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■IIIIIIIHII
THE
ROYAL ACADEMY OF ARTS
VOLUME U.
LOITDOV
PBIVTBD BT BPOTTIBWOODS AVD CO.
KBW-STBKBT BQUABB
THE HISTORY
OF
THE ROYAL ACADEMY OP ARTS
FROM ITS FOUNDATION IN 1768 TO THE PRESENT TIME.
WITH BIOGRAPHICAL NOTICES OF ALL THE MEMBERS.
BY WILLIAM SANDBY.
nf TWO VOLUMES.
VOL. II.
LONDON:
LONGMAN, GREEN, LONGMAN, ROBERTS, & GREEN.
1862.
- , . . •
/
i:.y;;.r
CONTENTS
OF
THE SECOND VOLUME.
CHAPTER XI.
THB ROTAL ACADEUT UNDER THE PRESIDENTSHIP OF SIR THOMAS
LAWRENCE, 1820-1830.
Death of Geoige IIL — Direct Access to the SoTereign the Prinlege of the Academj
— Lttwrenoe elected President — His Qualification for the Office — Gold Medal
and Chain presented bj G^rge IV. to the President — Lawrence's Discourses to
the Students — ^Proposal to establish a Private School of Art — Society of British
Artists founded — Purchase of the Angerstein Collection of Pictures for the
Nation — The Annual Distribution of Prizes to Students — Death of Flaxman,
Professor of Sculpture — Foundation of Boyal Hibernian Academy aided by
Boyal Academicians — Establishment of the Boyal Scottish Academy — Pen-
sioiui to Widows of Artists — Liberality of the President — Artists' Belief Funds
— liawrence's Collection of Casts and Drawings — The Annual Exhibitions —
Items of Expenditure — Gifts to the Academy — B. P. Knight's Collection of
Antiques, Sec — Changes among the Officers and Members — Trayelling
Students Paob 1
CHAPTER XII.
KOTAL ACADEMICIANS ELECTED DURING THE PRESIDENCY OF SIR THOMAS
LAWRENCE, 1820-1830 21
CHAPTER Xin.
ASSOOATES ELECTED DURING THE PRESIDENTSHIP OF SIR T. LAWRENCE,
WHO DID NOT SUBSEQUENTLY BECOME ROTAL ACADEMIOANS . . 65
vi CONTENTS OF
CHAPTER XIV.
THE ROYAL ACADEMY UNDER THE PRESIDENTSHIP OF SIR MARTIN ARCHER
SHEE, 1830-1850.
Choice of a President — Chantrey's Proposal for the Office to be held in Rotation
by the Members — Royal Patronage continued by William lY. to the Royal
Academy — President's Addresses on Delivery of Gold Medals — Erection of
a National Gallery — Proposed Removal of the Academy from Somerset
Honse — Attacks on the Royal Academy answered by the President — Par-
liamentary Returns called for by Mr. Ewart — Information ftinushed with
Consent of the King — Exhibition of Works of Deceased Presidents at British
Institution — Establishment of the Royal Institute of British Architects —
Select Committee on Institutions connected with the Arts — Evidence of
Opponents to Royal Academy and of its Officers in Reply — Report of the
Committee — Address to the King on Removal of the Academy — Farewell
Dinner at Somerset House — Opening of New Academy by King William IV. —
Appropriation of the New Apartments — Accession of the Queen — Renewed
Assurance of Royal Patronage — ^Mr. Hume's Plan for Free Exhibitions opposed
by the President — Parliamentary Returns of Income and Expenditure called
for by Mr. Hume — Petition of tiie Royal Academy to the Honse of Commons
in opposition to the Demand — Debate on the Question — Subsequent Parlia-
mentary Proceedings on the Subject — Royal Commission on the Fine Arts —
Illness of the President — Tenders his Resignation, but is solicited to retain the
Office — Is awarded Pensions from the Academy and the Civil List — Proposed
Removal of the Academy from Trafalgar Square -» Gifts made by and to
the Academy — The Exhibitions — Changes among the Officers and
Members Paob 73
CHAPTER XV.
ROTAL ACADEMICIANS ELECTED DURING THE PRESIDENTSHIP OF SIR M.
A. SHEE, 1830-1850 132
CHAPTER XVI.
ASSOCIATES, WHO HAVE NOT SUBSEQUENTLY BECOME ROTAL ACADEMICIANS,
ELECTED DURING THE PRESIDENTSHIP OF SIR M. A. SHEE, 1830-
1860 210
CHAPTER XVn.
THE ROTAL ACADEMY UNDER THE PRESIDENTSHIP OF SIB CHARLES LOCK
EASTLAKE.
Choice of a new President — The late Prince Consort^s Testimony to the Qualifi-
cations of Sir C. Eastlake for the Office _ The President's First Address —
The Great Exhibition of 1861 — The Academy Dinner, and the late Prince
THE SECOND VOLUME vii
ConsoifB Addrefls — ConvenaEione for Exhibitors established — Distribution
of Gold Medals — Changes in the Schools — The Science and Art Department
established — The Qnild of Literature and Art -» Speeches at the Annual
Dinner, 1862 — Tarnishing Days discontinued — The National Galleij and
the Turner Collection of Pictures — The new Historical Portrait GhUlerj —
Formation of the Listitute of British Sculptors — Engravers' Claims to full
Academic Honours — The Dublin Exhibition, 1853 — The Plresident's Address
_ Engravers elected as Academicians — Lord Mayor Moon's Dinner to the
Boyal Academy — The President appointed Director of the National Gallery —
Paris Exposition, 1855 — Academy Exhibition, 1856 — Laws of Copyright in
Art — Additional Lectures at the Academy — Gt>ld Medals distributed by
the President in 1857, and his Address to the Students — Manchester Art-
Treasoree' Exhibition— The Sheepshanks' Collection— Report of the Commission
on the Site fat a New National Ghdlery — ParHamentaxy Proceedings relating
to the Academy, 1858-69 — Proposed Assignment of a Site at Burlington
House for a New Academy — Lord Lyndhurst's Address to the House of Lords
— Commnmcation between the Academy and the French Goremment on Art
— Retirement of Sir Robert Smiike, R.A. — Publication of a Report by the
Council on the History and Proceedings of the Royal Academy — Alterations
in the Exhibition Rooms — Admission of Female Students to the Schools —
Rerised Code of Reg^nlations for Students — - Changes among the Officers and
Members — Exhibitions, and the Receipts from them — Items of Expenditure
— Address of Condolence to the Queen on the Death of the Prince Consort —
List of P>«sent Officers and Members of the Royal Academy . Paob 225
CHAPTER XVIII.
ROYAL ACADEMICIANS ELECTED UNDER THE PRESID£NTSHIt> OF SIR C. L.
EASTLAKE 280
CHAPTER XIX.
ASSOCIATES, WHO HAVE NOT SINCE BECOME ACADEMICIANS, ELECTED
DURING THE PRESIDENTSHIP OF SIR CHARLES L. EASTLAKE . . 326
CHAPTER XX.
CONCLUSION.
Influence of the Royal Patronage on the Success of the Royal Academy —
Abstract of the Laws for its* Regulation and Government — The Privileges
of Members — ^The Annual Dinner — The Schools, and the Encouragements
given to the Students — Lectures of the Professors — The Exhibition, and the
Selection of Contributions — Election of Members ; their Retirement, and
Diploma Works — The Funds : their Source, and Appropriation — The Charities
of the Royal Academy — Parliamentary Control uncalled for — Work for the
Academy in the Future — ^Results of its past Operlttions on the English School
of Art 357
viii CONTENTS OF THE SECOND VOLUME
APPENDICES.
I. List of thv Rotal Acadbmiciams, 1768-1862 .... Paob 393
II. List of thb Assogiatbs who have not become Boyal Academicians,
1770-1862 399
III. List of thb Officbrs, Pbofbssobs, and Honobabt Mbmbbbs 402
IV. DiPLoacA WoBKs OF thb Rotal Acadbmicians, and some other
Art-Treasnres in possession of the Boyal Academy 406
V. List of thb Studbnts to whom Gold Medals have been awarded,
and of Travelling Students 411
VI. COKSTITITTION JLSD LaWS OF THB BoTAL ACADBlfT, AlO) OF THB
Schools 417
INDEX 466
LIST OF ILLUSTRATIONS
lir
THE SECOND VOLUME.
Sm T. Lawbmncs, PJLA Paob 3
(From the Portrait by Qiarles Landaeer, R.A.)
Sib M. A. Shu, P.BjL 73
(From a Portrait painted by hlmaelt.)
8iB C. L. Eastlaxb, P.RA 225
(Trcm tlie Portrait by J. P. Knight, R^ presented by him to the Royal Academy.)
Thb "Tubkbb Mbdal" 262
(Dealgned by D. Hacllse, R.A^ and modelled by L. 0. WyonJ
Thb "Siltbb Kidal " awarded by the Boyal Academy as Prises to Students
— the Bust of the Qaeen on the obverse, and "the Torso" on the
rererse . * 367
(From the Design by W. Wyon, R.A.)
Thb DaaiON fob "thb Difloxa" of the Rotal Acadbxt to face 303
(From the large BngraTlng by F. Bartolond* RA. made from the Drawing by
O. B. Cipriani, R.A.)
Thb " Gold Mbdal" awarded by the Boyal Academy to saooessful Students
— the Head of George IIL, modelled by T. Pingo — the reverse,
" Painting, Sculpture, and Architecture,*' designed by Thomas Stothard,
R.A 411
THE HISTORY
OF THE
EOYAL ACADEMY OF AETS
-^>9it
CHAPTEE XL
THE EOYAL ACADEMY UNDEB THE PRESIDENTSHIP OP SIR
THOMAS LAWRENCE, 1820-1830
Death of Oeorffe III. — Direct Access to the Sovereign the PriuQege of the
Afoademy — Lawrence. eleded President — His Qualification for the Office —
Chid Medal and Cham presented hy George IV, to the President — ZaW"
renews Discourses to the Students — Proposal to establish a Private School
of Art — Society of British Artists founded — Pua'chase of the Angerstein
Collection of Pictures for the Nation — TTte Annual Distribution of Prizes
to Students — Death of Flaxman, Professor of Sculpture — Foundation
of Hoyal Hibernian Academy aided by Hoyal Academicians — Establish-
tnent of the Moyal Scottish Academy — Pensions to Widows of Artists —
UberaUty of the President — Artists' HeUef Funds — Lawrence* s Collection
of Casts and Drawings — The Annual Fxhibitions — Items of Fjcpenditure
— Gifts to the Academy — R, P. Ehigh^s Collection of Antiques, 8fc, — Changes
among the Officers and Members — Travelling Students,
THE long-continued illness of King George III. had
deprived the Academy of the personal aid and
encx)urageinent of its Eoyal Founder for many years;
yet his death, in January 1820, was felt as a mournful
event by all the members, although very few of those
originally appointed on the foundation then remained.
It had been the especial privilege of its officers to transact
the business of the institution by direct communication
VOL. II. B
1
2 HISTORY OF THE ROYAL ACADEMY [Ch. XI.
with the Sovereign, without seeking the intervention of
any official personage; and on every occasion affecting
the personal welfare of the King, it was the practice of
the Academicians to offer an address to His Majesty,
either of congratulation or condolence. Of the former
kind were those on the twenty-fifth and fiftieth anniver-
saries of the commencement of his reign ; of the latter,
the expression of their sympathy in the loss of his
favourite daughter, and on the death of Queen Charlotte.
Besides these, other addresses, on subjects affecting the
Boyal Academy, were occasionally presented by the
President, — as those in 1800, respecting the succession
of seats in the Council; in 1812, in reference to the
memorial of the engravers ; and in 1815, on the proposed
national monument. The two latter were addressed to
the Prince Begent, who ascended the throne as King
George IV. in January, 1820, and who then, in answer to
the loyal address of the Academicians, assured them that
all the privileges of personal communication and support
afforded by his royal father might be looked for from
himself.
The death of West followed soon after the King's
accession ; and, by a vote which was almost imanimous
(since there were only two dissentients). Sir Thomas
Lawrence was elected, on the 30th of March, 1820, to
fill the chair vacated by the late venerable President.
He was then in the prime of life, having early attained
an amount of popularity and royal and distinguished
patronage which might well have awakened the envious
opposition of less successful competitors for fame. But it
appears to have been agreed by all who could lay any
claim to succeed to the chief seat in the Academy, that
Lawrence was the most qualified to fill it. Howard says
that " from the moment of his election he seems to have
determined to win all hearts, and no man ever possessed
greater fascination." He was an example of that happy
combination of the artist and the gentleman which is so
Cb. XL] ELECTION OF LAWRENCE AS PRESIDENT 3
suitable to the position he attained in the Academy and
in social life ; for while as an artist he was studious and
inde&tigable throughout his career, as a man he was
self-possessed, amiable, courteous, and yielding. A spirit
of gentleness and moderation distinguished him in all
things ; and as President, he passed through the ordeal
which the office presents to ordinary dispositions, with no
excitement to himself or others. Even Fuseli, who was
rarely satisfied with anything done by others, said, " Since
they must have a face-painter to reign over them, let them
take Lawrence ;" and while none could dispute his genius
as an artist, aU were obhged to confess that no one of the
Academicians could excel him in the etiquette of the
station he had to fill ; for while he was a man of the
world, he had a mastery of his temper and his tongue,
4 inSTORY OF THE ROYAL ACADEMY [Ch. XL
and was remarkable for being alike prudent, sagacious,
sensible, and conciliatory,
Shee, who, ten years afterwards, attained the same dis-
tinction, wrote to a relative in Ireland, who seems to have
expected that he would then have been chosen to succeed
West, saying —
"I vot-ed for Sir Thomas Lawrence myself; and never gave a
vote with a more sincere conviction of its justice and propriety,
both as to the Academy and the arts. « . . He is the best artist
of his time, — the public recognise him as such, — he has been
raised in rank by his Sovereign, and selected for a kind of
mission of art, which gives him a consequence and celebrity
never before enjoyed by any English artist. He is highly re-
spectable in his appearance, and gentlemanlike in his manners ;
and can support the dignity of the situation, as to expense and
establishment, in a way that no other member of the Academy
can pretend to."
The ready choice of the Academicians was confirmed
by the King, who took the opportunity of his installation
to show his interest in the Academy by conferring upon
the President a gold medal and chain, to be worn by Sir
Thomas Lawrence and all future successors to the office.
The medal was inscribed, " From His Majesty George the
Fourth to the President of the Eoyal Academy."
There is little to record historically in the career of
Lawrence in his position as President. During the ten
years in which he held the office, the Academy continued
to maintain its position, and to fulfil the purposes of its
institution ; but nothing remarkable occurred to interest
fiitiu-e generations. Lawrence followed the example of
his predecessors in taking the opportunity of the annual
distribution of the prizes to address the students; but
each year this task became more difficult and less neces-
sary, since the track had been again and again retraced in
the interval since Eeynolds first entered upon it, not only
by his successor in the office, but by the many talented
professors who had annually been discoursing to the
Ch. XI.] LAWRENCE'S DISCOURSES 5
Students on the principles of art. When the first Presi-
dent addressed them, the ground was untrodden ; the
history, literature, and philosophy of the arts had been
but little studied in this country, and were imperfectly
understood ; and Eeynolds pursued the field of such in-
vestigation with such careful and judicious scrutiny that
he left little that was new to be discovered by those who
followed him. Barry, Opie, and Fuseh had also lectured
eloquently and learnedly on the same topics before Law-
rence became President ; and hence we find that his
discourses had no pretension to be similar to those of his
predecessors, but were directed mainly to the correction
of any defects, or the approval of any excellences, in the
works of the students who were competitors in the several
schools. They were fiill of good advice, and were de-
livered with a kindness of manner which proved his
sincere wishes for their welfare and success. He was
always just in any observations he introduced as to the
merits of his brother artists, whether aUve or not ; and
no feeling of envy or jealousy ever seems to have ruffled
his spirit.
In his first discourse to the students, on the 9th of
December, 1820, when silver medals only were distributed,
he expressed his disappointment at the slow and inefficient
progress, in certain respects, of the students in the Life
Academy, and pointed out the ways in which they might
benefit by the study of the hving model. In the same
manner he urged the students in the Painting School to
take advantage of their opportunity of studying and
copying the works of the great masters, and congratulated
the students of the Antique in their continued and
decided improvement. He concluded his address by
referring to the instance of the gracious regard of the
King for the progress of the young artists, afforded by the
recent presentation, by His Majesty's command, of a
splendid collection of casts from the antique models in
the Royal Collection, among which was the celebrated
Venetian Bronze Horse.
HISTORY OF THE ROYAL ACADEMY [Ch. XL
On assuming the office of President, Lawrence felt
called upon to do more than he had hitfierto done for the
benefit of young aitists, although he had always been
ready, by advice, patronage, and substantial assistance, to
help them in their early struggles. He now proposed to
convert his private house — full of art-treasures as it
was — into a kind of Art School to which the students of
the Eoyal Academy might resort for study and instruction.
But it was with regret that he found his affairs so far
involved that he could not appropriate the money neces-
sary for carrying out the project, which was therefore
necessarily relinquished. His friendship with Mr. Anger-
stein, however, enabled him to obtain entrance to his
picture-gallery for those who desired to study the works
of the ancient masters it contained, until it became, a few
years afterwards, the nucleus of our present National
Collection.
In his address on the 10th of December, 1821, when
the gold medals were awarded, Lawrence congratulated the
students in the life Academy on the decided improvement
they had made, and lu-ged them not to depend on genius
alone, but to give "a constant attention to correctness
and purity of drawing ; and this, too, in the most minute
and apparently insignificant parts, as well as in the
general contour of the whole." In regard to invention,
he observed that "he who would make us feel, must
feel himself;" and advised them to consider their subject
as it would have taken place in reaUty, rendering every-
thing subordinate to expression. In this discourse are
found all the observations he ever made in public in
regard to the works of the ancient masters which he
had examined in the galleries he visited, especially those
of Leonardo da Vinci, Eafiaelle, Domenichino, and Eem-
brandt.
Another society for the exhibition of paintings, sculp-
ture, architectural designs, and engravings was established
in 1823, as "The Society of British Artiste," with the
Ch. XL] SOCIETY OF BRITISH ARTISTS FOUNDED 7
view to afford additional facilities beyond those which the
Boyal Academy was able to provide, for the exhibition of
works by artists who were not members of that institu-
tion. 'Die founders of the new Society seemed to anti-
cipate some opposition from the Academy to the formation
of a rival exhibition, for they asked the concurrence of
the members of the Boyal Academy before seeking a
charter of incorporation. The assent was readily given
in this as in every other instance in which any measure
having for its object the promotion of art or the benefit
of artists has been proposed to the Academy. It has
never withheld its ready countenance and support to any
kindred institution, so far as is consistent with the preser-
vation of its own means and opportunities of carrying out
the purposes for which it was founded. The Society of
British Artists originally offered the advantage of their
exhibition-room free to any artist, the rule being that ^ All
„,„«ey, ^ismg from the ^e of work, in th/exhibWon
will be paid to the respective artists, without any deduc-
tion whatever, when received from the purchasers ; " and
donations and subscriptions were solicited in furtherance
of the views of the Society. It obtained a Boyal charter
in 1847, and has now a gallery in Suffolk Street, Fall
Mall East, containing 700 feet of wall, well lighted ; but
at the present time it admits only the works of the thirty
members of the Society fi^e, charging a commission of 10
per cent on all the other works of art sold, on the
first price sent with them; making no other charge,
however, in respect of any works sent for exhibition.
In 1861 877 works were displayed on these walls, and yet
the Academy is still compelled to reject, from want of
space, many hundreds of good works annually sent to
their exhibition.
At the distribution of the medals and prizes on the
10th of December, 1823, Sir Thomas Lawrence, in speak-
ing to the students at the Boyal Academy, said, " Your
judges are but students of a higher form It is a
8 HISTORY OF THE ROYAL ACADEMY [Ch. XI.
part of the triumph of our art, that it is slow in progress,
and that although there are frequent examples in it of
youthful promise, there are none of youthful excellence.
.... Proceed, then, with equal firmness, humility, and
hope : neither depressed nor vain." Then he proceeded
to speak of the rising EngUsh school and its capabilities,
and of the works of the deceased members of the Academy,
some of which " more than placed it on a level with the
most enlightened schools in Europe." He discoursed elo-
quently on the talents of his distinguished predecessors, —
of the dazzling splendour of the genius of Eeynolds, re-
minding the students of the expression of Burke, that
" iu painting portraits, he appeared not to be raised upon
that platform, but to descend to it from a higher sphere ; "
and next of the facile power of West, whose historical
compositions were at that time collected by his son for
exhibition, but comparatively neglected. "But though
unnoticed by the pubUc, the gallery of Mr. West re-
mains," he continued to observe, "for you, gentlemen,
and for your instruction ; while the extent of knowledge
that he possessed, and was so liberal to convey — the
useful weight of his opinions in societies of the highest
rank — the gentle humanity of his nature — and that
parental fondness with which youth and its young aspir-
ings were instructed and cherished by him, will render his
memory sacred to His friends and endeared to the schools
of the Academy, while respect for worth and gratitude
for invaluable services are encouraged in them." He
concluded this address (one of the most interesting of
his discourses) by urging the professors of art to be true
to the dignity of their vocation, — never to bend a noble
theory to imperfect practice, — and by reminding them
that while there may be new combiuations, new excellen-
ces, new paths, new powers, there can be no new prin-
ciples in art ; and that the variety of Nature has no limit,
for the subjects she presents afford ample scope for the
utmost diversity of thought.
CH.XL] FORMATION OF THE NATIONAL GALLERY 9
The next year was a memorable one in the annals of
art in England, for it was in the year 1824 that the
Government first recognised the importance of encoiu^-
ing the fine arts, and adopted measures to secure for the
instruction of the people and of artists, some noble exam-
ples of the works of ancient masters. It had long been
lamented, as information relating to art became more
general, that no national collection of pictures existed,
although many fine works were possessed by private col-
lectors ; and in 1824, during the administration of the
Earl of Liverpool, the assent of Parhament was obtained
to the piuxjhase of the collection of John Julius Anger-
stein, consisting of 38 pictures, 29 of which were the
works of Claude, Titian, Eafiaelle, Poussin, Eubens, Kem-
brandt, Vandyck, Cuyp, Correggio, and other foreign
masters, and 9 by British artists — the latter including 7
by Hogarth (his own portrait and the series of ' Marriage
k la Mode,') Sir J. Eeynolds's 'Lord Heathfield,' and
WiUde's ' Village Festival.' The sum of £57,000 was
voted for their purchase, and £3000 for the expenses of
the establishment, on the 2nd of April, 1824 ; and the col-
lection was opened to the public in the house of Mr.
Angerstein, in Pall Mall, on the 10th of May following.
Four pictures, by Correggio, Titian, Caracci, and Poussin,
were purchased for £12,800 in 1825-26, and sixteen pic-
tures were presented by Sir G. Beaumont, Bart., in the
latter year. No further additions were made until 1831,
when the Eev. W. H. Carr bequeathed thirty-four pictures.
The whole collection for the first twenty years was exceed-
ingly small, but has latterly been enriched by many valu-
able additions made by the present keeper. Sir C. Eastlake
(who in 1843 succeeded Mr. Seguier), * and the munificent
^ When the appointment of feared thej might receive under the
Kee{>erwa8 first made Dj public com- charge of others. He did not suc-
petition. Lawrence ofiered himself as ceed, however, and another gentle-
a candidate for it. beinf desirous, to man^ Mr. Seguier, was selected for
Bare the pictures nom tne spoliation the appointment
of cleaning and restoring, whidh he
1
10 HISTORY OF THE ROYAL ACADEMY [Ch. XL
bequests of Mr. Vernon and the great artist Turner, besides
other contributions. Thus the means of public instruction
in acquiring a knowledge and taste for art, and models for
imitation and study by the present professors, which had
been so long needed, were provided. The formation of
such a collection was a fruitful source of discussion when
the Academy was founded, and often subsequently untQ
this period. In addition to the donations and bequests
made to the National Gallery, nearly £200,000 has been
expended by the Government on the purchase of pictures
up to this time ; and it is therefore evident that no private
institution such as the Eoyal Academy, deriving its in-
come, not from the State, but from its own exhibitions,
could ever have hoped to form a worthy collection of
works by the great masters which would either illustrate
the history or display the characteristics of the several
ancient foreign schools ; and those who had the manage-
ment of its affairs acted wisely and prudently in resisting
the efforts made so to divert the appropriation of its funds
from their legitimate purposes, since it must inevitably
have proved a failure.
On the 10th of December, 1824, Sir Thomas Lawrence
distributed the silver medals and prizes awarded to the
students. In congratulating them on their efforts and pro-
gress, he said that the Council would have given a larger
number of medals to mark their approval of their attain-
ments, but that, " by referring to tie laws which had the
sign-manual of his Majesty, they found they could not
depart this year from their usual course of giving only
one in each department." Puseli, the Keeper of the
Schools, was at the time lying seriously ill (it was his
death-sickness, for he died the following year), and the Pre-
sident spoke feelingly of the loss the students were likely to
sustain, and designated him as ^ a master frx)m whom the
most distinguished artists in Europe would be proud to
receive instruction."
The next year (1825) the gold medals were distributed.
Ch. XL] PRESIDENT'S ADDRESS 11
but Lawrence had been absent on one of his visits to the
Continent, and only returned to London the day preced-
ing, — the 9th of December. He apologised, therefore, for
being unable to give that lengthened address usual on the
occasion, but observed that it was scarcely necessary for
the President any longer to conform to the usage ; saying
that
^ Sir Joshua Beynolds, with the usual propriety of his fine
judgment, justifies himself for undertaking an office not specified
in the laws of the Academy, by many considerations which fully
authorise it, but veils the real circumstance by which it was
occasioned. At the commencement of the institution, the prin-
ciples of taste were less generally diffused, and that nobler
theory unknown which he so essentially contributed to form.
This partial ignorance had its effect on the instruction of that
period, and a professorship — not then graced by the ability of
a Barry, an Opie, a Fuseli, and a Phillips — was felt to be
inadequately filled for the great purposes of the institution.
As the most substantial good often results from temporary ill,
we owe to that unfavourable circumstance attending the
struggling efforts of an infant society, one of the purest and
most permanent triumphs of this country."
The following year (1826) was notable in the annals
of the Academy as being that in which it lost its first
Professor of Sculpture — the gentle Flaxman, — to whose
merits Lawrence paid a graceful tribute in his address to
the students at the distribution of the silver medals on the
10th of December. The great sculptor had just died,
but was not then buried ; and the President spoke feel-
ingly and tenderly on the loss of so talented and good a
member of their arfr-family. " It is just that you ^should
admire and revere him ; it is just, on every principle of
taste and virtue, that you should venerate his memory.
And is it not equally so that you should mourn for him
who toiled to do you service ? You remember the feeble-
ness of his frame, and its evident though gradual decay.
Yet it was but lately that you saw him with you, sedulous
and active as the youngest member ; directing your studies
21 HISTORY OF THE ROYAL ACADEMY [Ch. XI.
with the affection of a parent, addressing you with the
courtesy of an equal, and conferring the benefit of his
knowledge and his genius, as though he himself were re-
ceiving obligation." He then expatiated on his works as
a sculptor of sentiment rather than of form, and of the
acknowledgment which all lovers of art then, and in
future ages, would give to the comprehensive talents with
which he was endowed.
"The Eoyal Hibernian Academy," which had been
granted a charter on the 5th of August, 1823, and was ap-
pointed to consist of fourteen Academicians and ten Asso-
ciates, opened its first exhibition in Dublin in 1826 — Mr.
Francis Johnston, the President, having generously and
nobly presented a piece of ground, and erected a hand-
some and commodious building upon it, consisting of
exhibition rooms, schools, keeper's and business apart-
ments, &c., for the use of the Academy. The friendly
feeling of the members of the Eoyal Academy of London
is acknowledged in the prehminary address issued on the
opening of the Exhibition, which also records that " Sir
Thomas Lawrence presented them a fine cast of the
' Barberini Faun ; ' Sir Eichard Westmacott, RA., one
of his charming works, ' The Houseless Wanderer ; ' and
Charles Eossi, E.A., one of his splendid groups of ' King
Edward I. and Queen Eleanor.' " Shee, himself an Irish-
man, had taken a lively interest in the cause of art in
Ireland ; and Sir Thomas Lawrence showed his sympathy
with the new Academy there by sending over some of
his works to their exhibitions.
Encouraged by the success of the Dublin society, the
artists of Scotland in the same year made a similar effort
to estabUsh a National Academy of Art. A "Eoyal
Scottish Institution " had been in existence for some years
previously, with which artists were connected as Asso-
ciates only, having no voice in its management; the
governing body being noblemen and gentlemen, patrons
of art. Some unhappy misunderstanding arose between
CH.XL] ROYAL SCOTTISH ACADEMY 13
the foimders of the new Academy and the members of
the Institution, although it was proposed, very liberally,
that all the Associates of the one should be created
Academicians of the other, and their assent obtained to
the plan. An appUcation for a charter was made to the
Government in September 1826 ; but from a report made
by the Lord Advocate, unfavourable to the Academy, the
grant of it was delayed till the 12th of November, 1838,
when Her Majesty signed the long-wished-for document,
incorporating it as "The Boyal Scottish Academy or
Painting, Sculpture, and Architecture." Meanwhile, the
artists well sustained their reputation in their exhibitions,
and still continued to promote the taste for art in Scotland.
There are thirty Academicians, and sixteen Associates ;
and by the terms of their charter, one third of the profits
of the exhibitions must be reserved to estabUsh a fund for
the relief of members and widows of members, and the
residue, after paying expenses, is to be apphed to the
advancement of art, in the purchase of pictures, casts,
models, books, &c, and in estabUshing schools of art.
A letter written by Lawrence, in the year in which
these kindred societies were estabhshed, illustrates the
benefit they are designed to confer upon the professors of
art and their famihes, by supplying some provision for
them in cases of necessity. Mr. Eippingille, in his
" Personal Becollections of Great Artists," recently pub-
lished in the "Art Journal," mentions that, in 1826, the
widow of a recently-deceased artist was about to make
application for one of those grants which are so unosten-
tatiously dispensed to those who need them by the
Academy, when Lawrence wrote to him, saying —
*' You will do me a paxticular kindness by giving me the
direction of Mrs. . * If you are on intimate terms with her,
and know that her situation requires assistance from the Boyal
Academy, prevail on her to write a statement of it (attested, so
our forms demand) by some respectable person or persons —
no sanction would be more effectual than your own — and send
14 HISTORY OF THE ROYAL ACADEMY [Ch, XI.
it either to me, as President, or to Mr. Howard, our Secretaiy.
Immediately on the close of the exhibition, cases of this nature
are taken into consideration ; and hers, should she determine to
offer it, will be one of the first attended to."
Thus courteously, and without the slightest appearance
of patronage or favour, was the President anxious to help
forward the interests of the widow of a deceased artist
Nor was it simply by his influence that he was thus
useful to artists, or those connected with them. His purse
was at their service, and much of his embarrassment was
caused by the ready assistance he sometimes lavishly
extended to applicants for it. That his domestic affairs
were ill-managed, and that his taste for collecting drawings
and works of the ancient masters was an expensive one,
is undoubted ; but it is no less true that his natural
kindness of heart continually prompted him to acts of
benevolence which never reached the pubUc ear. Some-
times he would purchase the works of undistinguished
struggling artists ; at others, he would give a present to
those who came to him with tales of sorrow or distress.
There were two societies for the benefit of artists and
their famihes in existence during his Ufetime, which are
still flourishing, to which also he was a liberal contributor.
The one was " The Artists' Fund," founded in 1810, to
which a Royal Charter of Incorporation was granted in
August 1827. It consists of two separate branches, the
" Artists' Benevolent Fund " (supported by subscriptions
and donations), for the relief of the orphans and widows
of those who are members of the Artists' Annuity Fund,
which is maintained by the contributions of its members
for their own relief in sickness, and superannuation in old
age. The other was "The Artists' General Benevolent
Institution," estabhshed in 1814, but which did not obtain
a Eoyal charter of incorporation until 1842. Its object
is to extend relief to all distressed meritorious artists,
whether subscribers to its fimds or not, " whose works are
known and esteemed by the pubUc, as well as to their
CH.XI.] SIR W. SCOTT AT THE ACADEMY 16
widows and orphans," — merit and distress constituting the
claims to its benevolence. To both of these the President
of the Boyal Academy gave his ready support; and
their council and officers are still partly constituted of
Academicians and Associates.
At the anniversary dinner of the Eoyal Academy, in
1828, Sir Walter Scott was present, for the first time, as
an honorary member, having been elected Antiquary to
the Academy the year before. After the usual toasts, Sir
Thomas Lawrence said, " Before we part, I have to pro-
pose the health of one with whose presence we are
honoured, and of whom it may well be said, in the words
of the poet he most resembles, —
* If he had been forgotten^
It had been as a gap in our great feaat^
And aU things unbecoming.' "
Leslie, who was present, says, " The enthusiasm with
which the toast was received exceeded anything of the
kind I ever witnessed ; and when Scott rose to reply, the
applause for some time prevented his speaking. As soon
as he could be heard, he said, *Mr. President, — When
you acquainted me with the honour the Boyal Academy
had done me by induding me among its members, you
led me to beheve that the place would be a sinecure.
But I now find that I then reckoned without my host, for
on my first appearance here, as a member, I am called on
to perform one of the most arduous of duties, — that of
making a speech.' He then, in a few words, returned
thanks."
It was at the annual dinner of the Artists' Fund, in
1829, that Lawrence gave expression to some few words
which seemed to indicate that he felt he had nearly closed
his career as an artist, although he was then only in his
sixtieth year, and apparently in the fiill vigour of health.
His health had been drunk, and loudly cheered by the
assembled company, when, in returning thanks, he said,
" I am now advanced in life, and the time of decay is
16 HISTORY OF THE ROYAL ACADEMY [Ch. XI.
coming ; but come when it will, I hope to have the good
sense not to prolong the contest for fetme with younger,
and perhaps abler men. No self-love shall prevent me
from retiring, and that cheerfiilly, to privacy ; and I con-
sider I shall do but an act of justice to others as well as
mercy to myself."
His departure was nearer than he, or any who listened
to him, then supposed. After a few days' illness, in
January 1830, the announcement of his death startled
the public, and distressed the whole conmaunity of artists.
All possible honour was shown to his memory ; and at
the state funeral in St. Paul's, on the 20th of that month,
besides the Academic body, and a large circle of illustrious
personages, there were eight noblemen and gentlemen
selected as pall-bearers. These were the Earls of Aber-
deen, Gower, and ClanwiUiam ; Lord Dover ; Sir Eobert
Peel; Sir George Murray; John Wilson Croker; and
Mr. Harte Davis.
The architectural casts collected by the late President
were purchased by the Eoyal Academy for the sum of
£250, and presented to the British Museum, for the use
of architectural students. After retaining them for some
years, the Trustees returned them to the Eoyal Academy,
where they now are. Li 1831, the sum of £1000 was
voted by the Academy towards a subscription for the
purchase, for the use of the nation, of the drawings by
old masters collected by Lawrence. Sir John Soane also
offered £1000 towards it, but the subscription failed ; and
as the purchase of the collection had been decUned by
the Government and by all the other parties to whom it
was to be first offered by its owner's will, it was at length
dispersed by auction, and the sum offered by the Academy
was not, therefore, required. Sir Thomas Lawrence's love
of art led him to give enormous prices for these works.
There were specimens of the Italian, German, Flemish,
and Dutch painters ; cartoons by L. da Vinci ; drawings by
Eubens, Eembrandt, and others ; 120 sketches by Michael
Ch. XI.] THE EXHIBITIONS 17
Angelo, and more than 200 by Eaffaelle ; besides numerous
etchings. It was estimated by Mr. Woodbiu*n (who sub-
sequently possessed the larger number of them) that
Lawrence had expended £60,000, besides much valuable
time, upon their purchase. They reahsed about a fourth
of that sum at the time, but have recently been resold,
at a price much higher, and nearer their true value.
The British Institution, in 1830, resolved, as a mark of
respect to the late President, that their exhibition should
consist chiefly of his works ; and ninety-one of his best
pictures were collected from their different owners for the
puipose, including twenty-one lent by the King, being
those which were painted for the Waterloo Gallery at
Windsor. The exhibition proved very attractive, and
displayed the powers of the deceased artist to great
advantage.
During his brief tenure of the office of President, no
changes had taken place in the internal government of
the Academy, nor had any opposition arisen from with-
out. Art societies were multiplying both in London
and in the capitals of Scotland and Ireland, and artists
were rising in importance as a body, and combining
together for their mutual interest in days of adversity.
StiQ the Eoyal Academy found its schools as well
attended, and its exhibitions as full of works of art
and of visitors as when no other similar displays were
made elsewhere. Indeed, there was a decided advance :
in 1820, there were 1072 works exhibited; in 1829,
there were as many as 1223 ; and the income arising
from the exhibition, which was £4650 14^. in the former
year, increased to £4872 2^. in the latter, when the total
income of the Academy from all sources amounted to
£6233 2^. The general appearance of the exhibitions
at this period may be readily imagined by those who can
picture to themselves a collection in which the most
conspicuous and attractive objects were portraits by
Lawrence, Beechey, Jackson, Phillips, and Shee ; enamels
VOL. II. c
n
18 HISTORY OF THE ROYAL ACADEMY [Ch. XL
by Bone ; compositions by Sir W. Allan, H. P. Briggs,
the two Chalons, Abraham Cooper, Etty, Eastlake,
Hilton, Howard, Leslie, Landseer, Mulready, G. S. Newton,
Pickersgill, Wilkie, and Ward ; landscapes by Callcott,
Collins, Constable, Turner, Daniell, and the Westalls;
and the sculptures of Baily, Chantrey, and Westmacott.
Among the items of expenditure diuing the same
period, besides the ordinary charges for maintaining the
Academy, the Exhibition and the Schools, the salaries of
officers, pensions, and donations, there are some few of
special interest. Thus in 1820 Fuseli's lectures were
presented to the Dijon Academy of Science ; and three
several donations of £50 were made in the years 1823,
1825, and 1826, towards the support of the English
Academy at Kome. Of a more complimentary cha-
racter, was a vote of £50 for plate to be presented to
Sir Anthony Carlisle, on his resignation, in 1824, of the
Professorship of Anatomy, which he had held for sixteen
years previously ; and the presentation of a gold snuff-
box to Henry Thomson, RA., when he resigned the
office of Keeper of the Schools, in 1827. Some interest-
ing additions to the art-treasures of the Academy were
also made during the period embraced in this chapter ;
thus Eeynolds's portrait of Marchi was presented in
1821 by H. Edridge, A.RA. ; a bust of Wilton by Lady
Chambers, in 1824 ; a portrait of John Opie, RA.,
by himself; some Eaffaelle and other drawings, by
H. Thomson, RA., in 1827 ; and a medallion by Flax-
man, presented by his sister in 1828.
The Eoyal Academy for several years retained pos-
session of a box which was deposited with the President
by Mr. Eichard Payne Knight, with directions that it
should be opened after his decease, which took place
on the 24th of April, 1824. The box was then found to
contain a will (dated 1808), by which he had bequeathed
his collection of antiques, and other works of art (chiefly
ancient bronzes and Greek coins) to the Eoyal Academy.
Ch. XL] CHANGES AMONG MEMBERS AND OFnCERS 19
Another will, had, however, been subsequently made, by
which he had bequeathed them to the British Museum ;
and thus the gift he originally intended to make to
the Academy was cancelled. The bill legalising the
acceptance of the collection (estimated as worth £50,000)
by the trustees of the British Museum received the
Koyal assent on the 17th of June, 1824. The brother of
the testator wrote to the Secretary of the Academy, to
explain the change in the original bequest, made by
the will dated in 1814 ; and stated that it had not arisen
from any feehngs of diminished respect for the Eoyal
Academy, but solely because, under the arrangements
made at the British Museum subsequently to the date of
his will in 1808, Mr. R P. Knight thought that his
collection being added to those of his late friends Mr.
Townley and Mr. Cracherode would be more useful to
the members of the Eoyal Academy and to the public.
It only remains for us to mention the changes which
had taken place among the members and officers of the
Academy during the period of Lawrence's presidentship.
Eleven Eoyal Academicians died between 1820 and Janu-
ary 1830 ; these were E. Cosway and J. Yenn in 1821 ;
J. Farington in 1822 ; NoUekens and Eaebum in 1823 ;
George Dance, FuseH, and Owen in 1825 ; J. Flaxman
in 1826 ; Bigg in 1828 ; and George Dawe in 1829.
Five Associates, viz., H. Hone, J. Downman, G. Garrard,
W. Ward, and H. Edridge, had also passed away. These
were, of course, succeeded by new members, whose
career will be detailed in the succeeding chapters. The
office of Treasurer was filled during the whole period by
Sir E. Smirke, appointed in 1820 ; Stothard remained
as the Librarian; Fuseli was Keeper till he died, in
1825, when he was succeeded by H. Thomson, who
resigned in 1827, and was followed by William Hilton.
Thomas Phillips succeeded Fuseli as Professor of Paint-
ing in 1825. Sir John Soane remained during the whole
period Professor of Architecture ; and J. M. W. Turner,
c 2
20 HISTORY OF THE ROYAL ACADEMY [Ch. XI.
of Perspective. John Flaxman, the first Professor of
Sculpture, died in 1826, and was succeeded by Sir
E. Westmacott Sir A. Carlisle resigned the Professor-
ship of Anatomy in 1824, and was followed by J. H.
Green. Prince Hoare remained Secretary for Foreign
Correspondence ; WiUiam Mitford, Professor of Ancient
History ; and Sir H. Englefield continued to occupy the
post of Antiquary till 1826, when he was succeedai by
Sir Walter Scott.
During the Continental war the practice of sending
travelling students abroad, receiving an allowance from
the Eoyal Academy towards their expenses for three
years, was necessarily discontinued. Those who were
thus denied the opportunity of studying the remains of
ancient art, or the works of the best masters, received a
pecuniary compensation instead of the allowance to
which, as successful competitors for the gold medal,
they would have been entitled. The peace enabled the
Eoyal Academy to resume the plan ; and one gold medal
student was sent abroad in 1818. Three more were
granted the same advantage during the ten years of
Lawrence's presidentship, these were Joseph Severn, in
1821, who gained the gold medal in 1819 for a histo-
rical painting — * The Cave of Despair ;' WilUam Scoular
in 1825, to whom the gold medal was awarded in 1817
for an alto-relievo — *The Judgment of Paris;' and
Samuel Loat, in 1828, who gained the gold medal in
the preceding year for the best architectural design for
a National Gallery.
21
CHAPTER Xn.
BOYAL ACADEMICIANS ELECTED DURING THE PRESIDENCY
OF SIR THOMAS LAWRENCE, 1820-1830.
The TTwrd President: SiB T. Lawkence.
PamUrs: R. Cook, W. Danxbll, R. R. Rsinagle, Geo. Jones, C. R.
LssuBy H. W. PiCKEBSGiLLy W. ExxT^ and J. Constable.
SaOpiar: R H. Bailt.
ArckUecU: Sm J. Wtattillb and W. Wiletns.
SIR THOMAS LAWRENCE, P.R.A., had long been
a public favourite, when he attained the eminent
position of President of the Royal Academy ; and
his imdisputed claims to eminence in his profession were
recognised in his election to that office by the choice of
his brother artists, who, but for the many proofs of
talent exhibited by him from a very early age, would
have looked with jealousy, rather than with approval,
upon one who had long possessed the favour of the
Court, and monopolised a large portion of the pubhc
patronage in the branch of art to which he devoted
his skilL
He was bom on the 4th of May, 1769, at Bristol. The
house was situated in the parish of St. Philip and Jacob,
a few doors from the birthplace of Robert Southey. He
was the youngest of sixteen children, only five of whom
were alive in 1797, the year in which Sir Thomas lost
both his parents. His elder brother was afterwards the
Rev. A. Lawrence, who died at Haslar Hospital in
August 1821 ; the younger was Major William Read
Lawrence, 72nd Foot, who died in 1817. One sister
became the wife of the Rev. Dr. Bloxam ; and the other
22 HISTORY OF THE ROYAL AC.U)EMY [Ch. XH.
married Mr. Meredith, a solicitor. His father had been
a solicitor, was something of a poet and an artist,
understood a little of the classics, and married a clergy-
man's daughter, named Lucy Eead. Subsequently he
became a supervisor of excise, and was so employed
when his son Thomas was born. At Midsimimer 1769
he quitted the Excise, and took the " White Lion " Inn,
in Broad Street, Bristol Not prospering there, in 1772
he became the landlord of the " Black Bear " at Devizes,
which was the resort of all persons of distinction who
passed through the town on the way to Bath, then the
centre of fashion.
Young Lawrence early displayed a taste for poetry,
theatrical recitation, and painting ; and being of gentle-
manly address and attractive manners, his father intro-
duced him to his guests, that he might exhibit before
them his precocious talents in repeating passages from
Milton or other authors, or in taking their portraits.
In 1775 Lord and Lady Kenyon visited the "Black
Bear," and the young prodigy was introduced to them.
Many others who saw him as a boy in his father's house
(among whom Garrick, Sheridan, and Wilkes are named)
subsequently became his friends and patrons in the days
of his fame as an artist. From among these persons he
obtained, while still a boy, permission to visit some of
the collections of pictures in the neighbourhood ; and on
one occasion he was missed by his friends, and was found
at Corsham House, belonging to Mr. Paul Methuen,
standing before a picture by Eubens. He was with
difficulty led away from it ; and as he went he mimnured
with a sigh, " Ai, I shall never paint like that." His
first sketch was made in his sixth year ; a portrait of
him at seven years old, taken by himself, was afterwards
engraved by Sherwin ; at nine he copied a historical
picture of ' Peter denying Christ,' and at a little more
than ten years old he began to draw portraits profes-
sionally.
CH.Xn.] SIR T. LAWRENCE 23
His school education must necessarily have been
scanty. He was only so taught for three years — ^from
six to eight ; afterwards he learnt Latin from the Eev.
Mr. Jervis, and his mother taught him a Uttle French ;
but the volumes of Milton, Shakespeare, and other poets
were his study, and his naturally elegant turn of mind,
and his sympathy with the beautiful in nature and art,
combined with intercourse with distinguished persons,
supplied what was incomplete in his education, both in
the acquisition of knowledge and in outward demeanour.
When, afterwards, he attained to eminence in his pro-
fession, his handsome exterior and highly-poUshed address,
and his animated and intellectual conversation, procured
for him the personal friendship of the highest personages
in the land, as well as that of men of learning ; and the
position in society which he thus attained tended to
elevate the profession of which he was a member in the
opinion of the world of fashion.
His father early determined to make his son's talents
known ; for he took him first to Weymouth, afterwards
to Oxford, and subsequently to Bath, where he hired a
house in 1782. A crayon copy on glass of the 'Trans-
figuration,' by Kembrandt, done in this year, was sent to
the Society of Arts in March 1784 ; but it failed to
obtain the prize offered, simply because the condition of
the drawing being made " within a year " had not been
compUed with. The Council, however, awarded to the
young artist the "greater silver palette gilt, and five
guineas," to record their approbation of his skill. Mean-
while, it had become the fashion to sit to him for his oval
crayon likenesses in black chalk heightened with white.
He generally received four sitters a day, sketching from
them for half an hour each, and working on each draw-
ing for half an hour afterwards. For these he obtained
at first a guinea, and soon a guinea and a half. A
gentleman of fortune was so struck by his ability that he
offered to give him a thousand povmds, to study at
24 HISTORY OF THE ROYAL AC.VDEMY [Ch. XU.
Rome ; but his father refused it, saying his son's talents
required no cultivation! In 1786 he painted a full-
length figure (his first work in oil) of ' Christ bearing
the Cross,' and soon afterwards his own portrait, a head,
three-quarter size. Wliile at Bath he made also a very
elaborate drawing of * Mrs. Siddons as Aspasia, in the
Grecian Daughter.'
In 1787 his father brought him to London, visiting
Salisbury on his way, and obtained for him an intro-
duction to Sir Joshua Eeynolds. In the exhibition of
that year there were seven of his works ; and in Septem-
ber following he became a student at the Eoyal Academy.
" His proficiency in drawing," says Mr. Howard, " was
such as to leave all his competitors in the Antique School
far behind. His personal attractions were as remarkable
as his talents ; altogether he excited a great sensation, and
seemed to the admiring students as nothing less than a
young Kaffaelle, suddenly dropped among them. He was
very handsome, and his chestnut locks flowing on his
shoulders gave him a romantic appearance." The ' Fight-
ing Gladiator ' and the ' Apollo Belvidere ' were his first
drawings in the Academy, and surpassed all competition.
They were distinguished by a beauty of finish and by a
closeness of imitation, that made his studies on white
paper where lights are left, resemble exquisite drawings
in chalk in which the lights are put on. His first
commission was received from Mr. Payne Knight, the
subject of the picture being ' Homer reciting the Diad to
the Greeks.' A likeness of Miss FarreU, afterwards
Countess of Derby, painted in 1790, showed his power
in portraiture to great advantage ; and in 1788 he was
instructed to paint likenesses of the Queen and the
Princess Amelia, then in her seventh year. He had
obtained an entrance to the best Uterary and fashionable
society, and the King honoured him with an audience
and many proofs of his favour.
To His Majesty's influence with Sir J. Eeynolds, the
Ch. XIL]
SIR T. LAWRENCE
25
young artist was indebted for being proposed as an As-
sociate of the Eoyal Academy in 1790, when he had not
reached his 22nd year. By the laws of the Institution,
he could not be admitted as an Associate till he was
twenty-four years old ; and it was at first proposed that
he should be elected an extra or supplemental Associate
till his age might entitle him to the usual appointment.
Eeynolds and West were both anxious to assent to the
wish of the King to number the young painter at once
among the Associates ; but the measure was opposed in
the Academy, as an innovation upon the laws, and
Wheatley was at that time chosen to fill the vacancy.*
Another year passed, and the difficulty still remained,
for he was yet far fi:om twenty-four ; but on the 1st of
November, 1791, he was, in accordance with the Eoyal
wish and the majority of votes of the Academicians,
elected an Associate — an exception to the strict letter
of the law being made in his fiavoiu*. In the fol-
lowing year, on the death of Eeynolds, Lawrence was
appointed portrait-painter in ordinary to the King, and
also to the Dilettanti Society. The latter appointment
was offered to Hamilton (for whom Lawrence long
cherished a warm fiiendship), but he declined it in favom*
of his yoimg brother in art. On this occasion Lawrence
received a commission to paint portraits of the King
and Queen, to be presented by Lord Macartney to the
Emperor of China. But while steadily rising in court
favour and public patronage, he encountered the violent
^ It was on this occasion that
Peter Pindar wrote his Ode entitled
"The Rights of Kings," in which
are some spirited lines of mock in-
dignation at the rejection of Law-
rence by the Academicians : —
** Hov Sin ! on Majesty's proud corns to tresd t
)f emfevn Academlrlans, when yon *re dead.
Where can your Impudences hope to goT
Refaae a moaarcb's miflrbty orders !
•• It smells of treason — on rebellion borders I
S'death, Airs I It was the Quern's fond wish as well.
That Master Lawrence should rome In 1
Against a queen ao gentle to rebel I
This Is another crying sin I
What, not oblige. In such a trifling thing.
So sweet a queen and such a goodly king 1 . . .
** Lo I Majesty admlreth yon fiilr dome.
And dcemeth that he is admired agiiln :
The king is wedded to it — 'tis his home —
Ho watches It, and loves it even to pain :
And yet this lofty dome Is hoard to soy,
Poh, pohl— pox take your love I— away,
away I . . .
*' Go, Sirs, with halters round your necks,
Which some contrition for your crime bespeaks.
And much offended Majesty implore :
Bay, piteous kneeling, in the royal view ~
* Have pity on a sad alwndoned crew.
And we, great King, will sin no more.
Foi^ve, dread Sir, the crying sin.
And Mlstot.Lawrenoo shall come In.' "
26 mSTORY OF THE ROYAL ACADEMY [Oh. XIL
criticism and abuse both of Peter Pindar and Anthony
Pasquin, whose satire and ridicule were a trying contrast
to the praise and adulation he had received in his boy-
hood : yet their observations, acutely painful to his sensi-
tive disposition, only made him resolve to assert his
claims to the enviable position to which, as a very young
artist, he had attained.
On the 10th of February, 1794, he was elected a
Eoyal Academician, but his diploma was not signed till
the 4th of December, 1795. There is no parallel in
the history of the institution of so young an artist attaining
the full honours which it is in the power of the Academy
to bestow. On this occasion he presented, as his diploma
picture, * A Gipsy GirL' Commissions now accumulated
rapidly ; but he seems to have formed extravagant tastes
and habits, and was indebted to Mr. Angerstein at this
period for advances of money to meet his engagements.
There is no doubt, however, that his father's early ten-
dencies to recklessness, and his subsequent dependence on
his son, had much to do with his difficulties. When he
first came to London, he hved in Leicester Fields (or
Square), with his father; subsequently he kept two
houses — apartments at 41 Jermyn Street for himself (at
a milliner's shop, opposite the church, afterwards occupied
by Sir M. A. Shee), the other in Greek Street, Soho, for
liis parents, to whom he made an allowance of £300 a
year. Late in Ufe he said, "I began life wrongly; I
spent more money than I earned, and accumulated debts
at heavy interest." On the other hand, he declared, " I
have neither been extravagant nor profligate in the use of
money ; neither gaming, horses, curricle, expensive enter-
tainments, nor secret sources of ruin from vulgar Ucen-
tiousness have swept it from me." He was, however,
generous even beyond his means, and always ready to help
those who needed his aid. In 1797 he lost both his
parents : his mother died in his house in May ; his father
in the following October, while he was absent, painting in
Ch. XIL] sir T. LAWRENCE 27
Bond Street This was a great affiction to him, for he
loved them both with tender affection to the last Later
in his career, he removed to 65 Eussell Square, where he
arranged all his paintings by old and modem masters,
and the drawings and etchings he collected during his
lifetime.
Li 1797 he exhibited his 'Satan calling his Legions'
at the Eoyal Academy, which was bitterly satirised by
Pasquin. Fuseli complained that " Lawrence had stolen
his devil from him," and others were not altogether
pleased. The painter was, however, apparently satisfied
with his work ; but there is no doubt that his employment
as a portrait painter was too lucrative and incessant to
indine him to give sufficient thought and study to historical
subjects, and he did not make any more attempts in that
style, with the exception of his " half-history picture," as
he called it, of * Coriolanus at the hearth of Aufidius,' in
1798. A noble portrait of Mrs. Siddons, and another of
Kemble, succeeded these works ; but they were both cen-
sured violently by his implacable enemy Pasquin, in the
criticisms he was then publishing on the exhibitions.
He had formidable rivals as a portrait painter when he
commenced; but Reynolds died in 1792, Opie in
1807, Hoppner in 1810. After that time there was no
competitor left whom he had any need to fear, although
Owen, Beechey, and Shee were steadily rising in fame.
When Hoppner died, he raised his price to 100 guineas
for heads, and 400 for full-length portraits ; and in 1820
a further advance was made to 200 for a head, or three-
quarter size ; kit-cat, 300 ; half-length, 400 ; full-length,
600 ; and an extra size, 700. He received 1500 guineas
for the picture of *Lady Gower and her Child,' and 700
for * Master Lambton,' from Lord Durham.
Several years were filled up with continued and lucra-
tive employment in portraiture. Among these works
were ' The Princess of Wales ' and * The Princess Char-
lotte,' and many likenesses of noble and beautiftd ladies
28 HISTORY OF TIIE ROYAL ACADEMY [Ch.XIL
and persons of distinction. His portrait of * The Children
of Charles B. Calmady,' painted in 1824, was his best picture
of the kind, — " One of the few I should wish hereafter
to be known by," was his own opinion of its value. Fashion-
able portrait painting had, however, its disagreeables ;
for when the unfortunate difference between the Prince of
Wales and the Princess led to an inquiry, known as " the
deUcate investigation," Lawrence, who had painted the
portrait of the Princess (when residing with her daughter
at Montague House, Blackheath, in 1801), and had been
a frequent visitor in the house since that period, found
scandal attributing his visits to improper motives; to allay
which he was fooUshly advised to make a solemn affidavit,
repudiating the allegation, which was formally published
on the 24th of September, 1806. But for the notice he
took of it, the false accusation would have been forgotten
among the many others which were rife at the time.
The most important work in which Lawrence was
engaged was that which resulted from the close of the
continental war. In May 1814, the Prince Eegent gave
him a commission to proceed to Paris, to make portraits
of all the illustrious personages who had contributed to
bring the war to a conclusion. He commenced his
labours with painting those of the King of Prussia,
Count Platoff (the Cossack leader), and Blucher. The
escape of Napoleon from Elba seemed likely to stop the
whole scheme ; but after the great victory of Waterloo,
he was again able to resume his task. On the 22nd of
April, 1815, he had the honour of knighthood conferred
upon him, as a mark of the Prince Eegent's favour to one
who had done so much to raise the character of British
art in the estimation of Europe. In September 1818, he
went to Aix-la-Chapelle, that he might avail himself of
the meeting of the Allied Sovereigns there, and in that
town he painted the Due de Eicheheu, the French
minister ; Count Nesselrode, the Eussian minister ;
Alexander L, Emperor of Eussia ; Francis H., Emperor
Ch. Xn.] Sm T. LAWRENCE 29
of Austria; completed that of Frederick William III.,
King of Prussia (commenced in 1814), and of Prince
Hardenberg, the Prussian minister. In 1819 he went to
Vienna, where he painted the Archduke Charles ; Prince
Schwarzenberg, Field-Marshal and Commander-in-Chief
of the Austrian and Eussian armies in 1814 ; Major-
General Czemicheff ; Prince Metternich ; and Count Capo
dlstria. From thence he went to Eome, to paint por-
traits of Pope Pius Vil. and his minister, Cardinal
Gonsalvo. The other portraits in the series (thirty-one in
all, the majority of which are full-lengths) were King
George IV., in the robes of the Order of the Garter ;
Lord Castlereagh, afterwards Marquis of Londonderry;
the Duke of York, Commander-in-Chief; the Earl of
Liverpool ; the late Duke of Cambridge ; Charles X. of
France and his son ; Major-General Sir G. A. Wood, who
commanded the Artillery at Waterloo; the Duke of
Brunswick, who was killed there ; the Duke of Wellington,
the great hero of the war ; Canning ; Count Alten, of the
German AuxUiary Legion; Count Munster, Hanoverian
minister; Earl Bathurst, Secretary of State; General
Overoff ; and Baron Wm. von Humboldt, brother of the
celebrated traveller, and Prussian Foreign Minister.
This was a noble commission — for he received his
usual prices for each work, and £1000 for travelling
expenses and loss of time — and likewise added greatly
to his fame- He said, "I look to the honour I have
received, and the good fortune of being thus distinguished
in my profession, as the chief good resulting from it, for
many unavoidable circumstances make it of less pecuniary
advantage." A wooden house of three rooms was shipped
by the Government to receive his pictures at Aix-la-
Chapelle, but it did not arrive there in time ; and in the
interval the magistrates had fitted up the Hotel de Ville
as his painting-room, — the best, he declared, that he ever
had. It could hardly be expected that all these portraits
would be of equal merit ; some few, especially the Pope
80 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
and his minister (his best works), the Emperors of Austria
and Prussia, the Due de Eichelieu, and Blucher are
admirable. The great Duke of Wellington is, unfor-
tunately, one of the least successful. The painter came
back to England laden with honours and gifts ; he
was elected a Member of the Academy of St. Luke, at
Eome, of the Academies of Florence, Venice, Bologna,
Turin, Vienna, and Denmark, and of the American
Academy of the Fine Arts; and was presented with
diamond rings by the Emperor of Austria and the King
of Prussia, and a dessert-sendee of Sevres china by the
King of France, who also conferred on him the cross of
the Legion of Honour. Canova conveyed to him the
wish of the Academy of St. Luke to possess his portrait.
" I have never painted myself, except when a boy," he
replied ; " and have never been painted by others. I
could wish, indeed, to defer the task till age had given my
countenance some lines of meaning, and my hair, scanty
and grey as it is, some silvery hues, like those of our
venerable President, Mr. West." In the mean time, how-
ever, he sent his brother's portrait to the Eoman
Academy.
On the 20th of March, 1820, Lawrence arrived in
England. The venerable Eoyal Founder of the Academy
was dead, and West also had recently departed. He was
chosen to succeed him in the office of President, and
with this honour others followed ; by virtue of his office,
he was a trustee of the British Museum ; and he was
also created a Fellow of the Eoyal Society and an LL.D.
of Oxford. His subsequent career as President we have
already traced ; but while the duties of his office occupied
a large share of his time and attention, his talents were
still in request by the celebrities of his time, and the
monopoly of his practice was such that not a family of
rank in the kingdom would be satisfied with any portrait
which did not proceed from his hand. After his death,
his studio was found crammed with beginnings — mere
Ch. Xn.] Sm T. LAWRENCE 31
sketches — of men, women, and children, commissions with
which the furor of fashion had surrounded him, and
which were forced upon him without the possible chance
of his Uving long enough to finish them. It was suffi-
cient to have sat to Lawrence, without the remotest
prospect of ever getting the portrait completed. Yet
while his practice was so lucrative that his income must
have varied from £10,000 to £15,000 a year, he was
not, to the end of his career, free from embarrassment.
His collection of drawings, &c., by old masters, absorbed
a large amount : but Lawrence seemed neither to know
what he received nor what he spent. For some years,
Farington managed his afiairs ; but after he died, the
President sometimes found his purse exhausted when he
wished to give away money to help a striving artist,
until payment for a picture yet unfinished was made.
The sale of his efiects realised after his death £15,445,
a simi about equal to the demands on his estate.
A sudden and severe illness terminated his career, to
the r^ret of all his countrymen, on the 7th of January,
1830. He had been at work till the day before his
death ; and although slightly imwell for two or three
days previously, no alarm was felt until a few hours
before his end. Disease of the heart and depletion of
the blood-vessels, were the causes assigned for his death,
by Dr. Holland and Sir Henry Halford his medical
attendants. He was buried on the 20th of the same
month, with all the honour and respect due to his
position and his genius, in St. Paul's Cathedral, his
remains having been removed to the Eoyal Academy
on the day preceding the fimeral. In person he very
much resembled George Canning, of middle size, with
mild and gentlemanly aspect, speaking in a soft pleasant
manner, giving his opinions on art or any other subject
with modesty and humility. He was accessible to all
who sought him, being ever ready to give advice or aid
to those who needed it. As a boy, he was fond of games
82 HISTORY OF THE ROYAL ACADEMY [Ch. Xn.
and athletic sports ; in early manhood he was a masterly
billiard-player, a good shot, an expert courser, and not a
bad actor. In this latter capacity he took part in the
private theatricals at the Marquis of Abercom's, at the
Priory at Stanmore, in January 1803, when he assumed
the character of Lord Eakeland in the " Wedding Day,"
and of Grainger in "Who's the Dupe." To amuse his
leisure hours he sometimes wrote verses, specimens of
which are given in Williams's " Life of Lawrence," vol. i.
pp. 382-391. His correspondence (also printed in the
same work) was very large, and was characterised by a
sprightliness and pleasantry which indicated a happy
spirit. When relating to art, or when describing the
works he saw on the Continent, his letters gave evidence
of his true appreciation of what is beautiful. He had
many lady correspondents, and many admirers ; indeed
he is described as making himself fascinating to so
many, that each thought he must be in love with her.
Latterly a change came over both his health and feelings ;
he was more sedate and thoughtful, and many of his
later letters breathe of piety and a respect for God's
ordinances which was new to him. He loved the conver-
sation of devout men, felt scruples about working on
Sundays (formerly his habit), and was regular in atten-
dance at church.
His custom was to paint standing, and to put in the head
of his portrait at once, without sketching out the position
of his figure. He drew the true outline, and complete
detail and expression of the face, in black, white, and
red chalks. These he would copy on his canvas in
colours, and keep the chalk drawing beside him, for his
guide in the absence of the sitter. The characteristics of
his style, and the estimation of his genius, have been
judiciously summed up by Mr. Howard, RA., who says : —
**In the intellectual treatment of his portraits^ he has pro-
duced a surprising variety of happy and original combinations,
and has generally conveyed, with the feeling and invention of a
CH.XIL] SIR T. LAWRENCE 33
poet, the best representation of his subject, seizing the most
interesting expression of countenance which belonged to each.
In this respect, perhaps, he has shown a greater dramatic power
than either of his illustrious rivals ; and certainly in painting
heauty^ he yielded to none. He has sometimes been censured
for rather a theatrical taste in his attitudes, approaching to the
meretricious; but in general they are dignified, graceful, and
easy. Early in life he aimed at a depth and richness of tone
more readily to be found in Titian and the best Italian colourists
than in the hues of nature in this climate; but he gradually
quitted this style, and imitated closely the freshness of his
models as he found them, striving to give his works the utmost
brilliancy and vigour of colour of which his materials were
capable. Hence, if his pictures seldom possess the mellow
sweetness of Beynolds, he often surpassed him in some of the
above-mentioned qualities. In vivid and varied chiaroscuro he
has perhaps no rival, and may be said to have enlarged the
boundaries of his art, changing by degrees the character of our
annual exhibitions, and giving them, at length, one of acknow-
ledged and unprecedented splendour. The extraordinary force
and vivacity of effect, the gracefulness of his manipulation, and
those animated expressions of the human face divine which his
powerful skill in drawing enabled him to fix so admirably on
canvas, constitute his peculiar distinction and glory as an
original artist, and his claim to the title of a man of genius."
There are several fine specimens of Lawrence's portraits
in the National Collections — J. P. Kemble as Hamlet,
Mrs. Siddons, Mr. Angerstein, Benjamin West, Sir J.
Macintosh, Eight Hon. W. Windham, Fawcett the
comedian, Mrs. Kobertson, Miss Carter (in crayons), and
George IV. and the Dowager Countess of Darnley, the
two latter unfinished.
We have now to notice the artists who became Eoyal
Academicians during the period in which Lawrence filled
the omce of President. They were eleven in number. Of
these, eight were painters, viz. Eichard Cook and William
Daniel], elected in 1822; Eichard Eamsay Eeinagle,
in 1823 ; George Jones, in 1824 ; Charles Eobert Leslie
VOL. II. D
34 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
and Henry William Pickersgill, in 1826 ; William Etty, in
1828 ; and John Constable, in 1829. One sculptor,
Edward Hodges Baily, elected in 1821, and two archi-
tects, Sir Jeffry WyatviUe and William Wilkins, elected,
respectively, in 1824 and 1826, complete the list of new
members raised to the higher grade between 1820 and
January 1830.
EiCHARD Cook, E.A., was bom in London in 1782, and
entered the schools of the Koyal Academy in 1800. He
was known as a constant contributor to the exhibi-
tions between the years 1808 and 1822, when he painted
several landscapes not destitute of poetic beauty, scenes
from the " Lady of the Lake," displaying taste and talent,
and, in 1817 (having been elected an Associate in the
preceding year), a more ambitious work, entitled, ' Ceres,
disconsolate for the loss of Proserpine, rejects the solici-
tations of Iris, sent to her by Jupiter.' In 1822 he
attained the rank of Eoyal Academician ; and almost from
that time forward, and certainly for many years preceding
his death, he seems to have reUnquished his profession,
and ceased to contribute any of his productions to the
annual exhibitions of the Academy. His private fortune
enabled him to Uve independently of his art ; but he was
fond of showing hospitality to the members of the
Society which had admitted him to their company. He
died on the 11th of March, 1857, in his 74th year.
William Daniell, E.A., was bom in 1769 ; and in
his fourteenth year accompanied his imde Thomas
Daniell, E.A., to India, for the purpose of assisting him
in depicting the scenery, costumes, &c., of that interesting
country. During the ten years of their absence^ from
England, they travelled many thousand miles when
Europeans had few faciUties for journeying in the East
Immediately on their return, their large work entitled
♦* Oriental Scenery " was commenced, and continued with
CH.Xn.] WILLIAM DANIELL 36
the utmost ardour till its completion in 1808. The plates
in five of the volumes were engraved by or under the
superintendence of William Daniell ; in the sixth volume
the twenty-four views of excavations, &c., were " drawn
by James Wales, and engraved under the direction of
Thomas Daniell." Between 1801 and 1814, WiQiam
Daniell also published " A Picturesque Voyage to India,"
" Zoography," " Animated Nature," " The Docks," a series
of views, and " The Hunchback," after Smirke.
In 1814 he commenced another gigantic undertaking,
"A Voyage round Great Britain," and two or three
months in esch summer were spent in collecting drawings
and notes. The work was completed by his imassisted
labours in 1825. Such a task would not now be diflScult ;
but in those days he complamed of great fetigue, and ex-
posure to all sorts of weather, wretched fare, and want of
accommodation on his route. In 1832 he executed the
panorama of Madras, in conjunction with Mr. Farris, and
subsequently painted, unaided, two others, * The City of
Lucknow,' and ' The Mode of hunting Wild Elephants in
Ceylon.* Among his best views were those of * Fyzabad
in Oude,' 'The Mosque at Jaunpore,' 'The Dead Ele-
phant,' ' Hindoo temples,' &c. His colouring was rather
hard and red, perhaps from his early acquaintance with
the climate and scenery of India, and the eastern style of
drawing. He was particularly successful in depicting the
ocean in all its varied aspects ; and his glowing representa-
tions of Oriental scenery are well known to the public by
his splendid " Oriental Annual."
He became a student at the Eoyal Academy in 1799,
was elected an Associate in 1807, and E.A. in 1822. He
died in London on the 16th of August, 1837.
BiCHABD Eamsat Beinagle, was the son of Phihp
Beinagle, RA., a landscape, animal, and panoramic
painter of considerable ability, and was bom in 1775.
He became an Associate of the Eoyal Academy in 1814,
D 2
36 raSTORY OF THE ROYAL ACADEMY [Ch. XH.
and was elected a Eoyal Academician in 1823. In the
latter capacity he proposed to the General Assembly that
Hne engravers should be admitted to fiill membersliip, a
course which was not then adopted, although the principle
has since been recognised by the new law relative to
Academician Engravers.
Unfortunately circumstances occurred in 1848 which
led to a committee of Academicians being appointed to
inquire into certain charges pubUcly preferred against
him, the result of which was that the truth of the state-
ment was confirmed, and Mr. Eeinagle was requested to
resign his seat amongst them. The nature of the offence
charged against him impugned both his truth and just
deaUng : it was alleged that he purchased at a broker's
shop a picture painted by a young and comparatively
unknown artist, named Yamold, and subsequently exhi-
bited it at the Eoyal Academy, and sold it as his own.
In reply to this charge he contended that he had painted
it over, so that in reahty it was his own work. But it
was proved that, except a few unimportant touches on
the sea and sky, it was entirely the work of another ; and
painful as it must have been to the Eoyal Academicians to
require his withdrawal from among them at his advanced
age, the course was the only one which they could take
with due regard to their own integrity and the honour of
the institution of which they were members.
To show that no personal ill-feeling prompted the de-
cision, it need only be mentioned that, both before and
after this painful event, Mr. Eeinagle was largely assisted
from the funds of the Academy, and is still in receipt of
a liberal allowance from them. He had a very talented
and promising son, PhiUp, who died in 1833, when a very
young man, having shown great abihty as a painter of
marine subjects.
George Jones, E.A., was bom on the 6th of January,
1786, and is the only son of John Jones the mezzotinto
Ch. Xn.] GEORGE JONES 87
engraver (the friend of Sir Joshua Eeynolds and Edmund
Burke), and the god-child of George Steevens, the anno-
tator of Shakspeare. He was admitted as a student at
the Eoyal Academy in 1801, and continued for some
years to devote himself to the study of painting, until
the Peninsular war awakened in him a mihtary ardour ;
when leaving the pursuit of art till more peaceful
times, he first joined the South Devon MiKtia, became
afterwards a lieutenant in the King's Own StaflTord, and
subsequently a captain in the Eoyal Montgomery Mihtia.
He volunteered with his company to the fourth divisional
battalion under Lord Dartmouth, which was not com-
pleted, and subsequently served with the force under
Wellington, and formed part of the army of occupation
in Paris in 1815.
After the termination of the war, he again resumed his
first profession, and became an Associate in November
1822, and a Eoyal Academician in February 1824. In
1834 he was appointed by William IV. Librarian to the
Academy, and in that capacity superintended the removal
of the library fi-om Somerset House to Trafalgar Square
in 1837, arranged it in its present position, and made the
catalogue of its contents. He resigned this appointment
in 1840, when he became Keeper, an office which he
relinquished in 1850. The better to quahfy himself for
his duties in the latter office, he travelled through a great
part of Europe for the purpose of examining the foreign
schools of art, that he might thus be enabled to improve
anything which was defective in the schools of the Eoyal
Academy. He was so popular as Keeper, that one
hundred of the students commemorated the close of the
Academic season in 1845 by presenting him with an
elegant silver Etruscan tazza, to express their gratitude
for " his undeviating kindness of manner, and his affec-
tionate r^ard for their interests, progress, and success."
During the last five years of the lifetime of Sir M. A.
Shee, his ill-health rendered it necessary for a deputy to
88 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
act as President ; aad Mr. Jones undertook the conduct
of the business at the general assemblies, and to take
the place of his friend on all public occasions. From
his first connexion with the Academy, he has devoted
his abilities, time, and means to its service, and has been
zealous in maintaining its independence, and in uphold-
ing the principles of its constitution. He has been a
liberal subscriber for many years to the Artists' Bene-
volent Institution, and has contributed upwards of 600
guineas to its funds.
In the beginning of his career as an artist, he painted
the efiective street scenery of continental towns, as well
as views of English cities; these subjects have always
been ably rendered by him, and he has created many
pleasing and excellent pictures from this source. He
afterwai-ds entered upon a different style, choosing battle-
scenes of ancient and modem date as subjects for his
pencil, and he depicted them with such force and ac-
curacy that hig own military experiences evidently proved
of great advantage. At a later period he has inter-
spersed his works in landscape and battle-scenery with
representations of incidents in sacred and profane history
and tradition, and has painted some pictures of events in
modem English history, as * The passing of the Catholic
EeUef Bill,' * The opening of new London Bridge,' &c
All these varied subjects he has treated with great skill,
producing strong and marked effects of light and shade in
the manner of Eembrandt.
The Peninsular war especially occupied his attention,
and afforded him materials for depicting many striking
scenes, in which he has displayed his peculiar powers as
a painter of battle-pieces to great advantage. The Duke
of WeUington particularly admired the correctness and
general effect of his representation of 'The Battle of
Waterloo ' (which he has painted several times), and the
British Institution awarded him in 1820, and again in
1822, their premiums of 200 guineas for his pictures of
Ch. Xn.] JONES — LESLIE 39
that famous victory. He painted the battles of Vittoria
and Waterloo for George IV., and also for the Earl of
Egremont. He has also represented many subsequent
engagements of the British army in India and the
Crimea — * Meanee,' ' Hyderabad,' ' The Alma,' &c. Be-
sides his nimierous finished pictures of this class, he has
executed in outline a large number of drawings of
battles, under the direction of the commanders, and
niunerous historic and poetic sketches in sepia and chalk,
principally in the collection of C. H. Turner, Esq., of
Book's Nest Park.
There are four specimens of his works in the Vernon
Collection, in the formation of which he took a chief
part, as the liberal donor relied greatly on his taste and
judgment. Two of the pictures by him in this collection
were painted in 1829, ' The Battle of Borodino, in 1812,'
and 'A View of Utrecht;' a third, dated 1832, is ' The
Burning Fiery Furnace,' an efiective scene, fiill of strong
lights and shades ; and a fourth, painted in 1833, repre-
sents *Lady Gk)diva starting on her Journey through
Coventry from her Lord's Castle.' All of these were pur-
chased at sales by Mr. Vernon, with the exception of the
view of Utrecht, which was a commission to the painter.
In 1849 he published a book entitled " Sir Francis
Chantrey ; Eecollections of his life. Practice, and Opinions,
by George Jones, RA.," an interesting memorial of the
eminent sculptor, dictated alike by personal friendship and
admiration for his genius.
Chables Bobebt Leslie, B.A., was bom in the parish
of Clerkenwell, on the 19th of October, 1794, of American
parents who were descended from Scottish and English
families which emigrated to Maryland in 1745. His
father, who was a man of mechanical genius and a friend
of B. Franklin, carried on an extensive business as a
watchmaker in Philadelphia. He engaged a partner
named Price to take charge of it while he came to
40 HISTORY OF THE ROYAL ACADEMY [Ch. XII.
England, where his son was bom. On his return to
America in 1799, after five years* absence, he found his
partner dead and his affairs in hopeless confusion. He
shortly afterwards died, and his widow opened a boarding-
house to earn a provision for her children. One of her
daughters, EUza Leslie, an elder sister of the artist, after-
wards became a favourite writer of tales and satirical
sketches in the American periodicals. Young Charles
Leslie had been placed at the University of Pennsylvania,
but would have been removed at his father's death but
for the kindness of the professors, who remitted their
charges that he might not be prevented, by the altered
means of his family, from pursuing his studies.
Visits to his uncles in the country awakened his love of
nature ; and from his earliest years he was so fond of draw-
ing that his mother at first intended to apprentice him to
an engraver, but eventually bound him, in 1808, to a
publishing firm in Philadelphia, Messrs. Bradford and
Liskeep. The boy's great delight was to examine the
beautiful plates after Stothard, Smirke, and others, illus-
trating the books which came over from England ; and he
says in his autobiography that the windows of the print-
shops " were so many Academies " to him. He had a love
of theatricals also, and went to see G. F. Cooke, the actor,
of whom he made a sketch which struck all who saw it
with admiration ; and a subscription was raised by his
master, Mr. Bradford, among the wealthy merchants of
the city, to enable the young genius to study painting in
Europe for two years.
Accordingly in 1811 he came to England, bringing
with him letters of introduction to West, Beechey, and
other artists. The President received him with much
interest, and introduced him to Washington Allston, a
native of the country he had so recently left, and a man
of pure and refined taste. Amidst the whirl of excite-
ment in art, books, and theatricals which followed upon his
arrival in London, Leslie was attacked with a severe ill-
CaXIL] C. R LESLIE 41
ness which made him sigh for home. He recovered from
his iUness and his home-sickness, however, and continued
to study art with great earnestness.
After some preUminary instruction given him by
Allstpn and by West, he entered the schools of the Eoyal
Academy in 1813. Puseli was then Keeper, and LesUe
remarks that he did not teach the students much by
talking about their art, but simply watched them at then*
work, sitting often in their midst with his book, and
afterwards commenting on what they had done, thus act-
ing upon the adage, " Art may be learnt but cannot be
taught." He gained two silver medals — one given
by Fuseh, in the absence of West, for his drawing from
the 'Laocoon;' the other awarded in the life School,
for a figure set by Maxman. In his early works LesKe
essayed historical painting on a large scale, and seemed
to venture on all styles, micertain in which he could best
succeed. In 1813 he exhibited 'Murder,' from "Mac-
beth ;" and in the De Tabley collection is one of his first
large paintings, ' Saul and the Witch of Endor,' which was
sent to the British Institution in 1814, but excluded
as unfinished, not being varnished. West took it into
his own studio, from whence it was purchased by Sir
J. Leicester, afterwards Lord de Tabley. But the pic-
ture which made most sensation at the time was that
painted in 1818 for his friend, Mr. Dunlop, ' Sir Eoger de
Coverley going to church, accompanied by the Spectator,'
a subject which he afterwards repeated for the Marquis
of Lansdowne, and which was the first specimen of the
style in which he so greatly excelled.
In September of the preceding year he had visited Paris
with W. AUston and WiUiam ColUns, and there formed
a friendship with Gilbert S. Newton. The method of
the latter and of Constable influenced his own style of
painting, and he evidently derived great advantage both
from his judicious choice of friends on his first arrival
in England, and from the power of profiting by their
42 raSTORY OF THE ROYAL ACADEMY [Ch. XH.
abilities, which he possessed. Coleridge took a great fancy
to him ; so did Washington Irving, with whom he gene-
rally dined every day, in company with Newton, at the
York Chop-house in Wardour Street Although he con-
tinued from the first until the end of his career to paint
portraits occasionally, he seems at an early period to have
determined on following the style by which he since
acquired his fame, for he stands almost alone as the illus-
trator of the works of Addison, Lesage, Cervantes, Sterne,
Smollett, and Fielding, and is an admirable interpreter of
the plays of Shakspeare. Among his early works in
this style were, * May-day in the reign of Queen Elizabeth,'
(1821), ' Sancho Panza and the Duchess' (1824), * Anne
Page, Shallow, and Slender' (1825), &c.
In November 1821, he was elected an Associate of the
Eoyal Academy. " I was on every account," he says,
" much elated with the event ; one of the great advan-
tages resulting from which was the opportimity it af-
forded me of frequent intercourse with the best artists,"
for " it is the etiquette for a newly-elected member to
call immediately on all the E.A.'s." In April 1825 he
married; the next year he became a Eoyal Academi-
cian, and obtained the patronage of Lord Holland, paint-
ing portraits of his lordship and some members of his
family. Lord Egremont, for whom he had painted
' Sancho Panza ' and other works of the same class, in-
vited him with his wife and family every autunm to visit
Petworth, and was a steady and munificent patron of the
artist, as may be judged by the number of his works con-
tained in that nobleman's collection. The galleries of
Mr. Naylor, Mr. Gillott, and Mr. Miller in Lancashire and
Birmingham are also rich in his works. In 1825 LesHe
painted, besides * Slender courting Anne Page,' already
mentioned, ' Sir H. Wotton's Departure from Venice,' and
six drawings to illustrate Walter Scott's novels. The next
year he exhibited " Don Quixote deceived by the Curate,
the Barber, and Dorothea ; ' and in 1827 a very graceful
CH.Xn.] C. R. T.RSTJR 43
composition of 'Lady Jane Grey persuaded to accept
the Crown,' which has been engraved on a large scale-
Two years afterwards he painted ' Sir Eoger de Coverley's
fortune told by Gipsies,' and in 1831, ' Unde Toby and
the Widow,' and a scene from " The Merry Wives of
Windsor " — ' The Dinner at Page's House.' The next
year a very elaborate picture of some dozen male and
female members of the Grosvenor family, painted for
the Marquis of Westminster, excited admiration by the
tasteful arrangement of the group. A scene from the
" Taming of the Shrew " was also exhibited this year,
and in the next a scene from "Tristram Shandy,'* a
pleasing bit of nature — 'The Mother dancing to her
Child,' and a sacred group, ' Martha and Mary.'
In 1833 Leslie's brother procured for him the appoint-
ment of teacher of drawing at the Military Academy at
West Point, on the Hudson Eiver ; and his family and
friends urged him to accept it. He did so ; but so great
was the r^ret of his patrons and admirers in England
when he quitted it, that after his arrival in America he
seemed to feel that he had left his home and his proper
sphere in leaving the country of his adoption; and as
the feeling of regret deepened with his absence, he re-
turned to England after spending two years abroad. In
1835 he again appeared as an exhibitor at the Boyal
Academy, contributing 'Columbus and the Egg,' and
' Gulliver's Introduction to the Queen of Brobdignag.'
In 1836-37 he painted two scenes from "The Winter's
Tale" and "Old Mortahty," and in 1838 he exhibited
'The principal characters in "The Merry Wives of
Windsor." ' Lady Holland obtained for him a ticket to
view the Queen's coronation in Westminster Abbey, the
result of which, he tells us, was twofold — first a resolu-
tion never again to wear a court suit, and next a commission
to paint a picture of ' The Queen receiving the Sacrament
at the Coronation.' This task brought him the honour
of personal communication with Her Majesty and the
44 HISTORY OF THE ROYAL ACADEMY [Ch. XIL
members of the Eoyal family, which he could not other-
wise have enjoyed. In 1839 he contributed four works
to the exhibition, two of them love scenes, and ' Sancho
Panza' and 'Dulcinea,' The next year his only work
was an admirable portrait of Lord Chancellor Cottenham.
In 1841 he exhibited a scene from " Le Bourgeois Gentil-
homme," * Fairlop Fair,' and * The Library of Holland
House.' Scenes from "Twelfth Night" and "Henry
Vin." followed in 1842 ; and in the next year portraits
of Mr. Travers an eminent surgeon and of Mr. H.
Angelo, ' The Coronation ' picture, a scene from the
"Vicar of Wakefield," and another from "Le Malade
Imaginaire." Li 1844, besides repeating * Sancho Panza,'
he exhibited a scene from " Comus," a composition for a
fresco for the summer-house at Buckingham Palace.
Among his subsequent works were a scene from "Les
Femmes Savantes," ' Heading the Will,' ' Charles Dickens
as Captain Bobadil,' ' Lady Jane Grey reading Plato,'
' The Masque Scene ' in " Henry VIH." ' Juliet,' ' Falstaff,'
' The Eape of the Lock,' ' Beatrice in the Garden,' * Sophia
Weston and Tom Jones,' 'Queen Katharine,' and other
similar productions, many of which, as well as of those
previously mentioned, are now national property, twenty-
four of his pictures and studies having been presented by
Mr. Sheepshanks (who was an especial admirer of his
works), and two by Mr. Vernon. In 1857 he exhibited
'Sir Roger de Coverley,' and in 1858, 'Christ and
the Disciples at Emmaus.' His last works, 'Jeannie
Deans appealing to the Queen,' and ' Hotspur and Lady
Percy,' were opened to public exhibition at the Eoyal
Academy on the 4th of May, 1859, and on the following
day the talented artist who had painted them died at his
house in Abercom Place, St. John's Wood, leaving a
widow to mourn his loss, with whom he had Uved a life
of unclouded happiness for thirty-three years, and
children to lament the removal of the most loving, self-
sacrificing, and tender of fathers. Besides his exhibited
CH.XIL] 0. R. LESLIE 46
works, he painted many pictures which were sent direct
to America, and others for his varied patrons in this
coimtry.
Of his personal character and the purpose of his
works, it has been well said by Mr. T. Taylor, that, —
•*In his whole life we see the man of cautious, trustful,
respectful nature, slow in the formation of his judgment, dis-
posed to defer to others in his art and out of ii^ but strong in
principle, and apt to hold stubbornly to convictions once
grasped ; not given to court notoriety or publicity, and rather
shrinking from than provoking conflict; asking only leave to
pursue the even tenor of his way in the practice of the art he
loved ; among the quiet friends he valued, equable, affectionate,
self-respecting to the point of reserve and reticence; valuing
good taste and moderation as much in art as in manners, averse
to exclusive theories and loud-sounding self-assertion in all
forms, closing a happy, peaceful, successful, and honomred life
by the calm and courageous death of a Christian, and. leaving
behind him pictures stamped in every Une with good taste,
chastened humour, and graceful sentiment — pictures which it
makes us happier, gentler, and better to look upon — which
help us to love good books and to regard our fellow-creatures
with kindlier eyes. As a painter of dramatic subjects, he is
unrivalled in the power of telling a story with but few acces-
sories. They show how earnestly and thoughtfully he had
studied the works of the authors he illustrated, till he could
depict each individual character as living portraits of men and
women, as the poet or the novelist drew them. Each picture
was carefully elaborated, both in the preliminary study and in
the careful execution of all its details; but in order to be
appreciated, they require to be studied. His drawing was
always good, correct, and graceful ; his coloiuing was generally
rich and harmonious, sometimes (especially in his later works)
it was cold and crude ; but he was a thorough master of the
technicalities of his art. In his delineation of females, he
invests them with more of mental than of physical beauty, and
gives them an air of womanly dignity ; while his men are full
of living character, whether of humour or quaintness, or of a
higher cast."
His literary productions are of considerable value
46 mSTORl' OF THE ROYAL ACADEMY [Ch. XIL
especially to artists. In 1843 he published in 4to. a
" life of Constable," a simple piece of biography, com-
piled chiefly from his letters, which open out the mental
character and artistic views of one of our great landscape
painters. It was afterwards republished in 8vo. without
the plates. In November 1847 he was imanimously
elected to the office of Professor of Painting at the Eoyal
Academy, which he retained till 1852, when he resigned
it on account of delicate health. In 1855 the lectures
he dehvered to the students were published as a
"Handbook for Young Painters" in 12mo. ; and, as the
result of the observation, reflection, and experience of a
painter of Leshe's skill and ability, this remodelling of
the materials of his lectures is interesting not only to
the painter, but also to the student of the history of art
in England.
He took an active interest in the afiairs of the Aca-
demy — having at various times proposed the grant of an
allowance to the President, the election of engravers as
Academicians, the opening of the exhibition in the
evening, and the restriction of members to sending only
six works. In 1828 he joined the Sketching Club, which
had been established twenty years before by the brothers
Chalon, and only withdrew from it when his health
failed him in 1842. Weekly meetings of the members
were held at each other's houses — the host being pre-
sident, who gave the subject from which each made a
design. They supped at ten, and afterwards reviewed
the drawings, which remained the property of the host
Leslie was in the habit, all through his life, of writing down
accounts of anything of importance that occurred ; and
from these notes, and from letters, he composed " The
Autobiographical Eecollections," which were published
after his death in two volumes, by Mr. Tom Taylor. They
are fiill of anecdotes of his artist contemporaries and of
many distinguished persons with whom he was associated.
The second volume is chiefly composed of his corre-
CH.Xn.] H. W. PICKERSGILL 47
spondence with Washington Irving and other Mends, and
illustrates both the excellences of his own character and
the estimation in which he was held. His " Life of Sir
Joshua Eeynolds, with Notices of his Contemporaries," is
advertised for publication.
Hknby William Pickersgill, R A., was bom in London
on December 3rd, 1782. When a mere child he was
taken fix>m home by a connexion, Mr. Hall, engaged in
the silk manufacture in Spitalfields, and adopted by
him ever afterwards. He was sent to a school kept by
Mr. Stock, in the house at Poplar formerly occupied by
Sir Eichard Steele, and there received an education far
above the average, his preceptor being a man of science
and fond of experimental philosophy, and taking great
pains to impart his knowledge to his pupils. Leaving
the school at sixteen or seventeen, he returned to Mr.
Hall's house, and pursued the business xmtil the French
war took place, which involved such serious losses that
the manufactory was closed. During the idle days which
followed on the cessation of his ordinary employment,
young Pickersgill paid a visit to the Koyal Academy
Exhibition for the first time ; and the effect of the display
of pictures he then saw was such that he returned home,
expressing his determination to become a painter. While
at school he had already displayed his talent as a
draughtsman ; and after much opposition, and with some
diflSculty, his friends at last consented to place him for
three years as a pupil with George Amald, A.RA., with
whom he remained till his twenty-second year, learning
little except the mode of using colours, as landscape paint-
ing was not to his taste. A severe illness came upon him
at this time ; and the surgeon who attended him, seeing his
taste for art, obtained for him, through E. Edwards, A.RA.
an introduction to Fuseli, by whom he was admitted as
a student at the Eoyal Academy in 1805. Li the begin-
ning of his career as an artist he painted historical.
48 HISTORY OF THE ROYAL ACADEMY [Ch. XIL
mythological, and poetical subjects, and still exhibits
works in the same style; but for many years he
devoted himself exclusively to portraiture, and was in
fuU employment in that branch of art, although he had
in the beginning of his career many eminent rivals to
contend with. After the death of PhiUips, he was espe-
cially the favourite with those who desired to have large
full-length portraits painted for presentation and honorary
gifts ; and he was thus employed in painting likenesses of
men eminent in rank, pohtics, science, and letters. His
works are faithful and expressive as portraits, and his
style is quiet and pleasing. He has the power of catching
and placing on his canvas the most intelKgent expression
of his model, producing an unquestionable likeness,
without the affectation of prettiness or the seduction of
flattery. His colouring is vivid and yet not overdone,
and there is a firmness and force in it which he has
maintained even in his latest works. One of his chief
patrons was the late Sir Eobert Peel, who continually
employed him to add to his collection at Drayton por-
traits of his personal and pohtical friends, and other
celebrities. For him he also painted Owen, Cuvier,
Humboldt, and Hallam ; and for Lord Hill, a portrait of
the Duke of WeUington. Before commencing this work,
he visited Italy, that he might examine the best speci-
mens of the styles of the great masters. He also painted
a full-length portrait of General Lord Hill, now in pos-
session of his family. Many of his best works are in the
college halls at Oxford, His portrait of Wordsworth is
in the National Portrait Gallery ; and Mr. Murray, of
Albemarle Street, possesses his portraits of John Murray,
sen., and J. G. Lockhart, the son-in-law of Sir W. Scott.
In 1846 he painted the portrait of Mr. Vernon, the donor
of the collection of pictures named after him, which is
now in the National Collection, where is also a picture by
Pickersgill, entitled *The Syrian Maid^' a very fair
specimen of his manner of giving historical, instead of
CH.Xn.] H. W. PICKERSGILL — W. ETTY 49
fancy portraitiire. He married in early life a lady
talented as a writer of poetry, and has lost a son and
daughter both possessed of literary abilities. He was
elected an Associate in 1822, and a Eoyal Academician in
1826. He succeeded Mr. Uwins in 1856 as Librarian to
the Academy, an office which he still retains ; and he is now
pursuing his art with an industry and enthusiasm which
would seem to indicate that, although in his 80th year,
there is but little diminution in his physical and mental
enei^es.
William Ettt, E.A., was bom at York on March 10th,
1787. His father kept a baker's shop in the fine old
city, and erected a mill in the vicinity. His son assisted
in the shop till his twelfth year, when he was apprenticed
to a letter-press printer named Kobert Peck, at HuU,
where he spent an xmcomfortable servitude of very hard
work, away from all his friends, and unable, except by
stealth, to pursue his passion for drawing, which he had
formerly cultivated by studies in chalk on his father's
shop-floor. His seven years' apprenticeship over, he was
invited by an uncle in London to join him that he might
become a painter ; this relative being himself " a draughts-
man in pen and ink," who saw promise of power in the
boy's crude sketches. He was a kind and generous man,
for besides the help he afforded his nephew during his
life, he bequeathed to him a sufficient sum to enable him,
after his death, to prosecute his studies. Etty was reh-
giously educated, and continued steadfast to his early
training, retaining throughout his life a love and fear of
God, and a desire to refer every action to the Divine
Will.
After he came to London he drew from prints or
nature, " or anything he could ; " his first academy being
a plaster-cast shop in Cock Lane, Smithfield, kept by an
Italian named Gianelli. There he drew 'Cupid and
Psyche,' and took his copy to Opie with a letter of
VOL. II. B
60 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
introduction. Through him, in 1807, he became known
to Fuseli, who admitted him as a probationer to the
schools of the Academy. There he met Collins, Hilton,
and Haydon as fellow-students. In July 1808 his uncle
paid a premium of 100 guineas to Lawrence to admit the
young painter as an in-door pupil to his studio in Greek
Street. There he watched his masterly execution, until
he almost despaired of attaining . a like facihty, for Law-
rence had httle leisure to assist him in acquiring it.
However he was a most diligent student, both in his
studio, and at the Eoyal Academy, and copied several
works at the British Institution ; nevertheless all his con-
tributions to the exhibitions were returned to him year
after year, and he tried in vain to gain either the gold or
silver medals awarded by the Academy. He was fre-
quently employed by Lawrence to make copies, and he
sought his advice in his distress at failure. " He said,"
Etty writes, " I had a very good eye for colour, but that
I was lamentably deficient in almost all other respects."
So he set to work day and night to correct his faults, and
in 1811 he was comforted by finding one of his pictures
hung at the Eoyal Academy, — 'Telemachus rescuing
Antiope,' — and from that time he always obtained an
entrance for some of his works at the Academy or the
British Institution. He painted a few portraits at this
time also, but occupied himself chiefly on classical
subjects.
In the autumn of 1816 he set out, by the advice of his
friends, for a year's study in Italy ; but he teUs us, " as
one of his prevaihng weaknesses was a propensity to fall
in love," he came back home-sick within three months.
In 1820 he began to acquire celebrity by the exhibition
of ' The Coral Finders,' * Venus and her Youthful Satel-
htes arriving at the Isle of Paphos' — the first of those
representations of the undraped female form which he
so constantly repeated in after years, and which he
painted with unusual freedom and brilliant efiect. The
CH.Xn.] WILUAM ETTY 61
next year, his * Cleopatra's arrival in Cilicia' obtained for
him the patronage of Sir Francis Freeling. In 1822,
although bearing with him a new love-sorrow, he visited
Borne, Florence, Naples, and Venice, copying especially
the works of the Venetian colourists with great eagerness
and dihgence. In 1824 he exhibited * Pandora crowned
by the Seasons,' which was purchased by the President,
and led to his election as an Associate in that year. He
had previously obtained a diploma from the Charlestown
Academy in America, and from Venice. Thus encouraged,
he continued to labour with great diligence, and produced
his large and important works in rapid succession.
In 1828, when he became a Eoyal Academician, it
was suggested to him that he should discontinue his
practice in the life School (where he had been accus-
tomed for years to attend every evening during the ses-
sion, to paint studies in oil from the hving model as
shown there by gas-hght), as it would be incompatible
with the dignity of an RA. to take his place among the
students ; but he said he would rather decline the coveted
honour proposed to be conferred upon him than rehn-
quish his studies, which no doubt gave to his pictures
many good qualities, but also some of the bad ones by
which they were characterised. He was equally at home
as an upper student or a Visitor, — in the one capacity
stimulating his brethren, in the latter ministering to their
necessities. The life Academy first aroused his latent
genius, and afterwards sustained its fervour. He beheld
whole generations of students pass through it, yet there
he was still, the chief model for his emulous brethren —
for they could trace the steps by which he mounted to
Academic honours, and none would wish to lose sight of
the friend in the halo of the Academician. He spent his
days quietly in his painting-room, and only varied the
simple routine of his artistic labours by occasional visits
to a friend in the country, a trip to his native city, to
Edinburgh, or the Netherlands. One notable exception,
B 2
62 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
however, occurred when, in 1830, he joined some friends
in Paris, during " the three glorious days " of bloodshed
and terror, and happily escaped unharmed.
Though always in love, he never married ; his house,
No. 14 Buckingham Street, Strand, with his painting-room
at the top, which he had occupied from the year 1826 till
1848, was kept by his niece, until his failing health and
declining energy led him to retire to York, his birthplace,
where he died, November 13th, 1849, having long suffered
from an affection of the heart. He was buried in the
churchyard of St. Olave, Marygate. His funeral was at-
tended by the pupils in the York School of Design (of
which he was one of the founders), the Coimcil of the
Yorkshire Philosophical Society, the mayor and mimicipal
authorities, &c. It was just before he quitted London (in
June 1849), that he had the gratification of seeing about
130 of his paintings collected together for exhibition in
the rooms of the Society of Arts — a graceful tribute to
his genius, and a pleasing sight to a man who was thus
permitted to behold the labour of a lifetime preserved
and appreciated by his countrymen. Having Uved a
very retired life, he accumulated a considerable fortune,
and the sketches, &c., he left behind him realised up-
wards of £5,000.
A Hfe of Etty was published in 2 vols. 8vo, in 1855,
by A. Gilchrist. A very graphic autobiography, written
in 1848, also appeared in the "Art Journal" in the fol-
lowing year. In this account, Etty has given a list of his
principal works, and has explained his purpose in painting
many of them. Thus he states, " My aim, in all my great
pictures, has been to paint some great moral on the heart.
* The Combat, or Woman pleading for the Vanquished '
— the beauty of mercy. The three ' Judith' pictures —
patriotism and self-devotion to her country, her people,
and her God ; and in * Ulysses and the Syrens/ the im-
portance of resisting sensual delights." All these (except
the last, the property of the Manchester Institution) were
Ch. Xn.] WILLIAM ETTY 63
purchased by the Eoyal Scottish Academy, and are noble
works in conception, colour, and execution. In all his
mythological subjects he betrays a want of classical
knowledge, for indeed he had little intellectual culture of
any kind ; but he thoroughly understood the technicalities
of his art, and as a painter of the undraped human form
he is without a modern rival. StUl he confined his efibrts
to the exterior creature, and never essayed to go deeper,
— it was the outward aspect of the human form, and
not the mind speaking through it, that he painted so
skilfully.
Among his principal works, besides those above named,
are *The Judgment of Paris,' 'Venus attired by the
Graces,' ' The Wise and Foolish Virgins,' ' Hylas and the
Nymphs,' ' The Prodigal Son,' ' The Bevy of Fair
Women,' * The Pont d'Sospiri, Venice,' and ' Destruction of
the Temple of Vice ;' ' Youth and Pleasure,' and ' Bathers
surprised by a Swan' (the Vernon Gallery pictures);
three pictures of ' Joan of . Arc ;' ' The Eape of Proser-
pine,' ' The Parting of Hero and Leander,' ' Zephyr
and Aurora ; two small pictures, ' The Head of a
Cardinal' and ' Cupid Sheltering Psyche ' (in the Sheep-
shanks Gkllery); 'Eobinson Crusoe returning Thanks
for his Deliverance,' &c.
He was an enthusiast in his art ; not fitful, but steady
and untiring, and thus attained an eminent position in his
profession. He was much pained by the frequent com-
plaints which were made on the score of morality (and it
must be admitted not without reason) in regard to the
subjects he chose, and the free and somewhat coarse
display of the female form in his pictures. While these
reprehensions were intended only to condemn the un-
wise selection of some of his subjects and his somewhat
indelicate mode of treating them, he seemed to feel them
as implying a charge that he was wanting in that moral
purity which he eminently possessed ; the fact being that
he was himself so innocent of mind that he did not see
54 mSTORY OF THE ROYAL ACADEMY [Ch. XH.
the evil which others found in some of his works. He
was a man of a simple and pious spirit, as all who knew
him intimately can testify, and as will be seen by the
advice which he has given to young artists ; for he says
he desired "to implant on their minds an invincible
desire to excel in their noble art, to be an honour to
their country, a credit to their friends and themselves,
and the faithful servants of God ; to be always attentive
to his public ordinances, and strictly to respect his
Sabbath of rest to the soul, for the artist of all men ought
to be intellectual, spiritual, and virtuous." In the Eoyal
Academy, he always displayed the most unremitting
and disinterested zeal for the welfare and honour of the
institution, which he considered identical with the general
well-being of British Art.
John Constable, E.A., was bom at East Bei^holt, in
Suflfolk, in 1776, and was originally intended by his father
for the church ; but as he did not seem an apt scholar,
he followed his father's trade of a miller for about a
year, occupying his time chiefly, however, in studying
the simple scenery around him, and in attempting to por-
tray its beauties. He used to say that the scenes of his
boyhood made him a painter ; and the love of sketching
which he had displayed while at school at Oldham, at
length strengthened into a determination to become an
artist. E. E. Eeinagle seems to have given him some
instruction in drawing landscapes ; and in 1795 he came
to London with an introduction to Sir George Beaumont,
for the purpose of ascertaining what might be his chance
of success as a painter. Sir George encouraged him to
proceed ; but he returned home soon afterwards, and seems
to have divided his attention between the mill and the
easel till 1799, when he again started for London to try
his fortune as an artist.
In 1800 he became a student at the Eoyal Aca-
demy, and from that time was a constant contributor
CH.XIL] JOHN CONSTABLE 65
to its exhibitions ; but fix)m the simple unpretending
nature of his works, they attracted little attention, and it
was not till twelve years after he began to exhibit that he
sold his first two pictures. He purposely adopted no
especial style, declaring that there was room enough for
a natural painter, and speaking contemptuously of those
who attempted to do something beyond the truth. It
was not till 1819, when he was in his 43rd year, that he
was elected an Associate — the year in which he painted
a large picture, ' A View on the Eiver Stour,' which was
much admired. In 1816 he married the daughter of
Mr. Bicknell, SoUcitor to the Admiralty, and in 1820
took a house at Hampstead, where he principally lived,
studying daily the simple beauties of nature, and trans-
ferring them from the life to his canvas; but he also
kept a house in Charlotte Street, Fitzroy Square (No. 35),
where he used to store away a large number of his
paintings for which he could not find purchasers. In
1829 he became a Eoyal Academician, and was taken ill
on the night of the 30th of March, 1837, a few nights
after the close of the schools at Somerset House, of which
he was then the Visitor, and died in less than an hour
afterwards. An association of gentlemen who were ad-
mirers of his works, purchased fi:om his executors, shortly
aft«r his death, his picture of ' The Cornfield' (painted in
1826), and presented it to the National Gallery. Another
in the same collection is * The VaUey Farm,' a view of
his father's house, a favourite subject of the painter. In
the Sheepshanks Gfallery there are six of his works, some
of which are especially interesting. One well-known
painting, exhibited in 1825, is a view of * Salisbury
Cathedral,' which was a commission from the then bishop
of the diocese, who rejected it because he disliked the
dark cloud behind the spire ; another, ' Dedham Mill,' his
father's property, and in which he himself worked ; two
'Views of Hampstead Heath,' and two other simple
sketches.
60 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
His pictures, beautiful as they were, failed to procure for
him a moderate income from his profession ; but for some
years before his death he was happily independent of such
means of subsistence. Abroad, his works were more
highly esteemed ; and he received a gold medal from the
King of France as an acknowledgment of the merit of
some of his paintings, which were purchased by a French-
man, and exhibited at the Louvre. All his landscapes
are characterised by extreme simphcity, marked by some
transient effects of dew or rain which pleased him, and
which he would often repeat. This minute attention to,
and frequent reiteration of, only one of the many chang-
ing aspects of nature was much reprehended by tlie
critics of his time, and gives a pecuhar character to most
of his works, many of them being also dark and heavy in
their shadows, and presenting a spotted appearance.
