner of the Academy. Among his last works were his 'Cries of London.' A martyr to the gout, arising from early irregularities, he died from one of its attacks, June 28, 1801, aged 54 years, leav ing, with four children, a widow who after wards married agata. See Pope, Mrs. WHESSELL, John, engraver. Prac tised in London towards the end of the 18th century, and engraved after Serres, Stothard, Gainsborough, Singleton, and others. AVHETTON, Thomas, architect. Was a pupil of Sir William Chambers, and was admitted to the schools of the Royal Aca demy, where he gataed the sUver medal for an architectural drawing, and after wards, in 1774, the gold medal for an original architectural design. Some of his early designs showed great taste and merit. He continued to exhibit at the Academy up to 1786, but he was allured from his profession by inheriting an ample property. For many years he resided chiefly at Sun ning Hill, Berks, and died there on July 18, 1836, in bis 83rd year. WHICHELO, John M., water-colour painter. He chiefly painted marine sub jects, and the coasts, harbours, and dock yards of Eugland. He exhibited at the Royal Academy in 1816-17 and 1818, and was at that time marine and landscape painter to the Prince Regent. In 1823 he was elected an ' associate exhibitor ' of the AVater-Colour Society, and was from that time to 1865 a constant contributor to the Society's exhibitions, sending in 1827 ' Portsmouth Naval Arsenal ; ' ta 1831 ' Rotterdam Boats passing Dort in a Fresh Breeze ; ' and later some views on the Rhine and the Scheldt. His last works were chiefly from English scenery. He was also engaged in teaching, lie died ta September, 1865, and his drawings and art property were sold at Christie's in April 1866. WHITAKER, George, water-colour 468 WHI painter. His works are chiefly known ta Devonshire, where he mostly resided. He died at Dartmouth, September 16, 1874, aged 40. WHITCOMBE, Thomas, marine painter. Bom about 1760. He practised in London, painting sea-pieces, sea-fights, storms, and the ports and harbours of Great Britain, confining himself to marine subjects. His vessels were well and accurately drawn, and his subjects of a high class, fie was a constant exhibitor from 1783, when he sent ' The Destruction by Night of the Spanish Batteries at Gibraltar,' to 1824. He died soon after 1824. WHITE, Charles, flower painter. Practised soon after the middle of the 18th century. He died at Chelsea, January 9, 1780. WHITE, Rorert, engraver and, drafts man. AVas born in London in 1645, and was the pupU of David Loggan. Among Ms early works are some title-pages and land scapes, with architecture. But he became disttaguished by his portraits, which he en graved on the copper from the hfe, and was exceeded by none in this class of art. He was no less celebrated for his portraits drawn ta pencU on vellum, wliich for their accuracy of likeness, correct drawing, and finish, were highly prized. He is described as possessing ' a wonderful power to take the air of a face.' There are also some few plates in mezzo-tint scraped by him. In 1674 he engraved the first Oxford Almanac. Many of the por traits ta Sandford's ' Curious Coronation of James IL' are supposed to be by his hand. The heads of Sir Godfrey Knelier and Ms brother are engraved from drawtags by Mm, aud Sir Godfrey pamted his portrait ta return. His works were very numerous. Arertue collected the names of no less than 275 portraits by him, all of which are the prizes of the antiquary and the art-collector, by whom they are greedUy sought even at extravagant prices. It is said that when he completed a plate he was in the habit of tak ing off two or three impressions, which he threw into a closet, where they lay ta heaps. After forty years' labour he had saved be tween 4000?. and 5000?. ; yet by some mis fortune or waste he became poor. He resided in Bloomsbury Market, and died in indigent circumstances in 1704. AVllITE, George, engraver and painter. Was born about 1671, and was the son and pupil of the foregoing. He began art as a portrait painter, practising both ta oil and ta miniature, but his chief works are as an engraver. After the death of his father he finished the plates left incomplete by him ; and afterwards practised chiefly in mezzo-tint, introducing a method of his own, by etching the out lines of his plate to attain greater precision. He engraved after Lely, KneUer (whom he WHI is said to have 'so teased with proofs that he was forbidden his house), Vanderbank, Thornhill, and after some of his own works. His mezzo-tint impressions are still much esteemed. His last known plate is dated 1731, but there is a small clever chalk por trait of Martha Blount by him, dated 1732. He is supposed to have died about 1734. WHITE, Charles, engraver. AVas born in London, in 1751, and was a pupil of Robert Pranker. He commenced his art as a line-engraver, but later adopted the clot manner. Of convivial thoughtless habits, he was one of the class known in that day as ' Social Artists,' and is remembered by some humorous designs, among them ' A Mas querade at the Pantheon,' 1773. He mar ried one of Gerard Vandergucbt's daughters. He engraved ' Ruins of Rome,' some plates in stipple for Bell's Poets, and some botani cal plates with other subjects from natural history ; but he did not gain employment on any works of importance, and was only beginning to give proof of tas power to attain some distinction, when he ched of fever ta Pimhco, August 28, 1785, aged 34. WHITE, Charles A\"illiam, engraver. Was born about 1740, and was taught by George AA'hite. He produced many plates in mezzo-tint, and engraved after Bunbury, Stothard, R.A., W. Pether, Cosway, R.A. WHITE, Henry, wood-engraver. He was apprenticed in London to James Lee, on whose death, in 1804, he went to New castle and served the remainder of his time with Bewick. He then returned to Lon don, where he practised with great reputa tion. He engraved the clever illustratmns for Hone's ' fiouse that Jack Built,' ' Ma^ trimonial Ladder,' and for many of the Ulustrated works of that period. AVHITE, Thomas, architect anci sculp tor. AVas born ta Worcester, and was arti cled to a statuary in Piccadilly, London. He gained the notice of Sir Christopher Wren, whom he accompanied on his visit to the Continent in 1665, when he assisted the great architect in his measurements. Wren wished to retain his services on his return, but he preferred to settle at Worces ter, where he had some property. The statue of Queen Anne, and some busts in the GuUdhall of that city, are by Mm. He btalt the Church of St. Nicholas, 1730- 32, and it is said some other churches in Worcester, where he died about 1738. WHITE, Thomas, engraver. AVas born in London, and practised at the beginning of the second half of the 18th century. He was chiefly employed by Ryland, whom he assisted in his plates, lie excelled in architecture, and engraved the chief part of the plates for Woolfe and Gandon's continu ation of the ' Vitruvius Britannicus.' He died in London about 1775. WHITTAKER, J., landscape painter. WIC Was born in the North (probably at Man chester), and was originally an engraver; but saving a little money, he went to study landscape art at Llanwrst, in North AA ales, where he lived for a time, existing by the casual sale of his water-colour sketches. Receiving a commission for a picture in oil from Mr. Douglas Pennant, for which hewas promised the, for him, large sum of 100?., his success had a bad effect upon him, lead ing him into habits of intemperance, fie was elected an associate of the Society of Painters in AVater-Colours in 1861, and a full member in 1864. Hewas accidentally drowned at Bettws-y-Coed, September 9, 1876. AVHITWELL, T. Stedman, architect. He practised early in the present centuiy, and erected some county buildings, occa sionally exhibiting at the Royal Academy from 1807. In 1811 he contributed his designs for St. Mary's Hall, Coventry ; in 1820, when he was residing at Birmingham, for the new Library which he built in that town. His practice extending to London, he rebuUt, in 1828, the old Royalty Theatre in AVhitechapel, then named the Brunswick Theatre, which fell down three clays after it was opened. He had till this event been held in good repute, but it appears to have marred bis professional career, fie had made a large collection of notes and sket ches for a hook to be called ' Architectural Absurdities,' but the work was never pub lished and he was lost sight of in art. WHOOD, Isaac, portrait painter. He resided in Lincoln's Inn Fields, and in the second quarter of the 18th century had a considerable practice. His portraits are painted in oil, drawn in red aud black chalk, chiefly ta profile, and in black lead, but they are weak, without power or expres sion. In Lambeth Palace there is a por trait by him of Archbishop Wake, painted ta 1736. He was esteemed a good copyist, and was for many years employed by John Duke of Bedford to copy, for his new man sion at Woburn, the portraits of any col lateral relatives of the family that could be met with. He made some designs in 1743 to illustrate ' Hudibras.' Some of his por traits are engraved . At the latter part of his life he was reduced in circumstances by defending proceedings in Chancery against him for the recovery of an estate. He was a noted humorist. He died ta Bloomsbury Square, February 24, 1752, aged 63. WICKSTEAD, Philip, portrait paint er. Bom in London, he was a pupil of Zoffany, and was distinguished by his small whole-length portraits. In 1763 he gained a premium from the Society of Arts. He was at Rome in 1773, and found much employment in portraiture, and making acquaintance there with Mr. Beckford, he accompanied him to Jamaica, and practised 469 WIC his art for a considerable time in that island. He then speculated as a planter but was unsuccessful. His losses led him to drinking and shortened his life. He died some time before 1790. AVICKSTEED, James, engraver. Prac tised in London in the second half of the ] 8th century, working in the dot manner. fie exhibited at the Academy some impres sions and some small portrait casts, 1779- 82. He died July 11, 1791, aged 73. WIGHTWICK, George, architect. He was born at Albrighton, August 26, 1802, was brought up as an architect, and in pur suit of his art went to Italy in 1828. In that year he exhibited at the Academy his only contribution, a drawing of Giotto's Tower, Florence. On tas return, he com menced practice at Plymouth, from which he retired in 1850, without leaving any exe cuted work with wliich his name may be associated. He will be best remembered by his professional writings ; among them, ' Sketches by a Travelling Architect,' in the Library of the Fine Arts, 1832 ; 'The Life of an Architect,' in ' Fraser's Magazine ; ' ' The Palace of Architecture,' ' Hints to Young Architects,' 1847; "The Principles and Practice of Architectural Design,' 1853 ; ' On Gothic Architecture,' and ' Ro man Antiquities.' He also wrote two trage dies, some novels, and poems. He died at Portishead, July 9, 1872. He bequeathed to the Institute of British Architects a large collection of drawings of his principal architectural works. WIGSTEAD, H., subject painter. Practised in London towards the end of the 18th century, patating popular subjects and drawing satirical designs. He exhi bited at the Royal Academy from 1784 to 1788. His 'Country Vicar's Fire-side' was engraved ta 1785. He etched a plate of two Jews, old clothes men, called ' Traffic,' and Rowlandson etched, in 17S6, a clever drawing by him of the costume and manners of the day, hardly a carica ture. His works were popular in his day. He died ta Greek Street, Soho, November 13, 1793. WILD, Charles, water-colour painter. AAras born in London in 1781. fie early devoted himself to architecture, and made a number of architectural views, his prac tice being chiefly as an architectural drafts man. He exhibited some works of this class in 1S04, and the following years, at the Royal Academy. He became, in 1809, an associate exhibitor of the Water-Colour Society, aud was, in 1821, elected a mem ber of the Society, and afterwards filled, successively, the office of treasurer and of secretary. He was from the first a con stant contributor to the Society's exhi bitions. His early works were almost exclusively of our English cathedrals, with 471) WIL some designs for Pyne's ' Royal Residences.' Soon after 1821 he commenced exhibiting his elaborate drawings of the great re ligious edifices of France and the Low Countries, fie published, in 1813, his Chester Cathedral and Lichfield Cathe dral' 1819, his Lincoln Cathedral; and in the same year Canterbury and York Cathedrals ; Worcester Cathedral followed ta 1823. He traveUed in Germany, France, and Belgium, and made numerous drawings in their chief towns of the churches and pubhc buildings, and afterwards published his 'Foreign Cathedrals;' and ta 1833 etched outlines from sketches made ta Belgium, Germany, and France. In 1837 his last work was published, 'Select Examples of Architectural Grandeur ta Belgium, Germany, and France.' His architecture was beautifully drawn, his subject pictorially treated; his effect al ways sweet and tender, with suppressed tone and colour. He was afflicted from 1827 by the loss of sight. He died in Al bemarle Street, Piccadilly, August 4, 1835. WILDER, James, landscape painter. He was born ta New Street, Covent Gar den, ta 1724, and, educated as an artist, painted landscapes, introducing figures. Afterwards, under Mr. WaltoD, the keeper of the King's pictures, he gained much repute as a picture-restorer. But he quitted art for the stage, and appeared at Covent Garden Theatre in 1749; and then performed at Drury Lane and m Dublin. fie wrote ' The Gentleman Gardener,' an opera, produced ta 1751. In 1788 he ob tained an official appointment at Somerset House, and then left the stage. WILKIE, Sir David, Knt., R.A., sub ject painter. AA'as bora at Cults, in Fife shire, of which place his father was the minister, on November 18, 1785. Early accounts of him speak of his very precocious scribblings and his artist power of observ ing. AA'ith tas years his love of drawing increased so much that though the whole family had wished he should be a minister, his father was convinced he must be a painter, and placed him in the Trustees' Academy at Edinburgh, in 1799. Here he studied durtag four years under John Graham, was a diligent student, readUy felt the character of the figure he was at work upon, and became a tolerable drafts man. In 1804 he returned for a while to bis home, and, struck by the incidents of a fair in the adjoining village, where he had found his early schooling, he painted his first picture, 'Pitlessie Fair.' This work of small size, full of subject and of figures, speaks weU for the amount of technical skill he had attained, and for the air of local truth, gataed by the direct study of nature, but is red and rank, and gives no proof of his future excellence in colour. WIL He also painted among his friends a few small portraits and miniatures. His ambition was then aroused. He had sold his ' Pitiessie Fair,' for 25?., and probably added to this sum by his por traits ; and, determining to try his fortune in Loudon, he started from Leith by sea in May, 1805. On his arrival, his first object was to secure admission to the schools of the Royal Academy, fie added to his means by seUing for 6?. a smaU pic ture of "The Recruit. While continuing zealously Ms Academy studies, he com pleted for the next year's exhibition Ms ' VUlage Politicians,' and, stimulated by its sale, and the interest which it excited on the Academy walls, he set to work on 1 The Bhnd Fiddler,' a commission for 50?., and now ta the National Gallery. He then patated; also on commission, his 'King Alfred m the Herdsman's Cottage,' which did not add to his growing reputation. But, returning to a more congenial subject, he produced his characteristic picture of ' The Rent Day,' sold for 300 guineas, and in 1809 was elected an associate of the He had just completed his 24th year, and was already famed in art when he began his 'Village Festival,' also ta the National GaUery. This picture was studied with great care, and, both in execution and the treatment of tas subject, evinces a very marked improvement; the groups are well composed, and the varied characters true to nature. It was not completed ta time for the Academy exhibition of 1811, and though only weakly represented, the reput ation he had already earned gataed him his election as academician ta that year. In 1812 he made an exhibition of 29 of his own works and sketches ta PaU Mall, when Ms ' Village Festival ' was first shown to the pubhc ; but Ms exhibition did not suc ceed—he did not realise Ms expenses. In weak health, and with his new nonours, he now paid a visit to Ms family, and in 1814 made Ms first visit to the continent, pass ing five or six weeks ta France in the study of the collections of art ta the Louvre, then so rich. On his return he produced his 'Distraining for Rent,' followed by the 'Penny Wedding' ta 1819, and ta 1820 the 'Reading the Will,' which greatly added to Ms reputation. In 1822 he completed ta time for the extabition his 'Reading the Gazette of the Battle of Waterloo,' a commission from the Duke of WeUington, a work almost historical, and the attraction of the year; and the next year, for George IV., 'The Parish Beadle,' ta which his early art and manner culminated. On the King's royal progress to Edin burgh, WUkie went to the Scots' capital to find a subject ta connexion with the event, WIL and the office of King's Limner for Scot land falling vacant at the time, he was ap pointed to it. He proposed to paint ' The Entrance of the King,' and his Majesty, approving the choice, sat to him— but the attendant courtly sitters troubled him sadly, many incongruities presented themselves, and the work proceeded but slowly. Mean- whUe domestic troubles and anxieties gathered round him, and weighed sorely on his sensitive mind; added to these, about 1825, he lost a considerable sum which he had invested ta some speculation connected with a publishing house. Under these trials his health agata failed, and he sought its restoration ta foreign travel and an entire cessation of his art labours, fie set out in 1825 for Paris, and, joined there by a cousin, travelled on to Italy. At Florence his painter friends, Hilton and Phillips, were added to the party, and by easy journeys they made their way to Rome. His health had somewhat im proved, but the fever of admiration excited by the great works at Rome, added to further accounts of pecuniary losses, again threw him back. He visited Naples, Bologna, and Venice, and from thence went to Germany, seeing Dresden, Prague, and Vienna, and then returning to spend the winter ta Italy, and, slowly recovering in bealth, he again took up his palette. He had altered his style by the study of the old masters, and painted in a larger, bolder manner ; he sought to make his pic tures more effective, and to attain greater rapidity of execution. Having arrived at Geneva on his way home, he changed his mind after a short stay there, deter mining to see Spain. He arrived at Madrid ta October 1827, patated several pictures, and made many sketches and studies, re turning to London in the spring of 1828, highly satisfied with Ms visit, fiis enthu siastic study of Velasquez confirmed him in his new manner, and the pictures paint ed M Madrid and on his return seem to have been completed at once. They are fine in general effect and tone, and have'a Spanish air about them. Of these we may mention 'The Guerilla Council of AA'ar,' ' The Guerilla Taking Leave of his Con fessor,' ' The Maid of Saragossa,' and ' The Confessional.' When these pictures were exhibited, the