4 A CATALOGUE 
 
 7 
 OF THE PICTURES AND*‘STUDIES OF 
 WILLIAM ETTY, R.A. 
 
 SELECTED FOR EXHIBITION AT THE SOCIETY OF ARTS, 
 ADELPHI, LONDON: IN AID OF THE 
 
 FORMATION OF A 
 
 NATIONAL GALLERY OF BRITISH ART. 
 
 PRINTED BY CHARLES WHITTINGHAM, AT CHISWICK, 
 FOR THE SOCIETY FOR THE ENCOURAGEMENT OF 
 ARTS AND MANUFACTURES. 
 1849. 
 Price Stapence. 
 
Tur Socizry or Arts proposed in 1848 to assist in the formation of a Navionat 
 Ga.uery or Britisn Art, by means of public voluntary contributions, arising from 
 Donations and Annual Subscriptions and from the proceeds of an Annual Exhibition of 
 the pictures and studies of some ong eminent Living Artist. An exhibition of the pic- 
 tures, studies and sketches of Witttam Mutrgapy, R. A. took place in June 1848. The 
 soundness of the principle was at once confirmed by the unanimous approbation be- 
 stowed on the exhibition. On all hands it was pronounced to be one of the most inter- 
 esting exhibitions which had ever been formed—to be calculated to advance the British 
 School, by extending a general knowledge of Art—to afford a useful lesson to 
 students, and to be an honourable testimonial to the merits of a distinguished artist. 
 
 The success of this, the first experiment, has induced the Society to make arrange- 
 ments for continuing such a class of exhibitions, and to collect for exhibition, in the 
 present year, the works of Wm. Erry, R.A. In this, as in the previous case, any 
 profits which may arise will be applied in giving the Artist whose works are exhibited 
 a commission for a Work, or in the purchase of a work already painted, which will be 
 presented to the National Gallery. 
 
 Lire Supscrizers—Donors of £20 will have free admission to the Exhibition for 
 life, a copy of Mr. Doo’s Engraving of “ Mercy InTERCEDING FOR THE VAN- 
 QUISHED,”’ after Mr. Erry’s picture, and the privilege of personally introducing any 
 number of friends. Subscribers of £1 1s. will have free admission, acopy of Mr. Doo’s 
 Engraving of “ Mercy InTERCEDING FOR THE VanQuisHED,” and the privilege of 
 introducing one friend during the season. 
 
» 
 
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 Neos) 
 S77, 
 
 ye ly 
 
 PASSAGES IN THE LIFE OF MR. ETTY, 
 ILLUSTRATIVE OF HIS WORKS. 
 
 [ Note. These are taken from Letters to a Relative, forming a concise auto- 
 biographical sketch, originally published in the Art Journal.] 
 
 R. ETTY was born in York on the 10th of March, in 1787. 
 Like Rembrandt and Constable he was a Miller’s son 
 and made his first sketches with chalk on the mill 
 floor. He served an apprenticeship faithfully for seven 
 long years, to Mr. Peck, Printer, Hull. His first act on 
 (Fe 2923 gaining his freedom was to plan the achievement of 
 artist life. A mercantile firm in the city of London, Messrs. Bodley, Etty 
 and Bodley, were the munificent patrons of the young painter. He came 
 to London, and found in a plaster-cast shop near Smithfield his first Aca- 
 demy of Art. The rest Mr. Etty tells for himself. 
 
 ‘Poor dear Collins and I entered the Royal Academy as probationers 
 the same week. I drew the ‘ Torso’ of Michael Angelo, I drew the 
 ‘Laocoon.’ We drew the ‘ Laocoon’ side by side, with many now no 
 more; poor Haydon, ardent, mistaken in some respects, but still glorious 
 in his enthusiasm, drew at the same time; his zeal and that of Hilton in 
 the cause of historic Art urged me to persevere, and, by their example 
 and precept, I certainly benefited and was encouraged. I admired the 
 taste and feeling of Lawrence ; I got my friend Fuseli to give me an in- 
 troduction ; for in those days ‘ Old England’ students approached by 
 decent and regular steps the sanctum sanctorum of genius; now ‘ Young 
 England’ tyros take a shorter cut, but not a better. Often without letter, 
 
 A 
 Z 5 Ye 
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 f) 
 A iQ 
 ie 
 
4, Passages in the Life of Mr. Etty, 
 8 ye Q Y 
 
 sometimes even without manners, they boldly knock at the R.A.’s door, 
 ‘I want a letter to the Museum,’ ‘I want a letter to the Academy.’ 
 We did things differently in former times :—enough; no more of that ; 
 they will know better in time, for they are, generally speaking, well-dis- 
 posed and tractable. 
 
 “ IT got the introduction; my uncle went up to him, had an interview, 
 was pleased, made an agreement with him to take me for twelve months, 
 and paid down a hundred guineas forme. Oh! what a man was my 
 uncle: with a family of his own, which he brought up most respectably, 
 he found means and time to foster his brother’s children and forward their 
 views ; he was a British merchant, and citizen of London, and worthy of 
 the name and city. Behold me then, in the house of Sir Thomas, in an 
 attic, the window of which you can yet see in Greek Street, Soho Square. 
 I was left to struggle with the difficulties of Art and execution, for Law- 
 rence’s execution was perfect—playful, yet precise—elegant, yet free; it 
 united in itself the evtreme of possibilities. I tried, vainly enough, for a 
 length of time, till despair almost overwhelmed me; I was ready to run 
 away ; my despondency increased. I was almost beside myself; here 
 was the turn of my fate. I felt I could not get on; the incessant occu- 
 pation of my master left him little time to assist me; despair of success 
 in copying his works had well nigh swamped me; but here again is a 
 lesson for the young ; a voice within said ‘ Persevere.’ I did so, and at 
 last triumphed ; but I was nearly beaten. 
 
 ‘‘T had now turned the corner ; difficulty fled before me, erying, ‘Sauve 
 qui peut, and happiness and peace again dawned on me. I found copy- 
 ing other pictures, even the old masters, comparatively easy. The great 
 key to Art, ‘ power of execution,’ I was beginning to master; for, as Sir 
 Thomas said, ‘ it is a great evil when a man’s ideas go beyond his powers 
 of execution ;’ and so, indeed, I found it. But now I began to get my 
 chin above water: I could before this have cried out, ‘ Save me, O God, 
 for the waters are come in even unto my soul.’ I finished my twelve- 
 month. I was glad again of entire freedom and liberty to do and paint 
 what I liked: and thinking for myself was always what I liked, when 
 folks told me to zmitate my mastér; but I did not like the servility of 
 imitation. went to the British Gallery, copied old masters, painted 
 
Illustrative of his Works. 5 
 
 from nature—heads in the day-hour, and was always constant at my Aca- 
 demic studies, in which I took great delight. The odd lofty Life Academy 
 at Somerset House was a place which, having spent many of the plea- 
 santest hours of my life in, I venerate almost to devotion, and Somerset 
 House was truly a School of Art. Sir Thomas soon after employed me 
 to copy the picture of the Queen, by Sir Joshua Reynolds, and a friend 
 of mine, Lukin, a student of promise, to copy the King. We copied these 
 in Somerset House, and my master was pleased with our copies, and I 
 afterwards frequently worked for him at my own home; and I feel it to 
 be a pride and pleasure to think that I enjoyed the friendship of this 
 brilliant and benevolent individual to the lamented period of his prema- 
 ture death, which cut me to the heart. Silently but secretly making my 
 way by daily and nightly study over the difficulties and dangers of my 
 Art, I laid the foundation of that extensive knowledge of the human 
 figure, male and female, which the practice of so many years of pains and 
 studies must give. 
 
 ‘ By slow degrees to noble Art we rise, 
 And long, long labours, wait the glorious prize.’ ” 
 
 Mr. Etty next recounts his disappointments, in having his early pictures 
 rejected by the Exhibitions ;—a sad wound to his vanity, but, as he now 
 generously says, a salutary one. “I began to think I was not half the 
 clever fellow I had imagined, and indeed I even began to suspect I was 
 no clever fellow at all. I thought there must be some radical defect ; my 
 master told me the truth in no flattering terms; he said I had a very 
 good eye for colour, but that I was lamentably deficient in all other re- 
 spects almost. I believed him. I girded up my loins, and set to work 
 to cure these defects. I lit the lamp at both ends of the day. I studied 
 the skeleton, the origin and insertion of the muscles; I sketched from 
 Albinus. I drew in the morning, I painted in the evening, and after the 
 Royal Academy, went and drew from the prints of the antique statues 
 of the Capitoline, the Clementine, Florentine, and the other galleries, 
 finishing the extremities in black-lead pencil with great care. This I did 
 at the London Institution in Moorfields. I returned home, kept in my 
 fire all night to the great dismay of my landlord, that I might get up early 
 
6 Passages in the Life of Mr. Kitty, 
 
 next morning before daylight to draw ; in short I worked with such energy 
 and perseverance to conquer my radical defects, that at last a better state 
 of things began to dawn, like the sun through a November fog; and 
 though I did not get a medal from an informality in my part, I gained it 
 in point of fact, for my picture was esteemed the best, and Mr. West said 
 of it, it would one day be sold for a Titian. I had what was better, a 
 high compliment paid me, from the President’s chair, by Sir Martin Shee, 
 on my copy of the Ganymede of Titian. i then sent a small picture to 
 the British Gallery, highly finished and carefully wrought ; it made a 
 considerable noise. [sent a larger the same year to the Royal Academy, 
 it made a still greater noise,—*‘ The Coral Finders.’ The ‘ Cleopatra’ 
 was the next year, Sir Francis Freeling my patron. It made a great im- 
 pression in my favour. Sir Thomas jocularly said to me of it: ‘ They, 
 the public, leave Mare Antony’—meaning himself—‘ whistling in the 
 market-place, and go to gaze on your Cleopatra.’ ‘ The Old Times’ even 
 deigned to notice me, though as much in the shape of a castigation as in 
 any other; but still the Times noticed me. I felt my chariot-wheels 
 were on the right road to fame and honour, and I now drove on like 
 another Jehu ! 
 
