A
BIOGRAPHICAL AND CRITICAL
DICTIONARY
OF
RECENT AND LIVING
PAINTERS AND ENGRAVERS,
FORMING A SUPPLEMENT TO
BRYAN'S DICTIONARY OF PAINTERS AND ENGRAVERS
AS EDITED BY GEORGE STANLEY.
BY
HENRY OTTLEY.
LONDON :
GEORGE BELL & SONS, YORK STREET, COVENT GARDEN
1876.
PREFATORY NOTICE.
Fourteen years had elapsed since the publication of the New Edition of Bryan's
Dictionary of Painters and Engravers, " revised, enlarged, and continued to the
Present Time/' by Mr. George Stanley, when it was generally acknowledged that the
changes which had occurred in the artist- world, both by the decease of many eminent
men, which brought them legitimately within the province of the biographer, and by
the accession of a still more numerous phalanx of rising practitioners of widely re-
cognised pretensions, were such as to render an Appendix to that work a desideratum
for the artist, the collector, and the connoisseur.
On preparing to supply this demand, the Editor felt that he did so under circum-
stances which rendered the inclusion of living talent, though not done in the original
work, a matter of necessity, if he would meet the wishes and practical requirements
of those who would be likely to consult his pages. Indeed, the names of artists who
have sprung up and achieved eminence within the last quarter of a century, in Great Bri-
tain, as well as in the principal European states, to which are to be added some in the
New World itself, are legion, and themselves suffice to form a school, or rather schools,
marking a distinct era in the history and practice of Painting; whilst the number of
those who seek out and inspect their works, earnestly canvassing their pretensions, are
counted in hundreds of thousands, instead of in scores and hundreds, as was the
case a generation ago.
In laying the result of his labours before the public, the Editor can claim little
beyond the recognition due to industrious and judicious compilation. Whilst many
of the articles in the ensuing pages are reprinted from memoirs from his hand which
have previously appeared in a popular illustrated journal, the Editor, in the interests
of his subject, has not hesitated to avail himself of all published materials which
have fallen in his way, having reference to living, or recently deceased artists ; using
only the privilege of remodelling them, so as to bring them within the limits which he
considered the several subjects deserved, and of qualifying, or altogether omitting,
statements of opinion which he considered unjust or inappropriate to the occasion.
Foremost amongst the valuable contributions to art-history which he has thus turned
to account, are the able memoirs published from time to time in the Art Journal,
and chiefly due to the accomplished pen of Mr. Jas. Dafforne, the assistant Editor
of that esteemed periodical. Much valuable assistance has also been received from a
h PEEFATOEY NOTICE.
small 8vo. volume, entitled ' Our Living Painters/ published anonymously in 1858,
For the rest, the < Annual Biography and Obituary/ the ' Gentleman's Magazine/
and other periodical publications, from the commencement of the current century,
have been diligently searched, and put under contribution, while Sandby's ' History
of the Eoyal Academy/ the ' Nouvelle Biographie Generate/ the 'Biographie Uni-
verselle/ the new edition of Siret's ' Dictionnaire Historique des Peintres/ Va-
pereau's < Dictionnaire des Contemporains/ and its English follower < Men of the
Time/ have severally supplied much valuable information. The catalogues of vari-
ous public collections at home and abroad have also been referred to, and not alto-
gether without result.
In addition to the published materials above enumerated, the Editor sought to
obtain authentic data relating to living artists of eminence, by addressing to them a
circular setting forth the nature and purport of his undertaking, and requesting such
information as they thought proper to communicate, classified under several heads. To
these applications many returned courteous replies, accompanied by interesting par-
ticulars, which will be found embodied in their place in the following pages. On the
other hand, to the Editor's great regret, many of these applications have remained
unanswered to this day ; and in some few cases replies were received, declining, upon
the ground of feelings of diffidence, compliance with the request preferred. These
latter facts the Editor considers it due to himself to make known, in order to account
esn]
PAINTERS AND ENGRAVERS.
tlic middle of the niglit for Baron Denoii, who
occupied the post of Director General of the
Imperial Museums, and desired him to order M.
Desnoyer forthwith to produce an official portrait
of Marie Louise, the only indications for which
were compromised in these few words — " Round
head, fair hair, high forehead." At the end of
four days Baron Denon was enabled to send a
proof of the proposed portrait to the Emperor,
who, well pleased with it, ordered its immediate
publication. The plate was accordingly sent to
the printers, and twenty impressions of it had
been issued, when a messenger from the Tuilleries
brought to the engraver an authentic miniature
of Marie Louise. He now immediately retouched
the head by this model, leaving the rest of the
figure as it was, and on the following day thou-
sands of copies of it were spread all over Paris.
In 1834 M. Desnoyer painted for the Ecole des
Beaux Arts eight copies in oil, and five large
water-colour drawings, two miniatures, and four
male portraits, after Raphael. He was elected a
member of the Institute in 1816 ; was appointed
first Engraver to the King in 1825, and received
the title of Baron in 1828, and the Cross of the
Legion of Honour in 1835. He died at Paris on
the 15th February, 1857.
DESPRES. Louis John, painter and archi-
tect, born at Lyons in 1740, and died at Stock-
holm, where he had resided the greater part of
his life. Having already produced one or two
worts in Paris, he went to Rome, where he as-
sisted in the production of the ' Voyage Pittor-
esque de Naples,' published by the Abbe de
Samt-Non. Gustavus III. of Sweden having
met with him in Italy, took him to Stockholm,
where he employed him to put up the scenery
and decorations for the opera of Gustavus Vasa,
which he did on a grand scale. The war which
broke out between Russia and Sweden afforded
him subjects for several battle-pieces, amongst
the rest that of Suenksund. He had many
pupils, and left behind him a large number of
sketches, amongst others, of ' Costumes of Swe-
den,' which have been engraved.
DE WINT, P. This eminent water-colour
painter was born in 1784. For the long period
of nearly forty years the numerous drawings of
Mr. De Wint formed one of the most attractive
features in the exhibitions of the Old Society of
Painters in Water-Colours ; his subjects for the
most part being of that class which is sure to find
favour with the frequenters of a gallery of Eng-
lish pictures, and the lovers of English land-
scape scenery. Green meadows, cornfields, hay-
fields, stacks, and ricks, were the themes wherein
his pencil delighted, and these he portrayed with
such truthfulness and fidelity, and at the same
time with such artistic feeling, as could not fail
to win for him popularity in the eyes of all who
can relish the simplicity of nature and the quiet
enjoyment of rural occupation. We know not
whether he was a native of Lincoln, but cer-
tainly the flat yet picturesque scenery of its
neighbourhood possessed peculiar attractions for
him ; for we scarcely remember an exhibition
which was not graced by some half-dozen views
taken from its vicinity, far and near. Mr. De
Whit's style was unquestionably his own, and he
appears to have deviated little or nothing from
that he had, in his earliest practice, laid down as
his rule. He essentially belonged to the old
school, carefully eschewing all the improvements
in the use of body-colours, &c, which the younger
painters of our day have thought fit to introduce
into their works, on the plea, it may be presumed,
that the end justifies the means, and that so long
as the end is attained, it matters little through
what medium it is reached. If the subjects of
Mr. De Wint's pencil were simple, his manner of
treating them was simple also ; his handling was
free and masterly, devoid of aU affectation, and
appealing at once to the judgment of the critic,
and to the uninitiated by its truth. He died at
his residence in Upper Gower Street in June,
1849.
D'HEUR, Cornelius Joseph. This painter
of history and interiors, was born at Antwerp in
March, 1707. In his tenth year he entered the
studio of Gaspard van Opstal, the younger, and
on the death of the latter shortly afterwards, put
himself under John Joseph Horrmans, the elder.
He afterwards received some instruction from
Peter Snyers. In 1730 he went to Paris, where
he carried away successively the silver medals of
the third, second, and first class. The date of
his return to his native city is uncertain ; but in
1756 he was appointed one of the six directors of
the Academy of Fine Arts there ; where he gave,
gratuitously, lessons in geometry, architecture,
and perspective. He died in March, 1762. In
the Museum at Antwerp are two paintings in
grisaille, of the arms of the Abbey of St. Mi-
chael, and of James Thomas, 50th abbot of that
fraternity ; and in the same vehicle three bas-re-
liefs, representing Prudence, Justice, and Power,
also a picture illustrative of Teaching Perspec-
tive, signed and dated 1761.
DIGHTON, Denis, son of the celebrated cari-
caturist of Charing Cross, was born in London,
in 1792. When young, he became a student in
the Royal Academy of Arts. Having in his juven-
ile career attracted the notice of the Prince of
Wales, at the age of nineteen he received, through
the prince's favour, a commission in the 90th
regiment, which, however, he resigned, in order
to marry and settle in London. He was ap-
pointed military draughtsman to the prince, and
occasionally made professional excursions abroad
by desire of his royal highness, who during some
years purchased nearly every picture that he pro-
duced. A change, however, afterwards took
place in the prince's household, (Sir Benjamin
Bloomfield being succeeded by Sir William
Knighton), by which he became less accessible
than heretofore to the young artist, which event,
combined with other adverse professional circum-
stances, by degrees affected his reason ; when
with his wife and son, he went into retirement at
St. Servant, in Brittany, when he died on the
8th August, 1827, aged 35.
DOBSON, William Charles Thomas. This
artist was born at Hamburg in the year 1817,
being of English parentage on the male side
only. His father, John Dobson, was for many
years a merchant in the above-named city;
but, having suffered severe losses, returned to
London with his family about the year
1826. The subject of our memoir had from
earliest childhood evmced a great taste for
drawing, which his friends, fortunately, en-
couraged. He commenced his studies from the
antique in the British Museum, about the year
1831, and was admitted a student of the Royal
53
SUPPLEMENT TO DICTIONARY OP [dohk
Cobs]
Academy in 1836. He received Ms first instruc-
tion in painting from Mr. E. Opie, of Plymouth,
a nephew of the late John Opie, R.A., who took
great interest in the progress of his promising
pupil. Added to this, he, early in life, was intro-
duced to Sir Charles (then Mr.) Eastlake, from
whom, during many years, he had the advan-
tage of receiving instruction and advice — both
given without remuneration, and entirely as a
matter of kindness. In the year 1843 Mr. Dob-
son was appointed Head Master of the Govern-
ment School of Design in Birmingham, where he
taught pattern-drawing and flower-painting for
two years. But a drudgery so unsuited to a
creative fancy, so crushing and discouraging to
all aspiration for future advancement, could not
hold him long. In 1845 he resigned this office,
and hastened to Italy for the purpose of pursuing
the study of high art in its noblest home ; and
afterwards extended his course of study by pro-
ceeding to Germany, now the seat of an impor-
tant movement in art. He returned to England
in 1860. The subjects painted by Mr. Dobson
have been chiefly selected from Scripture or epi-
sodes of life into which a devotional character is
infused. In his treatment of these themes he
displays, unmistakeably, what is so often wanting
in the mere art of the schools — a love for holy
things, and a reverential feeling which at once in-
spires and guides his pencil. The consequence
of this is a prevailing moderation of tone, in
which passion is almost entirely suppressed ; a
style of beauty in form and colour which denotes
the safe middle course of contentment and health
rather than the wilder passages of worldly strife
and vicissitude. He thus creates a sort of ideal
kingdom, upon which the eye rests directly with
calmness and pleasure, and which awakens our
sympathies to wise and more generous relations
than the world in its every-day course dreams of.
On the other hand it maybe fairly suggested, that
inthe constant indulgence of this calm tone of mind,
he runs the risk of tameness, whilst in his choice of
models, he is unquestionably too restricted. Of
the works of Mr. Dobson we may enumerate the
following as amongst the most important, and
which were respectively exhibited at the Royal
Academy at the dates indicated : —
Tobias and tlie Angel. 1853. The Almsdeeds of Dorcas.
1854. The Charity of Dorcas. 1855. In the posses-
sion of her Majesty. The Prosperous Days of Job.
1856. The Children in the Market-place. 1856.
Reading the Psalms, and Fairy Tales (companion pic-
tures, engraved). 1857. The Child Jesus going down
with his Parents to Nazareth. 1857. Hagar and Ish-
mael sent away. 1858. The Holy Innocents. 1858.
Der Rosenkrunz. 1859. And he (David) bade them
teach the children of Judah the use of the bow. 1859.
Tram up a child in the way he should go, &c. 1860. En-
graved.
DONALDSON, Andrew, held a foremost
rank amongst the Scottish painters of landscape
in water colours ; the high position and estimation
in which that art came to be held in Scotland, be-
ing mainly due to him. Of his early history we
know little. He was, we believe, born at Comber,
near Belfast, but was taken in his childhood to
Glasgow, where he resided till the period of his
death. His father was an operative cotton-spinner
in Mr. Houldsworth's mill, Hutchesontown, where
young Andrew was for some years employed as
piecer. Having met with an accident, which left
54
him some time in a delicate state of health, he
was afterwards apprenticed to a haberdasher in
Argyll Street. His strong natural taste, how-
ever, for the Fine Arts must have induced him,
at a very eai'ly age, to devote his entire time to
its cultivation. His drawings, at the period to
which we refer, represented, for the most part,
some of the more quaint and picturesque scenes
in Glasgow and its immediate neighbourhood.
He afterwards extended his artistic researches,
the result being, that few parts of Great Britain
or Ireland which promised to supply him with
new and suitable themes for his pencil were left
unvisited by this gentle enthusiast in his art ;
and the fruits of his many professional excur-
sions were given to the public in a continual series
of drawings, marked by a keen appreciation of
the beauties of Nature, and executed in a manner
both tasteful and original. His style was dis
tinguished by softness and firmness of execution,
by clearness of colour, and by great breadth of
effect. It should be added that Mr. Donaldson
attained this excellence before the British school
of water-colour painting had taken its present
lofty stand among the imitative Arts of Europe.
As a teacher, Mr. Donaldson was long and favour-
ably known to the community of Glasgow, in
which city he died on the 21st August, 1846.
DOWNMAN, (John), became a student of
the Royal Academy in 1769, and an Associate in
1795. He chiefly painted portraits, either in oils
or miniature, but occasionally exhibited historical
subjects, as ' The Death of Lucretia,' ' The
Priestess of Bacchus,' ' The Return of Orestes,'
' Tobias,' &c. He died at Wrexham in North
Wales, on December 24th, 1824.
DOO, George Thomas, one of the most emi-
nent line-engravers of the age, was bom at Christ-
Church, Surrey, on the 6th of January, 1800.
His history is best developed in his works, which
are entitled to rank amongst the best specimens
of this difficult and laborious, but too much
neglected, branch of art ever produced in
the British School. They include ' Knox
preaching before the Lords of the Covenant,'
after Wilkie, ' Mercy appealing for the Van-
quished,' after Etty ; 'Lord Eldon,' 'Nature,'
'Miss Murray,' and various female, and children's
heads, after Lawrence ; ' Pilgrims coming in sight
of Pome,' after Sir C. Eastlake ; and from works
of the old masters, Raphael's ' Messiah,' and
' Infant Christ,' Correggio's ' Ecce Homo,' Van-
dyke's ' Gevartius,' and Sebastian del Piombo's
' Resurrection of Lazarus ;' the last commenced
under the auspices of an association of gentlemen,
interested in promoting the cultivation of histo-
rical line engravingin England, and still, webelieve,
in progress. Mr. Doo was elected by the Royal
Academy, an Associate Engraver in 1856, and an
Academician Engraver in 1857. He also holds the
honorary appointment of Historical Engraver to
the Queen, and is a Eellow of the Royal
Society, and honorary member of the Society
of Arts at Amsterdam, and of the Pennsylvania
Academy of Fine Arts, and a corresponding
member of the Academy of Parma.
DORE, Paul Gustave, a French painter and
daughtsman of eminence, was born at Strasbourg
in 1832, and went to Paris in 1845, where he
completed his studies in art at the Charlemagne
Lyceum. His first efforts were displayed under
M. Bertail, in the ' Journal pour Rire,' in the
PAINTEES AND ENGEAVEES.
[DUBU
year 1848. In the same year he produced
several pen sketches, which were exhibited, and
attracted notice at the Salon. In succeeding years
he exhibited several other subjects taken from
landscape or animal life ; in 1855, at the Univer-
sal Exhibition, ' The Battle of the Alma ;' and in
1857, ' The Battle of Inkerman.' He has also
produced numberless illustrations to various
standard authors, amongst the rest, the works of
Babelais, in 1854; the Contes Drolatiques of
Balzac, in 1856 ; the Essays of Montaigne, in
1857 ; the Voyage to the Pyrenees, by M. de
Taine, in 1859. The work, however, which most
tended to exalt his fame, were the splendid designs
in illustration of Dante's ' Inferno,' published in
quarto, by Hackette, of Paris and London.
DOYEN, — . Historical painter, and professor
of the Academy towards the end of the 18th cen-
tury. His chef d'ceuvre is considered to be the
Sainte Genevieve-des-Arden, (patron saint of
Paris), in the church of St. Boch, which was
painted about the year 1780. In 1791, Doyen
quitted France on the invitation of the Empress
of Eussia, and was appointed Director of the
Academy of Fine Arts at St. Petersburg, a post
which some years afterwards, he quitted, pro-
bably on account of his advanced age (75). We
have no account of any works he may have pro-
duced in the Eussian capital.
DOYLE, Eichard, was born in London, in
1826. He was the son' of Mr. John Doyle ; who
established for himself an almost world-wide repu-
tation as a satirical artist, and admirable draughts-
man, by his political caricatures, published
anonymously with the signature " H. B ;" and
which for a long series of years, during the ex-
citing period of Eeform agitation, and the
struggle of parties which followed, were the talk
of the town, and the leading attraction of the
printshop windows. Mr. Eichard Doyle in-
heriting his father's talent, brought it to bear
through a different medium of popularity, for
many years designing the principal subjects for
Punch. Amongst the happiest of his pictorial
story telling in this vehicle, may be mentioned
his well known series, ' Ye Manners and Customs
of ye English," and the adventures of ' Brown,
Jones, and Eobinson,' on their travels. In 1850,
however, he abandoned the pleasant pages of
Punch, in consequence of the rather unceremonious
attacks made in the latterupon the pope, and which
as a Eoman Catholic he would not permit his pencil
to illustrate. He has since illustrated several
popular books, as ' The Pot of Honey,' by Leigh
Hunt ; « Fairy Tales,' by Montalbeo ; ' The New-
combes,' by Thackeray; &c.
DBOLLING, Michael Martin, the son of
Martin Drolling, {see ' Bryan'), historical painter,
was born in 1786. He became a pupil of David,
and carried away the grand (Borne) prize in 1810.
He was elected a member of the Institute, in the
place of Guerin, who died in 1833, was appointed
professor of the Ecole des Beaux Arts, in 1837,
and died in 1851. This artist was a distinguished
exponent of the Classic School, and a worthy
follower of David, with more of colour and move-
ment than that master displayed. Amongst his
best works, are: — 'Orpheus andEuridice,' (1822);
and 'Ulysses carrying off Pohyxenas,' (1827) ; both
in the Luxembourg ; ' The Death of Cardinal de
Bichelieu,' in the Palais Eoyale ; ' The Good Sa-
maritan,' in the Museum at Lyons ; ' Christ and
the Doctors,' in the church of Notre-Danie-de-
Lorettc at Paris ; ' The Communion of Marie
Antoinette/ for the chapel of the Corciergerie,
at Paris.
DEOUAIS, (Jean-Germain), a French painter
of history, who died in the very spring tide of
promise. He was born at Paris, 25 ^November,
1765. His father Henry, and his grandfather
Hubert Drouais, were portrait painters of some
eminence, and under the instructions of the former
he made rapid progress. He afterwards, during
some years studied under Brenet, an historical
painter, and eventually entered the school of
David, where he studied assiduously, resisting all
the temptations of youthful gaity. He was ad-
mitted one of the candidates for the great prize
of 1785, but being dissatisfied with his work, he
tore up the canvass. He, however, presented
himself at the competition of the following year,
when he carried off the prize, by his admirable
picture of ' The Woman of Canaan at the feet
of Christ,' which the writer in the " Annales du
Musee," says, "was one of the finest productions
which had appeared since Poussin and Le Sueur."
So unanimously was its merit acknowledged and
felt, so beloved was the young painter for his
modesty and assiduity, that his comrades carried
him in triumphal procession to his mother's home.
As a result of this success he went to Eome,
where in due course he sent to Paris a picture
on the subject of ' Marius at Minturno,' and
another on that of ' Philostatus,' which excited
considerable applause. In the midst of this
career of ardent and enthusiastic achievement,
he was smitten by fever, of which he died
July loth, 1788, in" the twenty-fifth year of his
age. He left unfinished a fine picture represent-
ing ' Tiberius Gracchus departing to demand the
execution of the Agrarian law,' a grand composi-
tion of figures life-size.
DEUMMOND, Samuel, was born in 1770,
and became a student of the Eoyal Academy in
1791, and an Associate in 1808. He principally
painted portraits, but occasionally scripture,
classic, and fancy subjects, many of which are
engraved. He succeeded Oliver as the curator of
the Painting School at the Academy. He died
in 1844 ; his portrait of Sir M. T. Brunei, and
a miniature of Mrs. E. Fry are in the National
Portrait Gallery.
DUBUFFE, Claude Maria, was born in Paris
about the year 1793, became a pupil of David,
and commenced his artistic career with Academic
classic performances, according to the then
fashion, as ' A Eoman allowing himself to starve
to death, with his family, rather than touch a
store of money which had been confided to him,'
(exhibited in i810) ; ' Achilles taking under his
Protection Iphigenia, whom his Father, Agamem-
non, was about to sacrifice,' (1812.) In 1819 he
exhibited ' Christ allaying the Tempest,' and ' A
Female reading;' in 1822, 'Apollo and Cy-
panissa,' an elegant subject, which is at present
in the Gallery of the Luxembourg ; and ' Psyche
restoring to Venus the Casket of Beauty ;' in
1824, ' The Birth of the Duke of Bourdeaux,'
' The Passage of the Bidossoa,' ' Christ Walking
on the Water ;' in 1827, ' The Deliverance of
St. Peter,' and two little sentimental pictures,
'Les Souvenirs,' and ' Les Eegrets.' In 1831
another picture, in the style of the last two, en-
titled 'The Nest and the Titmouse.' He also
55
brim] SUPPLEMENT TO DICTIONARY OP
about this time painted four subjects over tbe
doors in tbe Chamber of the Council of State,
representing ' Egypt,' ' Greece,' ' Italy,' and
' Prance.' Later he appears for a time to have
taken more especially to portrait painting, which
he had intermixed with his earlier labours above
cited ; and in this walk of art he met with such
distinguished success, more particularly in fe-
male subjects, that it became quite the fashion to
be painted by him. Amongst others he has had
for his sitters King Louis Phillippe, and his
daughter, Queen of the Belgians, (1857) ; the
Deputy Nicolas Kcechlin, (1841) ; Zimmermann
the musician, (1847). Amongst his later works
in other classes were ' The Kepublic,' (exhibited
in 1849) ; ' A Village Girl,' (1852) ; ' The Birth
of Venus,' (1859), &c. He received a medal of
the first-class in 1831, and the decoration of the
Legion of Honour in 1837. He died in April, 1864.
DUBUFFE, Edwaed, son of the preceding,
was born in Paris about the year 1818. He
studied first under his father, and afterwards
under Paul Delaroche. He made his debut at
the Salon of 1839, with an ' Annunciation,' and
' Huntress.' In the following year he exhibited
' The Miracle of the Roses,' conceived in the same
spirit of sentiment as his father's two successful
works, 'Les Souvenirs,' and ' Les Eegrets.' In
1841 Mr. Edward Dubuffe took to scriptural
subjects, which during five years he treated with
considerable success ; ' Tobit,' ' Faith, Hope, and
Charity,' ' Bathsheba,' and ' Morning Prayer,' be-
long to this period. Eventually, however, he
commenced devoting himself to portrait painting,
a department of art in which his father had made
so great a reputation, and with a success quite
equal to his. In 1846 he exhibited the portraits
of M. Jules Janin, and M. Paul Gayrard ; and
in 1853 a portrait of the Empress Eugenie, and.
four other female portraits, which attracted,
general admiration. At the Universal Exhibi-
tion of 1855 he contributed seven portraits ; in
1857 he exhibited seven portraits, including a
very fine one of Mile. Eosa Bonheur, the emi-
nent landscape and animal painter, which has been
engraved ; in 1859, ' The portrait-group picture
of the Congress of Paris,' and six other portraits.
M. E. Dubuffe obtained a third-class medal in
1839, two second-class medals in 1840 and 1855
respectively ; a first-class medal in 1844, and was
decorated with the Legion of Honour in 1853.
DUCOENET, Louis CjEsab Joseph, a French
painter of some repute, was born of poor pa-
rents, at Lille, in January, 1806. He was na-
turally deformed, having neither arms nor thighs,
and only four toes to his right foot. Being as a
child often left to roll about the floor alone, whilst
the rest of the family were engaged in their
daily vocations, he used, to pick up bits of char-
coal, and amuse himself by drawing on the wall
various objects which surrounded him. He for-
tunately received some instruction from M.
Wateau the professor of drawing at the school ;
and the Mayor of Lille, the Count de Muyssard,
perceiving his talent, procured for him a pension
of 300 francs from the municipality. Some time
afterwards M. Potteau, deputy of the depart-
ment, with the assistance of M. de Muyssard,
caused him to be sent to Paris, and placed in the
atelier of Lethiere, where he was treated by that
painter as a son, and by the pupils as a brother.
Charles X. assigned him a pension of 1200
56
[duff
francs, which, however, was discontinued at the
Eevolution in 1830, and never afterwards re-
newed. Before 1830 he painted the ' Parting of
Hector and Andromache,' and several portraits.
At Cambray he gained a bronze medal for his
picture of ' Eepentance ;' in 1840 a gold medal,
third-class, for the ' Death of Mary Magdalen ;'
in 1841 one of the second-class in gold for the
' Eepose in Egypt,' and in 1845 a gold medal,
first-class, for ' Christ in the Sepulchre.' In
1855 he exhibited his last painting, ' Edith,' a
commission from the Emperor Napoleon III.
These paintings are all large life-size. He also
gained several medals at various provincial ex-
hibitions. Ducornet died in the arms of his
venerable father in the early part of the year
1856. The latter had never deserted the son of
whom he was justly proud ; and at the Paris
Exhibition might frequently have been seen the
spectacle of a poor aged man, with a short, mid-
dle-aged man on his back, mounting slowly the
steps of the Palais des Beaux Arts — this inte-
resting group was Ducornet and his father.
DUCQ, Joseph Feancis, a Flemish painter,
born at Ledeghem in 1762, died at Bruges in
1829. In the Brussels Museum — ' Venus emer-
ging from the Sea.'
DUFFIELD, William, was born at Bath in
the year 1816, and educated in that city. Al-
though he displayed from early youth the most
decided predilection and talent for drawing, it
was not until after great opposition on the part
of his friends, that they at length reluctantly
consented to his intense desire of following the
arts as a profession, and even then only contem-
plated his being an engraver ; Mr. George Doo
having been so struck by the accuracy of his pen
and ink drawings, that he offered to take him
into his studio without any premium. He was,
however, finally placed under Mr. Lance, the
fruit painter, in whose family he resided, whilst
he continued for four years a zealous and inde-
fatigable student of the Eoyal Academy, never
once omitting attendance at a lecture or any
other means of improvement during the whole
time of his stay. After thus completing the
usual course of study pursued in the English
schools, he returned to his native city, and for
some time practised portrait painting with much
success, but being ill-satisfied with such a limited
branch of art, and finding no further means of
improvement in his reach, he proceeded to Ant-
werp, where under Baron Wappers, he for two
years pursued the same diligent study of art,
which he had before practised in the British
Academy. The first years of his artistic life
were spent in the struggles which too frequently
fetter the talent of the young artist. But his
conscientious zeal, and honesty of execution,
began at last to be appreciated by the public,
when they saw the fidelity and skill displayed in
his pictures of dead game, swans, deer, &c. It
is but justice to say that his later works have
been of a quality which has rarely been sur-
passed either in their beauty of colouring, or
exact representation of nature. In gathering
materials to enrich his pictures, he was busily
employed to the last amongst the beautiful scenery
of Windsor Forest and Ascot Heath, where, after
a few days illness, he was suddenly snatched
away at the early age of 47, just as the success
for which he had so long and painfully struggled
seemed within Lis grasp. His widow is a charming
painter of fruit and flowers, and a lady member
of the Institute of Painters in Water Colours.
DUNCAN, Edward, was born in London in
1804. He first studied aquatint engraving under
Robert Havell, which business he continued to
follow until 1845, occupying, however, part of
his time in practising drawing, and the use of
colours. In the meantime, on the foundation of
the New Society of Painters in Water Colours
in 1831, he became one of its members. Dif-
ferences, however, arising amongst the members,
Mr. Duncan and several others resigned ; and in
1848 he was elected a member of the Old Water
Colour Society. As a landscapist Mr. Duncan's
pencil commands a wide range of subjects, which
he treats with equal facility and success. He
seems to have studied English scenery in all its
various phases, with the incidents appropriate to
each with a truthfulness of observation in which
few have surpassed — perhaps, we might say,
equalled him. In coast scenery, with shipping
and craft admirably characterized, he is equally
at home, as in the quiet farm homestead, with
sheep, cattle, &c. ; and whether seen under the
influence of a mellow sunset, or the cooler rays
of the moon; the 'Shipwreck,' and the 'Life-
Boat,' exhibited by him at the Old Water Colour
Gallery in 1859 and 1860, were justly admired
for their truth to nature, admirable effect of
movement, and the masterly chiaro-scuro dis-
played in them.
DUNCAN. Thomas, was born on the 24th of
May, 1807, at Kinclaven, in Perthshire, but was
educated at Perth, whither his parents had re-
moved shortly after his birth. He showed very
early signs of the peculiar faculty which Nature
iad given him, by employing every leisure mo-
ment in drawing such objects as struck his fancy,
especially the portraits of his young companions ;
and while still at school he painted the whole of
the scenery for a dramatic representation of
'Rob Roy,' which he, in conjunction with his
schoolfellows, undertook to perform in a stable
loft. His parents, however, considering this use
of his pencil an unprofitable waste of time, has-
tened to remove him, and placed him in the office
of a writer, with whom he served the allotted
period of his engagement. Released from the
drudgery of the desk, and more than ever de-
sirous of accomplishing his favourite object, he
at length procured the consent of his father to
his visiting Edinburgh, where he was placed
under the able instruction of Sir William Allan,
President of the Scottish Academy. Duncan's
talent, fostered and directed by such a master,
speedily developed itself; he made rapid pro-
gress, and soon outstripped all his competitors in
that most difficult department — the drawing of
the human figure. The first picture which
brought the artist into general notice was his
' Milkmaid ;' and shortly after he exhibited his
'Old Mortality,' and 'The Bra' Wooer.' The
correct drawing, fine feeling, and masterly exe-
cution of these early works gave indubitable
promise of the future excellence of the artist, and
his progress from this time was one of uninter-
rupted improvement — so much so as to cause him
to be appointed, at an unusually early age, to
one of the professorships at the Edinburgh
Academy — that of Colour, and subsequently to
the chair of Drawing in the same school: he
[duva
was likewise enrolled among the members of
that body. Having attained so much celebrity
in his native country, Mr. Duncan naturally be-
came desirous of submitting his compositions to
the somewhat more fastidious scrutiny of the
English connoisseur. He accordingly sent, m
the year 1840, to the Royal Academy, his fine
work, ' Prince Charles Edward and the High-
landers entering Edinburgh after the Battle o.f
Preston Pans.' This picture (which has been
admirably engraved by Bacon) brought the
painter at once into most favourable notice. In
1841 Mr. Duncan exhibited a most touching pic-
ture from the ballad of 'Auld Robin Gray,'
termed ' The Waefu' Heart,' (in the Sheepshanks
Collection); in the following year, 'Deer-stalking;'
and in 1843, ' Charles Edward asleep after the
Battle of Culloden, protected by Flora M'Donald'
— a picture combining, in the highest degree, the
great characteristics of excellence, composition,
and chiaro-scuro. (Engraved by Ryall). In
1844 Mr. Duncan exhibited 'Cupid,' and 'The
Martyrdom of John Brown, of PriesthUl, in
1685.' This was the last picture by the artist
exhibited in London, if we except a portrait of
himself, which, to the honour of his Scottish
professional brethren, was purchased by sub-
scription, and presented by them to the Scottish
Academy. Mr. Duncan was elected an associate
of the Royal Academy in 1843, but did not sur-
vive to attain the higher honour of full member-
ship to which his merit would probably have en-
titled him. He died on the 25th of May, 1845,
at the age of thirty-eight. Had his life been
prolonged, there is no question he would have
achieved a lofty position in historical painting ;
nor must we omit to mention his portraits, which
were faithfully and skilfully rendered. As a
colourist, indeed, he had few superiors.
DUVAL -LE- CAMUS, Peter, a French
painter of poi'traits and genre, was born at
Lisieux (Calvados) in 1790, and died at St. Cloud
on the 29th July, 1854. He was a pupil of
David, and during many years was painter in
ordinary to the Duchess de Bcrri. He has left
behind him a great number of portraits, and va-
rious compositions, which are generally distin-
guished by very high finish in the execution.
Most of his works have been published in copper-
plate engraving or lithography. His later works
comprise — ' The Baptism,' (1819) ; 'The Brothers
of the Christian Doctrine,' (1822), was in the
Gallery of the Duchess de Berri ; ' The Interior
of a Kitchen,' (1824) ; ' Ennui,' (1827) ; ' The
Labourer's Family returning from School,' (1827) ;
' Halt of Huntsmen,' (1837, exhibited again in
1855); 'Wolf-hunting,' (1855). In the Louvre
arc ' The Blessing of Orphans,' ' The First
Gatherings of the Harvest,' ' Pifferaro giving a
Lesson to his Son.' Amongst his numerous por-
traits is one of M. Dupin the elder. He ob-
tained a medal of the second-class in 1819, and
one of the first-class in 1828, and the Cross of
the Legion of Honour in 1837.
DUVAL-LE-CAMUS, Jtjles Alexandre, only
son of the preceding, was born in Paris in 18l7.
He studied under his father, and also under
Delaroche and Drolling, and since the year 1842
has produced a series of works which in subject
and style strongly indicate the paternal influence.
Amongst others —
Tobias and the Angel. The Sportsman who has lost hit
5i
PAINTERS AND ENGRAVERS.
Dttva]
SUPPLEMENT TO DICTIONARY OF
Way. Pctits Dajouners de Marly. One of the
Happy Days of John Jacques Rousseau. J. J. Rousseau
writing Hsloise. 1846. The Bear Hunters. 1853.
The Entombment of Christ. Macbeth and the
Witches. 1855. The Flight into Egypt. Manon
L'Escant. 1857.
He obtained a medal of the third-class in 1843,
one of the second-class in 1845, and the decora-
tion of the Legion of Honour in 1859.
DYCE, William, was born at Aberdeen in
1806 ; his father was a physician of some reputa-
tion, and a Fellow of the Eoyal Society. Ma-
rischal College numbers Dyce, the painter, among
the most distinguished of her many sons ; from
her he received the degree of M.A. at the age of
sixteen. About six months after this he entered
the schools of the Eoyal Scottish Academy,
Edinburgh. Some of his early pictures evinced
the scholastic tendency of his intellect by having
classical subjects, not then so much in vogue as
they had been a few years earlier. Before Dyce
was twenty he visited London, became a proba-
tioner in the Eoyal Academy, but, disliking the
system of instruction, did not enter as a student ;
went to Borne, and spent a considerable time in
studying from pictures of the Eoman and Tuscan
Schools. In 1826 Dyce returned to Scotland.
The first picture he exhibited at the Eoyal
Academy (1827), was entitled ' Bacchus nursed
by the Nymphs.' In the autumn of the same
year he again visited Eome, where in the study
of early Christian art he probably acquired that
tendency to so-called Pre-Eaphaelitism which his
subsequent works not unfrequently display. He
painted a ' Madonna and Child' in this style
whilst at Eome, a work which attracted marked
attention. On his return to Scotland in 1830, he
took up his abode at Edinburgh, where he re-
mained eight years, and where, failing to meet
due encouragement in historical painting, he was
obliged to have recourse to poi'traiture, in which
lie was very successful, particularly with chil-
dren. He occasionally, however, exhibited sub-
ject pictures at the Eoyal Scottish Academy, of
which he was elected an associate in 1835. In
1836 he exhibited at the Eoyal Academy ' The
Descent of Venus,' from Ben Jonson's ' Triumph
of Love.' Dyce's attention had been early di-
rected to mural decoration and ornamental de-
sign. In 1837 he published a pamphlet on the
management of Schools of Design, then recently
established by the Government. In this be pro-
osed a scheme for the improvement of the
chool of the Board of Manufactures, Edin-
burgh. The pamphlet contained what was pro-
bably the most complete scheme for Art-educa-
tion then known in this country, and by its own
merits and the reputation of the author, fairly
entitled him to hold the office, which was imme- |
diately offered, of Superintendent and Secretary
to that branch of the Board of Trade which had
charge of the new Schools. Commissioned by
the Government, he made a careful examination
of the Continental systems of Art-instruction,
and his Eeport thereon was adopted, with modi-
fications, as a text-book, for several years. In
1842 Dyce was appointed Inspector of Provincial
Schools ; in 1844 be resigned that office. In
1838 Dyce exhibited at the Eoyal Academy one
of bis favourite subjects, 'The Madonna and
Child.' In 1839 he painted ' St. Dunstan separa-
ting Edwy and Elgiva.' In 1840 appeared ' Ti-
tian and Irene da Spilembergo.' In 1841 he sent
to the British Institution ' The Christian Yoke,'
— " Take my yoke upon you, and learn of me."
At the Eoyal Academy appeared, in 1843, ' Jes-
sica.' In 1844 be contributed the best of his
productions, although it is one of the smallest — >
' Joash shooting the Arrow of Deliverance.'
Never has a member of the Eoyal Academy
made more honourable entrance to that body
than Dyce did with this work. He was elected
A.E.A. immediately after its exhibition. In
1846 Dyce sent to the Eoyal Academy a ' Ma-
donna and Child,' which was re-exhibited at
Manchester in 1857. In 1847 appeared 'Nep-
tune assigning to Britannia the Empire of the
Sea,' — a sketch for a fresco at Osborne House.
In 1849 he was elected a Eoyal Academician,
and exhibited ' Omnia Vanitas,' and ' A Sketch
for a Fresco to represent the Knights of the
Eound Table about to depart in quest of the
Sangreal.' 1850 brought ' The Meeting of Jacob
and Eachel,' (afterwards exhibited at Man-
chester) ; ' King Lear and the Fool in the Storm,'
' A Bacchanal,' and a sculptured portrait of a
lady appeared in 1851. In 1852 he exhibited ' A
Study for a Fresco.' In 1853 another version of
' Jacob and Eachel,' and a ' Cartoon for a figure of
St. Peter,' painted in All Saints' Church, Mary-
lebone. In 1855 ' Christabel.' In 1856, ' The
Good Shepherd,' a study. In 1857, ' Titian's
First Essay in Colouring.' In 1859, ' The Good
Shepherd,' and ' Contentment.' In 1860, ' St.
John leading home the Virgin,' also ' The Man
of Sorrows,' and ' Pegwell Bay,' a highly-finished
coast-picture. To these followed ' George Her-
bert at Bemerton,' and ' Portrait, name unknown,'
in 1861 ; after which Dyce did not exhibit. At
the Westminster Hall competition, Dyce greatly
distinguished himself with two heads painted in
fresco for ' The Consecration of Archbishop
Parker,' and he was selected, with other artists,
to decorate the Houses of Parliament. He ex-
hibited a cartoon, ' The Baptism of Ethelbert,'
and a portion of the same in fresco, in 1845.
These related to the picture, since finished, in
the House of Lords. ' The Meeting of Jacob
and Eachel' drew attention to the power of Dyce
as a draughtsman. In 1848 he began the series
intended for the decoration of the Queen's
Eobing Boom, having for subject ' The Legend
of King Arthur.' The painter completed ' Be-
ligion, or the Vision of Sir Percival,' ' Generosity'
— King Arthur, unhorsed, is spared by his van-
quisher, ' Courtesy, or Sir Tristram,' and 'Mercy.'
The largest of the whole series, ' King Arthur's
Court,' is one of the best of the artist's works,
an honour to the Palace of Westminster, but,
unhappily, unfinished. His delay in completing
this work led to some remarks in a discussion in
the House of Commons in the session of 1862.
It is understood that the artist finding himself
unable to finish the work to his satisfaction,
offered to return the money he had received
on account of it, which, however, was declined by
the Government. Dyce decorated with frescoes
the east end of All Saints' Church, in Margaret
Street, Cavendish Square, a work which he com-
pleted in 1859. He has also been commissioned
by Her Majesty for some works of decoration at
Osborne, and to contribute to the decoration of
the Summer-house at Buckingham Palace, (con-
jointly with Sir C. Eastlake, Landseer, Boss,
PAINTERS AND ENGEAVEES.
Maclisc, ITwins, Leslie, and Stanfield) ; the sub-
jects being selected from Milton's ' Comus.' His
designs were generally complete, their attitudes
graceful, expression apt and pathetic. His fres-
coes in the church in Margaret Street were con-
ceived and executed in strict logical accordance
with his theory of Art, and worthy of admiration
on that account as well as for their technical
merits. His ecclesiological tastes, so to say,
manifested themselves in the foundation of the
' Motett Society' for the revival of ancient church
music. He was the author of many essays on
Art and allied subjects, and the proposer of the
. establishment of the class of Eetircd .Royal
Academicians. Dyce was Professor of the
Theory of the Fine Arts at King's College,
London, a member of the Eoyal Scottish
Academy and of the Academy of Arts in Phila-
delphia. He died in February, 1864.
DYCKMANS, Joseph Laurens, a painter of
genre, was born at Antwerp in 1811 ; and studied
under De Tielmans and Wappers. His pictures,
which include market scenes, groups of musi-
cians, and a variety of subjects in which costume
and accessories are often a main element, are
treated in a genteel and pleasing style, and with
remarkable finish. The National Gallery con-
tains his ' Blind Beggar,' painted in 1853, which
has been engraved by W. H. Simmons.
E.
EASTLAKE, Sir Charles Lock, was born
at Plymouth on the 17th of November, 1793.
He was the youngest son of Mr. George East-
lake, Solicitor to the Admiralty, and Judge Advo-
cate at Plymouth. He was sent to the Charter-
house School, but had not been there long before
the example of bis fellow-townsman Hay don stimu-
lated him to the adoption of the arts of design as
a profession. In was in 1807 that Haydon ex-
hibited his first picture, a ' Eiposo,' the fame of
which reached young Eastlake's ear, and, having
then not yet attained his fifteenth year, he ad-
dressed his father entreating to be allowed to leave
school and study the art of painting. This desire
was at once complied with, on condition that he
should for a time continue his classical studies with
a private tutor. He became a student at the
Royal Academy in 1809, where be attracted the
favourable notice of Fuseli, himself a scholar, and
who worthily filled the offices of Keeper and Pro-
fessor of Painting in that Institution. About this
time, through his family connections, our subject
became acquainted with Mr. Jeremiah Harman,
who had a fine collection of paintings. That gen-
tleman gave him the commission for his first pic-
ture, 'The Raising of Jairus's Daughter,' for
which he paid him a liberal price. After painting
other pictures and several portraits he was sent
by this kind patron to Paris, where he spent some
months studying and copying from the works of
art then collected in that capital, which, however,
he was compelled abruptly to quit on the return
of Napoleon from Elba. In the course of the
same year (1815) after the battle of Waterloo,
and while the young artist was employed painting
portraits in his native city, Napoleon appeared in
the port of Plymouth on board the Bellerophon.
Mr. Eastlake took advantage of every glimpse he
could obtain of the ex-Emperor to make sketches
of him, by the aid of which he executed a picture
of Napoleon— the size of life— at the gangway of
the Bellerophon, attended by some of his officers.
The work attracted great attention, and was so
well sold as to enable the painter to proceed to
Italy upon his own resources. He then, in 1818,
proceeded to Greece, on a commission from Mr.
Harman, to make sketches of the architectural re-
mains and scenery of that classic soil. In part of
the.->e journeyings he was accompanied by Brocke-
don, the painter (too early cut short in the path
of fame), and Charles Barry, the architect, whose
subsequent career was so distinguished and so emi-
nently favoured by fortune. On his return, after
nearly a year's absence, having visited Malta and
Sicily in the course of his tour, Mr. Eastlake
painted a picture of ' Paris receiving the Apple
from Mercury,' figures life size. Shortly after-
wards, on the death of his father, he returned to
Rome, where he became much occupied in paint-
ing a class of subjects illustrative of the local fea-
tures, inhabitants, and customs of modem Italy.
HeTirst exhibited at the Royal Academy in 1823,
his earliest contributions having been scenes in
which public buildings, as the Castle of St. An-
gelo, St. Peter's, &c.,were a principal feature. He
soon followed these with subjects taken from
Italian life in the neighbourhood of Rome, sub-
jects of banditti life, &c. In .1825 his « Girl of
Albano leading a Blind Woman to Mass,' evinced
the artist's power in themes of a more refined sen-
timent. But the commissions which poured in
upon him for these Italian subjects threatened to
condemn him to a monotony of style from which
it required a strong effort to detach himself in
favour of a higher order of subject. Commis-
sioned by the Duke of Devonshire, he painted a
picture on the story, related by Plutarch, of Isdas,
the Spartan, who, appearing in battle undraped
and armed with sword and spear, was mistaken
for a god. This picture, consisting of numerous
figures, and of medium gallery size, occupied the
painter nearly two years, and produced consider-
able sensation amongst the artists and dilettanti
at Rome. In England it was not so popular, not
so generally appreciated ; but its merit was ac-
knowledged by the Royal academy, of which body
he was elected an Associate in 1827. In 1828 ap-
peared ' Pilgrims arriving in Sight of the Holy
City,' one of the artist's most successful pictures
of this class, and so well known by the engraving,
and of which he subsequently was called upon to
produce several replicas, all differently treated.
About this time, captivated by Venetian colouring,
he painted some subjects of half-figures, life size,
sometimes of chivalrous character, sometimes
taken from the picturesque peasantry of Italy.
Of about this period may be mentioned ' Gaston
de Foix,' and an 'Arab selling his Captives ;' pic-
tures of a higher class than his banditti and con-
tadini. But in a still higher range was a small
picture from Spenser's 'Faery Queen,' after com-
pleting which he was, in 1830, elected a Royal
Academician. In the same year he returned to
England, and established himself in London. The
subjects now treated by him were undertaken
chiefly to turn to account his materials from the
costume and scenery of modern Greece. Of these
his ' Greek Fugitives,' is well known by the en-
graving. Another large picture, ' Greek Cap-
tives,' has not been engraved He varied his
i studies at this time by portrait-painting, and by
bast] SUPPLEMENT TO
liis favourite half-figures in the Venetian style.
He also occasionally treated small fancy subjects,
and historical and modern Italian subjects. His
' Escape of Francesco da Carrara,' which has been
engraved, was twice painted by him, one example
of it being in the Vernon Collection, (National
Gallery). A new and important change now took
place in the artist's style ; scriptural subjects en-
gaging his attention, which lie treated with a poetic
spirituality of conception, a persistent aspiration
after ideal beauty in his saints and celestial person-
ages, and a refinement of taste in all the treatment,
which have not been surpassed in modern times.
Of this new and elevated order of subjects, his
' Christ blessing Little Children,' was the first im-
portant example. But the most perfect specimen
of his religious art was probably the ' Christ
weeping over Jerusalem,' which was repeated by
the artist, one example of it being in the Vernon
Collection (National Gallery). The former has
been engraved by Cousins, the latter by Watts.
But besides his talent in the practice of painting,
Mr. Eastlake possessed no common attainments
in letters, combined with great aptitude for busi-
ness, so rarely met with in combination with
genius for the arts. This union of qualities at-
tracted the notice of the late Sir Robert Peel, and
in 1841, on the appointment of a commission con-
sisting of twenty noblemen and gentlemen, and
presided over by Prince Albert, for the purpose of
promoting the fine arts in the decoration of the
new palace of Westminster, the office of secretary
was offered to Mr. Eastlake and accepted. That
so little has been accomplished as the result of the
now upwards of twenty years' deliberations of
this commission to redound to the honour, or con-
duce to the encouragement, of the arts of the
country, is a matter to be regretted, though per-
haps not altogether the fault either of the indus-
trious secretary or the arts themselves. The po-
sition of secretary to a body thus established for
the purpose of giving a variety of commissions to
artists, and leading necessarily to continued con-
tact with a class of minds always of a highly-sen-
sitive nature, was necessarily one requiring no
small gift of discretion and courtesy : and there
is no doubt that the exercise during many years of
these indispensable qualities, in addition to the
known influence enjoyed by Mr. Eastlake over
the illustrious and noble personages comprising
the board of which he was secretary, led in a main
degree, and independently of all consideration
of his position as an artist, to the decision of
the Royal Academy, which, in 1850, elected
Mr. Eastlake their president; when, the elec-
tion having been confirmed by her Majesty,
he received the honour of knighthood. On the
death of Mr. Sequin, in 1843, Mr. Eastlake was
appointed keeper of the National Gallery, a post
which he resigned in 1847. In 1850 he was made
one of the Trustees of the Gallery, and has since
been appointed Director under a greatly extended
form of organisation. Sir Charles Eastlake is the
author of ' Materials for the History of Oil Paint-
ing,' of which the first volume only has appeared,
published in 1847, referring almost exclusively to
the technical mysteries of the art. This was "fol-
lowed, in 1848, by ' Contributions to the Litera-
ture of the Fine Arts,' a collection of papers
written for the Quarterly Review, and for the Re-
Eort of the Commission of Fine Arts, &c, which
ad more reference to defining the philosophy of
DICTIONARY OF [sea
art. Sir Charles married in 1849, Mis/ Rigby
authoress of 'The Baltic Letters,' and othtr works.
He died of a malady from which he lad long
suffered, December 23, 1865.
ECELERSBERG, Christopher Wxiliam, a
Danish painter, was born at Sundewett, in Hol-
stein. He obtained several academic prizes in
1805 and 1809 ; and afterwards visited Italy and
France. In 1817 he painted ' Moses passing
through the Red Sea,' which was commended for
its composition and general style, as well is for its
colouring. Being elected a Member of the Academy
of Copenhagen, he presented to that body a picture,
of which the subject is taken from the Edda, 'The
Death of Basdur.' Next followed 'Axel and Wal-
burg,' a scene taken from the writings of Oehlen-
schlseger. He has also painted several portraits.
EGAN, James, an engraver in Mezzotint, born
at Roscommon, in Ireland, in 1799. He was en-
tirely self-taught. In 1825 he was employed in a
capacity almost menial, by Mr. S. W. Reynolds,
occasionally laying Mezzotinto grounds. He
afterwards set up in business as ground-
layer for engravers, and eventually toot to en-
graving himself. He worked in an up-hi 1 course
with an intensity of purpose, amidst much priva-
tion, which at length undermined his heath, and
he died, fairly broken down, in October, 1842.
His latest plate, and his best, is ' English Hospi-
tality in the Olden Time,' after a draving by
Cattermole.
EGG, Augustus Leopold, was the soa of the
celebrated gun-maker in Piccadilly, and vas born
in 1816. Though he took to the pencil ard brush
as an amateur whilst at school, he does no; appear
to have thought of adopting the arts as i profes-
sion till about the year 1836, when he went to
Mr. Carey's (formerly Sass's) studio, being shortly
afterwards admitted a student at the Ro?al Aca-
demy. Even thus early he had commencfd paint-
ing several pictures of Italian subjects (tiough a
stranger to Italy), and scenes ,from the pages of
Scott ; but his first work of importance was ' The
Victim,' which was exhibited at Liverpool, and
was purchased by a gentleman of that tewn (en-
graved in the " Gems of European Art.'') Elated
by his success, Mr. Egg now summoned courage
to exhibit in London, and in 1836 and a few fol-
lowing years, we find his works on the vails of
the Society of British Artists in Suffolk Street,
where one of them attracted the notice of Prince
Albert, who became its possessor. At the British
Institution he exhibited a remarkably cle/er pic-
ture from ' The Devil on Two Sticks ;' and at
subsequent exhibitions at the Royal Academy,
among his best works, we may enumerate another
scene from the last named work, a passage in the
life of Cromwell, ' Sir Piercie Shafton ;' ' Backing-
ham rebuffed;' 'The wooing of Katiarina;
and a scene from ' The taming of the Shrew
(1847) ; ' Queen Elizabeth discovers tha"; she is
no longer Young' (1848); 'Henrietta Maria
released by Cardinal de Retz' (1849); 'Peter
sees Catherine, the future Empress, for ;he first
Time' (1850); ' The Life and Death of Bucking-
ham' (1855 ; two contrasted pictures in onj frame,
in 1858 ; another picture, in three compartments,
without a name, of strongly painful imp>rt, de-
picting the stages of a domestic tragedy occa-
sioned by the infidelity of a wife, in 1856; 'The
Night before Naseby,' an impressive lamp-it scene
of the interior of a tent, with Cromwell repre-
PAINTERS AND ENGRAVERS. [slklo
egg]
sented engaged in prayer ; and ' Madame de
Maintenon and Scaron in 1860, another scene
from ' The taming of the Shrew.' It will be
seen from this that Mr. Egg's talent was exercised
in a rather peculiar field of study, comprising
strictly historical incidents, and passages from
classic fable. In the former class of subjects he
stands quite by himself ; in the latter, he, in some
sense, occupied the ground in which Newton and
Leslie frequently laboured ; but his treatment of
the latter class of subjects is more fanciful than
that of either of those artists, whilst in subjects
more properly considered as inventive, a philo-
sophic spirit, somewhat melancholy in tinge, is
observable, which they do not display. Mr. Egg
was elected an associate of the Royal Academy in
1848, and a full member in 1860. His pictures
are comparatively few for one who had arrived at
the highest honours of his profession, and we re-
gret to learn that he was prevented from doing
more in his art by delicate health, which compelled
him to resort to the mild climate of the South of
France, and latterly to Algeria, where he died in
the winter of 1863.
EHRENBERG, William Van. Such, ac-
cording to the Catalogue of the Antwerp Museum,
is the exact authography of the name of this
painter, as it appears upon one of his works, but
which, by different authorities, has been variously
given as Hardenberg or Herdenberg, who was born
at Antwerp in May, 1630. He principally, if not
wholly, devoted himself to architectural subjects,
with well studied perspective effect, the figures
introduced in which were painted by others. In
the Antwerp Museum is a picture representing
Caricina, the daughter of Hydaspes, before the
King of Ethiopia, in a spacious palace of Grecian
architecture, the figures being painted by H. Van
Minderhout. The date of Vau Ehrenberg's death
is not known, but is supposed to have been earlier
than 1677.
EICHENS, Feederick Edwaed, a German
engraver, was born at Berlin in May, 1804. He
commenced his studies in art at the Academic
School of Design, in that city, in 1816 ; and in
1819 went to the School of Engraving at that
time conducted by Buckhorn. After having ob-
tained a prize in 1827, he went to Italy, taking
Paris in his way, where he received some instruc-
tions from Forster and Richomme. At Parma he
still laboured duringthree years at perfecting him-
self in his art, under Paul Toschi. He then went
to Venice, where he stayed a short time, producing
there an engraving from the picture of ' Titian's
Daughter,' which is now in the Museum at Berlin.
In 1831, he went to Florence, where he engraved
the 4 Vision of Ezekiel^ after Raphael. After
visiting Rome, Naples, the Tyrol, Munich, &c,
he returned to Berlin, where he was appointed
professor and member of the Academy. Amongst
his most valuable works, in addition to those
already mentioned, may be cited, ' The Adoration
of the Rings,' after Raphael ; ' The Magdalene,'
after Domenichino ; the portrait of Paul Toschi,
after a painting by himself ; ' Frederick the Great
and his Sister, when Children,' after Pesne.
EICHENS, Edwaed, brother of the foregoing,
and often confounded with him, was also an en-
graver, and was born in September, 1812. He
studied painting in the studio of Hensel until the
year 1832, when he took to lithography, with dis-
tinguished success. He afterwards visited Italy,
and on his return obtained a gold medal at the
Exhibition in 1842. He visited his native city,
Berlin, in 1846, where he learned mezzotinto en-
graving, which, on his return to Paris, he em-
ployed on the works of Leopold Robert, Maes,
&c.
ELIAERTS, John Feancis, a painter of
flowers and fruit, was born in the neighbourhood
of Antwerp on the 1st January, 1761, and pur-
sued his artistic studies in the Academy of that
city. He passed great part of his life in France,
and was appointed Professor of the Institute of
the Order of the Legion of Honour at St. Denis.
He died at Antwerp on the 17th May, 1848, the
register of his death describing him as domi-
ciliated at Paris. A group of flowers painted by
him is in the Antwerp Museum.
ELLIS, Joseph F., painter of marine and
landscape subjects, was born in Ireland about the
year 1780. He came to London when about
twenty-eight or thirty years of age, full of hope
and promise. His first essays were exhibited at
the British Institution, where one of his pictures
was sold for £60 ; but from this moment he never
found a patron. A party with whom he was in-
timate afterwards duped him out of several large
works, which were his best performances;
and, at the present day, if chance sends any of
these to the auction- room, they still realise £30
or £40 each. After this misfortune, a succession
of reverses and disappointments rendered him
totally dependant upon a class of picture-dealers,
possessing neither liberality nor overmuch scruple
of conscience. For these individuals he worked
laboriously in endless repetitions of views in
Venice ; dozens of which have been paid for in
sums that would have gladdened the heart of the
hireling artist, if he had been permitted a little
of the sunshine of patronage. These views in
Venice have frequently graced the catalogues of
auctioneers under the designation of Canaletti.
For the last seven years of his life he resided with
a house-agent who dabbled in pictures, living on
a small weekly pittance, and still labouring in-
cessantly at the easel in painting multitudinous
copies of Canaletti and Vernet, which after being
duly dried and doctored, were sent for the ad-
miration of uninstructed cognoscenti. Mr. Ellis
was in his habits frugal and unassuming, with a
highly-gifted mind, well stored with anecdote and
wit, personifying the very cream of Hibernian
good humour and good nature. His best pictures
are few in number, painted with a powerful im-
pasto, and not leaning to the imitation of any
former master. They are the fruits of his own
study of natural objects, without reference to any
conventionality. He died at Richmond, in Surrey,
May 28th, 1848.
ELMER, Stephen, a painter of dead game
and objects of still- life, which he executed with
a bold pencil, and great fidelity to nature, was
elected an Associate of the Royal Academy in
1772. He died in 1796 at Farnham, in Surrey.
Many of his works were destroyed by fire in
Gerrard Street, Soho, in 1801, together with a
choice collection of prints by Woollett.
ELMORE, Alfeed, was born at Clonakilty in
Ireland on June 18th, 1815. His father was a
surgeon in the 5th Dragoon Guards, who retired
from active service towards the close of the
Peninsular war. When in his twelfth year the
family removed to London, and after some prac-
J 61
elmo] SUPPLEMENT TO
tice in drawing at the British Museum, he, in
1832, became a student at the Royal Academy.
In 1834 he exhibited at the Academy ' A Subject
from an Old Play ;' and during the next two or
three years visited Paris for improvement in his
art ; and in 1840 he again left home for a more
extended tour, including Munich, Venice,
Bologna, Plorence, and Borne, remaining in the
last-named capital two years. The earliest pic-
ture which brought Mr. Elmore into general no-
tice was his * Bienzi in the Forum,' (1844); a
■work for which, if we remember rightly, he ob-
tained the prize at the Liverpool Academy in that
year. In 1845 he exhibited his picture of ' The
Origin of the Guelph and Ghibelline Quarrel,'
and was elected an associate of that body. His
next popular picture was the ' Invention of the
Stocking-loom,' (1847); a work very widely
known by the engraving, and which has also been
copied as a wood- cut, the proof of a popular sub-
ject at thj present day. Mr. Elmore was elected
a Boyal Academician in 1856, and is one of the
Members of that association who havemade nocon-
cessions to the new school. One of his most remark-
able recent pictures is that of ' Marie Antoinette
facing tie Mob at the Tuilleries, 20th June,
1792/ a tembly real revelation of a scene almost
too painful, and too humiliating to human nature,
to bear patient contemplation.
ENDEB, John, a German portrait painter,
born at Tienna in 1793. After studying at the
Academy, where he carried off' several prizes, he,
in 1818, Eccompanied Count Szechenyi to Greece,
a journey which was of great advantage to him.
In 1820 lie went to Borne as Imperial pensioner,
stopping on the way seven months at Florence,
where he copied several of the chef d'ceuvres of
the best period of art in which that city abounds.
At the V :enna Exhibition in 1824 he exhibited a
' Judith,' which was much admired. He was ap-
pointed Professor in the School of Fine Arts in
1829.
ENDEB, Thomas, brother of the above, prac-
tised landscape painting, in which he particularly
excelled in effects of light. He visited at different
times Brazil, Italy in the suite of Prince Met-
ternich, md Paris, sketching as he went. The
subjects of his numerous works are very various
in character.
ENGLEHEABT, Francis, engraver, was of '
a family which had for upwards of half a century
been associated with Art ; one member of it,
uncle, we believe, to the subject of this notice,
having for many years occupied the position in
miniature-painting, which has since been filled by
Boss, Nevton, and Thorburn. Mr. Francis En- 1
fleheart vas born in London, in the year 1775.
Ee served his apprenticeship, as an engraver, to
Mr. J. Collyer, and afterwards became an assis-
tant to Mr. James Heath. The first plates to
which his name was attached were after the de-
signs of Stothard, and he also engraved a large
portion of the ' Canterbury Pilgrims,' which Mr.