Fuseli said that Constable's rain-clouds " made him call
for his umbrella," and Bannister declared that "he felt
the wind blow in his face," while a French critic dis-
cerned the dew of the morning on the leaves and grass ;
all thus testifying to the success of his study of atmo-
spheric effect. His landscapes are now highly valued,
and realise ten times as much as he originally received
for them.
LesKe, in his " Handbook for Young Painters," says :
" There is a place among our painters which Turner
left unoccupied, and which neither Wilson, Gainsborough,
Cozens, nor Girtin so completely filled as John Constable.
He was the most genuine painter of EngUsh cultivated
scenery, leaving untouched its moimtains and lakes."
Uwins said ; '' He seemed to think that he came into the
world to convince mankind that nature is beautifiil.
Instead of seeking for the materials of poetic landscape
in foreign countries amidst temples and classic groves,
or in our own amidst castles, lakes, and mountains, he
taught that the simple cottage, the village green, the
church, the meadow covered with cattle, the canal with
Ch. Xn.] CONSTABLE — BAlLY 67
its barges, its locks and weedy banks, contained all the
materials, and called up all the associations necessary
for pictures." He delighted in his native fields. "I
love," he said, "my stile, and stump, and lane in the
village : as long as I am able to hold a brush, I shall
never cease to paint them." In private life Constable
was much esteemed for the kindly qualities of his heart,
and for his mental attainments. In person he was tall,
with an expressive, benignant countenance, bearing marks
of his genius and the energy of his character.
Edwabd Hodges Baily, RA., the only sculptor who
became a Eoyal Academician during the presidentship
of Sir Thomas Lawrence, was bom at Bristol on the 10th
of March, 1788. When very yoimg he exhibited his
early predilection for art in executing small portrait
busts, which were remarkable for displaying a close ob-
servation of character. This taste quickly led to higher
eflTorts ; and, stimulated by some works of Bacon and others
in the cathedral of his native city, he took Flaxman's
compositions from Homer as models, and commenced
working on plaster casts. These evinced so much talent,
that when the young artist obtained an introduction to
Flaxman, and submitted them to him, he consented to
receive him as his pupil in London, and Baily pursued his
studies under this eminent master for nearly two years.
In 1809 he became a student at the Eoyal Academy,
where he gained the silver medal in the same year,
and in 1811 was awarded the gold medal for his compe-
tition work, representing * Hercules rescuing Alcestes.*
A figure of * Apollo discharging his Arrows against the
Greeks,' was the first of the works he exhibited which
attracted public attention. This work led to his election
as an Associate of the Eoyal Academy in 1817. In the
following year the exhibition of his well-known ' Eve at
the Fountain ' obtained for him a wide reputation through-
out the continent of Europe. This beautiful production
58 raSTORY OF THE ROYAL ACADEMY [Ch. Xn.
was executed three years later in marble, and was pur-
chased by the people of Bristol to be placed in the
Literary Institution of his native city. In 1821 he
became a Eoyal Academician, and in the same year was
commissioned by George IV. to execute the bassi-rehevi
on the front of the marble arch at the entrance to
Buckingham Palace, and which are on the south side of
the arch as it now stands in Hyde Park. Similar decora-
tions and models of figures to ornament the throne-room,
were also executed by him.
From this time Mr. Baily continued to be actively
employed in the execution of a series of works, varied
in their character and purposes, but all displaying the
genius and excellent taste which have gained for him so
great a reputation as a sculptor. His early works are
distinguished for their grace, simplicity, correct propor-
tion, and careful execution ; his later productions have
been chiefly busts and portrait statues, and in this depart-
ment of his art he stands unrivalled. His statues of
Charles James Pox and Lord Mansfield for St. Stephen's
Hall in the Palace at Westminster, of Telford the
engineer. Lord Egremont, Earl Grey, Lord Nelson, and
General Sir Charles Napier, and the seated figure of Lord
Mansfield at Chelmsford, are excellent specimens of his
skiU in monumental sculpture ; but while thus employed
he has continued to devote a portion of his time to poetic
designs which wiU have an enduring fame as works of
true genius, and as proofs of the sculptor's high concep-
tion and poetical imagination. *Eve listening to the
Voice,' — the companion to his early work ' Eve at the
Fountain,' — was exhibited in 1841. * Psyche,' ' Helena
unveiUng herself to Paris,' 'Hercules casting Hylas into the
Sea,' ' The Sleeping Nymphs,' ' Maternal Love,' * A Girl
preparing for the Bath,' and * The Graces seated,' have
since followed in succession. The last named, exhibited
in 1849, is a work of great merit, graceful and elegant in
its arrangement, and executed with marvellous delicacy
Ch. XIL] BAILY — WYATVILLE 69
and skill It is the property of Mr. Joseph Neeld, M.P.
(who is also the ovmer of the 'Eve listening to the
Voice '), and is one of the most original and admired
works of one whose genius has done so much to maintain
and elevate the reputation of English sculptors. He still
pursues his profession, and has for years contributed regu-
larly fancy pieces, portrait statues, and busts to the exhi-
bition. As recently as 1858 he exhibited a figure of
* Genius,' executed in marble for the Egyptian Hall at the
Mansion House, and his statue of Turner the artist ; and
in 1860 some statuettes and busts.
The AECHrPEcrs elected in Sir T. Lawrence's term of
oflSce as President, were Sir Jeffry Wyatville and William
Wilkins, both of whom were remarkable men, and were
employed on important public works.
Sir Jeffry Wtatville, E.A., was bom on the 3rd of
August, 1766, at Burton-upon-Trent, in Somersetshire,
and was educated at the Free School there. He was the
son of Joseph Wyatt, and nephew of James Wyatt, E.A.,
both architects. In his youth he seems to have been a
wild, ungovernable boy, having twice, at twelve and at
fourteen years old, made attempts to run away to sea ;
but was each time pursued and brought back. Three
years afterwards he was to have gone out in the Koyal
George, but he did not reach the vessel in time, and thus
providentially escaped the wreck at Spithead. He then
came to London with the view of entering the naval ser-
vice ; but the American war was at an end, and no oppor-
tunity offered for employing him. An imcle residing in
the metropolis (Samuel Wyatt, the architect of the Trinity
House, Tatton HaU, Heaton House, &c.) took him into
his office for seven years, where he acquired all the
routine of his profession, and afterwards served a second
term with his uncle James, imder whom he studied
Gothic and old English architecture. Through the pro-
62 HISTORY OF THE ROYAL ACADEMY [Ch. XH.
complete before he died. His strong predilection for the
Grecian style, led him to apply it, without any adaptation
to the occasion, to this edifice, which consists of ranges of
low buildings, only distinguished from mere houses by
their columns, the acconmiodation they afford being also
very defective. A few years afterwards he again appUed
the same style to the East India Company's College at
Haileybury, in Herts (which has recently been sold), and
there repeated almost the same design as at Downing.
In 1808 he erected the Nelson Pillar in Sackville Street,
DubUn, and in 1817 a similar memorial at Yarmouth.
Subsequently he made some Gothic additions and altera-
tions to Trinity and Corpus Christi (1823) and King's
(1828) Colleges, at Cambridge. In 1826 he completed,
in conjunction with Mr. J. P. Gandy (who afterwards
changed his name to Deering), the University Club House
in Pall Mall East, for the members of the Oxford and
Cambridge Universities ; and in 1828, when Lord
Brougham, Thomas Campbell, and others, founded the
University College in Gower Street, he was employed to
erect it. He obtained more praise for this than for any
other of his works ; but the good effect of the design
cannot be appreciated, for the wings have not yet been
erected. In this work he introduced a dome with a
Grecian portico — the latter raised upon a substructure
as high as the basement floor, which, with the flight of
steps ascending to the portico, has a very good pictorial
effect. His next work of importance was the National
Gallery, erected between 1832 and 1838. In his design
for the portico he was restricted by having orders to use
the columns from that of Carlton House. The central
dome and the small turrets on either side, besides the
defects of the interior, called forth severe censure, both
from architects and the pubUc. Want of space, and
government orders and restraints, no doubt cramped
his proceedings, but the work is altogether an unfor-
CH.XIL] WILLIAM WILKINS 63
tunate one, and has had no good influence upon his
reputation as an architect. He also designed several
private mansions, and the new St. George's Hospital,
erected on the site of Lanesborough House, Grosvenor
Place.
In 1836 he entered into competition as architect for
the New Houses of Parliament, but did not even succeed
in getting one of the premiums. His failure was followed
by a pamphlet entitled, " An Apology for the Design of
the New Houses of ParUament marked * Phil- Archi-
medes,' " in which he condemned with some severity the
conduct of the Commissioners and the designs of the
more successful competitors. Previously (in November
1831) he had also published " A Letter to Lord Viscount
Goderich, on the Patronage of the Arts by the EngUsh
Government," in which he gave a brief historical sketch
of the amount of assistance rendered by the Government
to the Fine Arts, pointed out the instances of bad taste
in several public buildings, and urged the necessity for
the formation of a School of Architecture. Literary
works of a less controversial nature had preceded these.
His first production, already mentioned, was followed by
"The Civil Architecture of Vitruvius, containing those
Books relating to the public and private Edifices of the
Ancients," published in imperial 4to. in 1812 ; and this
was succeeded, in 1816, by " Atheniensia ; or, Eemarks on
the Buildings and Antiquities of Athens." In 1837, he
published the first (and only) part of his " Prolusiones
ArchitectonicsB."
On the death of Sir John Soane in 1837, Wilkins
was appointed to succeed him as Professor of Archi-
tecture at the Eoyal Academy ; but before the term
of two years allowed to a new professor to prepare
his lectures had expired, he had departed this life,
so that, although he held the office till his death, he
never gave any instruction to the students in architec-
64 inSTORY OF THE BOYAL ACADEMY [Ch. XH.
ture. He had been suffering severely from gout some
time before his death, which took place at Cambridge, on
the 31st of August, 1839, the day on which he completed
his 61st year. He was buried in the chapel of Corpus
Christi, a part of the new building he had erected for
that college at Cambridge,
65
CHAP. xm.
ASSOCIATES ELECTED DUBING THE PRESIDENTSHIP OF SIR
T. LAWRENCE WHO DID NOT SUBSEQUENTLY BECOME ROYAL
ACADEMICIANS.
I^tmters : HsNBT Edbidoe, George CLn^T, and Fbancis Danbt.
JEitgravers: Richabd James Lai^^ and Chables Ttjbkeb.
ONLY three of those who were elected as Associates
durmg the presidentship of Sir Thomas Lawrence
remained in that rank: these were Henry Edridge,
elected in 1820 ; George Clint^ in 1821 ; and Francis
Danby, in 1825. In addition to these there were two
Associate Engravers elected during the same period : viz,
Bichard James Lane, in 1827 ; and Charles Turner, in
1828.
Henry Edridge, A.RA., was bom in Paddington in
1768. He was apprenticed to W. Pether, the mezzotinto
engraver and landscape painter, and became proficient
both as a painter of miniatures and landscapes. The
latter were treated by him in an especially free and broad
manner. His first portraits were on ivory ; his subsequent
ones were principally drawn on paper with black lead and
Indian ink, to which he added very tasteful backgrounds.
But he afterwards produced an immense number of
elaborately finished pictures in water colours, with Ught
backgroimds; to these succeeded others in which he
combined the depth and richness of oil paintings with
the freedom of water-colour drawings. Sir J. Eeynolds
was so much pleased with one of his miniatures, that he
VOL. II. F
66 HISTORY OF THE ROYAL ACADEMY [Ch. XIII.
insisted upon having it, and paid him handsomely for it.
This was the signal for the artist to resign engraving and
become a painter ; and he did wisely in copying many of
the works of his patron for study. He first estabhshed
himself in Golden Square, and in 1801 removed to
Margaret Street, Cavendish Square, where he remained
for twenty years. With the desire to indulge his taste
for landscape painting, which he cultivated under Thomas
Heame, he made two excursions to Normandy and Paris,
in 1817 and 1819, making many interesting drawings
subsequently exhibited. Three specimens of his land-
scapes are now at the South Kensington Museum ; and
his sketches of the first Lord Auckland and of Eobert
Southey are in the National Portrait Gallery. He became
a student at the Eoyal Academy in 1784, and was elected
an Associate in November 1820. Unhappily he lived but
a very short time to enjoy this distinction, for he died fi'om
an attack of asthma on the 23rd of April, 1821.
George Clint, A.RA., was bom in Brownlow Street,
Holbom, on the 12th of April, 1770. His father kept a
hairdresser's shop in a passage leading fi-om Lombard
Street, and apprenticed his son to a fishmonger in the
City ; but the boy became disgusted with this employ-
ment, and afterwards obtained a situation in an at-
torney's office. Still dissatisfied, he next became a
house-painter ; and irom this " broad style " advanced to
miniature painting, which he practised for some years in
a house in LeadenhaU Street. During this period of his
hfe he had many hard struggles, having married a wife
and become the father of a family, and being able to find
only occasional and then but poorly-paid employment
Subsequently he practised mezzotint engraving (which he
learnt from Edward Bell, the nephew of the publisher of
"The British Poets"), and was employed to execute
several prints for Sir Thomas Lawrence, with whom, how-
ever, he afterwards quarrelled, and lost his patronage.
Ch. Xin.] GEORGE CUNT 67
In 1807 he engraved 'The Death of Nelson,' after
Samuel Drummond, A.E.A., and shortly afterwards
Harlowe's * Kemble Family,' which was his most important
work in this branch of art, and which was so popular that
it was re-engraved three times. This plate brought him
into connection with many theatrical characters, and he
practised among them as a portrait painter in oil, having
been aided and encouraged to acquire some skill in this
style by Sir Wilham Beechey, to whom his wife showed
his first effort — her own portrait — and who was his
kind patron and Mend imtil his death.
About 1816 he removed to Gower Street, and there
painted a large series of dramatic pieces, comprising all
the principal actors of the time in their most celebrated
characters : — E. Kean, as Sir Giles Overreach and
Eichard IIL ; Charles Kemble, as Charles IT. ; Young, as
Hamlet ; liston, as Paul Pry ; Macready, as Macbeth ;
&C. Many of these portraits are still in possession of
the Garrick dub. The pictorial grouping and compo-
sition, expression, and dry himiour of these theatrical
pictures are excellent. He also practised portrait
painting imconnected with the stage, having had Lord
and Lady Suffield, Lords Essex, Spencer and Egremont,
General Wyndham and Admiral Wyndham among his
sitters. One of his pictures, * Falstaff and Mrs. Ford,' is
in the Vernon Collection, and four others in the Sheep-
shanks Gallery. These are Young and Miss Glover as
^Hamlet and Ophelia,' scenes from " Paul Pry " and " The
Honeymoon," and ' A Lady of Palermo.'
He was elected an Associate of the Eoyal Academy in
1821 ; but resigned his diploma in 1835, when he came to
the conclusion that, ai3 many artists elected as Associates
subsequently to himself had been elevated to the rank of
Academicians, their talents had been unduly estimated, to
the unjust depreciation of his own. He therefore judged
the Boyal Academy to be undeserving either of public
confidence or support, and joined the agitation against it
r 2
OS HISTORY OF THE ROYAL ACADEMY [Ch. XIII.
with all the zeal of a convert and something of the
rancour of a renegade. His statements evidently did not
impress the Select Committee of the House of Commons
which was reappointed in 1836, with Mr. Ewart for
chairman, to consider, among other subjects, the constitu-
tion, management, and effects of institutions connected
with the fine arts, for they did not notice his evidence
in their report.
For some years before his death Mr. Clint lived in re-
tirement at Peckham, upon the property he had obtained
from his profession and that which he had acquired with
his second wife. He died at his house in Pembroke
Square, Kensington, in April 1854, having entered his
85th year. By his first wife he had a family of five
sons and four daughters: two of the former became
painters, two gem sculptors, and one a mathematical pro-
fessor in a college in India. In the circle in which he
moved he was much esteemed for his gentlemanly
manners, and kindly feelings ; and it is to be regretted
that he was not content to wait his prospect of attaining
higher rank in the Academy, instead of withdrawing from
it in consequence of a too partial estimate of his own
abiUties.
Francis Danby, A.RA., was bom, one of twins, on the
16th of November, 1793, about six miles from Wexford,
where his father, James Danby, was residing on his own
estate, being a gentleman of moderate fortime. He sub-
sequently removed to DubUn, and shortly afterwards
died. His son Francis, who had studied drawing in the
school of the Dublin Society of Arts, prevailed on his
mother (formerly a Miss Watson of Dublin) to allow him
to become an artist, to which she unwilhngly assented,
and he afterwards studied under O'Connor. In 1812 he
painted his first picture for the Dublin Exhibition ; the
subject — * Landscape, Evening ' — being the forerunner
of many similar glowing simsets, for which he became so
Ch. XIIL] FRANCIS DANBY 69
celebrated in after years. Archdeacon Hill of Dublin
purchased this work for fifteen guineas ; and the artist,
delighted with his success, proceeded to London with an
introduction to Benjamin West, and was so struck with
the Eoyal Academy Exhibition, that he determined from
that time to become an English artist. He found a very
early and constant friend in Mr. Gibbon, of Eegent's
Park, who for thirty-five years was his Hberal patron, and
whose family possess a large collection of the artist's
works.
His picture of * Sunset after a Storm,' exhibited at the
Academy in 1824, was purchased by Sir Thomas Law-
rence, who gave Danby double the price he asked for
it; and he gained still more by the public testimony
thus given of the President's approval of his works.
The next year he exceeded all his previous efforts in a
picture of ' The Passage of the Israelites through the Eed
Sea,' which was grand and solemn in effect, poetically
conceived, and ably executed, and which became the pro-
perty of the Marquis of Stafford. Li the same year,
1825, he became an Associate of the Eoyal Academy, an
early and deserved recognition of the ability he displayed
in tliis fine work. Unhappily reasons of a private and
personal nature existed which afterwards hindered his
attaining the higher rank in the Academy, to which his
talents would have given him a claim.
In 1826 he painted ' Christ walking on the Sea,' in a
very distinct style, not destitute of religious feeling. A
small picture of * The Embarkation of Cleopatra,' full of
eastern sunshine and splendour, followed in 1827 ; and in
the next year two others, one a quiet moonlight scene to
illustrate "The Merchant of Venice," the other *An
Attempt to portray the Opening of the Sixth Seal' (pur-
chased by Mr. Beckford of Fonthill), one of those grand
imaginative works which suflSciently indicated the deep
thought and grand imagination of the painter, and his
skill in depicting what he desired to represent with
fro HISTORY OF THE ROYAL ACADEMY [Ch. XHL
glowing colour and strong effect of light and shade.
This picture was afterwards exhibited in different parts of
England, and was engraved on a large scale, as was also
the kindred work, ' The Passage of the Eed Sea.' The
following year, 1829, he exhibited two more pictures from
the Book of Eevelation ; but in these he failed to sustain
the admiration the previous subjects had awakened.
Family circumstances led to Danby spending several
years in France and Switzerland ; and between the years
1829 and 1841 he only contributed two pictures to the
Eoyal Academy Exhibition, having employed his talents
chiefly in sketching designs for the Annuals so fashionable
at that period. In 1842 he renewed his labours more
constantly, and exhibited a fine pleasing composition,
* The Contest of the Lyre and Pipe in the Valley of
Tempe,' ' A Soiree at St. Cloud,' and ' The Holy Family
reposing in their FUght into Egypt,' one of his dark im-
pressive pictures ; to which he added another in the fol-
' owing year, * The Last Moment of Sunset.' These were
followed by others, varied in subject and character, but
all more or less the same in effect — golden sunrise, or
the red glow of sunset being a predominant feature in
them all. Besides his contributions to the Eoyal Academy,
he was a constant exhibitor at the British Institution*
' The Evening Gun ' was greatly admired among his pic-
tures at the Manchester Exhibition in 1857. 'The
Fisherman's Home ' is in the Vernon Gallery, and * Dis-
appointed Love ' (painted in 1821), ' Calypso's Island,*
and * liensford Lake, Norway * (exhibited in 1841), are in
the Sheepshanks Collection at South Kensington.
For nearly twenty years Danby resided at Exmouth, in
Devonshire, where he died at Shell House, on the 9th of
February, 1861. His sons, James and Thomas, share his
abilities, and give promise of future excellence. He
attained a high place as a painter of the most ambitious
class of poetic landscapes ; and in the peculiar branch
which he appropriated to himself, he has found no
Ch. XIII.] DANBY — LANE 71
rival, for the glories of the last moments of sunset have
had no such representative before or since. All his
compositions are rich and harmonious, though almost
monotonous in the brightness of their colour ; and, as
the subjects indicate, are not intended to be pictures of
reahties, so much as imaginative combinations of beauties
under a glowing atmosphere. The only regret felt in
studying his works is, that powers so varied as he showed
himself to possess in early Ufe, should afterwards have
been circumscribed and limited to that one successful
effect by which he first acquired his well-merited fame as
a painter.
Two Associate Engravers, E. J. Lane and Charles
Turner, were also elected during Lawrence's presidency.
EiCHABD James Lane, A.E., is the second son of the
Eev. Dr. Lane, prebendary of Hereford, whose wife was
the daughter of Gainsborough. He was bom in 1800,
and is a younger brother of Mr. E. W. Lane, the Orien-
tal traveller, the author of "The Modern Egyptians"
and a new translation of " The Arabian Nights' Enter-
tainments." Bichard was articled to Charles Heath, the
hne engraver, in 1816. For several years he devoted
himself to that highest branch of the art ; but as it
cam6 to be gradually depreciated by the more rapid
though less artistic methods of manipulation since
introduced, he made a few attempts in 1824 in the then
new art of Uthography, and obtaining a large number
of commissions in that style, he was induced "with
deep regret, and after a struggle of some six or eight
years, to give away his engraving tools, and to devote
himself entirely to the new method adopted by him." In
1827 he was elected an Associate Engraver at the Eoyal
Academy, and now holds the appointment of Lithographer
to the Queen. His prints from Winterhalter's portraits of
Queen Adelaide, the Princess Eoyal, Prince Leopold, and
72 HISTORY OF THE ROYAL ACADEMY [Ch. XIII.
Other members of the Eoyal Family, the private plates
executed for Her Majesty, and other similar works, show
the excellence he has attained in the new branch of art to
which he has devoted himself.
Charles Turner, A.E., was bom at Woodstock in
1773, and in his youth was brought up to London to be
employed in Alderman Boydell's establishment, where he
acquired the taste for art he subsequently displayed.
Among his most admired engravings are those he made
for the early numbers of the " liber Studiorum *' of his
namesake J. M. W. Turner, E.A., and from his picture of
' The Wreck.' He also engraved many of Sir Thomas
Lawrence's portraits on a large scale, Sir M. A. Shee's
portrait of H.E.H. the Duke of Clarence, ' The Beggars,'
by Owen, *The Marlborough Family,' after Eeynolds,
* The Water Mill,' by Callcott, &c. He was himself an
artist, and in 1856 exhibited some Academy figures
drawn by him as long ago as 1794. He became a student
at the Eoyal Academy in 1795, was elected an Asso-
ciate Engraver in 1828, and died in Warren Street,
Fitzroy Square, on the 1st of August, 1857. He was
buried at Highgate Cemetery. Leigh Sotheby, F.S.A.,
his executor, possessed a curious drawing by him, intended
to illustrate a passage in the poem by J. M. W. Turner, of
" The Fallacies of Hope," which was made for the amuse-
ment of that artist, with whom he latterly lived on terms
of friendship, after having been estranged for many years,
in consequence of some misunderstanding respecting the
engraving of the plates in the " liber Studiorum."
CHAP. XIV.
THE SOTAL ACADEMY UNDEB THE PEESIDENTSHIP OF SIR
UABTIN ABCHEB SHEE, 1S30-50.
Cheiet t>f a PrttidtiU — Chanlrey'i Propotalfor the Offke to be heldm Jtotalion
h/ the Membert — Royal Patronage continued by WiUiam IV, to the Jtoj/al
Academi/ — Pmident't Addrestei on Deliixry of Gold MedaU — Erection of
a A'ationai Gallety — Propoted Senunal of the Academy from Somrrtet
Smue — Attacks tm the Jtoyal Academy amirered by the President — Par-
itamentary Returns caBedfar by Mr. Ejoart — Information furnished tcith
Consent <^ the King— Exhibition of Works of Deceased FresidrnU at British
InstiliUioH — Establishment of the Royal Institute of British Architects —
Select Committee on Imtilationt connected tcith the Arts — Eeidmce of
Opponents to Royal Acadetny and of its Officers in Bepht — Report of the
Committee — Addreu to the King on Removal of the Academy — FaretoeU
Dinner at Somerset House — Opening of yeie Academy by King William
IV. — Appropriation of the Kew Apartments — Accession of the Queen —
Seneiced Aituranee of Royal Patronage — Mr. Hume't Han for Free £r-
hibiiions opposed by the Presidetii — Parliamentary Sftwyu of Income and
Expenditure called for by Mr. Hume — Petition of the Royal Academy to
74 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
the Souse of Commons in Opposition to the Demand — Debate on the QueS'
tion — Subseqttent Parliamenttxry Froceedings on the SUbfect — Boyal Com-
mission on the Fine Arts — lUness of the President — Tenders his Besigna-
tion, but is solicited to retam the Office — Is moarded Pensions from the
Academy and the Ciml List — Proposed Removal of the Academy from
Trafalgar Square — Gifts made by and to the Academy — The Exhibitions
— Changes among the Officers and Members.
THEEE was but little hesitation in selecting a successor
to fill the place of Sir Thomas Lawrence as Presi-
dent of the Eoyal Academy. The choice lay apparently
between David Wilkie and Martin Archer Shee — the
former the more eminent as a painter, the latter possess-
ing not only great talent as an artist, but all the other
quahfications not belonging to the former, yet so necessary
for one who was to be the official medium of communi-
cation, on the part of the Academy, with the Court on the
one hand and the Ministry on the other. The graceful
and high-bred demeanour and the dignified independence
of character and language which distinguish the Irish
gentleman, shone to great advantage in Shee ; and by a
very large majority of votes, he was elected President of
the Eoyal Academy.
The election took place on the 25th of January, 1830,
when 18 votes were given for Shee, 6 for Sir WiUiam
Beechey, 2 for Wilkie, 1 for Phillips, and 1 for Callcott.
Those who voted for Wilkie were ColUns and Leslie;
the latter tells us his reason, — " for I considered that he
united more] requisites for the high office than any other
in the Academy. But Sir M. Shee made so incomparable
a President, that I am glad the majority did not think
as CoUins and I did at the time of the election."
Wilkie, just previously, obtained the appointment held
by Lawrence, of portrait painter in ordinary to the King ;
an office held by Reynolds, and only not given to his
successor West because he was otherwise fiiUy employed
by the Court, and which was considered an appendage
to the appointment of President — at least the only lucra-
tive thing likely to fall to the share of the artist holding
Ch. XIV.] MODE OF ELECTING PRESIDENTS 75
that otherwise expensive position, as at that time no
remuneration was given to the President for the loss of
time or the cost which his attention to the duties and
courtesies of the Academy involved. It would thus seem
as if Shee received the title and the honours, and Wilkie
the emoluments of the appointment. But the election
was a most judicious one : in the times which quickly
followed on Shee's accession to the office, the need of a
man of courage, energy, and perseverance was felt by
the Academicians, who were happy in having at that
time a President possessing all the quahties necessary to
defend their rights against the pertinacious attacks of the
financial and ultra-radical reformers of the day.
Before this election took place, and when it was by no
means certain on whom the choice would faU, Sir F.
Chantrey consulted Shee on the expediency of eflfecting
a change in the mode of appointing a President, pro-
posing to substitute a system of rotation among the forty
Academicians, for the custom, previously adopted, of an-
nually re-electing the same individual, who had once
been declared worthy to occupy the chair. Chantrey
cited the precedent of the French Academy, and some
other analogous cases ; but Shee pointed out to him
several reasons why such a change would be undesirable,
— among them that the effect would be to lower the
Eoyal Academy in pubUc estimation, to render the office
a mere administrative function, instead of one of profes-
sional eminence and acknowledged intellectual superiority,
as it had hitherto been ; and thus, by caUing on all the
members in turn to fiilfil its duties, to cease to make it
an honoured distinction to any. Chantrey saw the force
of these reasons, and afterwards voted for Shee's election
to the chair, upon the plan pursued from the beginning.
One of the most highly-valued privileges of the Aca-
demy was that so graciously awarded by its Eoyal
Founder, of granting the President permission to commu-
nicate direct with the sovereign on all matters affecting
76 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
its interest or governmeiit. During the later years of
George IV.'s reign, this practice had fallen into desuetude,
on account of the King's decUning health ; and all docu-
ments requiring His Majesty's signature, were transmitted
by Sir Thomas Lawrence through the Home Secretary.
After the accession of WiUiam IV., the Academicians
again soUcited the privilege of direct communication with
the King, in the same manner as his Eoyal father had
originally permitted ; and His Majesty was pleased cor-
dially to grant it, at the same time expressing his inten-
tion to do all in his power to promote the interests of the
institution. On the 19th of July, 1830, King William
and Queen Adelaide paid their first visit to the exhibition
(then recently closed to the pubhc), accompanied by the
Duke and Duchess of Gloucester, and the chief officers of
State. At the Drawing-Eoom on the following day, the
King conferred the honour of knighthood on the new
President.
At the distribution of the gold medals biennially, the
President resolved to give to the ceremonial a greater
degree of importance than had latterly been bestowed
upon it, by preparing a written discourse to the students
for the occasion, and by inviting as many distinguished
persons as could be found in town at that season of the
year, to witness the distribution of those much-coveted
rewards of genius. On the 10th of December, 1830,
only silver medals were given, when Sir Martin spoke
briefly to the students a few words of commendation;
but the next year he prepared a discourse in which he
took for his theme the brilUant career and the artistic
genius of his predecessor, explaining the pecuharities of
his style, and the many excellences of effect, colour,
grace and form by which it was distinguished. This
address was much approved by his colleagues, and was
afterwards ordered to be printed, as well as those he
subsequently prepared for dehvery on similar occasions.
In 1832, according to custom, silver medals only were
CH.X1V.] LECTURES BY THE PROFESSORS 77
distributed; and the President, after remarking on the
works of the students — approving those in painting and
the living model, the antique and modelling, but lament-
ing the apathy of the students in architecture — urged
them to use greater exertion in the future, reminding
them that their advantages were not surpassed in any
existing school of art, and that the members of the Eoyal
Academy felt a paternal solicitude for the improvement
of the students, since they contemplated in them their
future successors.
The years 1831-32 were not favourable for the promo-
tion of the arts; and the exhibition suffered from the
depression consequent on the excitement of political agita-
tion, which, while it kept up a state of irritation in the
pubUc mind, left no disposition to attend to any other less
absorbing pursuit In the schools of the Academy, the
lectures on painting and sculpture were delivered by Phil-
lips and Westmacott on Monday and Thiu^ay evenings
during February and March 1831 ; but none were given
by Sir John Soane, or by Turner, the professors of architec-
ture and perspective. In the next year, Soane concluded
a series of lectures in which he traced the progress of
architecture from its first rise among the ancients, through
all its periods of prosperity and depression, and latterly
from its revival in Italy in the fifteenth to the close of the
eighteenth century. He devoted his concluding lectxire
to an analysis of the practice of the ancient artists, and a
comparison of it with that of the modems in some of
the leading features of the art. A great attraction in this
series, was the extensive collection of elaborately-drawn
plans and views by which the lectures were illustrated.
At the anniversary dinner, in 1832, the President, in
proposing the health of the King, adverted to the grant
to be submitted to Parhament for the erection of a new
National Gallery in Trafalgar Square, the half of which
building it was proposed to appropriate to the Eoyal
Academy — an event which he considered would form a
78 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
new epoch in the history of art. The health of Mr. Wil-
kins, E.A., the architect appointed to construct the edifice,
was afterwards drunk ; and in replying to the toast, that
gentleman gave a detailed account of his plans and pro-
ceedings with regard to its erection.
Both as regarded the nation and as it affected the
Eoyal Academy, the course taken by the Government in
this matter was an important one — for the pictures pur-
chased some years previously to form a nucleus of a
National Gallery had since been added to by bequests, and
could no longer be exhibited where they had hitherto
been deposited, in Pall Mall ; and it might reasonably be
expected that many more additions would be made to
them when a worthy receptacle for such a collection was
prepared : and, as regarded the Academy, the accom-
modation at Somerset House had long been felt to be
insufficient, both for the purposes of the Schools and the
yearly-increasing exhibition ; while there seemed to be
an appropriateness in combining the collection of the
works of the ancient masters with those of their modern
successors in different portions of the same building.
In the early days of a Eeform ParUament, when " re-
trenchment " became a party watchword, no lavish ex-
penditure on such a refined purpose as the erection of a
National Gallery could be proposed; and after many
urgent appeals in the pubUc press, the first suggestion
made by the Government was simply to adapt the King s
Mews at Charing Cross to the purpose, with some Uttle
additional ornamentation. This proposal to improve a
not inelegant brick building was, however, afterwards
abandoned ; and it was determined that an edifice of stone
should be erected, designed expressly for the purpose,
worthy of the dignity of the nation and of the noble
site it was to occupy in the metropolis. In his first de-
sign, Wilkins had, with due regard to the amount of
space to which he was limited, extended the firont so fer
forward that the line of the fa9ade obstructed the view of
Ch. XI\\] erection of the national gallery 79
St Martin's Church from Cockspur Street ; but so violent
was the opposition to this arrangement, that the design
had to be altered, and thus the amount of internal space
was seriously curtailed — so much so that it became a
question whether the Eoyal Academy would find the in-
creased amount of accommodation it anticipated. Thus,
straitened in expenditure, cramped in space, and restricted
to the use of some of the materials of Old Carlton House,
the architect had to pursue his work amidst a storm of
hostile criticism ; and it is not to be wondered at that he
has left a building which none can admire or approve,
and which is even now — within twenty-five years of its
erection — inadequate for the requirements of a National
Gallery, even if the whole building were so appropriated.
When it was ascertained that the Government were
anxious to obtain possession of the rooms provided by
George HE. for the Eoyal Academy at Somerset House,
to add to the pubUc offices already located there. Sir
Martin Archer Shee urged upon the Prime Minister, Earl
Grey, that, as a matter of strict justice, the Academicians
would have a right to occupy the intended share of the
new building on precisely the same conditions, as regards
the Crown and the country, on which they had been
originally granted rooms in Somerset House ; i. e., as com-
pletely independent of ministerial control and parlia-
mentary interference as they had hitherto been. To this
view of their position no opposition was made by the
Government. All things seemed so far settled that, in
August 1832, ParUament voted £50,000 towards the
erection of a National Gallery upon a plan to be finally
settied by a Committee of the Eoyal Academy ; but in
the next session, a proposal was made in Parhament by
Lord Dungannon, that the national pictures should be ex-
hibited in the Banqueting House at Whitehall ; and fliat tiie
money voted for a National Gallery should be otherwise
appropriated. To this Sir M. A. Shee urged a strong but
respectfid remonstrance in a correspondence which took
80 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
place with Earl Grey. The result was, that the new pro-
posal was abandoned ; and within a month the founda-
tions of the new building were commenced. Earl Grey
seceded fix)m the Government soon afterwards, but no
interference with the plan was subsequently attempted.
Unhappily, however, both in and out of Parliament, a
strong feeling adverse to the Eoyal Academy had arisen,
which, in times of pohtical excitement such as were then
prevaiUng, it was difficult to restrain. It was denounced
as a Eoyal, aristocratic, privileged, exclusive institution,
opposed to the social equality so much contended for at
that time by a section of the House of Commons ; and
at length the President felt called upon to vindicate it
from the frivolous and imfounded charges so frequently
made against it. This he did, in the first instance, by
addressing a letter, dated 7th of February, 1833, to Mr.
Spring Bice (afterwards Lord Monteagle), then Secretary
of the Treasury, giving a short statement of facts in re-
gard to the past services and proceedings of the Eoyal
Academy ; and subsequently by calling upon him, in April
1834, to use that statement in reply to the "most ran-
corous misrepresentations of interested parties," " founded
upon the grossest ignorance of the nature of the institu-
tion," made by some members of the House of Ciommons.
In this interesting document he begins by showing the
twofold mode by which the Acajjemy gives encourage-
ment to the Arts, " at once assisting the effi)rts of rising
genius, by providing the amplest means of study and im-
provement to the student in art, and supplying a reward
to the exertions of those of matured talent by the
Academical distinctions conferred on a certain number of
eminent professors." He observes that the pubUc generally
are accustomed to think of the Academy only as a body
of forty artists deriving a considerable income fix)m the
proceeds of the exhibition, overlooking the fact that they
apply the funds so obtained " to the support of a National
School of Art, and to the many other creditable and
Cfl. XIV.] RETURNS CALLED FOR BY PARLLVMENT 81
benevolent objects of the institution." Then he points
out that in fifty-three years the Eoyal Academy thus ex-
pended £240,000, of which £26,000 was devoted to the
reUef of distressed artists (the greater number of whom
were not members of the Academy) and their families ;
that the instruction in the schools was perfectly gra-
tuitous — the only qualifications being a good moral
character, and a sufficient degree of elementary know-
ledge — the student once admitted being afforded every
facility for the promotion of his studies to the fullest
extent possible, being encouraged by prizes, and, if sue-
cessful. obtaining an annual aUowance for three years to
proceed abroad to study ; that the instruction was given
with but very small remuneration to the members of the
Academy ; that the duties of the President and Council
were performed gratuitously ; that aU artists might ex-
hibit their works fireely in the exhibition, as far as the
space and the necessity for selection would admit, and
might obtain the honours of the Academy — the elections
" not being swayed, as in other societies, by any interfer-
ence of the great, or any influence foreign to their own
body."
This statement was, unfortunately, not made public by
the gentleman to whom it was addressed, nor did the Go-
vernment take any steps to inform those members of the
House who were clamorous against the Academy, of the
real character of its operations. The parhamentary pro-
ceedings in reference to the institution were commenced in
May 1834, by Mr. William Ewart, M.P. calling for re-
turns in relation to its affairs on the following points ; —
a
Return of the number of exhibitors at the Boyal Academy
in each of the last ten years, distinguishing the number of
exhibitors members of the Academy from the number of other
exhibitors.
**0f the niunber of works of art exhibited at the Boyal
Academy in each of the last ten years, distinguishing for each
year the number of historical works, landscapes, portraits, busts,
VOL. II. o
82 HISTORY OP THE ROYAL ACADEMY [Ch. XIV.
and architectural drawings, respectively, contributed by members
of the Royal Academy, from the historical works, landscapes,
portraits, busts, and architectural drawings contributed by other
artists.
"Also a return of the number of professors in the Royal
Academy, of the number of lectures required by the rules of
the Academy to be annually delivered by each professor, and of
the number of lectures which have been annually delivered by
each professor during the last ten years.''
A copy of this document had been sent to the Presi-
dent by Mr. Spring Eice, and also by Mr. Ewart, in order
to ascertain whether there would be any objection on the
part of the Koyal Academy to furnish the information
requested. In his replies, Sir Martin was especially
careful to guard the Academy against being thus subjected
to parliamentary interference with its internal govern-
ment. He expressed the willingness of the Academicians
to give a full and complete knowledge of the laws, regu-
lations, and proceedings, — " which in my humble opinion,"
he said, " it must always be to their credit to promul-
gate," — to Mr. Ewaxt, as a private gentleman ; but that
they could not recognise his right, as a member of the
House of Commons, to enquire into the proceedings of
the Eoyal Academy, " as it is a private institution, under
the patronage and protection of the King, existing by his
will and pleasure, communicating immediately with His
Majesty, submitting all its laws and proceedings to his
sanction, and responsible only to His Majesty for the
manner in which its concerns are administered."
Subsequently, the President consulted the King on the
subject, stating that as such was their position, the Acade-
micians did not conceive themselves to be at liberty to
supply the returns (although they had no wish to with-
hold them from the House of Commons) without the
express sanction and authority of His Majesty being
previously obtained. The King consented to the infor-
mation being given ; and as this was the case, the returns
were immediately prepared, and transmitted to the Home
Ch. XIV.] KETURNS FURNISHED TO PARLIAMENT 83
Secretary, to be laid on the table of the House. They
showed, in answer to the first and second enquiries, that
a proportion of about forty per cent, of the works ex-
hibited were by Academicians, Associates, or those who
had been or were then students at the Eoyal Academy,
the remainder being non-academic contributors to the
exhibition. In regard to the third enquiry, the names
of the professors were given, and the number of lectures
annually delivered by them, the only exception to the
regularity of these means of instruction being found in
the absence of the appointed lectures on Perspective —
the artist (J. M. W. Turner) who held the office having
ceased for seme time previously to deliver his lectures,
and with whom (in the eminent position in his profession
which he then held) none of his Academic brethren
thought it desirable to remonstrate on the subject. Much
of the information thus furnished might easily have been
obtained from the annual catalogues ; but the intention of
calUng for the returns was evidently to obtain some pre-
text for condemning the Academy, either as having fadled
in its trust as a school of art, or as having been super-
seded in its eminent position by artists unconnected with
it, although the mere number of works exhibited by
those not belonging to or taught by it could hardly be
the true test of the relative merits of the artists by whom
they were produced.
The managers of the British Institution in 1833 paid
a graceful compliment to the Eoyal Academy, by sub-
stituting for their annual exhibition of paintings by ancient
masters, a selection from the works of the three deceased
Presidents, Eeynolds, West, and Lawrence; and thus
afforded an opportunity for studying the works of these
three great masters of the English School, as weU as of
comparing them with each other, and so of enabling the
public to form a true estimate of their relative merits.
One room was exclusively devoted to the works of each
President ; and the best specimens of their productions
o 2
84 HISTORY OF THE ROYAL ACADEMY Ch. XIV.
were obtained. The collection was one of great interest
and value, and showed how worthily these artists had
deserved the honours they had attained.
In the year 1834 another society connected with the
arts was established, which has since been maintained
with great ability, partly by members of the Eoyal
Academy — one of whom is now its President, — ^viz. the
"Eoyal Institute of British Architects," which, although
foimded in 1834, did not obtain a Eoyal charter of in-
corporation till the 11th of January, 1837. It was
estabhshed for the general advancement of civil archi-
tecture, for promoting and facilitating the acquirement of
the knowledge of the various arts and sciences connected
with it, for the formation of a library and museum, and
for establishing a correspondence with learned men in
foreign countries, for the purpose of enquiry and infor-
mation upon the subject of the art There are three
classes of members — Fellows, architects engaged as prin-
cipals for at least seven years in the practice of civil
architecture ; Associates, persons engaged in the study of
civil architecture or in practice less than seven years ; and
Honorary Fellows. All pay admission fees on a fixed
scale, and the society holds meetings on alternate Mon-
days, from November till June, in their rooms in Grosvenor
Street, where they have an excellent hbrary of archi-
tectural works. Mr. C. E. Cockerell, E.A., has recently
been elected President of the Society.
The Parliamentary Session of 1835 passed over with-
out any proceedings being taken in reference to the
Academy, calling for notice on the part of the President
or the Council ; but the Select Committee, " appointed to
enquire into the best means of extending a knowledge of
the arts and of principles of design among the people
(especially the manufacturing population) of the country ;
also to enquire into the constitution, management, and
efforts of institutions connected with the arts, and to
whom the petitions of artists and admirers of the fine
CH.X^V^] EVIDENCE BEFORE COMMITTEE 86
arts and of several members of the Society of British
Artists were severally referred," presented a report in that
year of the evidence they had taken on the first two
points, and proposed to resume the enquiry as to the state
of the higher branches of art and the best mode of ad-
vancing them, early in the next session. Accordingly, a
Parliamentary Committee was reappointed, consisting of
Mr. Ewart, Mr. Morrison, the Lord Advocate, Mr. Pusey,
Mr. J. Parker, Mr. Wyse, Mr. H. T. Hope, Dr. Bowring,
Mr. Heathcote, Mr. Strutt, Mr. Hutt, Mr. Brotherton, Mr.
Scholefield, Mr. D. Lewis, and Mr. Davenport, who pre-
sented their report, after taking evidence, in the following
year,
Li the proceedings of this Committee there does not
seem to have been a fair opportunity given to ascertain
the real truth in regard to the position and influence of the
Eoyal Academy in that part of the enquiry which related
to it ; nor can it fail to attract notice that there were few
of those composing it who were quahfied, by their know-
ledge of art, to conduct such an enquiry. -The first
person examined was Dr. Waagen, the Director of the
Eoyal Galleries of Berlin, whose opinion was adverse to
Academies in general, and not to this in particular, as we
have already seen ; ^ and all those were next called who
had previously expressed in public their animosity to the
institution.
The first of these witnesses was Mr. George Eennie, who
gave his general opinion in opposition to it, but was unable
to state any reason for his objections ; for although he was
at that time a sculptor, he had never been a student at the
Academy, and had resided during the greater part of his
life on the Continent. Subsequently, he abandoned his
profession, and became a colonial governor. His evi-
dence, therefore, virtually amounted to nothing.
^ See anief yoL i. p. 60.
80 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
Mr. George Foggo, the next witness, complained that,
some sixteen years before, his artistic property, on his re-
turn from abroad, had been needlessly detained at the
Custom House for want of the certificate of the two
Eoyal Academicians which was required before it could
pass duty free ; the Government having decided that aU
works and materials of art imported by artists from
abroad for their own use and improvement, should be
allowed to pass the Custom House duty free, if certified
by personal inspection and enquiry of two Eoyal Acade-
micians to be of that nature. Mr. Foggo declared that,
by the delay which occurred in obtaining this certi-
ficate, he had lost the patronage of the daughter of
the French ambassador, who left London in the mean
time. This charge was fiivolous enough, for it could
scarcely be expected that two professional gentlemen
should be bound, at a moment's notice, to interrupt
their own artistic labours to become the unpaid as-
sistants of the Custom House, for the benefit of the
revenue or the advantage of other artists; or that it
would be courteous to them not, in some degree, to
consult their convenience in such a matter.
Another case, that of Mr. George CUnt, was more
important and more painful. He had been an Asso-
ciate ; but because he did not attain the higher rank as
soon as — according to his own estimate of his abilities —
he had a right to expect, and because others whom he
thought inferior to himself were preferred before him, he
resigned his diploma, and joined those who were opposing
the Academy. Of course it is obvious that if each artist
were to determine on his own claims to the honours of
his profession, there would not be many without them ;
and he was unable to show that in his case the Academi-
cians acted from personal ill-feeUng or from any other
principle than that of a just estimate of the relative
merits, in their judgment, of the several candidates.
A more formidable and violent opponent was the uji-
CH.XIV.] B. R. HAYDON'S EVIDENCE 87
fortunate B. R Haydon, whose death by his own hand,
some twelve years after this enquiry, in a measure ex-
plains his previous conduct. He had been a student at
the Eoyal Academy, and acquired all his art-knowledge
there. In 1807 he exhibited his first picture at the
Academy — * The Flight into Egypt.' The next year he
sent his" ' Dentatus,' but it was not himg in the best place ;
he then charged the Academicians with being afraid of
him as a greater historical painter than they possessed
among them ; and from that time forward he continued
to write and to lecture in violent animosity against the
institution which gratuitously taught him his art. He
founded a school in opposition to theirs, in which the
Landseers were his first pupils, but which did not long
flourish. In his evidence he denounced the Academy in
all its proceedings from its foundation as "a base in-
trigue ; " objected to the system pursued in the Life
Academy, where the members in turn instruct the
students, instead of one only ; declared that " the moral
character of English artists is dreadfully affected " by the
"abject degradation" to which they are subjected by
the Academicians ; protested that he had been entirely
ruined by their injustice ; that the Eoyal Academy had
tried to obstruct and destroy the British Institution in
every possible way ; but admitted that if an appeal for a
parliamentary vote for art purposes were supported by
them as a body, such was the influence they possessed,
that " it would be done." In the National Collection he
wished, naturally enough, to see works of English artists,
then " when the foreigners come, we should have some-
thing to show them ; while some of the best known works
of art — my awn ' Judgment of Solomon ' and 'Lazarus '
— are rotting for space ; " and he concluded his evidence
by stating generally of all Academies, " that, in so far as
they exceed schools, I disapprove of them."
The next adverse testimony was that of John Martin,
who, to resent the imagined slight received from the
88 mSTORY OF THE ROYAL ACADEMY [Ch. XIV.
Academy in his early career, pertinaciously resolved to
exclude himself from its honours afterwards, that he
might the better continue to speak as its assailant.
Twenty-four years previously, when he was a very young
man, he sent a picture to the exhibition, of which — in
common with all enthusiastic young artists — ^he entertained
a very high opinion ; and because it was not placed pre-
cisely in the position which he thought it deserved, he
afterwards withdrew from the Academy altogether as an
exhibitor. But for this imwillingness to bear the smallest
trials and difficulties of a yoimg artist competing for a
position in his profession, there is no doubt, from the
talents he exhibited, that he might have attained to the
highest honours of the Academy. Another grievance he
brought forward was, that one of his pictures had been
injured, after being sent for exhibition, by some varnish
spilt upon it ; which, if it were the case, was no doubt
the result of simple accident on one of the varnishing
days, and not the result of Academicians' maUce, as he
conceived.
The objections of Messrs. Hurlstone and Hofland were
of a different kind. These gentlemen, as President and
Secretary respectively of the Society of British Artists
(established to sell the works of the members, and to
divide the proceeds of the exhibition among them, but
doing nothing for the promotion of art in any other way),
complained of the undue preference shown by the Crown
and the Government for the Eoyal Academy, in conced-
ing to its members the important privileges attached to
the character of an E.A., and providing for them a local
habitation in return for their services .in maintaining a
national school of art out of their own resources.
These exhausted all the evidence to be obtained adverse
to the Academy. The last six witnesses examined were
Eoyal Academicians — the President, Keeper, and Secre-
tary, and Messrs. Eeinagle, Wilkins, and CiockerelL Of
the three last named, the first was called upon (for what
CH.XIV.] EVIDENCE OF SIR M. A. SHEE 89
reason is not very obvious) for his opinion on the rela-
tion between geometry and the study of the beautifiil
forms of the antique ; Mr. Wilkins was requested to
explain all matters relating to the erection, internal dis-
tribution, and appropriation of the new building, of which
he was the architect ; and Mr. C!ockerell, then recently
elected, was asked his opinion as to competition among
artists in the design and execution of pubUc works. It
was only the three officers of the Academy who were
permitted to speak in its behalf; and their evidence
would certainly have enabled the Committee to arrive
at a proper estimate of the claims and services of the
institution, had they not been previously prejudiced by
adverse testimony.
The President commenced by alluding to the charge
made by Haydon, that the Eoyal Academy had been
founded by " ihe basest intrigue ; " he quoted the accounts
of its origin given by Farington and Edwards, both of
whom lived at the time, and had long since passed away,
in which it was shown (as we have already done) that the
dissolution of the Incorporated Society was mainly due to
the loose and unguarded manner in which its charter
was composed, " for it did not provide against the admis-
sion of those who were distinguished neither by their
talents as artists nor by their good conduct as men." Sir
Martin went on to state that —
^The artists who have been thus represented as guilty of the
basest intrigue, in forming the Boyal Academy^ were Sir J.
Reynolds, the greatest portrait painter that ever lived in any
country^ and one of the most respectable men that ever graced
the annals of society ; Benjamin West, the greatest historical
painter, I have no hesitation in saying, since the days of the
Caracci — a man as respectable in private life as he was admired
for his talents. In addition to these two gentlemen, I would
mention the greatest architect of his day. Sir William Chambers,
the architect of Somerset House, a man celebrated in his pro-
fession and respected by all who knew him. I would also add
to these the name of Paul Sandby, the greatest landscape painter
00 mSTORY OF THE ROYAL ACADEMY [Cn. XIV.
in water-colours of his day ; and several others whom I might
mention if it were not occupying too much of the time of the
Committee."
In respect to the power which the Academy possesses
of conferring distinctions, to which objections had been
made, Sir Martin observed that —
"That social system might perhaps be the best wherein
wisdom and virtue alone should be the objects which call for the
respect and homage of mankind ; . . . but, unfortunately, every
man does not show his wisdom in his face, nor are his virtues
blazoned on his breast ; a mark of honour or distinction, there-
fore, is a stamp set upon merit, for the purpose of pointing it
out to those who have no other means of ascertaining it."
The alleged appropriation of the funds to the exclusive
benefit of the members of the Academy was next re-
ferred to : —
" Upon an average of the last ten years, the disposition of its
funds for the relief of distress among its members amounts to
£490 a year. The sum allotted by the Academy in donations
to persons unconnected with the Academy, persons having no
claim as members or relatives of members, but artists many of
whose names are hardly known to the Academy, but by their
recommendation and distress — the sum devoted to this purpose
amounts to £460 a year ; . . . while the gross amount of sums
expended in pensions to decayed members of the Academy since
its establishment is £11,106 58, 9(2., and of siuns expended in
donations during the same period to distressed artists not
members of the Academy, £19,249 13«. S(L . . . With respect
to the formation of two other Societies for benevolent purposes,
. . . one was not only originated by the members of the
Academy, but supported by them ; . • . and the gross sum sub-
scribed by different members of the Academy in aid of the two
Benevolent Funds amounts to £2,202 18«."
These figures, it must be remembered, refer to what
had been done nearly thirty years ago.
The President then explained that the remimeration of
the oJ0Gicers of the Academy is upon the lowest possible
scale, and that the professors are allowed £60 each for six
Oh. XIV.] EVIDENCE OF SEB M. A. SHEE 01
lectures; but if none are delivered, they have no re-
mimeration. The rule followed in regard to the 140
invitations issued to the annual dinner was next explained
— first to the princes of the Eoyal family, and any foreign
princes or members of the corps diplomatique ; then to
the Ministers of State ; heads of pubUc bodies ; celebrated
characters in war, science, literature or art, or acknow-
ledged patrons of the arts. Each of these is balloted for ;
and in no instance can private friends of the Academicians
be invited, unless coining within the defined rule.
In reference to the charge made by Haydon, that the
Academy constantly exerts itself " to depress the arts" —
especially historical painting — SirM. Shee simply referred
to the fact that, several years previously. West, Flaxman,
and Opie projected a plan for a gallery of honour, under
the sanction of the Academicians, who were constantly
bringing the claims of the higher branches of art before the
Government ; and that, subsequently, he and Flaxman had
prepared an address to the Ministers of the day, soUciting
the aid of the State for their cultivation and employment.
The Academy, being a Boyal institution, under the imme-
diate patronage and protection of His Majesty, could not,
without disrespect to His Majesty, address his Ministers ;
so the memorial was drawn up by one of its most
esteemed members, but it was productive of no result
As further proofe of the disposition of the Academicians
to promote the cultivation of the higher branches of art,
the President referred to the plan he prepared for the
British Institution, suggesting an application to Govern-
ment for £5,000 a year, to be devoted to that purpose ;
and by recalling the fact that the Academy had offered
£1,000 towards a subscription for the purchase of Sir T.
Lawrence's collection of drawings by celebrated masters,
to be placed in the British Museum, for the general study
of artists and the improvement of the public taste. Then
he proceeded to show that the latter object was accom-
plished in another way, through the 1800 students who
92 HISTORY OF THE ROYAL ACADEMY [Oh. XIV.
had been, up to that time, educated in the schools gratis,
— who, if they have not talents for the higher class of
artists, drop into humbler occupations, and, being spread
through the country, are employed in the apphcation of
art to manufactures in various ways, and thus bring the
taste for art into the homes of society.
On the general question of the utility, or otherwise, of
Academies, Sir M. A. Shee differed from Dr. Waagen and
others, stating that "Academies are good in the same
way that Universities are good — conferring honours and
distinctions, furnishing the means of education, and
stimulating the rising race to obtain those honours and
distinctions." The Umitation of the number of members
he justified on the ground that " forty members are fiilly
sufficient to represent the interests of the arts, and to fur-
nish a stimulus to the rising race to obtain possession of
the honours it confers ; " while, from the history of the
arts in England since the foimdation of the Academy, it
would be seen " that there is scarcely a single instance of
any very eminent artist who was not a member of the
Eoyal Academy, or who might not have become so if he
had taken the proper means of obtaining that distinction.
I consider this fact as affording a full proof of the com-
petency of the nmnber of forty to include, in due succes-
sion, all the eminence of the profession." Further, " in
proportion as you extend any distinction conferred, you
destroy its value, and you prevent the same ambition from
operating upon those who wish to obtain it."
Upon some minor points, the Committee requested
information — for instance, as to the rule prohibiting
members from belonging to any other society of artists
in London, framed originally, as he stated, to guard the
Academy from a deficiency of the talent requisite to
attract the pubKc to its exhibitions — the source of its
income — but no longer necessary, and long since ceased
to be acted upon. With respect to the hanging of the
pictures, he pointed out that those appointed to arrange
Ch. XIV.] EVIDENCE OF SIR M. A. SIIEE 93
the exhibition in each year had the final decision, without
reference to the other Academicians, who could not
choose places for their pictures, and who often withdrew
their works to make room for those of strangers to the
Academy. The " varnishing days " might be regarded as
among the privileges granted by the diploma, but one
which he did not care to see retained ; and that so far
from it being true that the Academy was " conducted for
its own private purposes," and for the personal interest of
the members, the very reverse was the fact. The eminent
men among them had already attained the public favour,
and the Academy only raises up rivals to their course ; so
that "they derive little benefit from an establishment
which occupies so unprofitably their time and attention,
and obliges them to enter into an annual competition with
all the rising talent of their country." It can only be,
therefore, for the sake of art and a new generation of
artists that they can desire its preservation.
Several leading questions were addressed by the Com-
mittee to Sir Martin, to the efiect that it was an injustice
that one half of the National Gallery should be closed to
the public ; and that if the space assigned to the Academy
were required for the former, it would be the duty of the
Academicians to resign the apartments assigned to them ;
but to all of these the President gave one steady reply —
that the Government wishing to obtain the apartments in
Somerset House, " the Academy give up that which they
have a right to consider their own, and of which they
have been in possession for upwards of half a century,
and they receive, in return, the apartments in which they
are to be now placed ; and I conceive it would not be to
the credit of any Government to disturb or remove them."
It will thus be seen that the President left few points
in dispute, as regards the Academy, unanswered ; and
that the objections which have been revived in our days
are only the old ones repeated in a new form. The
evidence of Henry Howard, E.A., the Secretary, corrected
94 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
several of the other mis-statements made by preceding wit-
nesses. It had been afl&rmed that the Eoyal Academicians
had been offered a charter by George IV., but that it had
been refused for fear it would make them responsible to
Parliament. The simple answer was, it "was neither
offered nor desired." He stated also that, so far from the
Eoyal Academy " obstructing the British Gallery (Insti-
tution) in every way," Mr. West was consulted by the
founders, and was originally a member of it ; but to avoid
the appearance of an invidious selection, artists were after-
wards excluded. In addition to many testimonies corro-
borative of those of Sir M. A. Shee, as to the honours and
advantages of the Academy being "open to all artists
who have merit to deserve them, and who conform to
those just, necessary, and impartial conditions which the
laws of the Academy prescribe for their attainment," he
pointed out that the work of a foreign artist is often re-
ceived with more favour than a work of a similar class of
merit from a native artist, and cited instances to rebut
the statements made that such works were unfavourably
hung ; that it is not the number, but the excellence of the
works exhibited which is the attraction to the pubUc ;
and that therefore the money produced by the exhibition
is not raised by the many productions of those who are
not members, but by the very few fine works which are
displayed there ; and also, that so far from monopohsing
patronage, the Academy protected artists who were neg-
ected by the pubUc, as in the case of Wilson, FuseU, and
Stothard, and that often non-members were largely em-
ployed by the patrons of art.
Summing up the evidence against the Academy, Mr.
Howard considered it went to charge it with inefficiency
in the schools, partiahty in the elections, a spirit of exclu-
sion, a disregard of the interests of other artists, and a
selfish administration of the fimds. To these points his
testimony chiefly had reference. The mode of admission
to the schools, and the advantages offered in them, are
thus stated : —
Ch. XIV.] EVIDENCE OF HENRY HOWARD, R.A, 95
*' Any one, native or foreigner, without distinction, who can
produce a good drawing, and a testimonial from a respectable
person of his good moral character, is equally admissible. Even
the name of the individual applying is not known to the Council
until after he is admitted. He then remains a probationer for
three months, during which time he is required to make a
drawing in the Academy ; and if that be approved (that is, if it
be as good as the drawing first laid before the Council), he is
regularly entered a student of the Royal Academy. In this
manner are young artists admitted to a course of gratuitous
instruction which is to render them rivals to those who have
fostered them, and perhaps ultimately to deprive their teachers
of the patronage of the public, and their means of subsistence.
The advantages afforded to the student in the Royal Academy
are these: — It painting be his pursuit, there are the School of
the Antique, the School of the Living Model, and the School of
Painting, all of which are under the superintendence of the
ablest masters in the country ; the use of a good library of books
on art, which is continually increasing by gifts and by purchase ;
a large collection of prints, and some copies of the most
celebrated pictures; the lectiures of the professors; annual
premiums for the best copies made in the painting-school ; and
a biennial premium for the best original historical painting.
Although the privileges of a student generally continue for ten
years only, upon application to the Council, he may be re-
admitted from year to year ; but if he obtain any premium in
the course of the ten years, he then becomes a student for life.
Any student obtaining the gold medal at the biennial distribution
of prizes, may become a candidate for a travelling studentship,
which will further enable him to pursue his studies on the Con-
tinent for three years, on a pension from the Academy. The
student in sculpture^ has the benefit of the Schools of Design ;
an admirable collection of casts; the library, in which are
engravings from all the galleries of Europe ; the lectures and
premiums ; and, in rotation, the contingent advantage of being
enabled to study on the Continent for three years. The advan-
tages afforded to the student in architecture are the Schools of
Design, the lectures, the library (which contains all the valuable
works on architecture which have been published here and on
the Continent), annual and biennial premiums, and the contin-
gent advantage of the travelling studentship. The school is,
unfortunately, deficient in architectural models, and merely
96 HISTORY OF THE ROYAL ACADEMY [Ch. XI\^
because the Royal Academy has.no room in which to place them.
The Society, notwithstanding, purchased a fine collection of
architectural casts, a few years since, which had belonged to Sir
T. Lawrence, and presented them to the British Museum, where
they are arranged in an excellent light, and are available to all
the artists of the country.* The students in engraving are in
no wise distinguished from the others — the same advantages are
open to all. An extensive collection of engravings, from the
earliest times, which is in the library, was purchased by the
Academy, at the price of 600 guineas, chiefly with a view to the
information of this class of students.' I thipk, then, it must
appear that the Royal Academy has not been remiss in endea-
vouring to render their schools as efficient as circumstances have
permitted."
With respect to the election of Associates, Mr. Howard
stated the course pursued : —
"Any exhibitor may put down his name to become an
Associate. . . . The election of Associates rests entirely with
the Royal Academicians, of whom a general meeting is held at
the close of the exhibition, before the collection is broken up,
for the purpose of particularly examining and discussing the
merits of the works of those whose names have been inscribed
on the list. The election, if any be resolved on, does not take
place till the first Monday in November, which gives time for a
further consideration of the respective claims of the candidates ;
and it may be observed that it is particularly incumbent on the
members to be very cautious in the election of an Associate, as
young artists do not always realise in the end the expectations
they may have excited by one or two very promising eflForta ;
and an Associate has taken the first step towards becoming an
Academician. As vacancies occur, the academic body of forty
is recruited from this class of members, which are chosen from
the profession at lai-ge."
The funds and the salaries were next discussed by the
^ This eyidence was given in 1836: exhibited there for several years,
since the removal of the Academy to ^ This collection of encTavinffS of
Trafalgar Square, these casts were the Italian School from toe eaniest
returned to it by the trustees of the period, was formed by George Cum-
British Museum, after they had been oerland.
CH.XIV.] EVIDENCE OF HENRY HOWARD, R.A. 97
Committee. The amiual festivity was stated to cost from
£250 to £300 ; and the following payments were at that
time made to the oflScers of the Academy : —
''The President, no salary nor any allowance beyond the
other members. The Keeper, for very arduous and important
duties, receives but £160 per annum, with apartments. The
Secretary's salary is £140 per annum, with an allowance for apart-
ments. The Treasurer receives £1 00 per annum. The Libraiian,
for attending three times a week, £80 per annum. The Auditors
and the Inspector of works imported by any British artists for
their own use, and which are, in consequence, allowed to pass
the Custom House duty free, have no allowance whatever. The
Visitors elected to serve in the Painting School, and in the Life
Academy, receive each one guinea for an attendance of more
than two hours. The Committee of Arrangement have each
two guineas for attending to that laborious and invidious duty
the whole day. Each Academician receives 58. for attending a
general meeting,* of which there are annually from five to ten.
A similar allowance is made to members attending the meetings
of Council : i.e., the Council, which consists of the President
and eight members coming in by rotation, are allowed 45^., to
be divided at each meeting between the members present,
which, if all attend, amounts to 58. each. I should have stated
that the salaries of the Professors are £60 a year, for delivering
six lectures. • . . From what I have stated, it will appear that
the greater number of Academicians derive from the funds of
the Academy an income of from 258. to 508. per annum ; that
of the President and Council may sometimes amount to £8 or
£9 each, if constant in their attendance throughout the year.
Instead of dividing their profits, as other societies of artists do
(and are quite justified in doing), the members of the Boyal
Academy have, for above sizty years, supported, without the
smallest assistance from the nation, the only national School of
Art — a school in which all the best artists of the country have
been reared, and which has given to the arts all the reputation
and importance they possess. This they have done (which in
every other country is done by the Government) at an expense
1 This allowance was intended to cover the expense of coach-hire.
VOL. II. H
08 HISTORY OF THE ROYAL ACADEMY [Ch. XIV
of above £240,000, and have distributed £30,000 in charitable
ajBsistance to necessitous artists and their families."^
The report of the Committee before which these state-
ments were made was presented to the House of Com-
mons in 1836. It recapitulated the results of all the
evidence it had obtained, and leant decidedly towards the
opponents of the Academy by the way in which it stated
their objections, under an apparent impression of their
importance, without referring to the direct and unanswer-
able refutation of them by other witnesses, although it
expressed no definite opinion of its own, and abstained
from any direct or general censure on the institution.
The only points to which it referred, not alluded to in the
abstract we have given of the proceedings, are the pre-
dominance of portraits over other works of art, and the
exclusion of engravers from the highest rank in the
Academy — the one a difficult matter to overcome at all
times, the other now set at rest by the appointment of
Academician-Engravers.
It was in the same year (1836) that the new National
Gallery was completed, and that the removal of the Koyal
Academy from Somerset House to Trafalgar Square was
effected. Before giving up the apartments appropriated
to their use by King George HI., however, the Council
of the Academy felt it right to ascertain the pleasure of
their patron. King William IV., and on the 2nd August,
1836, presented an address to His Majesty on the subject,
in the following terms : —
" May it please your Majesty,
" We the President and Council, and the rest of the Acade-
micians of the BoysJ Academy, beg leave most humbly to
approach your Majesty, with the warmest feelings of loyalty and
^ In all this evidence, it must be its opeiations, and largely increased
remembered that a quarter of a cen- the amount expended on the promo-
tuiy has since elapsed, during which tion of the arts,
the Royal Academy has continued
CH.XIV.] MEMORIAL TO THE KLSG 99
gratitude for the gracious countenance and favour invariably
extended by your Majesty to this institution.
^^ Conscious that we cannot more eifectually secure your
Majesty^s approbation than by our zealous endeavours to extend,
so far as possible^ the advantage which the arts derive from the
establishment of the Royal Academy^ we beg most respectfully
to represent to your M&jestj that plans for the better accom-
modation of the Academy, by appropriating to its use a portion
of the new building in Traf&lgar Square, having been laid
before us by direction of the Lords Commissioners of your
Majesty's Treasury, we have felt it our duty carefully to con-
sider and examine the same, with a view to ascertain the
expediency of exchanging the apartments at present occupied
by the Academy for those which have been oflFered for its recep-
tion ; and we are imanimously of opinion that the interests of
the arts at large, and the general utility of the Boyal Academy,
would be materisJly promoted by the exchange proposed.
"^ Under this conviction, we cannot hesitate to recommend the
transfer of your Majesty's Academy to a residence which appears
well adapted to its purposes, and which we have been assured
we may occupy on precisely the same terms as those by which
we have so long enjoyed possession of oiu: present abode.
*' But, although many advantages may be reasonably antici-
pated from the removal which we venture to advocate, and
though the plans for the new establishment have already been
honoured by yoiu: Majesty's approbation, yet, as the Soyal
Academy was originally placed in Somerset House by the
munificence of its Boyal Founder, King George IIL, and as its
residence there has been so long continued, and secured imder
the especial sanction of his Boyal Successor, and the paternal
protection of your Majesty, we do not consider ourselves at
liberty to change the local position of the Academy, or resign
the apartments which are at present in its occupation, without
the express consent and authority of your Majesty.
" Humbly awaiting the expression of your Majesty's pleasure
on this subject, we beg leave to subscribe ourselves,
^Your Majesty's most grateful and loyal subjects and
servants."
(Signed by Sir Martin A. Sheb, and the Members
of Council of the Boyal Academy.)
His Majesty was pleased to signify his approval of the
H 2
100 inSTORY OF THE ROYAL ACADEMY [Ch. XIV
exchange being made, and the Academy took the neces-
sary proceedings to prepare for the transfer of their home
to the new building. All the arrangements were com-
pleted by the end of the year ; and on Saturday the 17th
of December, 1836, a farewell dinner was held in the
Council Eoom of the Academy at Somerset House, that
the members might meet together once more in the build-
ing which they had occupied for so many years. The
members paid £1 each for their tickets on this occasion,
as indeed they do on all others of a social character, ex-
cept the annual and council dinners, although the popular
notion is that the funds of the Academy are partly spent
on such entertainments.' A few of the members who as-
sembled at this farewell entertainment could recall their
first entrance to new Somerset House, and would feel in the
retrospect a pride and pleasure in reflecting on the steady
progress which the institution had made in the fifty-six
years which had intervened, and how largely it had con-
tributed towards the creation of the improved taste for
art, which had begun to spread throughout the country
in the interval
The apartments assigned to the Eoyal Academy in
Trafalgar Square were put into its possession in 1836, in
a very unfinished state, and wholly devoid of such decora-
tion as might have been expected in an Academy of the
arts. A large sum was expended by the Academy in
fitting up the building for the purposes of the schools,
exhibition, &c.; and many of the paintings and other
decorations which had been designed by the early
members, for the ornamentation of Somerset House, were
introduced for the same purpose in the new building in
Trafalgar Square. The formal installation of the Eoyal
Academy in its new domicile took place on the 28th of
April, 1837, when the King, attended by a suite of noble-
men and officers of State, and surrounded with much
more of the formalities of Royalty than is usual on the
occasion of the ordinary annual visits of the Sovereign to
Ch. XIV.] OPENING OF THE NEW ROYAL ACADEMY 101
the exhibition, came to open the new building. C. E.
Leslie, who formed one of the Council at the time, thus
describes the scene : —
" The portico of the new building commands a view of the
whole length of Pall Mall to St. James's ; and as it is elevated
considerably above the footway, most of us were standing there
a little before one, looking anxiously towards the palace, where,
exactly at the appointed hour, we saw the Boyal carriages
appear in the distance. A guard of soldiers^ with a band of
music, were stationed in front of the building, and, behind
them, an immense crowd, which extended on the left to St.
Martin's Church, the steps and even the roof of which were
covered with people — the bells pealing a merry chime from
the steeple. The scene, as the King's carriage drew up, was
altogether imposing. . . . The King wore neither star nor
ribbon, but was dressed in a plain suit of black. The Queen
was prevented from coming by illness. . . . The Princess
Augusta, the Dukes of Cumberland and Cambridge . . . and
several lords and ladies in waiting formed the Boyal party. . .
W^hen the King entered the door, Sir Martin Shee presented
him the keys of the Academy on a silver plate. They were
highly polished, and had arrived that morning from Birmingham,
and, as it had been found (to the great consternation of the
workman), would not fit the locks. The King, however, did
not try them, but restored them to the President, saying ' he
could not place them in better hands.' His Majesty then went
regularly through all the rooms. . . . When he came out under
the portico, the band struck up 'God Save the King;' and he
advanced to the front bareheaded, and bowed to the people,
who cheered him loudly. He left the door exactly at three ;
and, in being thus punctual, showed his consideration for those
who he knew expected to be admitted at that time. The rooms
were very soon crowded with the usual visitors ; and about four
o'clock, die Duchess of Kent and the Princess Victoria came,
without any ceremony, in the midst of the company — having
sent us word in the morning that they intended doing so."
The King was in excellent spirits, and apparently in
good health on that day ; but, as the event proved, it was
the last occasion on which he took part in any public
102 mSTORY OF THE ROYAL ACADEMY [Ch. XIV.
ceremonial — his decease having taken place on the 20th
of June following.
The schools of the Academy are located partly in
rooms which are, during the season, used for the exhi-
bition (when they are necessarily closed to the students),
and partly in others which are not opened to the public
The lectures of the Professors are delivered in the East
Boom; the School for drawing from the Antique is
held in the Sculpture Eoom ; that for painting from the
Draped Model, in the Middle Eoom ; and the School
for drawing from the Living Model, in the North Eoom ;
but during the period of the exhibition, the two latter
are held in the interior of the dome, lighted by three
windows, one in the side wall only being kept open,
which throws a strong light upon a raised platform with
a high back, covered with crimson, on which the person
who acts as the model is placed. The general superin-
tendence of the schools is vested in the Keeper, who
personally watches over the Antique School only — the
others being directed by the appointed visitors. The
Hall of Casts contains a large collection of works of great
value to the students ; many of them were the gift of
George IV., obtained from Eome, through the interven-
tion of Canova, consisting of the exact counterparts of
the most renowned and beautifid forms of antiquity.
Crossing from the Hall of Casts, through the open
passage or thoroughfare on the eastern side of the
Academy, we enter the Library — a lofty room, sur-
rounded by oaken bookcases, closely covered in with
crimson silk, which gives the apartment a warm, rich
aspect. These cases are surmounted by busts, and
contain all the best works on art, and books of general
reference, besides the choice collection of ancient and
modern prints, etchings, and sketches possessed by the
Academy. The centre of the room is filled with desks
for the students ; and over the fireplace is a bas-relief in
marble of the 'Holy Family,' by Michael Angelo, pre-
CH.XIV.] THE ACADEMY IN TRAFALGAR SQUARE 103
sented by Sir George Beaumont, who thus described it to
Chantrey : — ^^ St. John is presenting a dove to the Child
Jesus, who shrinks from it, and shelters in the arms of his
mother, who seems gently reproving St. John for his
hastiness, and putting him back with her hand. The
Child is finished, and the Mother in great part ; the St.
John is only sketched, but in a most masterly style."
The four circular paintings on the ceiling, by AngeUca
Kauffinan, representing ' Genius,' ' Design,' ' Composition,*
and ' Painting,' were formerly in the Lecture Eoom at
Somerset House.
The Council Eoom is small in size when its importance
is considered, and somewhat dark, from the large buildings
which loom so near it, at the back of the Academy. It
is, however, imposing, and has an air of dignity about it ;
the Coimcil table and the President's chair, of course,
occupy the centre ; the walls are completely covered with
works of art — some few of them pictures painted for
the Eoyal Academy, as the portrait of King George III.
and Queen Charlotte in their coronation robes. Sir
William Chambers, and Sir J. Eeynolds, all the work of
the first President ; George IV., by Sir W. Beechey ;
King William IV., and Her Majesty, by Sir M. A. Shee.
In addition to these, and the paintings ornamenting the
ceiling, there are a large number of the diploma works,
occupying every available space in the room, some re-
calling the members long since passed away, who formerly
took part in the councils of the Eoyal Academy, and
others displajdng the artistic power of many of those still
governing the institution as their successors.
The Exhibition rooms scarcely need to be described,
since they are so well known to the pubUc, and their
only attractions are changed year by year. The annual
dinner preceding the opening of the exhibition is held in
the East Boom, which on that occasion is filled with an
assemblage of rank and talent such as is rarely to be
found at any similar festival An open doorway connects
104 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
this room with the Middle Eoom ; and between the two
there is a small "Octagon Eoom," where the prices of pic-
tures in the exhibition for sale may be ascertained, and
where a few prints and drawings are hung. From the
Middle Eoom, the visitor passes into the West Eoom,
which opens into two others of smaller dimensions, the
North and South Booms, principally filled with water-
colour drawings, crayon sketches, architectural designs,
miniatures, medallions, &c. — the three principal rooms
being exclusively appropriated for oil pictures. De-
scending the staircase towards the entrance, the Sculpture
Eoom is reached, recently considerably enlarged, and
divided into three compartments — a great improvement
upon the confined space to which the specimens of this
branch of art were restricted during the first twenty years
of the occupation of the building by the Eoyal Academy.
In this their new home the Academicians had scarcely
settled themselves before they lost the Eoyal Patron who
had taken so warm an interest in their proceedings, and
who had deUvered it to their keeping. On the accession
of Her Majesty to the throne, the Academicians, in
answer to their address soliciting the favour of her
gracious patronage, received an assurance that the Queen
would be ready to comply with the wishes of the
Academy, in continuing the privilege of personal access to
the Sovereign on academic affairs enjoyed by the Presi-
dent and officers of the institution during the reigns of
Her Majesty's predecessors; and from that time to the
present, the Queen has taken a lively interest in its
affairs, and has exhibited her own elevated and refined
taste in art by the liberal and judicious manner in which
the royal patronage of it has been exercised on all
occasions.
At the first levee after Her Majesty's accession, two of
the members of the Eoyal Academy received the honour
of knighthood — the Queen thus confirming the dignities
which King WiUiam IV. had proposed to confer upon
CH.XIV.] THE QUEEN'S PATRONAGE GRANTED 105
them. The fortunate recipients were Sir A. W. Callcott
and Sir E. Westmacott Towards the end of July
1837, Her Majesty paid her first visit to the exhibi-
tion as the Patron of the Academy, without any
state or ceremony, accompanied by her august mother,
and was conducted through it by Sir M. A. Shee.
From what had been stated to the President by Earl
Kussell (then Secretary of State for the Home Depart-
ment), it was feared that the altered arrangements of the
Court would have deprived the Academy of the same
immediate access to the royal presence as was granted
by Her Majesty's predecessors ; but it proved otherwise,
for the spirit of the Founder of the Academy rests upon
his Descendant, reigning now a hundred years after him,
and possessing as strongly the devoted affection of her
people, who recognise in their Queen the ready supporter
of all that is good and pure, refined and ennobling,
whether it be in the highest walks of art or in the
simplest concerns and pursuits of daily life.
Pleasantly as the career of the Academy in its new
home was thus commenced in one respect, simultaneously
the spirit of antagonism was revived in a new form, and
had to be again contested. The battle-ground had
changed its character, but it still was a field of action,
requiring all the energy of the President and the Aca-
demicians to maintain their right of control over their
proceedings, and to protect their property against the
enforced appropriation of those who desired to be thought
the real promoters of a love of art.
In 1837 a favourite parliamentary project was, to obtain
authority from the Government to throw open gratui-
tously to the masses of the people all the public reposi-
tories of art, monimients, and collections of curiosities in
the metropolis. To such a method of promoting the
popular knowledge and taste for real beauty, there could
be no objection on the part of all true patrons of art so
long as tibey could be assured that the relics of bygone
106 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
ages would be preserved from wanton destruction. But
it was proposed to extend the principle, which might fairly
be appUed to establishments maintained by the Govern-
ment, to the Eoyal Academy, which was dependent almost
entirely on the proceeds of the annual exhibition for the
means of eflfecting all the objects it had so long accom-
phshed for the education of students in art, and for the
rehef of its less prosperous professors. The great advo-
cate for this measure was the renowned reformer, Mr.
Joseph Hume, M.P., who, in May 1837, obtained an inter-
view with the President at his private residence, in order
to urge upon him the necessity of the Academy admitting
the public gratis to the annual exhibition during a short
portion at least of the period usually allotted to it. He
stated that it was intended to hold a pubUc meeting at
Freemasons' Hall, at which he proposed to urge that the
Eoyal Academy, " as a return on their part for the occu-
pation of so large a portion of a building erected at the
pubUc expense, should set apart one day or more during
the week, as might be agreed upon, for the admission of
the pubUc gratis to the exhibition ; " and stated that " if
even some diminution of the income of the Academy
did result from the proposed measure, they should regard
it liberally as a due and becoming tribute on their part
to the benefit of the pubUc to whom they were so much
indebted."
To these proposals Sir M. A. Shee replied that the
public had no new claim on the Academy, for they had
incurred no new debt to it, having simply given up one
residence provided for them by the King (although
erected at the public expense) for another, also so paid
for ; and that even if their present habitation were to be
regarded as a gift from the Government, then they made
a most ample return by having supported, for more than
half a century, the only effectual school of art in the
country. Further, that " it would not only be injurious,
but actually ruinous to the interests of the institution,"
CH.XIV.] SHEE'S LETTER TO LORD RUSSELL 107
and that there was no parallel between the case of the
Academy and the British Museum, or other public institu-
tions which were supported by large annual grants from
the public funds ; and, moreover, that no such measure
could be adopted without the Eoyal authority. An inter-
view of an hour and a half left Mr. Hume still deter-
mined to make the attempt ; and from that time forward
he took the lead in a series of discussions at public meet-
ings and in the House of Commons, displaying a large
amount of imreasoning censure and malevolence against
a body of whose proceedings he knew really but Httle.
In July 1837, die President resolved to make a pubUc
statement in answer to tliese attacks, and published, in the
form of a pamphlet, " A Letter to Lord John Eussell, Her
Majesty's Principal Secretary of State for the Home
Department, on the alleged Claims of the Public to be
admitted gratis to the Exhibition of the Eoyal Academy ; "
in which he clearly argued the whole question. He says,
" To the general principle of the measure advocated by
Mr. Hume, no liberal or enlightened man can, I think,
reasonably object. To improve the taste of the pubhc,
and to rescue the humbler class of society from the
degrading influence of those gross and sensual habits in
which they had been too long left to indulge undisturbed,
must be considered as highly laudable objects ; " and he
proceeds to state that national property may properly be
displayed for the public use and enjoyment. But the
Eoyal Academy, " though rendering important pubhc ser-
vices, is not in any respect supported or assisted, nor has
it ever been supported or assisted from any pubhc fund.
It contains no object of art or article of property which
can in any sense be termed national, or over the use or
disposal of which the pubhc or their representatives in
Parliament can have any legitimate claim to exercise
influence or control." He then rephes to the alleged
claim of the pubhc to some return for the accommoda-
tion provided for the Academy, much as he did in his
108 HISTORY OF THE ROYAL AC-\DEMY [Ch. XIV.
conversation with Mr. Hume, arguing that when King
George HL disposed of nis private property (Old Somer-
set House) to the nation, he stipulated for accommodation
being provided, in the new building then erected by the
pubhc, for the Academy ; and the exchange of such habi-
tation for another similarly provided, nearly sixty years
afterwards, could not alter the relative position of the
institution and the public — except that in the interval
the former had conferred a benefit on the latter by sup-
porting the only national school of art in the kingdom.
" These," he contends, " are the well-stocked and well-
cultivated garden in which the tender growth of native
genius has been carefully attended to and fostered to a
vigour of vegetation. . . . Experience has proved that
compared to the quickening efficacy of a great prac-
tical school of art hke that which has been so long sus-
tained by the Eoyal Academy, a national collection,
however rich and extensive, exercises but a barren influence
on the general mind. The Eoyal Academy, my Lord,
owe much to their Sovereign, but nothing to their
country. . . . They have so long, so unostentatiously
pursued this useful career, that their services are received
as a matter of course — as services to which they have a
prescriptive right. ... If those whose office it is to watch
over the great interests of the State disapprove of the
manner in which the Academy perform this volunteered
task — if it be at length discovered that the afiairs of art
can be conducted beneficially for the country under
ministerial management, and that a fund of £10,000 or
£12,000 a year can be appropriated for that purpose, the
members of the Eoyal Academy will be among the first
to hail the flattering prospect, and will readily surrender
the privilege which they have been so long allowed to
enjoy — that of supporting a national institution at their
own expense."
Having thus repelled the idea of the right claimed, the
President next pointed out how impracticable it would be
CH.XIV.] SHEE'S LETTER TO LORD RUSSELL 109
to concede it, both as an injustice to the exhibitors and to
the Academy — since the works could not be protected
from injury, and no compensation would be made to them
for the loss they would sustain ; that crowding was un-
avoidable where an exhibition was only open for a short
time and the space confined ; that robberies of miniatures,
&C., could not be prevented ; that nothing but a phalanx
of pohce officers could preserve order on the few free
days proposed, and that loss of income to the institution
must residt from it. Sir Martin expressed his surprise
that Mr. Hume, so vigilant a guardian of the pubhc
purse, and thought to be so soimd a poUtical economist,
should as such, or as a friend of the fine arts, oppose the
Academy ; for " the ways and means have not been taxed
for its support, no item of charge on its account appears
in the annual estimates. . . . Can he devise a cheaper
mode of promoting the fine arts than that which puts the
nation to no expense?" He concludes his admirable
defence of the Academy by expressing his confidence
that its integrity will finally prevail over all calumnies,
and his thankfulness that " the Queen will know how to
appreciate those pursuits which form the objects of its
care ; and her patriotism will combine with her taste in
securing for her country all those advantages which a
liberal and judicious patronage cannot fail to derive from
the grateful genius of the age."
This letter, although it would satisfy those who took
the trouble to examine the real facts of the case, did not
quell the tide of popular outcry which was then raised in
regard to the rights of the people to be admitted to
every place of amusement or instruction which could in
any degree partake of a national character. A Com-
mittee, with Mr. Hume at its head, continued to assemble
meetings at Freemasons' Hall and at the Thatched House
Tavern in 1837-38, at which all who exercised con-
trol over the institutions to which free admission was
sought were violently attacked and denoxmced. So many
110 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
inaccurate statements were made relative to the Eoyal
Academy and against its President at these meetings, that
Sir M. A. Shee was again impelled to resume the contro-
versy, and this time personally to censure the conduct of
Mr. Hume in the course he had taken. This he did in a
pamphlet pubhshed in July 1838, entitled a "Letter to
Joseph Hume, Esq., M.P., in reply to his aspersions on
the character and proceedings of the Eoyal Academy,"
especially referring to his attacks upon it in the House of
Commons on the occasion of a proposed additional
grant to the National Gallery. He had described it as
"the meanest and most stingy of all institutions;" had
attributed to it the fact that " the people of this country
are in a state of ignorance with respect to the arts that
has no parallel in any other country in Europe;" and
had stated that "the Society of British Artists were
obliged to provide, not only exhibition rooms, but the
whole of the expenses incidental to the establishment;
while exhibition rooms, and a portion of the expense of
maintaining them^ were suppUed to the Eoyal Academy
hy the public ^
To these charges, the President first repUed by repeat-
ing the statements already made to Lord Eussell, of the
sums expended by the Academy, out of their own fimds,
for the public benefit ; that it had been for many years
the only nursery for the arts, and the only instrument for
promoting a taste for them ; and that the impUed contrast
between it and another society was imtrue and invidious.
** With every respect for the society in question, and every
wish for their success, I would ask, What possible claim of com-
petition with the Eoyal Academy your ingenuity can set up for
the Society of British Artists ? The former, the great supporter
of the arts for three fourths of a century — the only eflFective
school for their cultivation in the kingdom — providing, on a
liberal scale, every material and means of study necessary for
such an establishment, and disinterestedly devoting large funds,
of their own creation, to the noblest public purposes — the
gratuitouB education of students, without distinction of class or
CH.XIV.] SHEE'S LETTER TO MR. HUME 111
degree, and the general promotion of the public taste; the
latter society, a recent private speculation of a few individual
artists, for their own advantage — without school, scholar, or
material of study — pledged to no public duties, and performing
no public services — with no other purpose than the exhibition
of their works, and employing their funds (as they have an
imquestionable right to do) solely for their own benefit. Really,
Sir, the comparison which you have drawn between these two
institutions does little credit to your discrimination, and still
less to your impartiality/'
And with respect to Mr. Hume's mis-statement as to
Parliamentary grants to the Koyal Academy, the Presi-
dent says : —
** You are reported. Sir, te be as peculiarly conversant in the
lore that relates te the outlay of the national funds as you are
vigilant in preventing their misappropriation. Can you adduce,
in support of your assertion, any grant of the public money to
the Royal Academy ? Can you prove that a single shilling has
been contributed by the Government towards the maintenance
of that institution since its first establishment ? If you cannot
do this. Sir, you must allow me te express my wonder by what
extraordinary process of misconception — by what peculiar im-
pulse of inaccuracy — you have been led publicly to make an
assertion, hazarded in the face of the explicit statement made
to you by me, in the conversation which teok place between us
on the subject, — an assertion also in the face of the still more
explicit statement contained in my letter te Lord J. Russell, of
which you were furnished with a copy."
Another statement, made by Mr. Hume at the Thatched
House Tavern, was that the managers of the Academy
had exhibited reluctance to give the returns asked from
them as to its proceedings ; and the President, in reply,
shows that " they have no motive for concealment.
The more their proceedings are made known, the more
their utility, their integrity, and their disinterestedness
must become apparent. The returns asked for by the
House of Commons, at the instance of Mr. Ewart, were
furnished as soon as they could be made out after the
King's permission (for which I inunediately applied, and
112 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
"without which they could not have been granted) had
been obtained for that purpose." Subsequently, on the
26th September, 1837, Mr. Hume apphed, through Lord
Eussell, "for a return of the number of students sent abroad
by the Academy, with the expense of maintaining them
there, and other particulars concerning them." Sir Martin
rephed the day following, that on the return of the
Secretary to town (who had charge of the books of the
Institution), a Council would be assembled, and the infor-
mation furnished ; and it was sent to his Lordship in the
early part of November, six weeks before Mr. Hume
stated that it had not been supphed. In reply to a pro-
posal which Mr. Hume publicly made, that " any deficiency
which the adoption of his plam, of free exhibitions at the
Eoyal Academy and the Society of British Artists, might
involve to their funds, might be supplied by means of a
subscription" Sir Martin indignantly repels such patron-
age of the arts : — " Instead of increasing their means,
you would avowedly diminish them, and stamp on them
the character of mendicancy as remuneration. You
would invade their precincts like an enemy in quest of a
contribution ; you would tax them in proportion to the
service they render you, and make them, without cere-
mony, the victims of their own utility. Verily, Sir, I am
afraid your name will not be recorded in the page of
history as a patron of the fine arts."
Some personal attacks on the President were replied to
at the close of the letter. Mr. Hume had stated that Sir
Martin made the first attack by his letter to Lord Eussell ;
whereas he reminds Mr. Hume of the interview he had
soHcited with him, as President of the Academy, long
before, in which he had explained his intended operations,
and that he had then declined to accede to his request,
as the Academicians still did. " We object," he says, ** to
be cast in the new mould which your plastic patriotism
would prepare for us. We decline to be cut and carved
according to the peculiar fashion which your new-bom
zeal for popular refinement may choose to inflict upon us."
CH.XIV.] FURTHER PARLIAMENTARY RETURNS 113
Mr. Hume had also stated that the President had " pub-
hshed an opinion that the arts flourished more under the
cap of liberty than under any other form of government."
In reply to which, the President quotes his work — " Ele-
ments of Art " (" although," he says, " I am not so vain
as to suppose that the work in question ever gained ad-
mission to yoiu: library, or that you ever read a line of it"),
to show how completely such a statement was opposed to
his meaning, adding that " misrepresentation, whether it
be the result of negligence or design, must always be
considered discreditable to a controversialist and un-
worthy of a gentleman." And he concludes his letter, so
foil of sarcastic vigour in argument and contempt for
the littleness displayed by his opponent, by referring to
his early eflbrts to raise a feeble voice in the cause of the
arts, and of the opposition they then met with, — "Yet
age has not brought with it prudence ; and after a lapse
of thirty-seven years since I first broke a lance with the
vandalism of the day, behold I I am again in the field
in the same cause."
The resolute determination to withstand interference
or intimidation expressed throughout this public letter,
addressed to the leader of the anti-Academic party, was
not likely to avert an attempt on their part to efiect their
purpose ; and it was not therefore with any surprise
that the Eoyal Academy again found itself the subject of
attack in the next session of Parliament. " At half-past
one in the morning," on the 15th of March, 1839, when
the parliamentary friends of the Academy were absent,
and there was but a remnant of a House, Mr. Himie, in
pursuance of notice, called for certain returns, which
were not opposed, and were therefore ordered to be fur-
nished to the House. The notice was to this efiect : —
** A return of the amount- of money received for admission^
and of the niunber of persons who visited the exhibition of the
Royal Academy of Arts in each of the years 1836, 1837, and
1838; distinguishing the entrance-money from the proceeds of
VOL. IT. I
lU HISTORY OF THE ROYAL ACADEMY [Ch. XTV.
the sale of catalogues, together with the amount paid in
salaries and perquisites to each person employed in that esta-
blishment in each of those years; and the average number of
students who have attended the Life School^ and that of the
Antique, in each of those years."
It seemed quite obvious that this was a direct endea-
vour to place the accounts of the Academy under the
supervision of the House of Commons ; and as this would
have been to forfeit all the independence which should
belong to every individual and every conunimity pro-
viding and dispensing its own funds, the Academicians
resolved to refuse compliance with the request. The
order was renewed, after some time had elapsed, in a
more peremptory form ; and not wishing to act discour-
teously, or even to appear to treat so important an
assembly with, disrespect, the Academicians, by the advice
of the President, then determined on addressing a petition
to the House of Commons, which should explain the nature
of the constitution and government of the Academy ; the
objects it proposed to effect, and the mode in which they
were carried out ; what it had done to instruct rising artists,
and to protect the declining years of the less successful
professors of art or their families ; how its members had
laboured, not for payment, but from zeal hitherto, and
were still ready to devote their time, their talents, and
their funds to the support of the same purpose ; but that
they claimed, as a condition of this obligation, the un-
molested management of an institution which owed its
existence to their predecessors, and which was still main-
tained by the exertions of those who succeeded to their
duties and their rights. On these grounds they expressed
their hope that the House of Commons would be pleased
to rescind the order of the 14th of March.
The petition was firm and respectfiil, and entered into
all the details necessary to substantiate their claim to the
consideration, praise, and gratitude of the country, and
to the protection of the Legislature against the virulent
Ch. XrV.] PETITIONS TO PARLIAMENT 115
attacks to which they had recently been exposed. It
wafi entrusted to that excellent and accomplished "old
English gentleman," the member for the University of
Oxford, Sir K. H. Inglis, Bart., who had on several
previous occasions spoken in favour of the Academy when
it had been attacked in the House, and who presented
the petition on the 8th of July. Mr. Hume imme-
diately gave notice of a motion, that " the return to the
order of the 14th of March last be made forthwith."
The Ministry then in office (Lord Melbourne's Govern-
ment) were too anxious to conciliate the ultra-Eeform
party, to venture to oppose them by decidedly supporting
the Academy ; while, on the other hand, they felt suffi-
ciently its position in relation to the Crown, not to wish,
in appearance at least, to uphold its position as a Eoyal
institution ; but so uncertain and equivocal was the sup-
port thus given, that the Academicians felt httle inclined
to depend on it. Lord Eussell consulted the President
on the point at issue between the Academy and the
House, and advised concession from the former, so also
did Lord Melbourne ; but to no purpose, for the Acade-
micians were resolved that, whatever might be the result,
they would not submit to the dictation of Mr. Hume and
his friends.
Other petitions, deprecating all concession to the claims
of the Academy, were in the mean time presented to the
House — one from an old antagonist, B. E. Haydon, and
another from "The London Artists," which somewhat
resembled the notable petition of " the men of England,"
who proved to be three tailors in Tooley Street, for there
were but seven signatures to this memorial professing to
emanate from the 800 artists then resident in London,
and those chiefly the names of the men who had already
expressed their antagonism to the Academy in their
evidence before the Fine Arts Committee of 1836.
Counter-petitions were also presented in support of the
Academic cause — one signed by seventy aitists not
1 2
116 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
members of the institution, but contributors to the annual
exhibitions; another from 120 students of the Eoyal
Academy, the former presented by Sir Eobert Harry
Inglis, the latter by Mr. Emerson Tennent.
The question came on for debate on the 23rd of July
in a thin House ; and Mr. Hume, while proceeding ener-
getically to denounce the Academy, was abruptly brought
to a stand by a " count out" being declared. Fresh
notice was given, and again the motion was brought on
by Mr. Hume, on the 30th of the same month. Then the
honourable member charged the Academy with " con-
tumacious conduct " and the President with vacillation in
opinion, repeating his ofit-told statements, despite the con-
tradiction they had received. Sir E. IngUs moved that
the order be rescinded, and was supported by Mr. Philip
Howard and Mr. (now Sir) Benjamin Hawes. The latter
spoke very strongly against the vexatious interference
which had been attempted, and expressed a decided
opinion that no reason existed for asking for such returns,
especially as the possession of the rooms then occupied
by the Academy did not place them under parhamentary
supervision, the grant having been made in exchange for
others given to them by the favour of the Crown. Mr.
Warburton (a member of the Fine Arts Committee of
1836) next advocated the enforcing of the returns called
for, and was followed by Mr. Spring Eice, then Chancellor
of the Exchequer (now Lord Monteagle), whose speech,
though highly complimentary to the Eoyal Academy,
ended by his voting for " the vindication of the omnipo-
tence of the order of the House," and by calUng for the
returns. Sir Eobert Peel here entered into the debate,
bearing testimony to the value of the Academy to the
nation, and to the time, trouble, and ability devoted to
their functions by the last and the then President, and
advised the House in justice to show their sense of the
value and integrity of the institution by rescinding an
order to which they had been pledged inadvertently by a
CH.XIV.] P^VRUAMENTARY DEBATE 117
disingenuous appendix to the notice, by which it was
made to appear that it was " in continuation of former
returns." Mr. Ewart spoke in favour of the motion, and
Lord Sydenham (then as Mr. Poulett Thomson, President
of the Board of Trade) opposed it, beUeving that there
was no public body so pure in principle, or which had so
fiiUy answered its purpose, as the Eoyal Academy. Mr.
Wyse next spoke, in favour of demanding the returns ; but
Lord Russell, who followed him, showed that Parliament
had already obtained all the information asked for, from
the evidence taken before the Select Committee, and
observed further, that if the House intended to interfere
for the purpose of putting an end to the income of the
Academy arising from the exhibition, it would be their
duty to defray the expenses by a vote, and to give that
instruction and aid to young artists which then devolved
on the Academy. It gave instruction, it promoted art,
and it dispensed charity. If Parliament took away the
income, they would have to do these things themselves.
Hence he considered it both inexpedient and unjust to
make such an inquisition as that then proposed. Thus
terminated the debate, for after a few words from Mr.
Hume, the division took place in a thin House, when
there were thirty-three members who voted for enforcing
the returns, and thirty-eight for rescinding the order ; so
that Mr. Hume and his supporters were defeated, and the
Academy gained a victory which so far discouraged their
opponents, that only once more, and that some years
afterwards, was an attempt made to renew the attack.
This took place in July 1844, when Mr. Hume proposed
an address to the Crown, praying Her Majesty to with-
draw her royal favour from the Royal Academy, it
having departed from the original intentions of its
foimder, and it being no longer of any service -to the
cause of art in the country ; and, as a consequence, en-
treating that it might be ejected from the apartments
assigned to it in Trafalgar Square. Sir Robert Peel
118 mSTORY OF THE ROYAL ACADEMY [Ch. XIV.
kindly undertook to furnish himself (being then in office)
with ample statements to refute so unworthy an attempt ;
but happily his efforts were not required, for on the first
occasion Mr. Hume failed, from the House being counted
out in the middle of his speech, and on the next he met
with no support, and did not venture to press the matter
to a division.
It is not difficult to explain, although it would be hard
to justify, the series of efforts which was thus made for
some ten years to overthrow the Academy, at a time
when democratic principles were in the ascendant in a
large section of the House of Commons. The mere fact
that the Crown had granted certain privileges to a body
of artists — that a society so constituted should exist,
responsible to the Sovereign, but not to the ParHament —
that it should be granted, in the persons of its officers,
direct access to the Throne, without ministerial interven-
tion — and that it should be enabled to accomplish a great
public; task without asking aid from the State, but simply
by employing its own talents and means for that laudable
purpose — all these things could not fail to excite a feeling
of prejudice and jealousy in the minds of the poUtical
reformers of those days, and a desire to bring such an
independent and privileged body under their own super-
vision. To this feeling, and not to any knowledge of or
taste for art, or to any desire for its promotion among the
people, must be attributed the parliamentary proceedings
which we have referred to, and the opposition to the
Eoyal Academy which was exhibited at intervals between
the years 1832 and 1844.
To the energy and abihty of the President — who
personally threw himself into the conflict, and so ably
defended the Academy by his pen, against some of the
members of the Government, the Opposition, and the
public — the satisfactory result of the contest is mainly
due ; and it is no wonder that his popularity was great
among the Academicians. He had been requested to
Ch. XIV.] ROYAL COMMISSION ON THE FINE ARTS 119
submit to Her Majesty their wish that he might be granted
permission to paint her portrait, to be placed in the Eoyal
Academy with the portraits of her Eoyal predecessors.
The Queen graciously acceded to the appHcation, and
granted him the necessary sittings for the purpose in the
summer and autumn of 1842. The portrait is a whole-
length, representing Her Majesty in the robes of State
and the Eoyal diadem of brilliants, as she appeared in
the throne at the House of Lords, and the picture now
occupies the chief place in the Council Chamber of the
Academy.
An important event, as it affected the arts in this
country, was the commencement of the great national
work of erecting the new Houses of Parliament, in 1840,
from the design of Sir Charles Barry, E.A. Advantage
was taken of this opportunity by the Government to call
forth the ability of English artists in competing for prizes,
preparatory to receiving commissions for ornamenting the
edifice with fresco and oil paintings and sculpture. A
Eoyal Commission (of which the late lamented Prince
Consort was President) was appointed in 1841, and still
exists, to " take into consideration the promotion of the
fine arts of this coimtry, in connection with the re-
building of the new Houses of ParUament." The
evidence of many competent persons, at home and abroad,
was taken by the Committee, and the result was, the
selection of fresco as the style best suited to the decora-
tion of a public building. But as this was a mode of
painting then hardly known in England, artists were
invited to send specimens in fresco in competition for
several premiums. Prizes were also offered for the best
of the cartoons, paintings, and models of statues for the
Houses of Parliament, which were exhibited during several
successive years (1843-1848) in Westminster Hall. The
greater number of those who gained them were then, or
had been, students of the Eoyal Academy. Commissions
have since been given to some of the successful com-
120 HISTORY OF THE ROYAL ACADEMY [Oh. XIV.
petitors, many of whom are still engaged on the works
of art yet mifinished. A general view of the intentions
of the Eoyal Commissioners as to the subjects of the
several paintings and sculptures to be introduced into
the building was given in their seventh Eeport, published
in July 1847 ; and we shall have occasion, in speaking
of the works of those members of the Academy who
were employed by them, to mention many of these noble
additions to the productions of our National School
of Art.
The health of Sir M. A. Shee began visibly to dechne
in 1843, when he was attacked, while paying one of his
annual visits to Mr. Eobert Vernon, at Ardington, with
the complaint (vertigo) which caused him so much suf-
fering, with but Httle intermission, during the remainder
of his Kfe. He was thus prevented from distributing the
gold medals, and delivering an address to the students in
that year. In the next year he raUied considerably, and
painted two portraits — one of Madame Ealli, the other
of Mr. Benjamin Austin, which were the last productions
of his pencil, and were exhibited at the Academy in 1845.
His continued ill-health, however, led him to feel that he
was no longer able, as hitherto, to fulfil the duties devolv-
ing upon the President ; and he therefore determined to
resign the office. On the 27th of May, 1845, he addressed
the following letter to the Council and members of the
Eoyal Academy : —
" Gentlemen,
" With sincere regret, I address you for the purpose of
announcing my respectful resignation of the honourable office
of President of the Eoyal Academy, which, through your favour,
has been conferred upon me for fifteen successive years.
" I will not, gentlemen, attempt to express the feelings under
which I thus relinquish a position which I have always regarded
as the proud distinction of my Ufe, and the highest honour to
which an aitist can attain. But advanced age, severe and long-
protracted illness, with other causes, have conspired to unfit me
for active exertion, and admonish me that to make way for more
Ch. xrv.] sm m. a. sheets letter of resignation 121
vigorous powers is as much a measure of justice to the Academy
as of release to me from a responsibility which I am no longer
competent to undertake. As I can truly say that I have never
shrunk from the performance of any duty which the interests
of our art or of the Academy appeared to require of me, I trust I
may confidently hope that, in now withdrawing from the field
in my seventy-sixth year, I shall not be considered as deserting
my post or quitting it prematurely.
