THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 REGINALD HENNESSEY 
 
 ART BOOKS 8325 Campion Or 
 
 Los Angeles, Calif. 90045
 
 THE 
 
 VOLUME I.
 
 LONDON 
 
 PBINTBD BY SPOTTISWOODB AND CO. 
 NEW-STBEET SQCABB
 
 ;
 
 ? 
 
 THE HISTORY 
 
 OF 
 
 THE ROYAL ACADEMY OF ARTS 
 
 FROM ITS FOUNDATION IN 1768 TO THE PRESENT TIME. 
 
 WITH BIOGRAPHICAL NOTICES OF ALL THE MEMBERS. 
 
 BY WILLIAM SANDBY. 
 
 IN TWO VOLUMES. 
 VOL. I. 
 
 LONDON: 
 
 LONGMAN, GREEN, LONGMAN, ROBERTS, & GREEN. 
 
 1862.
 
 V
 
 Art 
 Library 
 
 TO 
 
 HER MOST GRACIOUS MAJESTY 
 
 THE QUEEN, 
 
 THE PATRON OF THE ROYAL ACADEMY OF ARTS, 
 
 THE FOLLOWING 
 
 HISTORY OF THAT INSTITUTION, 
 FOUNDED BY HER MAJESTY'S ILLUSTBIOUS ANCESTOR 
 
 KING GEOEGE THE THIHD, 
 AND NOW FOSTERED BY HER GRACIOUS PROTECTION, 
 
 is, WITH HER MAJESTY'S PERMISSION, 
 
 MOST HUMBLY DEDICATED 
 BY 
 
 HER MAJESTY'S MOST LOYAL, DEVOTED, AND HUMBLE SERVANT 
 WILLIAM SANDBT. 
 
 
 15C8027
 
 PKEFACE. 
 
 TT is scarcely necessary to offer an explanation or an 
 apology for the appearance of a History of the 
 Eoyal Academy of Arts an institution which has 
 endured for nearly a century, and has been the centre 
 around which the most eminent professors of the arts 
 in this country have been gathered during that long 
 period. 
 
 My own surprise is that an account of the Royal 
 Academy, combined with notices of its members, has 
 riot been published long since ; and it was only after 
 continued expectancy that such a work would be 
 written by an abler hand, that I ventured to undertake 
 it feeling that every year's delay would make the 
 task more unsatisfactory, and the information, as to the 
 early part of the history, less accurate. 
 
 Still, I should have been glad if a member of the 
 Academy, or, if not a professional artist, at least one 
 deserving the name of a connoisseur, had undertaken 
 the work, rather than one who, while regarding it as 
 a labour of love, can lay no claim to a technical 
 knowledge of art, and whose professional occupations 
 have only admitted of his devoting the leisure hours 
 of each day to the pleasant task of tracing the history
 
 viii PREFACE 
 
 and progress of an institution which has been the 
 means of affording so much gratification to the lovers 
 of the arts, and of conferring so many important 
 advantages upon the professional artists of this country. 
 
 The statements frequently circulated adverse and 
 prejudicial to the Eoyal Academy apparently arising 
 from a wrong impression as to the nature of its con- 
 stitution, or from ignorance of its proceedings have, 
 at length, impelled me, however, to endeavour to write 
 its history, in the hope that, by giving a simple record 
 of facts relating to its career in the past, I might 
 remove some of the unkind and undeserved opposition 
 to which it has been exposed, in the future. 
 
 Before commencing my work, I deemed it necessary 
 to solicit permission to consult the records of the 
 Academy ; and, although I was personally unknown to 
 the President and Council, their consent was at once 
 given, without any reservation. Several of the members, 
 to whom I have applied for information as to their own 
 personal history, have also most kindly aided me in 
 the biographical part of my work. To the President 
 and Council, to these gentlemen, and to the Eegistrar, 
 who afforded me every needful facility in obtaining access 
 to, and explanation of, the documents in his charge, I 
 beg to tender my grateful acknowledgements. 
 
 The plan of the work scarcely requires explanation. 
 I have first endeavoured to show the state of anarchy 
 and confusion into which the old Art Societies, preceding 
 the foundation of the Eoyal Academy, had fallen, at 
 the time when it was established; and I have then 
 divided the subsequent history into periods being 
 the term of each Presidentship in order that I might
 
 PREFACE ix 
 
 thus group together in successive chapters, as far as 
 possible, the history of the members, with that of the 
 Academy, in each stage of its progress. 
 
 The biographical notices have somewhat the dictionary 
 form, which I have adopted to condense the facts con- 
 tained in them as much as possible, and to facilitate 
 reference. The information contained in several of 
 these has been derived from the detailed memoirs 
 published separately of the more distinguished artists; 
 in others from notices which have appeared in various 
 works and periodicals, some of older, and some of 
 modern date ; and several of the later memoirs are 
 based upon information obtained by direct communica- 
 tion with the living originals. 
 
 It is right that I should state that the members of 
 the Eoyal Academy are in no way responsible for 
 any opinions, statements, or suggestions contained in 
 this book ; and that, when speaking of the character 
 of the works of artists, whether deceased or living, I 
 have endeavoured to confirm or correct my own 
 opinions by the estimate which more competent judges 
 have formed of them. 
 
 In a work containing more than two hundred biogra- 
 phical notices of men, many of whom have lived in 
 comparative seclusion, and also giving details relating to 
 the history of art in England during a whole century, 
 I can scarcely hope to have avoided some errors and 
 inaccuracies, amidst the conflicting statements I have 
 so often had to reconcile. For such faults as I fear 
 there may be, I must crave the indulgence of the reader. 
 It has often been impossible to avoid some slight 
 repetitions, when writing the history of the Academy,
 
 x PREFACE 
 
 and of its members, in separate chapters, and when 
 recapitulating the results of alterations and arrangements, 
 made at different periods, and recorded as they occurred. 
 It seemed to me preferable to lay myself open to this 
 charge rather than to give the reader the trouble of 
 referring, by foot-notes, from one chapter to another. 
 The Appendices will be found to contain many interest- 
 ing particulars connected with the laws and regulations 
 of the Royal Academy and its schools, and also in 
 relation to the personal labours of the members ; and 
 the Index will, it is hoped, guide the reader to the 
 principal contents of these volumes. 
 
 LONDON : 
 April 24, 1862.
 
 CONTENTS 
 
 THE FIEST VOLUME. 
 
 CHAPTER I. 
 
 THE EARLY HISTORY OF THE FINE ARTS IN ENGLAND. 
 
 Influence of Art The English School a comparatively Modern Creation 
 Causes of its Tardy Development - Notices of Art and Artists in the Saxon 
 and Norman Periods The Foreign Schools The Effects of the Invention of 
 Printing and of the Reformation upon Art Its Condition in England subse- 
 quent to the Reformation Charles I. as a Patron of the Fine Arts The 
 Georgian Era Patronage of Foreign Artists by the English Sovereigns Con- 
 noisseurship Portrait Painting Decorations of Ceilings, &c. Sign Painters 
 The Characteristics of the English School PAGE 1 
 
 CHAPTER II. 
 
 EARLY ACADEMIES OF ART IN ENGLAND. 
 
 The Necessity and Advantages of the Study of Art The Ancient Guilds of 
 Art The "Museum Minervse" in Charles L's Reign John Evelyn's Plan for 
 an Academy of Art Private Academies established by Sir G. Kneller, Sir J. 
 Thornhill, and Hogarth Offer of Aid in Founding an Art Academy made by 
 the Society of Dilettanti Project of a Public Academy of the Arts in 1753 
 Nesbitt's " Essay on the Necessity of a Royal Academy " in 1765 Tho Duko 
 of Richmond's School of Design The Exhibition of Pictures painted for the 
 Foundling Hospital The First General Exhibition of Pictures in 1760 The 
 First Society of Artists The seceding "Free Society of Artists" Apology for 
 the Charge for Admission to the Exhibition by Dr. Johnson Strife and Dis- 
 sension in the " Incorporated Society of Artists of Great Britain " Resignation 
 of the Original Director* . . 17
 
 CONTENTS OF 
 
 CHAPTER III. 
 
 ORIGIN AND FOUNDATION OF THE ROYAL ACADEMY, 1768. 
 
 Royal Patronage of Art solicited Favourable Reception of the Artists' 
 Memorial by George III. Plan of the Royal Academy Instrument of its 
 Institution Obligation signed by its First Members Election of Officers 
 and Professors First Public Announcement of its Foundation The Fate 
 of the Incorporated Society of Artists The Diploma The Royal Favour 
 and Bounty bestowed on the Academy, and its Influence on Art The Limita- 
 tion of the Number of the Royal Academicians to Forty The Example 
 of Foreign Academies in this respect Restriction of Members from exhi- 
 biting their Works elsewhere than at the Academy The Advantages of the 
 Exhibition to Non-Members The Question as to the Utility of Academies of 
 Art The Characteristics of the English School .... PAGE 45 
 
 CHAPTER IV. 
 
 THE FOUNDATION MEMBERS OF THE ROYAL ACADEMY . .72 
 
 CHAPTER V. 
 
 THE ROYAL ACADEMY UNDER THE PRESIDENCY OF SIR JOSHUA REYNOLDS, 
 1768-1792 124 
 
 Opening of the Royal Academy Address of the President The Schools 
 Election of Associate-Engravers The Annual Exhibitions Appropriation 
 of its Funds Lectures Appointment of Associates, a Librarian, and Hono- 
 rary Members The Early Home of the Academy The Annual Dinner 
 Proposal made by the Academicians to decorate St. Paul's The Society of 
 Arts The Pension Fund established The Pall-Mall Exhibitions until 1779 
 The Removal to Somerset House, 1780 Discontinuance of Aid from the 
 Privy Purse Complaints as to Exclusion of Pictures Peter Pindar and 
 other Satirists attack the Academy Boydell's Shakspeare Gallery Internal 
 Troubles Reynolds's Resignation of the Office of President, and Re-accept- 
 ance of it His last Discourse Changes in the Academy by Death of 
 original, and Election of new Members Succession of Officers The Ex- 
 hibitions from 1781 to 1791 . . . . . . .124
 
 THE FIRST VOLUME xiii 
 
 CHAPTER VI. 
 
 ROYAL ACADEMICIANS ELECTED DURING THE PRESIDENCY OF SIR J. 
 REYNOLDS PAGE 176 
 
 CHAPTER VII. 
 
 ASSOCIATES ELECTED DURING THE PRESIDENCY OF SIR JOSHUA REYNOLDS, 
 WHO DID NOT SUBSEQUENTLY BECOME ROYAL ACADEMICIANS . . 230 
 
 CHAPTER VIII. 
 
 THE ROYAL ACADEMY UNDER THE PRESIDENCY OF BENJAMIN WEST, 1792-1820 
 
 Qualifications of West for the Office of President His Addresses The Fate 
 of Proctor the Sculptor Publication of Bromley's "History of the Fine 
 Arts" Anthony Pasquin's Attacks on the Royal Academy Royal Warrant 
 for the Appointment of a Treasurer to succeed Sir William Chambers 
 Finances of the Academy Pension Fund established Dispute between the 
 General Assembly and the Council Barry's Dismissal from the Office of 
 Professor of Painting and from the Academy Grant towards the Fund for 
 the Exigencies of the State Laws as to Students amended Award of 
 Pensions to Widows of deceased Members Illness of the King, as it affected 
 West, and the Progress of the Arts Temporary Resignation of the President 
 His Plan for a National Association of Art Artists' Volunteer Corps 
 Prince Hoare's Academic Annals and Foreign Correspondence Establishment 
 of the (Old) Water Colour Society and the British Institution John 
 Landseei's Appeal for full Academic Honours for Engravers Varnishing 
 Days Financial Arrangements amended in 1809 Complimentary Presents 
 made by the Academy Premiums offered by the British Institution The 
 Commemoration of Reynolds, 1813 Waterloo Memorial proposed Canova's 
 Visit to England Exclusion of G. H. Harlowe from the Royal Academy > 
 Privileges of Students, and Increase of Allowances to travelling Students 
 Pensions augmented Commemoration of Fiftieth Anniversary Last Years 
 and Death of the President Changes among the Members and Officers of the 
 Academy Its Financial Position The Exhibitions . . . 248
 
 xiv CONTENTS OF THE FIRST VOLUME 
 
 CHAPTER IX. 
 
 ROYAL ACADEMICIANS ELECTED DURING THE PRESIDENCY OF BENJAMIN 
 WEST . PAGE 290 
 
 CHAPTER X. 
 
 ASSOCIATES ELECTED DURING THE PRESIDENTSHIP OF BENJAMIN WEST, WHO 
 DID NOT SUBSEQUENTLY BECOME ROYAL ACADEMICIANS . . 395
 
 LIST OF ILLUSTRATIONS 
 
 IN '. 
 
 THE FIRST VOLUME. 
 
 THE ROYAL ACADEMY, 1862 : being the East Wing of the National Gallery, 
 
 Trafalgar Square . Frontispiece 
 
 THE OLD ACADEMY in Peter's Court, St. Martin's Lane . . . PAGE 23 
 Sra JOSHTTA REYNOLDS, P.R.A. 124 
 
 (From the Portrait by Himself, in possession of the Royal Academy.) 
 
 VIEW OF THE OLD ROYAL ACADEMY in Pall Mall, 1769-1779 . . .125 
 f From a Drawing in the Print Room of the British Museum.) 
 
 PORTION OF OLD SOMERSET HOUSE, occupied by the Royal Academy, 1771-9 139 
 (From an aquatints Print by W. Moss.) 
 
 THE ROYAL ACADEMY in New Somerset House, 17801837 .... 165 
 
 BENJAMIN WEST, P.R.A 249 
 
 (From the Portrait by Sir Thomas Lawrence, P.R.A.)
 
 THE HISTORY 
 
 OF THE 
 
 KOYAL ACADEMY OF ARTS 
 
 CHAPTER I. 
 
 THE EARLY HISTORY OF THE FINE ARTS IN ENGLAND 
 
 Influence of Art The English School a comparatively Modern Creation 
 Causes of its tardy Development Notices of Art and Artists in the Saxon 
 and Norman Periods The Foreign Schools The Effects of the Invention 
 of Printing and of the Reformation upon Art Its Condition in England 
 subsequent to the Reformation Charles I. as a Patron of the Fine Arts 
 TJie Georgian Era Patronage of Foreign Artists by the English Sovereigns 
 Connoisseurship Portrait Painting Decorations of CeHinys, SfC. 
 Sign Painters The Characteristics of the English School. 
 
 THE history of Art, in any of its branches, is an im- 
 portant and interesting subject ; for it is in reality 
 little less than the history of the taste and moral refine- 
 ment of the people, their advancement in civilisation, and 
 in the appreciation of all that is beautiful and true. In 
 proportion to the development of these principles of 
 progress, in the same degree have the arts flourished ; 
 and those who wish to observe the growth of the one, 
 ought not indifferently to pass by the consideration of the 
 other. When once the love of art is created in a nation, 
 it does not rest satisfied till it has attained to the possession 
 and enjoyment of its noblest performances ; and thus the 
 advance towards perfection, and the healthy influences of 
 
 VOL. I. B
 
 2 HISTORY OF THE ROYAL ACADEMY [Cn. I. 
 
 elevated and refined feelings, are combined together to 
 produce the happiest results upon individuals and com- 
 munities. It has been truly stated that a taste for what 
 is beautiful is one great step to a taste for what is good. 
 Kings and statesmen may therefore regard the encourage- 
 ment of the arts at home, to be as much a part of their 
 duty as the defence of their country in the field, or the 
 maintenance of its interests in the cabinet. The pictured 
 morals of the work of art charm our minds, and, through 
 our eyes, correct our hearts. Pictures, it has been well 
 said, are the books of the unlettered, and they are to be 
 read as books, the work of one mind addressed to 
 another mind, it being, however, necessary, in order to 
 derive real instruction from them, that the language in 
 which they are written should be understood. 
 
 It was thus with the influence of Art. in England. So 
 long as it was unappreciated by the people, so long as 
 it remained the refined and ennobling taste of the few, 
 its effects were but limited ; but when it came at 
 length to be made known to, and understood by, the 
 many, then the habits and tastes of the people generally 
 improved, and so will continue to improve, in proportion 
 to the extension of its pure and gracious influences. 
 
 Yet it was not till a comparatively recent period that 
 England could boast of a native School of Painting; 
 indeed, a single century embraces the period during which 
 it can be said that the British School of Art has been in 
 existence ; and as we now contemplate the powers of the 
 artists of this country, the number of the professors and 
 patrons of the fine arts, and the influence which is thus 
 exercised over the tastes and tendencies of the people, we 
 cannot but rejoice at the progress which a century has 
 effected in the advancement of the fine arts in England. 
 The time has long since passed away when continental 
 critics were able to suggest (as was done by the Abbe du 
 Bos, Winckelmann, and others) that the frigidity of climate 
 in this country, operating upon the imagination of its
 
 CH. L] EAELY ENGLISH ART 3 
 
 inhabitants, hindered that warm and vigorous exertion of 
 fancy which enabled the Italians of old to rise to fame. 
 It now needs no argument to prove that in the works of 
 the English school there is certainly not less originality of 
 thought, or variety of execution, or difference in mode of 
 composition, than in any school of art in any age or 
 country, if we except, indeed, the most celebrated masters 
 of Italy. 
 
 It is, nevertheless, both interesting and profitable to 
 trace the progress of the arts among us, and to observe 
 the causes which have operated to retard the formation 
 of anything like a distinctive English School of Art until 
 so late a period in the history of this country. True it is 
 that art, like the oak, grows but slowly and gradually to 
 maturity and strength ; but while others of the handmaids 
 of civilisation were gaining power among us, painting and 
 the sister arts were centuries in developing their beneficial 
 influence, and rose but tardily to the importance they 
 have now attained. A brief review of the records and 
 remains of art in England, which are scattered up and 
 down in the history of the country, will help us in this 
 inquiry. 
 
 The antiquities which have been preserved to us of 
 early British and Saxon times are sufficient to prove that 
 architecture and sculpture were practised extensively, and 
 that painting, or at least design, with simple light and 
 shade, was then understood. During the Norman period, 
 architecture underwent a still further development; but 
 ecclesiastics (and these chiefly foreigners) designed the 
 cathedrals, and painted the frescoes, the stained glass, and 
 the missals which adorned the libraries and the halls of the 
 abbeys and monasteries. Henry III. (121G-1272) was an 
 earnest patron of the fine arts, founding cathedrals, and 
 enriching them with sculpture and painting. It was at 
 this period, and in the reign of Edward III. (A.D. 1327- 
 1377), that the works in the Painted Chamber and St. 
 Stephen's Chapel, Westminster, were executed. 
 
 D 2
 
 4 HISTORY OF THE ROYAL ACADEMY [On. I. 
 
 A long blank interval succeeds, during which artists 
 </nly copied the forms of saints and angels which had been 
 transmitted from preceding generations, and entered upon 
 the work of illuminations for missals and books of chivalry 
 and romance, which eventually led the way to better 
 things. There is a very curious portrait of Eichard II. 
 (1377-99), preserved in an ancient diptych, the property 
 of the Earl of Pembroke, which was exhibited at Man- 
 chester in 1857, representing the King, with his patron 
 saints (St. George and John the Baptist) on the one wing, 
 and the ' Madonna and Child,' with angels, on the other. 
 There is also a full-length portrait of this monarch, belong- 
 ing to the Dean and Chapter, at Westminster ; but it is 
 supposed to be a work of a later period. In the reign of 
 Henry VI. (1422-1461), England possessed at least one 
 celebrated native artist, in the person of William Austen, 
 who, in executing the famous monument to Eichard de 
 Beauchamp, Earl of Warwick, in St. Mary's Church at 
 Warwick, is considered to have rivalled his great con- 
 temporaries in Italy, DonateUo and Grhiberti. In the 
 reign of the next Henry (1485-1509), when painting had 
 elevated Italy to the highest dignity among the nations, 
 the arts in England found a more liberal patron than 
 in any previous British monarch ; the painters, Jan 
 Mabuse and Hans Holbein, were employed by him, and 
 the famous Chapel of Hemy VII. at Westminster was 
 erected. Most of the portraits of the illustrious personages 
 of the reign of Henry VIII. we owe to Holbein ; and an 
 invitation was also given by the same monarch to Eaffaelle, 
 requesting him to visit the English court. Although this 
 proved unsuccessful, several of his pupils, and other 
 Italian artists, found employment in this country during 
 the reign of the last of the Henries. Sir Anthony More 
 was the principal painter to Queen Mary ; and in the 
 reign of Elizabeth (1558-1603), two English artists, 
 Nicholas Hilliard, and his pupil, Isaac Oliver, distinguished 
 themselves as miniature painters.
 
 CH. L] FOREIGN SCHOOLS OF ART 5 
 
 Abroad, the chief glory of the arts was in connection 
 with the teaching of religion. The first specimens of 
 Christian art were found in the Eoman catacombs ; next 
 came the mosaics of the Italian and Sicilian cities, and 
 the illumination of books of devotion. The Byzantines 
 followed with their paintings on wood of the ' Madonna 
 and Child,' and figures of the saints. Then began the 
 revival of the arts in the formation of the Italian schools, 
 framed on Byzantine models, the Siennese beginning 
 with Oderico in 1213 ; the Florentine with Cimabue and 
 Giotto in 1276 ; the Umbrian in 1368 ; the Eoman, re- 
 presented by Eaffaelle and his followers, in 1483 ; and 
 a host of others of less note, which multiplied and pros- 
 pered until the period of their decline in the sixteenth 
 century. These are, however, remarkable for their 
 separate and independent development, which reached its 
 culminating point in Eafiaelle and his illustrious contem- 
 poraries. While the genius of the Italian artists was thus 
 gradually improving the art of painting, there were in 
 Germany the early masters of Cologne (1297-1357), and 
 the later ones, with Albert Durer at their head, in 1471, 
 the Flemish school beginning with Van Eyck (1370) ; 
 the Dutch with Eembrandt (1606) and his followers ; and 
 the French and Spanish schools, each attaining to the 
 zenith of their power about the same time with those we 
 have mentioned. 
 
 It has been observed that the decline of painting was 
 simultaneous with the invention and the rapid develop- 
 ment of the powers of the printing press. A more effec- 
 tive means of diffusing knowledge was thus set in action, 
 and by it art was deprived of its higher and nobler aims 
 as the chief instructor of mankind. To the principles of 
 the Eefonnation 1 also have been attributed the tardy 
 growth in England of the taste for art which seemed to 
 
 1 See Barry's " Inquiry into the Obstructions to the Acquisition of the 
 Arts iu England."
 
 6 HISTORY OF THE ROYAL ACADEMY [On. I. 
 
 have been previously awakened. Painting was no longer 
 employed as one of the chief moral and religious instruc- 
 tors of the mass of the people, and the preachers of religion 
 no longer attempted to enforce their doctrines and pre- 
 cepts by its aid ; and there is little doubt that the removal 
 of all the images and paintings from the churches which 
 then took place was inimical to the prospects of art at the 
 time. Queen Elizabeth showed little favour to its pro- 
 fessors ; and her personal objection to any illustration of 
 religious truths by pictorial representation may not unna- 
 turally have led to the impression that the Eeformation, 
 which she so strongly advocated, was equally opposed to 
 all productions of art. Such, however, is very far from 
 being the case ; for the experience of modern times shows 
 that the Reformed faith, if it has checked the almost 
 exclusive application of art to religious topics, and the 
 reproduction of conventional forms for devotional pur- 
 poses, has opened to it an endless field in the varied 
 materials which the freedom of thought, liberty of inquiry, 
 and extension of general knowledge will always continue 
 to discover and suggest. Nor, indeed, is there any sub- 
 ject so replete with incidents picturesque, graphic, various, 
 and touching, as that which the history of the Bible, and 
 especially the life of the Divine Founder of the Christian 
 faith, affords to the painter. It was the mere superstitious 
 repetition of pictures for the purposes of worship which 
 the Reformation condemned, not the representation of any 
 actual event in that most true and characteristic chronicle 
 of the history of mankind. 
 
 But, with such influences at work, it became necessary 
 to create a new taste for art in England. There were no 
 longer commonwealths, as of old time, seeking to record 
 by its aid their fame and progress for posterity to admire 
 and emulate ; churches and convents no longer called for 
 the best energies of the painter to adorn the shrine to 
 which myriads of pilgrims thronged, or where devotees 
 worshipped, with representations of saintly beauty or
 
 CH. I.] CHARLES I. A PATRON OF THE ARTS 7 
 
 faith or zeal ; and art had, therefore, henceforth to depend 
 upon the individual patronage of the wealthy classes until 
 it could awaken public sympathy for classical or religious 
 subjects. Hence its first support, under this altered state 
 of things, was in the lord or the rich citizen desiring to 
 adorn his mansion, in the first instance, probably, with 
 family portraits, but, as his taste improved, with other 
 works more distinctly the productions of high artistic 
 genius and imagination. Portrait painting was the branch 
 of art which Queen Elizabeth principally encouraged ; and 
 her example was followed by her subjects, and by her 
 successor, James I. (1603-1625), who employed Paul 
 Vansomer, Jansen, and Myttens, all Dutch artists, and the 
 English miniature painter, Peter Oliver. Nicholas Stone, 
 the sculptor, was also eminent in this reign. 
 
 It is to the reign of Charles I. (1625-1649) that we must 
 turn for the brightest page in the early history of art in 
 England. Then it was that the first royal collection of 
 pictures was formed, and that the sovereign became truly 
 the liberal patron of art. The Eoyal Gallery (formed partly 
 of the pictures gathered together by Henry VIII. and by 
 Prince Henry, and subsequently enriched by the assem- 
 blage of works made by the Earl of Arundel, by presents 
 of pictures from foreign courts, and by purchases judi- 
 ciously made by King Charles himself) numbered 460 
 pictures, including the famous cartoons of RafFaelle and 
 Mantegna, and many works by Eembrandt, Correggio, 
 Titian, Rubens, Paul Veronese, and other eminent masters. 
 These were intended only as the commencement of a 
 much larger collection ; and agents of the King travelled 
 over the continent, paying handsomely for the pictures 
 they bought. Many of these works were destroyed in the 
 fire at the Old Palace of Whitehall, and many more were 
 dispersed during the Commonwealth. To the visit of 
 Rubens, as the ambassador of the Infanta of Spain, and 
 the King's cordial welcome to the illustrious artist, we owe 
 that noble work, ' The Apotheosis of King James,' painted
 
 8 HISTORY OF THE ROYAL ACADEMY [On. I. 
 
 by him for the ceiling of the banqueting-hall of Whitehall. 
 For this work he received 3000 and the honour of 
 knighthood. Another celebrated painter, Vandyke, who 
 had studied under Eubens, was admitted into the ranks of 
 the royal painters, and was also knighted by Charles I. ; 
 while at the same time English artists received gracious 
 and liberal encouragement. Among these the principal 
 were William Dobson, Eobert Walker, and George 
 Jameson, eminent as portrait painters ; Francis Barlow, 
 known by his pictures of hawking and birds on the wing ; 
 Gibson, the dwarf, who drew heads admirably in water- 
 colours; and Nicholas ("old") Stone, an excellent colourist. 
 The constant employment given by the King to Inigo 
 Jones, the architect, was another instance of his good 
 taste, and his desire to promote the cause of art. It was 
 in this reign, also, as we shall have occasion to mention 
 more in detail hereafter, that the first attempt was made 
 to establish a public school of art. 
 
 The troublous times which followed these happy days 
 of poor Charles I. swept away much of the impulse he 
 had given to the cultivation of a taste for art. The pic- 
 tures he had collected were sold, and depreciated as worse 
 than valueless ; the taste for painting was regarded as 
 sinful; monuments were looked upon by the eyes of 
 Puritans either as idolatries or marks of pride and vain- 
 glory ; and when a reaction followed the stern severities 
 of the Commonwealth at the period of the Eestoration 
 (1660), we trace the influence of the dissolute spirit of the 
 times in the meretricious graces of the beauties of the 
 court of Charles II., as preserved to us in the works of 
 Sir Peter Lely at Hampton Court, who succeeded Van- 
 dyke as the court painter, but did not equal him .in ability. 
 Antonio Verrio, the painter of the allegories on ceilings, 
 which came into fashion at this time, and the Vander- 
 veldes, the marine painters, were employed in England 
 during this reign ; and Samuel Cooper was a native minia- 
 ture painter of great merit. In architecture we find the
 
 CH. I.] PREFERENCE SHOWN TO FOREIGN ARTISTS 9 
 
 single illustrious name of Sir Christopher Wren, the archi- 
 tect of St. Paul's ; and in sculpture those of Colley Gibber 
 and Grinling Gibbons. 
 
 The next step in this brief retrospect brings Sir Godfrey 
 Kneller before us, in 1674, as the successor of Lely. He 
 continued to paint portraits of all the illustrious personages 
 till the time of George I., and was long the favourite court 
 painter, having been knighted by William III. and created 
 a baronet by George I. John Eiley also received some 
 degree of notice from James II. and from William and 
 Mary ; and at the same time a large number of foreign 
 artists, whose names are now forgotten, or very little 
 known, were finding lucrative employment in England. 
 In Queen Anne's reign the decline of good painting and 
 the practice of forging copies of works of eminent artists 
 are noticeable ; and when George I. came to the throne 
 (1714) the prospect of raising the position of artists, or 
 of improving the public taste for art in England, seemed as 
 remote as it had ever been. 
 
 The main cause of this melancholy state of things was 
 to be found in the practice of preferring foreign painters 
 to the only lucrative appointments for artists in the gift of 
 the Crown, and thus leading all other patrons of art to 
 suppose that nothing but mediocrity could be looked for 
 among our native artists. The absence of any collections 
 of pictures hindered any correction of this erroneous im- 
 pression by a comparison of the productions of the one 
 with the other ; while the English artists also laboured 
 under the disadvantage of being unable to study the works 
 of the great masters of the Italian schools. It is greatly 
 to their honour and credit that, notwith standing their 
 difficulties in self-improvement, and the unfair prejudice 
 against them on the part of English art-patrons, they at 
 length overcame, by dint of their own energy and by the 
 power of their own genius, the depreciation of their 
 talents so unfairly excited by the example of the highest 
 personages in the realm. The succession of court
 
 10 HISTORY OF THE ROYAL ACADEMY [On. I. 
 
 painters domiciled in England, and monopolising court 
 patronage, gradually became smaller as they found them- 
 selves unable to compete in talent with the English artists. 
 Laguerre, the French painter of allegories for ceilings ; 
 Canaletto, the gifted Venetian landscape painter; Dahl, 
 Netzcher, and Denner, the Dutch portrait painters, are 
 among the last of the immigrants from abroad. Charles 
 Jervas, Jonathan Eichardson, and Sir James Thornhill, 
 painters, and Hawkesmoor and Gibbs, the architects, are 
 added to the list of English artists in the reign of George I. 
 (1714-1727). Many of these continued their labours in 
 the reign of his successor (1727-1760); and to these 
 must then be added Hudson, the master of Eeynolds ; 
 Francis Hayman, the historical painter ; Samuel Scott and 
 George Lambert, landscape painters ; Knapton and Cotes, 
 famous in portraiture ; the illustrious William Hogarth ; 
 and most of the artists who will hereafter be mentioned 
 in connection with the foundation of the Eoyal Academy, 
 who were then rising into notice. 1 
 
 From this cursory glance at the history of art in Eng- 
 land we are able to discover why so little progress was 
 made in the formation of a native school of painting until 
 such a very recent period. As far as its advancement 
 depended upon the fostering care of the government, the 
 whole interval between the reign of Charles I. and the 
 commencement of the reign of George HI. is little more 
 than a blank. In literature and science, as well as in 
 art, some great characters have thrown a lustre upon the 
 dark periods of history by their exertions and attain- 
 ments, the more conspicuous, perhaps, in the absence of 
 all public encouragement. Thus Milton, Wren, Barrow, 
 Locke, Newton, and Flamsteed, rise up as illustrious 
 
 1 A more detailed account of the "Anecdotes of Painting in England," 
 
 foreign artists who were practising and in W. B. S. Taylor's "Origin, 
 
 in England in early times, and of Progress, and present Condition of 
 
 the native professors of the arts, the Fine Arts in Great Britain." 
 
 will be found in Horace Walpole's 2 vols. 8vo. 1841.
 
 CH. I] CONNOISSEURSIIIP 11 
 
 examples ; and Addison, Steele, Prior, Bolingbroke, 
 Walpole, Swift, Pope, and Halley, are other instances 
 in which men of talent rose to eminence without re- 
 quiring the encouragement of government. A golden 
 chain links together in unbroken succession some few 
 men in each generation whose talent was sufficiently 
 conspicuous to prevent the reproach of there being any 
 time when England had no representative of art-talent 
 among its own people. But from the little inclination 
 evinced by the greater number of the English sovereigns 
 to foster the arts, a popular taste for them was not created 
 in the nation generally ; and when the patronage of the 
 aristocracy began to be turned into this channel, the ex- 
 ample of the court in choosing foreigners, even as portrait 
 painters, was generally followed. 
 
 It was not, however, that there was no patronage of 
 art, or taste for it, in England ; on the contrary, at the 
 beginning of the Georgian era there was a perfect rage of 
 connoisseurship ; but it was injudicious, and itself created 
 many of the obstacles to the true advancement of art. It 
 was the picture dealer who was in the ascendant, who 
 imported and sold at large prices copies, imitations, and 
 studies by obscure artists of all the renowned works of 
 the artists of Italy and Flanders, giving to these produc- 
 tions the names of the great masters of ancient art. 
 Thus in Gwyn's "Essay on Design," &c., published in 
 1749, it is said " We often hear of a sum given for a 
 single work of an ancient master that equals the annual 
 revenue of a gentleman's estate ; and sometimes in those 
 cases the ignorance of the purchaser, or the knavery of 
 the seller, imposes a copy of little value instead of an 
 original." Indeed it is found at all times that a demand 
 for certain articles of commerce at once creates the sup- 
 ply; and as Baflaelles, Correggios, and Rembrandts are 
 in request, so they are quickly made for sale ; and the 
 ingenuity and skill of the manufacturers are exerted to 
 the utmost to meet the required demand. This is done
 
 12 HISTORY OF THE ROYAL ACADEMY [On. I. 
 
 in two ways, by the conversion of genuine pictures of 
 one master into spurious pictures attributed to another, 
 and by bold and entire forgery. 
 
 While thus a false taste was generated, and the limited 
 patronage of art was unwisely exercised, it is also to the 
 absence of any large schemes on the part of the govern- 
 ment to foster the growth of native talent that the tardy 
 development of the English school must be attributed. 
 It is by such cultivation of the fine arts that kingdoms 
 have acquired dignity and reputation ; and history, 
 whether ancient or modern, shows how intimately such 
 encouragement is connected with advancement in every- 
 thing that is valuable in science, literature, and philo- 
 sophy. Experience has proved that free governments 
 such as that of England are most suitable to the produc- 
 tion of native talents, to the maturity of the powers of the 
 human mind, and to the growth of every species of excel- 
 lence, since they only open to merit the prospect of reward 
 and distinction. 
 
 The absence of such encouragement in this country in 
 former tunes, the exclusive patronage of foreign artists by 
 the few who cared for art at all, and the rage of connois- 
 seurs in collecting " old masters," many of them of most 
 melancholy modern manufacture, led the English artists 
 of the last century to endeavour to get a living by copying 
 such works of excellence of this kind as they could obtain 
 access to, and to imitate, as much as possible, the peculiari- 
 ties of the older painters in their modern representations, 
 both of persons and of English scenery. Thus portraits 
 were painted in the positions and costumes depicted by the 
 painters of the sixteenth and seventeenth centuries, and land- 
 scapes of our own country were constructed from prints, after 
 the works of the old Dutch and French masters. Hogarth 
 ridiculed and very properly this servile adaptation of 
 so much that was inconsistent with our own national 
 characteristics, and in all his graphic delineations drew 
 from nature, employing no fictitious means for heightening
 
 CH. I.] PAINTERS OF SIGNS AND CEILINGS. 13 
 
 the effect of his truthful representations. His men and 
 women were just such as could have been seen in London 
 streets in his time ; his backgrounds were sketches of 
 familiar haunts of the people he represented ; and all was 
 real and lifelike, because all was natural and true. What 
 he accomplished for genre painting was effected by his 
 contemporary, Paul Sandby, for landscape painting. He 
 went to nature for his prototype, and thus drew real views 
 of English scenery ; whereas his predecessors had com- 
 posed their pictures in part from the scene represented, and 
 partly from inserted " bits " and effects, copied from the 
 older foreign artists, or else confined themselves to those 
 elaborate topographical drawings of perspective views and 
 bird's-eye panoramas which were in vogue at that period. 
 
 One means of employment for painters for nearly a 
 century after the Eestoration was the internal decoration 
 of the royal palaces and the mansions of the nobility by 
 an adaptation of the plafond painting which was so 
 popular in France under Louis XIV. We have mentioned 
 Verrio and Laguerre, and even Eubens, as so employed ; 
 and the chief occupation of Sir James Thornhill was the 
 painting of walls and ceilings, for which he was paid by 
 measurement, at so much per yard. Thus for the designs 
 in the great hall of Greenwich Hospital he received 3 
 per yard. Copyists were employed on an inferior scale, 
 to fill up panels with landscapes and subjects from the old 
 masters at forty or fifty shillings each, and this tended to 
 depreciate the demand for works of a higher character. 
 Many artists, and these men of ability, often found employ- 
 ment in painting coach-panels with groups of allegorical 
 figures, flowers, &c. Among them were included Hogarth, 
 Catton, and Cipriani. 
 
 Before the changes which took place in the general ap- 
 pearance of London soon after the accession of George IH., 
 caused by the acts of Parliament ordering the removal of 
 obstructions from the public thoroughfares, the universal 
 use of Signs, not only for taverns and ale-houses, but also
 
 14 HISTORY OF THE ROYAL ACADEMY [On. I. 
 
 for the shops of general tradesmen, proved the greatest 
 resource of the English artists in obtaining employment. 
 Addison 1 complains of the bad taste which many of these 
 displayed. " There are daily absurdities hung out upon the 
 sign-posts of this city, to the great scandal of foreigners, as 
 well as those of our own country, who are curious spectators 
 of the same. . . . Our streets are filled with ' Blue Boars,' 
 ' Black Swans,' and ' Eed Lions,' not to mention ' Flying 
 Pigs,' and ' Hogs in Armour,' with many other creatures 
 more extraordinary than any in the deserts of Africa." 2 
 But all were not of this character ; for some of those painted 
 by Catton, Wale, and Lamb, are described as bold and 
 masterly works. The head, and sometimes the whole- 
 length, figure of Shakespeare or other celebrities formed 
 a frequent subject, and afforded ample scope for talent ; 
 indeed, such paintings often attracted attention by their 
 excellence as works of art. There was a market esta- 
 blished for the sale of these signs in Harp Alley, Shoe 
 Lane ; and at a somewhat later period than that to which 
 we are now referring (17 62), an exhibition was made 3 by the 
 " Society of Sign-painters " of " a most magnificent collec- 
 
 1 " Spectator," No. 28, 2nd April, are ridiculous enough. No. 8 was 
 1711. the ' Vicar of Bray,' an ass in a 
 
 2 There is no doubt that heraldry feather-topped grizzle, bauds, and 
 is the source whence these devices pudding sleeves. No. 9, ' The Irish 
 were derived : the first three are Arms,' represents a pah- of thick legs 
 plainly a boar, azure ; a lion, gules ; in white stockings and black gaiters. 
 a swan, sable. Besides those de- No. 16, ' A Man ' personified by nine 
 rived from heraldry (the arms fre- tailors at work. No. 19, ' Nobody 
 quently of the landed proprietors in alias Somebody,' being the figure of 
 each locality), many of the ancient an officer all head, arms, and legs, 
 signs had a religious origin : as the so drawn as not to miss the body ; 
 f Golden Cross/ the ' Lamb and Flag,' and its companion, ' Somebody alias 
 or ' Agnus Dei,' &c. Portraits of Nobody,' with little head and huge 
 famous personages and the reigning body, holding a staff with a great 
 sovereign furnished another class ; air of importance. These last were 
 while those emblematical of Inns attributed to Hogarth. The well- 
 and of trades supplied an endless known sign of ' A man loaded with 
 variety of subjects for the painter's mischief,' i. e. carrying a woman, a 
 skill. magpie, and a monkey on his back, 
 
 3 An account is given of the sub- was also there : and many others 
 jects of the signs in the " London characterised by wit and humour. 
 Register" for 17G2. Some of them
 
 CH. I.] CHARACTER OF THE ENGLISH SCHOOL 15 
 
 tion of portraits, landscapes, flower-pieces, history-pieces, 
 night-pieces, Scripture-pieces, &c., designed by the ablest 
 masters, and executed by the best hands in these kingdoms.'' 
 It was held " at the large room, the upper end of Bow 
 Street, Covent Garden, nearly opposite the Playhouse 
 Passage," and seems to have afforded much amusement 
 at a time when exhibitions of pictures of any kind were 
 a novelty. 1 
 
 From these glimpses at the history of art in England 
 we see that the time was yet to come when its professors 
 should attain their rightful position, and be permitted to 
 exercise their skill on objects worthy of the efforts of 
 genius, and when they should receive something approach- 
 ing an adequate reward for their labour. Yet amidst all 
 the disadvantages under which it was called into existence, 
 the English school, founded upon the feelings and require- 
 ments of the age rather than upon any exalted theories of 
 art, at once assumed the common-sense character of the 
 people. Its professors devoted themselves to portraiture, 
 to landscape, and the representation of scenes of domestic 
 life. In these they have excelled ; and as the national 
 taste improved, poetical and historical composition found 
 its exponents and its patrons, as knowledge and refinement 
 made progress among us. 
 
 Thus it has come to pass that art mingles in the 
 education, softens the labours, adds to the amusement, 
 and is becoming the agreeable and elevating enjoyment of 
 the many ; while it was in former days, and those not long 
 distant, the exclusive privilege of the few. All who have 
 some natural appreciation of colour, proportion, and 
 harmony, can now store their memories with agreeable 
 recollections, and their minds with images of beauty, as 
 they pass through life, whether it be spent in town or 
 
 1 This exhibition was planned by Exhibition. It was very successful, 
 
 the Nonsense Club, and managed by and gavo no offence even to those 
 
 Bonnel Thornton, who intended it whom it was intended to ridicule, 
 as a joke, in opposition to the Artists'
 
 16 HISTORY OF THE ROYAL ACADEMY [Cii. I. 
 
 country. All may possess a painter's eye, though they 
 may not be able to use a painter's brush ; and with it the 
 objects of every landscape will group themselves in new 
 forms of beauty. There will be new richness in every 
 gleam of light, new solemnity in every deepening shade. 
 So, too, when we understand the principles, and trace the 
 history of architecture, we shall find in every stone in 
 the ancient church or ruined castle or abbey, something 
 by which we are drawn back into the long-forgotten past ; 
 and every sculptured form will have its history or its 
 power of awakening our sympathy or admiration. In 
 proportion as such sources of pleasant and elevating 
 thought are increased, and better appreciated, both as 
 means of instruction and as sources of enjoyment, will be 
 the extension of the genial influences of the arts, and the 
 increase of employment for those artists who recognise the 
 high purpose they have to accomplish.
 
 17 
 
 CHAPTEE II. 
 
 EARLY ACADEMIES OP AET IN ENGLAND 
 
 The Necessity and Advantages of the Study of Art TJie Ancient Guikls of 
 Art The "Museum Minervce" in Charles I. 's Reign John Evelyn's 
 Plan for an Academy of Art Private Academies established by Sir G. 
 Knetter, Sir J. Thornhitt, and Hogarth Offer of Aid in founding an Art 
 Academy made by the Society of Dilettanti Project of a Public Academy 
 of the Arts in 1753 Nesbitfs "Essay on the Necessity of a Royal Academy " 
 in 1755 The Duke of Richmond's School of Design The Exhibition of 
 Pictures painted for t/ie Foundling Hospital The First General Exhibition 
 of Pictures in 1760 The First Society of Artists The seceding " Free 
 Society of Artists" Apology for the Charge for Admission to the Exhibition 
 by Dr. Johnson Strife and Dissension in the " Incorporated Society of 
 Artists of Great Britain " Resignation of the Original Directors. 
 
 study of the fine arts has a tendency more direct 
 J- than any other branch of education to improve and 
 elevate the mind and to purify and refine the taste ; 
 and the better the arts become generally understood, the 
 more will artists be stimulated to attain to higher excel- 
 lence. For if the works they produce are to appeal to 
 the moral feelings or the imagination of the beholder, to 
 inspire him with a love of nature, or to impress upon his 
 mind representations of transactions which have engaged 
 the attention of mankind at other times than our own, 
 the artist must himself have undergone a preparatory 
 process of study, not only more detailed and technical, but 
 also of the general principles of art, by which his own 
 mind is enabled to suggest, as well as his skilful hand to 
 execute, works which are to impress the minds and to open 
 sources of enjoyment to others. On this subject Cousin ob- 
 serves, that " every work of art, whatever may be its form, 
 small or great, figured, sung, or uttered every work of art, 
 VOL. i. c
 
 18 HISTORY OF THE ROYAL ACADEMY [Cn. II. 
 
 truly beautiful or sublime, throws the soul into a gentle or 
 severe reverie that elevates it above grosser tastes. The emo- 
 tion that the beautiful produces has a civilising influence ; 
 it is the beneficent result that art procures for humanity." 
 
 The practice of painting, when first extended beyond 
 the cloister, was in a measure still dependent upon the 
 monks for the knowledge of the preparation of the 
 various pigments and vehicles, and often for the' supply of 
 them. Subsequently the method of preparing his mate- 
 rials became a part of the artist's education ; and during 
 the middle ages the painters had their Guild, like other 
 handicraftsmen, binding its members to keep the mystery 
 of the profession, and regulating the conditions on which 
 masters might instruct apprentices, who became their 
 pupils for sometimes thirteen years, six of which were to 
 be given exclusively to the manufacture of colours. Thus 
 the members of these guilds communicated this know- 
 ledge to their pupils ; but when these companies were 
 done away with, and it was no longer compulsory to 
 obtain instruction from the only source hitherto available, 
 it became necessary to provide it in a new form, and in 
 some other way, that those who possessed taste for art 
 might be enabled to exercise it aright. Hence it will be 
 found that it was about the period of the decline of these 
 guilds that most of the Art-academies arose, for in fact 
 they had become essential to its successful pursuit ; and it 
 will be useful, ere we enter upon the account of the rise 
 of the Royal Academy of Arts, to trace the efforts made 
 by preceding generations in this country to meet this want, 
 although, unhappily, they met with so little success. 
 
 To Charles I. we owe the establishment of the first 
 academy connected with the arts in England. It was 
 founded in 1636, as the Museum Minervce. The patent 
 of its erection is still extant in the Bolls' Office ; and the 
 rules, orders, and plans of the institution were printed in 
 the same year. The course of instruction embraced the 
 arts, sciences, and foreign languages, mathematics, paint-
 
 CH. II.] EVELYN'S PLAN FOR AN ACADEMY 19 
 
 ing, sculpture, architecture, riding, fortification, antiquities, 
 and the science of medals, &c. None could be admitted 
 into it but those who could prove themselves to be of the 
 rank of gentlemen. Sir Francis Kynaston was appointed 
 the first regent, and a coat of arms was granted to him 
 and the professors of the academy in 1635. It was held 
 in his house in Covent Garden, but only continued in 
 operation for about five years, till the civil strife began. 
 Although fruitless as a means of public art-education, 
 it would have been of value if it had lasted long enough 
 to educate one or two generations in the middle and 
 upper classes of society in the principles and practice of 
 the elegant and useful arts and sciences, and would thus 
 have imbued them with a correct taste in exercising 
 their influence in the promotion of the fine arts. l 
 
 John Evelyn, whose philosophic and elegant mind con- 
 tributed so much to adorn the period in which he lived, 
 and who has preserved to us in his memoirs so true a 
 picture of the age of the Restoration, published in 1662 
 a work on engraving called " Sculptura," in which he un- 
 folds a scheme he had formed for the formation of an 
 academy for the encouragement of art. It is very in- 
 teresting, in connection with the principles upon which 
 the Royal Academy was to be founded a century after- 
 wards. His plan is as follows : 
 
 " It is proposed that a house be taken, with a sufficient 
 number of rooms : two contiguous to each other for drawing and 
 modelling from life ; one for architecture and perspective, one 
 for drawing from plaster; one for receiving the works of the 
 school ; one for the exhibition of them ; and others for a house- 
 keeper and servants. 
 
 1 Walpole mentions that Sir Hal- Academy for Foreign Languages, 
 
 thazar Gerbier, a Flemish miniature and all Noble Sciences and Exer- 
 
 painter and architect, who was cises ; " but nothing is known of its 
 
 knighted by Charles I., and was his operations, except that Gerbier seems 
 
 Master of the Ceremonies, esta- to have given lectures there in seve- 
 
 blished an academy of his own in ral languages on a great variety of 
 
 1048 upon similar principles to this, subjects, and a musical entertain- 
 
 at Whitefriars, which ho called " The meiit in 1C4U-GO. 
 
 c 2
 
 20 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 " That some fine pictures, casts, bustos, bas-relievos, in- 
 taglios, antiquity, history, architecture, drawings, and prints, be 
 purchased. 
 
 " That there be professors of anatomy, geometry, perspective, 
 architecture, and such other sciences as are necessary to a painter, 
 sculptor, or architect. 
 
 " That the professors do read lectures at stated times on con- 
 stituent parts of their several arts, the resources on which they are 
 founded, and the precision and immutability of the objects of true 
 taste, with proper cautions against all caprice and affectation. 
 
 "That living models be provided of different characters to 
 stand five nights in the week. 
 
 " That every professor do present the academy with a piece 
 of his performance at admission. 
 
 " That no scholar draw from the life till he has gone through 
 the previous classes, and given proof of his capacity. 
 
 " That a certain number of medals be annually given to such 
 students as shall distinguish themselves most. 
 
 " That every student, after he has practised a certain time, 
 and given some proofs of his ability, may be a candidate for a 
 fellowship. 
 
 " That such of the Fellows as choose to travel to Eome to 
 complete their studies, do make a composition from some given 
 subject, as a proof of their ability. He who shall obtain the 
 preference shall be sent with a salary sufficient to maintain him 
 decently a certain time, during which he is to be employed 
 in copying pictures, antique statues, or bas-relievos, drawing 
 from ancient fragments or such new structures as may advance 
 his art, such pieces to be the property of the Society. 
 
 " That other medals of greater value, or some badges of dis- 
 tinction, be given publicly to those who shall manifest un- 
 common excellence. 
 
 " That some professors should be well skilled in ornaments, 
 fruits, flowers, birds, beasts, &c., that they may instruct the 
 students in these subjects, which are of great use in our manu- 
 factories. 
 
 " That drawing-masters for such schools as may be wanted 
 in several parts of the kingdom be appointed by the professors, 
 under the seal of the Academy. 
 
 " That a housekeeper shall continually reside at the Academy, 
 to keep everything in order, and not suffer any piece to go out 
 of the house without a proper warrant."
 
 CH. II.] SIR J. THORNIIILL'S ACADEMY 21 
 
 This plan, unhappily, remained completely in abeyance ; 
 and the next approach to an academy, of which there is 
 now any trace, was a private one (mentioned by Walpole), 
 established by Sir Godfrey Kneller, and at which Vertue 
 the engraver studied in 1711. After a long career of 
 court patronage in England, Kneller died in 1723, having 
 painted portraits of ten sovereigns, the beauties of 
 Hampton Court for William III., and the thirty-nine 
 members of the Kit-cat Club, and attained the rank of 
 baronet and a large fortune. 
 
 Just about the time when this individual effort to afford 
 instruction in art was brought to a close, Sir James 
 Thornhill, then holding the appointment of historical 
 painter to King George I., laid before the government a 
 plan for the foundation of a Eoyal Academy for culti- 
 vating the minds and diffusing right principles amongst 
 the young artists of England, to be erected " at the upper 
 end of the Mews," with suitable apartments for the pro- 
 fessors. The estimated cost at the commencement was 
 3189 ; and although the plan was supported by Lord 
 Treasurer Halifax, the Treasury refused to make any 
 grant for the purpose. 
 
 When this attempt failed, Thornhill opened an academy 
 for drawing at his own house in James Street, Covent 
 Garden, on the east side, where " the back offices and 
 painting-room abutted upon Langford's (then Cock's) 
 auction-room in the Piazza." 1 This school was the 
 resort of all the artists of the period; and when it 
 was closed at his death, so greatly was the loss of the ' 
 study of living models felt, that in two or three years 
 afterwards a few artists associated together, and carried 
 on their academic studies in a suitable room in the house 
 of Mr. Hyde, a painter in Greyhound Court, Arundel 
 Street, Strand. G. M. Moser, an eminent gold and 
 silver chaser, and afterwards a Royal Academician, 
 was the chief conductor of this institution. Many of the 
 
 1 " European Magazine," 1804, p. 820.
 
 22 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 members of the Thornhill school joined the artists in 
 their new studio ; and in 1738 they removed to a more 
 spacious and convenient situation in Peter's Court, St. 
 Martin's Lane, where they continued for nearly thirty 
 years, supporting the life academy by their own subscrip- 
 tions. The number of professional English artists was 
 evidently rapidly increasing ; and by the example of 
 Hogarth (who appealed to the support of the multitude 
 through the medium of the sale of engravings from his 
 works, rather than to high patrons to buy his paintings) they 
 were encouraged to labour with a similar view. No tie 
 of brotherhood, except that of mutual convenience, seems 
 to have bound the members of these academies together ; 
 and from an account which Hogarth has left us of the mode 
 in which they worked, we are not able to form a very 
 high opinion of their management or constitution. 
 
 In an article written by him about the year 1760 (pub- 
 lished in the supplementary volume of Ireland's " Hogarth 
 Illustrated "), a brief account is given of the academies of 
 art which existed in England prior to that date. He 
 says, " The first place of this sort was begun about sixty 
 years ago by some gentlemen painters of the first rank, 
 who in their forms imitated the Academy in France, but 
 conducted their business with less fuss and solemnity : yet 
 the little there was of it soon became the object of 
 ridicule. Jealousies arose ; parties were formed ; and the 
 president and his adherents, having found themselves 
 comically represented marching in ridiculous procession 
 round the walls of their room, the first proprietors put a 
 padlock on their door ; the rest, by their right as sub- 
 scribers, did the same, and thus ended that academy. 
 Sir James Thornhill, at the head of one of these parties, 
 then (in 1724) set up an academy in a room he built at 
 the back of his own house, now next the play-house 
 (Covent Garden), and gave tickets to all who required 
 admission ; but so few persons would incur the obligation 
 that this academy soon sunk also. Mr. Vanderbank
 
 CH. II.] 
 
 ST. MARTIN'S LANE ACADEMY 
 
 23 
 
 headed the rebellious party, converted an old meeting- 
 house into an academy, and introduced a female figure, to 
 make it more inviting to subscribers. This establishment 
 lasted a few years, when the treasurer, having sunk the 
 subscription money, the lamp, stove, &c. were seized for 
 rent, and there was an end of that concern. Sir James 
 
 The Old Academy In Peter'g Court, St. Martin's Laiio 
 
 dying, I became possessed (in 1734) of his neglected ap- 
 paratus ; and thinking that an academy, if conducted on 
 moderate principles, would be useful, I proposed that a 
 number of artists should enter into a subscription for the 
 hire of a place large enough to admit of thirty or forty 
 persons drawing after a naked figure. This proposition
 
 24 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 having been agreed to, a room was taken in St. Martin's 
 Lane (Peter's Court). I sent to the society the furniture 
 that had belonged to Sir James's academy ; and, attri- 
 buting the failure of the previous academies to the lead- 
 ing members having assumed a superiority which their 
 fellow-students could not brook, I proposed that every 
 member should contribute an equal sum towards the sup- 
 port of the establishment, and have an equal right to vote 
 on every question relative to its affairs. By these regu- 
 lations the academy has now existed nearly thirty years, 
 and is for every useful purpose equal to that in France 
 or any other." How far this opinion of the eminent 
 painter was confirmed by the final result we shall pre- 
 sently have occasion to show. 
 
 In the order of time, the next step towards the provi- 
 sion of a home for art in England, was the laudable one 
 taken by the Society of Dilettanti, founded in 1734 by 
 some noblemen and gentlemen who had travelled in Italy, 
 for the purpose of encouraging a taste for those objects 
 which had contributed so much to their entertainment 
 abroad, and also for friendly and social intercourse. " In 
 1749 a plan was submitted to the society by Mr. Dingley, 
 for the formation of an academy of arts ; and the society 
 voted an annual sum out of their general fund for the 
 encouragement of art in the three different branches of 
 painting, sculpture, and architecture, as soon as this or 
 any other scheme for a similar purpose should be carried 
 into effect." 1 It would appear that the directors of the 
 Dilettanti Society were in earnest in the matter, for they 
 appointed a committee to purchase a plot of ground 
 whereon to erect a building as a repository for works of 
 art, particularly castes from the antique. They purchased 
 a site on the south side of Cavendish Square, and supplies 
 of Portland stone, and in 1753 resolved that the pro- 
 posed building should be erected according to the exact 
 
 Taylor's "History of the Fine Arts in Great Britain/' vol. ii. p. 163.
 
 CH. II.] PLAN OF THE DILETTANTI SOCIETY 26 
 
 measurements of the Temple at Pola, appointing Sir John 
 Dash wood, Mr. Howe, Mr. Dingley, and Colonel Gray, as a 
 committee to carry it out. But subsequent proceedings 
 were suspended, in consequence of the course taken by the 
 Society of Artists, and unhappily this generous plan was 
 never realised. If we may credit the not always impartial 
 account given by Sir Eobert Strange in his " Inquiry 
 into, the Eise and Establishment of the Eoyal Academy," 
 its failure is to be attributed to the conduct of the artists 
 for whose benefit it was proposed. He says, the artists 
 " supported by annual subscription an academy in St. 
 Martin's Lane, which was governed by a committee. Many 
 attempts were made about that time to enlarge the plan 
 of this academy, but they as frequently proved abortive : 
 they failed through the intrigues of several amongst the 
 artists themselves, who, satisfied with their own perform- 
 ances and the moderate degree of abilities they possessed, 
 wished, I believe, for nothing more than to remain as they 
 then were, masters of the field. A society composed of a 
 number of the most respectable persons of this country, 
 commonly known by the name of the Dilettanti, made 
 the first step towards an establishment of this nature. 
 That society, having accumulated a considerable fund, 
 and being really promoters of the fine arts, generously 
 offered to appropriate it to support a public academy. 
 General Gray, agentleman distinguished by his public spirit 
 and fine taste, was deputed by that society to treat with 
 the artists. I was present at their meetings. On the part 
 of our intended benefactors, I observed that generosity 
 and benevolence which are peculiar to true greatness ; 
 but on the part of the majority of the leading artists, I was 
 sorry to remark motives apparently limited to their own 
 views and ambition to govern, diametrically opposite to 
 the liberality with which we were treated. After various 
 conferences, the Dilettanti, finding that they were to be 
 allowed no share in the government of the Academy, or 
 in appropriating their own fund, the negotiation ended."
 
 26 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 There may be some colouring in this description, tinted 
 by the animosity which the eminent engraver was known 
 to feel towards the managers of the St. Martin's Lane 
 academy; but it certainly seems as if they desired to 
 form a school of art which should be completely inde- 
 pendent of any interference from without. A circular 
 was issued, of which the following is a copy, by which it 
 will be seen that the preliminary arrangements for the ap- 
 pointment of professors in the new " public academy " were 
 proposed to be made by the artists themselves : 
 
 " Academy of Painting, Sculpture, &c., St. Martin's Lane, 
 " October 23, 1753. 
 
 " There is a scheme on foot for creating a public academy 
 for the improvement of painting, sculpture, and architecture ; 
 and it is thought necessary to have a certain number of pro- 
 fessors, with proper authority, in order to making regulations, 
 taking subscriptions, &c., erecting a building, instructing the 
 students, and concerting all such measures as shall be after- 
 wards thought necessary. 
 
 " Your company is desired at the Turk's Head l , in Gerard 
 Street, Soho, on the 13th of November, at five in the evening, 
 to proceed to the election of thirteen painters, three sculptors, 
 one chaser, two engravers, and two architects, in all twenty- 
 one, for the purposes aforesaid. 
 
 "(Signed) FRANCIS MILNER NEWTON, 
 
 " Secretary. 
 
 " P.S. Please to bring the inclosed list, marked with a cross 
 before the names of thirteen painters, three sculptors, one 
 chaser, two engravers, and two architects, as shall appear to 
 you the most able artists in their several professions, and in all 
 other respects the most proper for conducting the design. If 
 you cannot attend, it is expected that you will send your list 
 sealed, and inclosed in a cover directed to me at the Turk's 
 
 1 The frequent resort of Dr. John- in every week at seven for supper, 
 
 son, Reynolds, Goldsmith, and other Gibbon also was a member of the 
 
 celebrities of the time. There, in Society of the Turk's Head, to which 
 
 1764, was founded the Literary Club, also Adam Smith, Burke, and Fox 
 
 the members meeting one evening belonged.
 
 CH. II.] HOGARTH'S OBJECTIONS TO ART-ACADEMIES 27 
 
 Head, Gerard Street, Soho ; and that you will write your name 
 on the cover, without which no regard will be paid to it. The 
 list, in that case, will be immediately taken out of the cover 
 and mixed with the other lists, so that it shall not be known 
 from whom it came, all imaginable methods being concerted 
 for carrying on this election without any favour or partiality. 
 If you know of any artist of sufficient merit to be elected as a 
 professor, and who has been overlooked in drawing out the in- 
 closed list, be pleased to write his name according to his place 
 in the alphabet, with a cross before it." 
 
 There is nothing to show whether the artists to whom 
 this invitation was sent gave any response to it ; but the 
 project completely failed, and it would appear that great 
 diversity of opinion existed among the members of the 
 academy as to the propriety of the attempt, for ridicule 
 and caricatures were freely exchanged by the opposite 
 parties in the struggle. It is known that Hogarth was 
 inimical to the project, and the following are the reasons 
 he has assigned for his objections ' : 
 
 " Portrait-painting ever has, and ever will, succeed better in 
 this country than in any other. The demand will be as con- 
 stant as new faces arise ; and with this we must be contented, 
 for it will be vain to attempt to force what can never be accom- 
 plished, at least by such institutions as royal academies, on 
 the system now in agitation. If hereafter the times alter, the 
 arts, like water, will find their level. Among other causes that 
 militate against either painting or sculpture succeeding in this 
 nation, we must place our religion, which, inculcating unadorned 
 simplicity, doth not require, nay, absolutely forbids, images 
 for worship, or pictures to excite enthusiasm. Paintings are con- 
 sidered as pieces of furniture; and Europe is already over- 
 stocked with the works of other ages. These, with copies 
 countless as the sands on the sea-shore, are bartered to and fro, 
 and are quite sufficient for the demands of the curious, who 
 naturally prefer scarce, expensive, and far-fetched productions, 
 to those which they might have on low terms at home. Who 
 can be expected to give forty guineas for a modern landscape, 
 
 Ireland's " Hogarth Illustrated," supplementary volume, pp. 70-70.
 
 28 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 though in ever so superior a style, when he can purchase one 
 which, for little more than double the sum, shall be sanctioned 
 by a sounding name, and warranted original by a solemn-faced 
 connoisseur ? This considered, can it excite wonder that the 
 arts have not taken such deep root in this soil as in places where 
 the people cultivate them from a kind of religious necessity, 
 and where proficients have so much more profit in the pursuit ? 
 Whether it is to our honour or disgrace, I will not presume to 
 say; but the fact is indisputable, that the public encourage 
 trade and mechanics rather than painting and sculpture." l 
 
 Much of truth is contained in these reasons ; and in the 
 then state of party-feeling on the subject it did not seem 
 probable that any plan could unite the artists into one 
 harmonious brotherhood. Yet many advocates continued 
 to urge the importance of the project, and in 1755 an 
 " Essay on the Necessity of a Eoyal Academy " was pub- 
 lished by Nesbitt, in which he declared it to be " as 
 truly noble a charity as can be founded; " and in the 
 same year the project was yet further developed by the 
 issue of a pamphlet of sixteen quarto pages, entitled 
 " The Plan of an Academy for the better Cultivation, 
 Improvement, and Encouragement of Painting, Sculpture, 
 Architecture, and the Arts of Design in General ; the 
 Abstract of a Eoyal Charter, as proposed for establishing 
 the same ; and a short Introduction." The latter con- 
 tains the following remarks: "The prodigious sums 
 England has laid out at foreign markets for paintings is 
 but a trifle compared to the more prodigious sums ex- 
 pended by English travellers for the bare sight of such 
 things as they despaired of ever seeing at home. But the 
 loss in point of money is not so much as in point of cha- 
 racter ; for we voluntarily yield the palm to every petty 
 state that has produced a painter ; and by the language 
 
 1 It must be recollected that Ho- stitution, as has sometimes been 
 
 garth, died in 1764, before the Royal supposed, but to the various plans 
 
 Academy now in existence was esta- which were set on foot in his own 
 
 Wished ; and that, therefore, his ob- times, 
 jections had no reference to that in-
 
 CH. II.] PLAN FOR A ROYAL ACADEMY IN 1755 29 
 
 generally used on this subject, one would think England 
 the only country in the world incapable of producing one, 
 as if the genius of a painter were one kind of essence, and 
 the genius of a poet another as if the air and soil that 
 gave birth to a Shakespeare and a Bacon, a Milton and a 
 Newton, could be deficient in any species of excellence 
 whatsoever. Whereas the whole secret lies in this : 
 when princes, for their grandeur, or priests, for their 
 profit, have had recourse to painting, the encouragement 
 given to the professors gave spirit to the art, and then 
 every one thought it worth while so to distinguish himself 
 
 by encouraging it, in hope of sharing the reward 
 
 To bring about this desirable end, it has been thought 
 expedient to solicit the establishment of a Eoyal Academy, 
 under the direction of a select number of artists, chosen 
 
 by ballot out of the whole body A plan has been 
 
 digested for directing the whole ; and all that is further 
 wanting to carry it into execution is the benevolence of 
 the public." The plan proposed that the establishment 
 should consist of a president, thirty directors, fellows, and 
 scholars, to be called the " Eoyal Academy of London, for 
 the Improvement of Painting, Sculpture, and Architec- 
 ture ;" and the Committee for carrying it into effect was 
 composed as follows : 
 
 FRANCIS HAYMAN, Chairman. ISAAC WARE 
 
 GEORGE MICHAEL MOSER RICHARD DALTON 
 
 Louis F. ROUBILIAC JAMES PAYNE 
 
 THOMAS HUDSON JOSHUA REYNOLDS 
 
 GEORGE LAMBERT SAMUEL WALE 
 
 SAMUEL SCOTT GAVIN HAMILTON 
 
 ROBERT STRANGE JOHN GWYN 
 
 JOHN SHACKLETON THOMAS SANDBY 
 
 WILLIAM HOARE RICHARD YEO 
 
 CHARLES GRIGNION THOMAS CARTER 
 
 JOHN ELLYS JOHN ASTLEY 
 
 HENRY CHEERE JOHN PINE 
 
 F. M. NEWTON, Secretary. 
 Before attempting to gain public support to this scheme,
 
 80 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 the Committee submitted their proposal to the Dilettanti 
 Society, who entered into it at first so readily that some 
 of its members desired to enlarge the plan so as to admit 
 persons not of the profession, and also suggested that " the 
 President of the Eoyal Academy should be always annu- 
 ally chosen from the Society of Dilettanti." One of the 
 last proceedings in the matter is contained in the following 
 statement, dated 30th December, 1755, addressed " To the 
 Noblemen and Gentlemen of the Dilettanti Society : " 
 " We, the Committee of Painters, Sculptors, and Archi- 
 tects, beg leave to remind the Hon. Dilettanti Society of 
 two resolutions of theirs, the one signed by his Grace the 
 Duke of Bedford, encouraging us to proceed with our 
 design of preparing a charter for the establishment of a 
 Eoyal Academy, and the other by the Earl of Sandwich, 
 chairman of the Committee, for considering our proposals 
 in relation thereto, assuring us that their determination 
 thereon should be communicated to us, as also to intimate, 
 in the most respectful manner, that the sooner we can be 
 favoured with their determination, the more a favour we 
 shall esteem it : it appearing to us to be highly unbe- 
 coming to proceed in an affair once laid before them till 
 we be made acquainted with their sentiments upon it." 
 The decision thus sought for was adverse to the hopes and 
 prospects of the artists ; for the Dilettanti Society declined 
 the compliment proposed to them, from an impression 
 that they would have no real control over the academy 
 thus proposed to be founded by the aid of their influence 
 and assistance. Thus the proposal failed, like its prede- 
 cessors, from the want of support on the part of the public, 
 who were not sufficiently alive to the importance of art 
 to induce them to give their money for the foundation of 
 an art academy ; and, although it was proposed that it 
 / should bear the title of " Eoyal," it does not appear that 
 the Sovereign himself was aware of the plan, and cer- 
 tainly did nothing to give it the advantage of his pa- 
 tronage.
 
 CH. II.] THE DUKE OF RICHMOND'S GALLERY 31 
 
 To the Duke of Eichmond the artists were indebted for 5< 
 the formation of a gratuitous school of design, in allowing " 
 them access to his gallery in Whitehall, and offering pre- 
 miums for the best designs. This gallery, furnished with 1 
 casts of the most celebrated ancient and modern figures 
 in Eome and Florence, was, by public advertisement, 
 announced to be opened on the 6th of March, 1758, "for , 
 the use of those who study painting, sculpture, and en- 
 graving," a limitation being made restricting the admis- 
 sion to youths above twelve years of age. The school 
 was under the management of Cipriani for drawing, and 
 Wilton for modelling. The advertisement stated that 
 " There will be given, at Christmas and Midsummer annu- 
 ally, to those who distinguish themselves by making the 
 greatest progress, the following premiums : A figure 
 will be selected from the rest, and a large silver medal 
 will be given for the best design of it, and another for 
 the best basso relievo. A smaller silver medal for the 
 second best design, and one for the second best basso 
 relievo" At the end of the first year the promised 
 premiums were not awarded ; for the Duke had been 
 called away suddenly to join his regiment on the conti- 
 nent, it being the time of the Seven Years' War. Some 
 impatient aspirant had, with excessive bad taste and im- 
 pudence, pasted a placard on the door of the mansion, 
 which his Grace saw on his return, in which he was made 
 to apologise for his poverty, and to express his regret at 
 having promised premiums which he could not give. As 
 a school for youthful artists, it was closed in consequence; 
 but individual students long after enjoyed the advantage 
 which the study of these antiques afforded in improving 
 their taste, and in giving them a true idea of beauty and 
 proportion. 
 
 A short time previously, in 1754, the " Society for the 
 Encouragement of Arts, Manufactures, and Commerce in 
 Great Britain " was founded by the persevering exertions 
 of Mr. Shipley (brother of the Bishop of St. Asaph), and
 
 32 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 its first president, Lord Folkestone. One of its objects 
 was " to bestow premiums on a certain number of boys 
 or girls under the age of sixteen, who shall produce the 
 best pieces of drawing, and show themselves most capable 
 when properly examined." Young Cos way, at the age of 
 fifteen, gained the first prize. Subsequently this premium 
 was extended to persons of mature age for the best works 
 in historical painting, sculpture, and design in architec- 
 ture ; and thus the society was the first in England to 
 bestow pecuniary and honorary rewards on the efforts of 
 youthful artists. This was of great importance at that 
 period, even though the society did not support a draw- 
 ing school or afford instruction in art ; for it thus improved 
 the public taste by holding up a standard of excellence to 
 the artist. 
 
 In another and indirect way the Society of Arts was 
 instrumental in opening the first exhibition of the works 
 of British artists to the public. The idea of such an exhi- 
 bition was suggested by one held at the Foundling Hos- 
 pital for the benefit of the charity. In 1740, Hogarth 
 had painted a whole-length portrait of the founder, 
 Captain Coram, and presented it to the Hospital. When 
 the first wing of the present building was finished, in 
 1745, Hogarth and eighteen other artists agreed to adorn 
 its walls with works of art, and met annually on the 5th 
 of November, to drink claret and punch in commemora- 
 tion of the landing of King William HI., and to form a 
 committee " to consider of what further ornaments may 
 be added to this Hospital without any expense to the 
 charity.-" 1 The result was that the donations of paintings, 
 &c. (the fruits of these meetings and the generosity of the 
 artists), when exhibited to the public, drew a daily crowd 
 of spectators in their splendid equipages ; and a visit to the 
 
 1 See the " History and Design of Brownlow, Secretary to the Hos- 
 the Foundling Hospital, with a Me- pital. London, W. & H. S. Warr. 
 moir of the Founder." By John
 
 Cn. II.] THE FIRST AET EXHIBITION 33 
 
 Foundling became the most fashionable morning lounge 
 in the reign of George II. 
 
 The eclat thus excited suggested to the British artists 
 generally the idea of making a public exhibition of their 
 works ; and, at a meeting held by them on the 12th of 
 November, 1759, it was resolved that "once in every 
 year, on a day in the second week of April, at a place 
 that shall be appointed by a committee for carrying the 
 design into execution, to be chosen annually, every 
 painter, sculptor, architect, engraver, chaser, seal-cutter, 
 and medalist may exhibit their several performances. 
 That the intention of this meeting is to endeavour to 
 procure a sum of money to be distributed in charity to- 
 wards the support of those artists whose age and infir- 
 mities, or other lawful hindrances, prevent them from 
 being any longer candidates for fame. And it is resolved 
 that the sum of one shilling be taken daily of each person 
 who may come to visit the said performances." This pro- 
 posal was made known to the Society of Arts, who were 
 solicited to allow the artists the use of their rooms (at that 
 time in the Strand, opposite Beaufort's Buildings) for the 
 purpose. The Society agreed to the proposal, only stipu- 
 lating that no charge for admission should be made. This 
 objection was met by a charge being made of sixpence 
 for each catalogue ; and on the 21st of April, 1760 (the 
 year in which King George HE. ascended the throne), the 
 first art-exhibition in England was accordingly opened. 
 The number of works displayed was 130, by sixty-nine 
 artists. 1 No less than 6582 catalogues were sold, and the 
 artists bought 100 Three per Cent. Consols out of the 
 proceeds of the first exhibition. It was open from the 
 21st of April to the 8th of May, and the room was conti- 
 nually crowded to inconvenience, so novel a sight was 
 such a display to the London public a century ago. 
 
 1 A list of these, and many in- in Mr. John Pye's " Patronage of 
 teresting particulars on this period British Art : an historical sketch." 
 of English art-history, will be found London, 1845. 
 
 VOL. I. D
 
 34 HISTORY OF THE ROYAL ACADEMY [Cn. II. 
 
 With this first gleam of sunshine for English artists, 
 and with the prospect of their position being improved by 
 attracting public approval and extended patronage, came 
 also strife and contention among themselves, to be conti- 
 nued, as we shall see, with increased virulence for years, 
 until the course was taken which, once for all, elevated the 
 arts to a higher position than they had ever previously 
 attained in this country. 
 
 In 1761, the artists who had held the exhibition at the 
 room of the Society of Arts, again applied for its use, but 
 stipulated that their pictures might not be displayed at 
 the same time with the works of the candidates for the 
 premiums offered by the Society, as confusion had arisen 
 in consequence in the preceding exhibition; and that, 
 " as great inconvenience had resulted from inferior 
 people crowding the exhibition-room, the price of the 
 catalogue should be one shilling, that no person be 
 admitted without one, and that it serve as a ticket of 
 admission during the season." In reply to these proposals, 
 the Society of Arts contended that the exhibition should 
 be freely opened to the public, under proper restrictions 
 and management ; and some of the artists, rather than 
 yield, engaged the room of an auctioneer in Spring 
 Gardens during the month of May, and designated it 
 as the "Exhibition-room of the Society of Artists of 
 Great Britain." The catalogue contained a frontispiece 
 by Hogarth, representing a fountain (surmounted by a bust 
 of George III.), and Britannia nourishing, by the waters 
 flowing from the fountain into a watering-pot, the three 
 young trees, named " Painting," " Sculpture," and "Archi- 
 tecture ;" and a tail-piece, portraying a connoisseur a fop- 
 pishly-dressed monkey, looking through an eye-glass at 
 three old stumps of trees, which he is watering, designated 
 " exoticks," and labelled, obit. 1502, 1600, 1604, respec- 
 tively, a bitter satire on the rage for "old masters." A 
 third vignette, designed by Wale, and engraved by 
 Grignion, represented the genius of the arts distributing
 
 CH. IL] DISSENSIONS AMONG THE AETISTS 35 
 
 money from a coffer, inscribed "For the relief of the 
 distressed." 1 So attractive was this catalogue, that 13,000 
 copies were sold, and thus 650 were the receipts of the 
 exhibition. Contemporary writers described many of the 
 pictures in this exhibition as equal to those of any living 
 artists then in Europe ; and Eoubilliac, the sculptor, wrote 
 some French verses in praise of the collection, which 
 were hung up in the room. 
 
 The seceders from this body of artists held a separate 
 exhibition of their works at the room of the Society of 
 Arts. There were sixty-five exhibitors ; and it was an- 
 nounced that the public would be admitted gratis, that 
 catalogues, if required, would be charged at sixpence, the 
 proceeds of the sale of which would be given to some 
 public charity. Accordingly we find 50 each given to 
 the Middlesex Hospital, the British Lying-in Hospital, and 
 the Asylum for Female Orphans, and the balance to poor 
 artists. In furtherance of this plan of providing, by 
 prudent foresight and economy, funds for the support of 
 the distressed and decayed of their own number, the 
 artists in the following year formed themselves into an 
 institution, to be called, "A Free Society of Artists, 
 associated for the relief of the distressed and decayed 
 brethren, their widows and children." In 1763 the 
 society was enrolled in the Court of King's Bench, and 
 fifty members signed the deed. The Society of Arts con- 
 tinued to lend their room for the annual exhibition till 
 1764 ; but in the following year the Free Society was re- 
 moved to an unfavourable locality, the great room of 
 Mr. Moreing, upholsterer, Maiden Lane, Covent Garden. 
 In 1767 an agreement was entered into with Mr. Christie, 
 the celebrated auctioneer, to hire the rooms he was then 
 building at the bottom of the Haymarket, where the 
 exhibition was held also in 1768. At that date the 
 
 1 Reduced copies of those clover engraved in Pye, " On the Patronage 
 and interesting designs will be found of British Art," pp. DO 101. 
 
 v 2
 
 36 HISTORY OF THE ROYAL ACADEMY [Cn. II. 
 
 society possessed 1200 invested in the funds, and 
 numbered 100 members sharing its benefits ; but after 
 that time (the year of the foundation of the Eoyal 
 Academy) no additions were made to it. For the next 
 six years (1769-1774) the annual exhibition was held in 
 a new great room, next to Cumberland House, Pall Mall, 
 built expressly for the society by Mr. Christie, and pro- 
 duced, on an average, 100 a year. For four years more 
 the exhibition was continued in St. Alban's Street, when 
 it would appear that the society ceased to exist, except to 
 dispense its provident fund among surviving members. 
 
 Ketracing our steps to follow the career of the Society 
 of Artists (from which this Free Society was a seceding 
 institution), we find them, in the third year of their 
 existence (1762), carrying out their original resolution of 
 charging a shilling for admission to their exhibition, and 
 giving the catalogue gratis. To justify this course they 
 obtained the assistance of Dr. Johnson, who was not, 
 however, himself greatly interested in exhibitions of 
 pictures, if we may judge of his regard for them by what 
 he wrote to Baretti : "The artists have instituted a yearly 
 exhibition of pictures and statues, in imitation, I am told, 
 of foreign academies. This year (1761) was the second 
 exhibition. They please themselves much with the multi- 
 tude of spectators, and imagine that the English school 
 will rise much in reputation. . . . The exhibition has 
 filled the heads of the artists and lovers of art. Surely 
 life, if it be not long, is tedious, since we are forced to 
 call in the aid of so many trifles to rid us of our time 
 of that time which can never return." Defective sight 
 probably prevented the great moralist from appreciating 
 pictures, which he declared could illustrate, but not 
 inform ; yet, while he did not always speak very respect- 
 fully of artists, he nevertheless wrote the "Apology" for 
 their new course when, in 1762, they for the first time 
 charged a shilling for each person's admission to their 
 exhibition in Spring Gardens, and, by way of compensa-
 
 CH. II] DR. JOHNSON'S PREFACE 37 
 
 tion for this innovation, presented the catalogue gratis to 
 each visitor. It was prefixed to the catalogue in the 
 form of an address, which, as it faithfully and elegantly 
 describes the position of the artists at the period, and 
 their determination to seek fame upon the merits of their 
 works alone, and not by the patronage of the few, is well 
 deserving of being reproduced entire in this place. It 
 ran as follows : 
 
 " The public may justly require to be informed of the nature 
 and extent of every design for which the favour of the public is 
 openly solicited. The artists, who were themselves the first 
 promoters of an exhibition in this nation, and who have now 
 contributed to the following catalogue, think it therefore neces- 
 sary to explain their purpose, and justify their conduct. An 
 exhibition of the works of art, being a new spectacle in this 
 kingdom, has raised various opinions and conjectures among 
 those who are unacquainted with the practice in foreign nations. 
 Those who set their performances to general view have been too 
 often considered as the rivals to each other, as men actuated, 
 if not by avarice, at least by vanity, and contending for 
 superiority of fame, though not for a pecuniary prize. It cannot 
 be denied or doubted that all who offer themselves to criticism 
 are desirous of praise. This desire is not only innocent, but 
 virtuous, while it is undebased by artifice and unpolluted by 
 envy ; and of envy or artifice those men can never be accused 
 who, already enjoying all the honours and profits of their profes- 
 sion, are content to stand candidates for public notice, with genius 
 yet unexperienced, and genius yet unrewarded ; without any 
 hope of increasing their own reputation or interest, expose their 
 names and their works, only that they may furnish an opportunity 
 of appearance to the young, the diffident, and the neglected. 
 The purpose of the exhibition is not to enrich the artist, but to 
 advance the art. The eminent are not flattered by preference, 
 nor the obscure treated with contempt. Whoever hopes to 
 deserve public favour is here invited to display his merit. 
 
 " Of the price set upon this exhibition some account may be 
 demanded. Whoever sets his works to be shown naturally 
 desires a multitude of spectators ; but his desire defeats his own 
 end when spectators assemble in such numbers as to obstruct 
 one another. Though we are far from wishing to diminish the
 
 38 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 pleasures or depreciate the sentiments of any part of the com- 
 munity, we know, however, what every one knows, that all 
 cannot be judges or purchasers of works of art, yet we have 
 found by experience that all are fond of seeing an exhibition. 
 When the price was low our room was thronged with such 
 multitudes as made access dangerous, and frightened away those 
 whose approbation was most desired. 
 
 " Yet, because it is seldom believed that money is got but for 
 the love of money, we shall tell the use which we intend to 
 make of our profits. Many artists of great ability are unable 
 to sell their works for their due price. To remove this incon- 
 venience an annual sale l will be appointed, to which every one 
 may send his works, and send them, if he will, without his 
 name. These works will be reviewed by the Committee that 
 conduct the exhibition : a price will be secretly set on every 
 piece, and registered by the Secretary. If the piece exposed is 
 sold for more, the whole price shall be the artist's ; but if the 
 purchasers value it at less than the Committee, the artist shall 
 be paid the deficiency from the profits of the exhibition." 
 
 The exhibition, for which this address was an apology, 
 produced 524 8s. Id. ; that held in Spring Gardens in 
 the following year, 1763, 560 ; and in 1764, 762 13s. 
 The property of the Society being thus steadily on the 
 increase, its members were so elated at the success of 
 their endeavours that, by way of securing their privileges, 
 they resolved at a general meeting held on the 24th of 
 January, 1764, to solicit his Majesty, already felt to be a 
 patron of the arts, to incorporate the Society by Eoyal 
 Charter. This was granted on the 26th of January, 1765, 
 from which time it was designated " The Incorporated 
 Society of Artists of Great Britain." The Eoll Declara- 
 tion contains the names of 211 subscribers, among whom 
 will be found all the artists of eminence of the day, and 
 many doubtless of greatly inferior ability, whose names 
 and works have long since been forgotten. This list is 
 
 1 This attempt was once made at factory in its result that it was never 
 Langford's Rooms in the Piazza, repeated. 
 Coveiit Garden ; but was so unsatis-
 
 Cn. II.] INCORPORATED SOCIETY OF ARTISTS 
 
 interesting, as showing how many men were then labour- 
 ing in the common cause of art, who afterwards became 
 celebrated in their profession. 1 
 
 1 The following is the list of artists who subscribed the Roll Declaration 
 of the Society of Incorporated Artists of Great Britain in 1766 : 
 
 [Those printed in italics subsequently became members of the Royal Academy.] 
 
 Hauch, P. E. 
 Hayward, Richard 
 Helm, L. 
 Herbert, Charles 
 Hill, James 
 Hodges, H. 
 Holland, John 
 Hone, Nathaniel 
 Hudson, Thomas 
 Humphry, Ozias 
 
 James, George 
 James, Thomas 
 James, William 
 Jennings, J. 
 
 Keate, G. 
 Kettle, Tilly 
 Kirby, J. 
 
 , William 
 
 Kirk, John 
 
 Lamborn, P. S. 
 Lawrence, Thomas 
 Lawrenson, Thomas 
 
 , William 
 
 Leake, Henry 
 Lewis, John 
 
 Mancourt, C. 
 Manley, II. 
 Marchant, Nathaniel 
 Marchi, J. 
 M'Ardell, J. 
 Mario w, William 
 Martin, David 
 Mason, James 
 Mayor, B. 
 Maxell, Peter 
 Meyer, J. 
 
 Middleton, Charloa 
 Miller, David 
 
 , John 
 
 ->T. 
 
 Miller, John F. 
 .Mill-hull, Francis 
 
 F. Hat/man, President 
 
 Cotes, Samuel 
 
 A. Ramsay, Vice-Presi- 
 
 Cozens, Alexander 
 
 dent 
 
 
 Alexander, Cosmo 
 
 Dott, N. T. 
 
 Atwood, Thomas 
 
 Dalton, Richard 
 
 
 Dance, George 
 
 Baillier, William 
 
 "\rftfh mi* **7 
 
 
 Baldwin, Robert 
 
 Davy, R. 
 
 Ballard, Thomas 
 
 Diemar, T. M. 
 
 Bannerman, Alexander 
 
 Dixon, John 
 
 Barber, Lewis 
 
 Docker, John 
 
 
 Donaldson J. 
 
 Barralet, John J. 
 
 Donowall, John 
 
 Barrett, George 
 
 Downes, B. 
 
 Barron, Hugh 
 
 Durno, James 
 
 Barry, Edward 
 
 
 Bartolozd, Francis 
 
 Ebdon, Christopher 
 
 Basher, John 
 
 Edwards, Edward 
 
 Baupre", A. 
 
 Edwards, John 
 
 Beanir, Samuel 
 
 Elliott, William 
 
 Berridge, John 
 
 Evans, George 
 
 Biarelli, C. 
 
 
 Bibb, Charles 
 
 Falconet, Peter 
 
 Bonneau, Jacob 
 
 Farington, Joseph 
 
 Boydell, John 
 
 Finney, Samuel 
 
 Brampton, Richard 
 
 Fisher, Edward 
 
 Brown, Peter 
 
 Forrester, R. W. 
 
 Brown, T. 
 
 Fosifer, John 
 
 Biirdett, Peter 
 
 Friend, J. P. 
 
 Burford, Thomas 
 
 
 Burgess, Thomas 
 
 Gainsborough, Tfiomas 
 
 Burton, John 
 
 Gilpin, Sawrey 
 
 Byrne, William 
 
 Gowpy, Joseph 
 
 
 Gossit, Isaac 
 
 Canot, P. C. 
 
 Grandon, John 
 
 Carlini, Andreio 
 
 Green, Benjamin 
 
 Carver, Robert 
 
 Green, Valentine 
 
 Catton, C. 
 
 Greenwood, John 
 
 Chamber/in, Mason 
 
 Grease, J. 
 
 Chambers, Thomas 
 
 Grignion, Charles 
 
 Chambers, W. 
 
 Grose, Francis 
 
 Clarkson, Nathaniel 
 
 Grryn, J. 
 
 Clayton, John 
 
 
 Collins, William 
 
 Hall, John 
 
 Cosway, Richard 
 
 Hamilton, John 
 
 Cotes, Fraud* 
 
 , Hugh D.
 
 40 
 
 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 The officers of the Society named as directors in the 
 Eoyal Charter, were George Lambert, President; Francis 
 Hayman, Vice-President; Eichard Dalton, Treasurer; F. M. 
 Newton, Secretary; J. M'Ardell, George Barrett, William 
 Chambers, W. Collins, F. Cotes, C. Grignion, J. Gwyn, 
 N. Hone, J. Meyer, G. M. Moser, J. Payne, E. Penny, 
 E. Eooker, Paul Sandby, C. Seaton, W. Tyler, S. Wale, 
 Eichard Wilson, G. Wilton, and E. Yeo. In this Charter 
 there were, unfortunately, many points left undetermined 
 which were necessary for the maintenance and govern- 
 ment of the Society. The number of members was un- 
 limited, each one being designated a " Fellow," and every 
 one entitled to hold office as a " Director." l 
 
 Morland, J. C. 
 Mortimer, John 
 Moser, G. 
 
 Nelson, A. 
 Nesbitt, J. 
 Newton, F. M. 
 Newton, William 
 Nixon, James 
 
 Oneacle, J. H. 
 
 Paine, James 
 Parbury, George 
 PaiT, Samuel 
 Parry, William 
 Parsons, Francis 
 Paxton, John 
 Peates, J. 
 Peters, R. 
 
 , M. W. 
 
 Picot, Vic Maria 
 Pine, R. E. 
 Platt, John 
 Poland, William 
 Powell, Cordal 
 Pugh, Hubert 
 
 Ralph, B. 
 Ravenet, Simon 
 Reynolds, Joshua 
 Richards, John 
 
 Richards, James 
 Richardson, George 
 Robertson, George 
 Rogers, Thomas 
 Rooker, Edward 
 
 , W. H. 
 
 Romney, George 
 Ryland, W. W. 
 
 Sandby, Thomas 
 
 "- ^' ) Ctftw 
 
 Sanger, G. 
 Schaak, J. H. 
 Seaton, C. 
 
 , John T. 
 
 Scrres, Dominic 
 Shaw, William 
 Sherlock, G. 
 Smart, John 
 Smirke, Robert 
 Smith, Joachim 
 Soldi, Andrew 
 Spicer, Henry 
 Stevens, Edward 
 Stewart, Charles 
 Strange, Robert 
 Stubbs, George 
 Sullivan, Luke 
 Sykes, F. 
 
 Tassaert, P. J. 
 Taylor, Isaac 
 
 Taylor, John 
 Thompson, William 
 Tomkins, W. 
 Turner, James 
 Tyler, W. 
 
 Vardy, John 
 Vespre, Francis 
 Vivares, Francis 
 
 Wale, Samuel 
 Walton, John 
 Ward, F. S. 
 W 7 atson, James 
 Webb, Westfield 
 Webster, Samuel 
 West, Benjamin 
 Wheatley, Francis 
 Williams, Joshua 
 Williams, W. 
 Wilkison, George 
 Wilson, Richard 
 Wilton, Joseph 
 Woollett, William 
 Wright, Joseph 
 Wright, Richard 
 
 Yeo, Richard 
 
 Zoffany, J. 
 Zucarelli, Francis 
 
 1 An abstract of the Charter is British Art," and the whole pro- 
 printed in Pye's " Patronage of ceedings of the directors and fellows
 
 CH. II.] INCORPORATED SOCIETY OF ARTISTS 41 
 
 The exhibition of the year 1765 produced 826 12s., 
 and that of the following year 874 9s. ; but it would 
 seem that no public academy for art-instruction was pro- 
 posed ; and the St. Martin's Lane Academy was still far 
 from fulfilling the requirements of the artists, A resolu- 
 tion was passed by a majority of the Fellows on the 3rd 
 of March, 1767, " That it be referred to the directors to 
 consider of a proper form for instituting a public academy, 
 and to lay the same before the quarterly meeting in Sep- 
 tember next." This resolution was repealed in conse- 
 quence of a subsequent announcement made to them by 
 one of the directors, Mr. Moser, as appears by a minute 
 dated 2nd June, 1767. " Eesolved, that the resolution 
 that the directors should proceed to consider of a form for 
 instituting a public academy be repealed, his Majesty 
 having been graciously pleased to declare his royal inten- 
 tion of taking the Academy under his protection." There 
 is little hope at this period, of ascertaining what the 
 King really designed to do, although he was known to be 
 a lover of the arts, and generously disposed towards its pro- 
 fessors. Sir R. Strange tells a very improbable story, no 
 doubt the scandal of the day, that Dalton, the treasurer 
 of the Incorporated Society, had embarked in a specula- 
 tion to open a print warehouse, in a house belonging to 
 Mr. Lamb, an auctioneer in Pall Mall ; that after spending 
 a considerable sum in alterations, the project failed ; and 
 that he had used his influence, as the King's librarian, to 
 persuade liis Majesty to establish an art- academy in these 
 rooms, to relieve himself of the burden and loss arising 
 from the possession of them. However this may be, the 
 members of the St. Martin's Lane Academy transferred 
 their furniture, anatomical figures, statues, &c. to the 
 house referred to, and the title of " The Eoyal Academy " 
 was placed over the door. Subscriptions were received 
 
 at this time, and subsequently, arc Robert Strange's " Inquiry into the 
 fully investigated and commented Rise and Establishment of the Royal 
 upon iu that work ; and also in Sir Academy of Arts," 1775.
 
 42 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 towards its support, and each student paid a guinea at 
 the opening. 1 It lasted only a short time ; but in the 
 year 1767 the funds of the Incorporated Society, amount- 
 ing to 1255 165., included a donation from the King of 
 100, and from the Princess Dowager of Wales of 
 10 10s., which shows that his Majesty was anxious at 
 that time to promote the welfare of the society. 
 
 A painful record of strife and dissension follows. The 
 fundamental error of the original Charter, the absence of 
 any restriction as to the number of members to be ad- 
 mitted to the Society, was now beginning to show its 
 pernicious fruit ; for inferior and inexperienced artists 
 formed the majority, constituted themselves into a party 
 in opposition to the directors (who had founded the 
 Society, and who were the most distinguished artists of 
 their time), and endeavoured to transfer the government 
 to then: own hands. With this object they proposed a 
 law to remove eight of the twenty-four directors annually, 
 to be replaced by others from their own number, and 
 obtained an affirmative opinion from the Attorney-General 
 on the 26th June, 1768, as to the legality of this course. 
 It was naturally opposed by the directors, but neverthe- 
 less carried against them on St. Luke's Day (the 18th of 
 October), when Mr. Joshua Kirby was substituted for 
 Mr. Francis Hayman, who had succeeded Mr. Lambert as 
 president; Mr. F. M. Newton was removed from the 
 office of secretary ; and sixteen of the directors were ex- 
 cluded. The members of the Society had previously 
 met, in compliance with the terms of a circular, dated 8th 
 October 2 , and had resolved to exclude the whole of the 
 original directors. Those who were newly elected quickly 
 showed that love of power, and not any regard for the 
 promotion of the arts, was the object for which they 
 sought to hold office, and quickly intimated their inten- 
 tion of removing the remaining eight of the old directors 
 
 1 See Strange's " Inquiry," pp. 7077. 2 Ibid. pp. 8889.
 
 CH. II.] RESIGNATION OF DIRECTORS 43 
 
 at the next quarterly election. Seeing, therefore, that 
 there was no prospect of an amicable termination of the 
 struggle, and finding the government of the Society in- 
 trusted to men, the majority of whom were wanting in 
 practical knowledge of art, or a real desire to advance 
 the interests of its professors, the remaining number of 
 the old directors determined also to withdraw from the 
 Society, and tendered their resignation accordingly in a 
 letter, which was couched as follows : 
 
 " To Joshua Kirby, Esq., President of the Society of Artists of 
 Great Britain. 
 