 ‘J notice these things more definitely, my young friends, that you 
 may not in the darkest days despair; press on * for the mark of your high 
 calling.’ Difficulties and dangers dragon-fanged will beset your path, 
 but let ‘ valiant and constant’ be the motto on your shield ; you will need 
 both qualities—Valour, moral courage to triumph over obstacles, and 
 constancy in your perseverance in good.” 
 
 The next portion of this biography consists of a narrative of his 
 travels, and his studies in Venice, Rome, Florence, Naples and France. 
 His return home is thus described —“I returned in 1824, having spent 
 about two years of my life in Italy and France. I came with a mighty 
 case of studies and treasures of Art to my little home in Lambeth, one 
 frosty moonshiny night, in the winter of 1824 ; icicles hung to my hair, 
 and the capote which had almost boiled in Italian suns was stiff with ice ; 
 a warm fire and dear friends received me, and I was soon at home, and 
 the next night saw me at my post on the Academic bench. 
 
 ‘Pandora, formed by Vulcan, and crowned by the Seasons, from 
 
Lllustratie of his Works. ” J 
 
 Hesiod, claimed my first attention, and a picture of eight or nine figures, 
 with accompaniments, was begun and finished in a few weeks, and sent 
 to the exhibition of the Royal Academy ; my dear master, Sir Thomas 
 Lawrence, bought it, and the Royal Academy elected me an Associate 
 for it. 
 
 “«« Strike! while the iron is hot,’ said my beloved master; striking at 
 the time his own thigh to ‘suit the action to the word.” And again, 
 ‘ You see what may be done by a little courage,’ was another word of 
 encouragement. ‘ 
 
 ‘‘T have had my beacon star to lead me on and guide me; it has been 
 one of hope, industry, and perseverance; and this reminds me, that I 
 never see a star hanging alone on the blue vault of heaven, like a beauti- 
 ful silver cresset or sparkling diamond, that I do not feel, or fancy I feel, 
 its holy and mysterious influence. It is like the eye of heaven looking 
 afar on us in this nether sphere, and one feels afraid to think or act any- 
 thing not quite in unison with its pure, lofty, and radiant apparent intel- 
 ligence! My dear departed friend, Cottingham, the eminent Gothic 
 architect (whose noble offer to restore York Minster, free of professional 
 charge, must ever endear him to my heart and to all the lovers of the 
 Gothic), had just the same feeling of the influence of a star which I have. 
 
 “ Like many other men, my character has been much misunderstood by 
 some—not a few—because I have preferred painting the unsophisticated 
 human form divine, male and female, in preference to the production of 
 the loom ; or, in plainer terms, preferred painting from the glorious works 
 of God, to draperies, the works of man. I have been accused of being a 
 shocking and immoral man! I have even heard my bodily infirmities-— 
 brought on, in a great measure, by my ardent devotion to my Art, and 
 studying in hot rooms in Life Academies — turned against me; and 
 unacquainted with my temperate habits, been accused of drinking. I 
 confess my sin, I am fond of drinking, but only a harmless beverage, 
 tea; and I certainly venerate the memory of the man, be he who 
 he may, who invented tea, and any who thus calumniate me I forgive, 
 and only ask them to examine my life. That I have had errors and fail- 
 ings too many, I know, and trust to the goodness of God to forgive; but 
 it is a duty I owe to myself to state, what I do with sincerity, that in 
 
8 Passages in the Life of Mr. Etty, 
 
 whatever station I found myself thrown, whether printer's devil or Royal 
 Academician, my honest endeavour has been to do my duty in it to the 
 best of my power ; a principle I can with confidence recommend to all 
 who may come after me, and one which they will never regret to look 
 back upon. 
 
 “My next important work was the ‘ Combat, or Woman Pleading for 
 the Vanquished,’ to illustrate the beauty of Mercy :— 
 
 ‘ Mercy is like the gentle dew from heaven ; 
 It blesses him that gives, and him that takes—’ 
 
 it made a great impression in my favour. ‘ The History of Judith,’ in 
 three colossal pictures ; ‘ Benaiah, one of David’s chief captains ;’* 
 ‘The Origin of Marriage,’ from Milton, bought by the Marquis of 
 Stafford ; ‘ Ulysses and the Syrens ;’ ‘ Joan of Arc,’ in three colossal 
 pictures ; making in all nine pictures exceeding the natural size, and nu- 
 merous other works, which others may, but I, cannot recollect, but 7f put 
 together, would fill almost Westminster Hall, in size, number, and space. 
 Of their merit or demerit I let others judge; suffice it for me to feel I 
 have endeavoured in this life to earnestly and seriously do my duty; a 
 principle I can with confidence recommend in the language of the im- 
 mortal Nelson: ‘England expects thus every man this day will do his 
 duty.’ And here I will recommend to my younger brethren pursuing 
 the Art, that whether they follow High Art, or Low Art, let their aim in 
 the Profession be excellence, and encouragement will follow as a necessary 
 consequence ; let their conduct in life—their aim, be virtue, for its own 
 dear sake, as well as excellence in their beautiful Art for its own sake. 
 And happy will be the day they make ¢his their firm determination ; the 
 prize of happiness and glory will be within the reach of minds so consti- 
 tuted ; but if neglectful alike of their true honour and that of their noble 
 Art, they degrade it and themselves by base views and improper conduct, 
 
 * It would be injustice to my kind and generous patrons, the Artists of Scot- 
 land, who so nobly set the example as encouragers of the highest class of Art, 
 not to offer them here my grateful acknowledgments of their very liberal pur- 
 chase of most of my efforts in the Epic Class of Art, and trust they may prove to 
 them a source of that golden reward they so well deserve. 
 
Tilustrative of his Works. 9 
 
 bitter will be the fruits; if they use the opportunities of an artist for the 
 purposes of vicious indulgence, a miserable mistake will blight their 
 prospects, and the sun of prosperity and hope will cease to shine on their 
 labours. As a worshipper of beauty, whether it be seen in a weed, a 
 flower, or in that most interesting form to humanity, lovely woman, in 
 intense admiration of it and its Almighty Author, if at any time I have 
 forgotten the boundary line that I ought not to have passed, and tended 
 to voluptuousness, I implore His pardon; | have never wished to seduce 
 others from that path and practice of virtue, which alone leads to happi- 
 ness here and hereafter ; and if in any of my pictures an immoral senti- 
 ment. has been aimed at, I consent it should be burnt; but I never 
 recollect being actuated in painting my pictures by such sentiment. That 
 the female form, in its fulness, beauty of colour, exquisite rotundity, 
 may, by being portrayed in its nudity, awake, like nature, in some degree 
 an approach to passion, I must allow, but where no immoral sentiment is 
 intended, | affirm that the simple undisguised naked figure is innocent. 
 ‘ To the pure in heart all things are pure.’ My aim in all my great 
 pictures has been to paint some great moral on the heart: ‘ The Com- 
 bat,’ THE BEAUTY or Mercy; the three ‘ Judith’ pictures, PaTRIOTISM, 
 and self-devotion to her country, her people, and her God ; ‘ Benaiah, 
 David’s chief captain, Varour ; ‘ Ulysses and the Syrens,’ the impor- 
 tance of. resisting SENSUAL DELIGHTS, or an Homeric paraphrase on the 
 ‘ Wages of Sin is Death ;’ the three pictures of ‘Joan of Arc,’ RExI- 
 Gion, Vatour, Loyary and Patriotism, like the modern Judith; these, 
 in all, make nine colossal pictures, as it was my desire to paint three 
 times three. 
 
 « After my nine large pictures, the following are a few of my principal 
 works :— 
 
 ‘The Judgment of Paris,’ formerly painted for Lord Darnley.* 
 
 ‘Venus attired by the Graces,’ the Rev. E. P. Owen. 
 
 ‘The Wise and Foolish Virgins,’ Mr. Serjeant Thompson. 
 
 ‘Hylas and the Nymph,’ Mr. Serj. Thompson. 
 
 * This fine picture is in the hands of Mr. Wass, who is engraving it on a scale 
 and in a manner worthy of the painter and the subject.— Ep. ao’. 
 