Heath completed. But the works that brought
Mr. Engleheart more prominently before the
public were from the pictures and drawings of
Mr. Biclard Cook, the Academician. These
were altogether of a higher character, and were
more finished than any of his preceding engra-
vings, especially the 4 Castle, 5 a subject from
Scott's 'lady of the Lake,' which was justly con-
sidered cue of the finest book-plates ever pro-
62
DICTIONABY OF |>m
duced in England. His next employer was Mr.
Smirke, who was engaged by Cadeli and Davis,
the booksellers, to furnish designs for works of
their publishing. Mr. Engleheart engraved
nearly thirty plates for their edition of ' Don
Quixote.' Sir David Wilkie afterwards enlisted
his services to engrave his ' Duncan Gray,' and
the ' Only Daughter,' published by Alderman
Moon. His last work was from Hilton's fine
picture in the National Gallery, ' Serena rescued
by Sir Calepine, the Bed Cross Knight,' the en-
graving of which must be regarded as his most
important production. Among his more pleasing
engravings on a small scale may be ranked his
contributions to the various annuals, which were
the great chalcographic features of the day. He
died on the 15th of February, 1849.
ESS, or ESSEN, James Van, a Flemish
painter, who excelled in still-life subjects. He
was born at Antwerp in October, 1606, and was
still living in 1662. His portrait was painted by
John Meyssens, and engraved by Wenceslaus
Hollar. In the Antwerp Museum is a picture by
him, consisting of a plum, a cut lemon, with ves-
sels of gold, pewter, &c.
ETTY, William. This great painter, one of
the leading men of the modern British school, was
born at York on the 10th of March, 1787. His
father kept a balcer's shop, and also had a mill in
the vicinity. His early tendencies for art are
thus spoken of by him in an autobiography pub-
lished in the Art Journal in 1848 : — " Like fiem-
brandt and Constable, my father also was a miller,
and his mill was standing till this year on the old
York road to London, about half a mile from
York. My first panels on which I drew were the
boards of my father's shop floor ; my first crayon
a farthing's worth of white chalk ; but my pleasure
amounted to ecstacy when my mother promised
me that next morning, if I were a good boy, I
should use some colours, mixed with gum-water.
I was so pleased I could scarcely sleep.'-' But
he was not destined immediately to carry out these
predilections. In 1798, being in his twelfth year,
he was apprenticed to Bobert Pech, a letter-press
printer, at Hull, as a compositor, "To which busi-
ness," he says, "I served seven full years, faith-
fully and truly, and worked at it three weeks as a
journeyman ; but I had such a busy desire to be
a painter, that the last years of my servitude
dragged on most heavily. I counted the years,
day 8, weeks, and hours, till liberty should break
my chains and set my struggling spirit free." At
length the period of redemption came, and Mr.
Pech returned the ardent youth's indenture, having
previously inscribed upon it, " This indenture was
faithfully fulfilled to the satisfaction of the master
and the credit of the apprentice, Bobert Pech."
In 1806 he was invited up to Lor.don by his uncle,
Mr. William Etty, of the firm of Bodley, Etty,
and Bodley, of Lombard Street. The latter was
himself " a draughtsman in pen and ink," and
saw promise in the crude performance of his young
kinsman, and besides helping him during life, left
him a sufficient sum after his death to enable him
to pursue his studies. Arrived in town, he tells
us : — " I drew from prints or from nature, or from
anything I could ; I was made at home at my
uncle's, I was furnished with cash by my brother.
My first academy w 7 as in a plaster-cast shop, kept
by Gianelli, in that lane near to Smithfield, im-
mortalized by Dr. Johnson's visit to see ' Tho
ettt]
Ghost ' there. I drew in heat and cold ; some-
times the snow blowing into my studio under the
door, white as the casts. There I studied and
drew the ' Cupid and Psyche,' after the antique,
well enough to take to Mr. Opie, to whom I had
a respectable letter of introduction from Mr. Sharp
of Mark Lane, Member of Parliament; then,
with palpitating heart and admiring feeling I ap-
proached the dread study of this truly great and
powerful artist. He encouraged me, and gave
me a letter to another great and powerful genius,
Fuseli, who admitted me as a probationer in dear
Somerset House." He entered the schools of the
Academy in the same week, in the same year, as
Collins ; Hilton and Haydon being amongst his
fellow-students. Py his uncle's generosity, who
paid one hundred guineas for him, Etty, in July,
1808, became an in-door pupil of Mr. (afterwards
Sir Thomas) Lawrence, then residing in Greek
Street, Soho. Mr. Lawrence frequently employed
him to make copies of some of his portraits, but
had little leisure to give substantial assistance to
his pupil in his studies ; and the latter's diffi-
culties at this time were so great, that he writes : —
" Despair almost overwhelmed me, I was ready to
run away, I felt that I could not get on, but a voice
within said, ' persevere V I did so, and at last
triumphed, but I was nearly beaten." In distress
at his failure, he sought the advice of Lawrence,
whose estimate of his qualifications, as it turned
out, was a very fair one : — " He said," writes
Etty, " I had a very good eye for colour, but that
I was lamentably deficient in almost all other re-
spects." The gifts of the master and pupil, it may
be observed, were exactly of a contrary sort, —
Lawrence being an admirable draughtsman, but
deficient in colouring ; Etty having the rainbow
of colour at his command, but being wanting in
correctness and power of drawing : further, Law-
rence had a sort of elegance, unsurpassed of its
kind, partly natural, partly acquired, wdiich ele-
vated his subjects to the heights of conventional
dignity and grace ; Etty all nature, and owing little
to education, was sensuous, and treated his sub-
jects objectively, seldom rising above the direct
influence of his models. Put apology ought, per-
haps, to be offered for this digression. When his
year of study under Lawrence was expired, Etty
painted from nature, and copied the " old mas-
ters" in the Pritish Gallery : this, he says, he
found easy, after copying Lawrence. He was
also a constant student in the 'Life School' of
the Poyal Academy. His industry w r as inde-
fatigable, yet though he tried for all medals, gold
and silver, he never got any of either. He ven-
tured at one time to send six pictures to the Aca-
demy exhibition— all were rejected ; this happened
year after year at the Academy, and at the Pritish
Gallery, but by discovering his defects, and by
great industry in endeavouring to correct them,
he at last conquered his evil fortune. In 1811 he
was comforted by finding one of his pictures hung
at the Poyal Academy, — ' Telemachus rescuing
Anteope,' and from that time forward he always
obtained an entrance for some of his works at the
Academy or the Pritish Institution. He painted
portraits also at this time, but chiefly occupied him-
self on classical subjects. ' The Coral Einders,' ex-
hibited in 1820 ; ' Cleopatra's arrival at Cilicia,'
exhibited the following year, and some others, esta-
blished his reputation, and started him upon his
great career. The last-named picture obtained
[ETTT
for him his first influential patron, in Sir Francis
Ereeling, secretary of the Post Office. In 1822
Etty went to Italy, visiting Yenice, Florence,
Pome, and Naples, but it was in Venice that he
found the greatest attractions : — " Venice, tbe
birth-place and cradle of colour, the hope and idol
of my professional life !" He studied in the aca-
demy there, and was elected an honorary member
of it. He returned to London early in 1824. The
first picture he exhibited after his return, was
' Pandora crowned by the Seasons,' in the exhi-
bition of 1824, for which he was chosen an asso-
ciate of the Poyal Academy ; and in 1828 he was
elected an academician. On this event it was
suggested that he should discontinue his practice
in the Life School, where he had been accustomed
for years to attend every evening during the session
to paint studies in oil from the living models, as it
was considered incompatible with the dignity of an
P.A. to continue to take his place amongst the
students ; but he said he would rather decline the
honour of membership of the Academy than give
up his studies. The influence of this constant
copying of the model is apparent in all his works,
too generally to their disparagement, considered
as intellectual creations. He was, nevertheless,
an enthusiast with higher purpose than mere real-
ization of form in effective colour. In the auto-
biography mentioned in this notice, Etty has him-
self pointed out what he consk^red his greatest
works. " '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
Combat,' the beauty of mercy ; the three ' Judith'
pictures, patriotism, and self-devotion to country,
people, and God: 'Penaiah, David's chief cap-
tain,' valour; 'Ulysses and the Syrens,' the
importance of resisting sensual delights, or an
Homeric paraphrase on ' The Wages of Sin is
Death;' three pictures of 'Joan of Arc,' Reli-
gion, Loyalty, and Patriotism, like tbe modern
Judith. In all, nine great pictures, "as it was
my desire to paint three times three." Amongst
other principal works, besides those already named,
may be cited : — ' The J udgment of Paris ;' ' Venus
attired by the Graces ;' ' The Wise and Foolish
Virgins ;' ' Hylas and the Nymuhs ;' ' The Pro-
digal Son;' 'The Pevy of Fair * Women;' 'De-
struction of the Temple of Vice ;' ' The Rape of
Proserpine ;' 'The parting of Hero and Leander ;'
' Zephyr and Aurora ;' 'Pohinson Crusoe return-
ing Thanks for his Deliverance,' &c. The Na-
tional Gallery (Vernon collection) comprises of
his works, ' Youth at the Plough, and Pleasure at
the Helm,' exhibited at the Poyal Academy in
1852, and engraved by C. W. Sharpe ; ' Study of
a Man in Persian Costume,' exhibited at the Pri-
tish Institution in 1834, engraved by C. Cousens ;
' The Imprudence of Candaules, King of Lydia,'
exhibited at the Poyal Academy in 1830 ; ' The
Lute Player,' engraved by J. C. Armytage ; ' The
Dangerous Playmate,' exhibited at the Pritish
Institution in 1833, engraved by E. J. Portbury ;
' Study for a Head of Christ,' engraved by C. J
Armytage ; ' Christ appearing to Mary Magdalen,
after his Pesurrection,' engraved by S. Sangster ;
' U Duello,' exhibited at the Poyal Academy in
1831, engraved by Linley ; ' Mary Magdalen,' ex-
hibited at the Poyal Academy in 1842, engraved
by Portbury, and (bequeathed by Mr. Jacob
Pell) ; ' The Pather,' exhibited at the Poyal Aca-
demy in 1844. Etty resided at No. 14, Pucking-
PAINTEPS AND ENGRAVERS.
utty]
ham Street, Strand, from 1826 till 1848, when his
declining health induced him to retire to his birth-
place, York, where he died on Nov. 13th, 1849.
Having lived a -very retired life, he accumulated a
considerable fortune, and the sketches he left
behind him realized upwards of five thousand
pounds.
EVANS, William, was born 4th December,
1798, at Eton, where his father was the Professor
of Drawing. He was educated at Eton, and suc-
ceeded his father in the Professorship in 1818.
His first subjects were fishermen, and sketches of
figures, several of which were in the possession of
the late George the Fourth, having been painted
for him. He is mentioned in " Waagen's British
Artists'' as a successful ' genre painter.' He was
elected Associate of the Society of Painters in
Water Colours the 11th February, 1828, and
member, the 7th June, 1830. His chief subjects
are Scottish landscapes, with figures. He also
produced large drawings of the last Eton Montem,
which have been engraved, and are now in the
collection of Lord Braybroke, at AudleyEnd. Of
late years his time has been much broken by ill
health, arising from an accident in fracturing the
upper jaw, and which induced some attacks of
neuralgia, and also by attention to his duties at
Eton.
EVANS, William, born in 1811, died in 1859,
was a member of the Society of Painters in
Water Colours, was sometimes known as ' Evans
of Bristol,' to distinguish him from the preceding.
His treatment of landscape scenery was grand
and forcible, attending chiefly to the ultimate
realisation of the principal forms, yet not neg-
lectful of secondary incidents. Many circum-
stances in his life contributed, if not to create, to
construe this proneness for robust art. He domi-
ciled himself for many years in the centre of a
grand gorge of mountain scenery in North Wales,
at a farm called Tyn-y-Car, in an extensive park,
forming the junction of the Deddr with the Con-
way, where, isolated from schools, and studios,
and exhibitions, he contemplated nature in her
sternest aspects, and bringing to bear upon them
a strong and original natural impulse, and pro-
duced some of his finest works ; amongst them a
small one of great merit and pathos, entitled —
' Trath Mawr.' A few words will describe its
character, and that of many similar. A con-
tinuation of the dreary Trath forms the fore-
ground, in which at a distance a figure on a pony,
uneasy and restive, under the combined annoy-
ances of wind, rain, and no footing, waits for, and
hails an unseen ferry-boat. His treatment of
mountain torrents, and the rude cottage scenery
(interior and exterior) of the same wild districts,
was equally masterly and felicitous, often ap-
proaching in force, colour, and light, and shades,
some of the best Dutch masters (including Rem-
brandt himself ) in the same style. The last three
years of Evans's studies of nature were passed in
Italy, wintering successively at Genoa, Pome, and
Naples. Here he accumulated materials for
landscapes of a different character to those he
had hitherto been accustomed to, but which he
was destined never to realize in the form of com-
pleted works.
EWBANK, John W., was born at Gateshead,
in Newcastle; about the year 1779. He was ori-
ginally intended for the Roman Catholic ministry,
had was sent to Ushaw College with that view ;
64
[eyck
but, strongly imbued with a love of art, he ab-
sconded, and bound himself apprentice in 1813 to
Mr. T. Coulson, an ornamental painter in New-
castle. Before the expiration of his apprentice-
ship he exhibited several pictures which were
highly commendable for the originality of style
they evinced; his master having most kindly
afforded him the privilege of studying under the
late Mr. Alexander Nasmyth, at Edinburgh,
whither Mr. Coulson had removed, and where
young Ewbank's rare talents procured him high
distinction and extensive practice both as a
painter and teacher of drawing. The freedom of
his style of sketching from nature was especially
admired. His taste at this period inclined chiefly
towards marine subjects, in every variety of which
he evinced equal power, and a complete mastery
over his materials ; but he also executed a series
of views in Edinburgh, afterwards engraved by
Lizars. His reputation, however, will be found
to rest mainly upon his cabinet-pictures of coast
scenes, river banks, and subjects of a similar
class. We have no data on which we can accu-
rately rely respecting the period of Mr. Ewbank's
admission into the Scottish Academy, but we
should suppose it to be about the year 1823, as at
that time he painted some works of much greater
pretension than any he had hitherto attempted —
as the 'Visit of George IV. to the Castle of
Edinburgh,' the ' Entry of Alexander the Great
into Babylon,' and ' Hannibal crossing the Alps,'
all of them works of considerable ability, yet by
no means equal to his other productions. A
' View of Edinburgh from Inchkeith' exhibits
higher qualities of excellence, and is treated with
great daring and poetical feeling. The career of
the artist was now at its zenith : fame and wealth
were bountifully showered upon him ; and some
idea may be formed of the brilliancy of his suc-
cess by the fact that, in one year, his talents pro-
duced him no less a sum than £2500. But as
prosperity advanced, reason and moral rectitude
forsook him. One year saw him occupying an
elegant house in Edinburgh, surrounded by all
the refinements of polished life, blessed with a
most interesting family ; the next, the tenant of
a miserable cellar, the child of penury, his wife
ruined and broken in spirit, his offspring growing
up amidst wants and temptations, himself the
victim of habitual intoxication. Nobly had he
won his fame, as ignobly did he cast it away from
him. The labours of Mr. Ewbank's pencil during
the later years of his life suggest nothing but
painful regrets, produced, as they frequently
were, in the tap-room of a common ale-house, or
in his own wretched abode, where a solitary chair
and a pile or two of bricks formed the only arti-
cles in the shape of furniture to be seen — the
window-sill serving for his easel. Under such
circumstances were the pictures of the last twelve
years of his life executed. They were generally
painted on tin, within an hour or two, and sold
on the instant, wet and unvarnished, for sixpence
or a shilling, which was immediately spent in
ministering to his sensual gratifications. He died
of an attack of typhus fever in the Infirmary at
Edinburgh on the 28th of November, 1847. Mr.
Ewbank was, we believe, the senior member of
the Royal Scottish Academy ; but was almost, if
not altogether, unknown in the London exhibition
rooms.
EYCKEN, J. Van, a painter of tK Modem
SUPPLEMENT TO DICTIONARY OF
eyck]
Belgian School. His works are chiefly on reli-
gious subjects, or episodes of life treated alle-
gorically. In the collection of the King of the
Belgians is his picture called ' Abundance/ re-
presenting a mother with two infants, and painted
in the most lescious colour. He exhibited at the
Royal Academy in London in 1850 three pictures,
which, not finding purchasers, were returned to
Brussels. Queen Victoria and Prince Albert,
considering well of his merit as an artist, pur-
chased three of his pictures. He met with an
accident, falling from a scaffold whilst engaged
painting a large composition in the church in La
Rue Haute, at Brussels, called ' La Chapelle/
from the effects of which he died in December,
1853.
EYCKENS, (orYKENS), Petee. The Cata-
logue of the Antwerp Museum gives the date of
the birth of this artist as in January, 1648, and
that of his death somewhere in 1695.
F.
FABRE, FfiiNCis Xavier, painter of history
and landscape, was born at Montpellier in 1766,
and died in 1837. He was a pupil of David, and
carried off the grand prize in 1787. He was made
a knight of the Legion of Honour in 1827, and a
Baron in 1828. His style was severe, his designs
pure, and his colour richer than generally seen in
the French school of his time. While residing at
Florence, it is said that he married secretly the
widow of the last of the Stuarts, and of Alfieri ; —
and it was here that he painted his finest works : —
' The Death of Milo,' ' Philoctetes at Lemnos,'
' Saul pursued by the Shade of Samuel,' ' The
Judgment of Paris,' &c. He was appointed Di-
rector of the School of Painting in Montpellier, to
which, town he bequeathed an entire museum and
a library, which are called after him.
FABKIQUE, Nicholas la ; a painter born at
Namur at the latter end of the sixteenth century ;
and died in 1756, by whom there is in the Brussels
Museum, a picture representing a young man ex-
amining with attention a piece of gold which he
holds in the palm of his hand.
FAED, John, was born at Burley Mill, Kirkcud-
bright, in 1820, and adopted the arts as a profes-
sion at an early age ; taking up his abode at Edin-
burgh, where he practised successfully, as a minia-
ture painter. He afterwards took to historical and
portrait subjects ; his picture of ' the Cruel Sisters'
(1851) deservedly attracting considerable attention.
Two of his works in this line exhibited in the In-
ternational Exhibition 1862, ' Job and his Friends,'
' Boaz and Buth,' tended to extend and confirm
the reputation which he had long enjoyed north of
the Tweed. He is a Member of the Royal Scottish
Academy. He was the first instructor of his
Vother Thomas.
FAED, Thomas. There are few instances in
Bur day of more rapid and deserved advance to
eminence in art than in the case of the subject of
the present notice. Thomas Faed was born at
fJurley Mill, in the picturesque stewartry of Kirk-
cudbright, in Scotland, in the year 1826. His
father, who was a man of considerable mental
powers, and with a genius for mechanical contri-
rance which he had no opportunity of developing,
there carried on business as an engineer and mill-
wright. The beauty of the surrounding scenery
F
[faed
and the interesting subjects with which it
was peopled, soon caught the attention of the
embryo artist, who, in the summer months,
when the mill was standing, and there was no
grain preparing in the kiln, was in the habit of
converting the smoke-begrimed apartment into a
studio, where, like a second Rembrandt, with a
fair top-light and a dark background, he painted
assiduously from the ragged boys who flitted about
in the rustic world around him. His father died
whilst the incipient painter was yet in his boy-
hood, but genius had already marked the family
for its own. His elder brother, John, who had
already achieved eminence as a painter in Edin-
burgh, recognised the dawning talent of Thomas,
and invited him to his house in 1843, where he
entertained him for some years, nurturing the
gifts which were so apparent in him. Never was
family love so happily displayed nor so well re-
quited as in this case, when the after Associate of
the Royal Academy might, if he were asked,
acknowledge with pride and satisfaction that he
owed in great measure his position as an artist to
a brother's affectionate solicitude. Our youthful
aspirant laboured for some years with assiduit}'- in
the Edinburgh School of Design, under the tuition
of Sir William Allan, and was annually rewarded
at the competition for prizes in various depart-
ments. The earliest work he ventured to exhibit
in public was a drawing in water colours, ' The
Old English Baron ;' but he afterwards devoted
himself to oil-painting. In 1849 he became an
Associate of the Royal Scottish Academy, and
produced amongst other works his justly-admired
picture of ' Scott and his Friends at Abbotsford,'
well known by the engravings of it. In 1852, act-
ing on the advice of his friends, he turned his face
southward, and permanently settled himself in
London. His works exhibited at the Boyal Academy
attracted attention, and were recognised by the
judicious as evincing promise of a. high order ; but
it was not until 1855 that his first decided hit was
made in a picture entitled ' The Mitherless Bairn.'
This picture embodies a touching scene of rustic
life, in which an orphan boy is represented asking
alms in a cottage, the frugal inmates of which
hasten to relieve his wants, displaying every variety
of kindly sympathy. It was a work to command
the attention of the critics, the majority of whom
distinguished it as amongst the ' pictures of the
season.' There was one, however, who had for
some years been received as an authority, but
whose virtue has at length begun to dissipate with
the clouds amongst which it was engendered, who
went out of his way to crush this rising effort.
Mr. Rnskin, in his ' Art-Notes' of the year (an
occasional publication since discontinued), thought
proper to condemn the work as " throughout the
most commonplace ' Wilkieism,' — whitespots every-
where ;" but, despite the prejudice against ' Wil-
kieism,' and ' white spots,' the public recognised
the merit of the artist, and placed him on the
pedestal which he now justly occupies. In the
next year Mr. Faed produced a picture in a some-
what similar vein to the last, entitled ' Home for
the Homeless,' and another pleasing embodiment
of ' Highland Mary.' In 1857 appeared a still
higher effort, entitled ' The First Break in the
Family,' representing the departure of a youth
from the parental cottage to seek his fortune afar
— father, mother, sweetheart, all looking after him,
with intense and varied feelings of anxiety and
PAINTERS AND ENGRAVERS.
pabdJ SUPPLEMENT TO
sorrow, whilst a rainbow stretched in the sky over-
head seems to inspire a hope of a happy return
and joyous days in store. His later productions
have* been ' A Listener Ne'er Hears Guid o' Him-
self,' full of humorous suggestions, exhibited in
1858 ; • Sunday in the Backwoods,' and ' My Ain
Fireside,' exhibited in 1859 ; and ' His Only Pair,'
(who shall forget that poor little urchin waiting
for their patching?) and 'Coming Events cast
their Shadows before," in 1860. As an example
of the prices which pictures of established favourite
painters obtain now-a-days, we may mention that
the ' Sunday in the Backwoods' was purchased by
the late Mr. Holdsworth for 900 guineas, and was
sold at his sale for 1310Z. Besides the above works
must be recorded ' Conquered but not Subdued,'
an admirable study of obstinate, bullheaded
boyism, exhibited in the Glasgow Art Union in
1856. To sum up, Mr. Faed appears to be endowed
with a real gift for the dramatic exhibition of in-
cident and character in rustic and humble life, in
•which respect he is nearer akin to Wilkie than any
other painter of our day. Moreover, he always
displays marked propriety and good keeping in all
that he does. His manipulation is always sound
and honest — his colouring clear and harmonious.
It might, perhaps, be suggested that there is a
little too much sameness in the models from which
he paints, and that his palette is too uniformly
filled with pale pinks, and greys, and tender greens,
producing too much sameness of effect ; but these
are mattes which he may easily qualify in future,
if he thinks proper to do so. Mr. Faed was
elected Associate of the Royal Academy Jan. 29,
1861.
FAHER, F., a painter, born at Brussels in
1782 ; died in 1844. In the museum of that city
is a picture by him of ' a Workman Reposing.'
FAHEY, James, water colour painter, was born
at Paddington in April, 1S04, but passed his boyish
days, and received his education in the west of Eng-
land. Early inlifehe was placed with Mr. Swaine,the
engraver, who was a relative on his mother's side,
and just about the time be began to be useful, Mr.
Swaine was engaged upon the plates for a work of
imitations of the old masters from the collection of
the late Mr. W. Y. Ottley. This was an opportu-
nity which Mr. Fahey took full advantage of,
employing all his leisure time in copying and
studying the original drawings of Raphael, Michael
Angelo, and other great Italian masters. The re-
sult was his adoption of painting as a profession.
At about nineteen years of age he was placed
under Scharf of Munich ; and in 1825 went to
Paris, where he pursued the usual course of study
in the schools. He commenced practice in London
as a painter of portraits and genre, but finding
the confinement of the painting room disagree
with his health, he adopted landscape painting,
and became a member of the New Society of
Painters in Water Colours ; of which on the death
of the first honorary secretary, he consented to
fill his place. During the early years of the So-
ciety's existence its career was of a rather up-hill
character, like that of most new societies of the
kind ; the expenses exceeding the receipts, and
having to be made good by contributions from the
members. Having at length become established,
and a success, a salary was attached to the secre-
taryship, the duties of which Mr. Fahey has
continued to perform with zeal to the present day.
Hia contributions in landscape are generally of
66
DICTIONARY OF [fattj
English scenery, and are characterised by great
truthfulness, a broad fine touch, and a perfect
freedom from affectation and undue striving after
effects. Mr. Fahey was elected a member of the
Pennsylvania Academy of the Fine Arts, about
the year 1851, and a member of La43ociete Beige
des Aquarellistes in 1859.
FA1RLAND Thomas, engraver, lithographer,
and portrait painter, was one of the first pupils of
the Royal Academy under Fuseli, and gained the
highest medal for a drawing from the Hercules in
the entrance hall. He at first turned his attention
to line engraving, and became a pupil of Warren.
He afterwards devoted himself to lithography, by
which process he produced copies of ' The Recruit,
or who'll serve the Ring,' and ' Left Leg Fore-
most,' after Farrier, ' The Poacher's Confederate,'
after Hancock, 'The Rat Catcher,' after A. Cooper,
and several after Sir E. Landseer, Hunt, and others.
But the inroad of the French lithographic press,
and the decline in popularity of the art itself, com-
pelled him to abandon an occupation which was
no longer remunerative. He now took to portrait
painting, in which he enjoyed the patronage of
many of the most eminent and illustrious persons
in the kingdom, including her Majesty ;— indeed
his frequent engagements at the palace of late years
had the effect of withdrawing him very much from
public observation. With all his labour and talent,
however, he was never able to raise his family
above the pressure of the passing hour ; and after
a struggling career, he died of pthisis, in Oct.
1852, in his 49th year.
FAIRLESS, Thomas Xeeb, born at Hexham,
in Northumberland, in 1823, first studied wood
engraving under Nicholson, of Newcastle, a pupil
of Bewick ; but afterwards came to London and
took to landscape painting, occasionally varied by
sea views with shipping, in which he showed con-
siderable taste and skill. He died of decline in
his native town in July, 1853.
FAULKNER, Benjamin Rawlinson, an Eng-
lish portrait painter, was born at Manchester in
1787. He was at first destined for the mercantile
profession, and for several years represented a
large firm in their establishment at Gibraltar ; but
when the plague invaded that city and garrison,
committing great ravages, his health suffered so
grievously that he was obliged to return to Eng-
land almost in a helpless condition, about the year
1813. It was during the season of his conva-
lescence in the following year that he accidentally
discovered a talent for painting, and under the
direction of a kind brother who was himself an
artist, he devoted himself two years entirely to
drawing in chalk from the antique, and in study-
ing assiduously the first principles of the Art. He
was imbued with a mind of exquisite sensibility,
and the remarkable diffidence of his character led
him to seek knowledge rather in the tranquil re-
cesses of his painting room than in the excitement
of an academy. To the close of his valuable life
he was held in high estimation by his fellow-
townsmen, and in Manchester and its neighbour-
hood are many of his finest works in portraiture.
That he was never so fully employed in London as
his eminent talent deserved, must be entirely at-
tributed to his retiring disposition — he needed to
be called forth ; in no instance did he obtrude
himself on public attention, save by the display of
the beautiful productions of his pencil ; and even
these were not of a character to catch the common
fatjl]
PAINTEES AND ENGEAVEES.
eye in a public exhibition ; they were the offspring
of refined taste and feeling, and possessing nothing
meretricious, were too often passed over by the
mere " exhibition goer," while they afforded a rich
treat to the man of taste. Nevertheless his ' Por-
trait of a Lady' in the Eoyal Academy Exhibition
of 1845 was almost universally admired ; and one,
a half-length of a Lady, exhibited in 1838, was
marked as a creation of exquisite feminine beauty
and sensibility. Mr. Faulkner died in Newman
Street on the 29th Oct., 1849.
FEABNLEY, Thomas, was born at Frederick-
shall, in Norway, in Dec. 1802 ; his family, on the
father's side being English. He was first intended
for the army, and afterwards for a mercantile life,
but a quarrel with some persons in his uncle's
establishment made him determine to adopt the
arts, for which he had long shown a taste, as a
profession. He went to Copenhagen and entered
the Academy there. In 1822 his works attracted
the notice of the Crown Prince Oscar, who com-
missioned him to paint a large picture, * A View
of Copenhagen.' In 1828 he set out upon a jour-
ney southward, proceeding by Hamburgh to Dres-
den, and Berlin, and other places in the centre of
Europe, taking up his winter quarters in 1832 at
Munich. Italy, Switzerland, Greece, France and
England, were afterwards visited, and he returned
to his native country in 1836, after an absence of
eight years. He afterwards travelled in Norway,
and England, where he remained two years and
a-half ; and finally, after some other travels, went
to Munich in 1841, where he died in January 1842.
His biographer in the ' Gentleman's Magazine'
states, that " he loved singular and difficult sub-
jects — thus he painted the Blue Grotto of Capri
■with all its peculiarities, and passed a whole fort-
night studying the glacier of the Grindewald.
The result of this was a large picture so true to
nature that it makes the spectator shiver with
cold. It became a favourite subject with him, and
he repeated it several times."
FELSING, James, a German engraver, was
born at Darmstadt in 1802. He was initiated in
his art by his father, and was afterwards sent as a
pensioner of the Prince of Darmstadt to the Aca-
demy of Milan. Afterwards he went to Florence
where he executed one of his best engravings,
' Christ on the Mount of Olives,' after Carlo Dolce.
He next took in hand the ' Madonna del Trono,'
a chef d'ceuvre of Andrea del Sarto. At Eome
and at Naples he pursued the study of the beau-
ties of nature and art ; Toschi, with whom he be-
came acquainted at Parma, by his judicious influ-
ence, preventing him from falling into errors of
excess in the execution of his works. He was
made a professor at the Academy of Florence. In
1832 he returned to Darmstadt, where he engraved
the ' Violin Player,' after the picture of Eaphael,
in the Sciarra gallery at Eome, and the ' Young
Girl at the Fountain,' after Bendemann. He
afterwards visited Munich and Paris ; and on his
return to Germany, engraved « the Holy Family,'
after Overbech, in 1839. Felsing has always
laboured, and laboured successfully to render not
only the subject, but the manner of the master
after whom he engraves. Besides the works by
him already referred to, may be mentioned ' Christ
with the Cross/ after Crespi ; and ' The Marriage
of St. Catharine,' after Correggio.
FENDI, Peteb, a German Painter, was born
at Vienna in September, 1796, and died in
f 2
August, 1842. He studied painting in the Aca-
demy of his native city. In 1818, on the death of
Mamesfeld, designer to the Cabinet of Antiqui-
ties, he was selected to succeed him. In 1821 he
accompanied the Director M. de Steinbiichel to
Venice, where he obtained tin- gold medal for his
picture ' The Grotto, or Corniola.' He designed
almost all the medals of gold and silver in the
Cabinet of Coins and Medals at Vienna. He also
painted for the Cabinet of Medals, portraits of the
principal numismatists of Europe. He was emi-
nently _ successful in the reproduction of works of
antiquity ;— perhaps even he added too much of
elegance in such works. His historical paintings are
almost all on subjects of German history or poetry.
At the chateau of Count Hugo deSalm.atEaiz, there
are by his hand, in water colours, ' Eginhard and
Emma,' ' The Eing of Fidelity,' ' The Town of
Saltzbourg,' « The Girl at the Post Office :' after
poems of Schiller. He also designed illustrations
for Dibdin's 'Biographical Tour in France and Ger-
many,' and for Hormayr's ' History of Vienna.'
FENNELL, John G, was born in 1809; be-
came a pupil of the late Henry Sass, and was ad-
mitted a student at the Eoyal Academy in 1828.
He took the large silver medal of the Society of
Arts in 1827. For many years he was engaged to
superintend the establishment of the eminent
Messrs. Finden, the engravers. Many of the
natural history subjects in the Penny Magazine
a.nd Saturday Magazine are from his pencil. He
likewise assisted the Messrs. Cadell in the selec-
tions of the subjects for some of the volumes of
the Abbotsford Edition of the Waverley Novels ;
the last volume of which contains five engravings
bearing his name. He has painted some humourous
subjects, as ' Persuasion Better than Force,' ' Full
Cry,' &e. which have been engraved by A. M.
Huffam.
FEVEE, Eobeet le. This artist was born at
Bayeaux, in April, 1756. His father placed him,
early in life, with an attorney, intending him to
follow the law as a profession. But the young
man's inclinations took a wholly different direction.
At the age of eighteen he made the journey to
Paris on foot, in order to contemplate* the works
of art collected in that capital. On returning to
Caen he entirely abandoned the study of law for
that of painting. By painting portraits and deco-
rations in the castle of Airel, near St. Loo, he
obtained the means to return to Paris, where he
entered the school of John Baptist Eegnault. As
a portrait painter he enjoyed a high reputation.
He painted the Emperor Napoleon I., the Em-
press Josephine, Pope Pius VII., and all the prin-
cipal personages of the Empire, and the Eesto-
ration. In 1814 he was commissioned to paint
the portrait of Lous XVIII., for the Chamber of
Peers ; was appointed principal painter of the ca-
binet and chamber of the king, and made a Knight
of the Legion of Honour. He died, in consequence
of an accident, at Paris, in January, 1831. In the
Antwerp Museum is a portrait by him of John
Francis van Dael, the celebrated flower painter.
FIELDING, Copley Vandyke. This artist,
although he also painted extensively in oils, directed
his chief and most successful efforts to water
colour painting. He was born about the year
1788. He exhibited first at the Water Colour
Exhibition in Spring Gardens in 1810; and im-
mediately took a high position in this branch of
art. On the death of Joshua Christall he was
67
FIEL j SUPPLEMENT TO
elected President of the Water Colour Society, an
office which he retained till his death. His works,
both in oil and water colour, are eminently cha-
racterised by truthfulness, and in water colour in
particular, by a steady adherence to the genuine
resources of the art, without recourse to body
colour, and other appliances, for effect, whicli
have since threatened the integrity of the art as
an art. Earely travelling beyond our own shores
for subjects, the richly-wooded landscapes of
Yorkshire, and the wide, flock-covered downs of
Sussex, were found to be sufficiently attractive for
his pencil; frequently, however, he put to sea in
search of a storm or a wreck, which he treated as
successfully as he did the peaceful haunts of the
deer and the ' South Downs.' No artist knew
better than Mr. Fielding how to paint a mile's
breadth of distant scenery on an inch of paper, or
how to give light and air to his pictures ; and not-
withstanding a certain uniformity of treatment,
the truth and delicacy of his painting ever made his
works welcome. The peculiar sweetness and har-
mony which characterised his style attracted and
gratified the eye alike of the artist and the unini-
tiated spectator. Mr. Copley Fielding was de-
servedly esteemed by his brother artists, as a
worthy and accomplished representative of then-
order; whilst by his numerous pupils he was be-
loved for his affability and manner, and the zealous
interest he manifested in their progress. He died
in good circumstances, at Worthing, on March 3,
1855. Copley Fielding had two brothers, both
artists of recognized ability ; the elder, T. H.
Fielding, who died July 11th, 1851, aged 76, was
drawing-master at Addiscome, and produced many
masterly drawings in water-colours, so much in
the manner of his brother Copley as sometimes
scarcely to be distinguishable ; and Newton Field-
ing, an aquatint engraver of animals and land-
scapes of some celebrity.
FINCH, Feancis Oliver, water colour painter,
was born in 1802 ; and died in August 1862. He
was a constant exhibiter at the Society of Painters
in Water Colours, of which he was a member, to
the time of his death. His works are remarkable
for poetic feeling, and quiet delicacy of exe-
cution ; the artist adhering strictly to the water
colour painting, in its pure and simple character,
as practised in the early part of the century, and
eschewing adventitious aids, such as the use of
body colour, scraping, &c. recently imported into
it in the wild, competition for ' effect.'
FIN DEN, Edwaed, an engraver, was born
about the year 1792. He was a pupil of Mr.
James Mitan, and worked during a great part of
his life in association with his brother William. His
first works of any importance, were undertaken in
connection with the late Mr. Murray, of Albemarle
Street, for whom he executed engravings to illus-
trate the voyages of Parry, Franklin, Lyons, Back,
Beechey, Denham, &c. He also about this time
executed, or superintended, a great number of en-
gravings for the ' Annuals.' The first work he
commenced in connection with his brother was
• The Landscape Illustrations of Byron/ which
had a large sale ; and was followed by the ' Land-
scape Bible,' ' The Graces/ ' Beauties of the
Poets,' and others of a minor character. But
their most important work was ' The Gallery of
British Art/ which, however, though carried on
in a most spirited and satisfactory manner, was
not successful, behur attended by such an amount
68
DICTIONARY OF [flan
of loss as to compel its abrupt discontinuance after
a few numbers had been published. The last
venture made by Mr. E. Finden was the 'Beauties
of Thomas Moore,' which also turned out an un-
profitable speculation. He died July 9th, 1857.
FINDEN William, an engraver, and brother
of the preceding, with whom he often worked in
conjunction, was an apprentice of Mr. James Mitan,
but was probably under secret and really greater
obligations in his art to J ames Heath, thau he was
to his master ; some of his early works for embel-
lished books published by Sharpe, Suttaby and
others, bearing unmistakeable evidence of his
being influenced by the example of Heath. In
this "style some of his early plates for Smirke's
Don Quixotte are excellent examples of his art. Of
works on a large scale he did not produce many ;
his most important being after Lawrence's full-
length portrait of George the Fourth seated on a
sofa, (painted for the Marchioness of Coningham.)
a true translation of the picture, and for which he
received £2000, the largest sum ever hitherto paid
for engraving a portrait. He also engraved ' The
Highlander's Beturn,' and ' The Village Festival/
after Wilkie, ' The Naughty Boy,' after Sir E.
Landseer, and ' The Crucifixion,' after the large
picture by Hilton, the last plate being purchased
of him while in progress by the Council of the
Art Union of London, by whom it was issued to
their subscribers. Mr. William Finden published,
in association with his brother, a series of Illus-
trations of Byron's Life and Works, which were
highly successful, and, on his own account, ' The
Gallery of British Art,' in which he wrecked the
savings made in the former venture, and he be-
came a poor man. He died on the 20th September
1852, in his 65th year.
FITTLER, James, an engraver, was born in
1758, and became a student of the Royal Academy
in 1778. Besides book illustrations he engraved
numerous plates after English and foreign masters,
chiefly portraits, busts, &c. He was appointed
engraver to the king, and executed the plates to
' Forster's British Gallery,' many of those for
Bell's 'British Theatre,' and all those for Dr. Dib-
diu's ' iEdes Althorpianse.' His most important
engravings are ' Lord Howe's Victory/ and ' The
Battle of" the Nile/ both after De Loutherbourg
and the portrait of Benjamin West. He was
elected an Associate Engraver by the Royal Aca-
demy in 1800 ; and died in 1835.
FITZCOOK, Hen by, was born at Pentonville
November 1824. He studied first under B. R. Hay-
don, and afterwards at the lioyal Academy. He
received several honorary rewards and pecuniary
prizes from the Society of Arts. First exhibited
at the Boyal Academy, in 1846, an oil painting
from Southey's ' Thalabar the Destroyer.' De-
voted greater part of time for thirteen years to
drawing for the Illustrated London News, and
book illustration, occasionally exhibiting pictures,
of which the principal are—' Beware/ from Long-
fellow, British Institution, 1853 ; ' Don Quixote,'
Society of British Artists, 1854 ; ' Hark ! Hark !
the Lark/ Boyal Academy, 1857 ; * Gleaners Re-
turning,' Society British Artists, 1857; 'The
Deserted,' Society British Artists, 1863 ;' Ja-
cob and Rachel/ Society British Artists, 1864 ;
and ' The Ploughman's Midday Meal/ British
Institution, 1864.
FLANDRIN, Eugene Napoleon, was born
the 15th of August, 1809, at Naples, where his
PAINTEES AND ENGEAVEES.
father was attached to a military department under
King Joachim Murat. After a tour in Italy he
exhibited in 1836 a large view of ' The Piagetta' at
Venice, which was purchased by the government
out of the civil list, and another of ' The Bridge
of Sighs,' which was purchased by the Societe
des Amis des Arts at Paris. After this he visited
Belgium, and made a voyage to Algeria ; and in
1837 he exhibited ' A View of the Coast at Algiers '
which was purchased out of the Civil List, and
further rewarded with a medal of the second class.
He shortly afterwards returned to Africa, and was
an amateur spectator of the campaign against
Constantme, being present at the assault upon
that town, which formed the subject of a picture
exhibited by him in 1838. This picture was pur-
chased by King Louis Phillippe, and placed in the
chateau of Neuilly, where it was pierced with bul-
lets in the revolutionary days of 1848, and the
remains sold off with other debris, but afterwards
repurchased by Queen Marie-Ainelie. In the fol-
lowing year he produced another picture repre-
senting ' The Breach at Constantine,' and the gate
where Col. Lamoreciere, at the head of the Zouaves,
was knocked down by the explosion ; which was
also purchased out of the Civil List. In the same
year (1839) he was selected by the Academy of
Fin e_ Arts to accompany an archaeological expedi-
tion into Persia, a country in which he remained
until 1841 ; and collected a vast amount of inte-
resting materials, which were submitted to a Com-
mission of the Academy of Eine Arts, and the
Academy of Inscriptions and Belles Lettres.
Upon the appearance of the report of this com-
mission in 1812, M. Flandrin received the decora-
tion of the Legion of Honour. The results of the
researches made on this occasion were published
by the Government; viz., 'Etudes sur la Sculp-
ture Perse,' 2 vols, folio, besides 1 vol. of text;
' Etudes sur la Perse/ 1 vol. folio of 100 plates,
lithographed by the author ; and ' Eelation du
Voyage en Perse/ 2 vols. 8vo. Shortly after his
return to France, M. Flandrin was selected by the
Academy of Inscriptions and Belles Lettres, to un
dertake another mission to Khorsabad, on the east-
ern bank of the Tiber, the supposed site of ancient
Nineveh. He started upon this expedition in Nov.
1843 and returned in 1845 ; the result being pub-
lished in two volumes, folio, ornamented with nu-
merous engravings. After the completion of these
public works, M. Flandrin returned to painting,
and exhibited, in 1853, a 'View of Stamboul,' and
a ' View of the Eoyal Mosque at Ispahan.' In
1855 he re-exhibited these two works, adding to
them a ' General View of Constantinople,' and a
view of the ' Eutrance of the Bosphorus.'
FLANDEIN, Augustus, was born in Lyons
in 1807. He commenced working at lithography,
designing vignettes, and other book illustrations!
In 1832 he came to Paris, where he worked for
two years under M. Ingres. He afterwards ac-
companied his two brothers to Italy; and on his
return to France went back to his native town,
where he died in 1842. He exhibited in 1840
• Savonarola preaching at Florence,' ' Eeposino-
after the Bath,' ' Interior of the Church of San
Miniato at Florence,' (for which he was awarded
a gold medal), and several portraits in 1841, 1842.
and 1843.
FLANDEIN, John Hippolytus, was born in
Lyons in 1809, and was a younger brother of
Augustus Flandrin. He commenced his studies
under Messrs. Legendre and Maquin, and after-
wards placed himself under M. Eevoil. In 1829
he came to Paris with his younger brother Paul
and entered the studio of Ingres. In 1832 he
carried off the great prize in painting, and started
for Italy ; where, in the ensuing year, he was fol-
lowed by his two brothers, Paul and Augustus ;
and all three studied assiduously under Ingres,
who had been appointed Director of the Academy
at Eome. In 1838 the three brothers returned to
France; Paul and Hippolytus taking up their
ground at Paris, where they worked in the same
studio ; the latter, however, alone following the
counsels of Ingres, and remaining faithful to the
historic style. His works are generally finely
conceived, display learning and admirable study ;
but combined with an austerity which sometimes
approaches to coldness. His design is pure, but
somewhat mannered, and wanting in variety. By
a parity of error, whilst his figures too often lack
vivacity and action, his colour is chargeable with
tameness. His principal works are ' Theseus re-
cognised by his Father in the midst of a Festivity,'
for which he received the great prize ; 'Euripides
writing his Tragedies,' 'Dante conducted by Virgil
offering Consolation to the Souls of the Envious,'
(1836), « St. Clair Healing the Blind,' (1837),
' Christ and the Young Children,' (1839), several
portraits, (1840 and 1841), ' St. Louis dictating
his Code of Laws,' (1842), a grand composition,
painted for the Chamber of Peers ; ' Portrait of
Count A.,' (1843), 'Mater Dolorosa,' (1845)
several portraits (1845-6), < Napoleon as a Legis-
lator,' (1847), painted by command for the Hall of
the Home Department in the Conseil d'Etat;
portraits, and a female study, (1848). M. Flan-
drin also executed a great number of monumental
paintings :— as, the interior of the chapel of St. John
in the church of St. Severin, completed in 1840 ;
a coloured window for the town of Dreux, reprel
senting ' St. Louis taking up the Cross for the
second time,' (1843), and two encaustic paintings
in the choir of the church of St. Germain-des-
Pres, on the subjects of ' the Entry of Christ into
Jerusalem,' and 'Christ led to his Crucifixion,'
and some other works in the nave of the same
church ; and the frieze on the entablature of the
nave of St. Vincent de Paul, representing groups
of Angels and Saints advancing towards Christ.
M. Flandrin obtained a second class medal in 1836 ;
a first class medal in 1838 ; was appointed to
the Legion of Honour in 1841, of wbich he be-
came an officer in 1853 ; and in the same year was
elected to the Academy. At the Universal Expo-
sition in 1855, he obtained a medal of the first
class. He died at Eome on the 21st March, 1864
FLANDEIN, John Paul, brother of the pre-
ceding, was born in Lyons in 1811, and also re-
ceived lessons in painting from Legendre, Maquin
and Eevoil, in his native city, and from Ingres at
Paris. In 1834 he followed his brother to Eome,
and commenced painting both landscape and figure
subjects. On returning with his brother to Paris,
he, under the advice of Ingres, took to the walk
of historical landscapes, in order not to clash with
his brother in the same field. His works in this
line have considerable merit, showing much ot
poetry in the conception of his subject, taste and
skill in the arrangement of his materials, and a
severe correctness, somewhat chargeable with
coldness, in the execution. He also, like his bro-
ther, painted portraits. He first exhibited in 1839,
69
»lan] SUPPLEMENT TO
' The Proscribed taking leave of his Family,' and
' Campagna of Rome :' arid subsequently produced
'Views in the Environs of Lyons/ 'Saint Jerome,'
(1841), 1 The Banks of the Tiber,' called at Rome
• the Promenade of Poussin,' (1843), ' Tivoli,'
'Banks of the Rhone,' ' Twilight,' (1844) ; ' Shep-
pards Quarrelling,' ' Peace,' (1847) ; ' the Sabine
Monntains,' (1852) ; 'Environs ofVienne,' (Dau-
phine) and ' the Reverie,' (1853). In 1855 he
contributed to the Universal Exhibition, 'Gorge
of Mount Atlas,' ' Solilude,' 'Valley of Montmo-
rency,' and several others. He also painted the
gallery of the baptistry in the church of St. Se-
verin, and some of the views of the environs of
Paris, in the Hotel de Ville. He received second
class medals in 1839 and 1848, and a first class
medal in 1847.
FLEURY, Claude Anthony, a French his-
torical and portrait painter ; pupil of Regnault,
who flourished the early part of the present cen-
tury. He exhibited amongst others in 1800, ' The
Abduction of Helen from the Temple of Diana;'
in 1804, 4 Theseus going out to Fight the Mina-
taur :' in 1806, ' The Doom of Orestes,' ' Venus
and Adonis going to the Chase,' (for which he
obtained a gold medal) ; in 1808, ' The Origin of
Painting ;' in 1810, ' Cornelia showing her Sons
as her most precious Jewels ;' in 1817, a portrait of
Louis XVIII , surrounded hy allegorical figures ;
in 1819, ' The Flight into Egypt,' with moonlight
effect, (in the Royal Collection), and ' The Widow's
Mite,' (in the Museum of the Institute).
FLEURY, Leon, landscape painter, son of
the above, was born at Paris in 1804 ; and after
acquiring the first rudiments of art from his father,
became successively the pupil of Victor Bestin,
and Herzent. On quitting the studio of the latter,
he set out upon a lengthened sketching tour, and
between the years 1827 and 1830, travelled over
Italy, Belgium, and a large part of his native
country. Returning to Paris, he there exhibited,
in 1851, four pictures, ' A View of the Ponte Ratto,
Rome,' ' A View in the Environs of Rome,' and
two views of ' Watten, in the environs of St.
Omer.' From that year his name was seldom
absent from any of the public exhibitions of the
French Academy. His last appearance was at
the Universal Exposition, in 1855, to which he
contributed two pictures. Although chiefly known
as a landscape painter, he occasionally employed
his pencil on other subjects. In the church of
St. Marguerite is a 'Baptism of Christ,' by him,
and in that of St. Etienne-du-Mont, a St. Gene-
vieve. Several of his works have been purchased
by the French government for presentation to
provincial Museums ; as a ' Wood in Normandy,'
presented to the Museum of Bar-le-Duc, and a
' View on the Road to Genoa, near Nice,' pre-
sented to the Museum of Amiens. His works are
held in high esteem by his countrymen for their
truth, picturesque character, and careful treat-
ment. In 1834 M. Fleury was awarded by the
council of the Fine Arts in Paris, a medal of the
third class ; in 1837 one of the second class ; and
in 1845 one of the first class. In 1851 he was
made a member of the Legion of Honour. He
died in the winter of 1858.
FLEURY, Robert Joseph Nicholas, was
born at Cologne, of French parents, on the 8th
August 1797. His family falling into reduced cir-
cumstances through the action of troublous times,
he, at an early age, made his way to Paris, where
70
DICTIONARY OF [plto
with strong art impulses, he was soon initiated
into, the elements of drawing. The first thing
that came in his way he made good use of : it was
a book of heraldry ; and ere long he became so
expert in the designing of coats of arms, that the
Count de Forbin, Director of the Museum of the
Louvre, remarking his talents, wished to procure
him a license as painter of armorial bearings. But
soon, perceiving in the young man, now nineteen,
buddings of genius yet to shoot up beyond heraldic
trees, the Count took a higher view of the case,
and introduced his protege to the atelier of Horace
Vernet. It was not long ere the pupil won the
regard of his master, who placed him to work
alongside of his own easel ; putting the palette
and brush into his hand, giving him some of his
own studies to copy, he would stop in his work to
counsel and encourage the young art-student.
It was at this time that Gall, just commencing his
phrenological courses and experiences, arrived at
Paris. Being acquainted with Horace Vernet, he
paid a visit to his atelier, and scrutinising, in his
way, the three or four pupils who were there, —
' This one/ he said, speaking of Robert, ' has
the organ of colour.' ' Now then,' said Horace,
' let us see you justify the prophecy of the Doc-
tor.' And certainly the Doctor foretold rightly.
But the atelier of Vernet had not those advantages
for study which the young pupil required. That
master employed the living model but little for his
compositions. Gifted with large perception and
unfailing memory, he grasped the realization of
his idea in the mind's eye, and planted it on the
canvas with a certainty of a hand accustomed to
every movement and expression of the form. It is
related that a person who had stood to him for a
model having gone to him one day to ask em-
ployment, Horace replied, ' I have no need of
you just now, but I owe you a sitting.' ' Me,
sir ! you mistake, surely ; I never had the honour
to sit to you.' ' Aye, no matter ; do you know
that ?' pointing to a figure in a picture. And
there, sure enough, he recognised himself, rendered
from memory : for Horace had only met him in
the road, or somewhere by accident ; one glance
sufficing for his quick, comprehensive eye. How-
ever, the beginner is not thus emancipated from
the necessity of being guided by the substantial
form of nature ; and Horace himself was the first
to recognize, in the essays of Robert Fleury, a
promise of talent worthy of serious cultivation.
' You are losing your time here,' said he to him,
after a few months ; ' you must work after the
model ; I will take you to the atelier of Girodet,'
But to stay there costs thirty francs a month ; and
how procure this P' Yet the young man, hope-
ful, trustful, resolute, was not to be put down by
this difficulty ; and, spite of all its cost, he re-
mained there from 1815 to the end of 1819, when
he changed professors, and entered under Gros ;
with whom, however, he remained only some
months. But it was neither with Vernet, with
Girodet, nor with Gros, that our young artist felt
himself most in his element. There was another
who for him was a leading spirit, with whom he
felt a profound sympathy ; and many a time did
he play truant from the schools of all the three to
work a hearty hour with Gericault. It was at this
time that the latter was engaged in studies for his
famous ' Raft of the Medusa,' and in living mo-
dels, and the dead preparations bought from the
School of Anatomy for the peopling of this extra-
fXEU"]
PAINTERS AND ENGRAVERS.
ordinary canvas. Robert Fleury found ample
subject for work ; and an intimacy based upon
true artistic sympathy was established between
Gericault and the young aspirant, who was
treated rather as a friend than as an ordinary
pupil ; a friendship which was only cut short by
the premature death of the former. When scarcely
twenty-one years of age, Robert Fleury experi-
enced a severe disappointment in an affair of the
heart, which occasioned a melancholy which he
sought to dissipate by travel. The desired occa-
sion presented itself a propos, and Robert jour-
neyed into Switzerland as drawing-tutor to an
English family who had a residence there. Wbat
more glorious country for the lifting up of a droop-
ing heart? Rome afterwards became the object
of his thoughts and efforts ; so he cleared the Alps,
and found himself in the Eternal City. Just at
the time of Robert Fleury's arrival at Rome, a
circumstance took place which struck him
as a subject for a picture ; a band of bri-
gands, with most outrageous daring, had entered
a convent, and sacrilegiously pillaged the holy
fathers. He had the good for-tune to get the very
actors in the scene to sit for his picture, and be
determined that this, his debut in the artistic
career, should be at the height of his powers for
truth and effect. Thrice did he depict the scene,
and bring his labours to a termination, and thrice,
unsatisfied, did he resolutely destroy the pictures
he had spent nearly four years upon. The picture
being at length finished, and to the artist's satis-
faction, the young painter, whose exchequer had
become in a very exhausted state, began thinking
anxiously how he was to get it to Paris, and how it
was to produce him the needful resources, with
all the chances which an unknown artist runs of
remaining undistinguished and unbought, among
the crowd of competitors struggling for honour
and existence on the walls of the Louvre Exhibi-
tion. At that moment a step sounded on
the floor of the atelier, and broke the reverie of
the student. The first words of the new comer
were an exclamation of admiration, and an offer to
purchase the picture. Robert, his head half-
turned with the suddenness and welcome of the
good fortune, and ignorant besides of the value of
his work, knew not what to reply ; so, abruptly
leaving the amateur, off he ran to ask counsel of M.
Granet, then become one of the most distinguished
of French artists at Rome. ' Well,' said Granet,
' you are, after all, you see, but a beginner ; and
however valuable in itself, your work has not yet
acquired a value by reputation ; you cannot be
exacting— ask 1200 francs.' This he did, and the
bargain was at once concluded, and the money
paid. Exhibited in the Louvre in 1824, the pic-
ture attracted so much admiration that the Count
de Forbin sent for the artist (who had returned to
Paris in the interim), and gave him to understand
that the king (Charles X.) desired to acquire the
picture, at the price of 5,000 francs. Its present
possessor, however, declaring his disinclination to
depart from his bargain, Robert Fleury was ho-
noured with a commission from the king for
another picture on the subject of ' Tasso arriving
at the Convent of St. Onofario,' on the occasion
of the poet's last and fatal illness on his way to
Rome, Nov. 1594. The artist returned to Rome
to paint this picture, which was exhibited in 1827.
Returned to France, Robert Fleury in 1829, find-
ing himself in the country, painted a study of
sheep, which he gave to an exhibition for the benefit
of the Greeks. Its success was such, that an idea
entered the mind of the painter, that, perhaps,
hitherto he had not found the true direction of his
genius ; which, cultivated with the necessary
means, might place him in the position of the Paul
Potter of France, Under this impression he set
off to Holland ; and there, for a year, studied the
subjects of the celebrated animal painter, on his
own ground, dreaming over future pictures of
cattle, pensively ruminating in their green mea-
dows, or quietly standing in the homestead ; —
of horses munching their hay in the farm-yard, or
tugging the plough through the furrow ; — of all
that quiet and homely life of the cultivator, which
so charms by its simplicity, and closer communion
with nature. On his return to France he took up
his head-quarters at a farm, determined to make
his debut with eclat, in the new career he had
foreshadowed for himself, and on a twelve foot
canvas. But whilst he was engaged upon this
great work, the Revolution of July, 1830, burst
forth, and he hurried off to Paris, to watch and
mingle in the movements of that stirring time.
His cattle studies thus interrupted, he employed
his pencil for some time on several portraits, one
of which, that of M. Guenin, had the honours of the
Salon Carre. In 1833, was exhibited the ' Scene
from St. Bartholomew's Eve,' in which the young
Prince of Conti endeavours, but fruitlessly, to save
his tutor Brion, by throwing himself over him, and
warding off the spears and daggers of the assas-
sins. This picture was bought for the gallery of
the Luxembourg. On the distinguished success
which attended this picture, his friends took occa-
sion to dissuade him from further devoting
his study to animal painting, and he yielded to
their counsels. Of the soundness of their advice he
was still further enabled to judge, when at the next
year's exhibition, his ' Procession of the League' ob-
tained a first medal from Government, and was sold
at once to a gentleman, a native of Belgium, where
it still is. The large cattle picture was thus aban-
doned ; and sometime after, he had it sent to Paris,
and, cutting out the parts he wished to preserve,
abandoned for the rest, his aspirations of Paul-Pot-
terism. In 1835 he painted for Versailles several
portraits, and the Arrival of Baldwin Count of
Flanders at Odessa.' The following year he re-
ceived the decoration of the Legion of Honour, on
the exhibition of his ' Henry IV. brought to the
Louvre -Palace, after his Assassination.' In 1837
appeared, ' Bernard de Palissy in his Workshop,'
a small picture, which was unanimously praised
by the journals. A large collection of his works
was seen at the Paris Universal Exhibition, 1855 ;
and in 1857 he exhibited ' Charles V. at the Mo-
nastery of St. Juste.' He obtained a second medal
in 1824, two first class medals in 1834 and 1835
respectively. Be was elected a member of the Aca-
demie des Beaux Arts in 1850, and succeeded
Blondel as Professor in 1855. He is an officer of
the Legion of Honour.
FOGGO, James, was the elder of two brothers
who, during the early part of the present century
zealously devoted their energies to historical paint-
ing, but with no better success than attended the
efforts of Hay don and Hilton. He was born in Lon-
don in the year 1789. His father who was a zealous
friend of civil and religious liberty having given
offence to the Tory government at the time when
they had suspended the Habeas Corpus Act,
71
fogg] SUPPLEMENT TO
proceeded with his family to Paris, where his
sons were educated in art, in the Imperial Aca-
demy. In 3815, on the return of Napoleon from
Elba, James Foggo hastened to England, full of
hope and anbition ; but after bis long exile he
sought in vaii the friends of his childhood. Never-
theless, without the encouragement of patronage,
he set to work in a humble second-floor room,
where be painted bis ' Hagar and Ishmael,' which
was exhibitel at the British Institution, where it
was favourally noticed by West, and other artists,
yet did not find a purchaser. In 1819 be was
joined by hit brother ; and during the next forty
years the brothers, working together, produced
various histmcal pictures, generally of a large
class, which, however, were doomed to remain
unsold on their bands, their slender means of
living being chiefly derived from teaching. In
1821 and 1822 they painted their large picture
representing ' the Christian inhabitants of Parga
preparing to smigrate' (1819), in presence of the in-
vading force of Ali Pacha. This and subsequent
works obtained the approbation of Sir Thomas
Lawrence, Euseli, Hilton, Elaxman, and other ar-
tists of eminence. This production bas for many
years been onsigned to the walls of the Pantheon
in Oxford Street, together with several other
works by thar bands. An ' Entombment of the
Saviour/ bj them, forms the altar piece of the
French Protestant church in St. Martins le Grand.
Amongst their other works may be mentioned
' Napoleon sgning the Death of the Due D'En-
ghein, in spi.e of the entreaties of his mother,' and
' General Williams amongst the inhabitants of
Ears.' In the institution of the cartoon and fresco
exhibitions it Westminster Hall (1840-3), the
Foggos conlributed to each of the exhibitions.
James Foggo, the immediate subject of this notice,
died in Lordon on the 14th September, 1860,
being in his 72nd year. His brother survives him.