 "London, November 10, 1768. 
 
 " Sir, Though we had the strongest objections to the un- 
 warrantable manner in which most of the present directors of 
 the Society were elected, yet our affection for the community 
 was such, that we had, in spite of every motive to the contrary, 
 resolved to keep possession of our directorships. But finding 
 the majority of the present directors bent upon measures which 
 we think repugnant to our charter, and tending to the destruc- 
 tion of the Society, we judge it no longer safe to keep possession 
 of our employments : therefore, do hereby resign them, that no 
 part of the blame which will naturally follow the measures now 
 pursuing may in any shape be laid upon us. 
 
 " From the motions and insinuations of the last meeting, we 
 clearly see what plan is to be pursued ; and we likewise clearly 
 perceive that, however odious and hurtful such a plan may be, 
 we shall find it utterly impossible to prevent it. 
 
 "We would not, however, by any means, be understood to 
 object to every remaining director. You, sir, and some others, 
 we have the highest esteem for, as you have been elected into 
 your offices without taking part in any intrigue ; and being men 
 of honour and ability in your professions, are extremely proper 
 to fill the places you occupy. 
 
 " We are therefore, 
 " Your and their most obedient, humble servants, 
 
 " JOSEPH WILTON WILLIAM CHAMBERS 
 
 EDWARD PENNY G. M. MOSKK 
 
 RICHARD WILSON PAUL SANDBY 
 
 BENJAMIN WEST F. M. NEWTON."
 
 44 HISTORY OF THE ROYAL ACADEMY [On. II. 
 
 Many members of the Society followed the example of 
 these directors, and the faction which had thus excluded 
 all the founders from any part in its government was not 
 a little startled by the result of its proceedings. The con- 
 duct of the directors and the retiring members was 
 severely censured at the time by those who were so little 
 prepared for the effect and consequences of it ; but we 
 cannot but think there was sufficient reason for the step 
 they determined to take, when they found the Society 
 diverted from its original purposes, and its constitution 
 completely changed. Nor can they be charged with 
 intrigue (as was done by Sir E. Strange, Hay don, and 
 others), when they united together subsequently to form 
 another society more congenial to their own tastes, and 
 better adapted, at least in their judgment, to promote the 
 knowledge and success of the arts in England. It was 
 not to be endured that a society of artists should consist 
 chiefly of members who were such only in name, and who, 
 in their desire to appropriate the funds of the Society eacli 
 to his favourite purpose, shed abroad an influence for evil 
 which preponderated over the good, and left the true 
 lovers and students of the arts at their mercy. By exa- 
 mining the list of the members of the Incorporated Society, 
 as at first enrolled, and by withdrawing from it the names 
 of those who subsequently became the foundation- 
 members of the Royal Academy, it will at once be seen 
 that the true artists were the seceders, and the result 
 showed that as an art-academy the Incorporated Society 
 of Artists utterly failed without their aid and influence.
 
 45 
 
 CHAPTEE IE. 
 
 ORIGIN AND FOUNDATION OP THE EOYAL ACADEMY, 1768 
 
 Royal Patronage of Art solicited Favourable Reception of the Artists 1 
 Memorial by George III. Plan of the Royal Academy Instrument of 
 its Institution Obligation signed by its First Members Election of 
 Officers and Professors First Public Announcement of its Foundation 
 Tlie Fate of the Incorporated Society of Artists The Diploma The 
 Royal Favour and Bounty bestowed on the Academy, and its Influence on 
 Art The Limitation of the Number of the Royal Academicians to Forty 
 The Example of Foreign Academies in this Respect Restriction of 
 Members from exhibiting their Works elseiohere than at the Academy 
 The Advantages of the Exhibition to Non-Members The Question as to the 
 Utility of Academies of Art The Characteristics of the English School. 
 
 THE directors who had been compelled to resign their 
 places in the government of the Incorporated Society 
 carried with them the sympathies of all who desired to 
 see the fine arts elevated and advanced, and they wisely 
 resolved to endeavour to rescue the study of art from the 
 evil effects of the anarchy and confusion which had 
 divided the association. Very quickly after the retire- 
 ment of the eight directors who retained office when the 
 new faction succeeded in gaining a majority in the 
 management, four of their number, viz. Chambers, West, 
 Cotes, and Moser, formed themselves into a committee, in 
 order to take measures for forming a new academy, which, 
 by its constitution and government, should be saved from 
 the disastrous consequences of the defective organisation 
 of all the preceding attempts of the same kind. 
 
 They determined at the outset to seek the royal pro- 
 tection, in order to preserve the arts in England from the 
 power of those who sought not to promote their culture so
 
 46 HISTORY OF THE ROYAL ACADEMY [On. HI. 
 
 much as their own personal aggrandisement ; and art hap- 
 pily found, in the taste and judgment of King George III., 
 a noble support, and its professors a generous and 
 gracious patron. Chambers, who had been appointed 
 tutor in architecture to the young prince before his 
 accession to the throne (Moser having been his instructor 
 in delineation, and Kirby in perspective), and who had 
 subsequently been appointed architect of works to the 
 King, and enjoyed the royal favour, was thus enabled to 
 submit the whole case to his Majesty, representing that 
 many artists of reputation, together with himself, were 
 very desirous of establishing a society that should more 
 effectually promote the arts of design than any yet esta- 
 blished ; but that they were sensible their design could 
 not be carried into execution without his Majesty's 
 patronage, which they had begged him to solicit. The 
 King was not ignorant of the dissensions existing in the 
 Incorporated Society, for they had been publicly referred 
 to in the newspapers of the day ; and he was pleased, in 
 answer, to say, that whatever tended effectually to promote 
 the liberal arts might always rely upon his patronage. 
 
 Thus encouraged, the four artists already named pre- 
 sented (on the 28th of November, 1768) a Memorial, 
 setting forth the prayer of the artists to the King, of 
 which the following is a copy : 
 
 " To the King's most Excellent Majesty : 
 
 "May it please your Majesty, We, your Majesty's most 
 faithful subjects, Painters, Sculptors, and Architects of this 
 metropolis, being desirous of establishing a Society for pro- 
 moting the Arts of Design, and sensible how ineffectual every 
 establishment of that nature must be without the Eoyal in- 
 fluence, most humbly beg leave to solicit your Majesty's gracious 
 assistance, patronage, and protection, in carrying this useful plan 
 into execution. 
 
 " It would be intruding too much upon your Majesty's time 
 to offer a minute detail of our plan. We only beg leave to 
 inform your Majesty, that the two principal objects we have in
 
 Cn. m.] MEMORIAL TO THE KING 47 
 
 view are, the establishing a well-regulated School or Academy 
 of Design, for the use of students in the Arts, and an Annual 
 Exhibition, open to all artists of distinguished merit, where 
 they may offer their performances to public inspection, and 
 acquire that degree of reputation and encouragement which 
 they shall be deemed to deserve. 
 
 " We apprehend that the profits arising from the last of these 
 institutions will fully answer all the expenses of the first; we 
 even natter ourselves they will be more than necessary for that 
 purpose, and that we shall be enabled annually to distribute 
 somewhat in useful charities. 
 
 " Your Majesty's avowed patronage and protection is, there- 
 fore, all that we at present humbly sue for ; but should we be 
 disappointed in our expectations, and find that the profits of the 
 Society are insufficient to defray its expenses, we humbly hope 
 that your Majesty will not deem that expense ill-applied which 
 may be found necessary to support so useful an institution. We 
 are, with the warmest sentiments of duty and respect, 
 
 " Your Majesty's 
 
 "Most dutiful subjects and servants, 
 
 " BENJAMIN WEST RICHARD YEO 
 
 FRANCESCO ZUCCARELLI MARY MOSER 
 
 NATHANIEL DANCE AGOSTINO CARLINI 
 
 RICHARD WILSON FRANCIS COTES 
 
 GEORGE MICHAEL MOSER WILLIAM CHAMBERS 
 
 SAMUEL WALE EDWARD PENNY 
 
 G. BAPTIS. CIPRIANI JOSEPH WILTON 
 
 JEREMIAH MEYER GEORGE BARRET 
 
 ANGELICA KAUFFMAN FRA. MILNER NEWTON 
 
 CHARLES CATTON PAUL SANDBY 
 
 FRANCESCO BARTOLOZZI FRANCIS HAYMAN." 
 
 The King received this memorial very graciously, and 
 stated that he considered the culture of the arts as a 
 national concern, and that the memorialists might depend 
 upon his patronage and assistance in carrying their plan 
 into execution ; but that, before giving his sanction to 
 their proposal, he wished their intentions to be more 
 fully explained to him in writing. This was done by 
 Chambers, in conjunction with other artists who had
 
 48 HISTORY OF THE ROYAL ACADEMY [On. III. 
 
 signed the memorial. 1 Northcote, in his "Life of Sir 
 Joshua Reynolds," tells us that " They also made out a 
 list of their officers, as well as of those who were to com- 
 pose the body, containing about thirty names, and had 
 inserted that of Reynolds among the rest. This list was 
 to be delivered to the King for his approbation and sig- 
 nature. However, Mr. Reynolds was still unwilling to 
 join with either party, which resolution he made known 
 to Sir William Chambers, in consequence of which Mr. 
 Penny was sent to persuade him to join the party ; but 
 that proved in vain. Penny then applied to Mr. West, 
 and begged him to intercede with Reynolds, adding that 
 he was the only person who could influence him to con- 
 sent. Mr. West accordingly called on Mr. Reynolds on 
 the same evening on which the whole party had a meet- 
 ing, about thirty in number, at Mr. Wilton's house, ex- 
 pecting the result of Mr. West's negotiation, as the King 
 had appointed the following morning to receive their 
 plan, with the nomination of their officers. Mr. West 
 remained upwards of two hours endeavouring to per- 
 suade Reynolds ; and at last prevailed so far, that he 
 ordered his coach, and went with Mr. West to meet the 
 party ; and immediately on his entering the room they 
 with one voice hailed him as 'President.' He seemed 
 to be very much affected by the compliment, and re- 
 turned them his thanks for the high mark of their ap- 
 probation ; but declined the honour till such time as he 
 had consulted with his friends, Dr. Johnson and Mr. 
 Edmund Burke. This demur greatly disappointed the 
 company, as they were expected to be with the King on 
 the very next morning by appointment ; but Messrs. West 
 and Cotes avoided going to the King the next day, as 
 they could not present him with a complete list of their 
 
 1 See the introduction to Edwards' Royal Academy to the General As- 
 " Anecdotes of Painters," and the sembly of Academicians, 1860." 
 " Report from the Council of the
 
 CH. III.] THE " INSTRUMENT " OF INSTITUTION 49 
 
 officers, for the want of a President ; and it was not for a 
 fortnight afterwards that Eeynolds gave his consent." 
 
 On the 7th of December, the sketch of the plan of 
 the proposed academy was presented to the King, and 
 his Majesty was pleased to express his approval of it. 
 He requested that the whole might be submitted in form 
 for his signature ; and on Saturday, the 10th of De- 
 cember, 1768, it was laid before his Majesty, and signed 
 by him. Thus was founded THE KOYAL ACADEMY OF 
 ARTS IN LONDON, FOR THE PURPOSE OF CULTIVATING AND 
 IMPROVING THE ARTS OF PAINTING, SCULPTURE, AND ARCHI- 
 TECTURE. 
 
 The following is a copy of the " Instrument " which 
 was submitted for the Eoyal sanction, and which defines 
 the constitution and government of the Eoyal Academy 
 thus auspiciously inaugurated : 
 
 " INSTRUMENT. 
 
 " Whereas sundry persons, resident in this metropolis, eminent 
 professors of painting, sculpture, and architecture, have most 
 humbly represented by memorial unto the King that they are 
 desirous of establishing a Society for promoting the Arts of 
 Design, and earnestly soliciting his Majesty's patronage and 
 assistance in carrying this their plan into execution ; and, 
 whereas, its great utility hath been fully and clearly demon- 
 strated, his Majesty, therefore, desirous of encouraging every 
 useful undertaking, doth hereby institute and establish the said 
 Society, under the name and title of the Koyal Academy of Arts 
 in London, graciously declaring himself the patron, protector, 
 and supporter thereof; and commanding that it be established 
 under the forms and regulations hereinafter mentioned, which 
 have been most humbly laid before his Majesty, and received 
 his royal approbation and assent. 
 
 "I. The said Society shall consist of forty members only, 
 who shall be called Academicians of the Royal Academy; they 
 shall all of them be artists by profession at the time of their 
 admission that is to say, painters, sculptors, or architects, men 
 of fair moral characters, of high reputation in their several pro- 
 fessions ; at least five-and-twenty years of age ; resident in Great 
 
 VOL. I. E
 
 50 HISTOKY OF TIIE ROYAL ACADEMY [On. III. 
 
 Britain ; and not members of any other society of artists esta- 
 blished in London. 
 
 f ' II. It is his Majesty's pleasure that the following forty 
 persons be the original members of the said Society, viz.: 
 
 JOSHUA REYNOLDS G. MICHAEL MOSER 
 
 BENJAMIN WEST SAMUEL WALE 
 
 THOMAS SANDBY PETER TOMS 
 
 FRANCIS COTES ANGELICA KAUFFMAN 
 
 JOHN BAKER RICHARD YEO 
 
 MASON CHAMBERLIN MARY MOSER 
 
 JOHN GWYNN WILLIAM CHAMBERS 
 
 THOMAS GAINSBOROUGH JOSEPH WILTON 
 
 J. BAPTIST CIPRIANI GEORGE BARRET 
 
 JEREMIAH MEYER EDWARD PENNY 
 
 FRANCIS MILNER NEWTON AGOSTINO CARLINI 
 
 PAUL SANDBY FRANCIS HAYMAN 
 
 FRANCESCO BARTOLOZZI DOMINIC SERRES 
 
 CHARLES CATTON JOHN RICHARDS 
 
 NATHANIEL HONE FRANCESCO ZUCCARELLI 
 
 WILLIAM TYLER GEORGE DANCE 
 
 NATHANIEL DANCE WILLIAM HOARE 
 
 RICHARD WILSON JOHAN ZOFFANY 
 
 " III. After the first institution, all vacancies of Academicians 
 shall be filled by election from amongst the exhibitors in the 
 Royal Academy; the names of the candidates for admission 
 shall be put up in the Academy three months before the day of 
 election, of which day timely notice shall be given in writing to 
 all the Academicians ; each candidate shall, on the day of elec- 
 tion, have at least thirty suffrages in his favour, to be duly 
 elected ; and he shall not receive his letter of admission till he 
 hath deposited in the Royal Academy, to remain there, a pic- 
 ture, bas-relief, or other specimen of his abilities approved of 
 by the then sitting Council of the Academy. 
 
 " I\ T . For the government of the Society there shall be annu- 
 ally elected a President and eight other persons, who shall form 
 a Council, which shall have the entire direction and management 
 of all the business of the Society ; and all the officers and ser- 
 vants thereof shall be subservient to the said council, which 
 shall have power to reform all abuses, to censure such as are 
 deficient in their duty, and (with the consent of the general 
 body, and the King's permission first obtained for that purpose), 
 to suspend or entirely remove from their employments such as
 
 On. III.] THE INSTKUMENT " OF INSTITUTION 51 
 
 shall be found guilty of any great offences. The council shall 
 meet as often as the business of the Society shall require it ; 
 every member shall be punctual to the hour of appointment, 
 under the penalty of a fine, at the option of the council ; and at 
 each meeting the attending members shall receive forty-five 
 shillings, to be equally divided amongst them, in which division, 
 however, the secretary shall not be comprehended. 
 
 " V. The seats in the council shall go by succession to all the 
 members of the Society, excepting the secretary, who shall 
 always belong thereto. Four of the council shall be voted out 
 every year, and these shall not re-occupy their seats in the 
 council till all the rest have served ; neither the president nor 
 secretary shall have any vote either in the council or general 
 assembly, excepting the suffrages be equal, in which case the 
 president shall have the casting vote. 
 
 " VI. There shall be a Secretary of the Eoyal Academy, elected 
 by ballot, from amongst the Academicians, and approved of by 
 the King ; his business shall be to keep the minutes of the 
 council, to write letters, and send summonses, &c.; he shall 
 attend at the exhibition, assist in disposing the performances, 
 make out the catalogues, &c.; he shall also, when the keeper 
 of the Academy is indisposed, take upon himself the care of the 
 Academy and the inspection of the Schools of Design, for which 
 he shall be properly qualified ; his salary shall be sixty pounds 
 a year, and he shall continue in office during his Majesty's 
 pleasure. 
 
 " VII. There shall be a Keeper of the Royal Academy, elected 
 by ballot, from amongst the Academicians ; he shall be an able 
 painter of history, sculptor, or other artist, properly qualified. 
 His business shall be to keep the Royal Academy, with the 
 models, casts, books, and other moveables belonging thereto ; 
 to attend regularly the Schools of Design during the sittings of 
 the students, to preserve order among them, and to give them 
 such advice and instruction as they shall require ; he shall have 
 the immediate direction of all the servants of the Academy, 
 shall regulate all things relating to the schools, and, with the 
 assistance of the visitors, provide the living models, &c. He 
 shall attend at the exhibition, assist in disposing the perform- 
 ances, and be constantly at hand to preserve order and decorum. 
 His salary shall be one hundred pounds a year ; he shall have a 
 convenient apartment allotted him in the Royal Academy, where 
 
 9
 
 52 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 he shall constantly reside ; and he shall continue in office during 
 the King's pleasure. 
 
 " VIII. There shall be a Treasurer of the Royal Academy, 
 who, as the King is graciously pleased to pay all deficiencies, 
 shall be appointed by his Majesty from amongst the Academi- 
 cians, that he may have a person on whom he places full confi- 
 dence in an office where his interest is concerned ; and his 
 Majesty doth hereby nominate and appoint William Chambers, 
 Esquire, architect of his works, to be treasurer of the Koyal 
 Academy of Arts ; which office he shall hold, together with the 
 emoluments thereof, from the date of these presents, and during 
 his Majesty's pleasure. His business shall be to receive the 
 rents and profits of the Academy, to pay its expenses, to super- 
 intend repairs of the buildings and alterations, to examine all 
 bills, and to conclude all bargains ; he shall once in every 
 quarter lay a fair state of his accounts before the council, and 
 when they have passed examination and been approved there, 
 he shall lay them before the Keeper of his Majesty's Privy 
 Purse, to be by him finally audited and the deficiencies paid; 
 his salary shall be sixty pounds a year. 
 
 "IX. That the Schools of Design maybe under the direction 
 of the ablest artists, there shall be elected annually from 
 amongst the Academicians nine persons who shall be called 
 Visitors; they shall be painters of history, able sculptors, or 
 other persons properly qualified; their business shall be to 
 attend the schools by rotation each a month, to set the figures, 
 to examine the performances of the students, to advise and 
 instruct them, to endeavour to form their taste, and turn their 
 attention towards that branch of the arts for which they shall 
 seem to have the aptest disposition. These officers shall be 
 approved of by the King ; they shall be paid out of the trea- 
 sury ten shillings and sixpence for each time of attending, which 
 shall be at least two hours, and shall be subject to a fine of ten 
 shillings and sixpence whenever they neglect to attend, unless 
 they appoint a proxy from amongst the visitors for the time 
 being, in which case he shall be entitled to the reward. At 
 every election of visitors four of the old visitors shall be declared 
 non-eligible. 
 
 " X. There shall be a Professor of Anatomy, who shall read 
 annually six public lectures in the schools, adapted to the arts 
 of design ; his salary shall be thirty pounds a year ; and he shall 
 continue in office during the King's pleasure.
 
 On. III.] THE " INSTRUMENT " OF INSTITUTION 53 
 
 " XI. There shall be a Professor of Architecture, who shall 
 read annually six public Lectures, calculated to form the taste 
 of the Students, tp instruct them in the laws and principles of 
 composition, to point out to them the beauties or faults of cele- 
 brated productions, to fit them for an unprejudiced study of 
 books, and for a critical examination of structures ; his salary 
 shall be thirty pounds a year ; and he shall continue in office 
 during the King's pleasure. 
 
 " XII. There shall be a Professor of Painting, who shall 
 read annually six Lectures calculated to instruct the Students 
 in the principles of composition, 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 particular excellences or defects of great masters ; 
 and, finally, to lead them into the readiest and most efficacious 
 paths of study ; his salary shall be thirty pounds a year ; and 
 he shall continue in office during the King's pleasure. 
 
 " XIII. There shall be a Professor of Perspective and Geo- 
 metry, who shall read six public Lectures annually in the 
 Schools, in which all the useful propositions of Geometry, toge- 
 ther with the principle of Lineal and Aerial Perspective, and 
 also the projection of shadows, reflections, and refractions shall 
 be clearly and fully illustrated; he shall particularly confine 
 himself to the quickest, easiest, and most exact methods of 
 operation. He shall continue in office during the King's plea- 
 sure ; and his salary shall be thirty pounds a year. 
 
 " XIV. The Lectures of all the Professors shall be laid before 
 the Council for its approbation, which shall be obtained in 
 writing, before they can be read in the public Schools. All 
 these Professors shall be elected by ballot, the last three from 
 amongst the Academicians. 
 
 " XV. There shall be a Porter of the Koyal Academy, whose 
 salary shall be twenty-five pounds a year; he shall have a room 
 in the Royal Academy, and receive his orders from the Keeper 
 or Secretary. 
 
 "XVI. There shall be a Sweeper of the Royal Academy, 
 whose salary shall be ten pounds a year. 
 
 " XVII. There shall be an Annual Exhibition of Paintings, 
 Sculpture, and Designs, which shall be open to all Artists of 
 distinguished merit ; it shall contiilue for the public one month, 
 and be under the regulations expressed in the bye-laws of the 
 Society, hereafter to be made. Of the profits arising therefrom,
 
 51 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 two hundred pounds shall be given to indigent artists, or their 
 families, and the remainder shall be employed in the support of 
 the Institution. All Academicians, till they have attained the 
 age of sixty, shall be obliged to exhibit at least one perform- 
 ance, under a penalty of five pounds, to be paid into the 
 treasury of the Academy, unless they can show sufficient cause 
 for their omission; but, after that age, they shall be exempt 
 from all duty. 
 
 " XVIII. There shall be a Winter Academy of Living Models, 
 men and women of different characters, under the regulations 
 expressed in the bye-laws of the Society, hereafter to be made, 
 free to all Students who shall be qualified to receive advantage 
 from such studies. 
 
 " XIX. There shall be a Summer Academy of Living Models 
 to paint after, also of Laymen with draperies, both Ancient and 
 Modern, Plaster Figures, Bas-reliefs, models and designs of 
 Fruits, Flowers, Ornaments, &c., free to all artists qualified to 
 receive advantage from such studies, and under the regulations 
 expressed in the bye-laws of the Society hereafter to be made. 
 
 "XX. There shall be a Library of Books of Architecture, 
 Sculpture, Painting, and all the Sciences relating thereto ; also 
 prints of bas-reliefs, vases, trophies, ornaments, dresses, ancient 
 and modern customs and ceremonies, instruments of war and arts, 
 utensils of sacrifice, and all other things useful to Students in 
 the Arts ; which Library shall be open one day in every week 
 to all Students properly qualified. One of the Members of the 
 Council shall attend in the room during the whole time it is 
 open, to keep order, and to see that no damage is done to the 
 books ; and he shall be paid 10s. 6d. for his attendance. No 
 books shall, under any pretence, be suffered to be taken out of 
 the Library; but every Academician shall have free ingress at 
 all seasonable times of the day to consult the books, and to 
 make designs or sketches from them. 
 
 " XXI. There shall be annually one Greneral Meeting of the 
 whole body, or more if requisite, to elect the Council and 
 Visitors ; to confirm new laws and regulations ; to hear com- 
 .plaints and redress grievances, if there be any ; and to do any 
 other business relative to the Society. 
 
 " XXII. The Council shall frame new laws and regulations ; 
 but they shall have no force, till ratified by the consent of the 
 General Assembly, and the approbation of the King. 
 
 " XXIII. Though it may not be for the benefit of the In-
 
 CH. III.] THE "INSTRUMENT" OF INSTITUTION 55 
 
 stitution absolutely to prohibit pluralities, yet they are as much 
 as possible to be avoided, that his Majesty's gracious intention 
 may be complied with, by dividing as nearly as possible the 
 emoluments of the Institution amongst all its Members. 
 
 " XXIV. If any Member of the Society shall, by any means, 
 become obnoxious, it may be put to the ballot, in the General 
 Assembly, whether he shall be expelled, and if there be found 
 a majority for expulsion, he shall be expelled, provided his 
 Majesty's permission be first obtained for that purpose. 
 
 " XXV. No Student shall be admitted into the Schools, till 
 he hath satisfied the Keeper of the Academy, the Visitor, and 
 Council for the time being, of his abilities ; which being done, 
 he shall receive his Letter of Admission, signed by the Secretary 
 of the Academy, certifying that he is admitted a Student in the 
 Royal Schools. 
 
 " XXVI. If any Student be guilty of improper behaviour in 
 the Schools, or doth not quietly submit to the Rules and Orders 
 established for their regulation, it shall be in the power of the 
 Council, upon complaint being first made by the Keeper of the 
 Academy, to expel, reprimand, or rusticate him for a certain 
 time ; but if he be once expelled, he shall never be re-admitted 
 in the Royal Schools. 
 
 " XXVII. All modes of elections shall be regulated by the 
 bye-laws of the Society, hereafter to be made for that purpose. 
 
 " I approve of this plan ; let it be put into execution. 
 
 " GEORGE, R. 
 "ST. JAMES'S, December 10th, 1768." 
 
 Four days after the completion of this important docu- 
 ment, a meeting of twenty-eight of the thirty-four Royal 
 Academicians nominated by the King was held ', at which 
 they signed the following obligation : 
 
 " London, December 14th, 1708. 
 
 " His Majesty having been graciously pleased to institute 
 and establish a society for promoting the Arts of Design, under 
 the name and title of the ' Royal Academy of Arts,' in London ; 
 
 1 The whole number of forty nominated by the Kinjr, two others, 
 
 members WHS not completed for five Julian /ollimij and William Hoare, 
 
 years afterwards. In addition to the were added in 17(50. All subsequent 
 
 thirty-four artists who were at first appointments were by election.
 
 56 HISTORY OF THE ROYAL ACADEMY [On. III. 
 
 and having signified his royal intention that the said society 
 should be established under certain laws and regulations, con- 
 tained in the Instrument of the establishment, signed by his 
 Majesty's own hand, 
 
 " We, therefore, whose names are hereunto subscribed, either 
 original or elected members of the said society, do promise, 
 each for himself, to observe all the laws and regulations con- 
 tained in the said Instrument ; as, also, all other laws, bye-laws, 
 or regulations, either made, or hereafter to be made, for the 
 better government of the above-mentioned society ; promising, 
 furthermore, on every occasion to employ our utmost endeavours 
 to promote the honour and interest of the establishment, so 
 long as we shall continue members thereof." 
 
 At the same meeting the following officers were elected 
 by ballot : 
 
 JOSHUA REYNOLDS, President. 
 
 GEORGE MICHAEL MOSER, Keeper. 
 
 FRANCIS MILNER NEWTON, Secretary. 
 
 Council. GEORGE BARRET, WILLIAM CHAMBERS, FRANCIS COTES, 
 NATHANIEL HONE, JEREMIAH MEYER, EDWARD 
 PENNY, PAUL SANDBY, JOSEPH WILTON. 
 
 Visitors. AGOSTINO CARLINI, CHARLES CATTON, G. BAPTIST 
 CIPRIANI, NATHANIEL DANCE, FRANCIS HAYMAN, 
 PETER TOMS, BENJAMIN WEST, RICHARD WILSON, 
 FRANCESCO ZUCCARELLI. 
 
 And at the general assembly of the Eoyal Academi- 
 cians on the 17th of December, 1768, the first professors 
 were elected also by ballot, viz. : 
 
 EDWARD PENNY, Professor of Painting. 
 THOMAS SANDBY, ,, Architecture. 
 
 DR. WILLIAM HUNTER, Anatomy. 
 
 SAMUEL WALE, Perspective. 
 
 It was not till all these arrangements were made, that 
 the fact of the intention of founding a Eoyal Academy was 
 publicly announced, as the King wished it to be kept a 
 secret, lest it might be converted into a vehicle of poli- 
 tical influence The mode in which it was made known 
 to the Incorporated Society of Artists is recorded in
 
 CH. III.] FIRST ANNOUNCEMENT OF ITS FOUNDATION 57 
 
 the " Life of West," by John Gait, who read the manu- 
 script of it to him previous to his last illness *, and which, 
 therefore, may be regarded as a true version of what 
 occurred : " While his Majesty and the Queen at 
 Windsor Castle were looking at West's picture of ' Ee- 
 gulus,' just then finished, the arrival of Mr. Kirby, the 
 new President of the Incorporated Society, was announced. 
 The King having consulted with his Consort in German, 
 admitted him, and introduced him to West, to whose 
 person he was a stranger. He looked at the picture, 
 praised it warmly, and congratulated the artist. Then 
 turning to the King, said, ' Your Majesty never mentioned 
 anything of this work to me. Who made the frame ? 
 It is not made by one of your Majesty's workmen ; 
 it ought to have been made by the Eoyal carver and 
 gilder.' To this, the King calmly replied, ' Kirby, when- 
 ever you are able to paint me such a picture as this, your 
 friend shall make the frame.' ' I hope, Mr. West,' said 
 Kirby, 'that you intend to exhibit this picture?' 'It is. 
 painted for the palace,' said West, ' and its exhibition 
 must depend upon his Majesty's pleasure.' 'Assuredly,' 
 said the King ; ' I shall be very happy to let the work be 
 shown to the public.' 'Then, Mr. West,' said Kirby, 
 ' you will send it to my exhibition ? ' ' No,' interrupted 
 his Majesty, 'it must go to my exhibition to that of the 
 Royal Academy' and in that exhibition it was subse^- 
 quently seen and admired. The President of the Asso- 
 ciated Artists bowed with much humility, and retired. 
 Shortly afterwards he presented a petition to the King 
 from the Society, representing their alleged grievances, 
 and soliciting his exclusive patronage, to which an answer 
 was returned that ' the Society had his Majesty's protec- 
 tion ; that he did not mean to encourage one set of men 
 more than another ; that having extended his favour to 
 the Society by Eoyal charter, he had also encouraged the 
 
 See Gait's preface to the second part of hU " Life of West," pp. 3038.
 
 58 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 new petitioners ; that his intention was to patronize the 
 arts ; and that he should visit the exhibition as usual.' " l 
 The interest taken by the King in the progress of the 
 Eoyal Academy, however, was alike earnest and un- 
 ceasing. He had himself suggested many of the regu- 
 lations for its government, and when it was established, 
 not only became the patron of the society, but was 
 pleased to take it thenceforward under his personal con- 
 trol. Apartments were provided for the Academy in 
 his own palace of Somerset House ; and when the old 
 mansion, originally built by the Protector Somerset, was 
 taken down, and the site appropriated for public offices, 
 his Majesty stipulated with the government that apart- 
 ments should be constructed in the new building for the 
 Eoyal Academy, among other learned societies. Further 
 than this, the King retained in his own hands the right of 
 approving of all artists elected into the Eoyal Academy, 
 and in his own handwriting drew up the form of a 
 
 1 See Strange's "Inquiry," pp. 108, Gardens, where its last appearance 
 
 109. It is iiot necessary to detail was made in 1791 two mterme- 
 
 the subsequent history of this society. diate exhibitions having been held 
 
 Its decline was gradual 5 but at the in 1783 and 1790, at the Lyceum, 
 
 period of which we are now speaking, It had long previously virtually 
 
 1768, it still numbered more than a ceased to exist, for its power and 
 
 hundred members. The king gave influence, as well as its usefulness 
 
 the society 100 in 17G9, and at- had departed, when at least the great 
 
 tended the Exhibition; but it was majority of the able artists of the 
 
 the last visit they had from him. day had withdrawn from it in the 
 
 The following year the receipts de- unhappy dissensions of former years. 
 
 creased. In 1771 they again in- The last surviving member of the 
 
 creased, and a pamphlet published society, Mr. Robert Pollard, died at 
 
 by the society entitled "The Con- the age of eighty- three, having 
 
 duct of the Royal Academicians previously, in October 1836, given 
 
 while Members of the Society of up the whole of the books, papers, 
 
 Artists," attracted attention to their and minute-books of the society, as 
 
 proceedings. In 1772, they built at well as the royal charter of its in- 
 
 a cost of 7500 the great room, the corporation, to the charge of the 
 
 Lyceum in the Strand, for their ex- Royal Academy, in whose possession 
 
 hibition, and thus contracted a debt they now are. An abstract of these 
 
 of 4000 ; becoming embarrassed, documents was arranged for publica- 
 
 they sold it again in 1773. Subse- tion in the Literary Panorama for 
 
 quent exhibitions were made in 1778 1807 and 1808, in which all that is 
 
 and 1779, at Mr. Philip's room in of general interest in regard to the 
 
 Piccadilly, near Air Street. In 1780 society's proceedings may be found, 
 their exhibition was held in Spring
 
 On. III.] THE "DIPLOMA" 59 
 
 Diploma to be granted to each member on his election, 
 the Eoyal Sign-manual being affixed to the diploma of 
 each Eoyal Academician, and no election being valid 
 until this is done. The following is the form of the 
 diploma : 
 
 "George the Third, by the grace of (rod, King of Great 
 Britain, France, and Ireland, Defender of the Faith, &c., to 
 our trusty and well beloved greeting. 
 
 " Whereas, we have thought fit to establish in this our City 
 of London a Society for the purposes of the arts of Painting, 
 Sculpture, and Architecture, under the name and title of the 
 Eoyal Academy of Arts, and under our own immediate patro- 
 nage and protection; and whereas, we have resolved to intrust 
 the sole management and direction of the said society under us 
 to Forty Academicians, the most able and respectable artists in 
 Great Britain : We, therefore, in consideration of your great 
 skill in the art of [Painting] do by these presents constitute 
 and appoint you to be one of the Forty Academicians of our 
 said Royal Academy, hereby granting unto you all the endow- 
 ments thereof, according to the tenor of the institution under 
 our sign-manual upon the : And we are the more 
 
 readily induced to confer upon you this honourable distinction, 
 as we are firmly persuaded you will upon every occasion exert 
 yourself in support of the honour, interest, and dignity of the 
 said establishment, and that you will faithfully and assiduously 
 discharge the duties of the several offices to which you may be 
 nominated. In consequence of this our gracious resolution, it 
 is our pleasure that your name be forthwith inserted in the 
 roll of the Academicians, and that you subscribe the obligation 
 in the form and manner prescribed. 
 
 " Given at our Royal Palace of St. James, the day of 
 
 in the year ." 
 
 It was not simply the advantage of the Eoyal favour 
 and interest in its proceedings, which the new institution 
 was privileged to enjoy. Substantial aid was needed by 
 a society starting into existence amidst rivalry and oppo- 
 sition, and at a time when a public taste for art had to be 
 created ; and it was afforded by the King munificently 
 engaging to supply out of his Majesty's privy purse, any
 
 00 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 deficiency in its funds arising out of the gratuitous in- 
 struction of students in the Fine Arts, or by donations 
 granted to distressed or superannuated artists and their 
 families. The more effectually to exercise control over 
 the funds, the King directed all the accounts to be sub- 
 mitted to him, and audited by the Keeper of the Privy 
 Purse, and retained in his own hands the appointment of 
 treasurer, as well as that of librarian. 
 
 It is not to be wondered at that the members of the 
 Eoyal Academy have always felt justly proud that their 
 institution was established, and for at least twelve years 
 after its formation aided, by " Eoyal munificence ; " and 
 that the interest of the Sovereign in its proceedings is still 
 a matter of rejoicing to all who desire to see the Fine 
 Arts flourish in our land. For as the Council has justly 
 observed, " In considering the advantages which the 
 Academy enjoys from the Eoyal favour, with more espe- 
 cial reference to the members, it should be borne in 
 mind that rewards of merit are not benefits for those 
 only on whom they are conferred, but for all those to 
 whom they are offered. In all professions the attainment 
 of excellence is promoted no less by the struggle for 
 success which affects many, than by the success itself, 
 which affects one. The advantage of the Eoyal favour 
 and patronage graciously conferred on the Academy is 
 therefore an advantage to the professors of art generally. 
 That those honours are difficult of attainment is a condi- 
 tion common to all distinctions that worthily excite com- 
 petition. The members of the Academy, from its origin 
 until now, have ah 1 contended with rivals in the race, and 
 have all experienced the difficulty of winning the prize. 
 The privileges of the Academy as an institution can only 
 be privileges as long as it comprehends the majority of 
 the first professors of art in the country. Not even the 
 Eoyal favour extended to inferior artists could render their 
 works universally attractive. With reference to the 
 Academy, therefore, the Eoyal favour is to be regarded,
 
 CH. III.] LIMITED NUMBER OF MEMBERS 01 
 
 as it always should be regarded, as a stimulus to all for 
 the attainment of excellence, inasmuch as it is the 
 honourable result of public approbation." l 
 
 The limitation made by the Instrument of institution of 
 the number of the Eoyal Academicians to forty, has been 
 a ceaseless source of contention from the first foundation 
 of the Academy to the present time. It was at first argued 
 that it was intentionally done to exclude so many of the 
 artists of the Incorporated Society as never to give them 
 a preponderance over the old directors of that Society, 
 who had seceded from it to become the founders of the 
 Eoyal Academy 2 ; and Sir Eobert Strange was vain 
 enough to declare that the exclusion of engravers gene- 
 rally was adopted purposely to debar him from the privi- 
 leges of membership. 3 As the English school gathered 
 strength, it has been urged that the Eoyal Academy 
 should have expanded and enlarged its numbers in pro- 
 portion to the numerical increase of English artists, so that 
 now it would need to be increased to at least treble its 
 original constitution ; and the Academy is charged with 
 undue exclusiveness, and a failure of its high mission in 
 the cause of art, because it has not fully met these 
 demands. 
 
 Such statements deserve careful examination before 
 they are either contradicted or adopted. Looking at the 
 state of art in this country a century ago, and contrasting 
 it with its present position, it cannot be denied that the 
 advance has been steady, substantial, and rapid. Indeed, 
 as we contemplate the works of the artists who exhibited 
 in 1760 with those whose works are now to be seen all 
 around us, we question whether it must not be admitted 
 that the original number of forty was not far beyond the 
 requirements of the year 17G8, and that being based on 
 the number of artists who were entitled to membership 
 
 1 " Report of the Council " for the Select Committee of the House 
 I860, p. 10. of Commons " on Arts, &c., 1830. 
 
 8 See Ilaydon's " Evidence before * Strange'a "Inquiry,"' p. 112.
 
 02 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 in several of the Foreign Academies then existing, it was 
 rather intended to reach that number in England in the 
 future, as the knowledge of art and the ability of its pro- 
 fessors advanced. This seems to have been the motive 
 for leaving several vacancies in the original number un- 
 filled for some years : and even with this admission of 
 the necessity of limiting the honour of full membership to 
 artists of established reputation, it may fairly be questioned 
 whether several of those who were then elected would 
 have been chosen had they lived in our own day. It 
 seems, therefore, that the limit originally fixed was a very 
 large one too wide for the then infantile state of the 
 English school but one which it might reasonably hope 
 speedily to reach. 
 
 That it has done so is admitted ; but the next question 
 is whether the progress made has been such as to demand 
 a yet further extension ? It must be remembered that if 
 the title of Eoyal Academician is to carry with it a re- 
 cognised claim to superior excellence on the part of the 
 artist on whom it is conferred, if it is to be an honour 
 sufficiently great to be an impulse to the young aspirant, 
 and a laudable ambition in the artist of acknowledged 
 merit, it ought not to be the common dignity of every 
 one who has proved his claim to be ranked among the 
 large number of good painters, or sculptors, or architects, 
 which we now happily possess. And we cannot help 
 questioning whether any country, in ancient or modern 
 times, has ever been able to produce at any one time 
 forty artists of whom it could be said that they were of 
 such superior ability as to render them famous, not only 
 while living, but in after ages, as eminent in their pro- 
 fession and masters of their art. If the highest honours 
 of the Eoyal Academy should be reserved "for such as 
 these, then it is very doubtful, indeed, whether forty is 
 not more than sufficient to meet the necessity of the case, 
 or at all events ample for all time. The vexed question 
 of the admission of engravers to full academic honours
 
 CH. III.] ASSOCIATED MEMBERS 63 
 
 has been set at rest, and will be noticed in the course of 
 this history. 
 
 But while the full dignity of Eoyal Academician is thus 
 wisely limited, it is open for consideration whether it 
 might not be a fair encouragement to offer to a large 
 number of really talented artists, to allow them to become 
 associated members, without taking any part in the go- 
 vernment of the Eoyal Academy, or if at all, by being 
 permitted to nominate as representatives of their own 
 body, a certain number of artists, for election by the 
 forty academicians. The bitter experience of the fate of 
 the societies of artists which existed as corporate bodies, 
 and which were torn by dissensions consequent on their 
 government being under the direction of so large a num- 
 ber, or by resistance on the part of the majority to the 
 government of the few, justified the founders of the Eoyal 
 Academy in so constituting it that it should be preserved 
 from this peril ; and from the tone in which the question is 
 still discussed, the necessity remains that the power of 
 governing should be vested in those who have attained, 
 by their own ability, to the coveted pinnacle of fame in 
 art, and that in associating around them their brother 
 artists who are seeking similar honours, they should in 
 some measure adopt a relative position to that of the 
 Senate in the Universities. In this view it may, perhaps, 
 be desirable hereafter to remove all restrictions as to the 
 number of associates and associate engravers, or to in- 
 crease their number ; the election being confined, as at 
 present, to the academicians, and the claim to acknow- 
 ledged merit as an artist being the only qualification de- 
 manded of the candidate for what would still be, though 
 more easily attainable than at present, a coveted mark of 
 dictinction. 
 
 Several foreign academies were in existence at the 
 time of the foundation of the Eoyal Academy; and as 
 the question of establishing such an institution in this 
 country had been discussed, and many fruitless efforts had
 
 64 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 been made for some years previously, there is no doubt 
 that their constitution was examined before that of the 
 English one was determined ; and it will be found on re- 
 ference to the Continental art-societies, whether of olden 
 times or of more modern date, that as a general rule the 
 number of academicians is not greater in them than in our 
 own. In the French Academy (originating in the ancient 
 company of St. Luke), founded in 1648 by Louis XIV., 
 and of which Le Brun was the first president, the total 
 number is forty, consisting of fourteen painters, eight 
 sculptors, eight architects, four engravers, and six pro- 
 fessors of music. The Eoyal Academy of the Arts of 
 Berlin was founded in 1699 by Frederic L, and consists 
 of twenty-one painters, five sculptors, five architects, and 
 five professors of music, besides a large number of 
 honorary members, native and foreign. In the Academy 
 of St. Luke at Eome, established in 1595, there are 
 twelve historical painters, twelve sculptors, and twelve 
 architects, who are required to reside there, and also 
 four portrait painters, four landscape painters, four gem 
 engravers, and four engravers, partly resident and partly 
 foreigners, besides academicians " of merit," consisting of 
 twenty foreign artists of each of the first three classes. 
 An academy was established at Munich in 1770, which 
 was subsequently in 1808 re-founded by Joseph I. as the 
 Eoyal Munich Academy, with a director, three historical 
 painters, one sculptor, two architects, one engraver, one 
 teacher of elementary painting, one corrector in the 
 antique school, one professor of the history of art (all 
 receiving salaries and retiring pensions from the Govern- 
 ment), and four other professors, in all fifteen members, 
 besides an unlimited number of honorary members and 
 artists. The Eoyal Academy of Antwerp comprehends 
 fifteen painters, five sculptors, three architects, one 
 engraver, and one professor of drawing, besides associated 
 and honorary members. The academies of Florence, 
 Eome, and Bologna, as assemblies of honour as well as
 
 CH. III.] CONSTITUTION OF FOREIGN ACADEMIES Go 
 
 gratuitous schools of the arts, seem especially to have 
 been imitated in the constitution of our own Academy ; 
 and forty, which was the original number of the acade- 
 micians of Florence, has been the limit of the number of 
 members adopted in most of the subsequent institutions 
 of the same nature. 
 
 By one of the laws in the original constitution of the 
 Eoyal Academy, its members were prohibited from be- 
 longing to any other institution or society of artists in 
 London. This regulation has been considered as calcu- 
 lated to give an exclusive character to the Academy, and 
 to be unnecessary. In the present day it undoubtedly is 
 so ; and it would appear 1 that if not actually cancelled, 
 it has long ceased to be acted upon. The original 
 founders of the Eoyal Academy may, indeed, have thought 
 it a prudent step to guard themselves against similar dis- 
 sensions to those which had debased the art-societies 
 then in existence, and out of which it arose ; and also, 
 since the new institution would have mainly to depend 
 for support upon the contributions of the public, it may 
 have been deemed necessary, in order to prevent a de- 
 cline of the funds, to require the members to centre the 
 attractions, which the products of their talents might 
 afford, solely in the new society. This state of things no 
 longer exists, and therefore the members of the Royal 
 Academy are now found exhibiting their works at the 
 British Institution and at other places, and are not de- 
 barred from taking office in other kindred societies. It 
 is quite certain that the Royal Academy in no case hinders 
 the formation of new art-societies, even when founded 
 simply for the purpose of exhibiting pictures, and that 
 it is always ready to promote the establishment of schools 
 of art in the metropolis and in the provinces. 
 
 The fact that the exhibitions which annually provide 
 
 1 Evidence of Sir M. A. Shee, the Select Committee of the Com- 
 P.R.A. (questions 1000-2), before nions, on Arts, 1830. 
 
 VOL. I. F
 
 66 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 the income and replenish the coffers of the Eoyal Academy, 
 are partly composed of works by artists who are not 
 members, and that the academicians themselves rarely 
 contribute as largely to them, as by their own restricted 
 privilege they are permitted to do has been cited (as 
 we think unfairly), to indicate that the members derive 
 the benefit of the exhibition of the works of artists not 
 belonging to their society, and to whom they give no re- 
 turn. In many cases there is no doubt that the know- 
 ledge that they will find many works of real excellence, 
 by men of established position and talent as artists, leads 
 persons to visit the exhibition who would not else be 
 found within its walls ; while in others it is equally true 
 that the multitude and variety of works may attract many 
 more than would be found if the exhibition consisted 
 exclusively of the works of the Eoyal Academicians. But 
 is an injustice really done to our aspiring artists by this 
 arrangement ? That they do not think so, we know by 
 the fact that there are as many works excluded as ex- 
 hibited, in consequence of the limited space at the disposal 
 of the Academy, and by the eagerness with which they 
 strive to attain an entrance for their productions. In 
 some of the modern exhibitions, which have been com- 
 menced upon the principle of admitting all works upon 
 payment by the exhibitor for the extent of wall-space 
 occupied, the artist finds that the attendance of real 
 lovers or patrons of art is comparatively nothing, and the 
 money he expends is fruitlessly employed ; whereas, with- 
 out charge, and in a place where Eoyalty, nobility, and 
 fashion congregate, and where English art in its annual 
 development is studied by the art-patron, connoisseur and 
 critic, he has a chance of attaining fame and gaining 
 patronage which would never reach him in any other 
 way. So far, therefore, from the plan being disad- 
 vantageous to young or unknown artists, it affords them 
 the surest means of attracting attention to their works ; 
 and that the Academy places its exhibition-room at their
 
 CH. III.] EXHIBITORS AT THE ACADEMY 67 
 
 disposal, as far as its space will allow, and sometimes to 
 the exclusion of the works of its members 1 , ought to be 
 regarded by them as a boon and a proof of its desire to 
 advance the cause of art, without respect to the rights 
 which its own constitution might authorize it to reserve 
 to its own members. 
 
 That the Eoyal Academy thus finds its income in- 
 creased is undoubted ; but this does not give the exhibitors 
 who are not members of the Academy, any ground of 
 complaint that they do not share in the emoluments thus 
 derived. It is true that, under certain conditions, there 
 are pensions obtainable by members of the Royal Aca- 
 demy and by their survivors ; but it is not often that they 
 come within those conditions, and a very much larger 
 sum has been expended upon those unconnected with 
 the Academy than upon its members. But the distribu- 
 tion of aid to artists or their families in need of it, is the 
 pleasant labour of the Academy, not always limited to 
 the pensions claimed by its members, nor to the gifts dis- 
 pensed to exhibitors or their families ; and so quietly and 
 delicately is this aid rendered, that not even the members 
 of the Academy are aware of the names of those who 
 are thus benefited, but only the council for the time 
 being, by whom these gifts of kindness are dispensed. 
 Artists who are neither academicians nor associates, and 
 the families of many men of genius little known, and cut 
 short in their career before they could attain the means 
 of leaving a provision for those nearest and dearest to 
 them, are thus befriended, silently and without an attempt 
 at display of charity, by the substantial means of brotherly 
 sympathy which the funds of the Eoyal Academy enable 
 
 1 " I must do the members of the avoidable, to see works by contri- 
 
 Royal Academy the justice to say, butors occupying those prominent 
 
 that some of their own works have places, which by a fair and acknow- 
 
 been this year withdrawn to make ledged privilege, are usually assigned 
 
 room for others ; and it is satisfactory, to members." SjM-n-h of <S'V C. East- 
 
 amid the disappointments which, fnki; P. It. A., at the Itoyal Academy 
 
 under the circumstances are un- Dinner, 1800. 
 
 r 2
 
 08 HISTORY OF THE EOYAL ACADEMY [Cn. III. 
 
 its council to bestow among the less fortunate artists of 
 our country. 
 
 The general question as to the utility of academies of 
 art has always been one upon which much difference of 
 opinion has been expressed. Fuseli, one of the professors 
 in the Eoyal Academy, a Swiss by birth, attributes the 
 origin of academies to the decline of art, when, in his 
 twelfth "Lecture on Painting," he says : 
 
 " The very proposals of premiums, honours and rewards, to 
 excite talent or rouse genius, prove of themselves that the age 
 is unfavoui*able to art ; for had it the patronage of the public, 
 how could it want them ? We have now been in possession of 
 an Academy more than half a century, all the intrinsic means of 
 forming a style alternate at our command, professional instruc- 
 tion has never ceased to direct the student, premiums are dis- 
 tributed to rear talent and stimulate emulation, and stipends 
 are granted to relieve the wants of genius, and finish education, 
 
 and what is the result? ... If our present state moderates 
 our hopes, it ought to invigorate our efforts for the ultimate 
 preservation and, if immediate restoration be hopeless, the 
 gradual recovery of art. To raise the arts to a conspicuous 
 height, may not perhaps be in our power ; we shall have deserved 
 well of posterity if we succeed in stemming their further down- 
 fall, if we fix them on the solid base of principle. If it be 
 out of our power to furnish the student's activity with adequate 
 practice, we may contribute to form his theory ; and criticism 
 
 founded on experiment, instructed by comparison, in posses- 
 sion of the labours of every epoch of art may spread the 
 genuine elements of taste, and check the present torrent of 
 affectation and insipidity. This is the real state of our institu- 
 tion, if we may judge from analogy All schools of 
 
 painters, whether public or private, supported by patronage or 
 individual contribution were, and are, symptoms of art in 
 distress, monuments of public dereliction, and decay of taste. 
 But they are, at the same time, the asylum of the student, the 
 theatre of his exercises, the repositories of the materials, the 
 archives of the documents of our art, whose principles their 
 officers are bound now to maintain, and for the preservation of 
 which they are responsible to posterity." 
 
 With this peculiar view of the character of academies,
 
 CH. III.] OBJECTIONS TO ART-ACADEMIES 69 
 
 and the prospects of art, few will be inclined to coincide ; 
 but many consider academies inimical to the true progress 
 of art, on account of their tendency to establish a uniform 
 style of art, and to engender mannerism. Mr. E. N. 
 Wornum says : 
 
 " It is this suppression of originality, this levelling of all 
 capacities to one standard, that is the chief danger to be guarded 
 against, in an academic education. That an assembly of 
 students, constantly aiming at the same ends, copying the same 
 models in the same manner, should acquire a very great same- 
 ness of thought and style is not extraordinary; and it is this 
 consummation, the trim method of mediocrity, that is the shoal 
 that the academic helmsman has to avoid." 
 
 Dr. Waagen, of Berlin, an eminent art-critic, sees no 
 good in such institutions, for 
 
 " On comparing a number of specimens of the different 
 schools, such as those in Paris, St. Petersburg, and other places, 
 all exhibited a striking similarity of manner; while in the 
 earlier times, and in the earlier method of teaching, the 
 character of the schools of different nations, and that of each 
 
 individual artist, was entirely original and distinct By 
 
 this academic method, which deadened the natural talent, it is 
 sufficiently explained why, out of so great a number of academic 
 pupils, so few distinguished painters have arisen." 
 
 But, as Mr. Wornum observes, 1 
 
 " It is difficult to see how a well-regulated academy can be 
 prejudicial to the arts ; the multiplication of the labourers in 
 the field of art, when well instructed, can only be denounced as 
 a prejudice to the cause of art by a narrow-minded selfishness 
 the labourers in the cause of truth and beauty cannot be 
 too numerous. It is perfectly true, on the other hand, that 
 academies are not necessary to the production of great artists ; 
 it is also an incontestable fact that the rise of academies has 
 been coincident with the decline of art ; yet this does not show 
 that the latter was a consequence of the former, though it may 
 
 1 See " Lectures on Paintinpr, by tiral and illustrative, by Ralph N. 
 the Royal Academicians ; edited Wornum." London : Dohn, 1848. 
 with ail introduction and notes, cri- 

 
 70 HISTORY OF THE ROYAL ACADEMY [Cn. III. 
 
 be owing to their inefficient systems. However this may be, 
 the artists of the seventeenth century, unable to overlook the 
 obvious decline of art, hurrying to its consummation, associated 
 together for its preservation ; and thus gratuitous academies of 
 art supplanted the old-established system of family tuition, to 
 which the famous schools of Italy owed nearly all their great- 
 ness." 
 
 The Council of the Eoyal Academy 1 distinctly disown 
 that it is a tribunal of taste, arrogating to itself the 
 superintendence of art, and declare its great object to be 
 the promotion of art by instruction and emulation : 
 
 " Within the Academy, the two objects are combined. The 
 means of study, and the occasional teaching which directs it, 
 are provided ; and competition, even when not public, is always 
 unconsciously operating. The instruction in art, which can be 
 really useful, is adapted chiefly for the young ; and even among 
 them, as Reynolds has observed, * a youth more easily receives 
 instruction from the companions of his studies . . . than from 
 those who are much his superiors ; and it is from his equals only 
 that he catches the fire of emulation.' It is with his fellow- 
 students, also, that he contends for the premiums and privileges 
 Avhich the Academy offers in its schools. But whatever may be 
 the deference to the rules of art, and to works of established 
 reputation, which is exacted from beginners, no academic re- 
 straint is imposed on the student who enters upon his career 
 with the public for his judges. The variety of styles, not only 
 among young candidates for fame, but even among the members 
 of the Academy themselves, sufficiently proves that no arbitrary 
 type, in tastes or methods, is proposed. The student, fortified 
 with the requisite elementary instruction, and free to gather his 
 impressions and inspirations where he lists, next aims at the 
 distinction which a far wider competition offers. The emulation 
 which the Academy promotes is then stimulated by the exhibi- 
 tion, subsequently by the honours of the institution, and un- 
 ceasingly by a rivalry with the best artists in the country." 
 
 From the establishment of the Eoyal Academy, there- 
 fore, we may date the foundation of the English School of 
 
 Report of the Council to the General Assembly, I860, p. 16.
 
 CH. III.] THE ENGLISH SCHOOL 71 
 
 Painting, one which less than any other bears the traces 
 of mannerism, or of special characteristics in style and 
 subject by which so many foreign schools are painfully 
 distinguished. Each of the great masters in this modern 
 English school has taken his own view of nature, and his 
 own treatment of his subject. It cannot be said that all 
 our modern artists of celebrity have imitated those under 
 whom they were educated, and thus one of the objections 
 urged against art-teaching in academies is at once dis- 
 proved, at least so far as our own school is concerned. 
 Nature is the great teacher of all who attain to eminence 
 as artists ; and there is enough of diversity and variety in 
 her aspects of things around us, and in the passions and 
 emotions of the human heart within us, to afford abundant 
 material for artists to take diverse paths, some to 
 luxuriate in the forests and the sheltered glade, some to 
 wander in the corn-fields or the meadows, others to 
 track the pathless sea, or depict its ebb and flow upon 
 the shore, some to picture men in their simplicity, others 
 in their pride, to portray the peasant's home, or the 
 noble's mansion, the village church, or the cathedral 
 city, the teachings of history, alike of olden time and 
 of every-day life, and to bring before us some faint 
 conceptions of those great themes, in connection with 
 Scriptural truths, upon which the faith of our fathers, 
 and our own hopes, are built. That this universality of 
 subject, combined with a mode of treatment original in 
 itself, and free from conventional forms, is the characteristic 
 of the English school, is the best token by which to augur 
 its future advancement to increasing excellence.
 
 72 
 
 CHAPTER IV. 
 
 THE FOUNDATION MEMBEES OP THE EOYAL ACADEMY. 
 
 The First President : SIR J. REYNOLDS. 
 
 Professors : ED. PENNY, Painting : THOS. SANDBY, Architecture : SAM. 
 WALE, Perspective: DR. W. HUNTER, Anatomy. 
 
 Painters: Historical: BENJ. WEST, (future President), F. BARTOLOZZI, G. 
 B. CIPRIANI, M. A. A. C. KATTFFMAN, F. HAYMAN. Portrait: F. 
 COTES, J. MEYER, M. CHAMBERLIN, P. TOMS, N. HONE, F. M. NEWTON, 
 N. DANCE. Landscape, $c. : G. BARRET, C. CATTON, P. SANDBY, 
 J. RICHARDS, D. SERRES, R. WILSON, T. GAINSBOROUGH, F. ZUCCA- 
 RELLI, J. BAKER, and M. MOSER. 
 
 Architects: SIR W. CHAMBERS, J. GWYNN, and G. DANCE. 
 
 Sculptm-s : W. TYLER, J. WILTON, G. M. MOSER, R. YEO, and A. CARLINI. 
 
 THE personal history of the foundation members of the 
 Eoyal Academy now claims our attention, that we 
 may know what sort of men, both in professional ability 
 and in individual character, they were to whom the 
 direction of the new Institution was entrusted. The list 
 of the thirty-four original members nominated by the 
 King, certainly included the majority of the most able 
 artists of the day, but there were several men of great 
 reputation at that time whom we might have expected to 
 find added to it : as, for instance, Allan Eamsay, principal 
 painter to the King ; Hudson, Highmore, and Eomney, 
 the portrait painters ; Samuel Scott, the marine painter ; 
 George Knapton, who wrought chiefly in crayons, and 
 some others. It is difficult, at this distant period, to know 
 why some of these men did not occupy places in the 
 Eoyal Academy. Some of them were growing old and 
 infirm at the time of its foundation, and the reserved 
 habits of Eomney have been assigned as the reason why
 
 Cn. IV.] SIR J. REYNOLDS 73 
 
 he did not join his brother artists. There was, however, 
 a goodly company, notwithstanding these omissions of 
 some portion of the art- talent of the day. 
 
 Among the thirty-four artists of whom we have first 
 to speak, we find there were twenty-five painters, five 
 sculptors and medallists, and four architects. The painters 
 might again be subdivided into eight historical, eight 
 portrait, seven landscape, and two flower painters. The 
 proportion of painters is large compared with architects 
 and sculptors ; but it must not be forgotten that their 
 works were needed in larger numbers to render the exhi- 
 bition (the real source of the revenue of the Academy) 
 attractive, and that there were fewer architects and sculp- 
 tors in consequence of the little patronage extended to 
 those branches of the arts at the time. 
 
 The name of Sir JOSHUA EEYNOLDS, RE. A., must neces- 
 sarily be placed first in our brief biographical notices of 
 the members, as it stands also at the head of the list of 
 artists which this country has produced, as one of the 
 founders of the English school of painting. 
 
 He was born at Plympton, near Plymouth, in Devon- 
 shire, on the 16th July, 1723. His father was the Eev. 
 Samuel Eeynolds, the rector of Plympton St. Mary, and 
 master of the Grammar School there. He intended his 
 son for the medical profession, and bestowed upon him a 
 liberal education ; but as from a child he manifested a 
 decided predilection for drawing, his future profession was 
 changed to that of an artist. His natural bias towards 
 the arts was strengthened by a very early study of the 
 " Jesuits' Perspective," and converted into a passion by the 
 subsequent perusal ofEichardson's "Treatise on Painting." 
 In 1741, when in his eighteenth year, he was placed as 
 a pupil for four years with George Hudson, the most 
 famous portrait painter of that time. By him he was 
 set to copy Guercino's drawings, and soon excited a feel- 
 ing of rivalry by his skill in portraiture. This led in
 
 74 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 about two years to disagreement, and Eeynolds, leaving 
 Hudson's studio, subsequently practised with William 
 Gandy of Exeter. Upon this slight foundation of art- 
 instruction, he commenced his career as a portrait painter 
 at Plymouth Dock. After the death of his father in 
 1746, he returned to London, and commenced practice in 
 St. Martin's Lane. In 1749 he went to Italy in company 
 with the Hon. Mr. Keppel, his early friend and patron, to 
 whom he had been introduced by Lord Mount-Edgcumbe. 
 While studying the works in the Vatican at Eome, he 
 caught a severe cold, which caused the painful deafness 
 to which he was subject during the remainder of his life. 
 From Eome he went to Florence, Bologna, Parma, 
 Modena, Milan, Padua, and Venice ; and thence through 
 Turin to Paris, where he made a short stay, and returned 
 to Plymouth towards the end of 1752. This journey was 
 judiciously improved by the thoughtful student. He 
 copied and sketched from the works of EafFaelle and 
 Michael Angelo in some of their more striking delinea- 
 tions, but chiefly occupied himself in examining and fixing 
 in his mind their peculiar and characteristic excellences ; 
 for he was more intent on aspiring to their conceptions, 
 than on imitating their mode of execution. The rich 
 effects of Venetian tone and colour were especially attrac- 
 tive to him, far more so as his practice showed than 
 the grandeur of the Eoman school. 
 
 Shortly after his return, he again took up his residence 
 in St. Martin's Lane, in a house facing May's Buildings. 
 The first specimen of his abilities which attracted atten- 
 tion was a portrait of Josep Marchi, a young Italian whom 
 he had brought with him as an assistant "from Eome, re- 
 presented in the Turkish costume, richly painted in the 
 style of Eembrandt. A full-length portrait of Admiral 
 Keppel standing on the sea-shore, which he painted soon 
 afterwards, was universally admired, and established his 
 fame as the first portrait painter of his age and country. 
 For some years he lived in a house in Great Newport
 
 Cn. IV.] SIE J. EEYNOLDS 75 
 
 Street. In 1761 he purchased a house in Leicester 
 Square (or Fields, as it was then called), for his collection 
 of works of art. This house (No. 47) was filled to the 
 remotest corner with casts from the antique, statues, pic- 
 tures, drawings, and prints by the various masters of the 
 foreign schools. These he looked upon as his library, 
 with this advantage that they decorated as well as 
 instructed they pleased his eye and informed his mind ; 
 they were objects at once of amusement, study, and com- 
 petition. Some of the valuable pictures he possessed he 
 destroyed in his endeavour to discover the famous " Vene- 
 tian secret " in colouring. In this house he lived during 
 the remainder of his life. 
 
 The intimacy between Eeynolds and Dr. Johnson com- 
 menced with his career in London, and only ended with 
 the death of the latter. To this friendship we probably 
 owe his literary efforts, and indeed he himself owns that 
 Johnson qualified his mind to think justly, even on art. 
 The report circulated after his death that either Johnson 
 or Burke aided him in the composition of his discourses 
 delivered at the Eoyal Academy, is proved to be erroneous 
 alike by his own denial of it, the testimony of his pupil 
 Northcote, and the fact that Dr. Johnson uttered his warm 
 approval of them publicly, which he was too disingenuous 
 to have done had he taken any personal part in their pre- 
 paration, beyond having given to their author advice as to 
 amendments or alterations. 
 
 In 1760 Reynolds sent four pictures to the exhibition 
 in Spring Gardens, and the following year exhibited his 
 portrait of Lord Ligonier on horseback (now in the Na- 
 tional Gallery), and one of Sterne. In 1762 he painted 
 4 Garrick between Tragedy and Comedy,' which was pur- 
 chased by the Earl of Halifax for 300 guineas. In 1764 
 Eeynolds and Johnson instituted the Literary Club, which 
 was then limited to twelve members, among whom were 
 Oliver Goldsmith and Edmund Burke. In the same 
 year Hogarth died, one who differed as much in theory
 
 76 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 and practice from his opposite neighbour in Leicester 
 Fields, as he did in disposition and tastes. Eeynolds 
 desired to bring men of their common calling together, 
 and by study and co-operation to establish for them 
 claims to respect and eminence. Hogarth opposed all 
 efforts to establish such an academy, and stood apart and 
 alone from his brother artists. The one urged the con- 
 stant study of the old masters, the other would hear of 
 no school but that of nature ; and while he was rough 
 and rude, and despite his good nature sometimes antago- 
 nistic and obstinate, the other was able to smile on all, 
 while singling out some few for especial marks of warm 
 and gracious regard. His own nature as a true gentle- 
 man shed its influence over his portraits, and hence their 
 charm and his eminent success. These attributes also were 
 in themselves an additional qualification for the dignified 
 position he attained when, as we have already seen, he 
 was unanimously elected President of the Eoyal Academy. 
 It would have been impossible to have found a man more 
 eminently qualified for the position among the artists of 
 Great Britain which he thus attained. Deeply imbued 
 with the loftiest theories of art, which he had studied at 
 the fountain-head in the works of the great masters, and 
 himself a painter of rare excellence, Eeynolds possessed at 
 the same time literary attainments of a high order, which 
 enabled him to give adequate expression to whatever he 
 most desired to instil into the minds of the students of art 
 assembled in the Academy, and a disposition so courteous 
 and generous as to secure the respect and affection of all 
 those by whom he was surrounded. The readers of John- 
 son, Burke, and Goldsmith, need not to be told how much 
 he was beloved and revered by his associates, while every 
 succeeding generation owes him its gratitude for pre- 
 serving to them the portraits of the thoughtful foreheads 
 of many writers and statesmen of his time, and the sweet 
 smiles of many noble matrons. 
 
 To deliver lectures was no part of the duty of the
 
 CH. IV.] SIR J. REYNOLDS 77 
 
 President of the Royal Academy ; it was a task which he 
 imposed upon himself in his zeal for the advancement of 
 the arts ; and the fifteen discourses on the Principles and 
 Practice of Painting, which he addressed to the students 
 at the annual distribution of prizes, have been translated 
 into several languages, and continue to be studied for the 
 many admirable suggestions and criticisms on art which 
 they contain. 
 
 The earlier works of Eeynolds did not possess the ex- 
 cellences which are found in his later productions ; but 
 the man who could unite to the dignified resemblance 
 of the head, an endless variety of spirited and graceful 
 attitudes, picturesque backgrounds, novel and striking 
 effects of light and shade, and a rich harmony of colour, 
 was at every stage of his career entitled to a very high 
 place as an artist. He was one of the few whose effort 
 to improve ended but with his life ; he was heard to say 
 that he never began a picture without a determination to 
 make it his best ; and his continued advancement justified 
 the maxim he was so frequently inculcating, " that nothing 
 is denied to well-directed industry." Johnson used to 
 say that he was one who early bore down all opposition 
 before him, and left emulation panting behind him ; and 
 that while securing as the summit of human felicity the 
 first place, he was not spoilt by the most rare and en- 
 viable prosperity he attained. 
 
 In 1773 Sir Joshua painted his celebrated picture of 
 4 Count Ugolino and his Sons,' from Dante, which was pur- 
 chased by the Duke of Dorset for 400 guineas. In the same 
 year he was created Doctor of Civil Law by the University 
 of Oxford, and about the same period he was also elected a 
 member of the Imperial Academy at Florence. In 1779 
 he ornamented the ceiling of the library of the Academy 
 at Somerset Ilouse with an allegorical painting represent- 
 ing ' Theory ' bearing a scroll inscribed, " Theory is the 
 knowledge of what is truly nature." In the summer of 
 1781, with a view of examining critically the works of
 
 78 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 the celebrated masters of the Flemish and Dutch schools, 
 he made the tour of Holland and Flanders. He pub- 
 lished an account of this journey, containing much excel- 
 lent criticism on the works of Eubens, Vandyke, Eem- 
 brandt, &c. in the churches and different collections at 
 Antwerp, Brussels, Ghent, Dusseldorff, and Amsterdam, 
 concluding with a masterly drawn character of Eubens. 
 During the three succeeding years, Sir Joshua was en- 
 gaged upon his designs for the window of New College 
 Chapel, Oxford. These consisted of seven allegorical 
 figures of the four Cardinal and the three Christian graces, 
 surmounted by the ' Nativity.' 
 
 In 1783, in consequence of the suppression of some 
 religious houses, he again visited Flanders, purchased 
 some pictures by Eubens, and devoted several more days 
 to the contemplation and further investigation of the 
 works of that master. In the same year, Mr. Mason's 
 translation of " Du Fresney's Art of Painting " was pub- 
 lished, with notes subjoined by Sir Joshua Eeynolds, con- 
 sisting chiefly of practical observations and explanations 
 of the rules laid down by the author of the poem. These 
 works, his Academy Lectures, three contributions at an 
 earlier period to Johnson's " Idler," and a few notes to 
 his friend's edition of Shakspeare, constitute the whole of 
 his literary productions. In 1784 he painted the famous 
 allegorical portrait of ' Mrs. Siddons as the Tragic Muse,' 
 which was sold to Mr. Smith for 700 guineas. In the 
 same year, upon the death of Allan Eanisay, he was ap- 
 pointed principal painter in ordinary to the King, in which 
 office he continued till his death. In 1786 he painted 
 the c Infant Hercules strangling the serpents in the cradle,' 
 for the Empress Catherine of Eussia. It was sent to St. 
 Petersburg in 1789, and in the following year the Eussian 
 Ambassador presented him with a gold box having the 
 portrait of the Empress upon the lid, set with large 
 diamonds. Fifteen hundred guineas were afterwards paid 
 to his executors as the price of this picture. For Boydell's
 
 CH. IV.] SIR J. REYNOLDS 79 
 
 Shakspeare Gallery he painted three pictures, ' The 
 cauldron scene in Macbeth,' 'Puck, from Midsummer 
 Night's Dream,' and ' The death of Cardinal Beaufort.' 
 
 From the year 1769 to 1790 inclusive, Eeynolds sent no 
 less than 244 pictures to the exhibition of the Eoyal Aca- 
 demy. Besides 'the Holy Family' and 'Lord Ligonier,' 
 already referred to, there are several other pictures by him 
 in the National Collections : ' The Graces decorating a 
 figure of Hymen ; ' ' The Infant Samuel ; ' ' Heads of 
 Angels ;' ' The Age of Innocence ;' ' The banished Lord ;' a 
 study for ' Count Ugolino ;' and portraits of himself, Lord 
 Heathfield, Et. Hon. W. Wyndham, Sir W. Hamilton, and 
 Sir A. Hume. 
 
 His assiduity and love for his profession left him little 
 leisure ; and his whole life, to the time when his sight 
 failed, was passed in the diligent and unwearied pur- 
 suit of his art, at once his business and his pleasure, 
 uninterrupted by sickness or misfortune. The hours ne- 
 cessary for relaxation were chiefly spent in the company 
 of his numerous friends and acquaintance ; these were 
 gathered around him as well on system as from inclina- 
 tion ; for finding that his professional pursuits debarred 
 him the regular and ordinary modes of study, he adopted 
 this as an agreeable method of gaining at the same time 
 knowledge and amusement. Hence, at his table, for above 
 thirty years, were occasionally assembled all the men of 
 taste, talent, and genius of the kingdom men who were 
 remarkable for their attainments in literature or the arts, 
 in the pulpit or the bar, in the senate or the field. 
 
 For many years Sir Joshua enjoyed uninterrupted good 
 health, to which his habit of standing while painting may 
 have in some degree contributed. In 1782, he was 
 afllicted by a paralytic stroke, from which he quickly re- 
 covered ; but in July 1789, while engaged in painting 
 his portrait of the Marchioness of Hertford, he found his 
 sight so much affected that it was with difficulty he could 
 proceed with his work ; and notwithstanding every assis-
 
 80 HISTORY OF THE ROYAL ACADEMY [Cn. I\\ 
 
 tance that could be procured, he was in a few months 
 totally deprived of the use of his left eye. After many 
 struggles, lie resolved, lest his remaining eye should suffer, 
 to paint no more ; and though he was thus deprived of a 
 constant and engrossing amusement, he retained his usual 
 spirits, and enjoyed the society of his friends with the 
 same apparent pleasure as before. In October 1791, 
 however, his spirits began to fail him, and he became 
 alarmed lest an inflamed tumour, which came over the 
 eye which was lost, might occasion the destruction of the 
 other also. A disease, which he could neither describe 
 nor point out to physicians, was secretly gathering strength ; 
 and it was only a fortnight before his death that he dis- 
 covered that the liver had attained such an inordinate 
 growth as to incommode all the functions of life. After 
 a confinement of three months, and an illness which he 
 bore with great patience and fortitude, he died at his 
 house in Leicester Fields, on Thursday evening, the 
 23rd of February, 1792. His body was laid in state 
 at the Academy at Somerset House till the 3rd of 
 March, when it was interred in the crypt of St. Paul's 
 Cathedral, near the tomb of Sir Christopher Wren. On 
 this mournful occasion, every honour was paid that could 
 be shown to worth and genius ; a great number of dis- 
 tinguished persons joined the funeral procession, and his 
 pall was supported by three dukes, two marquises, and 
 five other noblemen. Some years afterwards, a statue, by 
 Flaxman, was erected to his memory in the cathedral. 
 
 In stature, Sir Joshua Eeynolds was rather under the 
 middle size, of a florid complexion, with blunt features, 
 possessing a lively, pleasing aspect. His manner was 
 particularly polished and agreeable, and he possessed a 
 constant flow of spirits, which enabled him in society to 
 find amusement readily, and easily to contribute to the 
 entertainment of others. Though he had been almost 
 deaf from the time of his return from Italy, yet, by the 
 aid of an ear-trumpet, he was enabled to participate in
 
 CH. IV.] SIE J. REYNOLDS 81 
 
 the conversation of his friends with great facility. 1 He 
 was never married, and bequeathed the principal por- 
 tion of his property, which amounted to 80,000, to his 
 niece, Miss Palmer, who was shortly afterwards married 
 to the Earl of Inchiquin, subsequently created Marquis of 
 Thomond. His collection of works of art sold for about 
 17,000. It has been stated that shortly before his death, 
 Sir Joshua offered these examples of excellence in art, at 
 a very low price, to the Eoyal Academy, on the condition 
 that they should purchase a gallery for their reception ; 
 but the records of the Academy do not show that such a 
 proposal was ever made. 
 
 Reynolds has been justly regarded as the founder of 
 the British School of Painting. Through a happy com- 
 bination, and a judicious and skilful application of qualities, 
 whether originating in natural feeling or acquired by 
 selection from other artists, he struck out a new path in 
 portrait painting ; and by uniting graceful composition 
 and breadth of light and shade with a rich and mellow 
 tone of colouring, he invented a style of his own. The 
 portraits by his master, Hudson, and by Eamsay, who 
 enjoyed the highest public patronage when Sir Joshua 
 returned from his travels, were uniformly dry and hard, 
 with little diversity of attitude, following strictly the 
 formal fashion then prevailing, and wanting individual 
 expression. Reynolds, with a more comprehensive view 
 of his art, by originality in taste and facile execution, 
 showed how portraiture might be generalised, so as to 
 identify the individual man with the dignity of the human 
 mind. In dress, he selected and adopted what was most 
 conformable to the character of his subject, without im- 
 plicitly following or offending the prejudices then preva- 
 
 1 An nllnainn to tllifl infirmity 18 Illi pencil wa rtriklng, roUllew. and grand : 
 
 An IU11 18 .,,,!, i IIU manner* were Kei.tle.ci.mi.l.vii.K, and bland | 
 
 found in Oliver Goldsmith H Kindly Still born to Improve ... In every part. 
 
 .. * i. _j _ v;_ , Ili iicncil our fare*. h! mani.cn our heart : 
 
 epitaph on his fnend in oil pot-in To COJtcornb . mvcrie% .. ct m<- t civilly icermg^- 
 
 " Retaliation." the last production Of When they Judgtd without .kill he wat .lill hard 
 
 . of hearing : 
 
 1118 gifted pen : When they talked of their Kaffkcllef, Correggiot, 
 
 "SWsrttirir&tt^aK? mlnd - 
 
 VOL. I. G
 
 82 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 lent. His female portraits are designed with an exquisite 
 feeling of taste and elegance ; and for the variety of com- 
 position manifest in his works, we shall in vain seek for a 
 parallel among his most celebrated predecessors. In the 
 pursuit of those high attainments to which he arrived, he 
 evidently had Eembrandt and Correggio more particularly 
 in his mind ; but the magical effect and richness of co- 
 louring of the great Dutch masters seem to have been 
 made by him a constant source of reflection and experi- 
 ment. 
 
 In the higher department of historical painting, he 
 cannot be said to hold the same pre-eminence, although 
 his works of this kind display great strength of mind ; 
 and it is to be regretted that his occupation as a portrait- 
 painter did not enable him to cultivate this style in pre- 
 ference. His ' Count Ugolino,' for pathos and grandeur 
 of design, yields perhaps to no composition that was ever 
 made upon that subject ; and his ' Holy Family,' when 
 considered with it, will serve to exhibit at one view the 
 comprehensiveness and diversity of his genius. Drawing, 
 as he candidly confessed, was the branch of his art in 
 which he was most defective ; and sometimes, from not 
 being able to determine his forms, he was obliged to go 
 again over the same part of the picture, till some of the 
 vivacity of his touch was lost ; but the spirit and sweet- 
 ness of that touch was so admirable that he added force 
 and harmony to his picture by every repetition. Colour- 
 ing was evidently his first excellence, to which all others 
 were more or less sacrificed ; and though in splendour 
 and brilliancy he was exceeded by Eubens and Paul 
 Veronese, in force and depth by Titian and Eembrandt, 
 and in freshness and truth by Velasquez and Vandyke, 
 yet perhaps he possessed a more exquisite combination of 
 all these qualities, and that peculiarly his own, than is 
 to be found in the works of any of those celebrated 
 masters. Hence it is that, though a few works executed 
 by him may be deemed exceptionable, the majority of
 
 CH. IV.] EDWARD PENNY 83 
 
 his productions will never fail to excite admiration so long 
 as the true principles of art are properly estimated. 
 
 Next to the president, the first Professors of the Eoyal 
 Academy claim our notice. These were EDWAED PENNY, 
 the Professor of Painting ; THOMAS SANDBY, Professor of 
 Architecture ; SAMUEL WALE, Professor of Perspective ; and 
 DR. WILLIAM HUNTEE, Professor of Anatomy. 
 
 EDWAED PENNY, E.A., was for some time previously to 
 his appointment Vice-Presiderit of the Incorporated Society 
 of Artists. He was born at Knutsford, in Cheshire, in 
 1714 ; and early indicating a taste for painting, was sent 
 to London, and placed under the tuition of Hudson, the 
 master of Eeynolds. Subsequently he proceeded to 
 Eome, and there studied under the direction of Marco 
 Benefiali. His principal employment was as a portrait- 
 painter, his small heads in oil-colour being very much 
 admired. Besides these labours the one branch of the 
 art needful for painters to obtain subsistence in those 
 days he employed his skill upon historical and senti- 
 mental subjects, many of which were exhibited at the 
 Eoyal Academy. Some of his chief works of this de- 
 scription were engraved among others, the 'Death of 
 General Wolfe' the 'Marquis of Granby relieving a sick 
 Soldier' and 'Virtue and Profligacy Contrasted ' in two 
 pictures. As Professor of Painting at the Eoyal Academy, 
 he delivered an annual series of lectures, which were 
 favourably received. In 1783 his health declined, and 
 he was in consequence compelled to resign his professor- 
 ship. He had, prior to this time, married a lady of pro- 
 perty ; and he now took up his abode at Chiswick, and 
 lived in quiet retirement till he died, on the 15th No- 
 vember, 1791. He frequently expressed his intention of 
 printing the ingenious course of lectures on painting he 
 delivered at the Eoyal Academy, but died without ful- 
 filling it, nor has the MS. since been sent to the press. 
 
 o 2
 
 84 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 THOMAS SAXDBY,E.A., the first Professor of Architecture 
 at the Eoyal Academy, was born at Nottingham in 1721, 
 and is said to have had his thoughts first directed to the 
 arts as a profession by having perse veringly pursued a 
 new system of perspective, which he brought to a state 
 of great perfection and readiness of application. En- 
 couraged by the reputation he acquired by a drawing of 
 his native town made upon these novel rules, he came to 
 London, and was in 1743 appointed draughtsman to the 
 chief engineer in Scotland. In this capacity he was at 
 Fort William, in the Highlands, when the Pretender 
 landed, and was the first person who conveyed intelli- 
 gence of the event to Government in 1745. In recogni^ 
 tion of his merits as an artist, and his services to the 
 State, H. E. H. William Duke of Cumberland appointed 
 him his peculiar draughtsman ; and after the termination 
 of the struggle in Scotland, he followed the Duke in his 
 campaigns in Flanders. 
 
 In 1746 he was made Deputy-Hanger of Windsor 
 Great Park, an appointment which he held for fifty-two 
 years. In this capacity, combined with his professional 
 position as architect to the King, he planned in 1754 the 
 construction of the Virginia Water, the largest artificial 
 lake in the kingdom, and shortly afterwards published a 
 series of eight folio views, illustrating the improvements 
 and alterations in Windsor Great Park effected by his 
 labours. In 1755 he was one of the committee of artists 
 who combined to propose a plan for the foundation of a 
 public academy for the cultivation of the arts. Subse- 
 quently he joined the Incorporated Society, and was 
 eventually chosen one of the foundation members of the 
 Eoyal Academy ; and as the Professor of Architecture, 
 he continued annually, until 1796, to deliver lectures on 
 architecture at the Academy, largely illustrated by his 
 own drawings. These lectures were never published ; 
 but the original manuscript was presented by the late 
 John Britton to the library of the Eoyal Institute of
 
 CH. IV.] THOMAS SAXDBY 85 
 
 British Architects. His aim, in addressing the students, 
 appears to have been, not so much to propound new 
 theories, as to correct the false taste of the period : to 
 lay down the simple foundation principles of the art as 
 clearly as possible, and to lead the young architect to com- 
 bine in all his designs utility with elegance, and harmony 
 with variety. His executors offered the MS. to the Eoyal 
 Academy for publication ; but it was declined by the 
 Council on the ground that they did not possess sufficient 
 funds to apply so large a sum as would be required for 
 the purpose, in consequence of the numerous pictorial 
 illustrations he had introduced in them. For two years 
 preceding his death, ill-health rendered him unable to 
 deliver his lectures, and Edward Edwards, A.E.A., read 
 them for him from 1796 to 1798. 
 
 A large number of his drawings are in the Soane 
 Museum, the print-room of the British Museum, and the 
 royal collection at Windsor Castle, and display both 
 architectural correctness and pictorial taste. Although 
 the water-colour drawings by his brother, Paul Sandby, 
 are well known, those by Thomas Sandby, which excelled 
 them in careful and exquisite finish of all the details, 
 and equalled them in general artistic eff6ct, are not 
 regarded as they deserve to be, principally because he is 
 popularly supposed to have been an architect only, and 
 because he exhibited but few of the many drawings he 
 made during his long and active life. 
 
 Freemason's Hall in London was built from his design 
 in 1775. The elaborately carved wainscoting around 
 the altar of St. George's Chapel, Windsor, comprising the 
 arms and ensigns of the original Knights of the Garter, 
 and many sacramental ornaments and symbols, was de- 
 signed by him ; and in 17C8 he gained the first prize in 
 the competition for the erection of the Eoyal Exchange 
 in Dublin equally with Cooley ; but the latter being an 
 Irishman, obtained the commission. A design by him 
 for an ornamental bridge across the Thames at Somerset
 
 86 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 House, which he introduced in one of his lectures, 
 attracted great attention at the time ; but he never pro- 
 posed that a bridge should be erected from that design, 
 in consequence of the great expense which would have 
 attended its construction. He died at the Deputy-Ranger's 
 Lodge, in Windsor Great Park, on the 25th June, 1798, 
 in his 77th year, and was buried at Old Windsor. 
 
 SAMUEL WALE, E.A., appointed Professor of Perspective, 
 was born at Yarmouth, in Norfolk, and was first instructed 
 in the art of engraving on plate. He afterwards studied 
 design in the St. Martin's Lane Academy ; and as a painter 
 imitated the style of Francis Hayman. He executed 
 several decorative pieces for ceilings, a style of ornamen- 
 tation which was then, after many years of favour, about 
 to pass away. There are a few slight etchings preserved 
 of vignettes by him from his own designs. His chief 
 employment was drawing for book-illustration, the greater 
 number of his designs for this purpose being engraved 
 with great spirit by Charles Grignion. Among them is a 
 series of illustrations to Izaac Walton's " Angler." He de- 
 signed the frontispiece for the first exhibition catalogue 
 of the Society of Artists, and occasionally painted trades- 
 men's signs. One of his most famous productions of this 
 kind was a full-length portrait of Shakspeare, which hung 
 across the road at the north-east corner of Little Russell 
 Street, Drury Lane, and which, with its elaborate frame, is 
 said to have cost 500. His drawings, as exhibited at the 
 Royal Academy, were described as " stained or washed 
 drawings," being careful outlines slightly coloured, which 
 were then the feeble representatives of our modern water- 
 colour school. His subjects were generally taken from 
 early English history. 
 
 In addition to these works, he acquired a good know- 
 ledge of architecture and perspective, and greatly as- 
 sisted Mr. Gwynn in the decoration of his architectural 
 drawings, particularly in the section of St. Paul's, and
 
 CH. IV.] SAMUEL WALE DR. HUNTER 87 
 
 was of service to him in the literary part of his publi- 
 cations. This qualified him for the office to which he 
 was appointed on the foundation of the Eoyal Academy, 
 as its first professor of Perspective. From a natural 
 timidity of disposition, he is said to have exhibited, 
 in delivering his lectures, a painful diffidence in the com- 
 munication of a knowledge of the principles which he so 
 thoroughly understood a not uncommon result of a man 
 late in life being called upon to appear, for the first time, 
 as a public instructor. Latterly, on account of ill-health, 
 he was unable to attend to his public duties in the 
 Academy, and instructed the students by giving private 
 lessons on perspective at his own house. His successor, 
 Edwards, was also a teacher and not a lecturer on perspec- 
 tive, a course of twenty lessons being thought more useful 
 than a series of six lectures. On the death of Richard 
 Wilson in 1782, he was appointed to succeed him as 
 librarian, and lie held both offices till he died on the 6th 
 of February, 1786, in Little Court, Castle Street, Leicester 
 Fields. 
 
 Of Dr. WILLIAM HUNTER, the Professor of Anatomy, it 
 is not necessary to speak. The elder brother of the 
 famous John Hunter, he was scarcely inferior to him in 
 science, and was also a good scholar, a clear and elegant 
 writer, and an accomplished gentleman. In 1765 he 
 offered to expend 7000 to found an anatomical school in 
 London, if the Government would grant a site for it ; but 
 his munificent intention was not carried out. How much 
 his lectures on anatomy at the Royal Academy conduced 
 to the instruction of the students in art, we may infer from 
 the value of the information which such a man was able 
 to give on all the details of the structure of the human 
 form. 
 
 Passing from the professors to the general members of 
 the Academy, we proceed to notice the historical painters,
 
 88 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 excluding for the present BENJAMIN WEST, whose career 
 we shall have to trace at a later period of this history. 
 F. Bartolozzi, G. B. Cipriani, A. Kauffman, and F. 
 Hayman, are of this number ; and, with the exception of 
 the last-named, were foreigners domiciled in England for 
 some time prior to the foundation of the Eoyal Academy. 
 
 EANCESCO BARTOLOZZI, E.A., was born at Florence, on 
 the 21st of September, 1728, and was the son of Gaetana 
 Bartolozzi, a goldsmith and filagree- worker. He received 
 his first instruction in drawing from Hugfort Ferretti, in 
 the Florentine Academy, where his acquaintance with 
 Cipriani commenced. He was taught engraving by Joseph 
 Wagner of Venice, and when the term of his engagement 
 with that master had expired, he married a Venetian lady 
 and went to Rome, whither he had been invited by 
 Cardinal Bottari. Here he established his reputation by 
 his fine plates from the life of St. Nilus, and by a series of 
 portraits for a new edition of " Vasari." Having completed 
 these works he returned to Venice, where he was engaged 
 by Mr. Dalton, the librarian to King George III., to engrave 
 a set of drawings by Guercino. Both by the artist and 
 the amateur these etchings are regarded as among the 
 most valuable of his works. In the imitation of these 
 drawings, as well as of every other artist's performance 
 that came under the power of his burin, Bartolozzi gave a 
 character of beauty and sweetness perhaps beyond the 
 prototype. On the completion of this work, Mr. Dalton 
 invited him to England, to continue engraving for the King 
 on a stipend of 300 per annum, and Bartolozzi readily 
 accepted the offer. Some of his earliest performances 
 after his arrival in this country, were designs for 
 tickets for the select performances at the Opera House, 
 cards for balls and other amusements, many of which 
 were executed gratuitously, and as marks of his kindness 
 and regard. Miss Banks, the daughter of Sir Joseph 
 Banks, made a collection of these etchings, and presented
 
 Cn. IV.] FRANCESCO BARTOLOZZI 89 
 
 them to the British Museum. He evinced so much talent 
 in these limited subjects, and won so much popularity by 
 them, as to excite the jealousy of the celebrated engraver, 
 Sir Eobert Strange, who ungraciously pronounced him in- 
 capable of executing anything else. It was quickly shown 
 how untrue the assertion was, for Bartolozzi immediately 
 commenced his engraving of ' Clytia,' after Annibal 
 Carracci ; and that of ' The Virgin and Child,' after 
 Carlo Dolci. These plates are well known, and are in 
 the highest degree brilliant and spirited. Before the 
 appearance of the former of these works, Strange's en- 
 graving of 'The Sleeping Cupid,' after Guido, had 
 attracted great attention, and was considered one of the 
 finest examples of English line-engraving. On completing 
 his ' Clytia,' Bartolozzi felt that he was entering into com- 
 petition with this artist, for he is reported to have said, 
 "Let Strange beat that if he can." Among the larger 
 works of Bartolozzi in the same style, the ' Venus, Cupid, 
 and Satyr,' after Giordano, and the ' Silence ' of Correggio, 
 are celebrated as very beautiful specimens of his talent and 
 execution. By some his ' Diploma ' of the Eoyal Academy 
 has been thought his best work, and is by all acknow- 
 ledged to be beautifully executed as a line engraving. It 
 was rather as an eminently skilful designer, than as a 
 painter, that Bartolozzi was nominated as a member of the 
 lloyal Academy, for his ability as an engraver would not 
 alone have entitled him to a place among them under the 
 instrument of institution. 1 It was right that it was so : 
 for to denominate him a mere engraver, would be unjust 
 to one who not only attained the power of imitating the 
 works of others to perfection, but possessed in himself a 
 refined taste, and great skill in portraying the conceptions 
 of his own mind. 
 
 1 Strange states that Bartolozzi were exhibited by him at the Royal 
 
 was persuaded to exhibit a Hinjrlo Academy during successive years, 
 
 drawing to qualify himself fur mum- the statement requires no further 
 
 but as several drawings contradiction.
 
 90 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 At this time he engraved a large number of the paint- 
 ings and drawings of his early friend Cipriani, who had 
 likewise settled in England. These, as they mostly exhi- 
 bited the grace and beauty of the human form, gave him 
 the opportunity of displaying his taste and the rich charac- 
 ter of his style, in a higher degree than works which re- 
 quired greater variety and closer imitation. In these 
 productions the styles of the painter and engraver har- 
 monise admirably, grace and refinement are the character- 
 istics of each ; and their works for a considerable time 
 held almost unrivalled possession of the public favour. 
 The only objection urged against them is that they 
 exhibit a certain excess of softness and finish incompatible 
 with vigour. One of the earliest patrons of Bartolozzi 
 was Alderman Boydell, for whose Shakspeare gallery he 
 engraved a number of fine plates. Frontispieces and 
 book-prints appeared in rapid succession from his hand, 
 and during a long life he seems to have been incessantly 
 at work; but like many others in his profession, who 
 earned sufficient to supply all their wants, Bartolozzi 
 made no provision for any but the passing hour. Hence 
 it frequently happened that he was compelled to resort to 
 a variety of expedients to replenish his resources. Chalk 
 engravings, after the caricaturist Bunbury, and other sub- 
 jects not possessing the higher qualities of art, for this 
 reason frequently engaged his time ; and his studio thus 
 became a manufactory for plates of a very inferior style 
 of art. Notwithstanding these casualties in his practice, 
 Bartolozzi, during his residence in England, did much to 
 raise the standard of our school of engravers and de- 
 signers. He met with general encouragement, and em- 
 ployment sufficiently remunerative to have enabled him to 
 provide amply for his latter days. Having long held the 
 appointment of engraver to King George IH., late in life a 
 pension was offered to him, which, however, he declined. 
 In 1802 he received an invitation from the Prince Eegent 
 of Portugal to settle at Lisbon, to superintend a school of
 
 On. IV.] G. B. CIPRIANI 01 
 
 engravers. There he met with all the respect due to his 
 talents, and received the honour of knighthood. He was 
 of a kind and generous disposition, and gladly promoted 
 the success of others. He had many pupils, some of 
 whom rose to eminence in their profession. He died at 
 Lisbon in 1815, in the 88th year of his age. 
 
 GIOVANNI BAPTISTA CIPRIANI, R A., whose name we have 
 already mentioned, in connection with his friend Bartolozzi, 
 was descended from an ancient Tuscan family of Pistoria, 
 and was born at Florence, in 1727. He received his 
 first instruction in art from Heckford, an Englishman 
 residing there, and also studied the works of Gabbiani, a 
 Florentine painter of the period. His first works are in 
 the Abbey of St. Michael-on-the-Sea, at Pelago. He 
 studied for three years at Eome, and in 1755, he accompa- 
 nied Sir William Chambers from thence to England, where 
 he spent the remainder of his life. He lived in a house 
 in Hedge Lane, near Charing Cross. When the Duke of 
 Richmond opened his Gallery of Sculpture, Cipriani, and 
 Wilton the sculptor, were appointed to direct the students, 
 and the former instructed the painters, while the latter 
 guided the sculptors. He painted the designs on the 
 panels of the magnificent state-coach, used by George III. 
 for the first time, on the 15th of November, 1762. 
 
 On the institution of the Eoyal Academy, having been 
 nominated by the King as one of its members, he was 
 directed to make the design for the Diploma, and was 
 presented with a silver cup by the Academy, in acknow- 
 ledgment of their appreciation of his services. It was, 
 unfortunately, stolen from his son's house, ten years after 
 his own death. 1 He executed very few large works in 
 painting ; but he has left a large number of small drawings, 
 
 1 It bore the following inscription : Arts in London, ns nn acknowledg- 
 
 " This Cup is presented to J. Jt. inent for the assistance the Academy 
 
 Cipriani, It. A., by the President and has received from his great abilities 
 
 Council of the 'lloyal Academy of iu his profession."
 
 92 HISTORY OF TIIE ROYAL ACADEMY [Cn. IV. 
 
 which are greatly admired for their correctness of form, 
 fertility of invention, and harmonious colouring, and are 
 well known by the exquisite engravings made from them 
 by Bartolozzi. After he came to this country, Cipriani 
 married an English lady, of moderate fortune, by whom 
 he had three children. Fuseli said of him that the facility 
 of his invention, the graces of his composition, and the 
 seductive elegance of his forms, were only surpassed by 
 the probity of his character, the simplicity of his manners, 
 and the benevolence of his heart. This character he main- 
 tained till his death, which took place at Hammersmith, 
 on the 14th of December, 1785. He is buried at Chelsea. 
 