 B 
 
10 Passages in the Life of Mr. Etty, 
 
 ‘The Dance described in Homer’s Shield,’ a gentleman of Liverpool. 
 | ‘The Prodigal Son’—‘I will arise and go to my Father,’ — Child, Esq. 
 ‘The Bevy of Fair Women,’ Milton, Duke of Sutherland. 
 ‘The Pont d’Sospiri,’ Venice—my excellent friend Macready had 
 painted with an incident corresponding with its sad name. Studied in 
 | Venice by moonlight and daylight in a gondola. 
 ‘The Destruction of the Temple of Vice’-—‘ And He sent evil Angels 
 amongst them,’ Henry Payne, Esq. Leicester. 
 ‘Youth at the Prow and Pleasure at the Helm,’ Gray’s Poems, R. 
 Vernon, Esq. 
 ‘The Three Pictures of Joan of Arc,’ Wm. Wethered, Esq. and 
 C. W. Wass, Esq., 8, Adam Street, Adelphi. 
 | ‘The Rape of Proserpine,’ J. Gillott, Esq. Birmingham. 
 | ‘La Fleur de Lis,’ William Wethered, Esq. Lynn. 
 ‘Adam and Eve at their Morning Orisons,’ the late William Beck- 
 ford, Esq. 
 ‘The Prodigal in the Depth of his Misery,’ the late William Beck- 
 ford, Esq. 
 ‘ The Prodigal’s Return to his Father and Home,’ Marquis of Lans- 
 downe. 
 ‘ Pandora,’ Joseph Neeld, Esq., M. P. 
 ‘The Parting of Hero and Leander,’ Joseph Neeld, Esq., M. P. 
 ‘ Diana and Endymion,’ H. Monro, Esq. 
 ‘The Death of Hero and Leander,’ R. Thorp, Esq., Alnwick. 
 | ‘ The Graces,’ Cupid and Psyche. 
 
 ‘To arms! ye brave!’ 
 
 | ‘ The Coral Finders,’ R. Nicholson, Esq., York. 
 | ‘ Amoret freed by Britomart from the Power of the Enchanters.’ 
 | ‘ Robinson Crusoe wrecked on a Desert Island returning thanks to 
 | God for his Deliverance.’ 
 ‘Somnolency,’ G. T. Andrews, Esq. York. 
 ‘Magdalen,’ The Rev. J. Spencer, York. 
 
 ‘The Good Samaritan,’ my kind and attentive medical friend, R. 
 Cartwright, Esq. 
 
Tilustrative of his Works. il 
 
 ‘ Samson betrayed by Delilah,’ Daniel Grant, Esq. Manchester. 
 
 ‘ Judgment of Paris,’ Joseph Gillott, Esq. Birmingham, 
 
 ‘The Three Graces,’ Joseph Gillott, Esq. Birmingham. 
 
 ‘Zephyr and Aurora,’ William Wetherhed, Esq. Lynn. 
 
 ‘The Innocent are gay,’ R. Nicholson, Esq. York. 
 
 « T should be unjust as well as ungrateful were I to write this memoir 
 of my life without putting on record my opinion of an Institution to 
 which I owe so much, and to which the public and the country owe so 
 much—I mean the Royal Academy of London—an institution I have 
 pride and pleasure in stating, after an experience of upwards of forty 
 years, having gone through all its grades from probationer to the highest 
 of its honours I am ambitious of; having done this, and had that experi- 
 ence of its laws, constitution and management, the zeal, integrity and 
 chivalrous sense of duty which actuates its officers, I am, as I said, happy 
 to say it is in every respect worthy of the country, and of the proud 
 station it holds; and I hope to live to see the day when the public and 
 the country will appreciate that institution in a way more correspondent 
 with its merits than they appear to me hitherto to have done. 
 
 « In conclusion, then, my life has been, since I was free from bondage, 
 and pursuing the retreating phantom of Fame, like the boy running after 
 the rainbow; my life has been, I say (with the exception of some dark 
 thunder-clouds of sorrow, disappointment and deprivation), one long 
 summer’s day; spent in exertions to excel, struggles with difficulty, 
 sometimes Herculean exertions, both of mind and body, mixed with 
 poetic day-dreams, and reveries, by imaginary enchanted streams. I 
 have passed sweetly and pleasantly along, now chewing the cud of sweet 
 and bitter fancies, and regretting my inability to do greater and better 
 things; but God is good, and I desire in all my thoughts to give Him 
 glory in the highest, that He has blest me and mine with a fair reputation 
 and the solid comforts of life in a degree beyond my deserts ; and I now 
 retire from the arena, with the best feelings of peace and good-will to 
 my brethren of the Art, for their uniform kindness, consideration, and 
 support, in my long professional career. 
 
 And not only to my brethren the artists, but to all classes in that 
 noblest of all European cities, London! my gratitude is due, from my 
 
12 Passages in the Life of Mr. Etty. 
 
 Senerous patrons, to my respected tradesmen, my good, well-disposed, 
 and attentive models, and to others my best recollections are due and 
 cheerfully paid. 
 
 But before finally taking leave of my young friends, the students in 
 Art, amongst whom I well know there are many amiable and promising 
 young men, I will take the freedom, as a retiring veteran and friend, to 
 say a few words that they may imprint on their minds ¢ AN INVINCIBLE 
 DESIRE TO EXCEL IN THEIR NOBLE ART: to be an honour to their country, 
 a credit to their friends and themselves, and THE FAITHFUL SERVANTS OF 
 Gop. To be always attentive to His public worship and ordinances, and 
 strictly to respect His Sabbath of rest to the soul :’ otherwise, as I have 
 myself, I am sorry to say, formerly experienced, a neglect of this makes 
 us too much attached to the world, too much ‘ of the earth, earthy,’ for 
 the artist, of all men, ought to be intellectual, spiritual, virtuous. If the 
 students and followers of the Art, from this my precept and example, are 
 induced to do these things, and to make them their guide through life, 
 
 they will have reason to bless the day on which your application induced 
 me to write this record of my life. 
 
 “ Your affectionate cousin, 
 
 eWoBEPY,” 
 York, November, 1848. 
 
CATALOGUE OF THE WORKS OF 
 WILLIAM ETTY, R.A. 
 
Society of Arts, Adelphi, 
 9th June, 1849. 
 
 Gates HE Council have sincere gratification in opening to 
 Wy © 4a 7 a 
 
 their Members and the public the collected Art-labours 
 of William Etty, Esq. R.A. which form the second 
 annual Exhibition of the works of an eminent contem- 
 porary painter. 
 
 The Council trust that this Collection will be deemed a graceful offer- 
 ing to the fair fame of so distinguished an Artist; and that it will lead 
 to a more just appreciation of the power and genius of the British 
 School in the highest rank of Art. 
 
 The Council are unable to express adequately their full sense of the 
 liberal courtesy with which the valuable pictures forming this Collection 
 have been entrusted to them for exhibition; and they feel that these ac- 
 knowledgments are most especially due to the Members of the Royal 
 Scottish Academy, whose paintings fill so prominent a place in the Exhi- 
 bition. 
 
 Joun Scorr Russet, 
 
 Secretary. 
 
i} 
 
 PROPRIETORS OF THE PICTURES LENT FOR 
 
 EXHIBITION. 
 
 ACADEMY, the Royal Scottish. 
 
 Andrews, G. T. Esq., York. 
 
 Baring, Thomas, Esq. M.P., Charles Street, 
 Berkeley Square. 
 
 Bell, Jacob, Esq., 15, Langham Place. 
 
 Bicknall, Elhanan, Esq., Clapham Rise. 
 
 Birch, Charles, Esq., Birmingham. 
 
 Broderip, W. J. Esq., Raymond Buildings. 
 
 Bullock, Edwin, Esq., Birmingham. 
 
 Burton, Henry, Esq., Aldersgate Street. 
 
 Cartwright, R. Esq., Bloomsbury Square. 
 
 Clow, John, Esq., Liverpool. 
 
 Coles, James, Esq., 14, Buckingham Street, 
 Adelphi. 
 
 Colls, Richard, Esq., 168, New Bond Street. 
 
 Criswick, James, Esq., 8, Bloomsbury Sq. 
 
 Ellis, Wynne, Esq. M.P., Cadogan Place. 
 
 Fountaine, Andrew, Esq., Narford Hall, 
 Norfolk. 
 
 Gibbons, John, Esq., 16, Hanover Terrace, 
 Regent’s Park. 
 
 Gillott, Joseph, Esq., Birmingham. 
 
 Grant, Daniel, Esq., Manchester. 
 
 Harper, Edward, Esq., York. 
 
 Harris, J. Esq., Clapham Common. 
 
 Hawker, Charles, Esq., Bristol Road, Bir- 
 mingham. 
 
 Institution, The Royal Manchester. 
 
 Labouchere, Rt. Hon. Henry, M. P., Bel- 
 grave Square. 
 
 Lansdowne, Marquis of, Berkeley Square. 
 
 Macready, W. C. Esq., 5, Clarence Terrace, 
 Regent’s Park. 
 
 Miller, John, Esq., Liverpool. 
 
 Munro, H. A. J. Esq., Hamilton Place, 
 Piccadilly. 
 
 Neeld, Joseph, Esq. M. P., Grosvenor Sq. 
 
 Pennell, George, Esq., 18, Berners Street. 
 
 Sheepshanks, John, Esq., Rutland Gate, 
 Hyde Park. 
 
 Spiers, R. J. Esq., Oxford. 
 
 Sutherland, Duke of, Stafford House. 
 
 Thompson, Mr. Sergeant, 4, Upper Bel- 
 grave Street. 
 
 Thorp, Thomas, Esq., Alnwick. 
 
 Wall, C. Baring, Esq. M. P., Berkeley Sq. 
 
 Wass, Charles Wentworth, Esq., 8, Adam 
 Street, Adelphi. 
 
 Wethered, William, Esq., Regent’s Park 
 Terrace. 
 