public lamented his early art and the class of domestic stories, all his own, on which his fame is founded. But, though startled by the sudden change, many beauties wUl be found in his latter works, which, too, give him claims to historic art. In 1830 he completed his ' Entry of the King into Holyrood,' but it added nothing to his reputation. The same year the President of the Academy died, and many thought that Lawrence would be succeeded 471 WIL by AYilkie; yet, although the King ap pointed him his painter-in-ordinary, he was not elected to the presidency by his brother academicians, and, overcoming his disappointment, he resumed his 'John Knox Preaching,' which he had long had on the easel, determining to make it a fine work. At the same time he was busy upon some full-length portraits, among them the King, ta fiighland costume, and in 1833, ' The Duke of Sussex,' in the same costume ; but his portraits, while pleasing, failed to give the mental characteristics or the best expressions of his sitters. He retained his household appointment on the accession of William IV., from whom, in 1836, he received the honour of knight hood ; and on the accession of Queen Vic toria, stUl retaining his post ta the house hold, he was commissioned by her Majesty to paint her first council, a work of great interest, but hurriedly conceived and finished. AVith many commissions and much un completed work ta hand, he suddenly de termined, in 1840, to make a voyage to the East, to seek new fields of art ta the localities of the sacred narrative, that his countrymen and the art of the time might reap some benefit from his journey. Tra velling through Germany to Vienna, he took a steamer down the Danube, and reached Constantinople ta October, 1840, and after some delay in that capital, setting out by Smyrna and Beyrout, arrived at Jerusalem by the end of February. He was deeply impressed with aU he saw, and made many sketches of the scenes and in cidents which surrounded him. On his return, while at Alexandria, he commenced a portrait of the Pasha. He had been about ten months absent, and, though he had enjoyed good health, began to long for home. He left Alexandria apparently well. At Malta he was imprudent in eat ing some fruit, and an attack of some com plaint in the stomach recurred ta the night. He was fast sinking when the vessel left the harbour, and died within an hour, on June 1, 1841, — the same evening his body was committed to the deep. Wilkie's truly original art will always hold a high place ta the Enghsh school. His early pictures of domestic story and sentiment, his own inventions, full of incidents, quietly both humorous aud pathetic, will always interest and please, while their art and finish, founded on the Dutch school, will no less satisfy the artist and connoisseur. His later works, painted after the study of Italian and Spanish art, and approaching the manner of those schools, are of higher aim, aud depict interests and feelings which are allied to history, and in both styles he was great. Had he survived Ms eastern travel, he 472 WIL would most probably have patated not only Oriental, but Scriptural subjects, but it is doubtful if he would have added to the fame which was founded on his early subjects. Of these, the chief were engraved ta line by Rainibach and Burnet, and greatly extended the knowledge of his art. In 1842, 130 of his works were exhibited with the coUection of the old masters at the British Institution. His life, by his friend Allan Cunningham, was published ta 1843, and his artist friends placed his statue, by S. Joseph, ta the vestibule of the National GaUery. AVILKIN, Charles, engraver. Prac tised ta London towards the end of the 18th century. In 1771 he was awarded a premium by the Society of Arts. He engraved ta the dot manner, with much power, some fine portraits after Reynolds, Beechey, and others. He died from the effects of an accident, May 28, 1 814. WILKIN, Frank W, portrait painter. Son of the foregoing. Began art very early in life as a mtaiature painter, and found employment in maktag water-colour copies of the old masters, which were veiy truth fully rendered. AYtale so engaged he received a commission to paint ta oU on a very large scale ' The Battle of Hastings,' for Battle Abbey, for 2000 guineas He completed this work, which he exhibited at Spring Gardens hi 1820. It was looked upon as a great effort, but it was weatay painted, spiritless, and the figm'es without motion. He afterwards devoted tamself to portraiture in chalk, and was extensively employed, exhibiting at the Academy occa sionaUy from 1820 to 1S41. He died ta September 1S42. WILKIN, Henry, portrait painter. Brother of the above, practised his art for some time ta London, and in the latter part of his life at Brighton. His portraits were chiefly ta crayons, and were correctly drawn, and from 1830 he was a large con tributor to the Academy exhibitions. He also patated some well-finished pictures in water-colours, and was an occasional lecturer on art. He died suddenly at Brighton, July 29, 1852, aged 51. WILKINS, Robert, marine painter. He was born about 1740, and practised his art in London ta the latter part of the 18th centuiy. In 1765 he received a Society of Arts' premium of 30 guineas, and from that year exhibited with the Free Society of Artists up to 1778, and at the Royal Academy from 1772 to 1779. His works comprised naval actions, ships on fire, and moonlight scenes. In 1772 he exhibited at the Academy, ' The City, Mole, and Fortifications of Algiers ; ' in 1777, 'A Storm — Mackerel Fishing;' ta 1779, 'A Naval Engagement.' He died about 1790. WIL WILKINS, William, R.A., architect. He was born August 31st, 1778, at Nor wich, where tas father was successful as a builder, and was educated at the Free Grammar School there. On the removal of his father to Cambridge, be matriculated at GonvUle and Caius College, in 1796, and graduated as Sixth Wrangler ta 1800, and next year, gaining a travelling fellow ship, he visited Italy and Greece, and cul tivated a taste and knowledge of their architecture. On Ms return, his connexion with the University led to his appointment as architect of Downing College, and his employment on several of the" University buildings. In 1808 he erected the Nelson Column at Dubhn, and M 1817 a memorial column to the same hero at Yarmouth, and was rising to acknowledged reputation as an architect. In 1S20 he appears as an exMbitor at the Royal Academy, sendtag ta that year a design for the new buUdtags, Cambridge, comprising the additions to King's College and the Fitzwilham Museum, aud ta 1823, an elevation of the quadrangle for Corpus Christi. In 1825 he was elected an associate, and ta 1826 a ftal member, of the Academy, and ta the latter year he was associated with Gandy Deering ta budding the University Club in Pall MaU East, and in connexion with him he de signed and extabited at the Academy a design for a commemoration AA'aterloo Tower 280 feet high. He excelled ta the purity and harmony of his Grecian designs, and ta 1828 he was employed to erect the University College in Gower Street. He only completed the centre, the wings remaining unfinished; but his portico, the main feature of his de sign, was greatly admired for its classic taste. His next important work was the National GaUery, Trafalgar Square, com pleted ta 1838. In this he haclto contend with more than one difficulty. He had to introduce the portico from Carlton House, and was cramped by an alteration in the aUotted space and by conditions imposed by the Government ; and this work has not ceased to be the subject of hostile criti cism. He afterwards rebuilt St. George's Hospital, and again had to contend with alterations imposed by the assertion of neighbouring rights. He was appotated architect to the East India Company, and built ta the Grecian style the Company's college at HaUeybury ; and commenced in the same style Downing College, Cam bridge, which he did not live to complete. He was an unsuccessful competitor in 1836 ta the designs for the Houses of Par liament ; and afterwards, in a pamphlet, 'An Apology for the Design of the New Houses of Parliament,' marked 'Phil- Archimedes,' severely criticised the deci sion of the Commissioners and the designs WIL of his competitors. He was an accom plished scholar, and had early in his career published his 'Magna Gratia,' and was known as a writer on subjects connected with Ins profession. He published his CivU Architecture of Vitruvius' in 1813 and in 1816, ' Atheniensia, or Remarks on the Buildings aud Antiquities of Athens.' In 1831, a letter to the Prime Minister, on ' The Patronage of the Arts by the Government ; ' in 1837, the first, and only part, of tas 'Prolusiones Architectonics. ' The same year he was appotated Professor of Architecture at the Academy, but he never delivered any lectures. He had suffered for some time from gout, and died at Cambridge on August 31, 1839, on the 61st anniversary of Ms birth, fie was buried M the chapel of Corpus Christi College, which he had erected. WILKINSON, The Rev. Joseph, amateur. Forty-eight landscape views by him in Cumberland, AArestmoreland, and Lancashire, were published by Ackermann, in 1810. His drawings were very weak and unfinished. WILKINSON, , engraver. Prac tised ta London towards the end of the 18tb centuiy. He engraved chiefly portraits, but the ' Loss of the Halsevvell, East India- man,' after Northcote, has been powerfully scraped by him in mezzo-tint. WlLLES, William, landscape painter. He was bom at Cork, of a respectable famUy, and, early devoted to study, was a man of many attainments. He patated landscapes, introducing figures, and was from 1820 an exhibitor at the Royal Aca demy. In 1824 he sent ' A Serenade ; ' ta 1826, ' A River Scene, a View of London,' introducing groups of figures ; ta 1829, ' A Midsummer Night's Dream,' and land scape views of Killarney. About 1830 he came to reside in London, and ta 1857, when he exhibited for the last time, ' Ex celsior,' he was at Reading. 'The Mock Funeral' is spoken of as one of his best works^ AV I L L I A M S , Edward, engraver. Practised in London ta the last half of the 18th century. There are several groups by him after Rowlandson, and a plate after Wigstead. He was one of Hogarth's boon companions. WILLIAMS, Edward, landscape painter. Son of the above. Was born in Lambeth ta 1782, and was the pupU of his maternal uncle, James Ward, R.A., and was afterwards apprenticed to a carver and filder ; but meeting with some success in is attempts in miniature and landscape painting, he turned to the latter, and was successful in moonlight scenes, his favourite subjects, and in 1814 and 1816 exhibited at the Royal Academy. Later in life he painted the sceneiy of the Thames. There 473 WIL is a moonlight by him in the National Gallery. He died at Barnes, June 24, 1855, leaving six sons who followed the arts, three of whom changed their names to preserve identity in their art. WILLIAMS, fiuoH William (called 'Grecian WUliams'), water-colour painter. Was born in 1773 in AVales, where be claimed an ancient descent. He early settled in Edinburgh, and Scotland became his adopted country. He was in 1807 a candidate for admission into the Water- Colour Society, and ta 1808 joined the new Society of Painters in Water-Colours, which that year started tato a brief exist ence. Many of his early topographical views are engraved in the ' Scot's Maga zine.' After gaining a reputation in Edin burgh, where he was a great favourite, he travelled several years in Greece and Italy, and on his return in 1818 published 'Travels in Italy, Greece, and the Ionian Islands,' 1820, and ta numbers completed, in 1822, bis 'Views in Greece.' In 1822 he exhibited in Edinburgh a collection of his sketches and drawings in these countries. He married a lady of good family and fortune, and died June 23, 1849. His drawtags possessed great breadth, with rich and harmonious colouring; his trees well drawn, his masses of foliage simple. There is an account of Ms gaUery ta 'Peter's Letters.' WILLIAMS, James Francis, R.S.A., landscape painter. Was born in Perth shire, and, it is believed, came to London at an early age, and was connected with the stage, both as a scene-painter and actor. About 1810 he returned to Edinburgh to paint scenes for the Edinburgh Theatre. After a time he left the theatre, settled in Edinburgh as a landscape-painter, and was much employed as a teacher. On the found ation of the Royal Scottish Academy in 1830 he was chosen one of the members, and in 1840 was elected to the office of Treasurer. In 1823, and some subsequent years, he contributed some Scotch landscape scenes to the Royal Academy. He died at Glasgow October 31, 1846, aged 61. WILLIAMS, John (known as 'An thony Pasquin'), engraver. Studied in the schools of the Royal Academy, and was apprenticed to learn engraving, to Matthew Darby, the well-known carica turist. If as an artist he is unknown, his caustic art-criticism has given him a name. He wrote a ' Liberal Critique on the Exhi bition for 1794,' 'Memoirs of the Acade micians, being an Attempt to Improve the Taste of the Realm,' aud ' An Autheutic History of the Artists of Ireland.' He emigrated to America, and died at Brooklyn ta 1818. WILLIAMS, John Michael, portrait painter. Is reputed to have been a pupil 474 WIL [of Jonathan Richardson, and practised in London with much reputation about the middle of the 18th century. His works i were much admired in his day, but appear | slight ta drawing and weak, yet are not without an air of fashion. His portraits have been engraved by McArdell, C. Cor- ibutt, and F. Faber. fie exhibited at the rooms of the Incorporated Society in the Strand in 1761. He resided ta Scotland Yard, and is supposed to have died about 1780. AVILLIAMS, J. T., gem-engraver. Born in the latter part of the 18th century. Was brought up as a sculptor. He made several copies from the antique, and some statuettes and bas-reliefs ; and afterwards engraved some gems, both cameos and intaghos, and upon these his reputation rests. WILLIAMS, Roger (or Robert), mezzo-tint engraver. Was born in Wales, and practised ta the reign of Queen Anne. He is said to have been a pupil of Theo dore Freres, who was brought to this country in 1687 by Sir Peter Lely, and remained here only a short time, fie dis tinguished himself in his art, and Ms por traits after Vandyck, Kneller, AVissing, and others are finely executed. His leg was accidentally injured and he suffered am putation, which he survived many years. WILLIAMS, Solomon, R.H.A., his tory and portrait painter. AA"as born ta Dublta and studied ta the Dublin Academy. He exhibited a portrait ta wax at the Royal Academy ta 17S2, and afterwards some oU portraits. He then visited Italy, making some stay at Rome, and Bologna, where he was admitted a member of the Academy. He sent from thence, for exhi bition in London, in 1792, a portrait group ; ta 1796, some domestic subjects and por traits. He brought home some good copies after Titian. He practised for a time ta Dublin, but towards the end of the century he was in London, and ta 1S04 and 1807 was a contributor of some classic subjects to the Academy exhibition. In 1823 he was engaged on a large painting, ' The Trial of Algernon Sydney.' He was one of the foundation members of the Royal Hibernian Academy. He died August 2, 1824. WILLIAMS, Samuel, wood-engraver. Was born at Colchester, of poor but respect able parents, February 23, 1788, and was apprenticed there to a house-painter. After teaching himself to etch, he tried wood- engravmg, and on the completion of his apprenticeship had made sufficient progress to trust to that art for bis livelihood. He was first employed to engrave the illus trations to a work on natural history, and his success did not fail to gain him other engagements ; his great ability is evidenced WIL by his work in the ctaef publications of bis day. He designed as weU as engraved the iUustrations for an edition of 'Robinson Crusoe,' 1822. Some good examples of his work are in Hone's 'Every-day Book,' 1825. He was skUful in rural sceneiy. He paMted a few pictures in miniature and in oU colours, and was an exhibitor at the Royal Academy. Died, September 19, 1853, in his 65th year. WILLIAMS, T. IL, water-colour painter. Practised at Plymouth about the middle of the 18th century. He exhibited at the Academy between 1801-14 some views ta AA'ales and Devonshire, and pub lished in 1804 ' Picturesque Excursions ta Devonshire and Cornwall,' for which he drew and etched the plates; also 'The Environs of Exeter,' and ' A Tour ta the Isle of Wight,' Ulustrated ta the same manner. WILLIAMS, William, subject and por trait painter, fie was awarded a premium by the Society of Arts ta 1758, and prac tised ta London ta the second half of the 18th century, and from 1770 was an exhi bitor at the Royal Academy. He sent land scapes, with figures, portraits; ta 1778, ' The Good Samaritan,' ' Trinculo and Cali ban,' and did not exhibit again tiU 1787, when he contributed 'Banditti Sleeping,' and some rustic scenes ; ta the following year, with some portraits, ' Venus attended by the Graces,' and in 1792 exhibited for the last time. Some subjects from Shakes peare by him were engraved by Val. Green, and his 'Marriage' and 'Gallantry' by WILLIAMSON, Francis (of South wark), gla.zier. ' He contracted jointly with Simon Symonds, 18th Henry VIII., to glaze four windows ta the upper story of King's CoUege Chapel, Cambridge, curi ously and sufficiently of orient colours and imageiy of the story of "The Old Law and the New Law," after the manner and goodness in every point of the King's new chapel at Westminster.' AVILLIAM SON, Peter, engraver. Practised ta London in the reign of Charles II. and engraved some small plates of the incidents of the King's concealment. He also engraved portraits of the King, and Queen Catherine, and of some of the nobility. He was for some time employed by David Loggan, and appears to have been also engaged as a publisher. AYILLIAMSON, John, portrait paint er. Practised for above thirty years, and was respectable ta that branch of art, and had many eminent sitters. He died at Liverpool in 1818, aged 67. WILLIS, Brown, antiquarian drafts man. Was born at Blandford, in Dor setshire, ta 1682. He was ta 1738 a member of the St. Martin's Lane Drawing WIL Academy, and obtained some notice as an artist. He died in 1760. AV ILLISON, George, portrait painter. A native of Scotland. After studying some time in Rome, he settled in the practice of his profession ta London, and in 1771 re sided in Greek Street, Soho. He exhibited some whole-length portraits at the Royal Academy in that and the foUowing year. His works were flat and thin, but not badly coloured. Not meeting with encourage ment he went to the East Indies, and ac quired a fortune of 15,000?., upon wtach he retui ned to Edinburgh, where he settled, and died ta 1797. He acquired his great wealth, chiefly in jewels, left him by a person in India, whom he possessed suffi cient knowledge of physic to cure of an afflicting wound of long standing. His por traits are engraved by Valentine Green and James Watson. AVILLMORE, James Tibbitts, A.E., line-engraver. Was born at Erdington, near Handsworth, Staffordshire, where his father was an extensive manufacturer, Sep tember 15, 1800, and was articled for seven years to Wm. Radclyffe, an engraver, at Birmingham. He came to London in 1823, upon the expiration of his apprenticeship, and for three years was employed in Charles Heath's studio, and then commenced his own career, producing many fine works. In 1843 he was elected an associate en graver of the Royal Academy, and was for the first time an exhibitor, contributing ' Ancient Italy,' a fine work after Turner, R.A., and the foUowtag year 