FOEBIN. Louis Nicholas Philip-Augustus,
historical painter, was born in 1779, at the Castle
de la Roque Bouches-du-Rhone) ; was a pupil of
David, but served from time to time in the
army, retiring from it finally after the peace of
Sheenbrunn. He was a member of the Institute,
and under the Restoration he was appointed Di-
rector General of the Eoyal Collections, and In-
spector General of the Fine Arts in France. He
painted, besiles some historical subjects, several
church interiors, with appropriate figures, and
landscapes. One of bis most celebrated pictures
is tbat of 'Religion before the Tribunal of the In-
quisition,' eihibited in 1817, (Luxemburg Gal-
lery). He a so published several works, the result
of bis long residence in Italy, and of bis travels in
Greece and Syria ; and after his death was pub-
lished (1843)' Le Pontefeuille de M. Forbin,' con-
taining engravings of bis pictures, designs, and
sketches ; the text by the Compte de Marcelles,
He was a commander of the Legion of Honour,
and a Knigh:- of St. Louis of Malta.
FORESTER, Alfred Heney, better known
under his soibriquet of ' Alfred Crowquill,' is of
Scottish extraction, and was born about the year
1805. On quitting school he became a notary in
the Royal Exchange, with which office his family
had been connected for a century and a-half ; but
retired from tbat business about 1839, and devo-
ted himself entirely to letters, the pencil, and the
graver, which he had already occasionally em-
ployed with encouraging success. His first pub-
72
DICTIONARY OF [fox
lication was 5 Leaves from my Memorandum
Book,' comprising comic prose and verse illus-
trated by himself. Next followed • Eccentric
Tales,' and after that, at various periods, ' The
Wanderings of a Pen and a Pencil,' 1 The Comic
English Grammar,' ' The Comic Arithmetic,'
'Phantasmagoria of Fun,"ABundleof Crowquills,'
' St. George and the Dragon,' ' Railway Baillery,'
&c. besides illustrated contributions to ' the Hu-
mourist,' ' Bentley's Miscellany,' Sec.
FORTIN, Augustus Felix, a French painter
of landscape, genre, and history ; also a sculptor,
a pupil of Lacour ; flourished about the year 1815.
Amongst his works are mentioned ' An Invoca-
tion to Nature,' and ' A Satyre.'
FORTIN, Chaeles, son of the above, was born
at Paris, about the year 1815. He studied paint-
ing, as regards interiors, under M. Beaunce, and
landscape under Camille Roqueplan. He first
exhibited in 1835 ; and has since produced a great
number of pictures in both the classes indicated,
as ' The Eagseller,' ' The Return to the Cottage,'
' The Chimney Corner,' ' Butcher's Shop.' * The
Country Tailor,' ' The Village Barber,' ' Cbouans,'
(1853) ' The Benediction,' (purchased by the
State), ' The Music Lesson,' ' The Smoker,'
(1855) ' Rustic Interior,' (1859). He obtained a
first class medal in 1829.
FOURAU, Hugo, a French painter, was born at
Parison the 9 th of May, 1803. In 1820 he commenced
his studies under Guerin and Baron Gros, as well
as in the Academy, where, in 1830, he carried off
the first-class medal in Historic-Landscape. He
exhibited first in 1827, and bas continued to do so
regularly ever since, his subjects displaying great
variety, but many of them being illustrative
of scenery or occurrences in the East, which he
explored in 1838-43. Amongst his works are the
'Marriage of Tobit,' (1827); 'Ulysses and
Nausicaa,' (1834) ; ' The Defence of Valenciennes,'
(1839); 'The Sweet Waters of the Prophet
Elias,' ' The Massacre of the Janissaries,' ' View
of Therapia,' (1842); 'Death of Chattel-ton,*
(1844); 'Child playing with Flowers,' (1848);
' The Entrance of the Bosphorus,' (1849) ; ' Greek
Woman,' (1859). He has also painted several
portraits.
FOX Chaeles, was born March 17, 1796, at
Cossey, near Norwich, where his father was steward
to Lord Stafford, of Cossey Hall. Mr. Fox's
earlier pursuits were turned to agricultural and
floricultural matters, until an accidental visit from
Mr. Edwards, the engraver, at that time engaged
with the Messrs. Childs the publishers, of Bungay
in Suffolk, induced bis father to place bis son as a
pupil with that gentleman. After the period of
bis engagement he came up to London, became an
inmate in Mr. Burnet's studio, who was at that
time engaged in engraving some of the late Sir
David Wilkie's principal works, and assisted the
artist in their completion. The engravings ex-
ecuted entirely with his own burin are several
small plates after Wilkie, for Cadell's edition of
Sir Walter Scott's novels, and various illustrations
to the annuals of the day. Mr. Fox's large en-
gravings are — awhole-length portrait of Sir George
Murray, after Pickersgill ; and the First Council
of the Queen, after Wilkie. Mr. Fox's early
habits and love of flowers never left him; and on
his townsman, Dr. Lindley, being appointed to the
superintendence of the Horticultural Society, Mr.
Fox was chosen as a judge and arbitrator for tho
fox]
various prizes ; and during the whole time gave
the greatest satisfaction, both on account of his
scientific skill and his strict impartiality. He also
executed all the engravings for a periodical called
the Florist. At the time of his decease, which
took place early in 1849, he was engaged upon a
large print after Mulready's picture of ' The
Fight Interrupted.'
FRADELLE, Henry, was born at Lille, in
1778, and studied in Paris up to 1808, and after-
wards in Italy. In 1816 he fixed his residence in
London, and exhibited with success at the British
Institution and Royal Academy. His principal
Sroductions are in the collections of Lord Holland,
larl of Egremont, Wynn Ellis, J. Marshall of
Leeds, and the Prince of Leuchtenberg. Several
of his pictures have been engraved— viz. : ' Mary
Queen of Scots, and her Secretary, Chatelar,'
' Belinda at her Toilet,' ' The Earl of Leicester
and Amy Robsart,' ' Queen Elizabeth and Lady
Paget,' 'Lady Jane Grey,' &c.
FRAGONARD, Alexander Evariste, a pain-
ter and sculptor, son of Honore Eragonard, was
born in 1783 at Grasse, and died in 1850. He was
a pupil of David. Amongst his works in painting
are ' Francis I. in Armour,' exhibited in 1819,
' The Burgesses of Calais in the Tent of Edward I.
several subjects in the Life of Francis I. for the
ceiling of the Museum of the Dauphin, and several
others of large dimensions executed for the Go-
vernment, and the Royal Princes. He also de-
signed landscape and historical subjects, which
were published in lithography. This artist obtain-
ed, at various periods, four medals of the highest
class, besides the Cross of the Legion of Honour,
which was awarded to him in 1819.
FRANCOIS, Angelo W. J., born at Brussels
in 1800 ; obtained the prize in 1821, for his design
for a picture of the ' Bloodstained garment of Jo-
seph presented to Jacob,' which is in the Brussels
Museum.
FRANCOIS, P. J. C, was born at Namur, in
1759, and died in 1851. There is by his hand in
the Brussels Museum, a picture of ' Marius sit-
ting on the Ruins of Carthage.'
FRANKEN, P. H., a Flemish artist of whom
little is known, save that he flourished about the
middle of the seventeenth century, and that he
painted much in the style of the Rubens school. An
altar-piece, representing St. Anthony, of Padua, in
a glory, with illustrations of his miracles, a compo-
sition of numerous figures life size, and dated
1652, and three other works originally painted for
the church of theRecollets, at Padua, are in the Mu-
seum .at Antwerp.
FRERE, Theodore Charles, was born in
Paris in 1808, studied under Coignet and Roque-
plan, and first exhibited in 1834. In 1836 he went
to Algiers, was present at the taking of Constan-
tine, and afterwards travelled through the desert,
and other parts of the East; and the greater num-
ber of his works are souvenirs of the scenes which
he there beheld. Amongst others he produced
' The Faubourg Bab-a-Zoum,' ' The Fountain of
Bab-el-Ouat,' ' The Jews' Street at Constantine,'
' The Assault on Constantine,' ' The Market at
Constantine,' (1848), ' A Halt of Arabs,' (pur-
chased by the Ministry of the Interior in 1850), ' A
Street in Constantinople,' ' A Mosque at Bey-
routh,' ' Bazaar at Damascus,' ' The Pyramids of
Gizah,' (1857), ' A Harem at Cairo,' &c. He
obtained a medal of the second class in 1848.
[frip
FRERE, Pierre Edottard, younger brother
of Theodore, is a distinguished painter of the
modern French school, and was born at Paris on
Jan. 10th, 1819. In 1836 he became the pupil of
Paul Delaroche, pursuing concurrently his studies
in the Ecole des Beaux Arts. Notwithstanding
the elevated stage upon which he commenced
his artistic life, and the grand example before
him, M. Frere appears to have determined from
the commencement of his practice (he first exhi-
bited in 1843) to restrict himself to the genre
school of painting ; his subjects being for the most
part selected from amongst the characteristics and
incidents of domestic life ; and these he paints
with a truthfulness, and a loving tenderness, which
constitute of them a school entirely his own ;
and in which, as yet, he has had no successful
imitators. It may be sufficient to enumerate a
few of his favorite creations, many of which are
well known, from having been exhibited in this
country, and some of them engraved : — ' The Little
Glutton,' ' The Little Mountebank,' * The Cook,'
' The Hen with her Golden Eggs,' ' The Work-
shop,' ' The Washerwoman,' ' Women Knitting,
' The Reading Lesson,' ' The Sunday Toilette,'
' Going to School,' ' The Flute Lesson,' &c. M.
Frere received two third class medals in 1850, and
1855 respectively, a second class medal in 1852 ;
and the decoration of the Legion of Honour after
the Universal Exposition of 1855.
FRIPP, George Arthur, landscape painter,
in water colours, was the son of the Rev. S. C. Fripp,
and was born at Bristol in 1813. After practising
painting in his native city during four or five
years, he came to London, and was elected an
associate of the Society of Painters in Water
Colours about the year 1842, and some years after-
wards a full member. He also succeeded Mr.
Wright as secretary of the Society, but subse-
quently resigned the office on account of ill health.
Mr. Fripp goes to nature for his subjects, which
he treats with the simple earnestness of truth.
He is particularly happy in passages of home
scenery, as in the Downs near Bristol, and in
Ireland and Wales, though his pencil has also
been successfully employed in rendering some of
the classic sites of Italy, and other continental
parts. In the International Exhibition 1862, there
were by him, ' Falls of the Orchy, Argyleshire,'
• Pass of Nant Frangon, North Wales,' and ' On
the Marshes near Eastbourn — Evening.'
FRIPP, Alfred Downing, brother of the pre-
ceding, was born at Bristol in 1822. His first
knowledge of art he derived through his acquaint-
ance with his fellow-townsman, William Muller,
the landscape painter. He came to London about
the year 1840 ; studied first at the British Museum,
and afterwards became student at the Royal Aca-
demy. In 1843 he was elected an associate of
the Society of Painters in Water Colours, and
in 1846 a full member. His early subjects were
chiefly taken from British or Irish life ; but lat-
terly he has shown a preference for Italian scenes
and incidents. His style is remarkable for facility,
associated with great truthfulness and complete-
ness of detail. His colouring is pure and agree-
able. Amongst his numerous works may be men-
tioned : — ' The Poacher's Hut,' 1844 ; ' Irish
Mendicants,' ' The Hallowed Relic,' 1845 ; ' The
Irish Mother,' and ' Irish Courtship,' 1846 ; * The
Fisherman's Departure,' 1849 ; ' The Irish Piper,'
1850; « Ihe Islet Home,' 1851; ' Pompeii, 1853 ;
PAINTERS AND ENGRAVERS.
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' Last Days of Harvest in the Poman Campagna,'
and ' Peasants of Olevano returning from La-
bour,' 1855 ; ' Neapolitan Pilgrims,' 1856 ; and
' An Italian Cottage Door,' 1858. At the Inter-
national Exhibition 1863, were exhibited ' Pass-
ing the Cross at Ave Maria,' ' Pompeii,' ' Peat
Gatherers on Moel Siabad, North Wales,'
' Young England,' and ' The Pet.'
FPITH, William Powell, was born at Stud-
ley, near Eipon, in Yorkshire, in 1819. Evincing
an early bias for art, be was placed at Mr. Sass's
drawing school in 1835, and in 1837 became a
student at the Poyal Academy. In 1839 he ex-
hibited bis first picture at the British Institution,
being tbe head of one of Mr. Sass's children. In
1840 his picture of ' Malvolio before the Countess
Olivia,' exhibited at the Poyal Academy, gained
great applause. Pive years later, his ' Village
Pastor,' a scene drawn from Goldsmith, raised him,
not only into notice, but to fame ; and obtained
for him his election as an associate of the Poyal
Academy. This picture has been engraved by
Holl. He had previously exhibited, with con-
siderable success, a variety of works evincing
steady progress, and among which we may men-
tion, ' The Parting Interview of Leicester and
the Countess Amy ;' a scene from the ' Vicar of
Wakefield called ' Measuring Heights,' in illus-
tration of the passage : ' My Wife would bid both
stand up to see which was the tallest ;' a capital
subject from the ' Merry Wives of Windsor ;' and
a picture of ' John Knox and Mary Queen of
Scots.' In 1846 he painted a companion picture to
the * Village Pastor,' 4 The Peturn from Labour,'
and a humorous episode from the ' Bourgeois
Gentilhomme.' His ' English Merry - making
a Hundred Years Ago,' exhibited in 1847,
was full or" picturesque beauty, and graphic hu-
mour, and has been engraved for tbe London Art
Union. Then followed in 1848 ' The Peasant Girl
Accused of Witchcraft ;' in 1849, ' The Coming
of Age,' a pleasing tableau of Elizabethan man-
ners, which has since been engraved ; in 1850,
' Sancho and the Duchess ;' in 1851, ' Hogarth at
Calais ;' and in 1852, ' Pope making Love to Lady
Wortley Montague.' In 1853, Mr. Frith was
elected a Royal Academician. In 1854, a picture
painted with consummate ability, entitled ' Life at
the Seaside,' showed that he was determined to
recur no more to threadbare subjects, drawn from
novels, but to fill his portfolio with sketches of
the real men and women of the time. The ' Derby
Day,' exhibited in 1858, produced a still greater,
and more lasting sensation. In 1859 he exhibited
' Charles Dickens in his Study,' and in 1860,
' Claude Duval, the Highwayman, compelling a
Lady to Dance with him,' In 1862, after two
years' labour, he completed ' The Pailway Sta-
tion,' a Isrge picture, commissioned for the joint
purpose of exhibition and engraving by Mr. Fla-
tou, an enterprising picture dealer, who, after exhi-
biting it for a London season, sold it, with his list
of subscribers for the proposed engraving, to Mr.
Graves, for £16,000. Since then Mr. Frith has re-
ceived a commission from Her Majesty for a picture
of the Marriage of H. P. H. the Prince of Wales,
for which he is to receive 3,000 guineas, besides
5,000 guineas from Mr. Flatou for the copyright.
He has also received a commission from Mr. Gam-
bart, another of our commercial patrons of Art
for an elaborate picture of London Life.
FPOST, Edwabd William, was born at
74
Wandsworth in 1810. Displaying a propensity
for art, at the age of fifteen, he was introduced to
Mr. Etty, by whose advice he was placed at Mr.
Sass's School of Drawing, in Charlotte (now
Bloomsbury) Street. In 1829 he was admitted a
student at the Poyal Academy, where he was un-
remitting in his attendance at the School, and
lectures, filling up his time by painting portraits,
of which, in the course of the fourteen following
years, be executed upwards of three hundred,
few of which, however, were publicly exhibited.
In 1 839 he gained the gold medal of the Academy,
subject being 'Prometheus bound by Force and
I Strength.' This picture was exhibited at the Aca-
demy in the following year. In the cartoon com-
petition at Westminster in 1843, he gained a £100
prize for his cartoon of 4 Una alarmed by the
Fawns and Satyrs.' He was elected an Associate
P. A. in 1846. In the class of subjects by which
this artist is best known — a class in which, with
somewhat different aim, Etty had preceded him
— we may mention his ' Bacchanalian Dance,'
1844, at the British Institution ; ' Sabrina,' 1845,
(which sohi at Lord Northwick's sale for 206
guineas) ; ' Diana and Acta;on,' 1846, (sold at Lord
Northwick's sale, for £708 15s. ; ' Una and the
Wood Nymphs, 1847 ; ' Euphrosyne,' 1848 ; ' Dis-
arming of Cupid,' 1850 ; ' Hylas,' 1851 ; ' May
Morning,' 1853 ; Chastity,' 1854 ; « Narcissus,' &c.
*FYT, John. The editor of the Catalogue of
the Antwerp Museum states, upon the authority
of the Pegister of the Church of St. James in that
city, that this artist was born in August, 1609. With
respect to his death, he makes out that it must have
occurred in 1661 or 1662, referring in proof to
the statement in the ' Gulden Cabinet,' by Cor-
nelius de Bie, that the artist died during the pro-
gress of the work in question through the press,
and it having been commenced in 1661 and finished
in 1662.
G
GALLAIT, Louis, historical painter, was born
in Tournay, in Belgium, in 1810. He commenced
his studies in his native town, continued them in
Antwerp, and completed them in Paris, in which
last named town he remained several years. The
major part of his works appeared between 1835
and 1853, at the Salon at Paris. Amongst the
rest ' The Duke of Alba in the Low Countries,'
' The Wandering Musicians,' ' Tbe Death of Pa-
lestrina,' (in water-colours), 'Job and his Friends '
(in the Luxembourg Museum), ' Marshal de Gon-
taut,' for the Gallery of Versailles), ' Montaigne
Visiting Tasso,' (purchased by the King of the
Belgians), ' The Battle of Cassells,' ' The taking
of Antioch,' ' Baudin crowned Emperor at Con-
stantinople,' (for the Gallery at Versailles), 1 The
Abdication of Charles V.' (in the Court of Cassa-
tion at Brussels), ' Art and Liberty,' ' A Seance
of the Council of Blood,' ' The Temptation of St.
Anthony,' (presented by the King of the Belgians
to the Prince Consort of England), ' The Last
Moments of Count Egmont,' (1853), and 'The Last
Honours paid to Counts Egmont and Horn after
their Execution, '(purchased by the city of Tournay) .
M. Gallait is a member of the Poyal Academy of
Belgium ; and received, in France, a second-class
medal in 1855, and the decoration of the Legion of
Honour in 1841. The works of this eminent painter,
displayed at the International Exhibition, 1862,
commanded the enthusiastic admiration, not only of
PAINTERS AND ENGRAVERS.
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the public, but of the artists of this country, who,
■with scarcely a dissentient voice, hailed him as one
of the greatest, if not the greatest — great, because
original and characteristic, historical painter since
the days of Raphael, Rembrandt, and Rubens.
Many regretted that through the restrictive eti-
quette of the Royal Academy, he could not be in-
vited to the annual dinner of that aristocratic
body ; and a select number of artists, and lovers
of genius, hastened to repair the omission by in-
viting their distinguished colleague to a dinner
given in his honour, at Willis's Rooms, on the
18th July, 1862 ; the Earl of Granville presiding.
GARIBALDO, Marc Antonio, was born at
Antwerp in 1620, date of death uncertain. He
painted for the Jesuits' College, in the above
city, a picture representing the Virgin as the
Queen of Martyrs. In the church of St. Giles at
Bruges, is another work representing ' St. Bernard
reproaching "William of Aquetain for his persecu-
tion of the Church, and the scandalous disorders
of which he was guilty' (dated 1690) ; and in the
Museum of Antwerp a ' Flight into Egypt, both
by his hand.
GARNERAY, Ambrose Lewis, a distinguished
marine painter, was born at Paris in 1783. He
received his first instructions from his father, John
Francis Garneray, who was a pupil of David,
and who has left many good works behind him in
portraiture and genre. Actuated early by a spirit
of adventure, he, whilst quite a lad went to sea ;
and between the years 1796 and 1806, served in a
dozen different ships, was in several engagements,
had suffered shipwreck, and at length, was taken
prisoner, near the Azores, by a British squadron
under the command of Sir J. B. Warren, on March
16, 1806, and brought to Portsmouth, where he
remained till the peace of 1814. During his long
captivity of eight years he resumed his pencil,
working assiduously ; and, as a consequence, many
of his early pictures are in this country, especially
at Portsmouth, and in its vicinity. On his return to
France he gave up the naval service, and adopted
painting as his profession, Louis XVIII. and his
family being amongst his earliest and most liberal
Eatrons. He made his first appearance in the ex-
ibition of the Academie des Beaux Arts in 1816,
when he contributed ' A View of the Port of Lon-
don/ which was bought by the " Society of the
Friends of Art.' In 1817 Garneray was appointed
painter to the Duke d'Angouleme, and in 1833
was nominated to the directorship of the Museum
at Rouen; which post he afterwards relinquished
to enter the porcelain manufactory at Sevres,
where he continued six years, painting pictures
to be copied by other artists on the manufactured
works. At the exhibition of 1819 a gold medal
was awarded to him. In 1852 he received the
decoration of the Legion of Honour. An annual
pension was also granted to him by the govern-
ment for the discovery of a new kind of canvas
for painting, which received the approbation of
the French Academy, and for which, at the Uni-
versal Exposition of 1855, a medal was awarded
to him: the " Societe d' Encouragement" also
voting him a silver medal. Amongst the known
works of this artist, there are at Nantes ' An In-
cident in the Battle of Navarino ;' at Rochelle,
' The Capture of the Kent, by La Confiance' ; at
Marseilles, ' A View of the Straits of Furnes ;'
at Rochefort ' The Frigate Virginie attacking an
English Squadron ;' at Rouen, ' Cod Fishing on
the Banks of Newfoundland,' and at Versailles,
the ' Battle of Duguenes.' A short time before
his death he had completed, for the French Go-
vernment, a picture of considerable dimensions,
representing ' Napoleon I. and his companions
quitting the Isle of Elba, and steering their course
towards France.' Many of Garneray's pictures
are engraved by Jazet and others. He himself
studied the art of aquatinting under Debucourt ;
and designed and engraved sixty-four views of
the principal ports of France, and forty views of
foreign ports, which were published in a volume,
with descriptive letter-press, by M. Jouy. He
also wrote an account of his life and adventures :
' Voyages of Louis Garneray/ and 1 The Capti-
vity of Louis Garneray, which were originally
published in the Patrie newspaper, and afterwards
republished in separate volumes, with numerous
engravings from drawings by the author. He died
at Paris in October 1857.
GARNERAY, Augustus, (mentioned in Stan-
ley's Bryan), was born in 1785, and died in 1824
GARRARD, George, was born in 1760, and
became a student of the Royal Academy in 1778,
and an associate in 1800. He seems to have com-
bined painting and sculpture in his practice ; for
sometimes he was an exhibitor of pictures of horses,
and dogs, and landscapes, and at others of sculp-
tured busts, bas-reliefs, and monuments. He
died October 8th, 1826, at Queen's Buildings,
Brompton.
GA HERMANN, Frederick, a native of Vi-
enna, in which city he is animal painter to the
Court. In the Sheepshanks' Collection are, by
his hand, 'Wolves and Deer/ painted in 1834;
and ' Wild Boar and Wolf/ painted in 1835. He
also etched similar subjects, of which several spe-
cimens are in the collection named.
GASSIERS, John, born at Bourdeaux in 1786,
died at Paris in 1852. In the Brussels Museum
is a picture by him of • Hagar dismissed by Abra-
ham/ which obtained the prize in 1811.
GEERAERTS, Martin Joseph, was born at
Antwerp in 1707, and originally destined by his
parents for the profession of the law, but evincing
a decided talent for the Arts, was placed in the
studio of Abraham Godyn, the historical painter.
He became a painter of considerable repute, and
excelled in the execution of bas reliefs in grisaille,
imitating sculpture to the point of illusion. He
was one of the six artists who, when the Royal
Academy at Antwerp was in extreme difficulties
for want of funds, undertook gratuitously the
functions of the director. He died in 1791, and
was buried with great pomp in the presence of the
Directors of the Academy. In the Museum at
Antwerp is a picture by him, in grisaille, repre-
senting, in bas relief, ' The Fine Arts, Painting,
Sculpture, and Architecture/ accompanied by
their attributes, and a genius armed with a thun-
derbolt, driving away discord. Signed and dated
1760. In the Brussels Museum are, from
his hand, painted in grisaille, ' Christ and the
Disciples at Emmaus/ ' The Saviour at the House
of Simon, the Pharisee,' ' The Sons of Aaron pu-
nished by fire from Heaven/ ' the Woman taken
in Adultery,' ' Abraham and Melchisedeck/ ' The
Sacrifice of Abraham,' and ' The Sacrifice of Eli.'
GELEE, Antoine Francois, an eminent en-
graver in copper, and lithography, was born at Paris
13th May, 1796 ; became a pupil of Girodet, and
of Pauquet, took second prize in engraving in
76
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1820, and the first grand prize in 1824, besides
other honours at Lille, Douai, and Cambrai. He
engraved ' Daphne and Chloe,' after Hersent,
'Justice and the Divine Vengeance pursuing
Crime,' after Prudhon, a series after Poussin, one
of which from a picture in the Louvre, he left un-
finished at his death, February 27, 1860.
GEIRNAERT, Joseph, born at Eccloo, in
Eastern Flanders, in 1791, obtained in 1818 the
prize for a picture of ' An Officer returning to his
Home,' which is in the Brussels Museum.
GENISSON, Victor Julius, was born at St
Omer, in 1805, and died at Bruges in 1860. He
was a pupil of the brothers, Van Bree. In the
Brussels Museum is a picture by him represent-
ing the Archduke Albert, and the Archduchess
Isabella, visiting the Cathedral of Tournay on I
their entrance into Belgium in 1600.
GERARD, Francis, French history and por- !
trait painter, was born at Pome in 1770, his father i
being a Frenchman, and his mother an Italian. !
In 1780 his family returned to Paris, where he |
became successively the pupil of Pajou, a sculptor, I
and Brenet the painter, afterwards, in 1786, enter- j
ing the studio of David. In 1789 he obtained the
second prize in the competition for the Boman 1
medal, the subject being, ' Joseph discovering j
himself to his Brethren,' now at the Museum of
Angers. In 1792, his father being dead, he went
with his mother and brothers to Pome, where
he remained for a short time ; afterwards settling j
in Paris, where he was assigned apartments, and a
studio in the Louvre. In 1795 he exhibited his
picture, ' Belisarius Blind, and supporting his
guide in his Arms,' which was much admired, and
is well known by the engraving by Boucher-
Desnoyers. Subsequently, in the course of an in-
dustrious career of forty-two years, he produced
about thirty important historical pictures, and
eighty-seven portraits, many of them of distin-
guished public characters, besides a great number
of poetic and imaginative subjects. Amongst his
principal works may be cited, ' Cupid and Psyche,'
painted in 1792, but not exhibited till 1808 (en-
graved by Grodefroy, and lithographed by Aubrey
Lecomte) ; ' The Three Ages,' exhibited in 1808,
(engraved by Eaphael Morghen) ; in 1810, ' The
Battle of Austeriitz,' and other subjects for the
Chamber of the Council of State in the Tuilleries,
the principal subjects named, which were of the di-
mensions of thirty feet by thirteen, having been
engraved by Grodefroy, ' The entry of Henrv IV.
into Paris (1817),' ' Corinna on Cape Misena,'
(1822), ' Philip V. saluted as King of Spain,'
' Daphnis and Chloe, in 1824; 'The Coronation
of Charles X.,' (1827) now in the Museum at
Versailles, ' Napoleon's Tomb at St. Helena,'
(1830) ; ' Four Colossal figures of History, Poetry,
Victory and Fame,' painted in 1826 for the
cieling of the Council Boom in the Tuilleries.
Amongst the numerous portraits by him are those
(1808), of the Emperor Napoleon, the Empress
Josephine, the Queen of Holland and Naples,'
(1810), ' of the Kings of Saxony, 5 and « The Two
Sicilies,' ' The Princes of Borghese andPontecorvo,'
' The Duke of Montebello,' (1812), ' The Empress
Marie Louisa,' and the young ' King of Pome,'
(1814), 'King Louis XVIII.,' (1817), 'The
Count d'Artois,' and the ' Duke and Duchess of
Orleans,' (afterwards King and Queen of the
French,' (1819), of 'the Duke of Chartres,'
(182.2), of the ' Duchess of Berry, and the Duke
76
of Bordeaux,' (1824), of the ' King Charles X.,' the
Duke of Dalmatia,' and ' Madame Pasta,' (1826),
of ' General Foy, and Mr. Canning.' Enjoying dis-
| tinguished Court favour during a period of fre-
quent changes, he was created a Baron in 1819,
[ and was besides a member of the Institute, and
| professor in the school of Fine Arts, and knight of
the Orders of the Legion of Honour, and of St.
j Michael. He modified his style several times, and
was assisted in the forwarding of some of his pic-
j tures by Steuben, Paulin Guerin, and Mile. Gode-
froy ; always, however, doing the finishing work
himself. He died in Paris 11th of January 1836.
GERAPD, Louis-Auguste, was born in 1823,
Versailles, and died at Paris the 11th of January,
1856. He was a pupil of Bertin, and excelled in
landscapes.
GEROME, John Leo, a French painter, was
born at Vesoul (Haute Saone), in May 1824. He
became a pupil of Paul Dt laroche, and was ad-
mitted to the Ecole des Beaux Arts in 1842. In
the following year he obtained a medal ; but not
having been successful in the competition for the
great prize, he did not appear again in the schools.
In 1847 he exhibited a picture representing a
' Young Greek Man and Woman setting Cocks to
Fight,' which laid the foundation of his future
reputation, by the high quality of style, and the
perfect imitation of substances which it presented.
For this work he obtained a medal of the third
class. The following year M.Gerome exhibited two
pictures, the one ' Anacreon, Bacchus, and Cupid,'
the other ' The Virgin, the Infant Jesus, and St.
Paul ;' for which he obtained a second-class medal.
In 1850 followed ' A Greek Interior,' 'A Souvenir
of Italy,' and ' Bacchus and Cupid intoxicated.'
In 1851 he exhibited a view of ' Pcestum,' and in
1853 a Frieze intended to be re-produced on a
vase commemorative of the Great Exhibition of
London, 1851, and which was afterwards manu-
factured at Sevres, a picture entitled ' An Idyll,'
and ' A study of a Dog.' At the Great Exhibi-
tion at Paris, 1855, he exhibited a large canvas,
entitled 'Le Siecle d'Auguste,' intended to sig-
nalize the Poman Empire in the zenith of its
grandeur ; an ambitious work, somewhat confused
in parts, but presenting many passages finely de-
signed, and harmoniously coloured. M. Gerome
received a second-class medal on the close of this
exhibition, and the Cross of the Legion of Honour.
In the same year he executed one of the mural
pictures in the church of St. Severin at Paris,
on the subject of ' Bishop Belzunce succouring
the victims of Plague at Marseilles.'
GIBBON, Benjamin Phelps, an engraver,
was the son of a clergyman, the Vicar of Penally,
Pembrokeshire, and was born in 1802. Evincing
a taste for art he was, on leaving school, articled
to Mr. Scriven, the eminent chalk engraver, with
whom he served his time. He afterwards placed
himself under Mr. Pobinson, with a view of ac-
quiring the knowledge of line engraving, in which
he attained such proficiency, that in a short time
he was enabled to undertake several plates,
which he executed with great success. Amongst
these were ' The Two Dogs,' ' Suspense,' ' Jack in
Office,' and others, after Sir E. Landseer, and
' The Wolf and the Lamb,' after Mulready. He
was engaged upon a large plate after Webster's
well-known picture of ' the Boy with many
Friends,' at the time of his death, which occurred,
after a brief illness, at bis residence in Albany
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Street, on the 26tli July, 1851. The style of his
engraving is marked by exceeding carefulness and
delicacy ; and though occasionally lacking vigour,
is sound and altogether free from trickery.
GIBEL1N, Anthony Espbit, borm at Aix in
1793, died in 1814 ; was a pupil of Arniuffi, of Flo-
rence. This artist revived in France tthe practice
of fresco-painting in monochrome, which had been
long abandoned. He painted the fre;seo in the
amphitheatre, staircase, &c, of the School of
Medicine in Paris, (executed about the year 1771)
representing the goddess Hegera (collossal size),
and other emblematic figures, the size cof life.
GILBERT, Aethtjb, a landscape painter in
oils, of considerable talent. He is one of the
members of the artistic family, named Williams,
for particulars of which see that name.
GILBERT, John, a painter in oil and water-
colours, and draughtsman on wood, was born at
Blackheath in 1817. He was originally destined
for mercantile pursuits, but his early manifested
taste for art prevailed, and the pen andl desk were
discarded for the pencil and the easel.. He may
almost be said to be a self-taught artisit, being in-
debted only for a few lessons, chiefly iin colour, to
Lance, the celebrated painter of still life.. From the
date of his earliest practice he paint
to say I never received a lesson from any other
artist. He instilled into me at the outset the ne-
cessity of varying my studies ; and although I
commenced with the idea of being a landscape-
painter, he never lost sight of the figure, but kept
me, during the winter months, drawing from casts,
and studying anatomy. In the summer months,
for the first three years, I sketched from nature,
in the vicinity of London, devoting a great portion
of the time at the Zoological Gardens, sketching the
animals, which gave me facility of drawing objects
in motion." When the young artist had reached
his fifteenth year, an introduction to two gen-
tlemen was the means of bringing his talents into
prominent notice. One of them was Mr. R. H.
Sully, who gave him commissions for drawings of
' Lambeth Palace,' and of ' Willesden Church,'
for the former of which he received the " Isis"
medal of the Society of Arts. The other was Mr.
B. Hawes M.P., for whom he made some drawings
of the Thames Tunnel in its working state. At
this time also, Mr. T. Page, then acting engineer
of the Thames Tunnel, invited him to his residence,
v\ here he passed some months, making numerous
drawings of the Tunnel ; from one of these he
made his first oil-picture, ' Finding the Dead
Body of a Miner by Torchlight.' The large Silver
Medal of the Society of Arts was awarded to this
work, which was purchased by Mr. Page. It was
during these visits to the Tunnel that the artist
made the acquaintance of its principal engineer,
the late Sir Isambert Brunell, who recommended
him to visit his native country, Normandy, as a
comparatively untried, yet fruitful, field for the
pencil. We will now quote his own language : —
" Accordingly, in September, 1838, my father ac-
companied me thither, and when we arrived at
Rouen, I was so enchanted with the picturesque
beauties of the city, that I did not wish to go
any further, and persuaded him to leave me there,
to which, after some hesitation, he consented ;
for I was not quite in my sixteenth year. He
gave me ten pounds, telling me to make it last as
long as I could, and ' to be sure and save enough
to bring me home again.' This was my first
lesson in economy ; for after staying there a fort-
night, and going down the Seine to Havre, I
reached London with a folio of sketches, and Jive
pounds in my 'pocket." Acceding to the judicious
advice of his father, he did not yet put himself
forward as a painter, but continued to study and
to enrich his portfolio, by subsequent visits to
Normandy in 1839 and 1840, and to Brittany in
1841 and 1842. It was from the folio of sketches
thus obtained that he produced his first picture
exhibited at the Royal Academy in 1839, ' French
Soldiers playing at Cards in a Cabaret.' This
was followed within the course of the above
period by ' Entering Church,' W. WeUs, Esq ;
' The Soldier Defeated,' Sir W. James ; ' Coming
out of Church,' — Dawkins, Esq. ; ' The Chris-
tening,' (for which he received the prize of £50.
at the British Institution) Sir Charles Coote ;
1 The Return from Christening,' W. Wells, Esq. ;
4 The Veteran of the Old Guard describing his
Battles,' Sir W. James ; ' The Fair of Fougeres,'
Alexander Glendinning, Esq. ; ' The Tired Sol-
dier,' (purchased by Mr. R. V ernon, and now in
the collection he presented to the National Gallery) ;
' Rustic Music,' W. Wells, Esq. ; ' Passing the
Cross,' W. Wells, Esq. ; « La Fete de Marriage,'
Sir Charles Coote; 'The Wounded Soldier re-
turned to his Family,' Marquis Lansdowne ; ' Le
Bon Cure,' Thomas Baring, Esq. In 1843 he
visited North Wales, and in 1844 Ireland, from
which sketching trip he produced ' The Widow's
Benefit,' Sir James Wigram ; ' Connemara Mar-
ket Girls,' W. Wethered, Esq. ; ' Tho Fairy-
struck Child,' S. Oxenham, Esq. ; ' Irish Court-
ship,' S. Oxenham, Esq. ; « The Holy Well,* W.
J. Broderip, Esq.; 'The Irish Piper,' W. J.
Broderip, Esq. ; ' The Departure of the Emigrant
Ship,' Lord Overstone. In 1845 he revisited Brit-
tany, and painted on his return ' The Conscript
leaving Home,' and ' Going to Vespers.' For
some years which followed, he studied in Eng-
land, and painted the following pictures : — ' The
Village Festival,' (in the Vernon Collection, in
the National Gallery) ; ' A Gipsy Encampment,'
Thomas Millar, Esq.; ' The Pet Rabbit,' Baring
Wall, Esq. ; ' The Soldier's Dream,' R. Colls,
Esq. ; ' The Angel's Whisper,' R. Graves, Esq. ;
' Hunt the Slipper,' F. Rufford, Esq., M.P. ;
' The Post-Office.' Still increasing in power, and
in popularity as he advanced in years, his latest
productions may be cited as the most successful,
and those by which he will be most agreeably
known as an artist : — ' Hunt the Slipper,' in
1849 ; ' Woodman's Home,' 1850 ; ' Raising the
Maypole,' in 1851 ; ' The Last Load,' 1852 ;
' An Episode in the Happier Days of Charles I.,'
(a charming work representing a water party in
the Royal Barge, at Hampton Court) 1853 ;
" The Swing, 1854 ; ' The Arrest of a Peasant
Royalist — Brittany, 1793,' 1855 ; Cranmer at the
Traitor's Gate,' &c. Mr. Goodall was elected an
associate of the Royal Academy in 1852.
* GOViERTS, Heney, (the same asis described
in Stanley's Bryan as John Baptist) was born
at Mechlin in July 1669. He studied painting at
Antwerp, where he painted large historical sub-
jects, as well as easel pictures, generally full of
figures with exquisite finish. When about
twenty years of age he went to Germany, Hun-
gary, and Sclavonia, stopping a considerable time
at Frankfort, Prague, and Vienna respectively,
returning to Antwerp in 1699, where he died in
1720. His picture of the 4 Assembly of the Cross-
bowmen, inaugurating the portrait of their chief,
Charles John de Cordes,' which is in the Antwerp
Museum, was painted in 1713. In this work,
according to the second edition of the Antwerp
Catalogue, the landscape was painted by Corne-
lius Huysmans, and the architecture by Vcr-
straetan.
GORDON, Sir John Watson, was descended
from the Watsons of Overmans, in Berwickshire,
a respectable family in that county, at one time
in possession of extensive property. He was
born at Edinburgh, and received his education in
that city and neighbourhood. His father was an
officer in the navy, and died a post- captain.
When at school he showed no disposition for the
classics, the study of mathematics, and geography
suiting much better his turn of mind ; and he is
said to have learned writing without instruction,
except what he was enabled to pick up by his
own observation, his first achievement of the kind
being to copy with chalk his own christian name,
which he saw painted on a door. After having
got over the usual branches of education, it was
intended by his friends to make application for a
cadetship in the Military Academy at Wool-
wich ; but as he was too young by several years,
gobd]
SUPPLEMENT TO DICTIONARY OF
[gran
admission was, in the interim, obtained for him
in the. Foresters' Academy at Edinburgh, then
under the able direction of the late Mr. John
Graham. Amongst his fellow pupils in this
school, was David Wilkie, William Allan, and
John Brunet — the first-named of whom had just
about finished his studies, and was launching
upon his career of fame with his ' Village Politi-
cians.' Is it to be wondered at that in such com-
pany, with a natural tendency for observation
and exact imitation already implanted, in him, he
should resolve to abandon the army for the pictorial
art ? He continued his studies under Mr. Graham
during four years ; and on leaving the Academy,
being of rather an enthusiastic turn of mind, and
having certain ideas of his own, nothing would
suit his ambitious reveries, but historical and
fancy painting. Under this impression he la-
boured hard for a considerable time, but, like many
others, found it necessary at length to turn his
attention to portrait painting. The time, how-
ever, spent in the prosecution of such studies
contributed in a very great degree to leading the
way to that professional distinction he eventually
reached through a long course of attention and
study ; for it is quite certain, that whatever
talents he might have originally possessed, he
owed more to an indomitable perseverance and
determination of character, which seemed inherent
in his nature, than to any other qualification
whatever ; at the same time it is not unworthy of
notice that the history of all his acquirements
Eartakes very much of the feeling that enabled
im to acquire the art of writing. During the
whole progress of the Royal Scottish Academy,
from the first effort toward its formation in 1808,
when several of the profession joined and made
the experiment, which met with a very satisfac-
tory reception on all sides, John Watson Gordon
was intimately connected with his brethren
in their exertions to forward the grand object of
their ambition, and, as far as lay in his power,
contributed to every Exhibition that was got
up during that period. On the death of Sir
William Allan, in 1850, Gordon was unanimously
elected to succeed him as President of the Aca-
demy ; and, in consequence, afterwards received
the appointment of Limner to the Queen of Scot-
land, an ancient office in the gift of the monarch,
and at the same time received the honour of
knighthood. Of the numerous portraits he
painted, it will be sufficient to mention some of
the most noted, being principally of a public
nature ;— in the Archers' Hall at Edinburgh two
full-length portraits— one of ' The late General
the Right Hon. John, Earl of Hopetoun, their
Captain-General on Xing George IVth's Visit to
Scotland,' the other of ' The late Earl of Dal-
housie as Captain-General, on receiving their
Standards, presented by his Majesty King Wil-
liam, as body-guard in Scotland to the Sovereign ;'
a full-length portrait of ' The Right Hon. Charles
Hope, the late Lord Justice General,' painted
for the Faculty of Writers to the Signet, and
now placed in their chambers ; two distinct
portraits of ' Lord Justice General the Right
Hon. David Boyle,' one for the Faculty of Advo-
cates, and the other for the Writers to the Signet.
Sir J. W. Gordon during many years contributed
some of his portraits to the Annual Exhibition of
the Royal Academy, of which he was elected an
80
associate in 1841, and a full member in 1851. He
died in Edinburgh June 1, 1864.
*GOUBAU, Francis, a painter of history and
portrait, born at Antwerp in 1622, and supposed to
have been a pupil of Gerard Zegers. Amongst
the works by him known to have survived, are
' St. Norbert, worshipping the Elements of the
Holy Sacrament,' in the Antwerp Museum, and
' The Dead Christ lying at the mouth of the
Tomb,' in the Collegiate Church of St. J ames's,
at Antwerp, dated and signed, supposed to be his
master-piece. Date of death, according to Siret,
1678-79. There are two painters of this name
(see ante Goebouw), which has occasioned some
uncertainty of date.
GRAND VILLE, J. J., was born at Nancy
about the year 1804, and received from his father,
a miniature painter, his first instruction in draw-
ing. At the age of seventeen he went to Paris,
where he frequented, for some time, the studios
of Mansion and d'Hippolyte Lecomte, both mi-
niature painters ; but this branch of art proved
little suited to his taste and genius. He relin-
quished his pencil and colours, and adopted the
crayon, through the thennewly discovered medium
of lithography. His first essays are entitled
'jLes Tribulations de la Petite Propriete,' ' Les
Plaisirs de tout Age,' ' La Sibylle des Salons,'
& c>) — works exhibiting much refinement and de-
licacy, and bringing to the artist no inconsider-
able amount of popularity. His next publication
was ' Les Metamorphoses du Jour,' consisting of
sixty scenes, in which he caricatured the vices
of the age in a most masterly and effective
manner. From this time the designs of Grand-
ville were much sought after by the editors and
conductors of periodical works ; and he conse-
quently became a diligent contributor to ' La
Silhoutte,' ' L' Artiste,' ' La Caricature,' and ' Le
Charivari.' From journals he proceeded to books,
and executed a vast number of designs to illus-
trate the Fables of Fontaine, Marmontel's ' Flo-
rian,' ' The Songs of Beranger,' ' Gulliver's Tra-
vels,' ' Robinson Crusoe,' and, latterly, ' Jerome
Paturot.' Urged by a restless and insatiable
imagination, he at length began to publish for
himself some illustrated works ; among others,
' Les Scenes de la Vie privee des Animaux,'
' Les Cent Proverbes,' ' Les Petites Miseres de la
Vie,' ' L'autre Monde,' and ' Les Fleurs Ani-
mees.' Amid all these labours, he still entertained
a strong desire to resume his painting ; but his
limited means, the cares of a family, and even his
own enthusiasm prevented his applying himself
with that patient industry and perseverance ne-
cessary to the production of a high work of art :
it was, therefore, never attempted. In 1842,
Grandville lost his first wife, and about the same
period the two children she had by him ; and,
although he married again, he never recovered
from those afflictions, which so preyed upon his
mind that he was removed to the Lunatic Asylum
of Vanvres, where he died in March 1847.
GRANT, Feancis, portrait painter, was born in
1804, and is a younger son of Francis Grant, the
laird of Kilgaston, in Perthshire, and the brother
of Lieut. -General Sir J. Hope Grant, G.C.B. He
was originally intended for the bar, but disliking
that profession, took to painting at the age of
twenty-four. He was fond of the sports of the
field, and, moreover, had a respectable patrimony
gkee]
PAINTERS AND ENGRAVERS.
which he got rid of in the usual courses of an in-
dependent life. The first subjects of 'his pencil
were of a character congenial to his tsastes, and
very popular amongst the class of sociiety with
whom he associated, as the 'The Brteakfast at
Melton,' exhibited in 1834 ; « Sir R. Sutton's
Hounds,' and ' The Meet of the Quesen's Stag
Hounds,' in 1837, containing forty-six portraits of
celebrated sportsmen, painted for tine Earl of
Chesterfield, and afterwards en grave id ; ' The
Melton Hunt,' (containing thirty-six portraits)
in 1839, purchased by the Duke of "Wellington,
and since engraved ; ' The Shooting Party at
Ranton Abbey, 1 ' The Ascot Hunt,' (exhibited at
Paris in 1855) &c. In 1841 he exhilbited ' An
Equestrian Portrait of her Majesty attcended by
Lord Melbourne and the Lords in Waiting,'
which had also been engraved. He now took to
portrait painting as a profession, and wras elected
an Associate of the Royal Academy, tlhe higher
honour of R. A. following in 1851. As ia fashion-
able portrait painter, his social posiition, im-
proved by his marriage with a niece of ithe Duke
of Rutland, affords kiin peculiar advantaiges, both
in respect to the channels of patrontage thus
opened to him, and the opportunities for (observing
the manners and dress of the elite olf society,
which he faithfully transfixes to canvas.. Among
his principal portraits may be mentiomed Lord
Clyde, (Sir Colin CampbeU), painted forr the Go-
vernor-General of India, and exhibited in 1861,
the Marchioness of Waterford, Lady Rodney,
D'Israeli, Lockhart, Sir Edwin Lands^eer, the
Earl of Derbv, Lord John Russell, Lordl Palmer-
stone, and Lord Macaulay. In February., 1866, he
was elected President of the Royal Acadlemy, and
in March of the same year received the ] honour of
knighthood.
GREEN, Mart, a miniature paintejr, second
daughter of William Byrne, landscape < engraver,
and wife of James Green, whom she' survived
twelve years, dying herself in December, 1846.
Amongst her productions may be speceified the
portrait of her Majesty the Queen Dowa^ger (Ade-
laide), which was engraved by Agar.
GRIEVE, William, a distinguished scene-
painter, who raised scenic decoration aalmost to
the rank of poetic art. His moonlijght com-
positions especially called forth upon ; all occa-
sions the most unqualified applause. He was
a principal with his father and surviving \ brother,
Mr. Thomas Grieve, in the preparation olf the ad-
mirable scenery which during several yrears dis-
tinguished the productions at Drury Lante. At her
Majesty's Theatre he had the chief direction, and
undoubtedly exalted the reputation of tlhe Opera
House for its scenery. It was entirely in tthis walk
of Art that Mr. Grieve achieved his c?elebrity;
for, although his small pictures and watcer-colour
drawings evinced a very high degree of nnerit, his
minor essays were far surpassed by the wonder-
ful effects he produced in scenic represcentation.
A fitting successor to men of the calibre cof Stan-
field and Roberts must be an artist of ' rare ac-
complishments. Scene-painting is vulggarly re-
garded as an inferior branch of the proffession —
a palpable anomaly, since it is only neceessary to
remember that it is practised, and has beeen prac-
tised successfully and rendered popular, only by
men gifted with genius of the highest orcder. The
scenery of the London theatres has lcong been
acknowledged as of surpassing excellencee, a great
G
measure of which is attributable to the talent of
the Grieve family, the labours of whose surviving
members will, it may be hoped, continue to en-
hance the character they have already given to
this department of painting. Mr. Grieve was
born in 1800, in London, and was employed even
as a boy at Covent Garden, at which theatre he
remained until Mr. Bunn took Drury Lane. He
died on the 12th November, 1844.
*GRIGNON, CHARLES. This engraver, ac-
cording to the ' Annual Register,' died at Ken-
tish Town in 1810, in his ninety-fourth year. It
is added, " Mr. Grignon was the son of a fo-
reigner, but he himself was born in Covent-
Garden ; such was the report made to the writer,
by Miss Grignon."
GROS, Anthony J ohn, a distinguished French
painter of history and portrait, was born at Paris
in 1771. At the age of fourteen he entered the
school of David, and two years afterwards was
admitted a student in the School of Fine Arts,
where he carried off the first medal. In 1791 he
competed unsuccessfully for the Roman Scholar-
ship ; and in 1793, on the death of his father, in
embarrassed circumstances, he visited various
towns in the North of Italy, earning a precarious
living by painting portraits, in which he evinced a
happy aptitude in seizing the resemblance and
character of his sitters. At Genoa he was intro-
duced to Josephine, the wife of Napoleon Bona-
parte, then in the midst of his Italian conquests ;
and she took him with her to Milan, and pre-
sented him to her illustrious husband, whose
portrait he painted in the act of storming the
Bridge of Areola, (1796). Bonaparte caused this
picture to be engraved, and presented the plate
to the artist. Gros remained nine years away
from France, experiencing occasionally all sorts
of accidents and privations in the midst of the
hostilities which were waging at the time ; and
chiefly occupying himself with painting miniature
and other portraits ; amongst the rest that of
' General Berthier,' exhibited in 1798. In 1802
he exhibited a small picture of ' Sappho precipi-
tating herself from the rock of Leucade (engraved
by Laugier), and the portrait-picture of ' Bona-
parte at Areola,' already mentioned. In suc-
ceeding years he produced other pictures of large
size, illustrating events in the career of the vic-
torious French General, as, in 1804, ' The Plague
of Jaffa;' in 1806, < The Battle of Aboukir ;' in
1808, ' Bonaparte visiting the Field of the Battle
of Eylau ;' in 1810, « The Taking of Madrid by
Bonaparte,' and ' Bonaparte at the Pyramids ;' in
1812, ' The Interview between the Emperor Na-
poleon and the Emperor of Austria, in Moravia."
In the last-named year he also produced his pic-
ture of ' Charles V. received at St. Denis by
Francis I.' Meantime Napoleon had commis-
sioned Gros to paint on the interior surface of the
dome of the Pantheon four colossal figures of
Clovis, Charlemagne, St. Louis, and himself; but
on the restoration of the Bourbons in 1814, the
artist was commanded to substitute the portrait
of Louis XVIII. for that of Napoleon ; an order
revoked by Napoleon, during " the hundred
days," (31 March, 1815), and again confirmed on
the 15th of May in the same year. Such the
vicissitudes which French art experienced during
the agitated times of the close of the 18th and
early part of the 19th century. Amongst other
works from this artist's hands which followed
81
SUPPLEMENT TO DICTIONAEY OF
[HAAS
were 4 Louis XVIII. quitting tlie Tuilleries on
the niglit after 19th. of March, 1815,' exhibited
in 1817 ; ' The Embarcation of the Duchess of
Angouleme at Bourdeaux,' exhibited in 1819 ;
* David charming Saul with the sound of his
Harp,' in 1822 ; ' Charles X. at the Camp of
Eeinis,' in 1827. In 1827, 1828, and 1829 he was
occupied in painting several ceilings in the Museum
of Charles X and the Egyptian Museum. His
portraits were numerous, comprising most of the
contemporary personages of note, as the ' Em-
peror Napoleon,' for the city of Milan, the 4 King
of Westphalia,' the ' King of Naples,' ' Zimmer-
man,' ' General Legrand,' ' Montbrun,' ' Four-
nier,' ' Louis XVIII.,' the ' Duchess of Angou-
leme,' ' Charles X.,' &c. In historical painting
he produced comparatively little in the latter
years of his life ; but in what he did he adhered
consistently to the classic style in which he had
been educated, viewing with distaste and repug-
nance the romantic school, called ' the school of
the future,' which was beginning to mate way.
His ' Hercules and Diomed.es,' exhibited in 1835,
met with virulent attack from the partisans of
the new school, which so affected the painter
that he shut up his studio, exclaiming, that " he
knew no greater misfortune than to outlive one's
time ;" and shortly afterwards his body was found
floating in the Seine, near Meudon. He was
buried with great solemnity at Pere la Chaise,
Paul Delaroche, Gamier, Coignet and Court, pro-
nouncing orations on the occasion.
GEUND, Noebeet, a German painter, was
born at Prague in 1714, and died in 1767. He
was the son of a painter, who sent him to pursue
his studies at the Academy of Vienna, where he
was placed more particularly under the tuition of
Ferg. He painted landscapes, marine pieces,
battles, animals, fairs, &c, with great carefulness,
and a happy effect of colour. Balzer engraved
several of his works. He travelled a good deal
in various parts of Germany, and has sometimes
been confounded with the following,
GEUND, John James Noebest, a German
painter and writer, was born at Gunzenhausen,
in Anspach, in 1755, and died in 1815. He ori-
ginally intended to enter the order of the Jesuits,
but upon its expulsion, he took to miniature
painting. After making his first essays in art at
Anspach, he went to Italy where be was appointed
professor at the Academy at Florence. He pub-
lished a large work in the German language on
" Painting among the Greeks ; or the birth,
progress, perfection and decadence of Painting,"
2 vols., Dresden, 1810-11) : also in the same lan-
guage, " An Artistic Tour of a German Painter
to Eome," (Weissenbourg, 1798, and Vienna,
1789).
GUDIN, Theodore, was born in Paris on the
15th August, 1802. He attended for some time the
atelier of Girodet-Trioson, but left it upon en-
rolling himself in the romantic school, in company
with Gericault and Delacroix. He restricts him-
self entirely to landscape and marine subjects ;
his first success dating about the year 1822. In
1824 he obtained a gold medal, and in 1827 pro-
duced 4 The Burning of the Kent East India-
man,' and ' The Eeturn of the Fishermen,' two
of his best pictures, which obtained for him the
decoration of the Legion of Honour in the fol-
lowing year. Between 1830 and 1842 he exhibited
* A Gale in the Eoads of Algiers,' 4 The Frigate
82
Syren taken in a Gale, 4 The Ship in Distress,'
' Explosion of the Fort of the Emperor at Al-
fiers,' ' A View of Constantinople taken from
'era,' 4 Boarding of the English Galeot Hazard,
by the Courier,' &c. &c. These works are all re-
markable for vigorous but too generally exagge-
rated treatment ; and, with some others, made
an imposing array at the Universal Exhibition of
1855. M. Gudin also painted, between the years
1838 and 1848, upwards of eighty marine subjects
in the Museum of Versailles.
GUIGNET, Adeian, was born December 1817,
at Annecy, in Savoy, where his father was the
steward of a chateau. Impelled by invincible
aspirations for distinction in art, he, against the
wish of his father, made his way to Paris, where
he entered the studio of Blondel. After experi-
encing a long course of privations, he succeeded
in making himself a name somewhat in the line of
Salvator Eosa, and of the French artist Decamps.
He has exhibited, amongst others in 1840, ' Moses
exposed on the Nile,' ' Travellers surprised by a
Bear,' ' Joseph explaining his Dream to his Bro-
thers, 4 Hagar in the Desert ;' in 1842, ' John
the Baptist Preaching ;' in 1843, ' Episode in the
Eetreat of the Ten Thousand ;' in 1844, 4 Sal-
vator Eosa amongst the Brigands ; in 1845, ' Jo-
seph explaining the Dream of Pharaoh ;' in 1846,
' Xerxes bewailing his Army ;' in 1847, ' A land-
scape,' and a ' Forest Scene.' In 1848, 4 Don
Quixote Playing the Fool,' 4 The Flight into
Egypt.' He also executed, for the Duke de
Luynes, Chateau de Dampierre, ' The Defeat of
Attila by Aetius,' * Balshazar's Feast,' and ' The
Gardens of Armida ;' the last of which was not
quite finished when he died at Paris 19th of May,
1854.
GUIGNET, John Baptist, brother of the pre-
ceding, who was born at Autun (Soane et Loire),
and died at Viriville (Isere), in July, 1857. He
was a pupil of Eegnaut and Blondel. He
exhibited several historical pictures, and a great
number of portraits, including amongst others
those of 4 General Pajol,' 4 Duprez the singer,'
&c. He obtained a second-class medal in 1837.
GUILLEMIN, Alexandee Maeie, a French
painter, born at Paris in October 1801. He was
a pupil of Gros, and exhibited in 1840 a work
called 'First Success,' beinga souvenir of the studio;
and 4 Chasseurs and a Milk Woman ;' in 1844,
4 God and the King,' ' The Blues are there,' an
episode of the Vandean War, 4 The Consulta-
tion,' and 4 the Old Sailor ;' in 1845, 4 The
Miser,' 4 Eeading the Bible,' 4 the Vendor of
Images;' in 1849, 4 Milton,' 4 An Hour of Liberty;'
in 1852, 4 The Empiric, 4 The Virgin,' and 4 After
the Eepast,' subjects of sufficient variety. Cor-
rectness of design, a truthful study of nature,
and great freshness and purity of colour distinguish
the work of this artist.
i HAAG, Cael, was born at Erlangen, in Ba-
varia, in 1820. He studied painting first under
Albert Beindel, at Niirnberg, and afterwards
under Cornelius at Munich; subsequently im-
proving his taste by a careful inspection of the
works of various schools in Italy, Belgium, and
France. On coming to England, in 1847, he was
so charmed with the productions in our British
School of Water Colour Painting, and so struck
HAAG]
PAINTERS AND ENGRAVERS.
[ham
with the facilities which that medium presented,
that he abandoned oil-painting in its favour, and
three years afterwards was elected a member of
the Society of Painters in Water Colours, to
whose annual exhibitions he has been a liberal
contributor ever since. His works are remark-
able for breadth and power of treatment, for rich
contrasts of light and shade, and for an immense
executive skill, and untiring painstaking in the
most minute details. His most successful efforts
have been in Italian, and Tyrolese subjects, com-
bining figures with landscape. In the Interna-
tional Exhibition were exhibited his ' Head of an
Armenian,' (the property of the late Prince Con-
sort) ; * Sabine Peasant Women,' 'A Rehearsal,
Cairo,' and ' Evening Hour.' He has also painted
' A Morning in the Mountains of Scotland,' and
• An Evening Scene at Balmoral,' commissioned
by Her Majesty and the Prince Consort. He
has been appointed Court Painter to the reigning
Duke of Saxe Cobourg and Gotha.
HABERZETTEL, , a native of Russia,
who resided some years in this country, where
he exhibited in Bond Street, and subsequently at
Lichfield House, a large picture, representing
' St. J ohn Preaching in the Wilderness.' During
the last two years of his life he had been pre-
paring a large drawing on stone of this picture,
for the purpose of publication. He died sud-
denly in the autumn of 1853. He was a member
of the Imperial Academy of St. Petersberg, Pro-
fessor Emerite of the Academy of St. Luke at
Rome, and Corresponding Member of the Insti-
tute of Fine Arts at Madrid.
HAGHE, Lewis, was born at Tournay in Bel-
gium, in 1806. Coming to England, he com-
menced his artistic career in partnership with
Mr. Day, the lithographer, in connection with
whom he produced a great number of pleasing
landscapes and views, three series of which were
published in 1840, 1845, and 1850, under the title
of _ ' Sketches in Belgium and Germany,' in
folio. This connection having ceased, Mr.
Haghe devoted himself to painting chiefly in
water colours, his favourite subjects being quaint
old Flemish interiors, with their noble carved
decorations, rich tapestry, and other furniture ;
peopled also with burghers and dames, and men-
at-arms of the middle-age, appropriately grouped.
Of these Subjects may be cited ' The Council of
War at Courtray,' forming part of the Vernon
Collection, which has been engraved by J. God-
frey; 'The Brewer's Hall, Antwerp.' 'Interior
of the Hall at Bruges,' &c. He has also occa-
sionally gone to Italy for his subjects, pleasing
examples of which :— ' St. Peter's Day at Rome,'
' II Mola.^ Venice,' ' The Benitier in St. Peter's
at Rome,' were exhibited in the Art Treasures
gathering at Manchester in 1857. He has also
produced some works in oil, of which ' The Choir
of the Church of Santa Maria Novelle,' exhibited
at the British Institution in 1856, was, we be-
lieve, the earliest. Mr. Haghe is the Vice-
President of the Institution (formerly ' New So-
ciety') of Painters in Water Colours, of which '.
he was elected a member in 1835. i
HAMON, Pieeee Paul, pupil of L. Cog- :
niet, and a painter of genre, portrait, and still- :
life, was born at Livarat (Calvados) on the 12th i
of March, 1817, and died at Lisieux 13th April, •
1860. He also wrote a good deal for the journals, i
He is not to be confounded with Jean Louis i
Hamon, the pupil of Delaroche, and Gleyre, who
is still alive, and to whom he bore no relationship.
HAMMAN, Edwaed, born at Ostende in 1819,
a pupil of N. de Keyser. In the Brussels Mu-
seum is a clever picture, well composed, and full
of character, of ' Adrian Willaert causing a Mass
of his composing to be performed before the
Doge of Venice.'