 MARIE ANNE ANGELIQUE CATHERINE KAUFFMAN, E.A., 
 one of the two ladies who were honoured by nomination 
 to membership with the Eoyal Academicians, was the 
 daughter of a Swiss portrait-painter, Jean Joseph Kaufftnan, 
 and was born at Coire, the capital of the Grisons, in 1742. 
 She acquired the first principles of drawing and painting 
 from her father, whom she soon excelled, and showed 
 equal facility in the acquirement of a knowledge of music. 
 By diligent study at Milan, Florence, Eome and Naples, 
 she greatly increased her skill in painting, and, in 1765, 
 came to England, in company with Lady Wentworth. 
 Here a very brilliant reputation had already preceded 
 her, through the eulogium which had been written upon 
 her by the Abbe Winckehnann ; and being patronised by 
 royalty, she quickly obtained a high place in her profession. 
 Everywhere her talents, her charm of manner, and her 
 beauty, brought her panygeric, and created an enthusiasm 
 of admiration. She resided at first with her patroness, in 
 Charles Street, Berkeley Square, and afterwards in a house 
 she took in Golden Square, where she was joined by her 
 father. 
 
 During a residence of seventeen years in this country 
 she was rewarded both by honours and pecuniary success ; 
 but, unfortunately, in January 1769, the footman of the
 
 H. IV.] ANGELICA KAUFFMAN 93 
 
 Count Frederic de Horn, of a noble Swedish family, per- 
 sonated his master in his absence, and imposed so sadly 
 on the fair painter that she was duped into a marriage 
 with him. As soon as it was discovered, he was forced 
 to sign a deed of separation, by which he agreed to 
 remain abroad, and leave his wife unmolested, if granted 
 an annuity. Much sympathy, and some scandal, were 
 occasioned by this unhappy business ; but she devoted 
 herself for consolation unceasingly to her art. As soon 
 as she received tidings of the death of this worthless 
 husband, in 1782, she contracted a marriage with Antonio 
 Zucchi, a Venetian painter, and returned with him and 
 her father to Eome. This, her second husband died in 
 1795 ; and gradually her fame and success declined for 
 several years before her death, which occurred at Eome, 
 on 5th of November, 1805. She was buried in the 
 Church of St. Andrea delle Frati, her funeral being con- 
 ducted with great pomp and solemnity, under the direction 
 of the sculptor Canova. Dr. Borsi, of Rome, thus wrote 
 to describe the last honours paid to her memory : 
 
 " The church was decorated in the manner customary on the 
 interment of those of noble family. At ten in the morning the 
 corpse was accompanied to the church by two very numerous 
 fraternities, fifty capuchins and fifty priests. The bier was 
 carried by some of the brotherhood, and the four corners of the 
 pall were supported by four young ladies, dressed suitably to 
 the occasion. The four tassels were held by the four principal 
 members of the Academy of St. Luke. These were followed 
 by the rest of the academicians, and other virtuosi, each one 
 with a large wax taper, lighted, in his hand. Two pictures, 
 painted by the deceased, completed the procession." 
 
 She made several etchings from her own works, and 
 many of her most admired paintings were engraved by 
 Bartolozzi, whose beautiful transcripts of her productions 
 have contributed greatly to the growtli and perpetuity of 
 her fame. Her representations of female figures are 
 distinguished for an air of grace, purity, tenderness, and
 
 94 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 elegance ; but her male impersonations are altogether 
 devoid of character. Her designs were not wanting in 
 classical correctness, nor was her colouring deficient in 
 mellow and harmonious effects ; but her best works were 
 her graceful female portraits, and single figures. Her 
 agreeable manners, and many accomplishments, no doubt 
 contributed towards her success as an artist, in which 
 capacity her powers were considerable, although not of 
 that very high degree which some would assign to them. 
 An allegorical picture by her of eleven figures, ' Eeligion 
 attended by the Virtues,' is in the National Collection. 
 
 FEANCIS HAYMAN, E.A., was descended from a respectable 
 family in the West of England, and was born at Exeter 
 in 1708. He was a pupil of Eobert Brown, the portrait 
 painter ; and coming to London while young, was much 
 employed as a scene-painter by Fleetwood, the proprietor 
 of old Drury Lane Theatre, with whom he lived on terms 
 of great intimacy, and, after his death, married his widow. 
 The principal productions of his pencil were the historical 
 paintings which Tyers, the proprietor of Vauxhall, em- 
 ployed him to execute for the decoration of some of the 
 apartments at that then fashionable place of amusement. 
 His painting of the ' Finding of Moses ' was presented by 
 him to the Foundling Hospital, when several artists 
 united to enrich the institution by gifts of their works. 
 He also furnished designs for the illustration of Sir 
 Thomas Hanmer's edition of " Shakspeare," and for the 
 works of Milton, Pope, and Cervantes. 
 
 Before the arrival of Cipriani he was regarded as the 
 best historical painter in England, and was elected as 
 President of the Incorporated Society of Artists, in suc- 
 cession to Lambert, but was excluded from the office in 
 the subsequent dissensions. 
 
 He was the first librarian appointed by the King to the 
 Eoyal Academy, being nominated to that situation in 
 1770, that he might enjoy its emoluments (small as they
 
 CH. IV.] F. HAYMAN F. COTES 95 
 
 were), in consequence of his bodily infirmities, which in 
 the evening of his life pressed heavily upon him. He 
 died at his house, No. 42, Dean Street, Soho, on the 2nd 
 of February, 1776, having long been a martyr to the 
 gout ; yet he nevertheless retained to his last hour all the 
 volatility of youth, and, being possessed of much sterling 
 sense, an agreeable manner, and a large fund of good 
 humour, he was always gladly welcomed in society. 
 As an artist, he seems to have based his style of painting 
 on the manner of the old English school ; and although 
 he never possessed the advantage of studying the works 
 of the great masters at Eome or elsewhere, he uniformly 
 acknowledged the merits of Michael Angelo, Raphael, 
 and their contemporaries, and defended their memory by 
 his poignant satire against the attacks of Hogarth. 
 
 The portrait painters among the first Royal Academi- 
 cians, who next claim our attention, were Francis Cotes, 
 Jeremiah Meyer, Mason Chamberlin, Peter Toms, Na- 
 thaniel Hone, F. M. Newton, Nathaniel Dance, and Thomas 
 Gainsborough. Of the latter, however, we prefer to speak 
 among the landscape painters, as, although occupying a 
 very high and enviable position as a portrait painter, he 
 seems to be more familiarly associated with the founders 
 of our English school of landscape painting. 
 
 FRANCIS COTES, E.A., was the son of an apothecary, and 
 was born in Cork Street, London, in 1725. He was a pupil 
 of George Knapton, and is chiefly famous for his crayon 
 portraits, which are unrivalled for truthfulness and beauty, 
 and in which style Lord Orford compared his works to 
 those of Rosalba. He was also an excellent painter in 
 oil, and in the opinion of Hogarth and many others, his 
 works were considered equal to those of Sir Joshua. His 
 portraits are full of truth, grace, and beauty, and bear a 
 great resemblance to those of Gainsborough and Reynolds, 
 which may be accounted for in part by the circumstance
 
 96 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 that he and they alike employed the same artist, Peter 
 Toms, to paint most of the draperies in their pictures. 
 Among his best works were a full-length of Queen 
 Charlotte holding the Princess Eoyal on her lap, engraved 
 by Eyland ; Mrs. Child, of Osterly Park ; Mrs. Cotes ; 
 Paul Sandby and his wife (both engraved by M'Ardell) ; 
 Miss Wilton, the beautiful daughter of the sculptor, after- 
 wards Lady Chambers ; O'Brien, the comedian ; and some 
 others which have been engraved by Bartolozzi, M'Ardell, 
 Green, &c. A fine specimen of his talent is preserved in 
 the council-room of the Eoyal Academy a portrait of 
 old Mr. Eobert Cotes. His practice was both extensive 
 and lucrative, and enabled him to occupy the house in 
 Cavendish Square, which was subsequently the residence 
 of Eomney and Sir M. A. Shee. In early life he was 
 afflicted with the stone, and he died in the prime of life, 
 somewhat suddenly, at the house he had built for himself 
 (No. 32 Cavendish Square), in consequence of impru- 
 dently taking soap-lees for the cure of his disease, on the 
 20th of July, 1770, before he had completed his forty- 
 fifth year. He was buried at Eichmond, in Surrey. 
 
 JEREMIAH MEYER, E.A., was born at Tubingen, in Wir- 
 temberg, in 1739. When fourteen years old he came to 
 England with his father, and studied under Frederick 
 Zincke, whose miniatures in enamel he far surpassed by 
 studying the works of Sir Joshua Eeynolds. In 1761 he 
 obtained the prize of 20 for the best drawing of a pro- 
 file of the King, offered by the Society of Arts for the 
 purpose of having a die engraved from it. Afterwards he 
 was appointed miniature painter to the Queen, and enamel 
 painter to King George III. He wrought both in enamel 
 and water-colours, and especially excelled in the latter. 
 He was a member of the old St. Martin's Lane Academy, 
 until the Eoyal Academy was instituted. During several 
 years he lived in Covent Garden, but latterly at Kew 
 Green, where he died on January 20th, 1789. He was
 
 CH. IV.] CHAMBERLIN TOMS 97 
 
 both esteemed as an artist, and highly regarded by a large 
 circle of friends. One of these, Hayley the poet, ad- 
 dressed some complimentary lines to him in his " Essay on 
 Painting " (Ep. ii.), and wrote also an elegant epitaph after 
 his decease. It was on his proposition that the " Pension 
 Fund " of the Eoyal Academy was established. 
 
 MASON CHAMBERLIN, E.A., had the reputation of being 
 very successful in his likenesses. In early life he was 
 employed as a merchant's clerk, and subsequently studied 
 painting under Hayman. In 1764 he gained the second 
 premium (when Mortimer won the first) given by the 
 Society of Arts for historical painting. He resided, when 
 first engaged as an artist, in Spitalfields, and subsequently 
 in Bartlett's Buildings, Holborn. His portraits of Dr. 
 Chandler, now in the possession of the Royal Society, and 
 of Dr. William Hunter, in the Eoyal Academy, have been 
 engraved, and are good specimens of his skill, although in 
 all his works there was a great monotony in the tone of 
 colouring. He died in January 1787. 
 
 PETER TOMS, E.A., was the son of an engraver, and a 
 pupil of Hudson, the portrait painter. He was chiefly 
 employed while in London in painting draperies for Sir 
 Joshua Eeynolds, Francis Cotes, and Gainsborough, in 
 which he was especially skilful. Some of the draperies 
 in Eeynolds' best whole-length pictures are by him. His 
 charge for painting the draperies, hands, &c. of a whole- 
 length portrait was twenty guineas ; for a three-quarter, 
 three guineas. In the early exhibitions of the Eoyal 
 Academy, he exhibited an allegorical picture, a portrait, 
 and 'The Burdock, and other Wild Plants,' a specimen 
 of a work intended to be published. He also held a 
 situation in the Heralds' College as portcullis pursuivant ; 
 but disliking the subordinate employment he was able 
 to obtain as an artist in London, he went to Ireland to 
 practice as a portrait painter in the suite of the Duke of 
 
 VOL. I. II
 
 98 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 Northumberland, on his appointment as Lord-Lieutenant ; 
 but, unfortunately, not meeting with encouragement in 
 that country, he returned to London, and after the death 
 of Cotes, failing to obtain employment, he became melan- 
 choly, drank deeply, and put an end to his unhappy life 
 in the latter end of 1776. 
 
 NATHANIEL HONE, E.A., was born in Dublin, about the 
 year 1730. He was almost self-taught as an artist, and 
 became a very respectable portrait painter both in oil and 
 miniature, and practised enamelling also with some success. 
 A few caricatures are also in existence to mark his ability 
 in that line of art one engraved in mezzotinto por- 
 trayed two monks carousing ; another, called the ' Magi- 
 cian,' represented a pictorial conjuror displaying his 
 cleverness in the art of deceiving the sight. It was 
 known at the time that in the latter Hone intended 
 to charge the President with plagiarism in the choice of 
 his attitudes ; and being followed by another reflecting on 
 
 / 
 
 Angelica Kauffmann, he thus gave great offence to the 
 members of the Eoyal Academy, who regarded them as 
 an unworthy display of malice and littleness of mind on 
 the part of one of their own number. He also was angry 
 at their rejection, and made in 1775 a separate exhibition 
 of some sixty or seventy of his paintings. One of his 
 best portraits was .a half-length of Sir John Fielding. 
 Another of much merit was his own likeness, painted in 
 1782. This picture was presented to the Eoyal Academy 
 by Mr. Archer in 1808. In early life he married a lady 
 with some property. When he first settled in London he 
 resided in St. James's Place, afterwards in Pall Mall, and 
 latterly in Eathbone Place, where he died on the 14th of 
 August, 1784. 
 
 FRANCIS MILNEE NEWTON, E.A., has already been men- 
 tioned in connection with the efforts made to establish the 
 Eoyal Academy, in which he was selected to fill the office
 
 CH. IV.] NEWTON DANCE 99 
 
 of secretary, the duties of which he performed until 1788, 
 when he resigned it. From 1780 until this period he 
 occupied apartments allotted to him in Somerset House. 
 On his retirement from his office the council of the Royal 
 Academy presented him with an elegant silver cup of the 
 value of eighty guineas. He was born in London about 
 the year 1720, and was a pupil of M. Tuscher. He found 
 considerable employment as a portrait painter, to which 
 his artistic labours were confined. From early life he was 
 fortunate in having friends who bequeathed him legacies, 
 and soon after retiring from the secretaryship he became 
 possessed of an estate at Barton House, near Taunton, to 
 which he retired, and died there on the 14th of August, 
 1794. 
 
 NATHANIEL DAXCE, E.A., was the third son of George 
 Dance, sen., who was the architect to the corporation of 
 London, and erected the Mansion House, and the churches 
 of St. Botolph, Aldgate, St. Luke, and St. Leonard, Shore- 
 ditch. He was born in London in 1734, and having shown 
 an early inclination for painting, he was placed with Francis 
 Hayman, under whose instruction he continued until he 
 went to Italy, where he pursued his studies for eight or 
 nine years. On his return to England he distinguished 
 himself as a painter of history and portraits, and also exhi- 
 bited several excellent landscapes. He occupied the 
 house of Zincke, the miniature painter (No. 13 Tavistock 
 Row, Covent Garden), afterwards tenanted by Dr. Wolcott, 
 the famous " Peter Pindar." His pictures of Garrick as 
 * Richard HI.,' ' Timon of Athens,' and ' Virginia,' have 
 been engraved ; and many of his portraits now pass for 
 those of Sir J. Reynolds. In his profession he thus ac- 
 quired celebrity; but, unfortunately for art, although 
 luckily enough for himself, his fine figure and captivating 
 address won for him the hand of the wealthy Yorkshire 
 heiress, Mrs. Dummer, and by his marriage he acquired 
 an income of 18,000 a year. On forming this alliance 
 
 H 2
 
 100 HISTORY OF THE ROYAL ACADEMY [On. TV. 
 
 he resigned, on November 1st, 1790, his seat at the Eoyal 
 Academy, and took the name of Holland in -addition to 
 his own, became a member of Parliament, and was made 
 a baronet in 1800. When thus retired from his profes- 
 sion and elevated in social position, he did not altogether 
 relinquish the arts, but continued as an amateur to exhibit 
 landscapes which bore testimony to his taste and artistic 
 skill. He died very suddenly at Winchester on the 15th 
 of October, 1811. * 
 
 Landscape and flower painters complete the number of 
 painters (25), among the foundation members of the Royal 
 Academy. These were George Barret, Charles Catton, 
 Paul Sandby, John Eichards, Dominic Serres, Eichard 
 Wilson, Thomas Gainsborough, Francis ZuccarelJi, John 
 Baker, and Mary Moser. 
 
 GEORGE BARRET, E. A., was born at Dublin in 1732, and 
 after receiving his first education in the art of drawing at 
 Mr. West's academy in that city, he commenced his career 
 as a colourer of prints for a printseller named Silcock. 
 Though recommended by his friend and patf on, Edmund 
 Burke, to study pictures, nature was his prototype, and the 
 beautiful scenery of the Dargles, Powerscourt Park, the seat 
 of another of his patrons, Earl Powerscourt, afforded him 
 the best objects upon which to exercise his talents as a 
 landscape painter. While in Dublin he obtained the 
 50 premium from the Dublin Society for the best land- 
 scape. In 1761 he came to London, bringing with him 
 two pictures he had painted for Lord Powerscourt, and 
 which were so highly praised by the visitors to the exhi- 
 bition in Spring Gardens in that year/ that he quickly at- 
 tained a high rank as an artist, and remunerative employ- 
 ment in the metropolis. In 1764 he gained the 50 
 premium from the Society of Arts, being the first prize 
 given by them for the best landscape. 
 
 When he became a member of the Eoyal Academy he
 
 CH. IV.] BARRET CATTON 101 
 
 still continued eminently successful, and had no difficulty 
 in obtaining very high prices (as then estimated) for his 
 pictures ; thus it is stated that he received 1500 for 
 three pictures, painted by him for Lord Dalkeith, at a 
 time when Wilson with difficulty earned a bare subsistence. 
 So imprudent was he, however, that he became a bankrupt, 
 but found a patron in Mr. Locke, who employed him to 
 paint a room at his seat, Norbury Park, in Surrey, which 
 is considered to be Barret's master-piece, and is still in 
 good preservation. Towards the close of his life he was 
 master-painter to Chelsea Hospital, an appointment which 
 he procured through his friend Burke. He died at 
 Westbourne Green, on the 29th of May, 1784, aged fifty- 
 two, and was buried at Paddington. His landscapes are 
 bold and natural in design, and thoroughly English in 
 their manner ; but his colouring is somewhat peculiar and 
 heavy. There is, however, a fresh and dewy brightness 
 in his verdure, a characteristic of English scenery which 
 he faithfully depicted ; he was . also very successful in 
 his lake scenes, in the representation of the dispersion 
 of the mists in such places, and in his aerial perspective, 
 and flat distances. He painted much in water-colours, 
 drew well in chalks, indian-ink, and black-lead, and 
 executed a few etchings, which were published by Boydell 
 in 1773. He made an ample income, but was extravagant, 
 and left his family and descendants chiefly dependent on 
 the aid largely afforded to them by the Royal Academy. 
 
 CHARLES CATTON, R A., was born at Norwich in 1728, 
 and is said to have been one of thirty-five children, which 
 his father had by two wives. In his youth he was ap- 
 prenticed to a coach-painter in London, named Maxfield. 
 Subsequently he became a member of the St. Martin's 
 Lane Academy, and there acquired a good knowledge of 
 the human figure. In 1784 he served the office of 
 Master of the Company of Painter-stainers, the fraternity 
 of the English artists in olden time. Cornelius Jansen was
 
 102 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 formerly a member of this ancient guild, and Inigo Jones 
 and Vandyke were occasional guests at their annual 
 feasts. Catton was the first herald painter who designed 
 the supporters of coats of arms with any resemblance to 
 nature. He was employed also in painting ornamental 
 designs for coach-panels ; in reference to which Edwards 
 observes that at the period when he began his career that 
 employment might be ranked among the arts ; but that 
 since the coachmakers have taken into their own hands 
 the decoration of carriages, it has degenerated into 
 frivolity and meanness, herald painters having become 
 their journeymen. Catton was appointed his Majesty's 
 coach-painter. The works exhibited by him at the Eoyal 
 Academy were chiefly landscapes, but occasionally he 
 painted composition pictures and animals. He retired 
 from his profession some years before his death, which 
 occurred on 28th of September, 1798. 
 
 PAUL SANDBY, E.A., was born at Nottingham in 1725, 
 and was a descendant of the family of Sandby of Babworth 
 in that county. In 1746 he came to London, to com- 
 mence his art-studies at the drawing-school at the Tower. 
 Two years afterwards he was employed in drawing plans 
 for the survey, under General Watson, of the Highlands, 
 where he also made a number of sketches, which he 
 etched and published in 1752. A series of drawings of 
 Windsor and Eton afterwards obtained for him the 
 patronage of Sir Joseph Banks ; and in company with 
 him and the Hon. Charles Greville, he made a tour 
 through Wales, and subsequently dedicated to these his 
 fellow-travellers, forty-eight plates, engraved in aquatinta 
 by himself, from the drawings he then made. He was 
 the first English artist who adopted this method of en- 
 graving ; and in some of his views of the ' Encampments 
 in the Parks in 1780,' and of Windsor, Eton, and the 
 ' Sports of the Carnival at Eorne,' he carried it to great 
 perfection. His etchings, both of landscapes and of
 
 CH. IV.] PAUL SANDBY 103 
 
 figures, are also numerous and spirited. During the 
 controversy among the artists, as to the formation of a 
 public academy, in 1753-4, he severely ridiculed the 
 opposition of Hogarth and others to the scheme, in a 
 series in etchings, which strikingly exhibited his powers 
 as a caricaturist, but which he gladly withdrew when the 
 contest ceased. He contributed largely to the exhibitions 
 of the Society of Artists, from 1760 to 1764, and was 
 one of the directors of the Incorporated Society who 
 withdrew from its government in the dissensions which 
 preceded the foundation of the Eoyal Academy. In 1768 
 he was appointed by the Master-General of the Ordnance 
 chief drawing-master to the Eoyal Military Academy at 
 Woolwich, and by George HL he was employed as a 
 teacher of drawing to the royal princes. He had also 
 other pupils, some eminent in rank, and others afterwards 
 celebrated as professional artists. 
 
 Paul Sandby painted in oil as well as in opaque colours 
 with great success ; but his fame rests on his right to be 
 considered the founder of the English school of water- 
 colour painting, since he was the first to show the 
 capability of that material to produce finished pictures, 
 and to lead the way to the perfection in effect and colour 
 to which that branch of art has lately attained. He was 
 an enthusiastic student of nature ; and being thoroughly 
 acquainted with the principles of linear perspective, he 
 traversed the country, drawing, on their respective sites, 
 views of castles, abbeys, cities, and rural scenes, with 
 characteristic truth and pictorial taste. In his early 
 drawings the process by which he produced the cheerful 
 daylight effects apparent in his landscapes was to draw 
 carefully with a reed-pen the outline of every part of the 
 composition, without diminution of tint, distributing the 
 shadows with indian-ink, and throwing a wash of colour 
 over the' whole. These works were entitled u tinted 
 drawings." In his second and improved style he subdued 
 the rigid appearance of the outline, and carefully repeated
 
 104 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 his tints till he produced in the foreground-objects a 
 richer and deeper variety of hues. Although, from the 
 materials being chiefly vegetable colours, and these few 
 and badly-prepared, his water-colour drawings wanted 
 the brilliancy of modern works, they lost nothing of 
 artistic skill and beauty in consequence, while his body- 
 colour drawings were executed with great mastery and 
 effect. 
 
 A large number of engravings were published by him 
 in aquatinta, after his own drawings, and a volume of 
 150 plates engraved from his drawings was issued in 
 1778 as the " Virtuosi's Museum." After a long and 
 active life, and with unimpaired faculties, he died in his 
 84th year, at No. 4 St. George's Eow, Hyde Park, on the 
 9th November, 1809, and was interred in the burial-ground 
 of St. George's, Hanover Square, situated at the back of 
 the garden of his house. His gentlemanly bearing, his 
 kindness of heart, his love of wit and humour, his 
 generous readiness to befriend his brother artists in neces- 
 sity, and to promote the interests of those who were yet 
 unknown to fame, rendered him an especial favourite 
 among a large circle of friends and acquaintance. 
 
 DOMINIC SERRES, E.A., was born at Aux, the capital of 
 Gascony, in France, in 1722. Educated at the public 
 school of that city, he was intended for a religieux, but hav- 
 ing an aversion for such a secluded life, he ran away from 
 home, and travelled on foot to Spain, where he engaged 
 himself to serve on board a ship bound for South America, 
 and afterwards became master of a trading vessel to the 
 Havannah, where during the war of 1752 he was taken 
 prisoner by a British frigate, and was thus brought to 
 England and confined in the Marshalsea. Having in early 
 years received some instruction in drawing, he applied 
 himself on his release to marine painting, and was assisted 
 in his studies by Mr. Brooking, the best artist in that 
 style of the time, and soon acquired considerable renown
 
 Cn. IV.] SERRES RICHARDS 105 
 
 as a painter of sea-pieces and landscapes. The gallant 
 Lord Hawke and other naval commanders patronized 
 him to paint their nautical exploits ; and one of his most 
 important pictures was a view of Lord Howe's engage- 
 ment with the French and Spanish fleets off Gibraltar in 
 1782. Ten years previously he painted three pictures of 
 the Naval Eeview at Portsmouth, and thus gained the ap- 
 pointment of Marine Painter to the King. For several 
 years after the establishment of the Eoyal Academy he 
 exhibited a series of mementos of gallant deeds, which 
 as works of art would not be much thought of now, but 
 were popular in their day, and were engraved. In 1792 
 he was appointed librarian to the Academy, on the re- 
 signation of Wilton, the sculptor, and terminated a life of 
 industry and honourable success on the 3rd of November, 
 1792, at an advanced age. He lived in the house ad- 
 joining that occupied by his friend, Paul Sandby, in St. 
 George's Eow, Hyde Park, and was buried in the ceme- 
 tery of Marylebone parish, in Paddington Street, Baker 
 Street. His eldest son, J. T. Serres, followed the same 
 branch of art as his father with tolerable success. 
 
 JOHX EICHARDS, E.A., was a landscape painter, who 
 chose for his subjects the old baronial halls of his native 
 country, and the ruins of abbeys and other ancient build- 
 ings. He was a constant exhibitor at the Eoyal Aca- 
 demy ; and in 1788, on the resignation of Mr. Newton, 
 he was appointed secretary, and held the appointment 
 till his death, which took place in his apartments at the 
 Academy, on the 18th December, 1810. He repaired 
 the Cartoon of Leonard! da Vinci belonging to the Aca- 
 demy, and made the catalogue of its art-treasures. He 
 suffered greatly from impaired health during his latter 
 years. He chiefly distinguished himself as a painter of 
 theatrical scenery, and in that province of art displayed 
 considerable merit, having held the leading place in that 
 department at Coveut Garden Theatre for many years.
 
 10G HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 Ei CHARD WILSOX, E, A., deservedly regarded as one of 
 the great landscape painters of the English school, was 
 born at Pinegas, in Montgomeryshire, in 1713. His father 
 was a clergyman, and his mother was related to the late 
 Lord Chancellor Camden. Having given signs of artistic 
 taste, by his early attempts at drawing with a burnt stick 
 upon the walls, young Eichard Wilson was placed by his 
 relative, Sir George Wynne, with Thomas Wright, a 
 portrait painter, who lived in Covent Garden, for instruc- 
 tion in art. He thus became a portrait painter ; and in 
 1749 was so far distinguished among his many contem- 
 poraries in that branch of art, as to be employed by 
 Bishop Hayter, of Norwich, at that time tutor to the 
 Prince of Wales (afterwards George HI.) and the Duke 
 of York, to paint the portraits of his Eoyal pupils. 
 Very little is now known of his portraits ; but it is 
 stated that they were bold and artistic, and that in 
 effect and colouring he followed the style of Eembrandt." 
 Some were executed in black and white chalk in a very 
 masterly way. 
 
 In 1749 he went to Italy with Mr. Locke, of Nbrbury, 
 and in Venice he became acquainted with Zuccarelli, who 
 urged him to practise landscape painting, from seeing a 
 rough sketch he made of the scene from the window of 
 the house, while waiting for his friend. This advice was 
 strengthened when Wilson proceeded to Eome, by the 
 proposal of Vernet, on seeing one of his landscapes, to 
 exchange pictures with him, and by the French artist 
 showing Wilson's landscape thus obtained to all the visi- 
 tors at his studio, and praising the English author of it. 
 Subsequently Mengs offered to paint his portrait (the 
 best now extant of Wilson) for one of his landscapes ; 
 and thus encouraged, he devoted himself altogether to 
 the study of nature, transferring to his canvas the very 
 air and tint of the Italian scenes he copied. Six years 
 were spent abroad ; and in 1755 he came back to London 
 to seek his fortunes among his own countrymen.
 
 CH. IV.] RICHARD WILSON 107 
 
 He took up his abode on the north side of Covent 
 Garden, at that time and long previously, a favourite 
 locality with artists. He finished several pictures, and 
 obtained a fair prospect of patronage. Thomas Sandby, 
 Deputy-Eanger of Windsor Park, obtained from the 
 Eanger, William, Duke of Cumberland, a commission for 
 Wilson to paint the ' Niobe ' for his Eoyal Highness, 
 which was afterwards engraved by Woollett. Subse- 
 quently he painted a half-length picture of Zion House 
 for the King's inspection ; and it is stated that when 
 Lord Bute, by whom it was to be presented, remarked 
 that sixty guineas, the price named, was too much, 
 Wilson angrily replied, " If the King 'cannot afford to 
 pay so large a sum at once, I will take it by instal- 
 ments," and thus offended his lordship, and excluded 
 himself from Court employment. His irritability of 
 temper, unfortunately, was never under control, and led 
 to much of the distress and neglect which saddened many 
 subsequent years of this talented artist's life. There 
 seems to have been an antipathy approaching to dislike 
 between him and Eeynolds the one rough in manner, 
 and avoiding the society of his brother artists, the other 
 courtly and refined, and fond of social intercourse : and Q 
 it is reported that when Eeynolds once proposed in- ' 
 advertently in Wilson's presence, the health of Gains- ? ' 
 borough, as the best landscape painter, poor Wilson 
 angrily added, as a retort " and the best portrait painter ' 
 too!"' 
 
 While a few discriminating connoisseurs purchased 
 some of his best pictures, the larger number of them 
 were bought for a few pounds apiece by a dealer in St. 
 James's, who at last declined to take any more, as he had 
 sold none of those he had bought from him during several 
 years. Indeed, at a later period, Paul Sandby offered 
 him an advance of price on a large number of his 
 sketches, and led him to suppose that lie could find pur- 
 chasers for them ; but although he paid him for them, as
 
 108 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 they were executed, he could not dispose of them, and 
 they remained in his possession long after Wilson's death, 
 and were sold many years afterwards by his son, T. P. 
 Sandby, at a time when Wilson's drawings were be- 
 ginning to be estimated as they deserved. Sir W. Beechey 
 was another of his friends ; but his morose disposition 
 hindered many from having the opportunity to show him 
 kindness. Yet he greatly needed it ; for at one time he 
 was unable to execute a commission he received from 
 want of sufficient money to purchase the canvas and 
 colours with which to paint ; and his life gradually be- 
 came more dreary and cheerless. He shifted his abode 
 from time to time, as he found his means contract by the 
 decline of patronage. Thus from Covent Garden Piazza 
 he removed to Charlotte Street, Fitzroy Square ; thence 
 to Great Queen Street, Lincoln's Inn Fields ; then to 
 Foley Place, and lastly, to a wretched lodging in Tot- 
 tenham Street, Tottenham Court Eoad. On the death of 
 Hayman in 1770, he solicited the appointment held by 
 him of librarian to the Eoyal Academy an office of 
 small emolument, but which happily rescued him from 
 utter starvation. 
 
 When his health was visibly declining, and his spirits 
 were broken by continued disappointment, Wilson un- 
 expectedly became possessed by the death of his brother 
 of a small estate in Wales, near the village of Llanberis, 
 then called Colomondie, but now known as Loggerheads, 
 from the sign of that name which Wilson painted for the 
 village ale-house. There he spent his last days in ease 
 and comfort, enjoying the lovely scenery by which he 
 was surrounded, but unable to renew the health and 
 vigour of bygone days. A sudden illness which over- 
 took him in one of his walks terminated fatally in May, 
 1782, when he was in his 69th year. He was buried in 
 the parish church of St. Mary at Mold, where an altar 
 tombstone covers his grave. Since his death his genius 
 has been universally acknowledged, and his works held
 
 CH. IV.] WILSON GAINSBOROUGH 109 
 
 in high, repute ; but the taste for classic landscape and 
 for the poetical conceptions of nature which his pictures 
 displayed was not created in his own day, although in 
 choice of subject, felicity in the distribution of light and 
 shade, and freshness and harmony of tints, he was scarcely 
 excelled by any of his more fortunate contemporaries. 
 Many of his best works he repeated several times ; and a 
 large number of his pictures, seven of which are in the 
 National Collections, have been engraved. 
 
 Of THOMAS GAINSBOROUGH, E.A., it was said by Sir 
 Joshua Eeynolds, " That if ever this nation should pro- 
 duce genius sufficient to acquire for us the honourable 
 distinction of an English School, the name of Gainsborough 
 will be transmitted to posterity as one of the very first 
 of that rising name." Posterity has fulfilled this predic- 
 tion ; and he is justly regarded as one of the best artists 
 in the English school of landscape painting. He was born 
 in 1727 at Sudbury, in Suffolk. His father was a clothier, 
 of slender means, and was able to afford his son but 
 little school education ; he was also self-taught as an 
 artist, for in the woods and lanes of Suffolk he acquired 
 that love and knowledge of the beauties of quiet nature 
 for which his early pictures especially are distinguished. 
 He would pass his mornings in solitude when a mere boy, 
 making a sketch of an old tree, a marshy brook, a few cattle, 
 a shepherd and his flock, or any other accidental object that 
 presented itself. From delineation he proceeded to colour- 
 ing ; and before he was twelve years old he had painted 
 several landscapes. In his thirteenth year he was sent 
 to London, and placed successively under Gravelot, the 
 engraver, and Frank Hayman, the painter, under whose 
 instructions he remained four years. He then returned 
 to his father's house at Sudbury ; and while sketching in 
 his native woods, he met a young lady, Miss Margaret Burr, 
 to whom after a short courtship, he was married when 
 in his nineteenth year. Besides being a loving wife, this
 
 110 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 lady made him comparatively independent, having a for- 
 tune of her own of 200 a year. On his marriage he 
 went to Ipswich, where he resided tih 1 1758, when he re- 
 moved to the metropolis of fashion, Bath. During his 
 stay at Ipswich he made the acquaintance of Philip 
 Thicknesse, the governor of Landguard Fort, who osten- 
 tatiously patronised the young artist ; but in after years 
 the friendship was broken by the painter, who found his 
 independence of action destroyed by his patron's harass- 
 ing protection. 
 
 Having practised portrait painting with increasing suc- 
 cess while in Bath, in 1774 he returned to London, and 
 took the house (now forming part of the War Office) in 
 Pall Mall, built for the Duke of Schomberg. . Being com- 
 missioned to paint a conversation or family piece of the 
 King and Queen, and the three princesses, he soon 
 acquired further patronage ; and from the excellent like- 
 nesses he produced he obtained extensive practice and 
 proportionate emolument. His portraits were chiefly 
 valued for their striking resemblance to the originals : 
 some of them were painted in a rough careless manner, 
 in a style of hatching and scumbling entirely his own : 
 upon others he bestowed great care and finish ; and by 
 the permanent splendour of his colours, the ease and 
 grace of the positions, and the natural and living air he 
 gave to his portraits, he formed a formidable rival even 
 to the talented President. Latterly he obtained forty 
 guineas for a hah , and a hundred for a whole-length 
 portrait. 
 
 His fame, however, chiefly rests on his landscapes. He 
 painted them with a faithful adherence to nature : his trees, 
 foregrounds and figures have much force and spirit ; and 
 there is something of the brilliancy of Claude and the 
 simplicity of Euysdael in his romantic scenes. There is a 
 great difference between his early and later works : in the 
 former every feature is copied from nature in its finest 
 and most delicate lineaments, yet without stiffness or for-
 
 CH. IV.] THOMAS GAINSBOKOUGH 111 
 
 mality ; in his later works, striking effect, great breadth, 
 and judicious distribution of light and shade, produce a 
 grand and even solemn impression upon the beholder, 
 especially when viewed (as they were painted) at a dis- 
 tance from the picture. In private life Gainsborough 
 was eminent for possessing all the virtues of a generous 
 and kindly nature. If he selected for the exercise of his 
 pencil an infant from a cottage, all the tenants of the 
 humble roof generally shared in the profits of the pic- 
 ture, and some of them found in his home a permanent 
 abode. His liberality was not confined to this alone ; 
 needy relatives and unfortunate friends were further 
 claimants on a heart that could not deny aid to any : and 
 to this generosity, rather than to any extravagance, it must 
 be attributed that the amount of affluence was not left to 
 his family which so much merit might promise, and such 
 real worth deserve. 
 
 Many anecdotes are told tending to show that Gains- 
 borough was a great enthusiast both in painting and 
 music. He appears to have " painted portraits for money, 
 and landscapes because he loved them : but he was a 
 musician because he could not help it." John T. Smith 
 relates that he one day found Gainsborough listening 
 in speechless admiration, with tears on his cheeks, to the 
 playing of a first-rate violinist, Colonel Hamilton. Sud- 
 denly the painter called out " Go on, and I will give 
 you the picture of c The Boy and the Stile,' which you 
 have so often wished to purchase of me." And he was 
 as good as his word ; for the Colonel took away the pic- 
 ture with him in a coach. 
 
 Although not fond of literature, lie was intimate with 
 Johnson and Burke, and had an especial affection for 
 Kichard B. Sheridan, from whom one day after dinner, 
 when apparently in good health but in low spirits, he 
 obtained a promise that he would be the " one worthy 
 man " he desired to attend his funeral. A year after- 
 wards, when listening to the impeachment of Warren
 
 112 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 Hastings, with his back to an open window, in West- 
 minster Hall, he felt a cold touch his neck. This proved 
 to be a wen, which grew internally, and becoming can- 
 cerous, eventually caused his death. Years before a cool- 
 ness had arisen between him and Eeynolds ; and since 
 1784 he refused to exhibit at the Eoyal Academy be- 
 cause a whole-length portrait he sent was not hung on 
 the line. Now, in the prospect of death, he sent for the 
 President to make peace with him, and expired saying 
 "We are ah 1 going to heaven, and Vandyke is of the 
 company." His death took place on the 2nd of August, 
 1788, in his 61st year. Sheridan and Eeynolds attended 
 him to his grave in Kew churchyard, where at his request, 
 he was buried near his friend Kirby, with his name only, 
 without any other inscription, cut on his gravestone. In 
 the same year Eeynolds, in his discourse to the students, 
 . \frvtA. gave a very accurate criticism upon the works of Gains- 
 borough, several of which are in the National Collections. 
 
 FEANCESCO ZUCCAEELLI, E.A., was born at Pitighano, near 
 Florence, in 1702. He was first a scholar of Paolo Anesi, 
 but afterwards studied under G. M. Morahdi and P. Nelli. 
 For some time he applied himself to historic painting ; but 
 his inclination led him rather to choose landscapes, with 
 small figures, his tasteful execution of which was greatly 
 admired, not only in England, but throughout Europe, 
 wherever his works were known. He took up his resi- 
 dence at Venice ; but finding that he had established a 
 good reputation in this country, by the engravings after 
 his works made by Smith, he came to London in October 
 1752, and continued to reside here tih 1 1773, when he re- 
 turned to Florence. In the mean time he seemed to reign 
 over the public taste in England ; and Wilson was fre- 
 quently advised to imitate his style, if he hoped to prosper. 
 Many of his pictures were engraved by Vivares, and in 
 early life he himself made etchings after Andrea del Sarto 
 and others. In 1759 he painted a set of designs for
 
 QH. IV.] ZUCCARELLI BAKER MOSER 113 
 
 tapestries for the Earl of Egremont's town mansion in 
 Piccadilly. There is much that is pleasing and graceful 
 about his compositions, but they are feeble and artificial, 
 cold and classical, and are a striking contrast to the living 
 portraitures of the wild luxuriance of nature by Gains- 
 borough. After his return to Italy in 1773, he unfor- 
 tunately vested the produce of his life's labours in the 
 security of one of the monasteries of Florence, which 
 was shortly afterwards suppressed by the Emperor of 
 Austria, Joseph II. In his old age he was thus reduced 
 to indigence, and obliged to resume his pencil. He died 
 at Florence in 1789. 
 
 JOHN BAKER, R.A., was born in 1736, and was a fellow- 
 pupil of Catton in learning to decorate coaches with his- 
 torical and fancy subjects, painted on the panels. In the 
 beginning of his career he was much employed in painting 
 armorial bearings, and ornamental designs for carriages, 
 chiefly wreaths of flowers, before it became the peculiar 
 province of herald-painters. He subsequently chose flower- 
 painting as his pursuit, and a very creditable specimen of 
 his abilities in that branch of art is now in the Council- 
 chamber of the Royal Academy. He died in 1771. 
 
 MARY MOSER, R.A., was the daughter of the Keeper 
 of the Royal Academy, G. M. Moser, and was a skilful 
 flower-painter, whose pictures were at one time in great 
 request. She is the only lady, besides Angelica Kauffman, 
 who has ever been a member of the Royal Academy. In 
 1758 and 1759 she obtained premiums of five guineas 
 each from the Society of Arts for her drawings. Queen 
 Charlotte gave her a commission to decorate an entire 
 room with flowers at Frogmore, which was afterwards 
 called Miss Moser's room, and for painting which she 
 received 900. After several years' practice in her pro- 
 fession, during which she was thought to have formed an 
 unrequited passion for Fuseli, she married Captain Hugh 
 
 VOL. I. I
 
 114 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 Lloyd, and afterwards only practised art as an amateur. 
 She survived her husband several years, and died, at an 
 advanced age, on the 2nd of May, 1819, at 21 Upper 
 Thornhaugh Street, Tottenham Court Eoad, and was 
 buried at Kensington, in the grave of her husband. An 
 amusing anecdote is told relating to her, connected with 
 the re-election of West as President, in 1803. One voice 
 was given in favour of Mrs. Lloyd for the presidential 
 chair, which was attributed to Fuseli, who, when taxed 
 with it, in his usual sarcastic vein, replied, " Well, suppose 
 I did ; is she not eligible ? and is not one old woman as 
 good as another?" She was on friendly terms with 
 Nollekens, West, and Cosway, and their wives ; and 
 Queen Charlotte and the Princess Elizabeth continued for 
 many years to pay kindly visits to one who owed so much 
 to their patronage. 
 
 Twenty-five painters, such as those whose course we 
 have thus briefly sketched, were sufficient, despite the defi- 
 ciencies of some among them, to produce works attractive 
 enough to draw numerous visitors to the annual exhibition 
 of the Eoyal Academy ; and some few of them, at least, 
 have succeeded in establishing for English art the claim to 
 a distinctive school, and have rendered their own names 
 illustrious in all future time by their originality and power. 
 
 The ARCHITECTS who were foundation-members of the 
 Academy next claim our attention. As contributors to 
 the exhibition, these artists could do little ; for their 
 drawings would only interest the profession, except in rare 
 cases, and the taste for architecture a hundred years ago 
 was at its lowest ebb in England. But the fruits of their 
 genius exist among us, and, notwithstanding the progress 
 which has since been made in this branch of art, still 
 claim for their originators our respect and admiration. 
 The architects were THOMAS SANDBY, the first Professor 
 of Architecture, of whom we have already spoken ; Sir 
 William Chambers ; John Gwynn ; and George Dance.
 
 CH. IV.] SIR WILLIAM CHAMBERS 115 
 
 SIR WILLIAM CHAMBERS, E.A., was descended from a 
 Scottish family of the name of Chalmers, stated to have 
 been barons of Tartas, in France, and was born at Stock- 
 holm, in 1726, where his grandfather had established him- 
 self as a merchant, in order to prosecute certain claims on 
 the government of that country. At two years of age he 
 was brought to England, and subsequently placed at 
 school at Ripon in Yorkshire. At the age of sixteen he 
 was appointed supercargo to a ship belonging to the 
 Swedish East India Company, on a voyage to China, 
 where he made a series of sketches of the picturesque 
 buildings and gardens of Canton, which were published 
 on his return home. At the early age of eighteen, or 
 shortly afterwards, he settled in London, as an architect 
 and draughtsman, and soon made for himself a respectable 
 position in his new profession. He acquired the neces- 
 sary preliminary instruction in architectural drawing, 
 and travelled in Italy, examining and studying with un- 
 wearied application the works of Michael Angelo, and of 
 Palladio, Vignola, and other Italian architects, and subse- 
 quently went to Paris, where he studied under Clerisseau, 
 and acquired a freedom of pencil, in which he greatly 
 excelled. 
 
 To his skill as a draughtsman was added most pleasing 
 conversation and manners, which led to his being ap- 
 pointed, by the patronage of Lord Bute, tutor in architec- 
 ture to the young Prince of Wales (afterwards George III.) ; 
 and on the accession of that monarch to the throne, he 
 was appointed Comptroller of the Office of Woods, and 
 Surveyor-General to the King, and was shortly afterwards 
 employed to lay out the Royal Gardens at Kew. In ful- 
 filling this task he displayed that predilection for the 
 Chinese style, both of gardening and architecture, of which 
 he had already given intimation in a work entitled "Designs 
 for Chinese Buildings," published in 1759. The altera- 1ki^ t 
 tions at Kew were finished in 1765, and a set of prints, 
 with descriptions of the works, was published in folio. / ; 
 
 12
 
 11(5 
 
 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 The " Celestial " tastes thus exhibited were severely 
 satirised; but in 1772 he issued another vindication of 
 Chinese designs and fashions (the taste for which was 
 steadily increasing), entitled " A Dissertation on Oriental 
 Gardening." This called forth from Horace Walpole and 
 the poet Mason (whose " English Garden " it was thought 
 to be intended to answer) a satirical poem, entitled " An 
 heroic Epistle to Sir William Chambers, Knight, Comp- 
 troller-General of his Majesty's Works, and Author of a 
 late 4 Dissertation on Oriental Gardening,' enriched with 
 explanatory notes, chiefly extracted from that elaborate 
 performance." The controversy was continued for some 
 time ; nevertheless, Chambers retained the Eoyal favour, 
 and accumulated honours, being allowed to assume the 
 title of knighthood in England, having been made, in 
 1771, a knight of the Swedish order of the Polish Star. 
 
 In 1775 he was appointed to superintend the rebuilding 
 of Somerset House, which was his greatest and his last 
 work. 1 The street front of this building is in all respects 
 better adapted to a great city than the Greek models 
 which are so often adopted. The eastern wing was left 
 unfinished by him, and has since been built by Smirke ; 
 and additions have also been made on the western side, 
 in harmony with the rest of the building, by Mr. Penne- 
 thorne. The general proportions of the whole are good, 
 and some of the details are of great elegance, especially 
 the entrance-archway from the Strand. The terrace 
 elevation towards the Thames was made (like the Adelphi 
 Terrace of the Brothers Adam) in anticipation of the 
 long-projected embankment of the river, and is one of 
 
 1 " Peter Pindar " seems to have 
 taken a special aversion to Sir W. 
 Chambers, as several of his " Odes " 
 refer to him. Here are two verses 
 from " Subjects for Painters :" 
 
 " Knight of the Polar Star, or Bear, don't start, 
 And like some long^eared creatures bray, ' what 
 art?' 
 
 Sir William, shut your ell-wide mouth of 
 
 terror, 
 
 I come not here, believe me, to complain 
 Of such as dared employ the building brain, 
 And criticise an economic error. 
 
 1 1 come not here to call thee knave or fool, 
 And bid thee seek again Palladio's school ; 
 Or copy Heaven, who formed thy head so thick 
 To give stability to stone and brick : 
 No 'twould be cruel now to make a rout, 
 The very stones already have cried out."
 
 CH. IV.] SIR WILLIAM CHAMBERS 117 
 
 the finest parades in London. Next to Somerset House, 
 among Chambers' most successful works, are the mansions 
 he built for the Marquis of Abercorn at Duddingstone, 
 near Edinburgh ; Milton Abbey, in Dorsetshire, designed 
 in the Gothic style, for Lord Dorchester ; and an Italian 
 villa, erected at Koehampton for the Earl of Besborough. 
 In all his plans he displayed considerable ingenuity, and 
 there was generally a certain degree of grandeur in his 
 designs. His staircases, in particular, are much admired ; 
 and we are indebted to him for many improvements in 
 the interior decorations of our buildings. 
 
 A large proportion of his fame, however, rests on a 
 work he published in 1791, entitled " A Treatise on Civil 
 Architecture," of which two subsequent editions one by 
 Joseph Gwilt, F.S.A., the other by an anonymous editor 
 in 1824 have been issued. He devoted much thought 
 and research to this task, and brought together in it the 
 results of his long experience and comprehensive know- 
 ledge of the subject, thus rendering his book the first 
 regular and detailed treatise on the art of design, and 
 laying down the fixed rules by which excellence in archi- 
 tecture could be judged. By this work lie closed a pro- 
 fessional career in which he had gained an honourable 
 reputation at home and abroad, and had amassed a large 
 fortune. In early life he married the beautiful daughter 
 of Wilton the sculptor (whose portrait was one of Cotes' 
 best works) ; and to his last days his wife was his constant 
 companion, and his family his chief delight. Beyond the 
 circle of home he enjoyed the friendship of Johnson, 
 Goldsmith, Dr. Burney, and Garrick, among the geniuses 
 of his day, and presided over a little monthly gathering, 
 called the "Architects' Club," at the Thatched House 
 Tavern. He died on the 8th of March, 1796, after a 
 long illness from an asthmatical complaint, in his 71st 
 year, and was buried in Westminster Abbey. His por- 
 trait, by Sir Joshua Ecynolds (one of the finest works of 
 the pointer), is in the possession of the Koyal Academy.
 
 118 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 JOHN GWYNN, K*A., was the author of a work entitled 
 "London and Westminster Improved," published in 1766 
 (for which Johnson wrote the dedication), in which he 
 suggested several architectural projects which have since 
 given to the book something of a prophetical character ; 
 for instance, he advised the rebuilding of London Bridge, 
 the erection of a new one across the Thames near Somerset 
 House, the removal of the markets from Smithfield and the 
 Fleet, and mapped out the principal new thoroughfares and 
 improvements which have since been planned or effected. 
 He was besides the architect of several mansions and 
 bridges, and his design for a bridge to be erected at Black- 
 friars (in the competition for which Mylne was finally suc- 
 cessful), led to his friend, Dr. Johnson, writing several 
 articles in the " Gazetteer " in defence of the semicircular 
 arches in Gwynn's design, in opposition to the elliptical 
 adopted by Mylne. The well-known Magdalen Bridge 
 at Oxford, and the English Bridge at Shrewsbury, were 
 also designed by him. He died in 1786. 
 
 GEOKGE DANCE, the elder brother of Nathaniel Dance, 
 of whom we have already spoken, was born in 1740. By 
 the circumstances of his position, as a son of the architect 
 to the corporation of London, he received an education 
 and opportunities of study which peculiarly fitted him to 
 follow successfully the profession of his father, whom he 
 succeeded in 1768 in his office of city surveyor. The 
 first architectural work by which he signalised himself 
 was in the design for Newgate, which was begun by him 
 in 1770. This structure has been highly extolled, and has 
 been described as " one of the few truly monumental pieces 
 of architecture in the metropolis." It has been admired 
 especially for its striking degree of character its severity 
 as a prison not being obtained by the erection of a dismal 
 mass devoid of all aesthetic charm, but secured by blend- 
 ing into one expressive whole several separate and boldly 
 distinct parts, each affording effective relief of light and
 
 CH. IV.] GEORGE DANCE 119 
 
 shade. The Giltspur Street Compter, designed by him, 
 possessed similar characteristics ; and he added further to 
 his fame as an architect by the erection of St. Luke's 
 Hospital. The front of Guildhall, erected in 1789, has, 
 however, been severely criticised, and is in very question- 
 able taste. Not so, however, the Boydell Shakspeare 
 Gallery in Pall Mall (now the British Institution), and the 
 Theatre at Bath, both designed by him. In 1799 he was 
 presented with a silver cup, valued at fifty guineas, by the 
 Eoyal Academy, for having, as one of the auditors, in 
 conjunction with William Tyler, carefully investigated their 
 accounts up to that date. To mark their appreciation of 
 his services in preparing the report and suggestions as to 
 the funds, presented by him and Farington in 1809, the 
 Academicians again presented him with a silver cup. 
 
 On the death of Thomas Sandby in 1798, George 
 Dance was elected to succeed him as professor of archi- 
 tecture ; but he does not appear to have delivered any 
 lectures on the art, and he resigned the office in 1805. 
 In 1811-14, two folio volumes of profile portraits were 
 published, drawn by George Dance, and engraved by 
 William Daniell in imitation of the original drawings. 
 In this taste for portraiture, he followed his brother's 
 branch of art rather than his own ; but these sketches, 
 although characteristic likenesses, have something of the 
 appearance of caricatures. In 1816 he resigned his 
 appointment as city surveyor in favour of his pupil, 
 William Montague, and died in his house in Gower Street 
 on the 14th of January, 1825, in his 84th year. He was 
 buried at St. Paul's, near to the last earthly resting place 
 of Sir Christopher Wren, and John Rennie, the engineer. 
 
 The SCULPTORS among the foundation members of the 
 Royal Academy, were William Tyler, Joseph Wilton, 
 George Michael Moser, Richard Yeo, and Agostino 
 Carlini. There was but little taste or patronage for their 
 works at that period, and the opportunities for study to
 
 120 HISTORY OF THE ROYAL ACADEMY [Cn. IV. 
 
 enable sculptors to attain to perfection in their art were 
 most scanty. This may account for the small display 
 which such works made in the early exhibitions of the 
 Royal Academy. There are still deficiencies in these 
 respects, and still need for progress and improvement, 
 both of which we trust will shortly be accomplished. 
 
 WILLIAM TYLER, E.A., is described as an architect, and 
 in 1786 he designed the Freemasons' Tavern in Great 
 Queen Street, a separate building from Freemasons' Hall, 
 which was erected ten years before by Thomas Sandby. 
 But in the early exhibitions of the Royal Academy, he 
 annually appears to have displayed specimens of his skill 
 as a sculptor of busts and basso-relievos. He took an 
 active interest in the management of the affairs of the 
 Royal Academy, and it was he who presented, in conjunc- 
 tion with George Dance, the report on the treasurer's 
 account in 1799, and received a present of a silver cup, 
 valued at fifty guineas, from the Academicians in recogni- 
 tion of his services. He died in 1801. 
 
 JOSEPH WILTON, R.A., attained to considerable eminence 
 in his profession, and is the first English sculptor who en- 
 joyed the advantage of a regular course of academic study. 
 His father was a manufacturer of plastic ornaments for 
 ceilings, &c. and employed a large number of persons in 
 his workshops. Joseph was born on the 16th of July, 1722, 
 and was first taught in his profession by Laurent Delvaux, 
 at Neville, in Brabant. In 1744 he proceeded to Paris, 
 where he gained the silver medal awarded by the Academy 
 for working in marble. Three years afterwards he went 
 to Rome, and in 1750 was presented by the Roman 
 Academy with the jubilee gold medal given by Pope 
 Benedict XIV. While in Italy he made copies, on a re- 
 duced scale, of many famous antique gems, and sold them 
 among his travelling countrymen, and thus obtained the 
 patronage of Mr. Locke, of Norbury Park, a gentleman
 
 CH. IV.] JOSEPH WILTON 121 
 
 of great taste and liberality. After eight years spent in 
 Italy, he came back to London in company with Chambers 
 and Cipriani, and with the latter was chosen as a director 
 of the Duke of Eichmond's sculpture gallery in Spring 
 Gardens, to which we have already referred. 1 He was 
 thus employed till 1770. He had been previously ap- 
 pointed state-coach carver to the King, and made the 
 model for the coronation coach for George HI. 
 
 On the death of his father he became comparatively 
 independent, and took up a more decided course as a 
 sculptor. The architects of his day being generally com- 
 missioned to carry out the sculptured decorations and 
 details of the buildings they designed, the execution of 
 monuments, statues, &c., was the only work left for the 
 professional sculptor. Wilton's first public monument 
 was that erected to General Wolfe, the conqueror of 
 Quebec, in Westminster Abbey, which, though too much 
 crowded in design, is effective in some of its parts. The 
 same fault is apparent in his subsequent monuments to 
 Admiral Holmes, the Earl and Countess of Montrath, 
 Pulteney Earl of Bath, and Dr. Stephen Hales, the 
 divine and botanist. All these works he finished with 
 great softness, and worked the marble till it displayed a 
 shining surface, in his anxiety to preserve his figures from 
 stain and dust. In his busts of Bacon, Cromwell, 
 Newton, Swift, Chatham, and Chesterfield, his faults are 
 less apparent, and his skill in carving marble with a fleshy 
 softness of surface, is seen to great advantage. 
 
 Principally by such works as these he amassed a large 
 fortune, and was enabled to live in a style of luxury pro- 
 portioned to his means. He occupied a large house, and 
 assembled goodly company at his table Lord Charle- 
 mont and Mr. Locke among the aristocracy ; Sir Joshua 
 Reynolds, Sir William Chambers, Bartolozzi, Cipriani, and 
 Richard Wilson, among the Royal Academicians ; and 
 
 1 See ante, p. 31.
 
 122 HISTORY OF THE ROYAL ACADEMY [On. IV. 
 
 Dr. Johnson and Baretti among the men of letters, were his 
 frequent guests. When age crept upon him he retired 
 from his profession, sold off his materials by auction, and 
 accepted the office of Keeper of the Eoyal Academy in 
 1790, retaining it till his death, which took place on 
 the 25th of November, 1803. By his gentlemanly 
 manners and his genial hospitality, he retained to the end 
 his popularity among his brethren in the profession and 
 the patrons of art. A bust of him, by Eoubilliac, was 
 given by his daughter (Lady Chambers) to the Eoyal 
 Academy. 
 
 GEORGE MICHAEL MOSER, E.A., was a gold chaser and 
 enameller, and was born at Scaffhausen, in Switzerland, in 
 1704. When still young, he came to London', and found 
 employment in chasing brass ornaments for cabinet-work, 
 otherwise "buhl," and in enamel painting for watch- 
 cases. For the watch of George III. he executed suc- 
 cessful enamels of the Prince of Wales and the Bishop of 
 Osnaburg, and received " a hat full of guineas " as his re- 
 ward. Subsequently he pursued gold chasing and enamel 
 painting generally. He was manager and treasurer of the 
 private academy for artists in St. Martin's Lane ; and on 
 the foundation of the Eoyal Academy, he was elected to 
 fill the office of Keeper, for the duties of which he was 
 eminently qualified by his knowledge of the construction 
 of the human figure, his duties consisting principally in 
 superintending and instructing the students in drawing 
 and modelling from the antique. He designed the Great 
 Seal of England for King George HI., and was an ex- 
 cellent medallist. He died at his apartments in Somerset 
 House, on the 23rd January, 1783, and was buried on 
 the 30th at St. Paul's, Covent Garden, attended to the 
 grave by the Eoyal Academicians and by the students of 
 the Academy, by whom he was greatly beloved. He had 
 previously resided with his daughter, Mary Moser, at his 
 house in Craven Buildings, Drury Lane. An eulogium
 
 CH. IV.] YEO CARLINI 123 
 
 upon him, by Sir Joshua Keynolds, appeared in one of 
 the papers of the day, on the 24th January, 1783, in 
 which he is described as the first gold-chaser in the 
 kingdom, and as having a universal knowledge of all 
 branches of painting and sculpture, to which is added, 
 that " he may truly be said to be in every sense the father 
 of the present race of artists." 
 
 EICHARD YEO, K.A., was a sculptor of medallions, and 
 was chief engraver to his Majesty's Mint. Little can 
 now be ascertained of his history beyond these facts, and 
 that he died on the 3rd December, 1779. 
 
 
 AGOSTINO CARLIXI, E.A., was a native of Geneva, who 
 came in early life to reside in England, and was appointed 
 Keeper of the Eoyal Academy in succession to Moser in 
 1783. As a sculptor, he excelled particularly in his 
 draperies, which were always executed with great skill 
 and grace. Among his best works was an equestrian 
 statue of the King (a model of which is still preserved 
 by the Eoyal Academy) and a statue of Dr. Ward, in 
 marble, which is the property of the Society of Arts. 
 He died in Carlisle Street, Soho, on the 16th August, 
 1790. 
 
 With such an assemblage of artists, of various de- 
 grees of excellence, and pursuing different branches of 
 art, the Eoyal Academy commenced its career, many 
 of the members being soon destined to leave all other 
 competitors in the race for distinction in the background, 
 and to gather for themselves the laurels of a world-wide 
 fame.
 
 Sir Joshua Reynolds, from the portrait by himself, in possession of the Royal Academy 
 
 CHAPTEE V. 
 
 THE ROYAL ACADEMY UNDER THE PRESIDENCY OF SIR 
 JOSHUA REYNOLDS, 17681792. 
 
 Opening of the Royal Academy Address of the President The Schools 
 Election of Associate Engravers The Annual Exhibitions Appropriation 
 of its Funds Lectures Appointment of Associates, a Librarian and 
 Honorary Members The early Home of the Academy TJie Annual 
 Dinner Proposal made by the Academicians to Decorate St. Paul's 
 The Society of Arts The Pension Fund established The Pall-Mail 
 Exhibitions until 1779 The removal to Somerset House, 1780 Discon- 
 tinuance of Aid from the Privy Purse Complaints as to Exclusion of 
 Pictures Peter Pindar and other Satirists attack the Academy BoydelVs 
 Shahspeare Gallery Interned Troubles Reynolds' s Resignation of the 
 Office of President, and Re-acceptance of it His last Discourse Changes 
 in the Academy by Death of Original, and Election of New Members 
 Succession of Officers The Exhibitions from 1781 to 1791. 
 
 WITHIN a month of the foundation of the Eoyal 
 Academy arrangements were made for opening the 
 schools for the instruction of students, consisting of an
 
 On. V.] 
 
 OPENING OF THE ACADEMY 
 
 125 
 
 antique academy and a school for the living model, the 
 former presided over by the keeper, the latter by a suc- 
 cession of nine visitors. They were situated at that time 
 
 View of ilir i.ltl Unyftl Ariulrniy 111 Pall Mail 
 
 in some large chambers built for an auctioneer in Pall 
 Mall, " opposite Market Lane," and adjacent to Old Carlton 
 House, the site being a little to the eastward of that now
 
 120 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 occupied by the United Service Club. Between it and 
 the royal residence the trees were visible from the road. 
 
 It was on the occasion of this first public assembly (the 
 2nd of January, 1769), that Sir Joshua Eeynolds on 
 whom the King had graciously conferred the honour of 
 knighthood as President of the Eoyal Academy deli- 
 vered the first of those fifteen discourses which have ever 
 since that time been held in high repute as sources of 
 much valuable instruction to students in the principles of 
 art. Naturally enough the President's first thoughts were 
 of the institution which he was then to inaugurate, for he 
 commenced by saying that "An academy in which the 
 polite arts may be regularly cultivated is at last opened 
 among us by Koyal munificence. This must appear an 
 event in the highest degree interesting, not only to the 
 artist, but to the whole nation. . . . We are happy 
 in having a prince who has conceived the design of such 
 an institution according to its true dignity, and who pro- 
 motes the arts as the head of a great, a learned, a polite, 
 and a commercial nation. . . . The numberless and 
 ineffectual consultations which I have had with many in 
 this assembly to form plans and concert schemes for an 
 academy afford a sufficient proof of the impossibility of 
 succeeding but by the influence of Majesty. But there 
 have, perhaps, been times when even the influence of 
 Majesty would have been ineffectual ; and it is pleasing to 
 reflect that we are thus embodied, when every circum- 
 stance seems to concur from which honour and prosperity 
 can possibly arise. There are at this time a greater num- 
 ber of excellent artists than were ever known before at 
 one period in this nation ; there is a general desire among 
 our nobility to be distinguished as lovers and judges of 
 the arts ; there is a greater superfluity of wealth among 
 the people to reward the professors; and, above all, we 
 are patronised by a monarch who, knowing the value of 
 science and of elegance, thinks every art worthy of his 
 notice that tends to soften and humanise the mind. After
 
 CH. V.] REYNOLDS'S FIRST ADDRESS 127 
 
 so much has been done by his Majesty, it will be wholly 
 our fault if our progress is not in some degree correspon- 
 dent to the wisdom and generosity of the institution; let 
 us show our gratitude in our diligence that, though our 
 merit may not answer his expectations, yet at least our 
 industry may deserve his protection. But, whatever may 
 be our proportion of success, of this we may be sure, that 
 the present institution will at least contribute to advance 
 our knowledge of the arts, and bring us nearer to that 
 ideal excellence which it is the lot of genius always to 
 contemplate and never to attain." As to the purposes to 
 be attained by the schools then opened, he stated that 
 " The principal advantage of an academy is that, besides 
 furnishing able men to direct the student, it will be a re- 
 pository for the great examples of the art. These are the 
 materials on which genius is to work, and without which 
 the strongest intellect may be fruitlessly or deviously 
 employed. By studying these authentic models, that idea 
 of excellence, which is the result of the accumulated ex- 
 perience of past ages, may be at once acquired; and the 
 tardy and obstructed progress of our predecessors may 
 teach us a shorter and easier way." In conformity with 
 this principle so much insisted upon in all the discourses 
 of the first President, he enjoins upon the students " an 
 implicit obedience to the rules of art, as established on 
 the practice of the great masters, that those models 
 which have passed through the approbation of ages should 
 be considered by them as perfect and infallible guides ; " 
 and he concluded his first address by expressing the hope 
 " that this institution may answer the expectation of its 
 Royal founder; that the present age may vie in arts with 
 that of Leo X. ; and that l the dignity of the dying art ' 
 (to make use of an expression of Pliny) may be revived 
 under the reign of George III." 
 
 The next step taken by the academicians after the 
 opening of the schools was to institute the class of mem- 
 bers designated "Associate Engravers," to remove the 
 complaints which had been urged by that branch of the
 
 128 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 profession against their exclusion under the instrument of 
 foundation. How keenly engravers felt their exclusion 
 from the Eoyal Academy may be gathered from the tone 
 of Sir Eobert Strange (who had attained to considerable 
 eminence in his branch of art, and whose engravings are 
 very admirable), in the pamphlet he published on the 
 subject, to which reference has already been made. The 
 regulation by which "a number of engravers, not ex- 
 ceeding six, shall be admitted Associates of the Eoyal 
 Academy," was passed on the 25th of March, 1769, and 
 five elections of members of that class took place in the 
 following year, and a sixth in 1771. 
 
 Arrangements for the opening of an annual exhibition 
 next occupied attention, and a public announcement of 
 the intention was made in March 1769, by the following 
 advertisement : 
 
 " Royal Academy, Pall Mall. 
 
 " The President and Council give notice that their Exhibition 
 will open on the 26th of April next. Those artists who intend 
 to exhibit with the Academicians are desired to send their several 
 works to the Koyal Academy, in Pall Mall, on Thursday, the 
 13th of April, or before six o'clock in the evening of Friday the 
 14th ; after which time no performance will be received. 
 
 "N.B. No copies, nor any pictures without frames, will be 
 admitted." 
 
 The original regulations for exhibitors and the rules as 
 to admission were as follows : 
 
 " That every performance, once delivered and admitted in the 
 Koyal Exhibition and printed in the catalogue, shall not be taken 
 away on any pretence before the exhibition for that year ends. 
 
 " No picture copied from a picture or a print, a drawing from 
 a drawing, a medal from a medal, a chasing from a chasing, a 
 model from a model, or any other species of sculpture or any 
 copy, be admitted to the exhibition. 
 
 "The arranging or disposition of the paintings, sculptures, 
 models, designs in architecture, &c., for public view to be abso- 
 lutely left to the council. 
 
 " The council hath power to reject any performance which 
 may be offered to the exhibition.
 
 CH. V.] THE FIRST EXHIBITION, 1769 129 
 
 "No picture to be received without a frame. 
 
 " No person shall be admitted into the room before the exhi- 
 bition opens, the council and necessary servants excepted. 
 
 " That the council shall attend immediately after the time 
 limited for the reception of the pictures, &c., is expired, to receive 
 or reject the several performances. 
 
 " That no picture, &c. &c., shall be received after the time 
 limited for the reception is expired. 
 
 " Exhibitors shall have free admittance during the whole time 
 of exhibition. 
 
 " Every student in the Eoyal Academy, not an exhibitor, shall 
 have four tickets to admit him four different days to the exhi- 
 bition." 
 
 On Wednesday, the 26th of April, 1769, the public 
 were admitted to the first exhibition ; the preceding 
 Monday had been set apart for the Eoyal visit, but it 
 does not appear that their Majesties honoured the exhi- 
 bition with their presence till Thursday, the 25th of May, 
 on which day it was closed to the public. A guard or 
 sentinel was ordered to attend on that occasion ; and the 
 practice of stationing sentries at the doors during the ex- 
 hibition has ever since been continued. The exhibition 
 was not closed till Saturday, the 27th of May, having 
 been kept open for four weeks and four days. 
 
 On the evening of the opening day an elegant enter- 
 tainment was provided at the St. Alban's Tavern, to 
 commemorate this auspicious commencement of the pro- 
 ceedings of the Eoyal Academy. Sir Joshua Eeynolds 
 presided on the occasion, and several of the nobility and 
 many of the aristocracy who were patrons and lovers of 
 the fine arts were present to give eclat to the proceedings. 
 The event was celebrated also by songs and odes, com- 
 posed expressly for the occasion. ' 
 
 The 
 
 NVtflri'li-d K. Hill- In-Ill hid 
 
 Ami iilrmil with nnuiilli 
 Apollo wept hi- I. n.k 
 
 eful Influence sheil 
 ii-e and tif Art, 
 
 ro<i|tjnu r hr:ul. 
 
 rery tuneful heart : 
 ii lyre. 
 
 written by Dr. Franklin, January 1, 
 1709, on the institution of the new 
 Royal Academy of Arts, by hb 
 
 Majesty : And In their Bcata to tee Alecto reign." 
 
 VOL. I. K
 
 130 
 
 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 The catalogue was then, as now, published in quarto, 
 and was simply entitled "The Exhibition of the Eoyal 
 Academy, 1769." It was sold for sixpence; and the 
 pictures, &c. in it were arranged under the names of the 
 artists, alphabetically placed, with their addresses inserted 
 after their names, and the Academicians distinguished by 
 the letters A.E.A. An advertisement preceded the list 
 of pictures, offering an apology for making the now cus- 
 tomary charge of one shilling for admission : 
 
 " ADVERTISEMENT. 
 
 " As the present exhibition is a part of the institution of an 
 Academy supported by Koyal munificence, the public may 
 naturally expect the liberty of being admitted without any 
 expense. 
 
 When lo ! Britannia to the throne 
 
 Of goodness makes her sorrows known ; 
 For never there did grief complain, 
 Or injured merit plead in vain. 
 
 The monarch heard her just request, 
 
 He saw, he felt, and he redress'd : 
 
 Quick with a master hand he tunes the strings, 
 And harmony from discord springs. 
 
 " Thus good, by heaven's command, from evil 
 
 flows; 
 
 From chaos, thus of old, creation rose ; 
 When order with confusion join'd, 
 And jarring elements combined, 
 To grace with mutual strength the great design, 
 And speak the Architect divine. 
 
 " Whilst Eastern tyrants in the trophied car 
 Wave the red banner of destructive war, 
 
 In George's breast a noble flame 
 
 Is kindled, and a fairer flame 
 
 Excites to cherish native worth, 
 To call the latent seeds of genius forth, 
 
 To bid discordant factions cease, 
 And cultivate the gentler arts of peace. 
 
 And lo ! from this auspicious day, 
 The sun of science teams a purer ray. 
 
 " Behold, a brighter train of years, 
 A new Augustan age appears ; 
 
 The time, nor distant far, shall come, 
 
 When England's tasteful youth no more 
 
 Shall wander to Italia's classic shore ; 
 
 No more to foreign climes shall roam 
 
 In search of models better found at home. 
 
 " With rapture the prophetic muse 
 Her country's opening glory views, 
 Already sees, with wondering eyes, 
 Our Titians and our Guides rise : 
 Sees new Palladios grace th' historic page, 
 And British Raphaels charm a future age. 
 
 ' Meantime, ye sons of Art, your offerings bring, 
 To grace your patron and your King, 
 Bid sculpture grave his honour'd name 
 In marble, lasting as his fame : 
 Bid painting's magic pencil trace 
 The features of his darling race, 
 And as it flows through all the royal line, 
 Glow with superior warmth and energy divine. 
 If towering architecture still 
 Can boast her old creative skill, 
 Bid some majestic structure rise to view, 
 Worthy him and worthy you, 
 
 Where Art may join with nature and with sense, 
 Splendour with grace, witli taste magnificence, 
 Where strength may be with elegance combined, 
 The perfect image of its master's mind. 
 
 " And oh ! if with the tuneful throng 
 The muse may dare to mix her humble song, 
 In your glad train permit her to appear, 
 Tho' poor, yet willing, and tho' rude, sincere, 
 To praise the sovereign whom her heart approves, 
 And pay this tribute to the Arts she loves." 
 
 Song composed by Mr. Hull, and 
 sung by Mr. Vernon, at the feast of 
 the Royal Academy, 26th April, 
 1769: 
 
 " Let Science hail this happy year, 
 
 Let fame its rising glories sing, 
 
 When Arts unwonted lustre wear, 
 
 And boast a patron in their King : 
 And here unrivall'd shall they reign, 
 For George protects the polish'd train. 
 
 " To you just ripen'd into birth, 
 
 He gives the fair, the great design ; 
 'Tis yours, ye sires of genuine birth, 
 
 To bid the future artists shine : 
 That Arts unrivall'd long may reign, 
 Where George protects the polish'd train. 
 
 '"Tis yours, oh, well selected band, 
 
 To watch where infant genius blows ; 
 To rear the flower with fost'ring hand, 
 
 And every latent sweet disclose : 
 That Arts unrivall'd long may reign, 
 Where George protects the polish'd train. 
 
 " No more to distant realms repair 
 
 For foreign aid, or borrow'd rule, 
 Beneath her monarch's generous care, 
 
 Britannia founds a nobler school, 
 Where Arts unrivall'd shall remain, 
 For George protects the polish'd train. 
 
 " So shall her sons in science bred, 
 
 Diffuse her Arts from shore to shore ; 
 And wide her growing genius spread, 
 
 As round the world her thunders roar : 
 For lie, who rules the subject main, 
 Great George, protects the polish'd train."
 
 CH. V.] THE FIRST EXHIBITION, 1769 131 
 
 " The Academicians, therefore, think it necessary to declare 
 that this was very much their desire, but they have not been 
 able to suggest any other means than that of receiving money for 
 admittance, to prevent the rooms from being filled by improper 
 persons, to the entire exclusion of those for whom the exhibition 
 is apparently intended." 
 
 The number of works contained in the first exhibition 
 was 136. Of these 79 were contributed by members of 
 the Academy, and 57 by other exhibitors. In this 
 number were 40 portraits and 48 landscapes, 22 pieces 
 on subjects from history, scripture, and poetry, 5 pictures 
 of animals and flowers, 9 pieces of sculpture, 2 specimens 
 of die-engraving, and 10 architectural subjects. Glancing 
 through the catalogue, we see that there were many 
 works which would still attract especial attention, four 
 of Eeynolds's graceful portraits of ladies, seven of Francis 
 Cotes's admirable portraits, several of them in crayons, in 
 which he especially excelled ; and three by Gainsborough, 
 whose portraits were equal in excellence to his charming 
 landscapes. There were two pictures by West the ' Ee- 
 gulus' already referred to 1 , and 'Venus lamenting the 
 Death of Adonis : ' landscapes by George Barret, Gains- 
 borough, Paul Sandby, Dominic Serres, Eichard Wilson, 
 and Zuccarelli : and several poetical pieces by Barto- 
 lozzi, Cipriani, and Angelica Kauffman. 
 
 The exhibition met with general approval ; and one of 
 the periodicals of the day remarked that " the encourage- 
 ment given to this infant institution by Eoyal patronage is 
 already visible in the works of genius there exhibited." 
 By the mezzotinto print engraved by Earloin, after a pic- 
 ture by Brandoin, of the interior of the exhibition in 
 1771, the room in which it was held appears to have 
 been a small one, some thirty feet long, lighted by a raised 
 central skylight. 
 
 Although numerically small, there was so much of real 
 
 1 See pa^e. 67. 
 K 2
 
 132 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 art to be seen that we do not wonder that in little more 
 than a month the proceeds of the first exhibition amounted 
 to 699 17s. Qd. The expenses attending it were 116 
 14s. 2d., leaving a surplus of 583 3s. 4c Out of this 
 sum grants were made at the close of the exhibition to 
 26 of the applicants (artists, their widows or children) 
 who were to receive assistance out of the profits arising 
 from the exhibition, in accordance with the 17th section 
 of the Instrument of Institution. Two persons received 
 each 10 guineas ; two 8 guineas ; one 7 guineas ; three 
 6 guineas ; twelve 5 guineas ; and six 3 guineas each, 
 making a distribution of 145 19s. All the recipients 
 of these gifts were unconnected with the Eoyal Academy. 
 Subsequent donations of eleven guineas were made ; and 
 the son of a painter, William Brooking, was apprenticed 
 to Mr. S. Waddon, a peruke maker, for seven years, the 
 Academy paying eleven guineas as a fee, and holding 
 the indentures, the treasurer being appointed to inquire 
 from time to time as to his treatment ; the only instance 
 of such a mode of relieving artists' families recorded. 
 The remainder of the fund was applied towards the 
 general expenses of the Academy. These so far ex- 
 ceeded the receipts that a sum of 903 17s. Id. was 
 granted from the privy purse in this the first year of its 
 existence, and hence the gifts above referred to were 
 rightly designated at that time as " Eoyal charities," since 
 the Academy did not then possess the means of bestow- 
 ing aid to necessitous artists or their families out of its 
 own unaided funds. 
 
 The series of lectures was commenced on the 6th of 
 October, 1769, by Dr. Hunter, the Professor of Anatomy, 
 whose discourses were foUowed by those of the Professors 
 of Painting, Architecture and Perspective, delivered by 
 Edward Penny, Thomas Sandby, and Samuel Wale re- 
 spectively. Each series consisted of six lectures, which 
 were continued weekly in succession during the winter 
 months.
 
 CH. V.] FIRST STUDENTS AND PRIZES 133 
 
 In the first year of the existence of the Eoyal Aca- 
 demy 77 students were admitted into its schools. Of 
 these 36 studied painting, 10 sculpture, 3 architecture, 
 and 4 engraving : the department of art chosen by the 
 remainder is not specified in the records. Among these 
 first students were many of the future members of the 
 Academy. John Bacon, Thomas Banks, Richard Cosway, 
 Francis Wheatley, Edward Burch, John Yenn, William 
 Hamilton, Philip Reinagle, Joseph Farington, and John 
 Flaxman became Academicians : and W. Parry, J. Nixon, 
 E. Martin, J. Downman, W. Pars, E. Edwards, and B. 
 Rebecca attained the rank of Associates. Three gold and 
 seven silver medals were awarded the first year. The 
 gold medals were gained by John Bacon, Mauritius Lowe, 
 and James Gandon : the silver medals by Joseph Strutt, 
 M. Liart, J. Kitchinman, J. Grassi, M. P. van Gelder, 
 J. Flaxman, and T. Hardwick. l 
 
 On the distribution of the prizes to the students on the 
 llth December, 1769, Sir Joshua Reynolds delivered the 
 second of his discourses, suggesting to the students the 
 course and order of study, the different stages of art, and 
 the necessity for artists at all times and in all places to 
 lay up materials for the exercise of their art. A general 
 assembly of the Academicians was held (and has ever 
 since been held annually on the foundation day) to elect 
 the President for the ensuing year, as well as to distribute 
 the prizes to the students and hear the President's address. 
 
 On the same day the election of associates was deter- 
 mined upon, and the following rules were made as to 
 the conditions of membership for this new order: 
 
 " There shall be a new order, or rank of members, to be called 
 associates of the Royal Academy. 
 
 1 A list of the students to whom necessary to print them in detail, 
 
 gold medals have been awarded is In ninety years (1709 1860) 604 
 
 appended to this work. The num- silver medals have been distributed, 
 
 her of silver medals distributed is so besides 1 IS gold medals, 
 large, that it has not been thought
 
 134 HISTORY OF THE ROYAL ACADEMY [Cn. V, 
 
 " They shall be elected from amongst the exhibitors, and 
 be entitled to every advantage enjoyed by the Royal Academi- 
 cians, excepting that of having a voice in the deliberations, or 
 any share in the government of the Academy ; neither shall 
 they have admittance to the library but on the public days, or 
 the liberty of introducing strangers to the lectures. 
 
 " These associates shall be artists by profession, viz. painters, 
 sculptors, or architects. 
 
 " They shall be balloted for in the same manner as the Acade- 
 micians are, and be elected by the majority of the members 
 balloting. 
 
 " The number of these associates shall not exceed twenty. 
 
 " No apprentice, nor any person under the age of twenty, to 
 be admitted an associate. 
 
 " Every associate shall be obliged to exhibit at least one per- 
 formance in every exhibition. Omitting so to do (without 
 showing sufficient cause) he shall forfeit the sum of 21. 10s. to 
 be paid into the treasury of the Academy. 
 
 " The exhibitors who desire to become associates, shall, within 
 one month after the close of the exhibition, write their names on 
 a list, which list shall be put up in the great room of the 
 Academy for that purpose, which shall remain there two months. 
 At the end of which time, being three months after the close 
 of the exhibition, a general assembly shall be held for the 
 purpose of electing associates ; of which day a month's notice 
 shall be given to all the Academicians, with a list of the candi- 
 dates enclosed. 
 
 " That the vacant seats of Academicians shall be filled from 
 these associates only." 
 
 It was also ordered that the election of associate en- 
 gravers should be conducted upon the same plan : and a 
 form of preamble to the diploma of the associates was 
 arranged, to be subscribed by the President and Secretary 
 that of the academician only, requiring the signature of 
 the Sovereign. It was couched in the following terms : 
 
 " His Majesty having been graciously pleased to establish in 
 this, the city of London, a society for the purposes of cultivat- 
 ing and improving the arts of painting, sculpture, and architec- 
 ture, under the name and title of The Eoyal Academy of Arts, 
 and under his own immediate patronage and protection : And
 
 CH. V.] ASSOCIATES 135 
 
 his Majesty having thought fit to entrust the sole manage- 
 ment and direction of the said society, under himself, unto 
 forty Academicians, with a power to elect a certain number of 
 Associates, 
 
 " We, therefore, the President and Academicians of the said 
 Koyal Academy, by virtue of the said power, and in considera- 
 tion of your skill in the art of do, by these 
 presents, constitute and appoint you, 
 
 gentleman, to be one of the Associates of the Royal Academy, 
 hereby granting unto you all the privileges thereof, according 
 to the tenor of the laws relating to the admission of associates, 
 made in the general assembly of the Academicians, and con- 
 firmed by his Majesty's sign manual. In consequence of this 
 resolution you are required to sign the obligation in the manner 
 prescribed, and the Secretary is hereby directed to insert your 
 name in the roll of the Associates." 
 
 The form of Obligation for Associates runs thus : 
 
 " His Majesty having been graciously pleased to institute a 
 society for promoting the arts of design, under the name and 
 title of The Royal Academy of Arts in London, and having signi- 
 fied his Royal intention that the said society should be governed 
 by certain laws and regulations, contained in the instrument of 
 the establishment, signed by his Majesty's own hand, and having 
 empowered the President and Academicians to elect a certain 
 number of Associates, 
 
 " We, therefore, whose names are hereunto subscribed, 
 being duly elected Associates of the said Royal Academy, 
 do promise, each for himself, to observe all the laws and re- 
 gulations contained in the said instrument, as also all other 
 laws, bye-laws, and regulations, either made, or hereafter 
 to be made for the better government of the above-mentioned 
 society ; promising furthermore, on every occasion, to employ 
 our utmost endeavours to promote the honour and interest of the 
 establishment, as long as we shall continue members thereof." 
 
 Of the new members thus introduced into the Royal 
 Academy in the year 1770, sixteen were associates, and 
 five associate engravers. The full number of twenty asso- 
 ciates was not completed till 1773, nor the six associate 
 engravers till the year 1771.
 
 130 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 The first twenty Associates were : 
 
 1770 Edward Burch, afterwards R.A. 
 
 Richard Cosway R.A. 
 
 John Bacon R.A. 
 
 Edward Garvey R.A. 
 
 James Wyatt R.A. 
 
 j A.: 
 
 Edward Stevens 
 George James 
 Elias Martin 
 Antonio Zucchi 
 Michael Angelo Rooker 
 
 1770 William Pars 
 
 1771 William Tomkins 
 
 J. Nollekens, afterwards R.A. 
 W. Peters R.A. 
 
 N. T. Dall 
 B. Rebecca 
 
 1772 J. Barry, afterwards R.A. 
 J. F. Rigand R.A. 
 John Russell R.A. 
 Stephen Elmer 
 
 The first six Associate Engravers were : 
 
 1770 Thomas Major 
 Simon Ravenet 
 P. C. Canot 
 
 1770 John Browne 
 
 Thomas Chambers 
 1775 Valentine Green 
 
 By these new appointments the Academicians were 
 strengthened both by the acquisition of fresh artistic 
 power, and by the removal of the objections which had 
 been made to their previous apparent exclusiveness. En- 
 gravers, if not satisfied, were at least content to find them- 
 selves assigned a place in the Eoyal institution for the 
 promotion of the arts ; and the rising aspirants for honours 
 might hope both for ample employment and fame by con- 
 nection with those who had already attained to the high 
 dignity which the Crown had been pleased to bestow upon 
 the professors of the arts. 
 
 The office of Librarian was established in 1770, the 
 Sovereign having appointed Francis Hayman, E.A., to fill 
 that appointment by the following order : " His Majesty 
 having thought fit to establish a place of Librarian to the 
 Eoyal Academy, with a salary of 50 per annum, and it 
 being his gracious intention that the said place should 
 always be held by some Academician whose abilities and 
 assiduity in promoting the arts had long rendered him 
 conspicuous, he has now appointed Francis Hayman, Esq., 
 E.A., ordering that his salary should commence from 
 Midsummer last." 
 
 The first appointment to the office of Secretary for 
 foreign correspondence was made in 1769, by the nomi-
 
 CH. V.] HONORARY MEMBERS 137 
 
 nation of JOSEPH BAEETTI ' to that office ; and in the 
 following year the honorary membership was instituted by 
 the appointment of Dr. SAMUEL JOHNSON to the professor- 
 ship of Ancient Literature ; OLIVER GOLDSMITH to that of 
 Ancient History ; and EICHAKD DALTON 2 , as Antiquarian. 
 Many illustrious names have subsequently been associated 
 with those of the Eoyal Academicians in these honorary 
 offices 3 , and it was a happy thought on the part of the 
 members of the new art-institution, thus early to gather 
 round them the great minds of the age, to blend literature 
 with art, and to honour themselves in doing honour to the 
 giant intellect of Johnson, and to the gentle Goldsmith, 
 who, writing to his brother in regard to his appointment 
 to this office, thus playfully referred to his poverty, as a 
 contrast to the dignity to which he had attained : " The 
 King has lately been pleased to make me professor of 
 Ancient History in a Eoyal Academy of painting which he 
 has just established, but there is no salary annexed, and I 
 took it rather as a compliment to the institution than any 
 benefit to myself. Honours to one in my situation, are 
 something like ruffles to a man that wants a shirt." 
 
 Yet, if the honour conferred no emolument, it at all 
 events gave the professor of Ancient Literature a place at 
 the annual festival, which was first held in the following 
 year within the walls of the Academy a privilege to be 
 esteemed at all times for the sake of the distinguished 
 
 1 Born at Turin, 1716; died in gave evidence in his favour on that 
 
 1789. He was the author of many occasion. 
 
 books connected with Italy and its * He was librarian to George III., 
 
 literature, and the compiler of the and afterwards keeper of the collec- 
 
 well-known dictionary. One even- tion of drawings, models, &c., which 
 
 ing, on going to the Academy, he he made for the king in Italy and 
 
 was attacked by several men in a Greece. He published several works 
 
 street brawl. He defended himself on antiaue statues, Egyptian man- 
 
 with his penknife, and one of his ners ana customs, Turkish ceremo- 
 
 assailants afterwards died from a nies, &c. In early life he was him- 
 
 wound he then received. Baretti self an artist, and was for a time 
 
 was tried for murder, defended him- treasurer of the Incorporated Society 
 
 self on the trial, and was acquitted of Artists, 
 
 by the jury. I>r. Johnson, Burke, ' See Appendix, 
 and Garrick were his friends, and
 
 138 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 company which is then assembled, but especially grateful 
 to one with the feelings and in the untoward circum- 
 stances of the author of the " Vicar of Wakefield." 
 
 The second exhibition, in 1770, shows an increase in 
 the number of works exhibited, which then amounted to 
 234, and which filled all available space, as 11 were 
 omitted though included in the catalogue ; and 8 of these 
 were the productions of Academicians who had resigned 
 their own privileges of displaying their works to make 
 room for others. The catalogue followed the plan of 
 arrangement of its predecessor, and included 8 portrait 
 pictures by Sir Joshua Eeynolds, 11 by Francis Cotes, 
 3 by Eichard Cosway, 3 by Nathaniel Dance, and 5 by 
 Gainsborough, besides a " book of drawings " and a land- 
 scape by the latter ; views by George Barret, Paul Sandby, 
 and Eichard Wilson ; figure subjects by Cipriani, Hayman, 
 Angelica Kauffman, Edward Penny, Johann Zoffanij, F. 
 Zuccarelli, and others ; architectural drawings by William 
 Chambers, George Dance, and Thomas Sandby ; and the 
 drawing by Cipriani, together with a print from it, by 
 Bartolozzi, of the " Head-piece of the diploma given by 
 his Majesty to the Academicians." The receipts amounted 
 to 971 6s. ; and, after deducting expenses amounting to 
 192 Os. 7|;C?., making grants of relief to the extent 
 of 173 5s., and paying for the maintenance of the 
 schools and management, there was still a deficiency of 
 727 14s. 11^ d. to be defrayed from the privy purse of 
 the Eoyal founder. 
 
 On the occasion of the distribution of the prizes to the 
 students on the 10th December, 1770, Sir Joshua Eey- 
 nolds delivered his third discourse, taking for his subject 
 the question of what is understood by the " grand style " 
 in art, and showing that the perfect idea of beauty must 
 be obtained by the artist in the study of the genuine 
 habits of Nature as distinguished from all influences of 
 custom or fashion. The first impressions from the dies for 
 the medals designed by Cipriani, and executed by Mr.
 
 CH. V.] REMOVAL TO OLD SOMERSET HOUSE 
 
 139 
 
 Pingo, were distributed on this occasion. It would seem 
 that for some years the prizes awarded by the Society of 
 Arts seemed to have been preferred to these honours 
 bestowed by the Eoyal Academy, probably from no other 
 reason than that the money which the former bestowed 
 was more acceptable to needy young aspirants than the 
 medals of the latter. 
 
 Early in the year 1771 the King gave an additional proof 
 of his interest in the Academy by directing the Lord Cham- 
 
 Portion of Old Somerset House, occupied l>y the Royal Academy 
 
 berlain to appropriate to its use apartments in his palace 
 at Somerset House, the old building which became the 
 hereditary property of the Crown on the attainder of the 
 Duke of Somerset in 1552, and which was subsequently 
 given up by King George III. to the Government, in order 
 that it might become the site of Government offices, re- 
 serving to himself, however, the right of appropriating a 
 part of the new building, when completed, to the Royal 
 Academy and other learned societies. Until 1780, when
 
 ROYAL ACADLMi", Somcrfet Hcufe, 
 Tap. 9, 1771 
 
 NOT:Cr; is hereby givsn to the MEM- 
 BERS affd S > UUENTp. tha' tlisACADEMV 
 i$ removc-1 to SOMERSET ;>U*E ->nci -.< ill open 
 oil N'.v)NDAV r.sxt the i4th 1 ift. nt jr'ivs o'Cl. c irt 
 the Afternoon. 
 
 F. M. NEW TOM, Sec. 
 
 with. 
 
 his Royal Highnefs the Duke erf" Cumber- 
 land has ordered a Prcf^nt of One Hundred 
 Guineas to be made to the Royal Academy, re- 
 moved from Pall-mall to Somerfct-houfe. 
 
 'he D. of C. has given 100 Guin<e# Tt 
 al Academy. This is laudable ' ^' eF; 
 rcYe ^n the Hint, and giye 100 G^ ice 0! 
 HarvKi'^ Poor ? v ^*-* - /7^- .
 
 ROYAL ACAOEMV, Somerfrt Hcufs 
 March 7, 17-1, 
 
 THE Prefident aifi Council give Notice, 
 that t!,e EXi '.'2ITIUN will bsopeied on the 
 4th cf April, at tht ;ml E h/brion Room of the 
 4.oyal Academy in P iLL-MA. L ; where the Artifts 
 *'ho intend to . ' i ; i.'t -.-'i:' t'.e Academicians are de- 
 Ired to fend their fevera \\ orks on i hurfclay the i ith 
 jf April, or before Six >' lock in the Evening t,f Fri- 
 day the i ith ; after whic i Ti:ne nj Perfcimance will 
 ; received. 
 
 F. M. N'.WTON, Sec. R.A. 
 Nfte, Mv Copies whatever, nor any Imitations of 
 Pai-.ting in Necdie-w.rk, artificial Flowers, Si oil- 
 work, or any i>'.ii4; th.it KM d will be adm/.tcd, 
 ner any P't&i' ^s, ic. v.-i:hout Fr.imcs. 
 
 Weddcrburne was on Monday \i Juapp ,irfled 
 Attorney General, ^j^ . /4,'f'ft' 
 
 Ll * M nday^the Acadeniician^fnet for the 
 hra Tim: fince the Removal of the Royal A- 
 Cideniy to S...merfct Houfc : The PnrfiJent on
 
 140 
 
 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 the new building was finished, the only rooms occupied 
 by the Academy in the old palace were those for its 
 meetings, libraries, schools, and lectures, which were for- 
 merly in the possession of Sir James Wright, the exhi- 
 bition being still held in its rooms in Pall Mall. The 
 Eoyal Academy met in their new apartments for the first 
 time on the 14th January, 1771 ; his Eoyal Highness the 
 Duke of Cumberland and several of the nobility were pre- 
 sent on the occasion. 1 
 
 It was in this year also that the first of those interesting 
 annual gatherings the dinner preceding the opening of 
 the exhibition was held 2 , which have ever since been 
 so attractive to all those who are privileged to be present 
 either as members of the Academy or as guests, and which 
 even the public without look forward to with interest, 
 since of late years reports of the proceedings have been 
 published in the newspapers. One who has been favoured 
 with an invitation to meet that select and talented com- 
 pany has described both the first dinner, and his own im- 
 pressions of the effect of a similar gathering in later times, 
 so graphically, that we give his account of it, rather than 
 any dry detail of facts which might be gathered from 
 other sources : 
 
 "On St. Greorge's Day, April 23, 1771, Sir Joshua Eeynolds 
 took the chair at the first annual dinner of the Eoyal Academy, 
 when the entertainers, himself and his fellow- Academicians, sat 
 surrounded by such evidences of claims to admiration as their 
 own pencils had adorned the walls with, and their guests were the 
 most distinguished men of the day the highest in rank and 
 
 1 In a letter from John Deare to 
 his father, dated March 24, 1777, 
 quoted in Smith's "Npllekens and 
 his Times," vol. ii. p. 307, he says : 
 "In my last I promised you a de- 
 scription of the Royal Academy. It 
 is in Somerset House, Strand, for- 
 merly a palace. There is one large 
 room for the Plaster Academy ; one 
 for the Life ; a large room in which 
 
 lectures are given every Mondav 
 night hy Dr. Hunter on Anatomy, 
 Wale on Perspective, Penny on 
 Painting, and Thomas Sandby on 
 Architecture." 
 
 2 It was resolved that twenty-five 
 gentlemen should be invited on St. 
 George's Day, and it appears that 
 the dinner was charged at 5s. a head 
 and Is. 6d. the dessert. 
 
 with.' 
 