'A View of London from St. Bride's Church,' appa rently from a drawing by himself, and he was an occasional exhibitor of works after J. J. Chalon, R. A. , Leitch, Stanfield, R. A., E. Landseer, R.A., and particularly Turner, R. A., from whose works, so difficult to ren der, he produced many plates of great deli cacy and exceUence. Latterly his health became very precarious, and he was unable to pursue his labours. He died, aged 62, March 12, 1863, and was buried ta High- gate Cemetery. WILLS, The Rev. James, portrait painter. Practised towards the middle of the 18th century. He exhibited in 1760 with the Society of Artists ' Liberality and Modesty,' and the foUowing year 'St. Peter returning from Prison,' a sketch. He con tributed to the Foundling Hospital a large painting, 'Suffer little Children to Come unto Me.' He did not meet with much success in art, and having received a libei al education, he took orders, and was for many years curate, and afterwards vicar, of Canons, Middlesex. He was also for a short time chaplain to the chartered Society of Artists, with a salary of 30?. a year, fie died ta the latter part of 1777. Some of his portraits are engraved. He 475 WIL pubhshed in 1754 a dry translation of Du Fresnoy's ' Art of Painting.' WILLSON, Thomas, architect. Stuched in the schools of the Royal Academy, and in 1801 gained the gold medal for tas design for a ' National Edifice.' In the same year he exhibited at the Academy ' The Palace of Dido ; ' in 1804 ' Entrance Front, Bank of Ireland,' and does not appear again till 1814, when he exhibited ' West Elevation for a Royal Palace, designed for an Illus trious Personage,' and ta the following two years ' A National Mausoleum, to commemorate British Naval and Mihtary Heroism,' with a section of his design. In 1819 he designed a ' WeUington Pillar ;' in 1S24 a 'Marine Villa for Cape Town ; ' and in 1831 "The Pyramid Cemetery for the Metropolis,' and from that time there are no traces of him. WILLSON, Edward James, architect. He was bom at Lincoln, where his father was a respectable builder, June 21, 1787. He held the appointment of county archi tect, but his reputation rests only upon tas writings ta connexion' with the works on mediteval Gothic architecture, by John Britton and Augustus Pugta. He died ta Lincoln, September 8, 1854. WILSON, Andrew, landscape painter. Was bom ta Edinburgh ta 1780, of a re spectable family of Jacobite opinions, and at an early age was a pupil of Alexander Nasmyth. In his 17th year he came to London and studied at the Royal Aca demy, but after a short time started for Italy, and with some difficulty landed at Leghorn, making his way to Rome, and subsequently Naples, where he became ac quainted with two well-known collectors, and studying the great works of the Italian masters, gained a knowledge of the distinc tive characters of their art. He returned to London in 1803, but was soon after in duced to re-visit Italy, for the purpose of purchasing works of the old masters, a task of some hazard, owing to the recurrence of the war. He arrived at Genoa ta 1803, and, under the protection of the American consul, made that capital his chief resi dence, and was successful in purchasing 54 pictures, many of them of a high character. lie came back through Germany, reaching home ta 1806, and, devoting himself to landscape in water-colours, was in 1808 a member of the short-lived Society of Ar tists in AA'ater-Colours, and a frequent ex hibitor at the Royal Academy. In 1808 he married, and soon after obtained an ap pointment as one of the teachers of draw ing in the Royal Military College at Sandhurst, but resigned this office in 1818, and returned to Edinburgh as master of the Trustees' School. Here he brought up several pupils who attained distinction, and was a constant exliibitor to the Edinburgh 476 WIL exhibitions, sending also some works to the Royal Academy ta London. He made the coUection of engravings for the trustees of the Royal Institution, which is now shown ta their galleries. But his restless attach ment to Italy and a small accession of for tune led Mm again to that country, for which, with his wife and family, he set off in 1826, and living alternately at Rome, Florence, and Genoa, passed there the next twenty years. Durtag this time be painted many fine pictures, only a few of which found their way to our exMbitions ; was much consulted by the buyers of works of art, and made many good purchases himself. In 1847, anxious to re-visit his native country, he left Genoa for London, and after a few months' residence went to Edinburgh, and here, whUst preparing to return to his family ta Italy, he was struck with paralysis, and died on November 27, 1848. His compositions, mostly Italian, were pleasing ; simply painted, without the use of body colour. They were carefully finished ; his distances tender, and the whole work marked by much refinement. AArILSON, Benjamin, portrait painter. AA'as born ta 1721, at Leeds, where his father ranked as one of the first clothiers, but afterwards feU tato decay. He came to London early ta Me, was for some years in a very poor condition, and then gaining employment as a clerk, foimd means to pur sue a love of art. He is said not to have received any instruction, but appears to have had some help from Hudson. By his perseverance and ability, he made himself known ta art, and became the friend of Hogarth, Hudson, Lambert, and others of the leading painters. In the spring of 1748, he went to Ireland, to paint some com missioned portraits, and found employment there till 1750, when be returned to Lon don, and established himself in Great Queen Street, Lincoln's Inn Fields. Here he painted many eminent persons, became fashionable, and is reputed to have made 1500?. a year by his art. Zoffany assisted him as Ins drapery patater. At the same time, he applied himself to science, and in 1746, and 1750, published treatises on electricity. He contrived and exhibited a large electrical apparatus, and in 1756 he was elected F.R.S., and printed his ' Ex periments and Observations on Electricity' He had also studied chemistry. He was versatile in his talents. He took part ta a private theatre, and was both manager and prompter, and by this means he became known to the Duke of York, who appotated him about 1773, patater to the Board of Ordnance, reputed to have been a lucrative office. In 1760, and 1761, he exhibited portraits in the Spring Gardens' Rooms. He succeeded Hogarth as sergeant painter, and ta 1776 had the honour of exhibiting WIL to the Kmg and Queen, whose favour he enjoyed, his picture of ' Belshazzar's Feast.' He etched with great ability, and was a copier of Rembrandt, after whom he is said to have produced a landscape, which took in Hudson, who was a great connoisseur aud collector. A caricature etching by him, at the time of the American Stamp Act, called ' The Repeal,' and sold at sixpence, is said to have produced him 300?. Several of his works were engraved, ' Garrick, as Hamlet,' by MeArdeU ; ' Garrick, as KMg Lear ; ' ' Lady Stanhope, as the Fair Penitent, in some amateur theatricals,' by Basire, and other portraits. He married at the age of fifty, and had seven children, one of whom became weU known as General Sir Robert Wilson. He died ta Bloomsbury, June 6, 1 788. He had been a speculator on the Stock Exchange, and was, about 1766, a defaulter ; but, to the surprise of his friends, he left a very handsome property. WILSON, Charles, architect. Com menced his studies ta 1827, ta the office of Mr. David Hamilton of Glasgow, and two or three years after the termination of his apprenticeship set up ta business for him self, practisMg both in the Classic and Gothic styles. One of his early works was the Lunatic Asylum at Glasgow, commenced in 1842. He afterwards erected many pubhc buUdtags ta Scotland, andiwas the President of the Glasgow Architectural Association. He died 1862 or 1863. AVILSON, James, engraver and drafts man. Bom about 1735. Practised ta London. There are some good works by Mm in mezzo-tint, several of them after Sir Joshua Reynolds. He died about 1780. AVILSON, John H., R.S.A., landscape and marine painter. Born ta Ayr Borough, August 13, 1774. Apprenticed to a house- decorator in Edinburgh, and, on the com pletion of his term, having received some instruction from Alexander Nasmyth, he went to Montrose, where he passed two years ta painting and in teaching drawing. About 1798 he came to London, and was employed as a scene-painter at Astley's. In 1807 he was for the first time an exhi bitor at the Royal Academy, and again ta 1809, and both his pictures found a pur chaser. In 1810 he married. In 1813 he exhibited at the British Institution and was a constant contributor from that time for many years, his sketch of the Battle of Trafalgar, in 1826, gaining ta competition one of the premiums of 100 guineas offered by the directors. He was a foundation member of the Society of British Artists, estabhshed in 1824, and one of its most constant supporters and exhibitors. Though settled in London he was a regular exhi bitor at the Royal Scottish Academy, and was elected one of its honorary members. WIL During the latter years of his life he resided at Folkestone, with the sea, which he loved to study, ever before him, and there he died on AprU 29, 1855, having continued to paint till the last. His pictures are bold and free— the sea in all its moods, the ves sels that traverse it and the craft which haunt its shores, he rendered with truth and spirit, and his works — if wanting ta re finement of execution — are strong in their reality to nature. WILSON, Richard, R.A., landscape painter. Was born August 1, 1714, at Pinegas, ta Montgomeryshire, where his father, who was afterwards collated to Mold, in Flintshire, then held a small liv ing. His mother was connected with the family of the Lord Chancellor Camden. He received an excellent classical education from his father, and ta 1729, having shown some early taste, was sent to London, assisted by Sir George Wynne, Bt., a relation of his mother, and placed under Thomas AVright, a portrait patater of small abffity, with whom he continued six years. He then commenced portrait painting on his own account, and after several years practice, must have obtained some power, even were the great art qualities, which he afterwards displayed, unrecognised. He must also have been of some reputation, as he was employed in 1749 to paint the full- length portraits of the Prtace of Wales and the Duke of York, and his ability ta this branch of art is attested by the works which are known, and of which there are examples at the Garrick Club and ta several private collections. He had, with the desire which belongs to the artist, looked forward to visit Italy, and having managed to save the means, he set out ta the year last mentioned for Venice. Hitherto his practice had been in portrai ture, but here the true bent of his genius was disclosed. Zuccarelli, then a fashion able landscape painter, admired a landscape which he had painted and advised him to follow that art. After a stay of about twelve months at Venice, where he made acquaintance with Mr. Locke, of Norbury, he visited with him several of the Italian cities, painting for him some sketches and landscapes, and conttaued his journey to Rome. Here he remained some while, and meeting with httle employment and being ta difficulties, probably devoted tas time to landscape, and here Vernet, the celebrated French artist, seeing one of his landscapes, exchanged for it a" picture of his own, counselled him to continue that art, and recommended him to his own friends. After having spent nearly six years in Italy, chiefly ta Rome, he travelled to Naples with Lord Dartmouth, for whom he painted some ftae landscapes, and ta 1755 made Ms way home. 477 WIL WIL In 1758 he was living in the Piazzas, Covent Garden ; he had now changed his art ; he was a landscape painter. It is re lated that his return excited some interest among Ms brother artists, but that his art was unappreciated either by them or by the public ; the artists indeed advised him that his manner was not suited to the English taste, and the critics, to whom it was new, did not understand and depreciated it, wMle they lauded the meretricious pro ductions of Ms contemporaries. Thomas Sandby, R.A., who had favour at Court, with better judgment recommended him to the Duke of Cumberland, for whom he painted the ' Niobe,' one of his great works, which he exhibited iu the Adelphi with the Society of Artists, of which he was a member, in 1760. It is said, however, that he lost the Court patronage. Having after wards painted a landscape of Sion House for the King, Lord Bute, by whom it was to have been submitted, remarking that sixty guineas, the price he named, was too high, he angrily replied that if the Kiug could not pay that sum at once, he would take it by instalments, and thus cut short his hope of Royal favour. This unfortunate explo sion of temper, if a fact, did not stand in his way upon the foundation of the Royal Academy by the King, in 1768, for he was then nominated one of the first members, and was a constant contributor to the exhi bitions up to 1780. In 1770 he sent ' Cicero and his Two Friends at his VUla at Arpi- nium;' in 1771, 'AVynnstay' and 'Crow Castle,' two large landscapes painted for Sir W. W. Wynn ; in 1774, ' Cader Idris,' ' The Cataract of Niagara,' and others ; in 1775, 'The Passage of the Alps at Mont Cetas,' and ' The Lake of Nemi ; ' in 1776, ' Sion House ; ' ta 1778, ' View ta AVindsor Great Park;' in 1779, 'Apollo and the Seasons,' and ' View of St. James's Park ;' in 1780, when he exhibited for the last time, ' Tabley Park.' He repeated many of his favourite works, some of them several times But only a few of these fine pictures found purchasers, even the dealers declar ing that those they bought remained on their hands, and from time to time, descend ing in the scale, he changed his abode to suit his diminished means. His temper, naturally quick, was embittered by his trials. He lived ta a poor lodging in Tottenham Court Road, wanting employ ment, and one day, in tone of indignant despair, asked Barry, R.A., if he knew any one mad enough to employ a landscape painter, to whom he could recommend him, as he had literally nothing to do. He was no less a man of high spirit and gentle manly feeling, of classic tastes, an elegant scholar, and when not suffering from a mor bid depression of spirits, for wtach there 478 were only too many sad causes, he was of courteous address and brilliant in Ms con versation. He also possessed great know ledge and critical judgment of art. Yet while neglected by fortune, he did not give up the struggle, and continued to paint, thitating himself happy to obtain even the mean sum of 15 guineas for a three-quar ters landscape. So he managed to live tUl, in his declining powers, he became, on a vacancy in 1776, the Librarian to the Royal Academy, and the small salary attached to that office, for which he was well fitted, greatly increased his narrow means. It is pleasant to add that he unexpectedly became possessed of a small property near Llanberis on the death of his brother, and that retiring there he passed a short time iu comfort and peace, and then died sud denly, in May 1782. He was buried on the 15th of that month ta the churchyard of St. Mary-at-Mold. His art possesses some of the highest qualities ta the reach of the landscape painter. Purely classic and noble ta his conceptions, he gave a new aim to the English school. Strong ta his impressions of Nature's truths, vigorously and power fully painted, grandly poetic ta tone and colour, yet broadly and simply treated, his works will secure Mm an imperishable name in the Enghsh school. Peter Pindar, who spared him in his caustic criticism, truly prophesied — 'But, honest WUson, never mind, immortal praises thou shalt find.' Yet the poet deferred the realisation until the painter had been dead one hundred years. Did he find any compensation during years of neglect and suffering in the con fident hope we learn he entertained, that posterity would do him justice 1 An exhibition of the works of deceased British artists, at the British Institution, in 1814, included 85 of his works. Our National Gallery possesses two fine ex amples of tas art, and he bas been made widely known by engraving, and is for tunate in the engravers employed on his works, among whom" AVoollett, Wiffiam Sharp, Byrne, Canot, Rooker, Earlom, and Middiman, are disttaguished. He made many studies, which are ta the hands of collectors, executed ta black and white on a grey Roman paper. His life, by AVright, was published ta 1824 ; and Cunningham, falling upon that work for Ms chief facts, has written a memoir of him in his ' British Painters.' WILSON, AVilliam Charles, en graver. Born about 1750. There are many early plates by him in mezzo-tint. He was employed by BoydeU upon his Shakespeare Gallery, and engraved after Smirke, AVestall, West, P.R.A., and PUle- nient. WILSON, Sir William, architect. He . WIN was knighted ta 1681, and practised in the reign of WiUiam III. ; but httle is known of his works. He is said to have designed the colossal figure of Charles II. on the west front of Lichfield Cathedral. He re- btalt the spire of AA'arwick Church. Died about 1702. AVILTON, Joseph, R.A., sculptor. AVas born ta London July 16, 1722, and was educated at Hoddesdon, Herts, fiis father, originally a workman, was a manufacturer of arcMtectural ornaments in plaster, em ploying many men. He studied mathe matics and geometry for the profession of an engineer, but afterwards determined to foUow sculpture as his profession. He was placed under Delvaux, who had formerly resided ta London, at NiveUes, in Brabant, and ta 1744 went to Paris, where he stuched in the Academy under Pigalle. In Octo ber, 1747, be left that city, and traveUed in Italy, studying several years in Rome and Florence, and ta the former city, ta 1750, gataed the JubUee Gold Medal, given by the Pope. He afterwards visited Naples, and the interesting localities ta the neigh bourhood, and from 1751 tiU May 1755, when he returned to London, he was fully employed in Florence upon copies and com missions. On his home journey he was accompanied by Sir AA'Uham Chambers, and Cipriani, R.A. He had enjoyed opportunities of study which other English sculptors had not known. In 1758 he was selected to teach modelling in the Duke of Richmond's GaUery, and was about the same time ap potated State coach carver to the King, and modeUed the ornaments for the Coro nation State coach. On the institution of the Royal Academy, he was nominated one of the foundation members. In 1773 he completed his monument to General Wolfe in Westminster Abbey, his first pub hc work. This was followed by monuments to Admiral Holmes, the Earl and Countess of Monteath, Pulteney Earl of Bath, and a series of fine busts, including Bacon, Newton, Cromwell, Chatham, and Swift., "fie also executed some ftae mantelpieces. His contributions to the Academy exhi bitions were very hmited. In 1769, and several following years, he only sent a bust. In 1773 a small model of Mutius Scaevola before Porsenna. In 1781 and 1783 he each year exhibited a monumental figure, and was not agata an exhibitor. His father had left him an independence. He had added to this considerably by his professional gains, and after a career of nearly thirty years, he sold his premises and materials by auction. Retiring from the active pursuit of his art, he accepted the office of Keeper to the Academy ta 1790, an office wMch he filled with much zeal tiU his death. Living in much luxury, he entertained many distinguished friends, among whom were some of the most emi nent artists and dilettanti, including Dr. Johnson. His