" According to the ordinary course of nature — even if disease
should not anticipate the result of time — my lease of life must
soon terminate ; but while I exists gentlemen^ I shall remember
with pride and gratitude the undeviating kindness, the (I may
almost say) affectionate consideration which yoU have always
shown to me.
'' Through a long period of personal, professional, and social
intercom^e, you have amply proved to me how much a spirit of
generous confidence and cordial co-operation may contribute to
animate the zeal, to lighten the duties, and lessen the anxieties
of those who are called to act for others in any official or
responsible character.
**You may readily, gentlemen, supply your chair with a
President more competent than I am to support the dignity
and perform the functions which belong to it. But perhaps,
without presimiption, I may say that you will not easily find a
President more honestly desirous to promote the cause of the
arts than I have been, or more anxious to sustain in due estima-
tion the honour and character of our profession.
"That you may long continue to merit, as you have well
merited, the support of the public, the respect of your country,
and the approbation of your Sovereign, is the sincere wish of,
Gentlemen,
** Your most faithful and grateful humble servant,
" Maktin Archer Shee."
Simultaneously, the President wrote to Sir Eobert Peel,
to request him to convey to Her Majesty the respectful
intimation of his intended resignation of the office which
he held under the Eoyal sanction ; and, in reply, he was
informed of the Queen's regret that his impaired health
rendered such a step necessary. On the part of the
Academy, the announcement was felt to be a great loss to
122 HISTORY OF THE ROYAL ACADEMY [Ch. XIV.
the institution, which at that time, more than in any
previous part of its history, was attracting public attention,
and when the person of its President had become, from
the prominent part Sir M. A. Shee had taken in the con-
troversies on art in Parliament and elsewhere, a public
character. After earnest deliberation on the subject, the
whole body. Academicians and Associates, in July 1845,
sent to him an address, in which they stated that they
desired —
" Most earnestly to reiterate the sentiments of the Council,
namely, the deepest concern at the step you have contemplated,
and entire sympathy in the afflictions which have led to it — the
anxious hope that you may be speedily restored to health — and
our unanimous wish that you may be persuaded to withdraw a
resolution alike adverse to the interests of the Academy and to
our own feelings."
They assured him that —
** The less onerous duties of the Presidency will readily be
performed by deputy, and, with the liberty of occasional
reference to you, Sir, we shall each and all of us redouble our
vigilance in our several departments, so as to secure the order
and efficiency of our institution, and to relieve you from all
unnecessary anxiety and burthen. . . . Ever mindful of the
debt of gratitude we owe to you, not only for the admirable
manner in which you have presided over us during fifteen years,
but for the signal acts and services which you have rendered
this institution during nearly half a century, • • . permit us to
add the assurance of our affection to you personally, inspired
by the parental and conciliatory conduct of your presidency."
So strong an appeal was not to be resisted ; and Sir M.
A. Shee consented to devote whatever health and strength
remained to him to the service of the Academy as long
as they deemed it for their benefit that he should do so.
But, without making him acquainted with their intention
until it had been confirmed by the Eoyal sanction, the
Academicians resolved to express yet more strongly their
sense of his services among them. They were not igno-
CH.XIV.] PENSIONS AWARDED TO THE PRESIDENT 123
rant that, as he had not held the appointment usually
accompanying that of President — portrait painter in ordi-
nary to the King — his means had been reduced, instead
of increased, by the duties he had been called to fulfil in
their behalf; and as, by the death of Chantrey, in 1841,
they had become possessed of the reversion of a sum of
money expressly bequeathed to them for providing a
salary to the President, they determined to anticipate this,
in order to give to Sir M. A. Shee such recognition of his
services as they felt them to deserve ; and by a resolution
passed on the 28th of August, 1845, they granted to him
a salary of £300 a year for his life. Meanwhile, in an
equally kind and delicate spirit, Sir Eobert Peel, in dis-
posing of the grant of pensions on the Civil list by the
Crown, proposed to give some pubhc recognition of the
services of the President of the Eoyal Academy ; and, on
the 7th of August of the same year, wrote to him, saying :
^'I fear that your career in art has been more honourable
than profitable, and that the office of the President of the
Soyal Academy, while conferring the highest distinction, sub-
jected you to many demands upon yom* valuable time, and
indeed to many pecuniary charges. From these considerations,
and also from the consideration that you entirely fulfil the con-
ditions which Parliament has attached to the grant of a Civil
List pension, ' by eminence in literature and art,' I shall have
the greatest satisfaction in proposing to the Queen that a
pension for life, to the amount which has been usually granted
of late years, viz. £200 per annum, shall be assigned to you, as
a mark of the Royal favour, and acknowledgement of pubHc
service."
Both the recipient of this benefit, and the Academicians,
were gratified by such a spontaneous mark of kindness
and consideration from the Minister and the Sovereign.
The grant was made to Lady Shee, in the prospect of her
being the survivor ; she died, however, in the following
May, when the pension was transferred to the three
unmarried daughters of Sir Martin, or the survivors or
124 mSTORY OF THE ROYAL ACADEMY [Ch. XTV.
survivor of them, by the thoughtful kindness of Sir Eobert
Peel, that the venerable President might be relieved
from any anxiety as to a provision being made for them.
It had been hoped that the President would have been
able to deliver the gold medals to the students in the fol-
lowing December, but the exciting events of the few pre-
ceding months, pleasing though they were, had produced
some temporary return of his complaint, and he therefore
entrusted to the Keeper, Mr. George Jones (who acted
for him on the occasion) an address to be read to the
students which he had prepared two years previously,
but was then, as now, prevented by illness from deliver-
ing personally to them.
The following year, 1846, Sir Martin was sufficiently
recovered to be present, and to conduct Her Majesty and
the Eoyal party through the exhibition at the private
view, and also to preside — for the last time however — at
the anniversary dinner, when he performed all the duties
of the chair with his accustomed eloquence and grace.
It was from this entertainment he was summoned to the
deathbed of his beloved wife, who had nearly completed
the fiftieth year of her married Ufe.
Few more personal acts in connexion with the Eoyal
Academy remain to be noticed. His last years were
those of gradual decline of strength, and frequent suffer-
ing ; yet his energy of mind remained unimpaired, and
whenever called upon he always took a lively interest in
advising the course to be taken in all matters affecting the
Academy. Thus, on the death of the Bishop of Llandaff
(Dr. Coplestone) in 1849, a vacancy was caused in the
honorary office of Professor of Ancient Literature at the
Eoyal Academy. These, graceful comphments to litera-
ture on the part of the professors of art, are not made
by election, but by the nomination of the Eoyal Patron,
on the recommendation of the President ; and nearly the
last act of Shee's connexion with the Academy was to
name the late Lord Macaulay for the professorship — the
Ch. XIV.] EXHIBITION OF 1851— THE \^ENON GIFT. 126
appropriateness of which, none acquainted with the
writings of the talented historian can fail to admit.
A yet later subject, and one in which the President
took a great interest, was the Exhibition of Industry of
all Nations, proposed to be held in 1851. The Eoyal
Academicians regarded this as an important event in the
history of industrial art in this country (as indeed it
proved), and in 1850 voted £500 out of their fimds to-
wards the pubUc subscription made for the purposes of
the Exhibition. But although Sir M. A. Shee looked for-
ward to the opening of the Exhibition with an interest
almost enthusiastic, he was gradually passing away, and
died at Brighton on the 19th August, 1850. It was the
wish of the Eoyal Academy that his remains should rest
beside the other Presidents of the institution in St. Paul's
Cathedral, and that they should receive the mark of
respect signified by a public fimeral ; but the request was
declined by the family, and he was privately buried in
Brighton cemetery.*
A few months before the decease of the President, the
question of removing the Eoyal Academy from Trafalgar
Square was raised, it having become necessary to provide
additional space for the national pictures, the number of
which had been recently largely increased by the pre-
sentation by Mr. Eobert Vernon of his collection of 157
works by modem British artists, formed during twenty
years, under the guidance and suggestion of George Jones,
E.A., who often introduced pictures to his notice, and per-
suaded him to purchase them on his recommendation. It
will be seen by the following letter that the Government
of the day, while intending to appropriate the rooms
occupied by the Academy for this purpose, recognised
their claim to be provided with suitable accommodation
> For most of tlie facts contained I am indebted to the interesting life
in the preceding part of this chapter, of the late President, written by his
relating to Sir M. A. Shee, ana his second son, in 1860, and published
labours in defence of the Academy, by Messrs. Longman.
126 HISTORY OF THE ROYAL ACADEMY [Ch. XIV,
elsewhere, and proposed to make two annual votes of
sums deemed sufficient for the purpose. The letter is
addressed to the Keeper of the Eoyal Academy, who was
at that time acting for Sir M. A. Shee as President ; —
Downing Street, April 22, 1860.
"Sir, — I have the honour to inform you that, in consequence
of the want of room in the present National Grallery for the
pictures belonging to the collection. Her Majesty's Government
have come to the determination of appropriating the rooms now
used by the Hoyal Academy to the purposes of the National
Gallery.
" It is the intention of the Government to propose to Parlia-
ment a vote of £20,000 in the present year, and a similar vote
in the next year, to enable the Eoyal Academy to provide them-
selves with a building suited for the purposes of instruction for
students and for exhibition of the works of artists.
" Her Majesty will always be desirous to evince to the Royal
Academy, by her countenance and protection, her wish for the
success of their endeavours for the promotion and improvement
of British art.
" I have, &c
'^JoHN Russell."
" To George Jones, Esq."
This proposal appears to have originated in the urgent
request, made by some members of the House of Com-
mons, for the whole of the National Gallery to be appro-
priated to the reception of the pictures which had become
the property of the nation, and no less in the wish of others
to deprive the Eoyal Academy of its accommodation in
that building. Mr. William Coningham published a series
of letters in the " Times," in January of this year, attack-
ing the Academy ; and the leading articles in that paper
were apparently adverse to its claims, although they ad-
mitted that " it seems to have been directed chiefly to
educating the artist in his profession, and to teaching the
public duly to appreciate it ; to fixing pictorial skill in a
high social position, and to maintaining it there by the
distribution of honours and the support of Eoyalty. That
Ch. XIV.] PROPOSED GRANT TO BUILD A NEW ACADEMY 127
these results have in a great measure been attained, and
that the Academy has so far answered the end of its
foundation, cannot, we think, be denied."
On the 26th of April, Mr. Hume once more moved for
returns showing the receipts and expenditure of the Eoyal
Academy ; again charged its members with ilUberahty in
reftising to open the exhibition gratis to the pubhc, not-
withstanding that they had been provided with apart-
ments in the National Gallery ; and expressed his deter-
mination to vote against any grant of money to the
Academy for the erection of a new building. The
motion, after some discussion, in which many speakers
addressed the House in the same tone, was negatived by
forty-nine to forty-seven ; and Lord EusseU explained
that although the Government wished to devote the Na-
tional Gallery to the reception of the newly-acquired
Vernon collection, and the other pictures belonging to
the nation, —
"At the same time, G-eorge III. having given the Royal
Academy rooms in Somerset House, and various privileges, with
a view to the founding of a National School of Art in this
kingdom, by means of which the Academy had been enabled to
maintain schools, both of sculpture and painting, it was due to
the Boyal Academy, as well as desirable in a national point of
view, that the Academy should have it in their power to carry
on their schools. The Government, therefore, did not think it
right to ask the Royal Academy to give up the rooms which
they possessed in the National Gallery, for the reception of
national works of art, without proposing that the House of
Commons should grant that body a sum of money to enable
them to obtain a site for a building which they might devote to
the. purposes to which the rooms they now occupied in the
Academy were applied. As this arrangement could not be
effected immediately, it of course impUed that room could not
at once be found for the Vernon Collection in the National
Gallery; but in the course of the session, the Government
would introduce a bill into the House to accomplish the object
at the earliest possible moment. In the mean time, Marl-
borough House, which was recently in possession of the Queen
128 HISTORY OF THE ROYAL ACADEMY [Ch. XTV^
Dowager, had been given up to the Crown, and was destined to
be the residence of the Prince of Wales ; but Her Majesty had
been graciously pleased to declare that for the present, and for
two years to come, the pictures of the late Mr. Vernon, and
any others that might within that period be added to the
National Collection, should be placed in Marlborough House,
for the purpose of being exhibited to the public."
The motion for making the grant was, however, with-
drawn, so many members having declared that the country
owed nothing to the Academy, and consequently that
they should oppose any grant of public money. Hence,
the matter was left to be decided at a future time, and
we shall have again to speak of the arrangements subse-
quently proposed.
The twenty years which thus closed had been eventful
ones in the history of the Academy. Modem pohticians
had endeavoured to uproot the privileges of an institu-
tion which owed its existence to the Eoyal patronage of
a King who bore the honoured name of the father of his
people, and who was ready both by his influence and
with his means to promote every object for its advance-
ment. The home he had assigned to it had been sur-
rendered, and another provided for the Academy, on the
assurance of the Government that none of its privileges
would be thereby forfeited. But from the date of the
removal to Trafalgar Square began an opposition to the
peaceful enjoyment of their right by the Eoyal Acade-
micians, which is not yet at an end.
Meanwhile, however, the real work of the Academy
went on uninterruptedly : it still opened its schools to
every student who desired to be taught in the arts —
afforded to the qualified professors the means of exhi-
biting their works, as far as the space would admit —
and continued annually to bestow large sums of money in
pensions and gifts to artists and their famihes requiring
such assistance. Among these latter one may be spe-
cially mentioned — the contribution of £50 made by the
Ch. XIV.] PRESENTS — THE EXfflBITIONS 129
Academicians to the fund raised in 1846 for the benefit
of poor B. R. Haydon, who had for years been their bit-
terest foe, denouncing them on all occasions, and pubhsh-
ing, not long before, a pamphlet entitled " Academies of
Art, — more particularly the Royal Academy, — and their
pernicious effects on the genius of Europe." A grant of
£50, in addition to the sums previously awarded to the
English Academy at Rome, was also made in 1848.
Among the gifts made to the Royal Academy (besides
those referred to in previous chapters), some of those
presented during this period are especially interest-
ing. West's portrait, painted by himself, was presented
by Mr. Joshua Neeld ; Sir Joshua Reynolds's palette was
given by Constable in 1830 ; Hogarth's palette was pre-
sented by J, M. W. Turner, R.A., in 1832 ; and ten years
afterwards his maul-stick, by Mr. James Hall. Three of
Chantrey's busts were also presented to the Academy —
that of H. Bone, RA. by R. T. Bone, in 1836, and those
of George IV. and William IV., by Lady Chantrey in
1837; a portrait of Francis Hayman,. R.A., by Sir Joshua
Reynolds, was also presented in 1837. The art-trea-
sures of the Academy are continually receiving additions
by the purchases of books of prints, &c., made for the
library, but the objects above mentioned are of peculiar
interest to the members of the Academy, and are naturally
highly prized by them.
The exhibitions had maintained their attractive cha-
racter in the eyes of the public during this period, as may
be inferred from the annual increase in the amount re-
ceived for admission. In 1830, the nimiber of works
exhibited was 1,278. In 1836, — the last exhibition held
in Somerset House, — there was a shght decrease, owing to
a greater number of large-sized pictures being exhibited,
the number the walls would hold being reduced to 1,154.
The next year, 1837, the first exhibition at Trafalgar
Square contained 1,289 works. In 1840, there were
1,240 ; in 1846, 1,521 works were exhibited, by 864
VOL. II- K
130 mSTORY OF THE ROYAL ACADEMY [Ch. XIV.
contributors ; and 1,400 others were rejected for want of
space. In 1850, 1,456 works were exhibited. In every year
the whole available space is occupied ; the variation in
the numbers not being occasioned by any diminution of
space or materials, but simply by the varied sizes of the
pictures which are hung on the walls. In these twenty
years the character of the Exhibition had considerably
changed. The school represented by Northcote, Smirke,
Stothard, Newton, Hilton, Wilkie, Callcott, and Collins,
had passed away from the Academy ; and while many
old favourites remained, many of those who now hold
the most prominent positions were rising into celebrity.
The financial results of the Exliibition showed a steady
increase, rising from £4,877 2s, in 1830, to £6,193 in
1840, and £6,477 7s. in 1850 ; while the sums awarded
in pensions averaged from £300 in 1830 to £700 in 1850,
besides the large amount annually dispensed after the
close of the Exhibition in miscellaneous grants of aid.
From the schools of the Academy several students,
successful in gaining the gold medal, had been awarded
the allowance for traveUing abroad. Three painters
availed themselves of this opportunity — George Smith, in
1831 ; W. D. Kennedy, in 1840 ; and J. C. Hook, in 1846.
Three sculptors were also sent abroad in the same way —
E. G. Papworth, in 1834 ; Henry Timbrell, in 1843, who
subsequently died at Eome ; and E. G. Physick, in 1850 ;
and one architect, John Johnston, in 1837.
Twenty-seven Eoyal Academicians died within this
period. These were Northcote, E. Smirke, Stothard, R
Westall, Beechey, T. and W. Daniell, Soane, Eossi, Thom-
son, Howard, PhiUips, Callcott, Wilkie, Bone, P. Eeinagle,
Jackson, Chantrey, Hilton, Collins,- Wyatville, Wilkins,
Constable, Briggs, Newton, AUan, and Deering ; and eleven
Associates and Engravers, viz. J. Gandy, Ohver, Drum-
mond, Amald, Joseph, Allston, Geddes, and Duncan;
and J. Heath, J. Fittler, and E. Bromley, the Engravers.
Two members resigned their Diplomas : — ^E. E. Eeinagle,
E.A., in 1848 ; and George Clint, A.E.A., in 1835.
Ch. XIV.] CHANGES AMONG OFFICERS AND MEMBERS 131
Several changes also occurred among the officers of the
Academy in the twenty years during which Sir M. A.
Shee was President. The venerable Henry Howard, —
Secretary for thirty-seven years (having also been Professor
of Painting for fourteen years), — died in 1847, and was
succeeded by Mr. J. P. Knight. Sir Eobert Smirke was
Treasurer during the whole period, but resigned in
1850. The situation of Librarian was successively filled
by Stothard till 1834, George Jones tiU 1840, CoUins till
1842, Eastlake till 1844, and Uwins for the rest of the
time. The Keepers were W. Hilton till 1839, and after-
wards George Jones. The chair of the Professor of
Painting was filled in succession by Thomas Phil-
Ups tiU 1832, Howard till 1847, and LesUe tiU 1850.
Sir John Soane was succeeded as Professor of Architec-
ture, in 1837, by Wilkins, who however did not dehver
any lectures, having died in 1839, and was then followed
in that office by C. E. Cockerell. Turner resigned
the Professorship of Perspective in 1837, and J. P.
Knight accepted the appointment in 1839. Sir K. West-
macott remained as the Professor of Sculpture, and Mr.
J. H. Green as the Professor of Anatomy during the
whole period.
Among the honorary members also, alterations had
been made. Bishop Blomfield retained the office of
Chaplain during the whole period ; but Prince Hoare had
been succeeded by Sir George Staimton as Secretary for
Foreign Correspondence ; WiUiam Mitford had been fol-
lowed by Henry Hallam as Professor of Ancient History,
and the Bishop of Uandaff* by Lord Macaulay as Professor
of Ancient literature. Sir Walter Scott held the ap-
pointment of Antiquary until 1832, after which it re-
mained vacant till 1850, when Sir E. H. Inghs accepted it.
Thus, as years rolled on, the Academy lost its early
members, but they have been followed by no unworthy
successors, many of whom are still shedding lustre on the
English School of Art.
K 2
132
CHAPTEE XV.
BOYAL ACADEMICIANS ELECTED DURING THE PRESIDENTSHIP
OF SIR M. A. SHEE.~18aO-1850.
The Fourth Fresident : Sir M. A. Shee.
Famtera: Sir C. L. Eastlake (future President), Sir E. Landseer, H. P.
Briggs, G. S. Newton, C. Stanweld, Sir W. Allan, Thos. Uwins,
F. R. Lee, D. Maclise, F. W. Witherington, S. A. Habt, J. J.
Chalon, D. Roberts, Sir W. C. Ross, J. P. Knight, C. Landseeb,
T. Webster, J. R. Herbert, C. W. Cope, and W. Dtce.
Sctdptars : J. Gibson, W. Wton, P. MrDowELL, and R. Westmacott.
Architects : C. R. CocKERELL, J. P. Deering (formerly Gandt), P. Hard-
wicx, and Sir C. Barry.
SIR MAETIN ARCHER SHEE, P.R.A., whose career
as President of the Royal Academy for twenty
eventful years in its history we have traced in the pre-
ceding chapter, was born a year after the foundation of
the institution with which he was so long connected, at
Dublin, on the 20th of December, 1769. He was the
fourth son of George Shee, of Castlebar, a man of good
classical education, and of ancient family, tracing his
genealogy through the O'Shees, who held important
territorial and social positions in Kerry and Tipperary
long before the Enghsh expedition under Strongbow.
Martin's father was a merchant, and was latterly afiiicted
with blindness, caused by injudicious cupping. Notwith-
standing this infirmity, he married a Miss Archer, a lady
many years his junior, and of great personal attractions,
who fully reciprocated his strong afiection for her. She
gave birth to four children, two of whom died in infancy ;
and she died of consumption, two years after the birth of
Ch. XV.] SIR M. A. SHEE 133
Martin, the youngest. After this sad bereavement, the
blind father retired from business, took a cottage at
Cookstown, near Dargle, in Wicklow, where he lived
economically and in comparative seclusion, devoting
himself to the care and education of his two sons. To
this early parental training, the fixture President owed
that taste for classic literature which was instilled into
his mind in youth, and which he afterwards cultivated
alone and unaided. He had a natural love of knowledge,
and an ardent spirit of emulation, easily roused by suc-
cessful displays of talent in any department of human
exertion. This spirit at one time tempted him to practise
the vioUn with great energy and success, and at another,
to compete in athletic exercises. The only sister of his
mother, Mrs. M'Evoy, kept his father's house at this time ;
and under her gentle treatment the, at one time, sickly
boy was reared and fostered. She married again, how-
ever ; and Mr. Shee, in 1781, removed with his son to
Dublin, where Martin was sent to a school conducted by
Dominican fiiars, his family being all Cathohcs. By this
time he had become strong and robust, and had acquired
a knowledge of French from his aunt. Before the days
of Catholic emancipation, there were few professions
open to the members of the Eoman Church in Ireland,
and it became doubtful what his future pursuit would be.
In his early boyhood, a visit to a house where he
saw some Dutch tiles in a fireplace, illustrating Scrip-
ture, awakened a strong passion for drawing ; and he
afterwards made copies of many of them from memory.
After removing to DubUn, he entered the School of
Design, under the Eoyal Dublin Society, at that time con-
ducted by Mr. R L. West. Some time after his admission
to this school, his father died (on Christmas Day 1783),
and Martin, then only fourteen, was received into the
house of his kind aunt, then Mrs. Dillon. Her partiahty
to him angered her husband ; and the boy, one night
over-hearing a conversation respecting him between them.
134 inSTOEY OF THE ROYAL ACADEMY [Ch. XV.
determined no longer to remain an inmate of their
house. At day-break the next morning he left his home,
without money, but with the resolve to be independent,
and his first earning was a half-guinea he obtained for
painting the face of a clock. He went back to explain
his purpose to his aunt, who, with her husband, urged
him in vain to return to their house ; and, aided by her
and other friends, he soon made progress in obtaining
employment as a portrait painter (life-size in crayons) in
Dame Street, Dublin. During the time he remained at
West's academy, he studied with great zeal, and succeeded
in carrying off all the medals awarded for drawings of the
figure, landscape, and flowers; and after he left the
schools, the Dublin Society presented him with a miniature
silver palette, bearing an inscription expressing their sense
of his ability as a draughtsman.
He commenced oil-painting in Dublin ; and,in Junel788,
came to London, to pursue his profession, taking lodgings
first in Southampton Street and afterwards in Craven
Street, Strand. Among his letters of introduction was
one to Sir J. Eeynolds, who received him, he said, with
much poUteness, but nothing more, and showed him his
painting of 'The Death of Beaufort,' on which he was
then engaged. He also paid Barry a visit, but met with
a very cold greeting. Some eighteen months afterwards,
Burke again brought him to the President's notice, when
he was invited to breakfast, and advised to enter as a
student at the Eoyal Academy. This a little mortified
the young painter, as he fancied himself too far advanced
to need such instruction; but he nevertheless followed
Sir Joshua's counsel, and entered the schools of the
Academy in November 1790, more than two years after
his arrival in London. There he formed an acquaintance
with a fellow-student in the Life School, who always
arranged his materials for him at his seat before his
arrival, and for whom in after years he cherished a warm
regard ; this friend was the painter, author, soldier, and
Ch. XV.] SIR M. A. SHEE 136
diplomatist, Sir Eobert Kerr Porter, the brother of the
accomplished novelists Jane and Maria Porter. Young
Shee was most exemplary in following his profession, for
he devoted the whole day to painting, and his evenings
either to the company of a well-chosen circle of young
literary men (for he does not seem to have had any
artist-acquaintanoe);9r to the hard study of books. None
of his time was waited ; for even the long hom* in those
days employed by the coiffeur was appropriated to the
reading of the whole body of English classical poetry.
In 1789 he first appeared as an exhibitor at the Eoyal
Academy ; his works being described as ' A Portrait of a
Gentleman ' and the ' Head of an Old Man.' Writing of
the impressions he received from the exhibition of the
works of his contemporaries in that year, he said, " Law-
rence, of all the young artists, stands foremost, and
deservedly carries away the greatest share of praise. He,
I think, will be of service to me, as you may be sure I
am not a Uttle incited to exertion by his merit The
small difference in years between him and me rouses me
more to emulation than all the artists in London put
together." About this period, Shee was engaged by
Boydell and Macklin to make copies of pictures for the
engravers, receiving eight to twelve guineas each for
them. In the next year, 1790, he was sadly disappointed
to find that four of his pictures which were accepted for
the Exhibition, were afterwards excluded for want of
room — a trial to which so many are doomed year by
year, in consequence of the limited space at the disposal of
the Koyal Academy. In 1791 he exhibited his first full-
length portrait, ' A Gentleman in a Hussar Uniform ; * and
in the next year portraits of Lewis the comedian, of Mr.
Williams, — the " Anthony Pasquin," whose attacks on the
Academy were afterwards so notorious, and to which we
have already referred, — and of a Mr. Grant. In the same
year Shee was one of the four students who were selected
to take part in the funeral procession of Eeynolds, a
136 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
circumstance which left a deep impression on his memory
in after years. In 1794 he exhibited a historical pic-
ture, ' The Daughter of Jephthah lamenting with her Com-
panions.'
While thus persevering, he does not appear at this
time to have found his profession a remunerative one;
and although his affectionate aunt, Mrs. Dillon (then
again a widow) spontaneously offered him aid, so un-
willing was he to trespass on the hberality of friends,
that for a long period he practised the self-denial of
never dining, except when enjoying the hospitaUty of
others. Yet he was steadily acquiring reputation ; in
1794, he was requested by the editor of one of the news-
papers of the day to contribute a series of criticisms on
the pictures in the Exliibition ; and he was thus led to
make his first public hterary effort. In 1796 he removed
from the apartments he had occupied in Jermyn Street
to a large house in Golden Square, at the comer of
Sherard Street ; and was married in December of that
year to Mary, the daughter of Mr. James Power, of
Youghal. In 1798 he went to reside in the house in
Cavendish Square which had been built for, and was
many years occupied by, Eomney the painter. There
Fortune smiled on him. He painted a portrait of H. E. H.
the Duke of Clarence in this year for the Chamber of
Conamerce at Liverpool, of wliich an admirable engraving
was made by Charles Turner ; and in November of the
same year he was elected an Associate of the Eoyal
Academy. For this honour he was not unprepared, for,
three of the Academicians called on him the year before,
to point out that he had omitted to insert his name as a
candidate for the rank in the preceding year, or he would
then have been elected an Associate, as the Academicians
thought highly of his talents. The higher rank of RA.
was attained very quickly, his election bearing date the
10th of February, 1800. The diploma picture which he
presented on that occasion was afterwards injured, and in
Ch. XV.] SIR M. A. SHEE 137
1808 he substituted another for it — the subject of the
latter being 'BeUsarius.'
After his election as an Academician, he travelled on
the Continent m company with Samuel Eogers, the banker
and poet ; and after the peace of Amiens, in 1812, made
a long stay in Paris, meeting West, and many English
artists there. Of this journey, he afterwards said, "a
painter should never travel with a banker," as the means
of the two were so different. In 1803-4 an invasion
panic led to a proposed enrolment of all the members
and students of the Eoyal Academy into an Artists'
Volunteer Corps, But the older members were advanced
in years, and many others thought their peaceful profes-
sion opposed to such a course, although many of the
young men eagerly embraced the idea. Shee warmly
advocated the project, and proposed that it should include
aU artists ; but when the plan was formally submitted to
the Government, their services were declined. Nothing
daunted, Shee's loyal spirit led him afterwards to join a
corps formed in Bloomsbury, consisting chiefly of mem-
bers of the legal profession, and therefore named "the
Devil's own."
Shee's first appearance as an author (after the news-
paper criticisms already referred to) was in 1801, when he
published anonymously a pamplet, entitled " A Letter to
Noel Desenfans, Esq., late Consul-General of Poland in
Great Britain," occasioned by the second edition of his
catalogue, and his answer to what he terms " The Com-
plaints of Painters, by a Painter," in which he defends
his brother artists from the wholesale condemnation of
modem talent by that famous dealer in old pictures.
In 1805 he published his " Ehymes on Art ; or, the Ee-
monstrances of a Painter," which he describes as a " poem
on painting, in which more particularly the early pro-
gress of the student is attempted to be illustrated and
encouraged." In it he attacked, with much skill and
satire, the false taste of the so-called dilettanti of the day,
138 mSTORY OF THfe ROYAL ACADEMY [Ch. XV.
and, with his disquisitions on art, mingled a good deal of
censure on the false philosophy and democratic prin-
ciples of the French Eevolution school of politicians.
The work was much approved by Sharon Turner, the
elder Disraeh, and Wilham Eoscoe ; and the public criti-
cisms of it were also favourable. It evinced the talent
and cultivated taste of its author, and helped forward the
scheme of West in founding, by the aid of wealthy and
noble connoisseurs, the British Institution for the En-
couragement of the Fine Arts, A second edition, with a
second preface, appeared the next year, and subsequently
a third, the two latter being pubhshed by John Murray.
A second portion of this poem, entitled the " Elements of
Art," appeared in 1809. The notes form a large portion
of the work, and constitute a series of essays and criti-
cisms on professional points, and on subjects connected
with the theory and practice of art of a less technical
character. As it appealed chiefly to the minds and
sympathies of students in art, however, it failed to obtain
the same amoimt of favourable notice from the public as
its predecessor. In 1808 he published an " Ode on the
Death of Opie;" and in 1810 a pamphlet entitled "A
Letter to the Directors of the British Institution, on the
Subject of State Patronage, as apphed to the Higher De-
partments of Art," in which he recommended a graduated
scale of pecuniary reward, appUcable to the most suc-
cessful and meritorious efforts in historic and poetic art,
as exhibited by the different candidates for prizes to be
offered by the Government; but the scheme failed to
enhst the sympathies of the Administration of that day.
Another poetic performance followed in 1814 — " The
Commemoration of Eeynolds, an Ode," composed on the
occasion of the exhibition of the collected works of the
first President of the Academy, in which he examined
his most celebrated works, and referred to those prin-
ciples of taste of which they afforded such brilliant
examples. To this poem was appended "Victory in
Ch. XV.] SIR M. A. SHEE 139
Tears," a poem published anonymously on the occasion of
the death of Nelson. His next literary effort was a
tragedy, entitled " Alasco," a fictitious story of an insur-
rection in Poland, in which the sympathies of the audience
were enhsted on the side of the oppressed populace. It
was accepted by Charles Kemble for performance at
Covent Garden Theatre, in 1823 ; but was condemned by
the Lord Chamberlain (or rather by George Colman,
then recently appointed licenser of plays), for its revo-
lutionary tendencies. When the passages objected to, —
which were harmless enough, — were expunged, the play
received but a cold reception from the public ; but the
author obtained £500 for the copyright of the MS., which
was pubhshed entire, after an appeal from Shee against
the injustice of the hcenser, addressed to the Duke of
Montrose. His last work, published in 1829, was a work
in three volumes, entitled "Old Court," issued anony-
mously by Colbum — a novel, not of plot, but discussions,
disquisitions and observations, in which he described
many of the local scenes and personal reminiscences of
the haunts and associations of his bojrish days. It attracted
little attention from the pubUc, and was scarcely noticed
even by the critics. He Uved on friendly terms of inti-
macy with Byron,* Sydney Smith, Grattan, and Moore —
was instrumental in founding (in conjunction with Sir
Thomas Bernard) the "Alfred Club," a literary institu-
tion which subsequently merged into the "Oriental;"
and although thus quite a literary character, continued
also to follow successfully his profession as an artist.
On the death of Lawrence, in January 1830, as we
have stated in the preceding chapter. Sir M. A. Shee was
elected by a large majority of the members to succeed
him as President, and their choice gave general satis-
1 l^vwrn liaji nnfirp<1 RViaa'a nm- To gnido whose hand tbe sister arta combine,
J5yron naS noncea Onee 8 pro- And tnM» the poet's as the painter's llne;
ductlOIlS in his ** r^UflrllSll iiardS and whose magic touch can bid the canraa glow,
a A^i. T> ^^^^^^.^ . >» And form the easy rhyme's harmoulooa flow ;
OCOtCn XVeViewerS : — WhUe honours doubly merited attend
" And here let Rhee and genius And a ptaoe. The poeta' rival, but the painters' firtend."
Wboao pen and pencU yield an eanal grace ;
140 fflSTORY OF TIIE ROYAL ACADEMY [Ch. XV.
faction. The pleasure he felt in attaining this high
dignity was greatly enhanced by knowing that it was
spontaneously offered to him, as he purposely avoided all
communication with the Academicians, as far as possible,
until the question was decided. He was too high-minded
to solicit the support of any of his artist-brethren in his
behalf ; much less had he sought to influence their decision
by the aid of Eoyal favour or the applications of the
great. Shortly after his election, he was knighted by
King WiUiam IV., and became ex officio trustee of the
British Museum and of the National Gallery, F.RS., a
member and trustee of the Athenaeum, and of the So-
ciety of Dilettanti, &c. On the morning of the day
when the annual dinner was to be held, Sir Eobert Peel
sent him, from King George IV., the gold chain and medal
given to his predecessor, with the request that he would
wear it on all pubhc occasions when he should appear as
President. From the date of his appointment until the
feilure of his health, his conduct in office was invariably
marked by the most consistent and energetic devotion to
its duties, for the performance of which he was pre-emi-
nently qualified, as well by the sound judgment, the un-
bending integrity and dignified firmness of his character,
as by the graceful eloquence of his language in the chair,
and the high-bred courtesy of his demeanour on all oc-
casions. Kindly accessible at aU times to the humblest
professor of his art, ever ready to foster obscure and
modest merit, and to impart the benefits of his long ex-
perience and matured knowledge to the aspirant for fame,
he was regarded alike by the Academicians as their re-
vered and beloved chief, and by the young artists as their
guide and friend.
As we have seen in the history of the Academy during
the period of his Presidentship, much of his time and
energies were devoted to its defence against its adver-
saries ; yet he continued actively to pursue his profession,
and year by year supplied to the exhibitions portraits of
Ch. XV.] Sm M. A. SIIEE 141
many eminent contemporaries. In 1834-5 he painted
portraits of King William IV. and Queen Adelaide, and
in 1842 that of our gracious Queen for the Koyal
Academy. He was pre-eminently a portrait-painter (the
branch of the art which some regard as the lowest, yet that
in which Eembrandt, Velasquez, Vandyck, and Eeynolds
achieved their greatest triumphs) — although he occa-
sionally produced some works of a more poetical character
— as *lAvinia,' from Thomson's '*^ Seasons" — 'Prospero
and Miranda,' from the " Tempest," &c. In portraiture,
he will take his place with Lawrence, Opie, and the
best portrait-painters of his day, although not attain-
ing the highest place among them. His figures have an
air of ease and nature, combined with refinement; but
there is a deficiency of intellectual expression and character
in them, although his pencil has undoubtedly preserved
to us the best portraits of the most eminent personages of
his time. He painted with a pleasing, although some-
times redundant, glow of colour ; but his works are defi-
cient in depth and force, and lack variety of expression
and treatment. Both as a writer on art and as an
accomplished gentleman, full of extensive information,
he did much to elevate his profession and to maintain
its dignity among the distinguished circles in which he
moved.
In 1834 he was created a D.C.L. at Oxford, on the oc-
casion of the installation of the Duke of Wellington as
Chancellor of the University ; but, by an omission on the
part of the authorities there, he was not summoned to
receive his degree, and some confusion was caused when
he was called and did not appear as was expected. In
the following year he lost his venerable aunt, Mrs. Dillon,
who had taken so warm an interest in his progress through
life, and who, by her kindly guidance in his early boyhood,
had done so much to form his character. The illness
which led to his resignation of the office of President
in 1845, had attacked him with some virulence at
142 fflSTORY OF THE ROYAL ACADEMY [Ch. XV.
intervals for three years previously ; and his career as an
artist was virtually closed from that time. He had not
attained such an independence by his profession that he
could be insensible to the kindness of his brethren who,
while desiring him to retain the Presidentship, also accom-
panied his continuance in the office, as we have seen, with
the grant of a salary of £300 a year, or to the pubUc
recognition of his services to the English School of Art
by the grant of a pension of £200 a year from the Civil
List. Although long declining in bodily strength, and
almost a constant sufferer, the mental powers of the
venerable painter remained unimpaired to the last ; and
for four years before his death, his chief enjoyment was
to listen to one or other of his family reading to him for
several hours daily. He died in his 81st year, on the
19th August 1850, his last words being, "Do not wish
for long hfe ; you see the state to which I am reduced."
He was a member of the Eoman Cathohc Church, and
was bmied at the cemetery at Brighton, at his own re-
quest One of his sons has published a life of his
distinguished parent, in 2 vols. 8vo., from which most of
these particulars have been derived.
Twenty-eight additional members were enrolled as
Eoyal Academicians during the period of Sir M. A.
Shee's Presidentship. Of these, twenty were painters,
four sculptors, and four architects.
The painters were Sir C. L. Eastlake, elected in 1830
(of whom, as the next President, we shall speak in a
subsequent chapter) ; Sir E. Landseer, elected in 1831 ;
H. P. Briggs and G. S. Newton, in 1832; Clarkson
Stanfield and Sir WiUiam Allan, in 1835; Thomas
Uwins and F. E. Lee, in 1838 ; Daniel Maclise, F, W.
Witherington, and Solomon A. Hart, in 1840 ; J. J.
Chalon and D. Eoberts, in 1841 ; Sir W. C. Eoss, in 1843 ;
J. P. Knight, in 1844 ; Charles Landseer, in 1845 ; Thos.
Webster and J. R Herbert, in 1846 ; C. W. Cope and
Ch. XV.] SIR E. n. LANDSEER 143
Wm. Dyce, in 1848. Taking these artists in the order of
their election, we have first to notice —
Sir Edwin Heney Landseer, E.A., who was bom in
London in 1802, being the son of John Landseer, the
engraver, one of the early Associates of the Eoyal
Academy. As soon as he was able to use a pencil with
readiness, his father took him into the fields or to Hamp-
stead Heath, to sketch sheep, goats, or donkeys, as they
were grazing ; and thus set him to study nature rather
than prints or models. His father pursued the same plan
when he was sufficiently advanced to use oil colours ; and
from early boyhood Sir Edwin was able to paint directly
from nature, with great facility. At the age of fourteen
he was the exhibitor of various sketches of spaniels, ter-
riers, horses, &c. ; and at the Academy, in 1819, he
exhibited a picture of ' Dogs Fighting,' which was greatly
admired, and was purchased by Sir George Beaumont, an
acknowledged connoisseur in art. His father undertook
to engrave this picture, and announced a yet more striking
production to appear by his talented son in the following
year. This was first seen at the British Institution, the
subject being two Mount St. Gothard mastiffs discovering
a poor traveller half buried in the snow, which was ren-
dered extremely popular by the admirable engraving of
it made by his father. For some httle time the young
artist consulted B. R Haydon every Monday as to his
week's work, and was advised by him to make anatomical
drawings of animals ; but he never became his regular
pupil, having entered as a student at the Eoyal Academy
in 1816. At Haydon's suggestion, he took advantage, in
1820, of the death of a Hon at one of the London
menageries, to study very carefully the various portions
of the frame of that animal, and subsequently painted a
series of pictures of the noble creature : ' A Lion Dis-
turbed,' ' A lion Prowling,' ' A lion Eeposing,' &c. ; and
at a later period, ^ Van Amburgh and his Lions,' painted
144 mSTORY OF THE ROYAL ACADEMY [Ch. XV.
in 1847 for the Duke of Wellington. All his earher
productions are marked by great finish and carefulness of
detail. His broader and more effective style began to ex-
hibit itself after a visit to the Highlands in 1826, which
had a strong influence on the choice of his fixture subjects.
In that year he exhibited the ' Hunting of Chevy Chase,'
and obtained the rank of Associate, at the earUest period
at which he was ehgible for the honour by the laws of
the Academy. He became a Eoyal Academician in
1831.
' The Eetum from Deer Stalking,' the first of his High-
land subjects, appeared in 1827 ; ' The Monkey who had
seen the World,' in 1828 ; ' The lUicit Whisky Still,' in
1829; * Highland Music' and * Attachment,' in 1830;
and ' Poachers, Deerstalking,' in 1831. Some of his sub-
sequent works — 'Jack in Office,' 1833 ; 'High life and
Low Life ;' ' Laying down the Law' — showed his capa-
bility of rendering humorous the habits and physiog-
nomy of dogs. In 1833 he painted an interesting picture
of ' Sir Walter Scott and his Dogs ; ' and the next year,
'Bolton Abbey in the Olden Time' — one of his most
famous and popular works. Two years afterwards ap-
peared another great work, 'A scene in the Grampians —
the Drovers' Departure,' engraved by Watts. Li 1837,
' The Eetum fi'om Hawking,' and ' The Shepherd's Chief
Mourner' appeared. The next year, an admirable picture
of a Newfoundland dog ('A Distinguished Member of th^
Humane Society'); a group of red-deer ('None but the
Brave deserve the Fair ' ) ; and ' There's Life in the Old
Dog yet,' were exhibited. Among his more recent works,
equally excellent, the most important perhaps are — ' Peace'
and ' War,' in 1846 ; ' The Eandom Shot,' in 1848 ; ' A
Dialogue at Waterloo ' (the great Duke pointing out the
scene of action to his daughter-in-law), in 1850 ; a scene
from "Midsummer's Night's Dream," in 1851 ; 'Night' and
' Morning,' two pictures painted for Viscount Hardinge,
and 'The Children of the Mist,' in 1853; 'Saved,' and
Ch. XV.] SIR E. H. LANDSEER 145
' Highland Nurses,' in 1856 ; the ' Maid and the Magpie,'
in 1858 ; and * The Flood in the Highlands,' in 1860.
Landseer has sometimes painted portraits, and all the
figures introduced into his pictures are admirably drawn.
His portrait of his father (1848) was a masterly work.
He has received a large number of commissions to
paint favourite animals and birds, both from Her
Majesty and other distinguished persons, and his profes-
sional career has been a very lucrative one. As an in-
stance of the estimate of the value of his pictures, it may
be stated that Messrs. Graves, the print pubhshers, gave
him £3,000 for the right to engrave 'Peace' and 'War,'
in addition to the £1,200 he received from Mr. Vernon ;
and another £3,000 for the copyright of the ' Dialogue at
Waterloo.' He is acknowledged to be the greatest modern
painter of animals, and has rarely been excelled in any
age in that branch of his art. Whatever animal he re-
presents, its form and colour, the exact degree of rough-
ness or smoothness of its covering, its age, its wild or
courtly training, — all are rendered with precision in the
simplest manner, apparently without effort, and always
without misadventure. He has given characteristic ex-
pression to all his subjects, a"hd has depicted the feelings
and passions of animals as successfully as others have re-
presented human joys or sorrows ; and there is scarcely
one of his pictures which does not convey some useful les-
son to mankind, taught by these animal creations. The
dog, the horse, and the red-deer, are, perhaps, his pecu-
liar favourites, and those which he has most perfectly
mastered ; but there is no limit to his range of subjects,
notwithstanding his preference for some ; and his marvel-
lous skill in execution, combined with the deep sentiment
which pervades all his works, would place him among the
great painters of any age or country.
Nearly aU his pictures have been engraved, and some
of them more than once. A collection of his early etch-
ings and sketches was made in London some years since,
VOL. II, L
140 HISTORY OF THE ROYAL ACADEMY [Ch. XV,
which showed how early in his boyhood he had begun
to watch the habits and forms of animals, and with what
a true eye he was able to depict what he observed. In
1850 he received the honour of knighthood from the
Queen in acknowledgement of his genius as an artist; and
at the Exposition Universelle in Paris, in 1855, he was
the only EngUsh artist to whom "the large gold medal"
was awarded for the works exhibited there. The English
nation is happy in possessing, as public property, a large
number of works by this great artist. The gift of Mr.
Vernon included his * Highland Music,' and ' Spaniels of
Kmg Charles's Breed' (1832); 'The Hunted Stag' (1833);
'Peace' and 'War' (1846) ; and a 'Dialogue at Waterloo'
(1850). The Sheepshanks collection also contains sixteen
specimens, and among them some of a still earUer date
—'The Twa Dogs' and 'The Dog and the Shadow'
(1822); 'SanchoPanza and Dapple' (1824); 'A High-
land Breakfast' and 'Suspense' (1834); 'The Drover's
Departiu'e' (1835) ; 'A Jack in Office,' 'Comical l)ogs,'
and the 'Naughty Boy,' — a child who refused to sit to
the painter for his portrait ; ' The Old Shepherd's Chief
Mourner' (1837), and some others.
Henry Perkonet Briggs, E.A., was a member of a
Norfolk family, and was bom in 1792. He became a
student at the Eoyal Academy in 1811. His first picture, —
a portrait, — was exhibited there in 1814, from which time
until his election, first as an Associate in 1825, and as a
Eoyal Academician in 1832, he contributed numerous
historical pictures to the annual exhibitions. The prin-
cipal of these were, ' Lord Wake of Cottingham setting
fire to his Castle, to prevent a Visit from King Henry
Vni. who was enamoured of his Wife,' exhibited in
1818 ; the next year a subject from Boccaccio, ' Calan-
drino;' and subsequently, ' Othello relating his Adventures
to Desdemona ; ' ' The First Interview between the Spa-
niards and Peruvians ; ' and ' George IIL on board the
Ch. XV.] H. P. BRIGGS — G. S. NEWTON 147
Queen Charlotte, presenting a Sword to Earl Howe, after
the Victory of June 1, 1794/ This picture is now in
Greenwich Hospital, having been presented in 1825 by
the British Institution, the governors of which society
awarded him, in 1823, a premium of one hundred guineas,
in consideration of the pictures he had exhibited there
and at the Koyal Academy. In 1831 he painted a
large picture, ' The Ancient Britons instructed by the
Bomans in the Mechanical Arts,' for the Mechanics'
Institute at Hull. Two of his pictures are in the Vernon
Gallery — 'The First Conference between the Spaniards
and Peruvians in 1531,' and ' JuUet and the Nurse.'
From the period of his election as an Academician, he
almost abandoned historical painting, and for several
years in the latter part of his life confined his talents
entirely to portraiture — not from choice, but because the
cares and-responsibihties of married hfe were then in-
creasing upon him, and he found himself thus compelled
to follow the most profitable branch of his profession.
His historical pictures possess much strength of character,
vigorous drawing, powerful effects of colour, and light
and shade, — qualities which he appUed with equal success
to portraiture in the manner of Opie, to whom he was
related. He was, however, inchned to give a degree of
stage action to his figures, and his colouring was often
sombre. Many celebrated persons sat to him ; among them
the Duke of WeUington, Lord Eldon, Dean Milman, Baron
Alderson, Sir T. F. Buxton, Eev. Sydney Smith, Sir
Samuel Meyrick, Charles Kemble, Mrs. Siddons, and Mrs.
Opie, and many of the nobility. He died on the 18th of
January, 1844, in his 51st year, in Bruton Street. His
wife, to whom he was much attached, died six or seven
years before him, and he never completely recovered from
the shock. He left two orphans on his decease.
Gilbert Stuart Newton, E. A., was bom in November
1794, at Halifax, Nova Scotia, where his father held an
h 2
148 raSTORY OF THE ROYAL ACADEMY [Ch. XV.
«
appointment in the Commissariat Department of the
British army. He was first taught as an artist by his
uncle, Gilbert Stuart, the portrait painter at Boston. In
1817 he came to England, and afterwards visited Italy.
On his return to this country, in 1820, he entered as a
student at the Eoyal Academy, became an Associate in
1828, and a Eoyal Academician in 1832. He seems to
have been attracted by the work of Watteau, whose
style he closely followed in some small pictures he ex-
hibited at this time, which were engraved in the annuals.
Among them were ' The Lovers' Quarrel ' and ' The
Prince of Spain's Visit to Catalina,' which the Duke of
Bedford purchased for 500 guineas. Many others fol-
lowed, which were no less popular. Among them, ' Shy-
lock and Jessica,' ' Yorick and the Grisette,' and ' Abbot
Boniface' from "The Monastery," in 1830; 'Portia
and Bassanio,' ' Lear, Cordelia, and the Physician' (1831) ;
* The Vicar of Wakefield restoring his Daughter to her
Mother,' and * Macheath,' both purchased by the Marquis
of Hastings ; ' A Poet reading his Verses to an Impatient
Gallant,' ' Camilla introduced to Gil Bias,' * The Duenna,'
^ The Fair Student,' and 'Abelard in his Study :' with the
last-named, exhibited in 1833, his labours as an artist
ceased. Most of these works have been engraved ; and a
prosperous career seemed to lie before him, when imhap-
pily he evinced signs of mental aberration, whicli became
confirmed insanity, from which he only recovered four
days before his death, which occurred on the 5th of August,
1835, at the age of forty-one. In 1832 he went to America,
and married there ; and his wife and child returned to
that country a few months after his death. He was one
of the artists for whom Washington Irving and C. E.
Leslie formed a strong friendship after their arrival in
London. He lived for a long time at No. 41 Marlborough
Street. During his latter days he was confined in an
asyliun at Chelsea, where Leslie visited him, and found
him still amusing himself by making sketches.
Ch. XV.] G. S. NEWTON — C. STANFIELD 149
His works are fiill of elegant and at times elevated
sentiment, strikiag and transparent effects of light and
shade, and fine natural perception of colour, introducing
innumerable gradations, in which respect his pictures
rank among the best in the English School. It is said
that he painted slowly, and was laborious even to a fault
in his execution ; but his works bear no traces of it, nor
are they over-finished. His female figm-es are beautiful
creations, expressive of innocence and simpUcity ; hence
he was much sought by the publishers of the Annuals,
who secured most of his small works to engrave for their
books to illustrate love stories and sentimental poems.
The larger number of his productions were illustrative of
Shakspeare, Mohere, and the English novehsts ; and his
sketches of these subjects often surpassed his finished
compositions for ease, nature, and poetic feehng. Three
of his pictures, are in the National Collections — 'York
and the Grisette ' and ' The Widow,' presented by Mr.
Vernon ; and ' Portia and Bassanio ' by Mr. Sheepshanks.
Clarkson Stanpield, E.A., was bom at Sunderland
in 1798. When quite a boy he entered the Marine ser-
vice, and served on board the same ship in which Douglas
Jerrold was a midshipman. He used frequently to amuse
himself by painting with whatever materials he had at
his command ; and on one occasion, when the officers got
up a play on board the ship, he painted the scenery, and
Jerrold acted as stage manager. On the ocean he learnt
all about salt water and ships ; and to such an apprentice-
ship may be attributed the accuracy of detail and the
characteristic fidehty with which he depicts everything
connected with the sea and nautical life. Quitting his
first profession, he determined to devote himself exclu-
sively to art, and availed himself of the first opening
which offered to gratify his desire — an engagement to
paint the scenery for a sailors' theatre (the old Eoyalty)
in Wellclose Square. It was hard work, but useful
150 mSTORY OF THE ROYAL ACxVDEMY [Oh. XV.
study, and he thus acquired both facility of execution and
knowledge of effect. The style of De Loutherbourg, the
great scene-painter of the day, seems to have arrested his
attention ; and he certainly appears to have quickly
reached, and soon to have excelled the model he set
before him.
After a time he obtained an appointment at Drury
Lane Theatre, where he had better materials to work
upon, and a larger scope for his talent. He astonished
the visitors by the unrivalled scenes of beauty presented
to them in the moving panoramas he prepared for several
years for the Christmas pieces. The most striking of
these were the dioramas of 'The Needles, and the
Launch and Wreck of a Vessel,' which included views of
Portsmouth and Spithead ; the scenery of Windsor, begin-
ning with the castle and terminating with Virginia Water ;
and a third of * Napoleon crossing the Alps.' Much of
the improvement effected in scene-painting, and the
artistic excellence to which it has attained, is to be attri-
buted to the taste for beauty in such works which the
scenery painted by Stanfield first created in the pubhc
mind. This was his profession for several years — but he
was meanwhile painting small marine views for private
friends, by which he soon acquired fame as a painter of
coast scenery unsurpassed by any of his compeers.
His first efforts for the pubhc in this style were exhi-
bited at the British Institution in 1823, and also at the
Society of British Artists, of which he became a member
on its foundation in that year, and remained in connection
with it for several years afterwards. He began to exhibit
at the Eoyal Academy in 1827 ; and having made a tour
on the Continent in 1830, many of his subsequent works
represented the scenes he had visited, and showed how
observantly he had studied all he had seen there. In
1832 he was elected an Associate of the Eoyal Academy,
having previously resigned his connection with the Society
of British Artists. In the same year he received two
Ch. XV.] CLARKSON STANFIELD 161
commissions from the sailor king, William IV. — the one
' The Opening of New London Bridge,' exhibited at the
Academy, the other a picture of ' Portsmouth Harbour,'
sent to the British Institution. Meanwhile he abandoned
scene-painting ; but he has of late years proved his un-
changed skill by painting two scenes for the play of
" Not so Bad as we Seem," performed for the benefit of
the Guild of Literature and Art, and some others for the
private theatre of Charles Dickens.
In 1835 he became a Eoyal Academician, and has
ever since been a constant exhibitor at the Academy,
his contributions consisting of spirited views of the si
and coast of England, Venice, Naples, the Mediterranean,
Normandy, Holland, &c Sometimes he changed his
style, as in ' Salvator Eosa's Study,' a wild rocky com-
position painted in 1849, and ' Macbeth and the Weird
Sisters,' a large picture of dreary moor and momitain, in
1850. While most of his pictures are vivid topographical
views, there are among them many works of imagination,
displaying deep feeling and poetry. Of such works the
following may be cited as examples : — ' The Abandoned'
(1856), ' The Wreck of a Dutch East Indiaman' (1844),
' The Victory bearing the Body of Nelson, towed into
Gibraltar' (1854), ' The wrecked Spanish Armada' (1857),
•French Troops Fording the Magra in 1796,' painted in
1847 for the late Earl of Ellesmere ; and ' Tilbury Fort,
Wind against Tide ' (1849), painted for Mr. E. Stephen-
son, M.P., and engraved for the Art Union of London.
Clarkson Stanfield is a thorough master of the tech-
nical part of his art, and of pictorial effect If there
be any fault to find with his compositions, it is that there
is a tendency to study these, which .seem sometimes to
tell too forcibly ; and that the gradations of atmosphere
which distinguished the best works of Turner are not
reached by him. Although a marine painter, at home
on the sea, he draws views of the cities on the shore, or
of the noble buildings and ruins of Venice or Italy with
162 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
exquisite truth and correctness. Besides his numerous
miscellaneous works, he has painted a series of ten Itahan
pictures to fit into panels of large size in the banqueting
hall at Bowood for the Marquis of Lansdowne ; a series
of Venetian views for the Duke of Sutherland's seat at
Trentham ; and the ' Battle of Trafalgar' for the United
Service Club. In "Heath's Annual," he published a
series of sketches of ' Coast Scenery ; ' and in 1838, in foUo,
a collection of hthographic copies of his drawings of the
Moselle, Ehine, Meuse, &c. The Vernon Gallery contains
four of his works — 'The Lake of Como' (1826), the
sketch for the large picture of the ' Battle of Trafalgar,'
*The Canal at Venice' (1836), and 'The Entrance to
the Zuyder Zee' (1844). In the Sheepshanks Collection
there are three others — ' A Market Boat on the Scheldt'
(1826), 'Near Cologne' (1829), and 'Boulogne Sands'
(1838), all fair examples of his style. In 1858 the Boyal
Scottish Academy granted him their diploma, and, in
company with David Eoberts, he was entertained by the
corporation of Edinburgh on the occasion.
Sir William Allan, E.A., was bom at Edinburgh in
1782, and was educated at the High School there, under
William Nichol, the companion of the poet Bums. He
was intended for a coach-painter ; but early evincing a love
for art, and employing aU his leisure hours in drawing,
he determined to quahfy himself for an artist. He there-
fore began to study at the Trustees' Academy, entering it
on the day when Graham commenced his duties as
master, and at the time when David Wilkie, John Burnet,
and Alexander Eraser were also students there. The
friendship between these young artists was an enduring
one, and in the case of Wilkie ceased only with his life.
After completing his studies under Graham, William Allan
removed to London at the time when Opie was in . the
zenith of his fame. In 1805 he exhibited, in the style of
that artist, a picture of ' A Gipsy Boy and Ass,' but he
Ch. XV.] SIR WILLIAM ALLAN. 153
did not meet with employment in the metropolis, and
resolved to try his fortime elsewhere.
Eussia was the country to which he turned both for
new materials for his pencil, and for an opening in his
career as an artist. In 1805 he set sail for Eiga on his
way to St. Petersburg. The ship narrowly escaped
destruction, and put into Memel in Prussia httle better
than a wreck. Finding himself suddenly thwarted in his
plans, he commenced painting a portrait of the Danish
consul at that place, to whom he had been introduced by
the captain of the vessel ; and with similar employment
in other quarters replenished his purse and pursued his
course to* St. Petersburg. At this time stirring events
were agitating the countries through which he passed,
and his journey was attended by many perilous and
romantic incidents. Through the introduction of Sir
Alexander Crichton, the Court physician, he was em-
ployed by many noble famihes in St. Petersburg, and
was thus enabled to pursue his labours with success and
advantage. As soon as he had attained a knowledge of
the Russian language he travelled into the interior,
remained for several years in the Ukraine, and made
excursions into Turkey and Tartary, to the shores of the
Black Sea, the Sea of Azoff, and the banks of the Kuban.
In these journeys he visited the huts and tents of
Cossacks, Circassians, Turks, and Tartars ; studied their
history, character, and costumes, and collected a variety of
specimens of their arms and implements. His stay abroad
was prolonged in consequence of the memorable events
which were then taking place, for Napoleon had thrown
the country into confusion and alarm : the invasion of
Russia had already commenced, and Allan became thus
an eye-witness of many of the heart-rending scenes
connected with the history of the period.
It was not tiU 1814 that he returned to Scotland. He
then began to make use of his past career to embody
some of the romantic scenes and events he had witnessed
154 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
in his travels, and in 1815 exhibited at the Eoyal
Academy his picture of ' The Circassian Captives/ which
was so remarkable for masterly arrangement and origin-
ahty in matter and character that it attracted general
attention. This was followed by ' Tartar Banditti,' ' Haslan
Gheray crossing the Kuban,' 'A Jewish Wedding in
Poland,' 'Prisoners conveyed to Siberia by Cossacks,'
&c. These, with many others, he afterwards exhibited in
Edinburgh, together with his collection of arms and cos-
tumes. Although his works were popular, he received so
little encouragement that he became disheartened, as he
was gradually absorbing all the profits arising from his
continental labours. In this season of difficulty and dis-
appointment. Sir Walter Scott, John Wilson, J. G. Lock-
hart, and several other of Allan's friends, proposed that
a hundred gentlemen should each subscribe ten guineas
to purchase his picture of ' The Circassian Captives,' and
determine by lot whose it should be. It thus became the
property of the Earl of Wemyss, and is now in his Lord-
ship's collection. About the same period the Grand Duke
Nicholas (the late Czar of Eussia) bought several of the
pictures above mentioned; and Allan's works slowly made
their way and found purchasers.
He now abandoned his foreign subjects, and betook
himself to Scottish scenes. His picture of ' The death of
Archbishop Sharp,' was purchased by Mr. Lockhart,
M.P. ; ' The Press G^ang,' by Mr. Horrocks of Tillyheeran ;
* Knox admonishing Mary Queen of Scots,' by Mr. Trotter
of Ballandean ; and ' The Ettrick Shepherd's Birthday,'
by Mr. Gott of Leeds. In 1824 he exhibited *The
Abdication of Mary Queen of Scots,' and in 1825 * The
Kegent Murray shot by Bothwellhaugh.' This picture
was purchased for 800 guineas by the Duke of Bedford,
and procured for the painter his election as an Associate
of the Eoyal Academy. Tlie titles of these works show
that Allan made historical painting almost his exclusive
study ; and in them all he displayed much skill and refine-
Ch. XV.] SIR WILLIAM ALLAN 165
ment, and paid great attention to correctness of character
and costume. Some of his portrait pieces were treated
very happily : ' Scott in his Study Eeading,' and ' Scott
Writing,' were specimens of a style of portrait-painting
worthy of imitation.
His prosperous career was checked by a severe malady
in the eyes, which threatened to produce total blindness,
and not only compelled him to cease from all professional
labours, but caused him acute suffering for many years.
By medical advice he went to Italy, spent a winter at
Eome, and from Naples made a journey to Constantinople ;
and after travelling through Asia Minor and Greece, he
returned to Edinburgh in 1830 restored to health. A
picture of ' The Slave Market at Constantinople,' painted
after his return, was quickly sold ; and others of ' Byron
in the Fisherman's Hut after swimming the Hellespont,'
and whole-length cabinet pictures of * Scott ' and ' Bums,'
were purchased by Mr. Robert Nasmyth, and *The
Orphan Daughter of Sir W. Scott,' by Queen Adelaide.
His love of traveUing again prompted him, in 1834, to
undertake a voyage to Spain. He proceeded to Cadiz
and Gibraltar, travelled through West Barbary and the
greater part of Andalusia, and was only deterred from
proceeding to Madrid by urgent intelligence from home.
The chief pictures he painted after his return were ' The
Moorish Love Letter,' ' The Murder of Eizaio,' ' The
Battle of Prestonpans,' ' An incident in the life of Robert
Bruce,' * Whittington and his Cat,' ' Polish Exiles on the
road to Siberia,' ' Prince Charles Edward in Adversity,'
' The Stolen Child Recovered,' ' Sir W. Scott and his
Youngest Daughter,' ' Nelson boarding the San Nicolas,*
and ' An Incident in the Life of Napoleon.' A single
specimen of his works, * Arabs dividing Spoil,' is in the
Vernon Collection.
He became a Royal Academician in 1835 ; and on the
death of Mr. Watson, the original President of the Royal
Scottish Academy, in 1838, he was elected as his successor.
166 fflSTORY OF THE ROYAL ACADEMY [Oh. XV.
In 1841, on the death of Wilkie, he was appointed Her
Majesty's Limner for Scotland, and received the honour of
knighthood the following year. He had long proposed to
paint a picture of the battle of Waterloo ; and during
several tours in France and Belgium he made sketches of the
field of action, and collected other materials for the sub-
ject. In 1843 he exhibited this picture at the Academy,
representing 'The Battle from the French side,' Napo-
leon and his staff occupying the foreground. The Duke of
Wellington purchased this work, and gratified the artist
by expressing his satisfaction at the truthfulness of it : —
"Good — very good — not too much smoke," was the brief
comment by the great Duke when he first saw it Allan
was thus encoiu'aged to commence another great picture
of the same battle from the British side, and exhibited it
in Westminster Hall in the competition for decorating the
Houses of ParUament, in 1846. It did not, however,
meet with the award of one of the prizes offered by the
Eoyal Commission on the Fine Arts. In 1844 he again
visited Eussia, and painted for the Czar a picture of
' Peter the Great teaching his Subjects the Art of Ship-
building,' which was exhibited at the Academy in 1845,
and is now in the Winter Palace at St. Petersburg.
His last great work was ' The Battle of Bannockbum.'
It was fast approaching completion when death closed
his labours. He worked at it with as much diligence as
the precarious state of his health for many months would
permit, and had his bed removed into his painting-room
that he might sleep near his work. When the pencil fell
at length from his hand, he was too far gone in illness to
be removed ; and he died in his painting-room at Edin-
burgh in front of his unfinished work, on the 23rd of
February, 1850, in his 69th year.
For nearly eighteen years he was the master of the
Trustees' Academy at Edinburgh, where he and Wilkie
were pupils together, and where he afterwards communi-
cated much of his own enthusiasm in art to the young
Ch. XV.] THOMAS UWINS 157
students. He is justly regarded as one of the first artists
of Scotland, both as the President of its Academy, and as
a historical painter. He was an honorary member of
the Academy of St. Luke at Eome, and of those of New
York and Philadelphia. His singularly unassuming manners
and amiable disposition endeared him to his brother
artists and a large circle of Mends in all ranks of society.
Sir Walter Scott used fondly to call hhn " Will Allan,"
and their long friendship terminated only when the painter
stood by the bedside of the dying poet.
Thomas Uwins, RA., was bom at Pentonville on the
25th of February, 1782. He was at first intended for an
engraver, and was apprenticed to a member of that profes-
sion named Smith; whose service, however, he left in
1798 to become a student at the Boyal Academy, his
ambition being to become a painter. At the beginning of
his career he found employment in copying pictures for
engraving, and in designing book illustrations, taking, in
the latter, Stothard for his model, yet preserving an origi-
nality of style and treatment. Hitherto he had odiy
practised in water-colours, and in 1811 he was elected a
member of the (old) Water-Colour Society, and subse-
quently became its Secretary. In 1814 his health failed
him, and compelled him to retire to the south of France.
There he made a number of sketches, which he after-
wards worked into pictures of considerable merit. He
had imfortunately become security for a friend — the Col-
lector for the Society of Arts — who became a defeulter,
and thus Uwins was burdened with pecuniary habilities,
which he laboured assiduously for a long time to discharge.
In so doing he seriously injured his sight, and he was no
longer able to execute the dehcate designs in water-colours
which he had hitherto finished so elaborately for the
engravers.
On returning from abroad, he spent two years in Edin-
burgh, where he began a series of portraits for book
158 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
illustrations, and thus qualified himself to practise as a
portrait painter. In 1826 he fulfilled a long-cherished
wish of visiting Italy, and went to Geneva, Florence,
Borne, and Naples. During a prolonged stay he studied
the everyday life of the Italian and Neapohtan peasantry,
and made them furnish him with materials for a large
number of paintings, in which their picturesque costumes,
their happy sports, and their sunny cHme gave a glow
of warmth and joyousness which rendered them very
attractive. He did not return to England tiU 1831. His
first Italian picture was ' The Tarantella ; ' the next, ' The
Saint Manufactory,' exhibited in 1832, obtained for him
his election as an Associate at the Eoyal Academy in the
following year. At a later period he painted subjects
from the . works of Sterne, Shakspeare, and the classic
authors.
In 1838 he became a Eoyal Academician, and in 1842
was appointed Keeper of Her Majesty's pictures. He was
one of the artists employed to execute fi'escoes for the
summer-house at Buckingham Palace, and painted ' Cupid
and Psyche ' for his late Eoyal Highness the Prince Con-
sort. Some other poetical and historical works followed,
as ' Psyche with the Casket of Beauty,' ' The Eeproof,'
* St. John the Baptist proclaiming the Messiah,' ' Judas,'
&c. All his pictures are characterised by graceful com-
position and dehcate execution, the subject being carefully
studied and conscientiously carried out in a style at once
simple, pure, and unaffected. In 1844 he was appointed
Librarian to the Eoyal Academy, and in 1847 Keeper of
the National Gallery, both of which offices he resigned in
1855 when his health seriously failed. Until that time he
resided at Kensington, but then removed to Staines,
where, although very feeble, he afterwards continued to
sketch in the surrounding neighbourhood up to three or
four days preceding his death. To the last he was sur-
rounded by a host of affectionate friends, who loved his
kindly spirit and admired his cultivated mind. His long
Ch. XV.] THOMAS UWINS— F. R. LEE 159
residence in Italy, and his passion for reading, no doubt
contributed to render him a pleasant and instructive com-
panion.
He died on the 25th of August, 1857, and was buried
in the church of Staines on the 2nd of September, followed
to the grave by twelve members of the Eoyal Academy.
Uwins seemed to think the Academy all but infaUible,
and was always suggesting plans by which its good influ-
ences for art and its professors could be extended. At
various meetings of the Council during the last few years
of his life, he proposed that the allowance to travelUng
students should be increased ; that some alteration should
be made in the mode of inscribing the names of candidates
for the rank of Associates ; that lectures should be given
to the students by non-members; that meetings of the
Academicians should be held at intervals for social inter-
course ; and that some improvements should be made in
the Life School : in all these things evincing his anxiety to
enlarge the influence of the institution he loved so weU.
Two very pleasing specimens of his works are in the
Vernon Gallery — ' Le Chapeau de Brigand ' (1843), and
' The Claret Vintage in the South of France ' (1848).
Four other paintings (besides some small water-colour
drawings) are in the Sheepshanks Collection — ' A Nea-
poUtan Mother teaching her Child the Tarantella,' ' The
favourite Shepherd,' ' Suspicion,' and ' A Neapolitan Boy
decorating the Head of his Inamorata.' In 1858 was
published " EecoUections of Thomas Uwins, R.A., by Mrs.
Uwins," in two volumes, which contained a full account
of his early life and of his associates, and portions of his
correspondence with his brothers. Sir Thomas Lawrence,
Sir C. L. Eastlake, and others, during his long residence
in Italy.
Frederick Eichard Lee, RA., was bom at Barn-
staple, Devon, in 1799, and when very young entered the
army and served in the campaign in the Netherlands. HI
160 HISTORY OP THE ROYAL ACADEMY [Ch. XV.
health soon compelled him to abandon a mihtary life, and
early in life he determined to become a landscape painter.
He was admitted as a student at the Eoyal Academy in
1818, and his love of art and his true enjoyment of nature
enabled him to make rapid progress in his studies. He
first began to attract attention as an exhibitor at the
British Institution, and subsequently (1824) at the Eoyal
Academy. From the first he hajs chosen the kind of
scenery which had most attraction in his own eyes, for his
pencil to work upon ; and he has made views of rivers and
lochs, anglers' nooks, and the shady lanes and avenues of
his own country his especial study. Sometimes he has
varied this course, depicting the open moors, extensive
mountain scenery, and sea-views; but these, although
displaying many artistic qualities, have not an equal
charm with those subjects which he has made peculiarly
his own. Some pictures of dead game, fish, &c., painted
by him for the late Mr. WeUs, show that he has great
variety of power if he chooses to exercise it.
Latterly he has sometimes painted in conjunction with
T. S. Cooper, and the combination of the scenery by the
one, with the vivid representations of animal life by the
other, is very effective. It is not necessary to give a list
of his numerous pictures, for the titles of a few of them
wlQ indicate their character. 'The Ford,' *The Watering
Place,' 'The Fisherman's Haunt,' 'The Broken Bridge,'
&c., represent one class. ' A Devonshire Lane,' ' A
Village Green,' ' A Harvest Field,' are among his homely
scenes ; while the avenues of Penshurst, Northwick, and
Sherbrooke afforded materials for others. His own native
county and Cornwall, the valley of the Wharfe in York-
shire, and North Wales are the sources fi*om whence he
derives his materials, and which he renders true to nature
with a masterly hand, and always with a refreshing feeling
to the eye of the beholder.
He was elected an Associate in 1834, and a Eoyal
Academician in 1838. He has been a constant contri-
Ch. XV.] LEE — MACLISE 161
butor to the exhibitions for many years^ His views of
the Bay of Biscay (1857), and Gibraltar (1861) were his
first foreign views, and were remarkable for originality of
treatment. For a long time past he has resided at his
native place, Barnstaple, the neighbourhood of which
possesses many of the varied beauties which it evidently
aJSTords him such true pleasure to transfer to his canvas.
Two of his pictures are in the Vernon Gallery — ' The
Cover Side,' painted in 1839, in which a group of dogs
and game is sketched in by Sir E. Landseer ; and ' Sun-
rise on the Sea Coast ' (1834). Three others are in the
Sheepshanks Collection, viz., ' Near Eedleaf,' 'Gathering
Sea-weed,' and ' A Distant. View of Windsor.'
Daniel Maclise, R.A., was bom on the 25th January,
1811, at Cork. His father was a native of Scotland,
and went to Ireland as an ensign in the Elgin Fencibles
in 1798. While quartered in Cork, he married a member
of the Clear family, eminent merchants in that city. He
afterwards retired from the army, took up his abode at
Cork, and established himself in business, but was un-
fortunately unsuccessful. His son, Daniel, showed a great
taste for drawing at a very early age, but was placed in
Newenham's banking-house in Cork, which, however, he
left when in his sixteenth year, that he might become an
artist. So successful was he in his early eflforts, that he
managed to maintain himself by the sale of his sketches
and by taking likenesses, his first sitters being the officers
of the 14th light Dragoons. He became a student at
the Cork Society of Arts, studied anatomy practically
under an eminent surgeon, Dr. Woodroffe, and made a
sketching tour through the Wicklow mountains, acquaint-
ing himself with the legends, songs, and characteristics of
the wild peasantry of the district. In 1828 he came to
London, and commenced studying with wonderful zeal,
intelligence, and ardour at the Boyal Academy, winning
the medal for the antique in his first year; the medal
VOL. II. M
162 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
for the best copy of a painting by Guido, the next ; and
finally, in 1831, the gold medal for his historical composi-
tion of the * Choice of Hercules.' Not caring to avail him-
self of the privilege of travelling abroad, which this last
honour carried with it, he determined to remain in
England, having in the preceding year visited Paris for
the purpose of studying at the Louvre and the Luxem-
bourg. During this period he was employed in making
sketches for book illustrations, and a series of caricature
portraits published in " Fraser's Magazine."
In 1832 he returned to his native city, and exhibited
his first picture at the Eoyal Academy, ' Puck disen-
chanting Bottom.' The next year he exhibited there,
* Allhallow Eve,' and ' A Love Adventure of Francis L ;'
and at the British Institution, 'Mokanna unveiling her
features to Zelica.' These were followed by 'The In-
stallation of Captain Eock ' (the leader of Irish Bib-
bonmen), and ' The Chivalrous Vow of the Ladies and the
Peacock.' This last picture confirmed his reputation as a
most original and talented artist, and led to his election as
an Associate in 1835. The next year he exhibited
'Macbeth and the Witches;' in 1837, *Lady Sykes;'
in 1838, ' Salvator Eosa painting his Friend Masaniello,'
' Olivia and Sophia fitting out Moses for the Fair ;' in
1839, ' Bobin Hood and Bichard Coeur de Lion,' and ' Gil
Bias dresses en Cavalier ;' in 1840, ' The Banquet Scene
in Macbeth.' In this year he became a Eoyal Academi-
cian, and has ever since continued to pursue his profession
with great zeal and distinction. Most of his works are
of large size, crowded with figures, and elaborately
finished in all the accessories and details. He is a gor-
geous colourist, and is proud of showing, by his bold and
accurate drawing, his perfect mastery over the anatomy
of the human figure. Both the choice of his subjects and
the mode of treating them indicate his originality and
independence of thought, and his power to strike out a
path for himself without reference to the examples of his
CH.XV.] DANIEL MACLISE 163
predecessors. His imagination is fertile and prolific, but
is controlled by judgment, and directed by a well-ordered
and cultivated mind.
A long catalogue of pictures would be formed, and
of a very varied character, if all his works were named.
In addition to those already mentioned, there are ' Merry
Christmas in the Baron's Hall,' a ' Scene from Twelfth
Night,' ' Sleeping Beauty,' ' Hunting the Slipper,' ' Bohe-
mian Gipsies,' ' The Play Scene in Hamlet,' ' The Origin
of the Harp,' * Sabrina releases the Lady from the
Enchanted Chair,' a scene from " Comus," which he re-
peated in fresco for the summer-house at Buckingham
Palace, and a scene from * Undine,' painted for Her
Majesty ; * Ordeal by Touch,' ' Noah's Sacrifice,' engraved
for the Art-Union of Glasgow ; ' Chivalry of the Eeign of
Henry VJJLL,' ' The Gross of Green Spectacles,' from the
« Vicar of Wakefield ;" ' Caxton's Printmg Office, ' Alfred
in the Danish Tent,' a scene from " As You like It," and
' Peter the Great working as a Shipwright at Deptford,' &c.
For some years past Maclise has been engaged upon
the frescoes for the new Houses of ParUament. The
* Spirit of Justice,' and the ' Spirit of Chivalry ' were
painted for the House of Lords in 1850. In the Eoyal
Gallery are * Alfred in the Danish Camp,' the ' Marriage
of Strongbow to the Princess Eva,' repeated with altera-
tions from the large picture exhibited at the Eoyal
Academy ; and he has recently completed a large repre-
sentation (46 feet long) of the ' Meeting of Wellington
and Blucher after the Battle of Waterloo.' His design for
this picture was so greatly admired by his brother artists,
that they presented him with a handsome gold porte-
crayon as a mark of their admiration of it ; and it is in
all respects a noble work of art The painfiil effects of
decay which have appeared on so many of the frescoes in
the Palace at Westminster led him carefully to study the
mode of working in this material, in the hope of avert-
ing their ultimate destruction ; and in 1859 he went to
M 2
164 raSTORY OF THE ROYAL ACADEMY [Ch. XV.
Berlin, to make himself acquainted with the practice of
stereo-chrome, or the water-glass method in use there ; ^
and his master-piece is worked in this manner. In his
large fresco pictures there sometimes appear to be a de-
ficiency of the perspective of space, and a certain hard-
ness of colour, which approach the mannerism of the
modem German School. It is said that he uses no models,
and designs his figures from his rich fancy alone. He
studies costume almost with antiquarian nicety, and gives
to his pictures so much of gorgeous colour, Hfe and
energy, character and interest, that he has justly obtained,
despite of what blemishes there may be in his works, a
very high reputation as a historical painter. He has also
painted portraits, including those of Charles Dickens, John
Forster, Wm. Macready, and Sir E. Bulwer Lytton. He is
Ukewise celebrated for the beauty of his designs for book
illustrations and for art manufactures. Among these may
be specially mentioned the drawings for Bulwer's "Pil-
grims of the Ehine" (1834) ; Moore's "Melodies," the Seven
Ages (intended for a porcelain card-tray) for the Art-Union
of London, and a series of forty-two sketches, illustrating
the story of the Norman conquest ; also the design for the
* Turner ' medal, for which the Eoyal Academy awarded
him one hundred guineas, and that for the International
Exhibition of 1862. He has received his diploma as a
Foreign Member of the Eoyal Academy of the Arts at
Stockholm, and is known also as the writer of some admi-
rable sonnets. Two very good specimens of his talents as
a painter are in the Vernon GaUery — ' The Play Scene in
Hamlet ' (1842) and ' MalvoUo and the Countess ' (1840).
William Frederick Witherington, 11.A., was bom in
an old Ehzabethan house (since taken down) in Goswell
^ A compound of silica (or silicic the first to make this process known
acid) and potash, invented by Dr. in England by tbe translation he
Johan FucnSy of Munich, and sue- published in ''The Journal of the
cessfidlj employed by Kaulbach, of Society of Arts," of Fuchs' testa-
Berlin, The late Prince Consort was tamentaiy pamphlet on the subject
Ch. XV.] W. F. WITHERINGTON 166
Street, London, on the 26th May 1785. In his school
days he evinced a passion for copying prints and draw-
ings, and made many attempts at original composition,
but his father thought it desirable to place him in business.
At this he continued until he met with a student of the
Eoyal Academy, who lent him some studies and models
to copy from ; and he eventually became a student there
in 1805. He was most assiduous in study ; but not until
he had made coiftiderable progress did he abandon other
pursuits, or finally resolve to become a painter. In
1810-11 he began to exhibit at the British Institution,
where he contributed a view of ' Tintem Abbey ; ' and
next at the Eoyal Academy, where he has exhibited
during his long career more than a hundred works. He
was elected an Associate in 1830, up to which period he
had continued to paint landscapes and figure subjects,
varying his country scenes with such pictures as ' Lavinia,*
' The Soldier's Wife,' ' Sancho Panza and Don Quixote,'
' John Gilpin,' &c. ; but his health failed about this time,
and he was compelled to reside several months in the year
in the country, thus abandoning his studio for one in the
open air ; hence simple landscapes in Kent were his only
contributions to the Exhibition for the next few years.
In 1840 he was elected a Eoyal Academician; and
with renewed strength and energy he continued to pursue
his profession, painting views in Devon, the lakes, Wales,
&c. His landscapes are all thoroughly English — rivers,
lakes, ferries, hop gardens, hay fields, roadside inns, &c.
These he has diversified by groups of figures (sometimes
of large size), teUing some story of rustic Ufe, or giving
human interest to the scenes he depicts. His love of
nature and his unafiected style have rendered his pictures
popular, as much by the appeal they make to the sym-
pathies of every kindred spirit to his own, as by their
artistic excellence. He is a veteran in his art ; but still
contributes to the yearly attractions of the Exhibitions,
and is in full possession of his energies, having lost none
166 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
of his zest for the simple beauties of the scenery of his
native country, which he has so pleasantly famiharized to
us. The titles of his pictures sufficiently indicate their
character: here are some of them, — 'Making Hay,'
* Passing the Lock,' ' A lift on the Eoad,' ' The Angler,'
*The Lucky Escape,' 'The Dancing Bear,' 'Shepherd
Boys,' 'A Forest Scene,' 'The Reaper's Bepast,' &c.
There are two specimens of his works in the Vernon Gal-
lery — 'The Hop Garland' and 'The Stepping Stones;'
and one in the Sheepshanks collection — 'The Hop-
garden.'
Solomon Alexander Hart, EA., was bom at Ply-
mouth in 1806. At the age of fourteen he came to Lon-
don, to be placed as a pupil with Mr. Warren, to study
hue engraving ; but after two or three years so spent, he
turned his attention to painting, and in 1823 entered
upon the study of that art in the Eoyal Academy. At
first he practised in miniature ; but in 1828 he exhibited
a painting in oils at the British Institution, which was
favourably received, and from that time he devoted him-
self chiefly to historical and genre compositions. Li
1830 he exhibited ' The Elevation of the Law,' a cere-
mony in the Jewish worship (of which, as one of the
ancient people, he is himself a follower), purchased by
Mr. Vernon from the Gallery of the Society of British
Artists. In 1835 Mr. Hart was elected an Associate of
the Eoyal Academy, and E.A. in 1840. He has dis-
played great variety in the selection of his subjects.
Several of those relating to Jewish history and worship
are especially interesting — 'The Festival of the Law'
(1850), ' Solomon pondering the Fhght of Time ' (1853),
* Hannah and Eli,' ' A Scene in a PoUsh Synagogue,' &c
He has also painted several scenes from history with
great eflect, as ' The Captivity of the Tyrant of Padua,'
' The Parting of Sir Thomas More and his Daughter,'
' Arnolfo di Lapo,' ' The Three Inventors of Printing,'
Ch. XV.] HART — CHALON 167
* Benvenuto Cellini,' * Galileo,' * Queen Elizabeth of Hun-
gary distributing Alms to the Poor,' * Archbishop Langton
and the Barons at Old St Paul's in 1214,' * Lady Jane
Grey,' &c. Some purely poetical pieces have at intervals
been mingled with these productions; and he has also
painted some large portraits for pubUc buildings —
H.E.H. the Duke of Sussex and Sir A. Eothschild for
the Jews' Hospital, Sir Moses Montefiore for another
Jewish institution. Alderman Salomons for GmldhaU, Dr.
Adler, the Chief Eabbi, &c. His colouring is rich and
deep, and sometimes grave and sombre. He possesses
considerable technical knowledge of his art, carefully
studies correctness of costume, and executes with nicety
and precision all the details, while regarding the general
effect of the whole, and rendering the appropriate ex-
pression of his subject.
In 1854 Mr. Hart was appointed to succeed C. E.
Leslie, as Professor of Painting at the Eoyal Academy.
His lectures show his acquaintance with the principles
of art ; and he wisely inculcates the necessity of study
and intellectual culture, a clear understanding of the
theory of painting, as well as of its first fundamental
principles, and the exercise of self-help, digcrimination,
and judgment on the part of the student in the choice
and arrangement of his subjects, as essentials to a suc-
cessful pursuit of the art of painting.
John James Chalon, E.A., the younger brother of A.
R Chalon, E.A., was bom in 1780, became a student
at the Eoyal Academy in 1796, and during a long life
painted a multitude of fancy pictures, mostly in water-
colours. In 1820 he pubUshed a series of sketches of
Parisian manners, which were humorous without being
caricatures, and were both picturesque and amusing. In
1827 he became an Associate, and in 1841 a Eoyal Aca-
demician. The subjects of his pictures were frequently
views of the mountains and lakes of Switzerland, the land
168 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
of his parents, often very slightly touched, but with all the
details carefully drawn. His works were never very
popular (a character which he seems rather to have
spumed than sought), probably because of the heavy hard
and opaque appearance of his colouring, and a want of
distant atmospheric effect in his landscapes. Many of
these, however, were full of depth of tone, vigour, and
character, indicating his earnest aspirations after excel-
lence and his real love of nature. C. E. Leslie, EA.,
wrote of him, " Few painters had so great a range of sub-
jects. In his figures, his animals, his landscapes, and his
marine pictures, we recognise the hand of a master, and a
mind that fiilly comprehended what it placed before it.
His theme is sometimes from history or poetry, more
often of the ger^re class ; but, as is generally the case with
original men, he is best when his subject is immediately
from nature."
For more than forty years he was a constant attendant
at the meetings of the Sketching Club, where he made
something like a thousand extempore sketches, displaying
his ready and fertile mind, and his power of rapidly depict-
ing what he thus quickly conceived, as no announcement
of the subject to be drawn was given till the evening
when the members assembled. He was a kind and amia-
ble man, possessing many warmly-attached friends, who
honoured his gentle manly feelings, and admired his
humour and wit, and his talents as an artist He died at
ao advanced age, on the 14th November, 1854, and was
buried at Highgate Cemetery, where his brother also was
interred. In the following year, a collection of 120
paintings and sketches by him (with some works by his
brother) was made at the Society of Arts. Among the
more important specimens were, * The Embarkation,'
* Euins of a Fountain,' * Town and Beach at Hastings,'
* Macbeth and Banquo meeting the Witches,' ' View from
Eichmond Hill,' &c. After his death, his brother pro-
posed to bequeath some of his drawings, together with
CH.XV.] DAVID ROBERTS 109
some of his own sketches, to the nation, on the condition
that a suitable apartment should be prepared for them.
The ofier was, however, declined by the Government, on
the groimd that mere sketches were not suitable for public
exhibition.
David Egberts, E.A., was bom at Stockbridge, Edin-
burgh, on the 24th October, 1796. In his 14th year he
was apprenticed to Gavin Beugo, in order that he might
become a decorative painter ; but his artistic taste, — in-
spired by his mother's descriptions of the architectural
beauties of her native city, St. Andrew's, — led him to study
a more refined and elevated use of colours on every avail-
able opportxmity. After his seven years' apprenticeship
was completed, he began to paint scenes for the theatres
at Edinburgh and Glasgow; and in 1822 he came to Lon-
don, having been offered by Elliston an engagement, as a
scene-painter at Drury Lane Theatre, where Clarkson
Stanfield was similarly employed. He often worked in
conjunction with that artist; and the two combined to
elevate the character of such performances, and to render
them what they had never been before, except in the
hands of De Loutherbourg, real works of art. In 1824,
David Eoberts exhibited his first picture at the British
Institution ; and in 1826 he sent to the Eoyal Academy
a view of a Eoman Cathedral. Year by year subsequently
he visited the Continent, sketching all the remarkable
buildings he saw. By the advice of Wilkie, in 1832, he
visited Spain ; and his pictures from scenes in that country
quickly established hia reputation, for he was the first
artist who opened to the view of the people of Eng-
land the remarkable edifices with which that land is
filled. A volume of lithographic copies of his Spanish
sketches promoted the same object ; and the Landscape
Annuals, from 1835 to 1838, were illustrated by his
views in Spain and Morocco.
In the beginning of his career he joined the Society of
170 mSTORY OF THE ROYAL ACADEMY [Oh. XV.
British Artists, and was the Vice-president of that Society ;
but he resigned his connexion with it, — paying £100 as a
fine, and £100 as his share of the liabihties, — in order to
become ehgible for admission to the Eoyal Academy.
He was elected an Associate in 1838, and E.A. in 1841.
A visit to S3n:ia and Egypt, commenced in August 1838,
formed an important era in his career as an artist. In
that tour he made a large and judicious series of sketches,
as accurate as they were beautiful, of all the scenes and
objects of interest, both to the BibUcal student and to
the lover of art. Fac-similes of these admirable produc-
tions were made on stone by Louis Haghe for that splen-
did work, published in 1842, in four vols. foUo, entitled
" The Holy Land, Syria, Idumea, Egypt, and Nubia," of
which a reduced copy was also issued a few years since.
The work is of rare excellence and value ; and Mr. Alder-
man Moon gave Eoberts £3,000 for the copyright of his
drawings. For several years afterwards, these sketches
furnished the materials for the paintings he exhibited.
One very fine work of this class was the large picture of
'The Destruction of Jerusalem,' exhibited in 1849, of
which a large chromo-lithograph was afterwards pubUshed.
Another class of works, which the peculiar talent of
the artist has made especially his own, is the representa-
tion of the old cathedrals of France, Italy, and Belgium,
during the celebration of Soman Cathohc ceremonials, in
which he combines, with all the exquisite architectural
details, the vivid contrasts of colour and effect produced
by the gorgeous ornaments and decorations used in the
service, and the figures of the worshippers. His eastern
scenes are also enriched by characteristic groups of figures,
which give life and reality to them. The noble remains
of ancient buildings in Eome, Venice, and other conti-
nental cities, have found no more faithful copyist than
Eoberts, who seems to reverence them in their decay,
and to be imbued with all the solemn feelings which
their grandeur, even as ruins, is calculated to inspire.
CH.XV.] DAVID HOBERTS 171
The dry stones of architecture have expression in them,
which is communicated to the beholder, when they are
depicted by one who feels the sentiment they inspire.
Eoberts selects the finest examples of architecture in
Europe for his subjects; and while drawing them with
characteristic truth, he throws over his pictures a rich
and briUiant colour, which is heightened by the introduc-
tion of numerous figures in varied costumes. He appears
to paint with great rapidity and precision, on a thin trans-
parent ground. He carefully disposes light and shade,
and aU the contrasts of colour which can give efiect to the
whole — while to these technical excellences and fidehty
of representation, he adds great artistic taste and deep
poetic feeUng.
His works have from the first found ready patrons in
Lord Northwick, the Duke of Bedford, the Marquis of
Lansdowne, Sir Eobert Peel, and other eminent collectors.
A large work — *Eome' — in 1855, depicted the ruins of
the great city in the setting sim with solemn efiect —
while, as a contrast, 'A F6te Day at St. Peter's' (1861),
showed his mode of dealing with interiors of cathedrals
under their brightest aspect to great advantage. Another
bright picture was that painted by command of Her
Majesty, exhibited in 1853, a representation of ' The In-
auguration of the Great Exhibition of Industry of All
Nations by the Queen in 1851.' Two fine works by him
are in the Vernon Gallery — * The Interior of the Cathe-
dral of Burgos,' and * The Chancel of Antwerp Cathedral ; '
and three others are in the Sheepshanks collection, viz.,
'The Crypt of Eoslyn Chapel;' 'Old Buildings on the
Darro, Granada;' and 'The Gate of Cairo.' He is a
member of the Eoyal Scottish Academy, and received in
1858 the freedom of the city of Edinburgh, at an enter-
tainment given to him by the corporation.
Sir William Charles Boss, RA., was bom in London,
on the 3rd of June, 1794, of artist parents, his father
172 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
having been a miniature-painter and drawing-master, and
his mother (a sister of Anker Smith, the Associate
Engraver,) being also a clever artist. He seems thus to
have been bom for an artist's life; and ceitainly at a
very early age a taste for it was awakened in his mind.
Historical painting was his first study ; and in 1807 the
Society of Arts rewarded his eflforts by a small silver
palette for a chalk drawing made by him from Smith's
engraving of * The Death of Wat Tyler.' The next year
he obtained from the same society the silver medal and
£20 for an original drawing of ' The Judgment of
Solomon;' and in 1809 the great silver palette for a
miniature of ' Venus and Cupid.' The following year he
gained the silver medal and £20 for his drawing
of ' Samuel presented to Eli ; * and in 1811 the silver
medal for an original drawing of ' The Triimaph of
Germanicus,' and the gold medal for a miniature of the
Duke of Norfolk. Subsequently, in 1817, he again
obtained the gold medal for an oil-painting of ' The
Judgment of Brutus,' besides the silver medal for a
drawing from the Ufe, at the Eoyal Academy, where he
became a student in 1808. There his talents attracted
the notice of West, FuseU, and Flaxman, who afterwards
became his staunch friends.
Although signally successful in his early attempts at
historical painting, he deemed it advisable to abandon it
(since it could only be pursued successfully by men of emi-
nent abilities) for the more lucrative practice of miniature
portrait painting. In this he attained to great excellence
and renown, and secured the largest share of aristocratic
and Court patronage of any modern professor of the art
He was the means of elevating the character of miniature
painting; for the exquisite grace and deUcacy of his
works were never attained by any of his predecessors.
He acknowledged that he had derived much benefit from
the instruction of Mr. Andrew Eobertson, the miniature-
painter ; but the merit of his works is due chiefly to his
Ch. XV.] SIR W. C. ROSS 173
own genius and his studious efforts to attain increased
power, striving in every year to gain some fresh point of
excellence in colour or effect. The warm transparent
hues of his representations of flesh approach nearly to
vitahty ; his single figures are remarkable for their grace,
and the groups he designed, for their pictorial and effective
arrangement His drawing was admirable, his execution
careful, and he generally produced a good, though re-
fined, likeness. His colouring was pure and dehcate, and
his carnation tints unequalled among miniature-painters.
In his long career he painted more than 2,200 minia-
tures of the most distinguished scions of nobihty, and the
most aristocratic beauties of his time, occupying a relative
position to Lawrence in his own branch of art. He has
painted most of the members of the English Eoyal
Family and their connexions abroad, and many of the
Eoyal Families of France and Belgium. In his early years
he exhibited several large oil paintings based on the
drawings to which prizes had been awarded to him, and
also another, of ' Christ casting out Devils.' Later in life,
he again essayed to try his strength in the same style ;
and in 1843 he sent anonymously to the cartoon exhibi-
tion, in Westminster Hall, one of ' The Angel Eaphael
Discoursing with Adam,' to which one of the additional
£100 premiums was awarded. This was a remarkable
work, — 10 feet 8 inches square, — when considered as the
production of a painter of the most delicate miniatures.
In 1837 he was appointed miniature-painter to the
Queen. The next year he was elected an Associate, and
in 1843 a Eoyal Academician. On the 1st of June of
that year he was knighted. In 1857 he was seized with
an attack of paralysis, fi^om which he never perfectly re-
covered; and after three years of enfeebled health and
energies, he died on the 20th of January, 1860. He was
buried at Highgate Cemetery. An exhibition of his
works was held at the rooms of the Society of Arts in
the April and May following.
174 HISTORY OF THE EOYAL ACADEMY [Ch. XV.
His success in life, though mainly due to his talents,
was not altogether uninfluenced by his private character
and disposition. His face was the index to his mind;
and the kind and benevolent expression of the one, indi-
cated the gentle and amiable qualities of the other ; while
his cheerful and unassuming manners expressed the happy
and warm feelings of his heart. He was a great favourite
in the high circle in which he moved, for he was a
courtier knight; while to his brethren and to young
artists he was equally endeared by the pleasure he took
in giving them advice or assistance, or rendering any
service in his power. Moreover, he was an earnest Chris-
tian man, Uberal and charitable, without ostentation, and
for many years he taught a class regularly in the Sunday
School of Percy Episcopal Chapel in Charlotte Street,
near to the house in which he lived, No. 38 Fitzroy
Square.
John Pbescott Knight, E.A.,is a son of the celebrated
comedian, who married a Miss Clews, of Stafford, where
their son was bom in 1803. He accompanied his parents
to London, when the rising fortunes and extended popu-
larity of his father brought him to the " London boards."
He was educated at a private school, and was afterwards
placed as a junior clerk in a West Lidia merchant's office,
in Mark Lane, City. Bankruptcy overtook the firm, and
happily left the young man idle for a time, waiting for
another appointment, during which interval he took to
drawing, and copied several of West's designs out of a
large illustrated Bible, to the satisfaction of his father
and family, all of whom had a taste for art, and criticised
his early productions with a salutary severity, until at last,
by his perseverance in conquering their defects, they
attained an excellence which justified him in taking
lessons in drawing from Mr. Henry Sass, and in colouring
from George Clint. He also became a student at the
Eoyal Academy in 1823. When thus commencing his
Ch. XV.] J. P. KNIGHT 176
career as an artist, he was left to depend on his own re-
sources, by the untimely death of his father. He resolved
to persevere ; and was greatly encouraged by finding his
first two pictures, sent to the British Listitution, sold on
the opening day of the exhibition, and highly praised by
Collins, Stanfield, and other competent judges. In 1836
he attained his first honours in the profession, being then
elected an Associate of the Eoyal Academy; he suc-
ceeded to the higher rank of E.A. in 1844. Thus, as he
himself said, " My ambitious hopes have, at all events,
been Mfilled b/ my .dnJMon' U. *at body who«
great names had always stood as a beacon to my eflTorts —
the association with whom has been my highest reward."
He married the daughter of an eminent sohcitor, and
has since continued to pursue the profession of a portrait-
painter with great success ; but he sometimes exhibits
pictures of a more fancifiil character. From year to
year he has painted a large number of presentation por-
traits for pubUc buildings and institutions, as weU as
smaller works, aU of them executed with a vigorous hand,
a broad touch, good effects of colour, and all the expres-
sion and character necessary to distinguish them as
striking portraits. In 1857 he exhibited the admirable
portrait of Sir Charles Lock Eastlake, the President, which
he painted for and presented to the Eoyal Academy, and
from which a wood engraving has been made for this work.
He was appointed in 1839 Professor of Perspective at
the Eoyal Academy, and performed his duties in a most
exemplary manner, with great advantage to the students,
till April 1860, when he tendered his resignation of the
Professorship. In 1847 he was also elected to fiU the
office of Secretary, before his two years' service as a
member of the Coimcil had expired. His integrity in
the faithful discharge of the duties of the office, and his
urbanity to all those with whom he is brought into
communication, alike confirm die appropriateness of the
selection.
176 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
Chaeles Landskeb, E.A., the second son of John
Landseer the engraver, and the elder brother of the
animal painter, Sir Edwin Landseer, was bom in 1799,
and was first instructed in art by his father. By him
also he was taken, with his brothers, to Benjamin E.
Haydon, who took much interest in him as a pupil ; and
he was also entered as a student at the Eoyal Academy
in 1816. By all these advantages in study at home and
in schools of art, he was well grounded in the tech-
nicalities of painting ; and in all his works he has shown
carefulness in composition, and proved himself a good
colourist. He became an Associate in 1837, and in 1845
a Eoyal Academician.
In 1851, on the resignation of George Jones, E.A., he
was appointed Keeper, an office which requires him to
give instruction in the Antique SchooL In the pictures
he has painted he has paid great attention to all the
accessories and details, studying propriety in costume and
character, and giving a general effect which is harmonious
and pleasing. They are mostly taken from scenes in
domestic history, or the works of the poets and novelists,
and are deservedly popular. ' The Meeting of Charles L
and his Adherents before the Battle of Edgehill,' is a
fine work, engraved in mezzotinto by Bromley. * Clarissa
Harlowe in the Spunging House,' (from Eichardson's
novel), in the Vernon Collection, is ftiU of simplicity and
tenderness, and is suggestive of many useful and elevating
thoughts. ' The Temptation of Andrew Marvel' (1841),
in the Sheepshanks Collection, is a work in a different
style, telling the story of his refusal of the King's present,
sent by the Lord Treasurer, with great effect Another
picture in the South Kensington Museum, presented by
Mr. Jacob Bell, represents the sacking of a Jew's house,
and depicts a scene of cruelty and spoUation with painful
truthfulness. Charles Landseer does not exhibit many
pictures ; his duties as Keeper in the schools of the Eoyal
Academy doubtless engross so much of his time as to
Ch. XV.] TIIOMAS WEBSTER 177
leave little opportunity of practising the art of painting
on his own account.
Thomas Webster, RA., was bom in Eanelagh Street,
Pimlico, on the 20th of March, 1800. His father, being
employed in the household of King George m., took
him to Windsor when a mere boy, and had him trained
as a chorister at St. George's Chapel. There he remained
till the death of the venerable king, but after his father
left Windsor, his strong predilection for painting led him
fortxmately to the abandonment of music as a profession,
and in 1821 he became a student at the Eoyal Academy,
where he gained the first prize for painting in 1825. His
first exhibited work was a portrait group sent to the Eoyal
Academy in 1823. His next, *Eebels shooting a Pri-
soner,' exhibited at the Society of British Artists in
1825, was a specimen of the style which he has since
constantly followed. In the Academy his studies led
him to historical subjects ; but his genius was evidently
peculiarly directed towards portraying children in their
sports and occupations, whether in the sunshine of their
joy, or under the cloud of a passing sorrow. In^ this
field he has met with no rival, has found it ever fiidt-
ful in new material, and has attained a perfection of
nature, humour, and pathos which has never been
excelled.
From his first appearance before the public he con-
tinued annually to exhibit, first at the Society of British
Artists, and afterwards at the British Institution and at
the Eoyal Academy, a variety of pictures in which chil-
dren were the principal actors ; and by these works his
fame has been established. * Gunpowder Plot,' *The
Prisoner,' 'A Foraging Party roused,' 'The Boy with
many Friends,' ' The Sick ChUd,' * Going to and coming
fix)m School,' are among his works previous to 1840,
when he was elected an Associate of the Eoyal Academy.
In that year also he painted two pictures, * The Smile '
VOL. II. N
178 mSTORY OF THE ROYAL ACADEMY [Ch. XV.
and ' The Frown,' representing two rows of country boys
seated on school forms, in the one case overflowing with
mirth, in the other awed by fear — both of which are
well known by the engravings from them published by
the London Art Union. He has since exhibited a great
number of pictures, of which the principal are ' Punch '
(1841), * Sickness and Health' (1843), 'The Dame's
School' (1845), 'The ViUage Choir' (1847), 'A Eubber
at Whist' (1848), 'A See-saw' and 'A SUde' (1849), 'A
School Playground' (1852), * A Eace' (1855), 'Hide and
Seek' (1856), 'Simday Evening' and ' Grace before Meat'
in 1858, ' Autumn' and ' Winter' (1860). He was elected
a Eoyal Academician in 1846.
In all respects Thomas Webster is an admirable artist.
He draws with great correctness, arranges his figures
happily, colours brightly and harmoniously, introduces
effective Ughts and shades, and tells his story so clearly,
that all can not only understand the whole plot, but
share the feelings he wishes to excite, whether they be of
hearty enjojrment of the fun and froUc of his urchins,
or of kindly sympathy with their trials. Few artists'
pictiyes have such a genial healthful influence as his.
They show the sunny side of human nature in its ordi-
nary every-day hfe; our boyhood's days come back
again as we look upon them, and we seem to be bold
and daring, mischievous and wilfiil, thoughtless and
joyous once more as we examine his transcripts of the
scenes in which he revels with such satisfaction, and
which he portrays with so much success.
In the Vernon Gallery there are two of his pictures,
'Going into School' (1836), and 'The Dame's School'
(1845) ; and in the Sheepshanks Collection there are
six others ; viz., ' Sickness and Health,' a touching scene
painted in 1843 ; ' Going to and returning from the
Fair,' two pictures exliibited at the British Institution
in 1838 ; a work worthy of and equal to those of
Hogarth, entitled 'A Village Choir' (1847), 'Contrary
Ch. XV.] J. R. HERBERT 179
Winds' (1843), and * Eeading the Scriptures.' A striking
testimony to the attractiveness of these pictures, is the
eagerness with which they are examined by the crowds
of persons of the humbler class who gather round them
in the galleries at South Kensington.
John Eogebs Herbert, E.A., was bom at Maiden, in
Essex, on the 23rd of January, 1810. He came to
London in 1826, and was admitted as a student at the
Koyal Academy. His first labours in art were portraits
and designs for book illustrations, from which he was
led gradually to attempt more important works. One of
the first of these, exhibited at the British Institution, was
entitled ' The Appointed Hour,' and represented a lover
lying assassinated at the foot of a staircase, down which
his mistress is hurriedly passing to meet him. The
engraving of this picture made the artist favourably
known to the pubhc. A visit to Italy induced him to
paint numerous subjects from the history of that country,
and several of 'The Brides of Venice.' He also exhi-
bited, in his early manner, ' Constancy,' and ' Boar Hunters
refreshed at St. Augustine's Monastery, Canterbury.'