HARDING, Geoege Pebfect. This artist
was chiefly engaged during the greater part of his
life m copying ancient portraits (especially Hol-
bein's) in water-colours, in which pursuit he
visited many of the principal mansions of the
nobility, as Woburn, Althorp, Castle Ashley,
Gorhambury, Hatfield, Cashiobury, Cobham,
Knowle, Penshurst, Luton, Wrest, Hinching-
broke, Wroxton, Strawberry Hill, and others ;
besides the public Galleries, Royal Palaces,
the colleges and halls of the Universities,
those of the City Companies, &c. His draw-
ings are always highly finished, and give a
minute and faithful transcript, not merely
of the features, but of the costume and other
accessories of the picture ; points in which too
many engraved portraits are notably defective.
Many of the Englishportraits so copied by him
were engraved by W. Greatbach, and Joseph
Brown, in a series under the auspices of a Society
.called the Granger Society, in allusion to the
author of the Biographical History of England,
which commenced its operations in 1840, and only
lasted about two years. Upon its cessation Mr.
Harding pursued the same plan by private sub-
scription, at one pound per annum, which he con-
tinued for about five years, producing fifteen ad-
ditional portraits, from the hands of the same
engravers. Besides these publications, Mr. Hard-
ing supplied the portraits, from ancient originals,
to some of the most important works of historical
biography, such as those of Lodge, Jesse, &c. and
to Neale and Brayley's History of Westminster
Abbey. He also delineated the ancient oil-
paintings, and all the sepulchral brasses remaining
m Westminster Abbey, and published them in
1825 as a sequel to the work just mentioned, with
descriptions written by the late Mr. Thomas
Moule, F.S.A. ; and in 1828 an illustrated Manu-
script book on the Princes of Wales, produced
in 8vo. (and twelve copies in guarto), which was
subsequently purchased by Her Majesty. He
died at Hercules Buildings, Lambeth, in Decem-
ber, 1853.
HARDING, James Dttffield, a distinguished
landscape painter, born at Deptford, in Kent, in
1798; received his first instruction indrawingfrom
his father, who was an artist, and from Prout. He
at first painted in water-colours, and contributed
regularly to the Exhibition of the Water Colour
Society, of which he was a member. He after-
wards took to oil-painting, and resigning the
Water Colour Society, put his name down as
a candidate for associateship at the Royal
Academy during ten or a dozen successive years ;
but failing to procure his election to this
honour, he again returned to his old quarters,
and the practice of his early art. Mr. Harding
was an able draughtsman upon stone, and between
1823 and 1835 contributed a number of pretty
drawings of cottage scenery to Mr. Robinson's
various works on Rural Architecture ; and in 1836
produced ' Sketches at Home and Abroad,' a
collection of sixty lithographs, printed in tints,
83
hard]
SUPPLEMENT TO DICTIONAEY OF
He is also the author of several works on Art,
chiefly elementary, with numerous illustrations ;
as, ' Lessons on Trees,' ' Elementary Art,' ' Les-
sons on Art,' ' Principles and Practice of Art,'
(1845) ; ' Guide and Companion to Lessons on
Art,' (1854); ' Gothic Ornaments,' 4to. (1831);
being a coUection of a hundred lithographic views
of Churches in England and France ; ' Sketches
and Drawings of the Alhambra,' (folio, 1835), a
magnificent work, produced in association with
Mr. J. Lane, and Mr. J. P. Lewis. It is unne-
cessary to go through the list of his various works
exhibited from year to year in London. He sent
to the Paris Universal Exhibition, 1855, ' The
Falls of Schaffhausen,' and a ' View of Fribourg,'
for which he received honourable mention. In
the practice of water-colour painting Mr. Harding
was an advocate and exemplar of the use of body-
colour, an innovation denounced as illegitimate
by the purists of the school. Mr. Harding, in a
letter to the editor of a useful little volume en-
titled " Our Living Painters," writes as follows :
" In a work entitled ' Men of the Time,' the
author erred in having made it appear as my wish
to be principally known as a teacher. It cer-
tainly has been a great object with me to show
that a knowledge of art was communicable, and
how ; that its successful practice was based on
an exercise of the intellectual faculties, such as
is proper and indispensable to every other mental
pursuit. Study led me to discover much which
I found most valuable to my own practice, and
which I have been tempted to publish as aids to
others, and in furtherance of art generally ; so
that all might learn to appreciate it in any shape,
whether pursued as a luxury or a profession."
Upon which the editor of the volume on " Living
Painters" remarks : — " We fear that Hardingism
— for the peculiar system advocated practically
by this painter, when taken in connection with
the somewhat vague general views of his book,
(the ' Principles and Practice,') are, as much
Hardingism as Art — is likely to make clever su-
perficialists rather than to train original artists ;
and is apt to induce an over reliance on tricks of
art, and a want of individuality and truthfulness
in the works of those who adopt it. These are,
so far as we have observed, the practical fruits of
the system. Brilliancy is not everything in a
picture, nor is skill all that we look for in an
artist ; and Mr. Harding's pictures, remarkable
as they are for the technical power they display,
and brilliant as they most certainly are in general
effect, are apt to weary us when we see many of
them together : and if this be true of the master,
it becomes infinitely more apphcable to his imi-
tators, who, possessing far less original power,
weary us with their cleverness and trickery — their
eternally cobalt distances, and their perpetually
orange foregrounds. Coy, chaste, mysterious,
infinitely varied, Dame Nature is not to be won
on such cheap terms as these, believe us." On
the other hand, an able writer in the Art Journal
expresses himself thus: — "Looking at him be-
yond the walls of the galleries where his pictures
were exhibited, there can be no hesitation in as-
serting that no artist of his time has done so
much to create a love of landscape-painting, and
to diffuse a right knowledge of it, as Harding —
he was emphatically a great Teacher. Tho-
roughly conversant with the most recondite prin-
ciples of Art theoretically, a close and ardent
student of nature in all her varied moods and
aspects, and a perfect master of his pencil, he
added to these qualifications one even more im-
portant in the course he pursued, a peculiar apti«
tude and facility in imparting to others what he
himself knew. And it was his delight to do this ;
far from keeping his knowledge to himself, he
was ever ready to disclose all the mysteries of his
craft without reserve, especially to young men of
his profession, and to amateurs ; no small portion
of his valuable time being often occupied in an-
swering correspondents who applied to him for
information, the writers being, not unfrequently,
persons who only were acquainted with him
through his works, and the reputation attached
to his name for courtesy and liberality in connec-
tion with his art. They who remember the first
introduction of lithography into this country, and
the productions to which it then gave rise, and
who watched its progress for the next following
twenty years or longer, know well how largely
Mr. Harding contributed to perfect the art. He
at once saw in it a most valuable ally in the pro-
pagation of knowledge, and that in time it must
work a complete, revolution in the system and
practice of teaching. With this conviction he
immediately applied himself to the task of deve-
loping its power for usefulness ; and, guided by
his acquired theoretical knowledge, he, in time,
sent forth to the world those valuable instructive
treatises which have become text-books not only
in our own Art-schools, from the highest to the
lowest, but also in those of France, Germany,
and other continental states, of America, and
even in eastern countries. His ' Principles and
Practice of Art,' ' Lessons on Art,' ' Lessons on
Trees,' ' Sketches at Home and Abroad,' his nu-
merous little books of ' Studies' for beginners,
gained for him the highest eulogium from foreign
artists of eminence, and a hearty, almost rever-
ential, welcome among every artistic association
he chanced to visit abroad. In the schools of
Paris especially, which he often visited, he had
always an enthusiastic reception from professors
and students. At the Exposition des Beaux Arts
in 1855, he was the only English landscape-
painter, out of the Royal Academy, who obtained
any distinctive recognition ; his pictures received.
' Honourable Mention.' While referring to his
lithographic productions, we must not forget to
mention the last he brought out, ' Picturesque
Selections,' in which an entirely new method is
employed to give the appearance of an original
drawing in black and white chalk ; so skilfully is
this effected as generally to deceive the most
practised eye ; nine persons out of ten turning
over the contents of a portfolio in which some of
these prints were mixed, with actual sketches from
nature, would not be able to discover any differ-
ence. Though Mr. Harding failed, from some
cause or other, to found in London a school for
' teaching teachers how to teach,' his ' system'
was adopted by a pupil at Manchester, who has
there a studio for classes, which is working most
successfully ; and there is another in Paris, under
the direction of M. Casanne, whose testimony of
obligation to our countryman is most flattering.
It would, in fact, be difficult to find any drawing-
master in Great Britain of any repute, who does
not owe his success in teaching to what he has
learned from Mr. Harding. Critics who speak of
Mr. Harding, as some do only as a first-rate
hard]
teacher of drawing, form a wrong estimate of his
talents, and show they possess little knowlege of
what constitutes the true artist ; he certainly was
not a great colourist, owing, perhaps, to what has
just been said regarding his practice of sketching
from nature, his colouring is sometimes hard
and rather cold, but in every other quality his
pictures yield to none of his contemporaries :
witness his view of ' The Alps between Lecco
and Como,' 'Angers on the Loire,' both oil-
paintings, and his two water-colour pictures,
\ The Park,' and ' The Falls of Schaffhausen,' all
in the International Exhibition of 1862, with
many others which we have no space to particu-
larise. Like Turner, though after a manner en-
tirely different, he always, in his greatest and
more studied compositions, aimed at aerial per-
spective, and the rendering of space. He in-
variably connected the craving which exists, more
or less, in the minds of everyone, for a ' prospect,'
with the innate consciousness of a ' future,' — for
an expanded sphere of vision and of action ; in
short, with the immortal nature of man. The
versatility of Harding's practice was very re-
markable ; it mattered not to him whether he
held in his hand a piece of chalk or charcoal, or a
brush dipped in oil-colour or water-colour, he
used each with equal skill and equal effect. The
opinions he held on the purposes of Art and the
great controversy of the day, Imitation versus
Representation, were, that of all the various ma-
terials employed in Art, none are supremely ex-
cellent ; all are capable, in skilful hands, of con-
veying vivid and varied impressions ; that which
constitutes genuine Art resides not in them ; it is
to the intelligence which selects, and the skill
that uses, them, we must look for our gratifica-
tion in the result. Bold and masterly as were
his representations of nature, he was one of the
last men to disregard or undervalue accuracy of
detail, and to rely solely upon producing what is
termed ' a striking effect,' without attempting to
give _ individuality to separate objects. He died
at his residence at Barnes on December 4th,
1863.
HARDY, Frederic Daniel, born at Windsor
February, 1826, for many years followed the pro-
fession of music, but ultimately relinquished it for
painting, for which he imbibed a taste from his
father. In 1851 he commenced exhibiting at the
Royal Academy those small, but highly finished
Domestic Interiors, for which he is now so well
known ; producing at successive exhibitions works
of the same character, but of greater pretensions.
Among these may be mentioned ' The Interior of
a Kitchen,' with a peasant and an old woman at a
fire, painted in 1855 for the late Mr. Samuel Cart-
wright (15 in. by 10), sold at Christie's, Feb.,
1865, for £44 ; ' Richard and Kate,' (from Bloom-
field's Rural Tales), painted for Mr. S. Cartwright,
and exhibited in 1856, (23 in. by 16), sold at
Christie's, Feb., 1865, for £162 15s. ; ' The Foreign
Guest,' exhibited at the Royal Academy, 1859 ;
« The Crash,' 1860 ; « Early Sorrow,' 1861 ; ' The
Sweep,' 1862, (engraved and published by Graves,
1865) ; « The Playing at Doctors,' 1863, (engraved
and published by Graves, 1865) ; ' The Pedlar,'
1864.
HARGITT, Edward, landscape painter, was
born at Edinburgh, 1835. He received his first
instruction in art at the School of Design in
Edinburgh ; and, during two years, studied under
[harv
Mr. Horatio McCulloch. Mr. Hargitt has for
several years been an exhibitor not only in the
provinces, but in several of the London Exhibi-
tions. His works evince a good eye for colour,
and for picturesque effect in landscape scenery.
HARRIET, E. Fr., born 1815, was one of the
numerous pupils of David. A picture by him,
truly French in style, on the subject of ' An-
drocles and the Lion,' exhibited in 1802, in the
Gallery of Apollo, is engraved in the " Musee du
Louvre," vol. ii.
HARRISON, Georoe, was born at Liverpool
in March, 1816. His mother was a flower painter,
and he early evinced a taste for the congenial
pursuit of landscape painting. He came to Lon-
don at the age of fourteen, where he improved
his practice and pocket by working for the dealers
and shopkeepers. Subsequently he was engaged
in making anatomical and other medical drawings
and illustrations, and in studying anatomy at the
Hunterian School in Windmill Street. His first
knowledge of the principles of composition and
design may be attributed to his acquaintance with
the lateJohn Constable, R.A., who treated him with
great kindness, criticising his sketches, and en-
couraging him continually in the study of Nature.
As a teacher he was much liked both in London
and Paris, preferring, when practicable, teaching
in the open air, to any other method ; and often
forming parties for the purpose. Like the majo-
rity of artists, he had worked at most subjects,
and in most species of material. His forte lay in
landscape, with luxuriant foliage and figures. He
was a member of the Old Water Colour Society.
He died on the 20th of October, 1846.
HART, Solomon Alexander, was born at
Plymouth in 1806. In 1820 he was apprenticed to
Mr. Warren to acquire the art of hue engraving ;
but three years afterwards he turned his atten-
tion to painting, and became a student at the
Royal Academy. He first exhibited, in 1826, a
miniature of his father ; his earliest oil painting
appearing two years later at the British Institu-
tion. An early example of the painter, his ' In-
terior of a J ewish Synagogue at the time of the
Reading of the Law,' (1830) is in the Vernon
Collection, and engraved for the Art Journal,
1851. He was elected an Associate of the
Royal Academy in 1835, and a full Member in
1840. In 1855 Mr. Hart succeeded Mr. C. R.
Leslie as Professor of Painting to the Royal Aca-
demy, an office which he still retains. Among
his principal works we may enumerate ' Isaac of
York in the Donjon of Front de Bceuf,' 1830;
' Wolsey and Buckingham,' 1834; ' Cceur de
Lion and Sultan Saladin,' 1835 ; ' Sir Thomas
More receiving the Benediction of his Father,'
1836; ' Simchah Torah,' 1845; 'Milton visiting
Galileo in Prison,' 1847 ; ' The three Inventors
of Printing,' 1852 ; ' Columbus,* 1854.
HARVEY, George, was born in 1806 at St.
Ninans, Fifeshire, his parents removing in the
same year to Stirling, where he was apprenticed to
a bookseller ; but having a strong taste for art,
he devoted every leisure moment to its pursuit.
At the age of eighteen he removed to Edinburgh
to draw at the Trustees' Academy, where he re-
mained two years. In 1826 a number of Scottish
artists, dissatisfied with the existing state of
things in Edinburgh, as to their position with the
public, resolved to establish a Society (the " Scot-
85
PAINTERS AND ENGRAVERS.
ftAEV j
tish Academy of Painting, Sculpture and Archi-
tecture," afterwards the " Eoyal Scottish Aca-
demy,") by which their interests and those of art
generally, might be more satisfactorily cared for
than they had hitherto been. The new scheme
embraced a School of Design, which should award
prizes among the successful students, and a fund
for the purpose of sending students abroad for
the advantage of foreign study, besides a provi-
sion for decayed memhers of their hody. When
these plans were first brought about, George
Harvey was only in his twentieth year; yet,
having already produced one or two successful
pictures, the promoters of the undertaking were
desirous of his co-operation, and the young painter
was induced to join the movement ; and being
elected an Associate of the new Scottish Aca-
demy, " he took part in all those arrangements
which resulted in the establishment of the Aca-
demy, and subsequently in the war which raged
for more than twenty years between the Eoyal
Institution and the Board of Trustees on the one
side, and the Academy on the other." In 1829
he was elected a full Eoyal Scottish Academician.
Of Puritan tendencies himself, he has depicted
much of the earnestness, the energy, and the
peculiar picturesqueness of that side of the ques-
tion, whiiih serves as a wholesome contrast to the
endless Cavalier pictures both by painters and
romance writers, with which the world has been
sated. We may cite his * Covenanters' Preach-
ing,' 1830 ; his ' Covenanters' Communion,' 1840 ;
his ' Sabbath Evening,' 1841 ; his ' Bunyan im-
agining his Pilgrim's Progress, in Bedford
Gaol,' 1638, and a more recent work, (1857),
wherein he depicts the same British worthy
with his blind daughter selhng stay-laces at
the door of Bedford Gaol. In his ' Battle of
Drumclog,' 1836, the artist gave with singular
force the aspects of a wild hand-to-hand struggle,
such as were too frequent in the troublous times
of the old Covenanters. In a different vein are
his ' Highland Funeral,' 1844 ; his ' First Bead-
ing of the Bible in the Crypt of St. Paul's,'
1847, which, like most of his more successful
works, has been engraved.
HAUSMANN, Feedeeice: Chables, was born
at Hanau, near Frankfort, in 1825. He was a
pupil of Pelissier, of Hanau, and also studied at
Antwerp. He afterwards took up his residence
during some years at Frankfort ; and eventually
settled at Hanau, his native place, and was made
inspector of the academy of that town. As
an historical painter he displays vigorous skill in
composition and grouping, and great command of
expression. An early work, by which he obtained
considerable renown, was upon the simple subject
of ' Three Priests Singing Mass.' In the Inter-
national Exhibition, 1862, his large work, of nu-
merous figures, ' Galileo before the Council of
Constance,' justly enjoyed a large meed of admi-
ration.
HAVEIjLjWilliam, a landscape painter of con-
siderable talent, was the eldest son of Mr. Eobert
Havell, printseller and artist's colourman (who
about forly years ago had an establishment in
Oxford Street), and was elder brother of the Eo-
bert Havell who so successfully superintended Au-
dubon's ' Birds of America.' His landscapes,
generally small and sunny, are vigorously painted
and havo all the brilliancy of Turner.
SUPPLEMENT TO DICTIONARY OF
[HATM
H AWARD, Feancis, an engraver, wis bom
in 1759, and became a student of the Eojal Aca-
demy in 1776, and an Associate Engnver in
1783. He was chiefly employed engravng tie
portraits by Eeynolds, and some of the faicy sub-
jects painted by Angelica Kauffman. Amongst'
the best specimens of his work are the eng-avings
of ' Mrs. Siddons as the Tragic Muse.' ' T£e
Infant Academy,' and « Cynara and Iphgenia,'
after Eeynolds, and in portraits that of tie
« Prince of Wales,' (1793). He died at his re-
sidence m Marsh Street, Lambeth, 1797.
HAYLLAE, James, was born on the 3rd of
January, 1829, at Chichester, and came up to
London in the spring of 1848 to study drawing
and painting under Mr. F. S. Cary (successor ~o
Sass) at his Gallery in Bloomsbury Street. In
the winter of 1849 he was admitted a student of
the Eoyal Academy, but continued a resident
pupd of Mr. Cary's until the autumn o:' 1851,
when he left for Eome. He resided there tvo
winters, passing his time chiefly in making studies
of character in oils. He afterwards spent six
months m Florence, and visited also the prin-
cipal cities and galleries throughout Italy. For
two years before he left England he was a great
deal occupied in taking portraits, principally in
crayons. He first exhibited in 1850. On his
return to London he again took portraits, and
became fully employed, painting principally small
heads m oils after the fashion of the sketches he
had made in Italy. He married in 1855 ; and
about this time commenced painting subject pic-
tures, principally of low life. Among the most
successful were the « Teetotaller and Tippler,'
' The Book-worm and Grub,' ' Birds of a Feather,'
&c. &c. He painted at this time in a rapid and
broad manner, but soon caught the infection
from the ' Pre-Eaphaelite ' school, and from 1857
to 1860 painted only in a very highly finished
and stippling manner. Amongst his works of this
period may be enumerated 'The Carpenter's
Workshop,' ' In Clover," ' Belvoir in Harvest
lime,' ' Once a Week,' and ' All the Year
Bound.' From this time, 1860, he returned to
the hoghair brush, and a bolder method, his prin-
cipal pictures being 'Two's Company Three's
None, ' Gladstone's Peculiar,' ' A Stitch in
Time,' < Sugar,' ' A practical Joke,' ' Cromwell
compelling his Chaplain to marry his daughter's
Waiting Maid,' ' Life or Death,' ' A Lottery in
the time of Cromwell,' ' Going to the Drawing
Eoom,' ' The Queen's Highway in the Sixteenth
Century, « An Incident out of which arose Lord
Mansfield's decision that as soon as a Slave set
his foot upon English Territory he became free/
&c.
HAYMAN, James. This artist,who enjoyed con-
siderable reputation as an animal painter, was b orn
m London in 1814, and displayed at a very early
age a predilection for that profession in which he
subsequently distinguished himself. The delicacy
ot his constitution subjected him even in child-
hood to a long and painful illness, during which
he occupied himself in drawing and painting
while confined to his bed. His first attempt in
oils was at the age of fourteen— the essay was in
portraiture. His friends placed him with a
painter on glass, but this department of Art not
being to his taste, he relinquished it, and accepted
an engagement as clerk. Every hour that was
not due to the discharge of the duties of his aro-
haym]
PAINTERS AND ENGRAVERS.
["HEJS T g
cation was devoted to drawing and painting. He
held this appointment until 1837, when an offer
•was made to him which marked an era in his life.
This was a proposition on the part of two gentle-
raer that he should at once take up Art as a
profession , they at the same time entering into
an engagement to take all his productions during
the space of one year, allowing him a hundred
pounds. In 1838 he made the acquaintance of
mr.Lance, from whom he received much valuable
instruction, and so rapid was his progress that in
1840 he exhibited three pictures in the British In-
stitution, and others in the same year at the R,oyal
Academy and the Institution of British Artists ;
after which he became a yearly exhibitor. From
the delicacy of his health he was frequently com-
pelled to relax his professional application, and at
length his constitution yielded to repeated attacks
of indisposition. He died ■ on the 24th March,
HAYTER, Sib George, is the son of the late
Mr. Charles Hayter, who was teacher of perspec-
tive to the Princess Charlotte. He was born in
London in 1792, and was early admitted a student
at the Royal Academy, where be gained two me-
dals. In 1816 he was appointed painter of minia-
tures and portraits to the Princess Charlotte, and
Prince Leopold of Saxe-Coburg (now King of the
Belgians). About this time he went to Rome,
where he remained studying till 1819, when he re-
turned to London, and remained there painting
both history and portraits till 1826, when he again
visited Italy. Whilst at Parma he painted the
portrait of the Archduchess Maria Louisa. On
his way back he visited Paris, where he remained
till July 1831, painting many portraits of eminent
persons in the court of Charles X. and Louis Phil-
fippe. In 1831 he painted portraits of the Prin-
cess (now Queen) Victoria, and of the Duchess of
Sent. In 1837 he was appointed Painter of Por-
traits, and in 1841, Historical Painter in ordinary
to the Queen. In 1842 he received the honour of
knighthood. Amongst his engraved works are
'The Trial of Lord Russell,' which he painted for
the Duke of Bedford, and ' The Marriage of
Queen Victoria." He has published an Appendix
to the ' Hortus Ericseus Woburnensis,' on the
classification of colours, with a diagram contain-
ing one hundred and thirty- two tints, with nomen-
clature. He is a Member of the Academy of St.
Luke at Rome, and of the Academy of Parma.
HEATH, Charles, was the son of James
Heath, the engraver, by whom he was brought
up to the same profession. He availed himself
of the able instruction afforded him in a manner
to bring book illustration, more especially in the
form (of the " Annual," (now obsolete), to great
perfection. Indeed, it was in this class of plates
that his excellence was principally shown,
his larger productions being of unequal power.
Some of his plates after the single figures of
G. S. Newton, R.A., were exquisitely tender m
treatment; and the feeling characterising the
portrait of Lady Peel, after Lawrence, has seldom
been surpassed. Mr. Heath's extensive engage-
ments led to the employment of many pupils and
assistants, some of whom have since acquired
high reputation. Mr. Doo, the engraver of
' Knox Preaching before Queen Mary,' was a
pupil of Mr. Heath, as also was Mr. Watt,
anotluer of the most eminent artists of the day.
He diied on the 18th of November, 1848, in his
64th year.
HELLEMANS, Pierre Jean, a pupil f J,
B. de Roy, was born at Brussels in 1787, died in
1845. A landscape by him taken on the borders
of the wood of Soignies, is in the Brussels
Museum, and he painted several landscapes in
conjunction with Eugene Veibceckhove a.
HEMSLEY, William, was born at Little
Chelsea, in 1819. His father, who was? an archi-
tect and surveyor, intended him for the same
profession, but after a short experience of its
practice in the early stages, in the office of Mr.
John Crake, he abandoned it altogether, aDdtook
to painting, in which he was entirely Self-taught.
With a natural taste for the humorous, he
turned his attention to the numberless little comic
incidents which are to be found in the every-day
life of our more homely domestic interiors, or
which, with a little stretch of imagination, he
could devise to people them ; as ' Drawing
from Life,' (exhibited at the British Institution
in 1851), the idea of which he in the following
year amplified in ' The Rustic Artist drawing
from Nature ;' 'A Pinch from Granny's Box,'
(Royal Academy, 1852) ; ' Draughts— Black to
Move,' (British Institution, 1853, afterwards ex-
hibited amongst the Art-Treasures at Manchester
in 1857) ; ' The Truant Defeated,' (Royal Aca-
demy, 1853) ; ' Crab Catchers,' (British Institu-
tion," 1854); £ Sunday Morning,' (Royal Academy,
1855) ; ' Sketching from Nature,' (Royal Academy,
1857) ; ' Come Along,' — a child's first essay in
walking, (British Institution, 1862). In a moro
serious vein is 'The Emigrant's Letter,' which
was included amongst other works of the artist
in the International Exhibition, 1862.
HENNEQULN, Philippe Auguste, born at
Lyons in 1763, became a pupil of David ; and ob-
tained the Grand Prize of Rome. His republican
opinions would have cost him his liberty after the
9thThermidor, in 1794, but for the intervention of
powerful friends. He then altogether renounced
politics. Under the Restoration he was ap-
pointed director of the Academy at Tournay,
where he died in 1833. His drawing was correct,
and his figures full of movement ; but, his colour-
ing was laboured and ineffective. One of his
principal works is a ceiling in the Museum of the
Louvre, representing 'Orestes pursued by the
Furies.'
HENSEL, William, was born at Trebbin in
1794. He evinced an early predilection for the
arts, in which he was encouraged by Frisch, Di-
rector of the Berlin Academy, who offered him
advice, assistance, and instruction. In 1812 he
exhibited his first picture in oils, ' Christ Praying
on the Mount of Olives,' together with his own
Portrait, and some Sketches, which procured him
the favourable notice of the Academy. For two
years subsequently he served in the army, but after
the Peace of 1815 he resumed his pursuit of the
arts, though at first in a desultory and uncertain
manner, making drawings and tinting prints
for almanacs, merely as a means for the sup-
port of himself, as well as of his mother
and brother, who were dependent on him.
About this time also he painted > in one of the
saloons of the theatre then being erected at
Berlin several subjects from the most celebrated
dramas of every age, some of which have been
engraved. In 1823, through the liberality of the
King of Prussia, he was enabled to visit Italy,
where he remained five years studying. At Rome
I he painted a copy of Raphael's 'Transfiguration,'
sens]
SUPPLEMENT TO DICTIONARY OF
[heeb
which, was placed in tlie Royal Chapel of Cliar- ]
lottenberg ; and an original picture, ' The Good
Samaritan,' which is in the Royal Palace. On
his return to Berlin in 1828 he was elected a
member of the Academy, and appointed Court
Painter, and in 1831 was appointed Professor of
Painting. Amongst his most important works
produced afterwards were ' Christ before Pilate,'
purchased by the King of Prussia, and now in the
military chapel at Berlin — vigorously conceived,
and coloured, though a httle strained in some of
the attitudes ; ' Miriam playing the Timbrel be-
fore the Israelitish Hosts,' painted in 1839, and
now in the possession of Queen Victoria, (en-
graved in the Art Journal) ; and 1 Christ in the
Desert,' a figure of colossal dimensions, painted
in 1839. Hensel also executed a great number
of portraits in lead pencil, remarkable for their
free and graceful outline ; and executed some
etchings. He died in December, 1861.
HERBERT, John Rogees, was born at
Maiden in Essex, in January, 1810, and came to
London in his sixteenth year, being admitted at
that time a pupil of the Royal Academy. His
first labours in art were portraits ; these and de-
signs for book-illustrations leading him gradually
to more important works. His first work which
attracted attention was entitled ' The Appointed
Hour,' and represented a lover lying assassinated
at the post of a staircase, down which his mis-
tress is hurrying to meet him ; well known by
the engraving. After this he visited Italy. His
' Brides of Venice,' 1839, took the prize at the
Liverpool Academy — his subjects at that time
being mostly of a romantic or dramatic character.
About the year 1840 he became a Boman Catho-
lic, through the influence of Welby Pugin, with
whom he shared a strong feeling for mediaeval
art, and his subsequent works have been strongly
marked by the joint influence suggested. In
1842 he exhibited the first of these, ' The Intro-
duction of Christianity into Britain,' accompanied
by ' A Portrait of Cardinal Wiseman ;' and in
the next year, ' Christ and the Woman of Sa-
maria.' ' Sir Thomas More and his Daughter
observing from their prison window the Monks
going to Execution,' produced in 1844, now in
the Vernon Collection, is an impressive subject
successfully treated. In the same year (1844) by
singular perversity, the engraved picture was ex-
hibited of ' The Trial of the Seven Bishops,'
painted some years before, in his old manner, on
commission. In 1845 he exhibited ' St. Gregory
Teaching his Chant ;' in 1846, a Portrait of his
friend Welby Pugin ; in 1847, ' Our Savioiir
subject to his Parents ;' in 1848, ' St. John the
Baptist reproving Herod ;' in 1849, ' The Out-
cast of the People ;' in 1855, a Portrait of Horace
Vernet ; in 1859, ' Mary Magdalen ;' and in 1860,
' The Virgin Mary,' painted for the Queen. Mr.
Herbert was for some years head master in the
School of Design at Somerset House, and in
1846 was selected to execute one of the frescoes
in the vestibule of the Houses of Parliament. He
was afterwards commissioned to paint a series of
nine subjects illustrating ' Human Justice,' se-
lected from the Old Testament, for the Peers'
Robing-rooni ; some of the studies for which
have since been exhibited at the Royal Academy.
In proceeding with these important works Mr.
Herbert has shown himself a learned and con-
scientious painter, the latter quality being illus-
88
trated by the fact, stated in debate in Parliament
in 1862, that he had cancelled one of his most im-
portant works when far advanced towards com-
pletion, either because it did not satisfy himself,
or because he feared it would perish, as so much,
of the painting executed in this unfortunate
building had already done. The new picture
produced in its stead, is painted in the
new medium, Stereochrome or Water-gloss,
recently introduced by Mr. Maclise. This
grand picture, representing ' Moses's Descent
from Sinai,' exhibits such qualities of gran-
deur and importance as to mark a decided era
in the history of historic art in this country. We
abridge a description given of it in the Athenaum.
" The moment depicted is when the people having
watched the sun-lit mountain forty days and
forty nights, see at length Moses arrived at the
lowest ledge with the tables in his hand ; the
princes, elders, and some of those that were with
them, advance within the line to meet him. The
peaks of Sinai proper, which the Law-bringer
has left, are on the right of the spectators, their
surfaces hot in the colour of sunlight, their clefts
filled with blue or purple shadows ; overhead is
an almost cloudless sky ; on the left there are
hills that face the peak of the Law — their re-
moved sides glowing in the sunlight, as they face
the west ; their nearer fronts darkened by shadows
that are an intense pure blue where they reflect
that colour in the firmament, and purplish where
the orange glow of the lighted sides of the oppo-
site hills affect them. Between these hills is a
valley-plain stretching along the vista that ends
near the point whence the Promised Land was
seen. In the middle of the plain are the black
tents of Israel ; in their midst, a- white pavilion
stands, its sides withdrawn so that the mummy-
case of Joseph, prepared after the Egyptian man-
ner, is distinctly visible. Moses bears the Tables
of the Law one in each hand, and has, in order
that he might support their weight, bound about
them the ends of his girdle. Foremost among
those who met Moses is Aaron, who wears the
Levite dress of white marked with black, and, as
the elder brother, bears in his hand the rod of
inheritance. Near him is Joshua, wearing a red
dress as appropriate to a soldier; a little with-
drawn are the sons of Aaron, Nadab and Abihu,
who died before the Lord, having offered strange
fire to Him, and even now seem to regard the
event with suspicion. Next to Joshua is Nun,
his father ; then comes Eleazar, and a little lower
down, as partly separated from the immediate
event by his lay office, is a Prince of Judah ; be-
hind the last presses forward a woman bearing a
cradle or little ark, such as that in which Moses
was exposed. Near are some Copts and Ethio-
pians, such as might have accompanied the people
of Israel in their flight. These, and many more,
stand on the spectator's left ; on his right and on
the other side of the central group formed by
Moses, Aaron and the great men, is a smaller
knot of persons, comprising Hur, who, with
Aaron, upheld the hands of Moses while the
fight went on with Amalek, in Bephidim, and,
clad in a sheep-skin, Caleb, the guide, who, ' be-
cause he had another spirit with him,' was, ex-
cept Joshua, the sole survivor in Israel of those
above twenty years of age who saw the Promised
Land. He has a manly action ; Hur is graver
and more thoughtful. Next to them is Bezaleel,
iteeb]
PAINTERS AND ENGRAVERS.
[hebi
the son of Uri, of the tribe of Judah — the artist
who was filled by the Lord ' with the spirit of
God in wisdom, and in knowledge, and in under-
standing' that he might make the ornaments of
the Temple, and whose altar was a treasure in
Solomon's time. In the corner is a young woman
giving water to a thirsty child, and, of all this
group nearest to Moses, Miriam, in a passionate
attitude, hiding her face with her arms as if the
effulgence round about his head or the thought
of his present office mastered her senses. These
main groups are connected, and the composition
of the picture sustained by the arrangement in
the front of an open, arch-shaped line of per-
sons, who kneel, and of all present, except the
fiery Miriam, are most impressed by the event.
This group has an appropriateness in its elements
which need hardly be pointed out ; it forms a
sort of human arch, and expresses the leading
characteristics of the mind of man in the current
of life. It is composed thus : — kneeling, with an
infant in her arms, and turning to look at the
leaders, is a young mother ; next her feet a child,
who, unconscious of all, plays with the thorny
branch of a shrub growing upon the rock. A
naked boy stands next her, old enough to be im-
pressed, and may remember the slaughter of the
three thousand by those who came to Moses when
he cried, ' Who is on the Lord's side ?' Above
these kneel a man who has made a vow — a shep-
herd with his hair cropped like that of a Nazarite,
an ordinary Levite, and an unshorn shepherd.
These are the elements of the picture. Mr.
Herbert's manners of thought and treatment are
of the most literal and positive order ; even the
effulgence about the brow of Moses is a fact ; it
mingles with and shimmers in the daylight, as
such a thing might do, and is thus free of con-
A r entional art. To be in keeping with so impas-
sive a Moses, the principal figures betray little
emotion. The action of Aaron suggests little joy
and no awe. The subordinate actions are appro-
priate to each other, but they are temperate to
the last degree. In some of the figures Mr.
Herbert's habitual affectations of manner, — as in
the strained and reverted eyes, forced turns of
the neck, &c. — are apparent, as may be seen in
the man standing behind Joshua ; and not a little
in the face of Caleb. This affectation of design
is most marked in the women. The drawing of
the figures is, in many points, learned and sound,
and form is expressed not only in outline but by
modelling, — see the figure of the kneeling shep-
herd, who is naked above the waist, and the flesh,
unclothed as well as clothed, of the principal
figures. The qualities which attract all observers
for the first time of this work, are its largeness,
breadth, brilliancy, fidelity to atmospheric effect,
emphatic disposition of masses, and truth of
form. That which overrides the memory of these
elements of technical success, impressing itself
with tenfold force on a second examination, and
makes them seem unsubstantial or trivial, is the
timid reading of the theme, the weakness of
Moses's attitude, the prosaic style of his face,
and the impassiveness of his companions. This
-design is not the work of a poet." In the
Poet's Hall, Mr. Herbert was appointed to
paint some subjects from ' King Lear,' which
are fast decaying. Two of these were ex-
hibited at the Royal Academy in 1849, and
1855. He was elected an Associate of the
Royal Academy in 1841, and an Academician in
1846.
HERBERT, Aethtte John, son of the pre-
ceding, already exhibited considerable promise
as an artist, when he was prematurely carried off
by typhoid fever, at Muriac, in Auvergne, Sept.
18, 1856, aged twenty-two. He exhibited at the
Royal Academy in 1855, ' Don Quixotte's first im-
pulse to lead the Life of a Knight Errant ;' and in
1856, 'Philip IV. of Spain knighting Velasquez ;'
both works of originality and considerable power.
*HERREYNS, James, the elder, born at Ant-
werp 1643, died 1732. He was a pupil of Norbert
van Harp the elder, and a designer of patterns for
tapestries, and also painted the figures in the
landscapes of Van de Cruys and other artists,
and occasionally history. In the Antwerp Mu-
seum is a picture by him representing the first
personage of the Trinity, seated upon a throne
composed of clouds, and carrying in the left hand
the globe surmounted by the Cross, on his right
the Holy Ghost.
HERREYNS, William James, a Flemish
artist of considerable merit and celebrity, was the
son of James Herreyns, a decorative painter
belonging to a family which had long been con-
nected with the arts of design. He was born at
Antwerp in 1743. In due course he entered the
Academy ; where after carrying away two medals
for drawings from the living model, he gave a
course of instruction in geometry and perspec-
tive. In 1765 he became one of the six directors
of the Academy. In 1767 he left his native place,
and went to Mechlin ; he founded the Aca-
demy of that town. This artist is considered to
have exercised a considerable and happy influence
both by his example and his counsel upon the
modern Flemish school. He resisted the false taste
which prevailed in his days, and revived the tra-
ditions of the nobler age of the seventeenth cen-
tury. He executed several important paintings
for the Abbey of St. Michael, and for those of
Tongerloo and Averbode. When Gustavus III.,
King of Sweden, on his visit to Flanders in 1780,
saw his picture of the ■ Purification of the Virgin
in the Abbey of St. Michael,' which is now in the
church at Deurne, near Antwerp, he nominated
him his painter of history. On the invasion of
the French in 1794, Herreyns was appointed pro-
fessor of the central school of the two Neth.es.
In 1800 he resumed his functions of professor in
the Academy at Antwerp, the name of which was
now changed to that of the School of Painting,
Sculpture aad Architecture. He painted very
little after the French invasion. One of his chef
d'esuvres, ' Christ and the Disciples at Emmaus,'
painted in 1808, and now in the Cathedral of
Notre Dame, is an exception to this remark. M.
L. Dussieux, in a recently published work en-
titled ' Les Artistes Francais a l'Etranger,' speaks
of Herreyns as one of the scholars of David, an
obvious absurdity, as he was five years the senior
of David, and had opened the Academy at Mech-
lin, whilst the latter was yet competing for prizes
at Paris. Herreyns died in 1827. In the Mu-
seum at Antwerp are four portraits of ecclesias-
tics, one of which is that of ' Godfrey Hermans,
' the forty-fourth and last abbot of Tongerloo.
HERING, Geoege Edwabd, a landscape
painter of considerable talent, is a younger son of
the late eminent bookbinder of that name. After
being educated in Germany he was placed in aa
89
HERl]
SUPPLEMENT TO DICTIONARY OF
[holl
English banking-house, but soon became disgusted
with the desk, and quitted it for the study of paint-
ing which he pursued with great industry in Mu-
nich and Italy. He illustrated Paget's Travels in
Hungary and Transylvania, and published * Sket-
ches on the Danube and Hungary,' in 1838, folio,
£4 4s., and ' Mountains and Lakes of Switzer-
land,' in 1845, folio, £2 12s. 6d. A picture by him
sold at Lord Northwick's sale (No. 1207), for 195
guineas. Several of his topographical views and
landscapes, including his ' Amain,' and ' View of
Capri,' purchased by the late Prince Albert, are
engraved in the Art Journal, and a biographical
account of him is given there, March, 1861.
HERRING-, John Frederick, a painter of
animal subjects, and stable-life, was born in
Surrey in 1795, and appears to have picked up
fiis knowledge of art while practising in such
humble walks as sign-painting and coach-panel
painting; and afterwards in the intervals of
•coach driving, on ' The North Road.' Mr. Her-
ring's works evince an intimate acquaintance with
the subjects he treats — his skill in their depiction
having been arrived at in that best of schools —
that of Nature herself. In the Vernon Gallery
is ' The Frugal Meal,' painted by him in 1847,
which has been engraved by Burnet. Many of
his farm-yard and stable subjects have also been
engraved, besides innumerable portraits of horses.
He died Sept. 26, 1865, in the 71st year of his age.
His son, known as "John Frederick Herring,
junior," practices in a similar line.
HERSENT, Louis, historical and portrait
painter, was born in Paris in 1777. He became
the pupil of Baron Regnault, under whom he
made such progress that in 1797 he obtained the
second prize of the Institute. On account of his
bad state of health he left painting for a while,
butafter a short period of repose again returned
to it, and painted his first picture ' Narcissus
viewing himself in the Water.' He subsequently
exhibited amongst others, in 1804, ' Achilles de-
livering up Briseis to the Heralds of Agamemnon;'
in 1806, ' Atala poisoning herself in the arms of
Chactas ;' in 1810, ' Fenelon bringing back a
Cow to some Peasants,' which is in the gallery at
Malmaison ; in 1814 ' Las Casas sick, nursed by
the Savages,' which has been engraved by Adam ;
in 1817, ' the Death of Bichat,' < Louis XVI.
succouring the Poor during the Winter of 1788,'
which is in the gallery at the Tuilleries, and has
been engraved by Adam ; and ' Daphnis and
Chloe,' (engraved by Langier, and by Gelee) ; in
1819, ' Gustavus Vasa,' purchased by Louis Phi- I
lippe when Duke of Orleans, but which disap- !
peared from the Palais Royal in 1848 ; in 1822,
' Ruth and Boaz,' in the late Royal Collec-
tion, and engraved by Alexander Tardieu) ; in
1824 ; The Monks of St. Gothard feeding the
Poor.' M. Hersent also painted a great number
of portraits, whole length ; amongst other that of
the 'Duke of Richelieu,' the ' Prince Conguan,'
(1824), ' Henry IV.' (1827), ' Casimir Perier,' &c.
During the latter years of his life he painted very
little. He obtained the great medal of the Insti-
tute in 1806 and 1819 ; was an officer of the Le-
gion of Honour, and a member of the Institute,
to which he was elected in 1822. He died in
1860.
HOFLAND, Thomas Christopher, landscape
painter, was the only son of an extensive manu-
facturer of cotton machinery at Worksop, Notts,
where he was born December 25, 1777. Owing
to family reverses, young Hofland, who had been
brought up as an independent gentleman, was
compelled, when about nineteen, to turn his talent
for art to account, and after selling his horse, gun,
and dogs, he supported himself by giving lessons
in drawing, which he had for a short time studied
under Mr. Rathbone, an artist of eminence. In
1808 he married Mrs. Hoole, to whose literary
attainments and amiable qualities he was through-
out his career greatly indebted. About 1811 he
came up to London, and there for some time de-
pended mainly on the sale of copies of the works
of the old masters — especially Wilson, Gains-
borough, and Claude — and the profits of his wife's
literary labours. But a couple of small landscapes
exhibited and sold at the Royal Academy in 1812,
followed in 1814 by a large picture of a ' Storm
off the Coast of Scarborough,' which gained the
British Gallery prize of 100 guineas, and was pur-
chased by the Marquis of Stafford, brought him
into public favour, and enabled him to follow the
bent of his genius successfully. He next produced
his large picture of Richmond Hill, purchased
from him by the late G. Alnutt, Esq., of Clapham
Common, at whose sale, in 1863, it sold for £210.
His career might henceforth have been prosperous,
had not the Duke of Marlborough employed him
to prepare an extensively illustrated account of
his seat at White BLnights, for which, to say
nothing of the labours of himself and his wife,
he became responsible to the engravers and
printers, and was never reimbursed. He in con-
sequence found himself burdened with a heavy
load of debt, which took him years to remove, and
preyed upon his health. During all this period,
Hofland remained in London, diligently engaged
in producing pictures, which met with a ready
sale. No English painter has ever more happily
rendered the river and lake scenery of Great
Britain, especially that of the Thames, on the
banks of which— first at Eew, and afterwards at
Twickenham-^he lived for some years. Some of
his finest pictures of Thames scenery are in the
possession of William Chillingworth, Esq., the
owner of Radnor House, Twickenham. Hofland
was one of the original founders of the Society of
British Artists, and most of his pictures were ex-
hibited in its gallery ; but he also sent one, or
more, annually to the Royal Academy. In 1840
he visited Italy, and after his return painted
several small pictures from sketches made at Her-
culaneum, Pompei, and the surrounding country.
But a low fever contracted during his sojourn there,
clung to him in England, and after protracted
suffering, he died at Leamington, January 3, 1843.
Hofland was also an enthusiastic angler, and gave
to the world the results of his experience with rod
and pencil in a beautifully illustrated ' British
Angler's Manual,' 8vo., 1839, of which a second
edition, with many additional illustrations, and a
memoir written by his son, was published by Mr.
Bohn in 1848.
HOLLAND, James, was born in Burslem, in
Staffordshire, in September, 1800. His grand-
father, Thomas Holland, was the first manufac-
turer of a highly glazed-ware, called " shining
black," at that time largely exported to America.
The wife of this gentleman had a taste for art,
and was accustomed to amuse herself with paint-
ing flowers on those black vessels ; and, by looking
on at this process, James Holland picked up his
holl]
PAINTEES AND ENGEAVEES.
[hook
first idea. At an. early age lie presented himself
before the late James Davenport, of Longport,
with a couple of his drawings — one of flowers, the
other of a red linnet — which being approved of, he
was immediately engaged, and settowork. Holland
remained in the employment of Mr. Davenport for
seven years. In 1819 he came to London, where he
first started as a flower painter in water-colours,
disposing of his first twelve drawings for the mu-
nificent sum of ten shillings. He also, for some
time, practised as a teacher of drawing ; but after-
wards aimed at higher game, sketching shipping,
buildings and all sorts of picturesque bits on the
banks of the Thames, near Greenwich ; determining
to adopt landscape as his future field of art. After
a visit to Paris in 1841, where he made several
drawings, which found ready purchasers amongst
noble patrons of art ; on bis return home, he
commenced exhibiting flowers and other sub-
jects at the Water Colour Society's Gallery.
In 1835 Mr. Holland went to Venice, visiting
Milan ; and, on his way home, Geneva, and Paris
for the second time. This Italian journey pro-
duced among many other works, a large interior
of ' Milan Cathedral,' which was exhibited at the
Suffolk Street Gallery, and a large picture of the
' Eialto,' exhibited at the British Institution. In
1837 he was commissioned by the proprietor of
" The Landscape Annual" to go to Portugal ; and
the Annual of 1839 was the fruit of that engage-
ment. His sketches at the South Kensington
Museum are a portion of the drawings made on
that occasion. On his return from Lisbon the
artist painted a picture of ' The Tombs of the
Scaligers,' for Mr. Hollier, and received a com-
mission from the same gentleman for a large pic-
ture of ' Greenwich Hospital,' which, after the
death of Mr. Hollier, was presented by his widow
to that noble institution, and is now in the
Painted Hall. He has painted several other
' Views' of the same building, for various collec-
tors ; among others, the Earl of Ellesmere, Lord
Charles Townsend, and Mr. John Foster, of
Liverpool. In 1845, he again established himself
in London, and, the same year, went to Botter-
dam, where, amongst others, he painted several
pictures of the principal church, taken from the
basin, with boats, &c. In 1850 he visited Nor-
mandy, where he made several sketches of cos-
tume and scenery ; and afterwards went to North
Wales, where he employed his pencil in a similar
manner. In the next year he went to Geneva,
from which interesting city he returned with
the subjects of several capital pictures. To the
Paris Universal Exhibition of 1855 he sent a small
view of ' Greenwich Hospital seen from the
Thames/ one of ' Eotterdam,' and a large archi-
tectural picture, receiving an award of ' honoiir-
able mention' from the jury. Mr. Holland
visited Venice a second time in 1857, where he
made a sketch of Titian's birth-place at Capo de
Cadere, besides many other views, which on his
return he exhibited at the Gallery of the Water
Colour Society, of which he is now a member.
In the International Exhibition 1862, there were
exhibited ' The Eialto, Venice,' and ' St. Lau-
rence, Eotterdam — an October Morning,' by this
artist.
HOLLINS, John, was the son of a portrait
fainter, and was born at Birmingham in 1798.
n the major part of his career he chiefly re-
stricted himself to portraits, which exhibit more
of freedom and vigour of pencilling than of grace
or delicacy. In his earlier practice he painted
some historical subjects, and illustrated a few
passages of Shakspeare, and of the Italian and
German poets and romance writers ; the best of
these are ' Margaret at her Spinning- Wheel,' from
Faust ; a ' Scene from the Life of Benvenuto
Cellini;' a ' Scene from Gil Bias ;' 'Andrea del
Sarto's First Interview with Lucrezia di Baccio
del Fede, afterwards his Wife ;' ' Tasso reciting
his ' Jerusalem Delivered,' to the Princess
Leonora d'Este ;' our English writers, Gold-
smith, Sterne, &c. were also occasionally resorted
to for pictures. Of late years he produced land-
scape and figure subjects, as ' The Hayfield,'
' A Scene on Deal Beach,' ' Grouse shooting on
the Moors of Invernesshire,' ' Dover HoveUers,'
' The Fishmarket and Porte of Dieppe,' ' Coast
Guard — Cliff's near Dover,' ' Gillies with a young
Heron,' ' Scene near Loch Inver, with Portraits,'
' Scene on Loch Etive,' ' Young Highlanders —
Scene in Argyleshire ;' all these pictures display
considerable merit. In 1854 he exhibited a pic-
ture painted in conjunction with F. E. Lee, E.A.,
who undertook the landscape portion ; the sub-
ject of which was ' Salmon Fishing on the Awe,'
in which a number of portraits of distinguished
individuals are introduced. Mr. Hollins was
elected Associate in 1843. He died at his re-
sidence in Berners Street, in March, 1855.
HOLLIS, Thomas, the only son of Mr. George
Hollis, author of " Monumental Effigies," gave
early indications of artistic talent, which he
cidtivated in the- first instance in the Gallery
of the Louvre, being afterwards, in 1836, admit-
ted a student of the Eoyal Academy, intending
to practise historical painting. In 1839 he com-
menced assisting his father in the publication of
the ' Monumental Effigies,' abeady mentioned ;
and on the death of his father, carried it on by
his own exertions, etching the plates as weU as
preparing the drawings. His close application
to this work, added to the labours of his profes-
sion, was too great for his powers, and he sunk and
died of rapid consumption in Oct. 1843, aged 25.
HONE, Horace, the date of whose birth is
uncertain, was elected an Associate of the Eoyal
Academy in 1779, and died in 1825. He painted
portraits in oil, miniature, and enamel ; and was
appointed miniature-painter to George, Prince of
Wales, retaining that situation when his Eoyal
Highness became Eegent.
HOOX, James Clarke, was born in November,
1819, in London. His father, the late James
Hook, was judge at Sierra Leone ; and his
mother, a daughter of Dr. Adam Clarke, the
Bible commentator. Mr. Hook entered the
Eoyal Academy in 1836, and in 1842 took the
first medal in the Life and Painting schools. In
1845 he obtained the gold medal for Historical
painting, the subject being ' The Finding of the
Body of Harold.' Mr. Hook now painted sub-
jects in English history, and occasionally por-
traits. In 1846, having obtained the three years'
travelling pension from the Eoyal Academy, he
went to Italy. Shortly afterwards, however, he
gave up half his pension, and returned to Eng-
land, when he began to paint subjects from
Italian history. He was made an Associate of
the Eoyal Academy in 1850, and a Eoyal Acade-
mician in 1860. Since 1850 he has returned to
his first inclination, and devoted himself to Pas-
91
hook]
SUPPLEMENT TO DICTIONARY OF
[hull
toral and Modern subjects ; treating simple
scenes of coast and country life with a truthful-
ness, and a freshness of feeling, that have ac-
quired him a wide reputation among the lovers
of simple realistic art. Of examples in his later
style, we may instance the following : — ' The
Market Morning,' and ' The . Shepherd's Boy,'
1855 ; ' The Brambles in the Way,' ' The Passing
Cloud,' 'The Fisherman's Good Night,' 1856;
' A Signal on the Horizon,' ' The Shipboy's
Letter,' 1857 ; ' The Coast-Boy Gathering Eggs,'
1858 ; ' Luff-Boy,' a striking boat scene, which
created quite a sensation on its appearance, in
1859, and which has since been followed by others
in the same peculiar style.
HOUSTON, J. A., Member of the Scottish
Academy of Art, a painter of considerable talent,
chiefly in bold figure subjects, has exhibited at the
Royal Academy, with fair success since 1842.
HORSLEY, John Callcott, grand-nephew
of Sir Augustus Callcott, B.A., and grandson of
Dr. Callcott, was born at Brompton, in 1817. He
became a student at the Royal Academy in 1831.
A visit to Derby when in his sixteenth year led
to his taking a number of sketches of Haddon
Hall, and other old mansions in that county, and
his first exhibited work was, at the British Insti-
tution, 'Rent Day at Haddon Hall, in the time
of Queen Elizabeth,' (sold at Christie's, Feb. 25,
1865, for £181). ' Winning the Game,' his next
picture, was also a scene at Haddon ; these were
followed by ' The Pride of the Tillage,' exhibited
at the Royal Acad. 1839, and now in the Vernon
Collection, and engraved in the Art Journal, 1851 ;
' Leaving the Ball,' 1840 ; ' The Father's Grave,'
1843, &c. He was appointed one of the head
masters of the School of Design at Somerset
House, in succession to Mr. Herbert. In the
Cartoon exhibition at Westminster Hall, in 1843,
he obtained a second-class prize of £200 for his
' Saint Augustine Preaching.' In the subsequent
fresco competition he exhibited two single figures,
* Peace' and ' Prayer,' and received a commission
to paint in the same style ' The Spirit of Prayer,'
in the House of Lords. Afterwards he entered
the oil-colour competition with a picture on the
subject of ' Henry V., when Prince of Wales, at
his Father's dying-bed trying on the Crown,' to
which a prize of £200 was awarded ; followed by
a commission to paint ' Satan touched by
Itherial's Spear,' for the Poet's Hall in the Palace
of Westminster. Of his principal exhibited
works, in addition to those already mentioned,
may be enumerated — ' Malvolioi' the Sun,' 1849 ;
'Hospitality,' 1850; 'Youth and Age,' 1851:
'The Madrigal,' 1852; 'Lady Jane Grey and
Roger Ascham,' 1853 ; ' Scene from Don Quixote,'
1855 (sold at Christie's, Feb. 25, 1865, for £310).
■ Lost and Found,' a modern version of the Parable
of the Prodigal Son. ' A Lady and her Children,'
(size 18 by 14, sold at Christie's for £189). Mr.
Horsley was elected an associate of the Royal
Academy in 1855.
HOWISON, William, engraver, was born at
Edinburgh in 1798. He was educated at George
Heriot's Hospital, and afterwards apprenticed to
Mr. Wilson, an engraver. He worked in com-
parative obscurity till Mr. George Harvey,
R.S.A., employed him to engrave his picture of
' The Curlers,' the execution of which gained
him admission as Associate of the Royal Scottish
Academy. Amongst other plates which he en-
92
graved were ' The Polish Exiles,' after Sir W.
Allan, and ' The Covenanter's Conversion,' after
George Harvey. He died in January, 1851.
HUGGINS, William, an able and versatile
painter, was born in May, 1820, at Liverpool,
where he has since resided. He received instruc-
tion in drawing from the antique, and from life,
in the Academy of that city, of which he after-
wards became a member. But so early as the
age of sixteen he commenced the study of wild
animals, a class of subjects which he has since
represented with extraordinary success. At the
age of about twenty-four he varied his practice
by painting several pictures from Milton, Spencer,
&c, at the same time taking to portraiture.
Since 1846 he has regularly exhibited at the
Royal Academy, chiefly horse and cattle subjects,
and of late years fowl pieces, which latter, while
they evince a strong feeling for the beautiful and
picturesque, have established him as a colourist.
Of wild animals, chiefly lions and tigers, Mr.
Huggins has executed many striking pictures;
from time to time introducing them into figure
subjects, among which may be mentioned his
' Daniel in the Lions' Den,' ' The Disobedient
Prophet slain by the Lion,' ' Christian within
sight of the Lions,' from Bunyan's Pilgrim's
Progress ; ' The Millennium,' being a literal
illustration of Isaiah, 11th chapter, 6th verse ;
and ' The Aerial Combat,' or fight between the
eagle and serpent, from Shelley's Revolt of
Islam. Finding, however, that the public did
not sufficiently appreciate the delineation of wild
animals, he later again reverted to a higher class
of subjects ; amongst which maybe mentioned —
' The Angels Ithurial and Zephon finding Satan
at the ear of Eve,' from Milton's Paradise Lost ;
' The Knight and Palmer approaching Excesse at
the door of the Bower of Bliss,' from Spenser's
Fairy Queen ; ' The Enchantress placing the
Crown on the head of Nourmahal,' from Moore's
Lalla Rookh. Mr. Huggins has also produced
some admirable compositions of horses and
studies of donkeys, for which he gained con-
siderable notice ; also several equestrian portrait-
pictures, amongst which that of T. Gorton, Esq.,
master of the Holcombe Hunt, with a leash of
hounds, admirably painted. He has also more
recently extended his studies of animal life to
sheep, fowls, &c, of which he has produced
several specimens, remarkably life-like, and
effectively coloured.
HULLMANDEL, Chaeles J oseph, was born
in Queen Street, May Fair, on the 15th of June,
1789. His father was a celebrated German mu-
sician and composer. We are in a great measure
indebted to the enthusiasm and researches of
Mr. HuUmandel for the present high character
of lithography in this country. He commenced
in 1818 in Great Marlborough Street, with a few
Hthographic presses for experiments on the then
new art ; and printed his own drawings made
from paintings and sketches during a residence
of many years on the continent of Europe. His
success attracted the attention of a great number
of amateurs and artists, who besought him to
initiate them into the method of drawing on
stone, and to print their drawings. So numerous
were the requests made to him that he detesmined
to open a lithographic establishment and to de-
vote his time and study entirely to lithography ;
and in order to commence at the basis, he placed
hull]
PAINTEES AND ENGEAVEES.
[hunt
himself as a pupil under the eminent Professor
Faraday, for the purpose of becoming thoroughly
acquainted with chemistry, to assist him in the
study of his new profession. The first great im-
provement he made was the application of a gra-
duated tint printed over a black and white im-
pression, showing the high lights, and giving it
the appearance of a print on tinted paper, and
the lights added with permanent white ; this pro-
cess gave a prodigious impulse to the art, and
attracted the attention of eminent artists to it,
which led to the production of many well-known
splendid folio works by Stanfield, Harding, Nash,
Eoberts, Haghe, &c. His next application of
lithography was to printing in colours by means
of various stones, which he succeeded in perfect-
ing about the year 1835, by producing a plate
fac-simile of paintings in the interior of an Egyp-
tian tomb, published by Messrs. Longmans of
Paternoster Eow. During all this time his mind
and experiments were directed to the means of
being able to print from drawings made on stone
with a brush and liquid ink ; after many years of
laborious experiment, he solved the problem,
and procured a patent for it, which he called
' Lithotint.' Several works have been produced
in this new process by Cattermole, Harding,
Hulme, and others, among the most important of
which are ' Cattermole's Portfolio,' and the ' Ba-
ronial Halls,' edited by Mr. S. Carter Hah.
Mr. HuUmandel's next improvement was intro-
ducing and printing drawings on stone with the
stump, much in the same way as drawings are
made with black-lead pencil and the stump ; many
splendid works have been done by these means ;
in fact, he was the only scientific lithographer in
this country, and every improvement in the art
made down to the period of his death has ema-
nated from him. His ever active and ingenious
mind was not entirely engrossed by researches in
his profession, but was often devoted to improve-
ments and facilities in manufactures ; he invented
and patented a means of putting on and multi-
plying patterns on rollers, for calico-printing by
machinery ; also a beautiful process of producing
patterns of all kinds of coloured marbles on
earthenware, extraordinary specimens of which
have been executed by Messrs. Copeiand, of Old
Bond Street. Not only here, where commerce
is chiefly the object of aU our labours and manu-
factures, but in France his merits were distin-
guished by gold medals from King Louis Phi-
lippe, for his meritorious and precious discovery
of lithotint. The King had promised a reward
for this hitherto unattainable art. Mr. Hull-
mandel died in November 1850, and was buried
in Highgate Cemetery.
HULME, Feedeeick William, landscape
painter, was born at Swinton, in Yorkshire, in
October 1816. From his father, a provincial
artist of considerable talent, he received his only
instruction. In 1825 his father removed to the
Staffordshire Potteries, intending to establish
himself as a porcelain manufacturer ; but after a
short trial he abandoned this intention, in its
original scope, and restricted himself to the
artistic part of pottery work, in which his son
was called upon to assist. For some time this
occupation engaged much of the latter's time ; but
he nevertheless found opportunity to pursue the
study of landscape painting, for which he had a
natural taste and aptitude. In 1841 he made his
first appearance as an exhibitor at the Birming-
ham Academy ; but his picture did not find a
purchaser. Next year he was more successful,
his picture being bought at his own price, £4.