daughter, who is always mentioned as possessed of remarkable beauty, married Sir Robert Chambers, Chief-Justice in India. She presented to the Academy a bust ta plaster by Rou- biliac of her father. He died November 25, 1803, in his 81st year. His works are skilfully executed aud coldly correct — some times graceful. His groups are crowded ta their composition, yet not without grandeur of conception. AA'INDHAM, Joseph, amateur. Was born at Twickenham, August 21, 1739, and educated at Eton and Christ's College, Cambridge, and was an emtaent classic scholar, learned ta the history of art and architecture. He travelled in France, Italy, Istria, and Switzerland, and, a good drafts man, he made many sketches of sceneiy, architecture, and ancient remains ; and at Rome measured some of the ruins with great accuracy. Many of his plans and sections are engraved in Cameron s work on the Roman baths. He wrote the greater part of the letterpress of the 2nd Volume of the 'Ionian Antiquities,' published by the DUettanti Society. He died September 21, 1810. WINGFIELD, J. D., landscape and figure painter. His name first appears ta the catalogues of the Royal Academy as an exliibitor of portraits ta 1835-36. But he afterwards patated interiors, and garden and park scenes, introducing figures ta cos tume ; and he exhibited works of this class up to 1872. He died ta the spring of that year, and his works, with numerous copies from the old masters, were sold by Messrs. Christie ta the following July. WINSTANLEY, Henry, architect. He was of Littlebury, Essex, and had by several inventions shown the germs of genius. He travelled ta Italy early ta life, and his name first appears in 1694 as clerk of the works at Audley Inn, then a royal palace, and as filling the same office at Newmarket in 1700. Evelyn mentions having, on a visit to Chelsea ta 1696, ' seen those ingenious water-works invented by Mr. Winstanley, architect of the Eddy- stone Lighthouse, wherein were some things very surprising and extraordinary.' Here he also exhibited the model of his light house at a charge of sixpence each person. This erection, which was chiefly of wood, was commenced in 1696 and completed ta four years. He was so confident of its security, that he is reputed to have ex pressed a wish to be left in it durtag a storm. Anyhow this so happened. He was superintending some repairs, making under his inspection, and perished together with his workmen and his work ta the great 479 WIN WIT storm on November 26, 1703, which swept the whole away. He etched some views of Audley Inn 1688, which, though now rare, have little art-merit, and dedicated thein to James II. WINSTANLEY, Hamlet, engraver. Son of the above. Was intended for a painter and was a pupil of Sir Godfrey Kneller. He painted several portraits, among them the Bishop of Chester, and a group of himself and his wife, which are engraved by Faber. His portraits are cor rect in chawing, but weak in expression and colour. Having travelled in Italy, on his return be gave himself up chiefly to engrav ing. He etched 25 of the family portraits and pictures of the Derby family, and pub lished under the title of ' The Knowsley Gallery,' his etchings from Lord Derby's pictures ; also, a set of prints from Thorn- hill's paintings in the dome of St. Paul's Cathedral, and several others. He died, aged 61, in May 1761, and was buried at Warrington, Lancashire. WINSTON, Charles, amateur. Was born ta 1814 at Farningham, Kent, where his father, the Rev. B. A. Sandford, was the vicar. On succeeding to some property he took the name of AVtaston. He gradu ated at Oxford, and was in 1814 called to the bar, and practised on the Home Circuit. But with the law he cultivated a love of glass-painting, and acquiring great accuracy of drawtag, he made many copies of ancient glass, rendering the character and colour with great skill. He was also disttagtashed for his knowledge of stained glass. He published in 1847 an ' Inquiry into the difference of Style observable in Ancient Glass-Painting,' and in 1849 ' An Introduc tion to the Study of Patated Glass,' and he contributed several papers to the Journal of the Aretaeological Society. His published works were illustrated by drawings made by himself, and on his death, October 3, 1864, he left to the nation a large collection of drawings of stained glass. AVISSLNG, AA'illiam, portrait painter. Born at Amsterdam, 1656. Stuched at the Hague both portrait and history. After leaving his master there he went to Paris, and shortly after, about 1680, came to England. He was at first employed by Lely and imitated his manner, and on tas death succeeded to much patronage and was the fashionable rival of KneUer. He patat ed the portraits of the Royal family and several of the Duke of Monmouth, and was much employed by the Court. James II. appointed him his principal painter, and1 sent him to Holland to paint the portraits of William and Mary, then Prtace. and' Princess of Orange. On his return he went! to Burleigh and painted the sixth Earl of Exeter, and soon after, dying there, Sep-' tember 10, 1687, ta his 32nd year, he was! 480 buried by the Earl at St. Martin's Church, Stamford, where there is a tablet to his memory. His death was attributed to envy, and he was suspected of having been goisoned, but without any sufficient grounds. everal of his works are well engraved in mezzo-tint, among them a fine portrait .of himself, ipse pinxit, by John Smith. His portraits were solidly and carefully painted, pleasing ta character, rather gay ta colour, and not undeserving the reputation he enjoyed. It is said that he would take by the hand a pale-faced sitter and dance her about the room to heighten her colour and improve her looks. AVITHERINGTON, William Frede rick, R.A., landscctpe painter. AA'as born J ta Goswell Street, London, May 26, 1785, and brought up to a business, but cherish ing an early love of drawing he tried to improve himself, and when in his twentieth year gataed admission to the schools of the Royal Academy, but while an attentive student he did not for a considerable time abandon his business pursuits. In 1811 he first exhibited his ' Tintern Abbey ' at the British Institution, and the same year also exhibited at the Academy. His early works were landscapes with figures, but he afterwards tried more purely figure sub jects of a rural character, and tas health failing he hved more in the country, and for several years painted landscapes. In 1835 he exhibited ' A Hop-garden,' one of his best works, which forms part of the Sheepshanks' Gift to the South Kensington Museum. There are also two landscapes by him in the Vernon Collection. He gataed his election as associate of the Aca demy M 1S30, and as full member in 1840, and at this time painted much of the scenery of Devon and the Welsh Lakes. His landscapes were entirely English, in troducing all the rural accessories of Eng lish scenery ; careful, pleasing, full of incident, with the figures well introduced, his works yet fail to reach an art that would give him a high rank as a land scape painter. He died AprU 10, 1865, aged 79. AVITHERS, Edward, china-painter. About 1774 he was the first painter of flowers at the old Derby AVorks, but his employment there failing, he went to Staf fordshire, yet met with no better success. Then quitting his own art, he found em ployment ta the Japan trade ta Birming ham. Next he went to London, where he suffered much distress. Flower-painting betag ta request at the Derby Works, he was sought out and sent for, but he had lost his early skUl. He fell into great difficulties, which were attributed to his own misconduct, and on his death he was bmied by the contributions of his feUow- workmen. WIV WIVELL, Abraham, portrait painter. \Aas born in Marylebone, July 9, 1786. His father was a tradesman at Launceston, who, faUing in business, came to London, and died soon after, leavtag a widow and four chUdren ta penury. After many diffi culties and some little teaching by his mother, he learnt shoemaktag at the Mary lebone School of Industry, and was eveut- uaUy apprenticed, ta 1799, and served his time with a peruke-maker and hair-dresser. Setting up on his own account, he placed in his window beside Ms wigs some mtaia- tures in water-colours which he had at tempted, and was advised to apply himself to art, but he had married and was afraid to give up his trade. An opportunity, however, arrived; he sketched the like nesses of the Cato Street Conspirators, and his success gained him notice and some commissions for theatrical portraits ; fol lowing up this, he sketched with great readiness and abUity the portraits of the principal persons engaged at the Trial of Queen Caroline, which he published. He had saved some money in these undertak ings, and was induced to pubhsh ' An In quiry into the History of the Shakespeare Portraits,' but the work was a faUure and entaUed great loss upon Mm, and he was reheved from much difficulty by an annuity of 100?. a year left him by an uncle. At this time he was engaged ta inventing fire- escapes, and when the Society for the Pro tection of Life from Fire was estabhshed in 1836 he was appotated their superintendent with a pay of 100?. a year. But upon some difference he threw up this employment and went to reside at Birmingham, where in 1847 he resumed his art career, and was engaged to take the portraits of the railway celebrities for the ' RaUway Record.' This was his last work. He died at Birmingham, March 29, 1849. He exhibited at the Aca demy ta 1822 and ta 1830, a portrait in oil. But his art was confined to a carefully- drawn miniature portrait ta black-lead, ta which the likeness was well preserved. W ODE WARD, William, medallist. Held the office of Graver to the Royal Mints of Dover and Calais 32nd Henry VI. WOGAN, Thomas, miniature painter. He studied ta the Dublin Academy, and practised both in that city and ta London, enjoying a contemporary reputation. He was an exhibitor at the Royal Academy ta 1776-77-78, and was then residing ta London, fie died in Dublin, 1780. WOLCOTT, The Rev. John, M.D. (known as 'Peter Pindar'), amateur. Was born at Dadbrook, Devonshire, in 1737, of respectable parents, and educated at the Grammar School at Ktagsbridge, a neigh bouring town, where he acquired a know ledge of Latin and Greek, and was a WOL tolerable classic. He then went to France, and stayed about a year to complete his studies, and on bis return was app enticed to his uncle, a surgeon and apothecary at Fowey. On the expiration of his appren ticeship he came to London, where he studied his profession, obtained his M.D. degree from a Northern University, and in 1767 went to the AVest Indies as Physician to Sir Wiffiam Trelawney, a distant relative, who was appotated Governor of Jamaica. He next appears as Physician to the Forces in Ireland, but the post does not seem to have been profitable, and he afterwards took holy orders, in the expectation of ob taining a good living which he had in view ta Jamaica, but in this he was disappointed. It is said there is no proof of his having been admitted to orders, but it appears that he was ordained both deacon and priest by the Bishop of London. On his return to England, he settled ta Cornwall, and becom ing acquainted with Opie, afterwards so disttaguished as a painter, brought him to London ta 1780 on condition of sharing the profits of his professional labours, and pushed him tato notice, but the pair soon separated. The arrangement was one-sided and, moreover, the young painter was too honest in his opinion : ' I tell'ee, ye can't paint, stick to the pen ; ' which was an affront to the doctor's art attempts. He then took into Ms house on the same conditions, and the same result, Paye, a young artist of great genius and great misfortunes. Wol cott had written political satires upon the Court of George IIL, and he now turned his attacks upon the Academy, and pub lished tas criticisms, vulgarly abusive rather then critical, upon the exhibitions of 1782-83-85-86, under the title of ' Lyric Odes to the Royal Academicians.' These were followed in 1788 by ' The Bee, or the Exhibition exhibited in a new light,' and in 1797 by ' The Royal Academy, or a Touch stone to the present Exhibition.' He was fond of art, possessed a small collection of pictures, patated with some ability as an amateur, and made some fair sketches of the scenery of his native country. Six picturesque views from paintings by Peter Pindar, Esq., in aqua-tint, by Aiken, were published in 1797. In the decline of his life he became blind, and died at Somer's Town, after a lingering illness, January 13, 1819, in his 81st year, and was buried at St. Paul's, Covent Garden. His poetical works with a memoir had been pubhshed in Dublta in 1789. WOLSTENHOLME, D., animal paint er. He lived for several years during his early career at Cheshunt. He first exhi bited at the Academy in 1804, sending 'Fox Hunting;' in 1805, 'The Epping Forest Hunt fin 1807, ' The Golden Lane Brewery.' These works were followed by 481 WOL portraits of favourite horses aud clogs. In 1824 he exhibited ' The Interior of the Rid ing School of the Light Horse Volunteers,' introducing portraits ; in 1846, a work of some pretension, ' The Progress of Queen Elizabeth with her Retinue to Hatfield ; ' and in 1849, ' A Morning Shooting,' his last work exhibited at the Academy. Bromley, A.E., engraved after him ' Portraits of Three Dogs .' AVOLSTENHOLME, D., junr., animal painter. He was born about 1800, son of the above, and followed the same branch of art, pamting chiefly the portraits of favour ite animals. He first exhibited in 1818, and in 1822 sent ' Truman and Hanbury's Brewhouse,' with portraits of their horses and men; in 1S25, 'Terriers Ferretting Rabbits,' with portraits. He extabited for the last time in 1828. AVOOD, John, engraver. He is supposed to have been a pupil of Chatelain. fie was employed by BoydeU, for whom he engraved several of the plates in a set of landscapes published in 1747. He engraved after Salvator Rosa, Gaspar Poussin, Claude, Rembrandt, and Richard AAilson. ' A View of London from Greenwich,' by him, after Tillemans, is dated 1774. He died about 1780. His works possess considerable merit, and are executed with much care and finish. AV 0 0 D, John George, water-colour draftsman. He was the author of several works on art. but had little claim to artis tic power. From 1798 he was an exhibitor at the Royal Academy, chiefly of AA'elsh views. He exhibited lor the last time ta 1811. He published, in 1792, 'Plans for Labourers' Cottages;' in 1793, ' Six Views iu the Neighbourhood of Llangollen,' from bis own drawings; in 1804, 'Lectures on Perspective,' which he had delivered ; in 1813, 'The Principal Rivers of AVales,' illus trated ; in 1814, ' The Principles and Prac tice of Sketching Landscape from Nature.' He died in 1838, and his drawings were sold by auction at Sotheby's in that year. AVOOD, John (of Bath), architect. He appears to have settled in Rath in 1727, and in that year to have built there Chan- ilos House, a fine mansion. He became the architect of the city. He built Queen Square, and several fine edifices, and much improved the street architecture by com bining several houses in one facade. He was also the architect of the Bristol Ex change, Buckland Manor House, Berks, an original attempt of some merit; and Stanlihch, AVilts. He published 'The Origin of Building,' 1741 ; ' A Description of the Bristol Exchange,' 1745; 'Descrip tion of Bath' (two editions), 1749. He died at Bath, after a long illness, in May 1754, in his 50th year, lie was a Justice of the Peace for the county of Somerset. 482 W O 0 AVOOD, John, history painter. He was born in London, June 29, 1801, and was the son of an artist, who found his chief employment in teaching. He was fond of drawing, and was early admitted tato Mr. Sass's Academy, and in 1819 he en tered the schools of the Royal Academy. He was, ta 1824, living ta Wtatecliapel, and that year, with two portraits, exhibited his 'Archangel Michael Contending with Satan,' his first contribution to the Aca demy. In 1825 he gaMed the gold medal for bis 'Joseph Expounding the Dreams of the Chief Butler and Baker,' which he exhibited the foUowing year with his ' Psyche, wafted by Zephyrs.' He next exhibited some portrait groups with, in 1829, ' Comus and the Lady,' and ta 1833, ' Cupid and Psyche.' These works earned him a great reputation, and sanguine hopes were expressed as to his future career. In 1834 he gataed, ta competition, an im portant commission for the altar-piece lor St. James's Church, Bermondsey. In 1836 he was awarded, at Manchester, the prize for his ' Elizabeth ta the Tower,' and shortly after a premium of 1000?., also in competition, for a painting of ' The Bap tism of our Saviour .' But it was already apparent that he was unable to maintain the reputation he had achieved by tas first successes. He painted portraits, and con tinued at his easel, and later in his career Scripture subjects, but his art degenerated with his failing health, and he was never able to regain his early reputation. He died April 19, 1870. AA'OOD, Philip, carver in wood. He was born at Sudbury ta Suffolk, and, early left an orphan, was brought up by a retired London merchant named Haybittle, whose house he ornamented with many quaint carvings. Having fallen ta love with his patron's daughter, he came ta 1689 to London, hoping to improve his fortunes; but, unable to get work from having no recommendations, he employed his spare time in gazing at the rebuilding of St. Paul's. Here AA'ren noticed him, and asked him what he could carve. Over come with confusion, be answered stammer- ingly, ' Troughs.' ' Troughs,' said AVren, smiling, 'then carve me a sow and pigs, and bring it me this day week.' Accepting this commission, he re-appeared with the carving, when Wren at once engaged him, saying, ' Young man, I fear I did you some injustice.' fie married his patron's daughter, and assumed the name of Hay bittle, which is found appended to various receipts in payment of carving work done for the Cathedral. WOOD, AVilliam, modeller. He was employed in the Messrs. Wedgwood's manu factory about the end of the last cen tury, and was distinguished for his great woo ability, and the beauty and finish of his work. AVOOD, William, miniature painter. Practised in London, and was distinguish ed for his correct drawing, taste, and har mony of colour. From 1791 he exhibited at the Royal Academy, mtaiatures, with occasionaUy a portrait drawing, contribut ing for the last time in 1S07. He pro moted the establishment, in 180S, of the short-lived Society of Associated Artists in AVater-Colours, and was the Society's president. He published, 1S08, ' An Essay on National and Sepulchral Monuments.' Fond of the study of nature, he planned the laying out of parks and grounds, and made many sketches from nature of great merit. He improved the stability of col ours on ivory. Died at Ms house in Golden Square, November 15, 1809, aged 41. VYOODCOCK, Robert, marine painter. He was born of a good family, and, having a genius for patating, resigned an office imder the Government to devote himself to art. He began to study in 1723, and, copying in oU after Vandevelde, he acquired a technical knowledge, and adopting art as his profession, made great progress, con fining himself to marine subjects. He had also a talent for music, and was not only a good performer, but composed some pieces, which were published. He died of gout, in Ms 37th year, AprU 10, 1728, and was buried at Chelsea. WOODFIELD, Charles, topographical landscape painter. AVas a pupil of Isaac FuUer. He patated topographical subjects, buUdtags, antiquities, and views. He was idle and often wanted necessaries, but lived to the age of 75 years, dying in 