About the year 1840 he became a member of the
Eoman Cathohc Church, through the influence of Welby
Pugin, with whom he shared a strong feeUng for mediaeval
art ; and from this time forward he chose a new class of
subjects for his pencil, investing them with much of the
symbolism and formality of the Church and the painters
of Italy. In 1842 he exhibited the first of these—' The
Introduction of Christianity into Britain' and * A Portrait
of Dr. Wiseman.' In the next year, * Christ and the
Woman of Samaria.' In 1844 *Sir. T. More and his
Daughter' and ' The Trial of the Seven Bishops,' painted
some years before, on commission, in his old manner.
In 1845, * St. Gregory teaching his Chant;' the next
year, a portrait of his friend 'Welby Pugin ;' in 1847,
* Our Saviour subject to his Parents ;' in 1848, ' St. John
n 2
180 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
the Baptist reproving Herod;' in 1849, 'The Outcast of
the People.' A portrait of 'Horace Vemet' appeared in
1855 ;' A View on the Coast of France' in 1856 ; ' Mary
Magdalene' in 1859 ; and a picture of the 'Virgin Mary'
(1860), painted for the Queen.
For some time Mr. Herbert held the appointment
of Head Master in the School of Design at Somerset
House. In 1841 he became an Associate of the Eoyal
Academy, and was created E.A. in 1846. In that
year he was selected by the Eoyal Commissioners to
execute one of the frescoes in the vestibule of the
new House of Lords, and subsequently to paint a series
of nine subjects illustrating "Human Justice," selected
from the Old Testament, for the Peers' robing-room.
These are to represent ' Man's Fall ' and ' Condenmation
to Labour,' ' Moses bringing the Tables of the Law,'
' The Judgment of Solomon,' ' The Visit of the Queen of
Sheba,' 'The Building of the Temple,' 'The Judgment
of Daniel,' ' Daniel in the Lions' Den,' and ' The Vision
of Daniel.' Some of the studies for portions of these
have since been exhibited at the Eoyal Academy. They
have taken long to prepare ; but he is now steadily pro-
ceeding with the painting of the series in the stereo-
chrome, or water-glass method adopted by Maclise, and
has cancelled all that he had done in the old method,
lest it should perish as so much of the work executed in
tliat style in the Houses of ParUament has unfortunately
done. In the Poets' Hall, he was appointed to paint
some subjects from " King Lear," which are fast decaying.
Two of these he exhibited at the Eoyal Academy, ' Lear
disinheriting Cordelia,' in 1849, and 'Lear recovering his
Eeason,' in 1855. Several drawings of studies of heads
of Lear and Cordelia, and of our Lord and the woman of
Samaria, are in the South Kensington Museum, where is
also, in the Vernon Collection, one of his finest works,
' More and his Daughter observing from the Prison Win-
dow the Monks going to Execution' (1844).
Ch. XV.] HERBERT — COPE 181
All his pictures are the fiiiit of long study and most
careful workmanship. He is scrupulously attentive to
the preparation of his subjects and the composition of
them, and he paints slowly and minutely all the details
of the design. He is said to have cut out portions of his
'Lear' pictures five times before he was satisfied with the
result he had attained. Extreme simpUcity, elaborate
finish, deep and earnest expression, an avoidance of all
accessories except such as are suggestive of deeper mean-
ing than mere ornaments could give, and, in his sacred
subjects, a feeUng of devotion and spirituahty, characterise
generally the works of this talented artist ; and, despite
the mannerism and rigidity which they have of late years
assumed, there is a dignity and eloquence in hia repre-
sentations of the human form which is rarely found in
the works of modem English artists.
Chables West Cope, RA., was bom at Leeds in 1811,
and was educated in the Grammar School there, receiving
his first instruction in art fi'om his father, Mr. Charles
Cope, who was practising as a drawing-master of some
repute in that town. He came to London at the age of
fifteen, attended the drawing school of Mr. Sass, and
in 1828 became a student at the Eoyal Academy. Early
in his career he went to Eome and Venice for study ;
and by a picture painted in Italy, exhibited on his return
to England, he made the first favourable impression on
the pubUc. In 1841 he exhibited ' Poor Law Guardians
— AppUcations on Board Day for Bread,' and in 1843,
'The Cotter's Saturday Night.' Afterwards he chose
more poetic subjects, illustrative of the works of Spenser,
Milton, and Goldsmith.
In 1843 he was elected an Associate, and in the same
year entered the Cartoon competition of the Eoyal Com-
mission on the Fine Arts. He obtained one of the highest
prizes (£300) for his cartoon of *The First Trial by
Jury ; ' and in the next year he exhibited in Westminster
182 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
Hall, for the fresco competition, ' The Meeting of Jacob
and Eachel.' These works were so excellent that they
led to his obtaining commissions to paint frescoes from
British history for the new Houses of Parliament. In
due time * Edward HI. conferring the Order of the Garter
on the Black Prince/ and * Prince Henry's Submission to
the Law,' were produced for the House of Lords, Subse-
quently he has painted ' Griselda's First Trial,' and * The
Death of Lara,' the latter unfortunately suffering from the
same cause of injury which is marring the beauty of so
many of the works executed for the ornamentation of the
new building. The decoration of portions of the Peers'
corridor was also assigned to him, and he has completed
' The Embarkation of the Pilgrim Fathers' (1856), 'The
Burial of Charles L' (1857), ' The Parting of Lord and
Lady Eussell' (1859), and ' Charles L erecting his Stan-
.dard at Nottingham' (1862); for these he has received
£3,600. The subjects of the rest of the series are, ' The
Defence of Basing House,' * The Fellows of a College at
Oxford expelled for refusing to Sign the Covenant,'
' Speaker Lenthall resisting Charles I.'s Attempt to seize
the Five Members of the House of Commons,' and ' The
Train bands leaving London to raise the Siege of Glou-
cester.' Since he has been thus employed in painting
frescoes, his general works have also partaken of their
character in subject and treatment, and many of the
designs for them have been exhibited at the Koyal
Academy.
In 1848 he obtained the rank of RA., and in the same
year painted, for H.E.H. the late Prince Consort, * The Last
Days of Cardinal Wolsey.' In 1850 appeared ' Lear and
Cordelia ;' in 1 85 1, * Laurence Saunders, the Marian Martyr,
in Prison ;' in 1852, ' The Marquis of Saluce marrying Gri-
selda ; ' the next year, ' Othello relating his Adventures ;'
in 1855, 'The ChUdren of Charles L ;' in 1859, ' CordeKa
receiving Accounts of her Father's Ill-treatment;' and,
in 1861, * The Parting of Lord and Lady William
Ch. XV.] COPE— DYCE 183
Kussell.' Mingled with these large and important works,
there are some smaller ones which have been eagerly
sought for and studied by visitors to the exhibition — the
representations of a single child, sometimes resting in a
mother's arms, or employed in its own simple way, pre-
paring for its meals or its bed, petted in its sickness, or
having its wants, on recovery, suppUed by a sister's
watchful care.
In the Sheepshanks Collection there are some small
pieces of the same simple and fanciful character :
'Ahnsgiving' (1839), * Beneficence ' (1840), * The Haw-
thorn Bush' (1842), 'Palpitation' (1844), 'The Young
Mother' (1846), ' Maiden Meditation' (1847), 'L'Allegro'
and ' n Penseroso ' (1848), and ' The Mother and Child '
(1852) ; also a collection of fourteen very beautiful studies
of heads, hands, drapery, &c. Constant employment for
several years on a great national work such as that in
which Mr. Cope has been engaged, has, to a certain ex-
tent, withdrawn his most important productions from
the pubUc eye, and prevented him from enhancing his
reputation by contributing some of the chief attractions
to the annual exhibitions. In fresco-painting he is ad-
mitted to occupy a very prominent place ; and in all his
productions he shows himself to be an artist thoroughly
conversant with all the technical appliances of colour — a
master of efiects of light and shade, groupmg his compo-
sitions with great skill, and combining with his manual
dexterity, a mind full of vigorous thought, a well-ordered
judgment, and a heart ahve to the delicate sensibiUties of
human nature, in all its varied circumstances, even to
the tenderness of children's helpless confidences or mis-
givings.
William Dyce, R A., is the son of the late Dr. William
Dyce, F.E.S.E., a physician who practised in Aberdeen,
where he was bom in 1806. He was educated at the Ma-
risthal College of that city, where he took the degree of
184 mSTORY OF THE ROYAL ACADEMY [Oh. XV.
M. A. at the age of sixteen. He commenced the study of
art in the Eoyal Scottish Academy, where he afterwards
made his first appearance as a painter of classical sub-
jects. Inl825 he visited Italy, and spent nine months in
Eome, devoting himself earnestly to those studies which
would best qualify him to become a historical painter. He
returned to Aberdeen in 1826, and decorated a room in
his father's house there in the Arabesque manner ; he
also painted a picture of ' Bacchus nursed by the Nymphs
of Nyssa,' which was exhibited at the Eoyal Academy in
1827. In the autumn of that year he again set out for
Eome, and studied and imitated those early religious
works, from which he doubtless derived that ' pre-Eafiaell-
ite ' manner his pictures sometimes assume. In 1828 he
painted a ' Madonna and Child ' in this style at Eome.
On his return to Scotland, in 1830, he took up his abode
at Edinburgh, where he remained eight years. Not
meeting with the encouragement he hoped for as a his-
torical painter, he devoted himself chiefly to taking
portraits (especially those of young children), except
when he occasionally contributed to the exhibition of the
Eoyal Scottish Academy — of which he was elected an
Associate in 1835 — some pictures of a higher class. In
1836 ' The Descent of Venus ' appeared in the exhibi-
tion of the Eoyal Academy in London.
In 1838 he obtained the appointment of Superintendent
and Secretary to the recently-established Government
School of Design at Somerset House. This situation he
owed to a pamphlet he published in the preceding year,
addressed to Lord Meadowbank, suggesting a scheme for
the improvement of the Schools of Design belonging to
the Board of Trustees for Manufactures in Edinburgh, and
the best means of applying design to manufactures. After
he obtained this appointment, he was sent on a mission
of enquiry into the working of similar schools in Prussia,
Bavaria, and France. His report was printed by order
of the House of Commons in 1840, and led to the re-
CH.XV.] WILLIAM DYCE 185
modelling of the schools in London. In 1839 he
exhibited at the Eoyal Academy ' St. Dunstan separating
Edwy and Elgiva ; ' and in the next year ' Titian teach-
ing Irene de Spilembergo.' In 1841 he sent to the
British Institution 'The Christian's Yoke ;' and in 1843
' Jessica ' to the Eoyal Academy ; all these displayed
to a great degree the deep thought and power which
characterise liis later works.
During these years he was busily employed in the Go-
vernment School of Design, and also turned his attention
to the revival of ancient sacred music. He foimded the
" Motett Society " for the practice of the Church Music of
the sixteenth and seventeenth centuries, which has since
been incorporated with the Ecdesiological Society ; and in
furtherance of the same object, he pubhshed, in 1842-43,
the Book of Common Prayer, with the ancient canto
fermo set to it at the Reformation, for which he received
the gold medal of Science and Art from the King of
Prussia. He resigned his appointment in the School of
Design in 1843, and was then appointed Inspector of the
Provincial Schools and a member of the Council. These
offices he filled for two years ; and in 1848 again took
part in the government of the schools as then reorganised.
In 1844 he was elected an Associate of the Eoyal
Academy, having in that year exhibited *King Joash
shooting the Arrow of Deliverance,' a work so pure in
style, so original in design, and so effective in treatment,
that it at once estabhshed his reputation. Previously to
this time he had been studying carefully the works both
of the early Italian and the modem German school, and
had acquired their facility in fresco-painting, as he proved
in the Westminster Hall competition, where he exhibited
two heads for a composition, representing ' The Conse-
cration of Archbishop Parker in Lambeth Palace in
1559.' This led to his being selected as one of the six
artists to paint compartments in that style in the Houses
of Parliament, the others being MacUse, Cope, Horsley,
186 mSTORY OF THE ROYAL ACADEMY [Ch, XV.
Tenniel, and E. Armitage. In 1846 he painted in fresco,
for the House of Lords, ' The Baptism of King Ethelbert ; '
and he has since been almost constantly employed in the
adornment of the Queen's robing-room, which is to be
wholly ornamented with a series of pictures from the
" Legend of King Arthur." He commenced this task in
1848, undertaking to complete it in eight years ; but, from
many causes of delay, it is still far from finished. On the
west wall are pictures of ' Eeligion,' or the Vision of Sir
Percival and his Companions ; ' Generosity,' King Arthur,
unhorsed, is spared by his adversary, and ' Courtesy,' or
Sir Tristam. On the north wall one of two frescoes is
completed — * Mercy ;' and Mr. Dyce is now employed on
the largest of the series — * The Court of King Arthur.'
There are yet remaining to be executed two pictures on
the east, and a portion of one on the north side, besides
the friezes on all the four sides. Another commission he
obtained was from Her Majesty, by whom he has been em-
ployed at Osborne, and in the decoration of the summer-
house at Buckingham Palace — at the latter to paint illus-
trations of Milton's " Comus," in conjunction with Sir C.
Eastlake, Landseer, Eoss, Maclise, Uwins, Leslie, and
Stanfield.
These works have engrossed the greater part of his
time, and left him httle opportunity for making any impor-
tant contributions to the Eoyal Academy Exhibition. In
1846, however, he sent a ' Madonna and Child,' which
was purchased by the late Prince Consort. In the next
year a sketch of a fresco — painted for His Koyal Highness
for Osborne House — of * Neptune giving the Empire of
the Sea to Britannia.' In 1848 he was elected a Koyal
Academician ; and in the following year he exhibited ' Om-
nia Vanitas,' and a sketch of one of the * King Arthur '
frescoes. In 1850 and 1853 he contributed pictures of
*The Meeting of Jacob and Eachel,' — the subject differently
treated, and which he has repeated three or four times.
In 1851 he exhibited * King Lear and the Fool ;' in 1855
Ch. XV.] WILLIAM DYCE 187
* Christabel/ — not the ideal of Coleridge, but a very
beautiful Madonna-like face, treated in the German manner.
In 1856 and 1859, *The Good Shepherd;' in 1857,
' Titian preparing to make his First Essay in Colouring ;'
in 1860, * The Man of Sorrows ' and ' St. John leading
Home his adopted Mother,' a picture painted in 1844,
but revised in 1851 ; and, in 1861, * George Herbert at
Bemerton,' — wondrously painted, and filled with that
spirit of poetry and devotion with which the character and
writings of the good pastor are identified.
Simultaneously with these labours, he undertook a
commission to decorate with fresco paintings the east
end of All Saints' Church, Margaret Street, Cavendish
Square, which he completed in 1859. ' The Crucifixion '
and * The Virgin and Child ' are in the two centre com-
partments. Twelve others (six on either side of these)
contain figures of the Apostles. Surmounting the whole,
and occupying the tympanum of the gable, is * Our Lord
Enthroned,' supported by saints and angels, all painted in
fresco, on golden ground. He has also executed designs
for stained glass — one, the choristers' window in Ely
Cathedral, and another at Alnwick, in memory of the
late Duke of Northumberland.
In addition to all these artistic labours, he wrote, many
years since (as long ago as 1828) an essay on "Electro-
magnetism," which obtained the Blackall prize at Aberdeen,
and has since pubKshed several lectures and pamphlets on
art subjects. He is Professor of the Theory of the Fine
Arts at King's College, London, and is a member of the
Eoyal Scottish Academy, and of the Academy of Arts of
Philadelphia. As a painter, his style more nearly re-
sembles that of the early Italian masters than the produc-
tions of any other modern artist ; and he has caught
their spirit as well as their style in the solemnity of
thought, and the reverent feeling for holy things, which
are manifest in all his representations of sacred subjects.
His compositions generally are simple, even to severity ;
188 HISTORY OF THE ROYAL ACADEMY [On. XV.
his drawing is correct and unaffected ; his colouring solid
and brilliant, though not excessive ; and his representa-
tion of religious themes is so fuU of hidden thought and
elevated sentiment, that his pictures are addressed more
to the educated and devout than to the multitude.
From this goodly array of eminent painters who be-
came Eoyal Academicians during the period in which Sir
M. A. Shee was President, we turn to notice the four
sculptors raised to the same rank. These were John
Gibson, elected in 1836 ; William Wyon,in 1838 ; Patrick
McDowell, in 1846 ; and Kichard Westmacott, in 1849.
John Gibson, E.A., is the son of a landscape gardener,
a native of Anglesea, North Wales, who was employed
in laying out the grounds of a gentleman of fortune at
Conway, at the time when his now illustrious son was bom
at Gyffn, near that old romantic town, in 1791. While
but a child, his mother observed and encouraged his early
passion for drawing geese and horses on his father's slate ;
but in the little town of Conway he found no one to
direct him in such pursuits. When he was nine years old
his parents removed to Liverpool, intending to emigrate
to America, but afterwards abandoned the project. Their
son was thus afforded the means of education in a large
town, and the opportunity of studying prints in the shop
windows, some single figures in which he would often
examine carefully till he could go home and copy them
from memory. These sketches, good for practice, were
also profitable ; for the young artist sold them to his
schoolfellows, and thus obtained pocket money wherewith
to buy fresh materials.
When in his fourteenth year, he begged hard to be
allowed to become a painter; but his father chose for
him the trade of a cabinet-maker, from which he was
afterwards transferred, at his own request, to a wood-
carver, and was employed for two years in carving scrolls
CH.XV.] JOIIN GIBSON 189
and ornaments for furniture. He had previously made
some clever carvings in wood with a conamon pocket
knife ; and was fiill of genuine enthusiasm and love for
art. At sixteen, he happened to visit the marble works
of Messrs. Francis, and was so forcibly impressed with
the beauty of their productions, that he positively refused
to work any longer for the master to whom he was ap-
prenticed, and determined to become a sculptor. About
this time he modelled a small figure of ' Time ' in wax,
which was very beautiful. By forbearance and kindness
on the part of his employers, his wish to be a sculptor was
gratified, by the transfer of his indentures to Mr. Francis,
who paid £70 to the wood-carver as compensation for
the loss of his apprentice's services.
After seven years of active labour and study in his new
profession, having given great satisfaction to his employers,
he was introduced by them to Mr. William Eoscoe, then
residing at Allerton Hall, who was so struck with the
beauty of Gibson's designs and modelUng, that he lent
him some fine old drawings and prints to copy and study,
invited him to his house, and introduced him to the
society of Mrs. Lawrence and Mrs. Eobinson, two ladies
of great mental power and refined taste, who exercised
an important influence for good on the mind of Gibson
in this the turning period of his career. In his eighteenth
year he commenced the cartoon of the * Falling Angels,*
now in the Liverpool Listitution ; and shortly afterwards a
subject from Dante. After an interval of thirty years, he
again saw this work, when he said that he felt a humbling
doubt whether he could then excel that early efibrt These
designs show how much he was impressed by the style
of Michael Angelo, and how greatly he had profited by
Mr. Eoscoe's descriptions of the mode in which that great
artist worked. A desire to visit Eome was strengthened
as he proceeded; and by the kind aid of his early
friend and other patrons, he was supphed with means to
study there for two years, and was furnished with an
190 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
introduction to Canova from General D'Aguilar (the
brother of Mrs. Lawrence), and also one from Lord
Brougham. With these he proceeded to Bome, after
paying a visit to London, where he met with a kind
reception from Flaxman.
Li October 1817 he arrived in Eome; and he has
made it his abode ever since. Canova was most kind and
generous to the young sculptor. He told him that he
was then rich, and that by study his young friend would
soon also become independent, and offered to defray all
his expenses, that he might pursue his studies without
obstacle, until his own talent and industry should make
him equally prosperous. This offer was gratefully de-
clined ; but Canova gave Gibson a place in his studio,
and allowed him to attend his night-academy, where he
soon discovered how Uttle he then knew of the rules and
Umits of his art On leaving Canova's studio, three years
afterwards, he set up for himself, in 1821, in the Via della
Fontanella ; and in the same quiet modest studio he con-
tinued to pursue his labours for years. Mr. Watson Taylor,
whom he had met in London, gave him several commis-
sions for busts of himself and family ; but the first commis-
sion he received in Eome was from the late Duke of
Devonshire, who was sent to him by Canova, and who
found him engaged on a group of ' Mars and Cupid,' which
he at once purchased for Chatsworth, where it now is.
After Canova's death, in 1822, Gibson sought to attain
further knowledge ; and although then himself a master,
again became a pupil under Thorwaldsen. Yet he proved
by all his subsequent works that he was no imitator, but
simply strove to perfect his own individual conceptions by
the more disciplined methods of his predecessors. * Psyche
bome by the Zephyrs ' was executed by him in marble in
1827, for Sir George Beaumont, and was his first work
exhibited at the Eoyal Academy. Subsequently, he made
a bas-relief of the ' Meeting of Hero and Leander ' in
marble for Chatsworth, from the cast he had previously
CH.XV.] JOHN GIBSON 101
produced at Canova's request from a drawing he took
with him to Eome. In 1829 he exhibited at the Academy
a * Cupid ;' in 1831, * A Nymph untying her Sandal ; ' and
in 1833, * Venus and Cupid.' In this year he became an
Associate, and in 1836 a Eoyal Academician.
Many of his happiest conceptions were suggested by
casual actions observed in the streets of Eome, as, for
instance, his * Wounded Amazon faUing from her Horse,'
the bas-relief of * Jocasta parting her Angry Sons,' and
' A Nymph dancing a Cupid on her Foot,' in which he
has adapted incidents of daily life to poetical purposes.
His works are very numerous and highly popular;
many of them he has had to execut.e as often as seven
times for different patrons, — ' Cupid disguised as a Shep-
herd Boy ' was one of these. Many of his productions
were purchased by his admirers at Liverpool, who seem
to claim him as a native of their opulent and thriving
community. * Hebe,' ' The Greek Himter and his Dog,'
'Aurora,' * Sleeping Shepherd,' * Sappho,' 'Proserpina,'
' Hylas and the Nymphs ' (now in the Vernon Gallery), are
among his chief poetical statues, with the exception of
one, ' Venus ' (which he retained for several years in
his studio at Eome), shghtly coloured with a pale flesh
tint, blue eyes, and flaxen hair ; the drapery left pure
white, with the exception of a border of pink and blue.
Mr. E. B. Preston has sent this fine work to the Interna-
tional Exhibition, where are also 'Pandora' and 'Cupid,'
tinted in the same manner. This novel course Gibson
has defended by ancient Greek precedents, although its
desirabihty is gravely questioned by many competent
judges. In bas-relief his most striking productions are
' Amalthea feeding the Infant Jupiter,' ' Hebe pouring
out Nectar for Psyche,' 'The Hours leading forth the
Horses of the Sun,' ' The Angel of Hope,' and ' Cupid
and Psyche.'
In portrait statues he is no less celebrated. His first
notable work was the pubhc memorial of the lamented
192 HISTORY OF THE ROYAL ACADEMY [Oh. XV.
Mr. Huskisson, erected in the cemetery where he
was buried, a duplicate in bronze given by his widow
to Liverpool in 1847, and another statue of him in
marble at Lloyd's in London. Others, equally excellent,
were those of Sir Eobert Peel in Westminster Abbey ;
Mrs. Murray, exhibited at the Eoyal Academy in 1846 ;
and George Stephenson, in 1851. When Gibson visited
England in 1844, for the first time for twenty-eight
years, the Queen summoned him to Windsor, and gave
him a commission for a statue of herself — "a faithful
portrait, such as her children should recognise." For this
Her Majesty sat to the sculptor for ten successive days,
but though the head and bust were modelled from Kfe,
the statue was executed at Eome, and exhibited at the
Academy in 1847. It is a most graceful and dignified
figure, fiill of gentleness, yet queenly in its pose. It is
slightly tinted in the drapery, and the wreath and
bracelet are gold-colour, a proceeding which was warmly
discussed as an innovation at the time. A second
statue of the Queen has been executed by Gibson for the
Prince's Chamber in the Houses of Parliament, in which
Her Majesty is represented sitting on her throne, Justice
and Clemency standing on either side of her. His absence
from England deprived him of the pleasant task of doing
honour to the memory of his early friend and patron, Wil-
liam Eoscoe, the commission for his monument having been
given to Chantrey. Sir E. L. Bulwer has dedicated his
last edition of "Zanoni" to Gibson in very flattering
terms ; but not more so than the genius he possesses, the
refined taste, simplicity, patient and earnest study and
labour in his art deserved — qualities which have rendered
him one of the glories of the coimtry which gave him
birth, and the admiration of all the nations of Europe in
which his works are known.
William Wyon, R A., was bom at Birmingham in 1795,
and was descended from a German family, many of whom
Ch. XV.] WILLIAM WYON 193
possessed the same talent for the art of gem-engraving
as that by which he obtained celebrity. His grandfather,
George Wyon, engraved the silver cup, embossed with a
design of the assassination of Julius Caesar, which was
presented by the City of London to Wilkes. His father,
Peter Wyon, was a die-sinker at Birmingham, in partner-
ship with his brother Thomas. In 1809 he was appren-
ticed to his father, and studied very careftdly the designs
of ilaxman, for whom he entertained a profound venera-
tion. In 1813 he gained the gold medal of the Society
of Arts for his copy of ' The Head of Ceres' which was
purchased by the Society for distribution as a prize medal
for agriculture. For a group of 'Victory in a Marine
Car, drawn by Tritons,' by which this work was followed,
he obtained a second gold medal from the same society.
A few years later, he completed a figure of * Antinous,'
which was so highly prized by his father that he had it
set in gold, and wore it tiU his death.
William Wyon came to London in 1816 to assist his
uncle in engraving the public seals, and became a student
at the Eoyal Academy in the following year. The post
of second engraver at the Mint was ofiered by competition
to the engraver who should produce the best design of
the head of George HI. Sir Thomas Lawrence was the
umpire, and he decided in favour of Wyon, who thus
found himself appointed the assistant of his cousin, Thomas
Wyon, the chief engraver. The latter died unexpectedly,
and was succeeded by Mr. Pistrucci, who seems to have
been indolent, and to have left the greater part of his
work to Wyon, although claiming aU the honour of it.
This led to disagreement, and under a new Master of the
Mint the matter was arranged, in 1824, by half the salary
of Pistrucci being given to Wyon, who then virtually
became chief engraver, although the former nominally
retained the appointment till 1828. A list of Wyon's
works, exceeding 200 in number, with a memoir of his
life, was printed for private circulation, in 1837, by his
VOL. IL
194 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
friend Mr. Nicholas Carlisle, and the Boyal Academy
recognised his merits by electing him A.RA. in 1831, and
RA. in 1838.
His works consist of pattern pieces of coins not used,
and of medals and seals. His coins include those of the
later years of the reign of George IV., all those of his
successor, and such of those of Her Majesty's reign as
were issued before he died. He followed Chantrey's
designs in the coins of George IV. and William IV., but
made his own for those of the Queen. The pattern
pieces include the crown, and nine patterns of a florin,
and a £5 piece of the Queen, in which a figure of Una is
introduced on the reverse. The crown piece, of a
mediaeval character, was not coined, as the Company of
Moneyers, who then farmed the Mint, objected to the
amount of extra care and loss of profit to themselves
which it would have involved. His war medals comme-
morate the Peninsular victories, Trafalgar, Jellalabad, and
Cabul; those for learned Societies include the Eoyal,
Geological, Geographical, and many others, native and
foreign ; the Eoyal Academy and Art Union medals ; the
Harrow medal, given by Sir Eobert Peel, with a reverse
of Cicero ; that of the Eoyal Institution, with a head of
Lord Bacon ; the University of Glasgow, with that of Sir
I. Newton ; the Geological Society, with that of Dr. Wool-
laston ; and the Art Union, with that of Chantrey ; also
the Brodie Testimonial, with the eminent surgeon's bust
on one side, and 'Science trimming the Lamp of Life'
on the other. He designed all the Portuguese coins
among other commissions from foreign countries ; and
while he generally drew the reverses himself, he sometimes
obtained them from Flaxman, Howard, or Stothard.
The last-named designed the reverse for his medal of
Sir Walter * Scott ; and Chantrey the reverse of Queen
Adelaide, on the coronation medal of King William IV.
His works combine accuracy in portraiture, with force
and delicacy of execution ; and his designs were always
Ch. XV.] WYON — McDowell i96
conceived in a purely classic spirit. Among his latest
works were the obverses of the Great Exhibition medals
of 1851. He died at Brighton on the 29th of October
in that year, leaving a son, Leonard, who aided him
in his labours, and has inherited his genius.
Patrick McDowell, E.A., was bom at Belfast on the
12th of August, 1799, and was the son of a tradesman
who died while he was an infant, leaving his mother with
very limited means, in consequence of some unfortunate
speculations, by which he lost the greater part of his
property. At eight years old he was sent to a school
kept by Mr. Gordon, who was also an engraver, and
who encouraged the boy's early fondness for drawing
by lending him prints to copy. There he remained four
years, when his mother removed to England, and sent
him for two years to a clergyman in Hampshire. At
fourteen he was bound apprentice to a coachmaker in
London, who four years afterwards became a bankrupt,
and McDowell's indentures were consequently cancelled.
He then took lodgings in the house of a French sculptor,
Chenu, in Charles Street, Middlesex Hospital, where he
spent his idle hours in sketching from the casts aroimd
him, and in striving to acquire a knowledge of sculpture.
He tried to model portions of the human form, and at
length attempted to make a reduced copy of a ' Venus,' by
Donatelli, which he showed to Chenu, who was so pleased
with it that he bought it from him. Thus encouraged, he
persevered, and made other models for which he also
found purchasers.
Subsequently, he became, in 1830, a student at the
Eoyal Academy. He was an unsuccessful competitor for
the pubUc monument to Major Cartwright — for although
his model was chosen, the money subscribed was not
sufficient to defray the cost of its execution. The major's
widow and family became his friends and patrons ever
afterwards, and he thus obtained commissions for several
o 2
196 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
busts, some of which were received into the exhibitions
at the Eoyal Academy. His first ideal work was from
Moore's " Loves of the Angels," which was purchased by
Mr. Davison, of Belfast. His next group was the ' Ce-
phalus and Procris' of Ovid, which he executed in marble
for Mr. E. S. Cooper, then M.P. for Sligo. He followed
this by a Ufe-sized ' Bacchus and Satyr,' and a model of
*A Girl Eeading;' the latter he exhibited at the first
exhibition in Trafalgar Square, in 1837. It attracted the
attention of Sir J. E. Tennent, who was pleased to find in
the sculptor of it a self-taught artist and a fellow towns-
man of his own. He gave him a commission for a bust
of himself and another of Lady Tennent, and introduced
him to Mr. W. T. Beaumont, M.P. for Northamptonshire,
who became a liberal patron, giving him a commission to
execute ' The Girl Eeading' in marble, and stipulating
to employ all his time for three years. In 1838 he
exhibited the beautiful figure referred to in marble, which
was greatly admired, and again repeated, with Mr. Beau-
mont's concurrence, for the Earl of Ellesmere. In 1840
he produced another work for his patron, ' A Girl going
to the Bath,'
In 1841 he was elected an Associate of the Eoyal
Academy, of which event he afterwards wrote (in the
Autobiography published in the " Art Journal" in 1850),
** I cannot forbear here remarking, that although much
has been said of the interested partiality of the members
of that institution in awarding . its honours, I can most
conscientiously assert that, at the time of my election, I
was not acquainted with a single member of that body,
nor had I made a single advance to become so." Mr.
Beamnont now persuaded him to go, at his expense, to
Eome, where he remained only eight months, subse-
quently executing for the same gentleman, in marble, * A
Girl at Prayer' exhibited in 1842, * Love Triumphant'
in 1844, 'Cupid' in 1845, and * Early Sorrow' in 1847.
In 1846 he executed the statue of * Viscount Exmouth'
ch. XV.] Mcdowell — westmacott 197
for Greenwich Hospital, and obtained the rank of
E.A. Among the most important of his subsequent
works are ' Virginius and his Daughter,' 1847 ; ' Cupid
and Psyche ' and ' Eve,' in 1849 ; ' Psyche,' in 1850 ;
* The Slumbering Student,' in 1851 ; ' Love in Idleness,'
in 1852; *The Day Dream' (subsequently executed
in marble), in 1853 ; ' The First Thorn in life,' and
a bronze statue of the late young * Earl of Belfast' (a
most graceful and successful work), in 1856 ; * Viscount
Rtzgibbon' (a young hussar officer who feU at Bala-
klava), in bronze for the city of Limerick, in 1858 ; the
statues in bronze for the House of Lords of ' Waryn, Earl
of Pembroke,' and *Almeric;' and those in marble for
St. Stephen's Hall, .of * William Pitt' and the *Earl of
Chatham ; ' besides a large number of marble busts.
All his works evince careful study, and are executed
in so masterly a style as to leave no traces of their
author being a self-taught artist. Grace of form, and cha-
racteristic expression of the particular sentiment he desires
to impart, are found in all his impersonations of female
beauty ; and his male figures, if not always so striking
and vigorous, are nevertheless of great excellence. The
contrast between the muscular development of the sturdy
Virginius and the slight and dehcate form of his daughter,
in the group he designed for Mr. Beaimiont, displays his
complete power over his materials. His busts are truthful
and simple portraits, carefully and artistically executed.
His mind is thoroughly. imbued with the graces of Greek
sculpture ; and while he is an exquisite modeller, he throws
over all his works an elevated feeling of chastity and
refinement.
BiCHARD Westmacott, RA., is the son of the late Sir
R Westmacott, RA., and was bom in London in 1799.
He became a student at the Eoyal Academy in 1818,
and was also instructed in the art of sculpture by his
father, who sent him in 1820 to Italy, where he remained
108 raSTORY OF THE ROYAL ACADEMY [Oh. XV.
six years, studying the remains of Greek and Boman art,
and investigating their history. After his return to England
he pursued his profession with great success, his works
being much admired for their purity of style, their
graceful design, the tender feeUng they express, and the
classic simplicity by which they are distinguished. In
monumental sculpture, which requires more of a devotional
and solemn character to be given to the design, West-
macott is especially successful ; and in this style, and also
in the execution of portrait sculptures, he finds constant
employment Of these, the best examples are the recum-
bent figure of Archbishop Howley in Canterbury Cathe-
dral ; Earl Hardwicke at Wimpole ; and the Ashburton
monument. His busts of Earl EusseU, Sir F. Burdett^
Sydney Smith, and Sir E. Murchison, are good specimens ;
but he is especially happy in those of ladies. His poetic
conceptions are also very beautiful ; instance, 'The Cymbal
Player,' the property of the Duke of Devonshire ; ' Venus
carrying Cupid,' and ' Ariel.' Of his works of a religious
character, the best are 'The Angel watching,' 'Prayer
and Eesignation,' ' David as the Slayer of Goliath,' and a
bas-relief illustrating the sentence, ' Go and sin no more.'
Other bassi-rehevi of classic subjects are very happily
treated by him ; among these may be mentioned, ' Paolo
and Francesco,' executed for the Marquis of Lansdowne ;
'Venus and Ascanius,' 'Venus instructing Cupid,' and
' Bluebell' and 'Butterfly,' designed for the Earl of Elles-
mere. The alto-rehevo on the pediment of the Eoyal
Exchange was also executed by him.
Westmacott is also known as a contributor to art-
literature. He supplied the articles on ' Sculpture ' for
the ' Encyclopaedia Metropolitana ' and the ' Penny Cyclo-
paedia,' and other papers on kindred subjects to several
publications. He has delivered Lectures on the ' History
and Principles of Sculpture' at the Eoyal and London
Institutions, and was chosen F.E.S. in 1857. He was
elected as an Associate of the Eoyal Academy in 1838,
Ch. XV.] WESTMACOTT — COCKERELL 199
and R.A. in 1849. He succeeded his father as Professor
of Sculpture in 1857, and was, in 1861, selected by the
Eoyal Academy to represent the art of sculpture at the
grand congress of artists of all nations held at Antwerp
in August of that year.
Four Architects were added to the roU of Academi-
cians during the period between 1830 and 1850, in
which Sir M. A. Shee was President These were, C. R
CockereU, elected in 1836; J. P. Deering (formerly Gandy),
in 1838 ; P. Hardwick in 1841, and Sir C. Barry in 1842.
Charles Eobbrt Cockeeell, E.A., was bom in London
in 1788, and was in his youth aflforded all the necessary
instruction to qualify him for his profession as an archi-
tect Before beginning to practise as such, however, he
proceeded to Asia Minor and Italy, where he made a long
stay, that he might study, carefully and systematically,
the chief classic remains of art. During this important
period of his life he not only examined what he saw,
but imdertook extensive excavations at jEgina, Phygaha,
&c., and brought home many of the antiquarian fragments
he discovered, which are now in the British Museum.
Thus prepared for the active duties of his profession,
he quickly obtained important engagements as an archi-
tect At both the Universities, Mr. CockereU has had his
skiU called into requisition — in 1840, for the new Li-
brary at Cambridge, his plan for which has only par-
tially been carried out ; and in 1845, for the University
Galleries at Oxford, a large and noble structure, the pecu-
harities of some parts of the plan having, however, at the
time called forth a variety of opinions for and against it.
His design for the College at Lampeter is in the Gothic
style, as are also the Chapel and Speech-room at Harrow,
and the Philosophical Institution at Bristol. In succes-
sion to Sir John Soane, he obtained the appointment of
Architect to the Bank of England ; and has from time to
200 raSTORY OF THE ROYAL ACADEMY [Ch. XV.
time carried out the extensive alterations which have
been required in that building during the last twenty-
five years, and has also erected the branch banks at
Liverpool, Manchester, and other places. The Assize
Courts and St. George's Hall, at Liverpool, were de-
signed by him, and also a large number of buildings for
commercial purposes in London, as the London and West-
minster Bank (in conjunction with Mr. Tite), the Sun
Fire Office, and the Westminster Fire OflBce.
In aU these buildings, so varied in their style and
character, there is so much originahty of design, and so
much inventive power in adapting them to their several
purposes and positions, that they have established Mr.
Cockerell's reputation as an architect of first-rate abihty.
From his early models, and from his careful study of the
works of Wren, he has always shown a strong bias for
the classic style of the Greek and Eoman types ; and he
has of late years evinced his knowledge of Gothic archi-
tecture by his careful illustrations of the west front of
Wells Cathedral, and of the sculptures, &c., of Lincoln
Cathedral, of which he has published some careful mono-
graphs, and also " An Architectural Life of WiUiam of
Wykeham." From time to time Mr. CockereU has ex-
hibited at the Academy drawings of some of the ruins
he visited in Italy, &c., and some plans and designs of
great interest ; one was ' A Tribute to the Memory of
Sir Christopher Wren,' exhibited in 1838, in which
he arranged together Wren's principal works, and drew
them to the same scale. This clever and useful design
has been engraved. Another, also done on one scale,
was entitled * The Professor's Dream,' and gave a synopsis
of the principal architectural monuments of ancient and
modern times.
Mr. CockereU was elected A.E.A. in 1829, and E.A.
in 1836. In 1839 he was appointed Professor of Archi-
tecture at the Eoyal Academy, in succession to Mr. Wil-
kins. The lectures he dehvered in that capacity were
Ch. XV.] • COCKERELL — DEERING 201
full of valuable information respecting the history and
theory of architecture, and were interesting to many
others besides professional students, from the notices they
contained of the works of Wren and of other buildings
famiUar to our eyes, as well as of notable works of art
in foreign countries. He resigned his Professorship in
1856. As a member of the Council of the Eoyal
Academy, he proposed the creation of Honorary Foreign
Members ; but after the subject had been fully discussed,
it was not found practicable to entertain the proposal.
He is himself one of the eight foreign Associates of the
Academy of the Institute of France, a Member of the
Academy of St. Luke at Eome, and of the Academies of
Munich, Berhn, &c. In 1860 he was elected President
of the Institute of British Architects, in succession to
Earl de Grey.
John Peter Deering, RA., was bom about 1788,
became a student at the Eoyal Academy in 1805, was
elected an Associate in 1826, and R.A. in 1838. His
name was originally Gandy, and he was a younger
brother of Joseph Gandy, the architect, who was also
an Associate of the Academy. In the commencement of
his career he was employed imder the auspices of the
Dilettanti Society to proceed upon a professional mission
to Greece. After his return, he designed, in conjunc-
tion with Wm. Wilkins, E.A., the University Club-House,
which was completed in 1826 ; and in 1831, Exeter
Hall in the Strand was erected from his drawings. His
professional career was, however, virtually brought to a
close in 1827, when he succeeded to a considerable
landed property in Buckinghamshire, and assumed the
name of Deering. In the first reformed Parliament, he
was returned as a Member for Aylesbury. He was fond
of his art ; and if he had not become independent of it,
and thus been tempted to relinquish his profession, he
possessed sufficient taste and ability to have led to his
202 fflSTORY OF THE ROYAL ACADEMY [Ch. XV.
attaining a distinguished position as an architect. He died
on March 22, 1850.
Philip Hardwick, E.A., was bom in June 1792, in the
parish of St. Marylebone, London. His father, John Hard-
wick (who had been a pupil of Sir William Chambers),
was also an architect, and built the new church of St.
Marylebone and Christ Church in the same parish. His
son PhiHp was educated at Dr. Barrow's School, in Soho
Square, and at an early age entered his father's office,
and prosecuted the study of architecture with great per-
severance. He also became a student at the Eoyal
Academy in 1808. In his twenty-fourth year he ob-
tained the appointment of Architect to the Hospitals
of BrideweU and Bethlehem, which he continued to
fill for twenty years, when his numerous engagements
compelled him to resign it. The better to qualify himself
for has profession, he visited France and Italy in 1818-
19. In 1825 he designed and superintended -the erec-
tion of the buildings for the St. Katharine's Docks (Tel-
ford being the engineer), and in 1827 succeeded his
father as architect to St. Bartholomew's Hospital. In 1829
he was appointed architect to the Goldsmiths' Company,
and shortly afterwards designed their new Hall. The
exterior, bold and well-proportioned in every part, was
completed in 1832, and the whole building — a noble
specimen of the architect's abiUties — was opened by a
grand banquet in 1835. The Grammar School at Stock-
port, erected in the Tudor-Gothic style in 1832, was
designed by Mr. Hardwick for the same company. He
became an Associate of the Eoyal Academy in 1839, and
RA. in 1841. The large entrance Gateway at the
Euston Square Station, in the Greco-Doric style, was
his next important work. In 1843 he commenced the
new Hall and Library for the benchers of Lincoln's Inn —
a noble structure in the Tudor style, built of red brick
with stone dressings. The Queen publicly opened this
Ch. XV.] HARDWICK — SIR C. BARRY 208
Hall in October 1845. A severe illness, from which,
unhappily, he has never thoroughly recovered, overtook
him during the progress of this work, in which he was
largely assisted by his son, Mr. Philip C. Hardwick, who
is also a talented architect.
Mr. Hardwick was elected a I^ellow of the Eoyal
Society in 1828 ; was Architect to Greenwich Hospital ;
and held a like appointment to the late Duke of Wel-
lington, whom he followed to his grave in St. Paul's in
that capacity. He has received the Eoyal Gbld Medal
from the Institute of British Architects, of which he is
a Fellow and Vice-President ; and was awarded one of
the Gold Medals at the Paris Exposition of 1855. From
1850 to 1861 he held the offices of Treasurer and Trustee
to the Eoyal Academy.
Sir Charles Barrt, RA., was bom in Bridge Street,
Westminster (opposite the clock-tower of the Houses of
Parliament) on May 23, 1795. He was the son of Mr.
Walter Barry, a stationer who was employed by Govern-
ment, and who left his family weU provided for. After
his school education was completed, he was articled to
Messrs. Middleton & Bailey, surveyors and architects at
Lambeth, with whom he remained about five years. In
1812 he exhibited his first drawing at the Eoyal Academy
(he was not then seventeen), and by a strange coincidence
it was * A View of the Interior of Westminster HaU,' the
building with which his future fame is so closely con-
nected. In the next year he sent an original design for
a church ; in 1814 a design for * A Museum and library,*
and in 1815 for ' A Nobleman's Country Mansion.' His
father died in 1816 ; and as he thus obtained a little
property, he resolved to travel. In April 1817, in com-
pany with two other young architects, he proceeded
to Florence and other Italian cities, where they employed
their time in measuring and drawing the chief buildings.
In 1818, in company with Sir C. Eastlake and others
204 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
whom he met at Eome, he proceeded to Greece, and
there made a large number of drawings. One of these,
' The West Front of the Parthenon,' was exhibited in 1821 ;
another, * The Temple of Theseus at Athens,' in 1823.
On his return to Eome, with a portfoUo full of sketches,
he met with a gentleman of fortune, Mr. Baillie, who
offered him an engagement as his travelling artist. With
him, in 1818-19, he went up the Nile and through the
Holy Land ; some of the sketches he then made were
afterwards engraved in " Finden's Landscape Illustrations
of the Bible," and ' A Street in Grand Cairo ' was ex-
hibited in 1824. At Sinai he met Mr. WiUiam Bankes,
who afterwards became a hberal patron ; and in July 1820
he returned to England.
During this useful and interesting tour, Barry (whose
early predilections were for Greek rather than Gothic
art), became confirmed as an admirer of the beauties of
Palladio, Sans Ovino, and Sans MicheU. He now es-
tabhshed himself in business at No. 39 Ely Place, and
married a lady to whom he had been long engaged,
Miss EowselL In 1821 he exhibited another of his
foreign views, * Euins of the Great Temple of Egyptian
Thebes ; ' and in 1822 he obtained his first commission
to erect a church — St. Matthew's — at Manchester, and
another the following year at Oldham. In that year he
also exhibited designs for St. Peter's, Brighton. Com-
missions for the erection of three churches in Ishngton and
a chapel at Birmingham were shortly afterwards given to
him ; and he found it necessary to make a tour through
England for the purpose of studying the mode of applying
Gothic architecture to such buildings. Employment was
now abundant, and in 1827 he removed his oflBce to 27
Foley Place, Marylebone. Meanwhile he had been ap-
pointed architect to Dulwich College, and was employed
to build a mansion in the pure Greek style for Sir T.
Potter, near Manchester, where he also erected the Eoyal
Institution of Arts.
Ch. XV.] Sm CHARLES BARRY 205
A long series of works was subsequently entrusted to
him. The Travellers' Club, erected in 1832 (the Carlton
Terrace front of which is especially fine), was the first
of those Italian palatial edifices which are now such a
conspicuous feature in Pall Mali and its vicinity, and
excited much notice by its elegant exterior and clever
internal arrangements. The College of Surgeons was
erected by him in 1835, and the Manchester Athe-
naeum, begun in 1836, was completed in 1839. After a
keen competition, his design for the Eeform Club was
accepted in 1837, being modelled after the Famese
Palace. Next came King Edward's Grammar School at
Birmingham, an elegant and handsome structure in the
Tudor-Collegiate style ; and the new buildings at Uni-
versity College, Oxford, in the same manner, in 1840.
One of his early designs for noblemen's mansions was the
villa for Lord Tankerville, erected at Walton-on-Thames.
Subsequently he was employed by the Duke of Suther-
land at Stafford House, Trentham, Chefden, and Dun-
robin Castle, nearly all of which he reconstructed, and
greatly improved and enlarged them. For the Earl of
Ellesmere he designed Bridgwater House in the Green
Park, in 1841 ; but his first plans were subsequently
altered, and the house was not erected till 1847-50.
At the same time he was employed in remodelling the
Treasury Buildings at Whitehall, originally designed
by Sir J. Soane ; and no architect perhaps has been so
successful as he was in adapting existing structural ar-
rangements, and converting buildings possessing no archi-
tectural attractions into others of great elegance in style
and appearance.
But the chief and endiu-ing monument of Sir Charles
Barry's fame is that great work — the Houses of ParUa-
ment — to which he devoted a large portion of the last
twenty-six years of his Ufe. The old building was de-
stroyed by fire in October 1834. A Eoyal Commission
was appointed, and an open competition for designs for
206 HISTORY OF THE ROYAL ACADEMY [Ch. XV.
the New Houses was announced by them (for which five
premiums of £500 were offered), which was responded
to by ninety-seven architects, who submitted as many
designs, comprising upwards of a thousand drawings.
One of these was imanimously assigned the preference
over all the others by the Eoyal Commissioners, and this
proved to be the one sent by Barry, and drawn chiefly
by his own hand. It was a condition of the competition,
that the building should be either Gothic or Elizabethan,
else Barry would in all probability have made his design
in the Italian style. It is not necessary here to describe
the work which then fell to the share of the architect.
It is one of the most magnificent buildings ever erected
continuously in Europe, and is probably the largest Gothic
edifice in the world, covering an area of nearly eight acres.
The facade on the river front is 940 feet in length, divided
into five principal compartments, panelled with tracery,
and decorated with rows of statues and shields of arms
of the kings and queens of England from the Conquest
The west, or land front, is not an uninterrupted line.
The Clock Tower, 40 feet square, and 316 feet high,
surmounted with a richly decorated belfry spire, is at the
north-east end. The central tower is 60 feet in diameter,
and 300 feet to the top of the lantern. Various smaller
towers break the line of the roof, until the Eoyal or Vic-
toria Tower is reached at the south-west angle, one of the
most splendid structures of its kind, 75 feet square, 336
feet high, richly and beautifiiUy groined, and decorated
with statues and ornaments. This is the Eoyal entrance,
leading to the Norman Porch, thence to the Eobing
Eoom, along the Eoyal Gallery, 110 feet long, to the
Prince's Chamber, and so to the House of Peers, gor-
geously enriched by ornamentation of many kinds, yet
so harmoniously blended that the eye, although resting on
such varied objects crowded together, is not wearied or
dazzled by them. The House of Commons is reached
by passing along the corridor across the Central HaU,
CH.XV.] Sm CHARLES BARRY 207
and is altogether simple in its decorations. From this
point St. Stephen's Hall (covering the site of the ancient
Chapel) is reached, and also Westminster Hall, which
has been slightly altered at the upper end, to connect it,
as a grand vestibule, with the main building. No de-
scription thus brief can give any idea of the amount of
elaborate design and workmanship bestowed on this
structure, which will carry down with honour to suc-
ceeding ages the name of the architect who designed and
so nearly completed it The building was commenced in
1837, as far as the coffer dams were concerned, the
first stone was laid on April 27, 1840, by the architect's
wife, without any public ceremony ; and the first stone
of the Victoria Tower was laid by that lady on her birth-
day, December 22, 1843. The House of Lords was
opened on April 15, 1847 ; and on the 2nd of February,
1852, the building was brought so near completion that
the new House of Commons and all the grand halls and
corridors were opened, and the Queen alighted for the
first time under the great tower. On the 11th of the
same month Mr. Barry received the honour of knight-
hood at Windsor Castle, — an honour worthily bestowed
by Her Majesty upon the architect, in recognition of
his important pubUc services.
Sir Charles Barry was suddenly removed from the
midst of his labours. On the 11th of May, 1860, he was
transacting business as usual at the Houses of Parliament,
and on the following day went to the Crystal Palace at
Sydenham. On his return he was seized with paralysis,
which terminated fatally in a quarter of an hour, even
before medical aid could be obtained. He was buried
(in a grave near that of Robert Stephenson) at West-
minster Abbey on the 22nd of May — an honour which
is accorded to few, but which was signally appropriate in
his case, since the modern work which will lend a lustre
to his name overshadows that ancient pile. The solemn
procession of Academicians, members of architectural
CHAPTER XVI.
Ch. XVI.] GEDDES — PATTEN 211
Other portraits, those of Wilkie, Henry Mackenzie — the
author of " The Man of FeeHng," — Dr. Chahners, and
other Scottish celebrities.
In 1814 he came to London ; and having previously
obtained a large amount of pubUc approbation in Scot-
land, he then entered his name as a candidate for the
Associateship at the Eoyal Academy. Not succeeding
the first year, he withdrew it, and id not again apply
for ten years, when he felt how unreasonable was the
offence he took at not receiving an immediate recog-
nition of his claims, to the prejudice of prior claimants.
In 1815 he visited Paris, and spent a portion of each
year after that period in London. In 1818 he painted
a picture of * The Discovery of the Kegalia in Scotland,'
introducing portraits of Sir W. Scott and other distin-
guished natives of Edinburgh. In 1828 he made a pro^
longed visit to Italy, Germany, and France ; and after
his return to England in 1831, he painted an altar-piece
for the church of St. James, Garhck Hill, the subject of
which was, ' Christ and the Woman of Samaria.' In 1832
he was elected an Associate of the Eoyal Academy. He
was chiefly a portrait painter, but executed also a few
historical pieces, and occasionally landscapes. His small
full-length portraits are the best He was a skilful etcher
in the manner of Eembrandt, but his productions in this
style were not published. One of his pictures, * A Por-
trait of Terry, the Actor, and his Wife ' — the sister of
Patrick Nasmyth — who has read her husband to sleep, is
in the Vernon Gallery. For four years before his death
he suffered from the effects of consumption, and at length
fell a victim to that disease, on the 5th of May, 1844.
George Patten, A.E.A., is the son of a miniature
painter, and was bom on June 29, 1801. Desiring to
foUow his father's profession, he became a student at the
Eoyal Academy in 1816, and diligently applied himself to
the study of the human form. Several years afterwards,
F 2
212 iriSTORY OF THE ROYAL ACADEMY [Of. XVI.
in 1828, he again became a student at the Academy —
a rare circumstance in an artist's life — in order that he
might qualify himself for the change in his style of
painting which he was anxious to effect. He practised
as a miniature painter till 1830, when he abandoned that
method for oil-painting, which he has constantly pur-
sued ever since. In 1837 he went to Italy, visiting
Home, Venice, and Parma, for the purpose of study,
and was elected an Associate of the Eoyal Academy.
After his return to England, he visited Germany, where,
in 1840, he painted a portrait of the late Prince Consort,
who subsequently conferred upon him the appointment
of Portrait Painter in Ordinary to His Eoyal Highness.
His chief employment has been in painting presentation
portraits on a large scale, many of which have been
annually exhibited at the Academy. Among his works
of this class was a portrait of Signor Paganini (1833),
the only one ever painted of the famous musician. This
picture and another, ' Dante in Inferno,' were selected by
the Eoyal Academy for exhibition at the Paris Universal
Exposition in 1855. In addition to these he has pro-
duced a variety of classical and fancy subjects, in which
he has displayed a great deal of spirit, and has succeeded
in portraying natural flesh tints with great success.
Among them are — 'A Nymph and Cupid' (1831), 'A
Bacchante' (1833), 'Maternal Affection' and ' Cymon
and Iphigenia ' (1834), ' Bacchus and Ino ' (1836), ' The
Passions' (from CoUins's Ode), 1838, 'Eve' (1842),
' The Madness of Hercules ' (1844), ' Hymen burning
the Arrows of Cupid,' ' Cupid taught by the Graces,'
and 'Flora and Zephyrus' (1848), ' The Destruction of
Idolatry in England' (1849), 'The Prophet Isaiah,'
' Susannah and the Elders,' and ' The Bower of Bliss' — a
subject from Spenser — (1858), ' Bacchus discovering the
Use of the Grape, ' Apollo and Clytie' (1859), &c.
John Hollins, A.EA., was bom in 1798 at Binning-
Ch. XVI.] HOLUNS — DUNCAN 213
ham, where his father was a portrait painter. His own
practice was chiefly in the same style, his portraits being
characterised by much freedom and vigour, although
deficient in grace and delicacy of handling. In the early
part of his career he painted>some pictures illustrating
history, and the works of the poets and noveUsts.
Among these the best were, ' A Scene from the life of
Benvenuto Cellini ; ' ' 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 ; ' ' Margaret at her Spinning- Wheel,*
from " Faust ; " * A Scene from " Gil Bias," ' &c. Subse-
quently he began landscape-pieces, in which he intro-
duced prominent figures, as in 'The Hayfield,' * Dover
Hovellers,* ' Coast-Guard — Clifis near Dover,' ' A Scene
on Deal Beach,' * The Fish-Market and Port of Dieppe,'
' Grouse-shooting on the Moors,' * Young Highlanders —
Scene in Argyleshire,' * Gillies with a young Heron,'
' Scene near Loch Inver, with Portraits ; * * A View of
Loch Etive,' and one, painted the year before he died,
in conjunction with F. E. Lee, E.A., ' Salmon-fishing on
the Awe,' in which representations of several well-known
sportsmen were introduced. He was elected A.E. A in
1842, and died at his residence in Bemers Street, on the
7th of March, 1855.
Thomas Duncan, A.E.A., was bom on 24th of May,
1807, at Kinclaven, in Perthshire, and was educated in
Perth, where his parents went to reside soon after his
birth. In his boyhood he took great delight in painting
portraits of lus young companions ; and while yet a school-
boy, he painted the scenery for a dramatic representation
of '* Bob Eoy," got up in his school. His parents feared
that painting might be improfitable as a profession, so
placed him in a writer's office, where he fulfilled the
allotted period of his engagement, and afterwards visited
Edinburgh, where he became a student at the Eoyal
214 inSTORY OF TIIE ROYAL ACADEMY [Ch.XVL
Scottish Academy, under the then new president, Sir
W. Allan. His strong desire to become a painter, when
guided and directed by judicious teaching, soon de-
veloped his natural talent ; and in drawing the himian
figure he quickly excelled all his compeers in the
Academy. His first exhibited picture was ' The Milk-
maid,' followed by ' Old Mortality ' and ' The bra' Wooer.'
These alike displayed his correct drawing, fine feeling,
and masterly execution to great advantage, and led to his
appointment, at a comparatively early age, as Professor of
Colour and Drawing in the Academy art Edinburgh, of
which he was also elected an Associate.
Having thus acquired considerable local celebrity,
Mr. Duncan, in 1840, sent to the Boyal Academy Exhi-
bition in London his picture of ' Prince Charles Ed-
ward and the Highlanders entering Edinburgh after the
Battle of Prestonpans,' a fine work, afterwards engraved
by Bacon. The next year he exhibited a lovely picture,
' The waefu' Heart,' from " Auld Eobin Gray ; " in
1842, 'Deer-stalking;' and in 1843, 'Prince Charles
Edward asleep after the Battle of Culloden, protected by
Flora M'Donald,' which has also been engraved, by Mr.
Eyall In this year he was elected an Associate of the
Eoyal Academy. In the following year he exhibited
' Cupid ' and ' The Martyrdom of John Brown of Priest-
hill in 1685.' While thus but at the commencement of
a prosperous career, he was removed from this life on
the 25th of May, 1845, in his 38th year. Had he been
spared, he would doubtless have attained to eminence
as a historical painter ; for notwithstanding some defects
in his costumes and accessories, there were so many
excellences in his pictures, in their composition, colour-
ing, and chiar'oscuro, that he could not fail to have
risen to be one of the ornaments of the British school.
His portraits also were faithful and artistic; that of
himself was purchased by subscription by his coimtry-
men, and presented to the Eoyal Scottish Academy.
Ch. XVI.] DUNCAN _ COOPER 216
There he bore a high name as a patient, kind, and
anxious instructor of the students, and in all the re-
lations of domestic life he was highly esteemed ; hence
his los8 was alike lamented by his Mends and by the
admirers of art
Thomas Sidney Cooper, A.K.A., was bom at Canter-
216 HISTORY OF THE ROYAL ACADEMY [Ch. XVI.
I asked, "I never heard of the word.' 'Well,' he
rephed, * my boy, it is that necessary principle of art
that makes a thing look large although at a distance ' (I
now suppose he paeant its retaining its real size although
appearing small to the spectator) ; ' and if you will come
to me to-morrow morning, I will teach you. My address
is at the theatre.' " Cooper's new friend was a Mr. Doyle,
by whom he was initiated into the first principles of art ;
but the season at the theatre soon expired, and his
instructor left the place.
By the sale of his sketches he was subsequently enabled,
at his own expense, to join Mr. John Martin's evening
classes ; and by assisting his junior pupils afterwards, re-
ceived his own instruction gratis. Mr. Doyle returned to
Canterbury the following year, but died soon after his
arrival ; and Mr. Dowton, the proprietor of the theatre,
engaged Cooper to finish the scenery commenced by
Doyle, and recommended him for similar employment at
Feversham, where he painted the scenery for " Macbeth "
and other pieces. In 1820 he went to Hastings, where he
painted during the whole of the summer. At the request
of his uncle, a clergyman, who objected to his wander-
ing, uncertain mode of hfe, he came to London on the
promise that he should become a student at the Eoyal
Academy. Two years elapsed before he could accom-
phsh this object ; but in 1823 he began studying at the
British Museum, and was introduced by Sir T. Lawrence
to the Angerstein Gallery, and in 1824 to the schools of
the Academy. After nine months spent there, however,
his imcle declined to retain him any longer in his house ;
and from 1824 to 1827 his chief occupation was teaching
at Canterbury and in the surrounding towns. Finding
this employment greatly reduced by the arrival of a
French gentleman who settled as a drawing-master in his
native city, he resolved to try his fortune, in company with
a schoolfellow, also an artist, in a foreign land. Accord-
ingly they set sail from Dover for Calais, and there earned
Ch. XVL] T. S. COOPER 217
a few francs by painting the portraits of the landlord of the
inn at which they put up, and of several members of his
family. They found similar occupation at Gravelines and
Dunkirk, and proceeded by Bruges and Ghent to Brussels.
There they took lodgings, and exhibited their drawings in
the window. These attracted attention ; and the pencil
sketches of landscapes executed by Cooper proved very
profitable and obtained many pupils for him. Thus for
four years he continued to labour, enjoying the highest
patronage of the place. He married an English lady
resident there, and gained the friendship of Verboeck-
hoven, the great animal painter, to whom (although he was
unable to devote any of his time to study under his guid-
ance) he has always attributed his own success in that
branch of the art for which he is now so much cele-
brated.
During a tour in Holland for the purpose of making
sketches of the principal towns, CSooper had the oppor-
tunity of becoming acquainted with the works of the
great animal painters of the Dutch school, and for the
first time became impressed with the feeling that this
style of art was not adequately developed in England.
The Eevolution which about that time broke out at
Brussels, hastened his return to his wife, whom he found
with her child, outside of the town at her father's house,
and her only brother kiUed in the conflict. Dreadful
scenes followed ; and after nine months of anxiety and
suffering, undergoing imprisonment and overcoming many
difficulties. Cooper was compelled to return to England.
In 1831 he again commenced his career as an artist in
this country, without friend or patron. Conscious of his
own love for art, and resolving to establish his reputation
as a painter, he commenced a course of study, drawing
animals in the fields and landscapes from nature during
the day, and in the evening making pencil sketches and
drawings on stone, to support his famUy.
Thus he continued to labour till 1833, when he exhi-
218 HISTORY OF THE ROYAL ACADEMY [Ch. XVI.
bited his first picture at the Suffolk Street Gallery, which,
to his delight, was purchased by Mr. Vernon. " Then it
was," he tells us in his autobiography, " on my first visit
to my dear mother and family, that my townsmen received
me with open hands, congratulating me on the distin-
guished position to which I was raising myself. Yes,
these very persons who never helped me when I needed
assistance, who never put forth the fostering hand to the
* poor artist boy,' now assumed the credit and participa-
tion in the honour I was gaining, and called me their dis-
tinguished townsman, and praised that structure to which
they gave no helping hand ! Subsequently, irom year to
year, I met with equal success, till, in 1845, 1 was elected
an Associate of the Boyal Academy ; previous to attaining
which object of my ambition, I lost her who was my best
friend, who consoled me in all difficulties and sustained
me in all circumstances, who rejoiced with me in my suc-
cess and was one whose agreeable society and amiable
disposition gained her many friends, and whose death has
left a void which eternity only can fill." The wife to
whom he thus tenderly alluded died in 1842.
For many years some of his works have been annually
exhibited at the Eoyal Academy, and others also at the
British Institution. The charm of his pictures lies more
in the pure feeling of nature, and in the knowledge and
masterly use of the means of representation which they
manifest, than in the subjects chosen by him ; for, like
Cuyp and Paul Potter, his pencil wanders exclusively
among farm-yard scenes and green pastures, whether on
lowland or on moors, among oxen, cows, sheep, and
goats. Since 1848, he has painted frequently in con-
junction with F. R Lee, E.A., in whose beautiful land-
scapes he has successftdly introduced some of his most
charming groups of cattle and sheep. His animals are
perfect in naturalness of attitude and occupation, in
colour and texture. All his pictures are more or less
identical in character, but each is excellent of its kind.
CH.XVI.] COOPER — FROST 219
He has painted more than a hundred large groups of
cattle, &c., mostly commissions. In 1860 he deviated
from his ordinary style, delicious as it was, and exhibited
a snow scene, ' Crossing Newbiggin Moor, East Cumber-
land, in a Snow-drift : ' a work of great truthfulness and
power. Two good specimens of his usual subjects are in
the Vernon Gallery, 'A Farm-yard: Milking Time,' a
study near Canterbury, painted in 1834; and 'Cattle —
Early Morning on the Cumberland Hills ' (1847).
WiLUAM Edward Frost, A.E.A., was bom at Wands-
worth, Surrey, in September 1810. His jEather early
discovered his unmistakable passion for art ; and after he
had learnt something of drawing from Miss Evatt, a
neighbour, who was a clever amateur artist, he was intro-
duced to Etty at the time when he was painting his
picture of ' Woman Pleading for the Vanquished.' From
that time he became the young aspirant's friend and
adviser ; and the subjects he chose are those to which
Frost has since applied his own pencil. By his advice he
was placed at Mr. Sass's Academy, in Bloomsbury Street,
where he studied for three years during the summer
months, and in the British Museum in the winter. In
April 1829, he became a student at the Eoyal Academy,
and dihgently laboured to qualify himself for his adopted
profession by constant attendance in the Life School.
As the reward of his assiduity, he gained the first medals
in each of the schools — except in the Antique, where he
had Maclise for a competitor. He began his career by
paintingportraits, executing some three himdred such works
in the course of the first fourteen years, few of which^
however, were exhibited at the Eoyal Academy ; only one
in 1836, and two in 1839. In the last-named year he
competed for the gold medal, and gained it, for his picture
of 'Prometheus bound by Force and Strength,' which
was exhibited the following year. In 1842, he exhibited,
at the British Institution, a small pictiu-e full of humour.
220 HISTORY OF THE ROYAL ACADEMY [Ch. XVI.
entitled ' Consequence/ which at once found a purchaser ;
and in the Cartoon Exhibition at Westminster Hall, he
gained the £100 prize for 'Una alarmed by the Faims
and Satyrs.' In 1843, he exhibited at the Academy a
picture of ' Christ crowned with Thorns,' which was
selected by a prize-holder of the Art-Union. In the same
year, a sketch, ' Confidence,' was sold from the British
Institution ; and the next year, ' A Bacchanalian Dance,'
from the same place, and ' Nymphs Dancing,' from the
Academy.
These pictures were the beginning of that series of
subjects of a sylvan and bacchanahan character, suggested
by Spenser and Milton, which Mr. Frost has since
pursued with so much success — combining the charm
of the grace and loveUness of the female form with the
brightness and beauty of the scenery of nature. In 1845
appeared his admirable picture of 'Sabrina,' engraved
for the Art-Union of London. The next year 'Diana
and Actajon,' bought by Lord Northwick, which obtained
for him his election as an Associate in the following
November. His picture of ' Una and the Wood Nymphs,'
exhibited in 1847, was purchased by Her Majesty ; and
that of ' Euphrosyne,' painted in the next year for Mr.
Bicknell, was afterwards repeated for the Queen as a gift
to her Eoyal Consort, and obtained the prize at the
Liverpool Academy, where it was also exhibited. His
chief works since have been 'The Sirens,' 1849 and
1860 ; ' The Disarming of Cupid,' painted for the late
Prince Consort, and ' Andromeda,' in 1850 ; the ' Wood
Nymphs,' and 'Hylas,' in 1851; 'Nymph and Cupid,'
and * May Morning,' in 1852 ; * Chastity,' 1854 ;
* Bacchante and Young Fawn Dancing,' 1855 ; * The
Graces,' 1856; 'Narcissus,' 1857; 'Euphrosyne,' 1858;
' The Daughters of Hesperus,' 1860 ; ' Venus lamenting
the Absence of Adonis,' and ' A Dance,' 1861. He has
also contributed annually some smaller works of great
beauty and merit to the British Institution.
Ch. XVI.] FROST - TIIORBURN 221
Although Frost has followed Etty in some degree in
choice of subject, in mode of colouring, and style of
composition, he certainly cannot be regarded as his
imitator, for he differs materially from him in the chastely-
correct and highly-finished manner in which he depicts
the undraped nymphs in his pictures. They are always
full of grace and refinement, of beauty and feminine
simplicity ; and there is nothing in his pictures which the
most delicate and highly-cultivated taste could disapprove.
Although he has confined himself to a certain class of
subjects, he has so much inventive power, and such a
well-stored mind, that, if he chose, he could labour with
equal success in a much wider field. His works typify his
character, which is described by all who know him inti-
mately to be ftiU of purity of thought and purpose, and of
great amiabihty and gentleness of disposition.
EoBERT Thorburn, A.R.A., was bom in March 1818,
in Dumfries, where his father was engaged in trade,
and where one of his brothers became a skilful carver
in wood. He was educated at the High School there.
When a mere boy, a lady observed him drawing on a
stool in his father's shop, and afterwards helped him in
his artistic efforts. In 1833 some gentlemen of the town
provided him with the means of proceeding to Edin-
burgh, where he became a student at the Eoyal Scottish
Academy. He was dihgent and painstaking ; and, imder
Sir Wm. Allan, made rapid and decided progress, and
gained the highest prize. After residing for some years
in Edinburgh, he went to London, and became a student
at the Eoyal Academy in 1836. The Duke of Buccleuch
gave him introductions to the best circles in the me-
tropolis ; and he has since devoted himself exclusively to
portraiture, in which he has deservedly attained to great
eminence.
The exquisite miniatures which he exhibited for many
years at the Eoyal Academy were scarcely less attractive
222 HISTORY OF TIIE ROYAL ACADEMY [Ch. XVI.
to the visitors than those of Sir Wm. Eoss ; and it is to
be regretted that this elegant branch of art has declined
before the advance of the process of photography, since,
whatever the superior advantages of the latter in some
respects, we lose, in good miniatures, permanent artistic
works of real beauty. Many of those by Thorbum were
fiill-length portraits in a landscape or interior, which,
thus elaborately detailed, constituted pictures of great
interest ; while the brilliancy of colour, the great power
of expression, the exquisite finish, and the calm grace and
dignity of position and feature with which he invested
his subjects, rendered them worthy of careful study and
examination.
In 1846 he received his first commission from Her
Majesty, and he has since painted miniatures of most of
the members of the Eoyal family. In 1848 he was
elected an Associate of the Boyal Academy. More re-
cently he has painted large portraits in oil and chalk,
which possess great freedom and power of resemblance ;
but they have not the especial attraction of the works by
which he acquired his fame, although they are bright in
general tone, and well painted both in the flesb and
draperies.
EoBEET Graves, A.E., was bom on the 7th May, 1798,
in the parish of St. Pancras, and is a member of a family
long celebrated as printsellers in London — his brother,
Mr. Henry Graves, carrying on the business in Pall Mall
which was estabUshed by Alderman Boydell, and con-
tinued by Hurst and Eobinson, and Moon, Graves and
Boys. In 1812 he became a pupU of Mr. Joljn Eomney,
the engraver, and afterwards studied in the life School,
then held in Ship Yard, Temple Bar. From making a
large number of drawings in pen and ink, he proceeded
to engraving illustrations for the Annuals, the Waverley
Novels, the " Art Journal," &c.
In 1832 Mr. Graves was married to Miss L. M. Percy,
Ch. XVI.] GRAVES - WILLMORE 223
by whom he has had two sons. On the death of James
Fitder, he was elected an Associate Engraver of the Eoyal
Academy, in 1836. He has since been engaged on many
interesting and important works. Among the larger
plates engraved by him are, ' The Abbotsford Family/
after Wilkie ; ' The Examination of Shakspeare,' ' The
Castaway,' and ' The First Eeading of the Bible in Old
St. Paul's,' all after G. Harvey, E.S.A. ; ' The Highland
Whisky Still,' after Sir E. Landseer; *The Baron's
Charger,' after J. F. Herring ; ' Cromwell refiising the
Crown,' after C. Lucy ; and ' A Slide,' after T. Webster,
R.A. Among his smaller plates, the best are, 'The
Virgin with the Eosary,' after MuriUo ; ' The Children of
George HI.,' after Copley ; ' The Sisters,' after Eastlake ;
*The Princess Victoria Gouramma of Coorg,' after
Winterhalter ; and ' The Princess AmeUa,' by Lawrence,
from the originals in the Eoyal Collection. Li all these
productions there is evidence of a thorough knowledge of
his art, and a successful rendering of the character and
effect of the original works.
James Tibbetts Willmobb, A.E., was bom at Hands-
worth, in Staffordshire, on the 15th September, 1800.
He was articled as a pupil to the late Mr. Eadclyffe the
engraver, of Birmingham ; and in 1823 came to London,
and was for three years an assistant of Mr. Charles Heath.
He was elected as an Associate-Engraver by the Eoyal
Academy in 1843.
He has engraved a large number of interesting and
important works. Among them, ' Crossing the Bridge '
and 'Harvest in the Highlands,' after Landseer; 'Til-
bury Fort,' 'The Ehine,' and 'Powys Castle,' after
Callcott ; an ' Italian Town,' after Stanfield ; ' The Gate of
the Seraglio at Constantinople,' after Danby ; and ' Ancient
Italy,' ' BelUni's Picture carried to the Church of the Ee-
demption,' ' The Golden Bough,' ' Mercury and Argus,'
'The old T^m^raire,' 'The Temple,' 'The Dogana,'
224 HISTORY OF THE ROYAL ACADEMY [Ch. XVL.
' Tancarville,' * Llanberris,' ' Uanthony,' * Alnwick Castle,*
and other works by Turner. In all of these he has dis-
played great taste and ability, and a desire carefully to
render the style of the artists whose pictures he has
engraved. Declining health has, unhappily, recently
prevented him from pursuing his profession.
CHAPTEE XVn.
THE ROYAL ACADEMY UNDER THE PRESIDENTSHIP OF SIR
CHARLES LOCK EA8TLAKE.
(Vioitt of a new President — Tkt late Pnttce Contort'* Tedinumy to the Qualtfi-
nrtiww of Sir C. Eadhke for the Office — The IVrtidetU'l Fird Addrem —
The Great Exhibition of 1851 — T7te Academy Diimer, and the laU Prince
Comorl't Addreu — Convertaaone for Exhihitora eitablithed — Dittribxdion
of Gnld Medali—Channe* in the School* — The Science and Art Department
eMiihUthed— The Otiild of Liierature and Art — Speechet at the Annual
Sinner, \B&2 — Vamithing Dayi ditcontinued — The Nallonat Qtdlery and
the Turner Cailection of Pktura— The new Historical PortraU Gallery —
.Formation of the Iiulifide of BrituA Sctdptort — Engratieri' Ctn'mi to full
Academic ffonoure— The Dublin Erhibition, \8I>A~ 77ie Preiidenfi Addreti
— Enffravert efected ai Academiciaiu — Lord Mayor Moon'i Dinner to the
Boyal Academy — The Pretident appointed Director of the National QaUery—
Parii ErpoM^ion, 1806 — Academy Exhibition, ISlifl — La»i» of Copyright in
VOL. 11. Q
226 HISTORY OF THE ROYAL ACADEMY [Ch. XVH.
Art — Additional Lectures at the Academy — Gold Medals distributed hy
the President in 1857, and his Address to the Students — Manchester Art-
Treasures' Exhibition — TTie Sheepshanks^ Collection — Report of the Commission
on the Site for a New National Gallery — Parliamentary Proceedings relating
to the Academy y 1858-59 — Proposed Assignment of a Site at Burlington
House for a New Academy — LordLyndkursfs Address to the House of Lords
— Communication between the Academy and the French Government, on Art
— Retirement of Sir Robert Smirke, M,A, — Publication of a Report by the
Council on the History and Proceedings of the Royal Academy — Alterations
in the E^chtbition Rooms — Admission of Female Students to the Schools —
Revised Code of Regulations for Students — Changes among the Officers and
Members — ExhtbitionSy and the Receipts from them — Items of Expenditure
— Address of Condolence to the Queen on the DeatJi of the Prince Consort —
List of Present Officers and Members of the Royal Academy,
FOR some time before the decease of Sir Martin A.
Shee, the probability of that event — considering his
enfeebled state during the last three or four years of his
long and usefid life — had naturally forced itself upon
the attention of the Eoyal Academicians and the public.
When, in August 1850, the venerable President who had
so ably resisted all encroachments upon the rights of the
institution, passed away, the members had no hesitation
in nominating as his successor Mr. Charles Lock East-
lake, whose high reputation as a painter, whose abihties
as a scholar and a writer upon art, and whose courtesy
and high principle as a gentleman, combined to quahfy
him pre-eminently for the duties of the office which Rey-
nolds, West, Lawrence, and Shee, had filled before him.
A difficulty, however, presented itself, in the circumstance
that he was at that time filling the office of Secretary to
the Royal Commission on the Fine Arts ; and it became a
question whether he could discharge the onerous duties
of that office, and yet occupy the high position to which
his brethren desired to elevate him in the Royal Aca-
demy. He felt that he was bound in honour to retain
his post in the Royal Commission, which he had filled
with so much advantage to the arts, and to the country,
since its formation, until his labours were completed ; and
it was not till it was determined that he should continue
to hold that office, that he accepted the added dignity of
Ch. XVn.] ELECTION OF SIR 0. L. EASTLAEE 227
the Presidentship of the Eoyal Academy. Her Majesty
had previously privately intimated to Sir Edwin Landseer
(who was then at Balmoral), that EasUake's appointment
would be highly agreeable both to herself and the Prince
Consort. This was made known to him by Leslie, who
says, " we had determined to vote for him whenever the
vacancy should occur, long before we knew how accept-
able the choice would be to the Queen." Thus unani-
mously raised to the position for which he was so emi-
nently qualified, Mr. Eastlake was informed that Her
Majesty had been pleased to confirm the selection of his
brother Academicians, and to bestow on him the honour
of knighthood ; and the late lamented Prince Consort, as
President of the Eoyal Commission, bore testimony to
the value of the services rendered by Sir Charles Eastlake
as its Secretary, on the occasion of ihe first annual dinner
at the Academy after his election as President (May,
1851), when his Eoyal Highness said : —
*' Although I have^ since my first arrival in this country,
never once missed visiting the exhibition of the Royal Academy,
and have always derived the greatest pleasure and instruction
from those visits, it is but seldom that my engagements will
enable me to join in your festive dinner. I have, however, on
this occasion, made it a point to do so, in order to assist at
what may be considered the inaugurative festival of your newly-
elected President, at whose election I have heartily rejoiced —
not only on account of my high estimate of his qualities, but
also on account of my feelings of regard towards him personally.
It would be presumptuous in me to speak to you of his talent
as aa artist, for that is well known to you, and of it you are
the best judges ; or of his merits as an author, for you are all
familiar with his books — or, at least, ought to be so ; or of his
amiable character as a man, for that also you must have had
opportunities to estimate ; but my connection with him now for
nine years, on Her Majesty's Commission for the Promotion of
the Fine Arts, has enabled me to know, what you can know less,
and what is of the greatest value in a President of the Royal
Academy — I mean that kindness of heart and refinement of
feeling which guided him in all his communications, often most
q2
228 HISTORY OF THE ROYAL ACADEMY [Ch. XVIT.
difficult and delicate^ with the different artists whom he had to
invite to competition, whose works we had to criticise, whom we
had to employ or reject."
It has already been stated that the Academicians voted
an annual pension of £300 a year to Sir M. A. Shee
during the last few years of his life. On the election of
his successor to the presidental chair, it was proposed by
C. E. Leslie that the sum thus voted should be continued,
and the suggestion was readily adopted. He tells us,
however, that " some of the Academicians considered it
undignified that the President of the Boyal Academy
should be paid for his services — a view, I confess, en-
tirely opposite to that which I take of the matter* In
the first place, £300 a-year (voted until the bequest of
Chantrey comes into effect) is no payment for the time
and money the President is now called on to expend in
the service of the Academy ; and in the second, it seems
to me that it would be much less dignified in that body
to allow a distinguished artist to make the great sacrifices
he must make for the benefit of the institution, wholly
without remimeration."
Sir Charles Eastlake made his first public appearance
as President on the 10th of December, 1850, the eighty-
second anniversary of the foundation of the Eoyal Aca-
demy, when a large number of the Academicians and
Associates assembled to witness the distribution by him
of the prizes to the students. In a brief address, he re-
ferred to the time when he had himself been one of their
number in their old rooms at Somerset House, and had
to contend with all the difficulties and disappointments
which must be felt at some time or other even by the
most assiduous in the path to artistic reputation ; and
he put it to them, that if such be the lot of the diligent
students, what can they expect who neglect half the op-
portunities afforded them for improvement, or mis-spend
the time which ought to be employed in close and ener-
getic study ? Whiltf thus urging all to greater perseve-
Ch. XVIL] the prince and the exhibition of 1861 229
ranee, he however complimented the students upon the
attention, good conduct, and satisfactory progress they
had manifested during the past season, and which had
determined the council to award an extra medal in each
of the schools. Before dispensing these valued gifts, he
referred to the great and varied talents of the late Presi-
dent, Sir Martin Archer Shee, alike as a painter and as a
poet and writer on art, and also to his kind and judicious
deportment towards the students, upon whom he always
endeavoured to inculcate the principles of sound morality
and the habits of gentlemen, while urging them to store
their minds with subjects upon which to exercise the
art of which they were acquiring a knowledge. Allusion
was also made to the resignation of the office of Keeper,
by Mr. George Jones, whose watcliful attention to all the
wants and interests of the students, and his habitual cour-
tesy and kindness, had won for him the high esteem and
respect of all those placed under his guidance in the
schools. The office has since been filled by Charles Land-
seer, xCxx.
The year 1851 will be memorable in English annals
as that in which the Exhibition of the Industry of All
Nations was held, and which was the precursor of many
similar displays in other coimtries, and in our colonies, in
subsequent years. The first suggestion for this great
design was made by the late lamented Prince Consort,
who, in this as in so many other things, showed his wis-
dom, taste, and judgment, and practically exercised an
influence for good upon the country which was so proud
to own him as only second to the Sovereign in their re-
gard and honour ; and whose removal in the midst of his
useful plans and purposes has shed so deep a gloom, not
only over the inner circle of the Boyal Family, but over
the whole country. We did not know how much we loved
him till he had been called to his reward ; w^e did not
estimate his ceaseless labours for the promotion of all that
was good and useful in social progress, in literature, science
280 HISTORY OF THE ROYAL ACADEMY [Ch. XVII.
and art, until his work was done, and we could no longer
reap the advantage of his highly cultivated intellect and
his no less noble heart, both alike devoted to the wel-
fare of our country.
Although the Fine Arts, strictly so trailed, with the
exception of sculpture, found no place in the Crystal
Palace in Hyde Park, the application of art to manufac-
tures, and the improvements suggested in the design and
ornamentation of objects in e very-day use in our homes,
produced a most beneficial effect upon the popular taste
for the beautiful. Sculpture found in that building a noble
opportunity for displaying its powers. Baily, McDowell,
Foley, Marshall, and Weekes, contributed by their works
to maintain, in conjunction with other English sculptors,
the reputation of our native artists in competition with
those of other nations. The impulse thus given to art-
manufacture, and to the cultivation of a more refined
taste in design and for the Fine Arts, has since shown
its fruits in the remarkable improvement and progress
which has taken place in both respects within the last ten
years. That six milUons of visits to the Great Exhibition
were paid for, and that a surplus of some £150,000
should remain after all expenses incidental to the under-
taking were defrayed, is a proof of the wide influence
which it exercised upon the population of England, and
upon those who were attracted by it to our shores from
abroad.
The opening of this remarkable Exhibition immediately
preceded that of the Koyal Academy, and for a short
time considerably diminished the number of those who
usually throng its rooms for the first few weeks after the
opening. Subsequently, the number of visitors to the
Academy increased beyond those of any preceding year
in its history ; and to meet the necessity of affording as
many as possible of the strangers then visiting the metro-
polis an opportunity of seeing our chief annual display of
art, the exhibition was kept open till the 16 th of August,
Ch. XVn.] THE PRINCE'S SPEECH AT THE ACADEMY 231
instead of being closed, aa usual, in the last week of the
month of July. The large number of 136,821 persons
visited the ediibition, and the amount of the receipts
from the charge for admission and the sale of catalogues
in the year 1851, was £9,017 95. The exhibition was
admitted to be one of the most interesting that had been
seen for years, and was rich in works of merit. The
232 mSTORY OF THE ROYAL ACADEMY [Ch. XVII.
warmth of feeling, and a free flow of imagination. This renders
them most tender plants^ which will thrive only in an atmosphere
calculated to maintain that warmth ; and that atmosphere is
one of kindness — kindness towards the artist personally, as
well, as towards his production. An unkind word of criticism
passes like a cold blast over their tender shoots, and shrinks them
up — checking the flow of the sap which was rising to produce,
perhaps, multitudes of flowers and firuit. But still criticism is
absolutely necessary! to the development of art; and the in-
judicious praise of an inferior work becomes an insult to superior
genius. In this respect, our times are peculiarly unfavourable,
when compared with those when ^ Madonnas ' were painted in
the seclusion of convents ; for we have now, on the one hand,
the eager competition of a vast array of artists of every degree
of talent and skill, and, on the other, as judge, a great public,
for the greater part wholly uneducated in art — and this led by
professional writers, who often strive to impress the public with
a great idea of their own artistic knowledge by the merciless
manner in which they treat works which cost those who produced
them the highest efforts of mind and feeling. The works of
art, by being publicly exhibited and offered for sale, are be-
coming articles of trade, following, as such, the unreasoning
laws of markets and fashion; and public and even private
patronage is swayed by their tyrannical influence. It is, then,
to an institution like this, Gentlemen, that we must look for a
counterpoise to these evils. Here young artists are educated,
and taught the mysteries of their profession ; those who have
distinguished themselves, and given proof of their talent and
power, receive a badge of acknowledgment from their profes-
sional brethren, by being elected Associates of the Academy,
and are, at last, after long toil and continued exertion, received
into a select aristocracy of a limited niimber, and shielded in
any further struggle by their well-established reputation, of
which the letters * E.A.,' attached to their names, give a pledge
to the public. If this body is often assailed from without, it
shares only the fate of every aristocracy ; if more than another,
this only proves that it is even more difficult to sustain an
aristocracy of merit than one of birth or of wealth, and may
serve as a useful check upon yourselves, when tempted, at your
elections, to let personal predilections compete with real merit.
Of one thing, however, you may rest assured ; and that is, the
CH.XVII.] THE CONVERSAZIONE FOR EXHIBITORS 283
continued favour of the Crown. The same feeling which actuated
George III. in founding this institution, still actuates the Crown
in continuing to it its patronage and support, recogaising in you
a constitutional link, as it were, between the Crown itself and
the artistic body ; and when I look at the assemblage of guests
at this table, I may infer that the Crown does not stand alone
in this respect, but that those feelings are shared also by the
great and noble in the land. May the Academy long flourish,
and continue its career of usefulness!''
The close of the exhibition, the opening of which
was thus auspiciously inaugurated, was followed by a
Conversazione to the general body of exhibitors, which
was attended by a large number of visitors, and proved
exceedingly attractive to all who were present. The
brilliantly lighted rooms gave a new aspect to the pic-
tures and sculptures, while the gay and tasteful dresses of
many of the guests added much to the beauty of the
scene. The President, wearing his gold chain and medal
of ofl&ce, and the Secretary and some other members,
received the guests as they arrived. Besides the ex-
hibitors, the officers of the other art societies in London
were invited, and several distinguished foreign artists
who were in this country at the time. Light refresh-
ments were provided in abundance, and the whole en-
tertainment was a decided success. It has since been
annually repeated, and still retains its popularity. This
entertainment is a substitute for the birthday dinner — to
which, formerly, only the Academicians and their friends
were invited — and manifests the wish of the members
to do what they can to extend their hospitality to the
whole brotherhood of artists.
One valuable result of the Great Exhibition of 1851
was the comparison it caused to be instituted between
our manufactures and those of other countries, and the
consequent efforts which were made to improve the pubhc
taste. The Government, in 1838, had taken the subject
of Art-education into consideration, and had established
234 mSTORY OF THE ROYAL ACADEMY [Ch. XVIL
the School of Design at Somerset House, to train designers
for manufactures ; but its progress had been very slow,
only twenty-one branch schools having been established
in the provinces during twelve years, and these chiefly
subsidised by the State. After the discovery of our
national deficiency in the art of design, in 1851, further
efforts were made, first by the formation of the Depart-
ment of Practical Art, and then by the present Science
and Art Department, under the Committee of Privy
Council on Education. The objects sought, as respects
art, are to train male and female teachers ; to give them
certificates of qualification, and to make them annual
fixed payments ; to aid and assist in the establishment of
self-supporting local schools of art ; to hold public
examinations, and to award medals and prizes ; and to
establish a central museum of works of art, and a Ubrary
of books and engravings, from whence they may be cir-
culated among the schools of art. The plan has been very
successful, under the able management of Mr. Kedgrave,
RA. Between 80,000 and 90,000 persons are now imder
art instruction in about ninety schools in various parts
of the country, at an average expense of 8^. 6d. each.
These measures cannot fail to effect, as indeed they have
already produced, a vast improvement in the application
of design to manufactures. In former years, the Eoyal
Academy students often afterwards found employment in
this way ; hereafter, it will only be students of a much
higher class who will seek admission to its schools, where
a corresponding standard of excellence in the higher
branches of art is maintained.
The question, as to the removal of the National Gal-
lery, and therefore, as a consequence, the position of the
Eoyal Academy in Trafalgar Square, was again mooted
in 1851. A Commission was appointed, of which Sir
Cliarles Eastlake, Sir Eichard Westmacott, and Mr. Ewart,
M.P. were members, to decide on an estimate and plan
for a new National Gallery. Her Majesty offered a site
CH.XVn.] CURATORS OF THE SCHOOLS 236
in Kensington Gardens, and the Committee stated their
opinion that a site, either there or in the neighbourhood
of Hyde Park, would be desirable, and might be obtained
on advantageous terms. Lord John Eussell, in presenting
the report, stated that the Government would consider and
decide upon the whole subject before the next session of
Parliament ; and in the following year the question was
again submitted for the consideration of the House.
In the schools of the Academy an appointment was
made in 1851 by which it was hoped that the eflGiciency
of the instruction given to the students would be pro-
moted — Mr. Woodington, a sculptor of refined and
poetic taste, being selected to act as the Curator of the
School of Sculpture. He resigned the appointment in
1855, and was succeeded by Mr. Loft, who still retains
it. Mr. Lejeune, an artist whose figure-drawing and
colouring are pre-eminently true and rich (and to whom
the gold medal was awarded in 1841 for his painting of
* Samson bursting his Bonds '), was chosen as Curator in
the School of Painting in 1848. These appointments
were made in addition to the duties of the Visitors in
the schools. It was in 1852 that the medal for the best
painting from the living draped model was established, in
heu of that which had previously been given for the best
copies from pictures made by tJie students. The latter
practice was commenced in 1815, when the system was
adopted of selecting from the Dulwich Gallery * a number
of pictures, not exceeding six, for the purpose of being
copied by the students. The first Curator in the Paint-
ing School was J. Frereson, appointed in 1815, who
resigned in 1835, when A. J. OUver, A.E.A., succeeded
him till 1842. Samuel Drummond, A.E.A., and M. A.
Archer preceded Mr. Lejeune in the same office.
• The Gallerj was placed by the Curators of the coUection, and they
will of the widow of Desenfans, to fidfilled this trust until the Act of
whom it was first bequeathed by Parliament, in 1867, remodelled the
Sir F. Bourgeois, in the charro of the whole coustitutiou of the establish-
members of the Royal Academy, as ment.
236 HISTORY OF THE ROYAL ACADEMY [Ch. XVII.
The prizes awarded in 1851 to the students included
three gold medals and nine silver ones. The President
having remarked upon the various works submitted in
competition, proceeded to distribute these prizes, and
afterwards addressed the Students upon the general prin-
ciples of art in each of its branches, without, however,
trenching upon the province of the several professors of
painting, sculpture, and architecture. He dwelt specially
upon form, and on the necessity of unequal quantities
in composition on flat surfaces, as being essential to
picturesque representations. Afterwards he advocated
careful finish in drawing, without falling into minute
elaboration in painting ; and, from his well-stored mind,
quoted the various authorities on art with which he is so
thoroughly familiar, in support of the principles he re-
commended for adoption.
Among the other events by which it was rendered
noticeable, the year 1851 gave birth to an association
entitled the "Guild of Literature and Art." It was
founded by Mr. Charles Dickens, Sir E. B. Lytton, and a
number of eminent literary and artistic associates. The
chief points in its constitution were, that no professional
working member was to be admitted until he had insured
his Hfe for at least £1,000 ; that there should be a sick
fund for the relief of subscribing members during illness ;
and that annuities should be founded, to which members
of either profession, or their widows, should be eligible.
It was proposed " to associate an honourable rest from
arduous labours Avith the discharge of congenial duties in
connection with popular instruction ; " for " each member
will be required to give, either personally or by a proxy
— selected from the Associates, with the approval of the
Warden — three lectures in each year ; . . . they shall
usually relate to letters or art. The offices of endow-
ment will consist of a Warden, with a house and salary of
£200 a year ; of Members, with a house and £170 a year,
or, without a house, £200 a year; and of Associates, with a
Ch. XVIL] « THE GUILD OF LITERATURE AND ART " 237
salary of £100 a year." Sir E. B. Lytton offered to pre-
sent the land for these residences, and wrote a comedy,
"Not so bad as we seem," which was sold for £550.
Mr. Dickens and Mr. M. Lemon composed a farce, " Mr
Nightingale's Diary ; " and a company of eminent amatem^s,
authors and artists, performed these plays, thus adding
£3,000 to the fund. The qualification of authors who
are eligible is defined ; and artists must be " exhibitors
of either sesc, of works of original design in painting,
sculpture, or architecture, at any public exhibition in the
United Kingdom, designers of approved merit for en-
gravers, and engravers." An entrance fee of two guineas
is required ; and the honorary members are donors of a
fixed sum per annum. In 1853 it was found that an Act of
ParUament was required to legalise the Guild as a benefit
society, and it was obtained in June 1854. By a legal
technicality, seven years had to elapse before the funds
could be appropriated, and this time having expired, we
may soon hear of the plan being carried out by its
founders, themselves practical men, desiring to establish a
means whereby a self-helping provision may be made for
authors and artists.
The annual dinner preceding the exhibition of 1852
passed off with more than usual eclat It was held on
the Ist of May, the birthday of the Duke of Wellington,
who was present, and whose health was drunk with
especial enthusiasm. An amusing instance of the friendly
pleasantry of rival statesmen was given in the appeal
which Mr. Disraeli — as Chancellor of the Exchequer in
the new Government then recently formed by the Earl
of Derby — made to Lord Eussell, to combine with him
in carrying out some plan for the promotion of art. " I
cannot forget," he said, *' that if the House of Commons
be appealed to for this great object, there sits here one
who is distinguished for abiUty, and who is — what I have
no claim to be — an eminent and successful statesman.
K I could be assisted by the noble Lord, the member for
238 HISTORY OF THE ROYAL ACADEMY [Ch. XVH.
London — if he would but exert his authority in that
house, on whatever side he may sit, I might, indeed,
indulge in the hope that I could succeed in fulfilling your
expectations — in achieving a great result that has been
too long delayed, and to which my noble fiiend so signifi-
cantly alluded to-night. I will indulge in die hope, from
that reference, that a palace may arise in the great metro-
polis, worthy of the arts, worthy of the admiration of the
foreigners, worthy of this mighty people, as the becoming
emporium where all the genius and inventions of man
may be centred and celebrated. But to accomplish that
hope, we must enlist all the sympathies of all the parties in
the State ; and it is not to me, but to those whose long
services and the evidence of whose great abilities have
gained the confidence of the country, you must look ; and
if assisted by the noble Lord, the member for the city of
London, then, indeed, the Koyal Academy and this com-
pany may expect the accomplishment of that which they
have so long desired." His Lordship, in a genial reply,
readily promised his aid, and complimented Mr. Disraeli
in the following terms ; " I ventured last year to observe,
that it was remarkable how many persons, eminent in the
arts, had succeeded in literature, and that we had no
better works than those written by painters who at the
same time were at the head of their profession ; and I
stated that I had not remarked that many of those great
in literary eminence, had shown similar proficiency in the
art of painting. Mr. Burke and Mr. Macaulay were both
famous in hterature ; but I do not know that either of
them could produce a painting equal to any in this room.
Now this is an arena which yet remains open for the
Chancellor of the Exchequer; and as he has succeeded
in so many other things already, I hope he will try to
succeed in the fine arts, as he has done in literature and,
as I must say, he has done in political science." Lord
Derby expressed his hope that his administration " might
have an opportunity of testifying their goodwill to a
Ch. XVn.] SPEECHES AT THE ANNUAL DINNER 239
pleasing and delightful art, by providing a more fitting
and more adequate locality for the treasures of ancient
and modem art accumulating in the country."
It had hitherto been the custom to regard the anniver-
sary dinner as one of a private nature — a gathering of
the members of the Eoyal Academy and of the friends
and patrons of art — who met in social converse to inaugu-
rate the annual display of the works of art collected for
exhibition. But when it was known, in 1 851, thatH.E.H.
the Prince Consort and many illustrious personages formed
part of the assembly, and that in the speeches made on
these occasions so much of talent and good feeling were
displayed by those whose words were valued by the
public — the desire was generally expressed in all circles
that some account of the proceedings might be given in
the newspapers. To meet this wish on the part of the
public, the practice of inviting a reporter of the " Times "
newspaper to be present at the entertainment was
commenced in 1852, on the understanding that other
newspapers would be furnished with a report of the pro-
ceedings by him. Since which time not the least^part of
the interest of the newspaper on the day following the
Academy dinner, is the accoimt of the pleasant manner
in which the leaders of our great political parties har-
monise when they meet in the home of the arts of Peace ;
and how men, eminent in varied walks of life, find a
common bond of sympathy and concord on these occa-
sions.
The Academy exhibition of 1*852 was of general
average merit — noticeable chiefly for the many good
pictures by the younger painters, rather than for any
striking works by those whose fame was already made.
As many as 1,492 works were displayed. It was in this
year that the privilege of " varnishing days," previously
permitted to the members of the Academy, was abolished.
Sir Charles Eastlake referred to the fact at the dinner of
"The Artists' Benevolent Fund," and stated that the
240 HISTORY OF THE ROYAL ACADEMY [Ch. XVII.
practice would have been discontinued long before, but
that the works of Turner (who died the preceding year)
gained so wondrously by the process, that it would have
involved a great loss to his pictures to have excluded
them from the benefit of his final touches. The Acade-
micians, however, had no wish to retain a privilege
which might give them an undue advantage over
others, and therefore all pictures would thenceforward
be hung as they were sent to the Eoyal Academy.
As a further extension of the principle of giving pub-
hcity to the proceedings, the art-critics for the news-
papers, &c., were admitted to the private view of the
exhibition. At its close, the soiree to the exhibitors
was again held, and attracted a large company of artists
and others.
Various subjects bearing on the promotion of art were
brought before Parliament in 1852. Mr. Hume, in the
House of Commons, proposed the removal of the National
GaQery to Kensington Palace, as a measure which would
save the expense of erecting a new gallery. Mr. Ewart,
as a member of the Eoyal Commission appointed in the
preceding year, stated it to be their unanimous opinion
that the best site for a new building would be to the north
of Kensington Gardens, looking to the TJxbridge Eoad,
and enclosing such a portion of the gardens as might
serve the purpose of an ornamental garden, with fountains
and statues. The Chancellor of the Exchequer stated
that Her Majesty and the Prince Consort, as well as the
Government, were very desirous that the subject should
be duly and considerately weighed, as it was of the most
critical importance that no mistake should be made when
the final step was decided upon. The noble bequest
made by Turner, of his gallery of paintings, increased
the necessity for providing additional accommodation for
the public exhibition of the national pictures, and a pro-
posal made by Earl Stanhope (then Lord Mahon) that a
small sum should be annually voted for the piupose of
Ch. XVn.] GO^TIRNMENT PATRONAGE OF ART 241
establishing a British Historical Portrait Gallery^ of emi-
nent persons who had distinguished themselves in past
ages, and whose deeds or writings gave them a claim to
national distinction, also indicated that a feeling for art was
taking deep root among us, and developing itself in new
forms of usefulness ; while a passage in the Eoyal speech,
on the opening of the new Parliament by Her Majesty,
on the 11th November of this year, led to the supposition
that the Government were about to enter upon the patro-
nage of art to an extent never before attempted. Her
Majesty's words were — " The advancement of the fine arts
and of practical science will be readily recognised by you
as worthy of the attention of a great and enlightened
nation, I have directed that a comprehensive scheme
shall be laid before you, having in view the promotion of
these objects, towards which I invite your aid and co-
operation/'
The Prince Consort also — whose constant activity in
every good and great work has enshrined his memory so
brightly in the hearts of our countrymen — took advan-
tage of the appointment of the Select Committee on the
National Gallery, to lay before them (April 25, 1853) a
plan which he had prepared for the formation of a col-
lection of paintings illustrative of the history of art (as
far as possible from the earliest times), first by specimens
of ancient art^ and afterwards of the various schools of
painting ; and with this object His Boyal Highness caused
^ Although this collection is yet Bridport, and Mrs. Siddons ; Dawe's
in its infimcy, and is not fonned with Princess Charlotte, and Dr. S. Parr :
any view to'collect portraits notahle Lawrence's Sir J. Macintosh, and
as works of art, but rather those of Bight Hon. W. Windham ; Opie's
celebrated personages, it already con- portrait, by himself; Phillips's por-
tains many interesting works by traits of Sir F. Burdett, Charles
members of the Boyal Academy. Dibdin, and Sir F. Chantrey ; North-
Among them, Beynolds's portraits of cote's Viscount Exmouth, and Dr.
himseu in 1749, Sir W. Chambers, Jenner ; Sir M. A. Shoe's portrait of
Lord Ashburton, Admiral Boscawen, Sir Thomas Picton ; Arkwright,
the first Marquis of Lansdowne, and Darwin, and Wright (of Derby^, by
W. Pulteney, Earl of Bath ; George that artist ; and W. Wordsworth, by
Colman, by Ghdnsborough ; Dance's H. W. Pickersgill.
Lord Cliye; Beechey's Viscount
VOL, n. R
242 HISTORY OF THE ROYAL ACADEMY [Ch. XVIT.
a detailed classified catalogue to be made, enumerating
the masters and principal followers of each school, ar-
ranged in historical order, " a glance at which would show
not only what the gallery already contains, but what would
be wanting to make such a collection complete." He
hoped that by this means specimens of particular schools
would be presented or purchased, which were previously
wanting ; but wisely suggested that " care should always
be taken that the picture so purchased should be both
a standard work of the master whom it was sought to
represent, and that it should possess merit in itself as a
work of art." The' catalogue brought down the history
of painting from the earliest times to the date when it
was prepared, not including the name of any artist then
living. In conclusion Sir Charles Grey was requested to
state that " His Eoyal Highness is anxious that it should
be clearly understood that he is actuated solely by the
interest he has always taken in the subject of their
enquiry, and that nothing can be further from his wish
than to influence in any way either the course of that
enquiry or the recommendations in which it may result"
While thus the prospects of art seemed to have entered
upon a new era of prosperity, there were movements
among some of its professors having the same end in
view, while also seeking to advance their own interests.
It was in 1852 that the formation of "The Institute of
British Sculptors " was first proposed by a Committee of
some of the most eminent sculptors (among whom were
five Members of the Eoyal Academy), who hoped thus to
benefit their own profession by creating union amongst
its members, and by bringing their art more prominently
before the pubUc. Engravers, also, were seeking to obtain
a higher status in the Eoyal Academy ; and a petition to
the Queen was prepared and signed by G. Burnet, G. T.
Doo, W. Finden, E. Goodall, J. Pye, J. H. Eobinson, and
J. Watt, praying Her Majesty to give her assent to any
proposal the Academy might think right to make, to
Ch. XVn.] POSITION OF ENGRAVERS IN THE ACADEMY 243
entitle engravers to full membership. The question was
deliberated upon in the meetings of the Academicians,
and many of its most distinguished members desired to
recommend some arrangement by which the still vexed
question might be finally set at rest. Her Majesty, as the
Patron of the Academy, was also pleased to recommend
the General Assembly to consider in what way the wishes
of the engravers could be met ; and a modification of the
laws on the subject was subsequently made.