' frame included.' In 1844 he came to London,
with nothing but his own talent, industry, and per-
severance to recommend him. Some of his first
achievements in the metropolis were illustrations
of Mrs. S. C. Hall's ' Tales of Woman's Trials,'
and of the same Lady's ' Midsummer Eve,' pub-
lished originally in the Art Journal. On the
formation of the Institution of the Fine Arts,
which exhibited at the Portland Gallery, (since
broken up) Mr. Hulme joined it ; but he also ex-
hited at the Eoyal Academy and British Institu-
tion. His landscapes, whether views of English
or Welsh Scenery, are thoroughly rural, truthful ;
bright and clear ; and honestly wrought out in
all their details ; but, perhaps, a little wanting in
breadth of handling ; particularly in the more
distant parts, the foliage in which is sometimes
as minutely elaborated as that in the fore-
ground.
HUNIN, Pieeee Paul Aloys, born at Mechlin
in 1808, died in 1854. In the Brussels Museum is
a picture by him, ' The Distribution of Alms.'
HUNT, Alfbed William, was born at Liver-
pool in 1831, his father being well known as a
landscape painter and teacher of drawing in that
town. Mr. A. W. Hunt completed his educa-
tion at Oxford, passing five years in that Univer-
sity at Corpus Christi College, of which he was a
scholar, and is now fellow. In 1851 he gained
the ' Newdigate' prize, and took a second-class
in classics the following year. He afterwards de-
A r oted himself to landscape painting, the first pic-
ture which brought him into notice being exhi-
bited at the Eoyal Academy in 1856, ' The Stream
from Llyn Idwal, Carnarvonshire.
HUNT, William Henby, was the son of John
Hunt, a tin plate worker, carrying on business at
No. 8, Old Belton Street, now Endell Street, Long
Acre, where he was born on the 28th of March,
1790. A thorough Englishman of that day, John
Hunt had no idea of the life of an artist, except
as a series of scenes of poverty, with starvation
at the end. When the son was bent on painting
there seems to have been abundant opposition to
the intention. The father succumbed upon the
thoroughly English condition, dictated by a provi-
dent wisdom, so far as the good man's vision
reached, that the boy should be apprenticed for
the legal term of seven years, and, of course, sub-
ject to the authorities empowered by law with
regard to the relations between master and ap-
prentice. Prudent John Hunt so stipulated, and,
being a. man of some substance, probably paid a
premium to John Varley, then almost in the zenith
of his reputation, and one of the best masters who
could at any time have been found. At Varley's,
Hunt met Mulready, at whose suggestion he en-
tered the Eoyal Academy ; there he studied for
some time. Among his earliest examples of prac-
tice are some oil-paintings of interiors, a method
of execution to which, in early years, he confined
himself. Hunt could hardly have been more than
eighteen or twenty when he had commissions to
paint, for the Earl of Essex— Girtin's deliverer
from Bridewell— some of the rooms at Cashiobury,
and views in the park and grounds at that place.
At Cashiobury he fell in with Dr. A. Munro, one
of George the Third's doctors, a great patron of
hunt]
SUPPLEMENT TO
DICTIONARY OF
[hunt
young artists, an enthusiastic collector, and in-
satiable lover of Art — so insatiable tbat he would
carry several folios fall of drawings with him in
his carriage while coming to London from Busby,
where bis country-house was. At tbis country-
house young Alexander Munro, Eridge, Hearne
— then over sixty years of age — (the three were,
by tbe kindly father of tbe first, buried side by
side in Bushy churchyard, as their tombs attest),
Turner, Hunt and others met. Hunt was a con-
stant visitor at Dr. Munro's town-house, on tbe
Adelphi Terrace, next door but one to G-arrick's
house, No. 5, and about tbis time seems to have
added Mr. Linnell to bis list of friends. Hunt
first appeared as an exhibitor at the Royal Aca-
demy in the year 1807 ; he gave as his address
Varley's house, No. 15, Broad Street, Golden
Square, b}' whicb he is identified as the oil-painter
who contributed, in that year, ' A Scene near
Hounslow,' ' View near Reading,' and ' Scene
near Leatherhead.' He continued to exhibit at
tbe Royal Academy in 1808, 1809, 1810, and 1811.
With tbe last year his apprenticeship to Varley
probably expired, for although Varley continued
to reside in Broad Street until 1815, Hunt's ad-
dress was changed to bis father's house. He con-
tinued to exhibit at tbe Royal Academy in the
years 1822, address, 36, Brownlow Street, Drury
Lane ; 1823, 1824, address, 6, Marchmont Street,
Brunswick Square; and 1825. He resided at
Hastings for some time, and there painted some of
his best landscapes. Tbe Society of Painters in
"Water Colours, which held its first Exhibition at
20, Lower Brook Street, (Vandergucht's house),
in 1805, comprised, with the two Varleys, twelve
painters, all of note. In the succeeding years
this body added to its exhibitions the works of
other artists, but did not admit the painters to any
concern with tbe society. These outsiders were
Btyled "Fellow Exhibitors," or "Associate Ex-
hibitors." This arrangement continued till 1813,
when, a split taking place and many of the leading
members— J. J. Chalon, De Wint, G-ilpin, Hills,
Nash, Reiuagle, and others — seceding, and it
being difficult to fill the exhibiting space with
pictures by those who remained (although they
elected D. Cox in that year), it was determined to
admit oil pictures, and the body assumed the name
of the Society of Painters in Oil and Water Co-
lours. In 1821 the old style was resumed, and
the Exhibition removed from " The Great Room
in Spring Gardens," where several gatherings took
place, to the Egyptian Hall, Piccadilly. Hunt
was one of the men invited as a stop-gap, and his
name appears in the catalogue of 1814 as the ex-
hibitor of ' Two Views of Windsor Castle.' He
appears not again until 1819, then on the old
footing. In 1821 the change took place. In 1824
Hunt was an Associate of the Society ; in 1827, a
full Member. Since that time be rarely failed to
exhibit. Amongst the earlier works of this artist
which attracted marked attention, and which at
once established bis fame as an observer of Nature
were studies from rustic life, particularly peasant
boys, in various suggestive positions, as gloating
expectant over a tempting pie ; and again, fallen
asleep from sheer fatigue of mastication, and the
somnolent influences of repletion ; then a daring
youth venturing on his first cigar, and in the next
scene bitterly repenting it. Of these subjects Mr.
Buskin says : — " He loves peasant boys because
he finds them more roughly and picturesquely
94
dressed, and more healthily coloured than others.
And he paints all that he sees in them fearlessly —
all the health and humour, and freshness, and vi-
tality, together with such awkwardness and stu-
pidity, and what else of negative or positive harm
there may be in the creature ; but yet, so tbat on
the whole we love it, and find it perhaps even
beautiful ; or if not, at least we see that there is
capability of good in it rather than evil ; and all
is lightened up by a sunshine and sweet colour
that makes the smock frock as precious as cloth
of gold." His other favourite class of subjects
was fruit, flowers, and all varieties of still-life,
which be painted with a loving minuteness, a
luxuriancy of colour, and an accurate realisation
of substance and texture hardly to be sur-
passed. As an evidence of tbe high estimation
in which tbis artist's works were held by his
contemporaries it may be stated that at the Art
Treasures Exhibition at Manchester in 1857,
thirty specimens of his hand were displayed in a
group ; amongst them : — ' The Laboratory,' from
the collection of Jacob Bell, Esq., a picture well
known by the engraving ; ' The Attack' and ' The
Defeat,' tbe property of G. W. Moss, Esq., also
engraved ; ' The Orphans/ the property of John
Hick, Esq. ; ' An Itinerant,' belonging to Mr.
Topham tbe artist ; tbe ' Mulatto Girl,' from the
collection of William Leaf, Esq. ; ' The Ballad
Singer,' the property of James Fallows, Esq.;
some exquisite ' Fruit' from various collections ;
and not the least interesting of his subjects, a
portrait of ' The Artist,' contributed by himself.
A writer in the Aihenceum says : — " Hunt is no
more to be confounded with those who, before
him, dealt with bis favourite subjects than he
should be with those who painted sign-boards.
To him we owe a full recognition of the splendour
of colour in common objects. Who else but Hunt
could have painted that ' Studv of Gold — a Smoked
Pilchard,' (Water Colour Exhibition, 1860), which
is now in use in our Government Art-Schools as a
triumph of colour P or produced the ' Study of
Rose-Grey — a Mushroom,' which accompanied it ?
At the now-open Water Colour Society's Exhibi-
tion (1864) is a 'Dead Humming-Bird,' which
glows with turquoise blue, green and gold, and
even from the furthest side of the room sparkles
marvellously. These are not merely technical
triumphs, patent only to the initiated, and beyond
the range of popular discourse, but such as are
enjoyed by all. It speaks ill for our comprehen-
sion of true Art in this country that the idea of
Hunt as merely a brilliant painter of fruit and
the like, should obtain even in the least taught
minds. When, at the Exposition Universelle,
Paris, 1855, eleven of the master's works were
shown, the acclamations of tbe French attested,
first, the surprise of the critics, and, secondly,
their knowledge of art. Some account of the
manner in which Hunt wrought cannot but be of
interest to the general reader, and probably of
value to the artist, inasmuch as the painter, in his
sixty years of practice, went through all the
phases yet presented by the history of English
painting in water-colours. He began in the
aquatint-like manner of the early painters —
Eridge, Hearne, and others — who succeeded the
monochromists ; he achieved the reed-pen drawing
of Prout, and the second-class of the school ; and
himself largely advanced the scope of his art, if
he did not introduce to it the full powers of the
hunt]
PAINTERS AND ENGRAVERS.
[JACO
pigments, masterly employment of body-colour,
and that glow of local tinting which, are now its
characteristics. What was the statue of public
knowledge respecting painting in wat.er-colour at
the time Hunt began, may be guessed from the
fact that the still-existing Society f Our Lord ;'
and following this have been several imitations of
Van Dyck, Velasquez, and others. He obtained
a third-class medal in history in 1837, and a second
class medal in genre in 1848.
NASH, Frederick, a water colour painter,
was born in 1782, in Lambeth, where his father
carried on business as a builder. Under Moreton,
an eminent architectural draughtsman, he acquired
a thorough knowledge of perspective, and a taste
for architectural studies. In 1808 he was elected
a member of the Society of Painters in Water
Colours, and soon after was appointed draughts-
man to the Antiquarian Society. At this period
he published a series of views, ' The Buins of St.
Mary's Abbey, York.' In 1810 he commenced his
work on St. George's Chapel, Winds.or, which ob-
tained for him an introduction to Kin g George III.
In 1819, he executed the drawings for the work en-
titled ' Picturesque Views of Paris,' for which he
received 500 guineas, and which were afterwards
purchased by Sir Thos. Lawrence. In subsequent
years he successively made sketching tours in
Switzerland, Normandy, on the Bhime, the Moselle,
&c. His practice was to make three studies of the
same subject, under the different aspects of
' Early Morning,' ' Mid-day,' and 'Evening.' But
it was in architectural subjects that he made his
fame and fortune. Mr. Wheeler paid 150 guineas
for his drawing of ' The Inside of Westminster
Abbey, with a Funeral Procession Mr. Allnutt
purchased ' The Interior of the Abbey, with
Monks,' for £125 ; and fiir Thomas Lawrence
Said £150 for a third ' Interior,' of the same edi-
ce. His industry and rapidity of execution were
very great, insomuch that from 18L0 to 1856, he
exhibited no less than four hundred and seventy -
two drawings at the Water Colour Society's rooms,
to say nothing of others. His earlier works, how-
ever, were his best. He died on the 5th Decem-
ber, 1856, at his residence at Brighton.
NASH, Joseph, an English water-colour
painter and draughtsman, was born about the
vear 1813. He has devoted himself chiefly to
architectural subjects, in which branch his pub-
lished works, 'Architecture of the Middle Ages/
(1838), and ' Mansions of England in the Olden
Time,' (1839-49), are well known. He has also
produced some illustrations of Shakespeare and
Sir Walter Scott. Four large water colour draw-
ings sent to the Paris Universal Exhibition of
1855, procured him honourable mention.
NAVEZ, Francis Joseph, a Belgian painter,
was born at Charleroi in 1787, and studied first
under Francois, a distinguished, historical painter
at Brussels. In 1812, after having carried off
several prizes at the Brussels Academy, he ob-
tained the grand prize in History at Ghent, for
his picture of ' Virgil reading his iEneid to Au-
gustus,' and a pension was subsequently added,
which enabled him to go to Paris, where he put
himself under David. He afterwards accompa-
nied the latter in his exile in Belgium, and worked
for him until 1817. In the last-named year he
went to Borne, and in 1822 returned to Brussels,
where his reputation was already established.
Since his return he has painted a great number of
large pictures on scriptural and historical subjects,
as — 'Hagar in the Desert,' (in the Brussels Mu-
seum); ' The Besurrection of the Son of the Shuna-
mite,' and ' The Meeting of Bebecca and Isaac,'
(in the Hague Museum) ; ' The Assumption of the
Virgin,' and ' The Besurrection of Lazarus,' (in
the Church of St. Gudule at Brussels) ; ' Christ
showing His Wounds to St. Thomas ;' ' The Holy
Family,' and ' The Marriage of the Virgin,' (in the
Church of the Jesuits at Amsterdam); 'The
Prophet Samuel,' (in the Museum at Haarlem).
Between 1834 and 1837, he sent to the exhibition
at Paris, ' Athalie interrogating J oas,' ' The
Sleep in the Garden,' 1 The Widow's Mite/ ' The
Virgin saying her Prayers before St. Ann and St.
Joachim/ ' The Virgin and Child,' ' The Woman
taken in Adultery,' &c. He has also painted some
genre subjects and portraits ; amongst the latter,
one of ' King William of the Netherlands/ for
the Duke of Wellington. He is director and
chief professor of the Academy at Brussels, pre-
sident of the Boyal Commission of Monuments in
Belgium, correspondent of the Institutes of. France
and the Netherlands, and associate of a great
number of other academies ; Knight of the Boyal
Order of the Lion of Belgium, and of the Orders
of Leopold, William, &c.
NEUBEUTHEB, Eugene, was born at Mu-
nich in 1806. His father, an able landscape
painter, went to Bamberg, in Franconia, about
the year 1814, for the purpose of teaching draw-
ing ; and Eugene, who accompanied him for some
time, occupied himself in drawing landscape views
I of that picturesque old city and its suburbs, which
he published in lithography. But the elder Neu-
reuther perceiving that Bamberg was not the
proper place for the artistic education of his son,
resolved to send him to the Academy of Arts at
Munich ; the means for so doing being readily af-
forded by the godfather of the young artist, Duke
Eugene von Leuchtenberg, and by King Maxi-
milian. Provided with an annuity by his patrons,
Eugene arrived at Munich in the summer of 1823,
and was named a student in the landscape class of
1 1 t>!
PAINTERS AND
ENGRAVERS.
SEDDON, Thomas, was born in the parish of
St. Botolph, Aldersgate, on the 28th of Angust,
1821. His father, an eminent cabinet maker,
wished to bring him np to that business ; but the
son cultivated preferentially that department to
which his taste led him, namely, the making of
designs for furniture. In his capacity of designer
he gained the silver medal of the Society of Arts
in 1848. In 1851 he finally adopted painting as
his profession. His first important picture, ' Pe-
nelope at her Web,' appeared in the Royal Aca-
demy exhibition of 1852 ; but he subsequently
devoted himself exclusively to the department of
landscape. In 1853 he accompanied Mr. Holman
Hunt to the East, whence he returned, in 1854,
with two finished pictures, the ' Pyramids of
Ghizeli,' and ' Jerusalem and the Valley of Je-
hosaphat,' which were presented to the National
Gallery by an association of gentlemen in 1857.
Besides these he executed many careful sketches
of Eastern life and localities, which were all exhi-
bited together, after his death, in the large room of
the Society of Arts, in the spring of 1857. He
died at Cairo, November the 23rd, 1856, having
set out on a second journey to the East in October
of that year.
SELLETH, James, a native of Norwich, in the
beginning of his career, was employed as a painter
of heraldry, &c. He became a student at the
Royal Academy, and afterwards practised as a
miniature painter, in which his peculiar delicacy
of handling afforded him great facility. Settling
in his native city, he painted still life, fruit and
flowers, in oil and water colours, and later in life,
architectural and other subjects. He died at Nor-
wich in May, 1840, aged 76.
SEQUIERA, A. De, an able historical painter,
the place and date of whose birth are uncertain,
but who became President of the»Academy of Eine
Arts at Lisbon, where he died in November, 1837,
as stated, in his 70th year. In 1824 he exhibited
at Paris a picture, ' The Death of Camoens,' which
was highly spoken of at the time. His picture of
' St. Bruno ' is at Lisbon.
SEVERDONCK, Feancois Van, a painter of
landscapes and cattle-pieces, residing at Brussels.
His pictures are generally small and of an agree-
able character, but are inferior to those of ver-
bceckhoven, of whom he is a manifest imitator.
SEYMOUR, Robeet, a graphic humourist of
the highest order was born in or near London,
about the year 1800. He was apprenticed at the
usual age to Mr. Thomas Vaughan, an eminent
pattern-drawer in Spitalfields, and his practice in
that department of art appears to have given him
the facility and accuracy of pencil for which he was
afterwards so distinguished. Within a very short
period of fulfilling his term of apprenticeship, he
commenced as a painter in oils, and must have
been tolerably expert at that early age, as in the
spring of 1822, we find him exhibiting a picture of
some pretensions at the Royal Academy, which is
thus described in the Catalogue.
"The Christians deterredby the terrors of enchantment from
felling timber to construct their machines of annoyance."
Tasso, v. xiii.
He executed various other oil-paintings about
this period, including a large biblical subject of
100 figures, and an illustration of Don Quixote,
besides portraits and miniatures ; but the more
pressing demand on his talents was for drawings
on wood, a mode of book-illustration then in great
vogue. The various illustrated books and periodi-
cals published for the next ten or twelve years
bespoke his popularity and industry in that de-
partment. Among them may be mentioned :
The History of Enfield, 1823, topographical woodcuts.
Richardson's New Minor Drama, 36 Plays, 1827 to 1830,
with woodcut frontispieces after Seymour. — — The Odd Vo-
lume (a Sequel to Cruikshank at Home) , Lond. Kidd, 1830,
full of Seymour's designs. -The Comic Magazine, conducted
by Gilbert A'Beckett 1832 to 1834, with 300 woodcuts after
Seymour. Figaro in London, edited by Gilbert A.' Beckett,
from December 1831 to 1836, (continued by others to 1838.)
This series contains nearly 300 woodcuts after Seymour.
Although Seymour's hands were full of com-
missions for drawing on wood, he was always
desirous of practice in a more independent de-
partment of art, feeling that the engraver, however
competent, failed to communicate the full force of
his drawing. He therefore gladly hailed any
opportunity of etching his own designs on copper
or steel. In 1827 he etched six clever plates, to
illustrate a volume entitled 'Vagaries in quest of
the Wild and Wonderful,' which was a great suc-
cess, and ran through three editions. In the same
year he married his first cousin, Miss Jane Holmes,
one of a numerous family living at Hoxton, by
whom he had two children, a son and daughter.
The art of Lithography having, about this period,
attained great perfection in England, he turned his
attention in that direction, and executed a con-
siderable number of detached sketches. In 1830
he projected and conducted Mr. McLean's lithogra*
phic series of Caricatures, called ' The Looking
Glass,' which was continued monthly till 1836. He
also published with McLean, in 1834, a series of
nine large lithographic plates, entitled 'The School-
master abroad ;' a hit at the educational move-
ment then stimulated by Lord Brougham ; and in
the same year he commenced a small lithographic
series, eventually extended to upwards of 300
plates, entitled ' New Readings of Old Authors,'
in which he gave humourous illustrations of
twenty-four of Shakespeare's plays, (10 plates to
each), Byron's Giaour, Schiller's William Tell, &c.
The Shakespeare series was a few years after his
death republished in 4 vols.l8mo.byTilt andBogue,
who, in an advertisement prefixed, lament the loss
of Seymour as an artist of the highest promise. In
1835, he contributed all the etchings, 36 in number,
to the ' Book of Christmas, descriptive of its Cus-
toms, Traditions, Superstitions,' &c. a small volume
published by his friend Mr. Spooner, and to which
the letter-press was furnished by the late Mr. T. K.
Hervey. This well executed, and now rare, volume
failed to meet with the success it deserved, in con-
sequence of not being ready till the day after Christ-
mas ; instead of a full month before, as is usual with
such publications. But of all Seymour's various
works, his ' Humourous Sketches ' were his prime
favourites, and will best perpetuate his name. They
were first published between the years 1834 and
1836, in detached prints at 3d. each, by Mr. Richard
Carlisle, of Fleet Street, who, obtained them from
the artist at the rateof 15s. per drawingon thestone.
Carlisle fell into difficulties just previous to Sey-
mour's death, and sold the copyright and lithogra-
phic stones to Mr. Henry Wallis, the well known
engraver, who parting with the stones toMr.Tregear
of Cheapside,butretainingthecopyright,transferred
the drawings very skilfully to steel, and published
them in 1838, with letterpress by Crowquill (Alfred
Forrester). Thenext edition was issued by Mr. H.G.
Bohn, in 1842, and has lately been re-published from
Seym]
SUPPLEMENT TO DICTIOJNAKY OP
[SHAW
the same steels, with, the addition of a Memoir, from
which the present is abridged. We have now tore-
cord the most painful period of Mr. Seymour's life.
In the autumn of 1835, he had conceived the idea of
publishing, in shilling numbers, a series of humour-
ous sketches of sporting-life, blended into a con-
nected story by assuming the different individuals
to be members of a cockney club. On mentioning
his scheme to Messrs. Chapman anO Hall, they,
upon inspecting his sketches, immediately closed
with him. The next object was to find a comic
writerof adequate powers tofurnish the letter-press,
and Messrs. Chapman suggested and secured Mr.
Dickens, who had already distinguished himself in
humourous writing, under the pseudonyme of Boz.
After this, the first number of the Pickwick Papers,
containing four etchings by Seymour, appeared in
due course. Its reception by the public, though not
so unanimous as it became after the introduction of
Sam Welle r in the fourth number, was unequivocal;
and author, artist, and publisher, could not but be
elated. Before the second number appeared our
artist became " extremely angry at what he
seems to have considered the unwarrantable intro-
duction of a story — the Stroller's Tale— not con-
templated in his arrangements, and which necessi-
tated a different drawing (the Dying Clown) ; this
difficulty, however, was got over, and all would have
gone on well, had not vexations of a more trying
character arisen in other quarters. The one which
Mrs. Seymour assumes to have preyed most on his
mind, and to have proved eventually fatal, was
" the unhappy feud between him and the proprietor
" and editor (Gilbert A'Beckett) of ' Figaro in
" London.' " Seymour had contributed all the
drawing and engraving to that popular predecessor
of Punch from its commencement, and had been
regularly paid till Mr. A'Beckett got into difficulties
through theatrical speculations ; when our artist
refused to proceed further without cash payments.
This must have occurred just before August 16th,
1834, as that number has no woodcut, which is an ex-
ception to all the others. Mr. Beckett thereupon,
although he had constantly and lavishly praised
Seymour in the previous numbers of Figaro, calling
him " the justly celebrated comic artist," and
"our illustrious artist," suddenly turned round
upon him, and attacked his artistic reputation with
intense virulence, telling his readers among other
things that he " must procure first-rate talent, &c."
implying that Seymour's talent was only second
rate. The subsequent numbers of Figaro are full
of unwarrantable attacks upon him to the end of
the year. We quote one from No. 154, November
15th, 1834, published under the guise of ' Notes
to Correspondents,' as a specimen :—" It is not
"true that Seymour has gone out of his mind, be-
" cause he never had any to go out of. That he
" has lost his senses, as our correspondent states,
" we can believe, though if he should have let them
" fall anywhere, they have doubtless been removed
" as a nuisance by the scavenger. Another corre-
" spondent wants to know ' how it is that Seymour
" can't write his own name ?' W e reply ! Upon
"the same principle that a donkey can't quote
" Metastasio— Ignorance, gross and beastly igno-
rance! We are told that in the year 1815, a
" subscription was raised among a few friends of
" civilization, and enemies of idiotcy, to teach
'•■ Seymour to spell ; but his hard and obstinate bit
"of brain rebounded from the process in its
" infancy, and the result was, he never got beyond
" words of one syllable. Poor man, now that he
" is deprived of our benevolent and condescending
" patronage, we understand he is obliged to specu-
late on his own account in miserable caricatures,
" which don't sell, and which of course are not
" worth purchasing," &c. The public, however,
saw through these flimsy pretences, and so much
resented Mr. Beckett's disgraceful treatment of
Seymour, that he found it advisable to retire
from the editorship, and within a little more than
a month of the attack we have quoted, Mr. H.
Mayhew became sole editor, and immediately re-
stored Mr. Seymour with all courtesy ; printing
his name in conspicuous letters on the title page,
where it had never been placed before. Whatever
was the cause of Mr. Seymour's melancholy end,
whether the old vexations of Figaro, the new ones
of Pickwick, a profitless law-suit, the constant
pressure on his brain for fresh invention, losses in
Spanish bonds in which he had invested, or
anxieties which have not transpired, it would be
fruitless to inquire, but we think it very likely that
all these causes tended in one and in the same di-
rection. Though full of humour and geniality, a
li vely and agreeable companion, fond of the drama,
races, and sports of every kind, he was nervous
and highly sensitive, and one moody moment to a
man of such temperament may easily prove fatal ;
and so it was with Seymour. He died by his own
hand on the 20th April, 1836. One of the papers
of the day, in recording his death, adds : — " Poor
" Seymour the Caricaturist, with all his relish for
" fun and quick perception of the humourous, was
" subject to dreadful fits of melancholy and de-
" spondency, in one of which he committed suicide.
" The contrast is strange but not inexplicable, nor
" indeed so strange as it may appear, since literary
" biography affords abundant proof of such con-
" ditions. He was undoubtedly a man of con-
" siderable talent, and his premature loss is greatly
" to be deplored." To which may be appropriately
added Mr. Dickens's feeling tribute to the memory
of Mr. Seymour, which appeared with the second
number of the Pickwick Papers. " Some time
" must elapse before the void the deceased gentle-
" man has left in his profession can be filled up ;
" the blank his death has occasioned in the society
"which his amiable nature won, and his talents
" adorned, we hardly hope to see supplied. We do
"not allude to this distressing event in the vain
" hope of adding by any eulogium of ours, to the
" respect in which the late Mr. Seymour's memory
" is held by all who ever knew him." In the pre-
ceding sketch we have been governed by informa-
tion collected from several of Seymour's friends
still living, and the cautious use of a very acrimo-
nious but self-disproving brochure by Mrs. Sey-
mour, entitled ' An Account of the Origin of the
Pickwick Papers.' The pretence therein raised of
Mr. Seymour having originated any of the inci-
dents or even the title of the book, has been suffi-
ciently disposed of by Mr. Dickens himself, in his
letter to the Athenseum, March, 1866.
SHAW, Henry, a celebrated architectural and
antiquarian draughtsman, was born July the 4th,
1800, in London. He evinced an early taste for
architectural and ornamental drawing, and became,
contemporaneously with Cattermole and Bartlett,
an assistant to the late John Britton in carrying
out his splendid work, the ' Cathedral Antiquities
of Great Britain.' Nearly all the illustrations of
Wells Cathedral, published in 1824, are from his
FITAW]
PAINTEES AND ENGRAVERS.
pencil, and some of the Gloucester in 1828. In
1829 he published his 'Antiquities of Luton
Chapel,' a remarkably rich specimen of florid
gothic, 20 plates, all drawn and engraved by him-
self- and in 1830 commenced that fine series of
illuminated works for which he is now so univer-
sally known. His first work in this department
was, ' Illuminated Ornaments of the Middle Ages,
the extra copies of which very nearly approach m
hi«h finish the originals from which they were
copied. Immediately after this he was engaged in
drawing for that splendid work ' Robinson s Vi-
truvius Britannicus,' of which Hatfield House,
published in 1833, and Hardwick Hall, in 1835,
each with ten engravings, are entirely executed by
himself. These were followed by works on Eli-
zabethan Architecture and Ancient Furniture ; and
in 1839 by that important and popular work, ' 1 he
DressesandDecorationsofthe Middle Ages, 2 vols.
His other works, all of a decorative character, may
conveniently be enumerated in chronological order.
Encyclopjedia oe Ornament, fvointhe piu-cst and best
specimens of all ages, with 59 plates, 4to 1842.— Decora-
tive Arts, Ecclesiastical and Civil, of the Middle Ages, with
41 plates, 1851. Alphabets, Numerals, and Devices
of the Middle Ages, with 41 plates,. 1815, 4to. -Handbook
op Medieval Alphabets and Devices, with 37 plates
8v0 - 1853 . Arms of the Colleges op Oxpord, with 20
illuminated plates, 1855, 4to. Ornamental Tile Pave-
ments, with 47 plates, 1858, 4to.
Mr. Shaw has also contributed drawings or de-
corations to various other works, s< me privately
printed, among which are: 'Palmer's History
and Antiquities of a House in the Elizabethan
style of Architecture,' 43 plates, drawn and en-
graved by Henry Shaw, 4to , 1838. ' Gibson s
History and Antiquities of Tynemouth Abbey,'
2 vols. 4to. 1846, the illuminations added by
Mr. Shaw. ' Beck's History and Antiquities of
Eurness Abbey,' 1814, 4to. But among his most
successful undertakings, is what is known as
'Longman's New Testament,' which is extensively
embellished with wood engravings by the best
artists, after pictures by the old masters, with ela-
borate borders and vignettes selected or designed
by Mr. Shaw. He is now engaged in preparing
' 1 Hand-book of the Art of Illumination, as prac-
ticed during the Middle Ages, with a description of
the pigments and processes employed,' containing
18 plates, finely engraved, (but not illuminated).
SHACKLETON, William. All we know of
this artist is that he is recorded by Walpole as
having succeeded Kent as painter to the king.
He died on the 16th of March, 1767.
SHAYER, W., Sen., born at Southampton m
1788, and still living, is a painter of landscape
and cattle subjects, which are generally pleasing
in composition and correct in drawing. He ranks
among the best of the second-class painters of
the English school, and is somewhat indebted to
his co-operative study with that clever painter
John (known as Jock) Wilson. He has exhibited
for the last forty years at the British Institution.
SHAYEE, W. J., Jun., son of the preceding,
was bornApril 2nd,1811,at Chichester, and studied
for some time under his father. He then devoted
himself to animal portrait painting, and sport-
ing subjects, many of which have been engraved
and published by the Messrs. Ackermann. He
has exhibited at'the British Institution, and oc-
casionally at the Eoyal Academy.
SHEE, Martin Archer, was born in Dublin
on the 23rd of December, 1770. His father, an
accomplished gentleman and scholar, was engaged
in mercantile pursuits at Dublin, till the son had
reached, his fourth year ; he then retired, and took
up his residence in the neighbourhood of Bray, in
the county of Wicklow, where the early years of
our artist were passed under the paternal roof.
The taste for drawing evinced by young Martin
was a source of perplexity to his father, who had
some misgivings as to the chances of a successful
professional career, which the neglected state of
the arts in Ireland, at that period, rendered very
precarious. By the advice of competent judges,
however, and in compliance with his son's earnest
entreaties, the young artist was allowed to pursue
his studies, and was admitted as a pupil in the
Dublin Society, then under the direction of Mr.
F. E. West. In this establishment, before he was
twelve years of age, he obtained the three chief
medals for drawings of the figure, landscape, and
flowers ; and but a few years later, his talents as
a portrait painter had attracted such attention,
that the Dublin Society testified their sense of his
merit, by presenting him with a silver palette,
bearing a laudatory inscription. The death of his
father, about this time, left young Shee almost
entirely dependent upon his talents. These, how-
ever, were exercised with so much success, that, at
sixteen years of age, he w r as in full occupation as
a portrait painter in Dublin. Being, however,
fully aware that there existed in Dublin but few
opportunities for the study of art in its highest
excellencies, he resolved on encountering the
chances of a removal to London, where he arrived
in the summer of 1788. Here, for two years, he
steadily persevered, living with strict economy
and devoting every hour of daylight to his pro-
fessional labours, and his evenings to mental
study. During this interval, he neither exhibited
at the Eoyal Academy, nor took any step to avail
himself of the course of study afforded to young
artists by that institution. A personal introduc-
tion, however, to Sir Joshua Reynolds, through
Edmund Burke, altered his views on this point,
and probably exercised a material influence on his
after career. By the advice, and under the imme-
diate auspices of Sir Joshua, young Shee obtained
admission to the Eoyal Academy, where he studied
for many years, without competing for any of the
prizes there given : but his gradually increasing
reputation as an artist, and as an exhibitor at the
academy, began at length to open to his view
much higher objects of ambition. His first
picture was exhibited at the Eoyal Academy in
1789, and in 1798 he was elected an associate.
In the year following, he removed from Golden
Square to No. 31, Cavendish Square (formerly
the residence of Eomney), where his business as
a fashionable portrait painter soon became widely
extended. In this branch of painting, to which
he almost exclusively restricted himself, he was
more particularly successful in the case of male
sitters, to whom he always gave a gentlemanly air;
Lawrence all the while maintaining his supremacy
in female portraiture. In February, 1800, he was
elected a Eoyal Academician ; and, at the peace
of Amiens, in 1802, he visited Paris, in company
with several other members, for_ the purpose of
examining the treasures of art which the conquests
of Napoleon had collected there from the various
countries of Europe. On the death of Sir Thomas
Lawrence in 1830, Mr. Shee was elected President
of the Academy, on which occasion he received
151
shee] SUPPLEMENT At DICTIONARY OP
tlie customary honour of knighthood. It would
be a mistake to attribute Sir Martin Shee's success
in his profession, and above all the high official
position to which he was elected, to his merit as
an artist. The latter, at least, may be more truly
assigned as a tribute to his literary attainments
(so rare amongst artists in our day), and to his
courteous manners, combined with certain gifts in
diplomacy, which qualified him in an eminent
degree to act as the champion of an academic
monopoly, then threatened in the general march
of reform notions, by Mr. Hume and others. If
he did not achieve anything great as a painter, he
was always ready, to use his own words, " to
break a lance with the Vandalism of the day."
In 1805 he published the first part of a didactic
poem, entitled ' Rhymes on Art,' which, mixed
up with many correct observations on the prin-
ciples and practice of art, was a merciless and
somewhat coarse attack upon all who, in his esti-
mation, were guilty of heterodox opinions on art ;
and, in 1809, followed another similar effusion,
entitled ' Elements of Art.' He was also the
author of a tragedy, entitled ' Alasco,' the per-
formance of which was prohibited on political
grounds, and of a novel, entitled ' Old Court,'
published in 1828. Sir Martin last exhibited in
1845 ; and in the same year, his health having
long been declining, he resigned the presidential
chair ; but, in compliance w ith an unanimous
address from the members and associates of the
Academy, consented to withdraw his resigna-
tion, that he might continue, as President and
guardian, to afford the institution the benefit of
his advice and counsel. A short time before his
death, which occurred at Brighton on the 19th of
August, 1850, Sir Robert Peel, then Premier, in
the handsomest manner conferred a pension of
£200 a year upon him, with succession to his
daughters. In the National Gallery are two works
by his hand, ' The Infant Bacchus,' and a portrait
of Mr. Morton the Dramatist.
SIBSON, Thomas, was born in March, 1817, in
Cumberland, where his father farmed his own
land. Reverses of fortune caused a removal of
the family to Edinburgh, whilst our artist was
yet a child ; and he was forthwith destined
for a mercantile life in the office # of an uncle.
But the love of art in him was irresistible, and
in 1838 he removed to London, where he be-
gan to publish a work in etchings entitled ' Scenes
of Life.' This venture, though evincing much
knowledge of character and dramatic power, did
not succeed. It was too serious an undertaking
for a first effort, and was abandoned, though not
without honour, nor without giving promise of
better things to come. After some other produc-
tions of a similar nature he made a journey to
Edinburgh, and on his return recommenced de-
signing. Among the principal matters which
occupied him at this time, we may mention the
illustrations to a book called 1 A Pinch of Snuff ;'
a series to ' Master Humphrey's Clock,' published
independently of those in the work itself ; some
designs in Mr. S. C. Hall's ' Book of Ballads,'
' The Abbotsford Edition of the Waverley
Novels, ' &c. During all this time he was thirst-
ing for a more complete and Hogarthian deve-
lopment of his ideas of life and character, and
also for a pure school wherein to study the
principle of art. This he began to find in the
works of the Germans ; and in September,
162
[SIEB
1842, having made a convenient arrangement
with a friend, he set out for Munich; hoping
that the journey would also assist in driving
off that enemy of his family, the pulmonary
disease, of which he eventually died. He there
entered the studio of Kaulbach, who received
him with the ready liberality of the truly great.
In the opinion of Sibson, Kaulbach was worthy
of occupying the first place in Bavarian art, and
on more intimate knowledge he became not only
his magnus Apollo, but his patron saint. Before
they parted, this great master entertained a
similar regard for his pupil, and went so far as
to say of one of Sibson's designs, ' A School in
the Time of Alfred,' that it was nearly perfect—
that he could have wished it had been his own.
The altitude of Munich is nearly the highest of
European cities, the cold is therefore very intense,
the winter long. Sibson felt this but too severely,
and he returned to London with the presenti-
ment that he had not long to live confirmed and
deepened. Previous to this journey his buoyancy
of nature was so great that he might have been
called the happiest of men, although seeming to
hold his own early death, as it were, a matter of
faith. Soon after his return from Germany, it
became but too apparent that his health was gra-
dually declining, and the sea air in a warmer cli-
mate, to avoid the approach of an English winter,
was considered the only hope for him. Under
this conviction a good friend placed in his power,
and prevailed on him to accept, a voyage to the
Mediterranean. Fate, however, was against him.
The vessel was wrecked in a fog near Scar-
borough, and the exposure and excitement in-
volved in the accident visibly affected his frame,
and when he again embarked, a fortnight after,
there was no mistaking his doom. After a ten-
days' passage he reached Gibraltar, whence he
proceeded to Malta, where he died a few days
after his arrival, November 28, 1844. He left
behind him several works intended for publica-
tion.
SIGALON, Xaviee, son of a poor school-
master, at Uzes, was born there in 1788. His
father, having given him the rudiments of educa-
tion, sent him to Nismes, where, at ten years old,
he was admitted to the School of Design, and
soon gave evidence of talent in drawing, but was
for a long time too much taken up with reading
poetry and romance in the public library, to per-
form much in the arts. But becoming accidentally
acquainted with Monrose, an obscure pupil of
David, he acquired a knowledge of oil-painting,
which spurred his industry and led to the execu-
tion of many fine paintings. Among these may
be mentioned 'The Young Courtesan,' 'The Vision
of St. J erome,' both in the Louvre. His most
remarkable work is a copy of Michael Angelo's
' Last Judgment,' which M. Thiers, then Minister
of the Interior, commissioned him to paint at
Rome, at an agreed price of 58,000 francs, after-
wards increased, in consequence of its admirable
execution, to 78,000, and an annuity of 3000 francs.
This is now in the Chapel of the Ecole des Beaux
Arts. Sigalon died of cholera on the 18th of
August, 1837.
*SIERBRECHTS, John, son of a sculptor of
the same name, was born at Antwerp in 1627 ;
date of death uncertain. He painted landscapes
after the manner of Berghem and Earl du Jardin
sometimes with historical subjects introduced, m
sier]
PAINTERS AND ENGRAVERS.
[SMIT
in the ' Miracle of St. Francis dApisi,' date 1666,
which is in the Antwerp Museum.
SIMSON, William, was born at Dundee in
1800, and educated at the Trustees' Academy, in
Edinburgh. For the first ten years of his pro-
fessional career his works consisted principally of
small coast scenes, sketched on the shores of Leith
and Fife ; but in 1829 he produced a large picture
entitled ' The Twelfth of August,' and in the fol-
lowing year 'Highland Deer-Stalkers,' and
• Sportsmen Regaling.' For three or four years
after this Mr. Simson was engaged in portrait-
painting, which he practised so successfully as to
realise sufficient to enable him in 1835 to visit
Italy, where he passed three years. On his return,
in 1838, he settled in London, and there exhibited,
at the opening of the Royal Academy in Trafalgar
Square ' A Camaldolese Monk showing the Relics
of his Convent ;' also 'Cimabue and Giotto,'which
was bought by Sir R. Peel for 150 guineas. In
the following year he exhibited in the British In-
stitution 'A Dutch Family,' a work of great merit,
which was purchased by the late Marquis of Lans-
downe : and at the Royal Academy ' Columbus
asking Bread and Water for his Child at the Door
of the Convent of Santa Maria du Rabida,' sold
to Sir Willoughby Gordon for 200 guineas. In
1840, amongst others, he produced ' Gil Bias in-
troducing himself to Laura,' now in the Sheep-
shanks Collection. In 1841, Mr. Simson sent to
the British Institution ' The Temptation of St.
Anthony,' an old subject, cleverly treated ; and to
the Royal Academy, ' Mary Queen of Scots and
her retinue returning from the Chase to the
Castle of Stirling.' In 1842 he exhibited at the
British Institution 'The Murder of the Two
Princes in the Tower;' and at the Academy,
' Hagar and Ishmael,' and ' Alfred dividing his
last Loaf with the Pilgrim,' the last a work of
very considerable power. Among Mr. Simson's
later works the principal were ' The Arrest of
William Tell,' a composition containing numerous
figures ; and ' Highland Home,' a large picture.
Wilkie formed a high estimate of Mr. Simson's
powers, and prophesied great results from their
full development. The distinguishing character-
istic of his works are admirable colour and high
fancy. Many of his portraits are amongst the
best of their class. He was a member of the
Royal Scottish Academy. He died in London,
August 19, 1847. In the Yernon Collection,
National Gallery, is, by his hand, a ' Head of a
Negro,' life size (engraved by W. Hulland) ; and
in the Pickersgill Collection are his ' Interior of
a Cattle Shed.'
SIXDENIERS, Alexander V incent, a dis-
tinguished French engraver, was born in Paris,
the 23rd of December, 1795, and commenced his
career as a line-engraver ; he was pupil of Ville-
roy. In 1816 he gained the second prize for line
engraving ; in 1824, a gold medal at the Salon.
Soon after, the taste for mezzotint being imported
from England, under the patronage of M. Schrot,
the publisher, he was one of the first to practise
that style of engraving, and with Reynolds and
Maile executed many of the best plates published
at that time. The following is a list of some of
his principal plates : — ' Honours rendered to Raf-
faelle after his Death,' after Bergeret, 1822 ; Vig-
nettes for various works, 1827 ; ' Endymion,'
after Girodet ; ' The Bath,' and ' The Surprise,'
after Rioult, 1831 ; ' Don Juan,' ' The Invasion,'
1833; 'Edward in Scotland,' after Delaroche ;
' Combat deNavarino,' after Langlois, 1834; 'De-
part ' and ' Return,' after Mile. Pages ; ' Grow}
of Loiiis XVI.,' after Bosio, 1835 ; ' Charles I.
and his Children,' after Colin, 1836 ; 'The Broken
Contract,' after Destouches, 1837 ; ' Portrait oi
Arago,' 1839 ; ' The Rural Virtuoso,' after Bou-
terwek ; ' Boatmen attacked by Bears,' after
Biard, 1840 ; ' Charlotte Corday,' after Scheffer ;
' Mile. Rachel,' after Charpentier, 1841 ; ' Napo-
leon and the Ring of Rome,' after Steuben, 1812 ;
' Funeral of General Marceau,' after Bouchot,
1843 ; ' Arab in Prayer,' and ' Posting in the
Desert,' after Horace Vernet, 1844 ; ' The Village
Bride,' after Greuze ; ' Portrait of Brother
Philip,' after H. Vernet, 1846. Two days before
his unfortunate end he proved two finished plates,
' Education Morale ' and ' Education Religieuse ;'
both of which are now very popular in this
country. He leaves unfinished a large plate, pen-
dant to the ' Funeral of Marceau,' " Man is born
to trouble, as the sparks fly upwards." He was
accidentally drowned whilst in a pleasure excur-
sion on the Seine, on the 10th of May, 1846.
SLEAP, Joseph Axe, a painter in water-
colours, was born in Wapping Street, London,
May 30th, 1808 ; died in London 16th October,
1859, and was buried in Nunhead cemetery. His
name does not occur in the Royal Academy cata-
logues. In the National Gallery is a ' View oi
St. Paul's Wharf, Thames,' with St. Paul's Ca-
thedral in the back ground, circular, by his hand,
presented by Mr. Richard Frankum.
SMITH, George, a pleasing and skilful painter
of domestic life, including notably children, was
born in London on the 18th of April, 1829. He
commenced the study of art at Mr. Carey's (for-
merly Sass's) school, was admitted a student of
the Royal Academy in 1845, and studied for some
time in the studio of Mr. Cope. There are several
of his works in the Pickersgill Collection. He
has exhibited at the Royal Academy for eighteen
years. In 1851, his "Bird-Trap,' a small picture
painted for H.R.H. the Duchess of Gloucester,
is described by the Art Journal as " charming in
colour, and remarkably minute and clean in exe-
cution." In 1853 his picture, called ' The Launch,'
representing children navigating in a tub, " as ad-
mirably drawn, richly coloured, bright in its as-
pect, and fidl of nature in the impersonation,"
and something of this kind maybe said of all his
pictures to the present time.
SMITH, Orriw, was born in 1799, and origi-
nally intended as an architect, but about 1824 be-
gan to devote himself to wood-engraving, under
the instruction of Mr. Harvey. His first works
of importance were a series of animals, for the
illustration of ' Scott's Bible,' and some spirited-
heads after Eenny Meadows. He afterwards en-
graved the illustrations for a French edition of
' Paul and Virginia' (1855), and of Kenny Mea-
dows' illustrations from the ' Illustrated Shake-
speare,' commenced in 1859, and which occupied
him until within a few months of his death, which
occurred October 15, 1842.
SMITS, Francis, a portrait painter of mode-
rate ability and success, born at Antwerp in 1760,
and died in 1833. In the Antwerp Museum is a
portrait by him of William James Herreyns, the
historical painter, half-length, with a palette in
his hand.
SMYTH, Edward, of Newman Street, Lon«
153
bmyt]
SUPPLMENT TO DICTIONARY OF
don; born 1792, died 1846. He was self-taught '
as regards the arts, but attained considerable pro-
ficiency. He -was an exhibitor at the Royal Aca-
demy from 1819 to 1844, chiefly of miniatures and
water-colour drawings of flowers and fruit.
SMYTH, J. Talfoubd, an engraver, was born
at Edinburgh in 1819. He studied art under Sir
Win, Allan, and also at the Trustees' Academy of
his native city, and in 1835 adopted engraving as
a profession. He was, for the most part, his own
teacher in that art, his only master dying during
the first year of his pupilage. But the plates
which he produced immediately subsequent to that
period, ' A Child's Head,' after Sir John Watson
Gordon, and ' The Stirrup Cup,' after Sir W.
Allan and others, proved him already able to take
the field alone. In 1837 he removed to Glasgow,
where lie remained seven years, producing much
to fill his purse, but nothing to enhance his fame ;
and feeling this, he returned at the end of that
period to Edinburgh, where up to the time of his
decease he devoted himself assiduously to the
higher branches of his profession, and produced
many works of great promise, after Wilkie, Allan,
and others, some of which have appeared in the
' Art Journal.' He died of softening of the brain
on the 18th of June, 1851.
SNYERS, Petee, was born at Antwerp, in
March, 1681 , died 1752. He was a pupil of Alex-
ander van Bredael, and painted flowers, land-
scapes, portraits, and scenes of rustic life. When
in 1741 the Royal Academy of Antwerp was, for
want of funds, on the point of ruin, Snyers and
five other artists undertook to execute its direction
gratuitously. He passed some months in London,
painting portraits. Amongst his pupils were
James Vermoclen, and Peter John Snyers, Ms
nephew, and heir to his fortune, which was con-
siderable. In the Antwerp Museum is a ' Moun-
tainous Landscape,' with two children birds-nest-
ing by this artist.
SOLOMON, Abraham, was born in London,
in May, 1824. He commenced his studies at the
early age of thirteen, in the well-known school of
Mr. Sass, in Bloomsbury ; and the same year ob-
tained a medal from the Society of Arts. In 1839
he became a student at the Royal Academy, and
in the two following years carried off silver medals
in the antique and life schools respectively. He
commenced exhibiting in 1843, and was afterwards
a regular contributor to the Academy, and occa-
sionally to the British Institution. His first
picture was a scene from Crabbe's poems, ' The
Courtship of Ditchen ;' the next, a scene from
Scott's Peveril of the Peak, 'The Breakfast
Table' (1846), is a domestic scene of the ordinary
kind, with a spice of intrigue, in the surreptitious
introduction of a billet doux to the young lady of
the house by a black footman. After several
works, falling within the ordinary range of illus- j
t ration, including a scene from the ' Vicar of j
Wakefield' (1847), 'Brunette and Phillis,' from a
well-known paper in the ' Spectator' (1853), and
various after Sterne, Moliere, &c, and some ori-
ginal subjects of manners, the artist hit upon a
vein of imaginary studies from actual every day,
hard-working and struggling life, which esta-
blished his reputation with the general public, and,
more important still, the print publishers. In 1854
appeared the two pictures, so well known by the
engravings, representing railway interiors ; the
first entitled ' Third Class — the Parting,' showing
a widowed mother escorting her young son to the
seaport where he is to take ship on the great voyage
of life as a sailor ; the second entitled ' First Class
— the Return,' in which the sailor boy is seen
having risen to the rank of an officer, and enjoying
the favourable notice of an old city gentleman and
the marked attention of his pretty daughter. In
1857 appeared ' Waiting for the Verdict,' and in
1859 its companion picture, ' Not Guilty,' which
did not succeed in enlisting the sympathies in the
same agreeable manner as the former ; and in the
following year the artist reached the acme of
" sensational" painting, in his painful picture
entitled ' Drowned ! Drowned !' representing the
bringing to shore the body of an unfortunate
girl who has just committed suicide in the Thames,
the time being early morning, and the lookers on,
including intoxicated revellers returning from a
masquerade, industrious market people proceed-
ing to their business, and a policeman, the sharp
stream of light from whose ' bull's-eye' serves to
intensify the horrors of the ghastly scene. The
artist died at Biaritz, where he had gone for the
benefit of his health, in December, 1862.
SOYER, Emma (whose maiden name was
Jones), was born in London in 1813, and at the
early age of five years, having shown a talent for
drawing, was placed by her mother (who was a
widow), with Mons. Simoneau, a Flemish artist,
and pupil of Baron Gros, who had recently opened
a school of drawing in London. When Emma
had been with M. Simoneau about six months,
her pi'ogress was so decided, that her mother
proposed to that gentleman to indemnify him
for all his other pupils, if he would devote his
whole time to her daughter's instruction, an offer
which was accepted ; and every year the young
artist's improvement was so great, that before the
age of twelve, she had drawn more than a hun-
dred portraits from life with great fidelity. Hap-
pening to be with her mother (who had married
M. Simoneau, in 1820), at Ostend, Emma, one day
looking out of window saw some children blowing
bubbles, and immediately took a piece of charcoal
and made an admirable sketch of the scene on
the w r all. A few years after, a picture from this
sketch was sold at Liverpool for £60. In 1836,
Miss Emma Jones was married to M. Soyer the
chef de cuisine at the Reform Club ; but this
union Avas of short duration, Madame Soyer
being prematurely cut off in child-birth, in
1842, in the twenty-ninth year of her age. Be-
sides an immense variety of drawings, sketches
and studies, she in her short career painted up-
wards of 400 pictures, many of them original
compositions of great merit ; and some of which,
when exhibited at the Louvre, had obtained the
highest meed of praise. Her portraits are re-
markable for character, spirit, and vigour ; her
figure-subjects full of nature and truth; whilst
in both classes of work she displayed remarkable
powers as a colourist. Amongst her pictures which
have been published, are, ' The Young Israelites,'
depicting two boys selling lemons, painted in the
style of Murillo, and engraved in mezzotinto by
Gerard, of Paris ; and ' The British Ceres,' a fine
healthy, honest-looking girl, with a bundle of
corn on her head, also engraved.
SPECTER, Edwin, a painter of history, por-
trait and landscape, was born in 1806, at Ham-
burgh, where he commenced his studies in art ;
afterwards becoming a pupil of Cornelius at
Munich. He visited Italy in 1828 ; and died in
1835. Amongst his pictures are studies of aa
spec]
PAINTERS AND ENGRAVERS.
[STAN
Albanian Woman,' and a ' Roman Woman,'
which, are at Hamburgh, and ' Samson and De-
lilah.'
SPECK AERT, J., a painter of fruits and
flowers, was born at Mechlin in 1748 ; dwelt in
his native town the greater part of his life, and
died at Brussels in 1838. At the age of 84 he
carried off the prize in painting at Ghent.
* SPRUYT, Philip L. J., a Flemish painter of
history, portrait, and genre, was born at Ghent
in 1727. After receiving some lessons in paint-
ing from J. B. Mile, he went to Paris, where he
became the pupil of Ch. Van Loo. In 1757 we
find him at Rome attending the studio of Raphael
Mengs. From Rome he went to Naples, whence
he returned to his native country, residing some
time at Brussels. Appointed head professor in
the Academy of Ghent, he, in 1770, was commis-
sioned to make a catalogue of all the pictures in
the churches and convents of Belgium. He is
described by Siret as an engraver also, but " d'as-
sez peu de merite." He died in 1801.
SPRUYT, Chaeles, son and pupil of the pre-
ceding, Avas born at Brussels in 1769 ; and after
visiting Italy, established himself in his native
city. He painted historical subjects, church in-
teriors, sea views, landscapes, &c, and also en-
graved. At Haarlem is his picture of ' Maria of
Brabant saved by her Brother.' He died in 1851.
STAINES, Robeet, engraver, was born in
London, in 1805. He acquired the rudiments of
his art under the tuition of Mr. J. C. Edwards, a
distinguished line-engraver, but perfected himself
in the studio of Messrs. Linden, in whose estab-
lishment he passed ten or twelve years. The few
engravings published with his name, are to be
found in the ' Literary Souvenir,' the ' Friend-
ship's Offering,' and the ' Art Journal,' all of
which are highly creditable to his talent. He
died on the 3rd of October, 1849.
STANFIELD, Claeksok, an eminent land-
scape and marine painter, was born at Sunder-
land about the year 1798. He was brought up
to the sea, and was there thrown into companion-
ship with Douglas J errold, who, from the circum-
stance of his father being manager of the theatre
at Deptford, had early imbibed a predilection for
the stage. On shipboard Jcrrold got up stage
plays, and Stanfield painted the scenes. Years
afterwards, when both had given up the sea as a
profession, they met at Drury-lane Theatre as
professional painter and author, both then in high
repute and popular favour. An artist by natural
gift, Stanfield owed much to his brief nautical
experience, which revealed to him, in the full
force of truth, incidents and appearances, which
to many are matters of speculation and poeti-
cal mystification. Hence the simple truthful-
ness of all his representations and the genuine
feeling displayed in their treatment. There is no
conventionality, no claptrap, no exaggeration of
possible eflects in his productions ; he is content
with what is ordinary and probable ; and he ac-
knowledges the full force of the poetry which sur-
rounds it. Amongst Stanfield's performances at
this period were the moving dioramas which
formed so attractive a feature in the Christmas
pantomimes. Only those who have seen these
really stupendous works can form an idea of the
inventive talent and artistic skill displayed, and
the extent of travel developed in them, extending
generally from our own shores, to every conceiv-
able point of interest in the four quarters of the
globe. And these really grand works, though
intended to serve only a temporary purpose, were
lasting in their effect. They opened the eyes of
the mixed audience of a theatre to admire the
beauties of landscape-painting ; they taught even
artists some of its mysteries ; and, whilst they
established the fame of the author, they led to a
permanent advance and improvement in the
scenic decoration of our theatres. When the
Society of British Artists was founded in 1823,
Stanfield became one of their principal exhibit-
ors ; but his first large picture, ' Wreckers off
Fort Rouge,' was exhibited at the British In-
stitution in 1827. In the same year he exhibited
at the Royal Academy ' A Calm ;' in 1829, a
' View near Chalons sur Saone ;' in 1830, his
' Mount St. Michael.' In 1832 he was elected
A.R.A., and in 1835 an R.A. He has since been
a regular and liberal contributor of works rank-
ing amongst the most attractive in the exhibi-
tion, of which it must suffice to cite a few :—
' The Battle of Trafalgar,' in 1836, painted for the
United Service Club ; ' The Castle of Ischia '
(1841) ; ' French Troops crossing the Magra '
(1847), painted for the late Earl of Ellesmere ;
' The Battle of Noveredo,' and ' Wind against
Tide,' both painted for the late Robert Stephenson,
Esq., M.P., (these two and 'The Castle of Ischia,'
were the examples sent by Stanfield to the Paris
Exhibition of 1855); 'The Victory towed into
Gibraltar after the Battle of Trafalgar' (1853),
and 'The Sie^e of St. Sebastian' (1855), both
painted for 'Sir S. Morton Peto, M.P. ; and
lastly, ' The Abandoned ' (1856). In addition to
these publicly-exhibited works, Stanfield com-
menced in 1830, a series of large pictures of
Venice, for the Marquis of Lansdowne's ban-
queting-room at Bow T ood ; and, in 1834, a. series
of views in Venice, for the Duchess of Suther-
land, at Trentham. Stanfield's visits to the Con-
tinent have been frequent, and his pencil in con-
stant employment, sketching divers beauties of
each passing scene. Few landscape-painters have
exhibited more variety in their subjects and in
the effects bestowed upon them — Italy, France,
Holland ; the silent streets of Venice ; the
lonely spots which stud the Adriatic, and the Bay
of Naples ; mountain scenery, river scenery,
champagne scenery; all in turn have presented
their materials and engaged his attention ; but, in
our humble opinion, successful, dazzling, often
poetical, as he has shown himself in most of these,
he is never so truly at home, never so persuasively
creative, as when depicting British Coast Scenery
and British Shipping, and the perils of the northern
seas which surround us. His ' Abandoned,' re-
presenting the hull of a ship rolling in dark, deso-
late waste of sea and sky, and grand in sentiment,
is a perfect idyl upon canvas. So also, but with
additional historical interest attaching to it, was
his ' Victory,' battered in rigging and spars, with
flag half-mast high, being towed, over a cold, surg-
ing sea, into Gibraltar. A very pleasing series of
such subjects has been engraved under the title of
' Stanfield's Coast Scenery,' being forty pictu-
resque views in the British Channel and on the
coast of France. This series is engraved in the
line manner by Finden, Cousen, Miller, and W. B.
Cooke. The National Gallery (the Vernon Col-
lection) contains four specimens by this artist :—
' Entrance to the Zuyder Zee, Texel Island,' ex-
155
SUPPLEMENT TO DICTIONARY OP
hibited 1844, and engraved byWallis ; ' The Battle
of Trafalgar,' being a sketch from the large pic-
ture printed for the United Service Club, exhibited
in 1836 ; ' The Lake of Como,' exhibited in 1826 ;
' The Canal of the G-uiducca, Venice,' painted in
1836 ; the last three having been engraved by J.
Cousen. In the Pickersgill Collection, belonging
to the nation, are three : — * Near Cologne/ painted
in 1829; ' A Market Boat on the Scheldt,' exhi-
bited, 1826; and 'Sands near Boulogne,' painted
1838. His pictures sell high: ' Beilstein, on the Mo-
selle,' sold at Christies, 1863, for 1500 gs. ; and the
' Castle of Ischia,' 30 by 48 in.. 1865, for 1270 gs.
STANFIELD, George O, jun., eldest son 'of
Clarkson Stanfield inherits much of his father's
genius, and finds a ready sale for his pictures at
the Royal Academy and the Winter Exhibition,
where he exhibits regularly. His subjects are
usually foreign, especially scenes in Italy and on
the Rhine.
STANHOPE, R, Spencer. This artist has
exhibited at the Royal Academy and the Winter
Exhibition in Pall Mall, for the last seven years,,
with fair success. His subjects are generally of
a scriptural or antiquarian character, and partake
of the mediaeval school, with its intensity and
elaboration. In 1862 he exhibited 'The Plight
into Egypt;' in 1863, 'Eispah, the Daughter of
Ajah ;' and in theWinter Exhibition of the present
year (1865), ' The Mill,' which is harmonious in
colour and effective.
STANLEY, Montague, was born at Dundee,
in January, 1809. Whilst yet an infant, his
parents emigrated with him to New York, where
his father died three years after. His mother
marrying a second time, the family removed to
Halifax, where at the early age of eight years, the
precocity of his understanding, coupled with the
beauty of his person, pointed him out as an
attraction for the stage, and, in accordance with
the belief so induced, he made his appearance as
Ariel in the ' Tempest.' Shortly afterwards, he
adopted the stage as a profession, but on the death
of his stepfather, his mother brought him back to
England. His first indication of any predilection
for Art was during the eleventh year of his age j
this juvenile effort consisting in his copying the
picture on a Dutch clock. Prom 1820 to 1838 he
continued to pursue his theatrical career, the
chief portion of which time was spent in Edin-
burgh, where he was a very popular favourite.