 1 is Royal Highnefs the Duke of Cnmber- 
 hnd has ordered a Prcfrnt of One Hundred 
 Guineas to be made to die Royal Academy, re- 
 moved From Pall-mall to Somerfct-ho'ufe. 
 
 'he D. of C. has given 100 Guin(e& T* 
 al Academy. This is laudable' < lie F: 
 rcre f.-n the Hint, and give 100 G?' ce ' 
 n/in^ Poor ? v '*** - S?}, ,
 
 .1- 
 
 
 
 Weddtrburne was on Monday ^ii^htapp ,irtlect 
 
 Attorney General. . 
 
 L;iit M nday^the Acadeniicianixfnet for *the 
 fir.t Tim: fince the Removal of the Royal A- 
 cidemy to Scmerfet Houfe : The Proficient on 
 
 FIRST ANNUAL DINNER 141 
 
 '"5 ?' 
 
 5" p" s the highest in genius, the poet as well as the prince, the minister 
 of State and the man of trade. Goldsmith attended this and 
 every dinner until his death, and so became personally known 
 to several men belonging to both parties in the State, who 
 doubtless at any other time, or in any other place, would hardly 
 have remembered or acknowledged his name. Nor, it may be 
 added, has the attraction of these social meetings suffered di- 
 minution since. All who have had the privilege of invitation to 
 them can testify to the interest they still excite ; to the fact that 
 princes and painters, men of letters and ministers of State, 
 tradesmen and noblemen, still assemble at that hospitable table 
 with objects of a common admiration and sympathy around 
 them ; to the happy occasion that their friendly greetings afford 
 for the suspension of all excitements of rivalry, not between 
 artists or Academicians alone, but between the most eager com- 
 batants of public life, ministerial and ex-ministerial ; and to the 
 striking effect with which, as the twilight of the summer even- 
 ing gathers round while the dinner is in progress, the sudden 
 lighting of the room at its close, as the President proposes the 
 health and pronounces the name of the Sovereign, appears to 
 give new and startling life to the forms and colours on the 
 pictured walls. 
 
 " Undoubtedly this annual dinner, then, must be pronounced 
 one of the happiest of those devices of the President by which he 
 steered the new and unchartered Academy through the quick- 
 sands and shoals that had wrecked the chartered institution out 
 of which it rose. Academies cannot create genius : academies 
 had nothing to do with the begetting of Hogarth, or Reynolds, 
 or Wilson, or Gainsborough, the greatest names of our English 
 school ; but they may assist in the wise development of such 
 original powers, they may guide and regulate their prudent and 
 successful application; and, aboveall,they may and do strengthen 
 the painter's claims to consideration and esteem, and give to that 
 sense of dignity which should invest every liberal art, and which 
 too often passes for an airy nothing amid the bustle and crowd 
 of more vulgar pretences, * a local habitation and a name.' This 
 was the main wise drift of Reynolds and his fellow-labourers ; it 
 was the charter that held them together in spite of all their 
 later dissensions ; and to this day it outweighs the gravest fault 
 or disadvantage which has yet been charged against the Royal 
 Academy.
 
 142 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 " A fragment of the conversation at this first Academy dinner 
 has survived ; and takes us from it to the darkest contrast, to 
 the most deplorable picture of human hopelessness and misery 
 which even these pages have described. Goldsmith spoke of an 
 extraordinary boy who had come up to London from Bristol, 
 died very suddenly and miserably, and left a wonderful treasure 
 of ancient poetry behind him. Horace Walpole listened care- 
 lessly at first, it would seem, but very soon perceived that the 
 subject of conversation had a special interest for himself. Some 
 years afterwards he repeated what passed, with an affectation of 
 equanimity which even then he did not feel. f Dining at the 
 Royal Academy,' he said, ' Dr. Goldsmith drew the attention of 
 the company with an account of a marvellous treasure of ancient 
 poems lately discovered at Bristol, and expressed enthusiastic 
 belief in them, for which he was laughed at by Dr. Johnson, 
 who was present. I soon found this was the trouvaille of my 
 friend Chatterton, and I told Dr. Goldsmith that this novelty 
 was known to me, who might, if I had pleased, have had the 
 honour of ushering the great discovery to the learned world. 
 You may imagine, Sir, we did not at all agree in the measure of 
 our faith ; but though his credulity diverted me, my mirth was 
 soon dashed, for on asking about Chatterton, he told me he had 
 been in London, and had destroyed himself.' " ' 
 
 The exhibition, which was thus inaugurated by a fes- 
 tive gathering, showed a still advancing progress over 
 the two preceding ones ; 256 works were exhibited, and 
 16 omitted from want of space the difficulty which has 
 ever since been on the increase, notwithstanding the larger 
 extent of accommodation subsequently obtained. In these 
 early exhibitions it was not the practice to name the per- 
 sons whose portraits were hung on the walls beyond that 
 of " a lady," " a nobleman," " a gentleman," &c. ; and, to 
 satisfy the curiosity of visitors, a key to the catalogue 
 was published by Baretti (the secretary for foreign cor- 
 respondence), giving the information as to the identity of 
 the several portraits. Sir Joshua Eeynolds this year ex- 
 hibited several fancy subjects as 'Venus chiding Cupid 
 
 1 The " Life and Times of Oliver Goldsmith/' by John Forster : 3rd 
 edition, pp. .3724.
 
 CH. V.] EXHIBITION OF 1771 143 
 
 for learning to cast accompts,' ' A Nymph and Bacchus,' 
 ' A Girl Reading,' ' An Old Man,' besides portraits ; 
 Mason Chamberlin, Cosway, N. Dance, Gainsborough, 
 and N. Hone, followed in their own branch of art. West 
 exhibited nine historical pictures, and among them the 
 famous one of ' The Death of General Wolfe,' in which 
 he had ventured very wisely to depart from the custom of 
 his predecessors by representing the personages of the 
 story in the modern costume of their day, and not in the 
 ancient classic garb. Angelica Kauffman contributed six 
 works on classical and poetical subjects; and Wilson, 
 Sandby, Serres, and Barret were among the chief land- 
 scape painters. The new associates also contributed a 
 large share of attraction, and the engravers exhibited 
 proofs of their skill. The receipts amounted to 1124 5s. ; 
 the expenses to 217 9s. 3|^. Donations and grants to 
 the extent of 188 4s. were made at the close of the exhi- 
 bition, and at the end of the year the deficiency in the 
 funds for the third time was paid out of the privy purse 
 the Eoyal aid this year amounting to 669 13s. Id. 
 
 It was in this year, 1771, that the " Travelling Student- 
 ship " was established, the appointments being made from 
 among the gold medal students, and the object being to 
 afford those who gave promise of superior ability the 
 means of studying their art abroad for three years a 
 great boon to aspiring artists. The first selection proved 
 an unfortunate one ; Mauritius Lowe, who was appointed 
 to receive the salary of 60 for three years, having by mis- 
 conduct forfeited the allowance the following year. On 
 his recall, the second on the list of successful competitors 
 for the gold medal John Bacon, afterwards the eminent 
 sculptor was sent to Italy in his stead. The President 
 chose the subject of " Invention in Painting " in delivering 
 his discourse to the students when distributing the prizes 
 on the 10th of December of this year. The schools still 
 continued to receive a large number of students, although 
 not so many as on their first opening, 150 having been
 
 144 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 admitted since their commencement. Of these, twenty- 
 two eventually attained the rank of Associate or Acade- 
 mician, and many won for their names an enduring 
 remembrance as masters of their art. 
 
 In 1772 the fourth exhibition was held, presenting 
 no new features, but increasing the number of works 
 displayed to 310, besides 14 additional paintings omitted 
 for want of room. Six of Eeynolds's ever attractive 
 portraits, several of Gainsborough's graceful delineations 
 of ladies and 10 drawings of landscapes, besides 10 
 large historical compositions by West and Angelica 
 Kauffman, would alone in our own day render an exhi- 
 bition attractive. Barry, then beginning to obtain cele- 
 brity, exhibited his ' Venus Kising from the Sea ' and 
 other similar works ; some of Cosway's miniatures, of 
 Flaxman's models, and of Nollekens' busts, were there ; 
 
 VHC. US,./ . . ' . ' 
 
 t.ii and an attractive portrait picture was exhibited by the 
 . * rr- *: *u -D . i 
 
 new member, Jonann Zonanij, representing the Koyal 
 
 Academicians in the hah 1 of the Academy during one of 
 the evenings devoted to drawing from the living model. 
 The picture has been admirably engraved by Earlom in 
 mezzotinto, and is an interesting memorial of the earlier 
 days of the Academy. There was a decline in the amount 
 of the receipts, the sum being only 976 5s. The ex- 
 penses of the exhibition were 221 3s. lO^d. ; aid to 
 artists and their families was granted to the extent of 
 208 9s. ; and, after the charges for the schools, &c., were 
 defrayed, a deficiency of 623 10s. l^d. remained, to be 
 again made up from the privy purse of the King. The 
 fifth of Eeynolds's discourses was delivered this year on 
 the occasion of distributing the prizes on the 10th of 
 December, when he continued the subject of the preced- 
 ing one, illustrating his teaching by an analysis of the 
 works of the great masters in the ancient schools of art. 
 
 In the foil owing year (1773) the full complement of 
 forty academicians was attained. Originally only thirty- 
 four were nominated by the King; subsequently, in 1769,
 
 CH. V.] THE FIFTH EXHIBITION 145 
 
 his Majesty named two others, Johan Zoffanij and William 
 Hoare ; but after that time all the academicians obtained 
 their appointment by the election of the members. Thus 
 Edward Burch and Eichard Cosway (two of the first 
 students) were elected associates in 1770, and E.A. in 
 1771. Joseph Nollekens, the sculptor, was elected in the 
 same year ; and James Barry, the painter, in 1773. Even 
 at this early period death had visited the new community, 
 and Francis Cotes and John Baker had passed away from 
 among them. 
 
 The fifth exhibition, in 1773, again showed an increase 
 in the number of works sent for exhibition, 359 being 
 hung, and 26 excluded, 9 of these being the productions 
 of the academicians, and one of them a full-length portrait 
 of a lady by Eeynolds. But in this collection the Presi- 
 dent had twelve of his most celebrated works displayed ; 
 among them, his portraits of their Eoyal Highnesses the 
 Duke and Duchess of Cumberland, the famous ' Straw- 
 berry Girl,' 1 which was sold to Lord Carysfort for fifty 
 guineas, and realised, a few years since, at the sale of 
 Samuel Eogers' pictures, the sum of two thousand ! and 
 another picture, of a very opposite character, the ' Count 
 Ugolino and his Children,' from Dante's " Inferno." Here, 
 too, were twelve of West's classical and Scripture pieces, 
 five similar works by Kauffman, and a large number of 
 portraits and landscapes by Cosway and Zoffanij, Sandby, 
 De Loutherbourg, and D. Serres. The receipts of the 
 exhibition were 1006 8s.; and its expenses, 263 7s. 
 A sum of 200 1 Is. was distributed afterwards ; the 
 charges for the schools, &c., absorbed the balance, and 
 a further sum of 458 1 Is. 7(/., which the King again 
 graciously supplied from the privy purse. 
 
 It was in this year (1773), while the Eoyal Academy 
 
 Reynolds often said that no lifetime, and when ho painted the 
 
 man ever produced more than half- ' Strawberry Girl, ' he remarked, 
 
 a-dozen original works in his whole " This is one of my originals." 
 
 VOL. I. L
 
 146 inSTORY OF THE ROYAL ACADEMY [On. V. 
 
 was still in the infancy of its career, and had not yet 
 overcome the opposition of rival societies of art, that its 
 members gave a noble instance of their public spirit, and 
 of their generous desire to advance the cause of art, at a 
 great cost of time and labour to themselves, by offering 
 to paint, at their own expense, a series of Scriptural 
 histories, for the decoration of St. Paul's Cathedral. This 
 proposal arose out of one made by some of the members 
 that the chapel in Old Somerset Palace, which had been 
 assigned to them, would afford a good opportunity of 
 convincing the public of the advantages that would arise 
 from ornamenting churches and cathedrals with works of 
 art ; but the president considered that the Metropolitan 
 Cathedral would be the best site for such an illustration 
 of their purpose. The artists selected to carry out the 
 design were Angelica Kauffman, Sir Joshua Eeynolds, 
 Benjamin West, Cipriani, N. Dance, and James Barry. 
 The latter says 1 that "Dance had chosen for his subject, 
 the 'Eaising of Lazarus;' Eeynolds, the 'Virgin and 
 Christ in the Manger ;' West, ' Christ Eaising the Widow's 
 Son;' and mine, 'Christ Eejected by the Jews, before 
 Pilate.'" As this offer was in accordance with the original 
 design and intention of Sir C. Wren, the architect of the 
 cathedral, it was expected that it would have been readily 
 accepted by the ecclesiastical authorities, especially as the 
 King gave his ready consent to the proposal. In this, 
 however, the artists were doomed to suffer a sad dis- 
 appointment. The causes which led to its rejection are 
 stated in detail by Dr. Newton, then Dean of St. Paul's, 
 and afterwards Bishop of Bristol, in the life, written by 
 himself, prefixed to the 4to edition of his works, 1782. 
 He says : 
 
 " As he was known to be such a lover of their art, the Eoyal 
 Academy of Painters, in 1773, made an application to him, by 
 their worthy president, Sir Joshua Keynolds, representing that 
 
 1 Letter to the Duke of Richmond, 14th October, 1773.
 
 CH. V.] OFFER TO DECORATE ST. PAUL'S CATHEDRAL 147 
 
 the art of painting, notwithstanding the present encouragement 
 given to it in England, would never grow up to maturity and 
 perfection unless it could be introduced into churches, as in 
 foreign countries, individuals being for the most part fonder 
 of their own portraits and those of their families than of any 
 historical pieces ; that, to make a beginning, the Koyal Acade- 
 micians offered their services to the Dean and Chapter to 
 decorate St. Paul's with Scripture histories . . . that these 
 pictures should be seen, and examined, and approved by the 
 Academy before they were offered to the Dean and Chapter, and 
 the Dean and Chapter might then give directions for alterations 
 and amendments, and receive or refuse them as they thought them 
 worthy or unworthy of the places for which they were designed ; 
 none should be put up but such as were entirely approved, and 
 they should all be put up at the charge of the Academy, without 
 any expense to the members of the church. St. Paul's had all 
 along wanted some such ornament, for, rich and beautiful as it 
 was without, it was too plain and unadorned within. Sir James 
 Thornhill had painted the ' History of St. Paul ' in the cupola, 
 the worst part of the church that could have been painted. . . . 
 They had better have been placed below, where they would 
 have been seen, for there are compartments which were originally 
 designed for bas-reliefs, or such decorations ; but the parliament, 
 as it is said, having taken part of the fabric-money, and applied 
 it to King William's wars, Sir C. Wren complained that his 
 wings were dipt, and the church was deprived of its ornaments. 
 Here, then, a fair opportunity was offered for retrieving the loss, 
 and supplying former defects. It was certainly a most generous 
 and noble offer on the part of the Academicians, and the public 
 ought to think themselves greatly obliged to them for it. The 
 Dean and Chapter were all equally pleased with it; and the 
 Dean, in the fulness of his heart, went to communicate it to the 
 great patron of arts, and readily obtained his Royal consent and 
 approbation ; but the trustees of the fabric, the Archbishop of 
 Canterbury and the Bishop of London, were also to be consulted, 
 and they disapproved the measure. Bishop Terrick, both as 
 trustee of the fabric and as bishop of the diocese, strenuously 
 opposed it. Whether he took it amiss that the proposal was not 
 made to him, and by him the intelligence conveyed to his 
 Majesty, or whether he was really afraid, as he said, that it 
 would occasion a great noise and clamour against it, as an artful 
 
 x. 2
 
 148 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 intrusion of Popery, whatever were his reasons, it must be 
 acknowledged that some other serious persons disapproved the 
 setting up of pictures in churches." 
 
 An intimation was given to Sir Joshua Eeynolds that 
 the project must therefore be abandoned, a decision 
 which was alike disappointing to the artists who had thus 
 volunteered to devote their services gratuitously for the 
 decoration of the noble structure, and to the public, who, 
 far from thinking that Popery would be strengthened, felt 
 that the representation of Scriptural scenes might be sub- 
 ordinated to the teaching of the simple truths of the 
 Protestant faith. 
 
 The new building belonging to the Society of Arts, 
 Manufactures, &c., in the Adelphi, was occupied by the 
 society in the year (1774) following that in which the 
 above proposition had been made ; and probably wishing 
 to take advantage of the public spirit of the artists, the 
 society sent an invitation to the members of the Royal 
 Academy to paint a series of pictures for the decoration 
 of their great hall of meeting, offering, by way of re- 
 muneration, that the pictures, when finished, should be 
 exhibited for the benefit of those who might have 
 executed them. Eesolutions were passed, proposing to 
 have eight historical and two allegorical pictures, the 
 former illustrating English history, the latter to be 
 " emblematical designs relative to the institution and 
 views of the society," and naming Eeynolds, West, 
 Cipriani, Dance, Mortimer, Barry, Wright, Eomney, 
 Penny, and Angelica Kauffman as proper persons to 
 execute them. But the rejection of their former proposal 
 by the Bishop of London caused the members of the 
 Eoyal Academy to decline any more similar undertakings, 
 and the plan of the Society of Arts remained in abeyance 
 till 1777, when James Barry offered to paint a series of 
 pictures on ' Human Culture ' for the society, which 
 occupied him nearly seven years, in return for which 
 the society granted him the proceeds of two exhibitions,
 
 CH. V.] THE EXHIBITIONS OF 17745 149 
 
 which yielded 503, voted him 250 guineas, their gold 
 medal, and a seat of membership. His desire for fame 
 was thus gratified, and he was satisfied with the remunera- 
 tion he received ; yet his labour was so far unprofitable 
 to him that it necessarily involved years of poverty and 
 seclusion. 
 
 The sixth exhibition, in 1774, did not present any new 
 features, or make any advance on its predecessors. The 
 number of works exhibited was nearly the same, 354 ; 
 the number omitted (always at that time numbered and 
 described in the catalogue) only 8. Historical and fan- 
 ciful pictures were numerous. There were 3 by Barry, 
 7 by A. Kauffinan, 3 by B. West, including 'Moses re- 
 ceiving the Tables,' a design for a picture intended to have 
 been painted for St. Paul's Cathedral, and a design for the 
 altar-piece of St. Stephen's, Walbrook. Sir J. Eeynolds 
 exhibited twelve pictures, chiefly portraits. In landscape 
 the principal exhibitors were Barret, De Loutherbourg, 
 Booker, Sandby, Serres and Wilson. Bartolozzi, Cipriani 
 and Fuseli contributed drawings ; and Bacon, Nollekens, 
 and Wilton were the chief sculptors. The receipts in- 
 creased to 1158. The expenses amounted to 286 
 13s. 2^d. ; 216 6s. was distributed as gifts at the close 
 of the exhibition ; and on the accounts of the year the 
 sum of 368 17,9. lid. was furnished by the King to 
 meet the expenditure for the schools, &c. 
 
 In the following year, 1775, 390 works were exhibited, 
 and 10 excluded, among the latter 4 by Angelica 
 Kauffinan, and a basso-relievo by Banks. The Presi- 
 dent showed by 1 2 portrait pictures that he was still the 
 favourite in that branch of art. West contributed 7 
 pictures, chiefly of Scripture subjects : A Kauffinan and 
 Barry followed with classical designs : De Loutherbourg, 
 Booker, Sandby, Serres and Wilson sent many landscapes ; 
 and among the prominent works in sculpture were the 
 graceful models by John Bacon, Flaxman and Nollekens. 
 The exhibition receipts amounted to 1001 8*. ; its
 
 150 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 expenses to 310 17 s. Sd. ; and after a sum of 84 had 
 been distributed in aid to artists and their families, there 
 was still the necessity to appeal to the liberality of the 
 Royal Patron of the Academy to supply 408 Qs. 8|d., 
 to defray its expenses, out of the privy purse. 
 
 Hitherto the Academicians had derived no benefit from 
 the annual distribution of the money which had been 
 placed at their disposal ; but in 1775 one of the members, 
 J. Meyer, considering that it often happens from a va- 
 riety of causes that even men of great talents are ex- 
 posed in old age to penury and want, proposed that 
 instead of the Academy expending annually 200 (as 
 prescribed by one of the laws of the institution) in chari- 
 table gifts to persons who were often strangers to art, or 
 had but small connexion with it, an annual investment in 
 Government securities should be made of half that amount, 
 to accumulate into a fund, " to be paid in sums not ex- 
 ceeding 25 per annum to such Academicians (or their 
 widows) or associates, if thought proper, as shall appear 
 to have no income of their own exceeding 50 per 
 annum." This judicious arrangement was gladly acceded 
 to by the Council, and approved by the King : and thus 
 was founded the " Pension Fund " which has since been 
 so great a boon to many a talented artist in his declining 
 years, and so great a benefit to otherwise impoverished 
 families. Among the first members of the Academy who 
 derived advantage from this measure was Samuel Wale, 
 who was placed on the fund in 1778 ; and after that date 
 the widows of members appear on the list of claimants. 
 
 Although the Academy had thus steadily progressed in 
 establishing its reputation, by the high character of the 
 works exhibited by its members, and by the instruction 
 afforded by them to students in art, it must not be 
 forgotten that during all these years it was contending 
 with opposition from the two rival societies out of which 
 it arose. In 1771 an octavo pamphlet was published, 
 entitled "The Conduct of the Royal Academicians while
 
 CH. V.] SIR K. STRANGE'S PAMPHLET 151 
 
 members of the Incorporated Society of Artists of Great 
 Britain, viz. from 1760 to their Expulsion in 1769, with 
 part of their Transactions since " in which the conduct 
 of the seceders from the Society was, of course, un- 
 sparingly condemned. And in 1775, the same kind of 
 attack was renewed by an old antagonist, Sir Eobert 
 Strange, the eminent engraver, who in that year published 
 "An Inquiry into the Eise and Establishment of the Eoyal 
 Academy of Arts : to which is prefixed a Letter to the 
 Earl of Bute," to the statements in which we have already 
 had occasion to refer. With him the question at issue 
 was a personal one, his own exclusion from member- 
 ship with the Academy on the plea that he was an en- 
 graver. It was then considered that as the engraver was 
 but the transcriber of the work of the artist, he could 
 not take equal rank with the latter, from whose work he 
 was but a copyist ; and although the course taken imme- 
 diately after the formation of the Academy, in the elec- 
 tion of associate engravers, was designed to recognise the 
 merits of those who contributed so much to spread a 
 taste for art by means of their skilful and truthful 
 engravings, and who displayed so much of the artist's 
 feeling and ability in the rendering of his work yet it 
 failed to satisfy the ambition of such men as Sir Eobert 
 Strange, who had already attained an eminent place 
 among English engravers. A still further concession of 
 the original principle of the Eoyal Academy in this re- 
 spect has been made within the last few years ; and it is 
 to be hoped that the ill-feeling so long excited between 
 two classes, whose mutual co-operation is so essential to 
 the advantage of each, will now finally pass away. 
 
 The exhibition of 1776 contained 364 works, and ex- 
 cluded 15. Its chief attractions were still created by the 
 number of Eeynolds's brilliant portrait pictures, the his- 
 torical and fanciful creations of Angelica Kaufiman, Ben- 
 jamin West, Samuel Wale and Barry, the miniatures of 
 Cosway, the portraits of Beechey and others, and the
 
 152 HISTORY OF TILE ROYAL ACADEMY [Cn. V 
 
 landscapes of Barret, De Loutherbourg, Paul Sandby, 
 Serres and Wilson. Many of the new associates were dis- 
 playing proofs of their genius ; and with the addition of a 
 variety of contributions from without, we can easily con- 
 ceive that these early exhibitions afforded as many objects 
 of interest to the real lover of art as we could find in the 
 present day. This at all events proved more attractive 
 than any of its predecessors, and produced 1248 16s. 
 The expenses were 316 13s. 10|e?., and (acting upon 
 the resolution of the preceding year to invest one-half 
 of the sum usually applied to the relief of artists) only 
 94 10s. was distributed. The expenses of the Aca- 
 demy being defrayed, 177 Is. b^d. had to be made up 
 by the Royal bounty the sum thus generously pro- 
 vided from the King's privy purse being gradually re- 
 duced, as the Academy continued to gain public support 
 and estimation. 
 
 In the following year, 1777, no less than 423 works 
 were sent to the exhibition, which still retained the charac- 
 teristic appearance which would be given by so many 
 works by artists whose well-known styles would lead at 
 once to their identity. First in the number, as well as 
 in the excellence of his works, was Reynolds, who this 
 year contributed 13 paintings. Other portraits were by 
 Beechey, Cosway, and John Singleton Copley, besides 
 some by Gainsborough, who also sent a few of his charm- 
 ing landscapes. Other scenes were depicted by Barret, 
 De Loutherbourg, Wilson, Sandby, and Serres. Angelica 
 Kauffman and West displayed several fanciful pieces, and 
 the latter exhibited two pictures containing portraits of 
 the Queen and the Royal family. Bacon, Flaxman, and 
 Nollekens still held the first place in sculpture. The 
 Academy's receipts were this year 11 93 Is., its expenses 
 323 12s. 2d. The grants amounted to 121, and the 
 sum of 211 Is. Q^d. was contributed from the privy 
 purse to meet the deficiency on its liabilities for the main- 
 tenance of the schools, &c. In this year John Soane, the
 
 CH. V.] EXHIBITIONS OF 17789 153 
 
 architect, was sent to Eome as a travelling student from 
 the Koyal Academy. 
 
 In the catalogue of the Exhibition of 1778, 427 works 
 are included, but only 404 were exhibited ; and 3 of 
 Gainsborough's portraits were of the number omitted. 
 Eight others by him, besides 2 landscapes, were exhi- 
 bited. Keynolds had only 4 pictures, West only 3 ; 
 but Beechey, Copley, Cosway, A. Kauffman, and Bar- 
 tolozzi contributed a number of their performances in the 
 same branch of art ; while Barret, Daniell, De Louther- 
 bourg, Eooker, Serres, Wheatley, and Wilson furnished an 
 array of landscapes ; and Bacon, Flaxman, and Nollekens 
 well represented the sculptors. The receipts were larger 
 than on any former occasion, the exhibition having pro- 
 duced 1475 Us. Its expenses absorbed 363 16s. 5e?., 
 grants of aid another 100, and after the charges of the 
 Academy had been defrayed, and its annual investment 
 made to the pension fund, the deficit, 236 11s. 4c?., 
 was supplied by the privy purse. 
 
 In 1779 the last exhibition of the Eoyal Academy 
 in Pall Mall took place. Four hundred and eleven 
 works were sent for exhibition, but of these 16 were 
 omitted. Among those displayed were the works de- 
 signed by Keynolds for New College Chapel, Oxford 
 the ' Nativity,' and 'Faith, Hope, and Charity' besides 
 some portraits by him, Gainsborough, West, Cosway, 
 Beechey, and Hone ; several historical and poetical com- 
 positions by West, Cipriani, and Angelica Kauffman ; 
 landscapes by Wilson, Gainsborough, Barret, De Louther- 
 bourg, Sandby, and Serres, and a large collection of 
 genre subjects by artists of less note. The receipts 
 yielded 1380 16s., its expenses were 359 11s. 9^<f. 
 The sum of 100 was granted to applicants for the Eoyal 
 Charity, as it was then appropriately termed ; and on the 
 charges for the year 185 15s. lOJe?. was deficient, 
 which the King's bounty supplied from the privy purse. 
 
 The schools of the Academy during these years had
 
 154 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 continued to prosper, an average of thirty students seek- 
 ing instruction in them. Besides their actual studies, and 
 the lectures of the professors, the President continued his 
 discourses to them on the great principles of art. Fol- 
 lowing his fifth discourse in 1772 (which we have already 
 noticed) three others had been delivered in the years 
 1774, 1776, and 1778, on the occasion of the distribution 
 (in December of alternate years) of the gold medals to the 
 students. In the sixth discourse the subject of imitation 
 was discussed, so far as a painter is concerned in it. The 
 President defined invention to be "one of the great 
 marks of genius ; but if we consult experience we shall 
 find that it is by being conversant with the inventions of 
 others that we learn to invent, as by reading the thoughts 
 of others we learn to think ; " and he sums up his dis- 
 course by urging the followers of the arts " to study the 
 great works of the great masters for ever. . . . Study 
 nature attentively, but always with those masters in your 
 company." In his seventh discourse, Eeynolds sought to 
 demonstrate the reality of a standard of taste, and the 
 idea of perfect beauty when that taste is rightly formed ; 
 and in the eighth to define those principles of art which 
 have their foundation in the mind, such as novelty, variety, 
 and contrast. 
 
 The Eoyal Academy was now honoured and encouraged 
 by a fresh token of the Eoyal favour, and a substantial 
 proof of the advantage of securing the patronage of the 
 Sovereign in the promotion of the arts. New Somerset 
 House was completed in 1780, and early in the year the 
 treasurer of the society received the following letter from 
 the Secretary to the Lords of the Treasury, announcing that 
 the apartments which the King had ordered to be appro- 
 priated to the Eoyal Academy, were ready for their use : - 
 
 " To Sir William Chambers. 
 
 " SIR, The Lords Commissioners of his Majesty's Treasury 
 having taken into consideration your letter of the 27th of
 
 CH. V.] OCCUPATION OF PART OF NEW SOMERSET HOUSE 155 
 
 March, stating that the apartments allotted to the Eoyal 
 Academy in the new building at Somerset House are now com- 
 pletely finished, and that his Majesty has directed this year's 
 exhibition of pictures to be there; and desiring to have an 
 order for delivering up the same either to the president or 
 council, or to the treasurer of the Academy, who is, by virtue of 
 his office, to have the inspection and care both of the buildings 
 and all other his Majesty's effects employed in that institution : 
 I am commanded by their lordships to direct you to deliver up 
 
 The Royal Academy, New Somerset Houae 
 
 into the hands of the treasurer of the Royal Academy, all the 
 apartments allotted to his Majesty's said Academy in the new 
 buildings in Somerset House, which are to be appropriated to 
 the uses specified in the several plans of the same, heretofore 
 settled. And you are to signify to the officers of the Academy 
 that they, their families, servants, tradesmen, and visitors, are to 
 use for their apartments the stair of communication only, and
 
 156 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 not to use the great stair for any common purposes ; and as the 
 residence of the secretary in the Academy is an indulgence 
 lately proposed, which upon trial may be found inconvenient, or 
 the rooms he occupies be hereafter wanted for other purposes, 
 you are to signify to him that he holds the same merely at 
 pleasure, to be resumed whenever it shall be thought proper. 
 And to the end that all the parts of the new building may be 
 preserved in good repair, clean, undamaged, and undisfigured, 
 you are strictly to direct and order that no tubs or pots of earth, 
 either with or without flowers or trees, creepers, or other 
 shrubs, be placed in the gutters of the said buildings, or upon 
 the roofs and parapets, or upon the court areas or windows, 
 niches, or any other aperture of the same; and also that no 
 plaster, paper, or other thing be put up, plastered, or pasted 
 against any of the walls thereof, under any pretence whatever. 
 And you are further to direct that on no account whatever, any 
 change shall be made in the destination of the apartments 
 appropriated to the public use, nor any alteration either in those 
 or any others that are or shall be inhabited by any of the 
 officers or servants without the approbation of this board, and 
 that no person be permitted to let or lend their apartments under 
 any pretext whatever. 
 
 " I am, Sir, 
 
 " Your most humble servant, 
 
 "JOHN KOBINSON. 
 " Treasury Chambers, llth April, 1780." 
 
 The apartments thus allotted to the Eoyal Academy (by 
 the right which the King reserved to himself, when Old 
 Somerset House was given up to the Government for 
 the erection of Government offices, of appropriating a 
 portion of the new edifice, fronting the Strand, to the 
 Eoyal Academy, the Society of Antiquaries, and the 
 Eoyal Society) were built expressly for their use, a large 
 room being provided for an exhibition-room at the top of 
 the building. The entrance was by the doorway on the 
 right, as you enter the vestibule from the Strand. In the 
 entrance-hall, at the foot of the stairs, afterwards stood 
 casts of ' Hercules,' and ' Two Centaurs ; ' and in another 
 part of the hall, the ' Apollo Belvidere.' As soon as the 
 academicians found themselves thus established in their
 
 CH. V.] THE ACADEMY AT SOMERSET HOUSE 157 
 
 new home, they set about the ornamentation of its several 
 parts. Thus the library, on the first floor, was enriched 
 with a painted ceiling, by Sir Joshua Eeynolds, in which 
 4 Theory ' was represented sitting on a cloud, holding a 
 scroll containing the words, " Theory is the knowledge of 
 what is truly nature." In the coves were emblematical 
 pieces by Cipriani, representing * Design,' ' Character,' 
 c Commerce,' and ' Plenty.' Over the chimney-piece was 
 a bust of the King, by Carlini, and a basso-relievo of 
 ' Cupid and Psyche,' by Nollekens. The adjoining room 
 was the antique academy, full of casts and models. This 
 led to the lecture-room, the ceiling of which was painted 
 in compartments, the centre containing the ' Graces un- 
 veiling Nature,' surrounding which were the ' Four 
 Elements,' by Benjamin West. In four small circles were 
 contained as many heads of ancient artists, Apelles, Ar- 
 chimedes, Apollodorus, and Phidias, by Biaggio Eebecca. 
 At each end of the ceiling were four pieces by A. 
 Kauffman, representing ' Genius,' ' Design,' ' Composition,' 
 and ' Painting.' Two portraits of the King and Queen, by 
 Sir Joshua Eeynolds, and a picture of ' Samuel and Eh,' 
 by Copley, finished the adornment of this room. The 
 exhibition-room was, of course, comparatively plain and 
 unornamented. Over the door there was a painting of 
 basso-relievo heads of their Majesties, in a medallion, 
 supported by ' Design ' and ' Painting ; ' and on the top 
 of the door, the motto " Let none but men of taste pre- 
 sume to enter," was inscribed, imitated from that of Pytha- 
 goras, in Greek. In the corners were four emblematical 
 pieces by Catton, ' Geometry,' ' Science,' ' Painting,' and 
 1 Sculpture.' The room was lighted by four arched 
 windows, and was about GO feet by 50 feet in size. The 
 exhibition-room of sculpture and drawings was on the 
 ground floor, and was quite plain. On the staircases were 
 various figures and busts. On the first landing, a painting 
 by Cipriani, in imitation of basso-relievo, the subject 
 being the ' Arts and Sciences.' On the staircase, at the
 
 158 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 top of the next flight, and fronting the door of the great 
 exhibition-room, there was another painting, by the same 
 artist, of ' Minerva and the Muses,' also an imitation of 
 basso-relievo, in which the deception was said to be so 
 great that it was hardly possible to believe that the figures 
 were not swelling from the wall. 
 
 Those who were in the habit of visiting the exhibition, 
 during the fifty-seven years in which it was held in 
 Somerset House, speak of the cool, quiet dignity of the 
 council-room as being quite delightful to any one who 
 had spent some hours in the busy scene of the exhibition- 
 rooms above. Here was the board of green cloth, the 
 president's chair, the seats for the academicians, and 
 around the chamber were hung the diploma-pictures 1 , 
 reminding the spectator of departed genius. This could, 
 of course, only refer to a much later period, since at the 
 time of the removal of the Academy to its new premises 
 only five (Eichard Yeo, Peter Toms, Francis Hayman, 
 John Baker, and Francis Cotes) had died among the 
 academicians, and five of the associates, viz. Eavenet, 
 Chambers, Stevens, Dall, and Mortimer. The appoint- 
 ment of librarian, vacant by Hayman's death in 1776, 
 had been conferred on Eichard Wilson. 
 
 New members had taken the place of those thus re- 
 moved. Since the election of Barry (by whose appoint- 
 ment the full number of forty members was completed in 
 1773), William Peters, John Singleton Copley, and John 
 Bacon had attained the rank of E. A. ; and in addition to 
 the associates elected in 1770, there were now ten others, 
 Dall, Biaggio Eebecca, Tornkins, Elmer, Edwards, 
 Green, Parry, Mortimer, Nixon, and Horace Hone. 
 
 These, with the original members, were sufficient to 
 produce an attractive display for the first exhibition in 
 
 1 The practice of requiring each "of the collection, not commenced 
 
 Academician, on receiving his di- till 1770 ; and, therefore, the Aca- 
 
 ploma, to present a specimen of his demy does not possess any work by 
 
 skill to the Royal Academy, was, several of its earliest members, 
 unfortunately for the historical value
 
 CH. V.] THE EXHIBITION OF 1780 159 
 
 the new rooms, which was opened on the 1st of May, 
 1780. There was an increase of the works contributed, 
 the number being 489 ; the plan of arranging the 
 names of the artists alphabetically, and numbering their 
 works in rotation under their respective names, was 
 abandoned ; and the catalogue then presented the same 
 miscellaneous inventory as it does at the present time. 
 Sir J. Eeynolds sent this year a portrait of Miss Beauclerc 
 as Spencer's " Una," and the heads of Gibbon, the his- 
 torian, Lady Beaumont, the son of the Duke of Gloucester, 
 and his painting of ' Justice.' Gainsborough was there 
 with portraits and landscapes ; West, with several portraits 
 of Eoyal personages, classical subjects, and a representation 
 of the 'Battle of the Boyne,' and the 'Action at La 
 Hogue ; ' D. Serres contributed other naval engagements ; 
 De Loutherbourg, some sombre landscapes ; Wilson, some 
 scenes of tranquil beauty ; Sandby, some drawings of 
 castles and Welsh views ; Stothard, some of his graceful 
 designs ; and Cosway, Beechey, Hamilton, and others, 
 portraits and miniatures of varied beauty ; besides the 
 general collection of pictures which divert the eye from 
 more striking works. 
 
 The increased accommodation, and the desire of the 
 public to see the new rooms of the Academy, caused a 
 great rise in the receipts for admission, which this year 
 amounted to 3069 Is., an increase of 1700 over the 
 preceding year. The expenses of the exhibition were 
 656 16.. 5|c?., the gifts bestowed on needy artists and 
 their families amounted to 197 2s., and, for the last 
 time, a contribution was made from the privy purse of 
 144 18s. tyd. towards the general charges for the 
 Academy. From this period it was independent of 
 pecuniary aid, and has continued to increase its resources ; 
 but it would be ungracious to forget that during the 
 first twelve years of its existence it relied, not only for 
 patronage and encouragement, but partially for support, 
 on the generosity of ite Koyal founder, who, during that
 
 1GO HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 period, contributed from his privy purse upwards of 
 5000 towards its maintenance. 
 
 In this year (1780) the President painted a portrait of 
 Sir William Chambers, the architect of Somerset House, 
 and that likeness of himself which contains the bust of 
 Michael Angelo, and presented them to the Academy. 
 They are among his best works. On the occasion of the 
 opening of the schools, on the 16th of October, he 
 delivered a short address to the students (Discourse ix.), 
 in which, before speaking of the advantages to society 
 from cultivating intellectual pleasures, he thus refers to 
 the altered position and prospects of the Academy : 
 
 " The honour which the arts acquire by being permitted to 
 take possession of this noble habitation, is one of the most con- 
 siderable of the many instances we have received of his 
 Majesty's protection, and the strongest proof of his desire to 
 make the Academy respectable. Nothing has been left undone 
 that might contribute to excite our pursuit or to reward our 
 attainments. We have already the happiness of seeing the arts 
 in a state to which they never before arrived in this nation. 
 This building in which we are now assembled will remain to 
 many future ages an illustrious specimen of the architect's 
 abilities. It is our duty to endeavour that those who gaze with 
 wonder at the structure may not be disappointed when they 
 visit the apartments. It will be no small addition to the glory 
 which this nation has already acquired, from having given birth 
 to eminent men in every part of science, if it should be enabled 
 to produce, in consequence of this institution, a school of 
 English artists." 
 
 In his address at the distribution of prizes to the 
 students, on the 10th of December, 1780, he took for his 
 subject, "The objects, form, and character of works of 
 sculpture," and pointed out the mistakes made by modern 
 artists in their efforts to improve on ancient models. 
 
 Successive years of prosperity, extended usefulness, and 
 increased popular favour followed on this happy begin- 
 ning of the Academy's career at Somerset House. The 
 exhibitions were increasingly attractive a large number
 
 CH. V.] WOLCOTT'S SATIRES ON THE ACADEMY 161 
 
 of works were sent in, and the proceeds were more abun- 
 dant year by year ; the gifts and pensions dispensed were 
 multiplied ; and the means of instruction for students in 
 each branch of art improved. But there were, never- 
 theless, trials attending this prosperity, for the Academy 
 found itself exposed to virulent attacks from without, in 
 the shape of pamphlets and satires. Thus, in 1781, a 
 quarto pamphlet was anonymously issued, entitled " The 
 Ear- wig : An old Woman's Eemarks on the Exhibition of 
 the Eoyal Academy ; " and this was followed by " Lyric 
 Odes to the Eoyal Academicians for 1782, by Peter 
 Pindar, Esq., a distant relation of the Poet of Thebes, and 
 Laureate to the Academy." The latter were the produc- 
 tions of Dr. John Wolcott, an unsuccessful physician, who 
 early discovered the genius of the Cornish boy, the self- 
 taught artist Opie, and afterwards engaged to share in 
 the profits of his labours as a painter. The " Odes " took 
 the town by surprise, and the justice of some of his re- 
 marks, the reckless daring of the personalities, and the 
 novelty of the style of them, made these productions ex- 
 ceedingly popular. Wolcott was so much encouraged by 
 their success, that he returned to the charge in 1783, 
 1785, and 1786. Although such malicious abuse, and 
 such Licentious personality as were contained in these 
 " Odes," could not fail to be galling to the members of 
 the Academy ; the very fact of their publication and the 
 popular interest in them, prove that the institution against 
 which they were directed was looked upon as an im- 
 portant one, or they would sooner have lost their hold 
 upon the public. When the topic appeared to be ex- 
 hausted, their unprincipled author commenced a series of 
 biting satires on the King and Pitt, and at a later period he 
 received a pension from the latter to vituperate against the 
 opponents of his ministry. Other squibs of the same sort 
 continued to appear at intervals. Thus, in 1788, appeared 
 " The Bee : or the Exhibition exhibited in a new light ; 
 or, a complete Catalogue raisonne for 1788;" and in 1797 
 
 VOL. I. M
 
 162 
 
 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 " The Eoyal Academy ; or, a Touchstone to the present 
 Exhibition, by Anthony Touchstone." 1 
 
 1 Although the greater part of 
 Wolcott's poetry is far from suitable 
 to ears polite, there are passages 
 here and there in his " Lyric Odes 
 to the Royal Academicians," which 
 we may quote without impropriety, 
 to show the tone in which me ar- 
 tists were dealt with by him. Here 
 is the introduction to those for 
 1782 : 
 
 " Paint and the men of canvas fire my lays, 
 Who show their works for profit and for praise ; 
 Whose pockets know most comfortable fillings- 
 Gaining two thousand pounds a year by shil- 
 lings." 
 
 He thus speaks of Reynolds and 
 
 West : 
 
 " Yet Reynolds, let me fairly say, 
 
 With pride I pour the lyric lay ; 
 To most things by thy able hand expressed 
 
 Compared, alas ! to other men, 
 
 Thou art an eagle to a wren ! 
 Now, Mrs. Muse, attend on Mr. West. 
 " West, I must own, thou dost inherit, 
 
 Some portion of the painting spirit, 
 But trust me not extraordinary things 
 
 Some merit thou must surely own, 
 
 By getting up so near the throne, 
 And gaining whispers from the best of kings." 
 
 Here are two landscape painters 
 contrasted : 
 
 " And Loutherbourg, when Heav'n so wills, 
 To make brass skies and golden hills, 
 
 With marble bullocks in glass pastures grazing, 
 Thy reputation too will rise, 
 And, people gazing with surprise, 
 
 Cry, ' Monsieur Loutherbourg is most amazing.' 
 " But honest Wilson, never mind ; 
 Immortal praises thou Shalt find, 
 
 And for a dinner have no cause to fear. 
 Thou start's! at my prophetic rhymes ; 
 Don't be impatient for those times : 
 
 Wait till thou hast been dead a hundred year." 
 
 Ode VII. is in ridicule of Stubbs, 
 the animal painter, and the next 
 "abuseth Mr. and Mrs. Cosway," 
 beginning : 
 
 " Fie, Cosway : I'm ashamed to say, 
 Thou own'st the title of R.A." 
 
 Next follows a severe censure on 
 copyists, of which the following is a 
 specimen : 
 
 " Sir Joshua's happy pencil hath produced 
 
 A host of copyists, much of the same feature ; 
 By which the art hath greatly been abused 
 I own Sir Joshua great but Nature greater. 
 But what, alas ! is ten times worse, 
 The progress of the art to curse, 
 The copyists have been copied too ; 
 And that I'm sure will never do." 
 
 Five other Academicians are dis- 
 posed of in the next Ode : 
 
 " Serres and Zoflani I ween, 
 I better works than yours have seen. . . . 
 Believe me, Barret, thou hast truth and taste, 
 Tet sometimes thou art apt to be unchaste. . . . 
 
 " O Catton, our poor feelings spare, 
 
 Suppress thy trash another year : 
 Nor of thy folly make us say a hard thing. 
 
 And lo ! those daubs amongst the many, 
 
 Painted by Mr. Kdward Penny 1 
 They truly are not worth a half a farthing." 
 
 In Ode XII. Mr. Peters is ad- 
 dressed, and also Angelica Kauff- 
 nian : 
 
 " Dear Peters, who like Luke the saint, 
 A man of Gospel art, and paint. . . . 
 Angelica my plaudit gains 
 Her art so sweetly canvas stains." 
 
 And in the next the lady visitors 
 to the Exhibition are satirised : 
 
 " ' Oh, the dear man,' cried one, ' look, here 's a 
 
 bonnet, 
 He shall paint me I am determined on it 
 
 Lord, cousin, see ! how beautiful the gown ! 
 What charming colours ; here's fine lace ; here's 
 
 gauze! 
 
 What pretty sprigs the fellow draws ! 
 Lord, cousin, he's the cleverest man in town." " 
 
 In the second series, published in 
 1783, the same style of ridicule was 
 pursued. In Ode II. West is spe- 
 cially held up to ridicule. Here are 
 specimens : 
 
 " West, if thy picture I am forced to blame, 
 I'll say most handsome things about the frame . . . 
 They'll make good floorcloth?, tailors' measures, 
 For table coverings be treasures ; 
 With butchers form for flies most charming 
 
 flappers ; 
 
 And Monday mornings at the tub, 
 When queens of suds their linen scrub, 
 Make for the blue-nosed nymphs delightful 
 wrappers." 
 
 Here are some pretty lines to 
 Gainsborough in Ode III., following 
 some condemning his portraits, and 
 his ' Boys setting Dogs to fight : ' 
 
 " O Gainsborough ! Nature 'plaineth sore, 
 That thou hast kicked her out of door ; 
 Who in her bounteous gifts hath been so free 
 To cull such genius out for thee 
 Lo ! all thy efforts without her are vain ; 
 Go, find her, kiss her, and be friends again." 
 
 And he thus speaks of Jackson's 
 portrait of his protege Opie : 
 
 " Speak, Muse, who fonn'd that matchless head: 
 The Cornish boy in tin-mines bred ; 
 Whose native genius, like his diamonds shone, 
 In secret, till chance gave him to the sun." 
 
 The remaining Odes of this series 
 are more desultory, and less per- 
 sonal, except against Cosway. Here 
 are some remarks on what we should 
 now call the " pre-Raffaelite " 
 style : 
 
 "If at a distance you would paint a pig, 
 Make out each single bristle on his back ; 
 
 Or, if your meaner subject be a wig, 
 Let not the caxon a distinctness lack ; 
 
 Else all the lady critics will so stare, 
 And, angry, vow ' Tls not a bit like hair.'
 
 CH. V.] JOHNSON'S LETTERS ON AN EXCLUDED PICTURE 103 
 
 As an instance of the difficulty early experienced in 
 meeting the wishes of artists who sent their works for 
 exhibition, when no space was available for their admis- 
 sion, and of the outcry then made against their exclusion, 
 on the assumed ground of unfairness to the disappointed, 
 we quote two letters from Dr. Johnson to Sir J. Eeynolds 
 and James Barry, soliciting them to use their influence in 
 behalf of Mr. Lowe, whose picture of the ' Deluge ' had 
 been excluded from the exhibition of 1783. They are 
 interesting, both as proceeding from his pen, and as show- 
 ing the popularity which the Academy's exhibition had 
 obtained among artists of that day : 
 
 " To Sir Joshua Reynolds. 
 
 " SIR, Mr. Lowe considers himself cut off from all credit 
 and all hope by the rejection of his picture from the exhibition. 
 Upon this work he has exhausted all his powers and suspended 
 all his expectations ; and certainly, to be refused an opportunity 
 of taking the opinion of the public, is in itself a very great 
 hardship. It is, to be condemned without a trial. 
 
 " If you could procure the revocation of this incapacitating 
 edict, you would deliver an unhappy man from great affliction. 
 The Council has sometimes reversed its own determinations ; 
 
 " ^A 1 " 1 ^ 9 dl f tan<>e8 are to f^tuacA, suggests the ways by which painters 
 
 One floating scene nothing made out . J . J 
 
 For which he ought to be abused, may win popularity, and thus la- 
 
 ments in Ode XIIL the death of 
 
 "Glvcmc the pencil whose amazing- style, -vr TT_-,,. TJ t . 
 
 Make* a bird's beak appear at twenty mile ; " JlOne, IV. .A. . 
 
 ' 
 
 In the third series, dated 1786, ^ 1780 he pub i i8hed The Fare . 
 the first Ode condemns the works ex- well Od in which he humorou8 | y 
 hibited in that year by West, Gams- de8cribe8 ti, e : oy of the artista on 
 borough, and Itigaud. The second h ; 8 re8 j gniuo . the laureateship of the 
 refers to Barry s attacks on the Pro- Acade my ; describes the annual din- 
 
 ner; again attacks the productions 
 
 " ( %Ki^&^SRR& of W"'! * befc " blddin * the 
 
 Darin* mom cir.-ii.irui war to wage. academicians fiurewelL oomplimenti 
 
 those whom he has not attacked in 
 And the third, fourth, and seventh his rhymes : 
 satirise Sir W. Chambers, the archi- .. Vp Roy ^ Hlnii Mnn 
 
 i t 
 
 tect of Somerset House. In Several Ix>t m.- lnr,,rm > -<,me dewrvp my nralc; 
 
 . . ,, ,-, 1.1... But triint mo. Kfiiilc S.|iiliv, ycmvlmt few, 
 
 Others ho reviews the Exhibition, and Wkon naino would not disgrace my lay*/ 
 
 M 2
 
 164 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 and I hope that, by your interposition, this luckless picture may 
 yet be admitted. 
 
 " I am, &c. 
 
 "SAM. JOHNSON." 
 12th April, 1783." 
 
 " To James Barry, Esq. 
 
 " SIR, Mr. Lowe's exclusion from the exhibition gives him 
 more trouble than you and other gentlemen of the Council 
 could imagine or intend. He considers disgrace and ruin as 
 the inevitable consequence of your determination. He says 
 that some pictures have been received after rejection ; and if 
 there be any such precedent, I earnestly entreat that you will 
 use your interest in his favour. 
 
 " Of this work I can say nothing. I pretend not to judge of 
 painting ; and this picture I never saw : but I consider it ex- 
 tremely hard to shut out any man from the possibility of 
 success. And therefore I repeat my request, that you will pro- 
 pose the reconsideration of Mr. Lowe's case : and if there be 
 any among the Council with whom my name can have any 
 weight, be pleased to communicate to them the desire of, 
 
 Sir, 
 " Your most humble servant, 
 
 "SAM. JOHNSON." 
 12th April, 1783." 
 
 , Such intercession, Boswell tells us, was too powerful to 
 
 fybe resisted, and Mr. Lowe's performance was admitted 
 
 ' at Somerset House ; but it could only be exhibited in an 
 
 empty room, where the unfavourable judgment of the 
 
 public confirmed, unfortunately for the artist, the wisdom 
 
 of the original decision of the Council for its rejection. 
 
 An internal trouble, greatly to be regretted, occurred 
 in the following year, on a point in which the sensitive- 
 ness of the artist, then as now, is keenly awakened. 
 Gainsborough sent a portrait to the exhibition of 1784, 
 with a request that it should be hung " on the line," low 
 down, nearly to the floor. The members who were regu- 
 lating the hanging of the pictures were either unable, 
 consistently with the bye-laws, or unwilling for reasons
 
 CH.V.] ALDERMAN BOYDELL 165 
 
 which we cannot now learn, to comply with his request, 
 and informed him of their decision. He was greatly 
 offended, and never sent another picture to the exhibition 
 during the few remaining years of his life. 
 
 The year 1789 was memorable in the annals of art, as 
 being that in which Boydell's Shakspeare Gallery in Pall 
 Mall was opened to the public. A few years previously 
 the enterprising Alderman had given commissions to the 
 best English artists of the time to paint a series of pic- 
 tures in illustration of the works of our great Bard ; and 
 the 170 works thus produced were gathered together in 
 Pall Mall for exhibition in a gallery built expressly for the 
 purpose. Sir Joshua Eeynolds, at the suggestion of 
 Edmund Burke, proposed the health of Alderman Boydell 
 at the Eoyal Academy dinner of 1789, as "the Com- 
 mercial Ma3cenas of England," and the Prince of Wales 
 and the whole company joined heartily in the toast. The 
 collection of pictures thus formed was afterwards (in 
 1805) disposed of by lottery, when this great patron of 
 British art found that his means had been impoverished 
 by the long career of earnest enterprise by which he had 
 freed the artists of England from foreign rivalry on their 
 own soil, and spent 350,000 in his efforts. The plates 
 he published, as well as his own engravings, testify to the 
 large amount of employment which he provided for the 
 artists and engravers of his day. 
 
 It had been the practice of the artists to meet annually 
 to dine together to celebrate the birthday of the Royal 
 Founder of the Academy, on the 4th of June. In 1789, 
 it was celebrated with additional thankfulness and loyalty, 
 for it was in March of that year that the Te Deum had been 
 sung at St. Paul's, after the King's recovery from the attack 
 with which he was visited in the preceding year. The dinner 
 was held at the Crown and Anchor Tavern, in the Strand. 
 The company numbered about four hundred guests, who 
 were disposed round four tables one for the Royal Aca- 
 demicians, the others for the rest of the guests. A similar
 
 166 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 gathering of artists was made on the Queen's birthday, 
 and at that time the expense of both, amounting to 112, 
 was paid for by the Academy ; but after 1809, those who 
 attended them were required to pay for their tickets. 
 
 Another controversy, still more painful, and more for- 
 midable to the Academy in its threatened results than the 
 one previously referred to, arose out of the division of 
 opinion as to the election of Bonomi, the Italian architect, 
 for whom the President, at the persuasion of the Earl of 
 Aylesford, sought to obtain the appointment of Professor 
 of Perspective, which had remained vacant 1 after the 
 death of Samuel Wale, in 1786. But before he could be 
 eligible for the office it was necessary that he should be 
 elected a Eoyal Academician. In 1789, a vacancy among 
 the associates occurred, and Bonomi offered himself as a 
 candidate for it. The number of votes was equal for 
 him and Gilpin, an artist of some reputation but 
 Eeynolds gave his casting vote for Bonomi, who was ac- 
 cordingly elected. In the following year a vacancy 
 among the academicians occurred, when Fuseli, an asso- 
 ciate two years before, and already eminent in his profes- 
 sion, entered his name as a candidate, and personally 
 solicited the President's vote in his favour. He was 
 courteously told that on another vacancy he should have 
 his support, but that on that occasion he thought it " not 
 only expedient, but highly necessary for the good of the 
 Academy that Mr. Bonomi should be elected." Doubtless, 
 the President felt what he said, and convinced his own 
 mind of his reasons for thus determining ; but his opinion 
 was not shared by a majority of his brethren in the 
 Academy ; and when, on the evening of election, some 
 drawings by Bonomi were exhibited for their inspection, 
 by which a rule was transgressed, and no similar oppor- 
 
 1 Speaking of the chairs of the should be ever left unfilled. A ne- 
 
 professors, in his last discourse, Rey- gleet to provide for qualified persons, 
 
 nolds observed : " I look upon it to is to produce a neglect of qualifica- 
 
 be of importance that none of them tions.
 
 CH. V.] RESIGNATION OF SIR J. REYNOLDS 167 
 
 tunity was given to Fuseli the impression gained ground 
 that the President was unduly exerting himself in favour 
 of one whose merits were not equal to his competitor ; and 
 this feeling was unmistakeably manifested by the election 
 of Fuseli by a majority of two to one over Bonomi, for 
 whom nine votes were given, and twenty-one for Fuseli. 
 
 When the result was known, the President quitted the 
 chair, and it was evident, that for once in his lifetime he 
 was deeply offended, and lost that calm self-possession for 
 which he was celebrated. Thirteen days afterwards he 
 wrote a letter (dated Leicester Fields, 22nd Feb. 1790) 
 to the Secretary of the Eoyal Academy, in these words : 
 " Sir, I beg you will inform the Council, which I under- 
 stand meet this evening, with my fixed resolution of 
 resigning the presidency of the Koyal Academy, and 
 consequently my seat as an Academician. As I can no 
 longer be of any service to the Academy as President, it 
 would be still less in my power in a subordinate situation. 
 I therefore now take my final leave of the Academy, with 
 my sincere good wishes for its prosperity, and with all 
 due respect for its members :" adding, " Sir W. Chambers 
 has two letters of mine, either or both of which he has a 
 full liberty to communicate to the Council," if they wished 
 any further explanation of his motives for the course he 
 had taken. 
 
 That such a trifling circumstance should have es- 
 tranged one so eminent in his art, and so revered by his 
 brethren, would indeed have been a disaster to the rising 
 Academy, and it is greatly to the credit of the Council that 
 they immediately took measures for bringing about a re- 
 conciliation between them and the President. Before the 
 above letter reached the Council, Reynolds had made 
 known his intention of severing his connexion with the 
 Academy to Sir William Chambers, who informed the 
 King of what had occurred, and received directions to 
 express his Majesty's regret at the decision, and the plea- 
 sure it would afford him if Sir Joshua would resume the
 
 168 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 presidential chair. Even the Eoyal favour did not dispose 
 him to alter his decision but when at length a deputa- 
 tion, consisting of his oldest Mends in the Academy, viz. : 
 Benjamin West, Thomas Sandby, Copley, Bacon, Catton, 
 Cosway, Farington, and the Secretary, waited upon him at 
 his house, to beg that he would reconsider his determina- 
 tion, their persuasive and kindly friendship prevailed, and 
 the same evening he resumed his place among them. 1 
 
 It was well that the misunderstanding was thus satis- 
 factorily terminated, for the President's career was well- 
 nigh at its close ; and it was on the 10th of December of 
 the same year, 1790, that he delivered his last discourse 
 to the students from the presidential chair. 2 Since the 
 address on their first assembly at Somerset House, he 
 had spoken to them, in 1782, of the genius of the artist : 
 again in 1784, concerning the method of regulating their 
 studies : two years afterwards, as to the place which imi- 
 tation should occupy in regard to art : in 1788, his 
 discourse was on the excellences and defects of Gains- 
 borough, then recently deceased, " one of the greatest 
 ornaments of our Academy" - and, in his last discourse, 
 he thus generously referred to the recent controversy : 
 
 " Among men united in the same body, and engaged in the 
 same pursuits, along with permanent friendship, occasional dif- 
 ferences will arise. In these disputes men are naturally too 
 favourable to themselves, and think, perhaps, too hardly of their 
 
 1 Peter Pindar reminded the aca- mence, a beam in the floor gave way 
 demicians of this controversy in his with a loud crash. The room was 
 odes " On the Rights of Kings : " crowded ; for, besides the members 
 "YOU quarrelled with sir Joshua some time since, and students, there were a number 
 
 Of painters easily allowed the prince n f viaitn-q n f rnT ilr and pminpiifp 
 The emperor, let me say, without a flattery : 
 
 Yet, wantonly, against this emperor, lo i present. The audience rushed to 
 
 An overflowing tub of bile to show, zi j ii j e ii 
 
 You foolish planted an Infernal battery tile d.00r, Or to the Sides 01 tne room, 
 
 " Ah ! could you wish your President to change ? and great confusion and alarm pre- 
 
 Ah! could you, Pagans, after false gods range? -\ A cr T l, 1, * 
 
 swop solid Reynolds for that shadow west ? vailed. hir Joshua, however, sat 
 
 in love affairs variety 's no sin- silent and unmoved in his chair, and 
 
 Travellers may change at any time their inn in i i > i , 
 
 Here, 'tis painM>lasphemy I do protest." as the tlOOr Only Sank a little, it WOS 
 
 2 A circumstance attended the soon supported, and the company 
 delivery of this discourse which resumed their seats, and he corn- 
 threatened a serious disaster. Just menced his discourse with perfect 
 as the President was about to com- composure.
 
 CH. V.I REYNOLDS'S LAST DISCOURSE 169 
 
 antagonists. But composed and constituted as we are, these 
 little contentions will be lost to others, and they ought certainly 
 to be lost amongst ourselves, in mutual esteem for talents and 
 acquirements. Every controversy ought to be, and I am per- 
 suaded will be, sunk in our zeal for the perfection of our 
 common art. In parting with the Academy, I shall remember 
 with pride, affection and gratitude, the support with which I 
 have almost uniformly been honoured from the commencement 
 of our intercourse. I shall leave you, gentlemen, with un- 
 affected cordial wishes for your future concord, and with a well- 
 founded hope that in that concord the auspicious and not 
 obscure origin of our Academy may be forgotten in the splendour 
 of your succeeding prospects." 
 
 Eeviewing the Academy as a school of art, tlie President 
 thus spoke of his own labours, and the design of his 
 discourses : 
 
 " We may safely congratulate ourselves on our good fortune 
 in having hitherto seen the chairs of our professors filled with 
 men of distinguished abilities, and who have so well acquitted 
 themselves of their duty in their several departments. ... In 
 this honourable rank of professors I have not presumed to class 
 myself: though in the discourses which I have had the honour 
 of delivering from this place, while in one respect I may be 
 considered as a volunteer, in another view it seems as if I was 
 involuntarily pressed into this service. If prizes were to be 
 given, it appeared not only proper, but almost indispensably 
 necessary, that something should be said by the President on 
 the delivery of those prizes; and the President, for his own 
 credit, would wish to say something more than mere words of 
 compliment, which, by being frequently repeated, would soon 
 become flat and uninteresting, and, by being uttered to many, 
 would at last become a distinction to none. I thought, there- 
 fore, if I were to preface this compliment with some instructive 
 observations on the Art, when we crowned merit in the artist 
 whom we rewarded, I might do something to animate and 
 guide them in their future attempts." 
 
 A presentiment that the close of his career was at 
 hand, led him to add, " My age, and my infirmities still 
 more than my age, make it probable that this will be the
 
 170 . HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 last time I shall have the honour of addressing you from 
 this place ; " and, finally recommending the study of the 
 works of his favourite master, he concluded by saying: 
 
 "I reflect, not without vanity, that these discourses bear 
 testimony of my admiration of that truly divine man ; and I 
 should desire that the last words which I should pronounce in 
 this Academy, and from this place, might be the name of 
 MICHAEL ANGELO."' 
 
 When he had concluded his discourse, Burke, who was 
 among the crowd of illustrious persons assembled to hear 
 him, stepped forward, as Eeynolds descended the reading- 
 desk, and taking his hand, said : 
 
 " The Angel ended ; and in Adam's ear 
 So charming left his voice, that he a while 
 Thought him still speaking, still stood fixt to hear." 
 
 The President's last wish was, unhappily for the cause 
 of art, literally fulfilled, for his voice was never again 
 heard in the Academy, after pronouncing the name of his 
 great predecessor in art. In the following year a malady 
 long existing in his frame, manifested most painful 
 symptoms, and he again solicited to be allowed to resign 
 his position in the Academy, but was urged to retain it 
 
 1 When these discourses -were large picture. In both productions 
 
 published, Dr. Johnson expressed one may trace a most elevated genius, 
 
 his great satisfaction at their ap- I recommend you to give my thanks 
 
 pearance, and since his time until to Sir Joshua, and to remit him the 
 
 the present day, they have retained box I send as a testimony of the 
 
 their popularity. They are con- great satisfaction the perusal of his 
 
 stantly presented as prizes to stu- discourses has given me, and which 
 
 dents in art at the Royal Academy I look upon as perhaps the best 
 
 and elsewhere. When Reynolds work that ever was written on the 
 
 sent a copy of them, with his pic- subject." The box was a gold one, 
 
 ture of ' Hercules,' which he painted with a basso-relievo of her Imperial 
 
 for the Empress Catherine of Russia, Majesty in the lid set with dia- 
 
 she wrote to her ambassador in Lon- monds, enclosing a note written 
 
 don, saying : " I have read, and I with her own hands, as follows : 
 
 may say, with the greatest avidity, " Pour la Chevalier Reynolds, en 
 
 those discourses pronounced at the temoignage du contentement que j 'ai 
 
 Royal Academy of London by Sir ressenti a la lecture de ses excellens 
 
 Joshua Reynolds, which that illus- discours sur la peinture." 
 trious artist sent to me with his
 
 OH. \.] INFLUENCE OF REYNOLDS 171 
 
 for the -sake of his brother artists, a deputy being ap- 
 pointed to perform his duties. This was only for a short 
 time, however, for his death took place on the 23rd of 
 February, 1792. All possible honour was paid to his 
 memory. His body laid in state in the great room of the 
 Academy at Somerset House, and was followed to its 
 final resting-place in St. Paul's Cathedral, not only by all 
 the members of the Academy, but by many noblemen and 
 gentlemen who desired thus to testify their respect for his 
 genius. Among them, a conspicuous figure was that of 
 his most valued and beloved friend, Edmund Burke, on 
 whose countenance was depicted the deep grief he felt on 
 the occasion. Such a scene was calculated to make a 
 striking impression on the students who formed part of 
 the procession, and Sir M. A. Shee (who attended in that 
 capacity) afterwards spoke of it as a stimulus to young 
 artists, to see such a tribute paid to departed genius, and 
 to witness the high social position by which its efforts had 
 been rewarded in the case of the deceased President. 
 
 That Sir Joshua Eeynolds did much, by his personal 
 character and disposition, no less than by his ability as an 
 artist and a teacher of its principles, to advance the 
 dignity of the institution over which he presided, cannot 
 be doubted ; and the English School owes, if not its 
 foundation, at least its primary development to his 
 eminent skill and the irresistible charm of everything that 
 proceeded from his hand. It is true, indeed, that he 
 never attained to eminence as a historical painter, or as 
 an imitator of the grand style of the ancient masters ; but 
 by following portraiture chiefly, he not only met the ex- 
 isting demand for art, but applied it to those objects which 
 would most surely tend to its future improvement and 
 extension. Portraits were from the first the most abun- 
 dant class of pictures in the exhibitions, and will always 
 be so, because of the personal interest which the owners 
 of such pictures possess in representations of that nature. 
 Had Sir Joshua Eeynolds not opened the way to make
 
 172 HISTORY OF THE ROYAL ACADEMY [On. V. 
 
 such subjects really works of art, they would have been 
 still abundant, but the taste for what is really beautiful in 
 art would not have been improved as it has been by the 
 wide dissemination of well-painted portraits. Dr. Johnson 
 truthfully expressed the value of such works when he said : 
 
 "I should grieve to see Eeynolds transfer to heroes and 
 goddesses to empty splendour and to airy fiction that art 
 which is now employed in diffusing friendship, in renewing 
 tenderness, in quickening the affections of the absent, and con- 
 tinuing the presence of the dead. . . . This use of the art is a 
 natural and reasonable consequence of affection ; and though, 
 like all human actions, it is often complicated with pride, yet 
 even such pride is more laudable than that by which palaces are 
 covered with pictures that, however excellent, neither imply the 
 owner's virtue nor excite it." 
 
 Walpole went further, and said that 
 
 " Portraiture is the only true historical painting. Its uses 
 are manifest, it administers to the affections ; it preserves to 
 the world the features of those who, for their services, have 
 deserved the gratitude of mankind, and of those who have been 
 in any way remarkable for their own actions, or through their 
 position in society ; and in a simply historical point of view, it 
 illustrates the costumes and habits of past ages." 
 
 Death had serried the ranks of the Eoyal Academicians 
 of more than half their original number at the period of 
 its history at which we have now arrived. Besides the 
 five already named as having died before the removal 
 to new Somerset House, thirteen others of the original 
 members had preceded the President to the grave. 
 Eichard Wilson died in 1782 ; G. M. Moser, the Keeper, 
 in 1783 ; Barret and Nathaniel Hone in the follow- 
 ing year; Cipriani in 1785 ; John Gwynn the architect, 
 and Samuel Wale, the Professor of Perspective and 
 Librarian, in the next year ; Mason Chamberlin in 1787 ; 
 Gainsborough the next year ; J. Meyer and Zuccarelli in 
 1789 ; Carlini, the Keeper, in 1790 ; and E. Penny, the
 
 CH. V.] NEW APPOINTMENTS 173 
 
 Professor of Painting, in 1791. To these must be added 
 the names of the associates, P. C. Canot and Thomas 
 Chambers, engravers, and William Pars and William 
 Parry, the painters, who died within the same period. 
 
 Between the year 1780 and that in which Eeynolds 
 died, sixteen new Eoyal Academicians were elected, of 
 whom an account will be given in the next chapter ; 
 and we shall notice in the following one the associate- 
 engravers elected during his presidentship, and also such 
 of the new associates as were not subsequently elected 
 Eoyal Academicians. 
 
 Several changes had also taken place among the officers 
 of the Academy. F. M. Newton resigned the office of 
 Secretary in 1788, and was succeeded by John Eichards. 
 The office of Librarian had been successively filled by 
 Hayman, Wilson, Wale, and Wilton ; and that of Keeper 
 by Moser, Carlini, and Wilton. Among the Professors, 
 E. Penny had been succeeded by James Barry as 
 Professor of Painting ; Samuel Wale by Edward Edwards, 
 as Professor of Perspective ; and Dr. William Hunter, 
 the Professor of Anatomy, had been succeeded by John 
 Sheldon in 1783. Among the Honorary Members, 
 the Eev. Wm. Peters, formerly an Academician, had 
 been Honorary Chaplain from 1784 to 1788, and was suc- 
 ceeded by the Bishop of Killaloe. Oliver Goldsmith, the 
 first Professor of Ancient History, had been replaced suc- 
 cessively by the Eev. Dr. Francklin and Edward Gibbon. 
 On Dr. Johnson's death in 1787 1 , his friend Bennet 
 
 1 A proposal was made that the to the memory of great artists re- 
 Koyal Academy should contribute cently deceased, especially as the 
 100 towards the monument erected funds were ordered, by the Royal man- 
 to the memory of Dr. Johnson in date, to be only applied to the pur- 
 St. Paul's ; but in November, 1701, poses specified in the Instrument of 
 Sir W. Chambers (the treasurer), Institution. The proposal was carried, 
 and other members of the Academy, but the money was not paid, for 
 objected to the grant of any of its when the intended subscription was 
 limited funds to the purpose of a submitted to the king for approval, 
 memorial of such general importance, it was not continued by his Majesty, 
 while no mark of honour was puid
 
 174 HISTORY OF THE ROYAL ACADEMY [Cn. V. 
 
 Langton filled the office of Professor of Ancient Lite- 
 rature ; and James Boswell had succeeded Baretti as 
 Secretary for Foreign Correspondence ; while Eichard 
 Dalton filled the office of Antiquary from 1770 to 1784, 
 after which it remained vacant for several years. 
 
 One travelling student, Charles Grignion, the painter, 
 was sent abroad in 1781 ; in 1785, John Deare, and 
 Charles Eossi, the sculptors, were selected for the same 
 privilege ; and in 1790, an architect, George Hadfield, 
 was chosen from the gold medal students. In the last- 
 named year the Eoyal Academy increased the allowance 
 of 60 a year granted for three years to travelling 
 students to 100 a year. 
 
 In the exhibitions of the Eoyal Academy after the 
 removal to Somerset House, a large and continued increase 
 in the number of contributions took place. These, which 
 were 489 in 1780, rose gradually till they numbered 780 
 in 1792, the year in which Eeynolds died. The year 
 of its removal to Somerset House, was the beginning of 
 the financial independence of the Academy, its receipts 
 being more than sufficient to meet its expenses, irrespec- 
 tive of the Eoyal aid, which was discontinued in con- 
 sequence after 1780. The receipts, which were 2178 1 2s. 
 in 1781, rose to 2954 in 1792, and the annual expen- 
 diture left a large balance in favour of the Academy. Of 
 the style and appearance of these interesting displays of 
 the abilities of the artists of the period, we may readily 
 form some notion 1 , when it is remembered that the 
 prominent places in the exhibitions would be occupied 
 with pictures by Eeynolds, Lawrence, West, and Opie, 
 with the graceful designs of Bartolozzi, the bold concep- 
 tions of Fuseli, the pleasing pictures of Hamilton, Hodges, 
 Humphreys, Smirke, Stothard, Tresham, and Wheatley, 
 
 1 Two prints published at the were views of the exhibition of 
 
 period will also assist in forming an 1787, and the Royal family visiting 
 
 idea of the general appearance of the exhibition of 1788 by Ramberg, 
 
 the exhibition in those days. They engraved by P. A. Martini.
 
 CH. V.] THE EXHIBITIONS 175 
 
 the landscapes of De Loutherbourg, Series, Paul Sandby, 
 and others, and the sculptured works of Banks, Nollekens, 
 and Northcote. Others, younger in years and reputation, 
 were rising into notice ; and as the fathers of the Academy 
 were one by one removed, a new generation of artists was 
 preparing to take their place, and to maintain the repu- 
 tation of the newly founded English School of Art.
 
 176 
 
 CHAPTEE VI. 
 
 ROYAL ACADEMICIANS ELECTED DURING THE PRESIDENCY OF 
 SIR J. REYNOLDS. 
 
 Painters: ZOFFANY, HOAKE, COSWAT, BARRY, PETERS, COPLEY, DE LOTT- 
 THERBOT7RG, GARVEY, RlGATTD, FARLNGTON, OPIE, NORTHCOTE, HODGES, 
 RUSSELL, HAMILTON, FUSELI, WEBBER, WHEATLEY, AND HTJMPHREYS. 
 
 Scttlptors: BURCH, NOLLEKENS, BACON, and BANKS. 
 
 Architects : J. WYATT, AND J. YENN. 
 
 mWENTY-FIVE new members were added to the 
 J- number of Eoyal Academicians during the period of 
 Sir Joshua Eeynolds's presidentship. Two of these (viz. 
 John ZofFany and William Hoare, painters), were ap- 
 pointed in 1769, on the nomination of King George III., 
 in the same manner as the original thirty-four members ; 
 all subsequent appointments were made by the ballot 
 of the members. Three were so elected in 1771-2, viz. 
 Eichard Cosway, painter, Edward Burch and Joseph 
 ISTollekens (sculptors), from among the newly-created asso- 
 ciates ; and in 1773, James Barry, the painter, was elected, 
 thus completing the full number of Eoyal Academicians, 
 which has ever since been kept complete. The subse- 
 quent elections were made in the order of time as follows : 
 -in 17 77, William Peters (painter); in 1778, John 
 Bacon (sculptor) ; in 1779, J. S. Copley (painter); in 1781, 
 P. J. de Loutherbourg (painter); in 1783, Edward 
 Garvey (painter) ; in 1784, J. F. Eigaud (painter) ; in 
 1785, Thomas Banks (sculptor) ; James Wyatt (ar- 
 chitect), and Joseph Farington (painter) ; in 1787, 
 John Opie, James Northcote, and William Hodges 
 (painters) ; in 1788, John Eussell (painter) ; in 1789,
 
 CH. VI.] JOHN ZOFFANY 177 
 
 William Hamilton (painter) ; in 1790, Henry Fuseli 
 (painter) ; and in 1791, John Yenn (architect), J. Webber, 
 F. Wheatley, and 0. Humphreys (painters). 
 
 Of these new Eoyal Academicians, nineteen were 
 painters, four sculptors, and two architects. We pro- 
 ceed first to notice the painters, in the order of their 
 appointment to full academic honours. 
 
 JOIIANN ZOFFANIJ, or Zoffany, E.A., was by descent a 
 Bohemian, but his father, who was an architect, had settled 
 in Germany when he was born. According to Fiorillo, 
 John was born at Frankfort-on-the-Maine, in 1735, but 
 Zani says he was born two years previously at Regens- 
 burg in Bavaria. He was early sent by his father to 
 Italy, where he studied for several years. After his re- 
 turn to Germany, he practised both as a historical and 
 portrait painter at Coblentz, and a few years before the 
 foundation of the Eoyal Academy he came to reside in 
 London, at first in the north-east wing of Covent Garden 
 Piazza, and afterwards at No. 9 Denmark Street. For 
 some time he met with so little encouragement that he 
 was reduced to great distress ; and but for the patronage 
 of Sir Joshua Reynolds and David Garrick, would have 
 found it impossible to obtain the reputation he subse- 
 quently acquired, first by a portrait of the Earl of 
 Barrymore, and afterwards by those of celebrated dramatic 
 performers in their favourite characters, which were de- 
 signed and painted with surprising truth of expression. He 
 painted Garrick as 'Sir John Bute,' and as 'Abel Druggers ' 
 in the " Alchymist," and in the " Farmer's Return : " also 
 portraits of Foote, as Sturgeon in the "Mayor of Garret," 
 and Weston and Foote in " Dr. Last." All of these became 
 very popular by the engravings made from them by 
 Dixon, Finlayson, and Haid. In 1771 he painted a large 
 picture containing ten portraits of the Royal family, 
 which was engraved by Earluin ; and three years after- 
 wards a picture containing thirty-six portraits of the 
 
 VOL. I. N
 
 178 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 Academicians assembled in the life school, which was also 
 engraved. 
 
 Having expressed a desire to revisit Italy, the King 
 was pleased to interest himself so far on the occasion as 
 to give him a recommendation to the Grand Duke of 
 Tuscany. While he was at Florence he painted a picture 
 of the interior of the gallery there, which was purchased 
 by George in. In 1781 he went to India, and lived 
 for some years at Lucknow, where he acquired a com- 
 petent fortune by the exercise of his art. Three of his 
 best pictures, engraved by Earlom, were painted there 
 one of these, ' the Embassy of Hyderbeck to Calcutta,' 
 contained a hundred figures, besides elephants and horses ; 
 another was, ' an Indian Tiger Hunt ; ' and the third, ' a 
 Cock Fight,' at which there are many spectators. He 
 returned to London about 1796 ; but although he con- 
 tinued to paint after his return from India, it was evident 
 that his powers as well as his health were weakened ; for 
 his latest productions lack the spirit and vigour of his 
 earlier works. He died at KCW-, on the 16th December, 
 1810. 
 
 WILLIAM HOAEE, E.A., the last artist nominated by the 
 King to the rank of Eoyal Academician, was a historical 
 and portrait painter, born at Eye, in Suffolk, in 1706. 
 His education was commenced under Grisoni, an Italian 
 painter residing in London. He subsequently went to 
 Borne, where he studied for nine years under Francisco 
 Fernandi, called D'Imperiali, and was a fellow-pupil of 
 Ponipeo Battoni. He came back to England, bringing 
 with him many copies and studies of the works of the 
 great masters, and established himself at Bath, where he 
 acquired a great reputation as a portrait painter in oils 
 and crayons. His taste was rather to follow historical 
 painting ; but he found little encouragement in that 
 branch of art. There is, however, an altar-piece by him 
 in St. Michael's Church, at Bath, of ' Christ bearing the
 
 CH. ^ 7 I] HOARE COSWAY 179 
 
 Cross,' and another in the Octagon Chapel, of the ' Lame 
 Man healed at the Pool of Bethesda.' He was a constant 
 contributor to the exhibition of the Eoyal Academy. 
 His son, Prince Hoare, both a painter and an art-critic, 
 was for many years the Foreign Corresponding Secretary 
 of the Academy, and the author of " An Inquiry into 
 the requisite Cultivation and present State of the Arts of 
 Design in England," " Academic Annals," and many dra- 
 matic pieces. William Hoare died at Bath in 1792. 
 
 EICIIAKD COSWAY, E.A., was born in 1741, at Tiverton, 
 in Devonshire (the native county of Eeynolds), where his 
 family had long been settled, and where his father held 
 the appointment of Master of the Public School. His 
 uncle, the mayor of Tiverton, placed him with Hudson, 
 under whom Eeynolds also studied ; and he subsequently 
 attended Shipley's drawing school in the Strand, where 
 he made rapid progress, and soon displayed the genius 
 for which, especially as a miniature painter, he afterwards 
 became celebrated. At the age of fourteen he gained 
 the Society of Arts' premium of five pounds ; and in the 
 course of the next ten years he had obtained four more 
 premiums from the same society. Subsequently, in the 
 Duke of Eichmond's sculpture gallery, he acquired great 
 skill in copying the fine flowing outline of the Grecian 
 statue, and won the praises of Bartolozzi and Cipriani, 
 and soon took a high position among the artists of the 
 day. 
 
 He was a student of the Eoyal Academy in 17G9, an 
 associate in 1770, and a Eoyal Academician in 1771, and 
 painted several fancy pictures, pertaining more to poetry 
 than to portraiture, for its exhibitions. Among these were 
 4 Einaldo and Armida,' 4 Cupid,' ' St. John,' ' Venus and 
 Cupid,' ' Madonna and Child,' and ' Psyche,' all of which 
 in reality were portraits of some of his titled patrons, 
 good likenesses, and successful works. He sometimes 
 painted in oil, and in this style showed his predilection 
 
 K 2
 
 180 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 for the manner of Correggio ; but his chief excellence 
 was in miniature painting, both in oil and water colour, 
 for which he had an exquisite taste, and bade defiance 
 to any attempts at rivalry. Sir Joshua Eeynolds spoke 
 highly of his talents, and recommended him very warmly 
 to his own sitters. The patronage of the Prince of 
 Wales, for whom he painted a miniature of Mrs. Fitz- 
 herbert, which gave great satisfaction, alone proved of 
 great value to him, and supplied him with continual em- 
 ployment either at Carlton House, or in the gay world of 
 which the Prince was then the leader. People of the 
 highest rank eulogised and courted Cosway, and he 
 quickly became, without a question, the fashionable 
 miniature painter of his day. All his portraits are 
 characterised by exquisite grace, neatness and finish, and 
 were drawn with great freedom and skill. But as in the 
 engravings of Bartolozzi, the artist had a preconceived 
 ideal of beauty in his own mind, influenced by which the 
 resemblance to the original was frequently lost ; so in the 
 desire to produce a pleasing picture, Cosway sometimes 
 sacrificed the value of the portrait as a likeness. To this 
 failing, may probably be attributed the circumstance that 
 Cosway is said to have painted more lovers' presentation 
 pictures than any ten artists of his time. He excelled 
 most of all in the small whole-length figures he drew of 
 certain ladies of fashion, celebrated for their beauty. 
 The figures were drawn in a loose, unconstrained style, 
 purely his own, with the blacklead pencil ; the faces were 
 painted in miniature, and frequently highly finished. 
 They are captivating specimens of his peculiar style, and 
 many of them, as well as of his other works, were en- 
 graved by Bartolozzi, V. Green, and others. When 
 painting miniatures, it was Cosway 's custom to have a 
 small panel with an oval opening cut in the centre, of 
 the exact size of the frame to enclose the picture, fixed 
 to a stand which was placed at his elbow : moving this 
 occasionally at a chosen distance, he looked through the
 
 CH. VI.] RICHARD COSWAY 181 
 
 aperture at his sitter, and compared it with his picture as 
 he proceeded. By this means, he said that he acquired the 
 habit of comparing nature with his work, and that his mind 
 became so abstracted in the study as not to distinguish a 
 difference between the original and his imitation of it. 
 
 Shortly after his election as a Royal Academician, he 
 married Maria Hadfield, who, though of English parent- 
 age, was a native of Leghorn, where her father kept an 
 hotel much frequented by English travellers. After her 
 marriage, she also became known as an exhibitor at the 
 Eoyal Academy, and painted many portraits and other 
 works of a poetic and imaginative nature ; but her hus- 
 band would never allow her to paint portraits profes- 
 sionally. When he found himself high in Court favour, 
 at the suggestion of his wife, he removed from Berkeley 
 Street to Pall Mall (in the middle portion of the large 
 house built for the Duke of Schomberg, recently incor- 
 porated with the War Office), where for some years, and 
 afterwards at a splendid mansion in Stratford Place, 
 Oxford Street, the musical parties given by Mrs. Cosway 
 (and at which she was the principal performer), were 
 among the chief attractions of the fashionable world. 
 The carriages of the Prince of Wales and other persons 
 of distinction were constantly to be seen at Cosway's 
 house, which became the morning lounge of the aris- 
 tocracy. Nor was it without its artistic attractions for 
 besides being superbly furnished in the olden style, it 
 contained a vast collection of pictures by the ancient 
 masters, old armour, and various curiosities : and the 
 studio of Cosway was a museum full of rich specimens of 
 all that is choice in the pursuits of vertu. 
 
 Late in life (and he lived to a great age) he considered 
 it a favour to paint a miniature; and it can scarcely 
 be wondered at that he fell into the folly of vanity, 
 when we think of his remarkable success in life, and the 
 popularity he had attained. Yet the satires suggested 
 by envy, and his own restless sensitive spirit, hindered
 
 182 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 him from being really happy. Added to this, he passed 
 several of his last years in pain both of body and mind. 
 A paralytic stroke disabled his right hand, and thus cut 
 off from him the power of drawing, and his only conso- 
 lation was in the tender solicitude of his wife. It was 
 painful to his friends and admirers, with whom his well- 
 stored mind and natural turn for humour led him to be 
 regarded as a most pleasant companion, to behold also a 
 weakness of intellect, which led him to indulge in many 
 extravagant fancies and delusions in his latter days. 
 Shortly before his death, he dispersed his collection of 
 pictures and curiosities, and removed from Stratford Place 
 to Edgware Eoad, where he died on the 4th July, 1821, 
 in his 80th year. He was buried at the New Church of 
 St. Marylebone, where a tablet is erected to his memory. 
 His widow retired to Lodi, where she had formerly spent 
 some years, and established a ladies' college. She died 
 there, widely respected, several years afterwards. 
 
 JAMES BAKEY'S name must still find a place among the 
 members of the Eoyal Academy, notwithstanding the 
 painful circumstances which led to his expulsion from their 
 Society. He was born on the llth of October, 1741, at 
 Cork, where his father, John Barry (a descendant of the 
 same family as the Earls of Barrymore), was a coasting 
 trader, for which profession he also was intended ; but 
 after making two or three voyages with disgust, and 
 having exhibited considerable talent in drawing, he was 
 permitted to follow his inclinations, and to obtain such 
 education in art as the schools of Cork afforded. He 
 afterwards received instruction in the school at Dublin, 
 kept by Mr. West a teacher who had studied under 
 Vanloo and Boucher, and who was reckoned a very able 
 draughtsman of the human figure. As early as the age 
 of seventeen Barry attempted painting in oil, and before 
 he was twenty-two he painted a historical picture which 
 first brought him into notice as an artist. This was a
 
 CH. VI.] JAMES BAERY 183 
 
 representation of St. Patrick on the shore of Cashel, who 
 in baptizing the sovereign of the district had planted the 
 sharp end of his crozier through the foot of the monarch, 
 unperceived by himself, and unresented by his convert. 
 This work, exhibited at the Society of Arts in Dublin, 
 led to his introduction to Edmund Burke, who discerned 
 in it such evidence of genius as induced him shortly 
 afterwards to take the artist with him to England, where 
 he gave him ah 1 the advantages of his patronage. Here 
 he was introduced to Barret, his countryman, who was 
 then acquiring fame and honours as a landscape painter 
 in London. 
 
 In 1766, under the protection and with the assistance 
 of Burke, Barry went to Italy, first stopping at Paris to 
 examine the productions of Le Soeur, Poussin and 
 Eaffaelle, in the Luxembourg. Shortly after his arrival 
 in Eome, Barry's irritable temper, which afterwards 
 proved of so much annoyance to himself and others, in- 
 volved him in a series of disputes with the artists and 
 virtuosi in that city, which being reported to Burke, 
 called forth a letter of admonition from his patron. In 
 Eome he adopted a singular mode of study : he drew 
 from the antique by means of a patent delineator, not 
 aiming to make academic drawings, but a sort of diagram, 
 in which a scale of proportion was observed, to which 
 he might at all times refer as a guide and authority. In 
 the latter part of the year 1770 he returned to London, 
 visiting Florence, Turin, Bologna, &c. On his way to 
 the latter city he was made a member of the Clementine 
 Academy there. 
 
 In 1771 he exhibited his first picture at the Eoyal 
 Academy, which he began shortly after his arrival at 
 Eome, the subject being ' Adam and Eve ; ' and the 
 next year he produced his much-admired whole-length 
 picture of * Venus rising from the Sea.' He became 
 an Associate in 1772 and E.A. in 1773. The works 
 by which he attained these honours were followed by
 
 184 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 another, ' Jupiter and Juno,' his first attempt at the 
 grand style of art. About this time ' The Death of 
 General Wolfe,' was a popular subject with the artists 
 of the day, and had been represented by West, Penny, 
 Komney, Mortimer, and others. In 1776 Barry also 
 chose the same subject, but his picture was generally 
 condemned, for (probably to display his knowledge of 
 the human form) he represented all the figures nude; 
 and, angry at not being flattered for his skill, he never 
 afterwards exhibited at the Academy. Up to this time 
 he lived in Suffolk Street, Haymarket. 
 
 We have already mentioned the part taken by Barry 
 in the offer made by the Eoyal Academy, to paint gra- 
 tuitously a series of pictures for St. Paul's ; and also the 
 subsequent rejection by the members of the Academy of 
 the proposal of the Society of Arts, that their new room 
 should be decorated with paintings by them. Barry 
 was greatly mortified at this, for he was eager to exhibit 
 his talents, and to refute publicly the unjust opinions of 
 English artists, which he found to prevail on the Con- 
 tinent. Winckelmann and Du Bos had asserted that the 
 English were incapable of excellence in any of the higher 
 walks of art ; and Barry attaching more importance than 
 was due to such sweeping conclusions, undertook formally 
 to refute them. 
 
 With this object he published in 1775 " An Inquiry 
 into the real and imaginary Obstructions to the Acquisi- 
 tion of the Arts in England," and offered the Society of 
 Arts to paint a series of pictures for their great room, 
 on the condition that the Society provided him with 
 canvas, colours, and models proper to carry it into 
 execution. His offer was accepted, and his grand work 
 now enriches the Society's room in the Adelphi. The 
 series consists of six pictures, namely, ' Orpheus reciting 
 his verses to the wild inhabitants of Thrace,' ' A Grecian 
 Ilarvest Home,' ' The Victors at Olympia,' ' The 
 triumph of the Thames,' ' The Society distributing their
 
 CH. VI.] JAMES BARRY 185 
 
 Prizes,' and ' Final Eetribution.' These pictures, de- 
 signed to illustrate the position that the happiness of 
 mankind is promoted in proportion to the cultivation 
 of knowledge, appear somewhat dissimilar and hetero- 
 geneous, yet each is brought to bear on the general sub- 
 ject with wonderful force and unity, and in regarding 
 them we are impressed with the conviction that such a 
 work could neither have been conceived nor executed 
 except by a mind of the highest order. Some inac- 
 curacies of drawing and defects of colour are to be 
 met with in Barry's work, but on the whole it is not 
 only a splendid example of pictorial skill, but embodies 
 whatever impressions have been transmitted to us by 
 poetry or history of the events represented. In accom- 
 plishing this task Barry fulfilled the great aim of his 
 life to attain the reputation of a great historical painter. 
 But it was purchased by no slight sacrifice, through seven 
 years of hardship and privation, and met with no pro- 
 portionate reward at its close. An extraordinary meet- 
 ing of the Society of Arts was held to view the pictures, 
 at which a vote of thanks to the painter was passed, 
 and permission given for their public exhibition for his 
 benefit. He obtained 500 as the result, and 200 was 
 added to it by the Society these sums comprise nearly 
 the whole produce of his professional career. During 
 the exhibition of the pictures in 1783 he issued a 
 pamphlet descriptive of the series, and also proposals 
 for engraving and publishing by subscription a set of 
 prints from the pictures ; and with his usual independent 
 spirit, he undertook and completed the task himself 
 without any assistance, even to the writing and printing 
 on copper, and finished the plates about the year 1793. 
 
 In 1782, when Mr. Penny resigned the chair of Pro- 
 fessor of Painting at the lloyal Academy, he was ap- 
 pointed to that office. The length of time he took in 
 preparing his lectures (the first not being given till 1784) 
 called forth a remonstrance from the President, to which
 
 180 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 Barry with clenched fist and rude gesture replied, " If 
 I had only in composing my lectures to produce such 
 poor mistaken stuff as your discourses, I should have 
 my work done, and ready to read." The conscious 
 dignity and tranquil temper of Eeynolds alike restrained 
 him from making any reply ; but the conduct of Barry 
 on this occasion, with other causes, such as his per- 
 petual altercations with the members, a naturally fierce, 
 turbulent, and irritable disposition, intemperance in his 
 language (particularly in his lectures, which abounded in 
 ridicule of the works of his contemporaries), and a 
 coarse attack upon the President and members of the 
 Eoyal Academy led to his removal from the office of 
 Professor of Painting, and finally to his expulsion from 
 the Academy in 1799. These proceedings will be de- 
 tailed in a subsequent chapter. It is here only to be 
 observed, that an apology, though certainly not a justi- 
 fication of the conduct of Barry, may be found in the 
 bitterness of feeling which disappointment through years 
 of labour had generated, and in the exasperation of his 
 naturally excitable temperament, produced by the little 
 sympathy or notice which he met with from the public. 
 The immediate act which led to his dismissal from the 
 Academy, was the publication in 1797 of his famous 
 " Letter to the Dilletanti Society, respecting the obtention 
 of certain matters essentially necessary for the improve- 
 ment of taste, and for accomplishing the original views 
 of the Eoyal Academy of Great Britain." He subse- 
 quently issued a second edition, with an appendix relative 
 to his differences with the Academicians. 
 
 His series of lectures contain much originality of 
 thought, and sterling subject matter, and he brought both 
 his great knowledge and experience to illustrate them 
 but they display a strong partiality for the outward form 
 of art, and for technical execution rather than for its 
 sentiment. His last literary work was an address to the 
 King, published in the " Morning Herald," 3rd Decem-
 
 CH. VI.] JAMES BARRY 187 
 
 ber, 1799. He had previously revised a new edition of 
 Pilkington's " Dictionary of Painters." In addition to 
 the pictures already mentioned, may be named among 
 the other works of Barry, 'Job reproved by his Friends,' 
 engraved by himself, and dedicated to Mr. Burke; 
 ' George III. delivering the Patent to the Judges, of 
 their office for life ; ' and ' The Queen and Princesses 
 patronising Education at Windsor,' intended as additions 
 to the series of pictures in the Adelphi. These, and 
 4 The Conversion of Polemon,' ' Philoctetes in the Island 
 of Lemnos,' and several sacred subjects, are among his 
 principal works. 
 
 Latterly he lived at No. 36 Castle Street, Oxford 
 Street, and here when Burke visited him, he was found 
 dressing his dinner, of which his eminent friend partook, 
 after being requested by Barry to go to an adjoining 
 public-house to fetch the beer. 
 
 In 1805 some friends of Barry (particularly the 
 generous Earl of Buchan) procured a subscription in 
 the Society of Arts to purchase an annuity for his life, 
 which amounted to about 1000, but unfortunately he 
 did not live even to receive the first payment of it. He 
 was taken ill at a tavern where he usually dined, and 
 was removed to the house of Mr. Bonomi, the architect, 
 No. 76 Titchfield Street, Oxford Street, where he sunk 
 under an attack of pleuritic fever, which his obstinate 
 rejection of medical aid in the first instance rendered 
 fatal. He died on the 21st February, 1806, and his 
 remains after lying in state in the great room of the 
 Society of Arts, which he had adorned by his skill, were 
 interred in a vault in the crypt of St. Paul's Cathedral, 
 near the last resting-place of Sir Christopher Wren, and 
 Sir Joshua Eeynolds. 
 