 Wigram, Rt. Hon. Sir James, 68, Portland 
 Place. 
 
 Wood, John, Esq., West Square, Southwark. 
 
 Wynn, The Right Hon. Charles W. W. 
 M.P., Grafton Street, Bond Street. 
 
 Young, George, Esq., Wimpole Street. 
 
CATALOGUE 
 
 OF THE WORKS OF WILLIAM ETTY, R. A. 
 
 SELECTED FOR EXHIBITION. 
 
 ey R. ETTY’S general design in painting the following 
 4, Nine Great Pictures has been thus stated by himself: 
 
 ‘“‘ My aim in all my great pictures has been to paint 
 “some great moral.on the heart: The Combat, the 
 ‘“* Beauty of Mercy; The Three Judith Pictures, Pa- 
 
 LOSSES. « prigtism and self devotion to her country, her people, 
 ‘and her God; Benaiah, David’s Chief Captain, Valour ; Ulysses and 
 “the Syrens, the importance of resisting sensual delights, or an Ho- 
 ‘‘ meric paraphrase on ‘The wages of sin is death.’ The Three Pictures 
 “of Joan of Arc, Religion, Valour, Loyalty and Patriotism, like the 
 “ Modern Judith; these in all make Mine Colossal Pictures, as it was 
 “‘ my desire to paint three times three.” 
 
 ie 
 Judith and Holofernes. 
 ‘Then she came to the pillar of the bed, which was at Holofernes’ 
 head, and took down his faulchion from thence. 
 «And approached to his bed, and took hold of the hair of his 
 head, and said—Strengthen me, O Lord God of Israel, this day !” 
 See the Book of Judith. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 Exhibited in the Royal Academy in 1827, and the British Institu- 
 tion in 1828. The property of the Royal Scottish Academy of 
 Fine Arts. 
 
 it 
 The Maid of Judith waiting outside the Tent of Holofernes till her Mis- 
 tress had consummated the deed that delivered her Country from its 
 Invaders. See the Book of Judith. 
 Forming the last painted pendant picture to the principal one. 
 Painted for the Royal Scottish Academy of Fine Arts, and exhi- 
 bited in the Royal Academy in 1831. The property of the Royal 
 Scottish Academy of Fine Arts. 
 
 III. 
 Judith.—Pendant to foregoing principal picture. 
 “‘ And anon after she went forth ; and she gave Holofernes’ head to 
 her maid, and she put it in her bag of meal.” 
 See the Book of Judith. 
 
 Painted in 1829 by order of the Royal Scottish Academy of Fine 
 Arts. Exhibited in the Royal Academy in 1830. The property of 
 the Royal Scottish Academy of Fine Arts. 
 
 LV, 
 Lhe Combat. Mercy interceding for the Vanquished. An Ideal Group. 
 Painted and exhibited in the Royal Academy in 1826. The pro- 
 perty of the Royal Scottish Academy of Fine Arts. 
 
 V. 
 “The Wages of Sin is Death!” exemplified in the Homeric Fable of the 
 Strens and Ulysses. 
 
 “‘ Next, where the Sirens dwell, you plough the seas ; 
 
 Their song is death, and makes destruction please. 
 
 Unblest the man, whom music wins to stay 
 
 Nigh the curst shore, and listen to the lay. 
 
 No more that wretch shall view the joys of life, 
 His blooming offspring, or his beauteous wife ! 
 
mn aid of forming a National Gallery of British Art. 19 
 
 ‘“‘ In verdant meads they sport; and wide around 
 
 Lie human bones, that whiten all the ground ; 
 
 The ground polluted, floats with human gore, 
 
 And human carnage taints the dreadful shore. 
 
 Fly swift the dangerous coast ; let every ear 
 
 Be stopt against the song! ’tis death to hear ! 
 
 Firm to the mast, with cords thyself be bound, 
 
 Nor trust thy virtue to th’ enchanting sound. 
 
 If, mad with transport, freedom thou demand, 
 
 Be every fetter strain’d, and added band to band.” 
 
 The Syren’s Song. 
 
 “ O stay, O pride of Greece! Ulysses, stay ! 
 O cease thy course, and listen to our lay ! 
 Blest is the man ordain’d our voice to hear, 
 The song instructs the soul, and charms the ear. 
 Approach! thy soul shall into raptures rise ! 
 Approach! and learn new wisdom from the wise ! 
 We know whate’er the kings of mighty name 
 Achiev’d at Ilion, in the field of fame ; 
 Whate’er beneath the sun’s bright journey lies. 
 O stay, and learn new wisdom from the wise !—” 
 
 See Zwelfth Book of Pope's Translation 
 of Homer’s Odyssey. 
 
 Painted and exhibited in the Royal Academy in 1837. The 
 property of the Royal Manchester Institution. Presented to that 
 body by Daniel Grant, Esq. 
 
 VI. 
 Benaiah, one of David's chief Captains. 
 ‘“¢ He slew two lion-like men of Moab.” —2 Sam. xxiii. 20. 
 “Giants of mighty bone, and bold emprise : 
 For in those days might only was admired, 
 And valour and heroic virtue called ; 
 To overcome in battle, and subdue 
 
Exhibition of the Works of W. Etty, R.A. 
 
 Nations, and bring home spoils with infinite 
 
 Manslaughter was held the highest pitch 
 
 Of human glory, and for glory done 
 
 Of triumph to be styled great conquerors, 
 
 Patrons of mankind, gods, and sons of gods ; 
 
 Destroyers, rightlier called, and plagues of men.’ 
 Exhibited in the Royal Academy in 1829, and the British Institu- 
 tion in 1830. The property of the Royal Scottish Academy of 
 Fine Arts. 
 
 > 
 
 VI. 
 
 Joan of Arc, on finding in the Church of St. Catherine de Fierbois, the 
 Sword she had dreamt of, devotes herself and it to the service of God 
 and her Country. 
 
 Exhibited in the Royal Academy in 1847. The property of C. W. 
 Wass, Esq. and Wm. Wethered, Esq. 
 
 VIII. 
 Joan of Arc makes a Sortie from the Gates of Orleans, and scatters the 
 Enemies of France. 
 Exhibited in the Royal Academy in 1847. The property of C. W. 
 Wass, Esq. and Wm. Wethered, Esq. 
 
 IX. 
 Joan of Arc, after rendering the most signal Services to her Prince and 
 People, is suffered to die a Martyr in their cause. 
 ‘“‘ Nowhere do modern annals display a character more pure, more 
 generous, more humble, amidst varied reverses and undoubted vic- 
 tories, more free from all taint of selfishness, more akin to the cham- 
 pions and martyrs of old time.” —Quarterly Review. 
 Exhibited in the Royal Academy in 1847. The property of C. 
 W. Wass, Esq. and W. Wethered, Esq. 
 
 x. 
 One of the Olden Time. 
 Exhibited in the Royal Academy in 1842. The Property of James 
 Coles, Esq. 
 
in aid of forming a National Gallery of British Art. 21 
 
 XI. 
 Two of the Modern Time. 
 Exhibited in the Royal Academy in 1842. The property of Geo. 
 Pennell, Esq. 
 XII. 
 Cupid in a Shell. 
 Painted in 1844. Never exhibited. The property of R. J. Spiers, 
 Esq. 
 XIII. 
 Cupid scattering Roses. 
 Painted in 1843. Never exhibited. The property of John Miller, 
 Esq. 
 XIV. 
 Diana and Endymion. 
 “ The fable of Endymion’s amours with Diana, or the Moon, arose 
 from his knowledge of Astronomy ; and as he passed the night on 
 some high mountains to ohserve the heavenly bodies, it has bese re- 
 ported he was courted by the Moon.”—.Lempriere. 
 Exhibited in the Royal Academy in 1839. The property of 
 H. A. J. Munro, Esq. 
 XN. 
 Cupid looking after the Gold Fish. 
 Exhibited in the British Institution in 1845. The property of Da- 
 niel Grant, Esq. 
 XVI. 
 The Choice of Paris. 
 After the marriage of Peleus and Thetis, the Goddess of Discord 
 threw down a golden apple on which was written, ‘To the fairest.” 
 The contest fee this among the Goddesses became general, but at 
 last was reduced to thioester! Minerva, and Juno, who referred 
 the decision to Paris, then a shepherd on Mount Ida; Juno promised 
 him a kingdom; Minerva, military glory; and Venus, the fairest 
 woman in the world for his wife. After he had heard their several 
 D 
 
22 Exhubition of the Works of W. Etty, R.A. 
 
 claims and promises, Paris adjudged the prize to Venus and gave her 
 the golden apple. 
 
 Exhibited in the Royal Academy in 1846. The property of Jo- 
 seph Gillott, Esq. 
 
 XVII. 
 The Standard Bearer. 
 
 Exhibited in the British Institution in 1843. The property of 
 Charles Hawker, Esq. 
 
 XVIII. 
 Meditation. 
 
 Painted in 1845. Never exhibited. The property of C. W. 
 Wass, Esq. 
 
 XIX. 
 Sketch for “ Mercy interceding for the Vanquished.” 
 Never exhibited. The property of C. W. Wass, Esq. 
 Xe 
 Study of a Head. 
 
 Painted in 1845. Never exhibited. The property of Henry 
 Burton, Esq. 
 
 XXI. 
 A Study of Colour. 
 
 Painted in 1844. Never exhibited. The property of John Wood, 
 Esq. 
 