In the spring of 1838, while yet in the height of
his popularity, having previously studied land-
scape painting under Mr. Ewbank, and having
pursued it as a profession with considerable suc-
cess, conscientious scruples of a religious nature
induced him to relinquish the histrionic profes-
sion. He accordingly retired from the stage, and
sedulously cultivated the art of landscape and
marine painting. His success in this new walk
of life was great beyond any reasonable expec-
tation, and his pictures often brought high
prices. He was for many years an Associate of
the Royal Scottish Academy, to the annual exhi-
bitions of which he was a constant and extensive
contributor. While his reputation was still in-
creasing he was attacked by a rapid consumption,
which terminated his brief artistical career May
the 5th, 1844. An accident by fire on the Edin-
burgh and Glasgow railway, unfortunately caused
the destruction of almost all his sketches and
other artistic properties.
156
STARK, James. This pleasing and artistic
landscape painter, was the son of an eminent
dyer, at Norwich, where he was born in the year
1794. Evincing early a decided fondness for
drawing, he was in 1811 placed by his father with
that celebrated landscape painter the elder Crome,
as an articled pupil for three years. Norwich may
be said at this time to have possessed a school of
Art. It had its Society of Artists, the first esta-
blished out of London, with an annual exhibition,
entirely the productions of the city and county ;
and the first provincial exhibition in England was
upon their walls. Most of those whose w ? orks
contributed so much to the interest of the exhi-
bition are now no more : the Cromes (senior and
junior), Vincent, J. S. Cotman (whose spirited
etchings of ancient buildings and monumental
brasses, have gained for him extended fame),
Sharpe, Ladbrooke, Dixon, and others. Much
is due to the zeal and earnestness of the small
body of men composing this society, for we find
in a circular issued on the opening of this new
exhibition-room, " that they had taken upon
themselves a responsibility equal to about £200
per annum for the charges incidental to their ex-
hibition, in the conviction that the taste of the
county and city would not be backward to assist
their efforts for the promotion of Art." But the
county of Norfolk was devoid of artistic patron-
age, and most of the fine pictures exhibited by
old Crome, and his talented pupil Stark, failed to
find purchasers at Norwich, although bought rea-
dily when brought to London. Iu about the year
1812, the younger Crome and Stark were elected
members of the Norwich Society, and the monthly
meeting of its members tended much to sustain
the spirit which manifested itself on the annual
display- of their works. Shortly after the expira-
tion of" his time with Crome, Mr. Stark was sent
to London, where he assiduously applied himself
to draw the human figure, and in 1817 he was
admitted a student of the Royal Academy. About
this period he exhibited a picture of ' Boys Bath-
ing,' at the British Institution, which was pur-
chased by the Dean of Windsor ; and in the fol-
lowing year he exhibited at the same Institution,
' Plounder Pishing' (purchased by Sir John Grey
Egerton) ; * Penning the Flock' (bought by the
Marquis of Stafford) ; ' Lambeth, looking to-
wards Westminster Bridge' (bought by the Coun-
tess de Grey) ; and this year also the directors
awarded to him a premium of £50. In the follow-
ing season a ' Grove Scene' was purchased by Sir
Francis Chantrey from the Exhibition at Spring
Gardens, and one from the same rooms by the late
T. Phillips, R.A. Commissions nowflowed in upon
him from Lord Northwick, Mr. Watson Taylor,
Sir George Beaumont, Sir Francis Frecling, and
other distinguished patrons of Art; but in the
midst of this scene of hope and bright promise
he was compelled to leave London and return to
the care of his family at Norwich, from a severely
painful affliction, which entirely prohibited the
practice of his profession for three years. He
remained in Norwich about twelve years, and in
1827. not being sufficiently well to venture on a
residence in London, he circulated proposals for
publishing a large and costly work on the ' Sce-
nery of the Rivers Yare and Waveney, Norfolk,'
the accomplishment of which, owing to the limited
patronage it enlisted, was attended with some
pecuniary loss. The work is beautifully engraved
stab] PAINTERS AND
in the line-manner by Goodall, George and Wra.
Cooke, and other eminent artists. It was pub-
lished in 4to. at prices varying from three to six
guineas according to impressions, and though it met
with but an unremuuerative sale while in possession
of the artist, it sold rapidly when transferred to
Mr. Bohn. In 1830, Mr. Stark returned to Lon-
don, where he remained ten years. In 1840,
he took up his residence at Windsor, and painted
many pictures of its beautiful locality ; the wil-
lowed banks of 'the Thames, with the splendid
oaks and beeches of the Forest and Park, furnish-
ing many subjects for his pencil. For the ad-
vantage of his son's education in the Schools of
Art in the metropolis, Mr. Stark at a later period
returned to London, where he died, on the 24th
of March, 1859. Stark's pictures, in subject and
treatment, are purely national, hence they are
sure to find favour with an English public ; they
have an impress of nature, and an unaffected truth
and beauty, which constitute their own especial
value.
STEINLE, John Edward, was born at Vi-
enna in 1810, and first studied painting in the
academy of that city. He followed early the style
of Over beck, based upon the primitive painters of the
Italian school. These tendencies were not modi-
fied even by the instructions which he received
from Cornelius at Rome, about the year 1838.
They are fully manifest in the following, amongst
others of his works: — 'Jacob Struggling with
the Angel' (painted in 1839); 'A Madonna;'
' Joan of Arc on Horseback ;' the frescoes in the
Castle of Reineck, executed by orders of Beth-
mann Hollveg, one in the Cathedral of Cologne
(1843) ; and ' The Judgment of Solomon' (1844),
in the Imperial Hall at Frankfort. In 1850 he
was appointed professor of historical painting in
the Staedel Institute in the last-named city; and
he has since executed a great number of portraits,
and other works, which have been reproduced in
lithography.
STEPHANOFF, Feancis Philip, was born
at Brompton in 1788, and may be said to have
inherited a taste for the arts from both his
parents, his mother in particular having been an
eminent flower painter, and much patronized by Sir
Joseph Banks. At the age of sixteen he exhi-
bited a subject from the ' Lay of the Last Min-
strel,' which was much admired by Flaxman.
He afterwards commenced a regular artistic ca-
reer as a painter of history and scenes of
domestic life. The pictures that stamped his
reputation were: — 'Poor Relations,' and 'The
Reconciliation,' purchased by Lord Bexley ; and
' The Trial of Algernon Sydney,' painted for Lord
Nugent. He furnished most of the costume por-
traits in that gorgeous work ' The Coronation of
George IV., commenced by Sir George Nayler and
finished and published by Mr. Bohn. He also
prepared a fine series of historical drawings in
water-colours, entitled 'The Field of the Cloth of
Gold, an Interview between Henry VIII. and
Francis I.,' which failing to obtain a publisher,
found its way into the late Mr. Hanrott's fine li-
brary, at the sale of which, in 1833, it was sold for
£173 5s. to Sir John Tobin, and is now, we believe,
in the British Museum. He contributed largely
to the Annuals when in the heyday of their popu-
larity. At the Cartoon competition in 1843, he
gained one of the £100 premiums for his design
of ' Comus.' This subject he afterwards painted
155*
ENGRAVERS. [stil
for R. Currie, Esq., and it obtained for him the
Heywood Medal, at Manchester. He died in the
summer of 1860.
STEUBEN, Chaeles, was born in 1788, at
Bauerbach in the grand duchy of Baden, and
died in 1856. He was the son of a lieutenant-
colonel in the Russian service, and studied first
in the Academy of St. Petersburg, but afterwards
came to Paris, where he became a pupil of Gerard
and Robert Lefevre. He first attracted notice in
1812, by his picture of ' Peter the Great on the
Lake of Ladoga during a Tempest ;' and he after-
wards produced ' St. Germain distributing his
property to the Poor' (1817), which was purchased
for the church of St. Germain des Pres ; ' Mer-
cury sending Argus Asleep' (1822) ; ' Peter the
Great, when a Child, protected by his Mother
from the Fury of the Strelitz' (1827) ; the last
two are in the Gallery of the Luxembourg;
'The Death of- Napoleon' (1830), 'The Return
from Elba' (1831), ' Napoleon at Waterloo' (1835),
and ' Napoleon dictating his Memoirs to General
Gourguand.' He also painted the ceiling of the
second saloon of the Ecole Francaise at the
Louvre, the subject being the ' Battle of Troy.'
Towards the close of his life Steuben returned
to Russia, where he painted, amongst others,
part of a series on the subject of the Life of
Christ, for the Cathedral of St. Isaac at St. Pe-
tersburg. His style is dramatic, and vigorous,
but generally somewhat overcharged and heavy.
He was made a Baron, and a member of the
Legion of Honour.
STEWART, James S., was born in Edinburgh
about the beginning of November, 1791, and in
1804 was apprenticed to Mr. Robert Scott, then
the first landscape painter in Scotland, and among
his fellow apprentices were the late John Burnet
and Mr. Horsburgh. He became one of the best
engravers of his time, in evidence of which it is
only necessary to cite his ' Death of Archbishop
Sharp,' Wilkie's ' Penny Wedding,' and ' Roger
piping to Jenny.' He died at the Cape of Good
Hope, May, 1863.
STILKE, Hermann, a German historical
painter, was born at Berlin in 1803. He com-
menced his studies in his native town, and pur-
sued them afterwards at Dusseldorf, under the
direction of Cornelius. The first work upon
which he was engaged was a large picture of
' The Last Judgment,' for the assize court at
Coblentz, which, however, remains unfinished.
After this, he followed his master to Munich,
where he painted in fresco, ' The Coronation of
King Louis,' and 'The Sack of Godesberg by
Ernest of Bavaria.' After a voyage to Italy, he
established himself at Dusseldorf, and became
a member of its academy. It was there that
he painted a series of pictures on religious
subjects, taken for the most part from the
middle ages ; — amongst others : ' Pilgrims in
the Desert,' ' The Last Christians of Syria driven
out by the Turks,' ' Christian Prisoners in the
Harem,' 'Wounded Knight,' &c. Amongst other
works by this artist are, 'Joan of Arc praying
before a Madonna,' 'Joan of Arc victorious at
the Battle of Patay,' ' St. George bearing the
Standard of Victory,' ' The Aged and Blind King
John of Bohemia causing himself to be led to
Battle by two Knights.' During the later years
of his life he was employed by the King of Prus-
sia decorating in fresco the Hall of Knights in
stil]
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the Castle of Stolzenfels, his subjects being alle-
gories of Fidelity, Bravery, Love, Song, Gratitude
and Equity. He was also very successful in laud-
scape and portrait subjects. He died in 1860.
STOCKS, Lumb, born at Lightcliffe, in York-
shire, November 30, 1812, ranks by common con-
sent as one of our best English line-engravers,
and has been an associate of the Royal Aca-
demy, since 1853. He has executed various line
large plates for Eindeu's Gallery, among which
deserve especial mention : — ' Moses going to the
Fair,' after Maclise; 'The Christening,' after
Williams, and ' Nell Gwynne,' after Charles Land-
seer. He has also engraved a number of plates
from pictures in the Yernon Gallei-y and the Royal
Collections ; several for the Art Union of London ;
and three for the Fine Arts Association in Scot-
land, ' The Card Player,' after Webster ; ' Even-
ing Prayer,' after Frith ; ' Claude Duval,' after
the same ; and numerous others.
STONE, Frank, was born at Manchester in
1800. His father was a cotton-spinner, aud he
followed that business till his twenty-fourth year.
He then turned his attention to painting as a
profession, but was entirely self-taught. Water-
colour was the vehicle which he first adopted.
He came to London in 1831, and in the following
year was elected a member of the old Water-
Colour Society, and remained so till 1847, when
he determined to devote himself to oil painting.
His earlier works consisted of scenes from Shak-
speare, and others of a domestic turn, as ' The
Stolen Sketch,' 'The Evening Walk,' &c. He
first exhibited as the Royal Academy in 1837,
but in that and the two following years in por-
trait only. In 1840, he produced his first subject
picture in oils, being a scene from ' The Legend
of Montrose.' In 1841 appeared 'The Stolen
Interview between Prince Charles and the Infanta
of Spain,' which was fortunate in being selected
by the holder of an Art-Union prize of £200.
* The Last Appeal' (1843), and ' The Course of
True Love never did run Smooth' (1844), both
displayed the artist in a new vein, which he after-
wards for some time pursued almost exclusively,
and with considerable success, a line involving
Bjixed passages of love, sentimentalism, and gal-
lantry, treated with a keen regard to dramatic
effect. Of this class are the two scenes of chess-
table flirtation — ' The Impending Mate,' and
' Mated,' pictures which have become familiar by
the engravings of them. Amongst the efforts of
a higher class with which Mr. Stone occasionally
diversified his labours, may be mentioned his
' Ophelia,' produced in 1845 ; ' Miranda and Fer-
dinand,' in 1850; a scene from 'The Merchant
of Venice,' in 1851 ; another from ' Cymbeline,' in
1852; and one or two scriptural subjects, as
' The Sisters of Bethany,' and ' The Master is
Come,' produced respectively in 1848 and 1853.
About the latter date the artist made a summer
visit to Boulogne, and the impressions he experi-
enced during even a short sojourn, were plainly
visible in nearly all his subsequent productions ;
Boulogne fishwives, and stout-limbed boatmen,
becoming his adopted types. Some of his sea-
side sketches produced at this time are admirable
for the heartiness of treatment, the breadth of
handling, and the fulness of colour bestowed
upon them. Mr. Stone was elected an asso-
ciate of the Royal Academy in 1851. He died
156*
rather suddenly of disease of the heart, November
18, 1859. Many of his works have been engraved.
Me. Marcus Stone, the son of the above has
already given strong proof of a talent for paint-
ing, in a higher class of subject than that usually
adopted by his father.
STOREY, George Adolphus, born in London
January 7, 1834, went to Paris in 1848, where he
remained two years chiefly cultivating mathema-
tics, but he had, as a-painting master, Jean Louis
Dulong, with whom he studied in the Louvre. He
then returned to London, and was articled to an
architect, but after a few months' trial, finding
the work comparatively dry, determined to de-
vote himself to painting, and was placed at Mr.
J. M. Leigh's school in Newman Street. Be-
coming after a time familiarly acquainted with the
late Mr. Leslie, R.A., he imbibed much useful
instruction from him, and acknowledges his in-
debtedness to this source. He first exhibited at
the Royal Academy in 1852, ' A Family Portrait ;'
in 1853 a ' Madonna and Child ;' and in 1854 he was
admitted a student at the Academy. In 1858 his
picture ' The Widowed Bride ' was exhibited on
the line, since which he has continued to exhibit
annually. The picture which has commanded
most public attention and commendation, was one
exhibited in 1864, entitled ' The Meeting of Wil-
liam Seymour and Arabella Stuart at the Court of
James 1. in 1609/ which is praised in the ' Illus-
trated London News ' for its characteristic treat-
ment and fine qualities, and in the ' Saturday Re-
view ' as " A work full of good character painting,
so genuine in its way that we hail it as a picture of
true promise." In the spring of the present year
(1865) Mr. Storey exhibited at the Royal Aca-
demy, ' The Royal Challenge,' which is mentioned
favourably in the * Times ' of May, 1865 ; and at
Mr. Gambart's Winter Exhibition in Pall Mall,
he exhibits a panel called ' The Gardener's
Daughter,' one of a series of eight, in which Mr.
G. D. Leslie, son of the Royal Academician;
Mr. W. F. Yeames, and others, paint a panel
respectively.
STRANGE, Henry Le, a native of Nor-
folk, and a representative of one of the oldest
English families, whose names are inseparably
associated with the history of their country,
was a faithful lover of art, though not a pro-
fessional artist. He died in London, in August,
1862, at early age. For many years Mr. Le
Strange had taken an active yet unostentatious
part in the revival of the arts of the middle ages,
when he voluntarily undertook the onerous task
of painting with his own hand the ceiling of the
nave of Ely Cathedral ; a work to which he devoted
several years of his life, and which a writer in
the ' Art Journal ' considers " may be regarded as
one of the most suggestive and encouraging of
the works that have hitherto been accomplished
in Cathedral restoration in England."
SUAU, John, historical painter, born at Tou-
louse in 1758, was a pupil of J. P. Rivals. He ob-
tained the great prize in painting, for his alle-
gorical picture of ' Louis XVI. restoring Liberty to
the United States of America,' now in the Aca-
demy of Toulouse. He was professor at the-
Central School of Painting of the Haute Garonne,
when the other academies were suppressed in
France, and rendered great service to it by his
energetic exertions.
tail]
PAINTERS AND ENGEAVEES.
[thbn
T
*TAILLASSON, John Joseph, historical
painter, born, at Blaye, near Bordeaux, in 1746,
died in 1809. This enthusiast wrote upon the
walls of his father's house, " I will be a painter
or die ! I swear it, by Raphael." He went to
Paris, and became a pupil of Vien, and after-
wards went to Italy to complete his studies. His
pictures are not wanting in expression, but weak
in colouring. Amongst his principal jvorks may
be mentioned : ' The Death of Louis XIII.,'
'Ulysses taking from Philocteles the shafts of
Hercules,' both produced before 1777, (which
procured his admission as a member of the
Boyal Academy of Painting) ' Virgil reading to
Augustus a passage from the iEneid,' ' Timoleon
at Syracuse,' ' The Death of Senaca,' &c.
*TASSAEBT, John Petee, bora at Antwerp
in 1651, and supposed to have died in 1724; a
painter of interiors, and occasionally of history.
The Corporation of Diamond Polishers (since
suppressed) possessed eight pictures by him, four
of which represented subjects from the history of
St. Peter, and the other four subjects from the
life of St. Paul. In the Antwerp Museum is a
picture of his entitled ' The Philosophers,' repre-
senting a man reading, to whom an old man in a
white beard, and other personages, are listening,
dressed in fancy costume.
TASSAEET, Nicholas F. O., a French
painter, born at Paris in July, 1800. He com-
menced his studies in art in 1817, under P. Girard
and Guillon Le Thiere, as well as in the Ecole
des Beaux Arts, where he remained till 1825.
He first exhibited in portraiture in 1831, and
afterwards pursued historical painting, working
for the Museum at Versailles, for which, amongst
others he executed the ' Funeral of Dagobert at
St. Denis.' He also painted genre subjects.
Amongst his exhibited works are ' The Death of
Oorreggio,' ' Diana at the Bath,' ' The Death of
Heloise,' ' The Fallen Angel,' ' The Magdalen in
the Desert,' ' Christ on the Mount of Olives,'
' Heaven and Earth,' ' The Slave Dealer,' ' The
Two Mothers,' and ' The Old Musician.' At the
Universal Exhibition, 1855, amongst several others
by him, were, ' The Sleep of the Infant Jesus,'
♦ The Son of Louis XVI, in the Temple.' Many
of this artist's works have been engraved, or litho-
graphed. He has received two medals in histori-
cal painting ; one of the second class in 1838, and
one of the first class in 1849.
TAYLEE, Fredeeick, water-colour painter,
was born at Barham Wood, near Elstree, Herts,
April 30, 1804. He received his Art-education
under Mr. Sass, in the school of the Eoyal Aca-
demy. He afterwards visited Italy, and passed
several years in Paris. Mr. Tayler returned to
England in 1828, and soon after became an asso-
ciate exhibitor of the Water Colour Society, being
elected a member of it in the year 1835, and ad-
vanced to the office of president in the year 1857.
Mr. Tayler is particularly skilled in the repre-
sentation of canine and equine life, and of field
Bports in connection with them. His style is bold
and free, but somewhat sketchy, and perhaps
would be considered too slight when compared
with the high elaboration, often in opaque co-
lours, at present so much in vogue. Some of his
earlier ' Scenes on the Moors,' and ' English Pas-
torals,' were painted conjointly with the late
George Barrett. Occasionally he has exhibited
compositions of importance illustrative of Sir Wal-
ter Scott and others, and has well illustrated Ad-
dison's ' SirEoger de Coverley.' Mr. Tayler ob-
tained a medal of the second class in water-colour
painting at the Paris Universal Exhibition of 1855,
and also received the cross of the Legion of Ho-
nour, for his services as juror on that occasion.
TEERLING, Abeaham, (sometimes called
Alexander), a painter of landscape and animals,
was born at Dordrecht, in 1777 ; and became a
pupil of Versteeg and Adrian Lamme. In 1808
he visited France and England, and had the ad-
vantage of some counsel from David. He after-
wards established himself at Eome, where he died
in 1857. Of his works there are at the Gallery of
Haarlem several Italian landscapes, and at Mu-
nich a view of Aricia, near Eome.
TENKATE, Herman Frederick Charles, a
Dutch painter, was born at the Hague, Feb. 16,
1822. He studied during several years in the
atelier of Cornelius Krusemann, where he acquired
that power and habit of observation which so dis-
tinguish his numerous genre subjects. After
passing a year in Paris, he established himself at
Amsterdam, in 1849 ; occasionally afterwards,
however, sending some of his pictures for exhi-
bition in France. Amongst his performances
maybe instanced :—' Calvinistic Prisoners under
Louis XIV.' ' The Paternal Benediction,' ' Fete
Champetre,' (Paris, 1855) ; ' Fishermen of Mar-
ken,' (Museum of Bourdeaux, 1857) ; ' Gamblers
in a Cabaret,' (1859). He obtained the large gold
medal at the Exhibition at Eome in 1857.
TENNIEL, John, was born in London in 1820,
and educated at Kensington, but as regards art
was entirely self-taught. At a very early age he
evinced a taste for drawing, and was still a boy
when his first picture was exhibited at the Gallery
of British Artists, in Suffolk Street. In 1845 he
was a successful candidate in one of the cartoon
competitions in Westminster Hall, and subse-
quently painted a fresco in the Palace at West-
minster. In 1851 he became a member of ' Punch's
staff,' and has ever since contributed to the illus-
tration of that periodical. He has also illustrated
many Christmas books and other works, among
which may be named 'iEsop's Fables,' 'Lalla
Eookh,' and ' The Ingoldsby Legends.'
THENOT, John Peter, a French painter, and
writer on perspective and other branches of art,
was born at Paris in April, 1803. He received
his first education in Lorraine, and commenced
his studies in the Ecole des Beaux Arts at the age
of sixteen. In 1825 he commenced a course of
lectures on perspective, which he afterwards re-
peated, and in 1836 a course on anatomy applied
to painting. During the same time he exhibited
several works on canvas, and also in pastil, water
colours and lithography, the subjects being chiefly
landscapes, hunting pieces, or groups of animals.
Amongst his principal paintings, are a'Boar Hunt,'
(1838) ; * A Strife on the Spanish Frontiers
' Souvenirs of the Ehone,' (1839) ; ' The Wood-
man s Eeturn,' (1840) ; ' The Eepose of Smug-
glers,' (1842); ' Switzerland in the Time of Wil-
liam Tell,' (1845); 'A Journey in Lorraine in
1720/ (1849), the last named being a commission
from the Minister of the Interior. M. Thenot ob-
157
then]
SUPPLEMENT TO
DICTIONxlRY OF
[thom
tained a third class medal in 1833, and in 1844 at
the Exhibition of Industry, a silver medal for a
series of lithographs of animals. He died at Paris
in October, 1857.
THEVENIN, Charles, a French painter of his-
tory and portraits, who flourished in the early part
of the present century. He was a pupil of Vincent,
a member of the Academie des Beaux Arts,
keeper of the prints in the Royal Collection, and a
member of the Legion of Honour. He painted
' The Passage of the French Army over Mount
St. Bernard/ ' General Augereau on the Bridge
of Areoli,' ' The Taking of Ulm,' and the ' Por-
trait of Louis XL,' in the Gallery at Versailles.
THIERRAT, Auoustin Alexander, a French
painter of history and genre, was born at Lyons in
1789 ; studied under Revoil, and first exhibited in
1817. He was appointed professor in the School
of Fine Arts of his native city, in 1823, and after-
wards director and keeper of the Museum of
Painting and Antiquities in the same place. Of
his works (painted between 1817 and 1822) may
be cited : ' Interior of the old Cloister in St.
Andre Le Bas,' (in the old Orleans Gallery) ; ' A
Bunch of Flowers,' (in the possession of Count
Forbin) ; and painted between 1824 and 1835,
'Recreation,' ' Voltigeurs Retreating,' ABeligious
Fete,' and ' Burial of a Monk of Chartreux.'
Of late years his other occupations have to a
great extent prevented him from following his
art. He published in 1825 a Collection of Flow-
ers, Fruits, and Ornaments, executed after nature
in lithography.
THOMAS, Alexander, historical painter, was
born at Malmedy in Bhenish Prussia about 1820.
During many years he has established himself
at Brussels, where several of his important paint-
ings have been commissioned or purchased by the
Belgian government. Amongst these may be
enumerated ' Judas Iscariot wandering about
during the night of the condemnation of Christ,'
a work of high character, which attracted much
notice at the Paris Universal Exhibition of 1855,
and obtained for the painter a medal of the third
class.
THOMAS, William Cave, historical painter,
was born in London, May the 8th, 1820, and com-
pleted his general education at University Col-
lege. He abandoned the profession of civil en-
gineering, for which he was at first intended, for
the earnest study of the fine arts ; and entered
the Schools of the Royal Academy in 1838 as a
student in sculpture. He studied two years in
Munich, Design under Cornelius, and Fresco-
painting under Hess, He there obtained an in-
sight into the German careful method of study,
which he shortly afterwards put in practice in some
works he sent to the cartoon and fresco exhibitions
at "Westminster Hall. He contributed 'the Bark
of the Prosperous,' and another cartoon of ' St.
Augustin preaching to the Saxons,' to the first of
those Exhibitions in 1843 ; obtaining a second prize
for the latter of £100. To the second Exhibition
Mr. Thomas contributed a cartoon of the ' Throne
of Intellect,' an oil painting of the same subject
(now in one of the Theatres of University College,
London), and a fresco of the central figure. These
nbtained for him employment from the Boyal
Commissioners ; for whom he executed the cartoon
sf ' The Spirit of Justice,' now at Hampton Court.
M the last of the competitive exhibitions he sent
W oil pic' are on the same subject. Mr. Thomas's
158
other works comprise cartoons, oil paintings, wa-
ter colour drawings, and bas reliefs. The follow-
ing are the titles of some of his paintings, &c,
' Alfred visiting churches at early dawn,' ' Laura in
Avignon,' ' Death of Marmion,' ' The Protestant
Lady,' ' Rivalry,' ' The Heir cast out of the Vine-
yard, ' 'Boccacio,' ' Savonarola,' 'The Reverie, &c,'
Cartoons : ' The Bark of the Prosperous,' ' St.
Augustin preaching to the Saxons,' ' The Throne
of Intellect,' 'Justice', &c. Water-Colour Drawings,
an ' Ecce Homo,' ' Christ in the Corn field,' ' The
two Students,' &c. Of these the first named was ex-
hibited at the International Exhibition 1862. Mr.
Thomas has also published several literary essays
on the subject of art, and art culture, and amongst
them, ' Suggestion for the Appropriation of the sur-
plus Funds of the International Exhibition of 1851
to found an Industrial College,' ' Pre-Baphaelitism
tested by the Principles of Christianity,' ' The Ho-
liness of Beauty as the Conformation of the Material
of the Spiritual.' In these works, whilst recom-
mending to the young artist an independent study
of nature, instead of as heretofore eternally ap-
plying to the antique and the old masters, he holds
that the accurate observation and imitation of na-
ture are only to be insisted on as a means to attain
general ideas ; the end of art in his estimation
being not individualisation, but a beau ideal.
THOMPSON, E. W., an English portrait
painter of considerable practice, died at Lincoln on
the 27th of December, 1847, aged 77 years. He
resided many years in Paris, where he was well
known and extensively employed ; but he rarely
exhibited in England. He superintended the work
entitled ' Physiognomical Portraits,' published by
the late Mr. Edward Walmseley, in 1824, and con-
taining 100 portraits of miniature size, mostly en-
graved by English artists then resident in Paris.
In the catalogue of the Boyal Academy for 1832,
we find Mr. Thompson's name appended to five
portraits, one of which is of Sir William Newton.
THOMPSON, James, engraver, born about the
year 1790, at Mitford, in Northumberland, was the
fourth son of the Bev. James Thompson, M.A.,
of Nunriding Hall, afterwards x-ector of Ormesby,
Yorkshire. Evincing at an early age considerable
talent for drawing, he was articled to Mr. M'Ken-
zie, an engraver in London. He embarked for
London at Shields, and, incredible as it may seem
in these days, his passage occupied nine weeks ;
and, as nothing in the interval had been heard of
the vessel, his family believed him to have been lost.
When his seven years' apprenticeship were com-
pleted, not feeling satisfied with Mr. M'Kenzie's
style of engraving, he placed himself under Mr.
Carden, with whom he worked more than two
years, after which he received commissions on his
own account. He married Miss Lloyd, of Bhayader,
Badnorshire, by whom he has left two daughters,
one of whom, Anne, has become the wife of Mr.
Frederick Goodall, the painter. He died of pul-
monary consumption, at his residence, 97, Albany
Street, in 1850. Of the numerous and admirable
works of this artist, we may mention a few well
known to the public ; a plate after Sir Thomas
Lawrence, the ' Three Nieces of the Duke of Wel-
lington several engravings in ' Lodge's Portrait
Gallery ;' ' An Equestrian Portrait of her Majesty,
attended by Lord Melbourne, the Marquis of
Conyngham,' &c, after Grant ; the ' Museum
Townley Marbles ;' the ' Bishop of London,' after
Richmond ; ' Prince Albert,' after SirW. C.Ross, &c.
thoe]
THOEBUEN, Eobebt, was bora at Dumfries
in 1818, and educated at the High School there.
He manifested his natural taste very early in life,
drawing, when only ten years of age, portraits of
his brothers and sisters, as well as other of his
friends. At fifteen he was sent to study at the
Drawing Academy of the Eoyal Institution of
Scotland, in Edinburgh, then under the mastership
of Sir William Allan, and carried off the first prize
twice consecutively. In 1836 young Thornburn
arrived in London, and became a student of the
Eoyal Academy. Miniature painting appearing
to him the quickest mode of becoming known to
the public, he adopted that branch of the pro-
fession, having, at that time, not only to support
himself by his exertions as an artist, but others of
his family dependent upon him. He first exhi-
bited his portraits at the Eoyal Academy in 1837,
and in the following year the full admissible num-
ber of eight, after which his success was rapid ;
his list of sitters soon numbering persons of the
highest rank and position, including the Queen
and Prince Consort, both of whom sat to him —
the latter in 1845, and her Majesty, with two
of her children, in 1848. In the same year
Mr. Thorburn was elected an Associate of the
Eoyal Academy, and in the year 1855 won a first-
class gold medal at the Paris Universal Exhibi-
tion. Since that period, in consequence of the
decline of miniature painting, owing in great
measure to the introduction of photography, he
has taken to executing large portraits in oil and
chalk, with considerable success.
THUILLIEE, Peter, a French landscape
painter, was born at Amiens, in 1799. He was
originally intended for the legal profession, but in
1823, followed his inclination for art, and entered
the atelier of Watelet, and afterwards that of
Gudin. He has travelled a great deal in the South
of France, Italy, and Algeria, gathering as he went
materials for pictures, which always show a great
appreciation for nature. He first exhibited in
1831. His most esteemed landscapes are in the
Museums of Amiens, St. Quentin, Boulogne, and
Geneva; there are also several in the small
town of Puy-en-Velay, where they are highly
prized by the inhabitants. This artist has ob-
tained, amongst other medals, one of the third
class at the Salon in Paris in 1835, a second class
in 1837, and a first class in 1839. He was decor-
ated with the order of the Legion of Honour in
1845. He died in 1859. His daughter, Louisa,
born at Amiens in 1829, has also painted several
landscapes and figure subjects, chiefly taken from
Algeria and Normandy ; and obtained a third
class medal in 1847.
THYS, John Feancis, born at Brussels, in
1785, obtained the prize in 1821 for a picture
representing the Jesuit father Zeghers, (who was
also a distinguished painter,) receiving the presents
which the Prince of Orange sent him by the painter
Willeborts, in 1643 ; which is in the Brussels Mu-
seum.
TLDEMAND, Adoephus, a Norwegian painter,
was born at Mandal in 1816. He received his
education in art at the Academy of Copenhagen,
and the school of Dusseldorff ; retiring from the
latter place to Norway, where he established him-
self, as a painter of landscape and genre. In the
former line, revelling amongst his native Ffiords,
he exhibits a sombre grandeur akin to that of
Buisdael j in the latter he is equally successful in
M
[tidb
depicting the character and customs of a primitive
race. One of his pictures, combining landscape
and life character in a remarkable degree, repre-
senting ' A Funeral in the country parts of Nor-
way, with Costumes of the last century,' full of
pathos, and picturesque effect, made a great sensa<
tion at the Paris Universal Exhibition of 1855;
and obtained for the painter a medal of the first
class. As painter to the Crown he has decorated
the interior of the castle of Oscarshall, near Chris-
tiana. He is a knight of the Norwegian order of
St. Olave; and a member of the Academies of
Fine Arts of Berlin, Copenhagen, Stockholm, and
Amsterdam.
TIDEY, Alebed, second son of John Tidey,
school master, late of Worthing, Sussex, was born
20th April, 1808, at Worthing House. In early
life he devoted himself to several kinds of art,
but chiefly to miniature painting on ivory,
which Constable said were the most unmannered
works he had ever seen, He left for London
while yet very young, and soon after fell
under the notice of Henry, late Earl of Aber-
gavenny, who with his accomplished sister, the
Hon. Caroline Neville, took much interest in
him, and introduced him to many families of
distinction, among others, to Sir John Conroy,
by whom he was presented to Her Majesty the
Queen, then Princess Victoria. During many
years he was a prolific exhibitor at the Eoyal
Academy, sending every year portraits of the no-
bility and celebrities of the Court, to the full
number of eight pictures, the Hon. Miss Anson
among them, by command of Her Majesty. This
was when miniature painting was in its glory,
Eoss was at his best, Carrick and Durham were
painters then, and Thorburn was coming into
notice. But matters have changed since. Fuseli
said long ago that machinery would eventually
annihilate art, and so we have photographs now,
with their leaden literal phases, in the room of
bright emanations from men of genius.
TIDEY, Henet, brother of the last named,
was born the 7th January, 1815, at Worthing,
Sussex, but spent the chief part of his early life in
his father's Academy. In his boyhood he adopted
art by a kind of natural instinct, being encouraged
thereto by his father, who was himself a tolerably
good artist ; and while yet a very young man,
painted three pictures for her late Eoyal Highness
the Princess Augusta. Although painting a good
deal in oil at this time, he appears to have come into
notice first as a portrait painter in water colour,
sending various specimens in this branch every
year to the Eoyal Academy, the most noticeable
being Maria, Countess of Eoden, Lord and Lady
Castlereagh, afterwards Marquis and Marchioness
of Londonderry, Sir Henry Fletcher, a posthu-
mous portrait of Col. Edward Pakenham mount-
ing the battery of the Alma, where he was the
first man, &c. In 1858, he was elected an associ-
ate, and in the same year, a full member of the
New Society (now Institute) of Painters in Water
Colour, and has since contributed there succes-
sively some of the largest water-colour pictures
ever painted, as : — 1858, ' A Field Day in the last
Century;' 1859, 'The Feast of Eoses,' (Lalla
Eookh); 1860, 'Queen Mab,' (Shelley); 1861,
< Dar-thula/ (Ossian) ; 1862, ' The last of the
Abencerrages,' (Chateaubriand) ; 1863, ' Christ
blessing little Children;' 1864, 'The Night of
the Betrayal.' ' The Feast of Eoses ' was pur«
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chased by Her Majesty. ' Queen Mab ' obtained
two medals, one from the Society for the Encou-
ragement of the Fine Arts, the other from the
Cornwall Polytechnic Society. The twenty gui-
nea prize from the Glasgow Institute was awarded
to ' Dar-thula,' now the property of His Grace the
Duke of Manchester. The Crystal Palace Art
Committee awarded twenty guineas to 4 The
last of the Abencerrages.' ' Christ blessing little
Children,' was painted, for Francis Fuller, Esq.,
and contains portraits of three of his young chil-
dren, pnd is intended we believe for publication.
TIELEMANS, Martin Franci, a Flemish
painter of history and portrait, was born at Lierre,
in 1784, and died in 1864. He was a pupil at the
Academy of Antwerp, and afterwards of David.
He visited England and Hanover; and became
director of the School of Design in his native
town ; where is his picture of ' Christ and the
Disciples at Emmaus.
TISCHBEIN, John F. A., nephew of John
Henry and John Anthony Tischbein, was born at
Maestricht. in 1750. He was a pupil of his uncle
John Henry, at Cassel ; and afterwards studied
during seven years in the schools of France
and Italy, under the protection of the Prince van
Waldeck, who appointed him on his return,
painter to his court, with the title of Councillor. He
afterwards visited Holland, and was elected one
of the fraternity called the JPictura, at the Hague.
"We hear of him at Dessau in 1795 ; and in 1800
lie was appointed Professor and Director of the
School of Fine Arts at Leipsic. He died at Heidel-
berg in 1812. His portraits are much esteemed ;
particularly those of females ; his colouring being
extremely agreeable.
TISSIER, John B. A., historical and portrait
painter, was born at Paris, in 1814, and from 1835
to 1837 studied under Ary Sheffer and Paul Dela-
roche, besides attending the courses at the Ecole des
Beaux Arts. He first exhibited in 1838. Amongst
his principal works are 1 A Sleeping Nymph sur-
prised by two Fauns,' ' Young Girl with Bird,'
* Head of the Virgin,' ' Mater Dolorosa ' (1844),
' Christ Bearing the Cross.' He obtained a third
class medal in history in 1845, a second class
medal in portraits in 1847 and 1858, and a third
class medal in 1855.
TOPHAM, Francis William, was born in
Leeds, where he practised the art of engraving
up to the age of 21, when removing to London,
he pursued the same avocation for several years.
Finding that pursuit, however, injurious to his
health, he took to water-colour painting, and was
elected a member of the New Water-Colour So-
ciety. Mr. Topham afterwards seceded from the
New and joined the Old Society. As a painter of
Figure subjects in water-colours, and as a draughts-
man on wood for the illustration of pictorial publi-
cations, he is eminently popular. He manifests
considerable power in expression, particularly in his
Irish studies, and though rather sketchy in hand-
ling, is very successful as acolourist. We give a
few of his subjects : — ' Spanish Gipsies,' 'Heading
the Bible,' ' Spanish Mendicants,' ' Barnaby Rudge
and his Mother,' (from Dickens) ; ' Italian Pea-
sants,' ' Irish Courtship,' ' The Holy Well,'
' Welsh Cabin, ' Ballinasloe Irish Peasants.'
Among the various pictorial editions to which he
has contributed, may be mentioned Moore's
• Melodies and Poems/ Mrs. S. C. Hall's ' Mid-
summer Eve,' ' Burns's Poems,' and the ' An-
160
gler's Souvenir' (1835), of which he was botk
illustrator and author.
TOWN, Charles, a painter of landscapes and
cattle subjects of considerable talent, whose pic*
tures are better known than any particulars ot
himself. He is said to have been brother of th«
principal partner in the firm of Town and Eman-
uel, the once eminent dealers in articles of vertu.
He died, it should seem at an advanced age, about
the year 1850. He appears to have occasionally
exhibited at the Royal Academy between 1806
and 1812, at which time he resided at 27, New
Bond Street. Subsequently we trace him up to
1848, as residing at his brother's establishment,
103, New Bond Street. The pictures of this artist
are highly finished, and generally made subservient
to the introduction of groups of cows or sheep,
and sometimes, but very rarely, horses. His pic-
tures were sometimes signed in full, sometimes
merely with his initials. Among the examples we
have seen, are : a Mountainous landscape with
cattle, signed C. Town, pinxit 1822, and its compa-
nion, a Snowpiece with cattle, Chas. Town, pinxit
1822. Another, less highly finished, signed C. T.,
1835. As a painter of the English school he may be
said to rank with Loutherberg and Ibbetson.
TOWN SEND, Henry J., historical painter,
was born at Taunton, 6 th June, 1810. He was
originally intended for the medical profession,
which, however, he soon deserted in favour of the
Arts. He obtained a prize at the Cartoon Exhi-
bition in 1844, and in the same year exhibited at
the Royal Academy ' Cromwell and Ireton read-
ing the Intercepted Letter from Charles I,' the
original sketch for which is in the South Ken-
sington Museum, together with that for another
picture, ' The Lions roaring after their prey, dc
seek their meat from God.' Samples of his talent
may also be seen in the Illustrations of the ' Book
of Ballads,' edited by Mrs. S. C. Hall. He was
for some years head master of the Government
School of Design.
*TRACHEZ, John, a painter of landscape,
views of towns, monuments, &c, was born at Ant-
werp, about the year 1750, and died in 1822. He
was a pupil of H. J. Antonissen, and painted in
the manner of H. de Cort, with much truth to
nature, and a good deal of finish. He painted in
distemper, and also engraved.
TRAYER, John Baptists J., a French pain-
ter of landscape and genre, was born at Paris,
about the year 1806, and first exhibited about
1831. Amongst his works may be mentioned
' Episode in the Career of Rob Roy ;' ' Leonard da
Vinci and his Pupils ;' ' A Young Girl Sewing ;'
' The Corn Market.' He received a medal of the
third class in 1853, and one of the second class in
1855.
TROYON, Constantine, French landscape and
animal painter, was born at Sevres in 1813, and
passed much of his youth in the porcelain manu-
factory of that town, intending to make porce-
lain painting his profession. Some years of study
in the atelier of Riocreux, and the observations of
nature which he made in the course of several
journeys in the most picturesque parts of France,
opened to him a more elevated career, and he haj
since become one of the first landscape and animat
painters of France, and truly French in character.
It is remarked that a journey which in later years
he made in Holland, had less influence upon his
style than that already established by the rura*
teoy]
aspect of his own country. In 1833, he exhibited
his first pictures, ' La Maison Colas' (at Sevres),
' The Fete at Sevres/ and ' A Nook in the Park
of St. Cloud;' and he long continued to produce
a series of views in the neighbourhood of Paris,
which have fallen into the possession of Messrs.
Van Praet, Goldsmith, Moreau, the Comtesse Le-
kon, and other collectors. He has also produced
many larger works of a noble character. Some of
them have been engraved, amongst others, 'A
Limosin Fair,' 1838 ; « The Watering Place/ 1839 ;
* The Bathers/ 1842 ; 'The Cattle Market,' 1850 ;
'Oxen Ploughing' (purchased by Government),
and ' The Valley of la Touque, in Normandy' (both
exhibited with others, at the Paris Universal Ex-
hibition in 1855) ; * The Eeturn to the Farm ;'
'The Departure for Market, 1859. The happy
fidelity with which M. Troyon depicts animals of
various kinds, has obtained for him amongst his
countrymen the pseudonyme of " the La Fontaine
of Painting." He obtained a third class medal in
1838, a second class in 1840, and three first class
in 1846, 1848, and 1855, respectively. He was
elected a Member of the Academy of Amsterdam
in 1847, and received the decoration of the Legion
of Hon our in 1849. He died in 1865.
TURNER, Chaeles, a mezzotinto engraver,
was born at Woodstock, in 1773. He came up
to London with his family when a youth, and was
introduced into the establishment of Alderman
Boydell, where he acquired a taste for the arts.
He became a student in the Royal Academy in
1795, and was elected an Associate Engraver in
1794. Among the plates which he engraved are
several of his namesake's ' Liber Studiorum/
and his ' Wreck ;' many of Lawrence's portraits
of distinguished persons ; Sir M. A. Shee's por-
trait of the Duke of Clarence ; ' The Beggars/ by
Owen ; ' The Marlborough Family,' after Rey-
nolds ; ' The Water Mill/ by Callcott, and many
other of the best mezzotints of the time. In the
Academy Exhibition of 1856, he exhibited some
Academy figures, sketched by him in 1794. He
died on the 1st August, 1857.
TURNER, Joseph Malloed William. This
eminent English landscape painter, and great
master of colour, was born on the 23rd of April,
1775, at No. 26, Maiden Lane, Covent Garden
where his father carried on the business of a hair
dresser. His genius for art appears to have been
awakened at a very early age. Happening to
accompany his father on a professional visit to
one of his customers, Mr. Tomkinson, the eminent
pianoforte maker, he was much struck with an
emblazoned coat of arms which hung in the
room, and while his father was engaged in his
duties, made a sketch of it, including the lion
rampant. Mr. Tomkinson, who was a patron of
art, praised this drawing, and from that time Tur-
ner seems to have adopted art as a profession,
and soon gave other proofs of his talent ; going
out into the fields to sketch, and copying drawings
from Sandby and others, which copies were sold at
the rate of a few shillings each. There is a draw-
ing of Margate church made by him when nine
years old, which is one of his earliest known
works. He was always very fond of Margate,
and it is supposed that many of his early sketches
must be distributed in that neighbourhood. In
1785, when he was ten years old, he was sent to
the free school at Brentford, as day scholar, at the
eame time boarding with an uncle, who was a but-
cher there. On his way to and fro, he used to
amuse himself by drawing with a piece of chalk
on the walls, the figures of cocks and hens. Hav-
ing remained at Brentford a year or two, he was
sent to the Soho Academy, where he drew flowers
under the instruction of a Mr. Palice. It was
probably about this time that he was sent to Mr.
Thomas Mai ton, to learn perspective ; but he does
not appear to have been an apt scholar, inasmuch
as he was twice sent away by his master as inca-
pable. He afterwards had some instruction in
this department from Davies, a landscape draughts-
man. In face of this it seems strange that in after
life Turner should have said, " My real master was
Tom Malton, of Long Acre ;" stranger still that he
himself should afterwards have been appointed
Professor of Perspective at the Royal Academy.
In 1787, when only twelve years old, he exhibited
at the Royal Academy two drawings : ' Dover
Castle,' and ' Wanstead House.' In 1788, he
was sent to a third school— that of Mr. Coleman — •
at Margate, where, however, he did not stay long,
though long enough to form an attachment for
the sister of one of his schoolfellows, which after-
wards, through fortuitous circumstances not in-
volving blame on either side, was broken off; a
circumstance which had an effect on his spirits
throughout his after life. In the same year
(1788) we find him engaged in the office of Mr.
Hardwick, an architect, who soon recognised
his genius, and recommended him to enter as a
student at the Royal Academy, where he was ad-
mitted in 1789. But he did not limit his studies to
the course thus provided. Girtin, the great water-
colour painter, was one of his earliest friends and
most zealous advisers ; and in company with him
he commenced painting from nature along the
banks of the Thames. In the course of the next
few years he extended his sketching excursions
to Wales, Yorkshire, the Lakes, and various
parts of the coast ; thus making himself thoroughly
acquainted with native scenery, under different
effects of sky and atmosphere. Meantime he be-
gan to earn a small income by painting in skies to
architectural drawings. An old architect, still
living, relates ; " I knew him when a boy, and
have often paid him a guinea for putting in back-
grounds to my architectural drawings, calling
upon him for this purpose at his father's shop."
This is significant, as already indicating the young
artist's successful attention to atmospheric pheno-
mena, which afterwards contributed so essentially
to his renown. He also about this time began
to teach drawing, at first at five shillings, increased
afterwards to ten shillings and a guinea a lesson.
In 1790, he made his first appearance as an ex-
hibitor at the Royal Academy, his work being a
water-colour drawing of Lambeth Palace. For
some years subsequently, he confined himself prin-
cipally to water colours, in which his brilliancy
of execution, marvellous delicacy and accu-
racy of detail, combined with a breadth never
before attained with such materials, and within
similar dimensions, at once, by general consent,
elevated him far above the ordinary range of
talent in this style. He was now engaged by
various persons to make drawings, which were to
be engraved as illustrations to topographical and
other works. For the purpose of taking sketches
for these drawings, he made journeys in the coun-
try. About 1793, he made a tour into Wales,
sketching all the places of interest on his way,
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The results of this tour were drawings engraved
in "Walker's Copper-plate Magazine, which have
since been republished separately, from the old
copperplates, under the title of ' Turner and Gir-
tin's Picturesque Views sixty years since ; with
Memoirs by Thomas Miller,' 1854, 4to. He also
made some illustrations for the Pocket Magazine
and other periodicals. In 1795, Turner painted his
first oil picture, the subject being, according to
some, a view on the Thames above Battersea, ac-
cording to others, a view of Rochester Castle. His
first exhibited oil painting, however, was at theAea-
demy, in 1797 : ' Moonlight, a study at Millbank,'
now included in the Turner Collection, in the
National Gallery. Meantime, it should be stated i
that he left his father's house in 1796, and took
rooms in the lane at the end of Hand Court.
During about two years, from 1797, he was occu-
pied in making tours in Yorkshire and Scotland.
In 1799 appeared his second oil picture, ' The
Battle of the Nile ;' and in the following year,
• The Fifth Plague in Egypt.' His extraordinary
talent now met recoguition by his election as an
Associate of the Royal Academy in 1800, and as
a full member in 1802. In 1800 he removed from
Hand Court to Harley Street, and in the follow-
ing year, made another move to Norton Street,
Portland Place. After his election as Royal Aca-
demician, Turner visited France, Switzerland,
Italy, and the Rhine. The result was an am-
bition for a higher range of subjects than he
had hitherto painted, classic story being occa-
sionally treated by him ; and his canvas was
also frequently larger than he had used before.
During some years, however, as will be seen by
what follows, lie was still very uncertain in his
choice of subjects, as if he had not yet made
up his mind as to the walk of art he would pursue.
In 1802 he exhibited ' Jason,' and ' The Tenth
Plague of Egypt,' together with four views in
Scotland, and two marine subjects. In 1803 he
tried his hand at a ' Holy Family,' and, in subse-
quent years, branched suddenly off into the
humourous line, producing, in 1807, ' A Country
Blacksmith disputing the Charge for shoeing a
Pony ;' in 1808 ' The Unpaid Bill ;' and in 1809
' The Garreteer's Petition.' About this period
also, Turner produced some of his noblest pictures,
representing the fury of the ocean with fear-
ful truthfulness, and overwhelming power; as,
in ' The Wreck of the Minotaur,' 'The Ship-
w reck,' ' The Gale,' &c. — noble specimens of truly
English art, well known by the engravings
from them. These, also, he diversified with land-
scapes of a poetic character, with mythological
incidents introduced; as, 'Apollo slaying the
Python' (1811), 'Narcissus and Echo' (1814),
' Dido and Eneas,' ' Apuleia,' &c. This was his
transition period ; of his latest efforts and what
led to them we shall speak presently. In 1807,
Turner was elected professor of perspective at the
Royal Academy ; but, owing to his want of skill
in literary composition, as well as of oratorical
power in the delivery of his discourses, he failed
to secure the attention of the students, and, after
a few disheartening attempts, gave up lecturing,
many years before he resigned the professorship.
In the year last named also, Turner commenced
the publication of the Liber Studiorum, of which
and of the motives which led to its production, Mr.
Thornbury, in his ' Life of Turner,' hazards the
following remarks :-— " It was well known to men
162
living in the early and middle portion of Tur-
ner's professional career that he did not often sell
his oil pictures, the cause of which may be traced,
to the influence and absorbing preference given by
Sir George Beaumont (an amateur artist) to the
works or pictures of Claude. To Sir George the
fashionable patrons of art looked up as an oracle of
taste. That there was anything personal in this
advocacy of Claude, to the exclusion of Turner, is
improbable ; but it is certain that Turner was
deeply sensible of its effect, as well as of the in-
fluence Sir George Beaumont had in society to
direct all taste, and to concentrate it on Claude.
This gave rise, no doubt, to Turner's bequeathing
two of his best pictures to the nation, on condi-
tion ' that they should be placed side by side with
two of Claude's best pictures, so that posterity
might do him that justice which he thought was
unjustly denied him while living. In the same
spirit of artistic ambition, did Turner commence
his beautiful and highly-artistic work of the
Liber Studiorum, in rivalry of the Liber Veri-
tatis of Claude. The first 'Liber' sketch was
made by Turner at the house of his old friend
Mr. Wells, the drawing master at Addiscombe.
Turner had intended to publish one hundred plates
in twenty numbers of this series ; but no more
than seventy plates in fourteen numbers ever ap-
peared, for, during the time these were publishing,
Turner's works came into great request, and he
had no spare time to spend in speculation. This
work was continued through a period of nine
years, during which it underwent, the early num-
bers especially, frequent changes as the coppers
began to give way. Turner often took out the
shaded letters of the plates in the second or third
state, and engraved open letters over the effaced
line, introducing private marks to indicate to
himself the various states. He often made consi-
derable alterations to hide the wear and tear of the
copper, sometimes taking out or putting in a tree,
even changing a sun into a moon ; so that the en-
tire change of effect really made them new works.
After the publication of the Liber Studiorum,
a remarkable change came over the pencil of
Turner, who, abandoning the broad, bold effects
of ocean wrath, broken atmosphere, or local
scenery, which he had rendered with such truly
magical, because honest English truth, sought
to emulate the glorious achievements of Claude
under his native golden skies ; and afterwards,
not content with the full effulgence of nature
in its sunniest moods, sought to eclipse Claude
and nature too by the production of prismatic
effects, which are by many thought to find their
suggestion only in the imagination of the artist.
Amongst the works of this period, painted in
avowed emulation with Claude, was ' The Building
of Carthage,' which, on his subsequent bequest of
this and other of his works to the nation (to be
spoken of presently), he stipulated should be hung
in juxtaposition with Claude's. Turner's works
are nominally divided into three periods ; the
first extending down to the years 1802, when he
was twenty-seven years of age, and became a Royal
Academician, during which time he was chiefly oc-
cupied with water-colour painting from nature, and
studying the methods of his English predecessors ;
the second period extending from 1802 to 1830,
and showing the effect of foreign travel, and the
study of those great masters of landscape of the
Italian School, Claude, Gaspar Poussin, and Salva-
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tor Rosa ; as well as of the English Wilson, who
based his style upon Italian models ; the third pe-
riod dating from his second visit to Italy in 1829,
when he determined to strike out an entirely origi-
nal style, and in which he seemed to have re-
solved to sacrifice everything to brilliancy of colour,
with certain startling effects of light and shade,
Some of his finest works belong to the earlier half
of this period, as his ' Childe Harold's Pilgrimage,'
exhibited in 1832, and ' The Old Temeraire,' ex-
hibited in 1837 ; so that the transition to the ex-
cesses which marked his latest efforts, was gradual.
His later pictures are painted on a white ground.
Dr. Waagen bears testimony in the following
terms to Turner's genius, which, however, seems to
apply more particularly, to his first and second
periods, and the few more matter of fact and
modest performances of later date : " No land-
scape painter has yet appeared with such ver-
satility of talent. His historical landscape ex-
hibit the most exquisite feeling for beauty of
hues and effect of lighting ; at the same time
that he has the power of making them express the
most varied moods of nature, — a lofty grandeur,
a deep and moody melancholy, a sunny cheerful-
ness and peace, in an uproar of all the elements.
Buildings he also treats with peculiar facility, while
the sea, in its most varied aspects, is equally sub-
servient to his magic brush. His views of certain
cities and localities inspire the spectator with poe-
tic feelings such as no other painter ever excited
in the same degree, and which is principally at-
tributable to the exceeding picturesqueness of the
point of view chosen, and the beauty of the lighting.
Finally he treats the most common subjects, such
as groups of trees, a meadow, a shaded stream,
with such art as to impart to them the most pic-
turesque charms. I should therefore not hesitate
to recognise Turner as the greatest landscape
painter of all times, but for his deficiency in an in-
dispensible element in every work of art, viz : a
sound technical basis." The writer in the concluding
words refertoahabit to which Turner, unfortunately
in common with many brother artists of his day,
fell, of using colours and vehicles calculated to
produce temporarily an effect desired, without re-
gard to their permanency. In some instances the
most incongruous mixtures were resorted to, even
that of water colour in conjunction with oil colour ;
an early dissolution of partnership, resulting in a
complete break up of the portion of the work in
which this occurred, being inevitable. Many dis-
tressing instances of this are to be found in the
numerous collection of his works bequeathed to
the nation. Engraving will, however, transmit to
posterity, the essential elements of his greatness : —
effects, the merit of which is none the less conspi-
cuous and undeniable for the happy appropriate-
ness which they possess for display through this
medium. Among the engraved works which can-
not fail to perpetuate his name may be mentioned
his ' Picturesque Views of the Southern Coast of
England, engraved by W. B. and G. Cooke/ 16
parts, 4to. containing 80 plates, 1814-27 ; ' River
Scenery of England and Wales' (by Turner and
Girtin), 4to. 1827 ; ' Picturesque Views of Eng-
land and Wales,' 24 parts, containing 96 plates by
the chief engravers, forming 2 vols. 4to. or folio.
' Liber Fluviorum, or River Scenery of France '
(comprising his three Annual Tours of 1833, 34,
and 35), with a memoir by Alaric Watts (and
Henry G. Bohn), royal 8vo. 1857. Also his Illus- J
trations of ' Sir Walter Scott's Provincial Anti-
quities of Scotland,' ' Whittaker's Richmond-
shire,' and other works, of which full particulars
will be found in Bonn's edition of Lowndes'
Bibliographical Manual.
Turner was a man of peculiar temperament :—
not given to social intercourse, a recluse by
habit, and niggardly by nature. It is not sur-
prising that in the course of a long life of
increasing popularity he accumulated a large
fortune, great part of which he employed in pur-
chasing back, wherever he could meet with them,
his own pictures, sold in early life. The bulk
of these accumulations of pecuniary and artistic
wealth he appropriated by his will in the interests
of the arts and artists of his country. By this
will, dated 10th of June, 1831, he left to the Na-
tional Gallery the pictures ' Dido building Car-
thage,' and the picture formerly in the Tabley Col-
lection, on condition that they should be hung be-
tween 'The Seaport' and ' The Mill,' by Claude,
and be from time to time properly cleaned, &c. ; the
conditions to be accepted within twelve months, or
the pictures to form part of the charitable fund,
hereinafter to be mentioned. Then after cer-
tain bequests he bequeathed the rest of his
property to form a charitable institution for the
maintenance and support of poor decayed male
artists, born in England, and of English parents
only, a suitable building for the purpose to be pro-
vided in an eligible place, and the whole to be under
the control of four trustees, two of them mem-
bers of the Royal Academy, the institution to be
called " Turner's Gift." By a codicil dated 20th
of August, 1832, he provided that if the money
should be found inadequate, and the charity could
not be founded within five years of his death, then
he annulled that part of his will, and left the resi-
due of his estate in the following manner :— 'The
pictures to be kept entire and unsold in 47, Queen
Anne Street, and to be called the Turner Gallery,
and Hannah Danby appointed custodian, &e. The
residue to the Royal Academy, on condition of
their giving, every year, on his birthday, the 23rd
of April, a dinner, not to cost more than £50. He
also left £60 a year to a Professor of Landscape at
the Royal Academy, and a gold medal worth £20,
for the best landscape every second year. In case
the Royal Academy refused this residue, he left
all the money to Georgiana Danby and her heirs,
after erecting a monument over his body. In
another codicil dated August 2nd, 1848, he re-
voked all the legacies to his uncles and nephews,
and the Danbys, leaving his finished pictures to
the National Gallery, provided additional rooms
were built for their reception. The pictures not
to be removed from Queen Anne-street till such
rooms were built ; but if all fell through, and the
lease could not be renewed, then the pictures were
to be sold. A further codicil dated 1st February,
1849, annuls the gifts to the National Gallery, if the
" Turner Gallery" be not built within ten years
after his decease ; and in failure of this, a gratui-
tous exhibition and final sale at the house in Queen
Anne Street. He also left £1000 for a monument
to himself, in St. Paul's ; Mrs. Danby and Mrs.
Booth, each an annuity of £150 ; £1000 to the
Pension Fund of the Academy, the gold medal for
Landscape Art to be paid out of it ; £500 to the
Artists' General Benevolent Fund : £500 to the
Foundling ; £500 to the London Orphan Fund ;
and then to Mrs. Wheeler and her two sisters.
163
then]
SUPPLEMENT TO DICTIONARY OF
[tttbh
£100 each, free from legacy duty. The will being
a most confused document, was disputed by the
next of kin. After various law proceedings," into
the details of which we need not enter, the follow-
ing compromise was effected on the recommendation
of the Lord Chancellor, on a hearing of the case
"Trimmer v. Danby," March 19th, 1856 :— 1.
The real estate to go to the heir-at-law. 2. The
pictures, &c, to the National Gallery. 3. £1000
for the erection of a monument in St. Paul's Ca-
thedral. 4. £20,000 to the Eoyal Academy, free
of legacy duty. 5. Remainder to be divided
amongst next of kin. The Academy decided to
keep the fund thus placed at their disposal separate
from their other property, and to call it the
" Turner Fund," part of it to be employed in the
relief of distressed artists, not being members of
the Academy : — (Six artists have since annually
received £50 each from this fund), and the balance
to be appropriated to the support of the schools.
There are added to the National Collection by this
gift, 98 finished oil pictures by Turner, and 270
unfinished paintings, besides several hundreds of
drawings and sketches, many of them on ragged
scraps of paper, and backs of letters. Turner
resided in Hand Court, Maiden Lane, until the
year 1800, and for t he next twelve years in Harley
Street;— from 1812 till the time of his death he
occupied No. 47, Queen Anne Street, West,
which he rebuilt, renting also, from 1815 to
1826, Sandycombe Lodge, Twickenham. His
father resided with him till his death in 1830.
The eccentric painter, however, did not end his
days in his own house, but in humble lodgings on
the river side at Chelsea, a little east of Cremorne
Gardens, which he had taken under the assumed
name of Booth. He died there on the 19th
December, 1851, and on the 30th of the same
month was, with some ceremony and state, buried
in the crypt of St. Paul's Cathedral, beside the
remains of Reynolds, Opie, Fuseli, and Lawrence.
Besides the large number of pictures in the
National Gallery (of which we append a list), the
chief collections of his pictures are those of Mr.