 WILLIAM PETERS, R.A., was born in Dublin, where his 
 father held an appointment in the custom-house. He 
 acquired the first rudiments of drawing from Mr. West,
 
 188 HISTORY OF THE ROYAL ACADEMY [On. VL 
 
 the master of the National Academy of Design in that 
 city, and after a short time was sent by some patrons 
 (who saw signs of art-genius developing themselves) to 
 Italy, where he copied a celebrated picture at Parma by 
 San Gierolorno (his copy of which afterwards became 
 the altar-piece of the church of Saffron Walden in Essex), 
 and also Eubens's ' Four Philosophers' in the Petti Palace 
 at Florence. These works obtained for him the patron- 
 age of the Duke of Eutland, who, in 1782 sent him to 
 Paris to copy a picture by Le Brun in the Carmelite 
 Church. He also painted for BoydelPs Shakspeare 
 Gallery, scenes from ' The Merry Wives of Windsor ' 
 and ' Much Ado about Nothing ; ' besides portraits and 
 fancy subjects for other patrons. In his style of paint- 
 ing he greatly resembled the impasto of Sir J. Eeynolds. 
 There are engravings from his works in the Boydell 
 Shakspeare, in Macklin's Gallery, and. others by Bar- 
 tolozzi, and J. E. Smith. He painted both historical 
 pictures and portraits with success. A full-length por- 
 trait by him of ' George IV. when Prince of Wales,' is 
 now in Freemasons' Hall. 
 
 It is not exactly known why he abandoned painting 
 as a profession, as personally he did not lack patronage 
 or lucrative employment. But it is said that a lady of 
 rank asked him to recommend to her a good landscape 
 painter, and that, knowing Wilson's need of employment, 
 he at once named him to her, and obtained a commission 
 for two pictures : when he made known his success to 
 Wilson, the poor artist confessed his utter inability even 
 to purchase canvas and colours to execute the task ; and 
 Peters was so saddened by seeing Wilson, with all his 
 genius, nearly starving, that he at once resolved to re- 
 nounce art as a profession. 
 
 He had been elected an Associate of the Eoyal Aca- 
 demy in 1771, and was chosen to be a Eoyal Academican 
 in 1777, but he resigned these honours in 1790. Some 
 years prior to this, he had entered Exeter College, Ox-
 
 CH. VI.J PETERS COPLEY 189 
 
 ford, took the degree of LL.B., was ordained, and became 
 Eector of Woolstorp in Lincolnshire and Knipton in 
 Leicester, Prebend of Lincoln, Chaplain to H.E.H. the 
 Prince of Wales, and (from 1784 to 1788) Chaplain to 
 the Eoyal Academy. After resigning his connection 
 with it, he continued as an honorary member, to exhibit 
 occasionally pictures bearing on subjects in harmony with 
 his new position. * The Pious Family bursting from a 
 Sepulchre,' 'The Angel carrying the Spirit of a Child 
 into Paradise,' ' The Cherub,' and other kindred subjects, 
 occupied his pencil at intervals during the rest of his life. 
 He died at Brasted Place in Kent, in April 1814. 
 
 JOHN SINGLETON COPLEY, E.A., was born at Boston in 
 the United States, on 3rd July, 1737. His father, John 
 Copley, had married Mary Singleton, an Irish lady, and 
 had long been resident in Ireland, although of English 
 extraction. Their son was born immediately after his 
 parents' arrival in America, and was educated in that 
 country. He taught himself to paint without the aid 
 of instructors, by studying the scenery around his father's 
 residence, and thus acquired much more skill than 
 many who had greater advantages. It is a curious coin- 
 cidence, that thus simultaneously both Copley and West 
 were labouring to prepare themselves for future distinc- 
 tion in art, in the same distant country. The first picture 
 by which attention was attracted to him in England, was 
 one painted in 1760, the subject being 4 A Boy with a 
 tame Squirrel.' For some years subsequently, he was 
 making a good income by portrait painting in his native 
 town, but was sighing for a visit to Europe. After leav- 
 ing a number of paintings with his mother in Boston, 
 and supplying himself from his earnings with a sufficient 
 sum of money for a three years' tour in Europe, he set 
 sail from Boston in 1774, and arrived in England, leaving 
 it again on the 26th of August of that year for Eome. 
 There he stayed till the following May, when he pro-
 
 190 HISTORY OF THE ROYAL ACADEMY [On. VL 
 
 ceeded to other parts of the Continent to study the 
 Venetian and Flemish Schools, and at Parma copied the 
 famous Correggio. At the end of 1775 he returned to 
 London, and resided at 25 George Street, Hanover 
 Square. He had previously sought the help of West in 
 obtaining an introduction to the Eoyal Academy, and in 
 1776 he exhibited his first work there, ' A Conversation.' 
 In the same year he was elected an Associate, and E.A. 
 in 1779. 
 
 The picture by which Copley established his fame was 
 that representing ' The Death of Lord Chatham,' now 
 in the National Collection. It contained so many por- 
 traits of members of the House of Peers, that it was 
 universally sought after, and the fame of the picture was 
 sustained by a large engraving from it by Bartolozzi, of 
 which 2500 impressions were sold in a few weeks. 
 America joined in the praises of the artist, and his aged 
 mother's heart was gladdened at her son's success. 
 Washington, when acknowledging a copy of the print 
 sent him by Copley, said, " This work, highly valuable 
 in itself, is rendered more estimable in my eyes, when 
 I remember that America gave birth to the celebrated 
 artist who produced it ; " and John Adams wrote, " I 
 shall preserve my copy both as a token of your friend- 
 ship, and as an indubitable proof of American genius." 
 Another work, displaying less of the dry and stiff man- 
 ner of this picture, also excited great attention, ' The 
 Death of Major Pierson,' a young officer who fell in the 
 defence of St. Heliers, Jersey, against the French. This 
 picture was painted for Boydell ; and when long after- 
 wards his gallery was dispersed, it was purchased back 
 by the artist, and is now in the possession of his illus- 
 trious son, the venerable Lord Lyndhurst. Another 
 picture, painted for the Common Council of London, 
 now in Guildhall, represented on a large canvas, ' The 
 Eepulse and Defeat of the Spanish Floating Batteries at 
 Gibraltar,' in which portraits of the gallant Lord Heath-
 
 CH. VI.] COPLEY DE LOUTHERBOURG 191 
 
 field and others were introduced. A picture of another 
 kind, bequeathed by him to Christ's Hospital, represented 
 'The Escape of a Sea-boy from a Shark.' But while 
 he painted such subjects and portraits in great numbers, 
 his ambition was to be able to excel in historical com- 
 positions. Most of his pictures in this style were taken 
 from the history of England, and particularly the period 
 of the Revolution. Among them, were 'King Charles 
 signing Strafford's Death Warrant,' 'The Assassination 
 of Buckingham,' ' King Charles addressing the Citizens 
 of London,' 'The Five Impeached Members brought 
 back in Triumph,' ' The King's Escape from Hampton 
 Court,' &c. He also painted a view of ' The House of 
 Commons visiting the Army at Hounslow.' Occasion- 
 ally he chose sacred subjects, and his last work (with the 
 exception of a portrait of his son painted in 1814) was 
 ' The Resurrection.' He died 9th December, 1815, 
 aged seventy-eight years. His son, who is eminent both 
 as a profound lawyer and a great statesman, has long 
 occupied his father's house in George Street, Hanover 
 Square, and has with praiseworthy devotedness collected 
 within its walls the best works of his distinguished 
 parent. 
 
 PHILIP JAMES DE LOUTHEKBOURG, R.A., was born at 
 Strasburg, on 31st October, 1740, and was the son of a 
 miniature painter who died at Paris in 17G8. He intended 
 his son for an engineer in the army, while his mother 
 wished him to become a minister in the Lutheran Church, 
 and he was educated at the College of Strasburg, in lan- 
 guages and mathematics, as a preparation for it, until his 
 decided propensity for painting led him to determine to 
 pursue it as a profession. He at first studied under Tisch- 
 bein, afterwards under Vanloo and Casanova, but formed 
 his principles and style upon those of the last named, who 
 was then in great vogue as a historical painter. After 
 having obtained considerable reputation at Paris by the
 
 192 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 works which he exhibited at the Louvre, and having been 
 elected in 1763 a member of the Academy of Painting 
 there (when eight years below the limit of age for his 
 admission), De Loutherbourg quitted I ranee and travelled 
 in Germany, Switzerland, and Italy, coming finally, in 
 1771, to England, where he was at once engaged by 
 Garrick at a salary of 500 per annum, to make designs 
 for the scenes and decorations of Drury Lane Theatre. 
 His vigorous style of execution, poetical imagination, and 
 perfect knowledge of scenic effects, well qualified him for 
 a department of art which demands them all, and which 
 is only held to be a subordinate one, because its pro- 
 ductions are soon laid aside and entirely forgotten. While 
 his own peculiar forte was in landscape painting, by his 
 education he was enabled to give to it a greater compass 
 and range of subjects than usual. Besides his easel 
 pictures, he occasionally employed his pencil on a larger 
 scale, in depicting the events of his time. Thus among 
 his most popular pictures were the 'Eeview of Warley 
 Camp (1780),' 'Lord Howe's Victory on 1st June, 1794,' 
 and the ' Storming of Valenciennes.' For Macklin's Bible 
 pictures, he painted two, representing the ' Deluge,' and 
 the ' Angel destroying the Assyrian Host.' Ah 1 his works 
 are stamped by great vigour and by excellent manage- 
 ment in regard to composition. He possessed great 
 dexterity of hand, but sometimes displayed the foibles of 
 a mannerist, and a meretricious gaudiness of colouring, 
 destroying the tempered harmony of effect so observable 
 in nature. His best landscapes are views of lakes and 
 coast scenery. 
 
 Soon after settling in this country, De Loutherbourg 
 took up his abode at No. 45 Titchfield Street, Oxford 
 Street, and was elected an Associate in 1780, and E.A. in 
 1781. He produced in 1782, under the title of the 
 ' Eidophusikon, or a Eepresentation of Nature,' a novel 
 and highly interesting exhibition, displaying the changes 
 of the elements and their phenomena, in a calm, a moon-
 
 CH. VL] GARVEY KIGATJD 193 
 
 light, a sunset, and a storm at sea, by the aid of reflect- 
 ing transparent gauzes highly illuminated. Gainsborough 
 frequently visited and admired this spectacle, which 
 not only anticipated, but in some respects surpassed our 
 present dioramas, although upon a smaller scale. He also 
 etched in aquatinta several of his own compositions re- 
 presenting soldiers, marine subjects, and landscapes. Late 
 in life he unhappily became a disciple of Brothers, and 
 like him also professed to be a prophet and a curer of 
 diseases. Some of his predictions having failed, his house 
 was attacked, and his windows broken by an angry mob, 
 and he was thus silenced from issuing any more pre- 
 dictions. He died at his residence^ in Hammersmith 
 Terrace, -Ghiswick, on the llth March, 1812, in his - 
 
 73rd year. 
 
 
 
 EDMUND GARVEY, E.A., was one of the first Associates 
 elected in 1770, and was chosen E.A. in 1783. Very little 
 is known of his history, except that from his connexion 
 he is supposed to have belonged to an Irish family. He 
 painted landscapes in the manner of Wilson : his exe- 
 cution was neat, but rather dry. He was a constant 
 contributor to the exhibitions of the Eoyal Academy, 
 sometimes painting in oil, and at others in water-colours. 
 Many of his pictures were scenes from Eome, Savoy, and 
 the Alps ; others of gentlemen's mansions and remarkable 
 places in this country. He died in 1813, and left many 
 small pictures, which were sold by auction in 1816. 
 
 JOHN FRANCIS EIGAUD, E.A., was probably of French 
 or Swiss origin, several artists of the same name having 
 flourished in Paris during the seventeenth and eighteenth 
 centuries, many of whom passed several years in England. 
 He practised as a historical painter, and was one of the 
 artists chosen by Boydell to illustrate the works of 
 Shakspeare. He also painted subjects selected from 
 
 VOL. i. o
 
 194 HISTORY OF THE ROYAL ACADEMY [Cn. VI. 
 
 Scripture, and English history, mythology, and portraits. 
 He was chosen an Associate in 1772, and elected E.A. in 
 1784. He translated Leonardi da Vinci's ' Treatise on 
 Painting,' and published it with illustrative copper plates. 
 Several engravings have been made from his pictures, 
 which in style follow rather the manner of the French 
 than the English school. He died on 6th December, 1810, 
 at Packington, the seat of the Earl of Aylesford. He 
 received many honours from abroad, having being elected 
 a member of the Academy of Bologna, and of the Eoyal 
 Academy of Stockholm : he was also appointed historical 
 painter to Gustavus IV., King of Sweden. 
 
 JOSEPH FAKINGTON, E.A., descended from an ancient 
 family, was a son of the Eev. Wm. Farington, B.D., Sector 
 of "Warrington and Vicar of Leigh, in Lancashire. He 
 was born in 1742, and studied landscape painting under 
 Eichard Wilson. He was admitted a student at the 
 Academy on its formation, was elected an Associate in 
 1783, and E.A. in 1785. His works are chiefly views of 
 the lake scenery of Westmorland and Cumberland, many 
 of which were engraved by Byrne and others. His 
 colouring was clear and transparent, but his drawing 
 sometimes hard. He took an active part in the govern- 
 ment and management of the Eoyal Academy : he first 
 brought forward, as one of the auditors, the plan for 
 increasing the income of the Academy which was adopted 
 in 1809, and proposed some important resolutions in 
 regard to the pension fund. In recognition of these 
 services the Academy voted 50 to be employed in the 
 purchase of a piece of plate to be presented to him. By 
 his great personal influence over many of his brother 
 Academicians, resulting from his unceasing attention to 
 the interests of the institution, combined with great diplo- 
 matic tact, and many other effective elements of social 
 popularity, he possessed a degree of weight in the councils 
 of the Academy, far beyond any other member so much
 
 CH. VI.] JOHN OPIE 195 
 
 so that with some he bore the appellation of " Dictator 
 of the Koyal Academy." He died in 1822. 
 
 JOHN OPIE'S life adds another chapter to those which 
 have been so frequently written, exhibiting the career of 
 genius first manifested in the humblest walks of life, and 
 by its own internal strength rising to prove a public benefit 
 to mankind. He was born in May, 1761, in the parish 
 of St. Agnes, seven miles from Truro, where his father 
 and grandfather were reputable master-carpenters. The 
 family name was Oppy, and his mother was descended 
 from the ancient and respectable family of Tonkin, of 
 Trevawnance in Cornwall. Young Opie was very early 
 remarkable for the strength of his understanding, and for 
 the rapidity with which he acquired all the learning which 
 a village school then afforded. At ten years of age he 
 had made some progress in Euclid, and at twelve he 
 set up an evening school at St. Agnes, where he taught 
 arithmetic and writing to some who were twice his own 
 age. He was bound apprentice to his father, and when 
 assisting him in the repair of a gentleman's house at 
 Truro, an incident occurred which proved the existence 
 of a decided talent for art. In the parlour hung a picture 
 of a farm-yard which attracted his attention so strongly 
 that he frequently stole into the room to gaze at it, until 
 chastised by his father for doing so. On his return home 
 that evening he procured canvas and colours, and com- 
 menced painting a resemblance of the farm-yard, and 
 thus from memory in the course of a few days transmitted 
 to his own canvas a very tolerable copy of the picture. 
 His desire to become a painter was now confirmed ; but 
 his father still treated his attempts witli great severity, 
 and used his utmost endeavours to check him in the 
 pursuit of a profession which lie regarded as destructive 
 of his future prospects. Encouraged by one of his uncles, 
 however, in a little time he had hung Iiis father's house with 
 portraits of his family, and of his youthful companions. 
 
 o 2
 
 196 HISTORY OF TIIE ROYAL ACADEMY [On. VL 
 
 At this period in his career he attracted the notice of 
 Dr. Wolcott, then residing at Truro (and subsequently 
 famous as the celebrated Peter Pindar), who having him- 
 self some knowledge of painting, a shrewd judgment, 
 and a few tolerable pictures, was able to offer various 
 advantages to the young disciple of art. By his recom- 
 mendation he was enabled to find employment in making 
 tours in the neighbouring towns as a professed portrait 
 painter ; and on one of these occasions, after a long absence, 
 he returned, not in the boy's plain short jacket with 
 which he set out, but dressed in a handsome coat, with very 
 long skirts, laced ruffles, and silk stockings, and presented 
 his mother with twenty guineas, which he had earned by 
 his pencil, informing her. that henceforward he should 
 maintain himself. When he subsequently attained emi- 
 nence and profitable employment, his first use of his 
 increased means was to spread comfort around this beloved 
 parent. The first efforts of his pencil, though void of 
 that grace which can only be derived from an intimate 
 knowledge of the art, were true to nature, and in a style 
 far superior to anything generally produced by local 
 country artists. He painted at that time with smaller 
 pencils, and finished more highly than he afterwards did, 
 when his hand had obtained a broader and more masterly 
 execution ; but several of his early portraits would not 
 have disgraced even the high name he afterwards attained. 
 
 About the year 1777, he was introduced to Lord 
 Bateman, who gave him a commission to paint figures of 
 old men, beggars, &c., whose portraits he sketched with 
 characteristic force and vigour. In his twenty-eighth 
 year he was brought to London by his patron, Dr. Wolcott, 
 and by the aid of this gentleman, in whose house he 
 resided, he soon became the rage of all the fashionable 
 world, and was everywhere spoken of as " the Cornish 
 wonder." Although this " terrific popularity " (as he after- 
 wards called it) was not of long duration, the tide of 
 patronage left him in comfortable circumstances. Ac-
 
 CH. VI.] JOHN OPIE 197 
 
 customed in childhood to prove himself superior to his 
 companions, the desire of competition never left him, and 
 when he came to the metropolis it was with the liveliest 
 hopes that he would be able to attain to eminence. He 
 had the good sense to meet flattery with caution, and even 
 with trembling, and he viewed the unfeeling caprices of 
 fashion with the sensitiveness of genius, but with the un- 
 conquerable force of sense and justice. His portraits 
 were the faithful expression of individual character in a 
 broad masterly style, but they wanted the refinement and 
 delicacy of the works of those trained in schools. He 
 contributed some of his best works in the historical style 
 to the Shakspeare Gallery of Boydell, and the collections 
 illustrating the Bible and English history formed by 
 Macklin and Bowyer. 
 
 While thus actively pursuing his art in London, he 
 sought most studiously the cultivation of his own mind, 
 applied himself to reading the best authors, and "re- 
 membered all he read ; " sought the society of the learned, 
 and was ardent in every research which could give vigour 
 to his mind. Thus he fitted himself for the literary un- 
 dertakings in which he afterwards engaged. The life 
 of Eeynolds, in Dr. Wolcott's edition of " Pilkington's 
 Dictionary of Painters," was the first specimen of his 
 ability in this way. A letter published in the " True 
 Briton " newspaper followed, in which he proposed the 
 formation of a National Gallery of Pictures, and which 
 was subsequently reprinted as "An Inquiry into the 
 requisite Cultivation of the Arts of Design in England." 
 His lectures delivered at the Royal Institution dis- 
 played his extensive professional knowledge, set forth the 
 principles of painting, and presented an accumulation of 
 maxims founded both on history and observation. They 
 were listened to with attention in a fashionable circle 
 assembled for intellectual entertainment, but they were 
 so far from satisfying their author that he declined to 
 continue them.
 
 198 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 In the Eoyal Academy he was elected an Associate in 
 1786, and E.A. in the following year; and on the Pro- 
 fessorship of Painting becoming vacant in 1799, by Barry's 
 dismissal, he offered himself as a candidate for it, but 
 being told that he had a competitor whose learning and 
 talents pre-eminently fitted him for that office, he resigned 
 his pretensions at that time, but renewed his claims on 
 Fuseli's removal to the appointment of Keeper, and was 
 then elected. This was in 1805. About this time he pro- 
 posed a plan for the erection of a huge figure of Britannia, 
 in the Isle of Wight, as a monument to commemorate the 
 exploits of the British Navy. He commenced his series of 
 Lectures on Painting at the Eoyal Academy, in February 
 1807, and only delivered four of the course on design, 
 invention, chiaro-scuro, and colouring when he died 
 somewhat suddenly at the house he had occupied for 
 sixteen years, No. 8 Berners Street, Oxford Street, on 
 the 9th of April, 1807, and was buried on the 20th of 
 the same month in the crypt of St. Paul's Cathedral, near 
 the grave of Sir Joshua Eeynolds. 
 
 Opie was twice married, first soon after he came to 
 London, to a faithless wife, from whom he was afterwards 
 divorced ; and secondly, in 1798, to Amelia, the daughter 
 of Dr. Alderson, a physician at Norwich, who was both an 
 intellectual companion and a judicious adviser to her hus- 
 band, possessed alike of kindness of heart and gentleness 
 of disposition, and by her own genius added lustre to the 
 name of Opie, becoming one of the most popular novelists 
 of the day. She published a memoir of her husband after 
 his decease, and his lectures at the Eoyal Academy, which 
 though they displayed none of the brilliant specimens of 
 erudition and imagination which characterised those of 
 his predecessor, Fuseli, appeared to be unequalled of their 
 kind ; and it is to be regretted that the system of pro- 
 fessional instruction he had designed in these lectures was 
 cut short by the progress of a fatal disease which termi- 
 nated in his death at the early age of forty-six.
 
 CH. VI.] OPIE NORTHCOTE 199 
 
 Portraiture and historical painting divided the attention 
 of Opie after his arrival in London. His most admired 
 productions in the latter style are the 'Presentation in the 
 Temple,' ' Jephthah's Vow,' The Murder of James I. of 
 Scotland,' ' The Death of David Eizzio,' ' Arthur taken 
 Prisoner,' ' Hubert and Arthur,' ' Belisarius,' ' Juliet in the 
 Garden,' &c. None of these works affect ideal beauty or 
 refined poetical composition, but they are stamped by 
 energy of style and a perfect purity of colour, an har- 
 monious tone, and exact effects of light and shade. In 
 his portraits their truth and reality abundantly compen- 
 sate for the absence of the more refined characteristics 
 of elegance and taste. 
 
 JAMES NORTHCOTE, E.A., who lived to a venerable age, 
 was born on 22nd October, 1746, at Plymouth, where his 
 father was a watchmaker. From a very early period in 
 life, he manifested his taste for art ; and so enthusiastic 
 was he, that when Reynolds visited Devonport with Dr. 
 Johnson in 17G2, he pressed through the crowd only to 
 touch the skirt of his coat, " which I did," he says, " with 
 great satisfaction to my mind." His father, however, felt 
 no inclination to encourage his predilection for so uncer- 
 tain a profession, and therefore apprenticed him to his own 
 trade. It was not till after his articles were concluded, and 
 that he had attained the age of twenty-four, that lie began 
 earnestly to study as an artist. A friend of his father, 
 Dr. Zachary Mudge, introduced him in 1771 to Sir 
 Joshua, who, though he had little opinion of his talent 
 or progress at that time* resolved to give him a trial, and 
 for five years he was a resident pupil in his house, enjoy- 
 ing all the advantages of study in his gallery. During 
 this period his diligence soon compensated for the defi- 
 ciencies of his previous training, and he quickly gained 
 the esteem and approval of his preceptor. 
 
 Soon after quitting Reynolds's studio, he commenced 
 practice on his own account as a portrait painter, and
 
 200 HISTORY OF THE ROYAL ACADEMY [Cn. VL 
 
 endeavoured to imitate the colouring and style of Rey- 
 nolds ; but being ambitious of directing his attention to 
 the higher walk of historical painting, he set out for Italy 
 in 1777, where he spent about five years, and was elected 
 a member of the Academies of Florence and Cortona. 
 Shortly after his return to England, an opportunity for 
 exercising his skill in historical composition was offered 
 by BoydelTs Shakspeare Gallery. His contributions to 
 this laudable undertaking established his reputation, and 
 secured him a high rank among the artists of his day. 
 Indeed, among the many splendid productions by the 
 British artists of that period which were then collected 
 together, none were more justly attractive than the com- 
 positions of Northcote which he painted in 1786. The 
 scene of 'The Smothering of the Princes in the Tower;' 
 ' The Removal of their Bodies by Torchlight for Interment 
 at the Foot of the stone Steps ;' his large picture of ' Wat 
 Tyler,' for the city of London ; and the scene between 
 ' Hubert and Prince Arthur,' may be especially noticed 
 in proof of this statement, and as displaying the successful 
 imitation of the colouring of Reynolds, to which North- 
 cote had attained. These works were followed by ' The 
 Grecian Girl ;' ' The Dominican Friar ;' ' The Landing of 
 the Prince of Orange ; ' ' Jacob blessing the sons of 
 Joseph ; ' ' The Angels appearing to the Shepherds ; ' 
 ' Romulus and Remus ; ' ' The Death of the Earl of Ar- 
 gyll ;' and ' Prospero and Miranda.' By means of the en- 
 gravings made from them, these and other productions 
 of his pencil were widely known in Europe ; while ' The 
 Village Doctress,' and similar familiar subjects, were seen 
 framed and glazed in various parts of the country. In- 
 deed, to the unwearying labour of Boydell in promoting 
 the interests of the British School of Engraving, the artists 
 of that day had to attribute much of the patronage they 
 received. The disastrous result to Boydell of the specu- 
 lation in the Shakspeare Gallery, and other undertakings, 
 seems for a while to have damped the ardour, and crip-
 
 On. VI.] JAMES NORTIICOTE 201 
 
 pled the energies of the artists whom he patronised ; and 
 thus Northcote, among the number, failing to maintain 
 his position as a historical painter, divided his labours 
 between these compositions and fancy subjects and por- 
 traiture. Subsequently, with the wish to rival the works 
 of Hogarth, he painted a series of ten pictures on 
 moral subjects, illustrating Virtue and Vice in the 
 progress of two young women. These designs, though 
 they bore directly on the subject of the drama they were 
 intended to represent, were wanting in that life-like 
 character and expression which Hogarth gave to his 
 composition of ' The Marriage a la Mode,' and similar 
 works. 
 
 Northcote was enthusiastic in the pursuit of his art, 
 but his ability and genius were not equal to his applica- 
 tion. He took delight in painting wild animals, both 
 beasts and birds ; and on one occasion, whilst making a 
 study of a vulture from nature, he laid down his palette, 
 and clasping his hands, exclaimed, " I lately beheld an 
 eagle painted by Titian, and if Heaven would give me 
 the power to achieve such a work, I would then be con- 
 tent to die." Though he never attained the eminence, 
 as a painter, nor that perfection in the arts, which he 
 coveted, he found in his artistic pursuits sufficient to 
 satisfy his mind, and to preserve him in undisturbed tran- 
 quillity during a long life. From a studious desire not 
 to incur debts, he lived economically and in retirement, 
 occasionally enjoying the society of his brother artists, to 
 one of whom, when confined by sickness, he one day 
 observed, " If Providence were to leave me the liberty of 
 choosing my heaven, I should be content to occupy my 
 little painting-room, with a continuance of the happiness 
 I have experienced there, even for ever." 
 
 The conversational powers of Northcote were regarded 
 as of a high order, arid were distinguished by an acute- 
 ness and perception which arc supposed to have origi- 
 nated in the delight with which, as a boy, he listened to
 
 202 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 the colloquies of Dr. Mudge, and other intellectual men, 
 who were visitors at his father's house. Many persons 
 paid him visits for the sake of listening to his criticism on 
 art and artists ; and though much of his time was thus 
 passed, he never allowed it to interfere with his painting, 
 which he pursued uninterruptedly, whoever might be 
 present at the time. Severe and satirical in his censure, 
 few men escaped condemnation in some point, yet some 
 favoured individuals maybe mentioned, Opie he always 
 spared ; and so great was his veneration for his preceptor 
 Eeynolds, that he would never allow any one to utter 
 aught to the disparagement of his memory, but himself. 
 Hazlitt's conversations with him afford a good portraiture 
 of his character, and of the qualities of his mind. The 
 literary productions of Northcote are far from inconsider- 
 able. Many papers by him appeared in a work entitled 
 " The Artist ;" and in 1813 he published his memoirs of 
 Sir Joshua Eeynolds, with an analysis of his discourses, in a 
 quarto volume, to which he afterwards added a supplement. 
 In 1828, at the venerable age of eighty-two, he brought 
 out his " One hundred fables, original and selected ; " and 
 two years later his life of Titian, a work which contains 
 much information on art generally, but which is known 
 to have been written by Hazlitt, from the materials fur- 
 nished by Northcote. Neither did he lay aside his pencil 
 till within a day or two of his death, which took place 
 on the 13th July, 1831, in the 86th year of his age. 
 
 On his first arrival in London he became a student at 
 the Eoyal Academy, in 1786 he was elected an Associate, 
 and in the following year a Eoyal Academician. For 
 many years his works held a conspicuous place in the 
 exhibitions at Somerset House, where they always at- 
 tracted attention from the clear way in which he told 
 the story he represented. There was a certain dignity 
 and grace in all his pictures, which were unfortunately 
 counterbalanced by defective drawing, want of pictorial 
 conception, and dulness of colouring. Nevertheless, he
 
 CH. VI.] WILLIAM HODGES 203 
 
 amassed a large fortune by his profession, and his habits, 
 like those of Nollekens, were too penurious to dissipate 
 it. He was never married, but lived with a maiden sister, 
 to whom he bequeathed a large property. For nearly 
 fifty years he occupied the house in which he died, No. 
 39 Argyle Street, Eegent's Street. He was buried in St. 
 Marylebone New Church. 
 
 WILLIAM HODGES, E.A., was born in London in 1744. 
 His father was a blacksmith who worked at a forge he 
 kept in St. James's Market. When quite a boy he attended 
 Shipley's drawing school, in the Strand, and subsequently 
 became a pupil of Wilson, the landscape painter. In 
 these early days he painted decorations for theatres, and 
 architectural views. In 1772 he accepted the appoint- 
 ment of draughtsman in the second voyage to the South 
 Seas, undertaken by Captain Cook, and his drawings v ^ 
 were published with the narrative of the expedition. A 
 After an absence of three years he returned to England, 
 and painted some pictures for the Admiralty of scenes at 
 Otaheite and Ulietea in the Pacific. He afterwards went 
 to India, under the patronage of Warren Hastings, where 
 he realised a considerable fortune. 
 
 He was elected an Associate in 1786, and a Eoyal Aca- 
 demician in 1787. He painted two pictures forBoydell's 
 Shakspeare Gallery, ' The Forest of Arden, with the 
 wounded Stag ; ' and ' The Grove Scene from Portia's 
 House.' In 1790 he made a tour on the continent of 
 Europe, and in 1793 exhibited a view of St. Petersburg 
 at the Eoyal Academy. His style was an imitation of 
 that of Wilson ; and one of his best works is a view of 
 Windsor from the Great Park. In his later years he ex- 
 hibited several of his foreign views two of these, repre- 
 senting a seaport in time of peace and the same place 
 devastated by fire and sword, are now in the Soane 
 Museum. Many of his works were engraved, and he 
 published a series of aquatinta plates of his views in
 
 204 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 India, and an illustrated account of his travels, dedicated 
 to the East India Company. Unfortunately, he was in- 
 duced in 1795 to invest his Indian fortune in establishing 
 a Bank at Dartmouth, in Devonshire, which failed two 
 years afterwards. The shock caused his death on the 
 6th March, 1797, and his third wife died a few months 
 afterwards. 
 
 JOHN EUSSELL, E. A., was born at Kingsten-en-Thames in 
 174^. He studied crayon drawing under Francis Cotes, 
 whose skill in that branch of art has never been excelled. 
 In 1770 he became a student of the Eoyal Academy, and 
 continued to paint crayon portraits in the manner of his 
 preceptor, which were greatly admired, although they 
 were more gaudily coloured than those of Cotes. He 
 published a treatise on the " Elements of Painting in Cray- 
 ons," which was so far popular at the time as to pass 
 through two editions. Besides painting, he seems also to 
 have had a taste for astronomy, having made a model, 
 showing the appearance of the moon, called the Senelo- 
 graphia, and published a description of it with plates 
 engraved by himself. He also invented a peculiar mode 
 of preparing his own crayons, &c., which was afterwards 
 continued by his son. He was elected an Associate in 
 1772, and an E.A. in 1788. He lived in Newman Street, 
 Oxford Street ; but died in lodgings he had taken at Hull, 
 on the 21st April, 1806. He held the appointment of 
 portrait painter in crayons to the King and the Prince of 
 Wales. 
 
 WILLIAM HAMILTON, E.A., was descended from a Scottish 
 family, but was born in London in 1751, his father being 
 then resident at Chelsea, and an assistant to Eobert Adam, 
 the architect. In his youth he went to Italy as a pupil 
 of A. Zucchi, and after spending some years in Eome, 
 returned to England to pursue the profession of a portrait 
 and historical painter. His gentle and amiable manners
 
 CH. VI.] WILLIAM HAMILTON 205 
 
 gained him many patrons ; and the charm of his colour- 
 ing, the soft delicacy of his style, and a refinement ap- 
 proaching even to extravagance, caused his portrait pic- 
 tures to be very popular. As a historical painter he 
 was extensively employed to take part in the schemes of 
 Boydell, Macklin, and Bowyer, to illustrate the Bible, 
 the Poets, English History, and Shakspeare, and most of 
 his works of this kind displayed great readiness and faci- 
 lity of invention. They were engraved by Bartolozzi, 
 and others. He was also frequently engaged in designing 
 vignettes for book-illustrations ; and his small coloured 
 drawings were so fresh, so full of colour, and finished 
 with so much taste, that they were deservedly admired. 
 Lord Fitzgibbon gave him 600 guineas for his designs on 
 the panels of his state-coach ; and he executed some beau- 
 tiful arabesque ornaments for the seat of the Marquis of 
 Bute, in Hampshire. He found abundant and lucrative 
 employment for his varied talents. His best historical 
 pictures are ' The Woman of Samaria,' and ' The Queen 
 of Sheba's Visit to Solomon,' the latter a design for a 
 window in Arundel Castle ; and in portraiture, ' Mrs. Sid- 
 dons, in the character of Lady Eandolph.' He became a 
 student of the Eoyal Academy in 1769, an Associate in 
 1784, and was elected E.A. in 1789. He died somewhat 
 suddenly, in the prime of life, on 2nd December, 1801. He 
 attended the Royal Academy as one of the visitors on the 
 26th of November, but on his return home to Dean 
 Street, Soho, in the evening, he was seized with the fever 
 of which he speedily died. His remains were interred in 
 St. Ann's churchyard, Soho, and were followed to the 
 grave by many of his brethren in the Royal Academy, 
 where he was much beloved. His talents had made him a 
 great favourite with the public, and his virtues caused his 
 friends greatly to lament his deatli in the prime of life. 
 
 HENRY FUSELI, R.A., unlike the majority of the artists 
 we have mentioned, belonged to a family of painters. He
 
 206 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 was the second son of John Jasper Fiieseli (a portrait 
 and landscape painter, and the author of " The Lives of 
 the Helvetic Painters "), and was the godchild of the 
 celebrated Gessner. He was born at Zurich on the 7th 
 of February, 1741, and though several members of his 
 family were artists, his father discouraged to the utter- 
 most his son's predilections for the same profession. Yet 
 the attempt was made in vain. When a boy he bought 
 with his small .allowance of pocket money, candles, 
 pencils, and paper, to enable him to draw when his 
 parents believed him to be in bed ; and the produce of 
 these studies when sold to his companions, enabled him 
 to purchase fresh supplies of materials for carrying on 
 his work. Being destined for the clerical profession, he 
 received a classical education at the Collegium Carolinum 
 at Zurich, and while there he made the acquaintance of 
 Lavater, and other persons afterwards distinguished in 
 the world of letters. He took the degree of M.A., and 
 entered holy orders in 1761 ; but though, it is said, he 
 excited considerable attention as a preacher, it is evident 
 his inclinations were not suited to his holy calling. 
 Having in conjunction with Lavater, written a pamphlet 
 exposing the unjust conduct of. one of the magistrates of 
 Zurich, he excited the enmity of a powerful family, and 
 his friends advised him to leave the city. He accord- 
 ingly travelled about Europe till 1765, when Sir A. 
 Mitchell, the English Minister at Berlin, invited him to 
 accompany him to England to assist in a literary com- 
 munication proposed to be opened between Germany and 
 this country. He became acquainted with Mr. Millar 
 and Mr. Johnson, two eminent publishers, and for three 
 years he seems to have depended for support principally 
 upon the produce of translations for the booksellers, from 
 the German, French, and Italian languages into English, 
 and from English into German. 
 
 In 1766, after an unfortunate attempt to obtain lordly 
 patronage as travelling tutor to Lord Chewton, the son
 
 CH. VI.] HENRY FUSELI 207 
 
 of Earl Waldegrave, he determined to return to England 
 to devote himself to the arts, and having been fortunate 
 enough to obtain an introduction to Sir Joshua Reynolds, 
 he was greatly encouraged by the kind opinion he ex- 
 pressed of the drawings he submitted for his inspection. 
 " Were I the author of these drawings, and were offered 
 ten thousand a-year not to practise as an artist, I would 
 reject the proposal with contempt," were Eeynolds's words. 
 For two years Fuseli devoted his attention exclusively to 
 the arts still continuing, however, to gain the friend- 
 ship of men eminent in the literary world, with which 
 his early labours as an author had connected him. In 
 1770 he set out on a visit to Italy, and was absent from 
 England nine years. In this long interval, his biographer, 
 Mi\ Knowles, says that " although he paid minute atten- 
 tion to the works of Eaphael, Correggio, Titian, and the 
 other great men whom Italy has produced, yet he con- 
 sidered the antique and Michael Angelo as his masters, 
 and formed his style upon their principles," endeavouring 
 to infuse some of their power and spirit into his own 
 productions. After his return to England, he exhibited 
 several pictures at the Eoyal Academy, one of which, 
 ' The Nightmare,' in 1782, excited considerable surprise 
 by its bold nervous treatment. Literary pursuits were still 
 mingled with his artistic labours, and about this time he 
 assisted Cowper in his translation of Homer, edited the 
 English version of Lavater's works on " Physiognomy," 
 and contributed frequently to the " Analytical Eeview." 
 
 Fuseli was one of the artists employed on Boydell's 
 Shakspeare. lie painted eight pictures for this series 
 the most notable being " The Witches ' in Macbeth, and 
 4 The Ghost appearing to Hamlet.' He also contributed 
 to the Mackhn and Woodmason Galleries, commenced 
 in imitation of Boydell's plan ; and all these works are 
 known by the engravings made from them. In 1788 he 
 removed from No. 100 St. Martin's Lane, took a house 
 in Queen Anue Street East, and married Miss Sophia
 
 208 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 Eawlins of Bath-Eaton, and in the same year was elected 
 an Associate of the Eoyal Academy. In 1790 he was 
 elected a Eoyal Academican, at the time when Bonomi 
 was also a candidate ; and although Eeynolds supported 
 the latter, and felt much annoyed at his failure, he did 
 not exhibit any ill-feeling towards his opponent Fuseli, 
 to whom the President's kindness remained unaltered 
 to the last. At this time Fuseli projected his " Milton 
 Gallery," and in the next nine years painted forty pictures 
 in illustration of the poet's works. In May 1799 his 
 Gallery was opened to the public, but unfortunately the 
 speculation proved ruinously unproductive ; for at the 
 close of the exhibition, the money taken was not suffi- 
 cent to pay the rent of the premises, and the other 
 expenses attending it : in the following year the Gallery 
 was re-opened with seven additional pictures ; but not- 
 withstanding the countenance and support which it met 
 with from the Eoyal Academicians 1 , and other influential 
 friends, and the fame obtained by the artist, the result 
 was equally unsuccessful with the first. This may per- 
 haps be attributed to the circumstance, that Fuseli's 
 works, wonderful as they undoubtedly were for inven- 
 tion, were not such as generally to meet with popular 
 favour. His earliest examples had been the drawings of 
 the German artists of his native place, and their man- 
 nerism more or less displayed itself in all his works. 
 He possessed a wild and unbounded imagination, and 
 his productions partook of that mysticism and exaggera- 
 tion which he had imbibed from his German origin and 
 education ; hence, the excellences of his style, and the 
 real genius he displayed, were lost upon ah 1 but those who 
 had a taste for the highest specimens of art, and his lofty 
 imaginings were set down by all others as extravagance. 
 On the removal of Barry from the office of Professor 
 
 1 The members of the Royal Aca- brate its opening, paying for the cost 
 demy gave a dinner in honour of of the entertainment among them- 
 Fuseli, at the Milton Gallery, to cele- selves.
 
 CH. VI.] HENRY FUSELI 209 
 
 of Painting, at the Eoyal Academy, in 1799, Fuseli was 
 appointed to it without opposition, Opie, the only other 
 candidate, having withdrawn. His first lectures were 
 delivered in 1801 ; they were well attended, and in 
 their delivery he was frequently interrupted by applause. 
 They were published in the same year, and have since 
 been translated into German, French, and Italian. 
 Though not to be compared to Sir Joshua Eeynolds's 
 discourses for general information, or the exhibition of 
 the principles to be applied to the purposes of art, 
 Fuseli's lectures, nevertheless, contain some of the best 
 fine-art criticism in our language ; and the earnestness of 
 his manner, combined with the eloquence with which he 
 was gifted, rendered his addresses highly popular among 
 the students. He vacated the office of Professor of 
 Painting in 1804, when he was elected Keeper of the 
 Eoyal Academy ; but in 1806, as Opie, his successor, had 
 not then prepared his course, he again delivered his 
 series of lectures. In the following year, as we have 
 seen, Opie died somewhat suddenly, after having given 
 only four lectures ; Mr. Tresham, his successor, resigned 
 in 1809, on the plea of ill-health ; and the Aca- 
 demicians then generally expressed their wish for the 
 re-election of Fuseli. This, however, was contrary to 
 one of their bye-laws ; and it affords a proof of the 
 high estimation in which he was held, that they waived 
 this objection in consideration of his eminent talents. 
 In the next year, therefore, he resumed his lectures, then 
 enriched with many observations made during a recent 
 visit to France to see the collection of pictures from all 
 parts of the Continent, gathered together in Paris by 
 Napoleon. 
 
 In 1810 also, Fuseli published a new edition of Pil- 
 kington's " Dictionary of Painters," having inserted in it 
 some 300 additional notices of artists. Among his other 
 literary works, which have not already been mentioned, 
 was a translation into German of Lady Montagu's 
 
 VOL. i. p
 
 210 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 "Letters," and of Winckelmann's work on "Ancient 
 Painting and Sculpture in England," into English. In 
 1818, when in his 78th year, Mr. Knowles, his exe- 
 cutor and biographer, collected under his inspection 
 the " Aphorisms on Art," subsequently printed ; and in 
 1820 Fuseli published another edition of his lectures, 
 adding three others, and an introduction entitled, " A 
 Characteristic Sketch of the Principal Technic Instruc- 
 tion, Ancient and Modern, which we possess." Six ad- 
 ditional lectures from MS. were published subsequently 
 to his death. Though Fuseli was a foreigner, and had 
 made England but the country of his adoption, his know- 
 ledge of our language was perfect ; he could never, how- 
 ever, overcome the difficulty of pronunciation, and for 
 this reason changed his family name of Fiiessli, first to 
 Fusseli, and afterwards to Fuseli, in order to suit the 
 Italian sound of it. 
 
 Having lived to a good old age, and survived all his 
 early and intimate friends, Fuseli died in his 88th year, 
 but in the full vigour of his mental faculties, in the 
 house of his stedfast friend, the Countess of Guildford, at 
 Putney Heath, on the 16th of April, 1825, having re- 
 ceived from that lady and her daughters all the attention 
 it was possible for them to bestow upon him, in order to 
 soothe the severity of his last sufferings. Although a 
 man of sarcastic and violent temper, he had many 
 admiring friends : among them, Cowper, the poet ; Coutts, 
 the banker ; the famous Mary Woolstoncroft ; and he re- 
 tained to the end of his life the regard of Sir Thomas 
 Lawrence. He was buried on the 25th of April, 1825, 
 in St. Paul's Cathedral, between the remains of Sir Joshua 
 Reynolds and those of Opie, and was attended to the 
 grave by the President and most of the members of the 
 Royal Academy, besides his private circle of acquaintance. 
 After his death, his drawings, 804 in number, were sold 
 by Mrs. Fuseli to Sir Thomas Lawrence, who gave her a 
 bond, bearing interest at 200 a-year ; outstanding at the
 
 CH. VI] HENRY FUSELI 211 
 
 time of his decease. The drawings were returned by his 
 executor, and the bond cancelled. Subsequently they 
 were sold to the Dowager Countess Guildford. 
 
 Fuseli's genius was of a high order. An intimate 
 acquaintance with the learned languages had early 
 enabled him to fill his mind from the rich storehouses of 
 ancient poetry, and the energy of his imagination dis- 
 played itself in all his works. His style as a painter, 
 undisciplined by all the restraints of an early artistic 
 education, had a degree of wildness which, in dreamy or 
 terrible subjects, was often grand and impressive, although 
 in its character almost amounting to extravagance. He 
 seems to have been conscious of this, for he is said to 
 have observed, " If you would have a picture of Nature 
 as she is, you must go to Opie ; if one as she has been, 
 go to Northcote ; but if you wish to possess representa- 
 tions which never have been nor ever will be, come to 
 me." Sometimes his designs were marred by exaggerated 
 proportions, and convulsive muscular action ; but in 
 regard to invention and composition, they generally merit 
 unmixed praise ; and although his colouring was often 
 deficient, and even repulsive, from its sickly yeUow tinge, 
 by some it has been admired for that solemn tone which 
 is found in the works of the greatest fresco painters. 
 
 As a teacher of the fine arts, whether Fuscli be con- 
 sidered in his capacity of Professor of Painting or in that 
 of Keeper of the Schools of the Eoyal Academy, he was 
 eminently skilful ; he possessed an extensive knowledge 
 of the works of the ancient and modern masters, a sound 
 judgment, and an accurate eye. To the students he was 
 a sure guide, ever ready to assist by his instruction 
 modest merit, and to repress presumption. That the 
 English School of Design reaped great advantages from 
 his appointment as Keeper of the Eoyal Academy is 
 evident, when we refer to those who were his pupils, 
 among whom were Hilton, Etty, Wilkie, Leslie, and 
 Mulready. His warmth of temper sometimes brought 
 
 r 2
 
 212 HISTORY OF THE ROYAL ACADEMY [On. VL 
 
 him into direct opposition to his colleagues; and on these 
 occasions he was wont to boast that he could " speak 
 Greek, Latin, French, English, German, Danish, Dutch 
 and Spanish, and so let his folly or his fury get vent 
 through eight different avenues." His sarcastic sayings 
 live in the memories of numerous artists who felt their 
 force ; while his own peculiarities of style, in design and 
 colouring, led the wits of his time to confer on him the 
 title of " Principal Hobgoblin-painter to the Devil." Still, 
 if his pictures were not popular, it was because they 
 lacked the prettinesses of painting, and not that they 
 wanted 'the poetical treatment or originality of conception 
 which characterise the productions of the real genius 
 in art. 
 
 JOHN WEBBEE, E.A., was born in London in 1752. 
 His father was a sculptor (David Garrick's monument in 
 Westminster Abbey is his work), a native of Berne, in 
 Switzerland, and he sent his son to Paris, when he was 
 still young, to receive instruction as an artist. On his 
 return to London, in 1775, he became a student at 
 the Eoyal Academy, and not long afterwards was ap- 
 pointed draughtsman to the last expedition to the 
 South Seas undertaken by Captain Cook, with the view 
 of making drawings of whatever was remarkable in those 
 hitherto unknown regions ; and when the vessels arrived 
 at Kamtschatka, he acted as interpreter also, for no one 
 else on board could speak German. He returned from 
 this voyage in 1780, and was employed by the Admiralty 
 to superintend the engraving of the prints made from the 
 sketches he had taken of the lands they had explored 
 and the scenes they had witnessed. Subsequently he 
 etched and aquatinted a series of views of the principal 
 places he had visited in China, Eussia, &c., which were 
 afterwards coloured, and were deservedly popular. He 
 was elected an Associate of the Eoyal Academy in 1785, 
 and E.A. in 1791. He confined himself to landscape
 
 CH. VI.] FRANCIS WHEATLEY 213 
 
 painting, drawing with great accuracy both scenes and 
 figures, and carefully finishing every minute object in his 
 pictures, which were always pleasing in effect, but some- 
 times too highly coloured. He died before he had com- 
 pleted the publication of his series of foreign views, at 
 his lodgings in Oxford Street, on the 29th of May, 1793. 
 
 FRANCIS WHEATLEY, E.A., was the son of a tailor, and 
 was born in London in 1747. His first instruction in art 
 was received at Shipley's drawing school, and while still 
 young he obtained several of the premiums awarded 
 by the Society of Arts. In his earlier productions he 
 followed the manner of Hayman and Gravelot; but 
 having made the acquaintance of John Mortimer, he 
 copied several of his paintings and drawings, and thus 
 fell into his style. He assisted him in decorating the 
 ceilings of Lord Melbourne's fine seat at Brocket Hall, in 
 Herts, and in the early part of his career he was employed 
 on the decorations for Vauxhall. He excelled in rural 
 pieces with figures, and in landscapes, which he painted 
 both in oil and water-colours ; but he also found con- 
 siderable employment in the early part of his life in 
 painting small whole-length portraits. Edwards represents 
 him to have led a very irregular life, and says that " he 
 left London for Dublin, in company with Mrs. Gresse, 
 with whom he had the folly to engage in an intrigue, for 
 which he was prosecuted, and cast in the Court of King's 
 Bench." During his residence in Dublin he met with 
 great encouragement from persons of taste and fashion, 
 and gained some reputation by his picture of the ' Irish 
 House of Commons,' with portraits of all the members, 
 at the moment when Grattan was making his motion for 
 the repeal of Poyning's Act. This picture was afterwards 
 disposed of by raffle in Dublin. On his return to London 
 he pursued a new style, somewhat in the manner of the 
 French painter Greuze, who was then a favourite, in 
 which he painted popular rural and domestic subjects.
 
 214 HISTORY OF THE ROYAL ACADEMY [Cir. VI. 
 
 ' The Eiots of 1780 ' afforded him another subject for his 
 pencil, and this picture was one of his best works. It 
 was unfortunately burnt in the house of James Heath, the 
 engraver, in Lisle Street, Leicester Fields, who had made 
 a print from it for Mr. Alderman Boydell, who gave 
 Wheatley 200 for the use of it. He also employed him 
 to paint twelve pictures for his Shakspeare Gallery, chiefly 
 illustrating the scenes in the comedies ; and in these 
 works, and his pictures for Bowyer's Historical Gallery, 
 his merits, both in composition and as a colourist, are 
 fairly displayed. He was a student of the Eoyal Academy 
 in 1769, an Associate in 1790, and E.A. in 1791. In his 
 later years he was a martyr to the gout, and died from 
 that disease on the 28th of June, 1801. 
 
 OZIAS HUMPHREY, E.A., was born at Honiton, in Devon- 
 shire, on the 8th September, 1742, and was educated at 
 the endowed grammar school there, under the Eev. E. 
 Lewis, M.A., until his fourteenth year. At his own 
 earnest solicitation his parents sent him to London to be 
 instructed for the profession of an artist ; and he studied 
 drawing under Mr. Pars, who kept a school for design 
 near Beaufort Buildings, in the Strand. Subsequently he 
 took advantage of the Duke of Eichmond's munificent 
 plan of making public to students the plaster casts from 
 the antique which he had collected ; and after three 
 years thus spent, he returned to Devonshire, in conse- 
 quence of his father's death. Shortly afterwards he 
 sought admission to the studio of Sir Joshua Eeynolds ; 
 but not being successful, he went for two years to study 
 with Mr. Samuel Collins, a miniature-painter of high re- 
 pute in Bath, accompanied him when he removed to 
 Dublin, and succeeded him in his professional employ- 
 ment there. In 1764 he came back to London, having 
 been invited by Eeynolds to come to the metropolis. In 
 1766 he attracted attention by a miniature-portrait he 
 sent to the Spring Gardens Exhibition of John Maling
 
 CH. VI.] OZIAS HUMPHREY 215 
 
 (subsequently the well-known model of the Eoyal Aca- 
 demy), which was purchased by the King, who presented 
 him with one hundred guineas, and afterwards showed 
 his appreciation of his talents by giving him a commis- 
 sion to paint miniatures of the Queen and other members 
 of the Eoyal family. This was the commencement of a 
 long series of successful works in miniature, which was 
 interrupted in 1772, when in consequence of a fah 1 from 
 his horse, Mae found his nervous system so shaken as to 
 unfit him for such delicate execution. He therefore re- 
 solved to turn his attention to oil-painting on a large 
 scale ; and in 1773, accompanied by his friend Eomney, 
 proceeded to Eome, where, and in its immediate vicinity, 
 he lived four years, studying the principles of oil paint- 
 ing, which were tih 1 that time almost unknown to him. 
 From 1777 to 1785 he was occupied in London, painting 
 generally in oil. In the latter year he embarked for 
 India; and on his arrival at Calcutta, was persuaded to 
 renew his first practice of miniature painting. His talents 
 and gentlemanly bearing procured him the esteem and 
 friendship of Sir W. Jones and Warren Hastings ; and 
 he was chosen one of the first members of the Asiatic 
 Society. While in India he visited the courts of Moor- 
 shedabad, Benares, and Lucknow, painting portraits of 
 princes, nabobs, and other distinguished persons. Decay 
 of health compelled him to return again to England in 
 1788, after he had realised a handsome fortune in India. 
 He resumed his miniature painting, and exhibited many 
 of his recent works in the exhibition of the following 
 year. In 1779 he had been elected an Associate of the 
 Eoyal Academy: he was now in 1791 elected a Eoyal 
 Academician. He was engaged to paint a cabinet for the 
 Duke of Dorset, with likenesses of his Grace's ancestors, 
 from the portraits in the collection at Knole ; but when 
 he had finished nearly fifty portraits in a fine and delicate 
 style, his eyes became so weakened by excessive appli- 
 cation as to compel him to relinquish the labour. Loving
 
 216 mSTOEY OF THE ROYAL ACADEMY [On. VI. 
 
 his art, however, he found a resource in crayons, to 
 which line of painting he now devoted his attention, and 
 was eminently successful. Two portraits, of the Prince 
 and Princess of Orange, in this style, were completed in 
 1797, and were his last works, as his sight then com- 
 pletely failed him. He passed the remainder of his days 
 at Knightsbridge, and died on the 9th March, 1810. 
 His taste and genius, his assiduity in the study of the 
 best models, his correctness of design, and rich and har- 
 monious colouring, combine to render his works both 
 valuable and attractive. 
 
 THE SCULPTORS elected as Academicians during the 
 presidency of Sir Joshua Eeynolds have next to be no- 
 ticed : these were, Edward Burch, elected in 1771, 
 Joseph Nollekens in 1772, John Bacon in 1778, and 
 Thomas Banks in 1785. 
 
 EDWARD BURCH, E.A., was the first Eoyal Academician 
 elected by the members, all those preceding him having 
 been nominated by the King. He entered as a student 
 in 1769, was one of the first associates in 1770, and an 
 E. A. in 1771. He was most eminent as a gem-sculptor ; 
 but he exhibited occasionally models in wax, and busts 
 from the antique. Among modern artists, Burch was re- 
 garded as the one who had attained the nearest to the 
 point of excellence reached by the Greek and Eoman 
 engravers, although he had no advantage from foreign 
 study. He studied with great assiduity, sketched all his 
 figures anatomically with extreme care, finished his works 
 with a truth and delicacy which left nothing to be de- 
 sired, and detailed the muscular parts of every figure so 
 as to express the emotion by which they were set in 
 action. A large number of his works were arranged to- 
 gether in the famous " Tassie Collection of Gems." He 
 exhibited a series of his beautiful sculpture casts from 
 gems and other similar works year by year at the Eoyal
 
 CH. VI.] JOSEPH NOLLEKENS 217 
 
 Academy, till his death in 1814. For some years pre- 
 viously he held the appointment of Librarian to the 
 Academy. 
 
 JOSEPH NOLLEKEXS, E.A., has had his life written at 
 great length by one of his executors, J. T. Smith, the late 
 keeper of the prints at the British Museum ; but from 
 disappointment at not sharing in his fortune, it is written 
 in an unkindly spirit, although we can learn from it the 
 main facts of the sculptor's life. He was the son of a 
 painter (" Old Nollekens," as he was termed by Walpole 
 and others), a native of Antwerp, and of his wife, Mary 
 Ann Le Sacque. Joseph was born in Dean Street, Soho, 
 on the llth August, 1737, and baptized at the Eoman 
 Catholic Chapel in Lincoln's Inn Fields. His father died 
 on the 21st January, 1748, when he was very young, 
 and his mother quickly remarried, and went to reside 
 with her second husband in Wales ; hence Joseph's 
 school education was neglected, and he early set to work 
 to study as an artist, never afterwards attempting to make 
 up his lack of book-learning. After a short time spent 
 in Shipley's drawing school in the Strand, he was ap- 
 prenticed, when only thirteen, to Scheemakers, the 
 sculptor, whose studio was in Vine Street, Piccadilly. 
 While there he worked patiently and perseveringly, early 
 and late, and success rewarded his exertions. In 1759 
 he gained the Society of Arts' premium of fifteen guineas 
 for a group of figures in clay ; and in the next year 
 thirty guineas for a bas-relief, and ten guineas more for a 
 model in clay of a dancing faun. 
 
 Anxious to escape from the jealous opposition of some 
 of his fellow-students at Scheemakers', and also to im- 
 prove himself in his art, he went in 1760 to Borne, and 
 he had to work hard while there to obtain a maintenance. 
 In 1761, he was so fortunate as to have awarded to him 
 by the Society of Arts, fifty guineas for his marble group 
 of ' Timoclea before Alexander.' David Garrick met him
 
 218 HISTORY OF TIIE ROYAL ACADEMY [Cii. VI. 
 
 in the Vatican, remembered these successful prize-works, 
 and sat to him for his bust, giving him twelve guineas 
 for it. This was his first commission. Another, also 
 obtained at Eome, was from Sterne, done in terra-cotta, 
 and so admirable a likeness that it greatly increased 
 Nollekens' reputation. An equally profitable occupation 
 he found in Eome was the purchase of antique fragments, 
 and their restoration into complete statues. These and 
 other purchases judiciously made, reimbursed him hand- 
 somely when resold : some of the terra-cottas he bought 
 at Eome are now in the Townley Collection in the 
 British Museum. He found ready patrons for these 
 works among the English visitors to the Italian capital ;. 
 and among them were the Earls of Yarborough and Bes- 
 borough, and Lord Selsey. For Lord Yarborough he 
 afterwards executed two of his best works, ' Mercury ' 
 and ' Venus chiding Cupid.' 
 
 Ten years were spent in Italy, and on his return to 
 London, Nollekens took a lease of the house in Mortimer 
 Street, once occupied by Newton, the Secretary of the 
 Eoyal Academy. Here he formed a studio for himself, 
 a shop for assistants, and a gallery for models, and his 
 busts of Sterne and Grarrick having preceded his return, 
 he found many patrons ready to employ him. His simple 
 unassuming manners and quiet looks pleased the sitters 
 who came to him for busts, as much as the excellent like- 
 nesses he wrought, and employment hence became abun- 
 dant. He had presented a fine cast of the Torso to the 
 Eoyal Academy on his return from Eome, and was elected 
 an Associate in 1771. He obtained his diploma as a 
 Eoyal Academician in the following year ; the King ex- 
 pressing his satisfaction at his election when he signed it, 
 and proving his estimation of his skill by himself sitting 
 for a bust. That of Dr. Johnson soon followed, and has 
 ever since been admired, the Doctor himself admitting, 
 " It is very like me ; and there can be no doubt that the 
 sculptor has great skill in his art."
 
 CH. VI ] JOSEPH NOLLEKEXS 219 
 
 By this time Nollekens had amassed some 20,000 by 
 frugal, simple habits, hard industry, and worldly prudence. 
 He now sought a partner in Mary Welsh, the daughter of 
 a magistrate, a tall, light-haired beauty, with a small 
 fortune, whose fine figure contrasted with his short and 
 ill-shaped frame. They lived happily together, practising, 
 by mutual consent, the extreme of frugality in their 
 home-life. The only difference between them was in 
 their religious faith, he still attending the Eoman Catholic 
 chapel, while his wife proceeded to the parish church. 
 Nollekens found that the taste of his day was not for 
 poetical sculpture, but for portraiture, and devoted him- 
 self chiefly to making busts, his prices for which rose to 
 150 guineas. He occasionally laboured on works of 
 fancy, however, among which were ' Cupid and Pysche,' 
 ' Bacchus,' ' Peetus and Arria,' and five Venuses, one of 
 which, known as the ' Eockingham Venus,' representing her 
 anointing her hair, was regarded by him as his best work 
 in that style. Monumental sculpture also fell to his 
 share ; and when the Government gave a commission for 
 a monument in Westminster Abbey to the commanders 
 who fell in Rodney's great battle on the 12th April, 1782 
 (Captains Manners, Bayne, and Blair), the choice of the 
 Council of the Eoyal Academy (who were requested to 
 nominate the sculptor to execute it) fell upon Nollekens. 
 Another similar work was the monument to Mrs. Howard 
 of Corby Castle a design of great beauty, pathetic in 
 conception and elegant and tasteful in execution ; for this 
 he received 2000. The statue of Pitt (the face from a 
 mask taken after death), now in the Senate House at 
 Cambridge, produced him 3000 guineas. 
 
 To extreme old age Nollekens continued actively at 
 -work even as late as 181 G, when he was nearly eighty. 
 His wife died in the following year ; and all his early 
 friends having passed away, the rich old man was now 
 surrounded by those who desired to obtain a share of his 
 fortune. He was observed to be more liberal than
 
 220 HISTORY OF THE EOYAL ACADEMY [Cn. VI. 
 
 formerly. One day, when weak and ill, he asked his 
 nurse, " Is there any one with whom I am acquainted 
 that would be the better of a little money any person 
 that wants a little money to do them good ? " and he 
 sent 10 to each of the persons she named. He was 
 kind to his servants, increasing his annual presents to 
 them on his birthday, sometimes to as much as 20 
 a-piece. In 1819 he visited the Eoyal Academy Exhi- 
 bition for the last time in a sedan chair, accompanied by 
 Chantrey. He gave those who helped him to his coach 
 a guinea each, took off* his hat, and bade farewell to the 
 Academy, and gradually declined in strength, until at 
 length he passed away in his 86th year, on the 23rd 
 of April, 1823. He was buried in Paddington Old 
 Churchyard, and a tablet, executed by Behnes, is erected 
 in the chancel of the church to his memory. 
 
 Great anxiety was felt to learn the contents of his will. 
 When it was opened it was found that some 6000 was 
 distributed among his humble people and assistants ; 
 100 each to his executors, Sir William Beechey and 
 J. T. Smith ; and the remainder of his vast fortune, of 
 more than 200,000, between his friends Mr. Francis 
 Palmer, and Francis Douce, the well-known antiquary. 
 An oddity of manner was natural to him, and his some- 
 what uncouth demeanour and freedom of speech rather 
 increased than detracted from his popularity. In the 
 course of his practice he executed 100 busts and many 
 duplicates ; all were truthful and simple, unaffected and 
 elegant wanting, perhaps, in those of men, the power of 
 expressing vigour of thought, and in those of women, the 
 softness of female beauty ; but he will be remembered by 
 these works when his poetic and monumental sculptures 
 are forgotten. 
 
 JOHN BACOJS", E.A., was born at Southampton on the 24th 
 of November, 1740. His father carried on the business 
 of a cloth-worker, and after a short school education his
 
 CH. VI.] JOHN BACON 221 
 
 son began to assist him in his trade. In 1755 he was 
 apprenticed to Mr. Crispe, a porcelain manufacturer in Bow 
 churchyard, from whom he learned the art of painting 
 on China, and also of modelling little ornamental figures. 
 It would seem that by reverse of fortune his parents were 
 even at this time mainly dependent on his exertions. 
 Many sculptors were in the habit of sending their models 
 to this pottery to be burnt, and from the sight of them, 
 Bacon's ardent mind determined his future occupation ; 
 and indeed the transition from modelling to sculpture was 
 in itself so natural that he had only to imitate the objects 
 he admired to enter upon his new career. To him has 
 been ascribed the discovery of the art of making statues 
 in artificial stone ; but although the invention was pro- 
 bably of an earlier date, he is unquestionably entitled to 
 the credit of having facilitated the process of that art, and 
 of rendering it popular. When he thought he had made 
 sufficient progress to venture on a display of his works, 
 without relinquishing his means of maintenance, he sent 
 one of them to the Society of Arts, as a competitor for 
 one of its premiums ; and so rapid was his progress, that 
 he gained no less than nine premiums from that Society 
 in the next few years. The first, in 1758, was for a 
 figure of ' Peace,' and several of his early productions, 
 1 Mars,' ' Venus,' ' Narcissus,' &c. are still in possession 
 of the Society. 
 
 About the year 1768 he began to work in marble, 
 and invented an instrument now in general use for trans- 
 ferring the form of the model to the marble with a cor- 
 rectness till then unknown, thereby rendering the execu- 
 tion of the work more a mechanical operation, and leaving 
 his mind at liberty for the practice of design. In 17G9 
 he accepted employment in Coade's artificial stone works, 
 at Lambeth, where groups and statues, keystones, wreaths 
 of flowers, and other ornamental works, were modelled, 
 moulded, arid burnt. On the institution of the Eoyal 
 Academy he enrolled himself as a student, and received
 
 222 HISTOEY OF THE ROYAL ACADEMY [On. VI. 
 
 in 1769, from the hands of the President, the first gold 
 medal for sculpture awarded by the Academy, for his 
 bas-relief of ' Eneas escaping from Troy.' In 1770 he was 
 made an Associate, and in 1778 a Eoyal Academician. 
 
 The celebrity he attained by his early works (and espe- 
 cially by his cast of a statue of Mars, exhibited in 1771, 
 of which he subsequently made a copy in marble for 
 Lord Yarborough) induced Dr. Markham, afterwards 
 Archbishop of York, to give him a commission for a bust 
 of the King, for the hall of Christ Church, Oxford. While 
 modelling this bust, his Majesty inquired if he had ever 
 been out of England, and on receiving a reply in the 
 negative, said he was glad of it, for he would be the 
 greater ornament to his country. The admirable execu- 
 tion of this bust gained him the Eoyal patronage, and 
 shortly afterwards a commission to execute a copy of it 
 for the University of Gottingen, a third for the Prince of 
 Wales, and a fourth for the Society of Antiquaries. 
 
 In 1773 he married Miss Wade, a lady to whom he 
 had been long attached, and removed from his first hum- 
 ble studio in Wardour Street to a new house at No. 17, 
 Newman Street. His wife died three years afterwards, 
 having given birth to five children. In the following 
 year he was married to Miss Holland, by whom he also 
 had three children. 
 
 In 1777 he was engaged to execute a monument to the 
 memory of Dr. Guy, the founder of Guy's Hospital ; another 
 of Mrs. Withers, for Worcester, and some marble figures 
 for the Duke of Richmond. These led to his being em- 
 ployed by the City of London to execute the monument to 
 the memory of the Earl of Chatham, for Guildhall. In 
 1778 he completed the beautiful monument to the memory 
 of Mrs. Draper (the ' Eliza' of Sterne), in the Cathedral of 
 Bristol. From this time his occupation was incessant. 
 He was employed by public bodies and private indivi- 
 duals ; and so numerous are his works, that to enumerate 
 them all, or to specify the precise order in which they
 
 CH. VI.] JOHN BACON 223 
 
 appeared, would be difficult. Among the principal may 
 be mentioned, in addition to those already referred to, 
 the monument to Lord Chatham in Westminster Abbey, 
 erected by the King and Parliament at a cost of 6000 l ; 
 the statues of Dr. Johnson (1785), John Howard and Sir 
 William Jones (1795), in St. Paul's Cathedral ; the two 
 groups on the front of Somerset House, and the bronze 
 figure of ' Thames,' in the courtyard ; the figures in the 
 pediment of the late East India House ; a statue of Judge 
 Blackstone for All Souls' College, Oxford, and one of 
 Henry VI. in the Ante-Chapel at Eton ; Lord Cornwallis 
 at Calcutta ; and Dr. Anderson and the Earl and Countess 
 of Effinpham at Jamaica. He felt that his best works 
 
 t/ 
 
 were his statues, and he had the good sense to disclaim 
 any pretensions to that knowledge of the antique which 
 he was accused of wanting, asserting that in the study of 
 living nature he sought for excellence, as the ancients 
 used to do. The plain realities of life were within his 
 grasp works of imagination requiring refined percep- 
 tion of beauty, were not. 
 
 He had throughout his life followed the Methodist pro- 
 fession, and sustained a high character for religion and 
 morality. He wrote a series of epitaphs with a view to 
 correct the common violation of taste in such compo- 
 sitions, and in his letters and conversation he always 
 infused a religious element. In the prime of fame and 
 health he was suddenly attacked with inflammation in 
 the bowels, which proved fatal in less than two days, and 
 he died at his house in Newman Street, on the 6th of 
 August, 1799. At the time several of his monuments 
 
 1 It is stated that Bacon prepared sculptors for Public Works, he gave 
 a large model for this monument, his orethren some offence by this 
 and availed himself of the Kind's manoeuvre, and yet more by a pro- 
 favour to show it to him privately, posal to erect all the Government 
 and thus to obtain the order for the monuments at a certain percentage 
 work. As it was always the privi- below the usual price a proposal 
 lege of the Koyal Academy to select which was very properly rejected, 
 one of the designs of the competing
 
 224 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 were left unfinished ; these he directed should be com- 
 pleted by his second son, John Bacon. 
 
 His wealth the well-earned fruits of a life of industry 
 amounting to 60,000, he divided equally among his 
 children. He was buried in Whitfield's Chapel, in 
 Tottenham Court Koad, London ; and the following in- 
 scription, written by himself, was engraved on a plain 
 tablet over his grave : " What I was, as an artist, seemed 
 of some importance while I lived ; but what I really was, 
 as a believer in Jesus Christ, is the only thing of im- 
 portance to me now." 
 
 THOMAS BANKS,R.A.,was born onthe J22nd of December, 
 1735, at Lambeth, and was the son of the land-steward 
 of the Duke of Beaufort, who intended to educate him 
 for the profession of an architect, and placed him under 
 Kent for that purpose. With him he remained seven 
 years, but young Banks had formed a decided preference 
 for sculpture, and stimulated by the offers made by the 
 Society of Arts of premiums for models in sculpture, he 
 devoted himself to the study of that art, and obtained 
 several of the honours conferred by the Society. Until 
 the institution of the Eoyal Academy, he appears to have 
 been self-taught as a sculptor. He entered the schools of 
 the Academy in 1769, and in 1770 obtained the gold 
 medal for his bas-relief of ' The Eape of Proserpine.' 
 In 1771 his reputation was increased by a group repre- 
 senting ' Mercury, Argus, and lo ; ' and in the following 
 year he was sent to Rome, as the travelling-student from 
 the Academy for three years, and through the liberality 
 of his father, and the portion obtained with his wife 
 (Miss Wooton), his resources were not limited to the 
 allowance from the Academy. His first work executed 
 in marble was ' Caractacus before Claudius,' a bas-relief 
 both grand and simple, which was long one of the orna- 
 ments of the Duke of Buckingham's seat at Stowe : 
 'Pysche Stealing the Golden Flame,' intended for a portrait
 
 CH. VI. ] THOMAS BANKS 225 
 
 of the Princess Sophia of Gloucester, and a statue of 
 4 Love seizing the Human Soul' followed, both being 
 distinguished by grace and symmetry of form, accuracy 
 of contour, and classical elegance. While in Eome he 
 discovered that the Italian sculptors were far more skilful 
 in the mere working of the marble than our own, and 
 he took lessons in carving of Cappizoldi, a distinguished 
 Eoman sculptor. He returned to England in 1775, and 
 took up his abode at No. 5 Newman. Street. Oxford Street. 
 He was elected an Associate in 1784, and a Eoyal Aca- 
 demician in the following year. f] 
 
 Although he had acquired fame, he had hitherto found 
 little profit, for neither in Eome nor in this country was 
 his success equal to his expectations Nollekens being at 
 that time the established favourite for busts, and Bacon 
 for statuaiy. In 1784, -therefore, he accepted an invitation 
 from the Empress Catherine, and went to Eussia. 'Cupid 
 with a Moth,' executed for the Empress, was his principal 
 work in that country. He received commissions for one 
 or two others, to represent ' The Armed Neutrality,' but 
 the subject being uncongenial to him, he returned after 
 two years to England. His first work after his return 
 was 'The Mourning Achilles,' a cast greatly admired 
 both for its classic beauty and its natural truth. It was 
 presented after his death to the British Institution, where 
 it may still be seen. Among his many subsequent per- 
 formances, the best of those not yet mentioned were an 
 alto-relievo of ' Thetis consoling Achilles,' and another of 
 4 Shakspeare, attended by Poetry and Painting,' executed 
 for Alderman Boydell, and now in front of the British 
 Institution in Pall Mall. The ' Falling Titan,' which he 
 presented to the Eoyal Academy on his election, is a very 
 fine production. 
 
 His first production in monumental sculpture excited 
 great attention, this was a memorial to the only 
 daughter of Sir B. Boothby, now in Ashbounie Church, 
 Derbyshire. The child is represented on her couch 
 
 VOL. i. u
 
 226 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 asleep ; and when the monument was exhibited at 
 Somerset House, placed in the middle of the room, it 
 attracted the especial notice of Queen Charlotte and the 
 Princesses, and awakened deep feelings in many a mother's 
 heart. The tomb to Woollett the engraver, in the cloisters 
 of Westminster " Abbey, was his next work. Later in 
 life he executed the monuments of Captains Westcott and 
 Burgess in St. Paul's, and of Sir Eyre Coote in Westminster 
 Abbey, in which with very questionable taste, he attempted 
 to improve the poetic feeling of our public monuments. 
 His strength was in subjects purely ideal, but he became 
 weak in applying his lofty imagination to the plain 
 realities of life. 
 
 Banks died on the 2nd of February, 1805, and was 
 buried on the south side of Paddington Churchyard. A 
 tablet was set up in Westminster Abbey bearing this 
 inscription ': " In Memory of Thomas Banks, whose 
 superior abilities in the profession added a lustre to the 
 arts of his country, and whose character as a man reflected 
 honour on human nature." As he advanced in years he 
 grew strict in religious duties, and by his purity of life 
 and elevation of intellect, was held in great regard by 
 many friends. After his death, Flaxrnan delivered an 
 eloquent discourse on his genius and character.^ He lived 
 simply, but was always generous in rendering personal 
 visits of sympathy and help to the poor, and in encou- 
 raging art in all its forms. He made a collection of 
 drawings, &c., by the old masters, and left behind him 
 
 i ar g e number of masterly sketches of his own. 
 
 The two Architects who were added to the number of 
 Eoyal Academicians during the Presidency of Sir Joshua 
 Eeynolds, were James Wyatt and John Yenn. 
 
 JAMES WYATT, E.A., was one of the most extensively 
 patronised architects of the last century ; but although 
 the commissions he received were both numerous and
 
 CH. VI.] JAMES WYATT 227 
 
 extensive, he was far from accumulating a large fortune, 
 and was often involved in pecuniary difficulties. He was 
 the son of a farmer, who was also a dealer in timber, and 
 was born at Barton Constable, in Staffordshire, in 1746. 
 While quite a boy he so forcibly attracted the attention of 
 Lord Bagot, by the germ of talent he discovered in him, 
 that when that nobleman went to Italy as Ambassador to 
 the Pope, he took James Wyatt with him (although 
 then only fourteen) that he might have an opportunity of 
 studying architecture in Eome. There he spent three or 
 four years examining and measuring the chief remains of 
 ancient architecture. Thence he proceeded to Venice, 
 where he studied for two years under Vincentini, an archi- 
 tect and painter, and returned to England in 1766. In 
 1770 he was elected an Associate of the Eoyal Academy, 
 and at that time commenced the work by which he first 
 acquired celebrity, the old Pantheon in Oxford Street, 
 which was finished and opened in 1772. It was fitted up 
 in a style of great splendour, and the ' Eotunda ' or great 
 room was the rendezvous of the gay and fashionable 
 world so much so that Walpole called it the winter 
 Eanelagh of the metropolis. It was unfortunately burnt 
 down in January, 1792, and no detailed drawings were 
 preserved of the interior, as designed by Wyatt. The 
 front and portico in Oxford Street were rebuilt and altered 
 after the fire. 
 
 The fame which this resort of the fashion of the day 
 obtained for its architect, led to his receiving numerous 
 commissions to erect mansions in various parts of the 
 country, which are regarded as great improvements on the 
 usual designs then in vogue for private residences, not so 
 much in architectural form, as in the superior accom- 
 modation and refinement of comfort, which.he introduced 
 into domestic buildings. There is a degree of sameness 
 in his simple Greco-Italian residences, which may per- 
 haps be accounted for by the statement which is made, 
 that his engagements were so numerous that he gene- 
 
 Q 2
 
 228 HISTORY OF THE ROYAL ACADEMY [On. VI. 
 
 rally sketched out his design in the carriage as he 
 travelled to the place where it was to be erected. In 
 1778 he was employed in making additions to some of 
 the colleges at Oxford, and having turned his attention 
 for some years chiefly to the study of Gothic archi- 
 tecture, he made his first effort in this style at Lee near 
 Canterbury, in the mansion he erected for Mr. Barrett. 
 
 In this new manner, Wyatt gained as much popularity 
 as in his former one ; and if subsequent architects have far 
 excelled him, it must not be forgotten that we owe to 
 him in a great measure the practical revival of the 
 Gothic style ; for that which his successors found de- 
 lineated and measured for them on paper ready for re- 
 ference, he had to draw and measure for himself, and 
 thus to acquire by great labour, a knowledge of all 
 its elaborate details. In this style he was extensively 
 employed at Oxford, in the observatory, the library of 
 Oriel College, and alterations at Balliol ; and also in making 
 restorations at Salisbury and Lichfield Cathedrals. Un- 
 fortunately he was reckless in dealing with relics of 
 antiquity, and many of his incongruous adaptations of 
 pieces of monuments and bits of altar screens, to form 
 " restorations," have earned for him among antiquarians 
 and archaeologists the name of "the destroyer." In 1795 
 he erected Fonthill Abbey for Mr. Beckford, and in the 
 following year the castellated Eoyal Military Academy at 
 Woolwich. The latter commission he owed to the fact 
 that in 1796 he succeeded Sir William Chambers as Sur- 
 veyor-General, and as such, was subsequently employed 
 at the House of Lords, and at Windsor Castle by 
 George III. In 1801 he made designs for Downing 
 College, which were not, however, approved, and were 
 severely censured by Mr. T. Hope. The addition of 
 wings to the House at Chiswick ; a Gothic palace com- 
 menced at Kew, and since demolished ; Cashiobury ; and 
 Mausolems at Cobham and Brocklesby, were among his 
 later works. He died on 5th September, 1813, from
 
 CH. VI.] JOHN YENN 229 
 
 the effects of an accident, having been overturned in a 
 carriage, while travelling from Bath to London. He felt 
 a widow and four sons, one of whom was the architect .-.. ji ' 
 of Drury Lane Theatre. He became an E.A. in 1785, (. w^/- 
 and in 1805, during the period in which the office of ( 
 President of the Eoyal Academy was vacated by Ben- 
 jamin West, it was filled by Mr. Wyatt but it can only 
 be regarded as a temporary appointment during a party 
 strife, until the division among the members was healed, 
 and peace restored. 
 
 JOHN YENX, E.A., was a student at the Eoyal Academy 
 in 1769. In 1771 he gained the gold medal for the best 
 architectural design for a " nobleman's villa," and was 
 elected an Associate in 1774. By the designs he ex- 
 hibited at the Eoyal Academy, he seems to have been 
 chiefly employed in domestic architecture, erecting 
 mansions in town and country for the nobility and gentry. 
 He was elected a Eoyal Academician in 1791, and was 
 appointed treasurer in 1796, holding the office by special 
 warrant under the King's sign-manual, in succession to 
 Sir William Chambers. This appointment he resigned 
 in 1820, and he died in the following year.
 
 CHAPTER VII. 
 
 ASSOCIATES ELECTED DURING THE PRESIDENCY OF SIR JOSHUA 
 REYNOLDS, WHO DID NOT SUBSEQUENTLY BECOME ROYAL 
 ACADEMICIANS. 
 
 Associate Engravers: T. MAJOR, S. F. RAYENET, P. C. CANOT, J. BROWNE, 
 T. CHAMBERS, V. GREEN, F. HA WARD, J. COLLYER, J. HEATH. 
 
 Associates: J. GEORGE, E. MARTIN, A. ZTJCCHI, M. A. HOOKER, W. PARS, 
 N. T. BALL, B. REBECCA, W. TOMKINS, T. ELMER, E. EDWARDS, 
 W. PARRY, J. H. MORTIMER, J. NIXON, H. HONE, G. STFBBS, 
 J. WRIGHT, E. STEVENS, JOSEPH BONOMI. 
 
 IT was determined very early in the history of the 
 Eoyal Academy that the claim to full academic 
 honours should be reserved for those who had previously 
 been recognised as deserving of the rank of associates. 
 Consequently in the preceding chapter we have referred 
 to a large number of those who were elected associates 
 during the presidency of Sir Joshua Reynolds, for within 
 the same period no less than thirty-one were chosen to 
 fill the higher grade of Royal Academicians. Eight 
 others, who were chosen associates prior to 1791, were 
 afterwards elected to full membership, and of them we 
 shall have to give an account hereafter. These were Philip 
 Reinagle, W. R. Bigg, Sir F. Bourgeois, Sir R. Smirke, 
 Thomas Stothard, Sir T. Lawrence, Henry Tresham, and 
 N. Marchant. 
 
 Fifty-eight associates were elected between 1770 and 
 1791. Nine of these were engravers in the separate class 
 appointed for that branch of art, 31 have already been 
 mentioned as Royal Academicians, and 18 others re-
 
 CH. VII.] MAJOR RAVENET 231 
 
 mained in the rank of associates, sixteen of these being 
 painters, and two architects. 
 
 The ASSOCIATE ENGRAVERS first elected (in 1770) were 
 Thomas Major, Simon Eavenet, P. C. Canot, John Browne, 
 and Thomas Chambers. The full complement of six was 
 obtained in 1775, by the addition of Valentine Green. 
 Three death vacancies were subsequently filled as follows : 
 in 1783, Francis Haward ; 1786, Joshua Collyer ; and in 
 1791, James Heath. 
 
 THOMAS MAJOR, A.E., was born in 1720. In early life 
 he resided in Paris, where he engraved several plates after 
 Wouvermani, Berghem, and others. On his return to 
 England, he was employed on a variety of subjects, 
 portraits of Earl Granville, Cardinal Pole, and others; 
 landscapes after Claude and Poussin ; and general subjects 
 after Murillo, Teniers, &c., all of which he produced in 
 a neat, firm style, displaying good qualities of effect and 
 execution, and especially a feathery lightness in his etching 
 of foliage. In 1786 he published a set of twenty-four 
 prints, after the designs of J. B. Borra, illustrating the 
 4 Euins of Pa3stum.' His merits as an engraver are con- 
 siderable, and for several years he held the appointment 
 of seal-engraver to the King. He was an early friend of 
 Gainsborough, and engraved his fine 'Madonna.' In 
 1770 he was elected as an Associate Engraver of the 
 Royal Academy. He died at his house in Tavistock Row, 
 Covent Garden, on the 30th of December, 1799, in his 
 80th year. 
 
 SIMON FRANCIS RAVENET, A.E., was a Frenchman, and 
 was born in Paris in 1 706. He was a pupil of Le Bas, and 
 practised his art with considerable success in his own 
 country, until invited by Hogarth to England, to take 
 part with Baron and Scotin in executing the engravings 
 from his pictures of * Marriage a, la Mode.' He settled in
 
 232 HISTORY OF THE ROYAL ACADEMY [Cu. VII. 
 
 London about 1750, and was largely employed among 
 the booksellers, and also by Boy dell. He copied Hou- 
 braken's portraits, for Smollett's " History of England ; " 
 the ' Four Ages,' after Mercier ; ' Sophonisba ; ' and the 
 4 Story of Tobias,' besides a variety of subjects after the 
 great Italian masters, and several portraits by Eeynolds 
 and others. He gave both colour and brilliancy to his 
 engravings, and finished them with great precision. His 
 son also followed the same profession, and W. W. Eyland 
 was his pupil. He was elected an Associate Engraver in 
 1770, and died in April, 1774. He was buried in Old 
 St. Pancras Churchyard. 
 
 PETEE CHAKLES CANOT, A.E., was also a Frenchman, and 
 was born in 1710. He came to England in 1740, and 
 resided in this country during the remainder of his life. 
 He engraved a large number of landscapes : among them 
 two views of Westminster and London Bridge, after Scott ; 
 a series of marine views and sea-engagements, after 
 Paton ; twelve sea-pieces by Peter Monainy ; Views on 
 the St. Lawrence Eiver, by Swain ; and several works of 
 Vandevelde, Teniers, Pillement and Claude. His plates 
 were very popular, and many of them, especially his sea- 
 pieces, possess great merit. He was elected an Associate 
 Engraver in 1770, and died in Kentish Town in 1777. 
 
 JOHN BROWNE, A.E., was born at Oxford in 1742, and 
 was a pupil of Tierney at the same time with William 
 Woollett, who worked with him in a style of landscape 
 engraving, effected by the union of etching and the graving 
 tool, which greatly increased the polish and effect of their 
 works. Many of the plates he etched were finished by 
 Woollett : among them, ' Celedon and Amelia,' from 
 Thomson's " Seasons ; " the ' Jocund Peasants,' &c. Those 
 which are exclusively his own are etched and engraved 
 in a masterly style. His best work is perhaps ' St. John 
 preaching in the Wilderness.' He displayed great judg-
 
 CH. VII.] CHAMBERS GREEN 233 
 
 ment in the selection of his subjects, chosen chiefly from 
 the landscapes of Claude, Poussin, Eubens, and Hobbema. 
 He was elected an Associate Engraver in 1770, and died 
 at Wandsworth on the 2nd of October, 1801, in his 60th 
 year. His widow received a pension from the Academy 
 for thirty years from that date. Boydell and other print- 
 sellers gave him ample employment, and in private life 
 he bore a high character for uprightness, integrity and 
 good nature. 
 
 THOMAS CHAMBERS, A.E., was born in London about the 
 year 1724. He was of an Irish family, and studied draw- 
 ing and engraving both in Dublin and Paris. Alderman 
 Boydell employed him to engrave several large plates for 
 him, of which the best are ' St. Martin dividing his Cloak,' 
 after Eubens, and ' A Concert,' after Caravaggio. There 
 was great freedom and firmness in his manner, but the 
 effect was not pleasing, and his drawing was not al- 
 together correct. He engraved several portraits for the 
 booksellers, and most of those in Walpole's "Anecdotes 
 of Painters." His principal works are ' Mrs. Quarrington 
 as St. Agnes,' after Eeynolds, and the ' Death of Marshal 
 Turenne.' He was elected an Associate Engraver in 1770. 
 Occasionally he was the assistant of Grignion, but he did 
 not prosper in his profession, and unhappily, being 
 pressed by his landlord for the rent owing for the rooms 
 he occupied in Little St. Martin's Lane, he left his home 
 in distress of mind, and his body was found floating in 
 the river, near Battersea, a few day afterwards. This 
 happened in 1789. 
 
 VALENTINE GREEN, A.E., was celebrated as one of the most 
 eminent mezzotint engravers of the early English School. 
 He was born at Hales Owen, near Birmingham, in 1739. 
 His father intended him to follow the profession of the 
 law, and he was accordingly placed with a practitioner at 
 Ensham, in Worcestershire ; but disliking this employment,
 
 234 HISTORY OF THE ROYAL ACADEMY [On. VII. 
 
 after spending two years in a lawyer's office, he left it, 
 without his father's concurrence, and became the pupil 
 of a line engraver at Worcester. In 1765 he came to 
 London, and began to turn his attention to mezzotint, in 
 which style, without instruction, he attained to rare excel- 
 lence. M'Ardell and Earlom share with him the credit 
 of carrying this branch of the art to a perfection never 
 previously attained. He acquired' great reputation by 
 his many prints after West, especially two large plates, 
 published a few years after his arrival in London, of the 
 ' Eeturn of Eegulus to Carthage ' and ' Hannibal swearing 
 Enmity to the Eomans,' two of West's best works, 
 originally painted for George III., and now at Hampton 
 Court. One of Green's masterpieces is the ' Stoning of 
 St. Stephen,' also after West. In 1775 he was elected 
 one of the six Associate Engravers of the Eoyal Academy, 
 and in 1782 published a "Eeview of the Polite Arts in 
 France, compared with their Present State in England." 
 He also wrote the " History of the City of Worcester." 
 
 In 1789 he was granted the exclusive privilege of 
 engraving the pictures of the Diisseldorf Gallery by the 
 Elector of Bavaria, who conferred on him the title of 
 Hof Kupfersticher (court engraver). By the year 1795 
 he had published twenty-two prints of that collection; 
 but, unfortunately, when the city was besieged by the 
 French, in 1798, the castle and gallery were demolished, 
 and his property and prospects of remuneration for his 
 labours at once destroyed. He executed sixteen plates 
 from Sir Joshua Eeynolds's portrait-pieces, and a like 
 number of plates from West's historical subjects. Besides 
 these, he engraved several large plates after Eubens, 
 including the ' Descent from the Cross,' at Antwerp ; and 
 by unremitting exertion, during a period of nearly forty 
 years, produced about 400 plates after the most celebrated 
 ancient and modern painters. On the foundation of the 
 British Institution, in 1805, he was appointed keeper, and 
 gained alike the respect of the public and of the artists
 
 CH. VIL] HAWARD COLLYER 235 
 
 by his zealous exertions in that capacity. He died in St. 
 Alban's Street, London, on the 6th of July, 1813, in his 
 74th year. 
 
 FRANCIS HAWARD, A.E., was born on 19th of April, 1759, 
 and became, in 1776, a student at the Eoyal Academy, of 
 which he was elected an Associate Engraver in 1783. He 
 was chiefly employed in copying the portraits made by 
 Sir Joshua Eeynolds, and the fancy pieces designed by 
 Angelica Kauffman. One of the best specimens of En- 
 glish engraving is the copy he made of Eeynolds's famous 
 picture of ' Mrs. Siddons as the Tragic Muse.' Other 
 admirable examples of his style are the ' Infant Academy ' 
 and ' Cyrnon and Iphigenia,' after the same master. Of 
 his portraits, the best is that of the Prince of Wales, 
 1793. He lived at 29 Marsh Street, Lambeth, and 
 died there in 1797. His widow afterwards received a 
 pension from the Eoyal Academy for forty-two years. 
 
 JOSEPH COLLYEE, A.E., was born in September, 1748, 
 and was a pupil of Anthony Walker. On the death of his 
 master he at once sought to form a connection among the 
 booksellers, his neat style of engraving suiting admirably 
 for book-illustration. In this way he obtained adequate 
 employment, and subsequently attracted the notice of 
 Alderman Boydell, for whom he made an engraving after 
 D. Teniers, and also of the ' Irish Volunteers,' by Wheatley, 
 in which he took a higher rank in his profession. Subse- 
 quently he won great praise by his copies of Sir J. 
 Eeynolds's ' Venus ' and ' Una,' in the manner of chalk, 
 closely imitating, not only the character of the originals, 
 but also the touches and pencil of the master. He also 
 engraved, with great success, the ' Girl with a Cat ; ' the 
 portrait of ' Miss Palmer,' the niece of Sir Joshua ; and of 
 Eeynolds, by himself. He became a student of the 
 Eoyal Academy in 1771, and was elected an Associate 
 Engraver in 1786. Subsequently he was appointed por-
 
 236 HISTORY OF THE ROYAL ACADEMY [Cii. VII 
 
 trait-engraver to Queen Charlotte. The date of his 
 decease is not known. 
 
 JAMES HEATH, A.E., born in 1765, was a pupil of Collyer, 
 and must have derived from his instruction some portion 
 of that talent which distinguished his style. His numerous 
 engravings gave a new impetus to the then rising taste 
 for book-illustration, since his execution far excelled that 
 of his predecessors in the same class of works. In the 
 beginning of his career he engraved several portraits 
 published in "Lord Orford's Works and Correspondence." 
 Subsequently the designs of Stothard were his especial 
 study, and both engraver and artist gained celebrity by the 
 perfect rendering which the burin of the one gave to the 
 graceful drawings of the other. The publications of 
 Harrison and Bell, in which these prints appeared, were 
 eagerly sought for, and are still valued for the sake of these 
 illustrations. His larger plates are the ' Death of Major 
 Pierson,' after Singleton ; the ' Dead Soldier,' after Wright ; 
 the 'Eiots in 1780,' after Wheatley; the 'Death of 
 Nelson,' after West ; and several scenes from ' Shak- 
 speare,' after Smirke and Peters. The print of the 
 ' Canterbury Pilgrims,' after Stothard, was also completed 
 by him. He was elected an Associate Engraver in 1 7 91 , and 
 was appointed engraver to the King. He died in 1835. 
 
 Passing from the associate engravers elected during 
 the presidency of Sir Joshua Eeynolds, we now have 
 to notice the sixteen painters elected as associates during 
 the same period, who did not subsequently attain to the 
 higher rank of Eoyal Academicians. These were elected 
 as follows: in 1770, George James, Elias Martin, 
 Antonio Zucchi, Michael Angelo Eooker, and William 
 Pars ; in 1771, N. T. Dall, B. Eebecca, and William 
 Tomkins; in 1772, Stephen Elmer; in 1773, Edward 
 Edwards; in 1776, William Parry; in 1778, John 
 Mortimer and James Nixon ; in 1779, Horace Hone ;
 
 CH. VII.] . JAMES MAETIN ZUCCHI 237 
 
 in 1780, George Stubbs; and in 1781, Joseph Wright, 
 of Derby. 
 
 GEORGE JAMES, A.E.A., was a portrait painter. He 
 studied for some years in Eome, and was elected an Asso- 
 ciate in 1770. He commenced his profession in Dean 
 Street, Soho, but afterwards, in 1780, removed to Bath. 
 There he found ample employment, and during many 
 years contributed a large number of portraits, and some 
 fancy pieces, carefully painted, and not inelegant in design 
 and execution, to the exhibitions. He inherited property 
 from his grandfather, who built Meard's Court, in Dean 
 Street, and married a lady of fortune ; so that he was, 
 to a great degree, independent of his profession, nor did 
 he take a very high rank in it. A few years before his 
 death he went to reside at Boulogne, and there, in com- 
 mon with many more of our countrymen, fell a victim 
 to Eobespierre's tyranny, and was confined in a dismal 
 prison. His constitution sank under this cruel oppression, 
 and he died early in the year 1795. 
 
 ELIAS MARTIN, A.E.A., was admitted a student of the 
 Eoyal Academy in 1769, and an Associate in 1770 ; and 
 appears to have divided his talents between landscapes and 
 portraits. The former seem to have been chiefly views 
 in this country and in Sweden, some of them of an 
 architectural character, the latter, chalk drawings of 
 ladies and children. The period of his decease is un- 
 known ; but his name was not removed from the list of 
 associates till 1832, it being supposed that he was then 
 dead, sixty-two years having elapsed since his election. 
 