1724. AVOODFORDE, Samuel, R.A., history painter. Born in 1764, at Castle Cary, Somersetshire, of a respectable famUy, long settled in that county. Was weU educated, and, seized with an early passion for draw ing, he was sent up to London, and in 1782 admitted a student ta the schools of the Academy, where he by diligence obtained a power of drawing. In 1785 he was assisted to visit Italy. Residing some time ta Rome, he was persevering in Ms studies, but being of a slow nature, his hard work was not rewarded by much progress. After seeing Florence and other of the art cities, and tarrying to study the works of the great colourist? at Venice, he made his way back to England in 1791. He had sent some works from Rome for exhibition at the Academy, and he now exhibited some Roman landscapes, followed by, in 1793, 'Caractacus before Claudius/ some por traits, and classic subjects, fie was then employed by BoydeU on the Shakespeare GaUery, and patated the forest scene from ' Titus Andronicus,' which was engraved by Anker Smith. He also patated some por- n WOO traits, and gaining rank in his profession, was popular as a painter of compositions, usually a few figures, from the lighter class of subjects, poetry and tales. These he painted with some grace, but little power, and only occasionally finding a purchaser, was obliged to depend upon portraiture, in which he was less qualified to succeed. In 1800 he was elected an associate, and then exhibited ' Charles I. ta the Hands of his Army, has an Interview with his Children,' engraved by AV. Sharp. In 1807 he be came a full member of the Academy. He managed by economy to secure an inde pendence, and in the spring of 1815 married, and shortly afterwards set off again for Italy, probably with the intention to settle there/but was taken ill between Bologna and Ferrara, and died of inflammatory fever at the latter city, after a few days' Ulness, July 27, 1817, in bis 54th year. Among his principal works are, ' Calypso lamenting the Departure of Ulysses,' 1810 ; ' Diana and her Nymphs,' 1814. His works possess the correctness of drawing and composition due to his laborious studies, but the genius to become more than a respectable artist was not given to him. His colouring was good, and in this respect his water-colour drawings are in advance of his contemporaries. WOODHOUSE, John Thomas, M.D., amateur. He was senior Fellow of Gon ville and Cains College, Cambridge, and though he took his degree in medicine, he never practised. He was chiefly occupied in painting portraits, in which, as an amateur, he greatly excelled, painting the likenesses of his many friends and distin guished contemporaries. He died at tas college, March 20, 1845, aged 65. WOODING, T., line-engraver. Prac tised towards the end of the 18th century, and produced works of some merit. William Bromley, A.E., was his pupil. AV O O D M A N , Richard, engraver. Born in London, he practised there in the latter part of the 18th century, in the dot manner. His last works are dated about 1810. Among his best works are, 'The Choice of Penelope,' after Riley, and ' Children at Play ' after Poussin. WOODMAN, Richard, engraver and draftsman. AVas the son of the above, born in London, July 1, 1784, and was placed under Meadows, a stipple engraver. After leaving him, he was employed to colour, which he did with great ability, the engraved imitations of William AVestall's drawings. In 1808 he was engaged by Wedgwood to superintend the engraving department of his works, but he soon re linquished that employment, and returning to London, he undertook the engraving of some large hunting and sporting plates, and afterwards engraved for Knight's 'Por- 2 483 woo trait Gallery.' He also possessed much ability as a miniature painter and water- colour draftsman, and in the latter part of his life, seldom using his graver, he pro duced some water-colour drawings of much refiuement and finish. He died December 15, 1859. His plate after Rubens' ' Judg ment of Paris' is considered his best work. WOODS, Joseph, architect. AVas born at Stoke Newington, August 24, 1776, the son of weU-to-do Quaker parents. He was a pupil of Mr. Alexander, and practised for a time on his own account ; but, pos sessed of sufficient means, he indulged his tastes in a long residence on the Con tinent. In 1806 he was the first President of the London Architectural Society, then founded, and in 1813-15 was an exhibitor at the Royal Academy, sending, ta 1814, ' A Design for a Palace and Public Build ings,' intended to be erected on the Thames bank. He was the editor of the fourth volume of Stuart's 'Athens.' In 1828 he published 'Letters of an Architect from France, Italy, and Greece.' A good drafts man, he amused himself by making draw ings from his early sketches. He was also a member of several scientific societies, and in 1850 published his ' Tourists' Flora,' a botanical work. He died at Southover, Lewes, January 9, 1864. AVOODSTREET, Godfrey, ) gold- AVOODSTREET, B., \ smiths, who practised in the reign of Richard IL, and executed the statues of Richard, and Anne his Queen, wliich have been en graved by Gough, in his 'Monumental Antiquities.' WOODWARD, Benjamin, architect. Practised some time in Dublin. He built the new building in Trinity CoUege, the new Museum at Oxford, and the offices of the Crown Insurance Company, at Bridge Street, Blackfriars. He sent in competi tion designs for the public offices in Down ing Street. To recruit his health he went on the Continent, and died on the threshold of his intended torn-, at Lyons, May 15, 1861. He was of much promise, and for some time was the partner of Sir Thomas Deane, ta conjunction with whom he executed several works. He treated the Italianised Gothic with great simphcity and beauty. WOODWARD, George M.,caricaturist. His earliest attempts appeared in 1792. Rowlandson engraved after him, in 1797, ' Cupid's Magic Lantborn.' In the follow ing year he published, with numerous illustrations, 'Eccentric Excursions in England.' He caricatured Mrs. Billington under the title of ' The Musical Mania for 1802.' In 1807 he commenced a 'Cari cature Magazine,' and in 1808 published by subscription his 'Comic Works ta Prose and Poetry,' a very poor perform- 484 WOO ance. He had much reputation as a caricaturist, but seems to have been of strange and unsettled habits. He was taken very unweU in a hackney coach, and penniless, was driven to the Brown Bear public-house, in Bow Street, where he had occasionally slept, but was otherwise un known. A doctor was procured ; he was suffering from dropsy, and surviving only a short time, he died in November 1809, and was buried by the humane landlord. WOODAVARD, Thomas, animal paint er. AVas bom at Pershore, AVorcestershire, in 1801, and was a pupil of Abraham Cooper, R.A. He made early progress, and at the age of fifteen years exhibited a picture at the British Institution, and became from that time a constant exhibitor both there and at the Royal Academy. At the latter he was a constant exhibitor from 1822 to 1852. In 1823 he sent ' Turks with their Chargers ; ' in 1829, ' The Chariot Race ; ' in 1831, 'A Horse Pursued by Wolves;' in 1841, 'A Detachment of CromweU's Cavalry Surprised ta a Mountain Pass ; ' in 1845, ' A Welsh Shepherdess and her Dogs;' and ta 1851, 'Mazeppa,' his last contribution. He was also an occasional exhibitor at Suffolk Street. He likewise patated ' The Battle of Worcester,' and several other large-sized pictures, and many portraits of animals. His ' Tempt ing Present,' a veiy cleverly composed work, has been well engraved. His land scape backgrounds had great merit. He died of consumption, at Worcester, ta November 1852. AVOOL ASTON, J., portrait painter. AATas born in London about 1672. He was happy in his likenesses, which were toler ably drawn, low ta colour, and rather black. There are two portraits by him of Britton, tli3 musical small-coal man (one dated 1703), both of which are engraved. He was himself musical, and performed at Britten's concerts, fie died an aged man ta the Charter House. AVOOL ASTON, John, portrait painter. He patated a portrait of Whitfield, which was engraved by Faber, 1742, and Vertue also engraved after him. fie went to America in 1772, and found full employ ment for his art in Virginia and Maryland. WOOLFE, John, architect. He was born at Kildare, where Ms family were held in much consideration. He was ap pointed Architect to the Board of Works. He built Lord Shrewsbury's house at Hey thorpe, and for Mr. Alderman Beckford Fonthill House, one of the finest residences ta the West of England, and, in conjunction with Gandon, published in 1767 the fourth volume, and in 177 1 the fifth volume, of the ' Vitruvius Britantacus,' commenced by Campbell. WOOLLETT, William, engraver. Was. woo born at Maidstone, August 15, 1735. His family came originally from fiolland ; his father was a watchmaker. He began to draw when quite young, aud his friends at Maidstone subscribed to apprentice him to Tinney, an engraver ; and of some of his works during his apprenticeship he was both designer aud engraver, fie was a member of the St. Martin's Laue Academy, aud early distinguished himself. His art was his constant study, his aim to produce a fine work rather than to seek commercial success. He was employed by Alderman BoydeU, aud his ' Niobe,' after AVilson, R. A., and ' Death of General AVolfe,' after West, P.R.A., were the first English engravings that gained notice on the Continent, while Hogarth's were not understood out of Eng land. For theiformer of these he received 150?. (the original agreement was 100?.), and the prints were originally sold for 5.s. each. A fine proof has since been sold for 50?. His ' Battle of La Hogue ' is one of his finest works ; but he succeeded no less in landscape, excelling in all the varying manners of sky, foliage, and foreground, and especially in the teuder transparency of water, when seen in motion. In 1766 he was a member of the Incor porated Society of Artists, and for several years secretary to the Society. He held the appointment of engraver to the king. His works embraced a wide field of subject. His manner, uniting the needle with the graver, was rich and varied iu execution and pecu liarly his own. He gave every variety of texture, particularly the delicate softness of flesh in the most perfect manner. His works gave a high character to the English school He lived many years in Green Street, Leicester Fields, and then removed to Charlotte Street, Rathbone Place, where he was wont to celebrate the completion of a plate, by firing a cannon from the roof of his house. He died in Upper Brook Street, Rathbone Place, May 23, 1785, from the effects of a neglected injury received while playing at Dutch pins several years before. He was buried in the churchyard of St. Pan- eras-in-the-Fields, and his friends placed a tablet to Ms memory ta the cloisters of Westminster Abhey. His widow and two daughters were left in such narrow circum stances, that in 1814 a subscription was raised for them, and in 1843 his daughter, then 73 years eld, was a candidate for a pension from the National Benevolent Institution. WOOLNOTH, Thomas, engraver. Bom in 1785. He engraved many theatrical portraits, ' The Infant Saviour ' after Cor- reggio, and the portrait of Gevartius after Vandyck. He was living in 1836. WOOTTON, John, animal painter. Was a pupil of John Wyck. He first made himself known at Newmarket, where he WOE drew the favourite racehorses, and became distinguished as a painter of horses and dogs, receiving large prices for his works. Later he tried landscape, and introduced hunting scenes. His works, usually on a large scale, decorate the halls of several old mansions, Longleat, Dytchley, Althorp, Blenheim, with some iu the royal collection. His sight failing, he sold his collections of drawings aud paintings in 1761, and died in January 1765, at a house in Cavendish Square, which he had built and decorated with his paintings. His horses are painted with great spirit and truth, his landscapes are coarse in manner, but Ms art is associ ated with many Enghsh recoUeetions. fie designed several illustrations, which have much humour, for the first edition of Gay's 'Fables,' published 1727. AVORLIDGE, Thomas, portrait painter and etcher. Bom ta 1700. He practised in the reign of George II. and first pamted at Bath, drawing with pencil on vellum or iu Indian ink, portraits of a miniature size. He afterwards tried portraits in oil, and then removed to London, but not succeeding he applied himself to drawing and etching. He was a good draftsman, and etching with much ability in the manner of Rembrandt, was tolerably successful. He drew and etched a large plate of the Oxford Com memoration, 1761, full of figures, some of them portraits, freely but slightly etched, yet not wanting in drawing or spirit. After his death in 1768, a selection of his draw ings from antique gems was published, comprising 182 plates, a work by which he is best known, fie also etched many heads, and was distinguished by his use of dry point. His style was designated as the switch scratch manner. In 1766 he exhi bited whole-length and three-quarters por traits with the Free Society. He married a young wife, the daughter of a toy-man at Bath. She was gifted with great beauty, and able to assist him in his art, and became celebrated by her skill in worsted work. He appears to have been one of those who 'take no care for the morrow.' We are told that when in want of a dinner in his early days, he luckily found half a guinea, and then instead of disposing of it for some beef steaks and a pair of shoes, as his wife wished, he chose a feast of some early green peas. Later in life, when his etchings had become fashionable and he was better off, he resided chiefly at Bath, but he died September 23, 1766, at Ham mersmith, was buried in the church there, where a tablet is erected to his memory. WORNUM, Ralph Nicholson, artist and writer upon art. Was born at Thorn ton, near Durham, in 181 2. H i was origin ally intended for the bar, but in 1834 turned to art as a profession, and studied for five years in Munich, Dresden, Rome, and Paris. 485 WOE He settled in London, wishing to become a portrait painter, ta 1840, and in the first Westmtaster Hall competition his work was selected for 'Praise.' In 1846 he began his catalogue of the National Gallery, and was in the same year appointed keeper of that institution, and from this time devoted himself to illustrating by his pen the history and practice of art ; though he had already published his 'Epochs of Painting,' and held the office of Lecturer ta the Govern ment Schools of Design. He died of nervous exhaustion of the brain ta London, Decem ber 15, 1S77. AVORSDALE, James, portrait painter. Was a pupil, and reputed to be a natural son, of Sir Godfrey Kneller, who dismissed him for secretly marrying his wife's niece. But he managed to gain many patrons, and was appointed master-painter to the Board of Ordnance. He patated a large whole-length portrait of George IL, which he presented to the Corporation of Yar mouth. He designed some humorous sub jects not over delicate, wliich were pubhshed by Bowles. But he had also a reputation as a player, and was a singer and a mimic, and for some time belonged to a provincial company of players at Chester. He wrote a ' Cure for a Scold,' ' The Assembly,' a farce ta which he played admirably a principal character, ' The Queen of Spain,' and ' The Extravagant Justice.' He died ta London June 13, 1767, aged 75 years, and was buried at St. Paul's, Covent Garden. He wrote his own epitaph, which was placed on his tombstone : — ' Eager to get, but not to keep the pelf, A friend to aU maukiud, except tamself.' His son, who succeeded him in the office of Painter to the Board of Ordnance, died in 1779. AVORTHINGTON, AVilliam Henry, engraver. He was bom about 1795, and practised his art ta London. He worked in the line manner, and engraved some of the illustrations of the marbles iu the British Museum, ' The Cottar's Saturday Night,' and ' Children brought to Church,' with other works after Stothard, R.A., also the portraits of the sovereigns of England, for Pickering's ' History of England,' I1826. His works were chiefly iu the line manner. WOUTERS, Francis, landscape and figure painter. He was born at Brabant iu 1614, aud was brought up in the school of Rubens, but chiefly paiuted landscapes, introducing small uudraped figures. He came to England with the Emperor, Fer dinand II. , in 1637, and his works pleasing the Court, he was appointed patater to the Prince of Wales, afterwards Charles II. On the misfortunes which befell the Royal famUy he retired to Antwerp, where he was accidentally shot ta 1659. 483 WEE WRAY, Robert Bateman? gem-en graver. He enjoyed a reputation about 1770, and exhibited some wax impressions from his works at the Royal Academy. He was chiefly employed in engraving seals. WREN, Sir Christopher, Knt., archi tect. He was born at East Knoyle, AVilts, October 20, 1632. His father, descended from an ancient famUy in Durham, was Rector of Knoyle, chaplain to Charles I., and Dean of Windsor. SmaU and weakly ta constitution, when only 13 years old he invented an astronomical instrument, and ta the following year patented an instru ment for writing with two pens, thus pro ducing two fac-simile copies. He was educated at AVestminster School, under Dr. Busby; was B.A. of Wadham College ta 1650, aDd was in 1653 elected a fellow of AU Souls', Oxford, where ta the same year he took his M.A. degree. He was early distinguished by his mathematical attainments and numerous inventions, and was, in 1657, elected Professor of Astro nomy at Gresham CoUege, ta 1659 Savilian Professor of Astronomy at Oxford, and ta 1661 had the degree of D.C.L. conferred upon him. Up to this time it does not appear that he had made any study of architecture, yet he must have no less acquired much know ledge and skiU ta matters connected with that art. His reputation stood high among men of science and scholars. He had powerful friends, and ta 1661 he was ap potated Assistant-Surveyor-General, but for fully two years he remained unemployed, and when, in 1663, he at last received a commission for his first pubhc work, a sur vey of the mole, fortifications, citadel, and port of Tangier*, the employment appeared to have arisen from an intrigue to remove him from Court, and he declined the office. He was, however, at this time appoMted under a Great Seal Commission, dated in 1663, to prepare plans for the complete re storation of Old St. Paul's, wtach showed, from an .original faulty construction, alarm ing symptoms of decay ; and with a view to gain experience with reference to this great work, he visited Paris ta 1665, studied there some time, aud made numerous useful drawings, remarking, indeed, that he should almost bring home all France on paper. The question of repairing the old cathe dral, wiiich had been long debated, was, indeed, settled by the Great Fire in 1666, but not finally then, nor till after vexa tious delays and warnings of danger had stopped all further attempts to repair, fie was then empowered to destroy the mas sive walls of the old buildtag, a work of great labour and skill, and to lay the foundations for his own design ; but the business proceeded so slowly that it was not tUl 1675 that he received an approval WEE of his plans, with full authority to pro ceed. He made the most careful arrange ments for his great work, appointing officers for the several special duties of overlook ing and paying the men, measuring and checking the materials used, and buying and paying for them, and he diligently himself directed aud superintended the whole, and made the drawings for all the details and every part of the work, attend ing in person, carefully watching the work to its completion with never-failing solici tude, during 35 years, and for all this he was paid 200?. a year. AVhUe occupied with this great work, he was ordered by the King to survey the whole of the burnt city, and to make designs for its reconstruction. He made practical plans, founded on sufficient data in respect to expense and other particulars. His designs included spacious, arterial streets, quays on the Thames hank, the decorative rebtalding of the churches, with ftae squares and public buUdtags, and the removal to the environs of graveyards and noxious trades. But petty interests and prejudices prevahed, or London would have risen from its ruins one of the most magni ficent and beautiful of known cities. In 1667 he commenced the Royal Ex change, and ta the foUowing year he suc ceeded to the office of surveyor-general, to wMch he had been appoMted ta reversion. The new theatre at Oxford followed, and Temple Bar in 1670 ; the Monument in 1671. He also btalt the Library at Trinity CoUege, Cambridge, the Ashmolean Library, the Palace at AVinchester, the College of Physicians, the Royal Hospital at Chelsea, made large alterations to Hampton Court Palace, btalt Greenwich Hospital, Marl borough House, St. James's, the western towers of AVestminster Abbey, and above 50 parish churches, all of them noted for thenr construction and suitable convenience, and many of them conspicuous for their beauty; of these latter may be specially mentioned St. Maiy-le-Bow, St. Stephen, Walbrook, St. Magnus, London Bridge, St. Bride, Fleet Street. A complete list of his works wiU be found in the Parentalia. Many of his most interesting designs are possessed by All Sotas' College, Oxford. He was knighted by Charles II. ta 1673. At the age of 86 he was removed from the office of surveyor-general by Geo. L, after 50 years' service, to make way for AVilliam Benson, who was notoriously in competent. During the short remainder of his life he was taken once a year, we are told, to St. Paul's, and the sight of the great work which he had been spared to complete revived faculties almost dormant with age. He died February 25, 1723, aged 91, and has found his proper rest in St. Paul's. He had filled the office of president of the WEI Royal Society, had sat ta two parliaments, and had been twice married. He made many discoveries m science, and was the first in this country who experimented upon the new art of mezzo-tint. As an architect his genius eclipsed all others, and during bis long professional life, he was without a rival. Yet the critics have not left him scatheless. Walpole, whose Strawberry Hill Gothic gives us little faith in Iii.