F. H. Hawkes, of Farnley Hall, near Leeds ;
the late Mr. H. A. Munro, Hamilton Place,
Piccadilly; the late Mr. E. Bicknell, Heme
Hill, Camber well ; the Earl of Egremont, Pet-
worth (oil paintings); and Mr. John Heugh, of
Manchester (water-colour drawings). As an evi-
dence of the estimation, commercially speaking,
in which Turner's best works are now held, it may
be sufficient to refer to the prices obtained for
those at Mr. Bicknell's sale (April 25, 1863).
' Antwerp, Van Goyen looking out for a subject,'
(exhibited in 1833, a marvellously luminous canvas,
yet realized chiefly by skilful gradations of greys,
and whites superimposed), 2510 guineas ; * Hel-
voetsluys, the city of Utrecht, a sixty-four going
to Sea,' (exhibited in 1832), 1600 guineas ; « Ivy
Bridge, Devon,' 800 guineas ; ' Wreckers, Coast
of Northumberland, Steam-boat assisting Ship off
Shore,' (exhibited 1834), 1890 guineas ; ' Venice—
the Campo Santo,' (a gorgeous picture, exhibited
in 1842), 2000 guineas; 'Venice— the Giudecca,'
&c. (exhibited in 1841), 1650 guineas; 'Port
Ruysdail,' (a work in his grandest and best style,
exhibited in 1827), 1900 guineas ; ' Pales trina,'
(exhibited 1830), 1900 guineas. The prices realized
by these works is a striking example of the enor-
mous rise which has taken place in the course of
the last thirty or forty years in the market value
164
of works of the British School of the highest class.
We believe that they were originally purchased
from the artist at prices varying from £250 to £350
each. Of drawings by the artist, at the sale of the
same collector, the following examples must suffice,
— 'Scarborough Castle, boys crab-fishing,' signed
and dated 1809, 520 guineas ; ' Mowbray Lodge,
Ripon, Yorkshire,' 510 guineas ; ' Grouse Shoot-
ing on the Moor,' with portrait of the artist, the
dogs by Stubbs, signed J. M.W.Turner, R.A., P.P.
430 guineas ; ' Woodcock Shooting,' scene on the
Ghwer, with portraits of Sir Henry Pilkington,
dated 1813, 510 guineas, 'The Castle of Ely,
near Coblentz, on the Moselle,' an exquisitely
beautiful miniature drawing, 160 guineas ; 1 Rou-
en,' another miniature drawing, equally fine, 200
guineas; and 'Chateau Gaillard, on the Seine,'
a third miniature drawing, 170 guineas. The two
last are beautifully engraved in Turner's 'Liber
Fluviorum ' or River Scenery of France.
The following is a list of this artist's paintings in
the National Gallery. The figures between brack-
ets indicate the dates when they were exhibited,
which was al ways at the Royal Academy, unless
otherwise stated. All these pictures, with the ex-
ception of four presented by Mr. Vernon, were
comprised in the bequest from the artist.
Portrait of J. M. W. Turner, when young, evening dress
Bust, life-size. (Painted about 1802.) Turner Coflection.
'Engraved by W. Soil, for the ' Turner Gallery.'
Moonlight, a Study at Millbank. (Exhibited in 1797.)
Buttermere Lake, with part of Cromack "Water, Cumber-
land—a Shower. (1798.)
Morning on the Coniston Pells, Lancashire. (1798.)
Landscape, with Cattle in Water. (Circa 1799.)
JEneas with the Sibyl. Lake Avernus. (Circa 1800.)
Bizpah watching the Bodies of her Sons. Engraved,
with some alterations, in the ' Liber Studiorum.'
Mountain Scene, with a Castle on a Hill. (Circa 1800.)
View in Wales. (Circa 1800.)
View on Clapham Common. (Circa 1802.)
Sandbank, with Gipsies, a Sketch. (1809.)
Sea piece, a vessel stranded near a jetty.
The Tenth Plague of Egypt. (1802.) Turner Collection.
Engraved in the ' Liber Studiorum.'
Jason in Search of the Golden Fleece. (1802.) En-
graved in the ' Liber Studiorum.'
Calais Pier, French Fishermen preparing for Sea. The
English Packet arriving. (1803.) Engraved by Thomas
Lupton (unpublished) ; and by J. Cousen,for the ' Turner
Gallery.'
The Holy Family. (1803.)
The Destruction of Sodom. Lot and his family leaving
the city. (Painted about 1805.)
View of a Town. A Sketch. (Circa 1805.)
The Shipwreck. Fishing Boats endeavouring to rescue
the Crew. (Painted in 1805, but never exhibited.) En-
graved by Cliarles Turner, A.B.A. ; by J. Burnet ; by T.
Fielding ; and by W. Miller for the ' Turner Gallery.'
The Goddess of Discord choosing the Apple of Contention
in the Garden of the Hesperides. (British Institution,
1806.) Engraved by T. A. Prior.
The Blacksmith's Shop. (1807.) Engraved by C. W.
Sharpe.
_ The Sun eising- is a Mist. (1807.) One of the two
pictures considered by Turner to be his best, and bequeathed
to the National Gallery, on condition that they should be
hung between the two celebrated Claudes. Engraved by
J. C. Armytage.
The Death of Nelson, October the 21st, 1805, at the bat-
tle of Trafalgar, on board the ' Victory.' (British Institu-
tion, 1808.) Engraved by J. B. Allen.
Spithead: Boat's Crew recovering an Anchor. (1809.)
Engraved by W. Miller.
The Garreteer's Petition. (1809.)
London from Greenwich. (Painted in 1809.) Engraved
in the ' Liber Studiorum.'
St. Mawes, Falmouth Harbour, Cornwall. (Painted about
1809.) Engraved by W. Kernot,
lTJBN]
PAINTERS AND ENGRAVERS.
Abingdon, Berkshire, with a view of the Thames ; morn-
ing. (Painted about 1810i Engraved by C. Cousen. _
Windsor, a view of the Castle in the distance. (Painted
about 1810.) . M .
A Euin. Cattle in "Water, a sketch. Evening. (Painted,
about 1809.) t .
Apollo killing the Python. (1811.) Engraved by Lumb
Stocks, It. A.
Cottage destroyed by an Avalanche. (Painted about 1812.)
Snowsto;m, Hannibal and his Army crossing the Alps.
(1812.) Engraved by J. Cousen.
Harvest Dinner, Kingston Bank. (Painted about 1809.)
A Frosty Morning ; Sunrise. (1813.) Engraved by B.
Brandard.
The Deluge. (1813.) Engraved by J. B. Quilley.
Dido and JSneas leaving Carthage on the Morning of the
Chase. (1814.) Engraved by W. B. Smith; and by J.T.
Willmore, for the ' Turner Gallery.'
Apuleia in search of Apuleius. (British Institution, 1814.)
Bligh Sand, near Sheerness, Fishing Boats trawling.
(Painted in 1809; first exhibited in 1815.) Engraved
by B. Brandard.
Crossing the Brook. (1815.) Engraved by B. Brandard ;
and by W. Bichardson, for the ' Turner Gallery.'
Dido building Caethage ; or the Rise of the Cartha-
ginian empire. (1815.) The other of the two pictures be-
queathed to the National Gallerj on condition of being hung
between the Claudes. Engraved by T. A. Prior ; and by
E. Goodall for the ' Turner Gallery.'
The Decline of the Carthaginian Empire. Hostages
leaving Carthage for Eome ; approaching sunset. (1817.)
Engraved by J~. B. Allen.
The Field of "Waterloo. June 18th, 1815. (1818.) En-
graved by F. C. Lewis.
The Meuse. Orange Merchantmen going to pieces on
the Bar. (1819.) Engraved by B. Wallis.
England, Richmond Hill, on the Prince Regent's Birth-
day. (1819.) .
Rome from the Vatican, Raphael and the Fornarina m the
Corridor of the Loggie. (1820.) Engraved by A. Willmore.
Rome, the Arch of Titus and the Campo Vaccino, seen
from the Colosseum. (Painted about 1820.) Engraved by
E. Challis.
The Bay of Balse, Apollo and the Sibyl. (1823.) En-
graved by B Brandard.
Carthage, Dido directing the Equipment of the Fleet, or
the mornmg of the Carthaginian empire. (1828.)
Scene from Boccaccio, commonly called the Bird-cage, and
sometimes the Garden of Boccaccio. (1828.) Engraved
by J. B. Qmlley; and by C. H. Jeens for the 'Turner
Gallery.'
Ulysses deriding Polyphemus. (1829 ) Engraved by E.
Goodall.
The Loretto Necklace. (1829.) Engraved by C. Cousen.
Pilate washing his hands. (1830.)
View of Orvieto. (Painted in Rome in 1829. Exhibited
in 1830.)
Caligula's Palace and Bridge. Bay of Bala?. (1831.)
Engraved by E. Goodall.
The Vision of Medea. (Painted in Rome in 1829. Ex-
hibited in 1831.)
Watteau Painting. Study by Du Fresnoy's Rules.
(1831.)
lord Percy under Attainder, 1606. (1831.)
Childe Harold's Pilgrimage. (1832.) Engraved by J.
T. Willmore.
Shadrach, Meshach, and Abednego, coming forth from the
Burning Fiery Furnace. (1832.)
The Prince of Orange, afterwards "William III. landing
at Torbay, November the 5th, 1688. (1832.) Vernon
Collection. Engraved by W. Miller.
Venice, the Dogana, Campanile of San Marco, Ducal
Palace, Bridge of Sighs, &c. Canaletti Painting. (1833.)
Vernon Collection. Engraved by J. T. Willmore ; and by
T. A. Prior.
Lake Avernus. The Fates and the Golden Bough.
(1834.) Vernon Collection. Engraved by T. A. Prior ;
and by J. T. Willmore.
Venice, the Canal of the Giudecca, San Giorgio Mag-
giore, the Dogana, &c. (1834.) Vernon Collection. En-
graved by J. T. Willmore.
Heidelberg Castle in the Olden Time. (Painted about
1835.) Turner Collection. Engraved by T. A. Prior.
Regulus leaving Rome, in order to return to Carthage.
(Painted at Rome in 1829. Exhibited at the British In-
stitution in 1837.) Engraved by D. Wilson; and by S.
Bradshaiofor the ' Turner Gallery.'
Apollo and Daphne. The Vale of Tempe. (1837.) En-
graved by E. Brandard.
The Parting of Hero and Leander. (1837.) Engraved
by S. Bradshaw.
Phryne going to the Public Bath as Venus. (1838).
Engraved by J. B. Allen.
Agrippina landing with the Ashes of Germanicus. (1839.)
Turner Collection. Engraved by A. Willmore.
The Fighting Temeraire tugged to her last berth, to be
broken up. (1839.) Engraved by J. T. Willmore.
Bacchus and Ariadne. (1840.) Engraved by C. Cousen.
The New Moon. Sunset, sands at low water. (1840.)
Venice, the Bridge of Sighs. (1840.) Engraved by J,
C. Armytage.
Peace. Burial at Sea of the Body of Sir David "Wilkie.
(1842.) Engraved by J. Cousen.
"War. The Exile and the Rock Limpet. (1842.)
Snow Storm ; Steamboat off a Harbour's Mouth making
Signals, in shallow water, and going by the lead. The
painter was himself in this storm, in the ' Ariel ' off Har-
wich. (1842.) Engraved by B. Brandard.
Shade and Darkness. The Evening of the Deluge. (1843.)
Light and Colour. The Morning after the Deluge. (1843.)
The Opening of the "Walhalla. 1842. Honour to King
Ludwig the First of Bavaria. (1843.) Engraved by diaries
Cousen.
Approach to Venice, looking towards Fusina. (1843.)
Engraved by J. C. Armytage.
The ' Sun of Venice ' going to Sea. (1843.)
Fishing Boats bringing a Disabled Ship into Port Ruys-
dael. (1844.)
Van Tromp's Shallop, at the entrance of the Scheldt.
(1832.)
Rain, Steam, and Speed, the Great Western Railway.
(1814.) Engraved by B. Brandard.
Venice, the Canal of the Giudecca ; the Dogana, and the
church of Santa Maria della Salute. (1844.)
Venice Quay, the ducal palace, the Riva degli Schiavoni,
and the church of San Zaccaria. (1844.)
Venice, Noon, from the Canal of St. Mark. (1845.)
Venice, Sunset, a fisher. (1845.)
Venice, Evening. Going to the Ball. (1846.)
Venice, Morning. Returning from the Ball. (1S46.)
Whalers. (1845.)
Whalers. ' Hurrah for the whaler Erebus, another fish.
(1846.) Engraved by B. Brandard.
Whalers entangled in Ice, boiling Blubber. (1846.)
Queen Mab's Grotto. (British Institution, 1846.)
Undine giving the Ring to Massaniello, Fisherman of
Naples. (1846.)
The Angel standing in the Sun. (1846.)
The Hero of a Hundred Fights, an idea suggested by the
German invocation upon casting the bell, in England called
Tapping the Furnace. (1847.)
JSneas relating his Story to Dido. (1850.)
Mercury sent to admonish iEneas. (1850.)
The Departure of the Trojan Fleet. (1850.)
The Visit to the Tomb. (1850.)
The Battle of Trafalgar, October the 21st, 1805. Sketch
of the large picture at Greenwich. Engraved by W. Miller.
Richmond Bridge. Turner Collection.
Fire at Sea. Unfinished. Engraved by J. Cousen.
Petworth Park. Tillington Church in the distance. Un-
finished. (Painted in 1829.)
Chichester Canal. Unfinished. (Painted in 1829.)
Mountain Glen. Unfinished. The story of Diana and
Actaeon is slightly sketched in, in the fore-ground.
Harvest Home. A Sketch. Unfinished.
TURNER, Wm., draughtsman and painter in
water colours, was born in Oxford circa 1770, and
died there (according to Nagler) in 1840. He de-
voted his pencil chiefly to architectural subjects in
connection with landscape, and was one of the
earliest and most efficient members of the Society
of Painters m Water Colours, established in 1805,
and which at that time, and within the first few
years of it, included Dewint, Glover, Varley, Ni-
cholson, Copley, Fielding, Cattermole, Pugin,
Durrell, David Cox, Harding and Prout, and among
165
VAND]
SUPPLEMENT TO DICTIONARY OF
these distinguished artists ¥m. Turner took equal
rank. Nagler, quoting the Art Union of 1841,
raises our artist as the modern Claude, and attri-
utes to him much of the merit which belongs to
the progress of water-colour painting in England.
*TYSSENS, Peter. The catalogue of the Ant-
werp Museum states that this artist signed his
name Tliys, though it is written Tyssens by his
biographers and in the Registers of St. Luke's.
It also states that he was born in April, 1616,
instead of 1625, as hitherto given by the historians
of Art. Of the date of his death it is added,
nothing is known, except that it must have oc-
curred before June 4, 1683, since on that day the
fraternity of St. Luke came to a decision to pay
his heirs a sum of sixty-eight florins. There are
six pictures bv this artist in the Antwerp Museum.
TWEEDIE, Wm. Menztes, portrait painter,
was born Feb. 28, 1828, in Edinburgh. In 1858,
while resident in Liverpool, he exhibited at the
Royal Academy a portrait of S. R. Graves, Esq.,
of that town, after which in successive years he
exhibited portraits of Henry Layard, Esq., F.
Faed, R A., and in the present year the Right
Hon. Frederick Peel, the Bishop of Oxford, Lord
Taunton, Fred. Arkwright, &c.
V
VANDERBURGH, Jacques Hyppolyte, a
landscape painter, was born at Paris in 1786, and
was the son of a painter of some merit, from whom
he received his hrst instruction in his profession.
Amongst his known works are several views in
Normandy, Sicily, the South of France. Of these
some were published in lithography between the
years 1828 and 1845. He obtained a second class
medal in 1840. He also wrote on art subjects, as
* Methode Nouvelle de Peinture a l'Aquarelle,
(1835) 'Essaisurle Paysage a l'Huile,' &c. (1839).
VANDERLYN, John, an eminent American
painter, was born at Kingston, on the Hudson
river, in the first year of the American inde-
pendence, and received a liberal education at the
academy in his native town. In 1792 he obtained
employment in the store of Mr. Barrow, a large
importer of engravings at New York, with whom
he remained two years. He here first acquired a
taste for the fine arts, which he afterwards cul-
tivated during about nine months, in the studio of
Mr. Stuart, the portrait painter. He visited France
in 1796, and returned home in 1801, bringing
with him some copies he had made after the first
masters. In 1802 he painted two views of ' Falls of
Niagara,' which were engraved, and in the spring
of the following year again visited Europe, where
he remained, residing principally in London, Paris,
and Rome, till 1815. About the year 1807 whilst
at Rome, he painted his celebrated picture of
' Marius amid the Ruins of Carthage,' for which
he received the Napoleon gold medal at Paris ;
and which has since been engraved for the Ame-
rican Art Union. On his return to America he
principally occupied himself with portrait-painting,
Madison, Monroe, Calhoun, Jackson, and other
eminent individuals being among his sitters.
He also painted panoramic views of Paris, Athens,
Versailles, &c, which were exhibited during
several years in New York, and afterwards in the
Southern States, and Havanna. In 1832 he was
commissioned to paint a full-length portrait of
Washington for the hall of the House of Repre-r
sentatives, for which, on its completion, that body
unanimously voted the artist 1500 dollars beyond
the stipulated price. In 1839 he again visited
Paris, whence he returned in 1847, bringing with
him his picture of the Landing of Columbus,
which was exhibited at New York previous to its
being hung in the Capitol. He died iu his native
town, in September, 1852, in his 76th year.
_ VAN SCHENDEL, Peter, one of the prin-
cipal Dutch painters of the 19th century, was born
at Breda in 1806. He studied first at the Amster-
dam Academy, and then at Antwerp, under P.
Van Bree. After visiting the principal cities in
his native country, and exhibiting successfully at
Amsterdam, Rotterdam, Ghent, and Paris, he
established himself in Brussels, and has exhibited
in that city and Paris 'A Market Scene by
Moonlight, and other Lights' (1844) ; several
market scenes at the Hague and other places
in Holland, with peculiar effects of light, 'In-
terior of a Cottage/ ' View of Rotterdam,' « St.
Jerome,' &c. His pictures are distinguished for
their rich impasta, and effective distribution of
light and shade; indeed, for all the qualities
which belong to the perfection of art. Several of
his finest productions were purchased by the
King of Bavaria, and are now at Munich. He
obtained a gold medal at Brussels in 1855, having
previously obtained at Paris a third class medal
in 1844, and one of the second class in 1847.
VARLEY, John, an eminent painter in water-
colours, and one of the Water-colour Society, was
born about the year 1779. He commenced prac-
tice in the early days of the water-colour art ; and
of all his colleagues of that period, none pursued
it in its purity and simplicity more conscientiously
or with more successful results. He surpassed
in this respect even Turner and Girtin, and,
amid all the temptations of modern practice,
seems steadily to have eschewed the lavish use of
body-colour, that rock upon which water-colour
painting seems destined to split. The range of
his imagination was not very large, and oftentimes
his treatment verged on mannerism ; yet a fine
classical feeling and grandeur pervaded his com-
positions, at times reminding one of Gaspar Pous-
sin. Unfortunately, his circumstances compelled
him to work much for the dealers, and therefore
down to the low level of a certain class of pur-
chasers. Mr. Varley published some useful
manuals of the art of drawing, among which may
be named : ' A Practical Treatise on Drawing in
Perspective ;' ' Principles of Landscape Design for
Young Artists,' with 16 mezzotinto plates printed
in bistre, folio. He died in November, 1842. His
younger brother and pupil, William Fleetwood
Varley, who followed the profession chiefly in
teaching, died Feb. 2nd, at the age of 71.
VAUCHELET, Auguste Theophile, was
born at Passy, near Paris, in 1802, and in 1822
entered the Ecole des Beaux Arts, at the same
time placing himself under the tuition of Abel
de Pujol, and Hersent. He obtained the second
prize in painting in 1827, and one of the great
prizes of Rome in 1829, for a picture on the sub-
ject of 'Jacob refusing to part with Benjamin,'
the latter award, however, was afterwards re-
versed ; and the artist made his first appearance
at the Salon in the following year with a portrait.
166
veit]
PAINTERS AND ENGRAVERS.
[VEBN
He has since exhibited ' The First Born,' (1831) ;
♦The Assumption,' (1834); 'The Death of the
Virgin,' (1837) ; ' The Death of Saints Donatien
and Rogatien,' commissioned by the Minister of
the Interior (1839) ; ' Christian Charity,' (1846) ;
and numerous Portraits. ' The Death of the
Virgin ' was exhibited at the Universal Exhibition
at Paris of 1855. He has also painted in the
Gallery of Versailles ' The Capitulation of Mag-
debourg,' and 'The Battle of Ocana,' and several
portraits in the Galerie des Marechaux. He ob-
tained a second class medal in 1831, and a first
class in 1846.
VAULOT, Claude, born 1818, died 1842, a
Erench painter of history, portrait, and genre ; a
pupil of L. Coignet. He painted, inter alia, a
'Death of St. Joseph,' 'Interior of a Coffee-
house,' &c.
VEIT, Philip, a German painter of the purist
or pre-Rapbaelite school, was born at Berlin, in
1793, of Jewish parents. On the death of his
father, who was a banker, his mother,- in 1803,
turned Roman Catholic, at the same time as
Frederick Schlegel, whom she married ; and her
two sons, Philip and John, were baptised in the
same religion. From 1809 to 1811, he studied at
Dresden under Professor Matthai, and subse-
quently, after serving in the Prussian army, prac-
tised painting in Vienna, where his stepfather had
an official appointment, and had become very popu-
lar by his lectures. In 1816 he went to Rome, and
joined the pre-Raphaelite brotherhood of German
artists, which then numbered amongst its members
Cornelius, Overbeck, Schadow, Schnorr, Pforr,
Vogel, and Wachter, all of whom affected a pri-
mitive kind of costume, with long hair flowing
over their shoulders, whence they were nick-
named 'Nazarites.' During his stay at Rome,
Veit painted frescoes in the Villa Bartholdi and
the Villa Massimi. Among those in the former was
his ' Dream of the seven years of Plenty,' which
Count Raczynski has engraved in his work with
great commendation. Among those in the latter
were a series of designs illustrative of Dante's
• Divina Commedia.' The Art Journal of March,
1865, has engraved one of his pictures : ' Christi-
anity introducing the Arts into Germany,' and
speaks of it and of Veit generally with great
commendation, adding : " It may be worth while
to mention ' The Heavenly Stranger,' the sup-
posed origin of Mr. Holman Hunt's ' Light of the
World.' Veit, in taking for his text, " Behold I
stand at the door and knock," adopts a literal
reading, and gives the simple germ of that idea
which our English painter subsequently wrought
out in elaborate detail, and loaded with symbolic
meaning." In 1830, Veit was appointed Director
of the Fine Art Institute at Frankfort, which he
held till 1843, when his numerous commissions
from the King of Prussia and others compelled
him to resign it. Many of his works are engraved,
mostly in lithography, and published or sold at
Frankfurt.
VEIT, John, elder brother of the preceding,
is also a painter of the pre-Raphaelite school, of
acknowledged talent, and has been the companion
of his brother in Vienna and Rome. He subse-
quently established himself at Dresden, where he
is esteemed, but not of equal reputation with his
brother.
VERBEECK, Francis Xavier Henry, born at
Antwerp in 1686, died 1755 ; was a pupil of Peter
167
Casteels, and principally painted battle pieces,
and subjects of that class. From 1741 to 1747,
he filled the office of deacon to the Corporation of
St. Luke, and was one of the directors of the
Royal Academy of Antwerp. In the Antwerp
Museum is a picture by him, representing a meet-
ing of the fraternity of armourers, dated 1713.
VERBCECKHOVEN, Eugene, was born at
Warneton, in "Western Flanders, in 1799, and
studied, we believe, under Ommegangk. _ He
adopted as a spe'cialite animal painting, especially
sheep, but paying almost equal attention to
every description of quadrupeds and birds
known in Europe ; the peculiar characteris-
tics of which he renders with remarkable fide-
lity. Indeed he stands in the first rank of cattle
painters of the present day, and is so full of com-
missions that it is difficult to get anything from
him without infinite patience. As long since as
1834 Baron Rothschild paid him 10,000 francs for
a full-sized landscape, and he has not since painted
anything of the size for less. Amongst his better
known works are, ' Sheep surprised by a Storm,'
' Troop of Horses attacked by a Wolf,' ' Cattle in a
Field,' ' Empsiial, an Arab Stallion,' exhibited at
Brussels, in 1824, and at Paris in 1831. He sent to
the Universal Exhibition of Paris, in 1855, ' Berge-
rie Campinoise,' ' Sheep and Lambs, or the Good
Mother;' and to the Exhibition of 1857, two
' Souvenirs of Scotland.' He has also painted
landscapes, of which ' The Campagna of Rome,'
and ' A View of Mont-Done,' are among the more
noticeable ; and portraits, including those of ' Ho-
race Vernet' and ' Soliman Pasha ' (in grisaille).
He has even attempted sculpture; his plaster
figure, ' Meditation,' showing considerable merit.
He is a knight of the Order of Leopold, and of
the Legion of Honour.
VERBCECKHOVEN, Charles Louis, born in
1802, a brother of the preceding, from whom he
received his first instructions in painting, and in
the same line ; but afterwards took to marine
painting. He has resided a long time in Holland,
and has taken his principal subjects from the
coast scenery of that country. Amongst his
works of this class, are ' Fishing Boats at An-
chor, drying sails,' ' The Tide rising,' ' Fishing
Boats in sight of the Fort at Lillo, near Amster-
dam,' and ' View of the Port of Flushing ;' the
last two of which were seen at the Paris Universal
Exhibition of 1855. He received medals at Brus-
sels in 1833, and 1836.
VERELLEN, — an historical painter* a native
of Antwerp, obtained the prize in 1816, for ' Ju-
piter and Mercury in the house of Philemon and
Baucis,' which is now in the Brussels Museum.
VERHEYEN, John Henry, a painter of
landscape and street views in the manner of Van-
der Hey den, was born at Utrecht in 1778, and
died in 1846. His pictures are much esteemed
in Holland. At Rotterdam are three of his views of
Utrecht, viz. ; ' The Place St. Marie,' ' The Church
of St. Gertrude,' and ' The Bridge over the Canal.'
VERNET, John Emilius Horace, son of
the celebrated Carle Vernet, was born in the
Louvre, at Paris, in which palace his father occu-
pied apartments, on the 30th June, 1789, the year
of the death of his grandfather. Under the art-
influences assembled around him, it is not to be
wondered at that he should early make up hia
mind to become a painter. His first instructions
in drawing he received from his father, and ho
verkJ
SUPPLEMENT TO DICTIONARY OF
[VEKN
afterwards worked some time in the atelier of M
Vincent, a painter of some celebrity under the
Consulate. The first money received by Horace
Vernet, in the exercise of his profession, was while
he was yet in childhood. At the age of eleven
years he made a drawing of a tulip for Madame
de Perigord, for which she paid him twenty-four
sous ; and at the age of thirteen he had sufficient
commissions to support himself. One of his ear-
liest efforts was a vignette designed for a
card of invitation to the imperial hunting
parties, which was of such merit that an en-
graver of considerable reputation — Duplesis Ber-
taux — did not hesitate to pronounce it worthy of
his own burin. Commissions began to flow in
upon young Vernet, drawings at six francs,
and pictures at twenty. He worked principally
for the Journal des Modes, for which he became the
acknowledged draughtsman. At the age of twenty
he tried for the prize in classic painting, which en-
titled the winner to the travellingpension, butfailed.
Nor was he generally successful in the competi-
tion for academic honours, having little taste for
the classic principles of the school then in vogue
under David, whose authority, still all but su-
preme, was on the eve of its decline. Horace
Vernet was among the first of the French artists
who saw that the Greeks and Romans had already
had their day, and to feel that he was com-
petent to assist at a grand crisis in Art, and
that the particular period would claim for it-
self those great men who should signalize them-
selves amid the turmoil of their times. Moved
by a natural inclination for a military life, and
having served some time in the ranks of the
French army, he was an enthusiastic admirer of
Napoleon, and early devoted himself to the cele-
bration of the triumphs of his country's arms.
In order to check a strong inclination for a mili-
tary career, he was induced by his father to marry
at an early age ; thus, at twenty, he took upon
himself the cares of a household, for which, as his
family was rich only in reputation, his exertions
were now taxed to provide : hence, to those habits
of industry, seconded by his marvellous facility
of execution, he is indebted for the reputation of
being the most prolific artist that ever existed,
having, up to the present time, made more than
1200drawings, nearly 100 portraits, all of important
persons, and at least 300 pictures, many of which
are large and complex compositions. He exhibited
for the first time in 1809, from which period he
unremittingly laboured in the execution of a series
of works so well known as to require no descrip-
tion, although, even for a perfect list of these, a
more lengthened biography than this would be
called for. Of a few of the most popular of these
works the subjects are :— ' The Entrance of the
French Army into Breslau,' 'The Barriere de
Clichy,' the ' Battle of Jemappes ' ' The Dog of
the Regiment,' ' The Wounded Trumpeter,' ' The
Massacre of the Mamelukes,' 'Joseph Vernet
lashed to the Mast of a Vessel, and sketching a
Storm,' &c. In 1814 he was enrolled in the Le-
gion of Honour, for the active part which he had
taken in the defence of Paris j and in 1825, he
was promoted to the grade of officer by Charles
X., and in 1842 he was appointed commander of
the order by the late King of the French, a dis-
tinction at which he, of all the French School of
Art, has alone arrived, In 1826 he was elected
a member of the Institute. In August, 1828,
Horace Vernet was appointed Director of the
French Academy at Rome, an office which he filled
until the 1st of January, 1839 ; and at no other
period has this school been so ably conducted, and
never have the labours of the pensioned student
been in every respect so profitable as under the
direction of this distinguished painter, whose ex-
traordinary diligence and singular power of exe-
cution exercised a most salutary influence even on
the most indolent. When the revolution of 1830
broke out, the whole of the French legation at
Rome retired to Naples, where the ambassador
had already been for some time ; and thus the
Director of the Academy was left at Rome alone,
the only French functionary that remained there,
in which position of affairs M. Vernet was nomi-
nated the diplomatic representative of France at
the Holy See — a signal distinction for an artist —
with full powers to treat directly with the Papal
Government, and amid circumstances of great
difficulty. He acquitted himself, however, with
such firmness and judgment, as to gain the entire
and unqualified approbation of the French Go-
vernment, the expression of which was con-
veyed to him in a letter written by M. Guizot,
then Minister of the Interior. Vernet's study of
the ancient masters during a residence of five
years at Rome, led him to adopt a class of subjects
differing from those to which he had hitherto
chiefly devoted himself. To the Paris Exhibition,
in 1831, he sent a ' Judith and Holofernes,' and
two years afterwards, ' Raphael and Michael An-
gelo in the Vatican,' both of which are in the
Luxembourg. Afterwards followed 'The arrest-
ing of the Prisoners in the Palais Boyal, by order
of Anne of Austria,' ' Confession of a dying Bri-
gand,' ' Pope Leo XII. carried into St Peter's,'
&c. But in obedience to what seemed the behests
of the popular taste, he again recurred to his ori-
ginal field of study. In 1836, he exhibited four
pieces — ' Friedland,' ' Wagrarn,' ' Jena,' and ' Fon-
tenoy,' in which were apparent all his usual excel-
lences. The occupation of the Algerine territories
by the French troops afforded the artist an oppor-
tunity of exhibiting his powers in that department
most suited to them. A whole gallery at Ver-
sailles was set apart for the battle-painter, called
the Constantine Gallery, after the most important
feat of arms yet performed by the French troops
in Africa — the taking of the town of Constantine.
Some of the solitary and extraordinary, we might
say accidental, military exploits in Europe of
Louis Philippe's reign, are also commemorated
there. ' The Occupation of Ancona,' ' The Entry
of the Army into Belgium,' ' The Attack of the
Citadel of Antwerp,' ' The Fleet forcing the Ta-
gus,' show that nothing is forgotten of the Conti-
nental doings. The African feats are almost too
many to enumerate. There are also in the Gal-
lery of French History, at Versailles, several
others of his, such as the 'Battle of Bouvines,'
' Charles X. reviewing the National Guard,' the
'Marshal St. Cyr,' the 'Battle of Valmy,' and of
' Jemappes.' In them the qualities of the ar-
tist are manifested more fully, we think, than in
any others of his works. They are full of that'
energy, vivacity, and daguerreotypic verity, which
he so eminently displays. There is none of that
pretension after high art which has injured the
effect of some of his pictures. The rapidity of
their execution too in general was such, that the
public had hardly finished reading the last news
168
teen]
PAINTERS AND ENGRAVERS.
of the combats, when the artist, returned in many-
cases from witnessing the scenes, had placed them
on the canvas, and offered them to the popular
gaze. Yet the canvasses are in many cases of
great extent, and, often, the figures life-size. But
the artist rarely employed the model, painting
mostly from memory — a faculty most astonish-
ingly developed in bim. Vernet several times at-
tempted Biblical subjects, but they have never
succeeded so well as to add anything to his fame
of battle-painter. ' Judas and Tkamar,' ' Agar
dismissed by Abraham,' ' Rebecca at the Foun-
tain,' ' Judith with the head of Holofernes,' ' The
Good Samaritan,' have rather served to illustrate
Arab costume and manners, which he makes out
to be the same as, or very similar to, those of old
Biblical times, than to illustrate his own power in
the higher ranges of art. He died in Paris, on
the 17th of January, 1863.
VERSTRAATEN, L. The catalogue of the
Antwerp Museum makes mention of an artist of
this name, as having painted the architectural por-
tion of a picture by Baltham van Borch, represent-
ing a ceremonial of the Society of Cross-bowmen,
in the Gallery of that institution. Verstraaten,
it is stated, appears to have died about the year
1729.
VICKERS, Alfred, landscape painter, was,
born Sept. 10th, 1786, at St. Mary, Newington,
Surrey. At an early age he devoted himself to
the study of Nature, without any special direc-
tion or instruction from teachers ; but he took
every opportunity of studying the works of those
grand old masters of landscape, Ruysdael, Hob-
bema, and Wynants; and among the moderns,
in preference to all others, Collins and Calcott.
He has exhibited at the Royal Academy, and at
almost every other exhibition in England and
Scotland, with different degrees of praise and suc-
cess ; but his great facility of execution, and his
industry, have so multiplied his pictures in the
market, as to keep them low in price ; indeed, he
began too low, and has never sufficiently ab-
stained from producing, to recover this mistake.
His pictures of English scenery, however, which
is his forte, are well conceived, and pleasing in
effect, and when carefully finished, which they
occasionally are, deserve a place in every general
collection. In looking over the pages of the Art
Journal for some criticism on his works, we find
a picture he exhibited at the British Institution,
in 1847, thus described : — " ' A Road through a
wood in Taff Vale, South Wales.' This is one of
the best landscapes in the Gallery ; it is of sin-
gular truth, but rendered with a fine poetic feel-
ing. The centre of the picture, in which a bye-
road runs between trees, is worthy of any land-
scape painter of the age."
VICKERS, Alfeed Gomeesal, marine and
landscape painter, son of Alfred Vickers, was born
at Lambeth, April 21st, 1810, and died at Penton-
ville, January 12th, 1837. Excepting what he
may have learnt from his father, he was the stu-
dent of Nature and an artist by instinct. He
had been introduced by his friend, the late Mr.
Samuel Woodburn, to Sir David Wilkie, who
pronounced a high eulogium on his drawing ;
indeed, it was augured that, had he lived, he
would have rivalled Stanfield. At the age of 24,
he received a commission from Mr. Charles Heath,
of £500, to go to Russia for subjects, and on pub-
lication of the work, he was congratulated by Mr.
169
Heath upon its great success. Both hia oil pic-
tures and his water-colour drawings are scarce.
One of his drawings, * The Entrance to a Russian
Harbour,' was sold in the late Mr. Bicknell's
collection, for twenty guineas and a half.
VIEILLEVOYE, Petee Joseph Celestine.
Born at Verviers in 1798, died 1855. In the Brus-
sels Museum is the study of the Head of an Old
Man, by him.
VINCENT, Geoege, a painter of the Norwich
school, pupil of Old Crome, and contemporary
with James Stark. His pictures consist chiefly of
landscape and shipping, and are well and richly
painted. He exhibited at the Royal Academy in
1814, ' A Scene near Norwich ;' in 1818 ' Forest
Scene, Evening ;' in 1819 ' Sheep crossing the
Brook, Morning;' in 1821 'Landscape and
Cattle ;' in 1822 ' View of Whitlingham near Nor-
wich,' and two others ; in 1823 ' Yarmouth Quay/
and after that date at the British Institution up to
1830. Soon after which he died.
VLIEGER, Seraphin de, of Eecloo, a Flemish
painter of portraits and genre subjects, who ob-
tained the prize at Ghent in 1827 for a picture of
' An Artisan at Prayer,' which is in the Brussels
Museum. According to Siret he died in 1848.
*VOORT, Michael Francis van dee, son
of a painter named Joseph Van der Voort, was
born at Antwerp, in April, 1714. He became
deacon of the Corporation of St Luke, in 1752,
and in the same year was nominated one of the six
directors of the Academy in the above named
city ; succeeding Peter Snyers in the latter capa-
city. He died in 1777. In the Antwerp Museum
are two allegorical subjects, painted in grisaille,
in bas-relief, containing the arms of the Abb^- of
St. Michael, with allegorical groups representing
Justice, Power, Prudence, Hope, Charity, &c.
*VOS, Cornelius de, one of the many artista
of this name was born at Hulst, as supposed,
about the year 1585. He painted history and por-
trait with considerable success ; although not de-
ficient in originality, he exhibited in many of his
works the effect of the influence of the great head
of the modern Flemish School. He was a friend
of Van Dyck, who painted his portrait. He died
in 1651. The Antwerp Museum contains several
of this artist's productions, including ' St. Norbert
gathering up the Sacred Host, and the Holy Ves-
sels which had been concealed during the reign of
the heresy of Tankalen,' 'The Adoration of the
Magi,' and some votive portrait groups. And in
the church of Notre Dame in the same city is a
triptych of the Descent of the Saviour, and por-
traits of the painter John de Wael and his wife, &c.
UWINS, Thomas, was born in London on the
25th of February, 1782. In his earliest years he
gave indications of his love of art, and accordingly
was placed with an engraver of the name of Smith,
whose practice, however, was little congenial with
this pupil's aspirations. But he remained suffi-
ciently long with him to form an acquaintance
with some men of talent, which paved the way for
his future advancement; as they induced him, by
their representations, to become a student of the
Royal Academy, and also to enter himself in the
anatomical class of Sir Charles Bell. To obtain
means of subsistence he made drawings for illus-
trated books, and copies in water-colours of the
works of the old masters, for the purpose of engrav-
ing. He also took up water-colour generally, and
in 1811, we find him a member of, and acting as
ttwin]
SUPPLEMENT TO DICTIONARY OF
[ttwtn
secretary to, the ' Society of Painters in Water
Colours,' to whose exhibitions he was a valuable
contributor. In 1814 Mr. Uwins visited the South
of France, and shortly afterwards Scotland, passing
two years in Edinburgh, where he acquired con-
siderable reputation as a portrait-painter. In the
autumn of 1826, he went to Geneva, where, meet-
ing with some brother artists, he accompanied
them through the valley of Chamouni, and then
proceeded direct to Florence and Eome, and after-
wards to Naples and Venice, returning to England
in 1831. In the following year he exhibited at
the Royal Academy a picture which, from the
novelty of the subject and the admirable style of
its treatment, gained for the painter a deserved
celebrity ; it represented ' The Interior of a Saint
Manufactory at Naples.' The merits of this work
were too obvious to be overlooked by the members
of the Academy, who, in 1833, elected Mr.
Uwins one of their Associates. The ' Saint Manu-
factory' was succeeded by ' Taking the Veil,' and
many other Italian, chiefly Neapolitan, subjects ;
and in 1839 Mr. Uwins was chosen Academician.
All his pictures are characterised by graceful
composition and delicate execution. He was
the first painter whose diploma was signed by
Queen Victoria. In 1842 he was appointed by
the Queen, Surveyor of the Royal Pictures ; and
in 1847 he was made Keeper of the National Gal-
lery, a post which he resigned in 1855. He was
also one of the artists selected to execute some
frescoes in the Pavilion at Buckingham Palace ;
and soon afterwards nominated by her Majesty to
the office of Librarian in the Royal Academy, va-
cant by the resignation of Mr. Eastlake. He died
at Staines on the 25th of August, 1857. In the
National Gallery (Vernon Collection), are two
pictures by him : ' The Vintage in the Claret Vine-
yards on the banks of the Gironde, South of
France,' (exhibited in 1848, and engraved by
Cousins aud Lumb Stocks), and ' Le Chapeau de
Brigand,' (exhibited in 1843, now in the National
Collection, and also engraved by Lumb Stocks).
His picture of ' St. John proclaiming the Messiah,'
which has been engraved by Mr. Outrim, sold at
Mr. Bicknell's sale for 50 guineas.
170
WACH]
PAINTEES AND ENGEAVEBS.
[WABD
w
WACH, Charles William, a distinguished
historical and portrait painter, and one of those
reformers whose works have contributed to es-
tablish the modern German school, was born at
Berlin in 1790, of highly respectable parentage,
and commenced his studies in art under Kretsch-
tnar. Compared with the average productions of
that period, even his earliest productions displayed
superior talent ; but his studies were interrupted
by the events of 1813, which obliged him to
serve as an officer in the Prussian militia. Even
then, however, he did not entirely lay aside his
pencil. After the general peace he remained some
time at Paris, studying the works of art then col-
lected in that capital, and next visited Italy, where
he joined Cornelius, Overbeck, Begas.W. Schadow,
and others who have since become celebrities in
German art. On his return to Berlin, in 1819, he
immediately rose into high credit and favour with
the public, more especially as a portrait-painter,
in which character he stood pre-eminent among
his countrymen and contemporaries. Wach was
speedily appointed professor of the Academy at
Berlin, and then gave great attention to the che-
mical preparation of colours and varnishes ; and
his labours are said to have been attended by some
important and valuable results. He died of
nervous fever, terminating in inflammation of the
brain, on the 24th November, 1845.
WACHTEE, Eberhard, historical painter,
was born at Stuttgard; or according to some
authors at Bahlingen in 1762, and died in 1852.
He studied some time in Italy, and afterwards
practised at Vienna, where he enjoyed some re-
putation. His paintings, which are very nume-
rous, are to be found in most of the principal
churches, museums, and galleries in Germany;
they consist chiefly of scriptural, mythological,
or historical subjects. They display a pleasing
fancy, but are weak in execution, particularly as
regards colour.
WAHLBOM, John W. C, a Swedish draughts-
man, born at Calmar in 1810, was admitted in
1824 into the Military Academy at Carlberg, and
afterwards pursued his art studies at the Aca-
demy of Stockholm, under Ling and Bystroem.
Assisted by a pension from the Academy, he
visited the galleries of Germany, France, and
Italy, returning to Stockholm in 1849, when he
was appointed professor of drawing to the Aca-
demy. Ill health, however, obliged him again
to leave his native country, and he has since re-
sided chiefly at Eome and Paris. He has pub-
lished amongst other works ' A Series of National
Portraits from 1520 to 1632, with Historical
Notices by K. A. Nicander,' (1830), '1' Album
Lithographique,' (1836), and is one of the con-
tributors to the 'Musee Scientifique et His-
torique,' published by G. A. Mellin.
*WANS, John Baptist Martin, a marine and
landscape painter, slightly mentioned in Stanley's
Bryan, but without his christian name. Corneille
de Bie, in his manuscript additions to his ' Gulden
Cabinet,' and which the late Mr. J. B. Van der
Straelen took occasion to transcribe in 1836,
makes this brief announcement of him :— " Wans,
painter of landscape, and captain of the Burgher
Guard of Antwerp." A large picture by him of the
' Ascent of Elias into Heaven,' is preserved in the
Carmelite Church at Antwerp, and there is a fine
landscape, with an oak in the foreground, in the
Antwerp Museum ; the small figures in the latter
were added by John Leemans, who died in 1855.
(Born 1628 ; date of death unknown).
WAPPEBS, GtrsTAVTJS, a Belgian historical
and portrait painter, was born at Antwerp in
1803, and received his first instructions in art in
the Academy of his native town, under Van
Heyrens and Matthew Van Bree. He afterwards
went to Paris, where he became a votary of the
new romantic school, the inspirations of which he
afterwards attempted to reconcile with the national
traditions of th e Eubens school. On his return to
Belgium in 1830, he exhibited ' The Self-Devotion
of the Burgomasters of Leyden,' a fine work,
which at once established him as the centre of a
school. After the Eevolution of September, in
which he took an active part, he successively ex-
hibited ' Christ at the Sepulchre,' ' A Scene in the
Days of September,' 'Charles I. taking Leave
of his Children,' ' Charles IX. during the Mas-
sacre of St Bartholomew,' ' The Temptation of
St. Anthony,' ' Christopher Columbus,' « Peter the
Great amongst the Ship Carpenters at Saar-
burg,' 'The Execution of Anne Boleyn/ 'Boc-
caccio and Joan of Naples,' &c. He also painted,
at the request of King Louis Philippe, ' The De-
fence of the Isle of Ehodes by the Knights of St.
John,' for the Gallery at Versailles, and for
Queen Victoria ' The Great Fishery of Antwerp.'
Mr. Wappers was appointed Director of the
Academy at Antwerp in 1846 ; a post which he
resigned in 1853, being succeeded by M. N.
de Keyser. He was also appointed first painter
to the King of the Belgians in 1847, with the rank
of Baron.
WAED, James, E.A., a skilful English en-
graver of landscape, but more eminent as a
cattle painter, belonged to a family whose
various members were closely allied to the
profession of the arts. He was the brother of
William Ward, the engraver, who married Maria
Morland, the sister of the celebrated painter— a
family connection which was strengthened by the
marriage of the latter with the sister of J ames and
William Ward. Further, James Ward was
father-in-law of Jackson, the painter; father of
G. E. Ward, the eminent engraver, whose daugh-
ter is married to E. M. Ward, E.A. (no relation
of the family); and brother of William James
Ward, the engraver, who died in 1826. This
artist was born in Thames Street, London, on the
23rd of October, 1769. He commenced his career
as an engraver, serving an eight years' ap-
prenticeship to his brother William. He pursued
this business till fully thirty-five years of age,
occasionally amusing himself with painting, for
which he had a strong predilection. He at length
abandoned engraving for animal-painting (giving
up £2000 worth of commissions), much against
the advice of his friends. Opie, Hoppner, and
others in the profession, tried hard to dissuade
him, declaring that they should lose the best
engraver of the day, and have a very bad painter
in exchange. His early works in painting very
much resembled those of Morland in manner;
and some of them were engraved and published as
by the latter. But his study of anatomy under
wabd]
SUPPLEMENT TO DICTIONARY OF
[wabd
Brooks gave him the power of executing works of a
much higher character than his eccentric brother-
in-law ever attempted. His success in this line
was such that, as we are told, in the zenith of his
fame he frequently earned from £50 to £70 a day
by painting portraits of horses and bulls. He
had a fine taste for landscape also, which he dis-
played in ample variety in his numerous works
of local, especially Thames-bank, scenery. The
history of one of large dimensions, which he
painted for the first Lord Eibblesdale (whose
son was then a pupil of the artist), about the year
1814, is remarkable as illustrating the official
neglect of native art in this country. The subject
was Gordale Scar, a bold rock in Yorkshire, with
a group of cattle introduced, under a Eembrand-
tish effect of light and shade. Thi3 picture was
presented by his Lordship to the British Museum,
who intended it for the National Gallery when
one should be established. But so lightly was
this effort of native talent prized by the authorities
of that establishment that it was suffered to re-
main rolled up in the hall until the new buildings
were commenced, when it was consigned to a cel-
lar to rot unseen, in spite of the remonstrances of
numerous friends of the artist and of art who were
aware of its ignominious fate. At length, a few
years ago, (1858) by dint of great exertion the
Curator of the Museum was induced to write to
the present Lord Eibblesdale, who consented to
receive back the hapless foundling. Another
remarkable work of our artist, who had a lurking
ambition for higher subjects than those of the
stable-yard and paddock, was the grand allegorical
picture of ' The Triumph of the Duke of Welling-
ton,' painted apropos of the Battle of Waterloo,
about the year 1817. This picture was painted
for the British Institution, who awarded to it the
prize of 1000 guineas, and then presented it to Chel-
sea Hospital. There it was exhibited for some years
amongst other art-treasures in the building, until,
through some whim or caprice of a noble lord
who afterwards happened to fill the office of
Governor, it was removed from the walls and
stowed away in a lumber-room, where, we believe,
it has remained ever since. But the most im-
portant of the works of the artist was ' The
Bull Family,' representing a noble bull, cow, and
calf, in a rich and beautiful landscape, painted in
the year 1821, in rivalry of Paul Potter's famous
bull, which, however, Ward had never seen. It
will be recollected as having been exhibited at the
Manchester Art-Treasures Exhibition, (1857) and
at the International Exhibition, (1862). All the
animals in this picture were painted from originals
in the grounds of Mr. Allnutt at Clapham. The
fine, fiery expression of the bull, we are told, was
seized at a peculiarly happy moment, when the
' sitter' was exasperated at an insult offered to him
by a bovine rival. This fine picture has since been
Jurchased for the National Gallery for £1500.
n that portion of the national collection tempora-
rily located at the South Kensington Museum are
two other examples of this painter — ' The Council
of Horses,' and ' A Scene in Lord de Tabley's
Park,' both being amongst the pictures bequeathed
by Mr. Vernon. Mr. Ward was elected an as-
sociate of the Eoyal Academy in 1807, and a full
member in 1811. He was an early riser, an in-
defatigable worker, and continued to exhibit his
six or eight pictures every season at the Royal
Academy, till his eighty-sixth year, when an at-
tack of paralysis stayed his hand. During the
last thirty years of his life he resided at Cheshunt,
where he died on the 17th of November, 1859, in
the 91st year of his age. Ward's works in engrav-
ing are justly and highly prized. A pair of them
fetched forty guineas at a sale many years ago ;
being about ten times the price at which they
were published. On his retirement from this line
of business he presented to the British Museum a
complete set of all the plates he had engraved in
all their successive stages, amounting to three
hundred impressions.
WAED, Edwaed Mathew, was born in Bel-
grave Place, Pimlico, in the year 1816, and mani-
fested, at a very early period, that inclination to
pursue the Arts as a profession, which has since
led to the achievement of considerable distinction.
At the age of fourteen, he obtained a silver pal-
lette at the Society of Arts, for a drawing in pen
and ink, and about the same time he made several
original designs from the works of his uncles
Horace and James Smith, authors of the Eejected
Addresses, and from those of Washington Irving.
His formal studies were begun at the age of sixteen ;
and among those to whom he was earliest indebted
for encouragement, were Sir Francis Chantrey and
Sir David Wilkie ; from the latter of whom he ob-
tained a letter of recommendation as a probationer,
the result of which was his admission as a student
of the Eoyal Academy in 1835. In the same year
he exhibited at the Society of British Artists a
portrait of Mr. O. Smith, the actor, as * Don Quix-
otte.' In 1836 he visited Eome, where he remained
three years. In 1838 Mr. Ward obtained a silver
medal, in the class of historical composition, in the
Academy of St. Luke. Subsequently, he visited
and resided for some time at Munich, studying
painting in fresco under Cornelius. Returning to
England in 1839, he first exhibited a picture of
' Cimabue and Giotto,' by which he gathered
" golden opinions." In 1840 he exhibited at the
Eoyal Academy 'A Scene from King Lear,' and
in 1843, at the British Institution, ' Buonaparte
in the Prison at Nice,' which was purchased by
the Duke of Wellington. In the same year he
entered the cartoon competition in Westminster
Hall, with 'Boadicea' for his subject, but it
failed to gain a prize. He also exhibited at
the Eoyal Academy a picture of 'Dr. John-
son reading the Manuscript of Goldsmith's
Vicar of Wakefield' (since engraved), which
attracted great attention, and opened a new
field, which we may describe as that of ' anecdotal
history,' for his pencil. ' A Scene from the Early
Life of Oliver Goldsmith,' representing him as an
itinerant nainstrel in France, followed; and in 1815,
a still more decided success was achieved in 'A
Scene in Lord Chesterfield's Ante-room, in 1748,'
showing Dr. Johnson waiting amidst a group of
J loungers in the Earl's ante-room— quite dramatic
| in material, and most skilfully treated. Afterwards
I came, in 1846, 'The Disgrace of Lord Clarendon'
I (purchased by Lord Northwick, and, at the sale
of his lordship's pictures in 1859, sold for 805
guineas), and in 1847, 'The South Sea Bub-
ble' — a marvellous glimpse of society in Change
Alley in those mad speculative times — and per-
haps the best picture yet produced by the ar-
tist. This, and the scene in Chesterfield's ante-
room, are in the National Gallery (Vernon col-
lection). In 1848 appeared ' London during the
Great Fire, in 1666, as seen from Highgate Fielde,'
PAINTEES AND ENGRAVERS.
and 'Charles II. and Nell Gwynn ;' in 1849,
* "West's First Effort in Art,' and ' Daniel Defoe
with the Manuscript of Eobinson Crusoe in 1850,
' Isaac Walton Angling,' and ' James II. receiving
Tidings of the Landing of Prince William of
Orange,' which was purchased by Mr. Jacob Bell,
and presented by him to the nation. The artist now
adopted an impressive class of subjects, drawn from
the story of the French Eevolution ; producing in
1851, ' The Eoyal Family of France in the Prison of
the Temple ;' in 1852, ' Charlotte Corday going to
Execution ;' in 1853, ' Josephine signing the Act
of her Divorce ;' in 1856, * Marie Antoinette part-
ing with her Son :' and in 1859, ' Marie Antoi-
nette listening to the Act of Accusation ;' a series
which have perhaps done more to establish his
popularity than any other of his works. In the
course of the same period, also, he produced, 1853,
' The Execution of Montrose ;' and in 1854, ' The
Last Sleep of Argyll.' In 1858, two portrait pic-
tures, painted by command of Her Majesty, re-
£ resenting respectively, ' The Emperor of the
rench receiving the Order of the Garter from
Her Majesty,' and ' The Queen visiting the
Tomb of Napoleon I.,' also 'Alice Lisle conceal-
ing the Fugitive after the Battle of Sedgemore.' In
1861 he exhibited one of the most showy of all his
efforts — ' The Ante-chamber at Whitehall during
the Dying Moments of Charles II.,' being an at-
tempt to represent the effect produced upon a mis-
cellaneous assemblage of worthless and uninter-
esting individuals, by a solemn event supposed to
be taking place off the scene ; in 1863, ' Char-
lotte Corday contemplating her portrait before
her execution ;' in 1865, ' The Night of Rizzio's
Murder,' and at Gambart's Winter Exhibition of
the same year, 'Dr. Johnson's First Interview
with John Wilkes,' which the ' Atheneeum' praises
as " one of the best of Mr. Ward's pictures of
that class." In 1853, Mr. Ward received in-
structions from the Fine Arts Commissioners to
paint a series of eight pictures for the corridor
of the House of Commons. Four of these have
been completed; viz.; 'The Execution of Mon-
trose,' ' The Last Sleep of Argyll,' ' Alice Lisle
concealing the Fugitives,' and ' The Flight of
Charles II. with Lady Jane after the Battle of
Worcester.' They were originally painted in
oil, but the commissioners afterwards determined
not to have any more works in that style, being-
found unsuited to the lighting of the building,
and they were consequently repeated in fresco,
which material, we are sorry to learn, owing to
some unfavourable condition in the material of
the walls, or their site, or some defect in the
preparation of the pigments employed, already
exhibit signs of decay. The subjects adopted for
the four remaining works, intended to complete
the series, are — ' Monk declaring for a free Parlia-
ment,' "The Landing of Charles II. at Dover,'
* The Acquittal of the Seven Bishops,' and ' The
Lords and Commons presenting the Crown to
William and Mary.' Mr. Ward possesses consi-
derable ability, a good notion of effect, and great
Sainstaking in the marshalling and realization of
etails. Perhaps his grandest conception, and
the nearest approach to the dignity of his-
tory, is the picture of the devoted Charlotte
Corday ; but his colouring is somewhat hard, and
often too opaque and dark. Mr. Ward was
elected an Associate of the Eoyal Academy
in 1846, and E.A. in 1855. His wife, Henrietta,
I is the daughter of Mr. George Eaphael Ward,
I the eminent engraver, and the granddaughter
of the late James Ward, E.A., the cattle painter,
and is herself an artist of ability in the higher de-
partments, and especially in domestic subjects; many
of the infantine scenes she depicts so pleasingly,
being probably taken within her own family circle.
WAEEEN, Henry, water-colour painter, was
born in London, Sept. 24, 1798. He evinced an
early taste for Art, but for a while was almost
equally divided between painting, sculpture, and
music. He first entered the atelier of Nolle-
kens, the sculptor, where he had John Gibson and
Bonomi as his companions. In 1818 he entered
the school of the Eoyal Academy, and took to
painting. His first productions were in oils, of
which he exhibited several at the Academy ; but,
in 1835, another modification took place in his pur-
pose, being induced to join the New Society of
Painters in Water Colours, of which, some years
afterwards, he was elected President. In this
branch of art, Mr. Warren has distinguished him-
self by a fertile fancy, and a rich and glowing
style of treatment, his subjects comprising history,
poetry, and landscape. Although never in the
East, many of his most effective productions have
been illustrative of oriental life. Mr. Warren has
used his pen as well as his pencil : he has. pub-
lished an antiquarian work on the river Eavens-
bourne, in Kent, illustrated by lithographic views
drawn by himself, and two little volumes of fun,
entitled respectively ' Notes upon Notes,' ' Hints
upon Tints,' besides some elementary essays on
Art. He is an honorary member of the ' Societe
Belgique des Aquarellistes,' and of the Pennsylva-
nian Academy of Arts. Mr. Warren was one
of the Eoyal Commissioners for the Fine Arts in
the great Paris Exhibition. His drawings are
held in great estimation, and have been sold, we
are informed, as high as 500 guinees. A small
one, sold April 29, 1863, in the late Mr. Bick-
nell's collection, for 150 guineas. It is thus de-
scribed :— ' H. Warren, P.N. W.C.S. Eebecca at
the Well, obtained from the artist.' His son,
Edmund George, follows in his father's foot-
steps, as a landscape painter in water colours, and
many of his works have already, and deservedly,
attracted much notice and admiration.
WATELET, Louis Stephen, a French land-
scape painter, was born at Paris in 1780 ; com-
menced early the study of the arts of design, and
made his first appearance a,t the Salon of 1799. He
afterwards travelled in Italy, the Tyrol, Belgium,
and other countries, taking views of the most pic
turesque sites. He exhibited largely during up-
wards of half a century ; amongst his works may
be cited 'The Mill at Essone ;' ' The Arrival of Na-
poleon I. at Louisbourg ;' ' A Dance of Shepherds
' Henry IV. and Captain Michaud,' (an historical
landscape at Fontaiubleau) ; ' St. Jerome in the
Desert ;' ' The Fall of the Leaf;' ' Views of Abbe-
ville;' 'The Lake of Albano ;' ' Innspruck ;' ' The
Tyrol,' (1841-50); 'Effects of a Storm,' (1857), &c.
M. Watelet obtained a second class medal in 1810;
a first class in 1819 ; and the decoration of the
Legion of Honour iu 1825.
WATSON, J. D., a painter of genre subjects,
has exhibited annually at the Eoyal Academy
since 1853, and occasionally at the Winter Exhibi-
tion in Pall Mall. He is an artist in fair estimation,
as may be gathered from the following criticism,
which appeared in the ' Times' of Nov. 1st, 1865, oa
373
WATS]
SUPPLEMENT TO
DICTIONARY OF
[webe
a picture exhibited by him in Pall Mall : " Last,
but not least among the figure-pictures here, we
should notice Mr. Watson's ' Retainer preparing
a Cudgel' (112), a single figure, in red hood and
tight hose, cutting a stick with an earnestness of
purpose which bodes no good to the shoulders on
which it is meant to be tried. We have no young
painter who shows a more decided power of in-
forming his figures with intention. His drawing
and colouring are equally good, and from his
various works in oil and water colour, and in
book illustration, as well as in the exhibitions, we
cannot but augur for him a high place in our
younger school of historical painters. How far
his powers as an inventor and painter can carry
him beyond single figures, or illustrations of the
ideas of other men, we have not yet the means of
judging ; but we can hardly believe that the
accuracy of workmanship and truth of conception
which he manifests in what he has done already,
will be limited to the range within which he has
hitherto wrought." In 1865 he exhibited at the
Royal Academy a picture with this inscription,
" No Lady but at some time loves her glass — Ben
Jonson," which was commended.
WATT, James Heney, an English engraver,
was born at London in 1799, and at the age of
sixteen entered the work room of Charles Heath ;
whose facile and agreeable style he successfully fol-
lowed. His works are very numerous, being prin-
cipally reproductions of pictures of the modern
English school, as, after Landseer, ' The Departure
of the Cattle Dealer ;' and ' A Courtyard in the
Olden Time,' (both of which were sent to the Uni-
versal Exhibition of Paris, 1855) ; after Stothard,
' The Procession of the Flitch of Bacon ;' after
Leslie, 'The First of May in the Days of Queen
Elizabeth ;' and after Eastlake, ' Christ and the
Little Children ;' besides several portraits and vig-
nettes for books.