 XXII. 
 Samson betrayed by Delilah. 
 ‘And when Delilah saw that he had told her all his heart, she 
 went for the lords of the Philistines, who came up and brought 
 money in their hand, and she made him sleep upon her knees; and 
 she called for a man and she caused him to shave off the seven locks 
 
 of his head ; and she began to afflict him, and his strength went 
 from him, 
 
 ‘‘ And she said, the Philistines be upon thee, Samson. And he’ 
 awoke out of his sleep, and said, I will go out as at other times be- 
 
im aid of forming a National Gallery of British Art. 23 
 
 fore and shake myself. And he wot not that the Lord was departed 
 from him. 
 
 ‘But the Philistines took him and put out his eyes, and brought 
 him down to Gaza; and bound him.” —Judges, ch. xvi. 
 
 Exhibited in the Royal Academy in 1837. The property of 
 Daniel Grant, Esq. 
 
 XXIII. 
 
 The Entombment of Christ. 
 
 Painted and exhibited in the Royal Academy in 1843. The pro- 
 perty of the Rt. Hon. Henry Labouchere. 
 
 XXIV. 
 
 A subject from the Parable of the Ten Virgins. 
 
 The 
 
 “Five of them were wise, and five foolish; they that were foolish 
 took their lamps and took no oil with them; but the wise took oil 
 in their vessels with their lamps. 
 
 “While the bridegroom tarried, they all slumbered and slept. 
 And at midnight there was a cry made, behold the bridegroom 
 cometh, go ye out to meet him. Then all those virgins arose and 
 trimmed their lamps, and the foolish said unto the wise, Give us of 
 your oil for our lamps are gone out ; but the wise answered saying, 
 Not so, lest there be not enough for us and you; but go ye rather 
 to them that sell and buy for yourselves. And while they went 
 to buy, the bridegroom came, and those that were ready went in with 
 him to the marriage and the door was shut. Afterwards came also 
 the other virgins, saying, Lord, Lord, open to us; but he answered 
 and said, Verily I know you not.” —S¢. Matthew, ch. 25. 
 
 Exhibited in the Royal Academy in 1840, and the British Insti- 
 tution in 1841. The property of Mr. Sergeant Thompson. 
 
 XXV. 
 Storm. 
 ‘They cried unto Thee, and were delivered ; they trusted in Thee 
 and were not confounded.”— Psalm xxii. 
 
 “For he commandeth and raiseth the stormy wind, which lifteth 
 up the waves thereof ;” 
 
Eivhibition of the Works of W. Etty, R.A. 
 
 ‘“‘ Then they cried unto the Lord in their trouble.” —Psalm evil. 
 Exhibited in the Royal Academy in 1830, and the Royal Institu- 
 tion in. 1831. The property of the Royal Manchester Institution. 
 
 XXVI. 
 Hero, having thrown herself from the Tower at the sight of Leander 
 drowned, dies on his body. 
 Painted and exhibited in the Royal Academy in 1829. The pro- 
 perty of Thomas Thorp, Esq. 
 
 XXVII. 
 Pluto carrying off Proserpine. 
 “That fair field of Enna where Proserpine, 
 Gathering flowers, herself a fairer flower, 
 By gloomy Dis was vathered.” 
 Milton, Ovid, ves 
 Exhibited in the Royal Academy in 1839, The property of Jo- 
 seph Gillott, Esq. 
 XXVIII. 
 Warrior of the Olden Time. 
 Painted in 1840. Never exhibited. The property of the Right 
 Hon. Sir James Wigram. 
 
 Morning Amusements. 
 Exhibited in the Royal Academy in 1841. The property of Hf. A. 
 J. Munro, Esq. 
 
 Venus and Cupid. 
 Painted in 1842. Never exhibited. The property of Elhanan 
 Bicknell, Esq. 
 
 XXXI. 
 
 Ariadne. 
 Painted in 1844, Never exhibited. The property of John Miller, 
 Esq. 
 
in aid of forming a National Gallery of British Art, 25 
 
 XXXII. 
 Venus and Cupid descending. 
 Exhibited in the British Institution in 1822. The property of Geo. 
 Young, Esq. 
 XXXIII. 
 Waters of Elle. 
 “ Love’s cherish’d gift, the rose he gave is faded, 
 Love’s blighted flower can never bloom again ; 
 Weep for thy fault, in mind, in heart degraded, 
 Weep, if thy tears can wash away the stain.” 
 Exhibited in the British Institution in 1839. The property of 
 Mr. Serjeant Thompson. 
 XXXIV. 
 Sketch of a Subject for an Altar Piece; Atartyrdom of some of the early 
 Christians. 
 Exhibited in the British Institution in 1831. The property of 
 C. Baring Wall, Esq. M.P. 
 XXXV. 
 Venus and Cupid. 
 Exhibited in the British Institution in 1830. The property of C. 
 W. Wass, Esq. 
 XXXVI. 
 A Landscape View of the Stid Bolton Abbey, Yorkshire. 
 Painted in 1843. Never exhibited. The property of John Wood, 
 Esq. 
 XXXVII. 
 Study of Paris. 
 Painted in 1842. Never exhibited. The Property of C. W. Wass, 
 Esq. 
 XXXVIII. 
 
 A Magdalen. 
 
 Painted in 1835. The property of Charles Wentworth Wass, Esq. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 XXXIX. 
 
 Study of a little Girl. 
 
 The 
 
 Painted in 1823. The property of Charles Birch, Esq. 
 XL. 
 Bridge of Sighs, Venice—taken from Sketches made from the Canal 
 
 in 1823. 
 
 The 
 
 “Just by the Bridge of Sighs, at the remote extremity of the nar- 
 row passage, over some scupper-holes which descend to the water, 
 is a strong iron bar fixed at each end into the wall; upon and across 
 this, the condemned was thrown, and his head severed from his 
 body, unheard, unseen, save by the executioners, and the dread eye 
 of Heaven! At dead of night, a black gondola, like a dark spirit of 
 the waters, glided silently to a little portal by the water's edge be- 
 neath—the body was conveyed to a distant part of the lagune, and 
 there thrown in. Near that spot the fishermen of Venice were for- 
 bidden, under severest penalties, to fish.” 
 MS. Journal of a Residence in Venice. 
 
 Exhibited in the Royal Academy in 1835, and the British Insti- 
 
 tution in 1836. The Property of W. C. Macready, Esq. 
 
 XLI, 
 
 Good Samaritan. 
 ‘A certain man went down from Jerusalem to Jericho, and fell among 
 thieves, which stripped him of his raiment, and wounded him, and 
 departed, leaving him half dead. And by chance there came down 
 a certain priest that way : and when he saw him, he passed by on the 
 other side. And likewise a Levite, when he was at the place, came 
 and looked on him, and passed by on the other side. But a certain 
 Samaritan, as he journeyed, came where he was; and when he saw 
 him, he had compassion on him and went to him.”—St. Luke, x. 
 
 Painted and Exhibited in the British Institution in 1838. The 
 property of R. Cartwright, Esq. 
 
 XLII. 
 
 Pandora. | 
 Pandora, the heathen Eve, having been formed by Vulcan as a sta- 
 
wn aid of forming a National Gallery of British Art. 27 
 
 tue, and animated by the gods, is crowned by the Seasons with a 
 garland of flowers, 
 “To deck her brows, the fair tressed Seasons bring 
 A garland breathing all the sweets of Spring.” 
 Llton’s Hesiod. 
 Exhibited in the Royal Academy in 1824. The property of Jo 
 seph Neeld, Esq. M. P. 
 
 XLITI. 
 abrina, from Milton’s Masque of Comus. 
 “¢ Sabrina fair, 
 Listen where thou art sitting 
 Under the glassy, cool, translucent wave, 
 In twisted bands of lilies knitting 
 The loose train of thy amber dropping hair.” 
 Painted in 1840. Never exhibited. The property of Charles 
 Wentworth Wass, Esq. 
 
 XLIV. 
 The Parting of Hero and Leander. 
 Hero was a beautiful woman of Sestos, in Thrace, and priestess of 
 Venus, whom Leander of Abydos loved so tenderly that he swam 
 over the Hellespont every night to see her. 
 Exhibited in the Royal Academy in 1827. The property of 
 Joseph Neeld, Esq. M.P. 
 
 XLV. 
 Phedria and Cymochles, or the Idle Lake. See Spenser's Faery Queen, 
 Canto VI. Book ITI. 
 ‘« Along the shore, as swift as glance of eye, 
 A little gondelay, bedecked trim, 
 With boughs and arbours woven cunningly, 
 That like a little forest seemed outwardly.” 
 Exhibited in the Royal Academy in 1832. The property of Wynne 
 Ellis, Esq. M. P. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 XLVI. 
 
 A Composition, taken from the following passages of the eleventh book of 
 Milton’s Paradise Lost. 
 
 ‘© He look’d, and saw, a spacious plain, whereon 
 
 Were tents of various hue ; . 
 whence the sound 
 of instruments that made melodious chime 
 Was heard, of harp and organ; and who mov'd 
 Their stops and chords was seen ; 
 
 / : : : , After these, 
 a : a different sort, 
 foin thie high neighbouring hills, which was their seat, 
 Down to the plain bsbended by their guise 
 Just men ‘ seem 'd. 
 