The death of John Landseer, the engraver, in this
year, led to the whole question of the position of en-
gravers being discussed in the Academy ; and it was on
the occasion of the election of his successor, that Leshe,
as a member of the Council, proposed that the exclusion
of engravers from the highest Academic honours should
be reconsidered. He said that on former occasions when
the point had been discussed, he had been among the
opponents of the measure ; but he had changed his
opinion after a careful examination of the question in
its relation to the arts and to the Academy, and therefore
wished to take what steps he could to bring about an
alteration of the laws on the subject. The great battle
was always about the relative dignity of the art ; but, he
adds, " whatever that may be, I cannot look at the best
works of the best engravers, and not feel that they are
the productions of genius." In his "Autobiography"
he has stated his views at length on the subject He did
not doubt that Sir Joshua Eeynolds and others were
sincerely of opinion that engravers should receive an
inferior distinction to that conferred on painting, sculpture,
and architecture, because it is an art not requiring inventive
power. But he knew that it had been found difficult to
fill the number of six Associate-Engravers added in 1769
to the Academy ; that many years elapsed before it was
complete, and that it did not then include the engravers
who were at the head of their profession, for they would
not receive an inferior distinction as a final recognition of
R 2
244 HISTORY OF THE ROYAL ACADEMY [Ch. XVII.
their talents. James Heath and John Landseer accepted
the rank in the hope, as members of the Academy, of
effecting an alteration in the laws respecting engravers ;
and LesUe observed as years rolled on, that the advocates
of such a change increased, when it was found that the
law, originally deemed a wise one, acted prejudicially.
He felt that artists owed much to engravers — that
Hogarth, Wilkie, and Turner had made fortimes by the
engraving of their works ; and that the purchase of
pictures for engraving had become one of the chief means
of patronage to painters. When to these considerations
he added the fact that a large number of eminent
engravers had stood aloof from the Academy, he came to
the conclusion that the title of Associate-Engraver would
cease to be an honour if it continued to be refused by
the most celebrated members of that profession ; and he
therefore urged their admission to equal rank with artists,
at the same time acknowledging that " if the Academy
could be filled with such artists as Eeynolds, Gainsborough,
Wilson, Chambers, Banks, and Flaxman, there would
unquestionably be no room for the best of engravers."
The next year (1853) was one of comparative quietude
in the Academy and in the world of art The exhi-
bition contained 1,465 works, and the greater portion of
those which possessed real merit were either commis-
sioned or were disposed of soon after the opening of the
exhibition — the demand for modem English pictures in
this year having far exceeded that of any previous one.
The distribution of gold medals to the students, in
addition to the ordinary annual award of silver medals,
was made this year on the 10th of December ; and Sir
Charles Eastlake, besides commenting on the works of the
successful competitors, and on the advantages of instruc-
tion founded upon a classical basis, dehvered a discourse
of a purely practical character, in which he dwelt first of
all upon the question as to the advantages and disadvan-
tages of Academies, pointing out that there are certain
Ch. XVn.] PRESIDENTS ADDRESS 246
common principles which all men educated in art must
acknowledge, and which it is the purpose of the academic
system to teach ; but that, beyond these immutable
principles. Academies do not impose rule or precept. He
cited Wilkie and Turner as instances of contrasting views,
yet both triumphantly successful in the opposite courses
which they followed, while both submitted to those common
principles of art which have been universally acknow-
ledged from the days of Giotto to the present, and which
it is the province of Academies to teach. The President
afterwards urged the necessity of truth and distinctness
of representation, and of carefiil attention to the functions
of the limbs, and especially the hands, in the drawing of
figures, illustrating his remarks by reference to the
pictures of Eafiaelle and Da Vinci, in which the hands
are often rendered impressively effective.
A notable event in the annals of the same year, was
the opening of the Exhibition of Art and Art-Industry
in Dublin, which originated in the magnificent offer of
one of its citizens, Mr. WiUiam Dargan, to supply the
necessary funds for its erection, and for carrying out the
project. There was a Fine- Art Court in this building,
for the exhibition of pictures, one side of which was
filled with the works of British artists, numbering upwards
of one hundred, including specimens by Lawrence, Turner,
Mulready, Landseer, Leshe, Etty, ColUns, Callcott, Herbert,
Goodall, Stone, Uwins, Maclise, and other members of
the Eoyal Academy.
In the year 1854, the exhibition at the Academy con-
tained 1,531 works, every available space being filled,
even the staircase being embelUshed with engravings,
although some 2,000 works were excluded. It was con-
sidered one of the best displays, in point of merit, which
had been made for many years, numbering Frith's ' life
at the Seaside,' Maclise's * Strongbow,' Ward's * Sleep of
Argyll,' Leslie's * Rape of the Lock,' Poole's * Trouba-
dours,' W. H. Hunt's ' Light of the World,' and * The
246 HISTORY OF THE ROYAL ACADEMY [Ch. XVII.
Awakening Conscience ' — two of the most remarkable
productions of the pre-Eafiaellite school. The annual
dinner took place on the 4th of May, and the conversa-
zione to exhibitors and others was held as usual at the
close of the exhibition. The Professor of Painting, the
talented C. E. LesUe, resigned the appointment, and was
succeeded by Mr. Hart, who still fills the office. The
opening of the Crystal Palace at Sydenham, in this year,
is an event not to be passed by unnoticed, inasmuch as
the building affords many opportunities for displaying
works of art, especially sculpture, and may be made con-
ducive to the advancement of the Fine Arts in all their
different branches, both by teaching and illustration,
imder judicious and tasteful management.
The 10th of February, 1855, was the day on which
the first engraver was admitted to fiill Academic honours,
Mr. Samuel Cousins being the recipient of the long-
coveted distinction sought for by the profession of which
he is a member. He was the first Associate, elected in
November, 1854, under the new law, by which engravers
of that class were rendered ehgible for the higher rank.
In the same year the practice of filling vacancies within
three months, instead of waiting for the annual election,
was introduced, and thus the full number of members
can now be completed in a much shorter period than was
formerly the case. This rule was also extended at a
later period (1860), to the election of Associates. The
exhibition contained 1,558 works, and called forth "Notes
on some of the principal Pictures exhibited in the Eooms
of the Eoyal Academy," by John Euskin, the first of a
series which he continued for several years. The ex-
hibition was preceded and followed by the usual annual
dinner and soiree. In addition to these entertainments,
the members of the Academy were all invited to the
Mansion House, to dine with the Lord Mayor, Sir Francis
Graham Moon, Bart., formerly a print publisher in the
City, who followed the example of the worthy Alderman
CH.XVn.] LORD MAYOR'S DINNER TO THE ACADEMY 247
Boydell, in his enterprise and energy, and in producing
a large number of engravings from the works of the best
artists of the English school. One noble specimen of his
success in this most refined branch of commerce is the
folio edition of Eoberts's " Holy Land, Egypt, Nubia,
&c.," upon which an enormous capital was expended. It
was a graceful act on the part of one whose fortune was
made by art, to gather around him during his mayoralty
the members of the profession to which he was so much
indebted, and who owe him also a large debt of gratitude
for his promotion of a taste for the highest class of pic-
tures. The banquet to the Academicians, the heads of
the other art institutions, and representatives of several
learned societies in London, was held at the Egyptian
Hall of the Mansion House on the 7th of July, 1855.
The President of the Eoyal Academy acknowledged the
toast of " the Artists," and Mr. T. H. Hope that of
" the Patrons of Art." A hundred and ten guests were
present, all deUghted with the compliment paid to genius
by the chief magistrate of our great capital.
The reconstitution of the National Gallery took place
in this year, when the President of the Eoyal Academy
was appointed the Director — not by virtue of holding
the highest office among artists, but because none could
be foxmd having a more intimate acquaintance with the
great masters of all periods, or with such an extensive
knowledge of the theory and practice of art, as Sir
Charles Eastlake. His duties were stated to be — to
purchase, or recommend the purchase, of pictures for the
National Gallery ; and the arrangement, description, and
conservation of the collection ; also to compile a correct
history of every picture in the collection, and to report
on its condition. He was nominated for five years, re-
ehgible for appointment; and from the benefits which
have resulted from his past labours, it is to be hoped
that our national collection will long remain under his
direction.
248 mSTORY OF THE ROYAL ACADEMY [Ch. XVU.
Among the many International Exhibitions which
have been opened since our first example of such a
gathering of the industry of all nations in 1851, one of
the most important was the " Paris Universal Exhibi-
tion," which was opened on the 15th of May, 1855.
Living English artists were invited to exhibit their works
there, and a commission, consisting of the President of
the Eoyal Academy and the Presidents of all the other
art societies in England, was formed to carry out the
arrangements. The result was, that 234 paintings, 145
water-colour drawings, 197 engravings and lithographs,
127 architectural works, 51 statues, and 24 busts and
bas-reliefs — a total of 778 works — ^were exhibited by 299
British artists. As no works could be exhibited by any
artist who was not living in June 1853, none even by
Turner, Wilkie, Hilton, Etty, Constable, Collins, or others
recently deceased could be admitted ; but notwithstanding
this drawback, the English school of art was worthily
represented, and its professors obtained many of the
prizes awarded by the French Government The large
gold medals were awarded to Sir E. Landseer and Sir
C. Barry ; ten first-class, twelve second, and seven third-
class gold medals were also awarded to others ; and
thirty-four artists were " honourably mentioned" for their
works ; in addition to which. Sir C. L. Eastlake, Mul-
ready, Gibson, and Cockerell received the decoration of
the Legion of Honour.
The year 1856 was an ordinary one in the annals of
the Academy. At the dinner preceding the opening of
the exhibition, there was a brilliant assemblage, in-
cluding several of Her Majesty's Ministers; and the
speeches on the occasion were of that kindly genial nature
which seems to characterise the proceedings at these
celebrations by the professors of the arts. Mr. Dyce, E. A.,
as we have elsewhere stated, has studied music as well
as painting, and on this occasion composed some new
music to the old words " Non nobis," which was greatly
Ch. XVn.] COPYEIQHT IN ART 249
admired. Much complaint having been made in pre-
ceding years of the disadvantage (arising from defec-
tive Ught) to works hung in the Octagon Eoom, the
Academicians in this year discontinued the practice of
hanging paintings in that room, and adopted the plan of
using it as an office, where the price of the works in
the exhibition might be ascertained by those who wished
to make purchases, from the clerk placed there. This
arrangement, however, of course added to the number
of works excluded for lack of space, and reduced the
number of those exhibited to 1,376. The conversazione
at the termination of the season was held as usual, and
was attended by a large number of exhibitors and others
who always seem to enjoy these gatherings of artists
and lovers of their work ; and certainly the assembly,
surrounded by such a display of beautiful objects, is an
attractive and gratifying one to every beholder.
A meeting of the Council was held early in the year,
specially to consider the question of copyright in art, in
order to determine what course should be taken to en-
deavour to obtain some law on the subject. The result
of these proceedings was a petition from the Eoyal
Academicians, to be laid before ParUament, soliciting the
extension of the law of copyright to the fine arts. Sub-
sequently a Select Committee was appointed by the House
of Commons " To enquire into the present state of the
law of artistic copyright ; the operation of the Engraving
and Sculpture Copyright, and International Copyright
Acts ; together with the conventions entered into by Her
Majesty with various foreign states, and the Orders in
CouncU founded thereon, so fer as the same relate to
artistic copyright, with a view to the amendment and
consolidation of the Engraving and Sculpture Copyright
Acts." In ParUament, also, the first vote of £2,000 was
made, for the purchase of portraits for the National
Portrait Gallery, which is annually increasing in interest,
and will, it is hoped, soon have a more permanent home
250 HISTORY OF THE ROYAL ACADEMY [Ch. X\TI.
among us. A committee was specially appointed by the
Academy in this year, to enquire into the extent and ar-
rangement of the schools, and into various details con-
nected with instruction in art ; but as the question of the
removal of the Academy from its present locality has ever
since been in abeyance, the arrangements which the
committee proposed in their report have not been fully
carried out, since they would in all probabihty require
modification in any other building.
The newly-formed Institute of British Sculptors — which
included Baily, McDowell, Marshall, Foley, and Weekes,
from the Academy, among its members — addressed a me-
morial to the Council of the Eoyal Academy, soHciting that
some arrangement should be made by which sculptured
works might be more advantageously placed in the exhi-
bition, and suggesting that some of the lighter and more
poetic works might be placed in the larger rooms devoted
to the pictures. Such a plan was not thought safe or
practicable, considering the number of persons by whom
the rooms are crowded ; but the recent alterations have
at least removed the chief objections to the room formerly
appropriated to sculpture at the Academy. Subsequently,
the same Institute addressed a communication to the
Minister for Public Works — Sir B. Hall, now Lord Uan-
over — appeaUng against the practice, so prevalent, of ig-
noring the abihty of British sculptors, by giving Govern-
ment commissions for public monuments to foreign artists ;
which, although unsuccessful, at least indicates the value
of the association in watching the interests and uphold-
ing the legitimate rights of the profession.
The year 1857 was not notable in the history of the
Academy for any remarkable events — its continuous
labours having been carried on without interruption or
hindrance. The annual dinner did not take place, the
decease of Her Eoyal Highness the Duchess of Gloucester
having taken place just before the time when it is usually
held ; but the conversazione to exhibitors followed on the
Ch. XVIL] additional lectures 251
close of the exhibition. There were 1,372 works dis-
played, and at least an equal number excluded ; while
the employment of several of the best artists in painting
for the Houses of ParUament, diminished the attractions
of the collection — although a large majority of the
works exhibited indicated the growing excellence of the
English school.
With the view of adding to the instruction of the stu-
dents in the schools of the Academy, the Coimcil passed
a resolution, granting permission for lectures to be given
by the members, irrespective of the professorships, on the
subjects of painting, sculpture, architectiu:e, engraving, or
any others which, when submitted to the Council, might
be deemed by them to be desirable ; and " that such in-
struction may consist of short courses, or even of single
lectures, to suit the convenience of members. That mem-
bers, including Associates of the Eoyal Academy, and
honorary members, on testifying their wish to the Coun-
cil, may, with the sanction of the Council, be authorized
to give lectures accordingly." The first effects of this
resolution were, the addresses on architecture which were
deUvered to the students by Mr. Sydney Smirke and Mr.
G. G. Scott, in the spring of this year, and the lecture on
" Art and Utterance," by E. J. Lane, A.E. A. This ar-
rangement, affording facilities for such instruction being
given by competent lecturers, cannot fail to have a bene-
ficial influence on the students. The schools seem to
have been carried on with energy during the year, if we
may judge by the successes of the competitors for prizes.
At the distribution of medals, on the 10th of December,
fourteen silver medals were awarded to students in the
various schools, besides the three gold medals for paint-
ing, sculpture, and architecture, and The Turner Medalj
now for the first time distributed, in commemoration of
the artist. It was awarded to Mr. N. 0. Lupton, for the
best EngUsh landscape. The medal was charmingly mo-
delled by Leonard Wyon, from designs made by Daniel
252 lUSTOKY OF THE ROYAL ACADEMY [Ch. XVn.
Maclisc, II.A. The portrait of Turner occupies the ob-
verse, wliile on the reverse is a student of nature amidst
the symbols and characteristics of landscape — three figures
personifying the primitive colours surmounting the whole.
It was in this year also that the " Turner Gift " was first
distributed, consisting of annual grants of £50 each to
six deserving artists.
After the distribution of the medals, the President deli-
vered an address, relating " to some of the distinguishing
characteristics on which the theory and practice of art,
and especially of painting, are formed." Defining the
terra " character" as denoting those essential qualities which
are proper to subjects of which the mind alone takes
cognizance — he proceeded to show that while relative dis-
tinctness would thus be obtained, it is not necessary to
select only the most normal appearances, for every figure
would thus be a type of its class ; neither, on the other
hand, is habitual exaggeration necessary, for " experience
shows that an exclusive love of the extraordinary may
end in the very defect of triteness and sameness which it
was first intended to avoid." In his remarks on varieties
in practice, he observed — " Even assuming that it is deal-
raMe to return to the pure feeling and simple earnestness
Ch. XVII.] PRESIDENT'S ADDRESS 263
of the Italian tempera painters, there can be no reason
for imitating in any method their often timid and painful
execution ; but least of all in a method not requiring it,
and in first practising which the ItaUans themselves in-
stinctively threw ofi* the dryer manner to which they
were accustomed. I take occasion here to remark, that
while it is desirable that a museum of pictures should in
its completeness contain examples of every school and
period, it by no means follows that all such examples are
fit objects of study for young artists. A museum of sculp-
ture, if worthy of the name, comprehends specimens of
every school and age of antiquity ; but it is not expected
that students in sculpture should imitate archaic Greek
bas-reliefs, Etruscan drapery, or Egyptian compositions."
On the general question of the picturesque, he remarked
that " the most efiectual, and at the same time the wor-
thiest mode of rendering unpromising or ordinary appear-
ances picturesque, is to take advantage of Nature's fortu-
nate moments ; " but that "it seems unaccountable that
there should ever have been a disposition to exaggerate
the opposite quaUty — yet such has been the case."
" Whatever may be recommended for beginners, the oc-
casional treatment of apparently unpromising materials
is highly useful to more advanced painters, since it must
lead them to study the picturesque in arrangement, the
modes of suppressing intractable details, the refinements
of colour, and the uses of Ught and shade in creating and
varying them."
The Manchester "Exhibition of Art-Treasures" took
place in the same year (1857), and was the first attempt
made to display, in their chronological order, and pro-
perly classified, the vast assemblage of works of art which
are possessed by private owners in this country, and
which do not, therefore, ordinarily meet the public eye.
The English school was illustrated by numerous speci-
mens in oil painting, commencing with the works of Aik-
man, Kent, and Jervas, who flourished in the beginning
254 HISTORY OF THE ROYAL ACADEMY [Ch. XVH.
of the eighteenth century, and in water colours, begin-
ning with Paul Sandby, Cozens, and Girtin, and continu-
ing in one unbroken series to exhibit specimens of all the
principal artists, in both styles, to the present time. The
Eoyal Academy contributed some very important works
to this interesting collection, lending many of the diploma
works of deceased members, and other pictures and sculp-
tures in their possession, that the collection might be ren-
dered as complete as possible. Forty-eight pictures (in-
cluding six by Sir J. Eeynolds), besides Cipriani's drawing
for the diploma ; West's design for ' Death on the Pale
Horse ; ' eight frames of studies by Stothard ; and three
pieces of sculpture and. two busts, were sent to Man-
chester by the Academy, and many of them were the
only specimens exhibited of the works of those by whom
they were executed. The exhibition was a decided suc-
cess, and furnished another proof of a wide-spread taste
for art, in its best and highest forms, among all classes.
In February 1857, Mr. John Sheepshanks munificently
ofiered to present his collection of EngUsh pictures to the
nation, on certain conditions, in order that other proprie-
tors of pictures, &c., might be induced to further the
object he had in view — the formation of " a collection of
pictures and other works of art, fiilly representing British
art, worthy of national support." The deed of gift was
made to the Department of Science and Art, and was ac-
cepted as part of a Gallery of British Art, which 'is now
being formed at South Kensington. This hberal and
valuable gift made to the public during the Ufetime
of the owner of the collection, consisted of 232 oil pic-
tures, mostly of the cabinet size, and 280 sketches and
drawings. The earhest works are those of Stothard, and
the series includes many works by Hving artists of emi-
nence. In the collection there are twenty-four paintings
by Leslie, twenty-eight by Mulready, and several by
Landseer, Webster, Cope, Eedgrave, Creswick, Uwins,
and other members of the Academy. These works, com-
Ch. XVn.] COMMISSION ON NEW NATIONAL GALLERY 255
bined with the Vernon gift, and the English portion of
the national collection, at last afford something like a just
idea of the capabihties of the British school.
But while the art-treasures of the public were thus in-
creased, no very decided steps were taken as to the pro-
vision of a new National Gallery. The Commissioners
who were appointed by Parliament to enquire into the
subject, presented their report, together with a blue-book
fiill of evidence given by a large number of artists, archi-
tects, scientific chemists, and others, who were examined
by them. The commissioners consisted of Lord Brougham,
the Dean of St, Paul's, Mr. CockereU, Mr. Bichmond, and
Professor Faraday. Eesolutions were proposed, stating
first, " That in respect of the future plan of the National
Gallery, the three leading considerations which should
govern the choice of a site are, clear space for a building
of magnitude sufficient to provide for the prospective
increase of the collection, accessibility to the public, and
the preservation of the pictures ; and secondly, that, in
the opinion of the Commissioners, the first consideration
is essential in any case, that the second and third, although
of extreme importance, are highly antagonistic, inasmuch
as the removal of the pictures to a clearer but distant
place takes away that accessibility which the present site,
although no doubt with a great amount of wear and tear,
provides." The first of these resolutions was affirmed by
four to one ; the second by three to two. It was unani-
mously agreed that the choice of sites lay between the
present gallery (if sufficiently enlarged) and the estate at
Kensington Gore ; and the result was, that the latter was
voted for by only one member (Mr. Kichmond), the other
Conmiissioners (with the exception of Professor Faraday,
who declined to vote at all, his mind being equally
balanced between the two,) deciding for the present site
in Trafalgar Square.
The next year's exhibition (1858) contained 1,330
works, and was considered to have been a very good dis-
266 HISTORY OF THE ROYAL ACADEMY [Ch. XVH.
play — not because of any very striking pictures (if we
except Frith's ' Derby-day'), but from the majority of the
ordinary contents of the rooms being of a higher degree
of excellence than usual. At the dinner preceding the
opening of this exhibition, when the Earl of Derby, as
Prime Minister, and several members of the Cabinet were
present, the President endeavoured to elicit some expres-
sion of the intentions of the Government in regard to the
Academy ; but, with due caution, no intimation of what
was proposed was then given by any of the Ministers.
When the vote for the expenses of the National Gral-
lery was brought before the Committee of Supply in
the House of Commons, in July 1858, Lord Elcho sug-
gested " a very simple mode of providing the requisite
accommodation" for the National Collection, " with trifling
expense to the nation — by giving notice to quit to the
Eoyal Academy." He stated that he made this sugges-
tion without " the slightest feeling of ill-will " to that
institution, but simply because he considered that the
whole building was originally erected for a National
Gallery, and that the Academy was allowed to occupy
the vacant space, because there were not enough pictures
to fill it when it was first built. Mr. Coningham went
fiirther, and maintained that if the Academy were allowed
to occupy a public building, " it was the duty of that
House to adopt a measure which would render that body
responsible to Parliament and the public." He thought
this "private society, trafficking for profit, should no
longer be allowed to enjoy an irresponsible monopoly,
beneficial only to its members, and the effects of which
were, he beheved, actually injurious to artists and the
fine arts." Mr. Locke King, Mr. Danby Seymour, and
Mr. William Ewart followed in the same strain — the in-
justice of which our readers do not require us to prove,
if they have accompanied us thus far in this history. In
his reply, the Chancellor of the Exchequer, allowing the
fallacy of these arguments to pass unnoticed, simply
Ch. XVn.] PROPOSED REMOVAL OF THE ACADEMY 267
stated that " the Government accepted the responsibility
of making arrangements, in order that our national
collections should be placed in a position more worthy
of the comitry, and more conducive to the advance-
ment of art," and would submit their plans for approval
at a future time.
Consequent on this debate, and the statements made
by various members, which left such a wrong impression
on the mind of the House of Commons as to the nature
of the relations between the Eoyal Academy and the
pubUc, Sir Charles Eastlake thought it due to the in-
stitution over which he presided, to forward to the Prime
Minister and to the Chancellor of the Exchequer a state-
ment, prepared by the Solicitor to the Academy, respect-
ing the tenure of the apartments then held by them in
Trafalgar Square ; and in reply he received a letter from
the Earl of Derby, stating that the subject to which he
referred would receive the most careful consideration on
his part, and on that of his colleagues, diuing the ap-
proaching recess, adding, —
** I think I may safely say, on their part, and on my own,
that we concur in the general principle which, as it appears to
me, you lay down on behalf of the Royal Academy — that, while
they have no legal claim to any particular locaUty for their ex-
hibition, they have a moral claim, should the public require their
removal from their present locaUty, to have provided for them,
by the pubhc, equally convenient accommodation elsewhere,"
The subsequent arrangements were discussed personally
between the President and the Chancellor of the Ex-
chequer. The Government liberally proposed to place
the Academy in another building, to be erected at the
pubUc cost, on part of the site of Burlington House and
groimds ; and this proposal was met, with the sanction of
Her Majesty, by an offer on the part of the Academy, to erect
the building on the site selected, at their own cost. The
chief conditions for which the Academy stipulated were,
that the requisite site should be granted as freehold, or for
VOL. IT. s
258 HISTORY OP THE ROYAL ACADEMY [Ch. XV
a long lease ; that the portion of the area in question to be
allotted to the Academy should be next to Piccadilly, and
that the management of the affairs of the institution should,
as heretofore, be uncontrolled, except by the will of the
Sovereign. After the meeting of ParHament, the Chancellor
of the Exchequer made the following announcement to the
House of Commons, on February 8, 1859 : —
"I have the pleasure of informing the House that I have
succeeded in accomplishing that which appeared to be the
general wish of the country. The whole of the building in
Trafalgar Square will speedily be entirely allotted to the National
Gallery. I was so anxious, on the part of the Grovemment, to
bring this long-vexed question to a satisfactory settlement, that
I was prepared to offer to the Eoyal Academy terms which were
conceived in a liberal spirit. We were prepared to recommend
Her Majesty to grant them a site, and, I may say, we are
prepared even now to recommend this House to vote a sum of
money to raise a building. But the Royal Academy, animated
by a spirit which the House will appreciate, and which is worthy
of that distinguished body, considered that if the expenditure
for that purpose were defrayed out of the public funds, their
independence would be compromised ; and being in possession
of sufficient property themselves, they announced their deter-
mination to raise the building for themselves, and declined any
public contribution. Taking into consideration, however, various
questions into the merits of which we need not enter, the
position they occupied, and the claim they might be said to
have — from having had a residence furnished, if not granted by
the Crown originally, and enjoyed so long — the Royal Academy
came to the conclusion that, in accepting the oflFer of a site, their
independence would not be at all compromised. I hope and
trust that the House will agree that the view which they took
was the just, proper, and honest one."
He then proceeded to state the arrangements which
had been entered into for the removal of the Vernon and
Turner Collections from Marlborough House — where they
had been located until it was required to be fitted up as
a residence for H.RH. the Prince of Wales — to new
rooms prepared for them at South Kensington, and added,
Ch. XVIL] lord LYNDHURST'S speech 260
" the result will be that, I hope at the end of two years,
the Eoyal Academy will be established in their new build-
ing on the new site, and that the building in Trafalgar
Square will be completely devoted to the national col-
lections as well as others which may hereafter be left to
the country." In reply to the enquiry as to what site
would be granted to the Eoyal Academy for their new
building, he stated " part of the ground round Burlington
House. The Eoyal Academy will be connected with
other pubUc buildings. The interior will be left to the
disposition of the Academy : the exterior will be sub(y-
dinate to the design of the Government, if the Govern-
ment insist upon that condition."
On March 4 following this announcement. Lord Lynd-
hurst, the venerable son of one of the early members of
the Eoyal Academy (John Singleton Copley), rose, pur-
suant to notice, to call the attention of the House of Lords
to the Eoyal Academy ; and, after quoting the arrange-
ment for the removal proposed by the Chancellor of the
Exchequer, said, —
"My Lords, — I consider that much misapprehension has
existed respecting the tenure under which the Royal Academy
hold their apartments at present in the National Gallery. Much
misapprehension appears to me, also^ to exist as to the character^
the duties, and the means of performing the duties of the
Boyal Academy; and much misrepresentation has taken place
in consequence of such misapprehension. I am, therefore,
desirous to have an opportunity of entering into an explanation
upon these points, because I think it will be satisfactory to your
lordships, and will redound to the credit of the Society to which
I have referred. I hope, my Lords, I shall not be charged with
going out of my province in entering upon this subject. My
justification, or rather my excuse^ may be, or must be, that, in
the course of last session, I presented a petition to your lord-
ships from the Boyal Academy^ requesting your lordships to
pass some Bill for the purpose of extending the law of copy-
right to paintings and other works of fine art. In consequence
of this, I have received repeated communications from members
9 2
260 HISTORY OF THE ROYAL ACADEMY [Oh. XVH.
of the Royal Academy ; and they recall to my recollection many
circumstances of my early life, when I attended the lectures of
Sir J. Reynolds, of Mr. Barry, and other professors — when I
was very much associated, and very conversant, with the pro-
ceedings of the Royal Academy — and when I was intimately
acquainted with many of its members. My Lords, there is one
circumstance, and a remarkable circumstance, that distinguishes
the Royal Academy in this country from all the other Academies
that exist on the continent of Europe. There is not a single
Academy for the purpose of promoting the fine arts upon the
continent of Europe that is not supported entirely by the
State ; whereas the Royal Academy here has, almost &om its
fiftt institution, been self-supporting. It has been of no charge
whatever to the State, and, in this respect, resembles many
other of our institutions, which would, in foreign countries, look
for aid to the Grovemment, but which, in this country, are sup-
ported by the energy, the vigour, and enterprise of individuals."
He then proceeded to describe the circumstances under
which the Academy was founded, and its constitution, by
the code of laws prepared for it under the immediate
superintendence of King George 111. "I remember
hearing, many years ago," he continued — " nearly seventy
years ago — that the whole system and code of laws were
referred to and considered by Lord Camden. I find
that at this time Lord Camden was the possessor of the
Great Seal ; and we know, according to the practice of
those days, that the Lord Chancellor was in daily private
communication vrith the Crown." Passing to the con-
sideration of the local position of the Academy, His
Lordship stated : —
"The Royal Academy was founded in 1768; three years
afterwards, it was transferred from its original place of residence
in Pall Mall to the old palace of Somerset House, by the
authority of the Crown. It remained at the old palace of
Somerset House until the new building was erected. That
building, or series of buildings, was erected under the authority
of an Act of Parliament. That Act of Parliament pointed out
the particular offices which were to be accommodated in this
building, . . . and it provided that on the site of the old
Ch. XVn.] LORD LYNDHURST'S SPEECH 261
palace such other buildings and offices should be erected as His
Majesty should think proper to direct** It was under this
reserved clause that His Majesty directed that that part of the
present building which fronts the Strand should be erected for
the accommodation of the Royal Academy, the Royal Society^
and the Society of Antiquaries. The keys of that part of the
building intended to be occupied by the Royal Academy were
directed by His Majesty to be handed over to Sir J. Reynolds,
who was then the President. It is clear that at that period the
apartments which were assigned to the Royal Academy were
held as part of the old palace of the Sovereign. They continued
in the occupation of those apartments, undisturbed, for a period
of nearly sixty years."
And when the Academy was transferred to Trafalgar
Square,
^^ It was stipulated at the time, as part of the arrangement,
that they should hold those premises precisely on the same
tenure, and with the same rights and privileges, as they for-
merly held the premises in Somerset House. . . . They do not
hold them of the nation, but of the Crown, and at the pleasure
of the Crown."
His Lordship next explained the source of their in-
come — the exhibition — and its appropriation.
*' I know, my Lords, some persons suppose that the members
of the Royal Academy may apply this fimd as they think proper.
Some think they have distributed a portion of it among them-
selves. Nothing can be more unfounded. They have no power
whatever over the fund. They cannot dispose of any part of it
without the consent of the Crown. . . . For what purpose is
the fund, then, to be applied? There are certain officers
appointed, with a view to the schools, and the instruction of
the students. . . . The schools are on a most liberal establish-
ment. . . . During the last fifty years, by far the larger pro-
portion of eminent artists in this country have been taught in
those schools. Two-thirds of the present Academicians had
their education in those schools. . . . Not long ago, it will be
recollected that premiums were offered for cartoons, to be em-
ployed in the decoration of the Houses of Parliament. Eleven
premiums were so assigned, and more than two-thirds of them
262 inSTORY OF THE ROYAL ACADEMY [Ch. XVH.
were awarded either to students at the Soyal Academy or to
persons who, at some former time, had been students."
Having mentioned the allowance given to travelling
students, His Lordship next referred to the charities and
grants made by the Academy : —
** There is no profession which affords more immediate
pleasure and delight than the profession of the arts ; but,
unfortunately, pecuniary reward, to any extent, does not always
accompany exertion in that vocation. Occasionally, from ad-
vancing life and itfi failing energies, sometimes from loss of
sight, those who devote themselves to it are unfortunately
reduced to poverty and distress. The Eoyal Academy also
appropriates a portion of its funds to the relief of persons of
that class, and of widows of artists who may have been left
destitute. These are charitable objects, but they are not con-
fined to members of the institution; the aid is distributed
freely to the profession at large, and a much larger sum is
given to those members of the profession who are not, and
never were connected with the Academy, than to those who are
so connected."
After discussing the questions raised as to the number
of works exhibited by the members, and the mode of
conducting the elections. His Lordship concluded his
very interesting and most valuable testimony by stating
the wishes of the Academicians in assenting to the plan
of the Goveifnment for granting them a site in fee upon
part of the ground occupied by Burlington House : —
" They are grateful for the offer ; but still they fear that a
grant from the nation, unless an equivalent was offered by
themselves, would place them in the position of being called
upon, from time to time, to make returns for the House of
Commons, to be examined, and to assume a political character
quite foreign to the tranquil state so necessary for the well-being
of art. . . . Their object is, and always has been, to remain
solely under the control and supervision of the Crown. There-
fore, what they now propose is this — they will accept the grant,
on the condition that they, on their part, shall be allowed to
expend an amount equal to the value of the site in the con-
L.
Ch. X^^I.] PROPOSED removal of the academy 263
struction of buildings necessary for the Academy, to be per-
manently applied for the purposes of art. Thus the grant from
the nation will be paid for by that equivalent, because both the
land and the buildings to be erected upon it are to be devoted
in perpetuity to a great public object. I think, if this kind of
arrangement can be carried out, it will not affect the position of
the Royal Academy, and they will remain, as before, under the
immediate supervision, control, and government of Her Majesty.
I was anxious, my Lords, to make this explanation, because I
was sure, as regarded the conduct and management of the
Academy, I could say nothing but what would redoimd to the
credit of that body. ... I am sorry t/O have troubled your
lordships at such length, but I was glad to have an opportunity
of addressing you upon a subject which — from the position I
now stand in, and in which, from the earliest days of my life, I
have stood in relation to these matters — naturally possesses
great interest for me."
The Earl of Derby, then at the head of Her Majesty's
Government, replied to Lord Lyndhurst as follows : —
" I am sure the House is indebted to my learned and noble
friend for the remarks which he has addressed to us. He has
explained, with his usual clearness and precision, the various
arrangements which have been made, from time to time, be-,
tween the Crown and the Royal Academy. I think the principle
is now recognised on all hands, that while the Royal Academy
has no right to claim exclusive possession of this or that par-
ticular building, yet it has a right to claim, on the part of the
public, that they shall have some means provided for carrying
on their labours, from which, I readily admits the public have,
for a series of years, derived the greatest benefit. I believe my
noble and learned friend has only done justice to the zeal with
which these labours have been undertaken, and to the services
they have rendered to the fine arts in this country."
His Lordship then stated the real position of the Go-
vernment and the Eoyal Academy towards each other :
"Your lordships are aware that for a series of years there
has been a growing feeling that the building occupied partly
by the national collection of pictures, and partly by the Royal
Academy, was insufficient, and that it was desirable to separate
264 HISTORY OF THE ROYAL ACADEMY [Ch. XVIJ.
one portion from the other. For a long time, the question has
been agitated, whether the National Grallery should be removed,
and the Academy left in possession of the original site ; but the
result of enquiries by commissioners and committees appears,
upon the whole, to be, that there is no site better calculated than
the existing National Gallery for the exhibition of the pictures
which belong to the nation. That being the case, it was thought
that some other place should be found for the Royal Academy.
In that state of things, the late Government purchased Bur-
lington House, with the gardens and courtyard attached. In
order to give some idea of the extent of space required, I may
state the extent of the National Gallery is 13,000 square feet,
while the superficial area of Burlington House and grounds is
143,000 feet, or nearly eleven times as much. It must not,
however, be supposed that there are not numerous claims on
this valuable site, and engagements have been entered into with
various learned societies for portions of that space ; . . . but
the principle on which the arrangement with the Royal Academy
is to be carried out has been entirely agreed upon, the settle-
ment of details being left as a matter for future consideration
between it and the Government. The principle of the arrange-
ment is this, — it appears to me to be a reasonable one, — that,
in order to secure the Royal Academy from the inconveniences
.attendant upon frequent change of place, to afford them more
ample accommodation than they now possess, and, at the same
time, to provide for the public at large that amount of space
which is necessary to the adequate realisation of the specific
objects which the Academy has in view, they should, out of
their own funds, obtain for themselves a site, to be conveyed to
them in freehold, whereby they would be relieved from all
apprehension of future removal, while the advantage would
be secured to the country of having a building suited to the
purposes for which the Royal Academy is designed. The pro-
position made to them, therefore, was, that a considerable por-
tion of the site of Burlington House should be appropriated to
their use, and should be made over to them, in fee simple, upon
condition that upon that site they should erect a building
adapted for the purposes of the Academy, and not, in its style
and character, incongruous with those other buildings which
may hereafter be erected in the same locality. ... As to the
amount of land to be allotted to them, and the particular posi-
Ch. XVn.] PROPOSED REMOVAL TO BURLINGTON HOUSE 266
tion they are to occupy at Burlington House, I can only say
that these are questions^ the solution of which must, to a certain
extent, depend upon the claims of those other societies to whom
promises have been made, and also upon the sufficiency of the
funds of the Royal Academy to enable them adequately to
occupy the ground which may be assigned for their use."
Lord Monteagle (who, as Mr. Spring Eice, took a pro-
minent part in the arrangements which were made for
the removal of the Academy from Somerset House to
Trafalgar Square) expressed his opinion that none of the
societies accommodated in new Somerset House could
have any Crown right derived from the original occupa-
tion assigned to them in the old building ; but that by the
arrangement most properly proposed by the Government,
the Eoyal Academy would now, for the first time, " pos-
sess an indefeasible right in the land upon which the build-
ing they occupied stood. . . . The services rendered to
the public by the Eoyal Academy were such as entitled
them to the utmost consideration. He was not desirous
that Parliament should intermeddle officially in the
management of the Academy ; but he regretted to hear
any claim advanced of exemption from the power of
Parliament."
But for the change of Ministry which followed within
three months after these statements were made in ParUa-
ment, there is Uttle doubt that the arrangement thus
maturely weighed and considered, would ere this have been
carried out ; or, at least, that some steps would have been
taken to commence the new building for the Eoyal Aca-
demy. The question, however, still remains in abeyance ;
but it is greatly to be desired that Her Majesty's present
Ministers should confirm the agreement made by their
predecessors in office, and thus alike provide the needed
space for the exhibition of the national pictures and
enable the Eoyal Academy to pursue its varied labours
for the education of artists and the display of their works,
with increased facilities and advantage.
266 HISTORY OF THE ROYAL ACADEMY [Oh. XVII.
The exhibition of the year 1859, though not remark-
able for any striking pictures, presented evidence of an
increasing effort at exactitude in drawing and a careful
attention to the details in most of the pictures contri-
buted by young artists, in contradistinction to that spirited
touch which, a few years ago, it was their ambition to
attain. The works still being prepared for the Houses of
Parliament continued to withdraw several of the artists
whose works are usually prominent on the walls of the
Academy from the exhibition, except in the display of
small pictures, the fruits of their leisure hours ; never-
theless, there were many attractions for the lover of art
amidst the 1,382 works to be foimd there. The annual
dinner preceding the exhibition was attended, as usual,
by several members of the Cabinet ; and the Earl of
Derby pointedly corrected a remark made by the Lord
Chancellor, when he expressed his hope that such
assembUes might often meet " within these walls," by in-
timating His Lordship's own expectation, that it would
be rather in their proposed new home at Burlington
House that these pleasant gatherings would thenceforward
be continued. The conversazione to the exhibitors was
held, as usual, at the close of the season.
On the 10th of December, 1859, the President distri-
buted two gold and thirteen silver medals to the students.
In the Painting School none of the pictures submitted
were considered by the Council to be of sufficient merit
to deserve the distinction of the gold medal, and, there-
fore, only those for architecture and sculpture were
awarded. After this interesting ceremonial was con-
cluded, the President delivered a discourse to the students,
first reminding them that, " in the observation of nature,
and in the exercise of the eye, the chief aid of the artist
is comparison ; " and then he proceeded to exemplify this
principle by showing the distinctive character of de-
scriptive poetry and of the formative arts — the poets
having " frequently dwelt on sounds and perfumes, and
CH.XVn.] PRESIDENTS ADDRESS 267
on the sense of touch — even as susceptible of the fresh-
ness or warmth of the atmosphere, — rather than on
visible images ; " while artists have only to deal with that
kind of comparison which can be suggested by the sense
of sight. " The point is, to distinguish an appearance or
idea from those with which it is or may be in danger of
being confounded. Thus, in expressing death in painting
or sculpture, it is plain that what we have to avoid is, " the
appearance of mere sleep," on the principle that " things
being compared together, their character and relative ex-
cellence will consist chiefly in those qualities which are
exclusively their own." After illustrating and enforcing
these principles, the President concluded by impressing
upon his audience that, —
" No painter has achieved an enduring reputation who has
not embodied truth in some sense — truth either ordinary or
rare, either familiar or exquisite, or both — in some department
of the art. . . . The advanced student, in aiming at distinction,
should learn to be true to himself. For if he seeks to be what
he is not, to adopt the thoughts, the predilections, and the
practice of others, without sometimes retiring into himself and
communing with his own heart, his works will either be without
character or, may be, contaminated by affectation. Let me,
therefore, earnestly recommend you to preserve your intellectual
freedom ; and while you adhere to the essential elements of the
art which you may have chosen, and seek to reproduce in un-
equivocal representation the qualities of visible things, endeavour
to adhere no less truly to your own feelings, subject only to the
salutary modification resulting from knowledge and experience."
Early in the same year (1859) communications passed
between M. Th^ophile Silvestre (appointed by the Minister
of State in France to inspect the museums and other in-
stitutions of the fine arts in Europe) and the Eoyal
Academy, relative to the invitation given by the French
Minister to Enghsh artists, to contribute their productions
to the annual exhibition in Paris, where a room would
be especially devoted for their reception. The following
letter, from the Secretary of the Academy to M. Silvestre,
268 HISTORY OF THE ROYAL ACADEMY [Ch. XVH.
expresses the cordial sympathy which the artists of
England cherish for those of France, and their sense of the
esteem in which their works are held in that comitry : —
'^ Royal Academy of Arts, London^
" January 31, 1859.
" Sir, — I laid your two letters, the last dated the 24th instant,
before the President and Council of the Eoyal Academy of Arts,
at their meeting on Saturday last, and am directed to convey to
you the assurance of their high appreciation of the expression
of His Excellency the French Minister of State, in approbation
of the English School of Art, and also of the oflfer, on his part,
to devote a room for the reception of English works of art, for
exhibition at the Palais de I'lndustrie in April next I have
also received instructions to make known this gratifjdng and
generous offer to the presidents of the diflferent art societies in
Great Britain.
'*The President and Council feel that this expression of
sympathy for British art, on the part of the French Government,
deserves and demands an earnest response from British artists,
as founding a noble emulation and mutual good-will between
the artists of the two countiies.
" I have, &c.,
(Signed) « J. P. Knight, R.A., Sec."
'^ M. Th^ophile Silvestre.''.
Another instance occurred in this year of one of the
members of the Academy sun-endering his diploma at the
close of a long and prosperous career, in order that he
might not hinder other artists from attaining the like
dignity. This was in the case of Sir Eobert Smirke,
who resigned the position he had long held as a Eoyal
Academician, when he retired, fiill of honours, from the
active pursuit of his profession as an architect. All vrill
appreciate the consideration for the younger members of
his profession which prompted such an act of self-denial ;
but we hope it may be possible hereafter to make some
arrangement by which artists who have earned their
honours so well as Sir Eobert Smirke has done, may be
permitted to retain the rank and title of Eoyal Acade-
Ch. XVn.] PUBLICATION OF THE COUNCIL'S REPORT 209
mician, and yet not thereby exclude the rising members
of the profession from gaining similar distinctions*
The year 1860 will be notable in the future annals
of the Academy, as that in which the first account of
their proceedings and a report of their finances was
issued for the information of the pubhc. This very
interesting and valuable document is in the form of a
"Eeport from the Council of the Eoyal Academy to
the General Assembly of Academicians," which was
presented on February 24, 1860. Its title implies that
it was primarily intended for the information of the
members of the Academy; but it has since been cir-
culated in a wider sphere among those who are interested
in the history and proceedings of the Institution. The
report occupies thirty-six octavo pages, and the appen-
dices fifty-two more. The proposed removal to the new
building, the means at the disposal of the Academy, and
the general questions of its relation to the Crown, to the
pubhc, and to the professors of art, are all clearly and
ably considered by the Council ; and the documents pub-
lished in the appendices are in elucidation of these points,
being copies of the original instrument of institution, the
laws and other details relating to the schools, the members,
and exhibitors, abstracts of the accounts, correspondence
respecting buildings occupied, &c. We have, of course,
gladly availed ourselves of these authoritative documents
in this history ; and have, in a future chapter, to consider
some of the topics to which the Eeport refers — so that it
will not be necessary to do more than record its appear-
ance in this place.
The Exhibition of the year 1860 was generally pro-
nounced to be one of great excellence — displaying more
of the real study and spirit of art than is usually found ;
and that it proved especially attractive is shown by the
receipts arising from it being greater than in any pre-
vious year (not even excepting 1851), amounting to
£10,900 IQs. An arrangement was decided upon, by
270 HISTORY OF THE ROYAL ACADEMY [Ch. XVH.
which the pictures were not hung to the very top of
the rooms, as formerly (the upper story being covered
with dark red baize), in order to prevent the complaint
so often made, of some pictures being absolutely hung
out of sight — the practice of covering every available
space having been previously followed, under the im-
pression that many esdiibitors would rather see their
works badly placed than altogether excluded. In con-
sequence of this alteration, which tended to improve the
general appearance of the rooms, and to raise the average
merit of the pictures exhibited, only 1,096 works were
displayed out of 2,612 sent for exhibition ; but this altera-
tion did not involve the sacrifice of the interests of those
unconnected with the Academy, so much as those of the
members ; for at the annual dinner (at which Viscount
Palmerston, Earl Eussell, and other Ministers were pre-
sent), the President stated : —
'^I must do the memb.ers of the Royal Academy the justice
to say that some of their own works have been this year with-
drawn, to make room for others ; and it is satisfactory, amid the
di^ppointments which under the circumstances are unavoid-
able, to see works by contributors occupying those prominent
places which, by a fair and acknowledged privilege, are usually
assigned to members. From the experience of the present
exhibition alone, it is plain that the additional space which the
Academy so much wants would be a boon to the contributors ;
and it is on this account the more earnestly desired. The
members of the Eoyal Academy are sincerely anxious to render
this institution as useful as possible, in conformity with the
objects of its foundation."
The soiree to exhibitors followed the close of the
exhibition ; and on the 10th of December, five silver
medals were awarded by the President to the successful
competitors in the schools.
The new Sculpture Eoom was opened for the first time,
with the exhibition, in May 1861. It was planned by
Mr. Pennethome, the Architect to the Office of Works,
Cfl. XVn.] NEW SCULPTURE ROOM 271
and is formed partly from the former sculpture room, and
partly from the old entrance hall of the National Gallery.
The alteration was decided upon in Parliament (August
18, 1860) with a view to provide additional space in the
National Gallery, and to furnish better accommodation for
the exhibition of sculpture in the Eoyal Academy. Plans
for these improvements had been prepared, by order of
the Government, in 1857, and had then been approved by
the Academy, so that no time was lost in canying them
into effect as soon as the resolution was passed. In
September 1860, Mr. Pennethorne commenced the alter-
ations, by which the halls of both buildings were neces-
sarily considerably reduced — this loss of space being
more than counterbalanced by the increased accommoda-
tion afforded in other respects ; but the whole arrange-
ment (the act of the Government alone) was simply
designed to make a temporary improvement until the final
permanent location of the Eoyal Academy should be fixed.
The life School was necessarily closed, from August 25
to the end of the' year 1860, while these alterations were
in progress, and the Library, from the same cause, was
closed tiU August 1861. The weight of the works to be
deposited there of course necessitated the selection of
the ground-floor for the exhibition of works in sculpture ;
and in the three compartments of which the room is
now composed as much more space and light are ob-
tained as it was possible to procure in the adaptation of
the site ; while the alterations in the new entrance hall
and staircase afford a little addition to the space for the
display of pictures. The number of works in the ex-
hibition of 1861 was 1,134 ; on the whole it was a good
one, for there was little of that mediocrity which it is
so painful to behold in passing through a collection of
pictures ; and there were many excellences even in the
smaller works by unknown artists. The usual annual
dinner preceded the opening, and the conversazione for
exhibitors and others concluded the public display. These
272 HISTORY OF THE ROYAL ACADEMY [Ch. XVU.
gatherings, although repeated year by year, lose none
of their attractions to those invited to them ; and patrons
of art and the illustrious guests at the one, as well as
the more exclusively artistic gathering at the other, alike
feel the genial influence of art in bringing them together
to enjoy a " feast of reason " and " a flow of soul " under
the auspices of the Eoyal Academy. A " Grand Con-
gress of Artists of all Nations " was held after the close
of the exhibition, at Antwerp, in August 1861, when the
Eoyal Academicians chose J. P. Knight, the Secretary,
as their delegate, and Sir E. Landseer, D. Eoberts,
E. M. Ward, E. Westmacott, and G. T. Doo from among
their number to represent Enghsh art at the Congress,
in addition to the representatives of other Enghsh art
societies.
A female artist sought and obtained, in this year, ad-
mission to the schools for drawing from the Antique and
for Painting at the Academy. No law was passed for the
admission of female students, as none had previously
existed forbidding it ; and the only reason why they had
not before obtained access to these means of study was,
that they had never applied for them. The number of
female students has since increased to five, two of these
having been permitted to study from the living draped
model. Some time previously (in April 1859), a me-
morial had been forwarded to each member of the Eoyal
Academy, by thirty-eight ladies who were professional
artists, sohciting his influence to obtain for women a
share in the advantage of the study from the Antique
and from N ature, under the direction of qualified teachers,
afibrded by the schools of the Eoj^l Academy ; but as
this request would necessarily have involved a separate
Life School, the Eoyal Academy could not entertain the
proposal in the space to which their schools are at pre-
sent confined.
On December 10, 1861, the last distribution of rewards
to students which we shall have to record took place.
Ch. XVn.] ADVANTAGES TO STUDENTS 273
Three gold medals were assigned for the best works in
historical painting, sculpture, and architecture ; but the
gold " Turner " medal was not given, as none of the
competition works were considered deserving of the dis-
tinction. Twelve silver medals, and awards of books,
were also distributed by the President, who did not,
however, deliver a discourse to the students, as is cus-
tomary on these occasions. The newly-arranged Code of
Eegulations relating to the students was unanimously
approved and adopted on the 2nd of the same month,
after having been long under the consideration of the
General Assembly, and came into operation at the be-
ginning of the present year (1862). Many of the alter-
ations are designed to introduce an improved course of
study in the different schools ; but the principal advan-
tages are for students in architecture, for whom the
Academy finds itself unable to offer, within the institu-
tion, the same means of study as is given to students in
painting and sculpture. By the new regulations a higher
standard of attainment is prescribed for students in archi-
tecture, to whom an annual travelling studentship is
offered, it being considered that foreign travel is more
indispensable to them than to painters and sculptors, espe-
cially at the beginning of their career, while the latter
have the advantage of study in many pubUc and private
galleries at home. By other new regulations a scholar-
ship of £25 is added to the biennial gold medals in each
class, granted for one year, but renewable for a second ;
and in particular cases, permission is given to exchange
the traveUing studentship in painting or sculpture for an
allowance of £100 to assist in prosecuting studies at
home, renewable by the Council for a second year, if
good use has been made of the first.
Since Sir Charles Eastlake became President, many
changes among the members and officers have taken
place. Several illustrious artists have departed — the
Academicians who have died since the decease of Sir
VOL. II. T
274 HISTORY OF THE ROYAL ACADEMY [Ch. XVII.
M. A. Shee in August 1850 being J. M. W. Turner, C. E.
Leslie, Sir W. C. Ross, James Ward, Richard Cook, J. J.
Chalon, A. E. Chalon, Thomas Uwins, Sir R. Westmacott,
Sir C. Barry, and Wm. Wyon. Another member, Sir R,
Smirke, has resigned his seat in the Academy. Six
Associates have died within the same period : four painters,
William Westall, John Hollins, Francis Danby, and
Frank Stone; and two engravers, John Landseer and
Charles Turner. The honorary offices also lost three
distinguished occupants during the same period: Lord
Macaulay, appointed Professor of Ancient Literature in
1850, having died in 1859, was succeeded by Dean Mil-
man ; Henry Hallam's death caused a vacancy in the Pro-
fessorship of Ancient History, which was filled in 1860
by the election of George Grote ; Sir R. H. Inglis, Bart,
appointed Antiquary to the Royal Academy in 1850, was
succeeded on his death in 1855 by Earl Stanhope : the
ofiice of Secretary for Foreign Correspondence, held for
twenty-one years by Sir George Staunton, Bart., M.P.,
was filled on his decease in 1860 by Sir Henry Holland,
Bart. ; and the office of Chaplain, so long held by the
late Bishop Blomfield, was filled after his decease in
1868 by the present Bishop of Oxford.
In all the Professorships connected with the work of
the Academy, alterations have also taken place since Sir
Charles Eastlake entered upon his office. C. K Leslie
resigned the Professorship of Painting in 1852, and was
succeeded by Solomon Hart ; C. R. Cockerell resigned
the Professorship of Architecture in 1856, which was filled
in 1860 by Sydney Smirke. Sir Richard Westmacott
was succeeded in 1857 as Professor of Sculpture by his
son; and J. P. Knight continued to fill the office of
Professor of Perspective till he resigned the appointment
in April 1860. It was subsequently determined that a
teacher of Perspective should be appointed, and Mr. H.
A. Bowler has accordingly been selected, Mr. J. H. Green
resigned the Professorship of Anatomy in 1851, in which
Ch. X\7L] CHANGES AMONG THE OFFICERS 275
capacity for twenty-five years he had delivered lectures,
which were always popular, not only jfrom the eloquence
with which he was gifted, but from the interest he was
able to give to his subject, to a professional audience, by
his own knowledge of art. In 1852 Mr.EichardPartridge,
r.RC.S., was appointed as his successor ; having been
Lecturer on Anatomy at King's College, and being a
surgeon of the highest reputation, he is eminently qualified,
by the wide range in comparative anatomy which he takes,
to advance the knowledge of this most important subject
among. the students of the Eoyal Academy. Anatomical
demonstrations firom the hving subject are also made
annually at King's College, at the cost of the Academy,
for the improvement of the students. It is by this conti-
nuous course of instruction in every subject that can
advance the knowledge of art that the labours of the
rising generation of artists are directed by the teaching
of the several professors, while the actual practice of
their art is promoted and corrected in the several schools
of the Academy by the Keeper, the Curators, and the
Visitors.
The appointment of Secretary to the Academy has
been filled by J. P. Bjiight during the whole period we
have traced in this chapter. Charles Landseer, who was
appointed Keeper in 1851 (in succession to George Jones),
still retains that office. P. Hardwick performed the duties
of Treasurer firom 1850 to 1861, when Sydney Smirke was
appointed by Her Majesty to succeed him ; and H. W.
Rckersgill was nominated by the Queen as Librarian in
the place of Thomas Uwins, in 1856, and has ever since
filled the office.
Passing fi:om these internal arrangements of the
Academy to its pubUc displays fi-om year to year in its
annual exhibitions, we do not find so marked a contrast
to record as in some of the preceding chapters, with
reference to their chief characteristics ; for, happily, many
of those whose works were in 1851 its chief attractions
T 2
276 HISTORY OF THE ROYAL ACADEMY [Ch. XYU.
are still among us. We miss, indeed, the gorgeous
fancies of Turner's last years ; the chaste and elegant
works of Leslie and XJwins, and Eoss's masterpieces in
miniature ; Danby's sunsets, and Frank Stone's domestic
scenes ; but those that remain of their contemporaries,
and the younger artists who have succeeded to their
honours, worthily fill their places. In a pecuniary point
of view the exhibition continues steadily to prosper.
The large sum which was realised in 1851 (the amount,
£9,017 95., being more than £2,500 in excess of the
preceding one) was attributed to the extraordinary influx
of visitors attracted to London by the Great Exhibition
in Hyde Park in that year ; but from the last exhibition,
in 1861, even a larger sum (£10,358 2^.), was obtained
as the receipts of the year, when no extraordinary
influence aflected it: so that in this respect we may
augur for the Eoyal Academy, wherever it may finally be
permanently located, a continuous addition to its annual
revenues. Its expenses will, doubtless, be increased in
proportion, from the desire, whenever the opportunity is
aflbrded to it, of extending the efficiency of its schools,
enlarging its charities, and promoting in all ways the
progress of the arts, and the good of those who are either
students or professors of them. The expenses of the
exhibition in 1861 were £2,554 — of the schools above
£2,400 ; and the sum granted in pensions and donations
to artists and their famihes was £1,132 10s. 9d. (of which
£454 Os. 9d. was assigned to members and their fainilies),
in addition to the smn of £300 awarded in annual
payments of £50 each to six distressed artists as
« Turner's Gift."
Among the special items of expenditure during the
last few years, deserving of remembrance, are the grants
made by the Academy of £40 towards the expenses in-
curred by the Society of Arts in obtaining an Act of
ParUament on "Copyright in Works of Art;" of £50
towards the fund for rearing a permanent home for the
Ch. XVn.] ADDRESS OF CONDOLENCE TO THE QUEEN 277
"Female School of Art;" of £25 towards the purchase
of Flaxman's drawings for the gallery of the eminent
sculptor's works at University College ; of a silver vase
to Daniel MacKse, E.A., for his beautiful designs for the
gold " Turner Medal ;" and, lastly — the only saddening
one among them — of £500 towards the Memorial to
H.E.IL the late Prince Consort, who, among many
eminent qualities of mind, was especially gifted with a
thorough knowledge of art, and who, among many and
varied works of usefulness, was especially interested in
promoting every object by which its influences could be
extended, its treasures secured for the instruction and
amusement of the people, and its professors raised to a
position corresponding to the importance of the pursuits
in which they are engaged.
We have already mentioned that it has been customary
for the members of the Academy to address the Sovereign,
as its Patron, on every occasion of special importance to
the Eoyal Family. It was their painful duty to condole
with Her Majesty on the occasion of the death of her
royal mother in March 1861, and at the close of the year
to share the universal expression of the sympathy of the
nation in the deep affiction with which Divine Providence
had visited our Queen in the removal of H.E.H. the
Prince Consort. The address of condolence was for-
warded to the Home Secretary on the 1st January, 1862,
and was as follows : —
" To the Queen's Most Excellent Majesty —
** We, your Majesty's dutiful subjects, members of the Boyal
Academy of Arts, humbly beg leave to offer your Majesty our
heartfelt condolence on the unspeakable loss which your
Majesty, the Royal Family, and the nation have sustained by
the death of H.B.H. the Prince Consort.
"Amidst the universal grief which this calamity has occa-
sioned, those societies which are connected with art or science
have especial cause to deplore the loss of one who was their
enlightened adviser, as well as, next to your Majesty, their
278 HISTORY OF THE ROYAL ACADEMY [Ch. X\^I.
powerful protector; and frequent will be the occasions when
their recollection, not only of His Royal Highness's public and
private virtues, but of his judgment, knowledge, and taste, will
renew their admiration and respect, their gratitude and their
sorrow.
*'But that sorrow is at present absorbed in the thought of
your Majesty's aflBicting bereavement ; and with this feeling, we
desire humbly to assure your Majesty of our earnest sympathy
and affectionate loyalty, and of the deep interest which we, in
common with all your Majesty's subjects, shall ever take in
whatever concerns the happiness of your Majesty and the Royal
Family."
(Signed by all the members of the Academy, Academicians,
and Associates.)
The year which has opened so mournfully is destined
to be an eventful one in the annals of art in England —
it being intended to include in the International Exhibi-
tion, in which the lamented Prince Consort took so warm
an interest, specimens of the fine arts of all nations, as
well as of their industry and manufactures. To the col-
lection of works by deceased EngUsh artists, the Eoyal
Academy has contributed several works by its late mem-
bers, and its own exhibition promises to be one of more
than usual attraction. These things, however, being
future, are not within our province; and we conclude
this portion of our work by giving, for the convenience
of reference, a complete list of the Uving members of the
Academy at the present time : —
Pkesidekt.
Sir Charles Lock Eastlake.
HoNo&ABT Members.
The Bishop of Oxford, Chaplain
George Grote, Esq., F.G.S., Professor of Ancient History
The Very Rev. Dean Milman „ „ Literature
Earl Stanhope, F.R.S., P.S.A., Antiquary
Sir H. Holland; Bart.; &ecret€try for Foreign Correspondence,
Ch. XVII.] LIST OF PRESENT MEMBERS
279
Baily^ Edward Hodges
Cockerell, Charles IU>bt.
Cooper, Abraham
Cope, Charles West
Creswick, Thomas
Dyce, William
Eastlake, Sir C. L.
Egg, Augustus Leopold
Elmore, Alfred
Foley, John Hemy
Frith, William Powell
Gibson, John
Gordon, Sir J. Watson
Granl^ Francis
ACADEMICLANS.
Hardwick, Philip
Hart, Solomon Alex.
Herbert John Rogers
Hook, James ClarKe
Jones, George
Knight, John Prescott
Landeeer, Charles
Landseer, Sir Edwin
Lee, Frederick Richard
Macdowell, Patrick
Maclise, Daniel
Marshall, Wm. Calder
Mulreadj, William
Pickersgill, Henry Wm.
PickersgiU, Fred. Rich.
Phillip, John
Poole, Paul Falconer
Redgrave, Richard
Roberts, David
Scott, George Gilbert
Smirke, Syoney
Stanfield, Clarkson
Ward, Edward Matthew
Webster, Thomas
Westmaoott, Richard
Witherington, William
Frederick.
ACABEMICIAN-EKeBAVERS.
Samuel Cousins, and George Thomas Doo.
Pbofessos of Painting, S. A. Hart
f, Sculpture, Richard Westmacott
„ Architecture, Sydney Smirke
Anatomy, Richard Partridge.
99
Associates (in the order of their election as such).
George Patten
Thomas Sidney Cooper
William Edward Frost
Robert Thorbom
William Boxall
Edward William Cooke
Henry Weekea
Frederick Goodall
John Everett Millais
John Callcott Horsley
George Richmond
John Frederick Lewis
Henry O'Neil
WuL Chas. Thos. Dobson
Richard Ansdell
Thomas Faed
Baron Carlo Marochetti
Edw. Middleton Bany
James Sant
(One vacancy, vice
Poole).
ABSOCIATE-EKGRAyEBS.
Richard James Lane, Robert Graves, and James Tibbetts Willmore.
(New Class) Lumb Stocks^ and John Henry Robinson.
280
CHAPTER XVin.
BOTAL ACADEMICIANS ELECTED UNDER THE PRESIDENTSHIP
OF SIR C. L. EASTLAEJB.
Frendent : Sir C. L. Eastlaxs.
Famters : Sir J. W. Gobdok^ Thomas CRESWiCKy Richasd Kedorate,
Frascib Qrjlnt, W. P. Feith, E. M. Ward, A. Eucobs, F. R.
PiCKSRBoiLL, J. Phillip, J. C. Hook, A. L. Ego, and P. F. Pools.
Sculptors : W. C. Mabshall, and J. H. Foley.
Architects: Stdnet Smirke, and Q. G. Scorr.
Academician' JEnffravers : Samuel Cousins, and G. T. Doo.
BEPOEE we proceed to give an account of the Acade-
micians elected during the present President's tenure
of office, we have first to speak of his own career, so far
as his personal history as an artist is distinguished from
his proceedings in the position he occupies at the head of
the Eoyal Academy.
Sir Charles Lock Eastlake, P.R.A., was bom on the
17th November, 1793, at Plymouth, where his father,
Mr. George Eastlake, was sohcitor to the Admiralty and
Judge Advocate. He was a warm friend to the cause of
popular education, and was the foimder of the public
library at Plymouth. Sir Charles was his youngest son,
and was educated, first at the grammar schools of Ply-
mouth and Plympton (the birthplace of Sir J. Eeynolds),
and afterwards at the Charterhouse in London. Stimu-
lated by the example of his fellow-townsman, B. E.
Haydon (to whom he happened to pay several visits while
painting his 'Dentatus'), he decided on becoming a
Ch. XVm.] SIR C. L. EASTLAKE 281
painter, and entered the schools of the Academy as a
student in 1809. At that time Fuseli was Keeper, and
under his guidance and instruction he made rapid pro-
gress. He also consulted Haydon, who was then endea-
vouring to establish a school of his own for young artists.
After leaving the Academy schools, he painted a picture
of ' The raising of the Daughter of Jairus,' which was pur-
chased by Mr. J. Harman, and at his request (after paint-
ing other pictures and several portraits) Eastlake went to
Paris to examine and copy from the works of the great
masters collected by Napoleon in the Louvre ; but the
Emperor's return from Elba put a sudden stop to this oc-
cupation, and compelled him to come back to England
He then established himself as a portrait painter at Ply-
mouth, and subsequently, when the Bellerophon was lying
off the Citadel, with Napoleon on board of her, Eastlake,
from a boat, made sketches of him as he walked the deck,
and from these he painted the last portrait taken of the
Emperor in Europe. The likeness was admirable, to
which the French oflScers, to whom it was afterwards
shown, bore testimony. In 1817 he visited Italy, in com-
pany with the late Sir C. Barry, the architect, and
Brockedou, the artist. In 1818 he made a series of
sketches, on commission, for Mr. Harman, of the architec-
tural ruins and scenery of the classic land of Greece. He
visited Malta and Sicily on his way back, and after his
return to England painted a picture of * Paris receiving
the Apple from Mercury,' the figures being life-size. His
father died shortly afl^erwards, and he then returned to
Some, where he subsequently spent several years.
In 1823 he became for the first time an exhibitor at the
Eoyal Academy, his pictures being views taken in Bome
and its vicinity — St. Peter's, the Castle of St. Angelo, &c.,
and sketches of the peasantry of Italy and Greece. Among
his early works were several pictures of banditti, which
were very popular at the time. In 1825 he exhibited
* A Girl of Albano leading a Blind Woman to Mass ; ' in
282 HISTORY OF THE ROYAL ACADEMY [Ch. XVLU.
1827 *The Spartan Isidas repelling the Thebans/ a com-
mission from the Duke of Devonshire — a work so bold and
spirited, and displaying so much artistic excellence, that it
doubtless led to his election as an Associate of the Eoyal
Academy in that year. In 1828 he exhibited ' Peasants
on a pilgrimage to Rome first coming in sight of the Holy
City,' which indicated great refinement of thought, deep
poetic feeling, and growing power of execution. It was
exceedingly popular, and was quickly engraved on a large
scale. The original version is the property of the Duke
of Bedford. The artist has been since called upon to make
several replicas, in which there are some slight alterations ;
and he was so constantly soUcited to repeat his principal
pictures that he was at length obhged to decline to make
them. He quitted Italy in 1829, and the next year was
elected a Eoyal Academician, having sent to the exhibition
of the previous year a picture entitled ' Byron's dream,' a
landscape in which the poet is represented asleep amidst
some of the ruins of ancient Greece — the only landscape,
strictly speaking, painted by the artist. For some years
afterwards his subjects were derived from the history and
people of Greece and Italy : among them were the ' Con-
tadina and Family returning from a Festa,' ' Prisoners to
Banditti,' * Gaston de Foix before the Battle of Eavenna,'
' The Salutation of the aged Friar,' ' An Italian family,'
' Greek Fugitives,' * Italian Peasant Girls,' ' A Pilgrimage,'
' La Svegliarina,' * Greek Peasants,' &c.
He commenced another and higher class of subjects in
1839, when he exhibited 'Christ blessing Uttle Children,'
a fine work, since engraved in line by Watts. In 1841
appeared his masterpiece, * Christ weeping over Jerusa-
lem,' engraved in mezzotint by Cousins — a work which
will take its place among the best historical paintings of
the modem school — treated with great simplicity, replete
with purity of thought and refinement, finished with great
care, but not too elaborately, and the whole, with its
subdued richness of colour, conveying a deep sentiment
Ch. XVIIL] SIR C. L. EASTLAKE 283
of earnestness and solemnity, which is imparted to the
beholder, and which could only be the production of a
mind filled with religious reverence for the theme which
has been so successfully represented. In the same style, he
exhibited, in 1843, ' Hagar and Ishmael,' a work of great
merit, displaying the same purity of feeling and character-
istic expression, but which did not equal the former in
interest or beauty. In the next year appeared a scene
from " Comus," painted by command of the Queen, in
fresco, for the Eoyal summer-house at Buckingham
Palace. In 1845 he exhibited a female head of ' Heloise,'
painted with much sweetness; in 1846 'A Visit to the
Nun,' now in the Royal collection ; in 1847 'An ItaUan
Peasant Family prisoners with Banditti; in 1849 ' Helena;'
in 1850 ' The Good Samaritan,' purchased by the Queen ;
and * The Escape of the Carrara Family from the Duke of
Milan;' in 1851 'IppoHte ToreUi;' in 1853 'Violante,'
and * Kuth sleeping at the feet of Boaz ;' in 1854 ' Irene;'
and in 1855 * Beatrice ;' since which time none of his
works have appeared in the exhibitions. Among his
portrait pieces and figures of single heads, * The Sisters,'
in the Eoyal collection, and 'The Greek Girl,' in the
Vernon Gallery, may be cited as specimens of the ex-
quisite grace and tenderness with which the artist deals
with such subjects. The nation happily possesses some
of his best works : a duphcate of ' Christ weeping over
Jerusalem/ ' The Escape of the Carrara Family,' and the
head of ' Haidee, a Greek Girl ' (1831), are in the Vernon
Collection : two of his early works, ' An Italian Contadina
and her Children,' painted at Eome in 1823, and *A Peasant
Woman fainting from the bite of a Serpent,' exhibited at
the Eoyal Academy in 1831, are in the Sheepshanks
Collection.
Sir Charles Eastlake paints with all the grace and
poetic feeUng, and with the vigour of tone and harmony
of colour, of the old masters of the Venetian school : the
treatment of his subjects appeals rather to the approbation
284 HISTORY OF THE ROYAL ACADEMY [Oh. XVHI.
of the discerning few than to the multitude, but there is
in them so much purity of conception, graceful feeling,
and delicate yet expressive execution, that the contempla-
tion of his pictures is an instructive lesson as well as a
pleasure to all who study them.
Not less important than his contributions to art, have
been his labours in promoting its extension, and in collect-
ing and imparting information in regard to its history
and the modes of practice adopted in different ages and
countries. In 1841 Mr. Eastlake was appointed (by the
discernment of Sir Eobert Peel, who saw his fitness for
the oflSce) Secretary to the Eoyal Commission of the Fine
Arts, in connection with the decoration of the New Houses
of Parliament, and for several years he has been engaged
not only in directing the proceedings of the Commis-
sioners, but also in collecting materials to enable them
to decide as to the means of carrying out its purposes,
and in making investigations as to the history and pro-
cesses of fresco painting, and other matters connected
with the work of the Commission. His attainments as a
scholar, his clear and vigorous mind, his singular apti-
tude for business, all combined to render his services
invaluable in this national undertaking ; and by the exer-
cise of judgment and decision — by the delicate courtesy
and unassuming manners he displayed in fulfilling the
duties of an ofiice, which brought him into direct com-
munication with the late Prince Consort and the nobility
on the one hand, and the artists to whom they gave or
declined to give commissions on the other — he showed
how well fitted he was for that position, and for the office of
President of the Eoyal Academy, which he was afterwards
called upon to fiU. The Reports presented to Parliament
by the Eoyal Commission, and the appendices to them,
bear record to the ability and the extent of the labours
of their Secretary ; while the Prince, as we have seen,
graciously gave testimony to his own estimation of his
services, on the occasion of his succeeding to the appoint-
CH.XVin.] SIR C. L. EASTLAKE 285
ment of President of the Academy. It was feared that
his elevation to this office would have involved the resig-
nation of the former one; but happily it was not so, for in
the fulfilment of the duties of Secretary to the Eoyal Com-
mission he has conferred great benefit upon the arts in
this country.
In 1842 he was appointed Librarian to the Eoyal
Academy, but was obhged in consequence of his nume-
rous pubUc engagements to resign the office in 1844. On
the death of Mr. Seguier, in November 1843, he suc-
ceeded him as Keeper of the National Gallery, and re-
tained the appointment till 1847, when he resigned it.
During this period he was subjected to much annoyance
and injustice by the statements circulated as to the man-
ner in which he had fulfilled his duties, and an enquiry
was instituted by the Trustees in 1846 to investigate the
charges thus made, the result of which was that they re-
ported " that in the opinion of the Trustees, the report
made by Mr. Eastlake is entirely satisfactory, and justifies
the confidence which they have reposed in his judgment,
in respect to the treatment of the pictures in the National
Gallery." As a fiurther proof of this confidence, on the
reorganisation of the establishment in 1855, Sir Charles
Eastlake was appointed Director of the National Gallery,
with a salary of £1,000 a year, it beiog felt that the
amount of knowledge both of the principles and practice
of art, ancient and modem, possessed by him, eminently
quaUfied him for the charge. He has since been exposed
to many virulent attacks fi:om interested parties, but the
intelligent part of the community, as well as the Trustees
of the National Gallery, know how to estimate his ser-
vices, and to value at what they are worth such statements
and opinions as those which have been circulated by his
opponents. He has been carefiil to obtain, whenever
practicable, specimens of those schools of painting in
which our national collection is most deficient, and to
secure any really valuable works to be procured with the
286 HISTORY OF THE ROYAL ACADEMY [Ch. XVni.
funds placed at his disposal ; and if all the purchases made
have not been of equal value, yet most of the additions made
to the Gallery since his appointment as Director (especially
of specimens by the early Itahan masters) prove how ably
and zealously he has fulfilled the duties of his ofiice.
Sir Charles Eastlake has made several valuable contri-
butions to the literature of art, by which he has shown
himself to be one of the most learned of modem painters.
The articles he furnished for the " Quarterly Review," the
"Penny Cyclopaedia," and other publications, were collected
together in 1848, and published under the title of "Con-
tributions to the Literature of the Fine Arts." In 1840
he pubhshed a translation of Gothe's work on Colour,
"Farbenlehre," in 1 vol. 8vo., with many valuable notes on
the great Venetian and Flemish painters. His next work,
"Materials for a History of Oil Painting" (1847), entered
more fully into the practice and the materials employed
by those masters. An edition of " Kugler's Handbook to
the Schools of Painting" has been published, with notes,
&c., by Sir Charles Eastlake. The translation is said
to have been made by Lady Eastlake, to whom he was
married in 1849. As Miss Kigby she was previously
known as a lady of great intellectual attainments, being
the authoress of the "Letters from the Baltic," and other
works.
Many honours have been awarded to Sir Charles
Eastlake. He was elected F.KS. in 1838. He became
an Associate of the Eoyal Academy in 1827, and RA. in
1830. He succeeded to the ofiice of President in 1850,
when he received the honour of Knighthood from Her
Majesty. In 1853 he was created D.C.L. at Oxford, in
1855 Knight of the French Legion of Honour, and in
1858 an Honorary Member of the Academy of Arts of
Eome, in the place of the eminent French painter, Paul
Delaroche. As an artist, a scholar, and a gentleman. Sir
Charles Eastlake possesses the high esteem of the public ;
and in the inner circle of those to whom he is personally
Ch. XVm.] EASTLAKE— GORDON 287
known, and in the Art Society of which he is the head, he
is justly held in universal respect for his genius, and those
many personal qualities of heart and mind, which render
him courteous and afiable, full of deUcacy of feehng, and
conscientious in the discharge of all the duties which in
his high position he is called upon to fill.
During the few years which have elapsed since Sir
Charles Eastlake's appointment as President, eighteen new
Koyal Academicians have been elected. Of these twelve
are Painters, two Sculptors, two Architects, and two Aca-
demician-Engravers, under the law passed during his
presidentship. The Painters are Sir. J. W. Gordon,
Thomas Creswick, Eichard Kedgrave, and Francis Grant,
elected in 1851; W. P. Frith (1853); E. M.Ward (1855);
Alfred Elmore (1856); F. R PickersgiU (1857); J. PhiUip
(1859) ; J. C. Hook, and A. L. Egg (1860); and P. F. Poole
in 1861. The Sculptors are W. C. Marshall, elected in
1852, and J. H. Foley in 1858. The Architects, Sydney
Smirke in 1859, and George Gilbert Scott in 1860. The
Academician-Engravers are Samuel Cousins (1855), and
George T. Doo in 1857.
Sir John Watson Gordon, RA., was bom in Edinburgh,
the son of a Post-Captain of the Navy, a descendant of the
Watsons of Overmans, in Berwickshire, and is connected
through some branches of his father's family with Sir
Walter Scott. He was intended for the army, but as it
happened that he was too yoimg when the application
was made for his admission to the RDyal MiUtary Aca-
demy at Woolwich, he was sent to the Trustees Academy
at Edinburgh, then under the direction of Mr. John
Graham, to be educated as an artist, and he remained
there pursuing the necessary studies for his profession for
four years. He commenced his career — as so many other
young artists have done, afterwards to relinquish them —
on historical and poetical subjects, but eventually devoted
288 HISTORY OF THE ROYAL ACADEMY [Ch. XVm.
himself exclusively to portraiture, in which he has shown
great talent, and met with eminent success.
He has spent nearly all his life in Edinburgh, taking
the place of Sir H. Eaebum in painting portraits of all
the celebrities of the Scottish capital, and indeed of most
of his coimtrymen wherever resident, giving to his pictures
a reality which has never been excelled, either in the
verity of the outward resemblance and characteristic
features, or in the rendering of the mental qualities of the
individual represented. While thus making aU his por-
traits faithful transcripts of the originals, his pictures are
not deficient in the technical excellences of good painting.
His drawing is careful and correct, the colourmg is true
and unaffected, he paints with a firm touch, and subordi-
nates every part of the picture to the head, which is thus
brought out into bold rehef.
So numerous are his portraits, that it would be impos-
sible to give a list of them ; all the Scottish nobility, men
of letters and science, eminent lawyers, politicians, and
merchants of his country, have in turn been his sitters :
of course in some cases he is more successful than in
others, and he seems to be most at home when he has to
depict a sharp, shrewd, and hard-featured man of the
worldly-wise part of the Scottish character. In the
Archers' Hall at Edinburgh are two full-length portraits
by him of the Earl of Hopetoun and the Earl of Dalhousie.
In the Chambers of the Faculty of the Writers to the
Signet is the portrait of Lord Justice-General Hope, and
of his successor. Lord Justice Boyle, of whom also there
is another portrait belonging to the Faculty of Advocates.
He was elected an Associate of the Eoyal Academy in
1841, and RA. in 1851. He was one of the early mem-
bers of the Eoyal Scottish Academy, and is still one of
its warmest supporters. In 1850, on the death of Sir
WiUiam AUan, he was elected as its President. On this
occasion a public dinner was given to him, on the 13th
December, at the Waterloo Booms in Edinburgh, at which
Ch. XVm.] GORDON— ORES WICK 289
the chair was occupied by Professor Wilson, who paid a
just compliment to the intellectual and moral qualities of
the new President of their Academy. At the same time
Sir John Watson Gordon was appointed as the Queen's
Limner in Scotland, and, according to precedent, received
from Her Majesty the honour of knighthood.
Thomas Creswick, E.A., was bom at Sheffield in 1811,
and was educated at Hazelwood, near Birmingham, where
he made considerable progress also in drawing landscapes.
He came to London in 1828 to pursue his artistic studies
with greater advantage, and to exhibit some of his pic-
tures of scenery in North Wales at the Koyal Academy.
From that period for more than thirty years he has been
a constant and abundant contributor to the exhibition at
the Academy, formerly also at the Suffolk Street Gallery,
and still occasionally at the British Listitution. In all his
works there is a thoroughly English character in the
scenery, and a natural truthfidness, derived from his prac-
tice of painting the scenes he depicts in the open air as he
sees them before him. His subjects are always pleasing,
and tastefully chosen. His paintings of the Welsh streams
— rocks and water, bold and wild, amidst luxuriant
foliage — his river scenes in the valley of the Wharfe —
his Cornish views, and some pictures painted during a
tour in teland — aU exhibit the same appreciation of the
beautifiil in nature, and his power to realise the expression
of its varied forms by his facile art. For many years his
pictures were small in size, and generally of river scenery,
as their titles indicate, — * A Eocky Stream,' ' Windings of
a Eiver,' * A Shady Glen,' ' A Cool Spot,' &c. ; or in the
forest glades, as *The Chequered Shade,' 'The Beech
Trees,' 'The Pleasant Way Home,' &c. In 1836 he re-
moved to Bayswater, where he still resides, after having
paid a visit to Ireland, the picturesque scenery of the
county Cork affording him many subjects for pictures
exhibited shortly afterwards.
VOL. II. u
290 HISTORY OF THE ROYAL ACADEMY [Ch. XVIII
In 1842 he was elected an Associate, and in 1851 a Koyal
Academician. Thus estabUshed in reputation as an artist,
he pursued his labours with greater confidence. In 1847
he painted two large and singularly beautiful pictures —
* England,' and * The London Eoad a Hundred Years
Ago,' — ^both affording signs of bolder conception and more
able execution, and which must be classed among the
best works he has produced. In the following year he
began to work in another style, painting sea-side views,
* Home by the Sands,' and ' A SquallyJ Day,' which he
continued to follow for a few years, and then aU but laid
aside to resume that which was evidently more congenial
to him. Latterly he has painted in conjunction with Ans-
dell, who has inserted some fine groups of cows and other
animals in his truthful landscapes with great effect. His
colouring is dehcate and low-toned — his drawing admir-
able ; he is fond of studying atmospheric effects, and gives
to the periods of the day, the seasons of the year, and
each class of scenery he depicts its distinct character, and
thus his landscapes form some of the most pleasing speci-
mens of those painted by our modem English school.
He has made numerous sketches for book illustrations,
which engrave well, and make pleasing pictures even when
divested of the charm of colour. He also etches with
great skill. Very fair specimens of the style of his smaller
pictures are * The Pathway to the Village Church,' painted
in 1839, in the Vernon Collection, and two others in the
Sheepshanks Gallery, painted in 1844, * A Mountain Stream
on the Tummel, Perthshire,' and *A Summer's After-
noon.'
EiCHAKD Eedgrave, E.A., was bom at Pimlico on
the 30th April, 1804. His youth was spent (as he has.
told us in an autobiographical letter he addressed some
years since to the editor of the " Art Journal ") in the
counting-house of his father, who was a manufacturer
employing a large number of workmen, and who entrusted
Ch. XVIII] RICHARD REDGRAVE 291
his son with " making the designs and working drawings
for the men, and journeying into the country to measure
and direct the works in progress." The latter was a
pleasant occupation, for it led him among those scenes of
nature in which he took an early dehght His father's
business, however, did not prosper, and as he was one of
a large family, the young man was allowed to leave it
and to follow his own bent for a more decidedly artistic
employment. When about twenty years of age he joined
a schoolfellow, of like tastes with himself, in going to
draw fix)m the Elgin and Townley marbles in the British
Musemn. In 1825 he exhibited a view of the River
«
Brent, near Hanwell, at the Eoyal Academy, and in the
next year became a student there.
Shortly afterwards, that he might not become a burden
to his father, he determined to maintain himself by his
art, and this at a time, as he teUs us, " when there was
httle to help the young beginner : wood engraving, com-
pared with its present extension, was in its infancy ; litho-
graphy was unknown ; art-imions, to assist the young
artist, were yet imthought of ; exhibitions were few and
very exclusive ; and all the means and appUances required
by the artist were fewer and more difficult to obtain."
He became a teacher of drawing during the day, and a
student at the Academy Schools at night, working fourteen
hours a day amidst many discouragements, and giving
himself no rest except on Simday, which was, " as I trust
it ever will be," he says, " a sacred day to me." In addition
he painted and exhibited several small pictures, the sub-
jects of many of them being taken from the " Pilgrim's
Progress." Amidst these eflforts, he also competed for
the Academy Gold Medal, but failed, as he thinks, because
he could not devote more time to his work, and make
more use of nature in it. In 1831 he exhibited a
historical work, * The Commencement of the Massacre of
the Innocents ;' in 1833 'Cymbeline,' and two landscapes ;.
and he has been a constant exhibitor ever since.
u 2
292 HISTORY OF THE ROYAL ACADEMY [Ch. XVni.
His first success, as he deemed it, was in 1837, when he
sold * Gulliver on the Farmer's Table,' exhibited at the
British Institution. It was purchased for engraving, and
afterwards became the property of Mr. Sheepshanks, who
presented it with his collection to the nation. In 1838
he sent to the British Institution a subject from Crabbe,
* Ellen Orford,' which was rejected there, but afterwards,
to his dehght, exhibited " on the hne " at the Academy.
The next year he exhibited there * Olivia's Eeturn to her
Parents,' and ' Quintin Matsys showing his First Picture to
the Father of his Lady-love.' These found purchasers ; and
now the way out of difficulty and struggles, and towards
fame and success, seemed to be opening upon him. In
1840 he exhibited *The wonderful Cure of Paracelsus;'
the next year ' The Castle-builder,' * Sir E. de Coverley's
Courtship,' and ' The Vicar of Wakefield finding his lost
Daughter at the Inn ;' and for several years he continued
to choose subjects of a simple domestic character, not
intended merely to please the eye, but to reach the heart
of the beholder. " It is one of my most gratifying feelings,"
he tells us, " that many of my best efibrts in art have
aimed at calling attention to the trials and struggles of the
poor and the oppressed. In the ' Eeduced Gentleman's
Daughter' (1840), *The Poor Teacher' (1843), *The
Sempstress ' (an illustration of Hood's * Song of the
Shirt') 1844, 'Fashion's Slaves ' (1847), and other works,
I have had in view the ' helping them to right that sufier
wrong' at the hands of their fellow-men. If this has
been done badly, it has at least been done with the heart,
and I trust when I shall have finished my labours I shall
never have occasion to regret that I have debased the art
I love by making it subservient to any unworthy end."
But he did not confine himself to these efforts, laudable
and beneficial though they were. He was a lover of
nature ; and the woods and streams of the country have
found a dehcately true and natural copyist in him. Many
of his pictures of this class bear titles which indicate their
Cn. XVm.] RICHAKD REDGRAVE 293
character ; such as ' Sun and Shadow,' 'The Sylvan Spring,'
* The Lost Path/ * Love and Labour,' ' The Mid-wood
Shade,' ' The Old English Homestead,' * The Skirts of a
Wood,' 'The Cradle of the River,' &c. In 1847 he
exhibited 'The Guardian Angel,' and in 1849 'The
Awakened Conscience,' followed in 1850 by the ' Marquis
and Griselda.' In that year he was elected a Eoyal
Academician, having been an Associate since 1840. His
chief picture in 1851 was ' The Flight into Egypt,' a very
original conception of a subject frequently painted, and
treated with great solemnity of feeUng. In 1854 he ex-
hibited another picture of the Virgin and Child, entitled
'Foreshadows of the Future;' in 1857 'The Well-known
Footstep,' and 'The Moorland Child;' in 1860 'The
Strayed Flock,' ' Seeking the Bridle-road,' and two pictures
of 'The ChHdren in the Wood;' in 1861 'Young Lady
Bountifiil,' 'Geneveva,' 'A Surrey Coombe,' and 'The
Golden Harvest.'
In his subject pictures there is always a purpose, and
that a good one, and thus he has fulfilled one of the
highest missions of the artist, who, while delighting our
eyes, ought at the same time, unconsciously to ourselves,
to be improving our hearts. His descriptive scenes are
well worked out, and display both a true judgment and a
fertile imagination ; they are full of carefiil details, and
indicate close observation of human nature and study of
character. His landscapes are choice transcripts of nature
as he sees it in its varied guise, at different seasons, with
aU the little wild flowers which he admires so much in-
troduced to heighten the effect of the scene. Every year
there are some contributions from his pencil to the
Academy exhibition ; yet, considering the constant atten-
tion he gives to the many important public duties devolv-
ing upon him in the position he occupies, it is wonderful
how he can find time to paint anything.
From 1847 to 1851 he held successively the appoint-
ments of botanical teacher and lecturer, and head master
294 HISTORY OF THE JROYAL ACADEMY [Ch. XVIII.
Government School of Design. In 1852 he became Art-
Superintendent in the Department of Practical Art, and
in 1857 was appointed Inspector-General for Art in the
Department of Science and Art then established. He
has ever since continued laboriously to watch over the
schools, the Museum, and the Art Collections at South
Kensington. Several of his lectures and addresses to the
students in the schools of the Science and Art Department
have been printed, and he published, in 1853, an element-
ary "Manual of Colour," for their use. In 1857 he
succeeded Thomas Uwins, RA., as surveyor of the Koyal
collections of pictures, a post not altogether a honorary
one, but properly bestowed on an artist who has attained
a high position in his profession, and who has done so
much to promote the right cultivation of a taste for art
in the public. To him, also, jointly with Mr. Creswick,
the arrangement of the collection of pictures for the
International Exhibition of 1862 has been entrusted.
The Vernon Gallery contains a picture painted by him
in 1848 full of talent in conception, drawing, and colour,
entitled ' Country Cousins,' humorously representing the
curiosity with which the town relatives examine their
visitors from the country, rather than welcome their
arrival. The Sheepshanks Collection contains some of
the artist's works which have been already referred to :
* Gulliver,' 1836 ; 'The School Teacher,' 1845 ; * Cinder-
ella about to try on the Glass Slipper,' 1842 ; * Throwing
off the Weeds,' 1846; * Bolton Abbey,' 1848; and a
picture of * OpheUa weaving her Garlands,' 1842, which
represents the subject with great simplicity and touching
effect, and is a work of art carefully studied in all its
details, and as nearly as possible embodying the poet's
idea of the character and the scene.
Francis Grant, RA., is a younger son of Francis Grant,
the laird of Kilgraston, in Perthshire, and the brother of
Lieut.-General Sir J. Hope Grant, G.C.B., the late com-
Ch. XVm.] FRANCIS GRANT 295
mander of the forces in China, who accomplished the
capture of Pekin, and now holds the chief command in
the Madras presidency.
Francis Grant was bom in 1804, and was educated for
the bar ; but taking a strong dislike to the study of the
law, and having an equally strong desire for art, at the
age of twenty-four he determined to change his profession,
and become a painter. Twelve lessons when a boy, in
drawing the human figure, subsequent patient study of
the old masters, and making carefiil copies of the works
of Velasquez and others, besides study from nature, con-
stituted the art^education which fitted him to enter upon
his new career.
He was fortimate enough to secure the interest of Sir
Walter Scott, who has left an interesting notice of him in
his diary (dated 26th March, 1831), in which he states
his motives in adopting the profession of a painter. He
says : " In youth he was passionately fond of fox-hunting
and other sports : he had also a strong passion for paint-
ing, and made a little collection. As he had sense enough
to feel that a younger brother's fortune would not last
long under the expenses of a good stud and a rare collec-
tion of chefs'd^ceuvre he used to avow his intention to
spend his patrimony, about £10,000, and then again to
make his fortune by the law. The first he soon accom-
plished. But the law is not a profession so easily ac-
quired, nor did Frank's talent he in that direction. His
passion for painting turned out better. . . . I am no
judge of painting, but I am conscious that Francis Grant
possesses, with much cleverness, a sense of beauty derived
from the best source — that is, the observation of really
good society. . . . His former acquaintances render
his immediate entrance into business completely secure.
He has, I think, that degree of force of character which
will make him keep and enlarge any reputation which
he may acquire. He has confidence, too, in his own
powers — always requisite for a young gentleman trying
296 HISTORY OF THE ROYAL ACADEMY [Ch. XVIH
things of this sort, whose aristocratic pretensions must be
envied."
In the early part of his career as an artist, he followed
his own sporting tastes in the choice of his subjects, which
were very popular among a certain class, and were mostly
engraved. Among the first of these exhibited was ' The
Breakfast at Melton,' in 1834, followed by ' Sir R Sutton's
Hounds,' 'The Meet of the Queen's Staghounds,' in 1837,
' The Melton Hunt ' (containing some thirty-six portraits),
in 1839, ' The Shooting Party at Eanton Abbey,' &c. In
1841 he exhibited an equestrian portrait of Her Majesty,
attended by Lord Melbourne and the Lords-in-Waiting
(which was also engraved), and the next year he was
elected an Associate of the Eoyal Academy, when he
exhibited a portrait of Lady Glenlyon, which established
his reputation as an excellent portrait painter, and led
him to decide on abandoning his previous style for that
more fashionable and lucrative pursuit.
For this change he was eminently quahfied by his social
position, and his personal acquaintance with the style and
character of the persons whom he undertook to represent.
His marriage with a niece of the Duke of Rutland in-
troduced him at once to the highest aristocratic con-
nection, and in that sphere he has since continued to
monopolise a large share of patronage as an artist, having
painted a greater number of distinguished personages
than perhaps any other living artist. He gives to all his
portraits the elegance and grace which belong to the
liigh-born lady, and the ease and dignity of the well-bred
gentleman ; his female portraits are especially charming,
for, while the face is painted with delicacy, the drapery
and background are also tasteful and efiective, and there
is a sweet expression given to the countenance, and an
unconstrained action imparted to the figure. Sometimes
there is a degree of ideahty thrown into his pictures,
which renders them still more pleasing by the happy
combination of portraiture with poetry. He became a
Ch. XVin.] GR^VNT — FRITH S97
Eoyal Academician in 1851. A recent specimen of his
skill will be fresh in the memory of all who visited the
last Academy exhibition — the life-Uke portrait of General
Lord Clyde, G.C.B. (Sir Colin Campbell), painted for the
late Governor-General of India.
William Powell Frith, R. A., was bom at Studley, near
Eipon, in Yorkshire, in 1819. His early bias for art was
encouraged by his father, who, being a man of taste, and
passionately fond of the arts, desired that his son should
grow up a painter ; but he died in 1830, and therefore
did not live long enough to see his wish realised. His
son was placed at Sass's drawing academy in 1835, and
remained there three years ; he also became a student at
the Eoyal Academy in 1837. Two years afterwards he
sent his first work for exhibition to the British Institution
— it was the head of one of Mr. Sass's children. The
next year he sent there .'Othello and Desdemona,' and
* Jenny Deans and Madge Wildfire,' and to the Eoyal
Academy 'Malvolio before the Countess Olivia.' Among
his subsequent works at this period were * The Parting
Interview of the Earl of Leicester and the Countess Amy ;'
a scene from the " Vicar of Wakefield " (' My wife would
bid both stand up to see which was tallest ') ; a scene from
" The Merry Wives of Windsor " (' The Dinner to Fal-
staff ') ; ' DoUy Varden ' (engraved) ; and a picture of 'John
Knox and Mary Queen of Scots.' All these gave signs
of careful study and patient industry in the exactness of
detail and neat finish by which they were characterised.
In 1845 he exhibited a picture of 'The Village Pastor,'
suggested by Goldsmith's lines, afterwards engraved by
HoU. This was a work of a higher class than any of its
predecessors, and of a more serious character. It at once
established his reputation, and deservedly led to his
attaining the rank of Associate of the Eoyal Academy in
that year. In 1846 he exhibited 'The Eetum from
Labour,' and a scene from the " Bourgeois Gentilhomme ;"
293 HISTORY OF THE ROYAL ACADEMY [Ch. X\7n.
in 1847 ' English Merry-making a Hundred Years Ago,'
a picture fiill of lively cheerfulness, and picturesque group-
ing of pretty girls and jovial smiling rustics ; in 1848
*The Peasant Girl accused of Witchcraft,' an effective
scene, which took the beholder back to the times of
James I. ; in 1849 'A Coach Adventure of 1750,' 'Coming
of Age,' a good old EngUsh scene, engraved by Holl ; in
1850 'Honeywood introducing the Bailiffs as his Friends
to Miss Eichland' (in the Sheepshanks Collection), and
* Sancho and the Duchess ;' in 1851 * Hogarth at Calais,'
and ' Sir Eoger de Coverley and the Spectator ;' and in
1852 * Pope making Love to Lady M. W. Montagu.'
The next year he attained the rank of Eoyal Acade-
mician, and in 1854 exhibited a humorous scene on
Margate sands, entitled 'Life at the Sea-side.' It was
purchased by the Queen, and has since been engraved on
a large scale for the Art Union of London. In 1855
appeared * Maria tricks Malvolio ;' the next year ' Many
Happy Eetums of the Day,' a pretty home scene, and
* A Dream of the Future,' the landscape part of which
was painted by Creswick. Li 1857 he exhibite4 * Kate
Nickleby,' and * A London Flower Girl.' In 1858 ap-
peared another remarkable scene, full of hfe and charac-
ter, fashion, fun, and frolic, entitled * The Derby Day,'
elaborately worked out in all its details, which at-
tained equal popularity with his preceding work of the
same class. In 1859 he exhibited * Charles Dickens in
his Study,' and in 1860 * Claude Duval, the highwayman,
compelling a lady to dance with him.' He has recently
completed a picture of * Life at a Eailway Station,* a sub-
ject in which he has displayed all his versatile powers,
humorous and pathetic, and for which Mr. L. V. Flatou
has agreed to give him the unparalleled price of 8750
guineas, in order to secure the ownership of the picture,
the right of engraving it, and the exclusive privilege of
exhibiting it to the public.
From his first appearance before the pubUc, the works
Ch. XVIIL] frith— ward 299
of this talented artist have shown progressively increasing
power, and his rise to fame has been in proportion to his
merit. While he is at home in the subjects which LesUe
chose for his especial study — scenes of courtly gallantry,
stately manners, stiff costumes, and mediaeval scenes and
occupations — he possesses a keen eye for all that is
around him, catching the folly and vanity, the humour
and the pathos, the moral and the philosophy of every-
day life, with perhaps less of point., but not with less of
skill, than Hogarth of old — crowding together a variety
of different objects in the bustle and confusion of a hfe-
like scene, but preserving the identity of each character,
and keeping each episode of the well-told story in its
place, that the general effect of the whole may not be
marred. Whether his subject be from the olden times of
Elizabethan formalities, of the days of our grandfathers,
or the ordinary scenes we witness around ns now, there
is a picturesque beauty in his pictures which charms us,
a pathos and a sentiment, as well as a feeUng of the
humorous, which touch our hearts, and which make us
feel that we owe to him a debt of gratitude for what he
has done to contribute to the intellectual gratification
of the present generation. Mr, Frith is a married man,
the father of a youthful family, and occupies in society as
high a position as a gentleman as he has gained in his
profession as a talented, wealthy, and successful artist.
Edward Matthew Ward, E.A., was bom in Belgrave
Place, Pimlico, in 1816. His parents, and especially his
mother, early discovered and cherished his love for art,
and in his fourteenth year he gained a silver palette from
the Society of Arts for a pen-and-ink drawing. He sub-
sequently designed several illustrations to the works of
Washington Irving, and those of his uncle, Horace Smith,
the author of "The Eejected Addresses." Under the
auspices of Sir R Chantrey and Wilkie, he entered the
schools of the Eoyal Academy in 1835, and in the same
800 HISTORY OF THE ROYAL ACADEMY [Ch, XVIIL
year exhibited at the Gallery of the Society of British
Artists a portrait of Mr. 0. Smith as " Don Quixote." In
1836 he went to Eome, where he remained three years.
In 1838 the Academy of St. Luke awarded him a silver
medal for a picture of Cimabue and Giotto, which was
exhibited at the Eoyal Academy on his return to England
the following year. He afterwards went to Munich to
study fresco painting under CorneUus. In 1840 he ex-
hibited at the Eoyal Academy ' A Scene from King Lear;'
in 1841 ' Thorwaldsen in his Study,' and * Comet Joyce
seizing the King at Holmby, 3rd June, 1647 ;' in 1842
' The Widow of Edward IV. delivering the young Duke
of York to the Archbishops of York and Canterbury ;' in
1843 'Lafleur's departure from Montreuil;' and at the
British Institution a picture of ' Napoleon in the Prison of
Nice,' purchased by the Duke of Wellington. In the
same year he entered the cartoon competition in West-
minster Hall, with * Boadicea ' for his subject, but it did
not gain a prize, or eUcit great admiration. He also
painted a picture of ' Dr. Johnson reading the Manuscript of
Goldsmith's " Vicar of Wakefield," ' which attracted great
attention at the Academy exhibition, and opened a new
field for his skilful pencil. It has since been engraved,
and is deservedly admired for the skilful way in which a
story of almost national interest is told. * A Scene from
the Early life of Oliver Goldsmith,' representing him as
a wandering musician in France, followed ; and in 1845
a still more decided success, * A Scene in Lord Chester-
field's Ante-room in 1748 ' (now in the Vernon Collection),
in which Dr. Johnson is seen among a group of persons
waiting to see the Earl, and a lady of fashion, with her
black page, is leaving the chamber — the whole scene
grouped with great skill and efiect.
A series of excellent and important works followed. In
1846 'The disgrace of Lord Clarendon;' and in 1847 *The
South Sea Bubble,' an elaborate picture fidl of life and
excitement, hmnour and passion, character and feeling —
Ch. XVni.] E. M. WAED 801
a masterpiece of that kind of subject of which Hogarth
would have been proud. Both these pictures are in the
Vernon Collection. In 1848 * London during the Great
Fire,as seen from Highgate Fields in 1666/ and 'Charles 11.
and NeU Gwynne.' In 1849 'West's First Effort in
Art,' and ' Daniel Defoe with the Manuscript of Eobinson
Crusoe.' In 1850 'Izaak Walton angling,' and 'James 11.
receiving Tidings of the Landing of Prince WiUiam of
Orange,' bought by Mr. Jacob Bell, and presented by him
to the nation. In the next year (besides two other works)
' The Eoyal Family of France in the Prison of the Temple,'
the first of a series of pictures, full of deep and tender
feeling, depicting the sorrows of the Eoyal sufierers during
the French revolution. In 1852 ' Charlotte Corday going
to Execution.' In 1853 'The Execution of Montrose,'
and ' Josephine signing the Act of her Divorce.' In 1854
'The Last Sleep of Argyll.' In 1856 'Marie Antoinette
parting with her Son,' and ' Byron's Early Love.' In 1858
two pictures, each containing many portraits, painted
by command of the Queen, representing ' The Emperor
of the French receiving the Order of the Garter from Her
Majesty,' and ' The Queen visiting the Tombof Napoleon I.,'
and also a subject for the Houses of Parliament — 'Alice
lisle concealing Fugitives after the Battle of Sedgmoor.'
Li 1859 'Marie Antoinette hstening to the Act of Accu-
sation;' and in 1861 ' The Ante-chamber at Whitehall
during the dying moments of Charles H.'
The Fine Arts Commissioners gave him instructions
in 1853 to paint a series of eight pictures for the Houses
of Parhament. Four of these are finished, and are placed
in the Commons' Corridor — 'The Execution of Montrose,'
' The Last Sleep of Argyll,' ' Alice Lisle conceaUng the
Fugitives,' and ' The Fhght of Charles EL with Jane Lane
after the Battle of Worcester.' They were originally
painted in oil, but the Commissioners afterwards deter-
mined not to have any more works in that style, as they
were found to be unsuited to the lighting of the building.
802 HISTORY OF THE ROYAL ACADEMY [Ch. XVHI.
and they were therefore repeated in fresco. Four others,
' Monk declaring for a Free Parliament,' ' The Landing
of Charles 11. at Dover,' ' The Acquittal of the Seven
Bishops,' and ' The Lords and Commons presenting the
Crown to William and Mary,' have yet to be added to the
series.
Several of Ward's best pictures are in the Vernon Gal-
lery : ' Dr. Johnson in Lord Chesterfield's Ante-room '
(1845), the sketch for Lord Northwick's large picture of
'The Disgrace of Lord Clarendon' (1846), and *The
South Sea Bubble ' (1847). Li all his works he displays
great power of mind, originality of thought, and rich
conception ; a happy and natural disposition of all the
figures, a clear mode of telling the story, rich and lucid
colouring, truthful and earnest expression, and a care-
ful study of all the details and costumes of the period.
These quaUties combine to form pictures fiill of harmo-
nious effects of colour and grouping, and, from the subjects
selected, works of great historical interest. He has often
chosen the social life of our ancestors, and personal
episodes in the lives of great men, for his themes, and
has thus opened a new and interesting field for historical
painting, much more instructive and attractive than re-
presentations of the mere poUtical events of the past
Mr. Ward was elected an Associate of the Koyal Aca-
demy in 1846, and E.A. in 1855. His wife, Henrietta,
is the daughter of James Ward, E. A., and is a painter,
in style and subject not unlike her husband, except that
she chooses scenes of a more social and homely character,
as more congenial to a lady's taste.
Alfbed Elmore, RA., was bom at Clonakilty, Cork,
on June 18, 1815, the decisive day of victory at Water-
loo. He was the son of Dr. Elmore, a surgeon in the 5th
Dragoon Guards, who retired from active service towards
the dose of the Peninsular War. It is said that admira-
tion for a picture which his father brought from abroad.