-; archi tectural judgment, speaks of Wren's want of taste, his false taste, and of his palace at AVinchester as the ugliest buildtag in the island. His works are, however, the greatest ornaments of our Metropolis. His knowledge of geometry and mathematics gave him great constructive skill, which his genius has employed in designs of sur passing magnificence, grandeur, and beauty, marked by refined taste and invention. His St. Paul's remains the most distinguished architectural object in our Metropolis ; his palace at Greenwich the greatest ornament of the Thames. AVRIGHT, Mrs. Patience (sometimes called Mehetable and Sybilla), modeller in wax. She was born of Quaker parents, at Bordentown, New Jersey, U.S., in 1725. Her maiden name was Lovell. She married in 1748, and became a widow in 1769. She early showed an aptitude for modelling, using dough or any material that fell in her way, and before 1772 had made herself kuown by her small portraits modelled in wax. She then, with her three children, came to this countiy, seeking a wider field ta the English Metropolis, where her great ability was soon recognised, and she was much employed. In 1778 she made an ex hibition of her works, among which were portraits of the King and Queen, the Duke of Cumberland, and many eminent persons, and also the story of Judith and Holo- femes. A full-length by her in wax of Lord Chatham stood in Westminster Abbey. She had an ardent feeling of country, and had gataed the acquaintance of many emi nent men of the day. She was called a spy, and durtag the war was charged with giving political information to Dr. Franklin, then the American minister at Paris, and in 1781 she went to France, where she was made much of by those holding her opinions. She was again in London, to which she never lost her attachment, in August, 1785. She died March 23, 1786. Her younger daughter, whose face often appears ta the works of West, P.R.A., married Hoppner, R.A. Her son, Joseph AVriuht, who was bom in America ta 1756, was assisted in art by AVest aud Hoppner, practised for a time in London, exhibiting at the Academy in 1780 'Mrs. AV right modelling in AVax,' and afterwards in Paris, and then returned to America, where he died, of yeUow fever, in 1793. 487 WEI AVRIGHT, Richard, marine painter. He appears to have been designated ' Wright of the Isle of Man.' He was born at Liver pool in 1735, and was brought up as a ship and house-painter. In 1764, and again in 1766 and 1768, he gained the Society of Art's premiums for his sea views. He was a member of the Incorporated Society of Artists, and a man of rough manners and warm temper. He took an active lead among the discontented members of that body. He was a contributor to their exhi bitions from 1765 to 1770, sending, among others, ' A Storm, with a Shipwreck,' ' Sun set, a fresh Breeze,' 'Afresh Gale,' ' River, with Boats, &c, Moonlight.' He died about 1775. There is a painting by him at Hampton Court of 'The Vessel bringing Queen Charlotte to England in a Storm, with the Royal Convoy.' His 'British Fishery,' which has been much lauded, was engraved by WooUett, but was quite un worthy of the engraver. Both Ms wife and daughter painted. YVRIGHT, Joseph, A. R.A. (known as ' AV right of Derby '), subject, landscape, and portrait painter. AVas bom Septem ber 3, 1734, at Derby, where his father was the town clerk. He had some mechanical bent, but, taking to art, he came to Lon don in 1751, and studied under Hudson, and afterwards under Mortimer. On the completion of his pupilage he returned to Derby, and was well employed as a portrait painter. In 1765 he sent two candle-light pictures to the Exhibition of the Incorpor ated Society of Artists, of whose body he was a member, and in the following year two pictures of the same class, with ' The Orrery,' aud became known as a painter of subjects under artificial light. In 1773 he married, and took the opportunity to visit Rome and other parts of Italy, returning ta 1775. He then went to Bath, but not meeting with much encouragement there, he found his way back, in 1777, to his na tive town, where he finally settled. He had made many sketches in Italy. AA'hile at Naples he saw an eruption of Vesuvius, and studied the effects of the flames, and also the varied effects of light in the caves at Capri and the grotto at Pausilippo, effects which often recur in his cottages on fire, moonlights, cavern scenes, and sunsets, which formed the staple of his art, and gained him reputation and patronage, and from 1778 he was an exhibitor of subjects of this class at the Royal Academy. On the foundation of the Academy he had entered as a, student, and in 1781 he was elected an associate ; his election as a full member followed in 1784. But we are told that, annoyed by another having been elected before Mm, he retired altogether from the Academy. The facts, however, do not bear out tliis statement, and it ap- WEI pears more probable that the nervous, irritable, ailing painter, settled quietly so far from the Metropolis, was afraid of the duties and responsibilities which his mem bership would entail. In 1785 he made an exhibition of his works at the great room in Spring Gardens, but did not withhold his works from the Academy, and from 1788 to 1794 sent his pictures to their exliibitions. One of his best works, ' An Experiment with the Air-pump,' is in the National Gallery. He died at Derby, August 29, 1797. Several of his works are engraved. AVRIGHT, Andrew, sergeant-painter to Henry VIII. Practised in Southwark ta the early part of his reign, but never attained to any repute. He had an allowance of 10?. a-year. WRIGHT, John Massey, water-colour painter. AVas born at PentonvUle, in 1773, the son of an organ-buUder, and was brought up to that business, but did not get on ; and loving art, at the age of 16 he was introduced to Stothard, R.A., and, in fluenced by his works, made some attempts to design from Shakespeare. Living ta Lambeth Walk, he became acquainted with the scene-painter at Astley's Theatre, and afterwards with Roberts, R.A., Stanfield, R.A., and Barker, the panorama-painter, by whom he was for some time employed, and then entered into an engagement with him for seven years. His stall and readi ness in drawing the figure were of great value to him, aud he was engaged to assist in the sceue-loft of His Majesty's Theatre, where his weekly pay was at once raised from three to five guineas. From 1808 he was an exhibitor, chiefly in oil, at the Royal Academy. In 1812, of "The Living Shame ;' in 1815, of 'Don Quixote Fed by the High-born Damsels ; ' in 1817, ' Claiming the Flitch of Bacon ; ' ta 1818, his last con tribution, ' The Flitch of Bacon.' In 1824, he was elected a member of the AYater- Colour Society, and then devoted himself to that art, and was a constant exhibitor (in the latter part of his membership, however, rarely exceeding one work), and a large and successful desiguerfor book-illustration. He died May 13, 1866, in his 93rd year, and, after an industrious life, it is hard to say, in straitened circumstances. AVRIGHT, John, miniature painter. Practised in the latter part of the 18th centuiy, in Gerard Street, Soho, and after wards in Burlington Gardens. His like nesses were correct and agreeable in man ner, and his art was well esteemed. He exhibited miniatures at the Royal Academy from 1795, almost without intermission, to 1819, soon after which time he unhappily committed suicide. WRIGHT, John William, water-colour painter, son of the above. Was born in WEI London in 1802. Showed an early ability for art, and was placed under Phillips, R.A. In 1831 he was elected an associate of the Water-Colour Societj', and in 1842 a mem ber, and was appointed the secretary in 1845. He was a constant contributor to the Society's exhibition, sending subjects chiefly of a domestic class. In 1835, ' Sun day Evening ' and ' Cornish Villagers ; ' in 1839, ' Little Red Riding Hood ;' in 1S42, ' A Family of Primitive Christians Reading the Bible' and the 'Orphan;' ta 1845, ' The Despatch.' He was of weakly con stitution and succumbed to an attack of in fluenza, January 14, 1S4S. His works were sold at Christie's the following March. His labours had not enabled him to do more than modestly provide for the daily wants of his family, and he left a widow and two chUdren without provision. WRIGHT, Inigo. engraver. Was born in London about 1740, and practised in mezzo-tint. He engraved eight country scenes after Morland, and also after Frank Hals, 1771, and F. Laurie. AVRIGHT, Joseph Michael, portrait painter. AVas born ta Scotland and was a pupil of Jamesone. He came to England at the age of 16 or 17, and soon gataed reputation and employment. Afterwards he went to Italy, where he lived for some time, and ta 1648 was elected a member of the Academy of St. Luke, at Florence. He patated many persons of distinction, and his portraits are weU known. They are correctly and carefully drawn and finished. The hands are good, the colour very gay and pleasing, and the expression and character weU maintained. Among them may be mentioned his ' Prince Rupert,' 1662, a life- size portrait, strangely costumed ta armour, with a large French perruque ; ' Thomas Hobbes, at the Age of 81,' also the Judges, painted for the Corporation of London, wtach it is said Lely refused to paint unless they would sit at his studio, and that the commission of 60?. each was on their refusal transferred to AVright. There is also at Hampton Court a good characteristic full- length portrait by him of Lacy the actor in three characters, 1675. Two similar works, ' A Highland Laird,' and ' An Irish Tory,' have been much praised. In 1686 he accompanied Roger Palmer, Earl of Castle- maine, as steward of his household to Italy, and published a pompous account of the Earl's fruitless embassy. On his return he was mortified to find that Kneller had established a pre-eminence which he had before with much difficulty maintained. He died about the year 1700, in James Street, Covent Garden, and is buried in the adjacent church. He gave himself many designations. While at Rome he assumed the name of ' Michael Ritus,' and is so classed ta the catalogue of the Ro- WEI man Academy. At the back of a portrait he has called himself ' Jos. Wick Wrilps Londonensis, Pictor Caroli 2 Regis,' and at times signed himself ' Scotus ' or ' Angl- us.' He is, no doubt, the 'one Wright,' whom Pepys mentions rather contemptu ously. But he deserved much higher con sideration. His works possess great merit. His nephew, of the same name, was edu cated at Rome and afterwards settled in Ireland, where he made a large income as a portrait patater. His fine collection of gems and coins was after his death purchased by Sir Hans Sloane. AVRIGHT, Stephen, architect. Prac tised in the latter half of the 18th cen tury, and held the office of Master Mason of the King's works. He designed ' The King's Lodge ' ta Richmond Park, an edi fice engraved in AVoolfe and Gandon's work; and in 1767, built Clumber for the Duke of Newcastle. WRIGHT, Thomas, portrait painter. Practised in London early in the 18th cen tury, and was the master of Wilson, R.A. Little is known of him, and he is spoken of as of very slender abUities ; but a portrait, in the Bodleian Library, ascribed to him, entitles him to more favourable mention. AVRIGHT, Thomas, engraver and por trait painter. Was bom at Birmingham, March 2, 1792. He was brought to Lon don by his parents when a child, and before 14 years of age, was apprenticed to Meyer, the engraver. At the close of his appren ticeship, he joMed a fellow-pupil, Fry, in the completion of engravings etched by Fry, whose name was affixed to them. After four years he left Fry, and engraved portraits, for which he had a peculiar talent. ' The Princess Charlotte and Prince Leopold in a Box at the Theatre,' and some other works by George Dawe, R.A., are engraved by him. He afterwards began to take por traits both in oU and ta miniature ; and ta 1822, went to St. Petersburg, to engrave ' The MUitary Gallery,' painted by Dawe, and the portraits of ' The Royal Family.' He returned to England in 1826, engaged to engrave ' The Beauties of Charles II.,' and found full employment. In 1830 he returned to St. Petersburg to arrange the affairs of George Dawe, who was his brother-in-law ; and, with the patronage of the Court, was induced to continue there for 15 years. He painted the portraits of the ' Royal Family,' and of many of the nobility, and brought out there ' Les Con- temporains Russes,' a series of portraits drawn and engraved by himself, fie made in Russia a good copy of 'The Infant Hercules,' by Reynolds, and on his return to England, issued proposals to publish an engraving of it. But he was then almost forgotten in art, and owing to his long ill ness, the plate remained unfinished. He 489 WYA died ta George Street, Hanover Square, March 30, 1849. He was a member of the Academies of St. Petersburg, Stockholm, and Florence. WYAT, Enoch, sculptor. He practised in the reign of Charles I. , during the Com monwealth, and in the reign of Charles II. He carved two figures for the water-stairs at Somerset House, and a statue of ' Jupi ter,' and modelled a very large figure to form part of Inigo Jones's restorations of Old St. Paul's, but it was never used. In the Puritan times he altered aud draped the statues by John of Bologna and Le Soeur, wliich had been thrust out tato Whitehall Gardens, and were considered ' heathenish and profane.' AVYATT, James, R. A., architect. Was born August 3, 1748, at Burton Constable, Staffordshire, where his father was a farm er and dealer in timber. He received the common education of a smaU country town, and evincing an early taste for drawing and architecture, was fortunate ta attract ing the uotice of Lord Bagot, who, when nominated on an embassy to Italy, took young AVyatt, then only 14 years of age, with him that he might study architec ture in Rome. Here he spent tta'ee or four years, and then went to Venice, and studied for two years under Vincenttai. In 1766 he returned to England, and ta 1770 tas merit was acknowledged by his election as an as sociate of the Royal Academy. He, with great skill, adapted the Old Pantheon, ta Oxford Street, for dramatic performances ; and becoming the place of fashionable re sort, it at once gave him a reputation and established tarn in his profession. So widely was his name known, that an offer was made him to settle ta Russia, as the architect of the great Catherine. But he already ranked foremost in his profession at home, and was employed as the architect of several fine mansions. His works had Mtherto been ta the classic style, ta which he was educated, but tas genius led him to assist ta the revival of the Gothic, and he employed draftsmen to make drawings of our ancient monastic and baronial structures. His first work iu this style was a mansion at Lee, near Canter bury ; and he was, in 1778, employed ta making additions to some of the Colleges in Oxford. He was, at the same time, em ployed on the Observatory and Library at Oriel, and made some alterations at Baliol. He was also engaged in the restorations at Salisbury and Lincoln Cathedrals, aud his Gothic works were as popular as his classic. But the archaeologists accuse him loudly of reckless adaptations and demolitions, and not without just cause. Yet it must be remembered that Gothic architecture was httle understood in his time. Prosperous in his art, enjoying the chief 490 WYA practice in his profession, he was ta 1785 elected a full member of the Academy, and was for many years a contributor to their exhibitions. On the death of Sir AVUliam Chambers, in 1796, he was appointed Sur veyor-General to the Board of AVorks, fol lowed by appointments to several other public offices. At this time he erected Fon thill Abbey for Mr. Beckford. son of the Alderman, and the Royal Military Academy at AVbolwich. By virtue of his office, he was employed on works at the House of Lords, and at AVindsor Castle. He commenced a Gothic Palace at Kew, for George IIL, since ptaled down. Dur ing a misunderstanding between AA'est, P.R.A, aud the Council of the Academy— upon the express wish of the King — he temporarily filled the office of President. In 1805 he built for Mr. Codrington a man sion at Doddington, finished ta 1808, at a cost of 120,000?., and commenced Ashridge for the Earl of Bridgewater. He designed the front of White's Club in St. James's Street. On his way from Bath to London he was overturned ta his carriage, near Marlborough, aud died instantly, Septem ber 5, 1813. For nearly 4S years he was at the head of a lucrative profession ; dur ing a considerable part of that time he enjoyed the Royal favour. He had great means of amassing wealth, but he wanted prudence. At an early age he reached the summit of tas reputation and practice. He found riches too eashy gataed to rate them at their worth, and he left little more than his reputation to bis family. A widow and four sons survived him. AVYATT, Samuel, architect. Elder brother of the above ; studied his art ta Italy, and brought home a rich portfolio of sketches