 They on the plain 
 
 | Fone Yad not walked, when from the tents beheld 
 
 A bevy of fair women, richly gay 
 
 i In gems and wanton dress; to the harp they sung 
 Soft amorous ditties, and in dance came on: 
 
 | The men, tho’ grave, ey’d them, and let their eyes 
 
 | | Rove without rein, till in the amorous net 
 
 First caught, they lik’d, and each his liking chose ; 
 
 | And now of love they treat, till the ev’ning star,. 
 
 1 | Love’s harbinger, appear’d ; then all in heat 
 
 | They light the nuptial torch, and bid invoke 
 
 Hymen, then first to marriage rites invok’d 
 
 With feast and music all the tents resound.” 
 
 | Painted and exhibited in the Royal Academy in 1828. The pro- 
 | perty of the Duke of Sutherland. 
 
 XLVII. 
 
 La Fleur de Lis. 
 Exhibited in the Royal Academy in 1848. The property of Wil 
 liam Wethered, jun. Esq. 
 
m aid of forming a National Gallery of British Art. 29 
 
 XLVIII. 
 A Group of Captives by the Waters of Babylon. 
 Exhibited in the Royal Academy in 1848. The property of Joseph 
 Gillott, Esq. 
 
 XLIX. 
 4 Bwouac of Cupid and his Company. 
 Exhibited in the Royal Academy in 1838. The property of Joseph 
 Gillott, Esq. 
 L. 
 The Repentant Prodigal’s Return to his Father. 
 ‘“¢ And the Son said unto him, Father, I have sinned against heaven 
 and in thy sight, and am no more worthy to be called thy Son.” 
 Painted and exhibited in the Royal Academy in 184]. The 
 property of the Marquis of Lansdowne. 
 
 LE 
 Fylas and the Nymphs. 
 ‘The nymphs of the river, enamoured of the beautiful Hylas, car- 
 ried him away; and Hercules, disconsolate at the loss of his favourite 
 youth, filled the woods and mountains with his complaints.” 
 Apollonius Rhodius, Lempriere. 
 
 Exhibited in the Royal Academy in 1833 and the British Insti- 
 tution in-1834. The property of Mr. Serjeant Thompson. 
 
 LIL. 
 Head of a Cardinal. 
 Exhibited in the Royal Academy in 1844. The property of Jolin 
 Sheepshanks, Esq. 
 
 LIII. 
 Head of a Jew. 
 Painted 1846. Never exhibited. The property of C. W. Wass, 
 Esq. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 LIV. 
 Cupid sheltering his darling from the approaching Storm. 
 Exhibited in the Royal Academy in 1822. The property of John 
 Sheepshanks, Esq. 
 
 LV. 
 Portrait of Matilda, the daughter of Ethanan Bicknell, Esq. 
 Painted in 1845. The property of E. Bicknell, Esq. 
 
 LVI. 
 Head of a Jew. 
 Painted in 1844. Never exhibited. The property of J. Criswick, 
 Esq. 
 LVIT. 
 Three Portraits. The Children of Henry Wood, Esq. 
 Painted in 1840. Never exhibited. The property of Henry 
 Wood, Esq. 
 
 LVIII. 
 Nymph Angling. 
 Exhibited in the Royal Academy in 1831. The property of Charles 
 Birch, Esq. 
 LIX. 
 The Bather. 
 Painted in 1845. Never exhibited. The property of Joseph Gil- 
 lott, Esq. 
 LX. 
 The Sea Bather. 
 Exhibited in the Royal Academy in 1846. The property of Joseph 
 Gillott, Esq. 
 
 LXI. 
 
 Portrait of Miss Wallace. 
 Painted in 1820. Never exhibited. The property of Charles Went- 
 worth Wass, Esq. 
 
in aid of forming a National Gallery of British Art. 3d 
 
 LXII. 
 The Saviour. 
 Exhibited in the British Institution, 1844. The Property of Charles 
 Wentworth Wass, Esq. 
 
 jp 4 Es 
 The Flower Girl. 
 Exhibited in the Royal Academy in 1845. The property of H. A. 
 
 J. Munro, Esq. 
 
 LXIV. \ 
 
 Hercules killing the Man of Calydon with a blow of his fist. 
 
 Exhibited in the British Institution in 1820. The property of 
 Charles Wentworth Wass, Esq. 
 
 LXV. 
 Charites et Gratia. 
 “The Graces, daughters of Venus by Jupiter or Bacchus are three 
 in number, Aglaia, Thalia and Euphrosyne. They were the constant 
 attendants of Venus, and they were represented as three young and | 
 modest virgins, all holding one another by the hand. They pre- | 
 sided over kindness and all good offices; and their worship was | 
 the same with that of the Muses, with whom they had a temple in | 
 common. They were generally represented naked, because kind- 
 ness ought to be done with sincerity and candour. ‘The moderns 
 explain the allegory of their holding their hands joined, by observ- 
 ing, that there ought to be a perpetual and never ceasing inter- 
 course of kindness and benevolence amongst friends. Their youth 
 denotes the constant remembrance we ought ever to have of kind- 
 ness received ; and their virgin purity and innocence teach us, that 
 acts of benevolence ought to be done without any expectation of 
 restoration, and that we ought never to suffer others or ourselves to 
 
 be guilty of base and impure favours.” —Lempriere. 
 Exhibited in the Royal Academy in 1847. The property of 
 Joseph Gillott, Esq. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 LXVI. 
 Study for Sabrina. 
 Painted 1830. Never exhibited. The property of Charles Went- 
 worth Wass, Esq. 
 LXVII. 
 Venus at the Bath. 
 Painted in 1822. The Property of R. Colls, Esq. 
 
 | LXVII. 
 Godfrey de Bouillon the Crusader arming for Battle. 
 Exhibited in the Royal Academy in 1835. The property of Chas. 
 | Wentworth Wass, Esq. 
 | LXIX. 
 Portrait of a little Girl. 
 Painted in 1845. Never exhibited. The property of William We- 
 thered, Esq. 
 
 EXX.? 
 | Portrait of Master Wethered. 
 | | Painted in 1847. Never exhibited. The property of William 
 | Wethered, Esq. 
 LXXI. 
 A Water Nymph. 
 | Painted 1843. Never exhibited. The property of W. J. Broderip, 
 Esq. 
 | LXXII. 
 I “ David.” 
 | “ Awake my glory; awake, lute and harp, I myself will awake 
 || right early.” 
 | Painted and exhibited in the Royal Academy in 1841. The 
 | property of Thomas Thorp, Esq. 
 | LXXIII. 
 | The Jewess. 
 Painted in 1840. Never exhibited. The property of R. Colls, 
 Esq. 
 
in aid of forming a National Gallery of British Art. $3 
 
 LXXIV. 
 A Magdalen. 
 Painted in 1842. Never exhibited. The property of C. W. 
 Wass, Esq. 
 LXXV. 
 The Grape Gatherer. 
 Painted and exhibited in the Royal Academy in 1846. The 
 property of Edwin Bullock, Esq. 
 
 LXXVI. 
 Contemplation. 
 Painted in 1844. Never exhibited. The property of Charles Went- 
 worth Wass, Esq. 
 LXXVII. 
 Portrait of W. Etty, Esq., R.A. 
 Painted in 1825. Never exhibited. The property of W. Etty, 
 Esq. 
 LXXVIII. 
 The Infant Moses and his Mother. 
 Exhibited in the Royal Academy in 1843. The property of the 
 Rt. Hon. Sir James Wigram. 
 
 LXXIX. 
 Study of the Head of a little Boy. 
 Painted and exhibited in the Royal Academy in 1845. The pro- 
 perty of Edwin Bullock, Esq. 
 
 LXXxX. 
 Fair Rosamond. 
 Painted 1844. Never exhibited. The property of C. W. Wass, 
 Esq. 
 LXXXI. 
 Preparing for a Fancy Dress Ball. 
 Painted and exhibited in the Royal Academy in 1835. The pro- 
 perty of the Rt. Hon. Charles W. Wynn, M.P. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 LXXXII. 
 The Dance. 
 
 ‘“‘A figured dance succeeds ; 
 
 a comely band 
 
 Of youths and maidens, bounding hand-in-hand : 
 
 The maids in soft cymars of linen drest ; 
 
 The youths all graceful in the glossy vest : 
 
 Of those the locks with flowry wreaths enroll’d 
 
 Of these the sides adorn’d with swords of gold, 
 
 That glittering gay, from silver bells depend. 
 
 The gazing multitudes admire around : 
 
 Two active tumblers in the centre bound ; 
 
 Now high, now low, their pliant limbs they bend : 
 
 And general songs the sprightly revel end. 
 
 Homer’s Description of Achilles’ Shield. Pope's Translation. 
 Exhibited in the Royal Academy in 1842. The property of John 
 Clow, Esq. 
 
 LXX XIII. 
 Cupid and Psyche. 
 Painted in 1842. Never exhibited. The property of H. A. J. 
 Munro, Esq. 
 LXXXIV. 
 Nymph after Bathing. 
 Painted in 1848. Never exhibited. The property of H. A.J. Munro, 
 Esq. 
 LXXXV. 
 Nymph reposing. 
 Painted in 18380. Never exhibited. The property of J. Criswick, 
 Esq. 
 LXXXVI. 
 
 A Naiad. 
 Painted in 1844. Never exhibited. The property of John Wood, 
 Esq. 
 
in aid of forming a National Gallery of British Art. 35 
 
 LXXXVII. 
 “6° Tis but a fancy sketch.” —Old Song. 
 Exhibited in the Royal Academy in 1844. The property of Wil- 
 liam Wethered, Esq. 
 