CH.XVin.] ALFRED ELMORE 803
* A dead Christ/ attributed to Vandyke, determined his
son's choice of his profession. When in his twelfth year
the family removed to London, and, after some practice
in drawing in*the British Museum, he became a student
at the Koyal Academy in 1832. In 1834 he exhibited at
the Academy 'A Subject from an old Play,' and during
the next two or three years he visited Paris to study in the
Louvre, and in the Life Schools of the French capital.
In 1837 he sent to the British Institution a picture of
'Christ crowned with Thorns,' and in 1839 'The Cruci-
fixion.' At the Koyal Academy in 1840 he exhibited 'The
Martyrdom of Thomas kBecket,' which was painted for
Daniel O'Connell, and is now in a Roman Catholic Church
in Dubhn. In the same year he went to Munich, where
he stayed three months ; thence he journeyed to Venice,
and on by Bologna and Florence to Home, studying the
works of the great masters in aU those places. He re-
mained in Home two years, and painted there several
pictures, exhibited in London after his return. In 1843
he sent to the British Institution 'A Window in Eome
during the Carnival,' and to the Academy ' The Novice.'
The next year he exhibited his only landscape, 'An
Italian Corn-field,' and ' Eienzi in the Forum.'
In 1845 he obtained the rank of Associate at the Eoyal
Academy, and exhibited ' The origin of the Guelph and
Ghibelline Factions at Florence.* The next year a scene
from " Much ado about Nothing," ' The fainting of Hero.'
In 1847 he exhibited at the British Institution ' Bianca
Capelle,' and at the Eoyal Academy ' Beppo ' and ' The
Inventor of the Stocking-loom,' a poor student watch-
ing his wife knitting by his side, which has been en-
graved, being a well-told and touching incident, for the
clever representation of which the artist gained great praise.
In 1848 he exhibited ' The Death-bed of King Eobert of
Naples ; ' in 1849 a scene from ' Tristam Shandy,' ' EeU-
gious Controversy in the time of Louis XIV.,' and ' Lady
Macbeth.' In 1850 ' Griselda,' ' The Queen of the Day,'
804 inSTORY OF THE ROYAL ACADEMY [Ch. XVni.
and a subject from the Decameron; in 1851 * Hotspur
and the Fop ; ' in 1852 a scene from Pepys' diary, and
' The Novice ;' in 1853 * Queen Blanche separating Louis
IX. from his wife;' in 1856 'The Emperor Charles V.
at Yuste ; ' in 1858 ' Dante/ and a scene from " The Two
Gentlemen of Verona," his diploma work, which was
presented to the Academy on his election as a Royal
Academician in 1856. In 1860 he exhibited * Marie
Antoinette facing the Mob at the Tuileries, 20th June,
1792;' and in 1861 ' Marie Antomette in the Temple,'
' Peace, 1651,' and ' Men were deceivers ever.'
There is an originality in the subjects he selects, and
in his mode of dealing with them, which show that
Mr. Elmore thinks for himself, and follows no established
precedents ; he groups his figures with ease and grace,
draws with great correctness and force, and colours richly ;
and with these excellences, combined with the novel
sources from whence he derives his materials, his pic-
tures deservedly rank high among the works of modem
painters.
Frederick Richard Pickersgill, RA., was bom in
London in 1820. His father was a painter, and he is a
nephew of H. W. Pickersgill, R.A. His mother was a
sister of Mr. Witherington, RA., who undertook to
direct his early studies in art, and taught him to draw
figures from plaster casts. In 1839 he exhibited a water-
colour drawing at the Royal Academy, — 'The Brazen Age,'
from Hesiod, and the next year he became a student at
the Royal Academy, where, in 1841, he exhibited his first
oil pictures, 'The Combat between Hercules and Ache-
lous,' and 'Amoret delivered by Britomart.' In 1842
appeared ' (Edipus ;' in 1843 * Dante's Dream,' and
' Florimel in the Cottage of the Witch ' (engraved for the
Art Union of London) ; in 1844 ' The Lady in the En-
chanted Chair,' from "Comus;" in 1845 'The Four Ages,'
belonging to Mr. Longman, the publisher, and 'Amoret,
Ch. XVm.] F. R. PICKERSGILL 806
-ZEmilia, and Prince Arthur in the Cottage of Sclaunder '
(now in the Vernon Gallery) ; in 1846, ' The FUght of
Stephano Colloprino/ The next year he changed the
style of his subjects, exhibiting a picture of ' The Christian
Church during the Pagan Persecutions,' and he then
attained the rank of Associate of the Academy. He had
previously (in 1843) gained a prize of £100 from the
Fine Arts Commissioners for his cartoon of ' The Death
of King Lear,' exhibited at Westminster Hall. In 1845
he exhibited a fresco of * Sir Calepine rescuing Serena,'
and in 1847 he succeeded in gaining one of the three
prizes of £500 for his fine efiective painting of the ' Burial
of Harold,' which the Eoyal Commissioners afterwards
purchased for another £500 for the decoration of the
Houses of Parliament
He has since exhibited a variety of works illustrating
oiu' classic poets, Spenser, Shakspeare, &c., Italian history,
and sacred story. In 1848 he exhibited 'Britomartis
unveiling Amoret,' and * Idleness ;' in 1849 ' Circe ' and
* The Maids of Alcyna tempting Eogero ;' in 1850 * Sam-
son betrayed,' * Pluto carrying away Proserpine,* and ' A
Scene during the Invasion of Italy by Charles VILL ;' in
1851 * Rinaldo ;' in 1852 ^The Adoration of the Magi,'
and ' Pan and Syrinx ;' in 1853 * The Arrest of Francesco
Novello da Carrara ' and * Angelo Participazio ; ' in
1854 *The Death of Francesco Foscari,' purchased by
H.RH. the late Prince Consort; in 1855 * John sends
his Disciples to Christ,' ' Christian in the Valley of
Humihation,' and ' Britomart unarming ;' in 1856 * Christ
blessing Uttle Children,' and * Love's Labour Lost ;' in
1857 'The Duke Orsino and Viola;' in 1858 'The Bribe,'
his diploma work, having been elected a Eoyal Acade-
mician in the preceding year ; in 1859 ' Dalilah asking
forgiveness of Samson,' and ' Warrior Poets of the South
of France contending in Song;' in 1861 'Duke Frede-
rick banishing Eosalind,' from " As You like It ; "
' Miranda, Ferdinand, and Prospero,' from " The Tempest ;"
VOL. II. X
306 HISTORY OF THE ROYAL ACADEMY [Ch. XVUl.
and 'Pirates of the Mediterranean playing at Dice for
Prisoners/
In general the choice of his subjects is varied and judi-
cious ; his colouring is sparkling and brilliant, without
being gaudy ; his drawing is true and accurate, and the
arrangement of his figures skilful. Although many of his
subjects might have led him into coarseness, he has never
fallen into it, or deviated from the deUcacy of feeling and
the refined thought with which his subjects are conceived.
He is careful in the study of costume and chiar'oscuro,
and when dealing with sacred subjects he depicts them
with unaffected solemnity and simphcity. These quaUties
place him among the best artists in the modem school of
legitimate painting.
John Phillip, R.A. was bom at Aberdeen, on April 19,
1817. At fifteen years of age he commenced his career
as an artist in his native city, and two years afterwards
he determined on visiting the Royal Academy exhibition.
To accomplish this journey he worked his passage on a
coasting steamer from Scotland to London, as his re-
sources were then very limited. On his return to Scot-
land, improved by what he had seen, he painted a picture
of a Scottish interior, which attracted the attention of the
then Lord Panmure, who purchased it, and supplied the
artist with the means of returning to London for study.
He became a student at the Eoyal Academy in 1837, re-
turned to Aberdeen in 1839, and painted portraits there
till 1841, when he came back to London, and has since
settled here. His pictures of * A Scottish Minister examin-
ing the Children of his Flock ' (1847) ; * A Scotch Fair *
(a humorous and animated scene) in 1848 ; * Baptism in
Scotland,' replete with delicate and reverent feeling
(1850) ; * Heather Belles,' 'A Scotch Washing,' * Drawing
for the Militia,' and * The Free Kirk,' soon attained cele-
brity for the artist.
A severe illness overtook him in 1850, and the next
Ch. XVIIL] JOHN PHILLIP 307
year he decided on visiting the south of Spain to benefit
his health. It did more than this ; it also changed the
whole current of his thoughts and tastes in art, and long
before his return to England in 1856-57, he had become
the acknowledged painter of the every-day life of the
Peninsula, with all the warm glowing picturesque accom-
paniments of Spanish scenes and peasantry, and all the
varieties of the costumes, habits, and manners of the
people pictured before us. In 1853 he exhibited *Life
among the Gipsies at Seville,' at the Royal Academy, and
* A Spanish Gipsy Mother,' at the British Institution. In
1854, *A Letter-writer of Seville,' purchased by Her
Majesty, which has been engraved, and is a most skilful
work. The next year, * H Pasco ' (portraits of two
Spanish sisters), also the property of the Queen ; and
* Collecting the Offertory in a Scotch Kirk.' In 1856,
* Gipsy Water-carriers of Seville,' and other subjects.
In 1857 he was elected an Associate of the Eoyal Aca-
demy, and in 1858 he exhibited, besides a portrait of the
late lamented 'Prince Consort,' painted for the city of
Aberdeen, * Spanish Contrabandistas,' 'Youth in Se\^e,'
' Daughter of the Alhambra,' and other Spanish subjects.
Li 1859 he became a Eoyal Academician, and exhibited
' A Huff,' and a portrait of Mr. Egg, E.A. In 1860 his
diploma work, ' Prayer,' was exhibited, and a picture of
' The Marriage of H.RH. the Princess Eoyal,' remarkable
for the biilUant colouring and effective grouping of a
subject confessedly difficult to render otherwise than
formal. This picture is now being engraved by Auguste
Blanchard. In 1861 he exhibited ' Gossips at a Well,' and
still occasionally paints a few portraits.
He is a dose observer of human nature, and an accurate
delineator of its varied types and characters. As a draughts-
man he is facile and accomplished, original in conception,
and vigorous in treatment ; his arrangement of draperies
is effective ; his lights and shades are strongly marked ; his
colouring is rich, deep, fiill, and mellow, sometimes even
X 2
308 inSTORY OF THE ROYAL ACADEMY [Ch. XVm.
dark in parts, and the expression given to his Spanish wo-
men and his groups of figures (the costumes of which are all
carefully studied) is always appropriate and characteristic.
James Clarke Hook was bom in London on November
21, 1819, being the son of James Hook, one of the Judges
of the mixed commission Courts of Sierra Leone. His
mother was the second daughter of Dr. Adam Clarke, the
Bible commentator. He became a student at the Eoyal
Academy in 1836, and in 1842 gained the first medals in
the Ufe and painting schools. In 1845 he gained the
gold medal, for his historical painting of * The Finding of
the Body of Harold,' and became in 1846 a travelling
student of the Academy. The next year he married the
third daughter of Mr. James Burton, the solicitor, and
went to Italy, but gave up the Academy allowance for
the latter half of the three years for which it was granted,
and obtained permission to return to this country.
From his first admission to the Academy to the period
of his leaving England he painted, in the strictly conven-
tional style of academic rules, scenes from Scripture,
English history, and occasionally portraits. After his
return fi:om abroad, he chose more fiinciful and romantic
subjects from Italian history and tradition. Of his earlier
works, the principal were 'The Hard Task * in 1839 ; a
portrait in 1842 ; * Pamphilus relating his Story ' (fi:om
Boccaccio) in 1844. The next year he sent to the British
Institution four subjects in illustration of Rogers's poem of
*' The Wish," and to the Eoyal Academy * A Portrait of a
Gentleman' and *A Song of the Olden Time.' In 1846
' The Controversy between Lady Jane Grey and Father
Fakenham ; ' in 1847, to the British Institution, * Eispah
watcliing over the dead Sons of Saul,' a bold conception
of a difficult subject ; and to the Royal Academy 'Bassanio
and the Caskets ; ' in 1848 ' Otho IV. of Florence ; ' in
1849, to the British Institution, 'Venice in 1550 ; ' and to
the Academy ' Bianco Capello,' * Othello's first Suspicion,'
Ch. XVm.] J. C. HOOK 309
and * The Chevalier Bayard wounded ; ' in 1850 * A Dream
of Venice,' and ' The Escape of Francesco da Carrara ; ' in
1851 * The Eescue of the Brides of Venice ; ' the next
year ' The Return of Torello ' and ' Othello's description
of Desdemona ; ' in 1853 another * Scene in the life of the
Chevalier Bayard,' and * Queen Isabella and her Daughter
in the Nunnery;' in 1854 * Persecution of the Christian
Beformers in Paris ;' and in 1855 ' The Defeat of Shylock,'
and * The Gratitude of Moses' Mother for his safety.' In
all these he displayed true Venetian splendour of colour,
much artistic feehng, a large extent of mental culture, a
wide range of reading, and in his treatment of religious
subjects, much reverence and chastened solemnity of style.
Of late years he has turned his thoughts into a new
channel, and has devoted himself chiefly to pastoral and
nautical subjects, especially hfe on the sea-shore, and has
attained in these works an excellence which has rarely
been acquired by one whose early tastes were so evidently
for historical rather than for landscape painting. These
pictures consist of figures of large size introduced either
in rural scenery on the shore, or on the water, teUing a
story in connection with the scene as graphically as he
before narrated the histories of Venice and Italy. He
began with * A Best by the Way-side,' a group of trees
deUcately pencilled, and * A Corn-field at Noon-day.' In
1855 appeared * Market Morning ' and ' The Shepherd
Boy ; ' in 1856 * Brambles in the Way,' * The Fisherman's
Good Night,' and others ; in 1857 'A Widow's Son going
to Sea,' and *The Ship-boy's Letter;' in 1858 'A Pas-
toral' and *The Coast-boy gathering Eggs;' in 1859
' The Brook,' ' Lufi*, boy ' (a charming boat scene), ' A
Cornish Gift,' and others ; in 1860 ' Whose bread is on
the Waters,' * Stand Clear,' * The Valley on the Moor,'
'The Sailor Boy;' and in 1861 * Compassed by the
inviolate Sea,' * Sea Urchins,' &c.
Although not belonging to the * pre-Eafiaellite ' school,
he agrees with them in aiming at strong and marked
310 raSTORY OF THE ROYAL AC.VDEMY [Ch. XVm.
expression, powerful colouring, scrupulous detail, and,
above all, in the subjective mode of treatment in the
commonest objects of landscape or domestic life, which,
whilst it embues every work with the tone of his own
thought, elevates his art to a creative power. In both his
early and later styles he has proved himself to be a highly
intellectual painter, and is also distinguished among his
compeers in art as an accomplished gentleman. He was
elected an Associate in 1850, and R.A. in 1860.
Augustus Leopold Egg, RA., was born in Piccadilly
in 1816, and is a member of the celebrated family of
gunmakers of the same name, which years ago (before
the days of Minie rifles) acquired a wide celebrity in
Europe. In his boyhood, when at school in the country,
he made his first essays with the pencil and brush, but did
not determine to become an artist by profession till just
before he entered the schools of the Academy, in 1836.
In the same year he began to exhibit at the Society of
British Artists, and afterwards at the British Institution,
his pictures being taken from Itahan subjects, although
he had not visited that country. In 1838 he began to
contribute to the Eoyal Academy exhibition, following
for some years the themes which had been so successfully
treated by Leshe, Newton, and Smirke, scenes trom.
" Gil Bias," « Don Quixote," and the works of Shak-
speare, Scott, &c.
In his early works the colour was low in tone, but the
drawing careful, and the expression admirable. Among
the best of these are ' The Victim,' a scene from Le Sage's
" Le Diable Boiteux," in which a gallant has treated two
female acquaintances to a supper much too expensive for
his purse. It is now in the Vernon Gallery. In 1844 he
painted *Gil Bias exchanging rings with Camilla;' in
1847 ' The Wooing of Katherine ;' and in 1848 ' Queen
Elizabeth discovers she is no longer young.' In this
year he was elected an Associate. In 1849 he exhibited
Ch. XVm.] EGG —POOLE 311
* Henrietta Maria released by Cardinal de Eetz ; ' in 1850
'Peter sees Catherine, the future Empress, for the first
time,' a very pretty and effective pictm-e, telling the whole
story mimistakably ; in 1855 'The Life and Death of
Buckingham,' two contrasted pictures in one frame, a
moral lesson effectively told, although not strictly correct
as to the fact. In the same year he contributed ' Emmett
in Prison, parting from his Mistress,' and a costume
picture, with the title of 'Through the green Shades
wandering.' In 1857 he illustrated Thackeray's novel in
' Esmond returning after the Battle of Wynendael ; ' and
in 1858 he painted a picture without a name, in three
compartments, depicting the stages of a domestic tragedy,
so sternly painful that, however excellent the intention
of the painter, it was felt to be scarcely a subject suitable
for pictorial representation. In 1859 he exhibited ' The
Night before Naseby,' an effective lamp-light scene, and
' Madame de Maintenon and Scarron ; ' and in 1860, the
year in which he was elected E.A., a scene from the
" Taming of the Shrew."
Mr. Egg has not painted a large number of pictures,
and it is a cause of much regret that he is prevented from
doing more in his art, in consequence of delicate health,
from wliich cause he was long compelled to resort to the
mild cKmate of the south of France, and latterly to winter
in Algeria. He has strong inventive faculties, paints in a
vigorous and elaborate style, carefully studies the group-
ing of his figures, displays both strength and harmony in
his colouring, and, while he can be humorous when his
subject requires it, he shows, too, that he never paints
without a moral purpose in view.
Paul Falconer Poole, RA., was born at Bristol in
1810, and was entirely s^f-taught as an artist, which,
while it gave full scope for original thought and treatment,
had also the disadvantage of leaving uncorrected some
defects in drawing, and the neglect of certain recognised
312 inSTORY OF THE ROYAL ACADEMY [Ch. XVUL
principles of art, which are very palpable in some of his
early works. In 1830 he exhibited at the Eoyal Aca-
demy ' The Well — a Scene at Naples/ but for some years
afterwards he did not appear before the public, although
he continued to pursue his studies with great dihgence.
In 1837 he exhibited ' The Farewell/ and in 1838 'The
Emigrant's Departure/ and 'A Market Girl/ At this
period, also, he executed a number of water-colom* draw-
ings of rustic figures with much grace and expression.
His single figures of simple country girls and children are
full of character, and are excellent in drawing, as well as
effective in colouring. In 1840 he sent to the British
Institution * The Gipsy's Toilet,' and to the Eoyal Aca-
demy ' Hermon and Dorothea,' and ' The Eecruit.' These
were compositions of great merit, but were timid in execu-
tion, and weak in colour. In 1841 he exhibited a scrip-
tural subject, * By the Waters of Babylon,' treated with
considerable success ; the next year * A Mountain Rivulet *
at the British Institution, and * Tired Pilgrims,' * A Market
Girl,' and ' Margaret alone at the Spinning- Wheel,' at the
Eoyal Academy.
In 1843 appeared * Solomon Eagle's Exhortation to
Eepentance during the great Plague of London.' This
made a deep impression upon the public, and it was so
original and effective, so terrible and truthftd, that it
riveted attention, and brought the artist at once into
favourable notoriety. He followed this success in the
next year by ' The Moors beleaguered by the Spaniards
in the city of Valentia,' a scene of the horrors of war
most effectively painted. In 1846 he sent to the Academy
'The Visitation and Surrender of Syon House to the
Commissioners appointed by Thomas Cromwell, in the
reign of Henry VIH.,' and in the same year was elected
an Associate. In 1847 he gained the £300 premium for
his picture of * Edward's generosity to the Burgesses of
Calais,' in the Westminster Hall competition. The next
year he sent to the Academy, * Arlete, a peasant Girl of
Ch. XVm.] p. F. POOLE 313
Falaise, first discovered by Duke Eobert of Normandy.'
In 1849, * Blackberry Gatherers,' and three pictures in
one frame, of subjects from " The Tempest."
One of his best works was exhibited in 1850, ' The
Messengers announcing to Job the Irruption of the Sa-
baeans, and the Slaughter of his Servants.' It was an
admirable composition, carefully studied in all its details,
full of emotion, and effectively grouped and coloured.
In 1851 he exhibited *The Goths in Italy;' in 1852
* Marina singing to her Father, Pericles,' and * The May
Queen preparing for the Dance.' In 1854 appeared
* The Song of the Troubadours,' a moonlight scene, with a
peculiar cast of yellow-green light upon the figures sitting
on the rampart of a castle by the sea-side, listening to the
minstrel's lay. The next year his subject was *Philo-
mena's Song ' (from the " Decameron "), painted with the
same effects of green and yeUow haze as the preceding.
His works subsequently exhibited were 'The Conspira-
tors,' in 1856 ; 'A Field Conventicle,' 1857 ; *The Last
Scene in King Lear,' 1858 ; and * The Escape of Glaucus
and lona,' 1860. He became a Eoyal Academician in 1861.
All his early productions are of great excellence, true
to nature, and carefully studied. These alone would have
established his reputation, but in his later productions he
has broken up untrodden ground in the subjects he has
selected. His compositions show considerable imagina-
tion, invention, poetic feeling, and technical skill, and
display the real genius he possesses, although his taste has
been sometimes called in question by the lurid tone of
colouring introduced in his later pictures. He has great
command of light and shade, is a rich colourist, clever
in grouping, and correct in drawing, all his costumes and
accessories being carefully studied and arranged.
We have next to speak of the two Sculptors, elected
since Sir Charles Eastlake became president. These are
W. C. Marshall and J. H. Foley.
314 IIISTOEY OF THE ROYAL ACADEMY [Ch. XVIIL
William Calder Maeshall, E.A., was bom at Edin-
burgh, in 1813, and after some preKminary instruction
in the art of sculpture, he came to London, and was
admitted as a student at the Eoyal Academy in 1834.
Subsequently he studied under Chantrey and Baily succes-
sively. He obtained the gold medal at the Academy in
1841 for ' Venus rescuing jEneas from Diomed,' and con-
sequently the travelling student's allowance, with which
he proceeded to Rome, and remained there, pursuing the
study of his art, for three years. On his return to
London he commenced the earnest practice of his pro-
fession, and has ever since been an annual contributor to
the Academy exhibition. His works are chiefly of the
poetic form, simple, refined, and graceful. In 1840 he
exhibited ' The Creation of Adam,' * Una and the lion,'
* Ophelia,' and * Cupid and Psyche ;' the next year, ' Puck '
and ' Atalanta and Hippomanes;' in 1842 *Eve and her
First-born' and ' The Broken Pitcher ;' in 1843 ' David
with the Head of Goliath ' and ' May Morning ;' in 1844
* Little Eed Riding Hood,' ' Caractacus before Claudius,'
and ' Christ blessing httle Children.' In this year he
obtained the rank of Associate.
Subsequently, in 1845, appeared ' Paul and Virginia '
and 'The First Whisper of Love;' in 1846 * Hero guid-
ing Leander ' and * Sabrina,' from Milton, a work de-
servedly popularised by an excellent Parian statuette
executed from it; in 1847 'Eurydice' and *The First
Step ;' in 1848 ' Cupid Captive,' * A young Satyr drink-
ing,' and * A Dancing Girl reposing,' a statuette which
gained the £500 prize from the Art Union of London ;
in 1849 * The Grecian Maid,' * Zephyr and Aurora,' and
specimens of portrait sculpture — statues of Thomas Camp-
bell and William Cowper, the former in marble, afterwards
erected in Westminster Abbey. In 1850 * A Nymph '
and 'A Mermaid on a Dolphin;' and in 1851 'Hebe
rejected.' In 1852 he attained the full honours of a Eoyal
Academician, and exhibited 'A Hindoo Girl;' in 1853
Ch. XVm.] MARSHALL — FOLEY 815
* Pandora ;' in 1854 * Godiva;' the next year ' A Mother's
Prayer,' * Ariel' and *Ajax;' in 1856 'Imogen,' 'Her-
mione and Helena,' and * Patience ; ' in 1857 ' The
Bather;' the next year, 'Ruth' and 'Ophelia;' in 1859
' FroUc ' and ' The Expulsion ;' and in 1860, ' Fresh from
the Bath.' He also occasionally exhibits busts executed
with great skill.
For the Houses of Parliament he has produced statues
of the poet ' Chaucer,' and the Chancellors ' Lord Claren-
don ' and ' Lord Somers.' Also the colossal * Peel Statue,'
for Manchester, with emblematical figures of Manchester,
and the arts and sciences at the base of the pedestal ; the
statue of Dr. Jenner, now in Kensington Gardens, and
that of Captain Coram, erected over the entrance gates
of the Foundling Hospital in 1856. For the Egyptian
Hall of the Mansion House he has also modelled a beau-
tiful figure of ' Griselda.' The originaUty of his concep-
tions, his elegant taste, his power of rendering expression
with truth and sweetness, and of modelling the human
figure, arranging drapery, and working his materials,
combine to render his productions beautiful in themselves
and excellent as specimens of works of art.
John Henby Foley, RA., was bom in Dublin, on
24th May, 1818, and was led by his step-grandfather, a
sculptor in that city, to follow the same profession. At
the age of thirteen he began to draw and model at the
School of the Eoyal DubHn Society, where he studied not
only the human form, but animals, architecture, orna-
mental designs, and landscapes, and gained the first prize
in all these classes except the last. In 1834 he came to
London, and in the next year entered the Eoyal Academy
as a student of sculpture. In 1839 he exhibited *The
Death of Abel ' and ' Innocence ;' the latter was after-
wards executed in marble. The next year his work was
of a very high order, being the model of a group full of
true poetry and playful fency, representing 'Ino and
310 inSTORY OF THE ROYAL ACADEMY [Ch. XVHL
Bacchus,' which was purchased by the late Earl of EUes-
mere, and has since been repeated as a statuette. When
considered as the work of a young man of twenty-two,
who had never had the advantage of foreign study, it is
a striking proof of early matured powers, and at once
established the reputation of the young sculptor. In
1841 appeared 'Lear and Cordelia' and 'The Death of
Lear ;' in 1842, 'Venus rescuing iEneas ' and ' The House-
less Wanderer,' a figure of a half-clad Irish girl ; and in
1843, ' Prospero and Miranda.'
In 1844 he entered the competition at Westminster
Hall for the selection of sculptors to decorate the Houses
of ParUament, and exhibited ' The Youth at the Stream;'
he obtained in consequence, a commission to execute a
statue of ' John Hampden,' which now stands in St. Ste-
phen's Hall, and subsequently another of ' John Selden,'
both expressive and dignified portraits of the great origi-
nals. In 1845 he exhibited at the Academy * Contempla-
tion,' and in 1848 ' Innocence.' The next year he was
elected an Associate, and exhibited ' The Mourner ; ' in
1850 ' The Mother.' In 1856 he received a commission
from the civic authorities for a statue of 'Egeria,' for '
the Egyptian Hall at the Mansion House, and he has
lately executed another work for the same building, a
figure of 'Caractacus.' In 1858 he became a Eoyal
Academician, and in 1860 exhibited his diploma work,
' The Elder Brother,' from " Comus," and a bust of Lord
Hardinge, executed by command of the Queen for the
corridor of Windsor Castle. In 1861 he produced a statue
of ' OHver Goldsmith,' to be erected in front of Trinity
CoUege, Dublin, and a bas-rehef of the attack on Delhi, in
memory of Brigadier-General Nicholson. He has received
the commission for the statue of Sir C. Barry, RA., to
be erected in the Houses of Parliament ; of Father Mathew,
for Cork, and of Sir H. Marsh, the physician, for Dublin.
His greatest work is the equestrian statue of Viscount
Hardinge on his favourite charger, executed in bronze,
Ch. XVin.] J. H. FOLEY 817
and erected at Calcutta ; it elicited great admiration when
exhibited in London, and many were the regrets that a
copy of it was not secured for this country, both as a me-
morial of a great commander, and as a specimen of the
sculptor's genius. In these his portrait works, Foley ex-
tends the character of the subject beyond the face to the
costume and attitude of the figures, giving all the details
in correct plastic style. The works we have mentioned
above are only, with a few exceptions, the specimens of
his imaginative productions ; his chief practice since he
attained to fame as a sculptor has been in commissions
for busts and monumental memorials. These he has pro-
duced in large numbers, and many of them are of great
beauty. Especially excellent are tiiose to the memory of
* Admiral Comwallis,' and * Capt. Wheatley,* in Milford
Church ; to ' The Hon. J. Stuart,' at Ceylon, the * Wel-
lington Memorial,' and a bas-rehef erected in Guilsfield
Church near Welshpool, representing *The three Daughters
of the late J. Jones, Esq., of Crosswood, at the Tomb of
their Father,' whose portrait is inserted as a medaUion on
the sarcophagus.
Extreme care and deep study, deUcate finish of all the
details and accessories, a varied and distinctive expression,
combined with refined feeUng and a strong appreciation
of beauty of form, render the works of this sculptor
worthy of all praise ; while it should not be forgotten
that his art-education has been confined to this country.
Although he has not made the sculptured treasures of
Greece and Kome his study, he has amply compensated
for the absence of these classic precedents by his own
true artistic spirit ; and (when exercised on ideal subjects)
by his fertile invention and expression of all the gentle
graces and delicacies of the art.
The Architects added to the number of Academicians,
during the period at which we have now arrived, were
Sydney Smirke, and George Gilbert Scott.
318 mSTORY OF THE ROYAt ACADEMY [Ch. XVUI.
Sydney Smirke, E.A., born in 1798, is a younger bro-
ther of Sir Eobert Smirke, also an architect, and a*son of
the genre painter, Eobert Smirke, RA. He became a
student at the Eoyal Academy in 1817, and at the same
time began the practice of his profession in his brother's
office. In 1819 he gained the gold medal for his design
of ' Pliny's Villa,' and in 1825-27 was the recipient of
the allowance made to the Academy's travelling students,
during which time he made a tour through Italy and the
Continent, and thus improved his knowledge and taste as
an architect. On his return he was appointed Clerk of the
Works to the Government Board of Works, an office
which he held from 1829 to 1831; subsequently he became
Surveyor to the Hospitals of Bridewell and Bethlehem,
to the Duchy of Lancaster, and to the Society of the
Inner Temple.
He first appeared before the public in conjunction
with his brother, as the architect of the Oxford and
Cambridge University Club, in 1835-37, in which his part
is understood to have been the florid Corinthian front in
Pall Mall. He had previously, in 1834, published " Sug-
gestions for the Architectural Improvements of the West
of London." He afterwards erected a church at Leicester,
and made several alterations and additions to the build-
ings at Bethlehem Hospital, and the House of Occupation
at Lambeth. In 1842 he was employed in conducting
the restoration of the Temple Church, of which he pub-
lished an account, entitled " Architecture of the Temple
Church," in 4to. By the Earl^of Derby he was selected
as the architect of a church erected by his Lordship at
Bickerstaffe in Lancashire. He then designed the Exeter
Change, and the " Morning Post " newspaper office, in
Wellington Street, Strand. His next work was the Con-
servative Club in St. James's Street, erected on the site of
the Thatched House Tavern in 1844-45, and undertaken
in conjunction with Mr. Basevi, the architect of the Fitz-
wiUiam Museum, Cambridge. In 1845 Sir Eobert Peel
CH.XVm.] SYDNEY SMIRKE 319
employed him to erect a new picture gallery at Drayton
Manor ; and in 1847 he commenced the Carlton Club in
Pall Mall, following in his design (although slightly
altered), that by Sansovino of the Library of St. Mark at
Venice. It forms one of the most elegant and ornamental
of our London club houses ; at first, only half of the
design was carried out, the other half, in the Grecian style,
being the work of his brother, but in 1855 the whole
was completed. The splendid Aberdeen granite pillars
give the building from the exterior a rich and novel
effect.
Subsequently he designed Paper Buildings in the
Temple, in the Tudor style, as an extension of the works
undertaken by his brother in the Grecian, with which,
however, they do not harmonize successfully. Among
other works in which he has been engaged, are the erection
of Parkhurst reformatory ; the custom houses at Bristol,
Newcastle, and Shoreham ; the restoration of York Min-
ster after the second fire, and of the nave and transepts
of Lichfield Cathedral ; the erection of the Athenaeum
and Assembly Eooms at Bury ; the rebuilding of Luton
Hoo; and additions to Gunnersbury Park, Clumber,
and Oakley Park, Suffolk. Li 1846 he succeeded his
brother as architect to the British Museum, and has ever
since been frequently employed in carrying out modifica-
tions and alterations of the original design for that build-
ing. The New Eeading Eoom in the inner quadrangle is
erected from his design, at the suggestion of the librarian,
Mr. Panizzi ; the dome, 140 feet in diameter, was erected
between January 1855 and the following September.
The building is principally of iron, the internal arrange-
ments having been planned by Mr. Panizzi. The whole
work is a complete success, and has given general satis-
faction ; it is worthy of the artistic skill and abilities both
of the architect and the librarian.
Mr. Smirke was elected an Associate at the Eoyal
Academy in 1847, and created E.A. in 1859. In 1860
320 HISTORY OF THE ROYAL ACADEMY [Ch. XVHI.
he was appointed Professor of Architecture in succession
to Mr. Cockerell. As an architect he justly holds a high
rank, displaying in all his designs great simpUcity and
good taste.
George Gilbert Scott, E.A., was bom in 1811, at
Gawcott, near Buckingham, of which place his father was
the incumbent, as also his grandfather, the author of the
well-known " Conunentary on the Bible," and other theo-
logical works. Very early in his boyhood he took an
interest in the ancient churches of the neighbourhood,
and made many sketches and studies from them. In
1827 he was placed with an architect in London, and
earnestly devoted himself to the study of Gothic archi-
tecture, of which style he is now recognised as one of the
most distinguished English practitioners. In 1835 he
entered into partnership with a fellow-pupil, Mr. W. B.
Moffatt, and obtained a large measure of pubhc patronage
by the taste and elegance of his designs. At first, lunatic
asylimis, poor-law unions, and such Uke buildings, chiefly
in the Elizabethan style, were the principal works exe-
cuted by him and his partner. In 1841, however, they
constructed ' The Martyrs' Memorial ' at Oxford, so ele-
gant in design, and so admirable in the execution of. all
its details, as to be pronounced superior to any modem
work of the kind. The next undertaking was the new
Gothic parish church of St. Giles, Camberwell, in 1843-44.
The Infant Orphan Asylum and other buildings followed.
Mr. Scott dissolved partnership with Mr. Moffatt in
1845, and the next year, after a severe competition, he
was selected to erect the church of St. Nicholas at Ham-
burg, in place of that destroyed in the great fire there,
his design for which has gained golden opinions for
Enghsh architects in Germany. It is the largest church
and finest Gothic sacred edifice of modem times, higher
internally than any English cathedrals except York and
Westminster, and will cost, when completed, 150,000Z.
ch. xvm.] a. G. SCOTT 321
This work will be rivalled by the Hotel de Ville in
the same city, for which, in 1855, Mr. Scott obtained
the first prize in the European competition, which was
opened before an architect was selected. The erection of
the building has been delayed for want of the necessary
fiinds, but when completed it will present a splendid
appearance.
After the death of Mr. Basevi, Mr. Scott was appointed
architect for the restoration of Ely Cathedral, where the
elaborate stone reredos, finished with mosaic and other
figures, and the open screen of wood, designed by him, have
been greatly admired. He is now also engaged on the
restoration of Hereford Cathedral In 1847 he designed
the Cathedral of St. John, Newfoundland, and in 1848
the College at Brighton. Among a large number of
churches erected by him may be mentioned St. John's,
Holbeck, Leeds ; West Derby, Liverpool ; Croydon ;
Holy Trinity, Eugby ; St. Ancirew's, Ashley Place ; and
others at Harrogate, Trefhant, Haley Hill, &c. ; the re-
building of St. George's, Doncaster ; and the restoration of
Newark Church, St. Mary*s, Stafibrd, &c. Mr. Scott has
nearly completed the works at Exeter College, Oxford,
consisting of the new chapel, hbrary, rector's residence,
&c. He has also designed mansions for Mr. Forman at
Eipbrook House, Dorking; for Sir Charles Mordaunt,
Walton House, Warwick ; and for S. H. Manners-Sutton,
Esq., Kelham Hall, near Newark
Li 1849 he was appointed architect to the Dean and
Chapter of Westminster in succession to Mr. Blore, and
in that capacity designed the new Abbey gateway and
the buildings on the west of the Abbey, in which he has
applied the Gothic style to domestic purposes. He has
also made various restorations in the Abbey itself, and in
1850 exhibited at the Eoyal Academy a design for the
restoration of the Chapter House, executed firom very
careful examination and measurement. In 1857 he was
awarded the gold medal by the Eoyal Institute of British
VOL. II. Y
322 mSTORY OF THE ROYAL ACADEMY [Ch. XVm.
Architects, and obtained the third premium of £300 in
the public competition for designs for the new Foreign
Office. Subsequently the late Government (under the
Earl of Derby) selected him as the architect for the
building, and his design was a most masterly and appro-
priate one, adapting the Gothic style to the requirements
and purposes of the edifice, as to hght, accommodation,
&c. The present Government (under Viscount Palmer-
ston) have, however, decided in the last Session that the
building shall be erected in the classic style, and that Mr.
Scott shall still be retained for its architect. He has also
been appointed, jointly with Mr. Digby Wyatt, as archi-
tect of the new Lidia Office.
In 1851-52 Mr. Scott devoted much time and labour to
the formation of the Architectural Museum for the benefit
of art-workmen, now at the South Kensington Museum.
In 1855 he was elected an Associate at the Eoyal Aca-
demy, and after the retirement of Professor Cockerell,
he gave lectures on architecture to the students jointly
with Mr. Sydney Smirke, imtil the latter succeeded to
the Professorship. In 1860 he became a Eoyal Acade-
mician, being elected to fill the vacancy caused by the
death of Sir Charles Barry. Besides his active and im-
portant professional works, he is also the author of several
treatises on his art, as "A Plea for the faithful Eesto-
tion of our Ancient Cathedrals," 1850; "Additional
Churches," 1854 ; and " Some Eemarks on Gothic Archi-
tecture, Secular and Domestic, Present and Future," 1857.
The first two Engravers who have attained the rank of
K.A. since the foundation of the Institution, under the
recent modification in the constitution of the Academy,
are Samuel Cousins and George Thomas Doo.
Samuel Cousins, E.A., was bom at Exeter on the 9th
May, 1801, and at an early age made. pencil drawings
from any engravings he could obtain. For two of these
Ch. XVIII.] SAMUEL COUSINS 323
the Society of Arts awarded him, in 1813-14, two silver
medals and a silver palette. In September 1814 he came
to London to be articled for seven years as a pupil to
S. W. Eeynolds, the mezzotinto engraver, and after com-
pleting his time, he remained four years with him as an
assistant. He was elected an Associate-Engraver as long
ago as 1835, transferred to the new class of Associate-
Engravers in 1854, and was the first to receive, in 1855,
the rank of Academician-Engraver, in the new class of
members, so called, then formed. In 1825 a picture by
Lawrence was given to him to engrave for Sir Thomas
Acland — 'Lady Acland and her Children.' Sir T. Law-
rence was so much pleased with this his first work, that
he intrusted to him his fine picture of ' Master Lambton,'
and subsequently requested that he would devote aU his
time to engraving from his works. He thus established
his reputation as one of the most admired of mezzotinto
engravers, and his talent is of the highest order in the
branch of the art to which he has devoted himself
Among his principal works are copies from the portraits
by Sir Thomas Lawrence, of the Duke of Wellington,
Prince Mettemich, Pope Pius Vii., Lady Dover and
Child, Sir Eobert Peel, the Countess Gower and Child, &c.
From the works of Landseer he has executed engravings
of ' Bolton Abbey in the Olden Time,* ' The Eetum from
Hawking,' 'Saved,' 'Midsummer Night's Dream,' 'Befresh-
ment,' ' Lady Evelyn Gower and the Marquis of Stafford,'
* The Abercom Children,' ' The Queen,' ' Miss Peel,' &c. ;
after Eastlake, * Christ Weeping over Jerusalem ; ' after
Wilkie, ' The Defence of Saragossa ; ' Sant's ' Infant
Samuel,' Millais's ' Order of Eelease ; ' ' The Mitherless
Bairn,' after Faed ; the pictures, by Winterhalter, of the
Queen, the Prince Consort, the Eoyal Family, the Princess
Frederick William of Prussia, and the Emperor and
Empress of the French ; besides a large number of
portraits after BoxaU and others. At the present time he
is engaged in engraving * Marie Antoinette in the Temple,'
T 2
824 HISTORY OF THE ROYAL ACADEMY [Ch. X\^n.
in mezzotint, which promises to be one of the finest plates
he has yet produced.
George Thomas Doo, RA., was bom on the 6th of
January, 1800, at Christ Church, Surrey, and has long
been famous in his profession as one of the most accom-
phshed hne engravers which the present century has pro-
duced. In this style years of patient labour are consumed
upon one large plate, and but few can follow it with hopes
of attaining eminence. Many of his works are among
the best specimens of the art ; while they are true to
the originals from which he copied, there is a display
of refined and artistic feeUng in them peculiarly his own.
His tones and tints are harmonious, his handUng firm,
and his Hues masterly and spirited. The works by which
he is best known are his large plates after Sir C. Eastlake's
' Pilgrims coming in sight of Eome ;' Wilkie's ' Knox
preaching before the Lords of the Covenant;* Etty's
* Mercy appealing for the Vanquished ; ' and his small
plates of 'Portia and Bassanio,' and 'Sterne and the
Grisette,' after Newton; 'LordEldon' after Lawrence;
his female and children's heads, as 'Nature,' ' Miss Murray,'
&c., after Lawrence; and some choice renderings fix)m
Kaffaelle's ' Messiah ' and ' Lifant Christ,' Correggio's 'Ecce
Homo,' Vandyke's ' Gevartius,' and other works of the
ancient masters.
For some years past Mr. Doo has resided at Stanmore,
where he bears as high a character in private hfe as he
obtained in the profession which he formerly pursued with
so much abihty, but which he has latterly in some degree
abandoned for painting in oil — a large number of portraits
of eminent naturahsts and others having been exhibited by
him at the Academy since the year 1853. Happily, how-
ever, he has not altogether rehnquished the graver, for
he has recently completed another Une engraving on a
large scale — an admirable specimen of a style which has
almost fallen into disuse amongst us — the subject being
Ch. XVIII.] a. T. DOO 326
' The Eesurrection of Lazarus,' after Sebastian del Piombo,
in the National Gallery. This work is issued under the
auspices of several gentlemen, who have associated to-
gether for the purpose of encouraging the art of historical
line engraving in England — a style which, in this work,
is considered to have reached the highest degree of
excellence yet attained in this country.
Mr. Doo was elected an Associate Engraver in 1856,
and an Academician-Engraver in 1857. He also holds
the honorary appointment of Historical Engraver to the
Queen. He is a Fellow of the Eoyal Society, an honorary
member of the Society of Arts at Amsterdam, and of the
Pennsylvania Academy of the Fine Arts, and a corre-
sponding member of the Academy of the Fine Arts at
Parma.
320
CHAPTEK XIX.
ASSOCIATES, WHO HAVE NOT SINCE BECOME ACADEMICIANS,
ELECTED DURING THE PRESIDENTSHIP OP SIR CHARLES L.
EASTLAKE.
Painters: W. Boxall, E. W. Cooke, F. Stone, F. Goodall, J. E.
MiLLAis, J. C. HoKSLET, G. RicHMOiTD, J. F. Lewis, HL N. O'Neil,
W. C. T. DoBSON, R. Ansdell, T. Faed, James Sant.
Sculptors : Henry Weekes and Baron Marochetti.
ArcJUtect : E. M. Barry.
Engravers : L. Stocks and J. H. Kobinson.
ALAEGE addition to the associated members of the
Eoyal Academy has been made since Sir Charles
Eastlake became its President. Thirteen painters, two
sculptors, one architect, and two associate-engravers have
been added to the roll of artists, thus on the way to attain
the highest dignity of the profession — the worthy living
representatives of the English school of art in its growing
excellence and increasing power.
The Painters elected in this period were Wm. Boxall,
K W. Cooke, and F. Stone in 1851 ; F. Goodall in 1852 ;
J. E. Millais in 1853 ; J. C. Horsley in 1855 ; G. Eichmond
in 1857 ; J. F. Lewis in 1859 ; H. K O'Neil and W. C. T.
Dobson in 1860 ; and E. Ansdell, Thos. Faed, and James
Sant in 1861. The Sculptors are Henry Weekes, elected
in 1851, imd Baron Marochetti in 1861 ; E. M. Barry,
the Architect, was elected in 1861 ; aild L. Stocks and
J. H. Eobinson were chosen Associate-Engravers of the
new class in 1855 and 1856 respectively.
WiLLLVM BoxALL, A.E.A., was born in 1801, and
Ch. XIX.] BOXALL— COOKE 327
became a student at the Eoyal Academy in 1819.
Several years ago he painted some few allegorical works,
of which the best was a beautiful picture of 'Hope;'
another was * Geraldine ; ' in both of which the drawing
and painting were very skilful, and the heads carefully
studied. Subsequently he painted several portraits of
our modem poets, artists, and literary men — ^Wordsworth,
Landor, Allan Cunningham, and others, and a very good
one of John Gibson, the sculptor. He has continued to
receive extensive and varied patronage, if we may judge
by the large number of portraits of all ranks and classes of
society which he has exhibited year by year at the
Academy. Among these, in 1859, was one of the late
Prince Consort, painted for the brethren of the Trinity
House, His Eoyal Highness being represented wearing the
robes of the Master of the Corporation.
The colour and texture of Mr. Boxall's paintings are
good ; he deals with his subjects in a simple and un-
affected style, giving to his figures easy and graceful
attitudes, to his portraits of ladies a charming expression,
and to those of gentlemen much force and character.
He thus shows himseK in all respects a skilful portrait
painter.
He was elected an Associate in 1851.
Edwaed William Cooke, AII.A., was bom in London
in 1811, and is the son of an eminent engraver. His
first artistic occupation was to draw the plants illustrating
the " Botanical Cabinet " and " Loudon's Encyclopsedia."
Afterwards he etched and published a .large series of
views of shipping and craft, the river scenery of the
Thames, and similar subjects, which, fi:om their truth and
accuracy, were deservedly popular. In 1832 he com-
menced painting in oil, and has since at various times
visited France, Germany, and Italy, in the search after
subjects upon which to exercise his skill. The pic-
turesque scenery of the Mediterranean, the Gulf of
328 HISTORY OF TIIE ROYAL ACADEMY [Ch. XIX.
Salerno, Dutch yachting on the Zuyder Zee, Amsterdam,
ScheveUng, the Gulf of Genoa, Venice, Marseilles, and
Calais, besides our own coast, Cornwall, the Goodwins,
Weymouth, Bonchurch, &c., have in turn supplied
material for his pictures. Two of his works are in the
Vernon Gallery — 'the Boat-house,' a coast sketch, and
' Dutch Boats in a Calm,' exhibited at the British Institu-
tion in 1844. Eleven others are in the Sheepshanks' Col-
lection, several of which were exhibited at the same place
in 1832-38; 'Brighton Sands,' 'Portsmouth Harbour,'
' The Hulks,' ' The Victory,' ' Mont St. Michael,' ' Hastings,'
' Lobster-pots,' 'Mackerel,' * Carp,' and * Mending the Bait
Nets ;' in another style, 'The Antiquary's Cell,' 'Windmills,'
and ' Blackheath ; ' besides drawings and studies of these
and other pictures. His sketches are fuU of spirit, and
evince great dexterity of pencil ; in his varied scenes he
combines, with great facility, views of the shore with the
sea and its busy craft, and paints the various pic-
turesque buildings which he introduces into his pictures
with nicety of detail, especially in his Venetian views.
His boats are carefully and correctly drawn, and the sea
fresh and crisp ; and with these powers of representing
and combining various objects, his pictures are always
pleasing and attractive. In 1860 he exhibited a striking
picture of H.M.S. "Terror," abandoned in the Arctic
regions. He was elected an Associate in 1851.
Frank Stone, A.RA., was born at Manchester on the
26th August, 1800, and was the son of a cotton spinner.
He was educatejl first in his native place, and afterwards
at Prestbury in Cheshire ; he subsequently entered his
father's factory, and continued to be engaged in busi-
ness pursuits till his twenty-fourth year. He then turned
his attention to art as a profession, although he had not
up to that time received a lesson in drawing in any
school, and knew nothing of painting. After long and
patient study he came to London in 1831, and was in the
Cn. XIX.] FRANK STONE 829
next year elected a member of the Old Water-Colour
Society, having chosen that branch of art for his early
eflforts. He did not resign his connection with that society
till 1847, when he had determined to follow the practice
of oil painting. His earlier works in the former medium
consisted of scenes from Shakspeare, and quiet graceful
studies of a domestic character, as ' The Evening Walk,'
' The Stolen Sketch,' &c.
He began to exhibit at the Eoyal Academy in 1837,
when he contributed two portraits, one of them being
that of Lady Seymour ; in 1838 ' A Study ; ' in 1839 three
portraits ; and in 1840 his first subject piece in oils, from
" The Legend of Montrose." In the same year he exhibited
at the British Institution 'Louise.' In 1841 he sent to
the Academy ' The Interview between Charles I. and the
Infanta of Spain,' which was selected by an Art Union
prize-holder for £200, and * The Heart's Misgivings,' exhi-
bited at the British Institution, where it obtained the award
of a premium. In 1842 he sent to the same place ' The
Bashftd Lover and the Maiden Coy,' and to the Academy
'Admonition,' where, in 1843, appeared 'The Last Ap-
peal,' and at the British Institution ' Helena ' and ' Nour-
mahal.' Li 1844 ' The Course of True Love never did
run Smooth,' and in 1845 ' The First Appeal,' were ex-
hibited in continuation of the series of sentimental, gallant,
and love-making scenes, by which he sought and gained
a large degree of popularity from the attractiveness of
the subjects, and by his manner of telhng the story.
'The Impending Mate' and 'Mated' (1847), 'Cross
Purposes,' ' The Duet,' and many others exhibited at the
Academy and the British Institution, are well known by
the engravings from them, and are of the same class.
That he was able to take a far higher range than these
pictures displayed is evident from some few works with
which they were intermingled. ' Ophelia ' singing before
the Queen as the King enters, exhibited in 1845 ; 'Miranda
and Ferdinand ' and ' The Gardener's Daughter ' (1850) ;
330 HISTORY OF THE ROYAL ACADEMY [Ca XIX.
scenes from the " Merchant of Venice " (Bassanio receiving
the letter), 1851, and from "Cymbeline " in 1852, are of
far greater artistic excellence. He also painted two
scriptural pictures of great beauty, 'The Sisters of
Bethany' (1848), and 'The Master is come' (1853); the
latter especially a work of great power and deep feel-
ing. In 1851 he was elected an Associate of the Eoyal
Academy. In 1852 he exhibited there 'A Portrait of
Dr. Hooker in the Himalaya,' and in 1853 'A Group of
Girls engaged in a Plot.' • In 1854 he went to Boulogne,
and there gathered materials for new subjects for his
pencil, or at least treated the old one in a new way —
Boulogne fish-wives, peasant girls, and boatmen taking
the place of the ladies and gentlemen in his love scenes.
In 1854 appeared 'The Old Story' and 'The Mussel
Gatherers;' in 1856 'Doubts;' in 1857 'Faust and
Marguerite,' ' Bonjour, Messieurs' (a group of French
peasants in a cart); in 1858 'The Missing Boat;' in
1859 'Friendship endangered,' 'The First Voyage,' 'A
Little Too Late; ' and in 1860 a posthumous work was
exhibited, ' The Merry and Sad Heart,' two French pea-
sant women at work — the career of the talented painter
of the picture having been suddenly terminated by an
attack of disease of the heart on the 18th November,
1859.
He was a man of no ordinary endowments, which, if
they had been trained in the higher provinces of art,
would have raised him to the first rank in his profession.
In his early works there was perhaps too much of senti-
mentalism, an over-refinement of style, and a sameness in
form and feature, beautiful though they undoubtedly were.
As he proceeded, his touch, execution, and expansion of
view led him to improve the class of subjects he chose,
and his latest works were no less admirable as mental
studies than for their technical qualities. He has left a
son Marcus Stone, who is also pursuing the same profes-
sion as his father.
Ch. XIX.] FREDERICK GOODALL 331
Frederick Goodall, A,E.A., was bom in London on
17th September, 1822, and is the son of Mr. Edward
Goodall, the eminent engraver, and one of a family of
artists, his brothers and sisters being also professionally em-
ployed. At the age of fourteen he gained the "Isis" medal
of the Society of Arts for drawings of * Lambeth Palace '
he made for Mr. SoUy. He first studied engraving under
his father, and never received any instruction except from
him, for he was also a painter. He abandoned the graver,
and intended to become a landscape painter, but his father
kept him during the winter months drawing from casts,
and studying the anatomy of the human figure. At the
age of fifteen he began to paint in oil, and gained the
large silver medal of the Society of Arts for a painting of
' Finding the Dead Body of a Miner' — a subject probably
suggested by the event depicted having occurred at the
Thames Tunnel, where he had been employed by Sir B.
Hawes to make a series of drawings of its working state.
At the suggestion of Brunei (whose acquaintance he made
while visiting the Thames Tunnel with his friend Mr.
Page, the acting engineer of the works there), he pro-
ceeded in 1838 to Normandy, and there filled his port-
foho with sketches. In 1839 he painted from one of
these and exhibited at the Academy — ^'The Card-players.'
From this source, and the fruits of several visits to Brit-
tany, he derived materials for many of his subsequent pic-
tures— * The Tired Soldier,' 'The Soldier Defeated,'
* Entering Church,' ' Leaving Church,' ' The Old Guard,'
' Going to Vespers,' * Eustic Music,' &c. Many of these
were purchased by distinguished patrons of art.
A subsequent tour through Ireland produced a varia-
tion in his subjects ; as for instance ' The Irish Piper,' ' The
Fairy-struck Girl,' 'The Departure of the Emigrants,'
' Connemara Market-girls,' &c. A very important work,
* The Village Festival,' appeared in 1847, and has since
been followed by many others, which have sustained
the high opinion then formed of the artist's powers.
332 HISTORY OF THE ROYAL AC^VDEMY [Ch. XIX
' Hunt the Slipper' (1849) ; ' The Post Office,' ' The Wood-
man's Home' (1850) ; *L'Allegro,' ' The Gipsy Encamp-
ment,' 'The Angel's Whisper,' 'The Soldier's Dream,'
' Eaising the Maypole ' (1851), engraved by C. W. Sharpe
(1861) for the Art Union of London ; 'The Last Load'
(1852) ; ' The Happy Days of Charles L and his Family '
(1853) ; ' The Swing ' (1854) ; ' The Arrest of a Boyalist
Family in Brittany, 1793' (1855); ' Cranmer at the
Traitor's Gate ' (1856) ; ' The Wedding Dance, Brittany '
(1857); 'Fehce Ballarin reciting Tasso to the People'
(1859); 'Early Morning in the Wilderness of Shur'
(I860); 'The First-bom,' and the 'School of Sultan
Hassan, Cairo ' (1861), are among the principal works
since exhibited.
He was elected an Associate of the Eoyal Academy in
1852. In the Vernon Gallery, besides one of his early
works (' The Tired Soldier') there is ' The Village Holiday
of the Olden Time ' — a picture of that class which he
treats with great success, and one upon which he must
have bestowed much study and labour, so well are aU the
figures arranged and painted, so brilliant is the colour-
ing, and so harmonious is the general effect of the group-
ing of the whole. All his pictures are popular ; for he
depicts the sunshine of life in its happy moments, the
kindliness of the human heart, and the joyous scenes of
social mirth, always with a graceful hand and with correct
expression, and not without mingled sober thoughts and
impressive suggestions. His works are picturesque in
composition, charmingly natural, and rich in colour. He
paints with solidity and with great care, and finishes with
the utmost nicety. Hence he deservedly holds a high
place among the younger members of the profession.
John Everett Millais, A.E.A., was bom at Southamp-
ton in 1828. Before he could read he showed a talent
for drawing, and his parents, observing this, determined
that he should become an artist. At nine years of age he
Ch. XrX.] J. E. MILLAIS 833
was sent to Mr. Sass's drawing academy in Bloomsbury
and in 1840 he became a student at the Eoyal Academy.
After passing through all the schools with great success,
gaining the silver medals in each, he obtained in 1847 the
gold medal for his historical painting of 'The Tribe of
Benjamin seizing the Daughters of Shiloh,' which was
exhibited at the British Institution the following year.
In 1846 he exhibited at the Academy 'Pizarro seizing
the Lica of Peru ;' in 1847 ' The Emissaries of Dunstan
seizing Queen Elgiva;' and he also contributed a very
large jpicture of ' The Widow's Mite ' to the Westminster
Hall competition. A year or two afterwards, he, William
Holman Hunt, D. Eosetti, M. Brown, and other young
artists, who had been fellow-students at the Eoyal
Academy, united together as " The Brotherhood of the
Pre-EafiaeUtes," in the same manner as some artists of
Germany had done several years before, to avoid the
errors of the later masters of art, and to return to the
purer models which those of an earUer date had given.
In a small magazine of the day, entitled " The Germ," the
new art school was explained, and the organisation of its
members arranged. They professed not so much to
desire to imitate the technical manner as the principles
of Giotto, Angehco, and other masters of that period, and
thus to attain more simpUcity and truth, even at the risk
of occasional meanness and ugliness.
In 1849 the new style was displayed by Millais in
his picture of * IsabeUe,' and by Mr. Hunt in * Eienzi.'
The next year the former exhibited ' Ferdinand lured by
Ariel,' and ' The Child Jesus in the Workshop of Joseph
the Carpenter.' The latter was a specimen of the religious
symboUsm which was one of the principles of the school.
While it astonished mediaeval archaeologists, however, it
won little commendation from art-critics ; for, although it
was beautiful in some of its details, it was fantastic and
repulsive as a whole. The same symbohsm was illus-
trated in the following year in ' The Eetum of the Dove
334 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
to the Ark,' a thoughtful but eccentric representation.
Since that time Mr. MiUais seems to have abandoned this
portion of the theory of the new school. Other works of
the same year were ' The Woodman's Daughter/ and
Tennyson's ' Mariana.' The colouring of these works was
crudely bright, but hard, and all the details minutely
studied. In 1852 appeared ' The Huguenot,' a finely
conceived work, which has been well engraved, and the
colouring of which was a marvel of industry and skill.
Another work of this year was ' Ophelia,' also remarkable
for the same qualities when examined, but displeasing in
its general efiect. It was in this year that Mr. Euskin
appeared before the pubhc in defence of the new school
of artists, the beauties of their style having ever since been
held up to admiration by him.
In 1853 appeared ' The Proscribed Royahst,' and * The
Order of Eelease,' both engraved — the latter a picture
full of pathos, and evidently the result of long and careful
study. In this year Millais was elected an Associate of
the Royal Academy. In 1855 appeared ' The Rescue,' a
fireman saving some children from a burning house — a
fine display of colour, but nothing more. In 1856 ' The
Blind Girl,' * Peace concluded,' * L'Enfant du Regiment,'
and ' Autumn Leaves' — the last-named his best picture
of that year, being full of poetic feehng. In 1857
he exhibited ' The Escape of a Heretic, 1559,' ' News
fi-om Home,' and * Sir Isumbras at the Ford ' — a strange
picture, having Uttle to attract attention in it except its
faults. In 1859 appeared ' The Vale of Rest,' in which
nuns were represented digging a grave for one of their
fi-atemity, * Spring,' and ' The Love of James I. of Scot-
land.' In 1860 he exhibited' The Black Brunswicker,'
in which two most carefully finished figures were intro-
duced with most expressive features, and with less of
the hardness of outline by which his pictures are
distinguished.
Yet there are many things to make the works of this
CH.XIX. MILLAIS— HORSLEY 335
artist the especial objects of notice in the exhibitions.
His extremely emphatic rendering of details, especially in
the foreground — the absence of atmospheric influence —
and a display of manipulation which, if not pleasing, is at
least marvellous — all attract attention. The poetic con-
ceptions of his pictures, the meanings and suggestions
with which each object introduced abounds, prove that
his genius is of no common order ; while he is so con-
scious of his power, and so enthusiastic in his art, that
nothing would deter him from making trial of yet un-
trodden paths by which he might hope to attain to his
own ideal of excellence. His later works are less exag-
gerated in style than his earlier ones, and he seems also
to have changed his style of subjects, so that he may
eventually retain only so much of the method of the
antique models he has chosen as to insure that carefiil
elaboration of details for which he is so famous, com-
bined with that grace, purity, and softness which are
wanting in the representation, though not in the concep-
tion, of his works.
John Callcott Hobslet, A.E.A., was bom at Brompton
on the 29th January, 1817, and is a member of a family
distinguished for its talents. He is grand-nephew of Sir
A. W. Callcott, E.A., the landscape painter ; and his
grandfather Dr. Callcott, his father William Horsley, and
his brother C. G. Horsley are all eminent as musicians.
He was trained to art from his childhood, having at
eight or nine years of age made some very creditable
sketches, which are still preserved in his family. He was
sent first to Mr. Sass*s drawing academy, and became a
student at the Eoyal Academy in 1831. While quite a
youth, he was a contributor to the exhibition, occasion-
ally painting portraits and historical designs. A visit to
some friends at Derby in his sixteenth year led to his
taking a number of sketches of Haddon Hall and other
old mansions in that interesting county, and on his
y
336 inSTORY OF THE ROYAL ACADEMY [Ch. XIX.
return to London he painted and exhibited at the British
Institution 'Eent Day at Haddon Hall in the Time of
Queen Elizabeth,' which was purchased by Mr. Samuel
Cartwright, the dentist. ' Winning the Game/ his next
picture, was also a scene at Haddon. This was followed
by ' Love's Messenger,' ' The Grandmother,' * The Con-
trast,' 'Waiting for an Answer,' and 'The Eival Per-
formers ; ' the three last-named purchased by Mr. Sheep-
shanks from the British Institution, and now the property
of the nation. In all these early pictures the conception
was good and well executed, the arrangement picturesque,
the colour rich, the expression natural, and the effect of
light and shade weU studied.
The works by him which first attracted general atten-
tion were 'The Pride of the Village,' exhibited at the
Eoyal Academy in 1839, and now in the Vernon Collec-
tion, and ' Leaving the Ball,' exhibited in 1840 ; both
painted in the sentimental style then in vogue, which he
continued to pursue for a few years. Subsequently he
ceased for a time to exhibit at the Eoyal Academy, being
engaged during two years as one of the head masters of
the School of Design at Somerset House, in succession to
Mr. Herbert. He returned to the practice of his art
when the Westminster Hall competition was opened,
contributing a cartoon of ' St. Augustine Preaching,' a
very effective composition, to which the second-class
prize of £200 was awarded. In the subsequent fi-esco
exhibition he contributed two single figures aUegorically
personifying ' Peace ' and ' Prayer,' and received a com-
mission to paint in that style for the Houses of Parlia-
ment. For the House of Lords he executed ' The Spirit
of Eehgion,' in one of the three archways at the back of
the Strangers' Gallery. Afterwards he entered the oil
painting competition, with a picture of ' Henry V. when
Prince of Wales at his father's dying bed trying on the
Crown,' to which also a £200 prize was awarded ; and
he received another commission to paint in the Poets'
Ch. XEL] J. C. HORSLEY 337
Hall in the Palace of Westminster ' Satan touched by
Ithuriel's Spear.'
About this time a gentleman employed him to decorate
a parish church in Devonshire with frescoes from sacred
history ; but afiter he had spent much time in designs and
preparations his patron became a convert to the Eomish
faith, and the work was abandoned. Subsequently he
painted two pictures in this style for Sir S. M. Peto,
illustrating the life of Alfred the Great. After his ap-
pearance in the Westminster Hall competition, he painted
and exhibited at the Eoyal Academy a variety of cabinet
pictures. In 1846 ' Eomeo and Juliet ;' in 1847 a por-
trait of the late Earl of Shaftesbury ; in 1848 two portraits
(one of his brother-in-law, Mr. L K. Brunei, the engineer),
and the sketch for ' L' Allegro and II Penseroso,* which
was his original idea for the fresco in the Poets' Hall,
until the subject was changed by the Eoyal Commissioners.
In 1849 ' MalvoHo i' the Sun ; ' in 1850 ' HospitaUty ;' in
1851 *L' Allegro and H Penseroso,' painted for the Prince
Consort, and ' Youth and Age ; ' and at the British
Institution a picture of ' Lance reproving his Dog,' left un-
finished by Sir A. W. Callcott, but completed by him ;
in 1852 * Master Slender' and 'The Madrigal;' in
1853 'Lady Jane Grey and Eoger Ascham ; ' in 1854
' The Pet of the Common ' and ' Attraction ; ' in 1855
'A Scene from "Don Quixote"' and a portrait of
'Archdeacon Sinclair,' painted for the Vestry Hall at
Kensington.
In the same year he attained the rank of Associate of
the Eoyal Academy ; in the following one he exhibited
' The Administration of the Lord's Supper ' and four
others; in 1857 'Hide and Seek,' 'The World Forget-
ting,' and others, including several portraits ; in 1858
'The Noon-day Sleep' and 'Flower-girls;' in 1859
' Milton dictating " Samson Agonistes " ' and ' Blossom-
time ;' in 1860 ' The Duenna's Ketum,' ' Showing a Pre-
ference,' and ' Sunny Moments ; ' and in 1861 ' Lost and
VOL. II. z
338 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
Found,' a modem adaptation, well carried out, of the
parable of the Prodigal Son. In all these works there
are proofs of truthful drawing, care, and study, signs of
high feeling and skilful execution, and a taste for vivid
colouring. These he applies generally to his popular
subjects ; but whenever exercised upon works of a
higher historical character, he shows his power to cope
with the difficulties of them ; and when he ascends to
sacred themes he displays alike his purity of mind and
his facihty in expressing refined and elevated thoughts.
George Eichmond, A.E.A., was bom in 1809, and be-
came a student at the Academy in 1824. He commenced
his career as a water-colour painter, drawing portraits, and
these chiefly of ladies, in a hght and sketchy style pecu-
liarly his own, in which he has never been surpassed.
Sometimes they were of large size, the figures drawn
with roundness and substance, with a broad hatch, the
expression extremely agreeable, and the background
filled in with open sketchy views. His full-length portrait
of Viscount Sidmouth, done in water-colours in 1834, is
now in the National Portrait Gallery. By these drawings
he acquired a fashionable fame, while he also occupied a
high position in general society. After he had attained
perfection in this branch of his art, he began to paint in
oil, in which he quickly attained such excellence, that it
would be difficult to detect in his works in this style
any indication of that which he originally practised. In
his new manner he exhibited in 1855 a full-length por-
trait of Sir H. R. Inghs for the Picture Gallery of the
University of Oxford, a Ufe-sized head and bust of the
Bishop of New Zealand, and a three-quarter length of a
little boy standing — ' H. J. Eichmond ; ' in 1857 the
Eev. Canon Bentinck, Vice-Chancellor Kindersley, Eev.
C. B. Forster, B.D., and Sir J. Eobinson, Bart. ; in 1858
Sir E. Kerrison, Bart, and the Earl of Leicester, the latter
apparently painted in imitation of Holbein's portrait of
Ch. XIX.] RICHMOND— LEWIS aSO
that nobleman's ancestor. Among his drawings was one of
H.E.H. the Prince of Wales. In 1859 he exhibited por-
traits of the Bishop of Salisbury, the Dean of Westminster,
and Admiral Sir C. Hotham, the last named painted for
the city of Melbourne ; and drawings of the Bishop of
Columbia, Canon Wordsworth, and others. In 1860,
among other portraits, was that of Col. Greathed, H.M.'s
8th Foot, distinguished in the Indian Mutiny; and in
addition to many portraits in 1861, he painted a land-
scape, 'A Sunset Scene in Hyde Park' In 1858 he
exhibited a picture of a sacred character, finely conceived,
and richly coloured in the manner of the Venetian school.
The subject was * Christ's Agony in the Garden,' repre-
senting the Saviour kneeling, and being about to fall to
the ground, supported by an angel. He also paints
chalk portraits, life-size, in which the features are gene-
rally slightly marked, but with intense expression, and are
altogether admirable productions. He was elected an
Associate of the Eoyal Academy in 1857, and his nume-
rous contributions to the exhibition testify to the exten-
sive patronage he has obtained in the several styles to
which he has applied his powers.
John Frederick Lewis, A.RA., is the son of Mr. R
C. Lewis, an engraver and landscape painter of great
abihty, and was born in London on the 14th July, 1805.
He received from his father instruction in both the arts
he followed, and his first employment was to paint wild
animals — a taste no doubt fostered by his acquaintance
with the Landseer family. These he executed both in
oil and water-colours, and afterwards engraved some of
them. At the age of fifteen he sent his first picture to
the British Institution, and was fortunate enough to find
a purchaser for it; from that time he determined to
abandon engraving altogether, and to become a painter.
He studied extensively in the menagerie at Exeter Change,
and Northcote bought some of the sketches he made there.
z 2
340 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
Sir Thomas Lawrence gave him a commission to paint for
him for a year, and some of the drawings he thus made
were afterwards etched by Mr. W. B. Cooke. At the age of
seventeen he painted a large picture of ' Deer-shooting at
Belhus, Essex/ which was sold, and in his nineteenth year
he was employed by King George IV. painting in Windsor
Forest. One of the pictures upon which he was thus
engaged was exhibited at the Eoyal Academy in 1826 —
' Deer-shooting in Windsor Forest, with portraits of His
Majesty's Head Keepers.' Subsequently he paid visits to
Germany and Northern Italy.
Hitherto he had painted in oil ; now, by the advice of
George Eobson, the landscape painter, he began to prac-
tise water-colours. In 1828 he exhibited at the Academy
a drawing of ' The Chamois, sketched in the Tyrol ; ' and
at the Water-Colour Society (of which he was elected a
member) 'Highland Hospitality.' In 1832 he went to
Spain, first stopping at Madrid to copy the works of the
great Spanish masters, and afterwards proceeding to
Toledo, Granada, Cordova, and Seville, studying Spanish
scenes, characters, and figures with great perseverance.
In 1833 he went from Gibraltar to Tangiers, returned to
Granada, and after wintering at Madrid came back to
England in the spring of 1834. In the next two years
his works began to attract general admiration : among
the first were ' Monks preaching at Seville,' ' Interior of a
Mosque at Cordova,' and a series of three pictures depict-
ing a bull-fight at Seville, minute in all the details, yet
vigorously drawn, and coloured with a breadth and
richness rarely attained in water-colours. In 1837 he
exhibited ' Spanish Peasants dancing the Bolero ' and
* Peasants at their Devotions ; ' besides a brilKant picture of
* The Spy brought before the Carhst General,' which was
some years afterwards engraved by the father and brother
of the painter ; as was also *The Suburbs of a Spanish City,'
exhibited the year before, both proving very popular
prints. In 1837 he drew on stone twenty-five facsimiles
Ch. XIX.] J. F. LEWIS 341
of his Spanish sketches. These were afterwards followed
by similar illustrations of * The Alhambra.' In 1838 he
exhibited ' The Pillage of a Convent in Spain by Guerilla
Soldiers,' and ' Murillo painting the Virgin in the Fran-
ciscan Convent at Seville.' These were painted in the
preceding winter at Paris.
He afterwards went to Italy, visited Florence and
Naples, was wrecked on his way to Malta, but at length
reached Eome, where he painted a very effective pic-
ture, finely grouped and gorgeously coloured, 'Easter-
day at Eome — the Pope Blessing the People,' which was
sent home for the Water-Colour Gallery Exhibition in
1841. After he had completed this work he proceeded
to Constantinople, and from 1840 to 1850 he continued
to reside in the east, making Cairo his head-quarters, and
from thence making excursions to Egypt, Nubia, Asia
Minor, &c. For a time the pubUc saw little of his works,
and missed them greatly ; but after his return his large
collection of sketches furnished abundant materials for
future pictures of eastern hfe and scenery. One of the
first pictures exhibited on his return at the Water-Colour
Society was ' The Hareem,' a subject treated with the
utmost chasteness and refinement. The amount of minute
finish, the rich and dehcate tone and colour, and the
breadth of general effect attained in this picture, rendered
it a marvel in water-colour painting (in which, however,
the artist employed a large amount of body colour), and
excited great admiration. It was followed in 1852 by
' An Arab Scribe — a scene in Cairo,' even more elabo-
rately finished than the preceding, but scarcely so effec-
tive on the whole.
Subsequently he exhibited several pictures, in which he
seemed to be trying experiments in colour ; as in ' The
Halt in the Desert,' ' Bedouins and their Camels,' * Koman
Peasants at a Shrine ' (1854) ; ' The Well in the Desert '
(1855) ; ' A Frank in the Desert of Mount Sinai ' (1856) ;
the last a wonderful specimen of skilful execution, of which
043 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
Mi\ Euskia wrote : " I do not believe that since the death
of Paul Veronese anything has been painted comparable
to it in its own way." It is Hterally true of these works
that they cannot be appreciated by the naked eye, and
for this reason they have elicited the approval of Mr.
Euskin, although they possess none of the other peculiari-
ties of the school of which he is so great an admirer. " To
this task/' he says, "he has brought not only intense
perception of the kind of character, but powers of artistic
skill, like those of the great Venetians, displaying at the
same time a refinement of drawing almost matchless, and
appreciable only, as the minutiae of nature itself are ap-
preciable, by the help of the microscope. The value
therefore of his works, as records of the aspects of the
scenery and inhabitants of the south of Spain and of the
east in the earUer part of the nineteenth century, is quite
above all estimate."
Meanwhile Mr. Lewis was also practising oil painting,
and in 1855 he exhibited in this style at the Eoyal
Academy ' An Armenian Lady — Cairo,' which had all the
elaborate detail of his water-colour drawing. Li 1856
appeared ' The Greeting in the Desert — Egypt,' and ' A
Street Scene in Cairo, near the Babel Luk.' In 1857
* The Syrian Sheikh ; ' in 1858 ' lihes and Eoses — Con-
stantinople,' * A Kibab Shop at Scutari,' ' An Arab of the
Desert of Sinai,' ' An Inmate of the Hareem,' and ' After-
noon Prayer in a Mosque at Cairo.' In 1859 he was
elected an Associate of the Eoyal Academy, and exhibited
' Waiting for the Ferry-boat — Upper Egypt' In 1861
*A Bedouin Sheikh,' *In the Bezestein, Cairo,' and
' Edfou, Upper Egypt.'
During his first visits to Italy and Spain he made
careful copies of the works of the ancient masters pre-
served in those countries, sixty-four of which were pur-
chased at a liberal price by the Eoyal Scottish Academy
in 1853 for the instruction of the students, and he was
also elected an honorary member of that Academy. In
Ch. XIX.] LEWIS— O'NEIL 343
1855, on the death of Copley Fielding, he was chosen
President of the Water-Colour Society, an honour conferred
upon him in recognition of his talents in that department
of his art, which he afterwards resigned. Whatever his
subject, and wherever his thirst for art led him to wander,
he displayed an almost miraculous power of representing
what he saw with the greatest exactness of detail, and
the most thorough truth of character. In all his works
he shows that he possesses powers of intense observation,
of unwearying toil, and of careful execution, in which he
is unrivalled by any of his compeers ; and although he
has changed the medium in which his first achievements
were wrought and has employed a more durable
material, he has lost none of the deKcacy of touch, the
highly-wrought manipulation, or the beauty and power
displayed in his earlier method.
Henry Nelson O'Neil, A.E.A., was born at St. Peters-
burg of British parents in 1817. In 1823 he was brought
to England, and although he had shown an early taste
for design, he does not seem to have cultivated it till
1836, when he became a student at the Eoyal Academy.
In 1839 he exhibited his first picture, and continued
afterwards to contribute annually to the Academy. In
1843 appeared 'Jephthah's Daughter;* in 1844 *Euth
and Naomi,' which was purchased by the Prince Consort ;
in 1849 'The Last Moments of Mozart; ' in 1851 'The
Scribes reading the Chronicles to King Ahasuerus ; ' in
1853 'Queen Katherine's Dream ; * in 1855 ' The Ketum of
the Wanderer ; ' and in 1858, the picture which acquired
for him an immediate popularity. It was called ' East-
ward, Ho 1 August, 1857 ; ' and the subject is said to
have been accidentally suggested to the artist as he was
going down the river in a steamer, by seeing a crowd of
boats shipping a party of soldiers on board a transport,
who were bound for India during the mutiny, and
were hurriedly taking leave of their friends. He was
344 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
touched by the scene, and in painting it appealed to the
sympathies of the thousands who have never looked
upon it unmoved, whether gazing on the picture or
the fine engraving from it. 'Home Again,' the com-
panion picture, was another natural scene of real life,
full of poetry and feeling, but scarcely equal to its pre-
decessor, which must, we fear, be said also of the works
of the same class which have followed it. These were in
18G0 ' The Volunteer ' about to swim from a ship broken
to pieces, in the forlorn hope of getting a rope to shore ;
and in 1861 * The Parting Cheer' to the sailing voyagers.
Mr. O'Neil is also a painter of portraits, and while he
carefully finishes all his works, they are correct in draw-
ing, natural in colouring, and unexaggerated in treat-
ment. His simple touching stories are conceived with
great originality and truthfulness ; the arrangement of his
crowded groups of figures is natural, and the costumes
carefully studied ; his contrasts of colour are efiective ;
and to every face in his pictures he gives not only cha-
racteristic features, but the expression of the emotion
proper to the scene in which each is represented as
taking a part. He was elected an Associate of the Eoyal
Academy in 1860.
William Charles Thomas Dobson, A.E.A., was bom
at Hamburg in 1817, and was the son of John Dobson, an
English merchant there, who returned to London after
having sufiered severe losses in 1826. His son had from
earliest childhood evinced a great taste for drawing;
when he was but fourteen he commenced his studies from
the antique in the British Museum, and became a student
at the Eoyal Academy in 1836. He received his first
instruction in painting, however, from Mr. E. Opie of
Plymouth, a nephew of John Opie, E.A., who took
great interest in his progress, and he was also so fortunate
in early life as to obtain an introduction to the present
President of the Eoyal Academy, from whom he received
Ch. XIX.] W. C. T. BOBSON a45
during many years much friendly advice and many valu-
able suggestions, which seem to have borne fruit in the
character of the works produced by his proUgL In
1842Dobson first appeared as an exhibitor at the Academy,
the subject being ' The Hermit/ from Pamell's poem ; in
1843 he exhibited two portraits, and ' Paul and Virginia ; '
in 1844 and 1845 oiJy portraits; in 1846 *A Young
Italian Goatherd.' In 1847 he entered the cartoon com-
petition in Westminster Hall, exhibiting ' Lamentation,' a
very talented production, and ' Boadicea,' only inferior to
it in merit. In 1848 he contributed to the Eoyal Academy
' Saul and the Witch of Endor,' and * Undine ; ' and in
1849 ' The Knight Huldbrand.'
In 1850 he commenced the series of sacred pictures
by which his fame has been mainly established: 'The
Virgin Mary and the Child Jesus ' and ' St. John the
Evangelist ' were the first of these ; he also exhibited ' A
Portrait of a Lady as St. Cedlia,' and a picture of a young
girl, all works of great merit. In 1851 'St. John leading
Home the Virgin Mary after the Crucifixion,' a work full
of intense and devout feehng; in 1852 'The Christian
Pilgrim,' 'Miriam,' and 'Mater Dolorosa;' in 1853
' Tobias and the Angel ' and ' The Chorister ; ' in 1854
' The Almsdeeds of Dorcas ; ' and in 1855 the same sub-
ject painted for the Queen; in 1856 'The prosperous
Days of Job,' and ' The Children in the Market Place ; '
in 1857 'Heading the Psalms' (engraved by Mr. Cousins,
E.A.), and 'The Child Jesus going down with His
Parents to Nazareth,' both purchased by Miss Biu-dett
Coutts ; in 1858 he exhibited ' Hagar and Ishmael,' ' The
Holy Innocents,' and 'Fairy Tales;' in 1859 'David
bade them teach the Children of Judah the use of the
Bow,' and 'Der Eosenkrimz ; ' in 1860 'The Plough,'
' Bethlehem,' ' Der Heimkehr,' and ' Emilie aus Gorwitz ; '
in 1861 'The Drinkmg Fountain,' 'The Flower Girl;
and ' Bauer Madchen.' Most of his chief works have been
engraved, many of them on a large scale.
340 HISTORY OF TIIE ROYAL ACADEMY [Ch. XIX.
In 1843 Mr. Dobson was appointed Head Master of
the Government School of Design at Birmingham. This
office he resigned in 1845 ; but he was so popular in the
school that, on quitting it, he was presented with a piece
of plate by the pupils as a token of their esteem. He
afterwards proceeded to Italy to study the works of the
great masters of art ; he remained there some years, and
after his return to England he again set forth, in 1858,
for two years' study at Dresden, that he might acquire a
knowledge of the principles and practice of the German
school. His works are of an elevated character, and his
aim is evidently to devote his art to the noble purpose of
teaching what is holy and pure. His themes are care-
fully studied, and his colouring is rich and brilUant.
Having chosen many sacred and scriptural subjects, he has
happily added to the skill with which he has represented
them a love for holy things ; and the reverential feeUng
which pervades his own mind in treating such themes is
communicated, in some degree, to the beholder of his
pictures. He was elected an Associate of the Eoyal
Academy in 1860.
KiCHARD Ansdell, A.E.A., was born at Liverpool in
1815, and was educated at the Blue Coat School of that
town, where he continued to reside till 1847. Although
it was intended that he should enter into business pur-
suits, his strong predilections for art led to his finally
adopting it as a profession. Historical subjects, the sports
of the field, and pictures of animals, were his forte, and
in 1840 he exhibited at the Eoyal Academy 'Grouse-
shooting,' and 'A Galloway Farm ;' in 1841 'The Earl
of Sefton and Party returning from Shooting;' and in
1842 'The Death of Sir W. Lambton at the Battle of
Marston Moor,' a very spirited picture, in which the
artist chose a higher range of subject than he had pre-
viously attempted. In 1843 appeared ' The Death of
the Deer ; ' in 1844 ' Mary Queen of Scots ' returning
Ch. XIX.] RICHARD ANSDELL 347
from the chase to Stirling Castle ; in 1845 a portrait
group of * Mr. J. Machell and Family at Fox-hunting ; '
in 1846 at the British Institution 'The Drover's Halt,
Isle of Mull/ and at the Academy ' The Stag at Bay.'
The next year a companion to the last picture, 'The
Combat ; ' both of these have been engraved by Eyall.
In 1848 he sent to the Academy 'The Battle of the
Standard* at Waterloo, which has been engraved, and
is one of his best works ; and exhibited at the British
Institution ' Turf-stacking ' and ' Stag-hunting in the
Olden Time.' To the same place in 1849 he contributed
' The successful Deer-stalkers ' and ' An old Trespasser,'
and to the Koyal Academy ' The Death of Gelert ' and
' The Wolf-slayer.'
In 1850 he commenced working with Mr. Creswick,
and exhibited at the British Institution ' South Downs,'
and 'The regretted Companion,' and at the Academy
' The Eivals.' Among his many subsequent works the
principal are, in 1850 ' England's Day in the Country,'
jointly with Mr. Creswick; in 1851 'The Shepherd's
Eevenge ; ' in 1852 ' The Drover's Halt by the Common,'
'The Park,' &c. In 1855 he exhibited 'Feeding the
Calves,' painted in conjunction with Mr. Frith, who
drew the maid pouring the milk into the trough for the
young kine.
In 1856 he accompanied Mr. Phillip to Spain, and the
following year took up his station at Seville. As with
Phillip, so with Ansdell, this journey changed the whole
subject-matter and style of his paintings. In 1857 ap-
peared 'The Water-carrier,' 'Mules Drinking,' &c. In
1858 'The Eoad to Seville,' 'The Spanish Shepherd,'
' Crossing the Ford, Seville.' In 1859 ' The Banks of the
Guadalquiver,' 'The Spanish Flower-sellers,' &c. In
1860 he once more exhibited English subjects — one a
humorous one, ' Buy a Dog, Ma'am,' the other, ' The Lost
Shepherd.' In 1861 appeared a group of 'Mules Drink-
ing ' at the British Institution, and ' Hunted Slaves,'
348 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
' Scotch Shootings,' and ' Old Friends ' at the Eoyal
Academy.
Mr. Ansdell is a bright, rich, and vigorous colourist ;
he draws carefully and truthfully, catches the character
of his subjects, and is a skilful deUneator of animal Ufe
in many of its varieties, especially in its fiercer aspects.
Although the sphere of art he has chosen is limited, yet
in it he displays great ingenuity in choosing scenes and
subjects differing greatly from each other, although in all
of them animals form prominent and most attractive
objects. He has received the " Heywood " medal at Man-
chester on three occasions, and was awarded the gold
medal at the Paris Exposition in 1855. He was elected
an Associate of the Eoyal Academy in 1861.
Thomas Faed, A.R.A., was bom in 1826 at Burley
Mill, Kirkcudbright, N.B., where his father (a man of great
mechanical genius and mental ability) carried on business
as an engineer and millwright. While employing his
boyhood in sketching the ragged boys he met with in his
walks his father died, and his elder brother John, who
had already estabUshed himself as a skilful painter in
Edinburgh, knowing Thomas's taste, invited him to join
him there in 1843, and directed his studies for some
years. The younger brother doubtless owes much of his
subsequent success to the affectionate interest which the
elder took in his progress, and to the instruction he re-
ceived from him. For some years Thomas pursued his
studies at the Trustees' Academv under Sir William
Allan, and in 1849 became an Associate of the Eoyal
Scottish Academy. In the same year he exhibited his
picture of * Scott and his Friends at Abbotsford,' which
was greatly admired, and afterwards engraved.
He first appeared as an exhibitor at the Eoyal Academy
in London in 1851, when he contributed three works,
' Cottage Piety,' ' Auld Eobin Gray,' and ' The First Step.'
In 1852 he came to reside in London, and exhibited
Cn. XIX.] THOMAS FAED 340
* Burns and Highland Mary' and ' Patrons and Patronesses
visiting the Village School.' In 1853 * The Early Lesson'
and 'Sophia and Ohvia.' Inl854 'Peggy,' from the "Gentle
Shepherd," and ' Eeapers going out.' Among his works
subsequently exhibited, that (in 1853) of ' The Mitherless
Bairn ' displayed so much tender kindly feehng that it
won applause from all who beheld it. The next year he
exhibited a kindred picture, ' Home for the Homeless,'
and another ' Highland Mary.' In 1857 appeared ' The
First Break in the Family,' a young man leaving his
cottage home and all his early ties — another picture
directly appealing to the domestic affections, and full of
pathetic incidents. In 1858 he appeared in a humorous
mood, 'A Listener ne'er hears Quid of Himself;' in 1859
* Sunday in the Backwoods,' cleverly painted and well-
told, from which an etching has been made by Simmons,
and 'My ain Fireside.' In 1860 'His only Pair,' a
picture ftdl of nature and humour, and ' Coming Events
cast their Shadows before.' In 1861 appeared 'From
Dawn to Sunset,' which is to be engraved by T. L. Atkin-
son, a work of great power — an epic poem in sentiment
— displaying with deep feeling and reality the story
of life from its beginning to its close, in the grouping
together of a family in a cottage room, the oldest
member of which is just passing away, the youngest at its
mother's breast. In this year he was elected an Associate
of the Eoyal Academy.
His pictures are essentially popular favourites, and
many of them are engraved. His colouring is clear,
rich, harmonious, and mellow, and he paints scenes of
humble life with powerful truthfulness : whether he
wishes to excite humour or pathos, the feehng conveyed
is just what he desires to be felt or understood. In his
treatment of his subjects he greatly resembles his famous
countryman Wilkie, although they often possess a deeper
meaning, and more strongly appeal to our aff^tions
and sympathies.
a-K) HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
James Saxt, A.E.A., was born in London in 1820, and
commenced his professional career by studying under
John Varley, the water-colour painter. Subsequently, in
1840, he became a student at the Boyal Academy;
after completing his studies he commenced his career as
a portrait painter, and has since found extensive patronage
in that department of art, to which however he has not
confined himself exclusively. In 1860 a collection of
twenty-one portraits, all with one exception painted by
this artist, were exhibited at the French Gallery in Pall
Mall. They were a commission from the Countess of
Waldegrave, who desired to decorate her mansion at
Strawberry Hill with these reminiscences of her personal
friends. Among these works, all of them excellent, some
are especially beautiful ; as, for instance, the Marchioness
of Stafford, the Countess of Shaftesbury, Lady Constance
Gower, Lady Sehna Vernon, and Mrs. Stonor; of the
gentlemen the best portraits are those of the Bishop of
Oxford, Earl Grey, Lord Clarendon, the Due d'Aumale,
and Mr. Van de Weyer.
All Sant's portraits are refined, poetical, and gracefid ;
but his pictures of young children are especially pleasing,
and in this particular branch of his art he is now without
a competitor. He has long occupied a high position
among our portrait painters ; and two years since the
late Prince Consort (whose portrait he painted) gave
him a commission for those of the Princesses Helena and
Louisa, who were represented in one picture, surrounded
by a wreath of flowers.
Among his fancy pictures are * Samuel' (1853), illus-
trating the text, "Speak, Lord, for Thy servant heareth,"
which was so efiective in drawing, light and shade, expres-
sion and colouring, that it was greatly admired, and shortly
afterwards engraved : a companion picture was ' Timothy,'
also engraved. These were followed by ' The Children in
the Wood ' (1854), ' The Fortune-teUer ' (1855), ' The Pet's
Pet' (1856), ' Infancy' (1857), a ' Scene in Wales,' painted
Ch. XIX.] SANT— WEEKES 351
in conjunction with G. Sant (1858), 'The Cornfield,'
* Scotch Firs,' and ' Little Eed Eiding Hood' (1860), and
'The Whisper' (1861). These works have been inter-
spersed with many pleasing portraits, and by some excel-
lent subject pictures. Of the latter class are 'Saxon
Women watching a Battle-field,' ' Astronomy,' ' Music,'
' Harmony,' &c. He was elected an Associate in 1861.
The two Sculptors added to the Associates of the Eoyal
Academy since Sir Charles Eastlake became President are
Henry Weekes (1851) and Baron Marochetti (1861).
'Henry Weekes, A.RA., was bom at Canterbury in
1807. His father cherished his early display of a faculty
for imitating what he saw, and articled him for five years
to Behnes the sculptor. He became a student at the
Eoyal Academy in 1823, and at the expiration of his
apprenticeship at once engaged himself as an assistant
to Sir Francis Chantrey, with whom he remained for
several years, eventually becoming his principal modeller.
Meanwhile he also exhibited some of his own works at
the Eoyal Academy. After the death of Chantrey he was
of course thrown on his own resources, and shortly after-
wards obtained a commission to execute the statue of
the Marquis Wellesley for the East India Company. Her
Majesty also sat to him for her bust; and he subsequently
obtained several commissions for statues and monuments
for India.
His chief statues are those of Dr. Goodall at Eton,
Lord Bacon in Trinity College, Cambridge, Sir Eobert
Peel, the Duke of Wellington, the Earl of Auckland for
Calcutta, John Hunter for the Museum of the Eoyal
College of Surgeons, Sir T. F. Buxton, Bart. M.P., and the
monuments to Shelley and Mary Woolstoncroft at Christ
Church, Hampshire. His reputation rests chiefly on the
truth of character and delicacy of expression which distin-
guish his portrait busts. He has executed a large number
862 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
of posthumous works of this class, and has thus preserved
the lineaments of many celebrated personages who have
passed away.
He also exhibits occasionally ideal works of great
sweetness and purity, selecting subjects which, while they
afford him the opportunity of displaying his power to
realise the beauty of the outward form, at the same time
awaken some of the best emotions and sympathies of the
heart : thus * Charity ' (1850) represents a mother with
her child pleading for help ; 'The Mother's Kiss' (1858),
a picture of natural affection ; ' The Young Naturalist'
(1857), a simple representation of youth : while of a
bolder type of poetic conception is ' Sardanapalus ' (1861),
one of the marble statues for the Egyptian Hall of the
Mansion House, for which a commission was given to the
sculptor by the civic authorities. He was elected an
Associate of the Eoyal Academy in 1851.
Baron Carlo Marochetti, A.E.A., was bom at Tiuin
in 1809. He received some instruction in art in the
Jjjcie Napoleon and in the studios of Bosio and Gros.
In 1827 he exhibited a group of * A Young Girl playing
with a Dog ; ' in 1831 ' The Fallen Angel ;' and some time
afterwards he executed an equestrian statue of *Philebert,'
erected at Turin. On the death of his father he inherited
the Chateau de Vaux near Paris, where he remained till
1848. Among his principal works executed during this
period were two equestrian statues of the Duke of Orleans,
one in the court of the Louvre, the other for the Place
du Gouvemement at Algiers, an * Assumption,' in white
marble, in the church of the Madeleine, and a bas-relief
in the Arc de I'Etoile, Paris ; also in 1844 an equestrian
statue of the Duke of Wellington, a commission re-
ceived from the citizens of Glasgow.
The pohtical convulsions on the Continent in 1848
brought the Baron to England ; and in 1851 his statue
of 'Kichard Cceur de lion,' erected outside the Great
Ch. XIX.] BARON MAROCHETTI 853
Exhibition building in Hyde Park, attracted public atten-
tion to the sculptor of it, by its striking attitude and
vigorous execution. It has lately been reproduced in
bronze, by pubhc subscription, and is now erected (tem-
porarily only, we presume) in old Palace Yard. In 1854
he designed an equestrian statue of the Queen for the city
of Glasgow; and he has since obtained frequent employ-
ment on commissions for public works. The Scutari
monument (1856), erected in the burial-ground of our
Crimean heroes, did not, however, satisfy the public
wishes. It consists of a lofty granite obehsk, with a
winged angel at each of the four comers of the pedestal,
and a gilt cross and circle on the top. It cost £17,500.
He was more successful in a monument he designed by
command of the Queen in St. Thomas's Church, Isle of
Wight, to the Princess Elizabeth, daughter of King
Charles I.; and also in his subsequent works, the monu-
ment to the oflScers of the Coldstream Guards who fell at
Likerman, erected in St. Paul's, the statue of the Duke
of WeUington at Leeds, of Lord Chve at Shrewsbury,
and of Sir Jamsetjee Jeejeeboy at Bombay.
At the Eoyal Academy, among other contributions, he
has exhibited * Sappho' (1850), a bust of H.RH. the
Prince Consort (1851), ' Cupid and a Greyhound ' (1854),
and in 1856 a bust of the Queen in stained marble.
He is very bold in the handhng of his subjects, and
romantic in the treatment of them. He designs horses
with much spirit, and he places their riders at ease upon
them. His portrait busts of ladies, too, are ideal and
dignified. He was elected an Associate of the Eoyal
Academy in 1861. He has been chosen to execute the
statue of the late Lord Herbert to be erected at SaUsbury,
and the monument to Lord Melbourne and his brother
for St. Paul's Cathedral.
The only architect added to the Associates within the
period embraced in this chapter, is Mr. E. M. Barry, who
VOL. II. A A
a54 raSTORY OF THE ROYAL ACxVDEMY [Oh. XIX.
was chosen in 1861 to fill the vacancy caused by the
election of an Academician from among the Associates, in
the room of his eminent father, the late Sir Charles Bany.
Edwakd Middleton Barry, A.E.A., the third son of
that distinguished architect, was bom in 1830, and edu-
cated for his profession by his father, except during the
short time he spent as a pupil of Mr. T. BL Wyatt, until
he became a student at the Eoyal Academy in 1848. For
the last ten years of his father's life he was associated
with him in the conduct of all his most important works ;
the Government, therefore, felt that he was the most com-
petent person to complete the Houses of Parhament, and
he has been appointed architect to that building accord-
ingly. The new Eoyal Italian Opera-House, Covent
Garden, completed in 1858, is a fair specimen of his abilities.
It is erected in the Italian style, with a Corinthian portico
and two wings ; the sculptured friezes by Flaxman, which
adorned the old theatre, are preserved, and introduced,
over the five arched windows which light the grand stair-
case. The construction of the building, and its ornamen-
tation within and without, are admirably adapted to the
purpose for which it is designed, and the convenience of
the visitors. The Floral Hall, adjoining the theatre,
chiefly of iron and glass, was subsequently erected from
his design. The Birmingham and Midland Institute, the
Leeds Grammar School, St. Saviour's Church, Haverstock
Hill, and the National Schools of St. Giles's-in-the-Fields,
a brick building of great beauty and novelty of design,
are among his other works, and give promise, by the
proofs they afford of the attainments he already possesses,
of his rising to future eminence in his profession as an
architect.
Two Associate-Engravers have been elected since
Sir C. Eastlake became President of the Academy, —
Lumb Stocks and John Henry Eobinson.
Ch. XIX.] LUMB STOCKS 366
LuMB Stocks, A.E., was the son of a coal-owner in
Yorkshire, and was bom at lightchffe near Halifax, on
November 30, 1812. While at school at Horton near
Bradford, he acquired some knowledge of art from
Mr. C. Cope, the father of C. W. Cope, E.A., and at the
age of fifteen was at his own earnest solicitation brought
to London, and articled for six years to Charles EoUs, the
engraver. At the expiration of his articles he com-
menced his profession as a line engraver, by executing
some of those small highly finished plates which adorned
the Anmmla of the period. Subsequently he has found
extensive employment, engraving in Finden's GaUery,
*The Christening' after Williams, 'Moses going to the
Fair,' by Machse, and ' Nell Gwynne,' by Charles Land-
seer, as well as for the " Art Journal " a large number
of plates from the pictures in the Vernon Gallery and
the Eoyal Collections. Among these were : ' Peace and
War,' after Landseer, 'Uncle Toby and the Widow,'
after Leshe, Phillip's ' Spanish Letter Writer,' Uwins's
'Cupid and Psyche,' Turner's 'Apollo killing the Py-
thon,' &c. In 1842 the Art Union of London engaged
him to engrave Callcott's 'Eafiaelle and the Fomarina/
Subsequently he executed three plates for the Association
for Promoting the Fine Arts in Scotland, after the pictures
by R S. Lauder, of ' The Glee Maiden ' and ' Euth,' and
'The Ten Virgins,' by J. E. Lauder. In addition to
these works he has since produced a series of prints
after J. N. Paton, of the 'Dowie Dens of Yarrow,'
'The Dame's School,' and 'The Card Player,' after
Webster, ' Evening Prayer,' after W. P. Frith, E.A., and
' Many Happy Eetums of the Day,' a picture by the same
artist, engraved on a large scale for the Art Union of
Glasgow. He is now engaged upon, another work by
W. P. Frith, E.A., ' Claude Duval,' exhibited at the Eoyal
Academy in 1860.
He was elected an Associate-Engraver of the old class
in February 1853, and of the new class (in which he has
A A 2
366 HISTORY OF THE ROYAL ACADEMY [Ch. XIX.
become eligible for the higher rank of Academician-
Engraver) in 1855.
John Henry Eobinson, A.E., was bom at Bolton in
Lancashire in 1796. He was a pupil of James Heath, the
celebrated engraver, and followed his style of line engrav-
ing. Among his principal works are * Sir W. Scott,' after
Sir T. Lawrence, ' Napoleon and Pius VH.,' after Wilkie,
' Little Eed Biding Hood,' ' The Mantilla,' and * Twelfth
Night,' after Sir E. Landseer ; ' The Indian on the
Ganges,' after Devis, *The Wolf and the Lamb,' aft«r
Mulready, * The Mother and Child,'after C. E. LesUe, and
' The Queen,' after Partridge ; the last named one of his
best works, remarkable for high finish and dehcate execu-
tion. He has also engraved several of the works of the
ancient masters, *The Flower Girl,' after Murillo, 'The
Countess of Bedford,' and ' The Emperor Theodosius
refused admission into the Church,' after Vandyke, and
others ; besides a large number of illustrations for books
(including some of those in Eogers's " Italy ") and nume-
rous portraits. He has gained a high position in his
profession, and has acquired an independence from his
successful pursuit of it. He was elected an Associate-
Engraver of the new class (which quaUfies him for
further academic honours) in November 1856.
867
CHAPTER XX.
CONCLUSION.
Influence of the Soyal Fatnmage on the Success of the Royal Academy —
Abstract of the Laws for its Regulatum and Oovemtnent — TTie PrivHegee
of Members — The Annual Dinner — The Schools, and the Encouragements
given to the Students — Lectures of the Professors — The ExhUntion, and the
Selection of Contributions — Election of Members: their Retirement ^ and
Diploma Works — The Funds: their Source, and Appropriation — The
Charities of the Royal Academy — Parliamentary Controi uncalled for —
Work for the Academy in the PkUure — Results of its past Operations on
the EngUsh School of Art,
HAVING in the preceding chapters traced the history
of the Eoyal Academy from its formation to the
present time, we have now only to refer to the general
character of its constitution, and to notice the results
which have been attained by its proceedings in the past,
as well as to point out some matters of detail in which
its usefulness may be extended in the future.
The Boyal Academy arose as we have seen by the
enterprise of a few men of acknowledged ability in art,
out of the chaos of confusion into which the previous
societies of artists had fallen by mismanagement; and
was ushered into the world under the gracious and
liberal patronage of King George HE., who not only took
a personal interest in its formation, but supported it by
large grants out of the Privy Purse so long as it needed
his assistance. By the ability of its members it elevated
the character of the British School even in the eyes of
jealous foreigners, and overcame the sceptical prejudices
of connoisseurs at home ; and by filling up its ranks
from among the best rising artists of the period, it gained
an eminence which no other Art Society has ever
358 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
acquired in England, and conferred upon the native
professors of art in this country a dignity and position
which they had never previously been able to attain.
Much of the influence so quickly obtained by the
Eoyal Academy must undoubtedly be attributed to the
especial patronage of the Sovereign, which is one of the
most important characteristics of the Institution. Not only
was it founded by the express command of the King, but
George HL provided it with necessary funds, and with
apartments in one of his own palaces, until they were
exchanged with the Government for new ones. His
Majesty retained in his own hands the right of approving
of all artists elected into the Eoyal Academy, drew up in
his own handwriting its diploma, and ordered that the
Eoyal Sign Manual should be affixed to the diplomas of
all members who became Eoyal Academicians. He also
reserved to himself the appointment of Treasurer and
Librarian, and confirmed, or not, according to his plea-
sure, the other officers elected by the general assembly :
he exercised control over its expenditure, and made up
during the early years of the existence of the Academy
all the deficiencies in its fimds. The same control in ail
these respects is still exercised by the Sovereign ; and no
donation exceeding £50 can in any one year be granted
to any member of the Academy or to any person
whatever without Her Majesty's consent.
Ever since its foimdation the principal officers of the
Academy have been admitted to the presence of the
Sovereign for the purpose of submitting for the Eoyal
approval the election of the President and all other
officers (except those above named), and also any new
law or regulation requiring the Patron's sanction. These
proceedings are all entered in a book kept expressly for
the purpose, called "The King's Book," the entries in
which when approved are signed by the Sovereign, and
not countersigned by any Minister of State. This latter cir-
cimastance proves that the patronage of the Crown extended
Ch. XX.] ROYAL PATRONAGE 359
to the Eoyal Academy is both peculiar and personal,
differing essentially from that extended to other societies ;
so much so, that when the question of the claims of Parlia-
ment to control the proceedings of the Academicians was
discussed during the period when the late Sir Eobert Peel
was Prime Minister, the knowledge of this fact at once
satisfied that gifted statesman that there was no ground
on which such a right of interference could fairly rest,
and he warmly defended the Academy in Parliament
against the attempted innovation of its privileges in this
respect
By the abstract of the constitution and laws of the
Eoyal Academy appended to this volume [vide Appendix],
it will be seen how the plans and purposes of the In-
stitution thus auspiciously patronised, are to be carried on.
The members consist of forty Eoyal Academicians, twenty
Associates, and (by a recent extension) of a new class
to consist of not more than four Academician-Engravers,
and Associate-Engravers, all of them to be " men of fair
moral character, of high reputation in their several profes-
sions." Until very recently engravers were only granted
the rank of Associates, as a testimony to their ability in
imitating and diffusing copies in chiar'oscuro of the most
admired of ancient and modem works, and in rescuing
from obhvion by their skilful hands many meritorious
examples of art. By this arrangement most of the advan-
tages of the institution were conceded to them, although
they were not admitted, as is now the case, to that class
to which the management of the establishment belongs.
The government of the Society is vested in a President
(annually elected or re-elected), and a Council of ten
members (including the President and Secretary), the
seats going by succession to all the Academicians ; the
four seniors retiring every year, and newly-elected mem-
bers being called upon to serve in the next succeeding
CounciL The Treasurer, when not serving in rotation, is
a member of the Council, ex officio, but has no vote. By
860 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
this simple arrangement all the affairs of the Academy
are managed and decided without unnecessary difficulty
or expenditure of time. In addition, there is an annual
General Assembly of all the Eoyal Academicians, to elect
a President, declare the Council, choose visitors and
auditors, confirm new laws, adjudge premiums to students,
elect those who are to be sent abroad, hear complaints
and redress grievances, and transact any other business
relating to the Academy. The assembly also meets re-
peatedly during the year, whenever the attendance of aU
the members is necessary.