 ANTONIO ZUCCHI, A.E.A., an Italian artist, long resident 
 in England, was an exhibitor at the Eoyal Academy from 
 its foundation, contributing views of ruins of ancient 
 temples, and similar works. He became an Associate in 
 1770. He was brought to this country by the brothers
 
 238 HISTORY OF THE ROYAL ACADEMY [On. VII. 
 
 Adam, the architects, who employed him to paint decora- 
 3 t*~ ti ns f r tne edifices erected by them. He painted ceilings 
 fAAi*or the Queen's house, in St. James Park (old Buckingham 
 *-c House), and at Osterley Park >/v These works were exe- 
 f*4jbttted in a light and pleasant manner, and were chiefly 
 scenes of poetic and mythological history. He became, 
 in 17glj the husba^ O f Angelica Kauffman ; but the 
 union did not prove a happy one. In August of that 
 year he went with her to Eome, where he continued to 
 reside till his death in December, 1795. 
 
 MICHAEL AN T GELO BOOKER, A.E.A.,was the son of Edward 
 Eooker, an engraver of architectural subjects, and was 
 born in London in 1743. His father first instructed him 
 in the art of engraving, and he was subsequently a pupil 
 of Paul Sandby, who taught him landscape and water- 
 colour painting, and whose style he very closely followed, 
 drawing with great care, and enlivening his scenes with 
 well-sketched figures. In 1769 he became a student at 
 the Eoyal Academy, and was one of the first associates 
 elected in the following year. In 1772 he exhibited a 
 view of ' Temple Bar,' which possessed considerable 
 merit, and was much admired. His views of the colleges, 
 which he engraved for the Oxford Almanac for several con- 
 secutive years (for each of which he received fifty guineas), 
 are still admired as works of great merit. They comprise 
 some of the best views taken of that interesting city. 
 For several years Eooker was the principal scene-painter 
 for the Haymarket Theatre. He died on the 3rd of 
 March, 1801, and was interred in the burial-ground of 
 St. Martin-in-the-Fields, in the Kentish Town Eoad. The 
 remainder of his drawings were sold after his death for 
 1240. 
 
 WILLIAM PARS, A.E. A., was born in London in 1742, 
 and first learnt the rudiments of art at Shipley's drawing 
 school, in the Strand. Subsequently he studied in the
 
 CH. VII. ] PAHS DALL 239 
 
 St. Martin's Lane Academy ; and on the opening of the 
 Eoyal Academy, became a student there. In 1764 he 
 gained the Society of Arts' twenty-guinea premium for 
 historical painting. When the Dilettanti Society proposed 
 that a party of gentlemen should proceed to Greece to make 
 further researches among the remains of antiquity to be 
 found in Ionia, Pars was chosen draughtsman to the 
 expedition, and was absent from England from this cause 
 for three years. Subsequently he accompanied the then 
 Lord Palmerston on a tour through Italy and Switzerland, 
 to make drawings of the most remarkable ruins and 
 antiquities ; maiiy of these were engraved in aquatinta 
 by Paul Sandby. He was elected an Associate in 1770, 
 and in 1774 was chosen by the Dilettanti Society to 
 receive the pension for a certain number of years which 
 they then determined to bestow upon some rising artist, 
 to enable him to complete his studies in Eome. There 
 he remained, pursuing his studies, until the year 1782, 
 when he died of a fever, which abruptly terminated his 
 career in his 40th year. 
 
 NICHOLAS THOMAS DALL, A.E.A., was a native of Denmark, 
 who settled in London about 1760. Eight years afterwards 
 he obtained the first premium for the best landscape 
 painting, given by the Society of Arts. He was chiefly 
 occupied in painting scenes for Covent Garden Theatre ; 
 but he nevertheless found time, after his election as an 
 Associate in 1771, to contribute a large number of land- 
 scapes to the Eoyal Academy exhibitions, chiefly views in 
 Yorkshire, where he was extensively employed by the 
 Duke of Bolton, Lord Harewood, and the owners of 
 property in that county. He died in Great Newport 
 Street, in the spring of 1777, leaving a widow and 
 children, for whose aid the managers of Covent Garden 
 Theatre gave a benefit, out of respect to the artist. 
 
 BIAGIO EEBECCA, A.E.A., was a student at the Eoyal
 
 240 HISTORY OF THE ROYAL ACADEMY [On. VII. 
 
 Academy in 1769, and was chosen an Associate in 1771. 
 In that year he contributed a painting of ' Hagar and 
 Ishmael ' to the exhibition, and ' A Sacrifice to Minerva ' 
 in 1772, but nothing for several subsequent years. He also 
 contributed towards the ornamentation of the new rooms 
 of the Academy at Somerset House. He died in his lodg- 
 ings in Oxford Street, aged seventy- three, on the 22nd 
 of February, 1808. 
 
 WILLIAM TOMKIXS, A.R A., the son and nephew of artists, 
 was born in London, about the year 1730. In 1763 he 
 obtained the second premium of twenty-five guineas for 
 the best landscape, offered by the Society of Arts, and in 
 1771 became an Associate of the Koyal Academy. He 
 made some copies after Claude Lorraine, and from 
 Hobbema, and other Dutch artists, and painted nu- 
 merous landscapes, and views of gentlemen's seats, in 
 the West and North of England ; also, a series of 
 views, for which he received a commission from the Earl 
 of Fife, of his lordship's seat in Scotland. He died in 
 Queen Anne Street, East, on the 1st of January, 1792, 
 leaving two sons, one of whom was celebrated as an 
 engraver (a pupil of Bartolozzi), and the other also 
 worked in aquatinta. 
 
 STEPHEN ELMEE, A.E.A., elected an Associate in 1772, 
 is principally remembered as a painter of dead game and 
 objects of still-life, which he executed with a very bold 
 pencil, and with striking fidelity to nature. He died in 
 1796, at Farnham, in Surrey, where he resided during 
 the greater part of his life. An exhibition of his works 
 was made by his nephew in 1799, when 148 pictures 
 were collected. Many of those remaining unsold were de- 
 stroyed by fire in Gerrard Street, Soho, in February, 1801, 
 together with a choice collection of prints by Woollett. 
 
 EDWARD EDWARDS, A.E. A., was born on the 7th of March,
 
 CH. VII.] EDWARDS PARRY 241 
 
 1738, in Castle Street, Leicester Square, where his father 
 was a carver, at which trade his son was employed, till he 
 showed a decided taste for drawing, when he took lessons 
 from a master ; in 1759 was admitted a student at the 
 Duke of Eichmoud's Gallery, and eventually became a 
 member of the St. Martin's Lane Academy. Subsequently 
 he was employed, both by the Society of Antiquaries and 
 by Alderman Boydell, to make drawings from the works 
 of the old masters. He contributed a scene from the 
 " Two Gentlemen of Verona " to the Shakspeare Gallery, 
 and painted Scriptural and classic subjects, and portraits, 
 which he exhibited at the Eoyal Academy. He was one 
 of the students in its schools from 1769, and was chosen 
 an Associate in 1773. In 1775 he was employed by Mr. 
 Udny, by whose aid he visited Italy, carefully studying 
 art and nature in that country. On three occasions he 
 obtained prizes from the Society of Arts for drawing, 
 historical painting, and landscape. On the death of 
 Samuel Wale he was appointed, in 1788, teacher of per- 
 spective at the Academy, and continued to fulfil the duties 
 of that office till his death. He published a treatise on 
 the subject, and the " Anecdotes of Painters," bearing his 
 name, which he compiled at intervals during his life, as a 
 continuation to those of Walpole, and which contain much 
 interesting information in regard to the history of art in 
 this country at the commencement of the reign of King 
 George III. He painted many excellent arabesques for 
 the Hon. Charles Hamilton, at Bath, in 1782-3, and for 
 Horace Walpole in the following year ; and finished, in 
 1792, a series of fifty- two etchings, of various subjects. 
 He died on the 19th of December, 1806, and was buried 
 in Old St. Pancras Churchyard. 
 
 WILLIAM PARRY, A.R.A., was born in London in 1742, and 
 was the son of the celebrated blind Welsh haq)ist,for whose 
 concerts he made a small etching, which served as a card 
 of admittance, representing his father playing on the harp. 
 
 VOL. i. R 
 
 $
 
 242 HISTORY OF THE ROYAL ACADEMY [On. VII. 
 
 First learning drawing in Mr. Shipley's school, he next 
 studied from the antique in the Duke of Kichmond's 
 Gallery, and afterwards became a pupil of Sir J. Eeynolds. 
 About the same time he studied in the St. Martin's Lane 
 Academy, and in 1769 entered the Koyal Academy 
 schools. He was so fortunate as to gain several pre- 
 miums from the Society of Arts, and to obtain the 
 patronage of Sir W. W. Wynne, by whose generosity he 
 was enabled to visit Italy in 1770. After four years he 
 returned to England, and in 1776 was chosen an associate 
 of the Eoyal Academy. For a year or two he practised 
 portrait painting ; but meeting with little encouragement, 
 he went back to Borne in 1778, and remained there for 
 several years, until ill-health compelled him to return to 
 England. He only survived a short time, and died on 
 the 13th of February, 1791. 
 
 JOHN HAMILTON MORTIMER, A.E.A., was born in 1741 at 
 Eastbourne, Sussex, where his father was the collector of 
 customs. From an uncle who was an itinerant artist, he 
 acquired a strong inclination to become a painter, and 
 his father gratified his wish by paying a hundred pounds 
 premium to Hudson, to receive him as a pupil. He had 
 already practised sketching near his rough sea-coast home ; 
 now he desired to learn colouring, and finding he could 
 do little with Hudson, he left him to study with Pine, a 
 good colourist, and to draw from the antique in the 
 Duke of Bichmond's gallery. There he gained the favour- 
 able notice both of Cipriani and Moser, and the Duke 
 wished to retain him to paint the walls and ceilings of his 
 'mansions, after the fashion of those days. But Mortimer 
 had a higher ambition, and disputed with Bomney, in 
 1765, the claim to the prize of fifty guineas, offered by 
 the Society of Arts for the best historical picture, in his 
 painting of ' Edward the Confessor seizing his Mother's 
 Treasures.' He subsequently had adjudged to him by the 
 same society one hundred guineas for his picture of ' St.
 
 CH. Vn.] J. H. MORTIMER 243 
 
 Paul converting the Britons,' which afterwards became 
 the property of Dr. Bates, who presented it in 1778 to 
 the church of Wycombe, Bucks. He acquired the 
 friendship of Eeynolds, and attracted the notice of the 
 King, for whom he painted a coach-panel, with a repre- 
 sentation of the ' Battle of Agincourt ; ' and by his pictures 
 of ' King John granting Magna Charta to the Barons,' 
 ' Vortigern and Eowena,' and other similar works, he 
 successively increased his celebrity. 
 
 Unfortunately his habits were dissipated, and his her- 
 culean frame and handsome figure were shattered and 
 spoiled by frequent over-indulgence and excess. Kepent- 
 ing of these misdoings, he married, painted from his own 
 experience 4 The Progress of Vice,' pointed the moral of 
 his own changed feelings in the ' Progress of Virtue,' and 
 leaving London life and its temptations, went to reside at 
 Aylesbury. Here he lived a quiet, sober, and even reli- 
 gious life. He came back to London in November 1778, 
 took up his abode in Norfolk Street, Strand, and was 
 apparently in improved health ; but on the 4th of February 
 following he died from the effects of a sudden and severe 
 attack of fever in the 38th year of his age. Al- 
 though he had never exhibited at the Eoyal Academy, 
 he had been chosen an Associate in 1778, and by the 
 especial wish of the King was to have been raised to the 
 highest honours of the Academy, when his career was thus 
 suddenly closed. He was buried by the side of the altar 
 in the church of High Wycombe, near the picture he 
 painted. 
 
 Mortimer was not a good colourist, and his portraits 
 were not pleasing, although his drawings in black and 
 white chalk were very effective. In design he was emi- 
 nently successful, both in historical, and in wild fanciful 
 subjects. He was especially celebrated for groups of 
 banditti, the originals of which were the hordes of smug- 
 glers on the coast near his early home. His rapid power 
 of sketching made him popular as an illustrator of books 
 
 B 2
 
 244 HISTORY OF THE ROYAL ACADEMY [Cn. VII. 
 
 and he also designed ' the Elevation of the Brazen Serpent 
 in the Wilderness,' for the great window of Salisbury 
 Cathedral, and cartoons for the stained glass in Brasenose 
 College, Oxford. For fine drawing, ease and freedom of 
 touch, few of his compeers excelled him ; but there was 
 extravagance in some of his conceptions, and many of his 
 best designs were marred by the cold dull colours with 
 which he afterwards clothed them. 
 
 JAMES NIXON, A.E.A, one of the first students at the 
 Eoyal Academy, who was elected an Associate in 1778, was 
 a portrait and miniature painter, and exhibited a variety 
 of works in these styles at the exhibitions. He was also 
 employed to paint many histrionic scenes, which he exe- 
 cuted in a masterly style in oil-colour, and to illustrate 
 popular poems, &c. He was limner to H.E.H. the 
 Prince Eegent, and principal miniature painter to H.E.H. 
 the Duchess of York. He died on the 9th of May, 1812, 
 aged 71, at Tiverton in Devonshire. 
 
 HOBACE HONE, A.E.A., was also a painter of portraits, in 
 oil-colours, miniature, and enamel. He had many fashion- 
 able sitters, and was appointed miniature painter to the 
 Prince of "Wales, retaining that situation when H.E.H. 
 became Prince Eegent. He was elected an Associate in 
 1779, and died in 1825. 
 
 GEORGE STUBBS, A.E.A., was famous as a painter of 
 animals, and especially excelled in portraits of horses and 
 dogs. He was born at Liverpool in 1724, and at the age 
 of thirty went to Eome to study. He afterwards settled in 
 London, and steadily pursued the especial line of art he 
 had chosen. In 1766, he completed his work on " the 
 Anatomy of the Horse," which was illustrated with plates 
 etched by himself after his own designs. Before his 
 death, he published three numbers of another work under 
 the title of " A Comparative Anatomical Exposition of the
 
 CH. VII.] STUBBS WRIGHT 245 
 
 Structure of the Human Body with that of a Tiger and a 
 Common Fowl," in thirty tables. Many of his paintings 
 were engraved by Woollett, Earlom, Green, and others. 
 Among these the plate by Woollett of his ' Spanish 
 Pointer,' is a fine specimen. Although Stubbs was chiefly 
 employed in painting portraits of the most celebrated 
 racehorses of his time, he showed by his picture of 
 ' Phaeton with the Horses of the Sun,' that his talents 
 were capable of a higher exercise. In 1780 he became 
 an Associate, and was elected in the following year a 
 Royal Academician ; this honour, however, he declined. 
 He died on the 10th of July, 1806. 
 
 JOSEPH WEIGHT, A.R.A., distinguished from others of the 
 same name as "of Derby," was the son of an attorney of that 
 town, and was born there in 1734. He came to London 
 in 1751, and became a pupil of Hudson, the portrait 
 painter, at the same time with Mortimer. On leaving this 
 master he returned to Derby, and commenced his career 
 as a portrait painter with fair prospects of success. In 
 1765, he sent two pictures to the London Exhibition of 
 the Society of Artists ; and in the following year exhibited 
 three pictures of fire-pieces and candle-light subjects, 
 which were much admired. In 1773 he married, and 
 soon afterwards set out for Italy, visiting Rome and other 
 places during the interval between this period and the 
 year 1775, when he returned home and established him- 
 self at Bath. While at Rome, he made some drawings 
 from the frescoes of Michael Angelo in the Sistine Chapel, 
 which are said to have preserved admirably the character 
 of the originals. In 1777 he settled at Derby, and re- 
 mained there until his death in 1797. 
 
 In 1781 he was elected an Associate of the Royal 
 Academy, but subsequently requested that his name 
 might be erased from the list, it is said because Edmund 
 Garvey was chosen a Royal Academician before him. In 
 1785 he made an exhibition of his works in a large room
 
 246 HISTORY OF THE ROYAL ACADEMY [On. VII. 
 
 in the Piazza, Covent Garden, where he collected together 
 twenty-four of his pictures, among which were several 
 illustrating the effects of fire-light, a style of work for 
 which he had a great taste, the best of these was 'The 
 Destruction of the Floating Batteries off Gibraltar.' Sub- 
 sequently he occasionaUy sent his works to the Academy 
 exhibitions ; in his later years he chiefly painted land- 
 scapes, his last work being 'the Head of Ullswater 
 Lake,' a large picture of great merit. His best historical 
 pieces are ' the Dead Soldier,' ' Edwin at the Tomb of his 
 Ancestors,' ' Belshazzar's Feast,' ' Hero and Leander,' ' the 
 Lady,' in " Comus," and the ' Storm Scene ' in the " Win- 
 ter's Tale," painted for Alderman Boydell. His landscapes 
 displayed equal excellence and great variety ; his Italian 
 views, 'Cicero's Villa,' and 'Maecenas' Villa at Tivoli,' 
 ' the Eruption of Mount Vesuvius,' and the ' Fireworks 
 exhibited from the Castle of St. Angelo at Eome,' exhibit 
 the Wilsonic effect which he sometimes produced, and 
 the effects of fire which he so admirably rendered. He 
 drew and coloured well, both in figures and landscapes ; 
 but his works having been purchased from the easel by 
 his own townsmen, or preserved in his family, are rare, 
 and little known except by the engravings from them. 
 
 Two architects were included among the early Asso- 
 ciates. 
 
 EDWAKD STEVENS, A.E. A., who was elected in 1770 and 
 died in 1775, and who in the interval exhibited drawings 
 from the buildings which he designed, the Eoyal Ex- 
 change at Dublin, and other works of secondary impor- 
 tance : and 
 
 JOSEPH or GUISEPPE BOIV T OMI, A.E.A., who was born 
 at Eome in 1739, and studied architecture in that city 
 under the Marchese Teodoli. In 1767 the Brothers 
 Adam invited him to England, and he was for many
 
 CH. VH.] J. BONOMI 247 
 
 years employed by them. In 1775 he married Eosa 
 Florini, the cousin of Angelica Kaufftnan, who, when she 
 left England to reside with her husband Zucchi at Eome, 
 persuaded Bonomi also to return to Italy, but he did not 
 remain in that country above a year, afterwards taking 
 up his abode at No. 76 Titchfield Street^ Oxford Street. 
 In November 1789 he was elected an Associate of the 
 Eoyal Academy, but never became a Eoyal Academician, 
 although, as we have elsewhere stated, it was the strong 
 wish of the President to raise him to that rank, in order 
 that he might succeed to the professorship of perspective, 
 then vacant ; his failure in this object led Eeynolds for a 
 time to resign the presidency of the Academy. 
 
 Bonomi's most celebrated work is the splendid mansion 
 at Eoseneath in Dumbartonshire, erected for the Duke of 
 Argyle in 1803, but left unfinished. He had previously 
 made additions to Langley Hall in Kent in 1790 ; designed 
 the chapel for the Spanish embassy in 1792 ; Eastwell 
 House in Kent, 1793 ; Longford Hall, Salop, and Laver- 
 stoke, Hants, in 1797. In 1804 he was appointed Hono- 
 rary Architect to St. Peter's at Eome, and made designs 
 for the new sacristy. He died on the 9th of March, 1808. 
 Two of his sons have attained to eminence, the eldest as 
 an architect, and another (Joseph) as a traveller and 
 writer on Egyptian antiquities, who has recently (March 
 1861) been elected Curator of the Soane Museum by the 
 President and Council of the Eoyal Academy.
 
 Benjamin West, P.R^., from the Portrait by Sir Thomas Lawrence 
 
 CHAPTER VIII. 
 
 THE ROYAL ACADEMY UNDER THE PRESIDENCY OF BENJAMIN 
 WEST, 17921820. 
 
 Qualifications of West for the Office of President His Addresses The 
 Fate of Proctor the Sculptor Publication of Bromley's " History of the 
 Fine Arts" Anthony Pasquin's Attacks on the Royal Academy Royal 
 Warrant for the Appointment of a Treasurer to succeed Sir William Cham- 
 bers Finances of the Academy Pension Fund established Dispute 
 between the General Assembly and the Council Barry's Dismissal from 
 the Office of Professor of Painting and from the Academy Grant towards 
 the Fund for the Exigencies of the State Laws as to Students amended 
 Award of Pensions to Widows of deceased Members Illness of the King, 
 as it affected West, and the Progress of the Arts Temporary Resignation 
 of the President His Plan for a National Association of Art Artists' 
 Volunteer Corps Prince Hoare's Academic Annals and Foreign Corre- 
 spondence Establishment of the (Old) Water Colour Society and the 
 British Institution John Landseer's Appeal for full Academic Honours 
 for Engravers Varnishing Days Financial Arrangements amended in
 
 CH. VIII.] WEST'S QUALIFICATIONS. FOR PRESIDENT 249 
 
 1809 Complimentary Presents made by the Academy Premiums offered 
 by the British Institution The Commemoration of Reynolds, 1813 
 Waterloo Memorial proposed Canova's Visit to England Exclusion of 
 G. H. Harloioe from the Royal Academy Privileges of Students, and 
 Increase of Allowances to travelling Students Pensions augmented Com- 
 memoration of Fiftieth Anniversary Last Years and Death of the Presi- 
 dent Changes among the Members and Officers of the Academy Its 
 Financial Position The Exhibitions, 
 
 AMONG all the surviving founders of the Eoyal 
 Academy, or indeed among the younger artists who 
 had subsequently been elected to membership, none could 
 prefer so good a claim to succeed Sir Joshua Eeynolds in 
 the office of President, as Benjamin West, upon whom 
 the choice of his brethren fell. As an artist he had 
 acquired considerable fame ; he had introduced, by what 
 was at the time regarded as a daring innovation, the 
 practice of painting events in modern history with the 
 characteristics of costume and place proper to the occa- 
 sion, rather than upon the classic models to which all 
 previous artists had reverted ; he followed the highest 
 branch of art-history, and had obtained Court favour and 
 popularity by his productions ; and besides the claim 
 which his personal labours in founding the Eoyal Aca- 
 demy gave him to succeed Eeynolds, he possessed those 
 peculiar qualifications for the office of President which 
 his predecessor so constantly displayed, a quiet and 
 gentle temper, extreme courtesy and forbearance, and a 
 natural dignity of manner, of some consideration in one 
 who had to discharge the duties of the office to which 
 he was called. 
 
 To the choice of the Academicians, his Majesty gave 
 his ready sanction, for West had long been a favourite 
 with the King, and had engrossed so large a share of his 
 patronage as to excite, it is said, even the envy of the late 
 President. On the 24th of March, 1792, West delivered 
 his inaugural address, in which he spoke enthusiastically 
 both of the condition and prospects of British art, and 
 of the gracious patronage with which the Academy was
 
 260 HISTORY OF THE ROYAL ACADEMY [Cn. VIII. 
 
 favoured by the King. He referred to his own elevation 
 as " the free and unsolicited choice with which you have 
 called me to fill this chair ; " and of the Academy he 
 said : 
 
 " The exhibitions are of the greatest importance to this 
 institution, and the institution is become of great importance 
 to the country. Here ingenious youths are instructed in the 
 art of design, and the instruction acquired in this place has 
 spread itself through the various manufactures of the country/ 
 . . . But there is another consequence, of a more exalted kind ; 
 I mean the cultivating of those higher excellences in refined 
 art which have never failed to secure to nations, and to the 
 individuals who have nourished them, an immortality of fame 
 which no other circumstances have been equally able to per- 
 petuate." 
 
 All his subsequent discourses were more or less dis- 
 tinguished by their simplicity and practical good sense, 
 rather than by any novel theories, or by attempts at 
 research into the characteristics of ancient art. His aim 
 seems to have been to urge the students to seek for 
 knowledge, and to study their art constantly, in all objects 
 and at any cost, and thus to develope whatever genius for 
 art they might possess, and to chasten and direct their 
 imagination. 
 
 In his first discourse to the students, 10th December, 
 1792, he recalled the circumstances of the foundation of 
 the Academy, and the encouragements which the efforts of 
 artists had received from the Eoyal patronage. Next he 
 remarked on the connection between moral conduct and 
 good taste, and the necessity for Academic instruction, 
 while admitting the advantage of freedom and nature in 
 study to true genius. " In every branch of art there are 
 certain laws by which genius may be chastened, but the cor- 
 rections gained by attention to these laws amputate nothing 
 that is legitimate, pure, and elegant. Leaving these graces 
 untouched, the schools of art have dominion enough in 
 curbing what is wild, irregular, and absurd." In his
 
 CH. VIII.] WEST'S DISCOURSES 251 
 
 second discourse, 10th December, 1794, he took a more 
 scientific view of the principles of the fine arts than in 
 the first, recommending the drawing of the human figure ; 
 attention to the improvement of the eye, accustoming it 
 to an accurate discrimination of outline ; and the culti- 
 vation of a philosophic spirit, leading by the study of 
 proportion, expression, and character, to the ideal of 
 beauty. In his discourse in 1797, he drew a comparison 
 between the taste of the ancient Greeks and that of 
 modern tunes in painting and sculpture, and gave his 
 advice as to exact outline in drawing, light and shade, 
 colour, composition, and study from nature. In subsequent 
 discourses he spoke on the philosophy of character in art, 
 showing how it has been attained by others in ancient 
 and modern times, and reminded the students that 
 patronage, whether royal or general, could only be ex- 
 pected to follow what is eminently meritorious. 
 
 Early in the year following West's election, an event 
 occurred in connection with the sad fate of a young and 
 promising artist, which strikingly exhibited the generous 
 disposition of the new President. Thomas Proctor, who 
 had been a student of the Eoyal Academy, and had 
 gained the gold medal in 1784, for a historical painting, 
 had subsequently attracted West's notice by a model in 
 clay, for which he gained the silver medal, and by some 
 classic compositions he had exhibited at the Academy. 
 Unfortunately he found no patrons, and his best work, 
 4 Diomede torn to pieces by Wild Horses,' was returned to 
 him at the close of the exhibition, and was then in the 
 bitterness of his disappointment broken to pieces. Proctor 
 disappeared, and after a time West, who had previously 
 treated him with marked kindness, and had invited him 
 to his house and table, set on foot inquiries respecting 
 him, which resulted in the discovery that he had 
 abandoned his art in despair, had been sleeping in a 
 garret by Clare Market, and living on sea-biscuits and 
 water. West, at this time President, at once submitted
 
 252 HISTORY OF THE ROYAL ACADEMY [Car. VIII. 
 
 his case to the Council of the Eoyal Academy, and pro- 
 posed that Proctor should be sent to Italy as the travelling 
 student, and that 50 should be given him to make 
 preparations for his journey. The motion was unani- 
 mously approved, and the poor sculptor was sent for the 
 next day to dine with West, who informed him of what 
 had been done, and arranged that his own son should 
 accompany him. The help and the fair prospect both 
 came too late. Within a week a messenger came to the 
 President to tell him that Proctor was no more ; his con- 
 stitution, undermined by want and mental distress, had 
 given way under the revulsion which this bright future 
 had created in his mind. The Academy in this case, 
 unfortunately, was not in time to avert the calamity of 
 neglect of genius ; but in how many other instances has 
 its timely aid befriended the struggling aspirant, and 
 strengthened him until he attained to independence ! 
 
 The early part of the presidentship of West was 
 attended by several circumstances which could not have 
 been otherwise than vexatious to him, and to many 
 members of the Academy. Some dissatisfaction arose in 
 1793, on the publication of the first volume of the Eev. 
 William Bromley's " History of the Fine Arts," in which 
 the President's works were highlv extolled, but those of 
 
 <_j / * 
 
 Eeynolds (so recently deceased), and Fuseli (stih 1 living), 
 were spoken of in such disparaging terms that Fuseli 
 criticised the book with great severity in one of the lead- 
 ing journals, and the Academicians, who had subscribed 
 for the work, refused to take the second volume, which, 
 however, was never published. A suspicion arose that 
 West had sanctioned the publication, as he was known to 
 be a friend of the author, and to have consulted him in 
 the preparation of his lectures : if this supposition were 
 correct, it was certainly ill-judged, and naturally aroused 
 the angry feeling it occasioned. 
 
 In the same year (1793) the members of the Eoyal 
 Academy celebrated the twenty-fifth anniversary of its
 
 Cn. Vm.] PASQUIN'S CRITIQUES 258 
 
 foundation, by dining together at the Academy on the 
 day of its commemoration, the 10th December. These 
 social gatherings of the Academicians had charms which 
 the more stately Exhibition Dinner could not afford. The 
 members met to know each other more intimately to 
 discuss freely, as friends and brothers in art, the prospects 
 of the institution of which they formed a part, and the 
 several matters in which their individual sympathies were 
 concerned. They sung songs (at least those who could 
 do so), and some of these were composed expressly for 
 the occasion of their meetings, by such of their number 
 as possessed the poet's skill. One of the oldest members 
 of the Academy, Paul Sandby, was frequently in the habit 
 of thus entertaining his fellow-academicians with some 
 verses referring with a pleasant humour and sometimes 
 keen satire, to the foibles and follies of the passing hour. 
 
 In the year following the commemoration of the com- 
 pletion of the first quarter of a century of the existence 
 of the Eoyal Academy, it was exposed to a similar 
 satirical attack to that to which it had been subjected by 
 Wolcott's Odes of " Peter Pindar," in the publication of 
 a "Liberal Critique on the Exhibition for 1794," and 
 of " Memoirs of the Academicians, being an attempt to 
 improve the taste of the realm, by Anthony Pasquin, Esq.," 
 whose real name was Williams, and who, while holding 
 up most of the members of the Academy to contempt, 
 and ridiculing their works, showed some discernment in 
 commending the early works of many others who after- 
 wards attained to especial excellence. In another work 
 by the same author, " An Authentic History of the Artists 
 of Ireland," he proposed to publish " original letters from 
 Sir Joshua Eeynolds, which prove him to be illiterate," 
 and thus by insult to the memory of one whose genius 
 was beyond dispute, caused added indignation among the 
 members of the Academy. 1 
 
 1 Here are some specimens of his by Opie, of Fusjli, he describes him 
 criticisms. Speaking of a portrait as " one of those ungrateful and
 
 254 HISTORY OF THE ROYAL ACADEMY [Cn. VIII. 
 
 Several important changes in the mode of conducting 
 the affairs of the Academy were made in the year 1796. 
 The first treasurer, Sir William Chambers, died, and was 
 succeeded by John Yenn, who held the appointment 
 under the Eoyal sign manual, a proof of the interest which 
 King George the Third still felt in the Academy, and of 
 his desire to retain a supervision over its funds. The 
 form of this document is as follows : 
 
 "aEOKOKE E. 
 
 " Whereas we have thought fit to nominate and appoint John 
 Yenn, Esq. (Clerk of the Works at the Queen's House), to be 
 Treasurer to our Royal Academy, during our pleasure, in the 
 room of Sir William Chambers, Knight, deceased : Our will 
 and pleasure therefore is, that you pay, or cause to be paid, unto 
 the said John Yenn all such sums as shall appear necessary to 
 pay the debts contracted in the support of the said Academy ; 
 and for so doing this shall be to you a sufficient warrant and 
 discharge. Given at the Queen's Palace, the 31st day of March, 
 1796, in the thirty-sixth year of our reign, 
 
 " By his Majesty's command. 
 
 (Signed) " CARDIGAN." 
 
 " To ova right trusty and well beloved Cousin, 
 The Earl of Cardigan, Keeper of our Privy Purse." 
 
 The finances of the Eoyal Academy were taken into 
 consideration in the month of October 1796, when it 
 was found that in the year 1785 it was in possession of 
 7900, three per cent, stock, and two "Marybone 
 Bonds " of 100 each. That in the ten intervening years 
 
 indolent R. A. 's, who leave their Aca- vourite domestics who are the saints 
 demic mother to be illumined and and demons of his necessities." R. 
 supported by the striplings of the Westall's portrait of a young gentle- 
 establishment." Of Thomas Stothard man "is as puerile as the subject; " 
 he says, "whose education and un- and his 'Minerva' "all legs and 
 derstanding enable him to rescue the thighs, like the late Sir Thomas Ro- 
 general character of a Royal Acade- binson." Lawrence's portraits were 
 mician from the imputation of igno- " delicate but not true, and attractive 
 ranee." He speaks highly of Shee's but not admirable." Such was the 
 works, but condemns those of West, general tone of his remarks, inter- 
 observing that "the identity of Mr. mingled with much coarseness which 
 West's figures is so continually appa- cannot be repeated here, 
 rent, that I believe he has a few fa-
 
 CH. VIII.] PENSION FUND 255 
 
 there had been an average annual saving of 400 per 
 annum, so that its funds were increased to 13,800, and 
 that in none of those years did the expenses exceed the 
 income, while the solid fund was then increased to 
 10,000 stock, yielding 300 a-year ; and the charity 
 fund was augmented to 6000. It was therefore con- 
 sidered that the interest of the stock was sufficient to 
 guard against any probable deficiency in the income of 
 the Academy, and that the time had arrived when a 
 PENSION FUND might be established. 
 
 The following is the plan which was adopted for this 
 purpose on the 7th October, 1796 : 
 
 " First. That the savings of the Academy, after payment of 
 all their annual and contingent expenses, be hereafter applied 
 towards the increase of the stock in the" 3 per cent. Consolidated 
 Annuities, which shall hereafter be called the Pension Fund ; 
 and that when the said stock shall amount to 10,000, the 
 Council shall have power to give the following pensions, viz. : 
 
 " To an Academician, a pension not exceeding 50 per 
 annum, provided the sum given does not make his annual 
 income exceed 100. 
 
 " To an Associate, a pension not exceeding 30 per annum, 
 provided the sum given does not make his annual income 
 exceed 80. 
 
 " To a widow of an Academician, a pension not exceeding 
 30 per annum, provided the sum given does not make her 
 annual income exceed 80. 
 
 " To a widow of an Associate, a pension not exceeding 20 
 per annum, provided the sum given does not make her annual 
 income exceed 50. 
 
 "When the Fund shall be increased to 15,000, the Council 
 shall have power to give the following pensions, viz. : 
 
 "To an Academician, a pension not exceeding 60 per 
 annum, provided the sum given does not make his annual 
 income exceed 100. 
 
 "To an Associate, a pension not exceeding 36 per annum, 
 provided the sum given does not make his annual income 
 exceed 80. 
 
 " To a, widow of an Academician, a pension not exceeding
 
 250 HISTORY OF THE EOYAL ACADEMY [On. VIII. 
 
 36 per annum, provided the sum given does not make her 
 annual income exceed 80. 
 
 " To a widow of an Associate, a pension not exceeding 25 
 per annum, provided the sum given does not make her annual 
 income exceed 50. 
 
 " When the Fund shall be increased to 20,000, the Council 
 shall have power to give the following pensions, viz. : 
 
 "To an Academician, a pension not exceeding 70 per 
 annum, provided the sum given does not make his annual 
 income exceed 100. 
 
 " To an Associate, a pension not exceeding 50 per annum, 
 provided the sum given does not make his annual income 
 exceed 80. 
 
 " To a widow of an Academician, a pension not exceeding 
 50 per annum, provided the sum given does not make her 
 annual income exceed 80. 
 
 " To a widow of an Associate, a pension not exceeding 30 
 per annum, provided the sum given does not make her annual 
 income exceed 50." 
 
 For the administration of the fund the following rules 
 were ordered to be observed : 
 
 " That every Academician, Associate, Widow of an Acade- 
 mician, and Widow of an Associate, who is a claimant for a 
 pension from the Eoyal Academy, shall produce such proofs as 
 the President and Council may require of their situation and 
 circumstances ; and in this examination the ' President and 
 Council shall consider themselves as scrupulously bound to 
 investigate each claim, and to make proper discriminations 
 between imprudent conduct and the unavoidable failure of pro- 
 fessional employment in the members of the Society ; and also 
 to satisfy themselves in respect to the moral conduct of their 
 widows. 
 
 " That any Academician or Associate who shall omit exhibiting 
 in the Eoyal 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, age, 
 or any other cause which they shall think a reasonable excuse. 
 
 "That these pensions shall not preclude any Academician, 
 Associate, or their widows, in cases of particular distress, arising
 
 CH. VEX] THE CATALOGUE THE COINAGE 257 
 
 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 
 this 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, as usual, to the 
 current expenses of the year." 
 
 Another change proposed in the same year, 1796, 
 related to the Exhibition Catalogue, which it was sug- 
 gested might be printed more cheaply in octavo, but the 
 specimen produced did not give satisfaction, and the idea 
 was abandoned. To reduce the bulk of the quarto cata- 
 logue, it was, however, determined to print the names 
 and addresses of the exhibitors in two columns, and in a 
 smaller type, and still to continue the original price of 
 sixpence. This practice was continued till 1809, when 
 further alterations were made, which will be noticed 
 hereafter. 
 
 In 1798, the Lords Commissioners of the Treasury 
 requested the assistance of the Eoyal Academy, in regard 
 to the preparation of designs for a new coinage, and a 
 committee from that body was appointed to meet the 
 committee of the House of Lords, to discuss the future 
 fashioning of the coinage of the realm, and to be pre- 
 pared with drawings and models for the coins to be 
 substituted for those then in use. On several other 
 occasions the Government has applied for the aid of the 
 Eoyal Academicians, to give their advice and decision 
 in questions of taste, which is a pleasing proof of the 
 estimation in which their judgment on matters relating 
 to art is held. 
 
 The value of the influence of the Eoyal Founder in 
 governing the Academy, was shown in 1799, when 
 Henry Tresham, one of its members, represented to the 
 King that the law prescribed by the fifth section of the 
 " Instrument of Institution," regulating the succession of 
 seats in the Council by rotation, had been departed from, 
 
 VOL. i. s
 
 258 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 the vacancies having been balloted for. A long dis- 
 cussion followed ; and on the 4th February, 1800, the 
 President vindicated himself, at a meeting of the Council, 
 against the charges and the intemperate language used 
 by Mr. Tresham in arguing the question ; but still the 
 matter was left undecided, until his Majesty required 
 a return to a strict obedience to the original law, and 
 the printing annually of the rotation of the Council ; and 
 thus finally closed the controversy on the subject, by 
 insisting upon all the members taking their fair share 
 in the work of governing the Academy. Obedience 
 was at once willingly rendered to such an authority, 
 and the question has never since been raised. 
 
 The same year, 1799, is memorable as the one in 
 which the long-continued strife between James Barry 
 and the Academy was brought to a painful termination. 
 One of the earliest subjects of contention, was the 
 earnestness and vehemence with which he insisted that 
 all the surplus funds of the Academy should be ex- 
 pended in the purchase of pictures to form a gallery of 
 the Old Masters for the use of the pupils, to aid them in 
 design, composition, and colouring ; and he launched 
 his full power of sarcasm and invective against his 
 brethren, when they urged that according to the rules 
 of their institution, the funds could not be so appro- 
 priated, but must be applied first to the maintenance 
 of the schools, and then to the award of pensions and 
 grants to artists or their families who might need such 
 assistance. That such a gallery -was desirable none could 
 deny ; but few could agree with Barry that it fell within 
 the province of the Eoyal Academy to exhaust all its 
 means in very imperfectly attempting to form it. Since 
 his time our National Gallery has been established ; but 
 even now, when individual liberality and the Parliament 
 have combined to expend large sums upon the gathering 
 together of a collection of pictures, how little has yet 
 been accomplished towards the formation of a series of
 
 CH. VIII.] JAMES BARRY'S EXPULSION 259 
 
 paintings, which would enable the student of art to trace 
 its history or progress, much less to examine the de- 
 velopment of its practice in the different continental 
 schools. 
 
 This was only one instance of the many in which 
 contention, suspicion, and unlicensed accusation were 
 displayed by Barry. At one time he w as robbed of 
 400 by thieves who broke into his house ; the next 
 morning he posted up a placard to announce that the 
 burglary was committed by the thirty-nine Eoyal Aca- 
 demicians who opposed him ! He was continually publicly 
 condemning the President and his brother artists ; and 
 when he took advantage of his position as Professor of 
 Painting, to link these personalities with the teaching of 
 the principles of art, and to make invidious comparisons 
 between the works of deceased artists and those of the 
 living men among whom he laboured, it was evident 
 that he sought rather to foster among the students con- 
 tempt for the Academicians than to instil the knowledge 
 of the true theory and practice of art. By thus abusing 
 the trust committed to him, he justly excited the anger 
 of ah 1 the Academic body, and for this breach of faith 
 and confidence towards them, they might properly have 
 expelled him from the office of Professor. But after 
 Eeynolds was dead, and Barry had with strange incon- 
 sistency passed a glowing eulogium on his talents, they 
 allowed him to remain among them, even though they 
 were perpetually subjected to the violent irritability of 
 his temper. In 1797, however, he published " A Letter 
 to the Dilettanti Society, respecting the obtention of 
 certain matters essentially necessary for the improvement 
 of public taste, and for accomplishing the original views 
 of the Eoyal Academy of Great Britain." In this work, 
 after describing the leading principles of national art 
 the objects which the Eoyal Academy had been instituted 
 to accomplish and the purposes to which their money 
 as well as their energies ought to be directed, he pro- 
 
 8 2
 
 260 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 ceeded to discuss the actual conduct of the affairs of the 
 Academy, denounced private combinations and jealousies, 
 asserted that the funds were dissipated by secret in- 
 trigues, and proposed that the votes of the members 
 should be taken on oath on every occasion of importance, 
 to secure the honest and truthful expression of their 
 opinion. 
 
 It was scarcely to be expected that the Academicians 
 would read without indignation such a bitter insult from 
 one of their own professors. Farington read aloud at 
 a general meeting of the members held on the 15th of 
 April, 1799, Barry's Letter to the Dilettanti Society, and 
 information of his personal irregularities was given by 
 Dance and Daniell ; whereupon the Keeper, Wilton the 
 sculptor, was directed to embody the charges made 
 against him in a resolution, accusing him of making 
 digressions in his lectures, in which he abused members 
 of the Academy, the dead as well as the living ; of 
 teaching the students habits of insubordination, and 
 countenancing them in licentious and disorderly be- 
 haviour ; of charging the Academy with voting in 
 pensions among themselves, 16,000, which should have 
 been laid out for the benefit of the students ; and, finally, 
 of having spoken unhandsomely of the President, Ben- 
 jamin West. It is much to be regretted that in the in- 
 dignation of the moment, the Academicians acted upon 
 these charges without affording Barry a copy of them, 
 or the opportunity of explanation. According to the 
 statement he afterwards published as an Appendix to 
 his " Letter," it would appear that the ground on which 
 this course was taken, " was the admission imputed to 
 him of the charges," but against which he protested in a 
 letter he addressed to Richards the Secretary, on the 
 16th of April. Eight days afterwards, however, the 
 final decision was communicated to him in the following 
 terms :
 
 CH. VIII. ] GRANT IN AID OF THE STATE 261 
 
 " April 24th, 1799. 
 
 "Sir, The General Assembly of Academicians having re- 
 ceived the Keport of the Committee appointed to investigate 
 your academical conduct, decided that you be removed from the 
 office of Professor of Painting, and, by a second vote, that you 
 be expelled the Royal Academy. 
 
 " The Journals of Council, the Report of the Committee, and 
 the Resolutions of the General Assembly having been laid before 
 the King, his Majesty was graciously pleased to approve the 
 whole of the proceedings, and to strike your name from the roll 
 of Academicians. "I am, &c., 
 
 " JOHN RICHARDS, R.A., Sec. 
 
 " To James Barry, Royal Academy." 
 
 Thus closed the vexatious strife which had so long 
 agitated the Academy ; but unfortunately the angry 
 feeling of resentment was not extinguished, although it 
 was mitigated as far as Barry was concerned, by the 
 efforts which his friends made soon afterwards to save 
 him from want in the few remaining years of his unhappy 
 life of disappointment. 
 
 The patriotism of the Eoyal Academicians was illus- 
 trated by a grant of 500 made by them in 1799 to 
 the Government towards the exigencies of the State, to 
 meet the heavy pecuniary demands upon the public purse 
 arising out of the prolonged war with France, the rebellion 
 in Ireland, the contests in India, and the recent suspension 
 of cash payments by the Bank of England. An offer of 
 another 500 towards the subscription for the relief of 
 the sufferers by the war, was made in 1803, on the 
 renewed outbreak of the European war, but the grant was 
 vetoed by the King, who while sensible of the loyal motive 
 which prompted the proposal, considered that it would 
 not be for the welfare of the Academy thus to divert its 
 resources from their original purpose. 
 
 In the two succeeding years, 1800-1, some changes 
 were made in regard to the students in the schools. On 
 the first establishment of the Eoyal Academy, the period
 
 262 HISTORY OF THE EOYAL ACADEMY [On. VIII. 
 
 of study was limited to six years. In 1792 this term was 
 extended to seven years ; and in 1800 it was further 
 increased to ten years, and the privilege was accorded 
 of an annual renewal of studentship, dependent upon the 
 attention to study previously given by the applicant. 
 This regulation continued in force until 1853, when the 
 term was again reduced to seven years for those students 
 who have not obtained medals, the grant of which con- 
 stitutes them students for life. 
 
 In accordance with the resolution passed in 1796, by 
 which it was ordered that the payment of pensions should 
 commence when the funded capital attained the sum of 
 10,000, the claims of certain applicants were considered 
 in 1801, the year in which the capital reached the amount 
 specified, and five widows were awarded pensions in 1802. 
 These were Mrs. Barret, Mrs. Baker, Mrs. Serres, and 
 Mrs. Hamilton, widows of Eoyal Academicians, who 
 were to receive 30 per annum, each, and Mrs. Haward, 
 the widow of an Associate Engraver, 20 per annum. 
 Although no law had been acted upon prior to this time, 
 a pension had, however, been awarded by the Academy 
 to Mrs. Hogarth, from 1787 to 1789, at 40 per annum, 
 out of regard to the memory of her famous husband, 
 when it was known that in her declining years such assist- 
 ance would be acceptable to her. In 1809 the pension 
 fund reached 15,000, and the higher scale was acted 
 upon till 1816, when the fund having been increased to 
 20,000, the highest rate of pension prescribed by the 
 law passed in 1796 was thenceforward awarded. The 
 average annual sum thus expended was about 190 
 a very small proportion of the amount yearly dispensed 
 by the Academy at that time among artists and their 
 families requiring assistance. Yet while the Academicians 
 have generally attained sufficient eminence to save them- 
 selves and their families from want, it cannot be over- 
 looked that in sickness or adversity, the consciousness that 
 there is such a provision made to meet unavoidable
 
 CH. VIII.] THE KING'S ILLNESS 263 
 
 necessity, has cheered many a man of genius in the dreary 
 evening of his life, and on his dying bed has consoled 
 him with the thought that his family would not be left 
 utterly destitute when he could no longer support them 
 by the fruits of his own labours. 
 
 The distressing malady which had at intervals since 
 1788, cast its shadow over the Eoyal Founder of the 
 Academy, was felt as a personal sorrow by all his loyal 
 subjects ; and the necessary retirement of the King at a 
 subsequent period from all public duties was felt as a 
 great loss to the institution which had owed so much of 
 its success and prosperity to his support and sympathy. 
 Artists lost a friend and supporter, as well as a patron, 
 when King George III. was no longer able personally to 
 foster and encourage the arts and its professors ; and none 
 experienced this more than the President. From 1769 
 till 1801, he had always received all orders for pictures 
 from his Majesty in person. But he now received inti- 
 mation by Mr. Wyatt,* the Eoyal Architect, that the 
 pictures painting for the Chapel at Windsor must be 
 suspended until further orders. He wrote to the King on 
 the 26th September, 1801, expressing his great concern 
 that the pictures on ' Eevealed Eeligion ' were not to be 
 completed, and lamenting that such a decision would be 
 alike ruinous to himself, and would damp the hope of 
 patronage in the more refined departments of painting. 
 No answer was received, but on subsequently obtaining a 
 private audience of the King, after his recovery, West 
 learnt that his Majesty never ordered the suspension of 
 the work, nor had he received his letter. " Go on with 
 the pictures, West," he said, " and I'll take care of you." 
 Thus encouraged West pursued the great task he had 
 undertaken, receiving 1000 per annum till his Majesty's 
 final illness, when it was suddenly stopped, and he was 
 officially informed that the paintings must be suspended. 
 " He submitted in silence," says his biographer, Gait ; " he 
 neither remonstrated nor complained."
 
 264 HISTOEY OF THE ROYAL ACADEMY [On. VIII. 
 
 There are never wanting those who delight to disparage 
 a good and great man, when suffering neglect or misfor- 
 tune, and now that it was known that West no longer 
 retained his pre-eminence at Court, a document was 
 published representing that he had received no less than 
 34,187 from the King for the works he had executed 
 by his commands. But it was not stated that this was 
 the reward for thirty-three years' labour ; and the state- 
 ment made by West in reply, giving the details of the 
 work done, and the sums received from time to time 
 during this long period, removed the impression that he 
 had unfairly amassed a fortune. He was known to be a 
 man of such honour and integrity that his explanation at 
 once silenced the ill-natured reports circulated against him. 
 
 To show the unkindness of the attacks to which West 
 at this period of his career was exposed, we print the fol- 
 lowing statement which was issued by authority in 
 answer to one of them : 
 
 " Royal Academy, Somerset House, 
 "April" 15th, 1803. 
 
 " The Council of the Eoyal Academy feel themselves com- 
 pelled to notice a paragraph in the * Morning Post ' of yester- 
 day, of an unwarrantable kind, levelled at the President and at 
 the Eoyal Academy at large. The circumstances which occa- 
 sioned the paragraph are as follows : Mr. West sent for the 
 exhibition a historical painting, representing ' Hagar and 
 Ishmael in the Wilderness.' On the first view of the picture, a 
 member of the Council expressed his opinion of its having been 
 previously exhibited, although the words <B. West, 1803,' were 
 on the face thereof. The next morning the same member, 
 having examined former catalogues, found that a picture of the 
 same subject had been exhibited in 1776. This circumstance 
 led to further investigation, and the words <B. West, 1776,' 
 were observed in another part of the picture, but without any 
 obliteration whatever. The Secretary was directed to com- 
 municate the circumstances immediately to Mr. West, in 
 writing, which, in the hurry of preparing for the exhibition, he 
 omitted to do ; and it is to be observed that the first intimation 
 Mr. West had of the paragraph in question was through the
 
 CH. VIII.] ATTACKS ON WEST 265 
 
 medium of an evening paper (the ' Courier '), sent to him at 
 the Eoyal Academy yesterday evening, being the first time his 
 health had permitted him to attend since the picture was sent 
 for the exhibition. 
 
 "The newspaper referred to states, 'The members of the 
 Council, indignant at the deception, regarded each other with 
 silent astonishment.' This circumstance the Council positively 
 deny. The illness of the President naturally suggested itself 
 to the Council as the cause of the mistake, a mistake which 
 deprives the exhibition of the picture, as the usual practice of 
 the Academy expressly forbids the second exhibition of any 
 picture whatever. 
 
 " It is necessary to observe that Mr. West states that he is in 
 the habit of altering and repainting his pictures, adding the 
 date of the year in which the alterations are made. Upon this 
 principle the picture of * Hagar and Ishmael ' has been altered, 
 and, in a great degree, repainted, and the name and year added. 
 
 (Signed) " J. S. COPLEY, Deputy-Chairman 
 J. SOANE 
 F. BOURGEOIS 
 J. M. W. TURNER 
 C. Eossi 
 O. HUMPHREY." 
 
 In 1803 an internal dispute in reference to the govern- 
 ment of the Academy, arose on the question as to the 
 right of the Council to have the entire direction and ma- 
 nagement of all the business of the Society, an attempt 
 having been apparently made at that time to transfer the 
 government from the Council to the General Assembly. 1 
 The latter called a meeting in March 1803, to take the 
 conduct of five members of the Council (viz. J. S. Copley, 
 J. Wyatt, J. Yenn, J. Soane and F. Bourgeois) into con- 
 sideration ; and on the 24th May following, the Council 
 passed two resolutions, denying that they were responsible 
 either individually or collectively to the General Assembly 
 
 1 See "A Concise Vindication of Lyndhurst), 1804; and a "Concise 
 
 the Five Members of the Council of Review of the Above," published in 
 
 the Koyal Academy Suspended," by the same year by an anonymous 
 
 J. S. Copley (the present Lord author.
 
 260 HISTORY OF TIIE ROYAL ACADEMY [Cn. VIII. 
 
 for their proceedings in the Council, and begging the Pre- 
 sident humbly to request his Majesty to be pleased to 
 express his sentiments thereon for the future guidance of 
 the Royal Academy. These resolutions were passed by 
 a majority of the Council, but the subsequent meeting to 
 confirm these resolutions was postponed by the President, 
 and instead of it a General Assembly convened, who passed, 
 on the 30th of May, a resolution that the conduct of the 
 five members above referred to " in the Council on 24th 
 of May, 1803, has rendered it expedient to suspend, pro 
 tern., the said members from their functions as councillors 
 of the Eoyal Academy, and that the President be requested 
 to summon a general meeting on Friday next, 3rd June, 
 to take into further consideration the proceedings of 
 Council on the above-mentioned 24th of May." This pro- 
 position was moved by G. Dance and carried ; but was 
 opposed by Wilton, Eigaud, P. Sandby, Tresham, Cosway, 
 De Loutherbourg; and Beechey, besides the five members 
 of Council referred to, who were, of course, also members 
 of the General Assembly. 
 
 The suspended members of the Council appealed to the 
 King, and in August two addresses were presented to his 
 Majesty from the General Assembly counter to each other 
 the one from the majority, the other from the minority 
 who opposed the carrying of the above proposition. His 
 Majesty determined to take the opinion of a high legal 
 authority upon the subject, and afterwards gave his deci- 
 sion, which was to the following effect : That the King 
 disapproved the conduct of the General Assembly in cen- 
 suring and suspending the five members of the Council, 
 viz. Messrs. Copley, Wyatt, Yenn, Soane, and Bourgeois, 
 and therefore ordered and directed that all the matters 
 relative to these proceedings should be expunged from 
 the Minutes of the Eoyal Academy. It was also stated in 
 the reply " that by the laws of the Eoyal Academy the 
 general body had no power to apply any part of the funds 
 of the Society without the authority and consent of the
 
 CH. VIII.] COUNCIL AND GENERAL ASSEMBLY 267 
 
 Council, and that no part of the funds could be applied to 
 any purposes except those of the institution, and that the 
 King, therefore, disapproved of the proposed donation " 
 [of 500 towards the relief fund at Lloyd's]. His Majesty 
 further signified his pleasure " that the above order should 
 be entered on record as a future guide to the conduct of 
 the general body on similar occasions." 
 
 Some further misunderstanding and angry feeling arose 
 after this order was given, and a further reference was 
 made to the King, who replied that he wished the whole 
 transaction to be expunged from the recollection of the 
 Academy, as his desire was to restore harmony, and to see 
 it continue amongst the Academicians. Nor would the 
 subject be revived by reference to it even at this distant 
 period, except to show how ready the Eoyal Founder of' 
 the Academy was to devote his attention to its interest at 
 a time when so many other important cares were pressing 
 upon him, and to demonstrate the value of that Eoyal 
 protection to the arts which King George III. was first 
 pleased to bestow upon them. 
 
 Shortly after these occurrences, West took advantage of 
 the peace of Amiens to visit Paris, that he might examine 
 the splendid works of art which Napoleon had collected 
 at the Louvre. On his return to England he fancied that 
 he was received coldly because he had expressed his 
 admiration for the great man who was soon to be the 
 French emperor, and had accepted the honourable recep- 
 tion given to him by French statesmen ; added to which 
 he found himself exposed to opposition within the Eoyal 
 Academy ; he therefore determined to vacate the Presi- 
 dent's chair. At the annual election on the 10th of 
 December, 1804, when thirty Academicians were present, 
 only twenty votes were given for him as President, seven 
 for Wyatt, and three blanks. In the letter he wrote ten- 
 dering his resignation, dated November 1805, he first 
 referred to the fact of his being the only survivor of the 
 four artists who applied to the King to found the Eoyal
 
 208 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 Academy, and reminded the members that for thirty-seven 
 years he had never failed to exhibit his pictures there, 
 and that during fourteen years he had done his best to 
 fulfil the duties of President ; " but whatever may have 
 been my exertions or whatever my wishes for the welfare 
 of the institution, the occurrences which took place on 
 the 10th of December last, and subsequent circumstances, 
 have determined me to withdraw from the situation of 
 President of the Eoyal Academy, and I shall return to the 
 peaceful pursuits of my profession." The Academicians 
 were evidently only momentarily displeased, or divided in 
 their choice. The Court Architect, James Wyatt, was 
 elected to fill the office of President on the 10th of Decem- 
 ber following, when, however, only seventeen out of the 
 forty Academicians attended the assembly to give their 
 votes. But the members soon repented of the course they 
 had taken in the heat of a passing controversy, and the 
 next year they wisely restored West to the office he so 
 worthily filled, by a vote which may be considered unani- 
 mous, since the only dissenting voice was that of Fuseli, 
 who, in his usual sarcastic manner, admitted that he had 
 voted for Mrs. Moser, as he thought one old woman as 
 good as another ! 
 
 West, as soon as all these matters were finally set at 
 rest, next endeavoured to form " a National Association 
 for the encouragement of works of dignity and impor- 
 tance in art ; " and during his first visit to the Continent 
 he had enlisted the sympathies of several of the great 
 political leaders of the day in his design. But unfor- 
 tunately the times were adverse to the fulfilment of such 
 a purpose. War was again raging, and there was little 
 money, public or private, available for the patronage of 
 art on a grand scale. Pitt to whom West first applied 
 for support in the plan, seemed ready to do what he 
 could to promote it, but was removed by death ; Fox 
 and Perceval were successively applied to, but they, 
 too, quickly passed away, and the project was therefore
 
 CH. VIII.] HOAEE'S ACADEMIC ANNALS 269 
 
 abandoned, although it acted as a germ, out of which by 
 other means, an institution of a somewhat similar nature 
 to that proposed was soon to spring. 
 
 On the renewal of the war in 1803, several plans 
 were started for the formation of Volunteer Corps for 
 the defence of the country. An offer was made by the 
 Society of Engravers to unite with the members of the 
 Eoyal Academy in the formation of an Artists' Corps. 
 On this occasion, in July and August, consultations took 
 place between the Eoyal Academicians and the Associates 
 to consider the proposition, but it was eventually de- 
 clined, on account of the difficulties which would have 
 attended the practical working of the plan. This is the 
 only occasion since the foundation of the Academy, in 
 which the Eoyal Academicians and the Associates have 
 met together in council for deliberation on any subject 
 in which they were mutually interested. 
 
 Mr. Prince Hoare, on his appointment as Foreign 
 Secretary to the Academy in 1799, had opened a corre- 
 spondence with the different academies of Europe, with 
 a view to obtain a general knowledge of the then state 
 of the fine arts in those countries, as well as to learn 
 the particular degrees of their respective encouragement 
 and cultivation. The result of his first efforts was pub- 
 lished in a small quarto pamphlet of forty-eight pages, 
 entitled, " Extracts from a Correspondence with the Aca- 
 demies of Vienna and St. Petersburg on the Cultivation 
 of the Arts, 1802." A second portion was published in 
 1804, containing the further correspondence with the 
 same foreign academies, a summary of the transactions of 
 the Eoyal Academy during the preceding year, and a 
 description of the public monuments erected by order of 
 the Parliament to the naval and military heroes who had 
 fallen in the war, which were executed by Banks, Flax- 
 man, Bacon, and Westmacott. The unpropitious circum- 
 stances of the times hindered him from obtaining similar 
 information to that he had previously collected from
 
 270 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 other foreign countries, and afterwards compelled him 
 to discontinue even the correspondence which had been 
 commenced with Eussia and Austria. But he continued, 
 under the title of " Academic Annals published by 
 authority of the Eoyal Academy," to give, from 1805 to 
 1809, an account of the proceedings of the institution, 
 an outline of the lectures and addresses delivered, details 
 respecting the exhibitions, &c., which are still interesting. 
 At that time six weeks seem to have been the usual 
 period during which the exhibition was kept open, 
 since he mentions its prolongation to seven weeks in 
 1805, as an unusual occurrence. Among other details 
 he records that the exhibition of 1801 contained 1037 
 works of art, of which 800 were portraits, landscapes, 
 and picturesque drawings, about 40 historical pictures, 
 and 200 sculptures and architectural designs. In the 
 same year Flaxman and Banks were instructed by the 
 Eoyal Academy to attend the sale of the valuable casts 
 belonging to Eoniney the painter, who had imported 
 them from Italy, and they purchased nineteen different 
 works, among them the celebrated ' Torso ' by Gaddi. 
 In July 1802, Canova offered to present a cast of his 
 statue of a ' pugillatore ' to the Academy, which was 
 thankfully accepted; and in December 1805, a corre- 
 spondence took place between the Academy and the 
 Treasury respecting the erection of monuments in St. 
 Paul's and Westminster Abbey to Nelson and others, 
 the competition for which was not to be confined to 
 members of the Academy, but it was wished that a 
 committee should be appointed by them to determine 
 on the general character of the monuments, and the 
 most proper situations for them. Accordingly a com- 
 mittee was formed, consisting of Mr. Wyatt (then acting 
 as President), two sculptors (Nollekens and Flaxman), two 
 architects (Yenn and Soane), and two painters (Cosway 
 and Stothard). 
 
 The Eoyal Academy had been for several years the
 
 CH. Vin.] WATER-COLOUR SOCIETY 271 
 
 only art-society in England, and its exhibition the only 
 source of attraction for lovers of pictures the old Free 
 Society of Artists having held its last exhibition in 1779, 
 and the Society of Artists (out of which the Academy 
 arose) having appeared for the last time before the 
 public in 1791, by making an exhibition at Spring 
 Gardens. It was now no longer to stand alone, for in 
 1805 two important auxiliary (not rival) institutions rose 
 into existence the one, the society now known as the 
 " Old Society of Painters in Water Colours," the other, 
 " The British Institution." The first of these originated 
 from the circumstance that the water-colour painters felt 
 that their works, when contrasted with the richness and 
 depth of oil-paintings (as they must have been in the 
 only exhibition the Eoyal Academy then open for 
 their display), assumed an air of poverty and thinness, 
 especially as they had not at that time advanced to that 
 solidity and richness in colouring, which have now been 
 attained in that medium. Meetings were held at the 
 rooms of Mr. SheUey, a miniature painter, to discuss a 
 plan for an exhibition to consist wholly of water-colour 
 paintings, and exclusively of works of members. The 
 founders were G. Barrett, J. Cristall, W. J. Gilpin, 
 J. Glover, W. Havell, E. Hills, J. Holworthy, J. 0. 
 Nattes, F. Nicholson, W. H. Pyne, S. Eigaud, S. Shelley, 
 J. and 0. Varley, and W. F. Wells. Then- first exhibi- 
 tion was opened on the 22nd of April, 1805, at the 
 rooms in Lower Brook Street, Grosvenor Square, built 
 by Vandergutch the engraver. The founder of the 
 English school of water-colour painting Paul Sandby 
 was not of the number, for he was then advanced in years, 
 and was, as a Eoyal Academician, bound to contribute 
 to its exhibitions ; Girtin, who followed him, improving 
 the old method, died while still young a few years before ; 
 and Turner, who so greatly advanced the infant art, had 
 become a member of the Academy, and was at that 
 time devoting all his energies to painting in oil. The
 
 272 HISTORY OF THE EOYAL ACADEMY [On. VIII. 
 
 success of the society was nevertheless sure, and its ex- 
 hibitions were subsequently removed to Bond Street, then 
 to Spring Gardens, and finally to the rooms in Pall-Mall 
 East, which it now occupies. 
 
 The British Institution, an offspring of the plan of 
 West two years before owed its foundation partly to 
 the President's fruitless efforts, partly to Shee's " Ehymes 
 on Art," and to his correspondence with Sir Thomas 
 Bernard, an ardent and sincere friend of the arts, who 
 with some noblemen and gentry who met at the Thatched 
 House Tavern, in St. James's Street, decided on convening 
 a public meeting of the friends of art to arrange the plan 
 of the proposed institution. Several discussions quickly 
 followed, and the body of noblemen and gentlemen of the 
 highest rank who became the founders, agreed to collect 
 together yearly, without respect to names or invidious 
 distinctions, as many of the best productions of the English 
 school as they could display for sale, and occasionally to 
 reward the best works exhibited by premiums of merit. 
 They desired to exhibit chiefly works of a historical and 
 poetic character, landscapes, &c., and excluded all mere 
 portraiture ; at a later period (1813) they determined to 
 lend their own best pictures by the old masters for the 
 study of the artists and for exhibition to the public ; and 
 to carry out this laudable object the founders subscribed 
 7939, purchased Alderman Boydell's Shakspeare Gallery 
 in Pall-Mall for their exhibition-room, and there on the 
 18th of January, 1806, opened the first exhibition of the 
 British Institution to the public. When it was first pro- 
 posed to the King to sanction its establishment by extend- 
 ing his patronage to it, he made some objection to doing 
 so, conceiving that it was likely to interfere with the 
 Eoyal Academy, which he not unnaturally regarded with 
 the partiality of a parent. But on West explaining that 
 the two institutions were very different in their objects 
 the Academy being founded for the instruction of pupils, 
 and the other for the encouragement of artists arrived at
 
 CH. VIIL] THE BRITISH INSTITUTION 273 
 
 maturity in their profession, his Majesty at once assented to 
 receive the deputation from the British Institution which 
 came to solicit his patronage. To prove that no opposition 
 to any existing society for promoting the fine arts was in- 
 tended, a law was passed, declaring " that the British Institu- 
 tion being intended to promote the extension, and increase 
 the beneficial effects of the Eoyal Academy founded by King 
 George HE., and by no means to interfere with it in any 
 respect, a favourable attention would be paid to such pic- 
 tures as have been exhibited at the Eoyal Academy," and 
 it was further resolved that the exhibition of new works 
 (now known as the Spring Exhibition) should terminate 
 on the opening of that of the Eoyal Academy, the works 
 of old masters, which could not interfere with it, being 
 held in the summer months. The school of the British 
 Institution was supplemental to that of the Academy, and 
 was formed by obtaining the loan of good pictures by old 
 masters, to be copied by the students. It was obviously 
 not in the power of the Eoyal Academy to form such a 
 collection of paintings as would have been necessary for 
 this purpose, and there was not then, as now, a National 
 Gallery, to afford examples for imitation. The proceed- 
 ings of the British Institution, which has expended a large 
 sum on premiums to the best artists who exhibited their 
 works there, and in the purchase of pictures for the na- 
 tional collection, do not, however, belong to this history, 
 except so far as they may affect the Academy or its members. 
 In August 1807, John Landseer the engraver (who had 
 in the previous year been elected an Associate Engraver), 
 addressed a letter to the President, Council, and members 
 of the Academy, setting forth the national importance of 
 the art of engraving, and urging the claims of engravers 
 to be admitted to the higher honours of the Eoyal 
 Academy. This he did in a very calm and sensible way, 
 and finally submitted three measures which appeared to 
 him necessary for the benefit of his art. The first pro- 
 posal was, that as it had been the general custom to elect 
 
 VOL. I. T
 
 274 HISTORY OF THE ROYAL ACADEMY [On. VHI. 
 
 certain proportionate numbers of painters, sculptors, and 
 architects, as Eoyal Academicians, it would not be dispro- 
 portionate "if the Academy were to enact that four 
 engravers should be engrafted, so as either to constitute 
 part of the forty, or be added to the number" thus 
 placing engraving, in point of relative importance to art, 
 in the aggregate as four to forty or forty-four. The second 
 suggestion was, that there should be a Professor of 
 Engraving, " whose duty it shall be to ascertain and 
 explain to the students in engraving, the existing, and as 
 far as may be, the possible analogies between their art 
 and that of painting ; " and the third point was, that a 
 room or a side of a room, might be allotted at the annual 
 exhibition, for the display of unpublished or recently 
 published prints of merit, so that they might '-not be 
 eclipsed in the public notice by being mixed with large 
 pictures." The several proposals thus made were not 
 favourably entertained by the Academy at the time, and 
 in the long interval which elapsed before the establish- 
 ment of the new order of Academician Engravers in 
 1855, engravers made many efforts to have their claims 
 to a higher grade than that of Associates recognised. 
 Thus a petition was presented to the Prince Eegent in 
 1812, and another to Parliament on the subject in 1826, 
 the latter being referred to the Committee on Arts and 
 Manufactures ; and in 1837 the engravers memorialised 
 King William IV. ; but on each occasion the answer was 
 adverse to their claims. 1 
 
 Several details in the management of the affairs of the 
 Academy underwent revision in the year 1809. It 'was 
 in this year that the " varnishing days " were appointed, 
 whereby the members of the Academy were granted the 
 privilege of retouching and varnishing their pictures after 
 
 1 A full account of the discussion part in advocating the claims of en- 
 
 on this subject will be found in gravers to admission to the rank of 
 
 " The Patronage of British Art," by Royal Academicians. 
 John Pye, who took a prominent
 
 CH. VIIL] "VARNISHING DAYS" 275 
 
 they were hung, and prior to the opening of the exhi- 
 bition. This practice prevailed till 1852, when it was 
 discontinued, many of the members being willing to sur- 
 render an advantage which could not be extended to all 
 the exhibitors. One reason assigned for its continuance 
 was, that the works of Turner especiaUy gained so 
 wondrously by his labours on the varnishing days, that it 
 would have operated most injuriously on his pictures 
 to have withheld the privilege. Leslie, in his "Auto- 
 biographical Eecollections," says, " I believe had the 
 varnishing days been abolished while Turner lived, it 
 would almost have broken his heart. He said, ' You will 
 do away with the only social meetings we have,' and he 
 painted all the effects of his pictures on those occasions." 
 The broad light of the exhibition-room may probably 
 discover some defects, and contrast with other works may 
 enable the artist to discern want of tone and finish in his 
 pictures, which were unnoticed in the comparative ob- 
 scurity of his own studio ; hence many works would no 
 doubt be greatly improved by the process, although in 
 others it was not only unnecessary, but was sometimes 
 carried to excess, in the endeavour to attain what artists 
 term the " exhibition pitch " of effect. 
 
 In August 1809, George Dance and Joseph Farington, 
 the auditors of the accounts of the Eoyal Academy, 
 presented to the President and Council a report of its 
 income and expenditure, in which they recommended 
 certain regulations to increase the one and diminish the 
 other. They represented that the 26,000 stock produced 
 an annual income of 702, and the exhibition an average 
 of 2196, giving a total of 2898. That the expen- 
 diture of the three preceding years, exclusive of the 
 expense of the exhibition, was 2392 10s., and that 
 there was therefore a probable saving of 505 10s., 
 which, if invested, would in ten years raise the permanent 
 income of the Academy from its fund to 1000. To 
 effect this object they proposed three modes of retrench- 
 
 T 2
 
 276 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 ment the expenses of the exhibition, the cost of the 
 tavern dinners on the King's and Queen's birthdays, and 
 the amount of donations over and above the pension list. 
 
 To attain the first of these objects it was proposed that 
 the number of persons invited to the exhibition dinner 
 should not exceed 150, including all the members of the 
 Academy, and that these should not be selected by the 
 influence of private friendship, or by yielding to the 
 importunity of acquaintances, but should, as originally 
 intended, consist of the highest orders of society, and the 
 most distinguished characters and patrons of art. Next, 
 that the price of the catalogue should be raised from 
 sixpence to one shilling a change which the auditors 
 stated was justified by the price of paper at that time, and 
 by the fact that there were scarcely any sales of pictures 
 or books at which the catalogues were sold for less than 
 one shilling. The saving thus effected was estimated at 
 700. Further, they recommended that the expense of 
 the tavern dinners on the birthdays of the King and 
 Queen should be borne by those who were present at 
 those entertainments thus saving 112 annually to the 
 Academy ; and, finally, it was proposed, as 500 per 
 annum had been expended in charity during the last three 
 years, to add no new names to the donation list until the 
 sum was reduced to the limit of the income derivable 
 from the fund applicable for such purposes. 
 
 These recommendations were acted upon, and proved 
 of great advantage to the Academy in augmenting its 
 permanent income. In recognition of the services of 
 the auditors on this occasion, the Council in the same year 
 voted 50 for plate, or otherwise, both to Farington and 
 Dance. Several previous instances are recorded of com- 
 plimentary presents having been made by the Academy 
 to members or others who had rendered especial ser- 
 vice to it. A silver cup was awarded in 1769 to J. B. 
 Cipriani, for his beautiful design for the diploma ; another 
 to F. M. Newton, when he resigned the appointment of
 
 CH. VIII.] COMPLIMENTAEY PRESENTS 277 
 
 Secretary, which he had held from 1768 to 1788; a 
 similar mark of esteem was given to George Dance and 
 Wm. Tyler in 1799, when they completed the inves- 
 tigation of the financial affairs of the Academy up to that 
 date ; a silver cup was also voted in the same year to 
 Miss Margaret Gainsborough, who had presented to the 
 Eoyal Academy a portrait by Thomas Gainsborough, and 
 who subsequently also gave his own portrait painted by 
 himself. In 1809 a similar gift was made, for the reason 
 already stated, to Farington and Dance ; and in 1810 a 
 present of twenty guineas was made to J. F. Eigaud, E.A., 
 who was acting in that year as Deputy-Librarian. 
 
 The fiftieth anniversary of the accession of George III. 
 was celebrated in November 1809, by the presentation 
 of an address to the King, and by the Academicians 
 dining together, at their own individual expense, in the 
 Council Chamber of the Academy at Somerset House, 
 which was illuminated on the occasion. In 1810 the 
 Professorship of Sculpture was instituted, John Flaxman 
 being the first to occupy the chair, than whom none was 
 better qualified for the office, which he held for sixteen 
 years from this time with so much distinction to himself 
 and advantage to the students in sculpture. 
 
 This period was not a favourable one for the promotion 
 or encouragement of art. The Peninsular war, while it 
 engrossed chief attention, also absorbed all the superfluous 
 resources even of the wealthy ; yet the President endea- 
 voured to encourage the professors of the arts in the midst 
 of the gloom, by the hope of Eoyal favour being at some 
 more propitious season extended to them. Thus, in his dis- 
 course on 10th December, 1811, he said, " But, gentlemen, 
 let us not despair ; we have heard from this place of the 
 promise of patronage from the Prince Eegent the pro- 
 pitious light of a morning that will open into perfect day, 
 invigorating the growth of all around; the assurance of a 
 new era in the elevation of the fine arts in the United King- 
 dom." His discourse on this occasion referred especially to
 
 278 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 historical painting, and contained remarks on the works of 
 Michael Angelo, Eaphael, Leonardi de Vinci, Titian, and 
 others. In speaking of the British Institution, he described 
 it as " another honourable establishment sanctioned by 
 his Majesty for promoting the fine arts which has been 
 created, composed of noblemen and gentlemen whose 
 known zeal for the success of refined art is so conspicuous, 
 and honourable to themselves." 
 
 Meanwhile, the British Institution was offering pre- 
 miums of considerable value as prizes for compositions on 
 specified subjects, and for the best works in their exhi- 
 bitions. Between 1807 and 1826, about 7000 was 
 thus awarded 1000 being given in 1807, to J. Pocock, 
 for his picture of ' Thomas a Becket,' and 1000 guineas 
 in 1817, to James Ward, E.A., for an allegory of 'The 
 Battle of Waterloo.' Among the other recipients of 
 premiums varying from 50 to 300 guineas, were 
 G. Dance, E.A., B. E. Haydon, W. Hilton, E.A., G. Dawe, 
 E.A., E. Bird, E.A., C. L. Eastlake,E.A., H. Howard, E.A., 
 A. Cooper, E.A., G. Jones, E.A., E. Landseer, E.A., John 
 Martin, and other artists of distinction. Sometimes the 
 directors purchased works from the artist, and generously 
 gave them at a later period to the National Gallery. 
 Thus for West's picture of ' Christ healing the Sick,' they 
 gave 3000 guineas, and 1800 guineas to Charles Heath, 
 for engraving it. Hilton received from them 550 guineas 
 for the ' Magdalen washing the Feet of Christ,' and in 
 1825, a thousand guineas for his picture of ' Christ 
 crowned with Thorns.' Their liberality was further ex- 
 hibited by the purchase for 1050 guineas, of a landscape 
 by Gainsborough (for which he only received 20 guineas 
 originally), and of the ' Holy Family,' by Sir J. Eeynolds, 
 for 1900 guineas. These, with two works by Paulo 
 Veronese and Parmegiano, costing 5000 guineas, are also 
 now in the National collection. 
 
 Besides this liberal patronage, the Governors of the 
 British Institution determined upon a plan for organising
 
 CH. VIII.] COMMEMOKATION OF EEYNOLDS 279 
 
 a festival in honour of Sir Joshua Eeynolds. This happy 
 idea was first suggested by a lover of the arts at the 
 Eoyal Academy dinner in 1 8 1 1 . It was warmly applauded 
 by the Prince Eegent, who was present, and who offered 
 to contribute several works by the late President in his 
 own possession. This " commemoration of Eeynolds " 
 took place in 1813, when 113 of his works were gathered 
 together for exhibition to the public, and included some 
 of his finest productions. It was inaugurated by a banquet 
 at Willis's Eooms, at which the Prince Eegent was present, 
 and at which all who were distinguished in position and 
 associated with the encouragement of the arts, were 
 specially invited to attend. This was the first public 
 exhibition of the works of any individual British artist, 
 and was a great treat to the lovers of English art who 
 were thus able to judge of the skill and taste of Eeynolds, 
 not only in portraiture, but in historical composition, 
 combined with colour and effect. So attractive was this 
 assemblage of the works of a single artist of eminence, 
 that in the following year the idea was further extended 
 by forming a collection of the works of Hogarth, Zoffany, 
 Wilson, and Gainsborough ; and again in 1817 by the 
 exhibition of a mixed assemblage of works of deceased 
 British artists. 
 
 After the battle of Waterloo, it was proposed by the 
 Government to expend 500,000 upon a national memo- 
 rial of the victory, which should be illustrated by the three 
 decorative arts painting, sculpture, and architecture, 
 and a communication was made to the Eoyal Academy 
 with a view to some plan being arranged for carrying out 
 the idea. A letter, written by West to Sir George 
 Beaumont, dated from Cowes, 30th September, 1815, 
 acknowledges the receipt of his communication announcing 
 that the Treasury had intimated the commands of the 
 Prince Eegent that measures be taken forthwith for the 
 erection of a monument to commemorate the victory of 
 Waterloo in pursuance of an address of the House of
 
 280 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 Commons, and gives his own suggestions as to the mode 
 in which it should be constructed. A column had been 
 proposed, but West thought such a victory demanded a 
 building of greater magnitude and more national impor- 
 tance. He proposed one as follows : " Its base a square 
 of sixty feet and its height thirty ; from the centre of this 
 base, a building thirty feet in diameter and 120 high, 
 formed out of the spoils of victory, diminishing as it rises, 
 to be surmounted by a figure twelve feet high. In the 
 centre to be an equestrian group of the Duke of Wel- 
 lington, under which ' Waterloo ' should be inscribed ; 
 the four angles to contain tablets of record, and statues 
 of generals. The interior to be a place of deposit for 
 preserving the powers of the pen, the pencil, and other 
 gems from perishing ; all the ornaments of the building to 
 be of metal, and to be illustrative of the victory." A 
 long delay took place on the part of the Government in 
 acting upon these suggestions. The national desire for a 
 memorial of the great battle died away, and other uses 
 were found for the money intended to be applied to this 
 purpose, so that the grand Art-project fell to the 
 ground. 
 
 The visit of Canova, the eminent Italian sculptor, to 
 England, afforded the Eoyal Academy an opportunity of 
 doing him honour. He, and his companions in travel 
 were invited to meet the members of the Academy at a 
 dinner, which they gave especially for the purpose at their 
 rooms in Somerset House on the 1st of December, 1815. 
 During his stay in England the great sculptor was called 
 upon by the Government to aid them by his opinion on 
 the sculptured marbles of the Parthenon, which were 
 afterwards, on the recommendation of a Committee of the 
 House of Commons, purchased from the Earl of Elgin 
 (and hence called the Elgin Marbles) in 1816 for 35,000. 
 Canova thought highly of them, and his estimate of them 
 was shared by Nollekens, Flaxman, Westmacott, Chantrey 
 and Rossi, all Eoyal Academicians, who gave their testi-
 
 CH. VIII.] CASE OF G. H. HABLOWE 281 
 
 mony before the Parliamentary Committee in their favour, 
 as being unequalled by anything previously brought to 
 this country. In consequence of these opinions as to 
 their value, they became national property, were deposited 
 in the British Museum, and are now largely studied by 
 artists. 
 
 In 1815, the privilege of selecting from the Dulwich 
 Gallery a number of pictures not exceeding six, for the 
 purpose of being copied by the students, was granted to 
 the Eoyal Academy. A school of painting was formed 
 for the purpose, on a similar plan to that of the British 
 Institution, arid a curator appointed to the charge of it. 
 Premiums were given for the best copies from these pic- 
 tures from that time till 1852, when the practice was abo- 
 lished ; and a medal for the best painting from the living 
 draped model was substituted as likely to prove of more 
 real use to the student. 
 
 An instance of rejecting a candidate for the associateship 
 occurred at this period, which has since, as it appears to 
 us, been unfairly censured. It was in the case of George 
 Henry Harlowe, formerly a pupil of Lawrence, who dis- 
 missed him in consequence of his having publicly claimed 
 as his own a picture of ' Mrs. Angerstein and her Dog,' on 
 which he had been employed by his master to dead- 
 colour. In revenge for his dismissal he painted a carica- 
 ture of Lawrence's style on a sign-board at Epsom, and 
 signed it " T. L. Greek Street, Soho." He never studied at 
 
 o * 
 
 the Eoyal Academy, and considered such instruction as 
 destructive of originality. He subsequently painted some 
 good pictures and portraits, and offered himself as a can- 
 didate for the rank of associate. Only one member, 
 Fuseli, voted for his admission, and this, " not for the 
 man," he said, " but for the talent." It was the prodigal 
 habits, and unbridled tongue and passions of " the man," 
 however, which, in the eyes of the rest of the Academi- 
 cians, disqualified him for the position he sought. Foreign 
 academies admitted him to their honours, but he could
 
 282 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 not with propriety have taken a place among the members 
 of our own Boyal Academy who are required, by the In- 
 strument of Institution, to be " men of fair moral charac- 
 ters," as well as artists of distinction. 
 
 The practice of sending travelling students abroad, was 
 necessarily suspended during the long European war, and 
 was not resumed until the conclusion of hostilities ; but a 
 pecuniary compensation was made to those who would 
 have been entitled to the privilege in more peaceful 
 times. We have already mentioned poor Thomas Proctor, 
 the sculptor, who was elected for this favour in 1793, but 
 died before leaving England. Two years afterwards, 
 William Artaud, a painter, was selected, receiving the in- 
 creased allowance of 100 a year which was authorised 
 in 1790. No students were sent abroad between 1795 
 and 1818, when Lewis Vulliamy, an architect, obtained 
 an allowance of 130 for three years the grant having 
 been increased to that amount in the preceding year. It 
 continued at this rate till 1832, when it was reduced to 
 100, with travelling expenses of 30 out, and 30 home. 
 
 The operation of the rules in regard to the award of 
 pensions, underwent alteration, as the capital from which 
 they were to be paid reached the amounts fixed by the 
 resolutions passed in 1796 as the basis for augmenting 
 such grants. In 1809 the pension fund reached 15,000, 
 and, between that year and 1816, the claimants upon it 
 received pensions according to the higher rate then to be 
 awarded. The average of these years was an expenditure 
 of 185 5. 11^. a year on members of the Academy or 
 their widows. In 1817, the fund having reached 20,000, 
 the full amount of pensions specified by the law were 
 paid. In 1820, a further increase was authorised, with- 
 out, however, increasing the capital from which they were 
 paid, and the following scale has ever since been acted 
 upon : 
 
 An Academician 105, provided it did not make his income exceed 200 
 per annum.
 
 CH. VIII. j FIFTIETH ANNIVERSARY 283 
 
 An Associate 75, provided it did not make his income exceed 160 per 
 annum. 
 
 An Academician's Widow 75, provided it did not make her income 
 exceed 160 per annum. 
 
 An Associate's Widow 45, provided it did not make her income exceed 
 100 per annum. 
 
 The average expenditure during the last forty years, 
 according to this rule, has been about 600 the 
 amount of the interest upon the sum invested for the 
 purpose. 
 
 On the 10th December, 1818, the Eoyal Academy com- 
 pleted the fiftieth year of its existence, and it was proposed 
 to celebrate the event by some enduring memorials. 
 Among these a history of its rise and progress, a record 
 of what it had accomplished, and a biographical account 
 of its members, illustrated with portraits, and produced in 
 a style worthy of the Academy, was the first proposed ; 
 and it is much to be regretted that it was afterwards 
 deemed inexpedient to carry out the idea, since much 
 valuable information could then have been collected which 
 is now for ever lost, both as regards the Academy itself 
 and its early members. A private record was afterwards 
 proposed to be substituted for this published one, but 
 none appears to have been made. Another plan was to 
 have a medal struck to commemorate the jubilee, but this 
 also was abandoned, and the only celebration was a 
 dinner given to all the members at the Eoyal Academy 
 on the anniversary. 
 
 While thus the Academy was rejoicing in its jubilee 
 year, the venerable President, who fifty years before was 
 among its first members, was insensibly losing energy, and 
 passing away in the slow and easy decay of old age. 
 When he was in his seventy-ninth year, he lost his tender 
 devoted wife, Elizabeth Shewell, and although he still pur- 
 sued his appointed duties, and worked at his easel, he 
 never really survived the shock caused by this separation 
 from his home-companion of half a century. With unim- 
 paired mental faculties, and with the same simple contented
 
 284 HISTORY OF THE ROYAL ACADEMY [On. VIII. 
 
 spirit which he had possessed through his long life, he 
 expired on the llth of March, 1820, in the 82nd year 
 of his age. 
 
 His body was laid in state in the smaller exhibition 
 room on the ground floor of Somerset House, and Leslie 
 thus describes, in one of his letters to his sister, the sad 
 ceremonial of the funeral : 
 
 " It was arranged exactly on the plan of that of Sir Joshua 
 Reynolds. An apartment on the ground-floor of the Academy 
 was hung and carpeted with black, the daylight entirely excluded, 
 and the room lighted by a number of tall wax-candles, placed 
 at regular distances on the floor, around the coffin, which was 
 covered by a pall and lid of black feathers. Against the wall, 
 at the head of the corpse, hung the hatchment, bearing the 
 family arms. No one remained in the room, excepting Robert, 
 West's old servant, who had sat up there all the preceding 
 night. My feelings were greatly affected by this scene. The 
 company who were to attend the funeral assembled in a large 
 upper room, where they were provided with black silk scarves 
 and hatbands, the Academicians wearing long black cloaks. It 
 was interesting to see persons of different ranks and different 
 nations, and of well-known different political sentiments, meet- 
 ing on this occasion, and uniting in the last tribute of respect 
 to a man of genius. The service was performed by Dr. Welles- 
 ley, brother to the Duke of Wellington. In one part of it a 
 very beautiful anthem was sung by the boys of the choir, the 
 effects of which, with the fine organ of St. Paul's, was such as 
 Milton has described in the ' Penseroso.' " 
 
 He was buried beside Eeynolds, Opie and Barry, 
 in the crypt of the cathedral. The funeral procession 
 made a splendid cortege : the pall was borne by noble- 
 men, ambassadors and Academicians ; his two sons and 
 his grandson were the chief mourners ; all the members 
 of the Academy, and many lovers of the arts paid their 
 respectful tribute to his memory, and sixty coaches fol- 
 lowed the remains of the simple Quaker's son to their last 
 resting-place. 
 
 The Koyal Academy lost in Benjamin West an excellent
 
 CH. VIII.] INFLUENCE OF WEST AS PEESIDENT 285 
 
 President, who, if he possessed not the artistic genius of 
 his predecessor, nor the same literary ability to address 
 the students on the theory and practice of art, yet exer- 
 cised a beneficial influence over all its members. His 
 perfect command of temper, his uniform courtesy of man- 
 ner, and above all, his real kindness of heart, were felt by 
 all with whom he was brought into communication. He 
 never considered it an intrusion to be consulted by the 
 young artist he was liberal and generous to the full ex- 
 tent of his means, and was ready to befriend by his pa- 
 tronage, and assist with his purse, all who needed the 
 help it was in his power to render. " No one was more 
 accessible," says Leslie, " nor, I may add, so well quali- 
 fied to give advice in any branch of art. He had 
 generally a levee of artists at his house every morning 
 before he began work. Nor did a shabby coat or an 
 old hat ever occasion his door to be shut in the face of 
 the wearer." By his own personal example, moral and 
 social, and as a laborious, never-wearying professor of 
 the arts, he was alike a pattern of purity, kindness, 
 and perseverance to all who desired to win respect or 
 renown. 
 
 He outlived all the foundation members of the Eoyal 
 Academy, with the exception of George Dance ; and of 
 the original forty, only two others, Cosway and Nollekens, 
 survived. Since the death of Keynolds, fourteen of the 
 rmaining original members had passed away ; these 
 were Catton, Paul Sandby, Bartolozzi, Eichards, Serres, 
 Newton, A. Kauffman, Mary Moser, Zoffany and Hoare, 
 the painters ; Wilton and Tyler, the sculptors ; and 
 Thomas Sandby and Sir W. Chambers, the architects. 
 Sixteen of the members elected during Eeynolds's pre- 
 sidentship were also gone ; these were James Barry, 
 De Loutherbourg, Copley, Garvey, J. F. Eigaud, Opie, 
 Hodges, Eussell, Hamilton, Webber, Wheatley and 
 Humphrey, the painters ; Burch, Bacon and Banks, the 
 sculptors ; and J. Wyatt, the architect.
 
 286 HISTORY OF THE ROYAL ACADEMY [Cn. VIII. 
 
 During the twenty-eight years of West's president- 
 ship forty new members were elected Eoyal Acade- 
 micians, of whom an account will be given in the next 
 chapter ; eight of these died within the same period. 
 Among the associates, sixteen vacancies had occurred ; 
 eleven of these were painters, viz. George James, E. 
 Martin, Zucchi, M. A. Eooker, Eebecca, Tomkins, Elmer, 
 Edwards, Nixon, Stubbs and Wright ; and five associate 
 engravers, viz. Major, Browne, Green, Haward and Anker 
 Smith. Their places were supplied by ten painters, one 
 architect, and five engravers, whose history we shah 1 trace 
 after those of the Eoyal Academicians elected during the 
 same period. 
 
 Among the officers of the Academy several changes had 
 taken place. The increasing infirmities of John Eichards, 
 the secretary, rendered the assistance of a deputy neces- 
 sary, and in 1810 Henry Howard was appointed, and 
 became secretary, by election, in the following year, when 
 Mr. Eichards died. Eobert Srnirke was elected to succeed 
 Wilton, as keeper, in 1804 ; but his election was not con- 
 firmed by his Majesty, and Henry Fuseli was subsequently 
 appointed. The office of librarian had been filled by 
 Dominic Serres tih 1 1793, Edward Burch till 1814, and 
 subsequently by Thomas Stothard, who, with Paul Sandby 
 and J. F. Eigaud, had previously acted for short periods 
 as deputy-librarians. John Yenn had been nominated, as 
 we have seen, to succeed Chambers as treasurer, and held 
 the office from 1796 to 1820 by the Eoyal warrant. The 
 professors of painting had been frequently changed. 
 Barry held the office when West became president. 
 When he was expelled, in 1799, Henry Fuseli succeeded, 
 but resigned in 1805. John Opie held the professorship 
 for two years, and Henry Tresham from 1807 to 1809, 
 when he resigned, and Fuseli was re-appointed. The 
 first Professor of Architecture, Thomas Sandby, died in 
 1798 ; he was succeeded by George Dance, who resigned 
 in 1805, when Sir John Soane was elected in his stead,
 
 CH. VHL] CHANGES AMONG THE OFFICERS 287 
 
 and held the office for thirty years. Edward Edwards, 
 the Professor of Perspective, died in 1806, and was suc- 
 ceeded by Turner in 1807, who continued for thirty years 
 to hold the appointment. The new professorship of 
 sculpture had been filled throughout West's presidentship 
 by John Flaxman. John Sheldon, the Professor of 
 Anatomy, had been succeeded by Sir Anthony Carlisle in 
 1808. Among the honorary members some changes had 
 also taken place. The office of chaplain had been filled 
 successively by the Bishops of Killaloe and Exeter. The 
 Secretary for Foreign Correspondence, James Boswell, 
 had been succeeded by Prince Hoare in 1799 ; the Pro- 
 fessor of Ancient History, Edward Gibbon, by William 
 Mitford, after remaining some years vacant. Samuel 
 Lysons had been appointed Antiquary in 1818 ; and the 
 professorship of Ancient Literature had passed from 
 Bennet Langton to Dr. Charles Burney in 1803, and in 
 1818 to the Bishop of London, afterwards Archbishop of 
 Canterbury. 
 
 The financial position of the Academy had greatly 
 improved during the period in which West was president. 
 The receipts from the exhibition and other sources, 
 which were nearly 3000 a-year in 1792, amounted to 
 6299 10s. 2d. in 1820, the exhibition alone producing 
 4650 14s., a portion of this increase being attributed to 
 the rise in the price of the catalogue, effected in 1809. 
 Besides some 190 a-year expended in pensions, a yearly 
 distribution of donations was made to those who needed 
 assistance ; these gifts, which amounted to 111 11s. in 
 1792, reached an average of nearly 400 a-year in 1820 ; 
 so that while the funded capital of 20,000 was secured 
 during this period, it was not obtained by diminishing the 
 liberality of the Academy to artists or their families, but 
 out of the large surplus arising from a steadily-increasing 
 prosperity. 
 
 The exhibitions during this period had annually en- 
 larged ; and if they had changed their appearance by the
 
 288 HISTOKY OF THE ROYAL ACADEMY [On. VIII. 
 
 discontinuance of the works of the early members who 
 had passed away, they had not lost their interest when 
 displaying the works of succeeding members, and the 
 rising artists of the day. At the beginning of this period 
 there were West's historical and Scripture pieces; the 
 designs of Bartolozzi, Smirke, Stothard, Fuseli, Hamilton, 
 Westall, Northcote and Wheatley; portraits in oil by 
 Lawrence, -Beechey and Bigg, in crayons by Eussell, and 
 in miniatures by Ozias Humphreys ; and sculptured groups 
 and busts by Banks, Nollekens and Bacon. The number 
 of contributions, which was 856 in 1793, rose to 1100 in 
 1800, but fluctuated between 813 and 908 during the 
 years of the Peninsular war. A popular picture in the 
 exhibition following the peace was the portrait by Law- 
 rence of ' Field-Marshal the Duke of Wellington holding 
 the Sword of State, on the last day of the public thanks- 
 giving at St. Paul's.' In 1819 the number of works 
 exhibited was 1248, the largest number ever seen, up to 
 that time, on the walls of the Academy, including portraits 
 by Beechey, Owen, Shee and Jackson ; a scene in Holland, 
 a fine work by Callcott ; three striking landscapes by 
 Turner : ' England,' ' Eichmond Hill,' and the ' Entrance 
 of the Meuse ; ' Wilkie's ( Penny Wedding ; ' Leslie's ' Sir 
 Eoger de Coverley ; ' West's sketch of the ' Eesurrection,' 
 and ' Csesar reading the Exploits of Alexander ; ' besides 
 the varied contributions of Chantrey, Baily, Flaxman and 
 Westmacott, the sculptors, the landscapes of Constable, 
 Collins, Turner, the two Daniells, and Westall, the 
 horses and battle pieces of Abraham Cooper, the por- 
 traits by Beechey, Jackson, Owen, Phillips and Shee, 
 the historical and domestic scenes portrayed by Hilton, 
 West, Wilkie, Mulready, Newton, Stothard and others. 
 Thus the exhibition retained some few specimens of the 
 works of the early members of the Academy, but chiefly 
 derived its attractions from those of the men who, then in 
 their youth and prime, have since also passed away. 
 A striking feature of the exhibitions in Somerset House,
 
 CH. VHL] DIPLOMA PICTURES 289 
 
 which is wanting at the present time, was the collection 
 of " diploma .pictures," by deceased members, and other 
 works presented to the Academy, which were exhibited in 
 the council-room. There were sixty-eight of these in the 
 catalogue of 1819 at least as many more have been 
 added in subsequent years. What an interesting history 
 of the growth of the English School would these works 
 afford in our day, if there were space available for their 
 arrangement in chronological order, and for the public 
 exhibition of them at the same time with the new 
 pictures by living artists ! 
 