 LXXXVIII. 
 The Mourner. 
 
 Painted in 1842. Never exhibited. The property of Charles Went- 
 worth Wass, Esq. 
 LXXXIX. 
 “« He was despised and rejected of men.” 
 Never exhibited. Painted in 1846. The property of John Wood, 
 Esq. 
 XC. 
 The Bather. 
 ‘* At the doubtful breeze alarmed.” 
 Painted and exhibited in the Royal Academy in 1843. The pro- 
 perty of W. J. Broderip, Esq. 
 
 XCI. 
 Repose after Bathing. 
 Painted in 1844, Never exhibited. ‘The property of Jacob Bell, 
 Ksq. 
 XCIl. 
 A Pirate carrying off a Captive. 
 Painted and exhibited in the British Institution in 1846. The pro- 
 perty of Edwin Bullock, Esq. 
 XCIII. 
 The Forsaken. 
 Exhibited in the British Institution in 1845. The property of R. 
 Colls, Esq. 
 XCIV. 
 Study of Colour. 
 Never exhibited. Painted in 1839. The property of R. Colls, 
 Esq. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 XCV. 
 Study of a Dog. 
 Painted in 1840. Never exhibited. The property of James Cris- 
 wick, Esq. 
 XCVI. 
 “° Twas in the happy olden time. 
 Before the birth of care or crime.” 
 Exhibited in the Royal Academy in 1827. The property of Charles 
 Birch, Esq. 
 XCVII. 
 A Study in Colour of Objects of Still Life. 
 Exhibited in the Royal Academy in 1848. The property of 
 Wm. Wethered, Esq. 
 
 XCVIII. 
 Nymph robbing Cupid of his Bow. 
 Painted in 1843. Never exhibited. The property of John Gib- 
 bons, Esq. 
 
 XCIX. 
 
 A Magdalen reading. 
 
 Exhibited in the British Institution in 1847. The property of Wil- 
 liam Wethered, Esq. 
 C, 
 
 Psyche having after great peril procured the Casket of Cosmetics from 
 Proserpine in Hades, lays it at the feet of Venus, while Cupid pleads 
 in her behalf. 
 
 Exhibited in the Royal Academy in 1836. The property of Thomas 
 Baring, Esq. M. P. 
 
 CI. 
 
 A Family of the Forests. 
 “They lived with calm untroubled mind.”— Hesiod. 
 Exhibited in the Royal Academy in 1836. The property of Ed- 
 ward Harper, Esq. 
 
CII. 
 The Choice of Paris. 
 
 The Goddess of Discord, incensed at not being invited to the mar- 
 riage of Peleus and Thetis, threw into the assembly of the gods who 
 were at the entertainment, a golden apple, on which was inscribed, 
 “To the fairest.” All the goddesses claimed it as their own; but 
 at last, only three, Juno, Venus, and Minerva, wished to dispute 
 their respective right to beauty, and the gods, unwilling to become 
 arbiters in an affair so delicate, appointed Paris, a Phrygian shep- 
 herd, son of Priam, to adjudge the prize. Each tried by promises 
 and entreaties, to gain the attention of Paris, and influence his judg- 
 ment. After he had heard their several claims and promises, Paris 
 adjudged the prize to Venus, and gave her the golden apple. The 
 figures in the back ground are nymphs presiding over rocks and foun- 
 tains, a satyr, &c. 
 
 Exhibited in the Royal Academy, in 1826, and in the British 
 Institution in 1827. The Property of Andrew Fountaine, Esq. 
 
 CII. 
 Andromeda.— Perseus coming to her rescue. 
 Painted and exhibited in the Royal Academy, 1840. The Property 
 of J. Harris, Esq. 
 CIV. 
 Sabrina, from Milton’s Masque of Comus. 
 «« Sabrina fair, 
 Listen, where thou art sitting, 
 Under the glassy, cool, translucent wave, 
 In twisted braids of lilies knitting 
 The loose train of thy amber dropping hair.” 
 Exhibited in the Royal Academy in 1831, and the British Insti- 
 tution in 1832. The property of Thomas Baring, Esq. M. P. 
 
 CV. 
 Cleopatra’s Arrival in Cilicia. 
 “ She sailed along the river Cydmus in a magnificent galley ; the 
 stern was covered with gold, the sails were of purple, and the oars 
 i 
 
Exhibition of the Works of W. Etty, R.A. 
 
 of silver; these in their motion kept time to the music of pipes and 
 harps. The queen, in the dress and character of Venus, lay under 
 a canopy embroidered with gold, while boys, like painted Cupids, 
 stood fanning her on each side of the sofa. Her maids, habited like 
 the Nereids and the Graces, assisted in the steerage and conduct of 
 the vessel. 
 
 “The fragrance of incense, vast quantities of which were burnt 
 on the deck, was diffused along the shores, which were covered with 
 people.”— Plutarch’s Life of Antony. 
 
 “The sails were purple, and so perfumed, the winds were love-sick 
 with them.”—Shakspeare’s Antony and Cleopatra. 
 
 Painted and exhibited in the Royal Academy in 1821. The pro- 
 perty of the Rt. Hon. H. Labouchere. 
 
 CVI. 
 On the Thames. 
 Exhibited in the British Institution in 1843. The property of 
 William Wethered, Esq. 
 
 CVII. 
 Cupid intercedes for Psyche. 
 Painted in 1843. Never exhibited. The property of Joseph Gil- 
 lott, Esq. 
 CVIII. 
 The Backbiter. 
 Exhibited in the Royal Academy in 1844. The property of R. 
 Colls, Esq. 
 CIX. 
 The Bather. 
 Painted in 1844. Never exhibited. The property of Jacob Bell, 
 Esq. 
 CX. 
 
 The Signal. 
 Exhibited in the Royal Academy in 1844. The property of R. 
 Colls, Esq. 
 
in aid of forming a National Gallery of British Art. 39 
 
 COMMITTEE ROOM. 
 
 CXI, 
 The Juvenile Scribe. Feoyel Becacl«7724f 
 Exhibited in the , British—Institution in 1846. The property of 
 William Wethered, Esq. 
 
 CXII. 
 Cupid and Psyche descending. 
 
 Exhibited in the British Institution in 1822. The property of W. 
 J. Broderip, Esq. 
 
 CXIII. 
 Eve at the Fountain. 
 
 Exhibited in the Royal Academy in 1844. The property of Wil- 
 liam Wethered, Esq. 
 
 CXIV. 
 Children reposing after Bathing. 
 Exhibited in the British Institution, 1846. The property of Charles 
 Wentworth Wass, Esq. 
 
 CXV. 
 The tired Wayfarer. 
 Never exhibited. Painted in 1842. The property of James Cris- 
 wick, Esq. 
 CXVI. 
 The Wrestlers. 
 Painted in 1840. Never exhibited. The property of Chas. W. 
 Wass, Esq. 
 CXVIL 
 Repose. 
 Never exhibited. Painted in 1843. The property of C. W. Wass, 
 Esq. 
 CXVIII. 
 Venus and Cupid. 
 Painted in 1843. The property of H. A. J. Munro, Esq. 
 
Exhibition of the Works of W. Etty, R.A. 
 
 CXIX. 
 “« An Israelite indeed.” 
 Exhibited in the British Institution in 1847. The property of John 
 Miller, esq. 
 CXX. 
 Grecian Warriors. 
 
 | Painted in 1844. Never exhibited. The property of John Gib 
 
 | bons, Esq. 
 
 | CXX1. 
 
 : A Magdalen. 
 
 Painted in 1845. Never exhibited. The property of Henry Bur- 
 | ton, Esq. 
 
 | | CXXIl. 
 
 | Study. 
 
 Painted in 1843. The property of James Criswick, Esq. 
 
 | CXXIIL. 
 
 Guardian Genii. 
 
 Painted 1830. Neverexhibited. The property of H. A. J. Munro, 
 Esq. 
 
 The following ten pictures are the property of G. T. Andrews, Esq. and 
 will be removed from this Exhibition for the purpose of sale early in the 
 ensuing month. 
 
 CXL. 
 
 Nymph and young Fawn dancing. 
 
 Painted and exhibited in the British Institution in 1835, 
 
 CXXV. 
 A French Peasant. 
 Painted in 1846. Never exhibited. 
 
 CXXVI. 
 Somnolency. 
 
 Painted and exhibited in the Royal Academy in 1838. 
 CXXVII. 
 
 | A Rabbi. 
 Painted in 1845, Never exhibited. 
 
in aid of forming a National Gallery of British Art. AT 
 CXXVIII. 
 Britomart redeems fair Amoret. 
 “ Ne living wight she saw in all that roome, 
 Save that some woeful ladye, both whose hands 
 Were bounden fast, that did her ill become, 
 And her small waist, girt round with yron hands 
 Unto a brazen pillour, by which she stands, 
 And her before the vile enchanter sate, 
 Figuring straunge characters of his art ; 
 With living blood he those characters wrote 
 Dreadfully dropping from her dying harte. 
 Soon as that virgin knight he saw in place 
 His wicked bookes in hast he overthrew, 
 Nor caring his long labors to deface ; 
 And fiercely running to that lady true, 
 A murd’rous knife out of his pocket drew, 
 The which he thought for villeinous despight 
 In her tormented body to embrew: 
 But the stout damsel to him leaping light, 
 His cursed hand witheld, and maistered his might.” 
 Spencer's Faery Queen, Book iii. Canto 12. 
 Painted and exhibited in the Royal Academy in 1883. 
 