The officers consist of a Secretary^ who in addition
to the correspondence, takes the care of the Antique
Academy, in the absence of the Keeper, and the direction
of the servants of the Academy : the Treasurer^ appointed
by the Sovereign, who makes disbursements, receives all
funds, and keeps the accounts of the Academy, reporting
them quarterly to the Council, and submitting them to
the keeper of H.M.'s Privy Purse, to be by him finally
audited : three Auditors of the accounts, who are chosen
by ballot annually: the Keeper^ whose business is to
attend regularly in the Antique Academy, to give advice
and instruction to the students, to be constantly at
hand to preserve order and decorum, and to superintend
the Academy, and the models, casts, &c. belonging to it :
and the Librarian^ selected by the Sovereign, who is
expected to attend in the Library from 10 till 4 on Mon-
day, and fi-om 5 to 8 on Monday, Tuesday, and Thursday,
to preserve order, to take charge of the books, &c. The
pecuniary recompense of these permanent officers is so
small that it would be derogatory to any man of talent to
receive it, if it were not that they are stations of high
consideration amongst the body, and are therefore held
much more as honours than as situations of emolument.
In addition to these officers there is a Registrar^ who is
not a member of the Academy, to whom the charge of aU
the records is entrusted, who prepares all statistical returns.
CH.XX.] OFFICERS OF THE ACADEMY 361
and is in daily attendance to transact any business that
may be required.
Besides the oflSicers practically engaged in carrying on
the work of the Academy there are five Honorary Members^
selected from the most distinguished in the land as
Professors of Ancient History and Literature, as Antiquary,
Chaplain, and Secretary for Foreign Correspondence ; the
intention of these appointments being to unite Art with all
from which it may require aid ; for, although the general
education of artists ought to be as extensive as possible, yet
they will sometimes require the assistance of those whose
special studies and abihties have been directed to a
deeper research into particular subjects than the artist
can ever hope to give to literary studies.
The Professors of Painting^ Sculpture and Architecture
(and also of Perspective^ until the recent substitution of a
teacher of that branch of study) are elected for five years
(being eligible for re-election), and are required to read
annually six lectures calculated to instruct the students in
the several branches. There is also a Professor of Ana-
tomy ^ " elected from among the most eminent men in that
branch of science," who lectures on the appUcation of
anatomical knowledge to the Arts, and superintends prac-
tical demonstrations for the instruction of the students.
Each professor is aUowed two years on appointment to
prepare his course of lectures ; if not delivered within the
third year, he is deemed to have resigned his office. The
Lecture season commences on the second Monday evening
in November : the first delivered are those on Anatomy ;
then Perspective, Architecture, Sculpture, and Painting, in
succession. Nine Boyal Academicians are appointed as
Visitors of the Life Academy, " to attend one month each
by rotation, to set the figure, to examine and correct the
performances of the students, and give them their advice
and instruction." Nine others are appointed as Visitors
of the School of Painting, " to attend one month each by
rotation twice a week, for two hours each time, to set the
302 mSTORY OF THE ROYAL ACADEMY [Ch. XX.
draped model, to superintend the progress of the students,
and afford them such instruction as may be necessary."
Of these five and four alternately go out at every year's
election. The first professors of art in the country are thus
ready to devote their time and give the results of their
experience to the students for a remuneration, which for
such teachers, must be regarded as insignificant.
The Funds of the Society are vested in the names of
four Trustees^ the President, Treasurer, and Secretary,
besides one other member. The salaries of the several
officers have been increased as the financial position of the
Academy has improved, as will be seen by comparing
those fixed by the Instrument of Institution [see ante,
vol. i. pp. 49-55] with the laws now in force. At the pre-
sent time an annual stipend of £300 a year is given to the
President, until such time as Sir F. Chantrey's bequest for
that purpose is available ; the salary of the Secretary is
£250 and an allowance of £150 per annum in lieu of
residence in the Academy ; the Keeper £200, with apart-
ments, &c. ; the Treasurer £100, the Librarian £120, the
Professors each £60 for six lectures, and the Eegistrar
£200 and an apartment. The members attending at
each meeting of Council receive £4 10^. among them
(the intention apparently being to pay for coach-hire) ;
every member present at a general assembly receives ten
shillings, and those appointed to arrange works for the
exhibition £2 28. for each day's attendance ; the Visitors
one guinea for each attendance.
Pensions are now granted to
An Academician of . . £105 per annum , if it does not make his
whole annual income exceed . £200
An Associate .... 75 ,, 160
The Widow of an Academician 75 „ 160
,y Associate . 45 jy 100
the Council being " scrupulously bound to investigate each
claim and to make proper discrimination between impru-
dent conduct, and the unavoidable failure of professional
CH.XX.] THE FUNDS — THE EXmBITION 368
employment." These pensions do not preclude those
receiving them from also having temporary reUef in
addition, under pressing difficulties ; but such sums (never
to exceed fifty pounds) must be paid out of the ordinary
annual income, and not out of the Pension Fund.
Members failing to exhibit for two years, or if sculptors
three, unless from illness, or after they have attained the
age of sixty, have no claim on the Pension Fund. The
donations are made (on the recommendation of a Koyal
Academician, and one other person of respectability) to
artists v^ho are or have been exhibitors, their widows or
children, and occasionally also to those who have not
even in this way been connected with the Academy.
The members, both Academicians and Associates, have
free ingress to the Library, &c. at all seasonable times,
and Associates have the same number of tickets of ad-
mission to the Lectures, the private view, the soir^, &c.
as the Academicians. "All Academicians of foreign
academies of Painting, Sculpture and Architecture, shall
be allowed free admittance to the Schools, the Library,
and the Lectures, and the President is empowered to
grant a ticket of general admittance for that purpose."
The rules relative to the Annual Exhibition (" in which
all artists of distinguished merit shall be permitted to ex-
hibit their works "), are, that it shall be opened to the
pubUc for six weeks or longer, that no work exhibited
elsewhere shall be admitted, nor wax models nor needle-
work, &c. ; that the works of members be numbered, that
the arranging committee may so dispose them in their
order, and that those of deceased members be ehgible
only within one year after decease ; that no alterations of
the arrangements made be permitted; that no copy of
any work entrusted to the Eoyal Academy for exhibition
be made, and that exhibitors shall have free admittance
to the exhibition.
The invitations to the Annual Dinner are issued by
the President and Council to "persons in elevated
304 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
situations of high rank, distinguished talents, or known
patrons of the Arts " — the number being limited to 140,
exclusive of those sent to the members and the musicians.
If any of those invited dedine, or are unable to come,
their places are not afterwards filled up. In conformity
with established etiquette, the President waits personally
on the Princes of the blood with the customary invitation.
It is not a public dinner, but a banquet given by the
members to a certain number of illustrious and distin-
guished guests who are invited to partake of the
hospitahties of the Academy amidst the beauties of Art
as yet unrevealed to the public eye. The cost of the
entertainment is defrayed out of the fimds of the Society,
and each guest is present in virtue of a special and
personal invitation. The Cabinet Ministers, the great
officers of State and of the Eoyal household, the heads
of the Church, the Army, Navy, Law, and Civic authority
are, according to usage, invited, and generally the leading
members of " the Opposition " to the Ministry then in
power. The Council determine all new invitations by
ballot. Until Sir Charles Easdake became President the
members of the press were not invited to be present, but
of late years the proceedings have been reported in " The
Times " and other daily papers.
The laws of the Academy in regard to the admission
of students to the Schools, which are also appended to
this volume, will show that a Uberal provision has been
made for affording means of improvement to those who
give proof of abihty in Art, the instruction being com-
pletely gratuitous, of the best kind, and with the best
examples supplied to the student, who is simply required
to provide his own materials.
The qualifications for admission are, for painters and
engravers, a certain proficiency in drawing in chalk from
an undraped antique statue ; for sculptors, the ability to
model in round or in bas-rehef from a similar statue ; and
for architects, the execution of drawings to indicate a
CH.XX.] THE SCHOOLS 866
reasonable degree of proficiency. If these are approved,
the candidate, duly recommended by any person of known
respectability, is admitted as a probationer ^ after which he
is allowed three months in which to prepare, within the
Academy, a set of drawings or models. At the end of
that time he is, if his performances are approved by the
Council, admitted as a student for seven years, and can
then attend every day during the period in which the
Schools are open. One failure in this ordeal does not
prevent a renewed attempt, or exclude from subsequent
admission as a student
The Antique School which is the first entered, is appro-
priated to the study of the best remains of antique sculp-
ture: from thence, on proving his abihty and showing
a certificate of having attended the whole course of Per-
spective, and one entire course of lectures, the student is
eUgible to be admitted to the school of the Living Model,
in which care is taken that no impropriety shall take place,
and that no one is allowed to enter except when " employed
in his immediate business as a Student of the Academy."
From these departments the next grade is the School
of Painting, intended " to provide facihties for the more
special study and practice of the art of Painting," to
which the students of the School of the Living Model,
being painters or engravers, are eligible ; and also imder
special conditions some of those in the Antique, and
students in Sculpture.
In these schools a constant opportunity of study is
aJBbrded, being open every day (except on Sundays,
and during the vacations, of which tiiere are three in the
year, including the period during which the rooms are
required for the exhibition), the Antique from 10 A.M. to
3 P.M. ; and from 5 to 7 p.m. in summer, and 5 to 8 p.m.
in winter ; the Living Model from 5 to 7 p.m. in summer
and from 6 to 8 in winter, and the Pamting School from
10 A.M. till 4 P.M.
The students have access to the Library — filled with
366 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
choice drawings and engravings of every known school of
art, and of works on the fine arts, antiquities, history, &c.
—on Mondays (except during the vacations), from 10 till
4, and on Monday, Tuesday and Thursday evenings from
5 to 8, summer and winter ; and they are granted free
admission at all times to the annual exhibition.
As an encouragement to perseverance, a biennial dis-
tribution of the following premiums is made: a gold
medal, with the discourses of Eeynolds and other books,
is given for (1) the best historical picture in oil colours,
being an original composition consisting of not less than
three figures : (2) for the best model of an historical bas-
rehef or alto-rehef, to consist of two or more figures, or
for a group in the round : (3) for the best finished design
in architecture. A scholarship to the amount of £25
may be added to this award, and may be renewed for a
second year at the option of the Council, but cannot be
held together with the TraveUing Studentship. In addi-
tion to these the " Turner " gold medal is given for the
best landscape in oil-colours. Silver medals are also
awarded for the following subjects : —
For the best Drawing of a figure from the Life; in the School of the
Living ModeL
;y« Punting from the Living Draped Model.
„ Drawings and Models of Academy figures^ done in the
School of the Living Model.
„ Aichitectural Drawings from a given subject^ measured by
the students.
„ Drawings and Models of a statue or group in the Antique
Academy.
„ Perspective Drawing in Outline.
„ Drawing exemplifying the principles of sciography.
,; Medal Die cut in steel ;
and a £10 premium for the best drawings executed in the
Antique School, or the School of the Living Model during
the year, besides presents of books to the most successful
students. The silver medals are also given in the inter-
mediate years. The premiums are adjudged by a general
PlilMLEGES OF STUDEKTS
assembly of the Academicians, who meet annually on
December 1, to inspect the different performances, and
they are ddivered to the successfiil candidates on
December 10, the anniversary of the foundation of
the Academy. Considerable importance attaches to the
adjudication of these testimonials of honour, as well as to
the performances by which they have been earned, for if
judiciously bestowed, they lead us to watch with interest
the future career of the recipients, and also serve to indi-
cate the tendencies of the rising talent of the day.
Nor do the privileges of the students cease here : for
besides free entrance to the schools for seven years, per-
mission to attend the Lectures of the Professors, to make
use of the Library, and to visit the annual exhibition, they
may, by obtaining first-class premiums, retain the privileges
of students for life. The student who gains the gold medal
in each class is selected in rotation to piursue hb studies
on the Continent for two years, receiving an allowance of
£60 for his journey and return, and £100 annually for
his expenditure : in special cases in Painting and Sculpture
this award may be exchanged for an allowance to pursue
368 mSTORY OF THE ROYAL ACADEMY [Ch. XX.
hifi studies at home, proof being given that the candidate
makes good use of the advantages offered to him. In
Architecture a TraveUing studentship of £100 for one
year is offered annually, except during the term allotted
to the Gold Medal student in Architecture. Each
" Travelling Student " is required on his return, to submit
to the Council specimens showing the result of his studies
while abroad. Of course all these advantages may be
forfeited at any time by immoral or disgraceful conduct
on the part of the student, whether in or out of the
Academy.
The rules by which both the Academy and the schools
are regulated, have undergone frequent revision from
time to time, and many alterations and amendments have
been made in them at different periods ; some of the more
important of these have been already noticed in this his-
tory, and the rest may be ascertained by comparing the
present laws, as printed in extenso in the Appendix, with
the original Instrument of Institution. Indeed, the whole
of the arrangements of the Academy have been imder the
consideration of the members during the last ninety-three
years, and have been altered whenever it was deemed
expedient to meet the changes effected during that long
period, in the position of the Society and of the Arts in this
country.
In the schools of the Eoyal Academy no less than
2,804 persons, purposing to making Art their profession,
have been educated gratuitously, and that in the best
possible way — not giving them a superficial knowledge
of Art, by which to make a rapid display of their abihties,
but grounding them by careful and patient training in its
fundamental principles, supplying the best materials for
imitation, and the first instructors ; and varying these, so as
to prevent the possibUity of the manner of any one artist,
however celebrated, being followed by the students.
Much encouragement is also given to incite to emulation,
in the form of prizes and honours ; 611 silver medals and
Ch. XX.] PRIVILEGES OF STUDENTS 369
121 gold medals (costing nearly £3,000), and several
money premiums have been bestowed since the establish-
ment of these schools, besides the travelling allowance
granted to twenty-three of the gold-medal students.
Added to these advantages, a " distress fund " was formed
in 1855, from which temporary rehef might be privately
bestowed to any student who needed such assistance.
Besides the instruction provided in the schools, and by
the professors' lectures, the free admission given to the
exhibition, and other art collections, the Tower armoury,
the Zoological Gardens, &c., are all means to the same end.
The Academy is also in possession of some excellent copies
of celebrated works in foreign galleries, which serve as
specimens for students in painting, and they are desirous
of forming a small collection of original pictures selected
for their technical excellence, so as to be available
at times when other fit examples are not obtainable.
Various are the positions which the students who pass
through the schools occupy in after life ; they do not all
become artists, or all attain eminence ; some become
teachers of drawing (and for those who are qualified for
such a position, a certificate from the Academy, stating
that they are considered to be so, would be of great
value), others may fail in success from want of real
natural genius, perseverance, industry, or opportunity;
and some may enter upon other pursuits : but aU have
had opportunities of acquiring a knowledge of the true
principles and practice of art, while many have after-
wards become distinguished in their profession, and have
had their names enrolled among the most celebrated
artists of their country.
It is much to be regretted that a greater number of
those intending to adopt art as a profession do not take
advantage of the instruction freely offered by the Eoyal
Academy. The preparatory ordeal requisite to obtain
admission (at which more than half the candidates are
usually rejected), and the further test demanded before the
VOL. II. B B
870 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
probationer is confirmed as a student, may deter many
persons from seeking admission to these schook. In
January 1861, out of forty-two candidates for probationer-
ship, twenty-five were rejected ; in July, out of forty can-
didates, twenty-two were rejected ; and out of the eighteen
accepted on the last occasion, five subsequently failed
to obtain admission as students. It is thus that the
Academy compels those who desire to be instructed to
give proof of their ability, and seeks to maintain the high
standard of art-teaching. The fact that the instruction is
perfectly gratuitous may lead some to suppose it is, there-
fore, inferior to that which they can pay for elsewhere ;
but these are only imaginary objections, and the schools
of the Academy, when really understood, will always be
regarded as a kind of university of art, wherein none
can fail to succeed who possess talent and patience in
study, but where the incompetent and indolent will find
no compelling power by which they can be "made"
artists. Nearly all the best professors of art have issued
from these schools, which it is to be hoped will be yet
more valuable when increased accommodation is pro-
vided, for at present the course of study is sadly inter-
rupted by the use of the rooms for the annual exhibition.
During the year 1861 the Antique School was open for
seven months, and the aggregate number of attendances
of seventy-one students was 4,500. The School of the
Living Model was closed for three months, and fifty-four
students attended 2,384 times in the aggregate. In the
Painting School thirty-five students attended, and at the
present time 605 students are eUgible to study, 315 of
whom have obtained medals.
The lectures of the different professors and the ad-
dresses of the President are duly estimated by all who
attend them, whether as students, or members, or as
visitors. These productions, besides the instruction they
afford to the professional artist, are valuable to the
general pubhc, and constitute the most important contri-
Ch. XX.] LECTURES BY THE PROFESSORS 371
butions to our art literature. With but few exceptions,
the professors chosen for this duty have been eminently
qualified for the tasks assigned to them ; for it has been
truly observed that " it is not always he who exhibits the
greatest proficiency, or displays the most conspicuous
genius in the practical department of art or science, who
is best qualified to impart judicious principles in con-
nection with its theory, or trace out the most efiective
course of study to be followed by those who seek to
devote themselves to its cultivation." Nor can the remu-
neration awarded by the Academy to its professors
diminish the debt of gratitude which we owe to them as
public art-teachers, a service for which the nation makes
them no return whatever. It is to be hoped that in its
fixture enlarged sphere of labour, the Eoyal Academy
will be enabled to extend this kind of instruction to the
general public, so that they may be educated in the prin-
ciples of art, and thus become able to correct false judg-
ment and to acquire a true taste, to cherish the growth
of art, and to appreciate the highest excellences of the
artist's workmanship.
It is not pretended to assert that all the professors of
the Academy have been equally gifted, or equally anxious
to fiilfil the purposes for which they were elected. Artists
are subject to like feelings and fajlings with other men,
and some may have neglected to exercise their influence,
or may have become dead to their responsibilities. But
it ought not to be forgotten that even when teachers,
whether in universities of learning or in academies of art,
are conscientiously fulfilling their duties, it is not possible,
nor ought it to be expected, that they should make all their
pupils great men. In the universities, facOities are given
for opening out the experience and knowledge of ages
to all, that each may learn to exercise his gifts with in-
creased faciUty and power. The professors cannot give
strength of thought, but they lead the minds of students
into contact with the mighty dead, in the hope that such
B B 2
372 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
knowledge may stimulate them to feats of intellectual
power. It is the same in academies of art ; for in
their most perfect state they only offer students a know-
ledge of what experience has shown to be the best means
and methods, and how these may be most skilfully
applied. They point them to great thoughts and con-
ceptions set forth in form and colour, expression, compo-
sition, or perspective, as other schools present kindred
thoughts in language. But the artist, like the poet or
the preacher, will only produce a great and finished
work, when his mind has been educated in those prin-
ciples and practices which have rendered great the best
works of his artistic predecessors or contemporaries.
The Academy has laboured to this end with the means
placed at its disposal, and England ought not to forget
that to this institution and its schools we are indebted
for our present position in art among the nations.
It is indeed generally admitted that its schools have
been ably conducted, and that the instruction afforded in
them, while of the best quahty, is also most hberally given
without cost to the students, but at great expense (about
£2,400 per annum) to the institution, which expends the
fimds it derives from the annual display of the works of
its members and others, upon the education of future
competitors with them for fame. There is no doubt that
the Academy could readily obtain fees from the students
for such a course of teaching, which would diminish if not
cover the expenses they incur ; but it would be contrary
to the high and generous purpose for which the institution
was established to do so, and much of the honour and
gratitude now justly due to the Academy for its services,
would be forfeited by such a proceeding.
Many of the students in the Academy have not only
aimed to rival but have sometimes excelled the works of
their predecessors, and each succeeding generation has
made some progress towards elevating the character of
the English school. The opportunity gratuitously afforded
Ch. XX.] THE EXHIBITIONS 373
by the Koyal Academy to every aspirant for fame to
exhibit his productions side by side with the works of
those who have akeady attained the honours of the pro-
fession, and thus to bring them under the notice of the
patrons of art, and of the pubhc, is an advantage which
should be borne in mind in considering what has been
done by the Academy for artists. In preceding chapters
allusion has been made to the complaints made against the
Academy for excluding so many works annually, and for
hanging some where they could hardly be seen ; but when
the whole available space is appropriated, and when the
members frequently renounce their own claims to space in
their own exhibition rooms, that younger and less cele-
brated men may be brought to notice, there does not seem
to be any justice in the implied censure, however much
we may be disposed to sympathise with the disappointed
feelings of those whose works are excluded.
During the first few years of the Academy's existence,
the works of members bore a large proportion to the
whole exhibition. When it was removed to new Somerset
House there was sometimes a difficulty in filling the addi-
tional space there obtained, even though each exhibitor
was allowed to contribute an unhmited number of works.
Eeynolds and some other members were often, in those
days, asked by the arranging committee for more pictures
to fill the walls. Thus from 1785 to 1787 Eeynolds
exhibited forty-two works, and in 1790 J. Eussell, E.A.,
sent twenty-two. As the contributions of non-members
increased, other rooms were appropriated, and those
assigned to the Secretary were given up for the exhibition,
he being provided with a residence elsewhere at the cost
of the Academy, as is still the practice. In 1800 the
number of pictures by each exhibitor was limited to
eight ; this rule is still in force, and the members rarely
send so many. Still there is no doubt that the chief
attractions of the exhibition are the works of the
Academicians and Associates, whose privileges are not
374 HISTORY OF TIIE ROYAL ACADEMY [Ch. XX.
SO great in proportion to non-members as they were for-
merly, the chief one retained being that their works shall
be well displayed — a claim which none can reasonably
question, even though some may indicate occasional short-
comings, or in those cases where the ardour of a veteran
artist's heart may exceed the power of the aged hand.
The best productions of contributors are placed in the
best situations, for, setting aside any higher motive, it
is obviously the interest of the institution to attract the
pubUc by placing works of merit in conspicuous situations ;
and the eight members of Council, the President and the
Secretary, certainly form as competent a tribunal to judge
of the relative merits of the works submitted as could
anywhere be found.
But even if the accommodation at the disposal of the
Academy were adequate to its necessities (which is so very
far from the case), it would still be necessary to exclude
some, and perhaps very many, works offered for exhibi-
tion ; for it would destroy the real value of the collection
if it failed to attract the real judges of art, as it would do,
if it contained many works of mediocrity with here and
there a few excellent specimens interspersed ; and it would
fail to have that influence in educating the public taste,
which a well-selected and judiciously arranged collection
of ordinarily good pictures is calculated to exercise. As
it is, the works accepted for exhibition have to undergo
(from want of space) a further process of selection, in
which, form, dimensions, size of frames, and the necessity
for filUng up certain spaces, have to be considered as well
as the intrinsic merits of the works themselves. Much
disappointment would be obviated, if the Eoyal Academy
had accommodation to exhibit all works accepted as meri-
torious, and the members would gladly save their brother
artists the painfiil ordeal of finding deserving works
excluded, to which they themselves in times past have
been exposed. " The accommodation afforded to the works
of the exhibitors — opening to the meritorious artist the
Ch. XX.] HONOURS CONFERRED BY THE ACADEMY 376
path to distinction and professional success — is the chief
advantage which the Academy offers to the profession at
large by its exhibition. The advantage, secured as it ever
must be by a high degree of merit, does not, however,
end thus. The successful exhibitor looks forward to the
honours and privileges of the Eoyal Academy ; and the
merit which generally secures for him a place of distinction
on the walb of the exhibition, often renders him ehgible
for membei-ship." *
Despite the difficulties created by contracted space, the
exhibition has always been the besj^vdisplay of works of
modem art in the country, and is the best means by
which the pubUc can cultivate a taste for art, and study
its growth and progress in our own school ; while its
attractions are such that it has become a fashionable re-
sort for those who simply seek for the pleasant occupation
of their leisure time, as well as for those who make the
fine arts a source of high intellectual enjoyment.
The honours of the Academy — its Aisociateship, its
rank of Eoyal Academician, and its highest office, that
of President — while they are badges of distinction
recognised by those who are not themselves qualified
to judge of the relative merits of artists, are also signs by
which they justly obtain distinction among their brethren
in the profession. That they often lead to patronage is a
natural result, and since they have been conferred by the
best qualified judges, they are more likely to be worthily
bestowed as they are now awarded, than they would be
under any other arrangement. No exclusive spirit, no pre-
judice or favouritism, no narrow-minded or self-interested
motives, influence these elections ; nor can such be even
suspected, if we make ourselves acquainted with the hves
of those who have attained all these honours in the past
They belonged not to any high famiUes, no influence from
without was pressed into their service, personal friendship
Report of the Council, 1869-60,
376 HISTORY OF TIIE ROYAL ACADEMY [Ch. XX.
might indeed bias here and there a single member of the
Academy ; but on the whole such as were elected could
be chosen by no factious or mercenary spirit, and were at
least considered the best artists among the candidates at
the time.
The promise of early talent has not, however, in all
cases been realised : but in what human institution is
perfection to be obtained, and in what position in life
have not the first expectations of a future brilUant career
been sometimes disappointed ? Some artists have early
obtained the rank of Associates, but either because they
slackened their efibrts to attain greater excellence, and
were satisfied with the distinction they had gained, or grew
indolent, or lacked genius, they did not fulfil their first pro-
mise, and have sometimes waited years, and in other cases
remained till the end of their lives, without being elected
to the higher rank. In some few instances, Academicians
have been led from the active pursuit of their profession
by the speedy acquisition of wealth, or by other causes,
and in such cases it is to be regretted that there is not
some means by which the number of active working
members might be kept up, without requiring those who
have thus virtually retired from their profession to resign
also their academic honours. Sir N. Dance resigned
when he obtained a fortime in 1790, and Sir Eobert
Smirke when he retired from his profession in 1859 — ^but
it would be more satisfactory if a supplemental list of
retired members could be kept, by which their distinction
of E.A. might be preserved, without diminishing the
efficiency of the governing and active body.
It is obvious, however, that no such retirement could
be made compulsory ; for it would be very painful to an
artist still loving his profession and full of enthusiasm for
art, and still conscious of the power of exercising his
genius (as many venerable men have been long after
the allotted term of " threescore years and ten " has
been reached) to find himself deemed no longer on a par
Cn. XX.] RETIREMENT OF MEMBERS 877
with those whom he has hitherto rivalled in abihty, and
to see himself removed from the place of honom* he had
so worthily filled for many years, to make room for a
younger member of his profession. Even if the act of
retirement, from any of these causes, were voluntary, such
members, although exempted from active duty as
members of Council or Visitors, should not cease to be
allowed to attend, if able, the general assembly; their
names would stiU appear in the annual catalogue in a
separate list, and they would still retain the rank and dignity
of a Eoyal Academician. By some such arrangement as
this it might be possible to extend the honours of the
Academy to a greater number of artists, without depriv-
ing any of the members of their reward, or making any
addition to the present complement of acting members.
In the same manner, irreparable ill-health, extreme age,
or any other cause by which an Associate was altogether
withdrawn from his profession, might be considered in a
similar way, and an arrangement made by which, while
he was not in consequence deprived of the honour he had
obtained, a more active member of the profession might
be enabled to obtain the like distinction. Indeed, as we
have already ventured to suggest,^ it might be possible to
extend the class of Associates without diminishing the
value of the higher dignity, or increasing the present
number, of Eoyal Academicians.
It has sometimes been the fashion to pronounce the
Academicians exclusive in the selection of those who fill
the vacancies in their ranks : but as their own dignity in
their position arises from the estimation in which the
institution of which they are members is held by the
pubhc, it is obvious that, if from no higher motive, self-
interest alone would induce them to enhst into their com-
munity the men who would confer the greatest distinction
upon the Academy by their talents, and so to invigorate
* Vol. i. p. 63.
878 inSTORY OF THE ROYAL AC.AJ)EMY [Ch. XX-
and elevate the whole body. Leslie has observed on this
point, " as well indeed might we expect to find a sincerely
religious man indifierent to the advancement of piety, as
to meet with a really good artist unconcerned for the
general advancement of art. It would be absurd to claim
for my own profession any exemption from the infirmities
of human nature, and it must be admitted that the greatest
painters, and very good men among them, have not been
free from jealousies of their contemporaries : but to judge
from my own experience, I should say that bad feeUngs
rankle most among the inferior artists, where their efiects,
from the comparative obscurity of the individuals, are
least known or noticed." Indeed, it is so obviously the
first duty and the natiu-al aim of the Eoyal Academy to
sustain its credit, efficiency, and importance by electing into
its brotherhood the best artists, that it would be most im-
pohtic for them to attach any vexatious or humiliating
condition to the terms of admission to its ranks. Except
during the first few years of the Academy's existence, the
full number of members has been complete ; and latterly
arrangements have been made to fill vacancies at short
intervals, instead of waiting for the annual election-day,
as was formerly the case. No one, however, becomes a
Eoyal Academician until the royal sign-manual is attached
to the diploma, and if from any circumstance the Sovereign's
signature camiot be obtained, the Associateship cannot
be filled up until the election of the member vacating it,
on elevation to the higher rank, has been thus con-
firmed.
We have already ^ discussed the question of the limit
fixed by the instrument of institution to the number of
Academicians, and we need only further remark that,
as the number was fixed prospectively on the basis of
long-estabhshed foreign academies, any further extension
of that limit would only necessitate the admission of
» Vol. i. pp. 61-62.
Ch. XX.] ELECTIONS OF MEMBERS 379
artists of less ability, and destroy the value of the dis-
tinction intended to be conferred only upon the highest
degree of excellence. Already by the addition of twenty
Associates, two Academician-Engravers and two Associate-
Engravers, there has been a large increase of the original
estabhshment, sufficient to show that the Academicians
have not been immindful of the necessity for adapting
the institution to the wants of the age ; although these
changes have been made gradually, cautiously, and care-
fully, to guard against the disastrous consequences of the
lax government in this respect of former art societies.
It has been sometimes urged as a grievance that no ladies
have been elected, either as Associates or Academicians,
since the time when two were nominated by George III.
on its foundation. No law forbids such a selection ; but
one or two ladies, if elected as members, could scarcely
be expected to take part in the government, or in the
work of the society ; and as the practice even of giving
votes by proxy has long since been abolished, the effect of
their election as Eoyal Academicians would be, virtually,
to reduce the number of those who manage the affairs of
the institution and the schools, in proportion as ladies
were admitted to that rank : and as long as the number
of Associates is limited, a difficulty would arise in the fact
that the higher rank has to be recruited from that body.
Whether a number of honorary appointments could be
made, to recognise talent in such cases, but conferring
none of the other rights or privileges of membership, is a
matter which the Council of the Academy are best able to
determine ; and there is no doubt from their desire, as far
as is wise and reasonable, to meet any just demands, that
the claims of all artists of ability, whether male or female,
will meet with due consideration.
Several members of the Royal Academy have been
elected honorary members of foreign academies, and have
doubtless received those distinctions with much gratifica-
tion and honest pride. But the Eoyal Academy has not
380 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
reciprocated the compliment thus paid to British artists,
by conferring similar honours on foreign artists. The
subject has not, however, been overlooked ; but the space
for the annual exhibition being so hmited, it was difficult
to confer the honorary rank of membership on foreign
professors of eminence without offering them the customary
privilege of contributing specimens of their works, to
the still further exclusion of the productions of many
of our own meritorious artists, not members of the
Academy. Yet it would be a graceful return to the
foreign academies to elect some of their brightest orna-
ments as honorary members of our own Eoyal Academy,
and, if necessary, to withhold the invitation to exhibit
imtil increased accommodation is provided, when it would
be both interesting and instructive to compare the works
of different modem schools, and to become better ac-
quainted with the works of contemporary foreign artists.
Before dismissing the subject of the election of mem-
bers, it may be necessary to say a few words on the
subject of the specimens of their skill which they are
required to deposit in the Academy on attaining the rank
of E.A. By the laws, the diploma of a newly-elected
member cannot be submitted for the Sovereign's signature
until this specimen (which is hence called his " diploma "
work) has been deposited, and no Associate can be
elected in his stead until this is done. His desire not to
delay the election of an Associate prompts him hastily to
prepare a work for the purpose, or to deposit a temporary
substitute, avowedly not a fair specimen, until he has
time to prepare a better. It has thus happened that
very imsatisfactory productions, hastily executed, or not
intended to remain, have been left with the Academy as
the only specimens of the works of some of its members.
Of late years the diploma works have been placed in the
annual exhibition, and so described, which has had the
effect of making their authors more anxious to perfect them
than if they were only to be deposited, imseen by the public,
Ch. XX.] DISPOSAL OF THE FUNDS 381
in the Academy ; but we trust some arrangement will be
made by which, in fiiture, more time may be allowed for
the preparation of the diploma works, without thereby
delaying the appointment of an Associate ; for such a col-
lection of works, if of the average merit of each artist,
would be a valuable historical gallery of specimens of
English art. As it is, the series of diploma works, defec-
tive and unworthy of their authors as some few of them
are, is a very interesting one, and will doubtless increase
in importance as years roU on.^
The disposal of the funds of the Academy next claims
our attention. The great source of its revenue is the exhi-
bition, the product of the labours of the members, united
with the works of those who are aspirants for the honours
of the institution, and to which they become ehgible by
being exhibitors. In addition to this source of income,
there is nothing but the interest on the stock in which
has been invested its surplus funds, and the gifts of two
of its distinguished members, the " Turner " bequest and
that of Sir F. Chantrey in reversion. The statement by
the Treasurer, copied on the following page, will show the
total receipts and expenditure for ninety-one years to the
year 1859.
It wiU thus be seen that £218,469 bs. was spent up to
that date on the maintenance of the schools, the general
management of the Academy, and some few incidental
expenses, and a sum of £61,511 6^. bd. in pensions to
members or their famiUes, and in relief to distressed
artists or their relatives. Perhaps there is not another
similar instance in Europe of an institution maintained
by its own efforts, thus dispensing so large a sum for the
benefit of the country in which it exists, without receiving
aid from the Government, the nation, or any private
* A list of the diploma works is the Academy^ and of other art-
given in the Appendix, as well as of treasures in its possession,
some works by the first members of
382
HISTORY OF THE ROYAL ACADEMY [Ch. XX.
individuals. Its officers, as we have already seen, are
paid but small sums, considering their position in the
profession, and the intrinsic value of their time ; and
even its pensions are not granted to all the members, but
only to the necessitous among them, whereas in other
art institutions it is customary to grant pensions to all
members indiscriminately after sixty years of age. While
it supports unaided a national school of art, it also dispenses
General Abstract of the Accounts of the Rotal Academy, /roiit
1769 to 1859.
Total Sums received flroin the Annual Exhibition, firom 1709 to)
I8A9 (inclusive), being a period of 91 years (leM tba expen<«g V
attending tbe same) )
Sums rec^ired bv Dividends on Stock, Interest on )
Exchequer Bills, Maryleljone Bonds, &c. . .J
Sums received from His Majesty's PriTy Purse, \
from 1769 to 1780 i
Sums recelTed of tbe Executors of the late J.M.W.\
Turner, Esq., R. A., under a Decree ofthe Court |
of Chancery, dated the 19th March, 1R56, in lieu \
of all Claims due to the Royal Academy, under (
his Will J
Interest on the same, as awarded by the said Decree,
to the Royal Academy, from the 30th of June
the lOtb of October, ISiM!
cree, \
ne to>
Sums expended by the Roral Academy, fVom the'
commencement of the Institution, tIi., from
1769 to 1H59, In the Gratuitous Instruction of
Students in the FineArts, in the General Manage-
ment of tbe Institution, in the Purchase of Books, >
Prints and Pictures; including the Sum of £500
contributed toward tbe Exigencies of the State,
in the year 1798, and the Sum of £600 subscribed
towards the Great Exhibition of 1851
Sums paid in Pensions to Distressed and Super- 1
annuated Members of the Royal Academy and \
their Widows, from 1802 to I8d9, under the Re-f
gulations of the Academy )
Sums paid in Donations to Distressed and Super-
annuated Artisu and their Families, from 1769
tol8d9
I
£91,567 8 9
6,116 S
20,000
213 4 11
267,083 16 5
; d.
96.683 10 9
20,213 4 11
884.480 II 1
218,469 5
28,739 7
32,772 5 10
Total Amount expended in theRelief of Distressed )
Artists and thetr Families J
Balance in faTour of the Royal Academy, loTetted in the Public Funds
Amount of Stock belonging to the Royal Academy ;—
In the Three per Cent. Reduced Annuities £98,600
In the Three per Cent. Consolidated Annuities 24,000
£122,600
61,511 6 5
279,980 II ft
£104.499 19 8
February 1860.
PHILIP HARDWICK, B.A.
Treasurer,
Cn. XX.] DISPOSAL OF THE FUNDS 383
its charities to artists and their families having no claim
of membership, and no plea to urge but that of want.
Such labours cannot be overlooked, even when con-
sidering the services of the Academy to the pubhc ; for
how much of misery is thus averted from those to whom
we are all indebted for so many pleasant emotions, as we
gaze on their works ! and how much of the help which
public sympathy would render, if called upon to do so, is
anticipated by the unseen and untold liberahty of the
institution, which year by year receives the applications
of distressed artists and their families, and helps them in
their trouble ! Art is a profession which has of late years
become a profitable one to those who win pubHc favour,
but there will always be some backward in the race for
fame and fortune ; and to these it is right that the kind
hand of friendship should be extended by this art-brother-
hood, rather than that the sensitive high-minded man of
genius should be left to appeal, for himself or those dear
to him, to the alms of public charity.
Hitherto the Eoyal Academy has been enabled to lay
by a portion of its income ; but if the purpose of erecting
a new building at its own cost, on a site to be provided
by the Government, is carried out, the accumulations of
the past eighty years will nearly all be absorbed, and if
from any unforeseen causes its fiiture receipts should be
diminished, its usefiilness wiQ be proportionately de-
creased. It is such considerations as these, and not un-
willingness on the part of the Academy to extend its
usefulness, which have hitherto hindered any attempt
being made to open the exhibition gratis under certain
limitations for a short time every year, much as the mem-
bers would wish that as many as possible might benefit
by the means of instruction and enjoyment it affords.
The expenditure of the funds of the Academy will
bear pubhc scrutiny, although, being of a private cha-
racter and not derived from any public source, they
are not properly open to such investigation. Care has
384 inSTORY OF THE ROYAL ACADEMY [Ch. XX.
been taken to guard against their diversion from the
special objects which the Academy was established to pro-
mote ; and even the Eoyal founder of the Academy per-
sonally exercised a similar vigilance over its finances.
The plate possessed by the Academy was not purchased
out of its funds, but is the gift of the members to the
institution, each one contributing, at his own cost, some-
thing towards the general stock ; the annual dinner
(when the distinguished personages of the realm and the
patrons of art are invited) and the council dinner (when
the newly elected and the retiring members of Council
annually assemble), are the only entertainments provided
at the cost of the Academy, the members paying for their
tickets on all other occasions. The King's and Queen's
birthday dinners have been replaced by the soiree which
follows the close of the exhibition, provided by the mem-
bers as a welcome to the exhibitors, and designed to
express the sympathy of the academic body for the wide
circle of* artists who gather round them by their works
from year to year!
Whether, therefore, we look at the internal working of
the schools of the Academy, its laws and regulations in
regard to the election of members, or the manner in which
its fimds are dispensed, we cannot think that any good
could possibly result from parliamentary interference in its
management. Those who know the wants and difficulties
of a profession, are the most competent to direct the
studies of its future members; and those who have
attained to eminence in the practice of art, are certainly
the most competent judges on all questions relating to it ;
for Parliament cannot be expected to understand enough
of such matters to be able to legislate for art, or become
either the art-collector or custodian of the art-treasures
of the country. Very little, indeed, of this nature, has
been attempted by it. For nearly forty years after the
estabhshment of the Eoyal Academy, Parliament did
nothing for art; in 1805 the ToWley collection of
Ch. XX.] PARLIAMENTARY CONTROL 386
marbles was purchased, and in 1816 the Elgin marbles ;
with the exception of the annual vote for the British
Museum, nothing more was done till 1824, when the
nucleus of the National Gallery was formed. From that
time to the present, a sum of £184,505 has been voted
for the purchase of pictures, and during the last thirteen
years, an equal sum has been spent on the Department of
Science and Art, and other kindred institutions. But,
whenever questions relating to art have come under the
consideration of Parliament, it has been deemed necessary
to obtain the opinion of some of the most eminent members
of the Academy upon them before any decision was given ;
for since the foundation of the Eoyal Academy, it has
encircled within its folds nearly all the eminent artists of
this country, and has thus attained a recognised position as
the most competent authority to decide on all questions of
national importance concerning art. As Parliament has
no claim to control the Eoyal Academy (for it provides
none of its fimds), so it is incapable (for it would require
a technical knowledge of art) to direct a purely art-society,
having for its object the instruction of students, and the
award of its honours among those artists who seek for
them.
Without the aid of Parliament, and without any grant
from the public ftmds, the Royal Academy has materially
advanced the progress of the arts, promoted its professors,
and obtained for them a status in England which the nation
never gave to them before. Nor have its labours been
without good effect in improving the practice of art.
Many of those who are now members of the Academy,
remembering the early benefits they derived from the
lessons of Flaxman, Fuseli, Constable, Leslie, and others,
can testify to the value of the instruction in the schools,
in which most of the artists practising and exhibiting
in the present day, have been students at some part of
their career. Three-fourths of the present members
have been trained in those schools, and in the great
VOL. II. c c
386 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
Cartoon Competition in 1843, nine out of eleven of the
premiums awarded by the Commission on the Fine
Arts, were gained by its students. The Academy has
laboured zealously to remove the reproach of false
drawing which at one time attached to the English
schooL Long after the time of Eeynolds, colour at any
sacrifice was the ruling passion, and certainly it was
carried in painting heads to a degree of excellence equal
to that of the Venetians. By aid of the Academy, or at
least along with it, has grown up a school of national
art, possessing more of variety in thought and expression,
and less distinguished by the so-called Academic style,
perhaps, than any other school in Europe. In our own
day a tendency is exhibited by very able artists to re-
produce one or two striking efiects in their works, which
it will be well for the professors and members of the
Academy to guard against, both in teaching and practice.
Several eminent artists, succeeding in some particular efiect,
or finding a certain subject or class of subjects to be
popular, have contented themselves with confining their
efibrts to renewed and often intensified representations of
the same idea, thus limiting in tone and character, tint
and effect, and even in choice of subject, their powers of
execution and invention, which before were full of variety
and freedom.
A subject worthy of, and requiring the especial attention
of the Eoyal Academy, is the instruction of the students
in painting in the selection of their materials. To
teach the knowledge of anatomy necessary for correct
drawing is undoubtedly one great use of the Academy to
the young student; but in former times the ancient
masters fiilfiUed another service to their pupils, which the
Academy (as their modem substitutes) would do well to
imitate, — viz. to instruct them in that essential branch of
the technical part of art, which consists in the preparation
of colours, and the selection of the substances for their
composition and application. On this the old masters laid
Cn. XX.] PREPARATION OF COLOURS S87
great stress/ because they knew that the preservation of
their works depended upon it. This is a matter of impor-
tance to the English school, and one from the neglect of
which its future reputation will greatly suffer. Already
some of the works of its best masters are all but destroyed
from this cause. The changes which have taken place in
some of Sir J. Eeynolds's pictures arise from the experi-
ments he so frequently made with pigments, the chemical
properties of which he did not imderstand. Many of
Wilkie's later works, and some of those by Hilton, Etty
and Turner are rapidly perishing from the same cause.
Most of the mischief to our modem pictures has resulted
from the use of asphaltum and other bituminous pigments,
which never harden, but contract and expand imder alter-
ations of temperature, and retain a tendency to fluidity
from heat ; while metallic and earthy pigments, when
mingled with the oils and resins of the painter's vehicle,
become harder and drier by age and exposure. Prom the
time of Eeynolds till within the last twenty years these
bituminous pigments were largely used for their cool,
transparent brown colour, nor they did seem to injure the
pictures till they were varnished, when they cracked in
yielding to the strong contraction thus produced. Leshe
gave another reason for acquiring a chemical knowledge
of the materials for painting, when he said that " unless
you possess a most extraordinary knowledge of the
chemical as well as modifying qualities of colour, it was
always very uncertain whether you would obtain by that
means the exact tint you wanted." It would be a great
service to the cause of art, if the Eoyal Academy would,
with the aid of some of the best analytical chemists,
thoroughly investigate the whole subject, and instruct our
rising artists so to apply their materials as to preserve their
pictures from an untimely end.
A retrospect of art during the past century presents a
^ See ante, vol. L p. 18.
c c 2
388 HISTORY OF THE ROYAL ACADEMY [Ch. XX.
Btriking and very gratifying contrast. A hundred years
ago artists were often compelled to resort to what would
now be thought unworthy employments, in order to
obtain a maintenance. A man of real talent as a painter
then became an engraver, or a painter of scenes or signs
or coach-panels, also, because that kind of art was most
in demand, and that at a time when there were compara-
tively few painters of any kind. Now that they are
nmnbered by thousands, we find all obtaining employ-
ment, and some speedily realising large fortunes. Insti-
tutions for promoting the Fine Arts are to be found in most
of the large towns in the kingdom, local exhibitions are
becoming very general, and many are now held annually
in London, besides that of the Eoyal Academy ; the htera-
ture of the present day is remarkable for the number and
the beauty of its illustrations, thousands of designs and en-
gravings being annually required for this purpose alone,
while the very news of the week is now accompanied
by pictures many of them full of artistic excellence.
Science, too, has discovered means by which pictorial
representations may be more speedily multipUed ; besides
the old forms of engraving, Uthography, chromo-printing,
wood engraving, and more wonderftd than all, the art of
photography, have displayed their powers : but while art
has thus been so cheapened and popularised that no home,
however poor, need now be without its good prints or
pictures, there is still an increasing demand for works of
the highest class, and of the most costly character. At
no previous period were artists so liberally remune-
rated for their works as they now are, nor has there
ever been so decided and general an appreciation of the
works of the English school as in the present day;
and we cannot but feel that much of this is due to tie
labours of the Eoyal Academy, both as an art-teacher
and as the community of the best professors in the king-
dom, bound together by an obUgation taken when they
attain their honours that they will use their best endea-
Ch. XX.] INFLUENCE OF THE ROYAL ACADEMY 389
vours to promote the noble purpose for which it was
instituted. The high social position which the mem-
bers of the Academy have attained, and by which the
status of all professors of art is improved, is due to the
honour which the Eoyal Founder was first pleased to
bestow upon them as a class. When George ILL granted
to the chief officers of the Academy direct personal com-
munication with himself, as the Sovereign and as their
Patron, he conferred a dignity upon all the professors of
the arte represented by them ; and the honour of knight-
hood, which has been bestowed on several occasions in
recognition of the genius of artiste, is a further proof
of the influential position which the arte have now at-
tained ; a result first attributable to the Royal patronage,
and next, to the fact that those upon whom it has been
bestowed, have worthily fulfilled the trust reposed in
them.
The favour of the Sovereign still happily reste upon
the Eoyal Academy ; it possesses also the moral support
which the approval of the public confers on it : and if it
has met with opposition, not always kind or just, let us
hope that it will serve but as a stimulus to continued
activity in the course which, not perfectly, but yet with
steady and unswerving energy, it has pursued in the past,
and that ite future wiU be one of increasing usefulness
and prosperity.
APPENDICES.
I. LIST OF THE BOYAL ACADEMICIANS, 1768-1862.
n. LIST OF THE ASSOCIATES WHO HAVE NOT BECOME ROYAL
ACADEMICIANS, 1770-1862.
m. LIST OF THE OFFICEBS, PROFESSOES, AND HONORARY
MEMBERS.
IV. DIPLOMA WORKS OF THE ROYAL ACADEMICD^S, AND SOME
OTHER ART-TREASURES IN POSSESSION OF THE ROYAL
ACADEMY.
V. LIST OF THE STUDENTS TO WHOM GOLD MEDALS HAVE
BEEN AWARDED, AND OF TRAVELLING STUDENTS.
VI. CONSTITUTION AND LAWS OF THE ROYAL ACADEMY, AND
OF THE SCHOOLS.
THa DIPU)I(A ORAMTXD 1
■mv the Urm plite br F. DAtTotoi:
APPENDIX I
THE EOYAL ACADEMICIANS, 1768-1862.
DistiDguishing those who were educated in the Schools of the
Royal Academy, and those appointed to offices in it; and
giving the dates of appointment, both as Associates and
Soyal Academicians, and, where necessary, the date of
decease.
[The first thirty-six were nominated on the Foundation of the Royal Academy
by King George III.]
Date of
BlectloD
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
1768
Namea
Sir Joehoa Reynolds
Francis Cotes .
Joseph Wilton .
Thomas Sandby
George Barret •
Sir William Chambers
George Michael Moser
Charles Catton .
Jeremiah Meyer
Richard Yeo .
Benjamin West
Paul Sandby
John Baker
John Gwynn .
Samuel Wale .
William Tyler .
ProteiioD
Painter
ft
Sculptor
Architect
Painter
Architect
Sculptor
Painter
If
Sculptor
Painter
>f
ff
Architect
Painter
Architect
Student
of R. A.
Asso-
ciate
Date of
Decease
1792
1770
1803
1798
1784
1796
1783
1798
1789
1779
1820
1809
1771
1786
1786
1801
Offices filled by
First President
Keeper: Librarian
Professor of Archi-
tecture
Treasurer
Keeper : Deputy-
Librarian
President
Deputy-Librarian
Professor of Per-
spective : Libra-
nan
Trustee and Auditor
394
HISTORY OF THE ROYAL ACADEMY
Date of
Eleciioti
Name!
ProfeuioD
Student
ofR. A
Auo-
ciate
Date of
Decease
1
Offlcea flUed by
1768
Mason Chamberlin . •
Painter
1787
1768
Francesco Bartolozzi .
11
1815
1768
John Richards .
11
1810
Secretary
1768
Peter Toms
It
1776
1768
Nathaniel Hone
11
1784
1768
Francesco Znccarelli .
11
1789
1768
Dominic Serres
11
1792
Librarian
1768
G. Baptista Cipriani .
If
1785
1768
Richard Wilson
11
1782
Librarian
1768
Edward Penny .
It
1791
Professor of Paint-
•
1768
Agostino Carlini
Sculptor
1790
ing
Keeper
1768
Francis Milner Kewton .
Painter
1794
Secretary
1768
Angelica Kanffinan .
»»
1805
1768
MaiyMoser
>t
1819
1768
Fmnds Hayman
1*
1776
Librarian
1768
1768
George Dance .
Thomas Gainsborough
Architect
Painter
1825
1788
Trustee : Auditor :
Elected Prof, of
Arch., but declined
1768
1769
Sir Nathaniel Dance .
Johann Zoffanij
11
ff
res. 1790
d, 1811
1810
1769
William Hoare .
1*
•
1792
1771
Edward Borch .
Sculptor
1769
1770
1814
Librarian
1771
Richard Cosway
Painter
1769
1770
1821
1772
Joseph Nollekens
Sculptor
• •
1771
1823
1773
1777
1778
James Barry
William Peters .
John Bacon
Painter
11
Sculptor
• •
1769
1772
1771
1770
exp. 1799
d, 1806
res, 1790
d. 1814
1799
Professor of Paint-
ing
1779
John Singleton Copley
Painter
• »
1776
1815
1781
Philip James de Louther-
boorg
ft
• •
1780
1812
1783
Edmnnd Garvey
ff
• •
1770
1813
1784
John Francis Rigand
tf
• •
1772
1810
Auditor and Deputy-
Librarian
1785
Thomas Banks .
Sculptor
1769
1784
1805
1785
James Wyatt
Architect
• •
1770
1813
Plresident for one
1785
Joseph Farington
Painter
1769
1783
1822
year
Auditor
APPENDIX I.
305
D«toof
Election
NamM
Profetalon
student
of R. A.
Auo-
cUte
Dftteof
DeceaM
Offlcet flUed by
1787
1787
John Opie
James Northcote
Painter
• •
1771
1786
1786
1807
1831
Professor of Paint-
ing
1787
William Hodges
f
• •
1786
1797
1788
John Russell
f
1770
1772
1806
1789
William Hamilton
f
1769
1784
1801
1790
1791
Henry Fuseli .
John Yenn
tf
Architect
• •
1769
1788
1774
1825
1821
3rd and 5th Profes-
sor of Painting:
4th Keeper
Treasurer
1791
John Webber .
Painter
1776
1785
1793
1791
Francis Wheatley .
1769
1790
1801
1791
Ozias Humphrey
• •
1779
1810
1793
Robert Smirke .
1772
1791
1845
1793
Sir Francis Bourgeois
• •
1787
1811
1794
Thomas Stothard
1777
1791
1834
Deputy-Libranan
1794
Sir Thomas Lawrence
1787
1791
1830
President
1794
Richard WestaU
1785
1792
1836
1795
John Hoppner .
1776
1793
1810
1797
Sawrey Gilpin .
• •
1795
1807
1798
Sir William Beechey.
1772
1793
1839
1799
1799
Henry Tresham .
Thomas Daniell
• •
1773
1791
1796
1814
1840
Professor of Paint-
ing
1800
Sir Martin Archer Shee
1790
1798
1860
President
1800
1802
JohnFIaxman .
Joseph Hallord William
Turner
Sculptor
Painter
1769
1789
1797
1799
1826
1851
Professor of Sculp-
ture
Professor of Per-
spectiye: Auditor
1802
1802
Sir John Soane .
Charles Rossi .
Architect
Sculptor
1771
1781
1796
1798
1887
1839
Professor of Archi-
tecture, Trea-
surer: Auditor
1804
Heniy Thomson
Painter
1790
1801
1843
3rd Keeper
1806
William Owen .
»
1791
1804
1825
1807
Samnel Woedforde .
»i
1782
1800
1817
1808
1808
1809
Hemy Howard
Thomas Phillips
Nathaniel Marchant .
ft
Sculptor
1788
1791
• •
1800
1804
1791
1847
1845
1816
Deputy and Secre-
tary: Professor of
Painting
Professor of Paint-
ing: Trustee
1810
Sir Augustus Wall Calloott
Painter
1797
1806
1844
396
inSTORY OF TIIE ROYAL ACADEMY
Date of
Election
Namei
P,ofc.d<» ^^\
Amo-
cUte
Date of
DecesM
OIBces filled bj
1811
Sir David Wilkie .
Painter
1805
1809
1841
1811
James Ward
ti
• •
1807
1859
1811
1811
1811
Sir Richard Westmacott .
Sir Robert Smirke, joo. .
Henry Bone
Sculptor
Architect
Painter
• •
1796
• •
1805
1808
1801
1856
res. 1859
(living)
1834
PJrofessor of Sculp-
ture: Auditor
Trustee: Treasurer
1812
Philip Reinagle
*t
1769
1787
1833
1813
Wilham Theed
Sculptor
1786
1811
1817
1814
Greorge Dawe .
Painter
1794
1809
1829
1814
William Radmore Bigg .
1*
1778
1787
1828
1815
Edward Bird .
»f
» •
1812
1819
1815
Sir Heniy Raebum .
»i
• •
1812
1823
1816
William Mulready .
II
1800
1S15
living
1816
Alfred Edward Chalon
t*
1797
1812
1860
1817
John Jackson .
f»
1805
1815
1831
1818
Sir Francis Chantrey
Sculptor
• •
1816
1841
Trustee and Auditor
1819
William Hilton
Painter
1806
1813
1839
Keeper
1820
Abraham Cooper
)i
• •
1817
living
1820
William Collins
II
1807
1814
1847
Librarian
1821
Edward Hodges Baily
Sculptor
1809
1817
living
1822
WilHam Daniel!
Painter
1799
1807
1837
1822
Richard Cook .
n
1800
1816
1857
1823
Ramsay Richard Reinagle.
If
• «
1814
res. 1848
(living)
1840
1824
Sir Jeflppy Wyatville .
Architect
• •
1822
Auditor
1824
1826
1826
George Jones .
William Wilkins .
Charles Robert Leslie
Painter
Architect
Painter
1801
• ■
1813
1822
1823
1821
living
1839
1859
Deputy and Keeper,
and Librarian
Plx>fessor of Archi-
tecture
Professor of Paint-
•
1826
Heniy William Pickersgill
n
1805
1822
living
mg
Librarian
1828
William Etty .
i»
1807
1824
1849
1829
John Constable
i>
1800
1819
1837
1830
Sir Charles Tx)ck Eastlake
If
1809
1827
living
Librarian : Presi-
dent
1831
Sir Edwin Heniy Jjandseer
»»
1816
1826
living
1832
Gilbert Stuart Newton
1*
1820
1828
1835
1832
Heniy Penonet Brigge
f>
1811
1825
1844
1835
Clarkson Stanfleld .
II
• •
1832
living
APPENDIX I.
307
Data of
Blection
Names
ProfBMlon
student
ofR.A.
Auo-
date
Date of
Decease
Offices filled bjr
1836
Sir William Allan .
Painter
• •
1825
1850
1836
John Gibson .
Sculptor
• •
1833
living
1836
1838
Charles Robert Cockerell .
John Peter Deering (for-
merly Gandy)
Architect
ff
• •
1805
1829
1826
.living
1850
P»>fessor of Archi-
tecture
1838
Thomas XJwins .
Painter
1798
1833
1867
Librarian
1838
Frederick Richard Lee
>»
1818
1834
living
1838
William Wyon .
Sculptor
1817
1831
1851
1840
Daniel Madise .
Painter
1828
1836
living
1840
Frederick Wilh'am Wither-
ington
If
1805
1830
living
1840
Solomon Alexander Hart .
»f
1823
1836
living
Professor of Paint-
•
« 4% OP
1841
Philip Hardwick
Architect
1808
1839
living
ing
Auditor & Treasurer
1841
David Roberts .
Painter
• •
1838
living
1841
John James Chalon .
tt
1796
1827
1864
1842
Sir Charles Barry
Architect
• •
1840
1860
1843
Sir William Charles Ross .
Painter
1808
1838
1860
1844
1846
John Prescott Knight
Charles Landseer
tf
1823
1816
1836
1837
Uving
living
Professor of Per-
spective: Deputy
and Secretary.
1846
Thomas Webster
1*
1821
1840
living
1846
Patrick McDowell .
Sculptor
1830
1841
living
1846
John Rogers Herbert
Painter
1826
1841
living
1848
Charles West Cope .
1)
1828
1843
living
1848
William Dyce .
»»
• •
1844
living
1849
Richard Westmacott
Sculptor
1818
1838
living
1851
Sir John Watson (Gordon .
Painter
• •
1841
living
1851
Thomas Creswick
If
■ •
1842
living
1851
Richard Redgrave .
ff
1826
1840
Uving
1851
Francis Ghrant .
ff
• •
1842
living
1852
William Calder Marshall .
Sculptor
1834
1844
living
1853
William PoweU Frith
Painter
1837
1846
living
1855
Samuel Conains
Engraver
• •
1835*
living
1855
Edward Matthew Ward .
Painter
1835
1846
living
1856
Alfred Elmore .
ff
1832
1845
living
1857
Frederick Richard Pickers-
gill
tf
1840
1847
living
* Elected as Associate-Engraver in the New Class 1864.
308
HISTORY OF THE ROYAL ACADEMY
Date of
Election
Namef
Profeuion
student
ofR.A.
Amo-
cUte
Date of
Deceue
Officee eiled by
1857
George Thomas Doo .
Engraver
• •
1856
liTing
1858
John Heniy Foley .
Sculptor
1835
1849
living
1859
John Phillip .
Painter
1837
1857
living
1859
Sydney Smirke .
Architect
1817
1847
living
1860
James Clarke Hook .
Painter
1836
1850
living
1860
Augustas Leopold Egg
f*
1836
1848
living
1860
George Gilbert Scott
Architect
• •
1855
living
1861
Paul Falconer Poole .
Painter
. . 1846
living
300
APPENDIX II.
-•o*-
LIST OP ASSOCIATES WHO HAVE NOT BECOME ROYAL
ACADEMICUNS.
[The full nmnber of twenty Ansociates wbb not completed till 1773 ; nor the full
number of six AMOciate-Engraven till 1776.]
Data of
EICCtlOD
Names
Profession
Student
oTR-A.
Date of
Decease
1770
Thomas Mi^or .
Engraver
1799
1770
Simon FrandB Ravenet .
»»
1774
1770
Peter Charles Canot .
tf
1777
1770
John Browne •
ff
1801
1770
Thomas Chambers .
»t
1789
1770
Edward SteTens
Architect
1776
1770
George James .
Painter
1796
1770
Elias Martin .
f»
1769
unknown
Erased in 1832
1770
Antonio Zuoehi
i>
• •
1796
1770
Michael Angelo Booker
ft
1769
1801
1770
William Pars .
»
1769
1782
1771
Nicholas Thomas Ball
>»
• •
1777
1771
Biaggio Bebecca
f>
1769
1808
1771
William Tomkins
If
• •
1792
1772
Stephen Elmer
If
• ■
1796
1773
Edward Edwards
If
1769
1806
1776
Valentine G^reen
Engraver
• •
1813
1776
William Pany .
Painter
1769
1791
1778
John Mortimer ,
tf
• •
1779
400
HISTORY OF THE ROYAL ACADEMY
Date of
Election
Namei
Profescion
student
of R. A.
Date of
Deceaie
1778
James Nixon .
Painter
1769
1812
1779
Horace Hone .
If
1770
1826
1780
1781
1783
George Stubbs .
Joseph Wright (of Derby) .
Francis Haward
11
11
Engraver
• •
1776
1776
1806
1797
1797
Elected RA in 1781:
declined
Elected R A . ; erased
from List of Asso-
ciates at his own
request
1786
Joseph CoUyer .
11
1771
unknown
1789
Joseph Bonomi
Architect
• •
1808
1791
James Heath .
Engraver
• •
1836
1796
John Downman
Painter
1769
1824
1797
Anker Smith .
Engraver
• »
1819
1800
George Garrard
Painter
1778
1826
1800
James Fittler .
Engraver
1778
1836
1803
Joseph Gandy .
Architect
1789
1844
1803
Theophilus Clarke .
Painter
1793
unknown
Name erased in 1832
1806
John Tjandseer .
Engraver
• •
1862
1807
Archer James OUyer
Painter
1790
1842
1808
Samuel Drummond .
ti
1791
1844
1810
George Amald .
11
• •
1841
1812
William Westall . .
11
• «
1860
1813
George Francis Joseph
11
1784
1846
1814
William Ward .
Engraver
• •
1826
1818
Washington Allston .
Painter
1801
1843
1819
William Bromley
Engraver
• •
1842
1820
Henry Edridge .
Painter
1784
1821
1821
George Clint
11
• •
res, 1836
d. 1864
Name erased at his
own request
1826
Francis Danby .
f>
• •
1861
1827
Richard James Lane
Engraver
• •
Uving
1828
Charles Turner .
ft
1796
1867
1832
Andrew Geddes
Painter
1807
1844
1836
Robert Graves .
Engraver
• •
living
1837
George Fatten .
Painter
1816
living
1842
John Hollins .
ff
• •
1866
1843
James Tibbetts Willmore .
Engraver
• •
living
1843
Thomas Duncan
Painter
• •
1846
r~
APPENDIX 11.
401
Date of
Election
Names
Profeuioxi
Student
ofR.A.
Date of
Decease
Sat\|ect
1845
Thomas Sidney Cooper
Painter
1824
•
living
1846
William Edward Frost .
If
1829
II
1848
Robert Thorbum
»»
1836
i»
1851
William Bozall
i>
1819
II
1851
Edward William Cooke .
*>
• •
II
1851
Frank Stone
>i
■ •
1859
1851
Henry Weekes .
Sculptor
1823
living
1852
Frederick Goodall .
Painter
• •
II
1853
John Everett Millais.
II
1840
II
1853
Lumb Stocks .
Engraver
II
II
1855
John Callcott Horsley
Painter
1831
II
1856
John Henry Bobinson
Engraver
• «
II
New Class
1857
George Richmond
Painter
1824
»i
1859
John Frederick Lewis
II
» e
»»
1860
Henry Nelson O'Nefl
II
1836
»»
1860
Wm. Chas. Thos. Dobson .
II
1836
II
1861
Richard Ansdell
II
• •
II
1861
Thomas Faed .
II
• •
II
1861
Baron Carlo Marochetti .
Sculptor
• ■
If
1861
Edward Middleton Barry .
Architect
1848
II
1861
James Sant . . • .
Painter
1840
II
VOL. II.
D D
402
HISTORY OF THE ROYAL ACADEMY
APPENDIX III.
-•o»-
OFFICERS, PROFESSORS, AND HONORARY MEMBERS OF THE
ROYAL ACADEMY.
OFFICERS.
Presidents.
Sir Joshua Re^iiolds .
Benjamin West
1768—1792
1792—1805
1806—1820
[James Wyatt, in the interval
1806-1806]
Sir Thomas Lawrence . 1820—1830
SirM. AShee. . . 1830—1860
Sir Charles L. Eastlake . 1860—
Secretaribs.
Francis Milner Newton 1768—1788 res,
John Richards . . 1788— 1810 <f.
Heniy Howard, Dep^. 1810
Sec. 1811—1847 rf.
J. P. Knight, Dep». . 1847
Sec. 1847—
Trustees.
Benjamin West . appointed 1792
1792
1792
1792
1801
John Richards .
John Yenn
William Tyler .
James Wyatt .
Henry Howard .
Nathaniel Dance
i»
If
ti
»i
it
It
1811
1813
Trustees — continited.
Sir Thos. Lawrence . appointed 1820
Sir R. Smirke .
Sir John Soane .
Sir M. A Shee .
Sir Francis Chantrey
T. Phillips
J. P. Knight .
Richard Cook .
Sir Charles L. Eastlake
Philip Hardwick
Charles West Cope .
Trbasubsbs.
1820
1825
1830
1837
1842
1847
1848
1860
1860
1860
Sir Wm. Chambers
John Yenn
Sir R Smirke .
Philip Hardwick
Sydney Smirke .
. 1769—1796
. 1796—1820
. 1820—1860
. 1860—1861
. 1861—
Librarians.
Francis Hayman . , 1770 — 1776
Richard Wilson . . 1776—1782
Or, M. Moser, Dep'. . 1782
SamnelWale . . . 1782—1786
Joseph Wilton . . 1786—1790
APPENDIX in.
403
OFFICERS
LiBRABiAxs — contin ued,
Dominic Serres . . 1792—1793
Edward Burch. . . 1794—1814
Paul Sandby, Dep». . 1799--1809
J. F. Rigaud „ . 1810
Thos. Stothard „ . 1810
Librarian 1814—1834
George Jones . . . 1834—1840
William Collins
C. L. EastlaJce .
T. Uwins .
H. W. Hckepsgill
1840—1842
1842—1844
1844—1865
1866—
— continued,
KSEPEBS.
George M. Moser . 1768—1783
Agostini Carlini . 1783—1790
Joseph Wilton . . 1790-1803
Robert Smirke election (1804) vetoed by
King George III.
Henry Fuseli . . 1804—1825
Heniy Thomson . 1825—1827 r«.
WiUiam HUton . 1827—1839
George Jones, Depy. . 1839
Keeper 1840—1850 res,
Charles Landseer . 1851 —
PROFESSORS.
Of Paintino.
Edward Penny . . 1768 — 1782 res.
James Barry .
Henry Fuseli .
John Opie
Henry Tresham
Henry Fuseli .
Thomas Phillips
Henry Howard
C. R. Leslie
Solomon Alex. Hart
1782— 1799ftrp.
1799—1805 res,
1805—1807 d.
1807—1809 res,
1810—1825 d,
1826—1832 res,
1833—1847 d,
1847—1862 res,
1854—
Of Abchitectubb.
Thomas Sandby . 1768—1798 d.
George Dance .
Sir J. Soane
William Wilkins
C. R. Cockerell
Sydney Smirke .
1798—1805 res,
1806—1837 d,
1837—1839 d.
1839—1856 res,
1860—
Of Pebspbctivb.
Samuel Wale . . 1768— 1786 rf.
Edward Edwards . 1788—1806 d, .
J. M. W. Turner . 1807—1837 res,
J. P. Knight . . 1839—1860 res.
[A Teacher of Perspectiye substituted
for the Professorship, 1861].
Op Sculftthb.
JohnFlaxman. . 1810—1826
Sir R. Westmacott . 1827—1866
R. Westmacott . . 1857—
Of Anatomy.
Dr. William Hunter . 1768— 1783 d,
John Sheldon .
Sir Anthony Carlisle
J. H. Green
Richard Partridge
1783—1808 d,
1808—1824 res,
1826—1851 res.
1852—
Chaplains.
Rev. W. Peters, late R.A,
1784—1788 res.
Bishop of Killaloe (Dr. Ber-
nard), afterwards Bishop of
Limerick. . . 1791—1806
Bishop of Exeter (Dr. Fisher),
afterwards Bishop of Sa-
lisbury . . 1807—1826
HONORARY MEMBERS.
Chaplains — con tin ued.
Bishop of Oxford (Dr. Legge)
1826—1827
Bishop of Chester (Dr. Blom-
field), afterwards Bishop of
London . . . 1827—1858
Bishop of Oxford (Dr. Wilber-
foree) .... 1859
D D 2
404
lUSTORY OF TIIE ROYAL ACADEMY
HONORARY MEMBERS — coirfwtia?.
Sbcretabies
FOB FOBBION CORSB-
8PONDENCB.
Joseph Barretti
James Boswell
Prince Hoare .
Sir George Staunton, M.P.
Sir Heniy Holland, Bart.
1769—1789
1791—1795
1799—1836
1839—1860
1860—
Pbofessobs of Ancient Histobt.
Oliyer Gk>ld8mith .
Rev. Dp, T. Franklin
Edward Gibbon
William Mitford .
Heniy Hallam
George Gxote
1770—1774
1774—1784
1787—1794
1818—1835
1836—1859
1860—
Pbofessobs of Ancient LrrBBATVBB.
Dr. Samuel Johnson . 1770—1787
Bennet Langton
1787—1802
Pbofessobs of Ancient Litebatubb —
continued,
Charles Bumey, L.L.D. 1803—1816
Bishop of London (Dr. Howley),
afterwards Archbishop of
Canterbuiy . . 1818—1830
Bishop of Llandaff (Dr. Cople-
stone) . . . 1831—1849
Right Hon. T. B. (afterwards
Lord) Macanlav .
Dean Milmon
ANTiatJABIBS.
Richard Dalton
Samuel Lysons
Sir H. Englefield
Sir W. Scott .
Sir R. H. Inglis
Earl Stanhope
1860—1859
1860—
1770—1784
1818—1819
1821—1826
1827—1832
1850—1856
1866—
r
405
APPENDIX IV.
THE DIPLOMA WORKS OF THE ROYAL ACADEMICIANS, AND
SOME OTHER ART-TREASURES IN POSSESSION OP THE
ROYAL ACADEMY OP ARTS.
« •
The Diploma Works are arranged according to the Order in
which the Authors of them were elected Soyal Academicians.
The law requiring new members to deposit a specimen of
their skill was not passed till October 1770, hence the
following list does not include the original thirty-six members
nominated by George III. on the foundation.
Dat«of
Election
Namet
ProfeuJoD
Subject
1771
Edward Buich .
Sculptor
Gem and Cast
1771
Richard Gosway
Painter
Venus and Cupid
1772
Joseph Nollekens
Sculptor
Cupid and Psyche
1773
1777
James Bany .
William Peters .
Painter
»»
(Nothing in possession of
Academy)
Children
the
1778
John Bacon
Sculptor
Sickness (a head in marble)
1779
J. S. Copley
Painter
The Tribute Money
1781
P. J. de Lontherboiirg
fi
ALandsci^
1783
Edmund Garvey
>f
A Landscape
1784
J. F. Rigaud .
ft
Samson and Delilah
1785
Thomas Banks .
Sculptor
A Falling Giant (a marble statue)
1786
James Wyatt .
Architect
Design for a Mausoleum
1786
Joseph Farington
Painter
A Coast Scene
406
HISTORY OF TIIE ROYAL ACADEMY
Datft of
ElectioD
Nainet
Frofeision
Subject
1787
John Opie
Painter
Age and Infancy
1787
James Northcote
It
Jael and Sisera
1787
William Hodges
11
View of the Ghauts at Benares
1788
John Russell .
ft
Naomi and Ruth
1789
William Hamilton
tt
Vertumnus and Pomona
1790
1791
Henry Fuseli .
John Yenn
»t
Architect
Thor battering the Serpent of
Midgard
Architectural elevation
1791
John Webber .
Painter
A Scene in Otaheite «
1791
F. Wheatley .
• t»
A Peasant Boy
1791
Ozias Humphrey
t»
Fortune Teller
1792
Robert Smirke .
tt
Don Quixote and Sancho
1793
Sir F. Bourgeois
t»
A Landscape
1794
Thomas Stothard
tt
Charity
1794
Sip TJionias Lawrenci
tt
A Gipsy Girl
1794
Richard Westall
It
A Peasant Boy
1796
John Hoppner .
tt
His own Portrait
1797
Sawrey Gilpin .
tt
Horses in a Storm
1798
1799
Sir W. Beechey
Henry Tresham
It
It
Portrait of H.R.H. the Prince of
Wales (George IV.)
Death of Virginia
1799
1800
Thomas Daniell
Sir M. A. Shee .
11
It
Hindoo Temples at Bindrabnnd
on the Jumna
Belisarius
1800
1802
1802
John Flazman .
J. M W. Turner .
Sir John Soane .
Sculptor
Painter
Architect
Apollo and Harpessa: marble
bas-relief
View of Dolbaddem Castle, North
Wales
Design for a new House of Lords,
&c.
Bust of Lord Thurlow
1802
Charles Rossi .
Sculptor
1804
Henry Thomson
Painter
Prospero and Miranda
1806
William Owen .
tt
Boy and Kitten
1807
1808
1808
Samuel Woodforde .
Heniy Howard .
Thomas Phillips
11
It
Painter
Dorinda wounded by Silyio, Pastor
Fido
The Four Angels loosed from the
River Euphrates (Rev. ix. 16)
Venus and Adonis
1809
Nathaniel Marchant .
Sculptor
Gem and Cast
1810
Sir A. W. Callcott .
Painter
Morning
1811
SirD.WUkie .
tt
Boys digging for a Rat
1811
James Ward
tt
Bacchanalian
APPENDIX IV.
407
Date or
Election
Names
ProfeitioD
Subject
1811
1811
Sip E. Westmacott .
Sir K. Smirke, Jon. ,
Sculptor
Architect
Jupiter and Ganymede: alto-relievo
in marble
Restoration of the Acropolis of
Athens
Venus and Cupid
1811
HezuyBone .
Painter
1812
1813
Philip Reinagle
William Theed .
Sculptor
An Eagle and Vulture disputing
with a Hysena
A Bacchanalian Group, in bronze
1814
George Dawe .
Painter
Demoniac
1814
William Badmore Bigg .
II
Cottagers
1815
Sir HeDiy Raebum .
II
Boy and Rabbit
1815
1816
Ed. Bird . . . .
William Mulreadj .
II
II
Proclaiming the young King Joash
(2 Chron. xxiii. 11)
The Village Buffoon
1816
A. R Chalon .
II
Tuning
1817
J. Jackson
II
Jewish Rabbi
1818
Sir F. Chantrey
Sculptor
Marble Bust of B. West, P.RJL
1819
WilUam Hilton . .
Painter
Ganymede
1820
Abraham Cooper
II
Sir TreTisan fleeing from Despair
(Spenser)
Young Anglers
1820
William Collins
II
1821
Edward Hodges Bailj
Sculptor
Eve : a figure in marble
1822
KichardCook .
Painter
Ceres rejecting the Solicitation
of Iris
View on the Coast of Scotland
1822
William Daniell
II
L823
Kamsay B. Reinagle .
II
Landscape and Cattle
1824
1824
Sir Jef&y Wyatville
George Jones .
Architect
Painter
A British Mansion, designed for
the first Earl of Yarborough
The Tale of Interest (stolen)
1826
1826
William Wilkins
Charles Bobert Leslie
Architect
Painter
Gateway and Cloisters of King's
College Chapel, Cambridge
Queen Eathenne and her Attendant
1826
Heniy William Pickersgill
II
An Oriental Love-letter
1828
William Etty .
II
Sleeping Nymphs and Satyrs
1829
John Constable
II
A Barge passing a Lock
1830
Sir C. L. Eastlake
II
Hagar and Ishmael
1831
Sir R BL Landseer .
II
The Faithful Hound
1832
H. P. BriggH .
II
Colonel Blood stealing the Crown
Jewels
The Student
1832
G. S. Newton .
II
1835
Clarkson Stanfield .
II
On the Scheldt
1835
Sir WiUiam Allan .
II
The Shepherd's Grace
1836
Charles R Cockeiell .
Architect
Design for the Royal Exchange
408
HISTORY OF THE ROYAL ACADEMY
Date of
Elect iun
Names
Profecsion
Subject
1836
John Gibson .
Sculptor
Narcissus
1838
Thoman Uwins
Painter
An Italian Mother
1838
Frederick R. Lee
u
A Jjandscape
1838
William Wyon .
Sculptor
A Medallion
1838
J. P. Deering (Gandy)
Arrfiitect
Design for Exeter Hall
1840
Daniel Maclise .
Painter
The Woodranger
1840
F. W. Witherington .
**
Landscape and Figures
1840
S. A. Hart
If
Reading Shakspeare
1841
J. J. Chalon
1*
Gipsy Encampment
1841
1841
P. Hardwick .
David Roberta .
Architect
Painter
Entrance Gate to Railway Station
at Euston Square
Baalbec
1842
Sir Charles Barry
Architect
AViUa
1843
Sir W. C. Ross .
Painter
The Pilgrims
1844
J. P. Knight .
ti
The Departing Blessing
1845
Charles Landseer
i»
The Dying Warrior
1846
Thomas Webster
»*
Aji Early Lesson
1846
Patrick McDowell .
•
Sculptor
AKymph
1846
John R Herbert
Painter
St. Gregory teaching his Chant
1848
Charles West Cope .
»»
{Dfpont picture — temporary)
1848
WiUiamDyce .
t»
A Magdalen
1849
Richard Westmaoott.
Sculptor
" Go, and sin no more "
1851
1851
Sir J. W. Gordon .
Thomas Creswick
Painter
Scene from Bums' "Anld Lang
Syne"
{Dfposit picture — temporary)
1851
Richard Redgrave .
t»
The Outcast
1851
Francis Grant .
»f
A Girl knitting
1852
WilUam C. Marshall
Sculptor
An Infimt Satyr
1853
Winiam P. Frith .
Painter
The Village Model
1855
1855
1856
1857
Samuel Consens
Edward M. Ward .
Alfred Elmore .
F. R PickeragiU .
Engraver
•
Painter
ft
if
[Impressions of all plates engraved
by him subsequent to his elec-
tion]
Queen Elizabeth Woodville in the
Sanctuary at Westminster
A Scene from " The Two Gentle-
men of Veiona"
The Bribe
1857
1858
George T. Doo .
John Henry Foley .
Engraver
Sculptor
[Impressions of all plates ezechted
by him subsequent to election]
The Elder Brother from "Comus"
1859
John Phillip .
Painter
Prayer
APPENDIX IV
409
Date of
Election
1859
1860
1860
1860
1861
Namec
ProfectioD
Subject
Sydney Smirke .
James C. Hook.
Augostna L. Egg
Gheoige G. Soott
Paul Falconer Poole .
Architect
Painter
»
Architect
Painter
Nev Carlton Clnh
{Depont picture — temporary)
The Royal Academy possesses many works by the Foundation
Members, either presented by themselves or by others. Among
these are —
^King George III. in his Coronation Bobes) presented by the
Queen Charlotte in her Coronation Robes \ Boyal Founder.
His own Portrait aa D.CX. > p^^ted by himself.
Sir Joshua Beynolds
Francis Cotes .
Joseph Wilton
Thomas Sandby
Geoige Barret
Sir Wm. Chambem
Creorge M. Moser
Charles Catton
Jeremiah Meyer
Richard Yeo .
Bei\jamin West
Sir W. Chambers. )
Frank Hayman : presented in 1837.
Gniseppe Marchi : presented by H. Edridge in 1821.
^Theory.
{Portrait of M. Bloomfield, Surgeon : presented by Sir J.
Wright, 1796.
Portraits of his &ther and of W. Hoare, RjL, in crayons.
•None.
I The paintings for the ceiling of the Council Chamber.
I Christ blessing little Childi^n.
-j Portrait of himself: presented by J. Neeld, Esq., 1830.
Drawings of ' Death on the Pale Horse,' * Moses striking the
V Rock,' and * Prince Bladud in Exile.'
Paul Sandby
John Baker
John Owynn . . )>None.
Samuel Wale .
WiUiam Tyler
Mason Chamberlin. Portrait of W. Hunter, M.D.
Francis Bartoloszi
None.
John Richards
Peter Toms .
N. Hone.
F. Zuccarelli .
D. Serres
G. B. Cipriani
R Wilson .
R Penny
A. CarUni
F. M. Newton
A. Rauffinan .
Maiy Moser .
His own Portrait: presented by Mr. J. Archer, 1808.
None.
Shipping.
Drawing fo]:,the Diploma.
Portrait of himself.
None.
Small Equestrian Statue of King G^rge IIL
None.
!Com^sition, Invention, Design, and Colouring ; four oval
paintings for the ceiling of Uie Council Room.
Two Flower-pieces
410 HISTORY OF THE ROYAL ACADEMY
F. Hayman . . > ^^^^
Q. Dance . . )
(A Landscape.
Sir N. Dance . . Portrait of G. B. Cipriani, B.A
John Zoffany . . None.
-nr-rt- jT (Several portraits and crayon drawings: presented by his
( son, Pnnce Hoare.
Among other works preserved in the Academy are the following: —
The Hojal Academicians in General Assembly nnder the Presidentship of Benja-
min West. The large picture painted by Heniy Singleton (engraved) presented by
P. Hardwick, R.A
Busts by T. Banks, R.A, of himself and Sir. J. Reynolds (terra cotta).
Bust of J. Wilton, R.A., by Roubiliac (a cast) presented by Lady Chambers.
H. Bone, R.A by Chantrey, presented by H. T. Bone.
B. West, P.R.A, by Chantrey.
George IV., by Chantrey, presented by Lady Chantrey.
William IV. „ „
G. Dance, R.A., by C. RossL
Models in plaster by J. Wilton, R.A, presented by Lady Chambers.
Medallions by J. Flaxman, presented by Miss Flazman.
Bas-relief by J. Flaxman (a cast), the Rape of Ganymede.
Portrait of John Opie, R. A, by himself, presented by H. Thomson, RJL
„ H. Thomson, R.A, by himself, presented by Rev. J. Cooper.
Studies by Thomas Stothard, R A., and a very extensive (if not oomplet«) collec-
tion of engravings from his designs, formed by Sir Richard Westmacott, R. A
By or after Ancient Masters : —
A bas-relief in marble by Michael Angelo : presented by Sir G. Beaumont
A cartoon by Lionardo da VincL
A copy from Pavia of * The Last Supper' of L da Vinci, made by his favourite
pupil, Marco D'Oggioni.
Copies of Raffaelle's cartoons made by Sir J. Thomhill for the Duke of Bedford.
Copies of works by Raffaelle, Rubens, &c, presented by Lady Bassett and
others.
A large collection of models, casts, bas-reliefs, books on art, prints, drawings, &C:,
both ancient and modem : presented by H.R.H. the late Prince Regent, the Duke
of Dorset, the Earl of Bessborough, Charles Townley, N. Marchant, RA, and others.
Memorials of Artists &c. : —
The first Presidential chair of the Royal Academy.
Sir J. Reynolds's palette (presented by J. Constable, R.A.) and his easel.
Hogarth's palette (presented by Turner) and his maul-stick (presented by Mr.
J. Hall).
Sir Thos. Lawrence's palettes.
APPENDIX V.
UST OP BOYAL ACADEMY STUDENTS TO WHOM GOLD MEDALS
HAVE BEEN AWABDED.
Dwtt
NimeofSluJanl
BrwchofArt
Hubjen
1769
1769
1789
1770
1770
1771
1771
Manritiufl Lowe . .
John Bacon .
James Oandon .
Joseph Strutt .
Thomas Bstita . . .
P. M, Van Qelder . .
John Ytmn
Hislorical painting
Sculpture
Archit«cture
Historical painting
Sculpture
Architecture
Time discoTering Truth
Triumphal Arch lo comme-
mora^ jic
^ncae stopped by Crcnsa
Bas-reUef: Rape of Pro-
serpine
Bas-relief: Choice of Hcr-
cul™
Noblcman'a Villa
412
mSTORY OF THE ROYAL ACADEMY
Date
Name of Student
Branch of Art
Subject
1771
1772
William BeU .
John Keyse Sherwin
Historical painting
Historical painting
Venus entreating Vulcan
to forge the armour of
^neas
Coriolanus taking leave of
his Family
Bas-relief: Ulysses and
Naujsicaa
Seleucus and Stratonice
1772
1774
Thomas Engleheart .
James Jefiferys .
Historical painting
1774
Charles Banks .
Sculpture
Pygmalion and his Statue
1774
Thomas Whetton
Architecture
Nobleman's Town House
1776
Charles Ghrignion
Historical painting
Judgment of Hercules
1776
Henry Webber .
Sculpture Judgment of Midas
1776
John Soane
Architecture
Triumphal Bridge
1778
Charles Henben Riley
Historical painting
Sacrifice of Iphigenia
1778
1778
1780
John Hickey .
William Moss .
George Farington
Sculpture
Architecture
Historical painting
Bas-relief: Slaughter of
the Innocents
Church of the Corinthian
Order
Macbeth
1780
1782
John Deare
John Hoppner .
Sculpture
Historical painting
Bas-relief. From Milton's
"Paradise Lost"
From "King Lear"
1782
Charles Peart .
Sculpture
Hercules and Omphale
1782
Thomas Malton
Architecture
A Theatre
1784
Thomas Proctor
Historical painting
From "The Tempest"
1784
1784
Charles Rossi .
George Uadfield
Sculpture
Architecture
Venus conducting Helen to
Paris
National Prison
1786
William Artaud
Historical painting
From " Paradise Lost "
1786
Peter Francis Chenu .
Sculpture
To perfect the Torso
1786
John Sinnell Bond .
Architecture
Mausoleum for Monuments
1788
Henry Singleton
Historical painting
From Diyden's Ode
1788
1788
Charles Horwell
John Sanders .
Sculpture
Architecture
Achilles' grief at death of
Patroclus
A Church
1790
Henry Howard .
Historical painting
Caractacus
1790
Charles Taoonet
Sculpture
Samson
1790
Joseph Grandy .
Architecture
Triumphal Arch
1792
George Francis Joseph
Historical painting
Coriolanus
1792
Edward Gyfford
Architecture
Houses of Lords and Com-
1794
John Bacon, Jon.
Sculpture
mons
Cassandra
1797
James Smith .
>i
Venus wounded by Dioroed
1797
William Atkinson .
Architecture
A Court of Justice
APPENDIX V.
413
Datfl
Name of Student
Branch of Art
Subject
1799
Richard Smirke
Historical painting
Samson and Dc'lilah
1799
1801
1801
Bobeit Smirke .
Francis Stephen Eigaud .
Thomas Willnnn
Architecture
Historical painting
Architecture
National Gallery for Paint-
ing, &e.
Clytemnestra exulting over
Agamemnon
National Edifice
1803
George Dawe .
Historical painting
Achilles
1803
Humphry Hopper
Sculpture
Death of Meleager
1805
1805
Thomas Douglas Guest
William ToUemach .
Historical painting
Sculpture
Bearing dead body of Pa-
troclus to the Camp
Chaining Prometheus to the
Rock
A Villa
1805
W. C. Lochner .
Architecture
1807
Lascelles Hoppner .
Historical painting
Judgment of Solomon
1807
1809
1811
Charles A. Busby
James Adams .
Arthur Perigal .
Architecture
Architecture
Historical painting
An insulated building to
contain the Royal So-
ciety, Antiquarian So-
ciety, and Royal Aca-
demv
An edifice dedicated to
National Genius and
Virtue
Themistodes
1811
Edward H. Baily .
Sculpture
Hercules rescuing Alceste
1811
Francis Edwards
Architecture
A Theatre
1813
1813
1815
Josephus Kendrick .
Lewis Vulliamy
SamuelJoseph .
Sculpture
Architecture
Sculpture
Adam and Eve lament-
ing over dead body of
Abel
A Nobleman's Country
Mansion
Eve supplicating forgive-
1815
Mathew Edward Thomas .
Architecture
Ucss
A Palace
1817
1817
William Scoular
Charles Harriot Smith
Sculpture
Architecture
Alto-relievo: Judgment of
Paris
Design for Royal Academy
1819
Joseph Severn .
Historical painting
Cave of Despair
1819
Joseph Gott
Sculpture
Jacob wrestling with the
Angel
Pliny's Villa
1819
Sydney Smirke .
Architecture
1821
John Graham .
Historical painting
The Prodigal Son
1821
Frederic William Smith .
Sculpture
From Antigone
1821
Richard Kelsey
Architecture
A Theatre
1823
1823
Francis Yeates Hurlstone .
Robert Ball Hughea .
Historical painting
Sculpture
Michael contending with
Satan
Mercury and Pandora
1823
Thomas Bradbeny .
Architecture
Hospital for Sailors
414
HISTORY OF THE ROYAL ACADE]SIY
Date
Name or Student
Branch of Art
Subject
Joseph expounding the
Dreams
David and Goliath
1825
1825
John Wood
Joseph Deare .
Historical painting
Sculpture
1825
Henry Bassett .
Architecture
A National Gallery
1827
Samuel Loat
f»
11
1829
1829
1829
George Smith .
James Lcgrew .
William GrelUer .
BUstorical painting
Sculpture
Architecture
Venus entreating Vulcan to
forge Eneas' s arms
Cassandra dragged from
the altar of Minerva
British Senate House
1831
Daniel MacUse
Historical painting
Choice of Hercules
1831
Sebastian Wyndham Arnold
Sculpture
Murder of the Innocents
1833
Edward George Papworth .
II
Ulysses
1833
John Davis Paine
Architecture
A Royal Exchange
1835
W. Denholm Kennedy
Historical painting
Apollo and Idas
1835
1835
Henry Timbrell
John Johnson .
Sculpture
Architecture
Mezentius tying the dead
to the living
A Royal Palace
1837
Ebenezer Butler Morris .
Historical painting
Horatius
1837
Edward A. Gifford .
Architecture
A National Museum
1839
William Edward Frost
Historical painting
Prometheus bound
1839
Thomas Earle .
Scidpture
Hercules delivering Hesione
1839
Edward Falkener
Architecture
A Cathedral Church
1841
Henry Le Jeune
Historical painting
Samson bursting his bonds
1841
1841
W. Calder Marshall .
William Hinton Campbell .
Sculpture
Architecture
Venus rescuing .£neaa from
Diomed
Houses of Lords and Com-
1843
1843
1845
Edward Bownng Stephens
Henry Bayly Garling
J. C. Hook
Sculpture
Architecture
Historical painting
mons
Alto-relievo : Combat of
the Centaurs andLapithie
Design for Music Hall and
Royal Ac4idemy of Music
Finding the body of Harold
1845
1845
Alfred Brown .
Arthur Ebden Johnson
Sculpture
Architecture
Alto-relievo : The Hours
leading out the Horses
of the Sun
National Record Office
1847
1847
J.E. Millais .
George Gammon Adams .
Painting
Sculpture
Young Men of Beigamin
seizing their Brides
(Judges XXI.)
Murder of the Innocents
1847
Edward Rumsey
Architecture
A Cathedral Church
1849
John Alfred Vinter .
Painting
An Act of Mercy
1849
Edward James Physick .
Sculpture
Basso-relievo : Rape of
Proserpine
APPENDIX V.
415
Date
Name of Student
Branch of Art
SutaiJcct
1849
Arthur Allom .
Architecture
Design for Eoyal Academy
at Trafalgar Square, pre>
serving the lateral pas-
•
sages
1851
William S. Burton .
Historical painting
Delilah asking forgiveness
1851
Charles Summers
Sculpture
Mercy interceding for the
vanquished
1851
John Bobinson .
Architecture
Design for a Marine Palace
1853
Charles Bolt .
Historical painting
Orestes comforted by his
sister
1853
Edw. George Papworth .
Sculpture
Dejith of Procris
1853
Eichard Norman Shaw
Architecture
Design for Military College
in honour of the Duke of
Wellington
1855
Joseph Powell .
Painting
Death of Alcibiades
1855
John Adams .
Sculpture
Eve supplicating forgive-
1857
Philip Eichard Morris
Historical painting
The Good Samaritan
1857
G«oige James Miller
Sculpture
It
1857
Francis T. GKmipertz .
Architecture
National GhUlery
1857
Nevil Oliver Lupton .
Landscape*
An English Landscape
1859
Samuel Lynn .
Sculpture
Lycaon imploring Achilles
to spare his life
1859
Ernest George .
Architecture
A grand Hotel in the heart
of a Metropolitan City
1861
Andrew Brown Donaldson .
Historical painting
The trial scene in the
"Merchant of Venice"
1861
George Slater .
Sculpture
" Bemorse," Adam and Eve
after the fall
1861
Thomas Henry Watson
Architecture
An Exchange for a large
Commercial City
* First TuBznB Medal.
416
HISTORY OF THE ROYAL ACADEMY
GOLD MEDAL STUDENTS TO WHOM THE THAYELLINO ALLOWANCE HAS
BEEN AWARDED BT THE BOTAL AGADEMT.
Paintsbs.
1771 Mauritiofi Lowe (recalled 1772).
1781 Charles Grignion.
1796 Wmiam Artaud.
1821 Joseph Seyem.
1831 George Smith.
1840 William Denholme Kennedy.
1846 J. C. Hook.
SCTLPTOBS.
1772 Thomas Banks.
1785 Charles Kossi.
1785 John Deare.
1793 Thomas Proctor (died before leav-
ing England).
ScuLFTOBS — continued.
1825 William Sconlar.
1834 Edgar George Papwortb.
1843 Henry Timbrell (died at Home).
1850 E. G. Physick.
1858 John Adams.
Abchitbcts.
1777 John Soane.
1790 George Haddeld.
1818 Lewis Vnlliamy.
1828 Samuel Loat
1837 John Johnston.
1854 Bichard Norman Shaw.
1861 John Robinson.
N.B. All the above were awarded the allowance for three years, except Mr.' J. Robinson,
in 1861, whose allowance is for two years only, under the A-ria fing regulations.
417
APPENDIX VI.
-•o^
ABSTEACT OF THE CONSTITUTION AND LAWS OF THE
ROYAL ACADEMY OF ARTS.
SECTION I.— MEMBERS.
1. The Society shall consist of Forty Members, who shall
be called Academicians of the Academy.
2. There shall be another order, or rank, of Members, not
exceeding Twenty in number, who shall be called Associates of
the Royal Academy.
3. There shall be another class of Members, not exceeding
four in number, consisting of Academicians and Associates, who
shall be called Academician-Engravers, and Associate-Engravers
of the Royal Academy. Such class, not exceeding four, may,
at the discretion of the Academy, consist of a less number, and
the proportion of Academicians shall not exceed two.
Note. — That although such class of Engravers shall be
considered as before a distinct class, their privileges and obliga-
tions as Associate and Academician-Engravers shall in no other
respect diflFer from those respectively of the Twenty Associates
and Forty Academicians.
That future vacancies in the original class of Six Associate-
Engravers shall not be filled up.
4. They shall all of them be men of fair moral characters, of
high reputation in their several professions; resident in the
United Kingdom, and not Members of any other Society of
Artists established in London.
VOL. II. E E
418 HISTORY OF TIIE ROYAL ACADEMY
HONOBABT MEMBERS.
5. There shall be a Chaplain, of high rank in the Church.
There shall be a Professor of Ancient History, a Professor of
Ancient Literature, an Antiquary, and a Secretary for Foreign
Correspondence, men of distinguished reputation.
SECTION II. — GO VERNMENT OF THE SOCIETY.
1. The government of the Society is vested in a President
and Council, and the General Assembly.
2. President. — The President shall be annually elected.
3. The President shall have power to summon the Council
and Greneral Assembly of the Academicians, as often as he shall
think it necessary, but shall have no vote in either, unless the
suffrages are equal, in which case he shall have the casting
vote.
4. The President shall have power to nominate one of the
Council to act as President in his absence.
5. The President, or his Deputy, and no other person, shall
have power to summon either the Council or General As-
sembly.
6. The President shall convene a General Assembly, when-
ever five or more Academicians may apply to him, in writing,
for that pui-pose.
7. Council. — The Council shall consist of eight Academi-
cians and the President, who shall have the entire direction and
management of all the business of the Society.
8. The seats in the Council shall go by succession to all the
Academicians, except the Secretary, who shall always belong
thereto. The four Senior Members of the Council shall go out
APPENDK VI. 419
by rotation every year, and these shall not reoccupy their seats
in the Council till all the rest of the Academicians have served.
9. The new-elected Academicians (having received their
diplomas) shall be placed at the top of the List, and serve in
the succeeding Council.
10. Whenever an Academician shall from any cause decline
to be a Member of the Council in regular rotation, or be dis-
qualified by accepting any office incompatible with it, his name
shall be passed on, and his claim to a seat in it forfeited, till it
shall again appear in regular rotation.
11. If any Member of the Council shall have failed to attend
in his place for eight successive Meetings, such Member shall
be considered as having vacated his seat in the Council, and the
seat so vacated shall be filled according to the provisions of the
following Law.
12. When the seat of a Member of Council shall have become
vacant within the first year of the period of his service, by death,
resignation, or otherwise, the rights and duties attached to it
shall immediately devolve on the Treasurer for the residue of
the said year, or on the Keeper, should the Treasurer be of the
Council by rotation.
The vacant seat for the second year shall be declared by the
President, at the Annual General Meeting on the 10th of
December ; and after the usual nomination of persons to serve
by rotation in the ensuing Council, a Member shall be appointed
by lot, from amongst all the Academicians (except those who
serve by rotation the succeeding year), to supply the vacancy so
declared.
The appointment by lot shall be in the following manner : —
The name of each Academician present, written by himself,
and each absent Academician, written by the Secretary, shall be
put in a box, and shaken together ; the President shall then
draw forth one name, which shall decide the appointment.
When the seat of a Member of Coimcil shall have become
vacant within the second year of the period of his service,
the residue of the said second year shall be supplied accord-
ing to the regulation before applied to the residue of the first
year.
E B 2
420 HISTORY OF THE ROYAL ACADEMY
13. The List of Rotation shall be printed annually, and the
name or names of new Members (if any) shall be placed at the
head of the List of the Junior Members of the Council, according
to the order of election of Academicians.
14. The President and Secretary being always of the Coimcil,
their names are to be omitted in such List of Rotation.
15. The names of Academicians, whose permanent residence
is more than six miles from the Royal Academy, Trafalgar
Square, shall be omitted in the lists delivered out for the suc-
cession of Coimcil.
16. The Council shall meet as often as the business of the
Society shall require it.
17. A meeting of Five Members of the Coimcil, including
the President or his Deputy, shall be deemed a Quorum.
18. In the absence of the President or his Deputy, it shall be
in the power of five in the Council to nominate a Chairman for
that Meeting, and proceed to business.
19. The Secretary to draw the line in the book of attendance
©f the Council, immediately at the expiration of half an hour
after the time of meeting specified in the summons : Members
not attending before the line is drawn, to forfeit their share of
the remuneration of Council.
20. Members withdrawing from Council before the business
of the evening is concluded, and so reducing the number below
a Quorum, the Meeting can no longer be deemed a Quorum.
21. The Council shall frame all new Laws, but they shall have
no force till ratified by the consent of the General Assembly,
and the approbation of the Queen.
22. All Laws, which may from time to time be made by the
Council, shall be confirmed at a subsequent meeting of the
Council, before they are presented to the General Assembly of
the Academicians for their consent.
APPENDIX VI. 421
23. All the OflScers and Servants of the Academy shall be
Bubseryient to the Council.
24. The Council shall have power to reform all abuses ; to
censure those OflScers who are deficient in their duty ; and, with
the consent of the general body, and the Queen's permission
first obtained for that purpose, to suspend, or entirely remove
from their employments, those who shall be found guilty of any
great offences,
25. No Correspondence whatever, connected with the business
of the Royal Academy, shall be carried on without the concur-
rence of the Council; the routine business of departments
excepted.
26. All business relative to the Boyal Academy, which is to
be laid before Her Majestt, after it has been settled by the
Council in the usual form, shall be presented to the Queen
by the President, attended either by the Secretary or the
Treasurer, as the nature of the business shall require, and they
shall make report to the Council, of Her Majestt's pleasure
thereon.
27. A Committee, consisting of two of the Senior Members
of the Council, shall annually, with the assistance of the
Librarian, examine the state of the Books, Prints, &c., in the
Library, and report such improvements as may be necessary,
within one month from the close of the Exhibition.
28. A Committee, consisting of two of the Senior Members
of the Council, shall annually, with the assistance of the Keeper,
examine the Models, Casts, &c., belonging to the Royal Academy,
and report such improvements as may be necessary, within one
month from the close of the Exhibition.
29. Four Members of the Council for each year, the two
seniors, by rotation, for the first six months, and the two next
for the last six months, shall be Inspectors of Casts, Prints, &c.,
imported by British Artists, and by Foreign Artists being
Members of the Royal Academy, for their own use, conform-
ably with the regulations established by the Lords of the
Treasury.
422 HISTORY OF THE ROYAL ACADEMY
30. General Assehblt. — There shall be annually one
General Meeting, or more if requisite, of the whole body of
Academicians, to elect a President, declare the Council, elect
Visitors and Auditors ; to confirm new laws ; to adjudge the
Premiums to be given to the Students ; to elect those who are
to be sent abroad ; to hear complaints and redress grievances ;
and do any other business relative to the Society.
31. Ten in the General Assembly, including the President or
his Deputy, shall be deemed a full meeting.
32. In the absence of the President or his Deputy, it shall
be in the power of ten in the General Assembly to nominate
a Chairman for that meeting, and to proceed immediately to
business.
33. If at a General Assembly of the Academicians, five
Members object to any law made in the Council for the go-
vernment of the Society, they shall deliver their objections in
writing, signed with their respective names ; which done, the
law objected to shall be referred to the Council to be re-
considered.
34. If any Member shall become obnoxious to the Society
by improper conduct, he may be reprimanded, suspended, or
expelled, by the majority of a General Assembly of Academicians,
to be decided by ballot, and subject to Her Majestt's pleasure.
35. If any Academician, Associate, or Associate-Engraver,
shall have wholly neglected, during a period of seven years, to
communicate personally, or by letter, with the Secretary, so as
to afford the means of authentic information as to his existence,
and place of residence, he shall be considered as having ceased
to be a Member of the Royal Academy, and his place shall be
declared vacant accordingly.
SECTION in. — OFFICERS, AND THEIR DUTIES.
1. Secretary. — There shall be a Secretary of the Royal
Academy, elected by ballot from amongst the Academicians,
APPENDIX VI. 423
and approved of by the Queen : his business shall be to keep
the Minutes of the Council, write letters^ send summonses,
attend during the arrangement of the Exhibition, make out the
Catalogues, &c. He shall also, when the Keeper of the Academy
is indisposed, take upon himself the care of the Antique
Academy, for which he shall be properly qualified ; he shall,
jointly with the Keeper, have the direction of the Servants of
the Academy ; and he shall continue in office during the Queen's
pleasure.
2. The Secretary shall have no vote either in the Council or
General Assembly.
3. Keepeh. — There shall be a Keeper of the Royal Academy,
elected by ballot from amongst the Academicians. He shall be
an artist properly qualified to instruct the Students ; his business
shall be to superintend the Academy, the Models, Casts, Books,
and other moveables belonging thereto; to attend regularly
the Antique Academy, to give advice and instruction to the
Students, and be constantly at hand to preserve order and
decorum. He shall, with the assistance of the Visitor, provide
the living models. He shall have, jointly with the Secretary,
the direction of all the Servants of the Academy. He shall have
a convenient apartment allotted him in the Boyal Academy,
where he shall constantly reside ; and he shall continue in office
during the Queen's pleasure.
4. Treasurer. — There shall be a Treasurer of the Royal
Academy, who shall be appointed by Her Majesty from
amongst the Academicians. His business shall l)e to receive the
rents and profits of the Academy, to pay its expenses, to report
to the Council the necessary repairs and alterations, and
examine all bills. He shall be summoned to all meetings of
the Council by right of his office, and have the liberty of giving
his opinion in all debates ; but shall have no vote, except he is
of the Council for the time being. He shall once in every
quarter lay a fair state of his Accounts before the Auditors and
Council ; and when they have passed examination, he shall lay
them before the Keeper of Her Majesty's Privy Purse, to be
by him finally audited, and the deficiency (if there should be
any) paid.
424 mSTORY OF THE ROYAL ACADEMY.
5. All sums of money which shall hereafter be received by
the Treasurer on account of the Royal Academy, shall be imme-
diately paid by him into the hands of a Banker appointed
by the Council.
6. In the month of January in every year, the Treasurer
shall deliver in an account of the whole receipts and disburse-
menta of the foregoing year, fairly written, and arranged under
distinct heads.
When the quarterly bills, with their abstract, and the annual
account, have passed the Council, the General Book of Accounts,
with the original bills, vouchers, and receipts after payment^
shall be kept in the Academy, in the custody of the Secretary,
and shall on no account be removed from the Academy.