 VOL. i. u
 
 290 
 
 CHAPTEE IX. 
 
 EOYAL ACADEMICIANS ELECTED DUKING THE PKESIDENCY 
 
 OF BENJAMIN WEST. 
 President: WEST. 
 
 Painters: R. SMIRKE, Sir F. BOURGEOIS, T. STOTHARD, Sir T. LAWRENCE 
 (future President), R. WESTALL, J. HOPPNER, S. GILPIN, Sir W. 
 BEECHEY, H. TRESHAM, T. DANIELL, Sir M. A. SHEE (future Presi- 
 dent), J. M. W. TURNER, H. THOMSON, W. OWEN, S. WOODFORDE, 
 H. HOWARD, T. PHILLIPS, Sir A. W. CALLCOTT, Sir D. WILKIE, 
 J. WARD, H. BONE, P. RELNAGLE, G. DAWE, W. R. BIGG, Sir 
 H. RAEBTTRN, E. BIRD, W. MULREADY, A. E. C.HALON, J. JACKSON, 
 W. HILTON, A. COOPER, and W. COLLINS. 
 
 Sculptors : J. FLAXMAN, C. Rossi, N. MARCHANT, Sir R. WESTMACOTT, 
 W. THEED, and Sir F. CHANTREY. 
 
 Architects : Sir J. SOANE, and Sir R. SMIRKE, JUN. 
 
 A COMPLETE change among the members of the Eoyal 
 -"L Academy occurred before the second President 
 closed his career, and a second generation had arisen in 
 the place of the original founders of the then firmly- 
 established institution. Forty Academicians were elected 
 under West's presidentship, of whom 32 were painters, 
 6 sculptors, and 2 architects. 
 
 The painters were elected to full academic honours 
 in the following order: 1793, R. Smirke, and Sir 
 F. Bourgeois ; 1794, Thomas Stothard, Sir Thomas 
 Lawrence (afterwards President), and Richard Westall ; 
 1795,J.Hoppner; 1797, S. Gilpin; 1798, Sir W. Beechey ; 
 1799, H. Tresham and T. Daniell ; 1800, Sir M. A. Shee 
 (afterwards President) ; 1802, J. M. W. Turner ; 1804, H. 
 Thomson; 1806, W. Owen; 1807, S. Woodforde; 1808, 
 H. Howard and T. Phillips ; 1810, Sir A. W. Callcott;
 
 CH. IX.] BENJAMIN WEST 291 
 
 1811, Sir D. Wilkie, J. Ward and H. Bone ; 1812, 
 P. Eeinagle; 1814, G. Dawe, and W. E. Bigg; 1815, 
 E. Bird and Sir H. Eaeburn; 1816, W. Mulready and 
 A. E. Chalon; 1817, J. Jackson; 1819, W. Hilton; 
 1820, A. Cooper and W. Collins. The sculptors were 
 J. Flaxman (1800), C. Eossi (1802), N. Marchant (1809), 
 Sir E. Westmacott (1811), W. Theed (1813), and Sir F. 
 Chantrey (1818). The architects were Sir J. Soane (1802), 
 and Sir E. Smirke, jun. (1811). 
 
 Before giving a brief biographical notice of each of 
 these new members, we must briefly trace the outline of 
 the career of the second President, BENJAMIN WEST, whose 
 history, so far as it has not already been referred to, we 
 reserved for the commencement of this chapter. He was 
 born on the 10th of October, 1738, at Springfield, in 
 Pennsylvania, and was the tenth child of Quaker parents, 
 John and Sarah West, his father being one of the 
 West family of Long Crendon, in Bucks. Young Benjamin 
 was prematurely born, his mother having given birth to 
 her illustrious son shortly after listening to a vehement 
 field-preacher ; and many predictions as to his future 
 destiny arose from the peculiar circumstances of his birth. 
 His first essay in art was made as early as his seventh 
 year, when, being set to watch the cradle of his sister, he 
 was struck by her smile while sleeping, and at once 
 attempted to take her portrait in red and black ink. 
 Thus he began to draw without having seen painters or 
 painting, or even prints, and received his first lessons in 
 the art of preparing his colours from some wandering 
 Eed Cherokee Indians, who, looking at his drawings, 
 showed him theirs by way of contrast. Eed and yellow 
 colours given by these rude artists, indigo from his 
 mother, and a brush formed of hairs from her cat's back, 
 were his first materials for painting. Subsequently he had 
 a box of paints and pencils, and some canvas prepared for 
 the easel, given him by a relative, a merchant of Phila- 
 delphia, named Penm'ngton, who also bought him some 
 
 u 2
 
 292 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 engravings by Grevling, from which, for several succes- 
 sive days, he continued to copy, unknown to his parents. 
 
 Subsequently he went with this relation to Philadelphia, 
 where he painted a view of the banks of the river, and saw, 
 for the first time, the works of an artist, named Williams, 
 who, struck by the boy's enthusiasm, lent him the treatises 
 of Du Fresnoy and Eichardson on painting to study. 
 Thus aided and encouraged, West resolved to be a painter ; 
 and his works exciting attention in so quiet a place as 
 Springfield, several residents in the neighbourhood aided 
 him in his efforts, and taught him how to educate his 
 mind so as properly to deal with classic subjects. When 
 in his sixteenth year, the Quaker community gravely 
 discussed the propriety of allowing one of their young 
 members to follow such a vain and sensual occupation as 
 that of a painter ; but its high purposes were set forth by 
 some of those present, and at the conclusion of the 
 meeting it was resolved to allow him to proceed in the 
 course for which Providence seemed to have qualified 
 him ; the women rose and kissed the young artist, and 
 the men one by one laid their hands on his head ; and 
 from that time forth, West felt himself to be dedicated to 
 art, and pledged only to employ it on subjects holy and 
 pure, an intention he never lost sight of, and steadily 
 pursued to the end of his career. 
 
 Shortly after this, he joined a party of volunteers, under 
 Major Sir P. Halkett (of the old Highland watch, the 
 42nd Eegiment), who went in search of the relics of the 
 gallant troops of General Forbes, who were lost in the 
 desert by the unfortunate General Braddock. From this 
 expedition he returned to the dying bed of his mother. 
 Subsequently he quitted his home, and in his eighteenth 
 year established himself as a portrait painter in Phila- 
 delphia. He obtained many sitters, receiving two and a 
 half guineas for a head, and five for a half-length portrait. 
 His first historical picture was the ' Death of Socrates,' 
 the figure of the slave being painted from that of one of
 
 CH. IX.] BENJAMIN WEST 293 
 
 the workmen of Mr. Henry, a gunsmith, by whom the 
 subject was suggested to him. He afterwards removed to 
 New York, doubling his prices for portraits, and still 
 finding ample employment. By the aid of one of the 
 merchants there, named Kelly, he fulfilled a long-cherished 
 desire of visiting Italy, and reached Eome on the 10th of 
 July, 1760. Lord Grantham first took notice of the 
 young American, and he speedily attracted the attention 
 of the visitors to the Italian capital. Mengs, Gavin 
 Hamilton, and Dance, the artists, were there at the time, 
 and became his friends. After studying the art-treasures 
 of the Eternal City, West, at their suggestion, proceeded 
 to Florence, Bologna and Parma. He was elected a 
 member of the academies of those cities, and afterwards 
 returned to Eome. In the interim he painted two 
 pictures, ' Cimon and Iphigenia ' and ' Angelica and 
 Medora,' which were favourable specimens of his skill. 
 
 On the 20th of June, 1763, West arrived in London, 
 where several of his artist friends in Eome were ready to 
 welcome him. Through Mengs he became acquainted 
 with Wilson, was introduced to Eeynolds, and at once 
 determined to remain in England, taking chambers and a 
 studio in Bedford Street, Covent Garden. There was an 
 opening for a historical painter at the time, and his first 
 pictures exhibited at the Society of Artists (those painted 
 in Italy, and a portrait of General Monkton, second in 
 command at the battle of Quebec) were favourably re- 
 ceived. West became acquainted at this time with Dr. 
 Johnson and Burke, and received commissions for a 
 painting of 'Hector and Andromache,' for Dr. Newton, 
 and the 'Eeturn of the Prodigal,' for the Bishop of 
 Worcester. Lord Eockingham offered him 700 a year 
 to paint historical pictures for his mansion in Yorkshire ; 
 but this, after consultation with his friends, he declined, 
 as his successful beginning led him to wish to keep his 
 works before the public. 
 
 An early attachment he had formed for a young lady
 
 294 HISTORY OF THE ROYAL ACADEMY [On. EX. 
 
 of Philadelphia, Elizabeth Shewell, led him to wish to 
 return to America to marry her ; but he was advised to 
 send for her, as his absence from England, just as he was 
 attracting notice, might have been disastrous to his future 
 prospects. She was, for these reasons, persuaded to 
 accompany his father to England, and West was married 
 to her on the 2nd of September, 1765, at the Church of 
 St. Martin-in-the-Fields. About the same time an en- 
 thusiastic patron of art, Dr. Drummond, Archbishop of 
 York, was so pleased with West's pictures that he requested 
 him to paint one for him, representing the ' Landing of 
 Agrippina with the Ashes of Germanicus ; ' and he 
 followed up this mark of approval by proposing to obtain 
 for him an annuity, if he would exclusively devote him- 
 self to historical painting, and altogether relinquish por- 
 traiture. He and his friends subscribed 1500 ; but the 
 public did not co-operate with them, and the project was 
 therefore abandoned. The archbishop, meanwhile, made 
 known to the King the arrival of the devout Quaker 
 from America, and his Majesty requested to see the 
 artist and his productions. West was sent for to the 
 palace, was graciously received, and was at once ordered 
 to paint the * Departure of Eegulus from Eome,' for the 
 King's collection. His Majesty read the account from 
 Livy to the artist ; and during the time the work was 
 going on he was frequently invited to spend the evening 
 at Buckingham House, where he was often detained by 
 the King as late as eleven o'clock, discoursing on topics 
 connected with the best means of promoting the study of 
 the fine arts in the kingdom. Gait, his biographer, says 
 that it was in these conversations that the plan of the 
 Eoyal Academy was digested. Thus commenced a career 
 of nearly forty years of Eoyal patronage, amounting almost 
 to personal friendship with the gracious Sovereign, who, 
 besides the many other qualities for which his memory is 
 revered, did so much to advance the arts in this kingdom. 
 We have already seen that West had been a member and
 
 CH. IX.] BENJAMIN WEST 295 
 
 director of the old Incorporated Society of Artists, and that 
 while the ' Eegulus' was being painted, the plan of forming 
 the Eoyal Academy had been matured ; and we have also 
 noticed that, among West's subsequent works, he excited at 
 first a discussion, but afterwards praise, by commencing in 
 his picture of ' The Death of Wolfe ' an innovation on the 
 style of painting then prevailing, by representing all the 
 persons introduced, in the costume of the time and country 
 in which they lived. A long series of historical pictures, 
 painted for George III., followed (most of which are now 
 at Hampton Court and Windsor) some from classic 
 story, others from English history and Scripture. Among 
 them were eight scenes from the life of Edward III., for 
 St. George's Hall. Subsequently, he proposed to the 
 King to paint a series of thirty-six subjects, illustrating 
 the progress of revealed religion, for his Majesty's Chapel 
 in the Horn's Court of Windsor Castle ; first obtaining 
 from Bishop Hurd, Bishop Douglas, and the Dean of 
 Windsor, an assurance that they and the dignitaries 
 of the Church saw no objection to such paintings in a 
 place of worship. These designs were divided into four 
 dispensations Antediluvian, Patriarchal, Mosaic, and 
 Prophetic, apportioned equally between the Old and 
 New Testaments. The Chapel was to be ninety feet 
 long by fifty wide, and Wyatt received orders to carry 
 out the plan ; the grand flight of steps in the great stair- 
 case at Windsor Castle, executed by that architect, being 
 intended to lead into the Eoyal Closet in the new Chapel 
 of Eevealed Eeligion. Twenty-eight of the pictures were 
 executed before the final illness of the King, for which 
 West received 21,705. West also painted nine pictures 
 of portraits of the Eoyal Family, receiving for them 
 2000 guineas more. The original picture of 'The 
 Death of Wolfe ' was purchased by Lord Grosvenor, 
 but the King ordered a copy of it. 
 
 Amidst such continued employment and prosperity, 
 the honour of succeeding Eeynolds as President of the
 
 296 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 Eoyal Academy fell to West's share in 1792. There 
 were none of his contemporaries who had so good a claim 
 to, or were so well fitted for, this high position, nor one 
 whom the King would so gladly confirm in the appoint- 
 ment. He was offered knighthood on the occasion ; but, 
 doubting how a Quaker would receive the honour, the King 
 sent the Duke of Gloucester to inquire whether it would 
 be acceptable to him. It was respectfully declined, as 
 West considered that he had attained as much eminence 
 as an artist as any which such a title could confer ; and 
 he seemed to feel that only a more permanent rank was 
 of real value, as the means of preserving in families a 
 respect for the principles or the qualities for which it was 
 originally bestowed. In the preceding chapter we have 
 stated that West continued to paint for the Court, until 
 the King could no longer exercise his patronage ; and 
 that, although he was naturally envied the privilege thus 
 conferred upon him, he did not actually receive more 
 than the ordinary income of a good portrait painter in 
 these times as the reward for his incessant labour. 
 
 After the peace of Amiens, in 1801, he visited Paris 
 to see the collection formed by Bonaparte at the Louvre. 
 He was so well received there, that he said, with a little 
 pardonable vanity, " Wherever I went men looked at me, 
 and ministers and people of influence in the state were 
 continually in my company. I was one day at the Louvre ; 
 all eyes were upon me ; and I could not help observing to 
 Charles Fox, who happened to be walking with me, how 
 strong was the love of art, and admiration of its professors, 
 in France." It did not, apparently, occur to him that 
 possibly the great statesman with whom he was con- 
 versing might have been the chief object of interest. 
 The dissension in the Academy which led to his tempo- 
 rary withdrawal from the office of President, took place 
 after his return, in 1805. A year only intervened before 
 he resumed his former position, retaining it till his death. 
 
 Finding himself deprived, at the advanced age of sixty-
 
 CH. IX.] BENJAMIN WEST 297 
 
 four, of the patronage of the Court, consequent on the 
 sad iUness of the King, he commenced a series of great 
 religious works, the first of which was ' Christ Healing 
 the Sick,' purchased by the British Institution for 3000, 
 and subsequently presented to the National Gallery. He 
 commenced this work in answer to an appeal from a 
 society of Quakers in Philadelphia, who solicited his help 
 in enlarging a hospital there, and for which he offered to 
 paint a picture, as likely to be worth more than any 
 money subscription he could give. When he accepted 
 the offer to sell it, he stipulated that he might make a 
 copy of it for the hospital ; he did so, and a wing for 
 thirty additional patients was constructed with the money 
 which it realised to the charity.. Several other works 
 of large dimensions followed : ' The Crucifixion,' ' The 
 Ascension,' ' The Descent of the Holy Ghost on our Lord 
 at His Baptism,' 'The Inspiration of St. Peter,' 'The 
 Brazen Serpent,' ' St. Paul at Melita,' &c. In 1814 he 
 exhibited his picture of ' Christ Eejected,' and, in 1817, 
 the celebrated representation of ' Death on the Pale Horse.' 
 These, and many other of his works, are well known by 
 the prints made from them so admirably by Woollett, 
 Hall, and Heath. West painted, or sketched, about four 
 hundred pictures in ah 1 , most of them subjects requiring 
 all the skill and energy of the artist. Besides the works 
 we have mentioned, he painted ' Penn's Treaty with the 
 Indians ; ' ' Stephen carried to his Burial,' the altar-piece of 
 St. Stephen's, Walbrook ; St. Michael the Archangel,' for 
 Trinity College Chapel, Cambridge ; ' The First Installation 
 of the Knights of the Garter,' for the audience chamber 
 at Windsor Castle ; and a variety of others, both classic 
 and sacred. Two of his earlier works ' Cleombrotus 
 ordered into Banishment,' and 'Pylades and Orestes' 
 ' The Healing of the Sick,' above referred to, and ' The 
 Last Supper,' painted for George HE., and presented by 
 George IV., are now in the National Gallery. His out- 
 line was often too meagre for the lofty subjects he fre-
 
 298 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 quently chose ; but he drew well, and pencilled rapidly 
 and admirably. In composition and effect he showed 
 great skill, but in colouring he was not so successful, his 
 pictures being often of a reddish-brown tint, and in ex- 
 pression he wanted more variety and character. In 
 invention he has frequently shown great power ; some 
 of his single figures are admirable, and there is a natural 
 grace in most of his delineations of women. Much of the 
 calm, passionless spirit he possessed, pervades his pictures; 
 but they are, at the same time, the reflex of those pure 
 and solemn thoughts and conceptions with which his 
 mind was filled. His religious subjects were so selected 
 and depicted that, while they were readily understood by 
 all, they awakened the sympathies especially of persons 
 of religious feeling ; nor were his historical and classic 
 subjects wanting in that chief attraction to the multitude 
 - that of being brought within their comprehension. 
 The fine whole-length portrait of him by Lawrence, in 
 the National Gallery, gives a highly characteristic repre- 
 sentation of this excellent man, portraying not only his 
 dignified and venerable appearance, but his amiable and 
 tranquil disposition. In the early part of his career in 
 London, he lived in Castle Street, Leicester Square. 
 From 1777 till his death he resided at No. 14 Newman 
 Street, Oxford Street, where he built a painting-room 
 and gallery for pictures. After his death (which took 
 place on a sofa in his drawing-room in Newman Street, 
 on llth March, 1820) several of his pictures remained 
 in possession of his family. A sale of a portion of them 
 took place at Eobins's in May 1829, when 181 pictures, 
 &c., were disposed of for 19,137, much less than could 
 have been obtained for them in his lifetime. Among 
 them were, ' Death on the Pale Horse,' which sold for 
 2000; ' Christ Eejected,' which realized 3000 (West 
 having been offered 8000 for it years before); the 
 ' Death of Nelson,' and ' The Waters subsiding after the 
 Deluge,' which only produced together 1300.
 
 CH. IX.] ROBERT SMIRKE 299 
 
 Proceeding first to notice the Painters elected during 
 the period of West's presidentship, in the order in which 
 they were appointed, we have first to speak of EGBERT 
 SMIRKE, E.A., who was born at Wigton, near Carlisle, 
 in 1752. He became a student of the Eoyal Academy 
 in 1772, and for several years followed herald-painting 
 as his profession. In 1786, he exhibited his first pictures 
 at the Academy 'Narcissus,' and the ' Lady and Sabrina,' 
 from " Comus." These, and ' The Widow,' exhibited in 
 1791, at once displayed his powers as a painter of 
 humorous and sentimental subjects, second only to 
 Hogarth, and not since excelled until the time of Wilkie. 
 He was elected an Associate in 1791, and in 1793 he 
 became a Eoyal Academician. On this occasion, he 
 gave as his "Diploma" work, a picture of 'Don Quixote 
 and Sancho.' In 1792 he contributed two pictures from 
 Thomson's " Seasons " to the exhibition ' The Lover's 
 Dream,' and 'Musidora;' and, in 1793, 'Lavinia,' from 
 the same poem. All his pictures are of an imagina- 
 tive character, and the subjects generally selected from 
 the Scriptures, Shakspeare, Cervantes, " The Arabian 
 Nights," &c. They were generally of smaU dimensions, 
 and are chiefly known to the present generation by 
 the engravings made from them for book illustration. 
 On such productions he seldom used much variety 
 of colour, but seemed chiefly anxious to preserve the 
 chiaro-scuro. His larger compositions appear weak 
 from this defect in colour ; but the manner in which he 
 arranged his subjects, and the rich humour of his cha- 
 racters, without any intermingling of low caricature, 
 commend his works to the attention of all, making the 
 observer think and smile, if not to laugh outright. 
 Several of the contributions to the Boydell Gallery were 
 from his pencil, and the truth of his conceptions of 
 Shakspearian scenes, render these among his best works. 
 The subjects were, 'Katherine and Petruchio,' 'Juliet 
 and the Nurse,' ' Prince Henry and Falstaff,' ' The Seven
 
 300 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 Ages,' and others. 'Don Quixote' was his favourite 
 subject, and the story was largely illustrated by his 
 pencil. All his designs are full of quiet and well- 
 sustained humour, evince a fine perception of character, 
 and possess considerable delicacy and finish. In 1813 he 
 painted a picture of ' Infancy,' which was his last con- 
 tribution to the exhibition. 
 
 In 1804 he was elected by the Academicians to suc- 
 ceed Wilton as keeper, but when the appointment was 
 submitted for the King's approval, he refused to con- 
 firm it, having been apprised of Smirke's revolutionary 
 principles, and of the free expression he had given of his 
 satisfaction at the events which had been enacted in 
 France a few years before ; and his Majesty no doubt 
 considered that one holding such opinions might injuri- 
 ously affect the young students in art proposed to be 
 placed under his charge. A few years afterwards, Smirke 
 indulged his satirical vein at the expense of the titled 
 noblemen and gentlemen who founded the British Insti- 
 tution, in his publication of a " Catalogue Eaisonne " 
 of the first exhibitions of pictures held there. 
 
 Throughout his life he formed a very modest estimate 
 of his own works, and was very unwilling to show them. 
 Nearly to the end of his long career, however, he con- 
 tinued to practise his art, and his last labours were the 
 designs he made for the bas-reliefs for the Junior United 
 Service Club, and the Oxford and Cambridge Club, of 
 which his sons Eobert and Sydney were the architects. 
 He died at the advanced age of ninety-three, at his house 
 in Osnaburgh Street, Eegent's Park, on the 5th of January, 
 1845, having been a full member of the Eoyal Academy 
 for fifty-three years. 
 
 Sir FKANCIS BOURGEOIS, E.A., was descended from a 
 Swiss family, the members of which are said to have held 
 several high offices of state in Berne, and to have subse- 
 quently removed to England, when reverse of fortune had
 
 CH. IX.] SIR F. BOURGEOIS 801 
 
 befallen them. He was born in 1756, in St. Martin's 
 Lane, London, where his father was at that time carrying 
 on the trade of a watchmaker. When he was about 
 eight years old, the celebrated picture dealer, Noel 
 Desenfans, came to lodge in his father's house, and this 
 gentleman, both as a teacher of languages and a man of 
 great natural ability, acquired a large connection among 
 the nobility and patrons of art, by whom he was employed 
 in the formation of their galleries. The unfortunate 
 King Stanislaus of Poland remitted to him a considerable 
 sum of money for the purchase of paintings for the Eoyal 
 Gallery at Warsaw : but after the pictures had been 
 bought, the subsequent misfortunes of that monarch pre- 
 vented the accomplishment of his design, and they remained 
 in the possession of Desenfans. In all probability it is to 
 the innuence which this gentleman exercised over the 
 mind of Bourgeois, that we must ascribe his choice of the 
 profession of the arts. His early destination was the army, 
 in which he had been promised a commission by Lord 
 Heathfield, and he attended military evolutions and re- 
 views, but not it would seem to acquire a knowledge of 
 tactics so much as to represent the manoeuvres he wit- 
 nessed with his pencil, having previously received some 
 instruction in drawing from an animal painter. Some of 
 these juvenile productions were shown to Sir Joshua 
 Reynolds and Gainsborough, who spoke so favourably of 
 them, that he was subsequently placed as a pupil with 
 De Loutherbourg, under whom he quickly acquired a 
 knowledge of the elementary principles of art, and became 
 so attached to the study, that he gave up all idea of a 
 military life, and soon obtained considerable reputation by 
 his landscapes, battle scenes, and sea pieces. In 1776 he 
 travelled through France, Italy, and Holland, and pro- 
 ceeded to Poland, where, with letters from his friend 
 Desenfans, he was favourably received by the King, who 
 conferred on him the knighthood of the order of merit. 
 This honour was confirmed to him on his return to
 
 302 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 England by George' HE. , who subsequently in 1794 
 appointed him his landscape-painter. 
 
 He continued the practice of his profession with great 
 perseverance, and in 1791 was appointed painter to the 
 King of Poland, whose brother, the Prince Primate, had 
 been much pleased with his performances during his re- 
 sidence in this country. In 1787 he was elected an Asso- 
 ciate of the Koyal Academy, and attained the higher rank 
 of E.A. in 1793. Soon afterwards he retired from the 
 more active pursuit of art. In 1804 his friend Desenfans 
 died, leaving to him the best of the pictures he had col- 
 lected, and to his possession of which we have already 
 referred. Sir Francis Bourgeois was in the habit of 
 visiting the master and fellows of the college founded by 
 Alleyn the actor at Dulwich, and on one of these occasions 
 it was suggested to him by John P. Kemble that his collec- 
 tion would be an appropriate gift to that body, as they 
 already had a gallery where they might be placed without 
 fear of injury to the pictures, and where visitors could 
 easily obtain access to them. On his death (which was 
 occasioned by a fall from his horse) on January 8th, 1811, 
 it was found that he had not forgotten the hint thus given, 
 for he left the collection to the widow of his friend, with 
 the greater part of his property, for her life ; and be- 
 queathed with the reversion of the pictures, 2000 
 to provide for the care of them, and 10,000 for erecting 
 and keeping in repair a gallery for their reception at 
 Dulwich. The present gallery attached to the coUege 
 was built in 1812 from the designs of Sir John Soane. 
 Bourgeois was buried in the chapel of the college, 
 according to his own wish, by the side of Desenfans, 
 whose remains were removed thence from the chapel 
 attached to Bourgeois' house, in which they were origin- 
 ally deposited. 
 
 As a painter Sir Francis Bourgeois is not now held in 
 high estimation, although his works were much esteemed 
 at the time when they were painted. They manifest a
 
 OH. EL] BOURGEOIS STOTHAED 303 
 
 strong feeling for art, and evident labour in the process of 
 execution ; but besides being crude and sketchy, they are 
 monotonous and heavy in colour a mannered imitation 
 of De Loutherbourg, but without his genius. In grouping 
 his figures, and in choosing his subjects, he showed good 
 taste, however, and evident appreciation of the beautiful 
 in nature. In private life Sir F. Bourgeois was universally 
 esteemed, and he has considerable claims to grateful 
 remembrance as the donor to the nation of the coUection 
 of valuable pictures at Dulwich by Cuyp, Eembrandt, 
 Poussin, Murillo, and other masters chiefly of the Dutch, 
 Flemish, and Italian schools. Several of the works of the 
 donor have been placed in the collection by his legatees, 
 as also the portrait of him by Sir William Beechey, which 
 was painted only a few days before his death. 
 
 THOMAS STOTHAKD, E. A. who was called " the Giotto of 
 England " by Turner, was born in London, at the sign of 
 the " Black Horse " (kept by his father) in Long Acre, on 
 August 17th, 1755. Being a sickly child, he was sent at 
 five years old to some relatives at Acomb, a small village 
 near York, to be nursed. While there he began to copy 
 some of Houbraken's heads, and other engravings which 
 he met with in his new home. At eight he was placed at 
 school at Stretton, near Tadcaster, the birthplace of his 
 father ; and at thirteen was removed to a boarding-school 
 at Uford, in Essex. On his father's death shortly after- 
 wards, he was bound apprentice to a pattern-drawer for 
 brocaded silks in Spitalfields. The trade declining, and 
 his master dying a year before the expiration of his term, 
 he was early left to his own resources. He had, however, 
 minutely studied nature in the drawing of flowers and 
 other ornaments, and had availed himself of every oppor- 
 tunity of improving his knowledge, so that he was now 
 prepared to attempt a higher branch of art than that of 
 ornamental design, and began to draw illustrations for the 
 " Town and Countiy Magazine," published by Harrison.
 
 304 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 These were greatly admired, and he quickly found 
 constant employment of the same kind upon other works, 
 particularly the " Novelist's Magazine " and Bell's edition 
 of the "British Poets." He commenced a course of 
 study at the Eoyal Academy in 1777, and exhibited his 
 first picture, ' Ajax defending the dead body of Patroclus,' 
 the following year. Among his early works were 'A Holy 
 Family,' ' Banditti,' The Death of Sir Philip Sidney,' 
 'King Kichard's Eeturn from Palestine,' and his 'Treatment 
 of Isaac, King of Cyprus,' and ' Britomart,' from Spenser. 
 In 1791 he was elected an Associate, and in 1794 a Eoyal 
 Academician. In 1810 he began to act as deputy librarian 
 for Mr. Burch, and succeeded to the office in 1812, retain- 
 ing it till his death in 1834. 
 
 Stothard's never-failing fancy supplied upwards of five 
 thousand designs to illustrate the works of Milton, 
 Shakspeare, Spenser, " Don Quixote," " The Pilgrim's 
 Progress," Bell's " British Poets," " Eobinson Crusoe," &c., 
 in which humour, pathos, beauty, innocence, modesty, 
 and loveliness of form are combined. Of these three 
 thousand were engraved, and as they illustrated the popular 
 literature of the age, his reputation was widely diffused 
 both in this country and on the Continent. Among his 
 most important works were ' The Pilgrimage to Canter- 
 bury,' 'The Flitch of Bacon,' and the * Wellington 
 Shield,' which he also etched himself. His largest per- 
 formance is the fresco painting of the staircase at Burleigh 
 House, the seat of the Marquis of Exeter. This work, in 
 which the figures are seven feet high, was commenced in 
 1798, and completed during four successive summers. 
 The subject is ' Intemperance,' the chief figures being 
 Marc Antony and Cleopatra, surrounded by bacchanals, 
 &c. He also designed the ceiling of the Advocates' 
 Library at Edinburgh. His ordinary pictures were of 
 easel size, with small figures introduced in them. At the 
 beginning of his career he followed the style of Mortimer, 
 but as he advanced formed one peculiarly his own. His
 
 Cn. IX.] THOMAS STOTHARD 305 
 
 oil-paintings are deficient in colour and are wanting in 
 force, having too much the appearance of water-colour 
 drawings. His facility of composition was great, but 
 necessarily led to mannerism when so profusely employed ; 
 the sameness in his style is, however, always accompanied 
 by so much purity of design, truthfulness, simplicity, and 
 grace, that we never weary while looking at his works. 
 His chief exceUence consisted in his impersonations of 
 virgin innocence and womanly grace, rendered in an easy, 
 unaffected manner, which is very charming. In comic 
 subjects he was very happy, without descending even to 
 an approach to vulgarity. Some of his latest productions, 
 commenced in 1829, were for the embellishment of the 
 poems of his friend and patron, Samuel Eogers, all of 
 which are exquisitely beautiful. He occasionally made 
 designs for metal chasers, especially for EundeU and 
 Bridge, the goldsmiths, and also aided our sculptors in 
 the same way. Chantrey's celebrated monument of the 
 ' Sleeping Children,' in Lichfield Cathedral, was made from 
 his design. He was commissioned to design the reverse 
 to the gold medal awarded by the Eoyal Academy, and 
 received 20 for the drawing he made for it. 
 
 For several months before his death, he was compelled 
 by bodily infirmity to relinquish his profession, but still 
 attended the meetings and lectures at the Eoyal Academy, 
 and performed his duties as their librarian. His deafness 
 had for years hindered him from taking part in the dis- 
 cussions, but he never missed attending the meetings, the 
 proceedings at which were explained to him in writing by 
 those around him. He had a numerous family, and one 
 of his sons, Charles Alfred Stothard, was the author of 
 an antiquarian work of great value, " The Monumental 
 Effigies of Great Britain." A very interesting life of the 
 artist was published by this gentleman's widow, afterwards 
 Mrs. Bray, in 1851. Thomas Stothard lived to a venerable 
 age, retaining to the last the gentleness and benevolence 
 
 VOL. i. x
 
 306 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 of disposition by which his long life was characterised, 
 and died at his house, No. 28 Newman Street, Oxford 
 Street, where he had resided more than forty years, on 
 the 27th of April, 1834. He was buried in Bunhill 
 Fields burial-ground, and was followed to the grave by the 
 President and Council of the Eoyal Academy. There are 
 portraits of him by Harlowe, Jackson, and Wood, and a 
 bust in marble by Baily. Six very pleasing specimens of 
 his skill are in the Vernon Gallery, and ten more in the 
 Sheepshanks Collection. 
 
 EICHAED WESTALL, E.A., was born at Hertford, in 1765. 
 In 1779 he, like Hogarth, was apprenticed to an heraldic 
 engraver on silver, named Thompson, in Gutter Lane, 
 Cheapside ; but while thus employed, a miniature painter, 
 named Alefounder, having observed his abilities for greater 
 things, recommended him to adopt painting as his profes- 
 sion. Accordingly, after learning at an evening school of 
 art, he became a student at the Eoyal Academy in 1785, 
 and shortly afterwards he commenced his career as an 
 artist by exhibiting a picture from Chaucer's sarcastic 
 poem of " January and May." He took a house in Soho 
 Square, at the corner of Greek Street, jointly with 
 Sir Thomas (then Mr.) Lawrence ; they lived there for 
 several years together, and from the congeniality of their 
 dispositions and tastes, their acquaintance continued 
 through life. Westall was chosen an Associate at the Eoyal 
 Academy in 1792, and E.A. in 1794, the same year in 
 which Stothard and his friend Lawrence attained the like 
 dignity. He first attracted public favour by some highly 
 finished historical pictures in water-colours. Among 
 those especially admired were l Esau seeking Isaac's 
 Blessing,' ' Mary Queen of Scots parting from Andrew 
 Melvil on her Way to Execution,' ' Sappho chanting the 
 Hymn of Love,' ' Jubal and the Lyre,' ' The Boar that 
 killed Adonis brought to Venus,' ' The Storm in Harvest,' 
 ' Calypso entertaining Telemachus,' and other similar
 
 CH. IX.] RICHARD WESTALL 307 
 
 subjects. His more enduring reputation rests, however, 
 chiefly on the numerous beautiful designs he executed for 
 Boydell's Milton and Shakspeare galleries, and the illus- 
 trations to other works. Many of his drawings for 
 Milton's poems were graceful, and some even approached 
 to grandeur. Bowyer's " History of England " furnished 
 further subjects for his pencil ; and a series of illustrations 
 of the services of the Church of England, are still popular 
 by the engravings from them. He attempted to paint 
 large historical pictures, but abandoned the idea when he 
 found that he could obtain no purchasers for them ; and 
 latterly he confined himself to making designs for book- 
 illustration, after the example of Stothard. Crabbe's 
 " Poems," Moore's " Loves of the Angels," and a volume of 
 poems by himself, entitled " A Day in Spring," were among 
 the productions embellished by his designs, which from 
 their number, and the rapid succession in which they were 
 executed, soon displayed a great similarity in their manner 
 of treatment. In his latter years he unfortunately became 
 greatly embarrassed by some imprudent partnership en- 
 gagements and unsuccessful speculations in the works of 
 old masters ; and his circumstances in life were seriously 
 affected by them. His last professional occupation was 
 a very gratifying one, that of giving lessons in draw- 
 ing and painting to her Majesty, when Princess Vic- 
 toria ; and the beautiful drawings made by our gracious 
 Sovereign, and her refined taste in art, evince that 
 good use was made of the instruction which Westall 
 was able to render to his Royal pupil. He died on the 
 4th of December, 1836. 
 
 Of Sir THOMAS LAWRENCE, elected in the same year with 
 Eichard Westall, and also of Sir MARTIN ARCHER SHEE, 
 elected in 1800, we shall have to speak in subsequent 
 chapters, when referring to the Academicians appointed 
 during the periods in which they filled the office of 
 President ; and therefore only mention them here among 
 
 x 2
 
 308 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 the painters elected at the period of which we are now 
 speaking. 
 
 JOHN HOPPNER, E.A., was the son of one of the German 
 attendants in the King's Palace at St. James's, and was 
 born in London in 1759. He was educated under the 
 directions given by George III., and, when very young, 
 was selected to be one of the choristers of the Chapel 
 Eoyal. In 1775, when in his sixteenth year, he became 
 a student at the Eoyal Academy, and, in 1782, obtained 
 the gold medal awarded for historical painting the 
 subject being ' A Scene from King Lear.' In the begin- 
 ning of his artistic career, he met with especial favour 
 from the Prince of Wales, who patronised him at a time 
 when Lawrence and Opie were in the ascendant as por- 
 trait painters. Mrs. Siddons was one of his first sitters ; 
 and four members of the Eoyal Family, and a host of 
 noble personages, followed. Mingled with this practice, 
 Hoppner attempted ideal subjects, and at this time pro- 
 duced ' A Sleeping Venus,' ' Youth and Age,' and ' Belisa- 
 rius.' This was ere he had reached the age of thirty. 
 Within the next ten years he carried on a professional 
 rivalry with Lawrence, who was steadily increasing in 
 popularity, and enjoyed the favour of the King and the 
 Court, while Hoppner could only designate himself "por- 
 trait painter to the Prince of Wales." At this time he 
 lived in Charles Street, at the gates of Carlton House, and 
 found constant employment, as may be judged from the 
 long list of distinguished persons who sat to him for their 
 portraits. He painted with ease and rapidity, and seems 
 to have formed his style by a careful study of that of Sir 
 Joshua Eeynolds, rather than by imitation of it. He had 
 also great skill in landscape painting, and the backgrounds 
 of his portraits bear testimony to his ability in depicting 
 scenery. He avoided in his likenesses all approach to 
 coarseness or vulgarity, but he sometimes "improved" 
 his subjects till, by refinement, they lost characteristic
 
 CH. IX.] JOHN HOPPNER 309 
 
 fidelity. In his delineations of elegant women and 
 children he was in his true element ; less so, perhaps, in 
 his portraits of men, which sometimes lacked dignity and 
 individuality. His pictures are effective ; his colouring 
 natural, chaste, and powerful ; and his tones, for the most 
 part, mellow and deep. In some few instances, how- 
 ever, his pictures are gaudy. He was elected an Asso- 
 ciate in 1793, and a Eoyal Academician hi 1795, on 
 which occasion he presented his own portrait a spirited 
 work to the Eoyal Academy. Among the works of 
 deceased British artists exhibited at intervals, after his 
 death, at the British Institution, those of Hoppner always 
 occupied a place, since he was employed to paint the 
 portraits of many persons distinguished in the history 
 and literature of this country, which will always give to 
 his pictures an added value to that which they possess as 
 works of art. His portraits of the Et. Hon. W. Pitt, and 
 of " Gentleman Smith," the actor, are in the National 
 Gallery. 
 
 In early life, he visited frequently the house of Mrs. 
 Wright, in Pall Mall, a modeller of portraits in wax, and 
 a woman of great taste and talent, whose house became a 
 rendezvous for artists and statesmen. He subsequently 
 married the daughter of this lady, by whom he had a 
 family, one of his sons being for some years the British 
 Consul at Venice. In 1809, Hoppner's health visibly 
 declined. Lawrence called repeatedly to inquire for him, 
 and wrote very feelingly of his grief at "the loss of a 
 brother artist, from whose works I have often gained 
 instruction, and who has gone by my side in the race 
 these eighteen years." He resided for many years at 
 No. 18 Charles Street, St. James's, and was highly valued 
 for his estimable character in private life. He died of 
 dropsy, after long previous suffering with bilious and liver 
 complaints, on the 23rd January, 1810 ; and was 
 buried in the ground adjoining St. James's Chapel, in the 
 Hampstead Eoad.
 
 310 HISTORY OF TILE ROYAL ACADEMY [On. IX. 
 
 SAWEEY GILPIN, E.A., was born at Carlisle in 1733, and 
 was the son of a captain in the army, who early taught him 
 the first principles of drawing, and thus implanted in him 
 the desire to become a painter. He was also a descend- 
 ant of the good and hospitable Bernard Gilpin, whose 
 life forms one of the most pleasing pictures of simplicity 
 and virtue in connexion with the troublous times of the 
 Eeformation in which he lived. A brother of the artist 
 was the Eev. W. Gilpin, vicar of Boldre, who wrote the 
 life of his ancestor Bernard, and many other works. 
 Sawrey Gilpin having determined to become an artist, 
 was placed with Scott, the marine painter, to study in 
 London, where he exercised his pencil in sketching groups 
 of market people, carts and horses, &c., from his window ; 
 but his own taste led him especially to paint animals ; and 
 the Duke of Cumberland, to whom some of his drawings 
 of horses were shown, so much admired them that he 
 took Gilpin under his patronage, and gave him a com- 
 mission to paint portraits of his favourite racers, and 
 other subjects, at Newmarket. Thus his peculiar line in 
 art became marked out for him, and he speedily became 
 the recognised painter of such subjects, which he executed 
 with great truth, being well acquainted with the anatomy 
 of animals, and drawing them with spirit and correctness. 
 He also painted tigers and wild animals with great 
 ability, and sometimes ventured upon historical subjects, 
 as in his pictures of ' The Election of Darius,' and ' The 
 Triumph of Camillus.' He and Barret, the landscape 
 painter, frequently worked together the one producing 
 the animals in Barret's landscapes, and the other painting 
 the scenery surrounding Gilpin's horses, &c. A set of 
 etchings of oxen, a small book of horses, and some heads 
 for his brother's book, " The Lives of the Eeformers," were 
 published by him. In his especial department he was far 
 superior to any of his contemporaries, and has rarely been 
 excelled since, although his colouring was somewhat 
 defective, and his pictures lacked some other technical
 
 CH. IX.] GILPIN BEECHEY 311 
 
 qualities. He was elected an Associate in 1795, and a 
 E. A. in 1797. He was greatly respected through a long 
 life for his extreme simplicity of manner and high moral 
 character, and died at Brompton on the 8th March, 1807. 
 
 Sir WILLIAM BEECHEY, E.A., was born at Burford, in 
 Oxfordshire, on the 12th December, 1753. He was articled 
 to a conveyancer at Stow, in Gloucestershire, but after a 
 time he grew restless under the monotony of a provincial 
 lawyer's office, and came to London, where he was 
 articled to Mr. Owen of Tooke's Court. Accidentally, he 
 became acquainted with some students at the Eoyal 
 Academy, and the pursuits in which they were engaged 
 so greatly delighted him that he procured a substitute to 
 serve the remainder of his articles to Mr. Owen, and, in 
 1772, became a student at the Academy. He carefully 
 studied the works of Eeynolds ; but, acting upon the 
 suggestion and example of his friend Paul Sandby, he 
 made nature his model, and so endeavoured to qualify 
 himself for competition with great artists, rather than to 
 try to imitate their style. Among his earliest works were 
 portraits of Dr. Strachey, Archdeacon of Norwich, and 
 his family, and the Duke and Duchess of Cumberland. 
 In 1781 he went to Norwich, and remained there four 
 or five years, painting small conversation pieces, in the 
 manner of Hogarth and Zoffany. He sent two large 
 frames of these, containing twelve or thirteen portraits in 
 each, to the Eoyal Academy Exhibition ; but they were 
 refused on account of occupying too much space, and 
 were transferred to Vandergucht's rooms, at the Lyceum, 
 where they attracted much attention. At Norwich he 
 first began to paint life-size portraits, and also some fancy 
 pieces ' Lavinia,' from Thomson's " Seasons ; " ' A Lady 
 Playing on a Harp,' and ' The Witch of Endor.' On his 
 return to London, he took Vandergucht's house, 20 
 Lower Brook Street, and there was gratified by obtaining 
 much patronage, and increasing celebrity. Thence he
 
 312 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 removed to Hill Street, and subsequently to George 
 Street, Hanover Square. A large number of commissions 
 for portraits of the nobility led the way to Koyal patron- 
 age, and this at a time when he had many eminent rivals 
 in the same branch of art. In 1793 he was elected an 
 Associate of the Eoyal Academy, and in the same year 
 he was appointed portrait painter to Queen Charlotte, 
 of whom he shortly afterwards painted a whole-length 
 portrait, and all the Princesses sat to him. In 1798 he 
 was commanded to paint a picture of the King at a 
 Eeview of the 3rd and 10th Dragoons, attended by the 
 Prince of Wales, the Duke of York, Generals Dundas, 
 Fawcett, and Goldsworthy, &c. This work (now at 
 Hampton Court) was universally admired, as combining 
 with the fidelity of portraiture the interest and expres- 
 sion of a historical picture. As a mark of the Eoyal 
 favour, he was knighted on 9th of May, 1798, and in the 
 same year was chosen to fill the vacancy among the 
 Eoyal Academicians caused by the death of William 
 Hodges. 
 
 From this time he painted the majority of ah 1 the 
 persons of distinction, and the rank and fashion of his 
 time. Lord Nelson, Earl St. Vincent, Marquis Cornwallis, 
 Lord Sidmouth, Sir W. Hamilton, Kemble, Mrs. Siddons, 
 Alderman Boydell, Wilkie, Nollekens (now in the National 
 Gallery), and Paul Sandby, were among the number. 
 One of his best works was a picture of his second wife 
 with the youngest of his eight children in her arms. This 
 lady was also an artist in miniature, and copied in that 
 manner many of her husband's works. One of his sons 
 is now Captain Beechey, E.N., distinguished as an arctic 
 traveller, whose knowledge of art greatly aided in pre- 
 serving memorials of what he saw in those unexplored 
 regions. Another son, H. W. Beechey, has written a 
 life of Sir J. Eeynolds, prefixed to his writings, and other 
 works. 
 
 Sir William Beechey died at Hampstead, on the 28th
 
 CH. IX.] BEECHEY TEESHAM 313 
 
 of January, 1839, at the advanced age of eighty-six, much 
 regretted by numerous attached friends, who admired his 
 honest and open conduct throughout a long and honour- 
 able career. His works (most of which have been en- 
 graved) are remarkable for truth of resemblance, purity 
 of colour, and simplicity of treatment. Although he is 
 chiefly known as a portrait painter, Beechey also painted 
 some historical compositions of more than common merit, 
 and at one time designed some fanciful subjects. Eor a 
 long period he held a prominent position as a portrait 
 painter, notwithstanding the many able competitors around 
 him, and during the reign of George III. he was the 
 principal Court painter; but the illness of the King 
 weakened his interest, and the fascination of Sir Thomas 
 Lawrence's pencil -diverted patronage to that formidable 
 rival, especially as Beechey's later works were not so 
 carefully executed as those by which he had won his 
 way to fame. 
 
 HENRY TRESHAM, E.A., was born in Ireland, and received 
 his first instruction in art at West's Academy, in Dublin, 
 under Mr. Ennis. He exhibited some chalk drawings 
 there in 1770; the next year, three allegorical pictures, 
 for compartments of a ceiling, viz. the 'Polite Arts,' 
 'Apollo,' and 'Mercury.' 'Andromache mourning over 
 Hector's Body' followed in 1772. He came to England 
 in 1775, and was for some time occupied in drawing 
 small portraits, until, obtaining the patronage of Lord 
 Cawdor, he was invited to accompany him in his 
 travels through Italy. Tresham remained on the Con- 
 tinent fourteen years, staying chiefly at Borne, and pro- 
 secuted his studies of the antique and the works of 
 the great masters so zealously and successfully that he 
 became one of the most correct and elegant designers of 
 his day. His drawings in pen and ink, and in black 
 chalk, especially display his ability in their spirited and 
 bold execution. Several publications were illustrated by
 
 814 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 him prior to the Boydell " Shakspeare," on which he was 
 employed to contribute three scenes from the play of 
 "Antony and Cleopatra." These and all his designs 
 were well composed, but his colouring was somewhat 
 tame. In addition to his artistic pursuits, he occasionally 
 wrote poetry. He published " Eome at the close of the 
 Eighteenth Century," "Britannicus to Bonaparte," and 
 the " Sea-side Minstrel." On his return from Eome he, 
 with some gentlemen picture-dealers, formed a gallery of 
 old masters, in which a number of works were exhibited 
 attributed (but not always correctly) to Correggio, Raphael, 
 Carracci, &c. Subsequently he superintended a work 
 projected by Messrs. Longman and Co., entitled " The 
 British Gallery," consisting of engravings from the old 
 masters, for which he wrote the descriptions. The 
 coloured copies of these prints were greatly admired. 
 They were published singly at six guineas the plate, and 
 the whole number, 25, cost 150 guineas. He became an 
 Associate in 1791, and a Eoyal Academician in 1799; and 
 was appointed Professor of Painting in 1807, in succession 
 to Opie, but resigned in 1809, as he found his health so 
 much impaired since his return from Italy as to render 
 him unfit for the duties of the office. Indeed, for several 
 years before his death he was reduced to a state of feeble- 
 ness and infirmity, which prevented any arduous labour. 
 Happily, he was not dependent on his exertions, for the 
 Earl of Carlisle liberally assigned to him an annuity of 
 300, in return for a collection of Etruscan vases he had 
 formed while abroad. He died on the 17th of June, 1814, 
 lamented by a large circle of friends, who loved him for 
 his amiable qualities of heart, and respected by his brother 
 academicians as one who had an elegant taste for, and was 
 always alive to the interests of art, even when no longer 
 able, from bodily suffering, to follow it as a profession. 
 
 THOMAS DANIELL, E.A., was born in 1749, at Kingston- 
 on-Thames. He was originally a painter of heraldry, and
 
 CH. IX.] THOMAS DANIELL 315 
 
 subsequently of English landscape scenery; he also 
 practised engraving, and added to these efforts some 
 attempts at poetical composition. In 1773 he became a 
 student at the Eoyal Academy. Among his early works 
 were a view of the house of the poet Cowley at Chertsey, 
 'Una and the Eed Cross Knight' (from the "Fairy Queen"), 
 and some scenes in Yorkshire, &c. In 1784, at the age 
 of thirty-five, he went to India, with his nephew, William 
 Daniell, with the intention of making sketches of that 
 then comparatively unknown land. They commenced 
 their task at Cape Comorin, and explored and sketched 
 almost everything that was beautiful or interesting in the 
 country between that point and Serinagur, in the Hima- 
 laya Mountains. They were thus occupied ten years. In 
 1796 Thomas Daniell was elected an Associate, and in 
 1799 a Eoyal Academician. After their return from 
 India the uncle and nephew commenced the publication 
 of a series of fine aquatinta engravings from their 
 drawings, in their great work entitled " Oriental Scenery," 
 which was completed in 1808, in six volumes, the en- 
 gravings in five of which were executed by William 
 Daniell. From this period he rarely painted any but 
 Indian subjects, and he also published some works 
 relating to that country. He was a Fellow of the Eoyal, 
 Asiatic, and Antiquarian Societies. He survived to a 
 great age, his death having taken place on the 19th of 
 March, 1840, when he was in his 91st year. He was 
 buried in Kensal Green Cemetery, where there is an 
 altar-tomb over his grave, with an inscription, written, at 
 the request of Sir David Wilkie, by Allan Cunningham. 
 
 Sir MARTIN ARCHES SIIEE was the next artist elected 
 as a Eoyal Academician ; but as he will form the centre 
 of a circle, as a subsequent President of the Academy, 
 we defer giving an outline of his life till a future chapter. 
 
 It seems even to be too early in this history to write a
 
 816 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 notice of JOSEPH HALLOED WILLIAM TUENEE, E.A., who 
 has so recently passed away from us, arid regarding whose 
 style and works there is still so much animated discussion. 
 Yet he was a student of the Eoyal Academy so long ago 
 as 1789, was elected an Associate in 1799, and became a 
 Eoyal Academician in 1802. He was born on the 23rd 
 of April, 1775, at No. 26, Maiden Lane, Covent Garden, 
 at the corner of Hand Court (the house has lately been 
 taken down), where his father, William Turner, was a 
 hairdresser. An entry of his baptism, on the 14th of 
 May in that year, is preserved in the register of St. Paul's, 
 Covent Garden. From his father's humble position in 
 life, nothing beyond the rudiments of an ordinary English 
 education fell to his share. In his tenth year he went to 
 reside with an aunt at Brentford, who sent him to school 
 at a Mr. White's there ; afterwards he was at school at 
 Margate, and in Soho. His taste for art was early 
 manifested; and the first way in which he acquired a 
 knowledge of it was by borrowing a drawing or picture 
 to copy, or by making a sketch of one in the exhibition 
 early in the morning, and finishing it at home. One of 
 his earliest drawings now preserved is a copy of one by 
 Paul Sandby, in water-colours. He learned perspective 
 from Thomas Malton, and was afterwards, for some 
 months, in the office of Mr. Hardwick, the architect of St. 
 Katherine's Docks. He was admitted as a student at the 
 Eoyal Academy in 1789, and gained there a good deal of 
 technical instruction in art, if he did not follow out the 
 prescribed course of teaching in the life and antique 
 schools. 
 
 Another means of sen-improvement was afforded to 
 
 0/ f him by Dr. Mjinro, who possessed in his house in the 
 
 / Adelphi a large collection of water-colour drawings and 
 
 engravings by Paul Sandby, Gainsborough, Eooker, 
 
 Wilson, Hearne, Cozens, and other artists of the time, 
 
 which he placed at the disposal of young students who 
 
 might wish to copy them, and gave them further en-
 
 CH. IX.] J. M. W. TURNER 317 
 
 couragement by purchasing at small prices the sketches 
 they made of the scenery around London. Turner there 
 met Girtin, and the two students worked together. Girtin 
 had been well instructed as an artist, and was Turner's 
 senior, and he doubtless gained much from his suggestions. 
 Their xtrawings were very similar at this period, except that 
 Girtin's colouring was warmer, and Turner's details were 
 more delicately traced ; the drawings he then made, how- 
 ever, would bear no comparison with those of modern 
 artists, or even with his own at a later period. In Dr. 
 Mytnro's school Varley, Edridge, and others studied ; and 
 from the elaborate and tasteful delineations of the artists 
 whose works they copied, they acquired the rudiments of 
 a just and accurate insight into the properties of topogra- 
 phical design, and from some of them a practical know- 
 ledge of breadth and simplicity, united with the charm of 
 aerial perspective. Unfortunately, the talented Girtin was 
 early lost to art, as he died, in his 27th year, in 1802, 
 from which time Turner was left to pursue his course 
 without a friendly competitor. 
 
 In 1787, when he was only twelve years old, he ex- 
 hibited two drawings at the Eoyal Academy, of ' Dover 
 Castle ' and ' Wanstead House.' In 1789 he was painting, 
 with Girtin, on the Thames. Subsequently he taught 
 drawing, at first for 5s., and afterwards for 2 Is. a lesson, 
 and at intervals, in succeeding years, made excursions 
 to Wales, Yorkshire, the Lakes, and the coast. In 1790 
 he sent a view of Lambeth Palace to the exhibition, and 
 continued for sixty years uninterruptedly, from that 
 period, to contribute his works to the exhibitions. 
 
 His early practice was principally in water-colours. 
 During the first ten or twelve years of his artistic career 
 he confined his efforts to views of English and Welsh 
 scenery in this style, in which his brilliancy of execution 
 and truthfulness of representation won great admiration. 
 The exceptions to this class of subjects were the ' Battle 
 of the Nile/ painted in 1799, and the 'Fifth Plague of
 
 318 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 Egypt,' in 1800. His merits were acknowledged by his 
 election as an Associate in 1799, and in 1802 as a Eoyal 
 Academician. Still desiring to attain to higher power, 
 and to venture upon new fields, he now visited Scotland, 
 France, Switzerland, Italy and the Ehine, and commenced 
 painting in oil on larger canvases, and chose classic 
 subjects for some of his works. Four of his pictures 
 exhibited in 1802 were views in Scotland, two marine 
 subjects, and two others were 'Jason' and the 'Tenth 
 Plague of Egypt.' Continuing to try what he could do, 
 the next year he produced ' A Holy Family ; ' afterwards 
 he took to humorous subjects, such as 'A Country 
 Blacksmith disputing the Charge for shoeing a Pony' 
 (1807), the 'Unpaid Bill' (1808), and the ' Ga/etteer's^y! 
 Petition' (1809). It is to this period that we owe 
 Turner's noble pictures representing the fury of the ocean 
 with such fearful truthfulness, as in the ' Wreck of the 
 Minotaur,' the ' Shipwreck,' the ' Gale,' and others well 
 known by the engravings from them. Meanwhile he also 
 continued to paint landscapes with great poetic taste, and 
 to indulge in imaginative productions, such as 'Apollo 
 and Python' (1811), 'Narcissus and Echo' (1814), 'Dido 
 and -ZEneas,' ' Apuleia,' &c. 
 
 Prior to this period (viz. in 1807) he had been elected 
 Professor of Perspective at the Eoyal Academy. For 
 several years he delivered lectures to the students on the 
 systems of pictorial composition adopted by the great 
 landscape painters of earlier times, and on their principles 
 of effect and colour, as compared with the teaching of 
 nature. He took great pains with the diagrams he pre- 
 pared to illustrate his lectures ; but though a great artist, 
 Turner had not enjoyed the advantage of sufficient 
 mental training to enable him to arrange his thoughts, or 
 to express them without confusion and obscurity. Hence 
 he failed to secure the attention of the students at his 
 ill-composed and ill-delivered lectures, which he discon- 
 tinued for many years before he resigned the professorship.
 
 Cn. IX.] J. M. W. TURNER 319 
 
 He was, however, an active and devoted member of the 
 Academy, exemplary in fulfilling his duties in the Council, 
 and as visitor and auditor feeling for the institution an 
 affection, as he said, like that of a child for its mother. 
 
 A work by which Turner's fame has been widely 
 extended was commenced in 1808. This was the " Liber 
 Studiorum," undertaken in rivalry to the book of sketches 
 by Claude, published in aquatinta by Earlom, as the" Liber 
 Veritatis." Turner's sketches were similarly engraved 
 (the early ones by Charles Turner, to whom he paid eight 
 guineas for each plate), and embraced every variety of 
 landscape composition, displaying a close observance of 
 nature, and a variety of application which no landscape 
 painter has excelled. This work, since very rare and 
 scarce, but recently republished, led to his employment 
 by engravers and publishers to draw book-illustrations ; 
 and thus commenced that series of designs which have 
 been the wonder and admiration of the present genera- 
 tion. His peculiar colouring leads many to withhold 
 admiration from his paintings ; but all admit that his 
 designs, when engraved, have a magical effect of fascina- 
 tion upon the eye. His illustrations of the 'Southern 
 Coast Scenery,' 'England and Wales,' the 'Eivers of 
 England and France,' and for Eogers's "Italy" and 
 "Poems," are among the many hundreds of drawings which 
 he thus made, and by which he acquired his fortune. 
 
 The various changes in his style of painting can be 
 traced in the noble collection of his works which now 
 form the " Turner " Gallery, bequeathed by him to the 
 nation. The usual division of his artistic career is into 
 three periods, the first reaching to about his twenty- 
 seventh year, when he became a Eoyal Academician, and 
 during which time he was chiefly occupied with water- 
 colour painting, drawing from nature, and studying the 
 methods of his English predecessors, the second ex- 
 tending from 1802 to 1830, in which he is found at first 
 to have followed and imitated Wilson, Claude, Gaspar
 
 320 HISTORY OF TIIE ROYAL ACADEMY [On. IX. 
 
 Poussin, and Salvator Eosa, the third dating from his 
 second visit to Italy, in 1829, when he determined to strike 
 out a style entirely original, and in which he seemed to 
 have resolved to sacrifice everything to the effort to attain 
 unrivalled brilliancy of colour, and the utmost splendour 
 of light and effect. 
 
 It is interesting to study his works chronologically, and 
 to mark how, from time to time, he made new efforts at 
 further progress, absorbing his past attainments in some 
 fresh attempt to reach higher ground, and how r eagerly he 
 strove to realise a conception which his hand, at the time, 
 could not portray. Dr. Waagen has given a careful and 
 accurate opinion of his powers when he says " that no 
 landscape painter has yet appeared with such versatility 
 of talent. His historical landscapes exhibit the most 
 exquisite feeling for beauty of hues and effect of lighting ; 
 at the same time he has the power of making them 
 express the most varied moods of nature, a lofty gran- 
 deur, a deep and moody melancholy, a sunny cheerfulness 
 and peace, or an uproar of all the elements. Buildings 
 he also treats with peculiar felicity, while the sea, in its 
 most varied aspects, is equally subservient to his magic 
 brush. His views of certain cities and localities inspire 
 the spectator with poetic feelings such as no other painter 
 ever excited in the same degree, and which is principally 
 attributable to the exceeding picturesqueness of the point 
 of view chosen, and to the beauty of the lighting. 
 Finally, he treats the most common little subjects, such as 
 groups of trees, a meadow, a shaded stream, with such 
 art as to impart to them the most picturesque charms. I 
 should therefore not hesitate to recognise Turner as the 
 greatest landscape painter of all times, but for his de- 
 ficiency in one indispensable element in every work of 
 art, viz. a sound technical basis," and, unfortunately, 
 this is a serious want, for many of his works, both in oil 
 and water-colours, are already marred, and must soon 
 perish, from the improper and inadequate materials he
 
 CH. IX.] J. M. W. TURNER 321 
 
 used, and his want of care in the preparation of the 
 colours with which he worked. Engraving will transmit 
 to posterity some of his greatness ; but while by this 
 means his compositions will be preserved, his magic 
 colouring will be lost. 
 
 During his latter days his colouring became so eccentric 
 and extravagant, and the objects he drew so indistinct and 
 void of form, that his works were severely censured ; but 
 this fault, always to a certain degree existing, was only 
 excessive during the last ten or twelve years of his life 
 (although his drawing of figures was always defective), 
 when his sight was perhaps failing, and his mind only 
 bent upon illustrating his idea of brilliant effects of 
 colour. Most of his later works were in illustration of a 
 manuscript poem he wrote, but never published (except 
 in fragments in the Academy catalogues), entitled " The 
 Fallacies of Hope." He disdained to follow any track 
 marked out by others ; hence he neglected the dogmas of 
 the schools, and became an unrestrained experimentalist, 
 observing tints and forms in the passing clouds, combining 
 colours, if not into natural forms, yet into images of 
 gorgeous beauty and thus creating types of realities 
 rather than pictures of the truth. But even at the period 
 when he began to indulge in the wildest of his artistic 
 fancies, he painted that charming picture ' Italy ' (1832), 
 and ' The Old Temeraire ' (1839), which are included in 
 his gift to his countrymen. 
 
 The chief collections of his pictures, exclusive of those 
 which are now public property, are those of F. H. Fawkes, 
 Esq., of Farnley Hall, near Leeds ; H. A. Munro, Esq., 
 Hamilton Place, Piccadilly; the late E.Bicknell,Esq., Herne 
 Hill, Camberwell ; Lord Egremont, Petworth (oil paint- 
 ings) ; and John Heugh, Esq., Manchester (water-colour 
 drawings). Some of these patrons he was in the habit of 
 visiting from time to time as friends. At Lord Egrernont's, 
 at Petworth, he was fond of fishing with his friends Sir 
 F. Chantrey, E.A. and George Jones, E. A., whom he used 
 
 VOL. I. Y
 
 322 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 to meet there : he visited Mr. Fawkes at Farnley Hall, 
 and was a frequent guest at the Rev. Mr. Trimmer's at 
 Heston Eectory, and with Mr. Wells the artist and 
 many others, besides being an especial friend of the 
 daughter of Gainsborough, the mother of Mr. Lane, the 
 engraver ; so that he was not so unsociable, or so utterly 
 a recluse, until a few years before his death, as he is gene- 
 rally supposed to have been. On the contrary, when he 
 did go into society, he thoroughly enjoyed it and entered 
 fully into its spirit ; and used to delight in the varnishing 
 days at the Academy, because they gave all the members 
 the opportunity of meeting together in friendly inter- 
 course. 
 
 Turner's peculiarities of temperament, his unsocial 
 tastes, his love of retirement, his simple and even niggard 
 life of seclusion under the assumed name of Brooks, have 
 all been told and multiplied ; but if parsimonious in life, 
 he was noble-hearted in the purpose for which he saved 
 his money, and for which he bestowed the labour of his 
 life. For when he died it was found that he had 
 bequeathed nearly the whole of his property (the fruits of 
 a long life of industry) to the double purpose of enlarging 
 the national collection of pictures by English artists, and 
 of befriending the members of his own profession who 
 might fall into adversity. 
 
 The will, dated 10th of June, 1831, after naming 
 bequests to his uncles and nephews of small sums, annui- 
 ties to his housekeeper, Mrs. Danby, and members of her 
 family, bequeathed the rest of his property to found " a 
 charitable institution for the maintenance and support of 
 poor and decayed male artists, born in England and of 
 English parents only," a suitable building to be provided 
 in an eligible place, the whole to be under the control of 
 four trustees, two members of the Eoyal Academy and 
 two non-members, after those specially named in the 
 will the institution to be called "Turner's Gift." A 
 codicil (20th of August, 1832) determined that if the
 
 CH. IX.] J. M. W. TURNER 323 
 
 amount of his property were not sufficient for this pur- 
 pose, his pictures should be kept as a " Turner Gallery " 
 in Queen Anne Street, with the Danbys as custodians of 
 it ; " the residue to the Eoyal Academy," on condition of 
 their giving every year on his birthday, the 23rd of 
 April, a dinner to all the members not to cost more than 
 50. He also bequeathed 60 a year to a Professor of 
 Landscape at the Eoyal Academy, and a gold medal 
 worth 20 for the best landscape every second or third 
 year. A later codicil (2nd of August, 1848) revoked 
 the legacies to his relatives, and gave his pictures to the 
 " National Gallery," provided " that a room or rooms are 
 added to the present National Gallery, to be called 
 ' Turner's Gallery.' " This gift was annulled by a third 
 codicil, " if the gallery be not built within ten years ; " 
 and a fourth codicil (1st of February, 1849) orders a 
 gratuitous exhibition in Queen Anne Street instead, 
 assigns 1000 for his monument in St. Paul's (" where I 
 desire to be buried among my brothers in art,") gives 
 annuities of 150 to each of his housekeepers, 1000 to 
 the Pension Fund of the Eoyal Academy (including the 
 gold medal), 500 to the Artists' Benevolent Fund, 
 500 to the Foundling, and 500 to the London Orphan 
 Fund. His will was proved* 6th of September, 1852, 
 and the effects sworn under 140,000. But the document 
 was altogether so unskilfully drawn up, and so vague 
 in its opposing instructions, that a four years' Chan- 
 cery suit ensued (Trimmer v. Danby), and was decided 
 by the Lord Chancellor proposing a compromise, in 
 the judgment given on 19th of March, 1856, that the 
 Eoyal Academy should receive 20,000 free of legacy 
 duty ; 1000 to the executors for his monument ; the 
 pictures and finished drawings, &c. to the National Gallery ; 
 the real estate to the heir-at-law, and the remainder of his 
 prints and other property to the next of kin. 
 
 The Academy decided to keep the fund thus placed 
 at their disposal separate from that usually applied by 
 
 T 2
 
 324 HISTORY OF THE ROYAL ACADEMY [On. IX 
 
 them to charitable purposes, and to call it the " Turner 
 Fund," to be employed for the relief of distressed artists, 
 not members of the Eoyal Academy, but who from 
 their poverty might have been eligible for the Turner 
 Asylum intended to be established under his will. Six 
 artists have since annually received 50 each from this 
 fund. The portion of the fund which is not employed 
 for charitable purposes is appropriated to the support of 
 the schools. 
 
 There were added to the national collection by this gift, 
 98 finished oil pictures by Turner, and 270 unfinished 
 productions, many mere canvases. Of the drawings and 
 sketches, some on ragged scraps of paper and backs 
 of letters, there were several hundreds. Many of the 
 works thus made national property had been sold at 
 the time they were painted, but were afterwards bought 
 back by Turner very often at a much higher price 
 than he received. Latterly he refused to sell his best 
 pictures, having evidently long cherished the noble pur- 
 pose of bequeathing them to his countrymen. To his 
 friend and admirer, John Euskin, we owe the arrange- 
 . ment and explanation of many of his sketches, and 
 
 much information as to his life and works. 
 
 , 
 
 J Until the year 1800 he continued to reside in Hand 
 ' Court, No. 26 Maiden Lane ; for the next twelve years he 
 x lived at 64 Harley Street, spending the summer months 
 at Hammersmith. From 1812 till his death he occupied 
 No. 47 Queen Anne Street West, which he rebuilt ; 
 renting also, from 181$ to 1826, Sandycombe Lodge, 
 Twickenham. His father resided with him till his death 
 in 1830. 
 
 He died, however, in lodgings which he had engaged 
 (under the assumed name of Brooks) in a little cottage 
 by the river side, near the pier of Cremorne Gardens at 
 Chelsea, on the 19th of December, 1851, and was buried 
 on the 30th of the same month, with some ceremony and 
 state, in the crypt of St. Paul's Cathedral, by the side of
 
 CH. IX.] J. M. W. TURNER 325 
 
 the remains of Eeynolds, Opie, Fuseli, and other illustrious 
 predecessors in the arts. 
 
 In person he was short, thick-set, with a broad expan- 
 sive forehead, but a coarse pimply face, shaggy eyebrows, 
 and thin lips there being little in his outward exterior 
 to indicate the poetic conceptions within. His house in 
 Queen Anne Street was rarely opened all was dirty, dark, 
 and impenetrable. In it was stowed away the great mass 
 of his productions, many of which were found hopelessly 
 injured by dirt, damp, and neglect. Of late years he 
 would never consent to sit for his portrait, even for and at 
 the cost of his friends ; but he painted his own in early 
 life, and sat to G. Dance in 1800. Twelve years before 
 his death, Charles Turner (the engraver of the first twenty 
 prints in the "Liber Studiorum,") contrived to take a 
 sketch in profile which has been published, and others 
 were taken some twenty-five or thirty years ago surrepti- 
 tiously by Linnell and Mulready. The portrait sketch by 
 himself, painted about 1802, forms part of the national 
 collection. A sum of 1000 out of his property having 
 been appropriated for a monument to be erected to his 
 memory in St. Paul's Cathedral, Mr. P. M'Dowell re- 
 ceived the commission to execute it. A statue in plaster 
 was also exhibited in 1858 by Mr. Baily, modelled from 
 personal recollections during a long-continued acquaint- 
 ance. 
 
 His motive for leaving his pictures to the nation has 
 been regarded by many as being as much an act of vanity 
 as of munificence ; and indeed his express request that two 
 pictures he bequeathed should be hung side by side with 
 the Claudes, which they were intended to rival, has the 
 appearance of the former ; not so, however, his bequest 
 of the bulk of his property for benevolent purposes to 
 decayed artists, for it was a kind thought that the pro- 
 fession to which he belonged should reap the benefit of 
 a portion of his wealth. In the early part of his career 
 he took part in the establishment of the Artists' General
 
 326 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 Benevolent Fund, but afterwards seceded from it, wishing 
 to accumulate the funds instead of dispensing them to ap- 
 plicants, as soon as they were acquired, as was determined 
 upon ; and doubtless even then purposing to carry his 
 principle into practice out of the savings of his own 
 successful career. In order to perpetuate his memory 
 in another way, by stimulating rising artists to exertion 
 in the same career, the Eoyal Academy has established 
 a gold " Turner " medal in fulfilment of the wishes of 
 the artist to be awarded at the biennial competitions for 
 the best landscape by the students in their schools. The 
 first thus offered was obtained by Mr. N. 0. Lupton in 
 1857. 
 
 HENEY THOMSON, E.A., was the son of a purser in the 
 Navy, and was born at Portsea in 1773. Very little is 
 known of his early history. He became a student at the 
 Eoyal Academy in 1790, was elected an Associate in 
 1801, and E.A. in 1804. He displayed considerable 
 talent in historical painting, in which style of art he was 
 for many years a contributor to the annual exhibition. 
 He painted ' Perdita,' and one or two other subjects from 
 the " Tempest," for the Boydell Shakspeare Gallery ; but 
 his principal work is ' Eurydice borne back to Pluto,' a 
 fine composition, full of power and beauty. On the 
 death of Fuseli, in 1825, he was appointed Keeper of the 
 Eoyal Academy, an office which he held for two years 
 only, when severe bodily suffering compelled him to 
 resign it, to relinquish his profession, and to retire to his 
 native place. The Eoyal Academy presented him with a 
 gold snuff-box, on his resignation of the office of keeper. 
 
 Subsequently he took up his permanent residence at 
 Portsea ; and when afterwards he partially recovered his 
 health, he amused himself with boating, and making 
 sketches of marine subjects, which he presented as 
 mementos to his friends. A single specimen of his skill, 
 but a very pleasing one, the ' Dead Eobin,' is in the
 
 CH. IX.] THOMSON OWEN 327 
 
 Vernon collection. He painted many fancy pictures, 
 'Crossing the Brook,' 'Peasants in a Storm,' 'Boys Fishing,' 
 'Love Sheltered,' and 'Love's Ingratitude,' several 
 landscapes, and many life-size full-length portraits. He 
 exhibited between sixty and seventy pictures before ill- 
 health compelled him to pass his later years in seclusion. 
 He died on the 6th of April, 1843. 
 
 WILLIAM OWEN, E.A., was born at Ludlow, in Shrop- 
 shire, in 1769, and was educated at the Grammar School 
 of that town. Although he had evinced a strong inclina^ 
 tion for art in his youth, he did not receive any instruction 
 in painting till 1786, when he was sent to London, and 
 placed under Catton, who was then a member of the 
 Eoyal Academy. A copy made by him from the Presi- 
 dent's picture of ' Perdita ' introduced him to Eeynolds, 
 and obtained for him the benefit of his advice. He 
 became a student at the Eoyal Academy in 1791, and in 
 1792 he exhibited his first portraits at Somerset House. 
 In every succeeding year their number increased; and 
 although he had many eminent competitors, he obtained 
 considerable patronage. He painted portraits of William 
 Pitt, Lord Grenville, the Marquis of Stafford, the Earl of 
 Bridgwater, Sir William Scott, Soane the architect, and 
 other celebrated persons, who were satisfied to employ an 
 artist whose adherence to truth, and his skill in painting, 
 compensated for the absence of a more popular name. 
 He has thus been able to hand down to posterity faithful 
 resemblances of men eminent in station and for talent, 
 whose names in history make their portraits interesting to 
 all future ages. Besides portraiture, Owen indulged his 
 taste in painting pictures of a more poetic character. 
 The ' Girl at the Spring,' the ' Eoadside,' the ' Children in 
 the Wood,' the ' Cottage Door,' ' Venus,' a ' Bacchante,' 
 the ' Sleeping Girl,' the ' Daughter of the Beggar of 
 Bethnal Green,' and other such titles, are given to his 
 works of this nature. In these subjects he did not take
 
 328 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 so high a position as in portraiture, for his colouring was 
 occasionally deficient in transparency and harmony ; but 
 his drawing of heads was exact : he seized the individual 
 character, and never failed to impress the image, mental 
 and bodily, of his subject. 
 
 He was elected an Associate in 1804, and in 1806 a 
 Eoyal Academician. In 1810 he was appointed " Portrait 
 Painter to the Prince of Wales," who, in, 1813, conferred 
 on him the altered title of " Principal Portrait Painter to 
 the Prince Eegent," and added to it the offer of knight- 
 hood, which, however, he declined. Unhappily, during 
 the last five years of his life he was in a hopeless state of 
 debility, and was gradually wasting away, when, by a 
 mistake of a chemist, he took a dose of opium, instead of 
 the prescribed medicine, fell into a stupor for a few 
 hours, and died on the llth of February, 1825. In 1798 
 he had married a Miss Leaf, by whom he had a son, who, 
 after being educated at Winchester and Oxford, entered 
 the Church. In the beginning of his career as an artist 
 he lived at 5 Coventry Street, and subsequently took a 
 painting-room in Leicester Square, residing at Arabella 
 Eow, Pimlico, from whence he removed, in 1818, to 
 33 Bruton Street, where he died. 
 
 SAMUEL WOODFOEDE, E.A., was born at Castle Gary, 
 Somersetshire, in 1763, and was descended from an ancient 
 and respectable family in that county. At the early 
 age of fifteen, he was patronised by the late Mr. Hoare, 
 of Stourhead, whose elegant villa contained the first 
 efforts of his genius. He became a student at the Eoyal 
 Academy in 1782, and in 1786 proceeded to Italy, being 
 granted an annuity for the purpose by his generous patron. 
 At Eome he chiefly studied the works of Eaffaelle and 
 Michael Angelo, and thus acquired firmness in design. 
 Subsequently, to improve his colouring, he copied, as an 
 easel picture, the 'Family of Darius,' by Paolo Veronese, 
 then in the Pisani Palace, but now in our National
 
 CH. IX.] WOODFORDE HOWARD 329 
 
 Gallery. After visiting Venice, Florence, and other parts 
 of Italy, in company with Sir E. C. Hoare, he returned 
 to England in 1791, and was employed by Alderman 
 Boydell to paint the 'Forest Scene' in "Titus Andronicus." 
 He soon attained a conspicuous position as a historical 
 and portrait painter. He particularly excelled in subjects 
 of a sentimental nature, derived from poetry, and in the 
 representation of fanciful characters. Among his prin- 
 cipal works are ' Calypso lamenting the Departure of 
 Ulysses,' ' Diana and her Nymphs,' a scene from the " Lay 
 of the Last Minstrel," and ' Charles I. taking Leave of his 
 Children,' a ' Spanish Shepherd with his Dog,' a portrait 
 of the Earl of Winchelsea, and some of the family at 
 Stourhead. His intense application, combined with his 
 natural genius, rendered the productions of his pencil 
 very correct in design, and attractive from their mode of 
 treatment. He was elected an Associate in 1800, and 
 E.A. in 1807. In 1815 he married, and shortly afterwards 
 proceeded to Italy, where he died of a fever, at Bologna, 
 on the 27th of July, 1817. 
 
 HENEY HOWARD, E.A., was born on the 31st of January, 
 176 9, and received his first instruction in art from Philip 
 Eeinagle, with whom he was placed as a pupil at the age 
 of seventeen. In March 1788, he became a student at 
 the Eoyal Academy, and, as such, was remarkably success- 
 ful, being the first student who received at one time 
 (10th of December 1790) the two highest premiums 
 awarded the first silver medal for the best drawing 
 from the life, and the -gold medal for the best historical 
 painting, the subject selected for the latter being 
 1 Caractacus recognising the dead Body of his Son.' On 
 presenting him with these honours, Sir Joshua Eeynolds 
 bestowed special commendation on his efforts. Thus 
 encouraged, he proceeded the next year to Italy, with an 
 introduction from the President to Lord Hervey, the 
 British Minister at Florence : from thence he went to
 
 330 HISTORY OF THE EOYAL ACADEMY [On. IX. 
 
 Eome, arid there, in conjunction with Flaxman, pursued 
 his studies. Deare, a sculptor of great ability, joined 
 them in making a set of outlines of celebrated antique 
 sculptures, each correcting the other's sketch until it was 
 considered perfect, when it was traced off. Many of these 
 interesting works remained in Howard's possession till his 
 death. During his first year at Eome he sent a picture of 
 the ' Dream of Cain ' to the exhibition ; and on his return 
 to England, he was engaged to make a series of finished 
 drawings from antique sculpture for the Dilettanti Society. 
 Besides these, he made designs for bassi-relievi, and groups 
 to be worked in silver, and drew a large number of 
 illustrations to the works of the poets and essayists pub- 
 lished at the period. 
 
 He came home by Vienna and Dresden, and reached 
 England in September 1794. In 1796 he exhibited 
 ' ^Eneas and Anchises,' and the ' Planets drawing Light 
 .from the Sun,' which were classic compositions of great 
 taste. These were annually followed, for more than half 
 a century, by similar works, all of the same academic 
 character ; although sometimes illustrating Scripture, 
 ancient and modern history, mythology, and poetry. In 
 all his works the colouring is chaste and harmonious, the 
 figures well drawn and nicely grouped, and the general 
 effect pure and pleasing, without exciting any decided 
 emotions, or inspiring admiration of any original genius 
 in the artist. 
 
 In 1800 he was elected an Associate, and in 1808 
 became a Eoyal Academician. In 1811 he was appointed 
 secretary, in succession to Eichards,.and continued to hold 
 the office till his death. In 1814 he won the prize for 
 the medal of the Patriotic Society, and was subsequently 
 employed in preparing the designs for the medals and 
 great seals required by the Government. In 1833 he 
 was appointed Professor of Painting at the Academy, and 
 in this capacity delivered a course of lectures to the 
 students, which are remarkable for the views they take of
 
 CH. IX.] HOWARD PHILLIPS 831 
 
 art in its higher qualities, for the clearness with which 
 the principles he lays down are explained and established, 
 for the elevated sentiments he endeavours to instil into 
 the minds of the students, and for the elegance of the 
 diction in which his instructions are conveyed. In 1834, 
 as Secretary of the Eoyal Academy, Howard gave evidence 
 before the Select Committee of the House of Commons, 
 respecting the position of the institution, in reference to 
 its claim to be kept independent of public or Government 
 control ; and again, in 1836, before the Select Committee 
 on Arts and Manufactures, in which he showed that its 
 resources were mainly derived from the labours of its 
 own members. 
 
 In 1843, when in his seventy-fourth year, he was still 
 so devoted to art that when the Cartoon Exhibition, 
 under the Eoyal Fine Arts Commission, was proposed, he 
 entered eagerly into the competition with his younger 
 brethren, and was awarded one of the premiums of 100 
 for his cartoon representing ' Man Beset by contending 
 Passions.' Among his most admired works were the 
 'Pleiades,' the 'Birth of Venus,' the 'Solar System,' 
 Milton's ' Comus,' and the ' Story of Pandora,' some of 
 which are in the Stafford Gallery, and some in the Soane 
 Museum. He occasionally painted portraits and land- 
 scapes, and was untiringly active to the end of his life. 
 He died at Oxford on the 5th of October, 1847. His son, 
 Frank Howard, has published the Lectures delivered by 
 his father, with a memoir, and several treatises on the 
 elements of art, and is well known as an able designer. 
 A portrait of his daughter, in a Florentine costume (called 
 a ' Flower Girl '), is in the Vernon Collection. 
 
 THOMAS PHILLIPS, E.A., was born at Dudley, in War- 
 wickshire, on 18th October, 1770. He was placed with 
 a glass painter named Edgington, at Birmingham, to 
 learn that art ; and having had some initiatory practice in 
 the country, he came to London- in 1790, with a letter of
 
 332 HISTOKY OF THE ROYAL ACADEMY [On. IX. 
 
 introduction to West, who found employment for him at 
 Windsor on the glass painting in St. George's Chapel. In 
 1791 he became a student at the Eoyal Academy, and 
 the next year he sent to the exhibition a view of ' Windsor 
 Castle from the North-east.' In 1793 he exhibited two 
 historical pictures ' The Death of Talbot, Earl of Shrews- 
 bury, at the battle of Cassillon,' and 'Euth and her 
 Mother-in-law.' These showed his capabilities as a 
 painter in oils, and were followed by ' Elijah restoring 
 the Widow's Son ; ' ' Cupid disarmed by Euphrosyne,' and 
 other similar works. In 1796 he seemed to have turned 
 his attention chiefly to portrait painting ; and although he 
 continued occasionally to paint historical and fancy sub- 
 jects, it is as a portrait painter that he has acquired cele- 
 brity. While Hoppner, Owen, Jackson, and Lawrence, 
 and others of high repute in the art, were his contempo- 
 raries, he found constant occupation ; and there were 
 but few men of his time, eminent in literature and science, 
 who did not sit to him, for persons of talent seem to 
 have especially chosen him as the painter of their por- 
 traits, although he received but little Eoyal or noble 
 patronage. 
 
 In 1804 he went to reside at No. 8 George Street, 
 Hanover Square, the house he occupied till his death. 
 In the same year he was elected an Associate of the 
 Eoyal Academy, and in 1808 he became an E.A. when 
 he presented, as his diploma picture, ' Venus and Adonis.' 
 He was appointed Professor of Painting, in succession to 
 Euseli, in 1825, and on receiving this appointment he made 
 a journey to Italy, in company with Hilton, to gain some 
 information necessary to enable him to fulfil the duties 
 of the office. He subsequently delivered ten lectures on 
 the history and principles of painting, which he published 
 after he resigned the professorship in 1832. The first four 
 are on the history of painting, the fifth on invention, the 
 sixth on design, the seventh on composition, the eighth 
 on colouring, the ninth on chiaroscuro, and the tenth on
 
 Cn.IX.] THOMAS PHILLIPS 333 
 
 the application of the principles of painting. These lec- 
 tures are characterised by refinement of feeling, more than 
 by originality of thought, are clear and simple in their 
 style, and instructive in substance and arrangement, espe- 
 cially when explaining his views on the principles of art. 
 Many of his portraits are of great interest. Lord 
 Thurlow sat to him in 1802 ; and in the same year he 
 painted, partly by stealth, but with the connivance of 
 Josephine, and partly from memory, a portrait of Napo- 
 leon I., now at Petworth, which has been engraved. He 
 also painted portraits of some of our own Eoyal Family 
 the Prince of Wales in 1806 ; the Duke of York in 
 1823 ; and the Duke of Sussex in 1840. Besides these, 
 he has preserved to us likenesses of Blake, the painter, 
 1807 ; Sir Joseph Banks, the President of the Eoyal 
 Society, hi 1809 ; two of Lord Byron in 1814 ; Sir F. 
 Chantrey in 1818 ; the poet Crabbe, 1819 ; Earl Grey 
 and Lord Brougham, 1820 ; Major Denham, the African 
 traveller, in 1826 (which Sir T. Lawrence considered 
 his best portrait) ; Lord Stowell, Sir E. Parry, and Sir I. 
 Brunei in 1827 ; Sir D. Wilkie in 1829 ; Mrs. Somerville 
 and Sir F. Burdett in 1834 ; Lord Lyndhurst, 1836 ; the 
 Earl of Egremont and Dr. Arnold, 1839 ; Lord Chief 
 Justice Tindal, 1840 ; Dr. Shuttleworth, Bishop of 
 Chichester, 1842 ; Dr. Buckland ; Professors Sedgwick 
 and Faraday ; Sir H. Davy ; Hallam, the historian, and 
 many others. He also painted portraits of Scott, Southey, 
 Coleridge, Campbell, and other literary characters, for 
 Mr. Murray, the publisher, and exhibited a few pic- 
 tures, in a different style, at intervals, such as ' Field 
 Sports,' in 1832; 'Kebecca,' in 1833; a 'Nymph reposing,' 
 in 1837; and 'Flora Mclvor,' in 1839; and still later, the 
 ' Expulsion from Paradise,' now at Petworth. One of his 
 last works was a portrait of himself, an excellent likeness. 
 Besides his artistic labours, he wrote many articles on 
 the Fine Arts, in Eees's " Cyclopedia," and other publi- 
 cations, and was one of the chief promoters of the Artists'
 
 334 mSTORY OF TIIE ROYAL ACADEMY [On. IX. 
 
 General Benevolent Institution. He died on the 20th of 
 April, 1845, in his 75th year. He presented a portrait of 
 Wilkie to the National Gallery in 1841, and there is a 
 study of a ' Wood Nymph ' by him in the Vernon Gallery. 
 
 Sir AUGUSTUS WALL CALLCOTT,E.A., was born at Kensing- 
 ton, in 1779. He was brother to the celebrated musical 
 composer, Dr. Callcott, and in early life officiated in the 
 choir of Westminster Abbey, under Dr. Cooke. His taste 
 seemed, however, to incline him rather to follow painting 
 than music as a profession ; but for some time he pursued 
 both studies together, and is said to have confirmed his 
 resolution to become a painter by his admiration of some 
 designs for " Eobinson Crusoe " by Stothard. He became 
 a pupil of Hoppner, the portrait painter, and a student at 
 the Eoyal Academy in 1797, and two years afterwards 
 exhibited a portrait he had painted under his eminent 
 master's tuition. A brief experience, however, showed 
 him that that branch of art was not suited to his abilities ; 
 and from 1803 he devoted himself exclusively to the 
 practice of landscape painting, until the last few years of 
 his life. He was elected an Associate of the Eoyal 
 Academy in 1806, and an Academician in 1810. He 
 presented a picture, called 'Morning,' as his diploma 
 work, a landscape of great beauty. For many years 
 he annually contributed similar works to the exhibition. 
 Generally, his landscapes are of small dimensions, but a 
 few were of large size. All bear the same characteristics, 
 extensive views, simple and tranquil in character, 
 fascinating to the refined eye of the true lover of nature, 
 but too cold and monotonous in colour to attract general 
 attention. His pictures are truthful and beautiful, always 
 pleasing, and very characteristic. His marine pieces are 
 especially distinguished by their soothing and placid 
 character. Sometimes he introduced prominent groups 
 of figures in his landscapes ; in one, ' Harvest in the 
 Highlands,' exhibited in 1833, the figures were by Edwin
 
 CH. IX.] SIE A. W. CALLCOTT 335 
 
 Landseer. Subsequently he seems to have been ambitious 
 to change his style, for in 1837 he exhibited ' Eaphael 
 and the Fornarina,' which, as well as the picture just 
 referred to, are well known by the Art Union engravings 
 from them. The ' Eaphael ' is so well drawn, so charac- 
 teristic, and so full of the sentiment required by the 
 subject, that it is a very remarkable work, when considered 
 as the production of a landscape painter, and would almost 
 lead us to suppose that he had mistaken his forte, were 
 it not for the truth and beauty of nature which he 
 imparts to his scenery. Yet there are no peculiarities in 
 his landscapes ; they represent things as they are under 
 ordinary circumstances, the effects of light, shadow, and 
 colour are all true, the sky calm, the scene peaceful, the 
 sea or the river reposing, with just enough of poetic 
 treatment to keep the subject strictly truthful, and yet to 
 present nature in her happiest guise. It is these charac- 
 teristics which have obtained for him the title of the 
 "English Claude." 
 
 In 1840 he exhibited another work in the same style 
 as the ' Eaphael,' ' Milton dictating to his Daughters,' a 
 composition of such an ordinary nature that it showed 
 that his true powers were not in history, but as a landscape 
 painter, and as such he will always take a high place. 
 In 1827 he was married to the widow of Captain 
 Graham, E.N., a lady who had previously been known 
 as an authoress, and who published in 1836 her " Essays 
 towards the History of Painting." In 1837 Callcott 
 received the honour of knighthood from the Queen ; and 
 in 1844 he was appointed to succeed Mr. Seguier as Con- 
 servator of the Eoyal Pictures, an office which he held 
 for a few months only. He had a quiet, reserved manner, 
 but was social and hospitable in feeling. Admired for 
 his talents as an artist, and respected for his estimable 
 private character, he pursued the even tenor of his way 
 till 1842, when Lady Callcott died ; and on the 25th of 
 November, 1844, he also departed this life at Kensington,
 
 836 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 in his 65th year, and was buried in the same grave with 
 her at Kensal Green Cemetery, where a flat table-tomb 
 marks the site. There is a large number of his works 
 in the Vernon and Sheepshanks collections. 
 
 Sir DAVID WILKIE, E.A., one of Scotland's most famous 
 artists, was the third son of David Wilkie, minister of 
 Cults, and Isabella Lister, his third wife. He was born 
 at his father's manse, on the banks of Eden-water, in 
 Fifeshire, on the 18th of November, 1785. He has been 
 heard to say that he could draw before he could read, and 
 paint before he could spell. When seven years of age, 
 he was sent to the school of Pitlissie, but he learnt little 
 or nothing there. In his twelfth year he was placed 
 under Dr. Strachan, then master of the Grammar School 
 of Kettle (now Bishop of Toronto) ; but he paid little 
 attention to anything but drawing. After an ineffectual 
 attempt to make him a minister, he was sent, in 1799, to 
 the Trustees' Academy, at Edinburgh, where he was at 
 first refused admission, but, by the interest of the Earl of 
 Leven, afterwards obtained it. At this school Wilkie 
 became acquainted with Sir W. Allan, John Burnet, and 
 Alexander Eraser. Burnet writes of him that " though 
 behind in skill, he, however, surpassed and that from 
 the first all his companions in comprehending the 
 character of whatever he was set to draw." In 1803 he 
 won the ten-guinea premium offered by the Trustees' 
 Academy for the best painting of ' Callisto in the Bath of 
 Diana.' In the same year he made the sketch for the 
 ' Village Politicians.' 
 
 
 
 In 1804 he returned home, and painted for Kinnear of 
 Kinloch his picture of ' Pitlissie Fair,' in which he inserted 
 about 140 figures, mostly portraits, and many of them 
 sketched while he was at church. For this picture he 
 received only 25. At this time he also painted many 
 small portraits and miniatures. His success induced him 
 to visit London, and he took a lodging at No. 11 Norton
 
 CH.IX.} SIR D. WILKIE 337 
 
 Street. In 1805 lie obtained admission as a student at 
 the Eoyal Academy. His picture of The Village Eecruit' 
 was exhibited in a shop window at Charing Cross ; and 
 being marked at the low price of 6, it soon found a pur- 
 chaser. Mr. Stodart, the pianoforte-maker, was Wilkie's 
 first patron in London. He saj to him for his portrait, 
 commissioned him to paint two pictures, and helped him 
 to a valuable connection. The Earl of Mansfield, to 
 whom he was introduced by Stodart, commissioned him 
 to paint ' The Village Politicians,' for doing which he 
 requested fifteen guineas. It was exhibited at the Eoyal 
 Academy in 1806, excited universal admiration, and 100 
 was offered by two parties for it. Wilkie, however, kept 
 his engagement with Lord Mansfield, who gave him thirty 
 guineas for the picture. In 1807 he was living at Sol's 
 Eow, Hampstead Eoad, where he painted the ' Blind 
 Fiddler,' which, when exhibited, at once established his 
 reputation. It was purchased by Sir George Beaumont, 
 and is now in the National collection. Commissions were 
 now abundant, from Mr. Whitbread, Lord Mulgrave, and 
 Sir G. Beaumont, and he painted in succession ' Alfred,' 
 ' The Card Players,' and ' The Eent Day.' In 1807-8 he 
 produced 'The sick Lady,' 'The Jew's Harp,' and 'The Cut 
 Finger.' After these came the sketch of 'Eeading the 
 Will,' 'The Wardrobe ransacked,' 'The Gamekeeper,' and 
 'The Village Festival,' aU painted in 1809-11. 
 
 In 1809 he was elected an Associate, and in 1811 he 
 became a Eoyal Academician. At this time his weakly 
 constitution rendered it necessary for him to seek the bene- 
 fit of his native air. He visited Scotland in August 1811, 
 and after his return established himself at No. 24 Lower 
 Phillimore Place, Kensington. In 1812 he collected his 
 pictures for exhibition at 87 Pall Mall : there were twenty- 
 nine in all, including sketches, but the expenses were 414, 
 and the receipts altogether insufficient to cover them. 
 After this time other pictures followed, now familiar to 
 all 'Bhndman's Buff,' in 1813; 'The Letter of Intro- 
 
 VOL. i. z
 
 338 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 duction,' and ' Duncan Gray,' in 1814 ; * Distraining for 
 Kent,' purchased by the British Institution for 600 guineas, 
 in 1815; and 'The Eabbit on the Wall,' in 1816. 
 Several others intervened between these and ' The Bead- 
 ing of the Will,' painted in 1820 for the King of Bavaria, 
 and ' Chelsea Pensioners Eeading the Gazette of the 
 Battle of Waterloo,' painted in 1822, being a commission 
 from the Duke of Wellington, for which he received 
 1200 from the Duke, and 1200 from Alderman 
 Moon for the copyright of the engraving. 
 
 In 1814 he went with Hay don to Paris, to study the 
 spoils of the churches and galleries of the Continent, 
 collected together at the Louvre by Napoleon I. In 1816 
 he accompanied Eaimbach the engraver to Holland and 
 Belgium, and in 1817 visited Sir Walter Scott, when he 
 painted an interesting picture of him and his family. A 
 continued course of prosperity was interrupted in 1825 by 
 the loss of a considerable sum of money in a speculation 
 in which Wilkie had unfortunately engaged. This seri- 
 ously affected his health, and some fears were entertained 
 for his mental faculties. He was advised to travel, and to 
 abstain altogether from painting for a time. He accord- 
 ingly left England in the summer of 1826 on a long 
 Continental tour, including Paris, Switzerland, Vienna, 
 Dresden, Eome, and Madrid, and he remained abroad till 
 1828. The Spanish school evidently strongly impressed 
 him, for henceforward his style completely changed its 
 character, no longer the simple, unaffected painter of 
 English domestic life, he now depicted Spanish monks, 
 guerillas, peasants, battle scenes, &c., which, while they 
 manifested his ambition to excel in representing historic 
 scenes as well as those of common life, by which he had 
 acquired his fame, certainly did not enhance his reputa- 
 tion, although many of them displayed great ability. 
 The regret at the change was almost universal, although 
 with some his new style found attractions. One confessed 
 object of Wilkie in this change of style was to obtain
 
 CH. IX.] SIR D. WILKIE 339 
 
 rapidity in painting, an effort which is showing its fruits 
 in the rapid decay of his later pictures, while the earlier 
 ones are still in excellent preservation. 
 