 CXXIX. 
 Robinson Crusoe. 
 
 “But before any more waves could overtake me, I reached the 
 main land, where, climbing up the cliffs of the shore, tired and 
 almost spent, I sat down on the grass free from the dangers of the 
 foaming ocean. 
 
 ‘‘No tongue can express the ecstacies and transports that my 
 soul felt at the happy deliverance. . . . I was wrapped up in 
 contemplation, and often lifted up my hands with the profoundest 
 humility, to the divine powers, for saving my life when the rest of 
 my companions were all drowned.” 
 
 Painted and exhibited in the British Institution in 1832. The 
 Property of J. C. Andrews, Esq. 
 
Exhibition of the Works of W. Etty, B.A. 
 
 CXXX. 
 Sketch for “ The Judgment of Paris.” 
 Painted in 1828. Never exhibited. 
 
 CXXXI. « 
 Sketch for Picture of ‘‘ Youth at the Helm and Pleasure at the Prow.” 
 / In the Vernon Collection. 
 | Painted in 1848. Never exhibited. 
 | CXXXII. 
 | The Fairy of the Fountain. 
 
 Painted in 1846. Never exhibited. 
 | CXXXIII. 
 | * Angels ever bright and fair.” 
 
 Painted in 1840. 
 
 SUBSCRIBERS’ ROOM. 
 
 CXXXIV. 
 Impression of the Engraving of the Picture of “ Mercy Interceding for 
 | the Vanquished.” 
 By T. G. Doo, Esq. To be presented to Subscribers of 1/. 1s. 
 each to the fund for forming a National Gallery of British Art. 
 
 CXXXV. 
 Portrait of Willam Kitty, Esq. R.A. 
 Engraved by C. W. Wass, Esq. from the Picture No. LX XVII. 
 CXXXVI. 
 The Saviour. 
 
 Engraved by C. W. Wass, Esq. from the Picture, No. LXII. 
 
 | CXXXVII. 
 
 | Cupid and Psyche. * 
 | Engraved by C. W. Wass, Esq. from the Picture No. CXII. 
 
 | CXXXVIIL. 
 
 | The Coral Finders. 
 | Engraved by C. W. Wass, Esq. from the original Picture by Wil- 
 | liam Etty, Esq. R.A. 
 
NAMES OF DONORS AND SUBSCRIBERS ALREADY 
 
 Her Majesty the Queen 
 H. R. H. Prince Albert 
 
 Absolon, J. 
 
 Ames, J. 
 
 Barlow, C. 
 
 Bates, W. E. 
 
 GaSe C: 
 
 Benson, Rewer 
 IBensons Vie = .cnnes 
 Berens, Richard 
 Bicknell, H. 
 
 Blundy, C. 
 
 Bodley,T  . 
 Boileau, Sir J. P. Bae 
 
 Book and Harrison, Messrs. 
 
 Bowen, J. H. 
 
 Braby, J. . 
 Brickwood, J. Se 
 Briggs, J. H. 
 
 Briggs, A. R. 
 
 Brooks, S. W. Pale 
 Brown, Major H. . . 
 Burch, C. ere 
 Burton, H. . 
 Chantrell, R. De 
 Chapman, Charles . 
 Chattock, R. 
 Christmas, T. 
 
 Chubb, J. . 
 
 Claridge, G. . 
 
 Clow, J. 
 
 Cole, Charles Act 
 
 Cole, Henry . 
 
 Coles, J. 
 
 Colls, R. - 
 
 Colls, L. 
 
 Cooke, KE. W. 
 
 Cope, C.W. . 
 Cotton, W. F.S. A. 
 
 Creswick & aes Messrs 
 
 Cluff, G. 
 
 Cundall, J. 
 Curteis, J. 
 Dakes, C. 
 Daniel, A. 
 
 to 
 
 PR a a ee ee a ee — a a 
 
 mm th 
 
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 RECEIVED. 
 
 s. d. 
 
 1 0} Dayson, T. 
 
 1 0 | Dean, A. : 
 Denham, J. C. 
 
 HORE DPE EEE DDN EH EHP ORE H PORE Er Rr Orr rorrrenrrr 
 
 cocoooocecoseooeesooeooooSoSoSCSSoSCOS SSS SSS Sse eseseee 
 
 Dilke, C. W. 
 
 Dilke, @: nee Ta 
 
 Dickson, P. ; 
 Dixon, Edward . 
 Dockray, Robert B. 
 Downes, W.S. . 
 Doyle, W. jun. . 
 Exley, W. H. 
 Farrer, H. 
 
 Farqua, T. H. 
 Fenn, Joseph . 
 Foster, P. le Neve . 
 Fuller, F. 
 Furlonger, C. he 
 Gee, A. S. 
 
 Gillott, J. 
 
 Glasse, James 
 Grant, Horace 
 Hall, G. F. 
 
 Hall, J. : 
 Hamilton, Otho . 
 Hamilton, C. A. 
 Hamilton, Dr. 7 
 Harding, Wyndham 
 Harper, E. 
 
 Hawes, W. 
 Hawker, C. 
 
 Hetley, J. 
 
 Hickson, Miss 
 Hickson, Samuel 
 Hill, Rowland J. : 
 Hill, Miss Louisa New 
 ISO dle dls : 
 
 Hogarth, J. 
 | Holmes, Js 
 
 Hoy, Henry B. . 
 Hutchison, J. H. 
 Hubert, S. M. 
 Ifold, William 
 Jolson, H. . < 
 Kelsey, Richard 
 Kemble, H. 2 
 Langdale, Lord . 
 
 OH HE EEE HOP ND EEE RHEE ED RB ER EE EE EE Dee ee eee eon 
 
 tO HE EE RR OR EE OND HEHE REE EHD EE HOR RP EH EN EP Ee EE Omri > 
 
 cooo ooo Oe Cos Oooo SCO OOO SS OS OSSOOSOOS SSO SOSOSSOSOSOSSSOSOSO® 
 
44 NAMES OF DONORS 
 
 Lindley, Joseph 
 Lindley, William 
 Lindley, Miss 
 Lines, A. . 
 
 Lowe, J. 
 
 Maclise, D. R.A 
 Madigan, R. 
 Macpherson, R. 
 Manin; Geld. oe as 
 sb aon aut W:. H.. 
 Marshall, J. F. . 
 Maude, H. ee ‘ 
 Medley, Mrs..F. W. 
 Minton, Herbert 
 Moffatt, Gs M. 
 Morison, Kenneth « 
 Munro, H. A. J. 
 Murdoch, R. 
 Newenham, W. 
 Niemann, K.. . 
 Normanvyille, W. J 
 
 Northampton, the Marquis of 
 
 Oldfield, C. F. 
 Payne, Joseph 
 Perry, J. G. 
 Petit, L. H. 
 
 Phillipps, Henry Wy yndh am . 
 
 Piper, Capt. R. 
 Poole, P. F. 
 
 Porretiz: He 4.3 
 Princess, W. H. 
 Procter, W. é 
 Rathbone, Bichasd 
 Radford, Dr. 
 
 Reed, J. 
 
 Reeves, J. R. 
 Ricardo, M. « 
 Roake,{Ges os. 4-44 
 Roberts, David, R.A. 
 Roods, T. ‘ 
 
 Ross, Sir W.-C. RA 
 Rought, Mr. 3 
 Sabine, H. R. 
 Sayville, Robert 
 
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 | Snogewell 
 
 Searle, RT. 
 Scott; Samuel 
 ay E. W. . 
 
 Simpson, W. B. 
 
 Sloper, J. D. 
 Smith, James Scott 
 VV. Es 
 Solly, R. H. ; 
 
 | Speer, E. . 
 
 Spiers, R. J. 
 Stainburne, J. 
 
 | Stansby, James . 
 
 Steny, A. 
 Stephenson; Rehert, 1 
 Sting, A. . 
 Btodker: de Pp, 
 
 M.-P. 
 
 Sutherland; the Buches of . 
 
 Taunton, W. 
 Taylor, J. 
 Taylor, Wm. ; 
 Tennant, James 
 Tenniel, J. 
 Thomas, D. 
 Thomson, John « 
 Todd, T 
 
 Turner, C. H: 
 Underhill, ‘W. 
 Vaughan, Petty 
 Van Voorst, John 
 Vinth, H. 
 
 | Walker, S. 
 
 Ward, W. 
 Wass, GC. W. : 
 Westley, W. 
 Wethered, -W. 
 Whittingham, C. 
 Whishaw, Francis 
 Wilkinson, N: 
 Wethered, Mrs. 
 Wood, H. 
 Woodcroft, B. 
 Woods, J.*. 
 
 | Yates, J. A. 
 
 AND SUBSCRIBERS RECEIVED. 
 
 « 
 
 os 
 
 SOSOC SO SSS S'S OS SC OOO COC oCSe eo OOD OOO S'S OOS SOC S0O 
 
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 | 
 
 The Comimittee have prepared Cards to be filled up with subscriptions to the ‘amount. of 
 £10, which may be had on applicatior The receiver of the Card 
 guarantees to find Subscribers to that" The Subscription is not restricted to mem- 
 bers of the Society. 
 
 at the Society’s House. 
 mount. 
 
 &