on his return. He practised ta the Roman style. He buUt Hooton HaU, the mansion at Tatton Park, and com pleted Kedleston, for Lord Scarsdale. In 1795 he finished the Trinity House on Tower HU1, which introduced Mm to other works. He was appotated architect to the Bank of England, and Clerk of the AVorks to Chelsea Hospital. He died at Chelsea, February 8, 1807, and was buried there. AVYATT, Benjamin Dean, architect. Eldest son of the foregoing James Wyatt, R.A. He was born ta London ta 1775, and was educated at AA'estmtaster and Christ Church, Oxford, where be continued till 1797. He was then pupil, and for a time assistant, to his father, and after wards visited some of the chief capitals in Europe. Returning ta 1802, he became private secretary to Sir Arthur AVellesley, and was with him in this capacity ta Ire- laud and in India. Theu returning to his profession, be gataed employment as an architect. He commenced the rebuilding WYA of Drury Lane Theatre, in 1811. He built the mansion in St. James's Park for the Duke of York, now Sutherland House, Apsley House for the Duke of AVelltagton, 1829, Holdernesse House and AArynyard, Durham, for the Marquis of Londonderry, Crockford's Club House, St. James's Street, the York Column, 1830-33. He retired from Ms profession, and died ta Camden Town about 1848-50. His brother, Philip Wyatt, who died ta 1836, was connected with Mm in some of his most important works. WYATT, Matthew Cotes, sculptor. He was the third son of James AVyatt, R.A. ; born in 1777, was educated at Eton, and studied tas art in the schools of the Royal Academy. At the age of 19 he was employed, under the patronage of George IIL, at AVindsor Castle. His first public work was the Nelson memorial on the Ex change at Liverpool. He first extabited at the Royal Academy in 1804, sending some portraits ta oU in that year, and ta 1808 and 1810. In 1811 he extabited a bust of the King, and the foUowtag year a 'Descent from the Cross,' a painting, but he exhibited only on one or two fur ther occasions. He suggested, aud was commissioued to execute, the cenotaph to the memory of Princess Charlotte, in St. George's Chapel, Windsor. The St. George and the Dragon in the haU is also by him. He erected the equestrian statue of the Duke of AA'eUington, wtach has been placed over the entrance to the Green Park, at Hyde Park Corner, and for which a subscription of 30,000?. was raised ; and the equestrian statue of George III. at PaU MaU East ; also a monument to the Duchess of Rutland, at Belvoir Castle. He died in the Harrow Road, Paddington, January 3, 1862, in his 84th year, anci was bmied in Highgate Cemeteiy. AVYATT, William Lewis,. architect. Was second son of Benjamin D. AVyatt, and grandson of James Wyatt, R.A., and for some time his pupil, fie was architect to the Crown and the Board of Ordnance. He practised on Ms own account in Shrop shire and Cheshire, and was fully employ ed. But, possessing an independence, he preferred quiet, and, relinquishing all pro fessional employment, retired early ta life to the Isle of Wight, where he died Febru ary 14, 1853, in his 70th year. WYATT, Richard James, sculptor. Was born of a collateral branch of the Wyatt family, in Oxford Street, May 3, 1795. He studied in the schools of the Royal Academy, and was then placed under Rossi, R. A., for seven years. Canova, when in this country in 1821, was pleased with him and invited him to Rome, offering him the use of his studio. This induced him, after studying a short time in Paris, to go on to Rome, where he arrived ta WYA 1822, and from 1831 to his death regularly sent his works from thence to the exhibi tions of the Royal Academy. He was at first employed by Gibson, R.A., but after a few years he commenced on his own ac count, and finally settled in Rome as his adopted city. Of unusually retired habits, his whole thought and happiness centered on his art, and indefatigably studious, his career was eminently successful. Rarely attempting the heroic, he was unrivalled ta his own class of subjects. His ' Flora,' ' Nymphs,' and ' Penelope,' are in the royal collection, and with his ' Ino and the Infant Bacchus,' ' Musidora,' ' Shepherd Boy pro tecting his Sister from the Storm,' may be mentioned as tas best and most charac teristic works. At the exhibition of 1851 one of the first class gold medals was, after his death, adjudged to his exhibited works. He died unmarried at Rome, where he had worked for 30 years, of apoplexy, May 28, 1850, and was buried ta the English cemetery there. He had never visited England except for a few months in 1841. He attained great purity and finish ; his compositions were marked by their har mony and beauty of line, combined with great truth and nature. He had a strong feeling for the beauty of the female figure, ta which he excelled. WYATT, Sir Matthew Digby, Knt., architect. AVas born near Devizes in 1820, and was the youngest son of the late Mr. Matthew Wyatt, the police magistrate of Lambeth. He was educated at Devizes, and afterwards entered the office of his elder brother, Mr. Thomas Henry Wyatt, architect. In 1836 he obtained a prize from the Architectural Society for an essay. Proceeding to the Continent in 1845, he employed his facile pencil in studying the buildings and antiquities of Italy, France, and Germany, and on his return published his sketches in facsimUe. Later he joined the Society of Arts, and aided much in promoting the first International Exhibi tion; and when a royal commission was appotated to cany the idea into execution, Wyatt, with five others, was placed on an executive committee to carry on the work. After the close of the Exhibition he pub lished the result of his observation in ' The Industrial Arts of the Nineteenth Century,' a work combining an appreciation of the beautiful with much technical knowledge. He aided Sir M. Isambard Brunei in the structural forms of the Great Western Railway Station, and on the removal of the Crystal Palace to Sydenham, was heartily occupied in its success. In company with Mr. Owen Jones, he travelled on the Con tinent and purchased for the Company a fine collection of architectural casts. In 1855, being a juror of the Paris Exhibition, he receivedfrom the Emperor of the French 491 WYA the cross of the Legion of Honour. _ In conjunction with his brother he obtained the first position in a competition for a model barracks. He was also much em ployed by the India Office, and was joined with Sir Gilbert Scott in the erection of the India Office at Whitehall. He was also busily employed in erecting and alter ing many mansions for private persons, among others, that of Lady Marian Afford, at Knightsbridge. In 1855 he became Secretary to the Royal Institute of British Architects, a post which he held until May 1859. In 1866 he received the gold medal given by her Majesty, the highest pro fessional honour, and in 1869 was knighted by the Queen, while he was the same year chosen Slade Professor of the University of Cambridge. His literary works con nected with "architecture and the arts add ed, perhaps, more to his reputation than did the buildings which he designed and erected. Urbaue in manner and of culti vated taste, his society was much sought by his friends. His health gave way in 1875, and after a protracted illness he died at his house, Dimlands Castle, Cowbridge, May 24, 1877. AVYATT, Henry, portrait and subject painter. Was bom at Thickbroom near Lichfield, September 17, 1794. Losing his father when only three years of age, he went to live with Francis Eginton, the well- known glass-painter at Birmingham, who was his guardian. Here acquiring a fond ness for art, he came to London ta 1S11 to study, and in the following year was ad mitted to the Academy schools. In 1815 he worked without pay in Sir Thomas Lawrence's studio for one year, and con tinued for a while with a salary of 30.)?. a-year. About the end of 1817 he returned to Birmingham, where he found employ ment in portrait painting, and was from that time an occasional exhibitor at the Royal Academy. In 1819 he removed to Liverpool, and then to Manchester, where he continued till 1825, and then came to London, and was a constant exliibitor at the Academy and the British Institution. At the end of 1834, his health failing, he went to reside in Leamington. In 1837 he hoped to return to London, but went first to Manchester to paint some portraits, for which he had accepted commissions, aud early in the following April he had an attack of paralysis, from which he never recovered. He died February 27, 1S40, at Prestwich, near Manchester, and was buried there. He was a clever painter, his colour good, and his subjects pleasingly treated. His 'Fair Forester' and 'Prof fered Kiss' were engraved by Doo, R.A. His 'Juliet,' 'Chapeau Nciir,' 'Gentle Reader,' ' The Romance,' ' Clara Mowbray,' Mars and Venus ' were popular works. 492 WYA WYATT, Thomas, portrait painter. Younger brother of the above. Studied ta the schools of the Academy, and practising portrait painting, accompanied his brother to Birmingham, Liverpool, and finally Man chester, where for a time he tried photo graphy, but without success. He then settled near Lichfield, his native place, and resumed portraiture, but again with little encouragement, and attacked by paralysis, he died, after five years' dependence upon his friends, July 7, 1859. His works are well known and esteemed at Birmingham, where he was secretary to the Midland Society of Artists, and ta the neighbouring counties. AVYATVILLE, Sir Jepeery, Knt., R.A., architect. Was born August 3, 1766, at Burton-on-Trent, where his father, Joseph AVyatt, practised as a surveyor, and was educated at the free school in that town. He had an early passion to go to sea, and was rigged out to join the ' Royal George,' but was disappointed by her un fortunate loss at Spithead. In 1783 he made another attempt to leave an irksome life at home aud seek his fortune. He came to London, and, finding no oppor tunity of entering the Navy, he was kindly received by his uncle, Samuel AVyatt, the architect, who took him into his office for seven years— on the completion of which, having gained a good knowledge of the routine of the profession, he was employed by another uncle, James Wyatt, R.A., who had already greatly distinguished himself, and under him made a special study of Gothic and old English archi tecture. He also became known, through his uncle, to the Prince Regent and to many persons of distinction. Not immediately finding employment as an architect, he joined in business with an eminent builder, and engaged ta extensive government and other contracts. In this business he continued tUl 1S24, when after an interval of 2.5 years, during which he had only incidentally done any work of a professional character, he was to his great surprise summoned to AAindsor by George IV., aud received his instructions relative to some proposed extensive alterations of the Castle. He bad during his career de signed several public and private buildings, including some large works at AVyunstay, and had exhibited at the Academy since 1794, aud in 1798 sent a design which attracted much notice, called ' Priam's Palace,' but it was not till 1823 that he was elected an associate of the Academy, nor a full member till 1S26. Parliament voted 310,000?. for the improvements to be made at Aviudsor. AVyatt and three other architects were asked to make designs, and, his bein°; selected by the commission ers appointed to advise as to the appro- WYC priation of the large sum granted, he com menced his works at the Castle in 1824, the King laying the first stone of the gate way forming the principal entrance to the quadrangle, and on this occasion he assumed by Royal license the name of ' AVyatvUle,' to distinguish himself from other architects of the name of AVyatt then living. The affectation of the thing, and the satisfied vanity of the architect, gave occasion to the squib : — 'Let George, whose restlessness leaves nothing quiet, Change if lie wUl the good old name of AVyatt ; But let us hope that their united skill AVU1 not make AVindsor Castle — AVyat vUle.' To the works at the Castle he devoted his whole time. They proceeded rapidly ; in December 1828, the King's private apartments were completed, and on taking possession, his Majesty conferred upon his architect the honour of knighthood. The completion of these extensive works, which involved an outlay of above 700,000?., occupied the remainder of tas Me, during the last five years of wtach he suffered from asthma, but his mind retained its vigour. He died at Ms house in Brook Street, Grosvenor Square, February 10, 1841). His body was removed to his apart ments ta the Wykeham Tower, AVindsor, and on the 17th was buried in St. George's Chapel. An only daughter survived him. His fame wih rest upon his great works at the Castle, England's only palace ; but durtag the last 2.) years of his life he made extensive additions to Chatsworth, designed lodges and other buildings ta AVindsor Park, added a new front to Sidney Sussex CoUege, Cambridge, and made some alterations to the Queen Dowager's residence at Bushy Park. He was of honest, independent manners, and never faUed to express and support his opinions maMully, whether to his Prince or Ms equals. WYCK, Thomas (sometimes called 'Van Wyck'), marine and subject painter. He was born in 1616 at Haarlem, studied there under his father, and practised painting seaports, shipping, and subjects introducing small figures, fie then passed some time in Italy, and designed and etched 21 views of the Mediterranean ports. He came to England at the Restoration, and meeting with encouragement, settled here. He painted a long view of London and the Thames, drawn from the Southwark side, and a view of the parade in St. James's Park, with Charles II. and his court walking, both of wtach were at Burlington House, PiccadiUy; also several views of the Fire of London, and many interiors of laboratories, then the fashion with Charles WYK and his nobility. He died ta England in 1682. AVYCK, John (also spelt Wyke), battle- painter. Son of the above. Was born at Haarlem in 1640, studied art under his father, and came with him to England. His works were usually of a small size. He excelled in battle and hunting pieces ; his horses were spirited and weU painted. There are also some landscapes by him, and several views in Scotland and Jersey, pleasing ta composition and colour ; and there are on a larger scale his ' Battle of the Boyne ' and ' Siege of Namur,' en graved by Faber, with some others, intro ducing portraits. He made the drawings for a 'Book on Hunting and Hawking.' He married ta England, and residing in London and the suburban villages, died at Mortlake in 1702. Several of his works are in the royal and other collections. WYKEHAM, William, Bishop of AVinchester, architect. He was born in Hampshire ta 1324, aud is believed to have received what at that time would be considered a good, but not an university education, anci entered the Church. Early in life he gataed the favour of Edward IU. and entered into his service, and from that time his rise at Court was rapid. It is vaguely stated that he was led to the study of geometry and architecture, of which he must have had some competent knowledge, as he was appotated ta 1356 surveyor of the King's works at the castle and park of Windsor, and by his advice the greater part of the old echfice was razed, and a royal palace of great magnificence designed by him was erected, of which the round tower is now the only part left. In 1359 be was constituted warden and surveyor of the King's castles at Windsor, Leeds, Dover, and some others, several of which he restored. In 1360 he first appears to have received preferment in the Church. He was ap pointed to the Collegiate Church of St. Martin's-le-Grand, London, and during the three years he held this living, he built on his own plans, the cloisters, chapter-house, and the. body of the church. Promotion soon followed; in 1366 he was elected Bishop of Winchester, and ta 1368 was appointed to the high office of Chancellor of England. But his good fortune and zealous desire to reform abuses ta the Church raised him up many enemies, who m the latter days of the King's reign prevailed against him ; he was impeached, deprived of all his temporalities, and ban ished from the Court. On the accession of Richard II. he was declared wholly inno cent of the charges made against him, pardoned, and restored to his employments. He then commenced Winchester College, Oxford, now caUed New College, of wtach 493 W Y N he was both the founder and architect, 1380-86, and this was followed by St. Mary's College, AVinchester. AVhen in his 70th year, he began his great work, the restoration of his own cathedral, wliich it is said, with the assistance of William Wynford, he completed after ten years. He died September 27, 1404. His works would prove him to have been one of our greatest architects, and they are attributed to him by undisputed tradition. His large educational foundations were established by his own munificence. His life by Bishop Lowth was published in 1758. WYNDE, Captata William, architect. AVas born at Bergen-op-Zoom, held a com mission in the Dutch army, and was a learned aud ingenious man. He is said to have been a pupil of Gerbier, and also to have studied under Webb, and to have been executor to Inigo Jones, fie designed Clief- den, burnt down 1795 ; Newcastle House, Lincoln's Inn Fields, now tenanted by the Society for Promoting Christian Knowledge ; Buckingham House, St. James's Park, 1703, not a portion of which probably now re mains; Coombe Abbey, for Lord Craven, for whom he also finished Hempstead Mar shal, planned by Gerbier, and destroyed by fire 1718. Several of his designs for these mansions were included ta a sale of his son's effects, 1741. WYNFORD, AVilliam, architect. He is the reputed builder of the nave of Win chester Cathedral, 1394, and is said to have assisted Bishop AArykeham ta Ms other architectural works. AVYON, Thomas, medallist. AVas born in 1792 at Birmingham. He was educated in London, and was apprenticed to his father, who was engraver of bis Majesty's seals. He entered the Royal Academy schools, where he gataed the silver medal both in the antique and the life school; also the premiums of the Society of Arts, and engraved for that body the head of Isis, used as their prize medal. He also executed several medals and tokens which gained him notice, and eventually led to is appointment, in 1811, as Probationary Engraver to the Royal Mint. Soon after, he engraved tas medal to commemorate the Peace, which at once proved his powers and established his reputation. Commis sions followed rapidly, and his Manchester Pitt medal— 'Pitt arousing the Genius of Britain,' which comprised 13 figures— raised him to the front rank iu his profession, and in 1815 he received the appointment of Chief Engraver to the Mint. In the midst of his success his health was the subject of much solicitude to his friends. He was visibly declining, and sent by his medical advisers to Hastings, he died there, Septem ber 22, 1817, in his 25th year. Had he lived, he promised to equal the greatest of 494 WYO his predecessors. A memoir of him, with a list of his chief works, will be found in the 'Gentleman's Magazine,' for February, 1818. WYON, Benjamin, seal-engraver. Was born in London, January 9, 1802, younger brother of the above, under whom he studied. He succeeded his father as en graver of his Majesty's seals, and engraved the great seal of William IV. He was a frequent contributor to the exhibitions; at the Roval Academy. He died November 21, 1858. WYON, Joseph Shepherd, medallist and seal-engraver. Son of the above, was born in 1836. He was a student of the Royal Academy, and