7. The Treasurer shall not be at liberty to dispose of any
money remaining in his hands without the order and direction
of the Council.
8. Auditors. — There shall be three Auditors of the Accounts
of the Royal Academy, of whom two shall form a quorum, who
shall be chosen by ballot from amongst the Academicians.
9. They shall examine the Treasurer's quarterly and annual
accounts ; they shall report upon and certify the same to the
Council ; they shall inspect the Banker's book, and specify the
balance of cash remaining in the Treasurer's hand at the time of
passing his Account. And the Auditors' report upon the annual
Account shall be laid by the Council before the General Assem-
bly, in the month of January every year.
10. In the event of the demise or resignation of any of the
Auditors, it shall be in the power of the Council to appoint one
of their own body to oflSciate for the remainder of the year.
11. Librarian. — There shall be a Librarian of the Royal
Academy, who shall be appointed by Her Majesty from
amongst the Academicians. His business shall be to attend the
Library from ten in the morning till four in the afternoon, every
Monday, and from five till eight in the evenings of Monday,
Tuesday, and Thursday, when the Academy is open, to pre-
serve order, and to see that no damage be done to the books, &c.
APPENDIX VI. 425
He shall assist the Inspectors in reviewing the Library.
He shall continue in office during the Queen's pleasure.
12. There shall be a Begistrar of the Boyal Academy. His
duties shall be as defined in the B^^lations (see pp. 433, 434) and
to assist the Secretary in carrying out the orders of the Council.
13. Pbofessors. — The Professorships of the Royal Academy
shall be limited to a period of five years, the Professors being
eligible for re-election.
14. Painting. — There shall be a Professor of Painting, who
shall read annually Six Lectures in the Boyal Academy, cal-
culated to instruct the Students in the principles of Com-
position; to form their taste of Design and Colouring; to
strengthen their judgment ; to point out to them the beauties
and imperfections of celebrated Works of Art, and the particu-
lar excellences and defects of great Masters; and finally, to
lead them into the readiest and most efficacious paths of study.
15. Sculpture. — There shall be a Professor of Sculpture,
who shall read annually Six Lectures, explanatory of the
principles of Style and Form in that Art, and its peculiarities of
Composition.
16. Architecture. — There shall be a Professor of Archi-
tecture, who shall read annually Six public Lectures in the
Royal Academy, calculated to form the taste of the Students ;
to instruct them in the laws and principles of Composition;
to point out to them the beauties or faults of celebrated pro-
ductions ; to fit them for an unprejudiced study of books on the
Art, and for a critical examination of Structures.
17. Perspective, — There shall be a Professor of Perspective
and Geometry, who shall give annually a Course of Instruction in
the Boyal Academy, in which the most useful propositions of
Geometry, together with the principles of lineal and aerial
Perspective, shall be fully and clearly taught.
18. All these Professors shall be elected from among the
Academicians, and shall continue in office during the Queen's
pleasure.
426 inSTORY OF THE ROYAL ACADEMY
19. Anatomy. — There shall be a Professor of Anatomy, who
shall be elected from among the most eminent men in that
branch of Science. He shall read annually Six public Lectures
in the Royal Academy, adapted to the Arts of Design ; and shall
continue in office during the Queen's pleasure.
20. Lectures. — The Lectures in the Royal Academy shall
annually be delivered in the following order, viz. : —
The Lectures on Anatomy, to commence on the Second
Monday in November, and to be continued on each succeeding
Monday till concluded.
The Course of Instruction in Perspective^ to commence early
in November; the Lectures on Architecture^ on the First
Thursday in January, and to be continued on the five succeed-
ing Thursdays.
On the conclusion of these, the Lectures on Sculpture to
commence on the following Monday, and to be continued on the
five succeeding Mondays ; and the Lectures on Painting, on the
following Thursday, and to be continued on the five succeeding
Thursdays.
21. No comments or criticisms on the opinions or productions
of living Artists in this country, shall be introduced into any of
the Lectures delivered in the Royal Academy.
22. Every Professor shall be allowed two years after his
election to prepare his Lectures ; but if he fail to deliver his
whole course within the third year, or if he subsequently omit
to deliver them for three years, he shall be deemed to have
resigned his Office, and it shall immediately be declared vacant.
23. Visitors. — There shall be elected annually from amongst
the Academicians, nine persons, who shall be called Visitors of
the Life Academy. They shall be Painters of History, able
Sculptors, or other persons properly qualified; their business
shall be to attend, one month each, by rotation, to set the
Figures, to examine and correct the performances of the
Students, and give them their advice and instruction.
24. The Visitor for the time being shall be considered as
Master of the Living Academy. Neither the Keeper, nor
APPENDIX VI. 427
any other Academician^ shall enter the Boom whilst the
Visitor is setting the Model; nor shall they give any In-
structions or Orders whatsoever whilst the Visitor is present ;
nor shall the Keeper^ nor any other Academician^ except
the President^ introduce any friend, without first asking leave
of the Visitor.
25. There shall be elected annually from amongst the
Academicians^ nine persons, who shall be called Visitors of the
School of Painting. They shall be Painters or other persons
properly qualified : their business shall be to attend, one month
each, by rotation, twice a week, for two hours each time, to set
the draped Model, to superintend the progress of the Students,
and afford them such instruction as may be necessary.
26. The Visitors shall draw lots for the days of their
attendance ; which Begulation shall be put up in the Academy :
they shall attend each time at least two hours.
27. At every annual election of. Visitors, five one year, and
four another, alternately, of the old Visitors, shall go out by
rotation, but shall be eligible for re-election.
SECTION IV. — HOUSEHOLD ESTABLISHMENT.
The Household Establishment of the Royal Academy consists
of a Housekeeper, Two Porters, and an Assistant Porter.
SECTION v.— ELECTIONS OF MEMBERS.
1. AcADEMtcuKS. — All Vacancies of Academicians shall be
filled up by Election from amongst the Associates.
2. All Vacancies of Academicians shall be filled up within a
period of not less than three months, to be regulated by
CounciL No Election being allowed to take place between the
Ist of August and the 1st of November in each year.
428 inSTORY OF TIIE ROYAL ACADEMY
When the General Assembly shall determine to fill any
Vacancy or Vacancies in the class of Academician-Engravei*s^
the Election may take place at the end of three months from
the date of such decision ; but no Election shall take place
during the months of August, September, and October.
The Secretary shall give one month's notice of the Election
to each of the Academicians, in writing, enclosing a list of the
Associates ; but the omission of this, by neglect or otherwise^
shall not impede the Election.
3. When more than one Vacancy of an Academician or
an Associate is to be filled up, separate ballots shall be taken
for each, and the Vacancies filled up as they appear on the
List.
4. On the day of Election, each Academician shall deliver his
marked List to the President ; which List shall be scrutinized,
and the two Associates who are found to have the greatest
number of sufirages, shall be balloted for ; and he who has the
majority, shall be deemed duly elected.
5. No Academician-Elect shall receive his Diploma until he
hath deposited in the Royal Academy (to remain there) a
Picture, Bas-relief, or other specimen of his abilities, approved
of by the then sitting Council of the Academy ; which Picture,
Bas-relief, or other specimen of his abilities, shall be presented
for the consideration of the Council, within a period of six
months after his Election ; in failure of which, his Election shall
become void, unless such an apology be made by l^pi for the
omission, as shall or may be deemed suflScient by the Council.
On the deposit of such Diploma Work, the Vacancy in the list of
Associates shall be declared ; but no proceedings to fill up such
Vacancy shall take place until the Diploma of the Royal
Academician-Elect shall have received the signature of the
Queen.
Every Engraver, on being elected an Academician, shall
deposit in the Academy a proof impression of one of his works,
subject to the approval of Council. He shall also be required
to present to the Academy, a proof impression of each of his
works executed subsequently to his Election as an Academician-
Engraver.
APPENDIX VI. 429
6. Associates. — The Associates shall be elected from among
the Exhibitors in the Annual Exhibition ; they shall be Artists
by profession, that is to say, Painters, Sculptors, Architects, or
Engravers ; at least twenty-four years of age, and not Appren-
tices.
7. Candidates for the degree of Associate, being Exhibitors
in the current Exhibition, or in that of the year immediately
preceding, shall sign their Names on a Paper left for that pur-
pose in the Academy during the month of May in each year ;
which List shall be immediately printed, and sent to each of
the Academicians. No Engraver shall be a candidate for the
rank of Associate, who shall not have exhibited in the Eoyal
Academy, a specimen of his Engraving, which has not been
elsewhere publicly exhibited. But if an Engraver, being a
Candidate for the rank of Associate, shall not be prepared at the
time of Exhibition with an Engraving which has not been else-
where publicly exhibited, he may submit to the Council during
the month of May, specimens which have already been publicly
exhibited ; and he shall comply with all other conditions re-
quired from Candidates for the rank of Associates.
8. A General Assembly shall be held before the Works
exhibited are removed from the Academy, for the purpose of
examining the performances of Candidates for the degree of
Associate, and of recommending what number of the Vacancies
shall be filled at the next Election.
9. A Vapancy occurring in the List of Associates by resigna-
tion or death, may be filled up within a period of not less than
three months after such resignation or death ; but no Election
of an Associate shall take place in the months of August, Sep-
tember, or October.
10. The Vacancies of Associai^^ occurring before the Ist of
August, shall be filled up in the month of January following,
and their Elections conducted in the same manner as those of
Academicians.
11. If at any Election of an Academician or Associate, there
shall appear three or more Candidates who have an equal number
430 HISTORY OF THE ROYAL ACADEMY
of suflRrages, a ballot shall be taken of the Members present^
to reduce them to two, previous to the second ballot.
12. No Election of an Associate, or Associate-Engraver, shall
be deemed valid, until, in the presence of the Council, he has
signed the Instrument of Institution, and has received his
Diploma, signed by the President and Secretary.
13. Whoever shall be elected an Associate, or Associate-
Engraver, and shall not take up his Diploma within one year
from his Election, will be considered as declining to become a
Member of the Academy, unless such an apology be made for
the omission as shall be deemed sufficient by the Council.
14. The Election of Officers shall annually take place on the
5th, and be declared on the 10th of December, being the Anni-
versary of the Institution of the Royal Academy; but the
Members elected shall not enter into their several Offices till the
Ist day of January following.
15. All Elections of Members, or others, shall be by ballot of
the Members present, and shall be decided by the majority,
16. All Elections of Academicians and Officers must have the
sanction of Heb Majesty's approval.
SECTION VI. — FUNDS.
1. The Funds of the Royal Academy arise from the profits of
an Annual Exhibition of Works of Art, and from Money vested
in the Public Funds.
2. The Council shall direct all purchases of Stock Funds.
3. Trustees. — All Monies which have been, or may hereafter
be, laid out in the purchase of Stock in the Public Funds, shall
be vested in the names of Four Trustees, who shall be the
President, the Secretary, and Treasurer, for the time being, and
any other Member of the Royal Academy, to be chosen by the
APPENDIX VI. 431
Council ; and the Council shall direct the Treasurer, or any other
Trustee, to receive the Dividends as they become due. The Four
Trustees shall accept all Stock purchased by order of Council.
4. The Four Trustees above mentioned shall execute a Declara^
tion of Trust, to be deposited in the Eoyal Academy, setting forth
that the several sums standing in their joint names in the books
at the Bank of England, are not their own property, but the
property of the Members of the Royal Academy, and that their
names are made use of as Trustees only.
5. Whenever a Successor shall be appointed to fill up any
Vacancy occasioned by the death of one of the Trustees above
mentioned, they shall immediately after such appointment apply
to the Executors of the deceased Trustee, for a copy of the
Probate of his Will, or any other authentic instrument necessary
to prove his death at the Bank of England, that the name of the
deceased may be removed from the books, and the name of the
new Trustee inserted in its place : a new Declaration of Trust,
as before described, must then be executed by all the parties, if
necessary.
6. Salabies, Beuunebations, and Fines. — The Secretary's
Salary shall be £250, and an allowance of £150 per annum in
lieu of the advantages of residing in the Academy, till other
accommodation can be provided for him.
7. The Keeper's Salary shall be £200, with the apartments and
advantages allowed to that ofiice.
8. The Treasurer's Salary shall be £100.
9. The Librarian's Salary shall be £120, subject to a fine of
One Guinea for not attending on any of the days prescribed, and
neglecting to appoint an Academician to officiate for him.
10. The Professors of Painting, Sculpture, Architecture, and
Anatomy, shall each receive, for Six Lectures, £60.
11. The Registrar's Salary shall be £200, and an apartment
shall be provided for him.
432 mSTORY OF THE ROYAL ACADEMY
12. The Council, at each meeting, shall receive Four Pouncfe
Ten shillings, to be equally divideti among the Members attend-
ing; in which division the Secretary shall not be included.
Every Member shall be punctual to the hour of appointment,
under the penalty of a fine, at the option of the Council.
13. General Assembly. — Every Academician who attends at
a General Assembly, shall receive Ten Shillings.
14. Arranging Committee. — Each Member of the Committee
for arranging the Works of Art intended for the Exhibition^
shall be paid Two Guineas for each day of his attendance.
15. Visitors. — The Visitor shall receive One Guinea for each
time of attending, and shall be subject to a fine of One Guinea
whenever he neglects to attend, unless he appoint a Proxy from
among the Visitors for the time being ; in which case the said
Proxy shall be entitled to the reward.
16. Servants. — The Housekeeper's Salary, for herself and
Assistants, shall be £100 per annum.
17. The two Porters shall each receive £60 per annum.
18. The Assistant Porter shall receive £50 per annum.
Accounts. — A Meeting of the Council shall be held on or
before the 20th day of January, and within the first month of
each succeeding Quarter, when the Secretary shall lay before that
body, for their consideration and sanction, all such bills for the
expenses of the Institution as may have been furnished up to the
period of the previous Quarter Day. No bills shall be considered
or sanctioned by the Council at any other time.
This latter clause, however, shall not apply to any case in
which the Council may think proper to refer the consideration
of a biU, for reasons assigned on the book of the Council.
No Member of the Royal Academy, nor any other person con-
nected with the Establishment, shall be authorised to issue any
orders relating to its expenditure, except the Coimcil, and, under
the authority of the Council, the Officers of the Academy, namely,
the Keeper, the Secretary, the Treasurer, the Librarian; each of
APPENDIX VI. 433
whom shall be empowered to give such orders, in his own de-
partment, as may be necessary for the routine expenses of
the establishment. Orders relating to the expenditure of the
Academy, issued by the Council, and which shall not be addressed
to one of the OflScers of the Institution, or considered to be
peculiarly within his department, shall be signed by the President,
or his Deputy, and the Secretary.
No bills for expenses in any of the departments of the
Institution shall be presented to the Council, without the
signature of the Officer in whose department such expense
has been incurred, and no other signature shall be attached
to them.
All orders relative to the expenditure of the Academy, issued
by the Council, or by the Officers in their several departments,
shall be carried into effect according to the regulations annexed
to the present Law.
The Secretary shall read this Law to the Council when about
to present any bills for the consideration of that body.
Regulations referred to in the foregoing Law : -■-
1. A Book, called an Order Book, shall be kept in the Academy
by the Registrar, in which all Orders relative to matters of ex-
penditure, signifying the dates and signatures attached to them,
shall be regularly inserted, with the signature of the Begistrar
opposite to the order in question. Every Order of expenditure,
issued by the Council or the Officers of the Academy, shall be
delivered to the Registrar to be by him entered in the Order
Book, which entry he shall signify on the face of the Order by
the word ' Entered,' and his signature, before it is delivered
for execution.
2. A Book shall also be kept by the Registrar, to be called the Bill
and Petty Cash Book, in which shall be regularly entered a
notice of all bills furnished on account of the Royal Academy,
the date when received, the amount, and from whom. On the
opposite leaf of the said book, shall be entered an account of
all Household expenses, however small, to whom paid, and for
what; such expenses to be summed up by the Registrar, monthly
and quarterly, for the inspection of the Officers of the Aca-
demy, and the Council, when required.
VOL. II. F P
4;34 HISTORY OF THE ROYAL ACADEMY
3. For objects of small expense in the Household department,
which shall not exceed the sum of £1, the House-
keeper shall be authorised by the Secretary or Keeper to
provide. She shall furnish, weekly, a regular account, with
the vouchers, to the Registrar, of these expenses, to be by him
preserved, and the amount entered into the above-mentioned
book.
4. The Secretary shall conduct and superintend the expenses
incurred for the refreshment provided for the Committee
appointed to arrange the Annual Exhibition, such expenses
being limited to a sum not exceeding £100.
5. In the absence of any one of the before-mentioned OflScers of
the Institution, from illness or other causes, he shall be
authorised to depute one of the other three to issue such
orders in his name as may be necessary for carrying on the
routine business of the establishment, according to the follow-
ing form — *For Keeper.
Secretary.'
6. Should any diflference of opinion arise among the Officers of
the Academy, as to the department from which a particular
order shall be issued, the Secretary shall be empowered to
sign the order in question, pro tempore] and he shall
lay a copy of such order before the Council, at the next
meeting of that body, in order that their decision may be
had as to the department to which it shall be subsequently
referred.
Pensions. — 1. To an Academician, a Pension not exceeding
£105 per annum, provided the sum given does not make hia
annual income exceed £200.
2. To an Associate, a Pension not exceeding £75 per annum,
provided the sum given does not make his annual income ex-
ceed £160.
3. To a Widow of an Academician, a Pension not exceeding
£75 per annum, provided the sum given does not make her
annual income exceed £160.
APPENDIX VI. 435
4. To a Widow of an Associate^ a Pension not exceeding £45
per annum^ provided the sum given does not make her annual
income exceed 1002.
5. Every Academician, Associate, Widow of an Academician,
and Widow of an Associate, who is a claimant for a Pension
from the Royal Academy, shall produce such proofs as the Pre-
sident and Council may require, of their situation and circum-
stances ; and in this examination, the President and Council
shall consider themselves as scrupulously bound to investigate
each claim, and to make proper discriminations between im-
prudent conduct and the unavoidable {idlure of professional
employment, in the Members of the Society ; and also to satisfy
themselves in respect to the moral conduct of their Widows.
6. Any Academician, or Associate, who shall omit exhibiting
in the Royal Academy for two successive years, -shall have no
claim on the Pension Fund, under any of the regulations above
mentioned, unless he can give satisfactory proof to the President
and Council, that such omission was occasioned by illness, or
any other cause which they shall think a reasonable excuse.
This limitation not to extend to Sculptors, who are to be allowed
three years, nor to Academicians or Associates who have attained
the age of sixty. Any Academician or Associate who shall omit
exhibiting at the Royal Academy for five successive years,
unless from superannuation or illness, shall cease to be a Member
of the Royal Academy.
7. These Pensions shall not preclude any Academician, As-
sociate, or their Widows, in cases of particular distress, arising
from young Children, or other causes, from receiving such
temporary relief as may appear to the Council to be necessary
or proper to be granted. But it is to be strictly understood,
that the Pension Fund shall, on no account, be considered as
liable to claims to relieve such difficulties. All sums paid, on
account of claims of such a nature, shall be carried to the current
expenses of the year.
F P 2
430 inSTORY OF THE ROYAL ACADEMY
SECTION VIL— PRIVILEGES AND RESTRICTIONS.
1. Every Academician and Associate shall have free ingress
at all seasonable times of the day, upon application made to the
Librarian or Keeper, to consult the Books, and to make Sketches
from them : but no Book shall be suflfered to be taken out of
the Library, under any pretence, by any Officer, Member, or
other person whatever, without a particular permission from the
Council.
2. All Academicians of Foreign Academies of Painting,
Sculpture, and Architecture, shall be allowed free admittance
to the Schools, the Library, and the Lectures ; and the Presi-
dent is empowered to grant a Ticket of general admittance for
that purpose.
Donations. — 1. No sum exceeding 50i. sterling, shall be
granted by the Council within the term of one year, in aid to
any Royal Academician, Associate, or other person whatever,
without the ratification of the General Assembly, convened
expressly for that purpose, and the sanction of the Queen.
2. Every Academician shall have the privilege of recommend-
ing proper objects (being Artists, their Widows, or Children),
for the Annual Charitable Donations, by printed form, certified
by two signatures, one of which must be that of a Boyal Acade-
mician, addressed to the President and Council.
3. All applications for pecuniary assistance shall be made
according to the printed form, which may be obtained from the
Kegistrar, by Members, or by letter from a Member.
4. No Petitions can be entertained unless from Petitioners
who are, or have been. Exhibitors, their Widows, or Children.
5. Applications for relief shall be taken into consideration
twice only in every year, made according to the printed form ;
and which must be transmitted to the Secretary on or before the
first day of February, or on or before the first day of August ;
and relief shall be aflforded once only within twelve months to
the same applicant.
APPENDIX VL 437
SECTION VIIL— EXHIBITION.
1. There shall be an Annual Exhibition of Paintings, Sculp-
tures, Engravings, and Designs, in which all Artists of distin-
guished merit shall be permitted to exhibit their works ; it shall
continue open to the public six weeks, or longer, at the dis-
cretion of the Council, and be under the regulations expressed
in the bye-laws of the Society.
2. No Copy, with the exception of Paintings in Enamel, and
Engravings which have not been elsewhere publicly exhibited,
shall be admitted into the Exhibition.
3. No Needle-work, Artificial Flowers, Cut Paper, Shell-work,
Models in coloured Wax, or any such performances, nor any
Work of Art which has been publicly exhibited elsewhere for
emolument, shall be admitted into the Exhibition of the Boyal
Academy.
4. No Picture shall be received without a Grilt Frame.
5. No Work intended for Exhibition shaU be received after
the time limited for the reception is expired.
6. Members to number their Works sent for Exhibition in the
order of preference in which they may regard them, and such
order to be observed by the Arranging Committee so far as a
due regard to the general arrangement may admit.
7. As soon as the time limited for sending to the Royal
Academy the Works of Art ofiFered for Exhibition is expired,
the Council shall attend immediately to receive or reject the
same, which they have full power and authority to do.
8. The arrangement or disposition of the Paintings, Sculp-
tures, Models, Designs in Architecture, &c, for public view,
shall be entirely left to the Council, or to a Committee ap-
pointed by them.
9. No Picture shall be so placed in the Exhibition as to
break the line in any of the Booms, except the West Room.
438 mSTORY OF TIIE ROYAL ACADEMY
10. The Works of deceased Members are eligible for Exhi-
bition within one year only after decease.
11. No application for changing the situation of any Work of
Art, after the Committee have finished the arrangements and the
Members are admitted to view the Exhibition, can be attended
to or permitted.
12. If, in consequence of accident, or from an unforeseen
circumstance, any Member shall deem it necessary to retouch a
Picture sent for Exhibition, he shall be at liberty to make
application to the Council for permission to retouch his Work
accordingly, for a space of time not exceeding one day. The
decision of the Council respecting such application to be final,
and on no consideration shall any Picture be removed from
its place.
13. No person can be admitted into the Rooms before the
Exhibition opens, the Council and necessary Servants excepted.
14. No Member of Council shall communicate with any
Member of the Academy or other Artists on the situation of
their Works, during the time of arrangement for Exhibition,
without the consent of a majority of the Council.
15. Works sent for Exhibition being a trust reposed in the
Royal Academy, no permission to copy them during the term of
the Exhibition shall on any account be granted.
16. Exhibitors shall have free admittance to the Ex-
hibition.
SECTION IX. — ANNUAL DINNER.
1. There shall be an Annual Dinner in the Great Room of
the Academy, previous to the opening of the Exhibition ; the
invitations to which shall be issued by the President and
Council.
2. The guests shall consist exclusively of persons in elevated
APPENDIX VI. 439
situations, of high rank, distinguished talents, or known Patrons
of the Arts.
3. The President and Council shall not issue more than one
hundred and forty cards of invitation to the Annual Dinner in
the Exhibition Boom, exclusive of those sent to the Members of
the Academy and the musicians.
4. No subsequent invitations, to supply the vacancies occa-
sioned by those who send excuses, shdl on any pretext be
allowed, with the exception of such vacancies as may be
occasioned by Foreign Ministers, when, in the event of all or
any declining, other guests may be invited.
5. No guest shall be invited to the Annual Dinner, unless
he be proposed by a Member of the Council for the time
being.
6. The Member of the Council who proposes any person for
an invitation to tlie Annual Dinner, must give in the name in
writing, signed by his own name ; which proposition shall be in-
serted in the Book of the Council, for the examination of the
Members.
7. No proposition for an invitation shall pass in the Council
unless by ballot of the Members present. Two black balls
to exclude.
8. In determining the invitations to the Annual Dinner, when
the list of the former year is read, any name therein shall be
put to the ballot, at the desire of an individual Member of
Coimcil, and two black balls shall exclude, as in the case of
names newly proposed.
9. A copy of the above Resolutions and Regulations shall be
laid upon the table of the Coimcil by the Secretary, at the
time of determining the invitations for the Annual Dinner.
440 HISTORY OF THE ROYAL ACADEMY
LAWS EELATING TO
THE SCHOOLS, THE LIBRARY, AND THE STUDENTS.
The Schools of the Royal Academy are intended to provide
means of instruction for Students of Painting, Sculpture, Archi-
tecture, and Engraving.
SECTION I. — ADMISSION OF PROBATIONERS AND
STUDENTS.
1. It is required that applicants for admission should have
already attained such a proficiency as will enable them to Draw
or Model well. An acquaintance with Anatomy (comprehending
a knowledge of the skeleton, and the names, origins, insertions,
and uses of, at least, the external layer of muscles) is indis-
pensable for those who are to pursue the branches of Painting,
Sculpture, and Engraving.
2. A Painter is required to produce, as a specimen of ability,
a finished Drawing in Chalk, about two feet high, of an Un-
draped Antique Statue ; or, if of the Theseus or of the Ilyssus
(the only mutilated figures admissible), it must be accompanied
by Drawings of a Head, Hand, and Foot. Similar specimens
will be required from Engravers.
3. A Sculptor must send a Model, either in the round or in
relief, about two feet high, of an Undraped Antique Statue,
accompanied by a Drawing in outline of a similar figure.
4. Prior to the delivery of the specimens referred to, the
applicant must obtain from the Registrar, through the written
request of any Member of the Academy, or other Artist or
person of known respectability, a printed form, the blanks of
which must be filled up and delivered, with the Drawings or
Model, at the Royal Academy, on or before the 28th of June or
the 28th of December, to be submitted to the first Council
held in July or January. If approved of, the applicant will
APPENDIX VI. 441
be entitled to admission as a Probationer^ and three months
are allowed in which to prepare within the Academy a set
of Drawings or a Model and Drawings. The time of attend-
ance to be from ten o'clock in the morning until three in the
afternoon*
5. A Painter or Engraver will be required, during his pro-
bation, to make a finished Drawing in Chalky not less than two
feet high, from an Undraped Antique Statue, together with an
outline Drawing or Drawings of the same figure anatomised,
showing the bones and muscles, in one or two Drawings, with
references to the several muscles, tendons, and bones contained
therein.
6. A Sculptor will be required, during his probation, to pro-
duce a Model, in the round or in high relief, not less than
two feet high, from a similar figure, together with an outline
Drawing or Drawings of the same figure anatomised, showing the
bones and muscles, in one or two Drawings, with references to
the several muscles, tendons, and bones contained therein.
7. These Drawings and Models will be submitted to the
Council, together with the Drawings or Models originally pre-
sented by the Applicant for admission as a Probationer.
Should they be considered satisfactory by the Council, the
Probationer will then be admitted as a Student of the Eoyal
Academy for seven years, and receive a Ticket of admission
from the Keeper.
8. Each Candidate to be a Student in Architecture shall
present to the Council a Certificate either from an Architect
Member of the Royal Academy, from the iRoyal Institute of
British Architects, the Grovemment Department of Art, King's
College, London, the University College, or other public Insti-
tution for teaching Art and Science, certifying that the applicant
has followed up the study of Architecture and Architectural
Drawing, and has acquired a reasonable degree of proficiency
in the same. The applicant shall further submit to the Council
such Drawings (not necessarily made for the occasion) as he
may think suitable to show the extent of his proficiency : such
Drawings being declared by him in writing to have been
executed wholly by him, and the same being attested by the
442 HISTORY OF THE ROYAL ACADEMY
persons recommending him, to the best oiF their knowledge and
belief. If such Certificates and Drawings are approved by the
Council, the Candidate shall be required to make, in the Royal
Academy, under the inspection of the Keeper, such Drawings or
Designs as may be required — the subjects to be determined by
the Council — and for preparing which twelve consecutive days
will be allowed ; which Drawings, together with the Certificate
before referred to, shall be laid before the Council, and, if
approved, the Candidate will be admitted as Student for seven
years, in like manner as other Students.
9. Those who have been unsuccessful in their first endeavours,
can renew their application at any subsequent period, by again
going through the prescribed forms.
10. If any Candidate shall be found endeavouring to impose
on the Academy by presenting, as specimens of his talents.
Drawings or Models not of his own performance, he shall be
declared incapable of being admitted a Student of the Royal
Academy.
11. All instruction in the Academy is gratuitous, the Student
providing his own materials.
SECTION II — SCHOOLS.
The Schools for the Study of the Human Form consist of
two departments, termed respectively the Antique School and
the School of the Living Model ; the former appropriated to the
study of the best remains of Ancient Sculpture, and the latter
to the study of Living Models either nude or draped.
THE ANTIQUE SCHOOL.
1. A sufficient number of Examples shall be placed before
the Students of the Antique School, occasionally changed and
varied as the Keeper shall direct.
2. No Student shall presume to move the Figures from the
situations in which they have been placed.
APPENDIX VI. 443
3. When any Student has taken possession of a place, or
view of a Figure^ he shall retain a right to that place until his
Drawing is finished: unless he should neglect to attend two
consecutive evenings, in which case such right shall be forfeited.
4. When any Student, being a Painter in the Antique School,
shall desire to be admitted to that of the Living Model, nude or
draped, and the School of Painting, he shall procure a Certificate
of attendance during one entire Course of Lessons in the Class of
Perspective, and of attendance, either as a Probationer or as
Student, at one entire Course of Lectures, and he shall deliver
to the Keeper a finished Drawing of a Statue or Group, accom-
panied by finished Drawings as large as nature of a Hand and
Foot. He shall also be required by the Keeper to make a
Drawing in twelve consecutive sittings of two hours each from a
Statue especially placed for that purpose, which, if approved by
the Keeper, shall, together with the before-mentioned Drawings
and Certificates, be submitted to the Council ; and if, from the
specimens produced, the Student shall be thought duly quali-
fied, he shall be admitted to the School of the Living Model
accordingly.
5. The same conditions are to be observed in the case of
Students of Engraving in the Antique School, who are desirouer
of being admitted to the School of the Living Model and the
School of Painting.
6. When any Student in Sculpture in the Antique School
shall desire to be admitted to that of the Living Model, he shall
procure a Certificate of attendance during one entire Course of
Lessons in the Class of Perspective, and of attendance either as
Probationer or as Student at one entire Course of Lectures;
and he shall deliver to the Keeper a Model in the round of a
Statue or Group, accompanied by finished Drawings as large as
nature of a Hand and Foot. He shall also be required to pro-
duce a Model in the round or relief in twelve consecutive
sittings of two hours each, from a Statue specially placed for
that purpose, which, if approved by the Keeper, shall, together
with the before-mentioned Certificates, Model, and Drawings, be
submitted to the Council ; and if, from the specimens produced,
the Student shall be thought duly qualified, he shall be
admitted to the School of the Living Model accordingly.
444 lUSTORY OF THE ROYAL ACADEMY
When any Student in Architecture is desirous of studying in
the Antique School, he shall submit to the Council a Drawing
from an Antique Statue, as is required of Painters, such
Drawing having been made by him within the Academy under
the superintendence of the Keeper. Should the Drawing be
approved by the Council, he will be admitted to the Antique
School as other Students.
SCHOOL OF THE LIVING MODEL.
7. The Model shall be set by the Visitor, and continue in
the same attitude two hours, exclusive of the time required for
resting : and each Model shall sit six or more nights, at the
discretion of the Visitor.
8. While the Model is being placed, if the Visitor require it,
the Students shall draw lots for their places, of which they
shall take possession when the Model is ready.
9. The Students shall remain quiet in their places during the
time the Model is sitting ; and no Student shall be permitted to
remain either in the Living Model or Antique School, unless he
be employed in his immediate business as a Student of the
Academy.
10. None but Members of the Academy, or Students of the
School of the Living Model, shall be admitted when the Female
Model is sitting ; nor shall any Student under twenty years of
age (unless he be married) be allowed to study from that
ModeL
11. Any Student who may be desirous of painting from the
Nude Model shall submit to the Council a finished Drawing
from the Male Model, which Drawing, if approved, shall admit
such Student to that privilege. Students not admitted to paint
from the Nude Model, to be restricted to the use of black, whit«
and red Chalks.
12. For the especial study of the Head and Hands, a Model
will be placed three days in each week, from which Students of
the School of the Living Model will be allowed to draw.
APPENDIX VI. 446
13. Students who may be desirous of painting from such
Model will be required to submit to the Council a finished Draw-
ing in chalk of a Head and Hand, the size of life, from nature,
which Drawing, if approved, shall admit such Student to that
privilege.
THE SCHOOL OF PAINTING.
This School is intended to provide facilities for the more
special study and practice of the art of Painting.
14. Students of the School of the Living Model being
Painters or Engravers have the privilege of studying in this
School.
15. Students in the Antique School may, by permission of
the Keeper, submit to the Council a finished Drawing from a
Statue or Group, accompained by a painting in Monochrome
from a Head the size of nature, done in the Antique School,
which, if approved of, shall entitle such Students to admission to
the Painting School, to copy pictures by the Old Masters, or to
such other mode of study as the Visitor shall direct, advice being
given when necessary by the Curator with the sanction of the
Visitor. Such Student to be admitted to that School for three
months, during which he must prepare a specimen of his Paint-
ing, to be submitted for approval to the Council.
1 6. Students in Sculpture will have opportunities of Modelling
and Drawing together, with Students in Painting, and, as far as
the space at the disposal of the Academy permits, in other
rooms, and from such other objects as the Visitor shall consider
desirable.
TIMES OF STUDY.
17. The Antique and the School of the Living Model shall
be open every day (excepting on Sundays and the times of
vacation) ; the Antique from ten o'clock in the morning until
three in the afternoon; in the evening from five o'clock to
seven in the summer, and from five to eight in the winter. The
School of the Living Model from five o'clock to seven in the
summer, and from six to eight in the winter. The Painting
School from ten o'clock in the morning until four in the
afternoon.
446 HISTORY OF THE ROYAL ACADEMY
SECTION III. — LIBRARY.
1. The Library shall be open every Monday (except during
the Vacations) from ten o'clock in the morning until four in the
afternoon; and on Monday, Tuesday, and Thursday evenings
from five o'clock to eight, winter and summer.
2. No person shall be permitted to trace any Pictures, Draw-
ings, or Prints ; nor shall bread be used ; nor any materials for
drawing, except black-lead pencil.
3. No person shall take down any Book without giving
notice of it to the Librarian, nor shall he be allowed to take
down more than two books at a time : when he has done with
them, he shall return them to their places under the Librarian's
inspection.
SECTION IV. — PREMimiS.
BIENNIAL DISTRIBUTION.
1. A Premium of the Gold Medal, with the Discourses of
Sir Joshua Reynolds and other Books, shall be given for the
best Historical Picture in Oil Colours, being an original com-
position, consisting of not less than three figures : the principal
figure to be not less than two feet high, and the size of the
Picture four feet two inches by three feet four inches.
2. A Premium of the Gold Medal, with the Discourses of
Sir Joshua Eeynolds and other Books, shall be given for the
best Model of a Historical Baa-relief, or Alto-relief, to con-
sist of two or more Figures, or for a Group in the Round ; the
height of the principal Figure in each to be not less than three
feet, the projection of the Bas-relief not to exceed two inches,
and that of the Alto-relief not to exceed five inches.
3. A Premium of the Gold Medal, with the Discourses of
Sir Joshua Rejmolds and other Books, shall be given for the
best-finished Design in Architecture. The Design to be as
APPENDIX VI. 447
large as an entire sheet of double elephant will admit, and to
consist of one or more plans, an elevation, section, and per-
spective view.
4. A Scholarship, to the amount of £25, may be added by
the Greneral Assembly to the Biennial Grold Medal, in each
class, viz. : Historical Painting, Sculpture, and Architecture ;
sxich Scholarship may be granted by the General Assembly for
one year, and may be renewed by the Council for a second year,
the Academy reserving to itself the power to withhold, in the
first instance, such Scholarship when the work offered in
competition shall not be deemed of sufficient merit.
The Scholarship cannot be held together with the Travelling
Studentship.
5. A Premium of the Gold Medal, called the Turner Gold
Medal, shall be given for the best Landscape in Oil Colours.
Size, four feet two inches by three feet four inches.
6. The subjects for all these compositions shall be determined
by the President and Council.
7. Students purposing to compete for these Premiums must
declare their intention, by letter, to the Keeper, on or before
the 1st day of October ; and the Candidates are to attend on the
14th day of November, in the Royal Academy, to give a proof
of their abilities, by making an original sketch in the presence
of the Keeper, from a subject selected by him.
8. The time allowed for making these sketches shall be five
hours, from ten in the morning till three in the afternoon.
9. The Candidates for the Historical Picture and the Land-
scape are to make their sketches in Oil Colours.
10. No Student shall be admitted a Candidate for the Gold
Medals in Painting and Sculpture who has not duly attended
the Lectures, the Class of Perspective, and the Schools. Nor
shall any Student in Architecture be admitted a Candidate for
the Gold Medal, unless he has attended a Course of Perspective
as well as the Lectures.
448 mSTORY OF THE ROYAL ACADEMY
11. The following Silver Medals shall also be given to the
Students, viz. : —
For the best Painting of a Figure &om the Life in the School of the Liring
Model.
For the best Painting from the Living Draped Model, suse of Life.
For the best Drawings and the best Models, in the round or in baa-relief, of
Academy Figures, done in the School of the Living ModeL
For the best accurately-figured Architectural Drawings, from a given subject, the
measurements to be made by the Students.
For the best Drawings and the best Models, in the round or in bas-relief, of a
Statue or Group in the Antique Academy.
For the best Perspective Drawing in outline.
For the best Drawing exemplifying the principles of Sciography.
For the best Medal Die, cut in Steel.
And a £10 Premium for the best Drawing or Drawings executed in the Antique
or School of the Living Model during the year, which Drawing or Drawings
shall belong to the Academy.
12. The Student who shall gain the first Medal for the best
Drawing or Model from the Life, shall also receive a present of
Books, handsomely bound, with an inscription stating them to
be a Prize conferred by the Royal Academy.
13. The Student who shall gain the first Medal for the best
Architectural Drawing as above described, shall also receive a
present of Books, bound and inscribed.
14. Students who shall gain the first Medal for the best
Drawing .of a Statue or Group, and the first Medal for the best
Model of a Statue or Group, shall also receive a present of
Books, bound and inscribed.
IN THE INTERMEDIATE TEABS.
15. The following Silver Medals shall also be given, viz. :
For the best Painting of a Figure firom the Life, in the
School of the Living Model.
For the best Painting from the Living Draped ModeL
For the best Drawing of an Academy Figure.
For the best Model of an Academy Figure.
For the best Drawing of a Statue or Group.
For the best Model of a Statue or Group.
Done in the
Academy.
APPENDIX VI. 449
For the best accurately-finished Architectural Drawing.
For a Perspective Drawing in outline.
For the best Drawing exemplifying the Principles of Sciography.
For the best Medal Die, to be cut in SteeL
And a £10 Premium for the best Drawing or Drawings executed in the Antique
or School of the Living Model during the year, which Drawing or Drawings
shall belong to the Academy.
16. All the Students who are Candidates for the Premiums
offered in the Schools of the Antique, the School of the Living
Model, and the Living Draped Model, are to enter their names
at the times specified in the Annual Premium List; and the
Drawings, Models, or Paintings done in the Academy shall,
during their progress, and when finished, be left with the Keeper.
Students whose works are executed out of the Academy are to
declare their intention, by letter, to the Keeper.
17. Every production, whether in Painting, Sculpture, or
Architecture, presented for Premiums, and not executed within
the walls of the Academy, shall be properly attested to be the
sole performance of the respective Candidate, by any Member
of the Academy, or other Artist or person of known respecta-
bility; and any Embellishment, either of Figures, Ornaments,
or Landscape, introduced in the Drawings of the Candidates in
Architecture, shall be entirely of their own performance.
18. No Student who has already obtained a Premium shall
again receive a similar Premium in the same Class ; nor shall
any Student receive an inferior Premium in the same Class in
which he had before obtained a superior Premium. No Student
in the Life shall become a Candidate in the Antique Class.
19. The Pictures, Models, and Designs, for all the Premiums,
shall be delivered to the Keeper of the Boyal Academy on the
day specified in the annually printed Premium List.
20. All the Works of Candidates for Premiums shall first be
laid before the President and Council, and not admitted into
the competition without their approval.
21. The Works accepted by the Council shall be arranged for
inspection on November 30, and shall remain in the Academy
until the Prizes are delivered.
VOL. II. • GO
450 HISTORY OF THE ROYAL ACADEMY
ANNUAL DECISION AND DISTRIBUTION OF PBEMIUMS.
22. On December 1, annually^ the General Assembly of
Academicians shall inspect the different performances offered
for Premiums ; and before the Prizes are adjudged^ a decision
shall be taken in each Class successively, to determine whether
or not a Premium shall be given in that Class, and if any, whether
the principal Premium shall be given, and whether more than
one shall be given. The Prizes shall then be adjudged, by
ballot, which shall not be opened or declared until December
10 (the anniversary of the institution of the Royal Academy),
when the Premiums shall be delivered to the successful
Candidates.
23. The Academy reserves to itself the power of withholding
the Premiums and the Scholarships of £25 altogether, when
the Works offered in competition shall not be deemed of suf-
ficient merit.
SECTION V PRIVILEGES OF STUDENTS.
1. Students of the Royal Academy shall have free access (for
the purpose of study) to the Schools to which they have been
regularly admitted, at all the stated hours, during the space of
seven years. They shall also have the privilege of attending
the Lectures of the Professors, the Library, and the Annual
Exhibition. Those only who shall obtain First-Class Silver
Medals, or higher Premiums, shall retain the privileges of a
Student for life ; but although, except in this case, the privileges
of a Student cease at the expiration of seven years, the Council
have the discretionary power of granting an admission to
the Schools, the Library, and Lectures, for one year, to those
who have been formerly Students : which indulgence may from
time to time be renewed, provided the attendance has been re-
gular; but such Annual Students cannot compete for the
Premiums offered by the Academy.
2. The names of those Students who have gained Gold
Medals, or the first Silver Medals, at the Biennial Adjudication,
for Drawings or Models from the Life, or the first Silver Medal
APPENDIX VL 451
for the best Drawing in Architecture, shall be placed in sepai'ate
Itists, in a conspicuous part of the Academy, with a statement
of the particular Prizes they have obtained.
3. The Royal Academy will, in times of peace, enable a
Student from among those who have obtained Gold Medals,
to pursue his studies on the Continent for the term of two years.
He shall be elected from each of the Classes — Painting, Sculp-
ture, and Architecture, in rotation, and shall be allowed the
sum of £60 for his journey and return, and the sum of £100
annually for his expenditure.
4. In particular cases, to be decided by the Council, the
Travelling Studentship in Painting or Sculpture may be ex-
changed for an allowance, to assist the successful Candidate to
prosecute his studies at home. The sum so allowed to be £100,
to be granted for one year, renewable by the Council for a
second year, satisfactory evidence being produced that he has
made good use of the advantages afforded him.
5. A Travelling Studentship for one year, with an allowance
of £100, shall be annually offered to all Students in Architec-
ture, except during the term allotted to the Gold Medal Student
in Architecture. Candidates to be allowed a limited time to
produce, in the Academy, an original design ; the subject to be
selected by the Council.
6. No Student to be allowed to enter this competition unless
he shall have attended a Course of Lectures in Architecture,
and a Course of Lessons in the Class of Perspective.
SECTION VI. — GENERAL REGULATIONS.
Students of the Royal Academy shall implicitly observe the
following Regulations : —
1. Each Student, immediately after his admission, shall
declare his place of residence to the Keeper of the Royal
Academy, and also whenever he removes, so that it may at all
times be known.
o a 2
45? HISTORY OF THE ROYAL ACADEMY
2. When a Student is admitted^ he shall receive an Ivory
Ticket, marked with his name and the date of his admission.
When he attends the Schools, the Lectures, or the Exhibition
he shall produce his Ticket to the Doorkeeper, or to any of the
Officers of the Academy who may require it, to identify him as
a Student
3. Each Student in the Antique shall write his name in the
Book placed in the Hall every time he attends ; and the Students
attending the School of the Living Model, Painting School,
Perspective Class, Library, and Lectures, shall write their
names in books placed in the respective rooms.
4. The Students shall at all times, within the Royal Academy,
behave with that respect which is due to an Institution subsist-
ing under the gracious protection of the Sovereign, and particu-
larly towards those who have the office of instruction, or who
are entrusted with the care and direction of its concerns.
5. At the Public Lectures, Students shall place themselves
only on those seats appropriated to the Class to which they im-
mediately belong, viz., the seats of the Antique School, the
Living Models or those of the Permanent Students. Those
who have obtained Gold Medals, shall be entitled to the first
seats in this Class. Students in Architecture, who have not
been admitted into the School of the Living Model and who
have not gained a Premium, shall be classed with those of the
Antique School.
6. Every Student shall carefully observe silence during the
Lectures, and refrain from giving any public mark of approba-
tion or disapprobation, and shall, on no occasion whatever^ come
within the space allotted to the Members and Visitors.
7. Any Student who shall take away, wantonly or inten-
tionally deface, or otherwise damage, the Casts, Books, or any
other part of the property of the Royal Academy, shall be liable
for the value of the same, or may be expelled from the
Academy.
8. No Student shall introduce any person whatever into the
Schools of the Royal Academy, or any part thereof.
APPENDIX VI. 458
9. No Student, unless he have been regularly admitted into
the School of the Living Model, shall be permitted to enter
that School.
10. Each Travelling Student, on his return, will be required
to submit to the Council a specimen or specimens, showing the
result of his studies while abroad.
11. Before the expiration of the term allowed to any Student
sent abroad by the Academy, notice shall be given to the
Students qualified in the succeeding Class, that if they desire to
become Candidates, they must, within four months, deliver to
the Keeper a recent and attested specimen of their abilities
which specimens will be submitted to the Greneral Assembly, and
the election take place one month previous to the departure of
the successful Candidate.
12. Any Student sent abroad who may be guilty of immoral
or disgraceful conduct, suflBcient evidence thereof being laid
before the Council, shall, with the concurrence of the General
Assembly and the sanction of Her Majesty, be immediately
recalled and his Pension discontinued.
13. In case of the death of a Student on the Continent, or of
his being recalled on account of improper conduct, a successor
shall be immediately appointed from the succeeding Class, in the
manner above prescribed.
14. The List of the Students shall be laid before the Council
at the end of every year, with a Eeport by the Keeper of the
attendance of each Student, taken from the Books placed in the
several Schools for that purpose. His application will be the
subject of a regular and strict enquiry ; and unless a suflScient
apology or explanation be made to the Council through the
Keeper, the names of all who shall be found to neglect the
advantages offered to them by this Institution shall be erased
from the List of Students.
15. If any Student be guilty of improper conduct within the
Academy, or do not punctually comply with the Eules and
Orders established, it is in the power of the Council to reprimand,
suspend, or expel him. And further, if any Student conduct
454 HISTORY OF TIIE ROYAL ACADEMY
hiiTiRelf in a dishonourable manner out of the Academy, so as to
dis^rrace the character of a Student of this Soyal Establishment
and the profession of the Arts, the Council, on satisfactory
evidence being produced, will strike his name from the List of
Students ; in which case he shall not afterwards be readmitted.
SECTION VII.— VACATIONS.
There shall be three Vacations in the year. The firsts of a
fortnight, at Christmas. The second, to commence some time in
the month of March, and terminate as will be annually deter-
mined by the Council. The third, to commence on September 1,
and end on the Feast of St. Michael.
INDEX.
ACA
** ACADEMIC Annals," by Prince
J\. Hoare, i. 269-70
Academies of art in England: early
guilds of art, i. 18 ; "Musi^umMinerree/'
founded by Charles I., 18 ; Evelyn's
plan for an Academy (1662), 19-
21 ; priyate academies founded by
Kneller and Thornhill, 21; « St.
Martin's Lane" Academy, 22-7,
41 ; plans for, by Dilettanti Society,
24-5, 30; and by Nesbitt, 28-9;
Duke of Richmond's Gallery at White-
hall, 31
— various opinions as to utility o^ i.
68-70, ii. 86, 87, 92
— foreign, ancient, i. 5 ; modem, 64
Academicians (Koyal), number of, i. 49, ii.
359, 417 ; list of, nominated by George
III., i. 50 ; all afterwards to be elected,
50 (see Elections) \ limit to number
of, 61-3, ii. 92, 378 ; pensions obtain-
able by, i. 255-7, ii. 434-5 ; meet Asso-
ciates in Council (1803), 269; allow-
ances made to, ii. 97 ; public services
rendered by, 107-8; period for elec-
tion of, 246; retirement of, 376-
7 ; list of past and present, 393-8 ;
living (1862), 279; works of, pos-
sessed by the Academy, 405-10
Engravers, ii. 246, 279
Addresses from the Royal Academicians
to George III., i. 46-7, 265-7, 277, ii.
2; to George IV., 2; to William IV.,
98-9; to Queen Victoria, 277-8
Albert, H.R.H. the Prince Consort,
address by, at the Royal Academy din-
ner, ii. 227, 231-3 ; planned the Great
Exhibition of 1851, 229; his efforts
to promote art, 231 ; classified cata-
logue of schools of art prepared by,
241-2; memorial of, 277 ; address to
the Queen on death of, 277-8
Allan, Sir Wm., b.a., ii. 152-7
ASS
AUston, Wash., a.b.a., i. 399-400
Anatomy, professors of, i. 87, ii. 274-5,
361, 403
demonstrations on, ii. 275
Angelo, Michael, bas-relief by, ii. 103
Angerstein collection, ii. 6, 9
Ansdell, R., A.R.A., ii. 290, 346-8
Antique, school for the study of the. See
Schools and Students
Antwerp, congress of artists at^ ii. 272
Architects, Royal Institute of British, ii.
84
Architecture, special advantages offered
to students of, ii. 273
Amald, George, A.B.A., i. 397
Art : influence of a national taste for, i. 1,
15-16 ; traces of in England in Saxon
and Norman periods, and subsequently
till the reign of Elizabeth, 3, 4 ; from
time of Charles I. to George II., 7-
10; advantages of the study of, 17;
the ancient guilds of, 18; efforts
made by the Royal Academy to advance
the cause of, ii. 91, 92, 93 ; results at-
tained by, 386-9
works of, possessed by the Academy,
ii. 405-10
Artists, Societies of See Societies
and their families, assistance ren-
dered by Royal Academy to. See
Grants
Fund, ii. 14, 15
General Benevolent Fund, ii. 14
social position attained by, ii,
388-9
Associates of the Royal Academy: re-
striction as to number of, i. 63 ; regu-
lations for the election of, 133-4, ii.
96, 359, 417 ; form of diploma for, i.
134-5 ; obligation to be signed by,
135; elections of, 135-6 (see Elec-
tions) ; pensions assigned to, 255-7 ;
met Academicians in Council (1803),
456
INDEX
ASS -
269 ; rejection of G. H. Harlowe sa
a candidate for, 280-1 ; George
Clint's resignation of his diploma as, ii.
67-8; periods for election of altered,
246 ; advancoment of to higher rank,
376 ; complete list of; 399-401 ; living
(1862), 279
Associate-Engravers: establishment of a
class of members, so-called, i. 127-8, ii.
359 ; regulations for the election of, i.
1 34, 41 7 ; form of diploma and obligation
for, 134-5 ; elections of (see EUctunus) ;
complete list o^ ii. 399-401 ; living
(1862), 279
Attacks upon the Royal Academy by
pamphlets and satires, i. 150-1, 161-2 ;
by members of parliament, ii. 80-3 ; by
artists, 85-9; by Mr. Hume and
others, 105-18, 126-8
Auditors of the Royal Academy, special
report by, i. 275-6 ; duties of, ii. 360,
424
BAILY, Edward H., b,a., ii. 57-9
Bacon, John, b.a., i. 143, 220-4
Baker, John, r.a., i. 113
Banks, Thomas, b.a., i. 224-6
Baretti, Joseph, i. 137 and Note
Barret, George, b.a., i. 100-1, 310
Barry, James (formerly b.a.), i. 148-9,
182-7; expulsion of from the Academy,
268-61
Sir Charles, b.a., ii. 203-9
E. M., A.B.A., ii. 354
Bartolozzi, F., b,a., memoir of, i, 88-91 ;
engraving of diploma by, 138 ; ii. 393
Beechey, Sir William, b,a., i. 311-13
Bequests made to the Royal Academy :
under the will of J. M. W. Turner, i.
322-4 ; by Sir F. Chantrey, 387
Bigg, W. R., B.A., i. 349-50
Bird, E., b.a., i. 352-5
Bone, Henry, b.a., i. 343-5
Bonomi, Joseph, A.B.A., i. 166, 246-7
Bourgeois, Sir F., B.A., i. 265-67, 300-3
Boxall, William, A.B.A., ii. 326-7
Boydell, Alderman, and the Shakespeare
Gallery', i. 165, 200
Briggs, H. P., B.A., ii. 146-7
British Institution founded, i. 272, ii.
94 ; premiums awarded by, i. 278 ; the
"Commemoration of Reynolds'* by,
278-9 ; exhibition of the works of
Lawrence at, ii. 17 ; of those of three
deceased Presidents, 83-4 ; plan for
promoting high art, 91
Bromley, Rev. W., " History of the Fine
Arts '* by, i. 252
CON
Bromley, William, a.e., i. 404
Burch, Edward, b.a.. i. 216-7
Burke, Edmund, i. 170-1
Burlington House, proposal to a.ssign
portion of, as a site for a new Royal
Academy, ii. 257-9, 262-5
CALLCOTT, Sir A. W., r.A-, i. 334-6
Canot, P. C, A.B., i. 232
Canova, the sculptor, gift of a cast by, i.
270; dinner given to, 280
Carliui, A., B.A., i. 123
Carlisle, Sir A., Professor of Anatomy,
ii. 18
Catalogues of first exhibition of pictures,
sale of, i. 33-4 ; Dr. Johnson's preface
to that of 1762, 37-8
of Royal Academy Exhibitions, ad-
vertisement to the first, i. 130-1; key
to early, 142; alterations in, 257;
increase of price of, 276
Catton, Charles, b.a., i. 101-2
Ceilings, painters of, i. 13
Chalon, Alfred Edward, B.A., i. 358-9
John James, B.A., ii. 167-9
Chambers, Sir W., b.A-, i. 43, 45-6, 48,
ii. 89; memoir of, i. 115-17
Chambers, Thos. a.b., i. 233
Chamberlin, Mason, b.a., i. 97
Chantrey, Sir Francis, B.A., i. 383-8 ; ii. 7o
Chaplains, Honorary, to the Royal Aca-
demy, 1, 173, 287, ii. 131 ; list of, 403
Charge for admission to Exhibitions, i.
33-38, ii. 106-9
Charles I., patronage of art by, i. 7-8 ;
school of art established by, 18
Chemical properties of colours, ii. 387
Cipriani, G. B., B.A., i. 31 ; memoir of,
91-2; drawing of diploma by, 138,
276 ; engraved, ii. 393
Clarke, Theophilus, A.B.A., i. 396
Clint, George, formerly ab.a., ii. 66-8;
gives evidence against the Academy, 86
Coc-kerell, C. R., B.A., ii. 84, 89, 199-201
Coinage, Committee on, formed by Royal
Academicians, i. 257
Collins, Wm., b.a. , i. 365-9
CoUyer, Joseph, ab., i. 235
" Commemoration of Reynolds," i. 279
Committee (Parliamentary) on Arts and
Institutions of Art, ii. 84-98
Connoisseurship, i. 11
Constable, John, B.A., ii. 54-7
Constitution and Laws of the Royal Aca-
demy, summary of, ii. 359-64 ; abstract
of, 417-39
Conversazione for exhibitors at Royal
Academy, ii. 233, 240, 249, 266, 270, 384
INDEX
457
coo
Cook, Kichard, 11.A., ii. 34
Cooke, E. W., A.B.A., ii. 327-8
Cooper, Abraham, B.A., i. 369-70
Thomas S., a.h.a., ii. 216-9
Cope, Charles W., B.A., ii. 181-3
Copley, J. S., B.A., i. 189-91 ; suspension
of, as a member of Council, 265-7
Copyright in art, ii. 249
Correspondence with foreign academies,
i. 269-70 ; ii. 267-8
Cosway, Richard, r.a., i. 179-82
Cotes, Francis, B.A., i. 45 ; memoir of, 95-6
Council of the Royal Academy, i, 60-1 ;
dispute as to rotation of, 267-8; con-
troversy between, and the General As-
sembly, 265-7; special report by, ii.
269 ; duties of, 369-60, 418-21
Council-room, ii. 103
Cousins, Saml, b.a., ii. 246, 322-3
Creswick, Thomas, b.a., ii. 289-90, 294
Crystal Palace, Sydenham, ii. 246
Curators of the schools, i. 396-7; ii. 235
Custom House, works of artists passed
freely through when certified by Royal
Academicians, ii. 86
DALL, N. T., A.BA., i. 239
Dalton, Richard, i. 41, 137, Budnote
Danby, Francis, A.R.A., ii. 68-71
Dance, George, B.A., i. 118-9, 276-7
Nathaniel, B.A., memoir of, i. 99-100
Daniell, Thomas, B.A., i. 314-5
William, b a., i. 315, ii. 34-5
Dawe, George, B.A., i. 346-9
De Loutherbourg, P. J., B.A., i. 191-3
Deering, J. P., b.a., ii., 201
Department of Science and Art^ ii. 234
Derby, Earl of, proposal made by respecting
new Royal Academy, ii. 267-9, 263-6
Dilettanti, Society of: project an aca-
demy of arts, i. 24 ; proposals made to
Society of Artists by, 26, 3 J
Dinner at opening of first Exhibition, i.
129; on Royal birthdays, 166, 276,
ii. 384 ; on 26th anniversary, i. 262-3 ;
on 60th anniversaiy, 283; on 60th
anniversary of accession of George III.,
277; given to Canova, 280; fare-
well at Somerset House, ii. 100; to
members of the Academy at the Man-
sion House, 246-7
Annual : description of first (1771),
i. 140-2 ; occurrences at (1789), 165;
expenses of, 276 ; Sir W. Scott at, ii.
16; announcement of intention to re-
move Academy made at, 77; rules as
to invitations to, 91, 363-4, 438-9 ; the
Prince Con8ort*8 speech at (1851), 231-
ENO
3 ; proceedings at in 1852, 237-8 ; re-
ported, 239 ; subsequent ones noticed,
248, 260, 266 ; charges for, 384
Diploma of the Academicians and Asso-
ciates, form of, i. 69, ii. 393.
Works, exhibited at Somerset House,
i. 168, 289 ; period for preparing, ii.
380-1 ; complete list of, 406-9.
Discourses of the Presidents : Reynolds, i.
126-7, 133, 138, 143-4, 154, 160, 168-
70; ii. 5, 11 : West, i. 249-251, 277 ;
Lawrence, ii. 5-8, 10-12 ; Shee, 76-7,
124; Eastlake, 228-9, 236, 244-5,
252-3, 266-7
Disraeli, Rt. Hon. B., m.p., at the Aca-
demy dinner, ii. 237-8
Distinction conferred by the Academy on
artists, ii. 90, 92, 94, 375-6
Dobson, W. C. T., a.b.a., ii. 344-6
Doo, G. T., E.A., ii. 324-5
Donations made by the Academy. See
Grants
Downman, John, a.b.a., i. 895-6
Drawing, defects in, ii. 386
Drummond, Saml., A.B.A., i. 397
Dublin Exhibition of Art, &c., ii. 245
Dulwich Gallery, pictures &om, copied by
students, i. 281 ; founded by Sir F.
Bourgeois, b.a., 302, ii. 235 note
Duncan, Thomas, A.B.A., ii. 213-5
Dyce, Willm., B.A., ii. 183-8, 248
EASTLAKE, Sir C. L., P.B.A., elected
President, ii. 226-7; the Prince
Consort's speech respecting, 227 ; his
addresses, 228, 236, 244-5, 262, 266-7 ;
appointed Director of National Galleiy,
247, 286 ; memoir of, 280-87
Edridge, Henry, a.b.a., ii. 66-6
Edwanls, E., A.B.A., i. 240-1
Egg, A. L., B.A., ii. 310-11
Elections of members as Royal Academi-
cians, i. 145, 168, 176-7, 290-1, ii.
33-4, 142, 188, 199, 287, 427-8
as Associates and Associate-En-
gravers, i. 136-6, 168, 230 1, 236-7,
396, ii. 26,66, 210, 326, 429-30
as Academician-Engravers, ii. 246,
428
mode of conducting, ii. 375-8
Elgin Marbles, opinions of Royal Acade.
micians requested on the proposed pur-
chase of, i. 280-1
Elmer, Stephen, A.B.A., i. 240
Elmore, Alfred, b.a., ii. 302-4
England : traces of art in, during times
of early Britons and Saxons, i. 3 ; sub-
sequently until the reign of Elizibeth
458
INDEX
ENCf
3, 4 ; from time of Charles I. to
George II., 7-10; first public oathibition
of pictures in, 33 ; foundation of an
English school of art, 70-1
Engravers, not eligible originally for
election into the Royal Academy, i. 16;
atlmitted as Asj^ociates, 134-6 ; claims
of, 151 ; efforts made by, to attain
rank of R.A., 273-4, 402-3; memo-
rial from, to the Queen, ii. 242-3 ; ques-
tion discussed in the Academy,
243-4 ; admitted to the rank of Aca-
demicians, 246
Etty, Wm., R.A., ii. 49-64
Evelyn, John, plan for an Academy for
the encouragement of art by, i. 19
Evidence before Select Committee of
House of Commons respecting the
Academy, ii. 85-98
Exhibition of pictures at Foundling Hos-
pital, i. 32
first made by artists (1760) at So-
ciety of Arts, i. 33 ; subsequent exhi-
bitions there and elsewhere, 34-42
of the Royal Academy : laws regu-
lating, i. 53, ii. 368, 373-5, 437-8 ; mem-
bers restricted to, i. 66, ii. 92, 373 ; dis-
posal of funds arising from, i. 66-7 ;
first announcement and opening of,
128-9 ; contents and receipts of the
first in Pall Mall, 131-2; second
138; third, 142-3; fourth and fifth,
144-5; sixth and seventli, 149;
eighth to Seventh, 151-3; twelfth
(and first at Somerset House), 159;
from 1780 to 1792, 174-5 and note; ex-
penses of, 276 ; character of, from
1792 to 1820, 287-9; from 1820 to
1830, ii. 17-18; from 1830-50, 77,
129-30; returns furnished to Parlia-
ment respecting, 81-3 ; hanging of
the pictures in, 93 ; real attractions
of, 94, 373 ; exhibition rooms at
Trafalgar Square, 103-4 ; proposal
to admit public gratis to, 106, 109 ;
effect of Hyde Park Exhibition of 1851
upon, 230-1 ; notices of in subse-
quent yearfs 239, 244, 245-6, 255,
266, 269-70, 271,276; proceeds of,
269-276 ; general remarks on, 373-5,
383
— Dr. Johnson's intercession for a
picture excluded from, i. 163-4
— of Industry of all Nations (1851),
grant towards, ii. 125 ; planned by the
Prince Consort, 229; effects of, 230-3
GEO
FAED, Thomas, ▲.r.a., ii. 348-9
Parington, Joseph, B.A., i. 194-5,
275-6
Female artists admitted as students, ii.
272
Fine Arts, Royal Commission for the pro-
motion of, ii. 119-20; Eastlakc as
secretary of, 226-7, 284
Fittler, James, a.b., i. 401
Flaxman, John, S.A., L 277; memoir of,
371-377; ii. 11, 91
Foggo, George, evidence of, ii. 86, 436
Foley, J. H., B.A., ii. 316-17
Foreign schools of art, ancient, i. 5
academies, by which the constitu-
tion of the Royal Academy was regu-
lated, i. 64
members of, and the Royal Academy,
ii. 363, 379-80, 436
Foreign artists, preference formerly shown
to in England, i. 4, 7, 9, 10
Foundation of the Royal Academy, L 49,
ii. 89-90
Foundling Hospital, exhibition of pic-
tures at, i. 32
France, invitation to English artists to
exhibit their works in, ii. 267-8
Free admission to Academy exhibition
proposed by J. Hume, m.p., ii. 106
Frith, W. P., B.A., ii. 297-9
Frost, W. K, A.B.A., ii. 219-21
Funds of the Royal Academy, appropria-
tion of, i. 66-7, 150, 159, 174, 254-7,
262, 275-6, 287, ii. 17, 80-1, 90, 97,
261, 362 ; general statement respecting,
381-4 ; laws for disposal of, 430-5
Fuseli, Henry, ila., i. 68, 114, 166; me-
moir of, 205-12
GAINSBOROUGH, Thomas, r.a., me-
moir of, i. 109-12; noticed, 164-5,
193, 277-8-9
Gandy, Joseph, A.K.A., i. 400
J. P., B.A. See Veering
Garrard, George, a.ila., i. 396
Garvey, Edmund, b.a., i. 193
Geddes, A., a.r.a., ii. 210
General Assembly of the Royal Academy,
i. 54-5 ; controverqr with the Council,
265-7 ; duties of, if. 360, 422
George III., founder of the Royal Aca-
demy, i. 49 ; interest and support
to it rendered by, 58; supplied all
deficiencies in its fdnds, 60; trea-
surer and librarian appointed by, 60 ;
annual sums towards its expenses
granted by, 1769-1780, 132, 138, 143
INDEX
459
GEO
144-5, 149, 152-3, 159-60; assigns
apartments to it in Old Somerset
Ilouse, 139-40 ; and subsequently in
New Somerset House, 154-6 ; deter-
mines questions as to rotation of
Council, 257-8, and government of the
Academy, 265-7 ; effects of his ill-
ness on West, and the cause of art,
263; celebration of 50th anniversaiy
of his accession, 277; his death, ii.
1-2 ; value of his patronage, ii. 358-9
George IV. as patron, ii. 2 ; presents gold
medal and chain to be worn by Presi-
dent, 4, 140; gives collection of casts
from antiques, 5
Gerbier, Sir B., art academy established
by, L 19 note
Gibson, John, H.A., ii. 188-92
Gifts to the Royal Academy (see also
Bequests), ii. 18, 129
Gilpin, Sawrey, B.A., i. 310-11
Girtin, Thomas, i. 271, 317
Goldsmith, Oliver, Professor of Ancient
History at the Koyal Academy, i. 137,
142, 173
Goodall, Frederick, A.R.A., ii. 331-2
Gordon, Sir J. W., b.a-, ii. 287-9
Government of the Royal Academy, mode
of, ii. 359-60, 418-22
^— consult Royal Academicians as to
the coinage, i 257 ; public monuments,
270; Waterloo memorial, 279; mar-
bles of the Parthenon, 280
■ grant towards expenses o^ in 1799,
i. 261.
Grant, Francis, b.a., ii. 294-7
Grants made by the Royal Academy —
of relief to artists and their &mi-
lie8,i. 67, 132, 138, 143, 144-5,
149, 152-3, 159, 251-2, 287,
ii. 13-14, 81, 90, 98, 262, 363,
381-3, 436
of pensions to members or their
families, i. 150, ii. 90, 262,
381-2, 434-5
for special purposes, li. 18, 91, 129,
276-7
of aid towards the exigencies of
the State, 1799, i. 261 ; offer of
relief to sufferers in the war not
sanctioned by the King, 261,
267
Graves, Robert, ajs., ii. 222-3
Green, Valentine, a.b., i. 233
— Mr. J. H., Professor of Anatomy, ii.
275
Gui d of Literature and Art, ii. 236-7
Guilds of Art, ancient, i. 18
Gwynn, John, b.a., i. 118
JAM
HAMILTON, William, B.A., L 204-5
Haward, F., A.B., i. 235
Hardwick, P., h.a., ii. 202-3
Harlowe, G. H., i. 281-2
Hart, S. A., b,a., ii. 166-7
Haydon, B. R., evidence of, ii. 87, 89, 91,
115, 129, 143
Hayman, F., b.a., i. 42; memoir of,
94-5 ; appointed librarian, 136
Heath, James, a.b., i. 236
Herbert, J. R., b,a., ii. 179-81
Hibernian Academy, Royal, ii. 12
Hilton, William, b.a., i. 278; memoir of,
362-5
Hoare, William, r.a., i. 178-9
Prince, " Academic Annals " by,
i. 269-70
Hodges, William, B.A., i. 203-4
Hogarth, William, his style, i. 13 ;
account of early art-academies by,
22-4 ; his objections to, 27 ; paints
pictures for the Foundling Hospital,
32 ; pension granted by Royal Aca-
demy to widow of, 262
Hollins, John, A.Bjk., ii. 212-3
Hone, Nathaniel, B.A., i. 98
Horace, a.r.a., i. 244
Honorary Members of the Royal Aca-
demy, I 136, 173-4, 287 ; u. 15, 20,
124, 131, 274, 361 ; complete list of,
403-4; present^ 278
Hook, J. C, B.A., ii. 308-10
Hoppner, John, B.A., i. 308-9
Horsley, J. C, A.B.A., ii. 335-8
Howard, Henry, b.a., i. 329-31; evi-
dence of before Parliamentary Com-
mittee, ii. 93-7
Hume, Joseph, m.p., and the Royal Aca-
demy, ii. 106-13, 115-8
Humphrey, Ozias, b.a., i. 214-6
Hunter, D. William, First Professor of
Anatomy, i. 87, 173
Hurlstone, Mr., evidence of, ii. 88
"INCORPORATED Society of Artists
X of Great Britain." See Society of
Artists
Inglis, Sir R. H., Bt., M.P., ii. 115-6,
131
Institute of British sculptors, ii. 242, 250
" Instrument of Institution," i. 49-55, ii.
260
International Exhibition of 1862, ii. 278
JACKSON, John, k.a., i. 359 62
James, George, a.b.a., i. 237
460
INDEX
JOR
Johnson, Dr. Samuel, preface to catalogue
of artists' exhibition (1762) by, i. 36-
8 ; appointed Professor of Ancient
Literature at the Royal Academy, 137,
142 ; appeal by, for th') admission of
a picture to the Exhibition, 163-4;
subscription to monument of, 173
Jones, Grrorge, B.A., ii. 36-9, 124-6
Joseph, Geo. Fr., ▲.ba., i. 398
KAUFFMAN, M. A. Angelica C, b.a.,
i. 92-4
Keepers of the Boyal Academy, i. 51,
122-3, 173, 211, 286, 300, 326, 364, ii.
37. 131, 176, 276, 360, 423 ; list o^ 403
Kneller, Sir Q-., i. 9; academy formed
by. 21
Knight, R. P., wiU of, ii. 18, 19
J. P., B,A., ii. 174-6
LADIES not elected as members of the
Academy, ii. 379
Landseer, John, a.e., i. 273-4, ii. 143 ;
memoir of, i. 402-3
Sir Edwin H., b,a., ii. 143-6
Charles, a. A., ii. 176-7
Lane, Richard James, A.B., ii. 71-2, 261
Lawrence, Sir Thomas, P.B.A., noticed, i.
210-11, 281, 306; elected President, ii.
2-4 ; addresses by, 6-8, 10-12 ; help ren-
dered to artists by, 6, 14 ; his death and
funeral, 16-16; his collection of works
of art, 16-17 ; memoir of, 21-33
Laws of the Royal Academy, ii. 417-39 ;
and of the schools, 440-64
Lectures by Professors of the Royal
Academy, commenced, i. 132 ; returns
to Parliament respecting, ii. 81-3 ;
notices of, i. 83-7, 119, 186-86, 198,
209, 241, 314, 318, 330-33, 376, 381,
ii. 46, 77, 83, 167, 176, 199, 201, 361,
367,370-1; laws respecting, 426-6; in
addition to those by Professors, ii. 261
Lee, F. R., b.a., ii. 169-61
Leslie, Charles Robert, B.A., ii. 39-47,
66, 74, 168; on the admission of en-
gravers to full Academic rank, 243-4
Lewis, J. F., A.B.A., ii. 339-43
Librarians of the Royal Academy, i. 64,
136, 173, 286, ii. 19, 131, 276, 360,
424 ; list of, 402-3
Library of the Royal Academy, ii. 96-6,
102-3, 366-6
List of present officers and members
(1862), ii. 278-9
Living model, study from the. See
Schools and Students
f>
NAT
Lloyd, Mrs. See Mo»er, Mary
Loutherbouig, P. J. de, B.A., i. 191-3
Lowe, picture by, excluded from Exhibi-
tion, i. 163-4
Lyndhurst, Lord, speech in the House of
Lords respecting the Royal Academy,
ii. 269-3
"Lyric Odes to the Royal Academicians,
i. 161-3
TU ACDOWELL, P., B.A-, ii. 196-7
iVJ Maclise, Daniel, B.A., ii. 161-4,
262, 277
Msgor, Thomas, A.B., i. 231
Manchester Art Treasures* Exhibition, ii.
263-4
Mannerism in art^ ii. 386
Marchant^ Nathaniel, b.a., i. 379
Marochetti, Baron Carlo, ii. 362-3
Marshall, W. C, B.A., ii. 314-6
Martin, E., A.B.A., i. 237
John, evidence of, ii. 87-8
Medals and premiums, distribution of, i.
133, 138, 143-4, 164, 160, 249-61, ii.
4-6, 7, 8, 10-11, 76-77, 124, 130, 228,
236, 244, 262, 266, 270, 272-73, 366,
868-69
— gold, design for reverse o^ by
Stothard, i. 306 ; list of students who
have been awarded the, ii. 411-6
« Turner," ii. 261-2, 277
Memorial from artists to George III. to
found Royal Academy, i. 46-7 (see
Addresses); from Council of Royal
Academy to William IV. to permit
removal to Trafalgar Square, ii. 98-9
Meyer, Jeremiah, B.A., memoir of, i. 96 ;
proposes establishment of Pension
Fund, 160
Millais, J. E., A.B.A., ii. 332-6
Moon, Lord Mayor, dinner given by to
Royal Academy, ii. 246-7
Mortimer, J. H., A.B.A., i. 242-4
Moser, G. M., b.a., i. 43, 46-6, 122-3
Mary (afterwards Mrs. Lloyd), b,a.,
i. 113-4
Mulready, Wm., B.A., i. 366-8
Munro, Dr., i. 316-7
"Museum MinervBB," established by
Charles I., i. 18
" V'ATIONAL Association for the En-
iN couragement of Arty" planned by
West, i. 268
National Gallery, formation of the, ii. 9,
10 ; erection of building for, 77-8 ;
completion o^ 98 ; transfer of Royal
INDEX
461
NAT
Academy to East Wing of the, 98-
101 ; contemplated removal of^ 234-6,
240, 255; proposal of the Prince Con-
sort to classify the works in, 241-2 ;
reconstruction of management of, 247 ;
Sir C. Eastlake appointed Director
of, 285
National Portrait Galleiy, founded, ii.
241, and note 249
Nesbitt*8 " Essay on the Necessity of a
Royal Academy" (1766), i. 28-9
Newton, F. M., B.A-, L 26, 42, 43, 276 ;
memoir of^ 98-9
O. S., B.A., ii. 147-9
Bishop, i. 147-9
Nixon, James, a.&.a., i. 244
Nollekens, Joseph, B.A., i. 217-20
Northcote, James, B.A., i. 199-203
OBLIGATION signed by Royal Acade-
micians, i. 56-6 ; and by Associates, 1 36
Officers '>f the Royal Academy, appoint-
ment of, i. 66 ; changes among, 172-
4, 286-7, ii. 19-20, 131, 274 ; sala-
ries o^ 97 ; complete list of; 402-3
Oliver, Archer Jas., A.B.A., i. 396
Opening of Royal Academy, in Pall Mall,
i. 124-6; in Old Somerset House, 139;
in New Somerset House, 164-6; in
Trafalgar Square, byWimamIV.,ii. 101
Opie, John, B.A., i. 196-199, ii. 91
O'Neil, Henry N., a.b,a., ii. 343-4
Owen, Wm,, B.A., i. 327-8
PAINTING school, formation of, L 281 ;
Curators in, i. 396-7, ii 285. See
Schools and Students
Pall Mall, Rooms occupied by the Royal
Academy in, i. 126, 131, 163
Parliamentary proceedings respecting the
Royal Academy, ii. 78-98, 113-18,
256-66
Parliament, New Houses of; art patronage
in connection with, ii. 119 ; erected by
Sir C. Barry, b-A., 206-8
Partridge, Mr. Richard, ii. 275
Paris Universal Exhibition (1866), Eng-
lish art, at, iL 248
Pany, Wm., A.B.A., i. 241-2
Pars, Wm., A.B.A-, i. 238-9
Pasquin's Attacks on the Royal Academi-
cians, i. 263 and note
Patronage of art^ by goTemment^ absence
of in former times, i. 11-12 ; recent
display of, ii. 119, 384-6; injudicious
public exercise of, i. 11
Patten, George, a.b.a., ii. 211-2
PRO
Peel, Sir Robt., m.p., and the Royal Aca-
demy, ii. 116-8, 123, 369
Penny, Edward, B.A., i. 43 ; memoir o(
83
Pension Fund of the Royal Academy,
established, i. 160, 194; rules regu-
lating the award of, 266-7, 282, ii.
362, 434-6; first grants to widows, i.
262 ; subsequent awards, 287, ii. 90,
130 ; total amount awarded in, 381-2
Perspective, teacher of, substituted for
Professor, ii. 274
Peters, Wm., B.A-, i. 187-9 ; afterwards
appointed chaplain, 173
Petition fix}m Royal Academy to House of
Commons, ii. 114; from artists respect-
ing, 116-16
Phillip, John, B.A-, ii. 306-8
Phillips, Thos., b.a., i. 331-4
Pickersgill, Heniy Wm., b.a., ii. 47-9
Fred. RichcL, b,a., ii. 304-6
Pindar, Peter, " Lyric Odes to the Royal
Academicians" by, i. 161-3 note, 168
notSf ii. 25 note
Plate presented to the Academy by its
members, ii. 384
Poole, P. F., B.A., ii. 311-3
Portrait Gallery, NatiomU, founded, ii.
241, 249
Portrait painting, early patronage of in
England, i. 4, 6-9 ; value of; 172
Presents made by Royal Academy to its
members and others, L 119, 194, 276-
7, 326, ii. 18, 277
Presidents of the Royal Academy: laws
respecting, ii. 418; Ret/nMs, i. 48,
73-81; West, 248-89; Wyatt tempo-
rarily elected as, 267-8 ; Lawrence, ii.
1-20 ; Shee, 73-131 ; new mode of ap-
pointing proposed, 76 ; special pension
assigned to, 123 ; continuation of annual
allowance to future, 228; Eastlake,
226-79 ; list of, 402
Printing, invention o( connected with de-
cline of painting, i. 6
Prizes granted by Royal Academy. See
Medals and Students
Proctor, Thomas, the sculptor, case o( i.
261-2
Professors, Honorary. See Honorary
Members
of the Royal Academy, i. 62-3, ii.
361, 426-6 ; notices of those appointed,
i. 83-7, 132, 173, 209. 314; changes
among, 286-7, ii. 19. 20, 63, 131,
274-6; salaries o^ 97; returns re-
specting rendered to Parliament, 81-
3 ; complete lists of, 403 ; value of
the services o( 370-1 ; list of living
462
INDEX
PRO
(1862), 279; Professorship of Sculp-
ture instituted, i. 277 ; lectures by Flax-
man, 376; Westmacott, 381
Professors oif Ancient History, Literature,
and Antiquities, list of, ii. 404
71 OYAL ACADEMY OF ARTS :—
JL t Origin of, i. 43-4 ; memorial from
the founders of to George III., 46-7 ;
Royal patronage given to, 46-7, ii.
357-9, 389; Reynolds chosen to be
first President, i. 48; the "Instru-
ment of Institution" approved by the
King, 49-65, ii. 260; obligation
signed by members, i. 56; election of
first officers and professors, 56; first
announcement of its foundation, 67 ;
the King's support, 58; the diploma,
69 ; value of the Royal patronage,
60 ; limitation of number of members,
61-3, ii. 92,378-9; regulated by plans
of foreign academies, i. 64 ; mem-
bers prohibited from exhibiting their
works elsewhere, 66, ii. 92; appro-
priation of proceeds of annual exhi-
bition, L 66-7 ; distribution of aid to
artists and their families, 67-8 ; opi-
nions as to utility of art academies,
68, 70 ; objects for which the Royal
Academy was instituted, 70 ; its
foundation coeval with that of the
English school, 71 ; notices of the
foimdation members, 72-123 ; ii. 89-
90 ; self-supporting, 260 ; works of
members withdrawn to make room for
others, 270; summary of the laws,
369-64 ; abstract of the constitution
and laws, 417-39; regulations for the
government of the schools, 364-70,
440-64 ; the Professors and their lec-
tures, 371-2; the exhibitions, 373-6;
the election and retirement of mem-
bers, 376-9 ; relation to foreign acade-
mies, 379 80; disposal of its funds,
381-4 ; its influence on English art
and artists, 386-9
History of during the Pregidtncy of
Sir J, Reynolds (first President, 1768-
92) : — Opening of the schools in Pall
Mall, i. 124-6 ; addresses by Rey-
nolds, 126-7; first exhibition, 128-32;
inauguration dinner, 129 ; first lec-
tures and students, 132-3 ; rules for
election of associates and associate-
engravers, 133-6; new members, li-
bnirian, apd honorary appointments,
136-7; early exhibitions, 1770-9, 138,
142-6, 149^ 161-3 ; occupation of
ROY
apartments in Old Somerset House,
139 ; first annual dinner, 140-2 ; tra-
velling studentship established, 143;
ofiTer by Academicians to decorate gra-
tuitously St. Paul's cathedral with
paintings, 146-8; requested to orna-
ment rooms of Society of Arts, 148 ;
"Pension Fund" proposed, 150;
})amphleta published against the Aca-
demy, 161 ; removal to New Somerset
House, 164-6; ornamentation of the
rooms occupied by the Academy,
166-8 ; funds suppbed by George III.
to meet the expenses of the Academy
from the privy purse, 169 ; Reynolds's
address in 1780, 160; "Pet^r Pindar"
and other satirical attacks on the
Academy, 161-3, and note\ Dr.' John-
son's intercession for an excluded pic-
ture, 163-4; Royal birthday dinners,
166-^ ; tender of his resignation of the
Presidentship by Reynolds after Bo-
nomi's non- election as R.A., 166-7;
reconciliation, 167-8; last discouiBe,
death, and burial, 168-71 ; changes
by death of original, and election of
new members, 172-3; succession of offi-
cers, 173-4; exhibitions, 1781-92, 174-6;
notices of Royal Academicians elected
during the Presidency of Reynolds,
176-229; and of Associates, who did
not afterwards become R.A.'s, 230-47
Luring the Presidency of Benjamin
West (second President, 1792-1820) :—
West's qualifications for the office, L
249 ; hia discourses, 249-61 ; case of
Thomas Proctor, a student, 251-2;
publication of Bromley's " Histoiy of
the Fine Arts," 262; celebration of
25th anniversary, 262-3; Pasquin's
critical attacks on the exhibitions and
members, 263-4; Royal warrant ap-
pointing new treasurer, 264; esta-
blishment of the '* Pension Fund,"
266-7; alteration in the catalogue,
267 ; committee on a new coinage, 257 ;
annual rotation of the Council insisted
on, 267-8 ; Barry's expulsion from the
Academy, 258-61 ; grant in aid of the
exigencies of the state, 261 ; alteration
in the term of studentship, 262 ; first
^nts of pensions, 262 ; effect of the
illness of the King upon the Academy,
263; attacks upon the President, 264-5;
dispute between the Council and the
General Assembly, 266-7; West's re-
signation of the office of President,
temporary election of Wyatt^ and re-
election of West, 267-3 ; his plan tot
INDEX
463
ROY
a national aiisociation for the encou-
ragement of art, 268 ; artiste' roluntecr
corps, 269 ; Prince Hoare's " Academic
AnnaJfi," 269-70 ; establishment of the
(Old) Water Colour Society, 271 ; and
of the British Institution, 272-3 ; John
Landseer's appeal for Aill academic
rank for engraTers, 273-4 ; "varnishing
days" appointed, 274; special report
on the ftmds of the Academy, 276-6 ;
complimentary presents made by, 277 ;
celebration of 50th anniversaiy of ac-
cession of George III., 277 ; depression
of the arts caused by the war, 277 ; pre-
miums awarded by British Institution,
278; "Commemoration of Reynolds,"
279; plan for a Waterloo memoriaX
279-80 ; dinner to Canova, 280 ; forma-
tion of a school of painting, 281 ;
G-. H, Harlowe refused the rank of As-
sociate, 281 ; renewal of travelling
students at the close of the war, 282 ;
alteration of rules as to pensions, 282-3 ;
celebration of 50th anniversary, 283;
death and funeral of West^ 283-5 ; in-
fluence of, 285; members who died
during his Presidentship, 285-6 ; suc-
cession of officers and professors, 286-7 ;
finances of the Acaaemy during this
period, 287 ; the exhibitions, 288 ; and
the diploma pictures, 289; notices of
Royal Academicians elected during
West's Presidentship; 290-394, and of
Associates not afterwards R.A.'s, 395-
404
During the Pre»ielency of Sir Thomas
Lawrence (thirdFTesident, 1820-30): —
Death of George III., ii. 1 ; patronage
continued by his successor, 2, 4, 6;
election of Sir T. Lawrence as Presi-
dent, 2-4; his addresses to the stu-
dents, 4-6, 7-8, 10-12. Foundation of
other art societies : Society of British
Artists, 6-7 ; Royal Hibernian Aca-
demy, 12; Royal Scottish Academy,
13 ; formation of the National Galleiy,
9, 10; death of Flaxman, 11, 12;
mode of making grants of relief, 13,
14 ; the Artists' Fund and the Artists'
General Benevolent Institution aided
by President and members of the Aca-
demy, 14, 15; Sir W. Scott at the
annual dinner, 15 ; death of Lawrence,
15-16; his collection of works of art,
16, 17 ; exhibition of his paintings, 17 ;
progress of the Academy and its exhi-
bitions, 17 ; gifts made and received by
the Academy, 18; R. P. Knight's be-
quest, 19 ; members deceased, 19 ;
ROY
changes among officers, professors, and
honorary members, 19-20; travelling
students, 20 ; notices of Royal Acade-
micians elected during Lawrence's Pre-
sidentship, 21-64 ; and of Associates
not afterwards R A.'s, 65-72
During the Presidency of Sir M. A,
Shee (fourth* President^ 1830-50):—
Election of Shee as President^ ii. 74-5 ;
proposal that all the members should
hold the office in rotation, 75 ; privilege
of direct access to the Sovereign, 76 ;
distribution of medals, addresses, and
lectures, 76-7 ; erection of a National
Gallery, and proposed removal of the
Academy, 78-80 ; attacks answered by
the President, 80-1 ; returns called
for by Parliament^ 81-3 ; exhibition of
works by deceased Presidents, 83;
foundation of Royal Institute of Bri-
tish Architects, 84 ; Parliamentary Com-
mittee on art institutions, 84 ; evidence
of opponents of the Academy, 85 8 ;
of its officers and members, 88-98;
report of Parliamentary Committee on,
99 ; memorial from the Council to the
King respecting removal of the Aca-
demy to Trafalgar Square, 98-9 ; fare-
well dinner at Somerset House, 100;
opening of the new Academy, 100-2;
the apartments appropriated to it>
102-4 ; the Queen becomes Patron, 105 ;
Mr. Hume's plan for free exhibitions
106-9; and his charges against the
Academy answered, 110-13; further
Parliamentary proceedings, 114-8 ;
prizes offered by Royal Commission on
the Fine Arts, 119-20; Shee's resig-
nation refused by Academicians, 120-2 ;
pensions awarded to him, 123-4 ; grant
towards Great Exhibition of 1851, 125;
proposed Parliamentaiy vote for new
Koyal Academy, 126-8 ; special gifts
made and received by the Academy,
128-9; the exhibitions, 129-30; tra-
velling students, 130; members de-
ceased, 130; changes among officers,
professors, and honorary members, 131;
notices of Academicians elected in
Shee's Presidentship, 132-209; and As-
sociates not afterwards R.A.'s, 210-24
During the Presidency of Sir C, L,
Eastlake (1850 to 1862) :— Choice of
Eastlake for President, ii. 226 ; testi-
mony of the Prince Consort as to
his qualifications, 227 ; continuance
of pension awarded to late President^
228 ; addresses by Sir C. L. Eastlake
to the students, 228, 236, 244-5,
464
INDEX
ROT
252-3, 266-7 ; Exhibition of Industiy
of all Nations (1851), and its effects
on English art-manufacture, 229-31 ;
exhibitions of the Royal Academy,
1851-62, 230-1, 239, 244, 245-6,
256, 266, 269-70, 271, 276; Prince
Consort's speech at Academy dinner,
1851, 231-3; conversaziones for ex-
hibitors established, 233; formation
of Science and Art Department^ 234 ;
curators in the schools, 235; founda-
tion of the Ghiild of Literature and
Art, 236-7 ; speeches at annual
dinner, 1852, 237-9; report of pro-
ceedings at, published in the " Times,"
239 ; " Tarnishing days " discontinued,
240 ; Parliamentary proceedings on
art, 241-2; establishment of Institute
of Sculptors, 243, 250; claims of en-
gravers to higher rank in the Aca-
demy, 242-4, 246 ; Dublin Exhibition
of Art and Industry, 245 ; dinner
given by Lord Mayor Moon to mem-
bers of the Academy, 246-7 ; President
appointed Director of National Gal-
lery, 247 ; Paris Universal Exhibition,
1855, 248 ; proceedings respecting
copyright in art, 249 ; additional lec-
tures to students by members not pro-
fessors, 251 ; the "Turner" me<lal, 252 ;
Manchester Art-Treasures' Exhibition,
1857, 253-4; Sheepshanks Collection,
254 ; commission on site for National
Gallery, 255-6 ; and proposed removal
of Academy to Burlington House, a
building to be erected at its own cost
on the site given by the Government,
256-265 ; Lord Lyndhurst's speech on
the subject^ 259-63; communication
between the Academy and the French
Government, 267-8 ; retirement of Sir
R. Smirke, e.a., from the Academy,
268-9; pnnting of a special report
by the Council, 1860, 269 ; alterations
in sculpture room, 269-70 ; female ar-
tists admitted to the schools, 272;
increased advantages to students under
new regulations, 273; members de-
ceased, 274 ; changes among officers,
professors, and honorary members,
274-6 ; special items of expenditure,
276 ; address of condolence to the
Queen on the death of the Prince Con-
sort, 277-8; list of linng members
(1862), 278-9 ; notices of Academicians
elected during Presidentship of Sir C.
Eastiake, 280-326, and Associates not
since R.A.'s, 326-66
Complete list of Royal Academicians,
RUd
ii. 393-8 ; of Associates, 399-401 ; lists
of officers, professors, and^ honorary
members, 402-4; diploma works and
others possessed by the Academy,
405-10 ; lists of students granted gold
medals and travelling allowance, 41 1-16
Raebum, Sir Heniy, B.A., i. 350-2
Ravenet, S. F., ▲.£., i. 231
Rebecca, B., ▲.a. a., i. 239
Redgrave, Richard, B.A., ii. 234, 289-94
Reformation, the, influence o^ upon Eng-
lish art^ i. 6, 6
Registrar of the Royal Academy, duties
of, ii 360, 433-34
Reinagle, Philip, B.A., i. 346
R. R, late b.a., ii 36-6, 89
Removal of Academy from Trafalgar
Square proposed, ii. 126-8, 234-6, 256-
66
Rennie, George, evidence of^ ii. 86.
Report from the Council (1860), ii 269
Resignation and retirement of members^
i. 100, 188, 246, ii 67, 268, 376-7
Returns called for by Parliament^ ii 81—
83, 111-12, 113-17
Reynolds, Sir Joshua, p.b.a., elected first
President, i 48 ; biographical notice of,
73-81 ; his abilities as an artist, 81-3,
ii89; mentioned, i 107, 109, 112;
discourses of, 126-7, 133, 138, 143-4,
154, 160, 168-70 and note ; pictures
by, 145, 278 ; tenders resignation of
I^residentship, 166-7; resumes his office
in the Academy, 167-8; death ajid
funeral of| 171; influence o^ 171-2;
" commemoration " of, 278-9
Richards, John, B.A., i. 105
Richmond, Duke of, gratuitous school of
design formed in his gallery at White-
hall, i. 31
— George, A.B.A., ii. 338-9
Rigaud, J. F., B.A., i. 193-4, 277
Roberts, David, B.A., ii 169-71
Robinson, J. H., A.B., ii 366
Rooker, M. A , a.r.a , i 238
Ross, Sir W. C, b.a., ii. 171-4
Rossi, John C. F., R.A-, i. 377-9
Rotation of Council, i 267-9
Royal patronage and control of the Aca-
aemy, nature and value o^ i. 60, ii
262-3, 367-9, 389 ; relative to rotation
of Council, i 257-^ ; as exercised by
fiuccessive Sovereigns, see George UL
and IV., WiUiam IV. and Victoria
Royal Hibernian Academy, ii 12
Scottish Academy, ii. 12-13
— — Institute of British Architects, ii. 84
Ruskin*s Notes on Academy Exhibitions,
ii. 246
INDEX
465
RUS
Russell, Earl, and the Royal Academy
ii. 117, 238
Russell, John, B.A., i. 204
SALARIES of offioen of the Royal
Academy, ii. 97, 362, 431.2
Sandby, Paid, B.A., i. 13, 43, 107, 263,
271, ii. 89 ; memoir o^ I 102-4
Thomas, B.A., first Ptofessor of
Architecture, memoir oi^ L 84-6; no-
ticed, 107, 168
Sant, James^ ▲.&▲., u, 860-1
"St Martin's Lane" Academy, i. 22-7
St Paul's Cathedral, ofier for the gpratui-
tous decoration ot, by Royal Academi-
cians, i. 146-8
Schools of Art, early Foreign, x. 6
— Early English, i. 9-16 ; charac-
terislics of the present English school,
71, ii. 886
ofthe Royal Academy. See Students,
Laws relating to, i. 64-6, 281, iL 364>
6, 440-64 ; reyised code of regulations,
273 ; opening of the, i. 124-6 ; num-
bers in, 133, 143, 163-4, 261, ii. 368-
70 ; extension of term for students in,
i. 261-2 ; adTantages offered in, ii. 96,
261, 366-70, 886-6, 460-1; cost o(
97, 372, 381 ; present location of, 102;
curators appointed in, 236
Scott, Sir Walter, ii. 16, 20, 296
Scott, G. G., B.A., ii. 261, 320-2
Scottish Academy, Royal, ii. 12-13
Sculptors, Institute of British, ii. 242, 260
Sculpture, Professorship o^ instituted, i. .
277. See Professors
Room, improvements in, ii. 270-1
Secretaries of tne Royal Academy, i. 61,
99, 106, 173, 286, 330-1, u. 131, 176,
276, 360, 422-23 ; list of; 402
for Foreign coirespondence (honor-
aiyX ii. 404
Serres, D., B.A., i. 104-5
Shee, Sir M. A., p.b.a., elected President,
ii. 74-6 ; knighted, 76 ; addresses of,
76-7 ; correspondence with Goremment
respecting removal of Academy, 79-82 ;
evidence of, before Parliamentajry Com-
mittee, 89-93 ; letters to Earl Russell
and Mr. Hume respecting firee exhi-
bition, &c, 106-113 ; paints portrait of
the Queen forthe Academy, 119 ; tenders
resignation of Presidentship, 120-1 ;
consents to withdraw it, and is awarded
Elusion from the Academy and Civil
ist, 122-4; last years of, 124-6;
memoir of, 132-142
Sheepshanks collection of pictures, ii. 264
STA
Signs, painters o( i. 13-14; exhibition
o( i« 14 note
Smirke, Robert, B.A., L 299-300
Sir Robert; B.A., i. 391-3, n. 268
Sydney, B.A., iL 261, 318-20
Smith, Anker, A.B., L 400
Soane, Sir J., b^, i. 266-7, 802 ; memoir
o^ 388-91 ; lectures by, ii. 77
Society for the Encouragement of Arts,
&a, founded, i. 31 ; prizes offered by,
82; allow exhibitions of pictures in
their rooms, 83-6; apply to Royal
Academicians to decorate their new
rooms^ 148; which is undertaken by
James Bai^, 148-9; exhibition of
works of Mulready at, 867; of the
Chalons' works, 369 ; of those by Etty,
ii. 62; and Sir W. C. Ross, 173
— of Artists of GFreat Britain, exhi-
bition of pictures made by in Spring
Ghirdens, i. 84, 36 ; Br. Johnson's pre-
fBce to the catalogue for 1762, 37, 38 ;
incorporation of by Royal charter, 88 ;
list of members of^ 89, 40 ; arrange the
plan of an academy, 41 ; strife and dis-
sension in, 42 ; resignation of directors
and others, 43, who become the founders
of the RoTAi. AcADXMT, 46, 46; re-
maining members petition the King,
67 ; subsequent history of the Society,
68 ; publication of a pamphlet against
the Academicians by, 160-1
— - of Artists ("Free") exhibit at So-
ciety of Arts, L 36 ; subsequent decline,
36
— of Painters in Water Colours (Old)^
founded, i. 271
of British Artists, founded, iL 6, 7 ;
petition Parliament for similar Royal
favour to that bestowed on the Aca-
demy, 84-6, 88 ; purposes of, 110-11
Soir6e to exhibitors, iL 233, 384
Somerset House (Old), apartments assigned
to Royal Academy in by George III.,
L 139-40, ii. 260, proposed decoration
of, i. 146
(New), erected by Sir W. Chambers,
i. 1 16 ; apartments in assigned to Roval
Academv, 164-6, ii. 260-1 ; decoration
of by the members, i. 166-8; insuffi-
ciency of accommodation at, ii. 78;
proposal to relinquish for new building
in Trafalgar Square, 93 ; memorial to
William IV. respecting, 98-9 ; farewell
dinner at, 100 ; conditions of transfer,
261
Songs composed on the opening of the
Academy, i. 129-30, note
Stanileld, Clarkson, b.a., ii. 149-62
VOL. II.
H H
466
INDEX
STE
Steyens, EcL, a.b.a., i. 246
Stocks, L., ▲.&, ii. 355
Stone, Frank, A.R.A., ii. 828-30
Stothard, Thomas, B.A., i. 303-6
Strange, Sir Robert, and his "Inquiry,"
&c., I 26, 41, 61, 151
Stubba, George, a.b.a., i. 244-5
Students of the Royid Academy, number
of in the first year, i. 133; subse-
quently, 143, iL 91-2, 368-70
medials and prizes to, i. 133, 138-9,
143-4, 164, 160, 249-51, ii. 4-6, 7, 8,
10-11, 76-7, 124, 130, 228, 236, 244,
262, 266, 272-3, 366-8, 446-50
' travelling allowance awarded to, i.
143, 163, 174, 251, 282, ii. 20, 130,
367-;8 ; list of recipients, 416
list of those awarded the gold
medal, ii. 411-15
period of study for, i. 261-2, ii.
365-70; addresses to. See Discourses
and Lectures
— mode of obtaining admission to
schools, ii. 96, 364-5; new code of
regulations for, 273 ; Uws for, 440-54
— should be taught how to prepare
colours, ii. 386-7
Suspension of five members of the Council,
i. 265-7
TERRICE, Bishop, i. 147
Theed, William, &▲., i. 382-3
Thomson, Heniy, B.A., i. 326-7
Thorbum, Bobert, A.B.A., ii. 221-2
Thomhill, Sir James, i. 13 ; art academy
planned and opened by, 21-4
Tomkins, Wm., A.B.A., i. 240
Toms, Peter, ila., i. 97-8
Trafalgar Square, transfer of Royal
Academy to apartments in, ii. 98-101 ;
description o^ 100-4; proposed re-
moval from, 126-8, 234-5, 256-65
" Travelling studentship " founded, i. 143 ;
artists selected for, 153, 174, 251-2,
282, ii. 20, 130; alteration in regula-
tions respecting, 273, 367-8; list of
recipients of, 416
Treasurers of the Royal Academy, i. 52 ;
Royal warrant for appointment of
second, 254, 287; subsequent appoint-
ments, 393, ii. 19, 131, 275; duties o^
360, 423-4 ; Ust of; 402
Trosham, Henry, B.A., i. 257-8 ; memoir
of, 313-14
Trustees of the Royal Academy, ii. 362,
430-1 ; list of, 402
Turner, Charles, a.b., ii. 72
WES
Turner, J. M. W., B.A., i. 271, 275, iL 83 ;
memoir of; i. 316-26
— ^ Fund, how appropriated by Royal
Academy, i. 323-4
" Gift," annual grants of, ii. 252, 276
Gold Medal awarded for landscape
painting, i. 326, ii. 251-2
Tyler, WilUam, ila., i. 120, 277
TTWINS, Thomas, B.A., ii. 56, 157-9
VARNISHING Days at the Royal
Academy, I 274-5, 857, ii. 93,
239-40
** Vernon " collection of English pictuzesy
ii. 125, 128
Victoria, HM. the Queen, Patron of the
Academy, it 104; grants its officers
personal access to the Royal presence,
104 ; confers honours on its members,
104-5, 227; passage in the Royal
speech on art, 241
"Visitors" of the Royal Academy, L 52,
ii. 97, 361, 426-7
Volunteer Corps of artists (I803X i. 269,
ii. 137
WAAGEN, Dr., on Art Academies, i.
69, ii. 85
Wale, Samuel, &▲., L 86
War, Peninsular, depressing influence of
upon art, i. 277
Ward, E. M., b.a., ii. 299-302
—^ James, B.A., i. 278 ; memoir o^ 340-3
WilliMU, A.B., i. 403
Water Colours (Old), Society o^ founded,
i. 271-2
Waterloo, national memorial of the battle
of; proposed, i. 279-80
Webber, John, B.A., i. 212-13
Webster, Thomas, B.A., ii. 177-9
Weekes, Heniy, ▲.]!.▲., ii. 351-2
Wellington, F.M. the Duke of, at the
Academy dinner (1852), ii. 237
West, Be]\)amin, P.B.A., i. 43, 45, 48, 67 ;
elected President, 249; discourses o^
250^1, 277; George III.'s patronage
0^ 268^; atta<^ upon, 264-6;
causes of his resignation and re-elec-
tion, 267-8; plan for the encourage-
ment of art by, 268, ii. 91 ; pctuie by,
i. 278; blan of "Waterloo "monument
suggested by, 280; last years and
funeral of; 283-4 ; his influence, 286,
INDEX
467
WES
ii. 89; memoir of, i. 291-8; exhibi-
tion of his works, ii. 8
Westall, Richard, B.A., i. 306-7
William, ▲.b.jL, i. 897
Westmaoott^ Sir Bichard, B.A., i. 379-82
Richard, B.A., ii. 197-9
Wheatley, F., B.A., i. 213, 214
Widows of members of the Academy,
scale of pensions for, i. 255-7, 282,
434-5 ; first grants to, 262
Wilkie, Sir David, k,a., i. 836-40, ii. 74-6
Wilkins, William, B.A., ii. 61-4; em-
ployed to erect National Grallery, 78-9,
89
WilHams £* Anthony Pasquin"), i. 263
William lY., H.M. King, patronage of
Royal Academy by, ii. 76; consulted
on its affiiirs, 82 ; memorial to respect-
ing removal of, 98-9; opening of
Academy in Trafidgar Square by, 101
WiUmore, J. T., A.B., ii. 223-4
Wilson, Richard, B.A., i. 43, 188 ; memoir
of; 106-9
Wilton, J., B.A., i. 31, 43 ; memoir o( 120-2
2UC
Witherington, W. F., b.a., ii, 164-6
Wolcott, Dr. John ("Peter Pindar"), i.
161-3 note, 168 noU
Woodforde, Samuel, B.A., i. 328^9
Womum, Mr. R. N., on Utility of Acade-
mies of Art> i. 69-70
Wright) Joseph, A.B.A., i. 246-6
Wyatt, James, B.A., i. 226-9 ; suspension
of, as a member of Council, 265-7;
elected temporarily as President, 267-6
Wyatville, Sir Jeffrey, ii. 59-61
Wyon, William, B.A., ii. 192-5
YENN, John, B.A., i. 229 ; Royal war-
rant for appointment as Treasurer,
254; suspension of, as a member of
Council, 265-7
Yea, Richard, B.A., i 123
ZOFFANY, John, b.a., i. 177-8
Zuccarelli, F., B.A., i. 112-13
Zucchi, Antonio, i 93 ; memoir of, 237
THE END.
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