WATTIER, Emil, a French painter of genre
subjects, in the manner of Watteau and Boucher,
was born in Paris, in 1803, and studied under
Baron G-ros. Nagler terms him the ' Modern
Watteau,' and says that Prince Galitzin (re-
nowned for his taste,) gave him a commission, in
1847, to paint the boudoir of his Princess with
' The Four Seasons,' ' The Four Elements,' and
' The Four Times of the Day,' upon which he has
long been occupied. His water colour drawings
are highly appreciated, and he has contributed
many illustrations of books, among others, to
Rousseau's ' Nouvelle Heloise,' and Piot's ' Ca-
binet de 1' Amateur.' Among his . pictures may
be named, ' Ninon de FEnclos et le Marquis de la
Chartre,' which is in the Louvre.
WATTS, W., engraver, was the son of a master-
silk-weaver in the neighbourhood of Moorfields, and
was born in the year 1752, his baptismal register
being dated February, 1753. He was taught engrav-
ing by Paul Sandby and Thomas Rooker, assisting,
whilst with the latter, in some of Woollett's plates.
During this time also Rooker commenced ' The
Copper-plate Magazine,' which had a considerable
sale, and which Watts continued after his death
This publication contained views of noblemen's
and gentlemen's mansions, and was followed up by
Watts, in a work published by subscription en-
titled ' Views of Gentlemen's Seats,' commenced
January, 1779, and concluded May, 1786. The
original edition of this work, especially in the
proof state, is now scarce j— Watts having
sold the plates to Mr. Boydell, he had them
retouched to give them more tone, or colour as he
called it. Watts went to Naples, Sept, 1786,
where he received much kindness from Sir Wm.
Hamilton, then our resident Minister, and Lady
Hamilton. He returned to London in 1787, and
resided at Bath, where he published twelve views
of that city (1793). At this time he became a
partizan of the French Revolution, and went to
Paris, but losing his fortune in the French funds,
he returned to England, and between 1801 and
1805 engraved sixty ' Views in Palestine ' for Sir
Robert Ainslie's fine work. He died at Chobham,
Surrey, December 7, 1851, aged 99.
WATTS, Geoege Feedebick, historical and
portrait painter, was born in London in 1818, and
first exhibited in 1837. In the Cartoon competition
at Westminster Hall in 1843 he obtained one of the
£300 prizes for his cartoon of ' Caractacus,' and
followed up his success in the subsequent compe-
tition by securing a prize of the first class, £500,
for his picture of 'Alfred inciting the Saxons to
Maritime Enterprise,' (contributed by the Board
of Works to the International Exhibition, 1862.)
He has also painted a ' St. George and the Dragon '
for the new Houses of Parliament. He has since
contributed some historical subjects of considera-
ble merit to the exhibitions ; and more recently
(sometimes under the name of F. W. George) has
exhibited works in protraiture, evincing in their
treatment much thought and originality. Those
of 'Alfred Tennyson,' (engraved) ; and ' Sir John
M. Lawrence ' were included in the International
Exhibition 1862. He also painted a large fresco,
illustrative of the History of J ustice, on one of the
walls of the New Hall of Lincoln's Inn. In the
Winter Exhibition of 1865-6, he exhibited a por-
trait of the Right Hon. W. E, Gladstone— a per-
fect likeness,and carefully finished, so far as regards
the face, but sketchy in other respects. In the
same Exhibition is his portrait of an ideal female,
called ' A study with the peacock's feathers' — a
luxurious picture, painted after the manner of the
Italian masters. The ' Athenseum' (No. 1984), in
criticising these and other works of Mr. Watts in
the exhibition, says, " There can be no challenge
for their extraordinary merit and beauty. We
rarely see such true art."
WAUTERS, Chaeles Augustine, a Belgian
painter, was born at Baom in the province of Ant-
werp in 1811 ; first pursued his studies at the
Academy of Mechlin, afterwards removing to that
of Antwerp, where he had Matthew Van Brec for
a teacher. He has painted religious and historical
subjects, as : — ' Peter the Hermit preaching to the
Crusaders ;' ' The Passage of the Red Sea ;' ' Mar-
tyrdom of St. Lawrence ;' ' Giotto ' Albano and
his Family ' Charles the Bold instituting the
Grand Council, or Parliament, at Mechlin ;' ' Death
of Mary of Burgundy ;' &c. He has also painted
a large number of portraits, and some genre sub-
jects such as ' The Prayer of the Unfortunate Fa-
mily;' ' The Morning after the Ball;' the last of
which with two others was sent to the Universal
Exhibition of Paris 1855. M. Wauters has re-
ceived two large medals at Brussels ; and is a
Knight of the Order of Leopold. He was during
some years Director of the Academy at Mechlin ;
he afterwards took up his residence at Brussels,
where he opened a school.
WEBSTER, Thomas, R.A., was born onthe20th
of March, 1800, in Ranelagh Street, Pimlico : his
webs]
PAINTERS AND ENGRAVERS.
[west
father, being attached to the household of George
EEL took his child in its infancy to Windsor,
where he remained till the death of the venerable
monarch. Young Webster was educated in the
choir of the Chapel Royal, St. James's, his father
being desirous of making a chorister of him ; but
like Hoppner, who was also in the choir of the
Chapel Royal, and Callcott who was in that of
Westminster Abbey, he preferred the art of paint-
ing to the practice of music. His wishes being
acquiesced in, he entered the Royal Academy as a
student in 1820, exhibited in 1823 a portrait
group, and in 1825 obtained the first medal
in the School of Painting. In the same year
he exhibited, at the Gallery of the Society of
British Artists in Suffolk Street, a little picture
entitled ' Rebels shooting a Prisoner,' (a scene of
boy mischief), which at once brought him into
notice. In 1827 he sent to the Royal Academy a
portrait picture, the ' Children of T. Drane, Esq ;'
the next year he contributed ' The Gunpowder
Plot' to the Academy, and in 1829 'The Prisoner,'
and ' A Foraging Party roused,' to the British In-
stitution. In 1830 he sent to the British Institu-
tion 'The Sick Child;' in 1831 he exhibited
nothing, but in 1832 there hung on the walls of
the British Institution ' The Card Players,' a
' Sketch of a Cottage,' ' The Effects of Intemper-
ance,' and ' The Love-Letter and on those of the
Academy, ' The Smugglers.' In 1833 he had at
the Academy ' The Lantern,' and ' A Village
School.' The year 1834 was a blank ; but in the
next he exhibited ' Late at School,' and ' Read-
ing the Scriptures,' at the British Institution ; and
' Bird-catchers,' and ' The Intercepted Letter,' at
the Academy, where also, in 1836, he sent a pair
of subjects, ' Going into School,' and ' Coming out
of School in 1837, ' Returning from the Fair ;'
and, in 1838, « Breakfast.' In 1839 at the British
Institution, ' The Rat-trap,' and ' Anticipation,'
(a baker's boy bringing home a pie, which a hungry-
looking boy at the door eyes with expectant satis-
faction,) and at the Academy ' Football,' (consid-
ered one of the best pictures he had hitherto
painted). In 1840, in which year he was elected
an Associate of the Royal Academy, he produced
'Punch,' a picture full of grotesque incident
and individual character ; in 1841, two pic-
tures which, perhaps, the artist has never
surpassed, ' The Smile,' and ' The Frown,' (so
well known by the engravings made for the
Art Union of London), and ' The Boy with many
Friends.' In 1842, at the British Institution,
'The Wanderer,' representing a young Italian
boy with a box of white mice : and at the Royal
Academy, ' The Grandmother,' ' Going to School.'
and 'The Impenitent' (sold at Mr. Bicknell's
sale for 350 guineas). Hitherto Mr. Webster
had generally taken the bright side of juvenile
existence, but in 1843 he diversified the scene
by the production of a little episode full of
touching pathos, entitled ' Sickness and Health.'
In 1844, at the British Institution, 'Contrary
Winds,' (boy sailing a boat in a washing tub,)
and at the Royal Academy, ' The Pedlar.' In
1845 1 The Dame's School,' in 1846 * Please to
Remember the Grotto,' and ' Only once a Year,'
upon which (in 1846) he was elected a full mem-
ber of the Academy. He has since continued to
exhibit annually often several pictures : of which
it must be sufficient here to mention a few. In
1847 'Good Night;' 1848 'Do-the-Boys Hall;'
N
in 1852 ' A School Play-ground ;' in 1855, ' The
Race ;' in 1860 ' Autumn and Winter ;' in 1862
' Roast Pig ;' in 1863 ' A Tea Party in 1864
' The Battle of Waterloo,' and ' A Game at
Draughts;' in 1865 'Village Gossips,' and ' My
Back Kitchen.' His pictures now sell for large
prices. ' Good Night,' at Bicknell's sale, in 1863,
produced 1150 guineas ; the pair of pictures called
' The Smile and the Frown,' 1600 guineas.
WEHNERT, E. H., the son of German pa-
rents, but born in London, in 1815, paints in va-
rious styles, historical, sacred, and popular, and
has made many drawings on wood for books.
Among others, ' Grimm's Fairy Tales ;' Bohn's
edition of ' Longfellow's Poems ;' ' Andersen's
Tales.' He has been a Member of the New
Society of Painters in Water Colours since its
formation in 1831. His brother, F. Wehnert, is
an architect, and occasionally exhibits his designs
at the Royal Academy ; he has lately designed
the houses of the new town Llandudno.
WELLS, Johanna Maey (whose maiden name
was Boyce), a painter of great promise during a
too short career, in miniature and genre, was born
in 1831. At the age of eighteen, she entered the
school of Mr. Carey, in Bloomsbury, and went
subsequently to that of Mr. Leigh, where she
acquired a thorough command of the technical
essentials of her art. Her early impressions would
seem to have been in favour of ' Pre-Raphaelitism,'
but this tendency she afterwards in great measure
overcame. In 1855, she painted a study of a head,
under the title of 'Elgiva,' which was exhibited
at the Royal Academy, and, in the autumn of the
same year, went to Paris, where she joined the
ladies' class in the atelier of Couture, but was
compelled by ill-health to abandon study after a
few weeks. The influence of this brief tuition
was, nevertheless, very apparent in her subsequent
performances. In 1856, her picture, ' Rowena
offering the Wassail Bowl to Vortigern,' was re-
jected by the Academy, and in the following year
she went to Italy, where, at Rome, she met with
Mr. H. T. Wells, the miniature painter, whom she
married in the winter of the same year. In this
great metropolis of art, she painted a picture enti-
tled ' The Boy's Crusade,' which was exhibited at
the Royal Academy in 1860. On her return to Eng-
land (1861), she exhibited at the Royal Academy
three pleasing genre productions, ' Peep Bo,' ' The
Heather Gatherer,' and 'La Veneziana.' Next
followed ' The Outcast,' and ' Do I like Butter ?'
a study of a little girl making to herself the well-
known childish interrogation with a buttercup ;
and then, full of hope and promise, this daughter
of genius was suddenly cut off, dying in childbed,
on the 15th of July, 1861. Mr. H. T. Wells, her
husband, who has exhibited at the Royal Aca-
demy for the last twenty years, is said in the Art
Journal of 1861, to be "now the most eminent of
our miniature painters."
WEST, William, landscape painter, was born
in Bristol, in 1801. Many of his earlier works con-
sisted of views in Norway, in which he generally
introduced waterfalls, whilst his later ones com-
prised the scenery of the Welsh hills, and the coast
of Devonshire, in which he displayed a scrupulous
study of geological formations. He was a member
of the Society of British Artists, and died January,
1861, in his 60th year.
WESTALL, William, an English painter,
more particularly of Indian, Chinese, and other
175
west]
SUPPLEMENT TO
DICTIONARY OF
[west
oriental scenes, was bom at Hertford, October the
12th, 1781. His parents were of Norwich fami-
lies ; but, after residing in that city for several
years, they removed for some time to Hertford,
and finally came to London and its vicinity, Syden-
ham and Hanipstead, where his earlier years were
passed. Like most of those who have attained to
professional honours, he displayed a great passion
for drawing when very young, having frequently
related that he used to run away from school for
the purpose of making sketches from nature. His
early studies were pursued under the care of his
elder brother, the late Richard Westall, R.A., then
at the height of his fame. Mr. W. Westall's
professional engagements commenced early in life,
and under the following circumstances : — The late
William Daniel, R.A., who had previously been in
India, received the appointment of landscape
draughtsman on a voyage of discovery then about
to proceed to Australia in 1801, under Captain
Flinders, in H.M.S. Investigator. From this ap-
pointment Mr. Daniel eventually withdrew, in
consequence of an engagement to Mr. Westall's
eldest sister, whom he afterwards married. On
receiving an intimation of his withdrawal, the
Government applied to the president of the Royal
Academy to recommend one of their students.
Westall had entered as a probationer in the schools
of the Royal Academy, but had not become a
qualified student. He was, however, proposed to
the Government by the president (West), who
had noticed his remarkable talent and aptitude
for the appointment, which he at once received,
though not nineteen years of age. After the expe-
dition had been arduously employed for nearly
two years, the Investigator was condemned as not
sea-worthy, and was left at Port Jackson, while
Mr. Westall and most of his fellow-voyagers were
shipped on board H.M.S. Porpoise, under the
command of their late first lieutenant, Fowler, for
the purpose of returning to England. While
making their way towards Torres' Straits, accom-
panied by two Indiamen, they had the misfortune
to be shipwrecked on a coral reef ; whence, after
a residence of eight weeks, having been deserted
and left to their fate without any offer of assist-
ance by the commander of the accompanying ves-
sel, the Bridgwater, they were taken off by some
vessels sent from Port Jackson, Captain Flinders
having courageously returned to the colony in an
open boat, a distance of two hundred and fifty
leagues. One of the vessels which thus oppor-
tunely came to the relief of the shipwrecked crew,
was the Rolla, bound to China, in which Mr.
Westall took ship, the result being many interest-
ing sketches of that country and its inhabitants.
Amongst other works produced by him under these
circumstances was one representing a pleasure party
of Chinese, on the river above Canton, in which he
became unexpectedly a participator, and which
was exhibited at the Royal Academy in 1814, and,
within the last few years, was hung in the Exhibi-
tion Rooms of the Pantheon. A smaller duplicate
picture was in the possession of the late Mr. Lod-
dige, of Hackney. After a residence of some
months in Canton, Mr. Westall secured a passage
to India in one of the China fleet, and witnessed
the renowned action in the Straits of Malacca,
where Admiral Linois and the whole of his force
was beaten off by a fleet of British merchantmen,
commanded by Sir Nathaniel Dance. Mr. Wes-
tall's love of variety determined him, on his arrival
176
at Bombay, to undertake a journey into the neigh-
bouring mountains of the Mahratta country, for
which purpose he obtained a passport from Sir
Arthur Wellesley (afterwards the Duke of Welling-
ton), Commander of the Indian forces at that time.
While among the magnificent mountains of the
Boa Ghaut, he met the Indian army, soon after the
battle of Assaye, and received a kind invitation
from Sir Arthur to accompany the army to Serin-
gapatam, which advantageous offer he declined, to
his deep regret in after life. After visiting and
making elaborate drawings of the wonderful exca-
vated temples of Kurlee and Elephanta, and of
other interesting objects, he returned to England,
having been absent from his native land about four
years. Soon after his return, finding that his ser-
vices were not immediately required in the publi-
cation of the late voyage, he revisited Madeira, at
which island the Investigator had made a stay of
three days on the outward voyage. On the latter
occasion the scientific gentlemen made an expedi-
tion into the interior, and young Westall, by the
most indefatigable exertions, produced a number
of sketches of its enchanting scenery ; but on
their leaving the island, the native boat they had
hired to take them to the vessel was upset in the
surf (as they always suspected, purposely,) by the
boatmen, and, in consequence, their collections and
sketches were all lost, and Westall was nearly
drowned. The fatigue and exposure of the jour-
ney, combined with the effects of the accident and
his distress and anxiety at losing the fruits of so
much toil, brought on a coup de soleil, which nearly
terminated his existence. But the picturesque
beauty of the island had so enchanted him, that
he resolved his first days of independence should
be spent there ; and in accordance with this deter-
mination, he obtained a passage to Madeira in the
summer of 1805, and carried his early resolution
into effect. He was treated with great kindness
by the residents, particularly Mr. Pringle, the
Consul, Mr. and Mrs. Lynch, Lady Georgiana
and Mr. Eliot, afterwards Earl St. Germain, and
their families. While making those selections of
the scenery which he especially loved, he executed,
in the way of business and profit, drawings and
paintings of the quintas (villas) of the planters and
merchants ; and with the money so obtained, he
went, after a year's sojourn, to the West India
Islands. He always spoke of his residence in
Madeira as one of the most delightful periods of
his life. During a stay of a few months in Ja-
maica, Mr. Westall added innumerable drawings
of this interesting island to his large collection of
sketches of foreign scenery. After his return to
England, he painted various pictures of foreign
scenery ; and in 1808, having accumulated a con-
siderable number of water-colour drawings of
views in China, India, and Madeira, he opened an
exhibition in Brook Street ; but it did not realise
his expectations. In 1810, Captain Flinders ar-
rived in England, having been released from his
long and cruel confinement in the Isle of Mauri-
tius, where he was detained, on his putting into
Port Louis in his little vessel, on his way home
from Wreck Reef. The publication of his voyage,
necessarily delayed until this period, was now pro-
ceeded with, and. Mr. Westall was for a considera-
ble time engaged in preparing his sketches and
drawings for engravings, and also in painting pic-
tures, by command of the Lords Commissioners
of the Admiralty, of the most important disco-
west] PAINTERS AND ENGRAVERS.
veries and incidents connected with the voyage.
Of these, the views of Port Bowen and Seaforth's
Isles, in the Gulf of Carpentaria, were exhibited
in 1812 at the Royal Academy, and attracted great
attention from their novelty. On his final settle-
ment in England, he was employed by many pub-
lishers in illustrating various works, amongst the
rest by Mr. Ackerman, in 1813, who was getting up
an embellished edition of the ' History of the Pub-
lic Schools.' In this commission he was united
with Messrs. Uwins, F. Mackenzie, F. Nash,
and Augustus Welby Pugin. In 1811 Mr.
Westall paid his first visit to the Lake coun-
try, where he first became acquainted with
Southey and Wordsworth, which ended in an
enduring friendship. In 1812 he was elected
an Associate of the Royal Academy, having long
previously been a member of the Water-Colour
Society. In 1816, he engraved, in aquatint, a
work of the noted Caves in Chapel le Dale, near
Ingleborough ; Yordas Cave, and Gordale Scar,
near Malham, in Yorkshire. The following year,
in company with Mr. Mackenzie, he made a
series of views of Rivaulx, Byland, and other
Abbeys and celebrated edifices in the north of
England, some of which were introduced by Dr.
Whittaker in his ' History of Richmondshire.'
About this time, he put a long-formed project into
effect, of engraving in aquatint a series of pano-
ramic and other views of the Lake country, which
he continued to increase in number for many years.
In 1832, when on a visit to the Isle of Wight, he
commenced his work on that island. The number
of views and works he had undertaken occupied
so much time, that from this period he had little
leisure for contributing to the exhibition of the
Royal Academy. During several years the only
picture he exhibited was a view of Norwich,
painted in 1840. His publications were after-
wards increased by the addition of several works ;
' Ragland Castle, in Monmouthshire ;' ' Rirkstall
Abbey, near Leeds ;' ' Fountains Abbey,' ' Stud-
ley Park,' &c. Mr. Westall visited" Paris in
the spring of 1847. In the autumn of the same
year, he met with a very severe accident, not only
breaking his left arm, but receiving serious inter-
nal injuries. From the effects of this he never
recovered ; and a succession of colds terminated
in a bronchial attack, accompanied by dropsy,
which carried him off, after a few weeks of suffer-
ing, on the 22nd of January, 1850.
WICKENBERG, Peter, an artist of promise,
was born in Sweden, in 1812. He came to Paris in
1837, where he met with considerable success. His
pictures consist principally of marine and winter
scenes, which he depicted with great truth. One of
his best paintings is in the Luxembourg Gallery.
He exhibited in 1838 a study of ' Cows, a Winter
Scene and contributed annually to the exhibi-
tions until the year 1846, when he was carried
off by consumption, on the 19th of December.
WIERTZ, Anthony J oseph, a Belgian painter
of extraordinary originality and purpose. He
was born at Dinant, in February, 1806, and
received his instruction in art under Van Bree,
at the Academy of Antwerp, where he carried
away the grand prize in painting in 1832. He
then proceeded to Rome, whence he sent home
a ' Patroclus,' which not only aimed at Homeric
grandeur in the style of treatment, but was
of dimensions which, it is said, quite disconcerted
the municipal authorities. The enthusiastic ar-
» 2
[WltD
tist soon after set himself forward, as an in-
novator upon the prejudices of the day, iu
copying Rubens as the best national model. Op-
pressed with the conviction that commercial con-
siderations were mortal to true art, he adopted the
resolution not to sell any of his pictures, resorting
to portrait painting as a means of obtaining his
daily bread, and seeking for an atelier of commen-
surate dimensions to hold his vast canvases. Some
idea of the proportions to which several of these
reached may be formed from the fact that to paint
his ' Revolt of the Angela/ he was obliged to un-
rol his canvas to receive the design piece by
piece. Three other pictures of about the same
date, but of more moderate dimensions, are
• Esmeralda,' ' Quasimodo,' and ' The Education
of the Virgin.' The lofty pretensions thus openly
put forward by M. Wiertz, exposed him to the
attacks of a host of enemies, who denied or
envied his talent ; and a sort of paper war, fla-
voured by caricature, was for a long time the re-
sult. In 1847 he established himself in a spa-
cious workshop in the outskirts of Brussels,
where he produced his 'Triumph of Christ,' which
even his enemies were forced to applaud. He
next reverted to his great theme the ' Revolt of
the Angels.' The government about this time
came to his aid, and thanks to the generous in-
terposition of M. Rogier, the Minister of the In-
terior caused to be erected expressly for his use,
and after his own plans, an enormous atelier, the
conditions being that it should always, with the
works it contained, be open to the inspection of
the public. Pursuing now his investigations and
conceptions under more favourable auspices, he is
said to have invented a proc«ss combining fresco
with oil painting. He now, also, occasionally gave
way to extravagances both in the selection of sub-
jects, and in their treatment, which excited some-
times the irreverent wonder of the visitors to his
gallery. Thus, besides a second version of ' Pat-
roclus,' 'Christ in the Sepulchre,' 'Satan and Eve,'
' The Flight into Egypt,' ' Venus and Vulcan,'
exhibiting a wonderful inventive faculty, with
great power of execution, were seen such sub-
jects as ' The Burned Child,' ' The Suicide,'
' Trois Visions d'une Tete Coupee,' (being actual
studies of an execution by the guillotine,) ' One
Second after Death,' 'The Devil's Mirror,' &c.
As a writer on Art he produced two ' Discourses,'
nervous and original like his paintings, one being
' Eloge de Rubens,' which obtained for him the
prize proposed by the Academy of Antwerp in
1840, and the other ' une Etude de Matthieu van
Bree.' He was created a knight of the order of
Leopold in 1840. He died in June, 1865, and
was followed to the grave by a large number of
the principal artists of Brussels and Antwerp.
His collection, it is understood, becomes the pro-
perty of the nation.
WILD, Charles, an architectural draughts-
man and painter in water colours of distinguished
merit, was born in London in 1781. He at
first devoted himself almost exclusively to archi-
tectural drawing according to strict geometrical
laws, but at a later period made architectural sub-
jects subservient to picturesque effects, without
departing from faithful representation. Among
the many fine works for which the public are in-
debted to his pencil, may be mentioned ; ' Twelve
Select Examples from the Cathedrals of England,
illustrating the architecture of the Middle Ages in
■wild]
SUPPLEMENT TO DICTIONARY OF
England, comprising views of Westminster Abbey,
York, Peterborough, Ely, Salisbury, Wells, and
other Cathedrals, 12 coloured plates, royal folio,
1831. A similar series of ' Eoreign Cathedrals,'
in 12 coloured plates ; ' Architectural Grandeur in
Belgium, Germany, and France,' a series of 24
highly-finished etchings, with descriptive letter-
press, 4to. 1833 ; c Lincoln Cathedral, its Archi-
tecture, Ornaments, and Sculpture,' with 16 en-
gravings by Le Keux, 1819. Also 1 Accounts of
Canterbury and York Cathedrals,' 1819 ; and
' Worcester Cathedral,' 1823. Three of his draw-
ings in water-colour are in the South Kensington
Fine Art Collection, namely : ' The Cathedral
of Chartres,' ' The Market-place at Liege,' and
'Westminster Bridge, Abbey, and Hall.' Mr.
Wild was one of the original members of the old
Water-Colour Society ; for many years treasurer ;
and afterwards secretary. The latter years of
his life were embittered by loss of sight. He died
in 1835 at the age of 54. His daughter is mar-
ried to Mr. Owen Jones, architect, of Alhambra
fame.
WILLIAMS, Edwaed, the son of an engraver,
was himself a landscape painter, the progenitor of
a large family of artists, who have followed, and still
continue to follow the same line, contributing ex-
tensively to the various annual exhibitions. Edward
Williams was born at Lambeth, in 1782, and at
an early age became a pupil of his maternal uncle
James Ward, R.A., the landscape and animal
painter. He was afterwards apprenticed to Mr.
Hillier, a carver and gilder in Silver Street,
Golden Square. Meeting with some success as a
miniature and landscape painter, he eventually
gave up carving and gilding, and became an
artist ; his favourite subjects for many years
being moonlight scenes. In after life he re-
sided at Barnes, painting, in its various phases,
the scenery of the upper Thames. He died
there in June, 1855, leaving six sons to follow
the profession, of whom three have adopted other
names in lieu of the patronymic, viz. : H. J. Bod-
dington (deceased April 11th, 1865), Sidney Percy,
and A. Gilbert ; while Mr. E. C. Williams, Mr.
G. A. Williams, and Mr. A. W. Williams, retain
the surname of their father. They all paint
landscapes extremely well, but commercially the
pictures of A. Gilbert, H. Boddington, and Sidney
Percy take the lead. Mr. G. A. Williams has a
son, named Walter Williams, and H. J. Bodding-
ton has a son, bearing his own name, both treading
in the footsteps of their parents. In the National
Gallery is a 'Landscape, with figures, by Moon-
light,' by Edward Williams, being a bequest from
Lieut. Col. Ollney.
WILLIAMS, Penby, born atMerthyr Tydvil,
in Wales, about 1798, first exhibited at the Royal
Academy in 1824, and a few years later went to
Home, where he has since resided, frequently
sending over to our exhibitions clever pictures of
Italian manners and scenery.
WILLIAMS, Samuel, wood engraver, was
born at Colchester, in 1798, of poor but respect-
able parents. At a very early age he evinced a
strong desire to become a painter, so much so that
when only ten years old, he would rise at four in
the morning, even by candle light, to sketch and
copy whatever he could obtain ; so highly^ appre-
ciated in his native place were these juvenile
efforts, that they were sought after by persons of
taste and condition ; his father, however, consider-
178
ing the arts but at the best an uncertain means of
gaining a livelihood, apprenticed his son to a
printer in Colchester. During the period of his
servitude, he taught himself to etch on copper ;
and a few proofs of woodcuts from a work entitled
' Charlton Nesbit ' falling into his hands, induced
him to try his skill in drawing on wood and en-
graving his designs. When his term of appren-
ticeship expired, and he left Colchester for
London, Mr. Crosby, the predecessor of the
eminent publishing firm of Simpkin and Marshall,
who had met with some of Williams's * 'prentice
works,' engaged him to draw and engrave a series
of cuts, to the number of three hundred, for a
work on Natural History : Messrs. Harvey and
Darton were also among the earliest of those who
appreciated and found employment for Mr. Wil-
liams's talents. In 1822 he finally settled in Lon-
don, and among the principal works with which
his name is associated, we may mention the illus-
trations to ' Robinson Crusoe,' Hone's ' Every-day
book,' ' The Olio,' and ' The Parterre,' all of which
were both drawn and engraved by him ; the illustra-
tions to Wiffen's ' Tasso,' engraved from drawings
by the late H. Corbould ; and those to an edition of
Thomson's ' Seasons,' engraved from his own de-
signs, and which exhibit some " exquisite little
bits of English sylvan life." In his earlier life, Mr
Williams made some successful attempts at minia-
ture painting, as well as in oil pictures ; the latter
he was especially desirous of practising, and it is
evident he had great taste for landscape painting ;
but the demand upon his time for woodcuts was so
constant that he found but few opportunities of
indulging in anything beyond these. He died on
the 19th September, 1853; leaving sons, who
worthily follow the same profession.
WILLIS, Heney Bbittan, was born in Bris-
tol, and learned the principles of art from his
father, a landscape and figure painter of some
local reputation. After pursuing his profession in
Bristol for several years, with but little encourage-
ment, he was induced by a friend to visit the
United States. Ill health obliged him to return
to this country after a year's absence ; and in
1843, Mr. Willis removed to London ; since when
he has gradually worked up to a high position
in his profession, by painting pictures in which
animals have formed the principal feature.
WILLMORE, James Tibbetts, A.R.A., one
of the best line engravers of any time, was born
in September, 1800, at Bristnall's End, Hands-
worth, near Birmingham. At the age of 14, he
was apprenticed to Mr. Wm. Eadcliffe, of Bir-
mingham, an engraver of considerable talent, as
we have already said, under his name. At the
age of 22 he married, and came up to London, to
work upon a three years' engagement in the ate-
lier of Mr. Charles Heath, who at that time was
extensively employed by the publishers in engrav-
ing for the numerous pictorial works then pro-
ceeding. Here he rapidly advanced in his art,
and was sufficiently perfect at the completion of
his engagement to be employed on those finely
executed works, ' Brockedon's Passes of the Alps,'
and ' Turner's England and Wales.' These were
followed at intervals by engravings of Sir Charles
Eastlake's large plate, 'Byron's Dream,' Tur-
ner's ' Alnwick Castle by Moonlight,' ' The Old
Temeraire,' ' Mercury and Argus,' and numerous
plates in Turner's Rivers of France, which Nagler
considers of exquisite execution. After this period
WILS]
PAINTERS AND ENGRAVERS.
he was always fully employed upon anything he
was willing to undertake, as his numerous and well-
known engravings after Turner, Landseer, Cres-
wick, Ansdell, and others testify. He was elected
an Associate Engraver of the Royal Academy in
1843. In private life his society' was much culti-
vated, and his kindness of heart and charitable
disposition are familiar to all who knew him. He
was one of the founders of the ' Artist's Annuity
and Benevolent Fund,' and to the end of his life
its most constant supporter. He died March
12th, 1863. His younger brother, Mr. A. Will-
more, is also an engraver of talent, and has
finished several plates, which Mr. J. T. Willmore
had left incomplete.
WILSON, Andeew, a distinguished painter,
connoisseur, and collector, was born in Edinburgh
in the year 1780. He was of a respectable family,
whose strong prelatical opinions and adherence to
the Stuart cause had not mended their fortunes,
and he inherited little from his relations beyond a
few trifling memorials of the prince whom they
had endeavoured to serve. At an early age he
showed a predilection for painting, and was placed
in the school of Mr. Nasmyth, the eminent laud-
scape painter. At seventeen he became a student
in the Royal Academy of London, and towards
the close of the last century, undeterred by the
danger of the attempt, he embarked for Italy ;
and after running the gauntlet and escaping from
the fire of Spanish gun boats at Gibraltar, he
landed at Leghorn, and proceeded to Rome, and
subsequently Naples, where he laid the foundation
for that judgment in ancient Art, for which he
afterwards became eminent. Mr. Wilson re-
turned to London, and was induced to visit Italy
again in 1803, for the purchase of pictures by the
old masters. During his residence in Genoa, he pur-
chased fifty-four pictures, amongst which was that
of * Moses and the Brazen Serpent,' by Rubens,
now in the National Gallery, for which he paid to
Signor Lorenzo Marana the sum of 17,500 livres.
Mr. Wilson was elected, during his stay of three
years in Genoa, a member of the Ligurian Aca-
demy of Arts, and was, upon one occasion, called
upon as a member, to wait upon Napoleon Buona-
parte. When the French leader paused to exa-
mine his picture, an artist who bore him no good
will, said that it was the work of an Englishman.
Napoleon, divining his motive and purpose, and
turning sternly to the malicious academician, ex-
claimed — " Le talent na pas de pays," and re-
sumed his examination of the pictures. In 1806,
Mr. Wilson made his way home through Ger-
many. He exhibited in the Royal Academy at
intervals, and became a leader in that powerful
style of water-colour painting, for which the Eng-
lish School is so deservedly celebrated. In 1808,
Mr. Wilson married, and subsequently accepted
one of the Professorships in the Royal Military
College, at Sandhurst. He resigned his appoint-
ment after a time, and returned to Scotland, and
became Master of the Trustees' Academy, a post
he held for some years. As Manager of the Royal
Institution, he was employed to purchase the
collection of engravings now preserved in their
galleries. During this portion of his active
and useful career, he exhibited annually in Edin-
burgh, his admirable pictures finding a ready
Sale. His thoughts, however, turned con-
stantly towards Italy, and a small accession of
fortune placed him in a position to carry out his
views. In 1826, he again returned to Italy, ac-
companied by his wife and children, and lived
alternately at Rome, Florence, and Genoa. Dur-
ing his residence in these places, he painted many
admirable pictures ; few of these, however, found
their way to our exhibitions, as they were readily
purchased in Italy by every class of buyers, from
the sovereign downwards. He was also much
consulted by collectors of old pictures and other
works of Art, and the galleries of the late Sir
Robert Peel, the Earl of Pembroke, the Earl of
Hopeton, Sir Joseph Hawley, Sir John Sebright,
Sir Archibald Campbell, and others, were enriched
by his purchases, chiefly made in Genoa, from
which city he exported to Great Britain no less
than twenty-seven fine specimens of Vandyke.
He also formed, for a singularly moderate sum of
money, the interesting collection in Edinburgh,
which is in future to occupy the National Gallery
of Scotland. Desirous of seeing England once
more, Mr. Wilson left Genoa for London in 1847,
and, after a residence of some months in the me-
tropolis, he proceeded to Edinburgh. Whilst
preparing for his return to his family, he was
struck with paralysis, and died upon the 27th of
November, 1848. Mr. Wilson's pictures were re-
markable for their correct and elegant drawing,
for their classic forms and arrangement, for the
success with which he rendered the pearly tints of
daylight, and the golden splendours of sunset, so
as to obtain for him in Italy the epithet of the
Scottish Claude. The manliness of his hand-
ling may also be alluded to ; there was no shrink-
ing from difficult forms, but every object intro-
duced into his pictures was evidently thoroughly
understood, and he evinced in all his works his
thorough comprehension of the resources of his
art. His name holds a first place in the annals of
Scottish Art as a promoter of its progress, and as
an artist of high powers.
WILSON, John (familiarly known as Jock
Wilson, or ' Old Jock '), landscape and marine
painter, was born August 13th, 1774, in the town
of Ayr, and apprenticed at the age of 14, to Mr.
John Norie, house decorator, Edinburgh. Soon
after the completion of his apprenticeship he took
a few lessons in oil-painting from Alexander
Nasmyth (father of the celebrated P. Nasmyth),
which constituted the only instruction he ever re-
ceived in the profession of which he afterwards
became so distinguished an ornament. About
1796 he took up his abode at Montrose, where he
continued, teaching drawing and painting for
nearly two years, after which he came to London,
and practised as scene painter at the different
metropolitan theatres. While he was employed
at Astley's, he sent two pictures to the exhibition
of the Royal Academy, both of which were
favourably hung, and speedily found a pur-
chaser in Mr. John Farley, who afterwards
spoke with pride of having been " the first to
discover the merit of John Wilson." About
the same date Mr. Wilson was one of the suc-
cessful competitors for premiums offered by the
British Institution for " the best painting of ' The
Battle of Trafalgar ;' " and he had also the good for-
tune to dispose of his picture to Lord Northwick,
who became, for many years, one of the artist's
staunchest friends and most liberal patrons. (At
Lord Northwick's sale in 1859, a pair of small
pictures, • A Sea Shore — Morning,' and * Scene
off Calais— Evening,' sold for 107 guineas.) Mr.
wilb]
SUPPLEMENT TO
DICTIONARY OF
[wive
Wilson was honorary member of the Royal Scot-
tish Academy, as well as one of the founders of the
Society of British Artists, Suffolk Street, and
although many, with much less claim to the hon-
ours of the Royal Academy, were elected to that
distinction, he was contented to abide by the fluc-
tuating fortunes of the society he had assisted in
establishing, and continued, until his death, one of
the most important contributors to its annual ex-
hibitions. The works of John Wilson will never
want admirers. As a marine painter, in his
palmy days, he had no rival, for none so tho-
roughly understood the various moods of the ever-
changing element, or could render its rolling rest-
lessness so truthfully; whilst the raciness of his
execution, and his exquisite eye for colour, added
a peculiar charm to the creations of his pencil,
He died at the residence of his son, at Folkstone.
on the 29th April, 1855.
WILSON, John, junior, son of the preceding,
and distinguished as ' Young Jock,' is a landscape
and marine painter of considerable talent, and
worthily follows in his father's steps. Although
the majority of his pictures, especially those of re-
cent date, are marine subjects, he is a master in
landscape scenery, and in delineating the English
homestead is unsurpassed. His colouring is
firm, rich, and transparent, and his drawing un-
exceptionable. He exhibits regularly at the
Royal Academy, and some of his pictures are
equal to Nasmyth or Miiller.
WINTERHALTER, Feancis Xaviee, a
painter of portrait and genre, was born at Baden
in 1806. He studied his art chiefly at Munich
and Rome, remaining many years at the last-
named city. About 1834, he took up his residence
in Paris, where, with the exception of frequent
excursions into Germany, Belgium, England
and Spain, he has remained ever since. M. Win-
terhalter has been fortunate above his fellows,
in the enjoyment of court patronage, not only in
his native and adopted countries, but in others
also, including England. Of his numerous effigies
of royal and official personages, produced from the
year 1835, downwards, it would be almost impossi-
ble to give a list; we will mention, however, a
few: 'King Louis Philippe' (1839 and 1846),
'Queen Amalie' (1842), besides all the Junior
Members of the Orleans Family ; ' Queen Vic-
toria,' ' The Prince Consort,' and Junior Mem-
bers of the Royal Family of England singly ;
and, in a well-known group, a picture repre-
senting the terrace at Windsor Castle (exhibited
1848, by special command in Buckingham Pa-
lace, and since engraved by Cousins) ; * The
Emperor Napoleon III.' ' The Empress Eu-
genie' (three different portraits, 1855), ' The
Empress and the Prince Imperial/ ' Princess
Woronzoff,' 'Princess Gargarine' (1859). Most
of these portraits have been engraved. The genre
pictures of this artist are less numerous, and in
every sense less important than his portraits ; they
include, ' Maternal Love' (1836), ' The Deca-
meron,' 'A Young Girl of Arriccia' (1838), and
' Roderick the Goth seeing Florinda for the first
time' (1853), purchased for the Royal collection.
He obtained a second class medal in 1836, two
first class medals in 1837 and 1855, respectively,
and is a grand officer of the Legion of Honour.
WITHERINGTON, William Fbedeeick,
R.A., a painter of landscape and figure subjects,
was b^irn in an old Elizabethan house, Goswell
180
Street, London, on the 26th of May, 1785. In
his school days he evinced a decided taste for
drawing and painting, but his father thought it
preferable to place him in business, in which he
continued until, by studying at every opportu-
nity, he had made sufficient progress to warrant
his abandoning it for his favourite pursuit. In
1811 he began to exhibit at the British Institu-
tion, his first pictures being ' A View of Tintern
Abbey,' ' Boys catching Crayfish,' and ' Feeding
young Birds ; and he continued to exhibit there
till 1816, after which we miss him from the cata-
logues. In 1812 two of his pictures had been
accepted at the Royal Academy, namely, ' Par-
tridges,' and ' Going out in the Morning ;' from
which time till within a year of his death, he con-
tinued to send several pictures annually. He was
elected an Associate in 1830, and a Royal Acade -
mician in 1840. Though occasionally indulging
in figure subjects, such as ' Lavinia,' ' Sancho
Panza and Don Quixotte,' ' The Soldier's Wife,'
* John Gilpin,' ' The Lucky Escape,' &c, his
predominant feeling was for English rural scenery,
among which we may point out ' The Hop Gar-
den,' ' The Stepping Stone' (1843), both in the
Vernon Collection of the National Gallery, and
' The Hop Garden' in the Sheepshanks Collection.
Though not conventionally ranked in the higher
class of English landscape painting, he is a true
pourtrayer of English ground, and a pleasant
illustrator of its features. Mr. Witherington
died on the 10th of April, 1865.
WIVELL, Abeaham, portrait painter, was
born on the 9th July, 1786, in the parish of Mary-
lebone, London ; his father, who had been un-
successful as a tradesman at Launceston, in Corn-
wall, dying soon afterwards, leaving his wife and
five children in penury. At six years of age,
young Wivell was hired as a farmer's labourer,
and continued so for two years. His taste for
Art was first excited on seeing some prints on the
walls of a house of a family whom his mother
served as a housekeeper. In 1799, he appren-
ticed himself for seven years to a hair dresser,
and at the end of that time set up in the same
business, to which he added that of a miniature
painter in water-colours, exhibiting specimens in
his window, interspersed with blocks and wigs.
These attempts gained for him the friendship of
Nollekins and Northcote, who wished him to devote
all his attention to the Arts ; " for," said Northcote,
" success is sure." Being married, and with a
family dependent on him, he had to bide his time
for such a move. At the time of the Cato Street
conspiracy, an acquaintance with one of the
keepers of Clerkenwell prison obtained him an in-
terview with Thistlewood and the other State pri-
soners, bo notorious at that period. They all sat
to him, and their portraits were much in request.
Mr. (afterwards Alderman) Kelly, the publisher,
engaged him to take them again when on their
trial at the Old Bailey. Wbilst thus employed,
he had the good fortune to meet Mr. John Cordy,
who, admiring the spirited likenesses of the con-
spirators, engaged him to paint a portrait of Miss
Stephens, the vocalist, and advanced him for that
purpose the sum of £40 ; but after several nego-
ciations, the lady refused to finish the sittings.
In 1820, Mr. Wivell sketched a portrait of Queen
Caroline at the balcony, where she appeared to
receive the congratulations of the public. This
sketch was so admired, that it was shown to the
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PAINTERS AND ENGRAVERS.
[wood
Queen by a gentleman of her household, when she
expressed her wish to have her portrait completed,
and sat for it accordingly. The Queen's trial
coming on immediately afterwards in the House
of Lords, Mr. Kelly engaged our now rising artist
to draw portraits of the principal personages on
the trial, for a work then publishing. The diffi-
culty which presented itself at the outset, was
how to obtain admission into the place, which was
crowded with the elite of rank and fashion ; this,
however, was removed through the agency of a
friend, who was a barrister's clerk, and permitted
him to go in his place, invested with a huge blue
bag full of papers. His sketches, rapidly thrown
off, excited the astonishment and admiration of
the bar, the bench, the peers, and other notabi-
lities assembled, many of the principal of whom
were so gratified with the manner in which they
had been treated, that they consented to give
him a sitting or two, to finish their portraits.
Amongst these and others were, the Queen, Mr.
(nowLord) Brougham ; Mr. (afterwards Lord) Den-
man ; Mr. Copley (afterwards Lord Lyndhurst ;)
his lady, and their daughter; Mr. Alderman
Wood, and His Majesty's Counsel and Ministers.
He also took the notorious Theodore Majocchi,
and all the other witnesses against the Queen at
the trial. The artist now advanced rapidly to the
zenith of his professional fame. Amongst the
distinguished individuals whose portraits he took
immediately after the Queen's trial, were— H.R.H.
the Duke of York, H.R.H. the Duke of Glouces-
ter, William IV. when Duke of Clarence, Prince
George of Cambridge and the Princess Augusta,
when children, George IV. , Lord Suffield, Lord
Holland, Sir John Cam Hobhouse, Joseph Hume,
Sir Francis Burdett, the Right Hon. George Can-
ning, the Right Hon. William Huskisson, Sir
Astley Cooper, and other public men of the
day, most of which were engraved. He likewise
painted portraits of nearly two hundred members
of the House of Commons, for a view of the inte-
rior of the House, published by Messrs. Bowyer
and Parkes. In 1825, his friend, Mr. Cordy, pre-
vailed on. him to go to Stratford-on-Avon, to take
a drawing of the marble bust of Shakespeare,
placed in the chancel of the church. _ This
Mr. Wivell executed admirably : — it was
engraved by J. S. Agar. The success attend-
ing this engraving led him to engage on his
work, 'An Inquiry into the History, Authenti-
city, and Characteristics of the Shakspeare Por-
traits,' which was first published in 1827 ; but
although the work showed great research and
contained twenty-six engravings of all the genuine
and spurious portraits and prints of the immortal
bard, it failed commercially. Mr. Wivell's fear-
less exposures of the various tricks used by
picture-dealers and others in manufacturing frau-
dulent pictures drew upon him the attack of a
whole nest of hornets about to be deprived of
their lawful prey ; and the uuenvied possessors of
the spurious portraits of the poet, for which some
had paid a very high price, swelled the torrent
of disaffection raised against the work, so that
an undertaking which cost him 700 guiueas, be-
sides two years of the best period of his life, rea-
lised only £250. Cart loads of copies, together
with the copper plates were sold off at a great
sacrifice to pay the publishers. Time, however,
has avenged him for the wrong done to his assi-
duity j for he lived to see his book sell for
considerably more than the original price ; but time
has not made up the pecuniary loss, which reduced
him from affluence to comparative poverty. After
the failure of the Shakspeare portraits, his uncle,
Abram Wivell, of Camden Town, died, and left
him the house in which he lived, his household
furniture, and an annuity of £100 per annum for
the remainder of his life. Amongst the plates
sold to pay the publishers for the Shakspeare loss,
were portraits of the leading actors of the day, in-
cluding Charles Young, Elliston and Kemble, Miss
Sheriff, James Wallack and Munden, Miss Ellen
Tree, Mr. Sinclair and Miss Somerville, Cooper,
Harley, Miss Stephens, Master Betty, the Young
Roscius ; and Helen Eaucit, Mr. Macready, Mr.
Farren, and the elder Mathews, all considered
first-rate likenesses ; to which may be added,
Cramer, Mori, Moschelles, and Hertz, the com-
posers. In 1828, Mr, Wivell's attention was firs!
directed to fire-escapes, and he invented the Rope
Fire Escape, which in course of time was super-
seded by his patent one now in use. For the estab-
lishment of the ' Royal Society for the Protection
of Life from Fire,' in 1836, Mr. Wivell was
made superintendent at a salary of £100 per an-
num and continued in that capacity until 1841,
when, having a dispute with a newly-elected com-
mittee, he resigned, and went to reside at Birming-
ham. Here he resumed his artistical career with
Thomas Atwood, Esq.,M.P.,andthe principal gen-
tlemen of the town and neighbourhood. In 1847,
he was engaged to take the portraits of the rail-
way celebrities for the Monthly Railway Record.
He died of chronic bronchitis, at Birmingham, on
the 29th of March, 1849, in the 63rd year of
his age.
WOODFORDE, Samuel, was born at Castle
Cary in Somersetshire, in 1763. At the age of
fifteen he was patronised by Sir Richard Colt
Hoare, of Stourhead, Wiltshire, whose villa
contained the first efforts of his talent. He
became a student of the Royal Academy in
1782, and in 1786 proceeded to Italy, being
granted an annuity for the purpose by his ge-
nerous patron. He returned to EngLnd in
1791, and was employed by Alderman Boydell to
paint the ' Forest Scene' in Titus Andronicus.
He soon obtained a favourable position as his-
torical and portrait painter. Among his principal
works are ' Calypso lamenting the Departure of
Ulysses,' ' Diana and her Nymphs,' a Scene from
'The Lay of the Last Minstrel,' 'Charles I.
taking leave of his Children,' a ' Spanish Shep-
herd with his Dog,' a portrait of the Earl of
Winchelsea, and some of the Hoare family at
Stourhead. He was elected an Associate r»f the
Royal Academy in 1800, and an Academician in
1807. In 1815 he married, and shortly afterwards
proceeded to Italy, where he died of fever at
Bologna, July 27th, 1817.
WOODWARD, S., the well-known animal
painter, was born at Pershore, Worcestershire, in
1806, and died of consumption early in November,
1852. At an early age he was placed in the stu-
dio of Mr. Abraham Cooper, R.A., under whom
he made such progress, that in his fifteenth year
be exhibited a picture at the British Institution.
From that time to the time of his death, he was a
constant exhibitor, both there and at the Royal
Academy. His two most important pictures are
the ' Battle of Worcester,' and the ' Struggle for
the Standard;' but he likewise painted several
wood]
SUPPLEMENT TO
DICTIONARY OF
other large works of a similar character, and his
landscapes especially of Scotch scenery, which are
generally associated with cattle, are well worthy
of a place in any collection.
WOOLMER, A. J., a painter in oils of genre
subjects, chiefly illustrative of Shakespeare, Spen-
ser, and other poets, his predilections being espe-
cially groves, fountains, and forest recesses. He
paints with a rich impasto, and his drawing of the
female, figure is correct and elegant. He has fre-
quently exhibited at the Royal Academy since
1827 ; and exhibited, with marked approbation,
' A Young Lady Reading,' at the Great French
Exhibition of 1837.
"WRIGHT, J. M., a painter of genre subjects,
chiefly in water colours, and illustrative of the
poets and dramatists of Great Britain, especially
Shakespeare, Burns, and Sir Walter Scott, several
editions of which are embellished with engravings
after his designs. We may mention Dove's and the
Union Illustrations of Shakespeare, and Virtue's
edition of Burns. Mr. Wright has occasionally
exhibited at the Royal Academy, but for nearly
half a century has been a member of the Society
of Painters in Water Colours, exhibiting there
with little intermission. He ia a devoted ad-
mirer of Stoddart, and has kept his manner so
constantly in his eye, as to be all but an imitator ;
indeed some of his early works in oil might be
mistaken by an unpractised eye for those of his
favourite master. Two of his water-colour draw-
ings are in the South Kensington Collection, Mr.
Wright began his career unfortunately when art
was barely remunerative, and his works having
become common before the scale of prices ad-
vanced, they have never yet reached the com-
mercial estimation they deserve. He is now, we
believe, upwards of eighty years of age, and is,
by the kindness of the Royal Academy, a reci-
pient of Turner's Bounty.
WEIGHT, John William, painter in water-
colours, was born in London in 1802. His father
was a miniature painter of great ability, and his
mother, who died whilst he was still young,
painted very beautifully in the same line. Young
Wright displayed an early talent for art, and was
placed under the late T. Phillipps, R.A., whose
instruction he continued to enjoy until the year
1820, the period of his father's death. Finding
himself deprived of some patrimony which he had
reason to expect, he set himself to teaching and
the practice of painting in water-colours, with much
ardour. His most successful pictures were his-
torical compositions and interiors, chiefly selected
with a view to the introduction of details and
effects of costume, mostly of old English times.
Amongst those sold by auction after his death,
were 'Instruction,' a large and highly finished
work, 'A Venetian Family Interior,' and 'In-
terior with a Girl reading to an Old Woman and
a Child.' He was also a frequent contributor to
the fashionable illustrated publications of the day.
Some of the best heads in 'Heath's Book of
Beauty,' and ' The Female Characters of Shak-
speare,' were from his pencil. On the death ot
Mr. Hill, secretary of the Old Water Colour
Society, he was elected to fill his place. He died
in January, 1847.
WRIGHT, Thomas, an English engraver,
more particularly of portraits, in which he was
excelled by none of his contemporaries ; in proof
of which we may refer to those which he executed
for that fine work. * The Beauties of the Court
182
of Charles II.,' edited by Mrs. Jameson. He
also practised portraiture with success, in the
various modes of pencil drawing, water-colour
painting, and miniature. That his name should
not have been more familiar to the English public
is accounted for by his long residence — upwards of
fifteen years — in Russia ; whither he went in the
first instance to arrange the testamentary aflairs
of his brother-in-law, the late Mr. George Dawe,
the Academician. At St. Petersburg he was
patronised by the Imperial family, many of whom
sat to him for their likenesses, as did also many of
the notabilities of that capital. Several of these
portraits he also engraved. Soon after his return
to this country, Mr. Wright issued proposals for an
engraving of Sir Joshua Reynolds's great picture
of ' The Infant Hercules ;' of which he had made
a charming copy, from the original in ' The Her-
mitage.' Unfortunately, he left the plate in a
very unfinished state at his death, which occurred
in the summer of 1849.
WYATT, Henry, was born at Thickbroom,
near Lichfield, on the 17th of September, 1794.
He lost his father when a child, and in 1811 was
sent by his guardian to London, where, in the
following year, he became a student of the Royal
Academy ; and in 1815 the private pupil and as-
sistant of Sir Thomas Lawrence. At the end of
the year 1817, Wyatt established himself as a
portrait painter, first at Birmingham, then suc-
cessively at Liverpool and Manchester, until 1825,
when he settled in London ; but he did not con-
fine himself entirely to portraiture. In 1834,
however, on account of ill health he removed to
Leamington, whence he returned in 1837 to Man-
chester, and died there, February the 27th, 1840,
and was buried in the village of Prestwich in its
neighbourhood. In the Vernon Collection of the
National Gallery are two specimens of his talent
viz : — ' Vigilance,' representing a young lady
asleep, her lap-dog watching, engraved by G.
A. Periam, exhibited at the Royal Academy in
1836; and 'The Philosopher,' called also Galileo
and Archimedes, a fancy portrait, half length,
life size, exhibited at the Royal Academy in 1832,
and since engraved by R. Bell.
WYATT, Thomas, brother of Henry, was a
portrait painter of considerable eminence in the
Midland Counties. He had been a student at the
Royal Academy, and when Henry Wyatt left the
service of Sir Thomas Lawrence, the two brothers
went to Birmingham, and thence to Liverpool
and finally to Manchester, where Henry died.
While at Birmingham the portraits of Thomas
were much admired, and he gained so much re-
spect from the artists of the place that they elected
him secretary of the Birmingham Society of
Artists, which position he occupied some time
after the society became united with the Bir-
mingham Institute. Shortly after the death
of his brother, the subject of this notice was
induced by the novelty of Mr. Talbot's process of
photography to purchase from that gentleman the
sole right of practising the art in Manchester,
and the surrounding country. This proved to
him a most unfortunate speculation, as it led him
to neglect his profession, and involved him in ex-
penses for which he received no adequate return,
He died at Lichfield, after a painful illness of
four or five years duration, on the 7th July, 1859.
WYBURD, Feank, a painter of genre sub-
jects, generally well drawn and minutely and
highly finished. The ' Art Union' speaking of his
PAIN TEES AND ENGRAVERS,
[ZIBK
picture called 'Honora,' exhibited at the Royal
Academy in 1857, says " It is impossible to excel
the imitative surfaces (alluding toEastern drapery)
shewn in the composition." He has exhibited an-
nually at the Royal Academy since 1846, and his
pictures command high prices.
WYNFIELD, Wilkie D., a painter of genre
and historical subjects, has exhibited at the Royal
Academy since 1862, and occasionally at the Brit-
ish Institution. In describing his picture entitled
' The Rival Queens,' exhibited at the Royal Aca-
demy in 1863, the Illustrated News says, " the ex-
pressions and attitudes of the figures are excellent,
and the story is perfectly told;" and the Art Jour-
nal praises it as " marked by richness of colour
and elaboration in execution." In 1865 he exhi-
bited at the Royal Academy ' The Last Days of
Elizabeth, when the Queen groweth sad, mopish
and melancholy,' of which the Art Journal says,
" the picture has very considerable merit." In Mr.
Gambart's Winter Exhibition at the Pall Mall
Gallery, he has a genre picture called ' A little Fa-
therly Advice,' priced at 75 guineas. In common
with the other young painters of the same coterie
(if we may use the expression), Mr. Wynfield is to
be praised for thorough realization of the inci-
dents he paints, and for avoidance of grimace and
staginess.
Y
YE AMES, W. F., a painter of genre subjects
of recognized talent, who has exhibited at the
Royal Academy with fair success since 1859, and
during the latter years of the same period at Mr.
Gambart's Winter Exhibition in Pall Mall. His
picture of ' Arming the Young Knight,' exhibited
at the Royal Academy, in 1865, and hung on the
line, attracted considerable attention, and is thus
described in the Art Journal, " clever, as all pic-
tures by Mr. Yeames are." In the Winter Exhi-
bition of the same year, he exhibited ' The Step-
ping Stones,' a pre-Raphaelite looking picture (in
the manner of Leys), priced at 200 guineas. The
' Athenseum' says, " It exhibits all that can make
a picture of its class valuable."
YVON, Adolphus, French historical and
battle painter, was born at Eschwiller, on the
Moselle, in 1817. He came to Paris, and entered
the atelier of Paul Delaroche, contrary to the
wishes of his family, who intended him for the
government service. He first exhibited in 1842, a
portrait of Madame Ancelot. In 1843, during a
journey, he made a series of designs, which were
exhibited at the Salon in Paris in 1847 and
1848. Amongst other works which he exhibited,
are, ' Portrait of General Neumayer,' (1844), ' The
Remorse of Judas,' (1846), ' The Battle of Kou-
likowo,' (1850), « A Fallen Angel,' (1852), ' The
First Consul descending the Alps,' which is in the
Palais of Compiegne. In 1855, M. Yvon sent to
the UniversalExposition ' Marshal Ney supporting
the rear guard in the Russian Campaign,' a large
and effective work ; and • The Seven Capital Sins,'
in illustration of Dante. M. Yvon having been
eent by the Emperor Napoleon III. to the Crimea,
at the time of the siege of Sebastopol, exhibited in
1857 his great battle picture, ' The Taking of the
Malakoff',' (intended for the Gallery of Versailles) ;
and in 1859 ' The Gorge of the Malakoff,' and
* The Curtain of the Malakoff.' This artist, who
displays a perfect knowledge of his art, and a free
and forcible pencil, received a medal of the first
class in 1848, and one of the second class in 1855 ;
and the great medal of Honour in 1857.
z
ZEITTER, J. C, a foreign artist long resident
in this country, and well known for his clever pic-
tures of Hungarian and Polish scenery and man-
ners, died June, 1862. He was a member of the
Society of British Artists, and exhibited at their
gallery from the year 1825 ; but for the first five
years appears to have exhibited little else than
etchings of animals after Paul Potter and others.
In 1828 he engraved a picture after Landseer,
entitled ' The Italian Boy and the Monkeys.'
Nagler thinks there may have been two of the
same name, father and son.
ZIEGLER, Claude Jules, a French painter,
was born at Langres in 1804. He was one of the
most distinguished pupils of Ingres, and after
travelling in Italy and Germany for improvement,
studied under the celebrated Cornelius at Munich,
where he acquired a complete knowledge of the
technicalities of fresco-painting. He began to ex-
hibit in the winter of 1830, and four years later
produced a remarkable portrait of Marshal de
Saucerre, in full armour on horseback, now in the
Versailles Gallery. This having been highly ap-
proved by the king, Ziegler was appointed to de-
corate the cupola of the church of La Madeleine,
in place of Paul Delaroche, to whom the commis-
sion had been promised by the ministry. Between
1835 and 1838 he executed a grand epic composi-
tion, illustrative of the growth and influence of
Christianity, and covering the whole extent of
the hemicycle, upon the completion of which
the king (Louis Philippe) presented him person-
ally with the order of the Legion of Honour.
This great work having familiarised him with the
requirements of every branch of painting, he
afterwards modelled and decorated, for com-
mercial purposes, a number of porcelain vases,
which are much esteemed. Amongst his paint-
ings may be mentioned: 'Venice at Night'
(1831), ' Giotto and Cimabue ' (now in the Lux-
embourg Gallery), ' The Death of Foscari' (1833),
the portrait of Kellerman, for Versailles, (1835) ;
• The Prophet Daniel' (1838), ' The Dew on the
Roses ' (1844), 'Jacob's Dream ' (1847), ' Charles
V. giving Directions for his Funeral' (1848),
' The Peace of Amiens ' for the hall in which the
congress was held in that town (1853), 1 Notre
Dame de Bourgogne,' exhibited posthumously at
the Louvre in 1857, and purchased by the state.
Between 1833 and 1848 he obtained two second-
class medals, and one first class, and in 1832 was
appointed Director of the Museum at Dijon. He
was author of an esteemed work entitled, 'Re-
cherches des Principes du Beau dans l'Art Cera-
mique, 1' Architecture, et la Forme en general,"
8vo. with plates (1850). He died December 29th,
1856.
ZIEM, Felix, born at Beaune, Cote-d'Or, a
painter of landscapes and marine subjects of con-
siderable merit. He received the third class medal
183
Ziem]
DICTIONARY OF PAINTERS AND ENGRAVERS,
[ZCTCC
(landscape) in 1851, the first class medal (ma-
rine) in 1852, tlie third class medal at the Uni-
versal Exhibition 1855, and was made Chevalier
of the Legion of Honour in 1857. He has exhi-
bited in Paris for the last twenty years, and fre-
quently at the French Gallery in London. His
pictures sell high. In 1859 his picture of ' The
Grand Canal at Venice ' (a favourite subject with
him), was priced £400.
*ZUCCHI, Antony, Venetian artist, long re-
sident in this country, whither he was brought by
the brothers Adam, the architects, who employed
him to paint decorations for some of the edifices
erected by them. He painted also ceilings for the
Queen's House in St. James's Park, (old Bucking-
ham House,) and Osterley Park ; chiefly subjects
of a mythological character. He was an exhibitor
at the Royal Academy from the foundation, con-
tributing views of ancient temples, and similar
works ; and became an Associate in 1770. In
1781 he married Angelica Kauflman. But the
union did not prove a happy one. In the same
year he went with her to Rome, where he settled
and died in December, 1795.
THE END.
184
BILLING AND SONS. PBINTERS, GUILDFORD, SURREY.