obtained two sUver medals. His first work of importance was a medal of James Watt. He subsequently engraved the great seal of England now ta use, a medal commemorating the passage of the Princess of Wales through London, for the Corporation, and the great seal of Canada. He was appointed chief engraver of her Majesty's seals on the death of his father in 1858, and received from the Sultan the Order of the Mechje. He died at AVinchester, August 12, 1873. WYON, AA'illiam, R.A., medallist. AVas born in 1795, at Birmingham, where his grandfather, of German origin, was a silver engraver, and his father, to whom he was apprenticed in 1899, a die-sinker. He was cousin to the two above-mentioned artists, and moved by the success of Thomas Wyou, he came up to London, and applying him self to the study of Flaxman's works, gained the Society of Arts' gold medal for his copy of the head of Ceres. This success was followed by the award of a second gold medal by the Society for his original group of ' Victory in a Marine Car drawn by Tritons.' In 1816 be settled in London . as assistant to his uncle, Thomas Wyon, in engraving the public seals, and in the fol lowing year entered the schools of the Royal Academy. At the same time he gained, in open competition, on the award of Sir Thomas Lawrence, the appointment of second engraver to the Royal Mint, thus becoming the assistant to his cousin Thomas. Ou the early death of the latter, Signor Pistrucci succeeded to the chief office, aud AVyon, holding the office of assistant under many official rivalries and difficulties, claimed to have executed the principal part of the work. In 1822 Signor Pistrucci's services were discontinued, but he con tinued to receive the salary till 1828, when the chief's salary was divided between the two officers, in order to get rid of the jealousies which existed, and Wyon then took the title of Chief Engraver, to which his labours had so long entitled him. fie soon after gained Academy honours. He YAT YOU was elected in 1831 an associate, and in 1838 a full member, of the Royal Academy. In 1835, with the permission of the Govern ment, he went to Lisbon, and prepared the dies for the Portuguese coinage, and after wards executed similar commissions for other countries. His coins include those of the latter years of George IV., the coins of WUliam IV., and the early coins of Queen Arictoria. He also made several pattern dies of coins, which were not adopted. fie produced many fine medals — the war medals for the Peninsular victories, Tra falgar, and the Indian medals for Jella- habad and Cabul. His medals for the learned and scientific societies include the Geographical, Geological, Royal Academy, Art Union, Royal Institution, and Glasgow University. The Coronation medal of AAilliam IV. is also by Mm, and one of his latest is the medal for the Great Exhi bition of 1851. In these works, though he usually designed the reverse himself, he in some instances worked after the design of Flaxman, R.A., Howard, R.A., or Sto thard, R.A. His coins are simple in their designs, the heads, though idealised, main tain the likeness, and are well executed. His medals are conceived ta a classic spirit, and tastefully finished. He died at Brigh ton on October 29, 1851. A list of bis works exceeding 203 in number, with a memoir of him, was printed for private circulation ta 1837 by his friend Mr. Nicho las Carlisle. Y ATES, Thomas, Lieut., R.^., amateur. He was the great nephew of Richard Yates, the well-known comedian. In 1782 he entered the Navy. He engraved and pub lished from his own drawings a set of ' Cele brated Naval Actions.' On some dispute about the possession of a house left Mm by Ms uncle, he was shot, and died three days after, August 29, 1796. His widow was the beautiful Mrs. Yates, who played at Covent Garden Theatre, and was celebrated in the character of the Grecian Daughter. Y" E A T E S, Nicholas, engraver, lie practised in the reign of Charles II. There are portraits by him dated 1669 and 1682, but they are of little merit. YENN, John, R.A , architect. Was a pupil of Sir AVilliam Chambers, and studied in the schools of the Royal Academy. In 1771 he gained the Academy gold medal for his design for ' A Nobleman's Villa.' He continued for some time as an assistant to Sir W. Chambers, and then entered tato practice for himself. He was a frequent contributor to the Academy exhibitions, his designs being chiefly domestic architecture, ta which he found his principal employment. In 1774 he was elected an associate of the Academy, and in 1791 a full member. He filled the office of Treasurer from 1796 to 1820. In 1803 he was one of the five mem bers of Council who were suspended, on a question as to their authority, by the Gene ral Assembly, and was replaced on an ap peal to the King. He died at an advanced age, March 1, 1821. YEO, Richard, R.A.; medallist and tcnlrttor He was appomted one of the engfavers to the Royal'Mint in 1749, and Y afterwards principal eDgraver. His name appears as a member of the Artists' Com mittee appointed in 1755 to plan the establishment of a Royal Academy, and in 1760 he was a member and exhibitor of the Incorporated Society of Artists, and one of the governing body." On the establishment of the Royal Academy, he was one of the foundation members, and a contributor to the two first exhibitions, sendtag in 1770 a proof impression of his five-guinea piece. He died December 3, 1779. YEOMAN, , medallist. He was one of the engravers of the Mint ta the reign of George II. YOUNG, John, engraver. _ Practised with great ability in mezzo-tint in the reign of George IL, who appointed him his engraver. There is a fine engraving by him of HanDah Snell, dated 1723. YOUNG, John, engraver. Bornin 1755. He was a pupil of J. R. Smith, and was, in 1789, appointed mezzo-tint engraver to the Prince of Wales. In 1794 he exhibited some portraits in mezzo-tint at the Aca demy. He eDgraved after Sir William Beechey, Hoare, R.A., Hoppner, R.A., G. H. Morland, R. M. Paye, Zoflany, R.A., West, P.R.A.; also a prize-fight, after Mortimer, A.R.A., one of his best works ; a series of 31 small portraits of the sove reigns of Turkey ; and, in outline, in 1820 the Grosvenor Gallery, in 1826 the Stafford Gallery, and later the Angerstein Gallery. At the latter part of his life he was hon. secretary to the Artists' Benevolent Fund, and keeper to the British Institution. He died in London, March 7, 1825. YOUNG, Tobias, landscape pamter. 495 ZEI He lived some time at Southampton, where he enjoyed a local reputation. He painted the scenery for Lord Barrymore's private theatre at Wargrave. In 1816 and 1817 he exhibited at the Royal Academy 'A ZOF Landscape in the New Forest.' ' The Judgment of Solomon,' in the Town HaU at Southampton, is by him. He died December 1, 1824. , z ZEITTER, John, landscape painter. Was born on the Continent, but was long naturalised in England. He painted chiefly Hungarian and Polish sceneiy, and for many years exhibited with the Society of British Artists, of which he was elected a member in 1841. His works were mostly in oil and of the most sketchy character. He seemed without the power to finish. He died ta Kentish Town, ta June 1862. His widow was assisted from the Artists' Benevolent Fund. ZIEGLER, Henry Bryan, landscape painter. He received some instruction from John Varley, and ta 1814 first ap pears as an exhibitor at the Royal Aca demy, and continued to exhibit landscape views and compositions, introducing rustic figures. From 1828 he was formally years an exhibitor at the Institute of British Artists, and at the British Institution. About 1857 he returned to LucUow, where he died, August 15, 1874, aged 76. ZINCKE, Christian Frederick, minia ture painter. He was the son of a goldsmith at Dresden, and was born there ta 1684. He came to England in 1706 and studied for a while under Boit. Soon found full employment and had for many years more commissions than he could well execute, though he raised bis price from 20 to 30 guineas. He was especiaUy patronised by George II. and his Queen ; the Prince of Wales appointed him his Cabinet Painter, and several of his portraits of the Royal Family remain in the Royal collection, fie practised in enamel ; his works possess great delicacy of finish and beauty, drawn aud coloured with exquisite refinement, they possess the additional charm of character istic likeness. They fetched great prices at the Strawberry Hill sale, and notwithstand ing their large number, continue to be highly prized. In 1737 he made a short visit to his own couutry. He lived for seve ral years in Tavistock Row, Covent Gar den, and when iu 1746 his eye-sight failed Mm, he had amassed a good property, and, retiring to South Lambeth, left off practice. He was twice married, and had children by both wives. Died, March 24, 1767. 496 ZINCKE, Paul Francis, portrait paint er. Was grandson of the above and prac tised his art in London with some ability, but he was always ta need. He was a noted copyist, and made many copies of a portrait of Shakespeare and sold them as the original, fie also exercised the same skiU upon portraits of Milton and NeU Gwynn. He Uved ta AYinditall Street ta great pov erty, and was weU known as ' Old Zincke.' He died in 1830, at a very advanced age. ZOEST (or ZOUST), Gerard, portrait painter. See Soest. ZOFFANY, Johann, R.A., portrait and subject painter, fie was born at Frankfort-on-tbe-Maine, ta 1733- His father, descended from a Bohemian family, was architect to the Prince of Tours and Taxis, and he was brought up by that prtace tiU the age of 13, when he was led by his love of art to run away from his friends and found his way to Rome to study painting. Upon his father discover ing his intentions he obtained a recom mendation to one of the Cardinals, who befriended him, and placed him under the care of the Convent of the Buon' Fratelli. He continued in Italy nearly 12 years aud visited the chief cities, then returned to Germany for a short time, from whence he came to England in 1758. He was at first ta great difficulties. He painted the ornamental faces of Dutch clocks, and then was employed to assist Benjamin AAilson, the portrait painter. But a por trait of Garrick in character attracted the notice of Lord Bute, who introduced him to the Royal FamUy, and his fortunes then improved. fie was a member of St. Martin's Lane Academy, and ta 1762, when he exhibited a portrait of Garrick, a member of the Incorporated Society of Artists. In 1769 he was nominated a member of the Royal Academy, and was in the enjoyment of a good practice, having just completed a portrait group of the Royal FamUy, when he engaged to accompany Sir Joseph Banks in Captata Cook's voyage round the world; but, dissatisfied with the cabin he was to patat ta, he suddenly ZOF gave up the enterprise. By this engage ment he had disappointed and displeased many of his friends, giving up theu- commis sions, and leaving his work unfinished, and pressed by his embarrassments, notwith standing the patronage he met with, he de termined to visit Italy again, fie left England in 1772, was assisted by a present of 300?., and took with tarn an introduc tion from George III. to the Grand Duke of Tuscany. AVtale at Florence he patated the interior of the picture-gallery, wtach was afterwards purchased by the Mng. He also received a commission from the Em press Maria Theresa to paMt the Royal Family of .Tuscany, and went to Vienna ta 177Sto present his work to the empress, when he was created a Baron of the Aus trian Empire. On his way home he painted the Court Chapel at Coblentz. AiVhile in Italy he was elected a member of the Aca demies of Bologna, Tuscany, and Parma, and met with great patronage. He returned to England, after an absence of seven years, ta 1779, and resumed his profession, exhibiting at the Academy his ' Florence GaUery ' and some portraits, por trait groups, and conversation pieces. He was actively employed when, ta 1783, he suddenly determined to go to India— tas friend and coUeague, Paid Sandby, R.A., said, ' anticipattag to roU in gold-dust.' Here agata Ms good fortune accompanied him. He travelled far tato the country and received many lucrative commissions. At Lucknow, where he stayed several years, he painted in 1786 the celebrated ' Cock-fight,' his ' Embassy of Hyder-Beck Calcutta,' containing 100 figures, and his ' Tiger fiunt ; ' also many portraits. In 1790 he returned to his famUy ta England. He had already sent home large remit tances ; but with a heavier purse he re turned with weakened faculties, which, though he conttaued to paint, declined so rapidly as to leave httle trace of his for mer powers. He died at Strand-on-the- Green, November 11, 1810, and was buried in the neighbouring churchyard at Kew. He was twice married. His first marriage, to the niece of a priest at Coblentz, was unfor tunate. By Ms second wife, a lady whom he married in England, he left four daugh ters, fiis early works were grey and hard in colour, and though also rather stiff in drawing, were full of character. Later his colour improved, andwasrich and agreeable, with a fine deep tone. Several portrait groups by him are in the Royal collections, and the College of Physicians possesses his interesting work, 'Dr. W. Hunter, M.D., delivering an Anatomical Lecture before the Members of the Royal Academy,' which contains portraits of the members. His dramatic portrait groups were greatly es teemed, and were popularised by the eu- ZUC gravings of Dixon, Finlayson, and Haid. fiis Indian groups and some of the Royal portraits were finely produced ta mezzo-tint by Earlom. ZUCCARELLI, Francesco, R.A., landscape painter. Was born in 1702, at Pitigliano, near Florence, and studied his art ta that capital. He then went to Venice, and for a while was lured to history patating. After staying some time in Venice, and visiting Germany, Holland, and France, on the recommendation of the British Consul, he came to London, and during a stay of five years was employed as scene-painter at the Opera House, and also painted some views on the Thames, and some subjects from Shakespeare, and returned to Venice, where he painted some of his best landscapes, but finding that he had become known and admired in Eng land by the engravings from his works, he came a second time to London, in 1752, and at once met with encouragement, fiis works became the fashion, and the many which wiU still be found in our mansions and ta the Royal collection prove how largely he was patronised. He was a member of the Incorporated Society of Artists, and on the establishment of the Royal Academy, 1768, he was nominated one of the foundation members, and in the three following years was a contributor to its exhibitions. He retired to Florence in 1773, and invested his savings on the security of one of the monasteries ta that city, which being soon after suppressed, he was left ta indigence, and compeUed to re sume his art. fie died ta Florence in 1788. WiUiam Byrne, WooUett, Mayor, Vivares, and Bartolozzi engraved after him. There are some early etchings by him after the old masters. His art was scenic and un real, marked by an unnatural prettiness, insipid, and made up of oft-repeated parts. ZUCCHBRO, Frederigo, portrait painter. Was born at St. Angelo, in Vado; in 1543, yet several various dates are given. Was employed by Pope Gregory XI LL and, quarrelling with his officers, he fled to France, where he was engaged in designing tapestry for the Cardinal de Lorraine. In 1574 he came to England. He painted Queen Elizabeth, Sir Nicholas Bacon, Howard Earl of Nottingham, Sir Francis Walsingham, and other distin guished persons of her court. He remained several years in England, and then, offended with our rehgion, having made peace with the Pope, be returned to Rome. The date of his death is usually stated as 1609. There is great uncertainty in the identifi cation of his art, and his claim to insertion ta this work is, at the least, questionable. ZUCCHI, Antonio, A.R.A., landscape and decorative painter. He was born at Venice ta 1726, and patated some his- 497 zuc torical subjects in oil, while in Italy. He travelled in Italy with the Brothers Adam, made for them a number of water-colour drawings, and was brought by them to London, and decorated several of their buildings. He painted ceilings at Buck ingham House (now pulled down), Osterley Park, Caen Wood, and Luton, and decor ated a gallery for the Duke of Northumber land . He painted also easel pictures ; and in 1770 he was elected an associate of the Academy, and was an exhibitor only ZUC on three or fom' occasions, of views — ruins of ancient temples and works of that class. Several of his works are engraved. In 1781 he married Angelica Kauffman. In the same year he went with her to Rome, where he resided tUl his death in December 1795. ZIJCCHI, Guiseppi, engraver. Brother of the above. Practised for several years in London, and engraved many of the works of Angehca Kauffman. SUPPLEMENT. The recent and lamented death of Sir F. Grant has necessitated the insertion of the following supplementary notice :— GRANT, Sir Francis, P.R.A., portrait- painter. Was born ta Edinburgh in 1803, and was the fourth son of Mr. Francis Grant of Kilgraston, Perthshire. He was educated at Harrow School, and for a time studied law, but bis tastes led him to pre fer art, and having spent Ms patrimony he resolved to take to it as a profession, and his love of field sports gave it its first direction. In 1834 he became an exhi bitor at the Royal Academy, and early made himself a reputation by his picture of ' The Meet of Her Majesty's Stag- hounds,' painted for Lord Chesterfield, extabited both in London and Paris, and ' The Melton Hunt,' purchased by the Duke of Welltagton. In these works the figures are of a small size, yet as portraits they are excellent and characteristic, wtale the ani mals are well drawn, and the landscape backgrounds, though treated with great truthfulness of detail, yet in good keeping with the figm'es. In 1842 he was elected an associate of the Royal Academy, and began to devote himself more especially to life-sized portraits ta oil, painting many of the beautiful women, and most of the dis tinguished men, of his time. Among these portraits, as of marked excellence, may be named those of 'The Marchioness of Water ford,' 'Lady Rodney,' 'Mrs. Beauclerk,' the painter's own daughter, 'Mrs. Mark- ham,' ' Lord Macaulay,' 'Lord Derby,' ' Mr. Disraeli,' ' Lord Russell,' ' Lord Hardtage,' and that of ' General Sir Hope Grant,' his distinguished brother playing the violon- ceUo. In 1851, on the occasion of four vacancies (an unusual occurrence), he was elected a full member of the Academy; and in 1866, on the death of Sir Charles East- lake, and on Sir Edwin Landseer's declin ing the distinction, he was chosen President and received the honour of knighthood. The University of Oxford cotaerred on Mm the honorary degree of D.C.L. in 1870. He continued to practise his profession to the last, though amid much suffering in his later years, and exhibited five pictures ta the Academy Exhibition of 1878. fie died rather suddenly on Saturday, October 5, 1S78, at Melton Mowbray, and was buiied M the Cemeteiy there on the follow ing Saturday, his family having decided to decline the offer of a public funeral ta St. Paul's, where his brother members desired to inter him. He was twice married, was of a kindly nature and handsome person, and perhaps more fitted for the duties of the office he held by Ms natural qualities than by his artistic ones. He succeeded better ta his female portraits, than in giv ing the sterner characteristics of meu, but his surest fame wiU rest with those hunting scenes, which he loved and depicted so weU. THE END. CLAY AND TAYLOR, PRINTERS, BUNGAY. 3 9002 00524 9850