 His principal pictures in his second style are 'The 
 Maid of Saragossa,' ' The Guerilla's Departure and Ee- 
 turn,' ' Spanish Monks,' ' Columbus,' ' John Knox Preach- 
 ing,' ' Mary Queen of Scots escaping from Loch Leven,' 
 ' Cellini and the Pope,' ' The Irish Whiskey Still,' and 
 several portraits in the manner of Velasquez. In 1823 he 
 was appointed limner to the King in Scotland, in succes- 
 sion to Sir H. Eaeburn ; and in 1830, on the death of 
 Lawrence, he became Painter in Ordinary to George IV., 
 whose portrait he took in a highland costume. In 1836 
 he was knighted by William IV., and afterwards removed 
 to a more spacious house in Vicarage Place, Kensington. 
 On the accession of the Queen, he painted a picture of 
 ' Her Majesty's First Council,' and had also a few sittings 
 for the Queen's portrait. Her Majesty suggested that he 
 should paint the portrait of the Sultan for her. He 
 accordingly proceeded to Constantinople, making many 
 interesting sketches of Oriental life. He visited Jerusalem, 
 and other celebrated localities in the East, and when 
 returning in the " Oriental " steamer, was seized with ill- 
 ness between Alexandria and Gibraltar, which in a few 
 hours terminated fatally on the 1st of June, 1841. In the 
 evening of the same day his body was committed to the 
 deep, the burial service being read by the Eev. J. 
 Vaughan^ rector of Wraxall, who was a passenger on 
 board. This touching scene formed the subject of a pic- 
 ture by Turner, in the National Collection. A marble 
 statue by Joseph was erected by public subscription, and 
 placed in the National Gallery. It may have resembled 
 him in his youth, but it is not very like what he was in 
 later years, either in stature or character. In the National 
 Collections there are (besides 'The Blind Fiddler') ' The 
 Village Festival,' 'The Parish Beadle,' 'The Bagpiper,' 
 ' The First Ear-ring,' a portrait of Thomas Daniell, E.A., 
 
 z 2
 
 340 IHSTOKY OF THE EOYAL ACADEMY [Cn. IX. 
 
 a Woody Landscape, ' Newsmongers,' ' Peep-o'-Day Boy's 
 Cabin,' ' The Broken Jar,' ' Duncan Gray,' and several 
 drawings and sketches. 
 
 No description is needed of Wilkie's works all of his 
 earlier and most popular ones have been repeatedly 
 engraved, and are known and appreciated where those of 
 the great masters of Italy have never found an entrance. 
 In his later works so dissimilar to his first that they 
 might as well be the productions of a different head and 
 hand he laboured to attain effect in colour and chiaro- 
 scuro, combined with breadth and facility in execution ; 
 conceiving that these were a nearer approach to high art 
 than the simplicity, truth, and laborious detail and finish 
 which characterised his early pictures, the charm of which 
 consisted in the forcible and impressive mannerin which he 
 delineated human life in various phases, so as to awaken the 
 sympathies of the beholder, and to incite him to share the joy 
 or the sorrow of those whose history was so effectively told 
 on his canvas. In personal character, Wilkie merited all 
 the respect and honour he attained ; he was upright and 
 straightforward, modest, yet full of moral courage, patient 
 and determined in study, cherishing enduring friendships, 
 and appreciating the beautiful both in nature and art. 
 
 JAMES WAKD, E.A., was born in Thames Street, in 
 London, on 23rd of October, 1769. When he was seven 
 years old he was taken from school, in consequence of 
 untoward family circumstances, and at twelve was sent to 
 join an elder brother, William Ward (who was articled to 
 J. E. Smith, a mezzotint engraver), who did not help him 
 to draw, but employed him chiefly as an errand-boy. 
 He, however, managed on bits of paper to draw with 
 chalk, and after serving an apprenticeship of nine years 
 to engraving (seven and a half with his brother and one 
 and a half with Smith) an accident led to his trying his 
 hand at painting. A picture of Copley's was 1 injured 
 while in his brother's charge for engraving, and James
 
 CH. IX.] JAMES WARD 841 
 
 Ward volunteered to repair it. Succeeding in this, he 
 tried to paint a picture on canvas, and subsequently care- 
 fully studied the works of George Morland (with whom 
 his family was on intimate terms, and who lived with 
 them at this time at Kensal Green), and so closely imitated 
 his manner, that the dealers bought his pictures at a low 
 price, and after signing them with Morland's name, sold 
 them at a much higher rate. Competent judges declared 
 that Ward's pictures had better qualities than those of 
 Morland, and that those who were thus deceived were 
 gainers by the fraud. These works were exported largely 
 to Ireland and France. 
 
 A picture of a ' Bull-bait,' painted in his early career, 
 was well hung at the Eoyal Academy, and being full of 
 figures, attracted great attention : but Ward heard the 
 visitors remark, " That is by a pupil of Morland ; " and 
 from that time he determined to pursue a more distinct 
 and original style, and his study of anatomy under 
 Brooks gave him power to realise works of a much higher 
 character. His first commission was to engrave Sir 
 William Beechey's 'Eeview.' One of his plates from 
 Eembrandt's ' Cornelius the Centurion,' is especially 
 prized by collectors. In 1794 he was appointed painter 
 and engraver to the Prince of Wales, and for many years 
 was chiefly employed in painting portraits of favourite 
 animals. He afterwards sought to become an Associate of 
 the Eoyal Academy ; but being principally known as an 
 engraver, he did not at first succeed, as he wished to be 
 entered as a painter, that he might eventually rise to be a 
 Eoyal Academician. He therefore surrendered the fair 
 prospects of a popular engraver for the future fame of a 
 painter, and this at a time when he was earning 2000 
 a year with the burin. At the suggestion of West 
 and Sir G. Beaumont, he painted several large pictures 
 to make known his skill in that higher branch of art : 
 these were 'The Horse and Serpent,' life size, 'Deer- 
 stalking,' ' Bulls Fighting,' and ' The Fall of Photon.'
 
 342 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 He at last succeeded in establishing his claims to the 
 title of painter, and was elected an Associate in 1807, and 
 a Eoyal Academician in 1811. Many commissions from 
 noblemen and gentlemen folio wed, and when, after the battle 
 of Waterloo, the British Institution offered a premium of 
 1000 for a design commemorative of the victory, Ward 
 sent in a sketch to which the first premium was awarded. 
 From it a national picture was painted for Chelsea Hos- 
 pital. It was an allegory, and when exhibited at the 
 Egyptian Hall was very severely censured by the public. 
 At that time, however (1820), the trial of Queen Caro- 
 line absorbed public attention, and the interest in the 
 great victory had passed away ; the exhibition was sud- 
 denly closed, and the picture was subsequently hung up at 
 Chelsea Hospital, but eventually it was taken down and 
 rolled up, in which state it has been left ever since. Its 
 dimensions were 35 feet by 26 feet. 
 
 Following up this fanciful idea, Ward next painted 
 religious allegories ' The Star of Bethlehem,' ' The 
 Triumph over Sin, Death, and Hell,' ' The Angel troubling 
 the Pool of Bethesda,' &c., none of which were favour- 
 ably received, although his scenes of animal and rustic 
 life, intermingled with these more venturesome works, 
 still displayed the abilities of the artist. In 1822 he 
 painted a picture in avowed rivalry with the famous Paul 
 Potter ' The Bull, Cow, and Calf ' (now at the Crystal 
 Palace). A subsequent work, ' The Council of Horses,' 
 is a fine specimen of his skill in that particular style in 
 which he most exceUed. This, and another fine picture, 
 his ' View in De Tabley Park,' are in the Vernon Gallery. 
 Three smaller specimens are in the Sheepshanks Collec- 
 tion. He lived to a great age, and continued almost to 
 the last to employ his pencil, with no abatement of spirit, 
 though with enfeebled powers. In 1855 he exhibited for 
 the last time at the Eoyal Academy (he was then eighty- 
 six) a picture entitled ' The Morning Grey, with Cattle 
 of different breeds.'
 
 CH. EL] WARD BONE 343 
 
 He died, in his 91st year, on the 17th of November, 
 1859. He possessed undoubted talents as an artist, 
 although he sometimes attempted subjects beyond his 
 grasp ; he was simple and unpretending in manner, and a 
 sincerely religious man. The personal history of many 
 artists is linked with his for he was the contemporary of 
 many of the founders of the Eoyal Academy, was brother- 
 in-law of George Morland, father-in-law of Jackson the 
 portrait painter, and father of Mr. G. E. Ward the mezzo- 
 tint engraver, whose daughter married E. M. Ward, E.A., 
 and is herself an artist of great ability. 
 
 HENRY BOXE, E.A., was the son of a cabinet-maker at 
 Truro, in Cornwall, and was born there on the 6th of 
 February, 1755. He was apprenticed to a china-manufac- 
 turer named Cockworthy, first at Plymouth and then at 
 Bristol, who employed him in painting landscapes and 
 groups of flowers to ornament porcelain, and in making 
 them indelible by the operation of fire. This was his 
 introduction to, and training for, that art of enamel paint- 
 ing in which he became so eminent. In August 1778 he 
 removed to London, and earned a subsistence by making 
 devices for lockets, &c., and painting miniatures in water- 
 colours. Meanwhile he studied to attain perfection in 
 the art of enamel ; and, as a first specimen in that style, 
 painted 'The Sleeping Girl' after Sir J. Eeynolds. A 
 portrait of his wife, in the same style, exhibited at the 
 Eoyal Academy in 1780, and an original picture in 
 enamel, 5^ inches by 4J, were among the first works by 
 which he acquired a name as an artist. An enamel por- 
 trait of the Earl of Eglinton by him was purchased by 
 the Prince of Wales. He continued to copy, on a scale 
 hitherto unattained in enamel, some of Eeynolds's choicest 
 works ; among these were ' The Death of Dido,' ' Cymon 
 and Iphigenia,' ' Venus,' and ' Hope nursing Love.' 
 Besides these, he copied ' The Venus recumbent,' after 
 Titian ; ' Bathsheba,' by N. Poussin ; ' La Belle Vierge,'
 
 344 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 after Eaphael ; and an ' Assumption of the Virgin,' after 
 Murillo. A work which excited great admiration was a 
 copy of the ' Bacchus and Ariadne,' by Titian (now in 
 the National Gallery), copied in dimensions never ap- 
 proached by any other enamel painter, 18 by 16 inches. 
 Mr. G. Bowles, of Cavendish Square, paid 2200 guineas 
 for this work. Bone also executed on enamel many of 
 his own miniatures, and a series of portraits of the 
 Eussell family from the time of Henry VII., now at 
 Woburn Abbey a commission from the late Duke of 
 Bedford ; also a series of portraits of the principal royal- 
 ists distinguished during the civil war, for J. P. Ord, Esq., 
 of Edge Hill, near Derby, some of which were completed 
 after his death by his talented son, H. P. Bone. The 
 work which will give him lasting fame, is the series of 
 eighty-five portraits of distinguished persons in the reign 
 of Queen Elizabeth, which he enamelled from the ori- 
 ginals in the Eoyal and other collections, varying in size 
 from 4 to 13 inches. They cost him infinite labour, 
 care, and anxiety, but unfortunately he reaped no pecu- 
 niary reward from his labour upon them ; they remained 
 in his possession till his death, when he requested that 
 they might be offered to the Government at the small 
 price of 5000, or half their estimated value. The pur- 
 chase was, however, declined, much to the regret of all 
 true lovers of art, and a collection which would have had 
 a permanent value, as illustrating one of the most interest- 
 ing periods of English history, was dispersed by auction, 
 and will now be found scattered in the cabinets of col- 
 lectors who prefer what is beautiful to that which is 
 merely curious. 
 
 In 1800, Bone received the distinction of being ap- 
 pointed enamel painter to the Prince of Wales, arid he 
 was successively appointed to the same office by George 
 III., George IV., and William IV. He became an Asso- 
 ciate in 1801, and a Eoyal Academician in 1811. For the 
 next twenty-one years of his life he continued to pursue
 
 CH. IX.] REINAGLE DAWE 845 
 
 his art with untiring perseverance, and became the most 
 distinguished enamel painter of his time. In 1831 he 
 was compeUed by age to relinquish the pursuit, and he 
 died on the 17th of December, 1834, in his 78th year. 
 He resided at 15 Berners Street, Oxford Street. 
 
 PHILIP EEINAGLE, E.A., was born in 1749, and was a 
 pupil of Allan Eamsay, the Court painter, under whom 
 he studied portraiture, a specimen of which he exhibited 
 in 1776 ; but not finding it a congenial employment, he 
 turned his attention to the study of animals, and suc- 
 ceeded admirably in depicting hunting subjects, sporting 
 dogs, shaggy ponies, and dead game. Besides these ori- 
 ginal works, he was an excellent copyist of the old Dutch 
 masters, and many small pictures after Paul Potter, Berg- 
 hem, A. Vandervelde, Du Jardin, and others, now regarded 
 as originals by those artists, were made by him. He was 
 also a landscape painter, and assisted Barker in painting 
 his panoramas of Rome, the Bay of Naples, Florence, 
 Gibraltar, Algesiras Bay, and Paris. His reputation, 
 however, rests chiefly on his sporting subjects, and his 
 skill is popularly known by the publication of "The Sports- 
 man's Cabinet, or correct delineations of the various Dogs 
 used in the Sports of the Field, taken from life, and en- 
 graved by John Scott." Reinagle became a student at the 
 Royal Academy in 1769; was elected an Associate in 
 1787, and a Royal Academician in 1812. He died at 
 Chelsea on the 27th of November, 1833, aged 84. 
 
 GEORGE DAWE, R.A., was born in Brewer Street, Golden 
 Square, on the 8th of February, 1781. His father, Philip 
 Dawe, an engraver, appears to have brought him up to 
 the same profession, as he is known to have executed in 
 mezzotint, when only fourteen years old, engravings after 
 Graham of ' Mary, Queen of Scots,' and ' Elizabeth and 
 St. John,' besides several other works. With the engraving 
 of the monumental group to the Marquis of Cornwallis
 
 346 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 by Bacon, executed when he was twenty-one, Dawe seems 
 to have altogether abandoned this branch of the art, 
 though his productions indicate that he would have taken 
 no mean position among engravers, had he continued to 
 pursue it. In early life he had been apprenticed to a 
 painter in crayons, the father of the celebrated George 
 Morland. With this latter artist he then commenced a 
 friendship which continued undiminished through all 
 the changes and trials of their after lives. In 1794, 
 Dawe became a student at the Eoyal Academy, and not 
 satisfied with studying from the living model there, he 
 attended the public lectures on anatomy, and practised 
 dissection at home. He studied moral philosophy and 
 metaphysics, and later in life acquired a knowledge of 
 the French, German, and Eussian languages. In 1803 
 he obtained the gold medal awarded by the Academy 
 for the best historical painting, the subject being 
 ' Achilles.' In 1807 he published a " Life of Morland," 
 the friend of his youth, the only work written by him 
 which has issued from the press, although he left in MS. 
 at his decease an Essay on Colours, and several other 
 similar performances. 
 
 Dawe's talents were principally displayed in the paint- 
 ing of portraits, one of which, a whole-length of Mrs. 
 White, the wife of an eminent surgeon, exhibited at the 
 Eoyal Academy in 1809, elicited great praise ; in the 
 same year he was elected an Associate. In 1810 ap- 
 peared ' Andromache imploring Ulysses to spare her Son.' 
 In 1814 he became a Eoyal Academician, and on that 
 occasion presented ' The Demoniac' as his diploma work. 
 Among the portraits he painted about this time, that of 
 Miss O'Neil in the character of Juliet (which, being too 
 late for the Eoyal Academy, was exhibited at his house in 
 Newman Street), attracted especial attention ; and the 
 groups of Mrs. Hammersley and her child, and Mrs. Wil- 
 mot and her daughter, as well as the portrait of Coleridge 
 the poet, were also much admired. His historical pic-
 
 CH. IX.] GEORGE DAWE 347 
 
 tures were not numerous, but were all of considerable 
 pretensions. The first he is known to have painted was 
 ' Achilles frantic for the loss of Patroclus,' the work by 
 which he won the Eoyal Academy gold medal. A 
 scene from " Cymbeline " procured for him the highest 
 premium, 200 guineas, offered by the British Institution 
 for the subject. ' Naomi and her Daughter,' ' The Infant 
 Hercules strangling the Serpent,' and a picture from Cole- 
 ridge's " Genevieve " followed in the same style. The 
 ' Negro and the Buffalo,' purchased by Mr. Holford, ob- 
 tained the first premium at the British Institution, where 
 it was exhibited in 1811. The last work of this class 
 he painted was seen at the Academy, and excited con- 
 siderable interest, both from the nature of the subject 
 and the treatment of it. This picture was, ' The Mother 
 rescuing her Child from an Eagle's Nest,' and was pur- 
 chased by the Earl of Cassilis. It is said that Dawe 
 made a tour in the Highlands and in Cumberland, taking 
 his canvas with him, in order that his representation 
 of this scene might be a truthful one. 
 
 He was now destined for employment both by the 
 Court of England and the Emperor of Eussia, and his 
 name and works thus became associated with the events 
 then taking place in Europe, which will always have an 
 enduring place in history. Soon after the marriage of 
 the Princess Charlotte with Prince Leopold, Dawe was 
 honoured with their patronage, and painted several por- 
 traits of the Royal couple in all varieties of costume. 
 After the death of the lamented Princess he obtained the 
 patronage of the Duke and Duchess of Kent, and went in 
 the suite of his Royal Highness to Brussels, and thence to 
 the grand review of the allied troops at Cambray, where, 
 and at Aix-la-Chapelle, he painted portraits of the Duke 
 of Wellington, Lord Hill, and several of the most dis- 
 tinguished Russian officers. At this time he was engaged 
 by the Emperor Alexander to proceed to St. Petersburg 
 to paint a collection of portraits of all the eminent Russian
 
 348 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 officers who had taken part in the recent war with Napo- 
 leon. He returned to England for a short time, and set out 
 on this undertaking in January 1819. On the way, he 
 stopped at Brussels, where he painted the Prince and 
 Princess of Orange ; at Coburg, where he made a por- 
 trait of the reigning Duke ; and at Weimar, where Goethe 
 sat to him, as well as the Grand Duke of Meinengen, and 
 the Emperor's sister. He reached St. Petersburg in the 
 course of the summer, and at once commenced his 
 arduous undertaking. Nine years were occupied in paint- 
 ing some four hundred portraits of Eussian officers. For 
 the reception of this grand series, a gallery was espe- 
 cially erected at the Winter Palace, which was first con- 
 secrated, and then opened publicly by the Emperor, 
 attended by his chief officers of state. In addition to 
 this great national work, Dawe painted several portraits 
 of the Emperor and of the members of the Imperial 
 family, many of the illustrious persons of the empire as 
 well as private individuals, and made copies of several of 
 the military portraits. In order that the chief of his 
 numerous portraits might be engraved, he induced Mr. 
 Thomas Wright and Mr. C. E. WagstafF to accompany 
 him, and after their return to England he remained for 
 some years at St. Petersburg, busily employed and 
 amassing wealth, till the sudden death of the Emperor 
 Alexander deprived him of his liberal patron and power- 
 ful protector. Dawe then received peremptory orders to 
 quit Eussia, which he did at great loss and personal incon- 
 venience, on account of the short time allowed him to 
 arrange his affairs. After his return to England in 1828, 
 he exhibited many of his later works to George IV. at 
 Windsor. In September of the same year he proceeded 
 to Berlin, where he painted portraits of the King of 
 Prussia and the Duke of Cumberland. On his way from 
 that city to St. Petersburg, he caught a severe cold ; 
 and in the spring of 1829, after accompanying the Em- 
 peror Nicholas to Warsaw, and there painting the por-
 
 CH. IX.] DAWE BIGG 849 
 
 trait of the Grand Duke Constantino, he proceeded by 
 medical advice to the sulphur baths of Aix-la-Chapelle. 
 In August 1829, he returned to England, but he gra- 
 dually sunk, and expired on the 15th of October fol- 
 lowing, at the house of his brother-in-law, Mr. Wright 
 the engraver. On the 27th of October he was buried by 
 the side of Fuseli in the crypt of St. Paul's ; his funeral 
 was attended by the President and other members of the 
 Eoyal Academy, and by the Eussian Embassy in London. 
 He was a member of the Imperial Academy of Arts at 
 St. Petersburg, and of the Academies of Stockholm and 
 Florence. 
 
 From his constant employment, his abstemious habits, 
 and by a selfishness and want of generosity by which he 
 was unhappily distinguished, he amassed a considerable 
 fortune. But for some unprofessional speculations in 
 which he was engaged, his property (which was sworn at 
 Doctors' Commons under 25,000) would have been much 
 greater. He was singularly favoured in being able not 
 only to hand down the memorials of his skih 1 in connexion 
 with the important events of his time, but also in being 
 permitted to establish the fame of English art over the 
 whole of the north of Europe. But for this, it is ques- 
 tionable whether his productions in themselves would have 
 raised him to a very high position as a portrait painter, 
 for although he produced good likenesses as to the features, 
 his portraits are not expressive of the character of his 
 sitters. But there can be little doubt that if he had 
 followed the branch of the art to which he devoted his 
 talent early in life, he would have ranked among the best 
 historical painters of his time. 
 
 WILLIAM EADMORE BIGG, E.A., was born in January, 
 1755, and was admitted as a student at the Eoyal Academy 
 in 1778 : he became an Associate in 1787, and a Eoyal 
 Academician in 1814. He was an intimate friend of Sir 
 J. Eeynolds, and through a long life the amenity of his
 
 350 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 manners endeared him to a numerous acquaintance. The 
 subjects of his pencil were mostly of a domestic nature, 
 appealing strongly to the sympathies. In all of them, 
 benevolence, or the tender feelings either of parental affec- 
 tion or rustic society, were forcibly portrayed. His ' Ship- 
 wrecked Sailor-boy,' ' Boys relieving a Blind Man,' ' Black 
 Monday,' and other similar subjects, have been engraved, 
 and were very popular both in this country and on the 
 Continent. He died in Great Eussell Street, Bloomsbury, 
 on the 6th of February, 1828. 
 
 Sir HENEY EAEBUEN, E.A., the son of a manufacturer, 
 was born at Stockbridge, Edinburgh on March 4th, 1756. 
 Having lost his parents when only six years old, he was 
 placed in " Heriot's wark," the Christ's Hospital School 
 of Scotland. At fifteen he was apprenticed by an elder 
 brother to a goldsmith. During the time of his articles, he 
 painted miniatures, which were executed in such a tasteful 
 manner as to excite attention, and soon became in general 
 demand. His master, although finding his talent for 
 art destructive of his services as an apprentice, kindly 
 encouraged his tastes, and introduced him to a portrait 
 painter of repute in Edinburgh, named David Martin. 
 By the aid of this artist, he made rapid progress, pur- 
 chased the remainder of his apprenticeship, and devoted 
 himself exclusively to miniature painting. He had re- 
 ceived no preliminary instruction, however, and had many 
 difficulties to contend with ; but as his knowledge of art 
 increased, he overcame by perseverance all obstacles, 
 having now the advantage of studying the works of a 
 professed painter. Subsequently, when studying oil- 
 painting, he obtained access to collections of pictures, 
 which opened to his mind many beauties in art beyond 
 those he had hitherto known. In 1779 he made an 
 advantageous marriage, and soon afterwards came to 
 London, where he was much noticed by Eeynolds, who 
 advised him to visit Italy, and offered him pecuniary
 
 Cn.IX.] SIR H. RAEBURN 351 
 
 assistance and letters of introduction to persons there. 
 He acted upon this advice, and remained in Eome and 
 other parts of Italy about three years. At Eome he 
 seems to have profited more by the advice of Byers, 
 a dealer in pictures and antiquities, than by any artists 
 whose acquaintance he made there. In 1787 he re- 
 turned, and established himself in Edinburgh, where in a 
 short time he became the chief portrait painter, and 
 justified the envious fears of Martin, who had dreaded his 
 rivalry and abruptly terminated his acquaintance with 
 him some years before. He was elected President of the 
 Eoyal Society of Edinburgh, and was chosen a member 
 of the Imperial Academy of Florence, and of the South 
 Carolina and New York Academies. 
 
 In 1812 he became an Associate, and in 1815 a Eoyal 
 Academician. He now again proposed to remove to 
 London, but was dissuaded from doing so by Lawrence, 
 who advised him to content himself with his supremacy 
 in Scotland, where he could reckon the greater number 
 of the distinguished men of his country either among his 
 friends or sitters. His portraits of the mountain chiefs 
 the Macdonald, Mackenzie, Campbell, Bruce, Hay, 
 Scott, Duff, Gordon, Douglas, Hamilton, and others 
 attest the fulness of his practice. In 1821 he presented 
 a picture of ' A Boy and Eabbit ' to the Academy as his 
 diploma work. On the visit of George IV. to Scotland, 
 in 1822, Eaeburn was knighted at Hopetoun House, 
 and shortly afterwards received the appointment of por- 
 trait painter to the King for Scotland, an honour he did 
 not long enjoy, as he died at his house near Edinburgh, 
 on the 8th of July, 1823, aged 67. 
 
 Eaeburn's style was free and bold, his drawing ex- 
 tremely correct, his colouring rich, deep, and harmonious. 
 The heads of his figures are always kept prominent and 
 distinct, and the accessories, whether drapery, furniture, or 
 landscape, always appropriate, and though carefully exe- 
 cuted, never made too conspicuous, or allowed to obtrude
 
 352 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 upon the eye. The fidelity of his portraits may be attri- 
 buted, in part, to his habit of never giving a painting a 
 single touch from memory or conjecture, but always with 
 his sitter before him. But while he could represent with 
 great force and truth men of intellect and genius, he 
 could not realise those delicate conceptions of women of 
 fashion which Lawrence acquired. Among his chief 
 portraits may be mentioned those of Sir W. Scott, Lord 
 Eldon, James Watt, Henry Mackenzie, John Kennie, and 
 Sir F. Chantrey. His full-length pictures of the Earl of 
 Hopetoun, Sir D. Baird, Lord F. Campbell, and other 
 Scottish celebrities, are admirable specimens of portrait 
 painting. He was also a patron of the arts ; and his 
 gallery and study were alike open to assist his younger 
 brethren who sought his advice. 
 
 EDWARD BIRD, E.A., was born at Wolverhampton, on 
 the 12th of April, 1772. His father was a clothier, and 
 gave his son a fair education. From very early childhood 
 young Bird displayed a strong desire to sketch figures 
 upon the walls and furniture. When still a boy his eldest 
 sister bought him a box of colours ; and at the age of four- 
 teen he painted from Miss Lee's " Eecess " the imaginary 
 interview between the Earl of Leicester and the daughter 
 of Mary Queen of Scots. As his love of painting was 
 not to be repressed, his father apprenticed him to Messrs. 
 Jones and Taylor, tin and japan ware manufacturers, at a 
 place called " The Hall," at Wolverhampton, that he might 
 ornament and embellish tea-trays, &c. ; and he soon ex- 
 celled all the workmen there in that art. But it was 
 monotonous and mechanical work ; and at the conclusion 
 of his indentures, Bird set up as a drawing-master at 
 Bristol, and resolved to take a higher position as an artist. 
 He had meanwhile improved his knowledge of the nature 
 and use of colours, had studied the human form, and made 
 many sketches of natural and domestic scenes ; and now he 
 improved himself in the knowledge of art by teaching others.
 
 CH. IX.] EDWARD BIRD _ 353 
 
 In 1807, when lie had by patient self-discipline become 
 more able to draw to his own satisfaction, he showed 
 some of his works to an artist of taste, who advised him 
 to exhibit them at Bath. They were much admired, and 
 sold for thirty guineas each, whereas Bird had originally 
 marked them at ten guineas. Some very popular works 
 succeeded these ' Good News,' ' Choristers Rehearsing ' 
 (bought by William IV.), and ' The Will,' purchased by 
 the Marquis of Hastings. The self-taught artist thus 
 gained rapid distinction ; his pictures were sought for, 
 and purchased by eminent collectors ; and in 1812 he 
 was elected an Associate, and in 1815 a Eoyal Acade- 
 mician. 
 
 Still greater efforts were soon to be attended by 
 further success. His next work was a historical compo- 
 sition representing the results of the Battle of Chevy 
 Chase, which he treated in the spirit of the fine old 
 ballad, and the original sketch of which he presented to 
 Sir Walter Scott. The finished picture was bought for 300 
 guineas by the Marquis of Stafford. The same nobleman 
 purchased his next picture, ' The Death of Eli,' for 500 
 guineas, to which the British Institution added their pre- 
 mium of 200 guineas, as a testimony of their admiration 
 of its excellence. But it had unfortunately been com- 
 missioned as a speculation by three merchants of Bristol, 
 who paid Bird 100 each for it so that all this added 
 wealth became theirs, and not his. So pleased were 
 they with their profits, that they offered him another 
 commission, but he very wisely declined it. The citizens 
 of Bristol, however, were always proud of one who had 
 begun his career as an artist among them. He went to 
 his native town in 1811, and returned to London the 
 next year, occupying his pencil with subjects more within 
 his reach than history those natural and touching re- 
 presentations of home and social life in which he so 
 much excelled such as ' The Blacksmith's Shop,' ' The 
 Country Auction,' 'The Gipsy Boy,' 'The Young Ke- 
 
 VOL. i. A A
 
 354 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 emit,' ' The Baffle for the Watch ' (in the Vernon Gallery), 
 4 The Game at Put,' ' Meg Merrilies,' &c. In 1813, he was 
 introduced to the Princess Charlotte, who appointed him her 
 painter, on which occasion he presented her Boyal High- 
 ness with ' The Surrender of Calais,' one of his favourite 
 pictures. After her untimely end, and the artist's de- 
 cease, his widow applied to Prince Leopold, to lend this 
 work for exhibition with others by him, which he readily 
 consented to do, and gave a donation of 100 towards 
 the expenses. 
 
 Bird's later works were in the lofty style which he was 
 so ambitious to attain, but for which he had not sufficient 
 imagination or elevated conception. In this style he pro- 
 duced c The Fortitude of Job,' ' The Death of Sapphira,' 
 ' The Crucifixion,' ' The Burning of Eidley and Latimer,' 
 and 'The Embarkation of Louis XVIII. for France.' 
 The last was a mere pageant, but required him to obtain 
 portraits of many persons of rank, which involved greater 
 trouble and difficulty than he was able to bear, and he 
 sunk in making the attempt. The picture was never 
 finished; for he died on 2nd November, 1819, suffering 
 greatly from disappointment in respect to this work, and 
 from domestic affliction, in the recent loss of two of his 
 children. He was buried in the cloisters of Bristol 
 Cathedral, three hundred citizens of Bristol following him 
 to the grave. A simple tablet to his memory was after- 
 wards placed in the Cathedral by his daughter. 
 
 He was a kind-hearted, generous man, loving truth 
 and regularity in his home, and animated and cheerful 
 in company, until just before he died, when he became 
 dejected from vexation and disappointment. As a painter 
 he was peculiarly happy in the treatment of his subjects. 
 He had great power in seizing character (which he studied 
 from the life, whenever he met with it, often sketching a 
 passer-by in the crowded streets), in furnishing illustrative 
 incidents, and in the employment of episodes suitable to 
 his subjects although there is, perhaps, little depth of
 
 CH. IX.] WILLIAM MULREADY 355 
 
 thought in anything he produced. To the last he ne- 
 glected to acquire a perfect knowledge of perspective, and 
 was deficient in colour ; but his genre paintings will 
 always be admired, when his historical compositions are 
 no longer remembered. 
 
 WILLIAM MULREADY, E.A., now a venerable member of 
 the Eoyal Academy, was born at Ennis, in Ireland, 4- 
 1786. He came to England with his parents at a very 
 early age ; and some of his boyish sketches shown to 
 Banks, the sculptor, elicited his high praise and encourage- 
 ment. In his fifteenth year he became a student at the 
 Eoyal Academy, and made very satisfactory progress; 
 he at first essayed to follow the classic and high historic 
 style, choosing such subjects as 'Polyphemus and Ulysses,' 
 ' Caliban and Trinculo,' ' The disobedient Prophet,' &c., 
 until he found his deficiency in technical skill and know- 
 ledge for such attempts, and resolutely applied himself to 
 the study of the best Dutch painters, and made sketches 
 in Kensington gravel-pits, and from other common every- 
 day sources. These labours produced their fruits even in 
 his early pictures, which with all their immaturity of 
 thought, uncertainty of touch, and general incomplete- 
 ness, showed a true feeling for the simplicity of nature, 
 for truth of colour, and breadth of effect, qualities dis- 
 played in all their force and vigour in his later works. 
 Indeed, in his earliest productions there is a depth and 
 power which is only found in the works of others after a 
 lifetime of severe study. In 1806 he exhibited 'A 
 Cottage ' and St. Peter's Well in the Vestry of York 
 Minster;' and in the next year 'A View in St. Alban's.' 
 In 1808 ' Old Houses in Lambeth,' and * A Carpenter's 
 Shop and Kitchen,' in the same style, and ' The Battle,' 
 his first figure picture. The next few years snowed 
 marked progress in the same effective style. 'A Eoad- 
 side Inn,' ' Horses Baiting,' ' The Barber's Shop,' and 
 'Punch ' (painted in 1812), were produced in succession. 
 
 A A 2
 
 356 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 ' Boys Fishing ' (1813), and ' Idle Boys' (1815), secured 
 his election as an Associate in November 1815. 'The 
 Fight Interrupted ' was his next work ; and in February 
 1816, he became a Koyal Academician a rare instance 
 of an artist attaining both honours in the Academy within 
 a few months. 
 
 Thus elevated to a high position in his profession, he 
 still pursued with equal painstaking the course of careful 
 study by which he had attained to fame. His love of 
 colour was early shown, and the same style pervades all 
 his works the only difference between the earliest and the 
 latest being that of progress. No laxity or feebleness of 
 manner characterises any of his later productions, in 
 which he sometimes follows the pathetic and sentimental, 
 but more frequently the humorous and grotesque. His 
 works, since he obtained the rank of Koyal Academi- 
 cian, are well known by engravings, and many of them 
 are public property, by the gifts of Mr. Vernon and Mr. 
 Sheepshanks. 'Lending a Bite,' painted in 1819, was 
 bought by Earl Grey; 'The Wolf and the Lamb,' ex- 
 hibited in 1820, became the property of George IV. 
 ' The Careless Messenger' was exhibited in 1821 ; ' The 
 Convalescent' (one of his first efforts in a more poetic 
 style), in 1822 ; ' The Widow,' in 1824 ; ' The Origin of 
 a Painter,' in 1826 ; 'The Cannon,' in 1827, bought by 
 Sir Eobert Peel ; and ' The Interior of an English Cot- 
 tage,' in 1828, purchased by George IV. These were 
 followed successively by many admirable works, among 
 which were ' Giving a Bite,' ' The Pinch of the Ear,' 
 ' Open your Eyes and shut your Mouth,' ' The Seven 
 Ages,' ' The Sonnet,' ' First Love,' ' The Artist's Study,' 
 ' Train up a Child in the Way he should go,' &c., many 
 of which are now at South Kensington. In 1840 Mul- 
 ready designed twenty illustrations for a new edition of 
 Goldsmith's "Vicar of Wakefield," published by Van 
 Voorst. These were so exquisitely beautiful that he was 
 beset with commissions to paint them as pictures. Ac-
 
 CH. IX.] WILLIAM MULREADY 357 
 
 cordingly, in 1843, he painted 'The Whistonian Contro- 
 versy ' for Mr. Baring ; and ' Burchell and Sophia,' and '^fa 
 ' Choosing the Wedding-Gown ' for Mr. Sheepshanks. /<*, A 
 Happily the nation possesses some of his best works 
 ' The Last in,' ' Fair-Time,' ' Crossing the Ford,' the gift 
 of Mr. Vernon, and several admirable pictures and draw- 
 ings presented by Mr. Sheepshanks. 
 
 In 1848 the Society of Arts commenced a series of 
 exhibitions of " the pictures of some one living artist, his 
 studies and sketches, and engravings from his works ; " 
 and those of Mulready were chosen for the first display. A 
 hundred of his paintings, and one hundred and eight 
 sketches, with many of those inimitable studies from the 
 life, in black and red chalk, finished with all the nicety of 
 engraving, by which in early life he laboured to acquire 
 the perfection of correctness in drawing were thus 
 gathered together, and proved a great triumph, as display- 
 ing Mulready's mastery over his art. Few could have borne 
 such an ordeal as that of ranging together before the public 
 eye the work of forty-three years ; but in his case it showed 
 how patient labour and study had led him on to growing 
 refinement in taste, delicacy, and grace in expression, and 
 increasing humour, mingled with a pathetic tenderness, 
 which only the poetical conception of a mind full of pure 
 and lofty susceptibilities could conceive, and the power of 
 a master hand in art could depict. 
 
 Since this gathering together of his previous labours, 
 Mulready has exhibited few pictures, the last being 
 ' Blackheath Park,' in 1852. He never sought to pro- 
 duce quantity, but to attain to excellence, although a 
 large number of works have proceeded from his delicate 
 and truthful pencil, all rare in originality of subject and 
 treatment, and in careful execution. He is still full of 
 energy and strength, and takes an active interest in the 
 Schools and the affairs of the Royal Academy, and in the 
 profession of which he is so distinguished an ornament. 
 It was on his proposition that the privilege of '* varnish-
 
 358 HISTORY OF THE ROYAL ACADEMY [Co. IX. 
 
 ing days " was discontinued, in order that all pictures 
 exhibited at the Academy might be put on an equality, 
 whether the works of its members or of others. 
 
 ALFRED EDWARD CHALON, E.A., was born at Geneva 
 in 1780, and was descended from a French Protestant 
 family who had settled there after the revocation of the 
 edict of Nantes. In his early youth the family removed 
 to London, and his father obtained an appointment as 
 Professor of French at the Eoyal Military College at 
 Sandhurst. His sons, Alfred and John, were first engaged 
 in mercantile pursuits ; but having a great taste for art, 
 they succeeded in founding " The Sketching Club," which 
 at first consisted of artists and amateurs, and which, 
 during the forty years of its existence, numbered Leslie, 
 Stanlield, Uwins, Cristall, and others among its members. 
 Alfred Chalon's reputation rests entirely upon the por- 
 traits, chiefly in water-colours, which during many years 
 hung on the walls of the Eoyal Academy. They were 
 chiefly of aristocratic ladies, slight and sketchy, brightly 
 coloured, and somewhat mannered in their execution, but 
 sufficiently graceful, effective, and pleasing to render the 
 artist popular, especially as a painter of portraits of ladies 
 of fashion. But, although this was the style of the 
 larger number of the works which he exhibited during 
 many successive years at the Academy, he also painted 
 occasionally in oils, and chose subjects of a more ambi- 
 tious nature. Among these were ' Hunt the Slipper ' 
 (1831), ' Samson and Delilah' (1837), ' Scene from " Le 
 Diable Boiteux " ' (1840), 'The Farewell' (1841), 'John 
 Knox reproving the Ladies of Queen Mary's Court,' and 
 4 Christ mocked by Herod ' (1844), ' A Madonna ' (1845), 
 'Serena' (1847), 'The Seasons' (1851), and 'Sophia 
 Western' (1857). In all of these his colouring and 
 grouping was effective ; but while forming attractive 
 pictures by their character and brilliancy, they scarcely 
 pretended to attain the ideal of historical compositions.
 
 CH. IX.] A. E. CHALON 359 
 
 He became a student at the Eoyal Academy in 1797, 
 was elected an Associate in 1812, and a Eoyal Academi- 
 cian in 1816, when the fame of his free and sparkling 
 pencil was at its height. He was a member of the Society 
 of Arts of Geneva, and was latterly appointed to the 
 office of Portrait Painter in Water-Colours to her 
 Majesty. He made a very admirable portrait of the 
 Queen, in water-colours, soon after her accession, which 
 has been engraved on a large scale, and was exhibited at 
 the Paris Exhibition, in 1855. He continued to draw 
 and to exhibit to the end of his long life, nor was there 
 much apparent decline in his powers. In 1855, shortly 
 after the death of John Chalon, a collection of the works 
 of the two brothers was made at the Society of Arts, but 
 scarcely attracted the public attention it deserved. Alfred 
 Chalon died in his 80th year, at his residence.^Campden 
 Hill, Kensington, on the 3rd of October, 1860, and was 
 buried in Highgate Cemetery. He left behind him a 
 large collection of sketches and drawings, which he offered 
 to present to the parish of Hampstead, on the condition 
 of a suitable building and a curator being found for the 
 reception and care of them. The offer was not accepted, 
 however, and they were subsequently dispersed by auction. 
 Both he and his brother John were intimate friends of 
 C. E. Leslie, who spoke highly of their kindly qualities 
 as private companions, and said that the affection of the 
 two brothers was the strongest he ever witnessed between 
 relations. He formed a high opinion of their powers as 
 artists, stating that he always felt himself in a school of 
 art when in their house, and that he considered Alfred 
 Chalon as long holding the first place among the painters 
 of water-colours in his day. 
 
 JOHN JACKSOX, E.A., was born at Lastingham, in York- 
 shire, on the 31st of May, 1778. His father was a tailor 
 in the village, and brought up his son to the same trade. 
 He had seen the pictures at Castle Howard, which
 
 360 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 awakened a love of painting in his heart, and a dislike to 
 the business in which he was engaged ; and by the kind- 
 ness of the Earl of Carlisle, he was permitted to study 
 the works of the great masters in his lordship's possession. 
 He had previously received some instruction in drawing 
 from the schoolmaster of his native village, to whom he 
 had shown some of the heads he had sketched when a 
 mere boy. This worthy man showed a copy he made of 
 one of Reynolds's pictures (the portrait of the father of 
 George Colman), crude as it was, and painted with colours 
 obtained from the store of a house-painter, to Lord 
 Mulgrave, who gave the young aspirant proper materials, 
 and encouraged him to improve by renewed efforts. He 
 now read books on painting, compared nature with the re- 
 presentations of it in the works of the painters he had seen, 
 and studied diligently the method by which they depicted 
 what they saw. He copied Carracci's picture of the ' Three 
 Marys,' at Castle Howard, in his nineteenth year, with 
 such ability that the unexpired portion of his apprentice- 
 ship to his father was purchased by Lord Mulgrave and 
 Sir George Beaumont, that he might follow art as a pro- 
 fession. The latter behaved with the greatest kindness 
 and liberality to him ; he gave him an allowance of 
 50 a year, and an apartment in his town house, that 
 he might be able to study at the Eoyal Academy, where 
 he became, in 1805, a diligent student. This was a noble 
 and generous act, and one by which Jackson profited 
 greatly ; for he met at his patron's house almost all the 
 men of taste and genius of the time, and thus made up 
 for all that was defective in his early education and 
 training. 
 
 Soon after he took up his abode in London, he was 
 employed in copying portraits to be engraved in CadelTs 
 series of portraits of illustrious personages, which he 
 executed with great truthfulness. He first obtained a 
 name by his blacklead pencil and water-colour portraits, 
 but it was some years before he took his place among the
 
 CH. IX. J JOHN JACKSON 861 
 
 principal portrait-painters in oils. His first exhibited 
 picture was a portrait of Master H. Eobinson, in 1804 ; 
 in 1806 he exhibited portraits of Lady Mulgrave and the 
 Hon. Mrs. Phipps ; the next year he painted the Marquis 
 of Huntly, Lady Mary Fitzgerald, and others. In 1809 
 he removed from the Haymarket to 54 Great Marlborough 
 Street, and from that time till 1815, when he became an 
 Associate of the Eoyal Academy, his reputation steadily 
 increased. In this period he exhibited more than thirty 
 portraits, and among them several of members of the 
 Academy. He was created an E.A. in 1817, and was 
 also elected a Member of the Academy of St. Luke, at 
 Eome. A portrait of Canova, painted at Eome, while on 
 a visit to Italy, in company with, and for Sir F. Chantrey, 
 in 1819, excited great attention ; but his best work, a 
 masterpiece of art, is his portrait of John Flaxman, one 
 of the thirteen portraits of Academicians above referred 
 to. Lord Dover gave Jackson the commission for this 
 picture, and was a constant friend and patron of the 
 artist. Lawrence greatly admired this portrait, saying 
 that it was " a great achievement of the English School, 
 and a picture of which Vandyke might have felt proud to 
 own himself the author." 
 
 Jackson worked with great rapidity, and many illustra- 
 tions of it are on record. Passavant says he copied, 
 while at Eome, Titian's picture of ' Divine Love ' in three 
 days, which would have occupied most artists a month ; 
 and that for a wager he once finished five gentlemen's 
 portraits in a single summer's day, and received twenty-five 
 guineas for each of them. Between 1804 and 1830 he 
 exhibited nearly 150 pictures at the Academy, and painted 
 many more, and this during the period when Lawrence, 
 Beechey, Owen, Phillips, and other illustrious contem- 
 poraries were in the height of their popularity. His style 
 was masculine, characteristic, and true, without flattery. 
 His colouring was clear and rich, and he sometimes 
 attained that low-toned brightness so much admired in
 
 362 HISTORY OF THE EOYAL ACADEMY [On. IX. 
 
 Sir J. Eeynolds's works ; but his pictures wanted the 
 delicacy and grace of those of Lawrence. His portrait 
 of Lady Dover, however, is a lovely work, both for its 
 beauty in drawing and splendid colouring, and for the 
 singular grace of manner and delicacy of touch which 
 pervade the whole. A copy he made of the Correggio 
 at Apsley House, ' Christ in the Garden,' he presented to 
 the church of his native place, Lastingham, with 50, to 
 improve the situation in which it was to be placed. He 
 paid an annual visit to this village for many years after 
 he came to London. He was twice married ; by his first 
 wife he had a daughter, and by his second (the daughter 
 of James Ward, E.A.) he had three children. 
 
 Although he had a large income from his profession, he 
 seems to have spent it in his lifetime, for he, unfortunately, 
 left no provision for his family. Lord Dover, who knew 
 him intimately, said " In private he could not but be 
 beloved for his singleness of heart, and his simplicity and 
 truth of mind ; in all the relations, too, of domestic life, 
 he was exemplary, which is not surprising when we reflect 
 that his actions were regulated by a fervent sense of 
 religion." Thus he lived, esteemed by his numerous 
 friends, and beloved by his family, until his death, which 
 occurred at his house at St. John's Wood, on the 1st of 
 June, 1831, caused by having taken cold when attending 
 the funeral of Lord Mulgrave. He was buried at St. 
 John's Wood Chapel. His portraits of himself, the late 
 Earl Grey, Sir John Soane, Eev. W. H. Carr, and of Miss 
 Stephens (afterwards Countess of Essex), are in the 
 National Collections. 
 
 WILLIAM HILTON, E.A., was born at Lincoln, on the 
 3rd of June, 1786. He received lessons from his father, 
 who was a portrait painter, and became, in 1800, a pupil 
 of John Eaphael Smith, the crayon painter and mezzotinto- 
 engraver. He entered the schools of the Eoyal Academy 
 in 1806, and studied anatomy, that he might become a
 
 CH. IX.] WILLIAM HILTON 363 
 
 more complete master of the form of the human figure. 
 In 1803, while still very young, he sent a clever picture 
 to the exhibition, entitled 'Banditti;' in 1804, ' Hector 
 re-inspired by Apollo;' and in 1806, and the next few 
 years, ' Cephalus and Procris,' ' Venus carrying the 
 wounded ^Eneas,' ' Ulysses and Calypso,' the ' Good 
 Samaritan,' 'John of Gaunt reproving Eichard II.,' 'Christ 
 restoring Sight to the Blind,' 'Mary anointing the Feet 
 of Jesus,' and the ' Eaising of Lazarus.' These works 
 showed, not only his desire to restore the high historic 
 style of painting, but that he possessed a truly poetic 
 feeling ; and that in the treatment of the subjects he chose, 
 he selected those only in which he could realise his own 
 high and noble conceptions, and introduce the most 
 beautiful human forms. 
 
 Unhappily, neither his style nor the subjects of his 
 pictures were popular, and very many of the works he 
 painted during his lifetime remained in his possession till 
 his death. Among these were the ' Angel releasing St. 
 Peter from Prison ' and ' Sir Calepine rescuing Serena,' 
 both exhibited in 1831. The latter was purchased from 
 his executors by an association of gentlemen, chiefly 
 artists, for 500 guineas, and presented to the National 
 Collection, where are also to be seen three other capital 
 works, ' Edith and the Monks searching for the Body of 
 Harold,' ' Cupid disarmed,' and ' Eebecca with Abraham's 
 Servant at the Well,' the gift of Mr. Vernon. Other 
 pictures left on his hands were 'Comus,' 'Amphitrite,' the 
 ' Murder of the Innocents,' the last exhibited by him 
 (in 1838), and 'Eizpah watching the dead Bodies of 
 Saul's Sons,' which was left unfinished at his death. 
 
 He became an Associate of the Eoyal Academy in 1813, 
 the year in which he painted ' Miranda and Ferdinand 
 bearing a Log.' In 1818 he returned to England from 
 Home (which he had visited in company with T. Phillips, 
 E.A.), and exhibited ' The Eape of Europa,' an admirable 
 work. In the next year he became a Eoyal Academician,
 
 364 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 and presented as his diploma work ' The Eape of Ganny- 
 mede,' exhibited in that year. Among his works of this 
 period were ' Venus surprising Diana,' ' Comus with the 
 Lady in the enchanted Chair,' ' Love taught by the 
 Graces,' and ' Christ crowned with Thorns,' the last- 
 named was bought by the British Institution in 1825. 
 On the death of Fuseli in 1827, he succeeded him as 
 Keeper of the Eoyal Academy, in which position his 
 singularly mild and amiable manner won the regard of 
 the young students, who marked their high sense of his 
 services by presenting him with a valuable piece of 
 plate. Notwithstanding his great abilities, he would 
 scarcely have escaped suffering from poverty but for the 
 assistance the emoluments of this appointment afforded 
 him. When he fell into ill-health, towards the close of 
 the year 1836, the Eoyal Academy offered to grant him 
 leave of absence from his duties, and 50 to enable him 
 to obtain rest and change of air, but he declined both. 
 
 As a historical painter, he excelled both in design and 
 colouring ; his pictures abound with beautiful forms and 
 graceful action. His taste in composition was refined, his 
 colouring harmonious and rich ; his drawing was accurate, 
 and his effects of light and shade true and effective : but 
 his works were of too high a character to become gene- 
 rally popular, and the encouragement afforded him by a 
 few judicious collectors, was far from adequate to his need 
 or his merits. One of his most poetical conceptions was 
 ' Nature blowing Bubbles for her Children ' (1821), pur- 
 chased by the late Sir J. Swinburne. Several of his 
 sacred subjects form altar-pieces of churches, one ' The 
 raising of Lazarus' --he presented to the church of 
 Newark, of which town his father was a native, as a mark 
 of respect to his memory. His fancy subjects are gene- 
 rally from classic story, or from Milton and Spenser, his 
 favourite authors. His mythological pictures are always 
 intelligible and easy to be understood, and the fascinating 
 style in which he rendered them, as in those of ' Cupid
 
 CH. IX.] HILTON COLLINS 366 
 
 Armed ' and ' Disarmed,' make them the most pleasing of 
 his works. Very few of his pictures have been engraved, 
 one ' Una entering the Cave of Corecea ' was the 
 Art-Union subscription plate for 1842. Another, 'The 
 Eape of Europa,' painted for the late Earl of Egremont, 
 was engraved by Charles Heath ; and those in the Vernon 
 Gallery, and some others, have been published in the 
 Art-Journal. He died at the house of his brother-in-law, 
 P. Dewint, in Upper Gower Street, London, on the 30th ( 
 of December, 1839, in his 54th year. A large number of _ 
 his works were collected for exhibition at the British 
 Institution in 1840. 
 
 WILLIAM COLLINS, E.A., was the son of a painter and 
 picture-cleaner, a native of Wicklow, and author, among 
 many other publications, of a novel entitled " Memoirs of 
 a Picture," a poem on the Slave Trade, and a Life of 
 George Morland. His mother was a Scottish lady from 
 the vicinity of Edinburgh, and gave birth to her distin- 
 guished son in Great Titchfield Street, London, on the 
 18th of September, 1788. When a boy, his father's 
 friend, George Morland, allowed him to stand beside him 
 while he was painting, and thus cherished his natural 
 taste for art, and improved his skill in drawing. In 1807 
 he entered, at the same time with Etty, the schools of the 
 Eoyal Academy, and sent two small views on Millbank to 
 the exhibition. In 1809 he carried off the silver medal 
 for a drawing from the life, and in that year sent two 
 more pictures to the exhibition : they were ' Boys at 
 Breakfast,' and ' Boys with a Bird's Nest.' Every sub- 
 sequent year he produced other pictures in the same style, 
 which were exhibited at the Eoyal Academy or the 
 British Institution. 
 
 In 1812 he lost his father, who died in pecuniary diffi- 
 culties, and his increased responsibilities in having to 
 support his mother and brother, only led to more earnest 
 efforts. In this year he painted ' The Sale of the Pet
 
 366 HISTORY OF THE EOYAL ACADEMY [On. IX. 
 
 Lamb,' perhaps suggested by the disposal of all the house- 
 hold property of his home to pay off his father's debts. 
 For some time he painted portraits to increase the family 
 income, but groups of children engaged in their sports, 
 attracted his chief attention. Thus in 1814 he painted 
 ' Bird-Catchers,' one of the best of his early works, now 
 in the Marquis of Lansdowne's collection at Bowood. 
 Until this time he continued his studies at the Eoyal 
 Academy, but was then elected an Associate, and began 
 to enlarge the range of his subjects, commencing a series 
 of pictures connected with the haunts and habits of 
 fishermen on the coast. The first of these was ' Shrimp- 
 Boys at Cromer,' exhibited in 1816. Another, 'A Scene 
 on the Coast of Norfolk,' (1818), is now in Sir Eobert 
 Peel's collection at Dray ton Manor. In 1820 he was 
 elected E.A., and presented as his diploma picture 'The 
 Young Anglers.' For the next sixteen years he con- 
 tinued without intermission to exhibit from three to five 
 pictures of this class annually, and found ready patrons 
 for them, although at only moderate prices. Sir Eobert. 
 Peel secured ' The Cherry Sellers,' ' Fishermen getting 
 out their Nets,' 'A Frost Scene,' and others. During 
 this period he painted also those charming works ' Happy 
 as a King,' ' Leaving Home,' and ' Sunday.' 
 
 The years 1837 and 1838 were spent on the Continent. 
 It was during his stay in Italy that he caught a severe ill- 
 ness, by imprudently sketching in the noon-day sun, which 
 laid the foundation of the disease of which he died. In 
 one of his letters to Wilkie he expresses his admiration of 
 the EafTaeU.es in the Vatican, and the frescoes of Michael 
 Angelo, which, he says, " so far from disappointing me, 
 surpassed not only all I have ever seen, but ah 1 I had ever 
 conceived of these truly inspired men." At the same 
 time Collins was studying the living nature around him 
 
 */ O O 
 
 in the peasantry of Italy, and the surprise of the visi- 
 tors to the exhibition of 1839 was great at seeing 
 ' Poor Travellers at a Capuchin Convent near Vico,'
 
 CH. IX.] WILLIAM COLLINS 367 
 
 ' Young Lazzaroni playing,' and ' A Scene near Subiaco,' 
 by the author of the familiar sea-side views on our own 
 coast. Many similar works to these foUowed in subse- 
 quent years, intermingled with others of a loftier character, 
 chosen from religious subjects. Of these latter, ' Our 
 Saviour with the Doctors,' was the first, painted in 1840, 
 the year in which he visited Germany ; followed by ' The 
 Two Disciples at Emmaus,' in 18 41, "'The Virgin and 
 Child,' ' A Patriarch,' &c. With his increasing years he 
 grew in deep and earnest piety, and sought to represent 
 the themes on which his thoughts delighted to rest. 
 
 He did not, however, desert the subjects by which he 
 had acquired fame, and which he depicted with such a life- 
 like truthfulness, for in 1842 he visited the Shetland 
 Isles to gather fresh materials, and in that and subse- 
 quent years he painted ' A Windy Day,' ' Cromer Sands,' 
 ' Shrimpers Hastening Home,' and in 1845 ' Meadfoot 
 Bay.' This last was commenced at Torquay, where he 
 went for health, having suffered for months previously 
 from disease of the heart, which increased in its dis- 
 tressing symptoms, although he did not lose his power 
 of painting, or his energy in pursuing it to the end of 
 his life. His last work, ' Early Morning,' painted under 
 much bodily suffering and prostration of strength, is a 
 noble picture, now in the possession of Mr. Gillott of 
 Birmingham. Buskin says of this work, " I have never 
 seen the oppression of sunlight in a clear, lurid, rainy 
 atmosphere more perfectly or faithfully rendered." In- 
 deed in all his works he exhibited the bright side of life 
 and of nature, and in the contemplation of his pictures 
 the mind finds true enjoyment. He died, after acute 
 suffering, at his house No. 1 Devonport Street, Hyde 
 Park Gardens, on the 17th of February, 1847, in his 59th 
 year. He had previously lived for three years at No. 85 
 Oxford Terrace. He was buried in the cemetery of the 
 Church of St. Mary, Paddington, where a handsome 
 monument, in the form of a cross, was erected to his
 
 368 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 memory by his widow and sons. In 1840 he was 
 appointed Librarian to the Eoyal Academy, but finding 
 its duties more onerous than he could conscientiously 
 discharge, he resigned the office in 1842. 
 
 Collins' pictures are thoroughly English and natural. 
 He studied the simple habits of country children, observed 
 the characteristics of rural and coast scenery, and com- 
 bined them together so artistically, that a purpose is evi- 
 dent in every group, and an individuality in every scene 
 he painted. There was a sunshine and gladness in all his 
 scenes, the reflex of his own happy spirit, which even in 
 the darkest hours of trouble maintained its serenity, and 
 found comfort, as he tells us, " in looking upward." 
 Form, colour, and distance were all carefully studied ; 
 but with all this exactness of detail, there was the breadth 
 and vigour of touch which showed that he had an eye 
 for general effect, and a command over his materials 
 which enabled him to charm the eye of every beholder 
 of his pictures. Several are in the Vernon and Sheep- 
 shanks Galleries 'The Shrimpers,' ' Happy as a King,' 
 ' The Stray Kitten,' ' Eustic Civility,' and some Italian 
 scenes among them. All the best private collections in 
 the country contain specimens of his skill. Among his 
 patrons were George IV., the Duke of Newcastle, the 
 Marquis of Lansdowne, the late Lord Liverpool, and Sir 
 E. Peel, Sir J. F. Heathcote, and other able judges of art. 
 In 1822 he married the daughter of Andrew Geddes, 
 A.E.A., and sister of Mrs. Carpenter, the well-known por- 
 trait painter, by whom he had two sons. The elder, 
 William Wilkie Collins, wrote an excellent life of his 
 father (two vols. 1848), and besides being the author of 
 several popular works of fiction, is a constant contributor 
 to the periodical literature of the present day ; the 
 younger, C. A. Collins, is a painter of the Pre-Eaflaelite 
 school. 
 
 The private personal character of Collins is as honour- 
 able to him as his position among English artists ; for
 
 CH. IX.] COLLINS COOPER 369 
 
 those who knew him intimately describe him, " as gene- 
 rous and encouraging to young talent ; he was always 
 eager to accord praise neither jealousy nor envy ever 
 gave the remotest taint to his character ; men of note in 
 all professions were proud to be his associates, for he was 
 fitted to take his place among the best of them his 
 gracious manner and most gentlemanly bearing, no less 
 than his cultivated understanding, exciting the esteem 
 and respect of all with whom he came in contact, for no 
 man was more thoroughly embued with the gentle and 
 
 o / 
 
 kindly yet manly attributes which excite affection." 
 
 ABEAHAM COOPER, B.A., was born in September 1787, in 
 Red Lion Street, Holborn, where his father was a tobac- 
 conist, but not being successful he took an inn at Hollo- 
 way, where, being unacquainted with the business, he 
 lost his property, and was thus compelled to remove his 
 son from school, in his thirteenth year, to make his way in 
 the world. For some time he took part in the eques- 
 trian pageants and mimic battles performed at Astley's 
 under the direction of his uncle, Mr. Davis. Making 
 sketches of horses, dogs, and ships, had occupied his 
 leisure hours at school ; but it was not till his 22nd year 
 that he made his first attempt at painting, prompted by 
 his desire to possess a portrait of a horse named ' Frolic,' 
 belonging to Mr. Henry Meux, of Ealing, which he had 
 ridden and driven till it became a great favourite with 
 him. He could not afford to employ an artist to paint a 
 picture of the animal, but bought an introduction to oil 
 painting, then (1809) recently published by Laurie and 
 Whittle, and, after attentively studying it, made a picture 
 of the horse far beyond his own expectations, and suffi- 
 ciently excellent as a work of art to attract the admira- 
 tion of the owner of the animal, who insisted on adding 
 it to his collection, and who was afterwards a liberal 
 patron of the artist. 
 
 From this time, Cooper devoted himself exclusively 
 VOL. i. B B
 
 370 HISTORY OF THE ROYAL ACADEMY [On. IX 
 
 and enthusiastically to his profession, and his first success 
 led him to the especial study of animals. The spirited 
 style, characteristic truthfulness, and refined taste which 
 he displayed in his pictures of race-horses, led to his 
 speedily obtaining extensive patronage from the first 
 sportsmen of the day. His pictures of this kind are very 
 numerous, and are found in the collections of the Dukes 
 of Grafton, Bedford, and Marlborough, the Marquis of 
 Stafford, Sir J. Swinburne, Colonel Udney, and others. 
 At the outset of his career he had the satisfaction of seeing 
 many of his works engraved in the " Sporting Magazine." 
 In 1816 he was awarded a premium of 150 guineas 
 by the British Institution for his picture of ' The Battle of 
 Waterloo.' In 1817 he became an Associate, and in 
 1820 a Eoyal Academician his fine picture of 'Marston 
 Moor,' exhibited in the preceding year, having doubtless 
 led to his attaining this honour. In 1812 he became a 
 member of the Artists' Fund, and subsequently held the 
 appointment of chairman to that institution for five years. 
 For a long period he has been a constant and extensive 
 contributor of pictures of groups of animals, battle scenes 
 of olden times, the sports of the field, &c., to the exhibi- 
 tions. Two small pictures painted by him in 1818, i A 
 Donkey and Spaniel,' and 'A Grey Horse at a Stable Door,' 
 are in the Sheepshanks' collection at South Kensington. 
 
 The thirty-two painters who were added to the num- 
 ber of Eoyal Academicians during West's presidentship, 
 and whose career we have thus briefly traced, may be 
 classified generaUy as five historical, twelve genre, eleven 
 portrait, and four landscape ; but some of them pursued 
 more than one of these branches of the art. 
 
 Six SCULPTOKS were elected during the same period 
 (1792-1820), these were, John Flaxman, in 1800; 
 Charles Eossi, in 1802 ; Nathaniel Marchant, in 1809 ; 
 Sir Eichard Westmacott, in 1811 ; William Theed, in 
 1813 ; and Sir Francis Chantrey, in 1818.
 
 OH. IX.] JOHN FLAXMAN 371 
 
 JOHN FLAXMAN, E.A., was born at York on the 6th June, 
 1755, but was brought to London when not more than 
 six months old. His father was a figure-moulder, and 
 opened a shop first in New Street, Covent Garden, and 
 afterwards in the Strand. It was in this humble studio 
 that the future eminent sculptor received the first impres- 
 sions of taste for art. A natural weakness of constitution, 
 and a delicacy of health which continued for some years, 
 compelled him to pursue solitary and sedentary amuse- 
 ments, and he thus strengthened his naturally enthusiastic 
 mind by study and thought. As a boy, he was unable to 
 walk without crutches, and while sitting in his father's 
 shop he acquired, in a desultory way, the habit of observ- 
 ing and portraying the forms of the objects around him. 
 He was so fortunate as to attract the notice of the Eev. 
 Mr. Matthew, who occasionally visited his father's shop, 
 observed the delicate boy sometimes reading Homer and 
 sometimes modelling, took him into his house, and intro- 
 duced him to his wife, a lady of taste and great accomplish- 
 ments, who took great delight in making the interesting 
 boy acquainted with the beauties of Homer and Virgil, 
 while he would attempt to embody with his pencil such 
 poetic images or parts of the narration as most caught 
 his fancy. By these kind and judicious friends he was 
 encouraged to study the original languages of the classic 
 authors he loved, and though he was chiefly his own 
 tutor, he made sufficient progress to enable him to read 
 the master poets of antiquity, if not very critically, yet with 
 tolerable readiness, to enter into their spirit, and to follow 
 their conceptions. Evidence of this is afforded in his 
 compositions after Homer and ^Eschylus. 
 
 His first commission was received from Mr. Crutchley, 
 of Sunninghill Park, for six classic designs executed in 
 black chalk, the figures standing about two feet high. 
 They were much commended by their owner ; and thus 
 encouraged, Floxman sought admission, in 1769, when in 
 his fifteenth year, as a student at the Royal Academy, and 
 
 B n 2
 
 372 HISTORY OF THE ROYAL ACADEMY [Cn. IX. 
 
 for a considerable time afterwards supported himself by 
 modelling for different persons, especially for the Wedg- 
 woods. These works were exceedingly graceful, and are 
 now eagerly sought for, although not esteemed as they 
 deserved to be, at the time. In 1770 he exhibited his 
 first work at the Academy, a figure of Neptune, in wax. 
 After obtaining the student's silver medal, he competed 
 for the gold medal with Engleheart, but was unsuccessful. 
 Although he shed tears of disappointment, he was not 
 discouraged, but continued to study and to labour with 
 unabated energy ; and by a simple mode of life, found the 
 small remuneration he obtained more than sufficient 
 for his wants. Up to this time he had exhibited thirteen 
 different works at the Academy, but all in plaster, as he 
 had not yet ventured to work in marble. 
 
 In the year 1782 he married Miss Ann Denman, left 
 his father's house, and took one of his own at No. 27 
 Wardour Street. When Sir Joshua Eeynolds heard of it, 
 he is reported to have said, " So, Flaxman, I am told you 
 are married ; if so, Sir, you are ruined for an artist." 
 Happily, however, his future career fully disproved the 
 President's prediction. Shortly afterwards he executed a 
 monument of Collins, the poet, for Chichester Cathedral, 
 and one of Mrs. Morley, for Gloucester Cathedral. In 
 1787 he visited Italy, accompanied by his amiable and 
 accomplished wife, to whom he had made known the 
 President's lament on his marriage, and who had deter- 
 mined to help and not to hinder him in his career as an 
 artist. Their residence in Eome was in the Via Felice. 
 There she was ever at his side, aiding him by her know- 
 ledge, and advising him by her taste. They loved each 
 other truly, read the same books, thought the same 
 thoughts, and found peace and satisfaction only in each 
 other's company. 
 
 While at Eome, Flaxman designed, for Mrs. Hare 
 Taylor, a series of thirty-nine subjects from the " Iliad," 
 and thirty-four from the " Odyssey." For these composi-
 
 Cn. IX.] JOHN FLAXMAN 373 
 
 tions, since so universally admired as displaying the intel- 
 lectual power of art, he received the small sum of fifteen 
 shillings each ; but he was well rewarded by the fame 
 and the patronage they won for him. For the Countess 
 Spencer he composed a series of thirty-six illustrations 
 of " ^Eschylus," receiving a guinea for each ; for the 
 Bishop of Deny he executed the group of ' Athamas ' for 
 600, and is said to have lost money by the commission. 
 For the accomplished Thomas Hope, he executed the 
 beautiful group of ' Cephalus and Aurora ; ' for him he 
 also produced the three series of sublime compositions 
 from Dante, amounting to 109 subjects (receiving a guinea 
 for each), viz., 38 from the " Inferno," 38 from the " Pur- 
 gatorio," and 33 from the " Paradise." 
 
 After a stay of seven years in Italy he returned to 
 England, and took up his abode at No. 7 Buckingham 
 Street, Fitzroy Square. Shortly afterwards he produced 
 his noble monument to ' Lord Mansfield, seated between 
 Wisdom and Justice,' for which he received 2500. On 
 his wife's birthday, 2nd of October, 1796, he presented 
 to her, as a tribute of affection, a book containing 
 forty pen and pencil designs, with poetical descriptions 
 depicting the progress of the Knight of the Blazing 
 Cross, a Christian hero, conquering by faith, fortitude, 
 and devotion. In early life he had sought the acquaint- 
 ance of Stothard, and his usual present to his wife on her 
 birthday was a small picture by that artist. In 1 7 97 he was 
 unanimously elected an Associate of the Eoyal Academy. 
 In January of that year a letter by him appeared in the 
 " Gentleman's Magazine," addressed to the President and 
 Council, in opposition to the proposal made at that time 
 to remove from Eome the fine works of painting and 
 sculpture to form a university at Paris where all 
 nations might study them, in which he argued that as 
 France did not appear to have any claim upon Eome for 
 compensation, as good a plea might be urged with as 
 much reason by any other country in Europe. A second
 
 374 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 letter on the same subject subsequently appeared in the 
 same periodical. 
 
 In 1797 he exhibited his monument of the Oriental 
 scholar, Sir William Jones, now at University College, 
 Oxford ; and three bas-reliefs of subjects from the New 
 Testament 'The Eaising of the Daughter of Jairus,' 
 ' Comfort and Help the Weak-hearted,' and ' Feed the 
 Hungry.' These may be considered the commencement 
 of a series of Scriptural compositions intended to show 
 that the simple truths and precepts of the Gospel were 
 fully capable of inspiring the sculptor, and supplying him 
 with appropriate themes for his art. Of the same 
 character are the reliefs for Sir F. Baring's family monu- 
 ment in Micheldean Church, which express the ideas con- 
 tained in the sentences " Thy will be done," " Thy kingdom 
 come," and "Deliver us from evil." A monument to 
 Mary Lushington, of Lewisham, Kent, is a beautiful illus- 
 tration of the text " Blessed are they that mourn," 
 representing a mother sorrowing for her daughter, and 
 being comforted by an angel. His groups of ' Come ye 
 Blessed,' ' Lead us not into Temptation,' l Charity,' and 
 the monuments of the Countess Spencer, and Mrs. Tighe, 
 the poetess, are, like many of his works, full of religious 
 sentiment and fervour the outward expression of a feel- 
 ing deeply rooted in his own heart. In more common 
 subjects his conceptions were not so successful as in these 
 lofty themes his monuments to Nelson and Howe, in St. 
 Paul's Cathedral being far inferior to the works above 
 referred to. His proposal to erect a colossal figure of 
 Britannia, 200 feet high, to commemorate the victories of 
 the British navy, which was to be placed on Greenwich 
 Hill, was treated as a visionary and impracticable scheme, 
 and no attempt was made to carry it into execution. 
 
 In 1800 he was elected a Eoyal Academician, when he 
 presented as his diploma work a marble group of ' Apollo 
 and Marpessa,' fine in conception, but deficient in the 
 delicacy and mechanism of the art, in which he never
 
 Cn. IX.] JOHN FLAXMAN 375 
 
 greatly excelled. In 1809 he proposed to the Academy 
 a plan for promoting and improving the taste for historical 
 painting, and in 1810 he was appointed to fill the office of 
 Professor of Sculpture, which was instituted in that year 
 at the Eoyal Academy. In 1811 he commenced the 
 delivery of his interesting and useful lectures on the 
 subject. They were ten in number : English, Egyptian, 
 and Grecian sculpture were treated of in three lectures ; 
 science, beauty, composition, style, and drapery, in five 
 more ; and ancient and modern art in the two conclud- 
 ing ones of the series. On his first appearance as the new 
 professor he was greeted with loud applause, but his sin- 
 gular gravity of manner, and the calm and unimpassioned 
 tone in which he read his discourses, made them a little 
 heavy ; and those who contrasted them with the eloquent 
 harangues of Fuseli, seemed to forget that the proper 
 ami of such lectures is to instruct rather than to excite 
 the students. Campbell said of these discourses, " It is 
 fearfully difficult to be eloquent in teaching art. The 
 floor of didactic language, constructed for the tread of 
 sober ideas, is perilously shaken by the tramp of impas- 
 sioned enthusiasm. Flaxman is all sobriety of style, and 
 he is blamed for dryness and coldness. There is no such 
 thing as pleasing everybody." Flaxman wrote, besides 
 these lectures, several anonymous contributions to art- 
 literature ; among these were a discourse on the genius 
 and character of Banks, a critical description of Eomney's 
 works for Hayley's life of the artist, and several articles 
 for Bees' " Cyclopaedia." 
 
 In 1818 he modelled the 'Shield of Achilles,' after- 
 wards cast in silver gilt for George IV. At this period 
 also he executed ' Psyche ' and ' The Archangel Michael 
 and Satan,' the latter a work of the first order, whether 
 we consider the grandeur of the subject, or the sublime 
 conception with which it is rendered. Up to this period 
 of his life, all had been prosperous and peaceful in the 
 good man's life ; he had acquired fame and competence,
 
 376 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 and possessed a happy home ; but in 1820 he suffered the 
 sad affliction of the loss of his affectionate companion 
 and wife, and thus a blank was created at his own fire- 
 side which no outward prosperity could supply. Soon 
 afterwards age and infirmity began to tell upon him, 
 until he died, on the 7th December, 1826, at his house 
 in Buckingham Street, Fitzroy Square. He had been 
 able to continue his ordinary pursuits, although occa- 
 sionally interrupted by sickness, till within a few days of 
 his death. The last work upon which he was engaged 
 was a bust of John P. Kenible. He was buried in the 
 graveyard of St. Giles's in the Fields, in the Old St. 
 Pancras Eoad, on the 15th of the same month, and w T as 
 followed to the grave by the President and several mem- 
 bers of the Eoyal Academy. The following inscription 
 was placed on his tomb : " John Flaxman, E.A., Professor 
 of Sculpture, whose mortal life was a constant prepara- 
 tion for a blessed immortality : his angelic spirit returned 
 to the Divine Giver on 7th December, 1826, in the 72nd 
 year of his age." This is followed by another to the 
 memory of his sister, who died in 1833, aged 65. The 
 best portrait of him is that by Jackson ; it conveys a 
 fine idea of his gentle yet firm expression, and of his 
 broad and high forehead, so fuh 1 of majestic thought. 
 There is a portrait of him by Eomney in the National Por- 
 trait Gallery, and a statue by Watson in University CoUege. 
 
 In his domestic life he was thoroughly happy ; he was 
 mild and gentle to ah 1 , " the best master God ever made," 
 as his workmen said ; generous in all his dealings, and 
 never mean, though always frugal ; humble in his own 
 spirit, simple in his dress and habits of life ; never 
 gloomy, but always cheerful ; weak and fragile in out- 
 ward frame, but large and strong in soul; enduring 
 pain, but full of " meekness, gratitude, and faith." 
 
 As a sculptor, his historical statues have been com- 
 mended for their fine sentiment, but censured for a degree 
 of roughness in execution. One of his best works of
 
 On. IX.] FLAXMAN ROSSI , 377 
 
 this class, in addition to those we have already men- 
 tioned, is the statue of Sir J. Eeynolds in St. Paul's. But 
 his chief works were for the churches for so forcibly 
 did he embody the poetical passages of the Bible in com- 
 memorating the dead, that in monumental sculptures of 
 this description he has never been excelled. These 
 works are very numerous, and are found in the East and 
 West Indies, and in Italy, as well as scattered over this 
 country so widely did his fame extend. His designs 
 and compositions might be numbered by thousands, and 
 his genius is perhaps more remarkably developed in these 
 drawings than in modelling and executing larger works. 
 
 The property he left at his death, sworn at 4000, 
 was bequeathed to his wife's younger sister, Miss Denman, 
 who held possession of all the contents of his studio for 
 twenty-five years, when, feeling that they might worthily 
 be entrusted to the keeping of the Council of University 
 College, she presented them to that institution, and they 
 are now collected in the cupola of the College, which is 
 called in consequence the Flaxman Hall, and contains 
 about 140 working models and casts by one of the most 
 poetic and elevated, as well as the most classic and re- 
 fined of our English sculptors. In 1861 Miss Denman 
 died, and the drawings and models remaining in her pos- 
 session have recently been sold by auction. A proposal 
 was made that they should be purchased by subscription, 
 to enable the London University to augment their art- 
 treasures in the Flaxman Gallery, and render them avail- 
 able for public enjoyment and instruction. The late 
 lamented Prince Consort and the Royal Academy headed 
 the list of subscriptions for the purpose, but the amount 
 required was not obtained. 
 
 JOHN CHARLES FELIX Rossi, R.A., was born in 17G2, 
 at Nottingham, where his father, a native of Sienna, prac- 
 tised as a medical man, although he was not a licensed 
 practitioner. At an early age he was apprenticed to a
 
 378 HISTORY OF TIIE ROYAL ACADEMY [On. IX. 
 
 sculptor, named Luccatella, who employed him after his 
 term of apprenticeship was completed as a journeyman, 
 at eighteen shillings a week ; but while so engaged Eossi 
 discovered that his own powers were at least equal to his 
 master's, and he demanded higher wages. Although he 
 obtained this advancement, he now felt a desire to 
 try his own abilities in London, and in 1781 became 
 a student at the Eoyal Academy, that he might qualify 
 himself for a higher position as an artist. In November 
 of that year he obtained the silver medal, and in 1784 
 the gold medal, the work for which he gained the latter 
 being a sculptured group, representing ' Venus conduct- 
 ing Helen to Paris.' With this honour he also obtained 
 the allowance of a travelling student awarded by the 
 Academy, and went to Borne 'for three years in 1785. 
 
 On his return to London, he employed himself on 
 classical and monumental works, in a style at once manly 
 and vigorous, but not remarkable for any special excel- 
 lence. While at Eome he executed a ' Mercury ' in 
 marble, and subsequently a recumbent figure of ' Eve ; ' 
 ' Edwin and Leonora,' ' Venus and Cupid,' ' Celadon and 
 Amelia,' 'Musidora,' and other similar subjects. Sir 
 Eobert Peel gave him a commission for a statue of the 
 poet Thomson, and he was employed to execute a colossal 
 figure of Britannia for the Exchange at Liverpool. 
 
 But his principal works were the monuments he de- 
 signed of the heroes of the war, for St. Paul's Cathedral. 
 One to Lord Cornwallis in the nave (opposite to Flaxman's 
 Nelson) is a pyramidal group, the Marquis on a pedestal 
 forming the apex ; below him three allegorical figures of 
 Britannia, Begareth, and Ganges, impersonations of the 
 British empire in the East. Another to Lord Heathfield, 
 is a single figure, with an alto-relievo on the pedestal, of 
 Victory coming to crown a warrior on the sea-shore with 
 laurel. Near this is a monument to Captain Faulkner, 
 E.N., killed on board the Blanche frigate in 1795, in 
 which Neptune is represented sitting on a rock catching.
 
 CH. IX.] ROSSI MAECHANT WESTMACOTT 379 
 
 the dying sailor, and Victory about to crown him with 
 laurel. In the north transept is a monument to Lord 
 Eodney, a pyramidal group, the Admiral forming the 
 apex, and beneath him Fame communicating his deeds to 
 History. In ah 1 of these Eossi followed the taste of the 
 period in which he lived, when mythology was blended 
 with fact, and the simplicity of truth sacrificed to the 
 classic allusions to heathen gods and goddesses, which 
 was then thought not incongruous even in a Christian 
 temple, but which certainly would now be felt to be in- 
 consistent, and a violation of good taste. 
 
 In 1798 Eossi was elected an Associate, and in 1802 a 
 Eoyal Academician. The Prince Eegent appointed him 
 sculptor to his Eoyal Highness, and employed him in 
 decorating Buckingham Palace. He was subsequently 
 nominated sculptor to William IV. ; but in his latter 
 years he found little occupation in his profession, and was 
 left to depend chiefly upon the pension which he received 
 from the Eoyal Academy. He was twice married, and 
 had eight children by each wife. He died on the 21st 
 February, 1839. 
 
 NATHANIEL MAECHANT, E.A., born in 1739, was 
 elected an Associate in 1791, and a Eoyal Academician 
 in 1809. He was also a Fellow of the Society of Arts, 
 gem sculptor to the Prince of Wales, seal engraver to the 
 King, chief engraver of stamps, and assistant engraver to 
 the mint. He exhibited a large number of intaglios, 
 medals, and poetical designs for cameos at the Eoyal 
 Academy, and was very eminent in the branch of art he 
 followed. He died, much respected, at Somerset Place, 
 Strand, in April 1816, in his 77th year. 
 
 Sir EICHAED WESTMACOTT, E.A., was born in London 
 in 1775, and was the son of a sculptor of some eminence 
 in his day. In his father's studio, in Mount Street, 
 Grosvenor Square, he first learnt his art, and in 1793
 
 380 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 went to Eome, where he had the advantage of being 
 taught by Canova, and soon proved that he was a careful 
 and intelligent student. In 1791, he won the first prize 
 for sculpture at the Academy of Florence, of which he 
 was elected a member in 1795, and in the latter year he 
 gained the first gold medal from the Academy of St. Luke 
 for a bas-relief of ' Joseph and his Brethren,' the prize 
 being offered by the Pope. He remained about five years 
 in Italy, and on his return to England married the 
 daughter of Dr. Wilkinson, and commenced a very 
 prosperous career in London, at 14 South Audley Street, 
 not far from the residence of his father. 
 
 The arrangement of the Townleian marbles in the 
 then new building of the British Museum (old Montague 
 House) was superintended by* the young sculptor, a proof 
 that his taste and judgment were at that time publicly 
 recognised. His imaginative works were exceedingly 
 graceful and chaste, poetic in character, and classic in 
 feeling ; and will be regarded as among the best of their 
 class produced by modern English sculptors. He fol- 
 lowed the old Eoman artists in their purity and simplicity 
 of style, approaching almost to severity, rejecting all 
 superfluous ornaments, and endeavouring even in his 
 imaginative subjects to be natural rather than ideal. His 
 knowledge of what constitutes the highest qualities of 
 art, led him to seek to be chaste, dignified, and impressive 
 in his works, rather than to aim at the highest points of 
 grandeur and beauty. In this style are ' Cupid and 
 Pysche,' executed for the Duke of Bedford, and now at 
 Woburn ; ' Euphrosyne,' a commission from the Duke of 
 Newcastle ; ' A Nymph unclasping her Zone,' the property 
 of the Earl of Carlisle ; * The Distressed Mother ' (a 
 duplicate of the monument to Mrs. Warren), executed for 
 the Marquis of Lansdowne; 4 A Sleeping Infant,' 'Devo- 
 tion,' ' A Gipsy,' ' Cupid captive,' and many others less 
 celebrated. 
 
 A large portion of his time was occupied in monu-
 
 CH. IX.] SIR K. WESTMACOTT 881 
 
 mental sculpture. In Westminster Abbey are statues by 
 him of Pitt, Fox, Spencer Percival, and Addison ; and 
 monuments to the Duke of Montpensier, General Villettes, 
 and Mrs. Warren (widow of the Bishop of Bangor) and 
 her child the last a very fine and touching representa- 
 tion, which has been twice repeated for private individuals. 
 In St. Paul's are monuments to Sir Ealph Abercromby, 
 Lord Denman, Lord Collingwood, Captain Cook. Sir Isaac 
 Brock, and Generals Pakenharn and Gibbs, from his hand. 
 In the old hall of Lincoln's Inn, is a statue of Lord 
 Erskine, by Westmacott, one of Locke in University 
 College, and of Warren Hastings in the Cathedral of 
 Calcutta. Several of our street monuments were also 
 executed by him, as the statue of Fox in Bloomsbury 
 Square ; Francis, Duke of Bedford, in Eussell Square ; 
 and the Duke of York for the Column in Waterloo Place. 
 He modelled the 'Achilles,' in Hyde Park, from the 
 statue at Monte Cavallo, Eome : the pediment of the 
 British Museum was also his work, and portions of the 
 frieze of the marble arch now at Cumberland Gate, Hyde 
 Park ; the last being undertaken conjointly with Flaxman 
 and Baily. An alto-relievo exhibited in 1825, entitled 
 ' The afflicted Peasants ; ' a group in Bronze, ' The Abo- 
 lition of the Suttee,' for the pedestal to a statue of Lord 
 W. Bentinck ; a basso-relievo exhibited in 1820, entitled 
 'Maternal Affection,' part of a monument erected in 
 Hurst Church, Berks, to the memory of a lady ; and a 
 similar ornament to the pedestal of a statue of Addison, 
 representing 'The Muses,' are especially deserving of 
 commendation among his works of that nature. 
 
 Westmacott was elected an Associate in 1805, and a 
 Koyal Academician in 1811, when he presented, as his 
 diploma work, an alto-relievo of Ganymede. In 1827 
 he succeeded Flaxman as Professor of Sculpture, an office 
 he held till his death. His lectures, which he continued 
 to deliver annually till 1854, evinced that he was a man 
 of extensive reading and sound judgment. In them he
 
 382 HISTOKY OF THE ROYAL ACADEMY [On. IK. 
 
 set forth, in simple yet forcible language, the knowledge 
 he had acquired by the study of the antique, and by the 
 truth and earnestness of his discourses, rather than by 
 any display of eloquence, he gained the attention of the 
 students. He received the honour of knighthood from 
 her Majesty soon after her accession to the throne, and 
 the degree of D.C.L., from the University of Oxford, in 
 1837. He died at his residence in South Audley Street, 
 on the 1st of September, 1856, in his 83rd year. For 
 twenty years before his death he did very little in his 
 profession, but before that time he had spent a life of great 
 activity, he and Chantrey having for a long period divided 
 the patronage of the public in their branch of art between 
 them. His son succeeded him as Professor of Sculpture at 
 the Koyal Academy, in July 1857. 
 
 WILLIAM THEED, E.A.,was born in 1764. He entered 
 the schools of the Eoyal Academy as a student in 1786, 
 and at first practised as a painter of historical subjects and 
 occasionally of portraits. Subsequently he proceeded to 
 Eome, where he remained for several years, enjoying and 
 profiting by the friendship of John Flaxman the sculptor, 
 and Henry Howard the talented Secretary of the Eoyal 
 Academy. The refined tastes of these companions led 
 him to turn his attention to the imitation of the classic 
 models by which he was surrounded in Italy. At 
 Naples he met and married a French lady named Eougeot, 
 with whom he travelled through France, on his way back 
 to England, during the Eevolution of 1793. 
 
 Arrived in this country, he commenced his new artistic 
 career by designing and modelling, as Flaxman had pre- 
 viously done, for the Messrs. Wedgwood, the famous 
 Staffordshire potters. After some years thus spent, he 
 subsequently obtained an engagement to design for 
 Messrs. Eundell and Bridge, the jewellers, for whom he 
 constructed the models for presentation works in gold, 
 silver, &c. They allowed him a house, and a very hand-
 
 CH. IX.] ' THEED CHANTREY 383 
 
 some salary during the fourteen years in which he 
 remained in their employment. 
 
 In 1811 he was elected an Associate, and in 1813 
 became a Eoyal Academician. On the last-named 
 occasion he presented as his diploma work, ' A Baccha- 
 nalian Group,' in bronze. He produced several very 
 interesting and creditable works in sculpture during the 
 last few years of his career ; among them a large statue 
 of ' Mercury,' a group of ' Thetis bearing the arms of 
 Achilles,' in bronze, life size (the original of which is in 
 the possession of her Majesty, and a repetition of it in the 
 collection of Mr. Hope) ; a very beautiful monument of 
 Mr. Westphaling, in the parish church of Eoss, Hereford- 
 shire ; and many other monuments displaying both chaste 
 design and skilful execution. 
 
 He died in 1817, when only in his 53rd year, much 
 respected by all who knew him, and leaving a small 
 fortune for the education of his three children. One of 
 these, William Theed, is now practising as a sculptor, 
 and has attained to considerable eminence in his profes- 
 sion, having been largely employed by the late Prince 
 Consort and her Majesty, and by other distinguished 
 art-patrons. 
 
 Sir FRANCIS CHANTKEY,E. A., was born on the 7th of April, 
 1781, at Norton, near Sheffield. His father, who cultivated 
 a small property of his own, died when he was a child of 
 eight years old, and his mother married again, and em- 
 ployed her son, it is said, to drive an ass laden with milk- 
 cans to the neighbouring town. His step-father placed him 
 with a grocer, but he displayed such a strong predilection 
 for carving, that he was afterwards bound apprentice to 
 Mr. Eamsay, a carver and gilder, at Sheffield ; finding that 
 such work afforded little scope for his taste for real art- 
 workmanship, he employed all his leisure time in model- 
 ling in clay, and at length made an offer of 50 (the 
 whole amount of his wealth) as compensation to his
 
 884 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 master for the remainder of the term of his apprentice- 
 ship, and came to London to study as a sculptor. In 
 1802 he returned to Sheffield to commence business in 
 his new profession, but he made no progress towards 
 acquiring either fame or fortune tiU 1809, when he 
 received an order from Mr. Daniel Alexander, the archi- 
 tect, for four colossal busts of Howe, Nelson, St. Vincent, 
 and Duncan, for the Trinity House and the Greenwich 
 Naval Asylum. In the same year he married his cousin, 
 Miss Wale, with whom he received 10,000, and was 
 thus enabled to establish himself in his profession. During 
 the eight previous years he had not gained 5 as a 
 modeller, but he painted portraits in oil, crayon, and 
 miniature, and worked as a carver in wood, and so earned 
 a subsistence. 
 
 In 1808 he exhibited a model of a head of ' Satan ' at 
 the Eoyal Academy. From this period he was untiring 
 in his efforts, and continually successful. He had pre- 
 viously tried his fortune at Edinburgh and Dublin, and 
 owed his fame in London to JSTollekens, who was so struck 
 with his bust of J. Eaphael % Smith, sent to the Eoyal 
 Academy Exhibition in 1806, that he exclaimed, " It is a 
 splendid work ; let the man be known, remove one of 
 my busts, and put this in its place." Subsequently the 
 prosperous sculptor did all he could to advance the young 
 artist's interest, but his own genius soon ensured him 
 employment. Among his earliest works were a monu- 
 ment to the Eev. J. Wilkinson, Vicar of Sheffield, and 
 another to the daughter of Mr. Jones of Hafod. His bust 
 of Home Tooke led to much employment in the same 
 style, and his busts of the Marquis of Anglesea, Earl 
 St. Vincent, Sir Joseph Banks, John Watt, and Lady 
 Gertrude Sloan e, followed, besides commissions for a 
 statue of George III. for the Council Chamber of Guild- 
 hall, and of President Blair at Edinburgh. 
 
 In 1816 he was chosen an Associate of the Eoyal 
 Academy, and in the following year appeared the exqui-
 
 CH. IX.] SIR F. CHANTREY 385 
 
 site group of ' The Sleeping Children' (the daughters of the 
 Eev. W. Eobinson), the monument in Lichfield Cathedral, 
 which is universally admired as the beau-ideal of artless 
 beauty and innocent and unaffected grace. This work 
 and the statue exhibited in 1818, of Lady Louisa Eussell 
 (a child on tiptoe, pressing a dove to her bosom), now at 
 Woburn Abbey, were both executed from the designs of 
 Stothard. In 1818, Chantrey became a Eoyal Acade- 
 mician, and presented as his diploma work a marble bust 
 of the President, Benjamin West. In 1819 he proceeded 
 to Italy, where he was elected a member of the Academies 
 of Eome and Florence. Twice previously he had visited 
 the Continent, after the Peace of Amiens, and after the 
 Battle of Waterloo. 
 
 From this period orders crowded in upon him beyond 
 his power to execute, and his future life was employed in 
 executing one continued series of monumental works, as 
 he rarely attempted poetic pieces, except those we have 
 already mentioned, and two bas-reliefs from Homer, re- 
 presenting ' The Parting of Hector and Andromache,' and 
 4 Penelope with the Bow of Ulysses.' In bronze, he 
 executed statues of William Pitt, erected in Hanover 
 Square ; Sir Thomas Munro, at Madras ; George IV., at 
 Brighton and at Edinburgh ; and of the Duke of Wel- 
 lington, at the Eoyal Exchange. In marble, there are 
 statues by him of Francis Horner, Sir T. S. Eaffles, Geo. 
 Canning, Eev. E. F. Sutton, and Sir J. Malcolm, in West- 
 minster Abbey; Washington, at Boston, U.S.; Spencer 
 Percival, at Northampton ; James Watt, at Aston Church, 
 Birmingham; Sir E. H. East and Bishop Heber, at 
 Calcutta ; Canning, in the Liverpool Town Hall ; M. S. 
 Elphinstone and Sir C. Forbes, at Bombay ; Bishop Eyder, 
 at Lichfield ; and Bishop Bathurst, at Norwich. Among 
 his numerous busts were George IV., William IV., and 
 Queen Victoria ; Lord Castlereagh, Canning, Lord Mel- 
 bourne, Sir E. Peel, and the Duke of Wellington ; Sir W. 
 Scott, Wordsworth, Southey, and J. Eennie. 
 
 VOL. i. c c
 
 386 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 When he first acquired celebrity, he charged 100 
 guineas for a bust, then 150, till 1822, when the price 
 was raised to 200. Subsequently he modelled a bust of 
 George IV., when the King wished him to increase the 
 price, and insisted that the bust of himself should not 
 return to the artist a less sum than 300 guineas. Chantrey 
 was celebrated for catching the expression of his sitters, 
 and sought to portray the emotions of the mind as 
 well as the form of the features. He treated the unpic- 
 turesque modern costume with the least possible injury 
 to the proportions of the human figure ; and the fleshy, 
 pulpy appearance he gave to the marble was very striking 
 and effective. His criticisms on his art, and on painting, 
 were judicious and valuable ; simplicity and breadth were 
 the characteristics he especially sought and admired ; and 
 the circumstance of his sometimes touching upon Con- 
 stable's pictures, and telling that great painter that he 
 might work upon his busts, illustrates the sympathy in 
 taste and style between the two artists. 
 
 He died from disease of the heart, from which he had 
 been suffering for years, on the 25th of November, 1841, 
 and was buried in a vault constructed by himself in the 
 church of his native place, Norton. To the clergyman of 
 that parish he bequeathed 200 per annum, " so long as 
 his tomb shall last, to instruct ten poor boys, and to pay 
 10 to five poor men and five poor women of the parish 
 selected by him, the residue to go to him for his trouble." 
 In private life, Chantrey was generous, humane, and 
 charitable, keeping up the most hearty friendship with 
 his brother Academicians, and able to adapt himself to 
 the highest as well as the simplest society. He was liberal 
 to all his professional brethren, and often encouraged 
 tneir efforts by purchasing their productions. In 1837 he 
 received the honour of knighthood from her Majesty. 
 In 1849 Mr. George Jones, E.A., published an interesting 
 notice of him, entitled, " Sir Francis Chantrey : Eecollec- 
 tions of his Life, Practice, and Opinions."
 
 CH. IX.] SIR F. CHANTREY 387 
 
 By his will lie left the reversion of a portion of his 
 property, at the death or second marriage of his wife, at 
 the disposal, under certain restrictions, of the President 
 and Council of the Eoyal Academy, for the promotion of 
 British fine arts, in painting and sculpture, including an 
 annuity of 300 for the President, and 50 for the 
 Secretary, payable on the 1st of January in each year. 
 The interest of the residue is to be laid out in the pur- 
 chase of the works of fine art of the highest merit in 
 painting and sculpture that can be obtained, either already 
 executed or which may hereafter be executed by artists 
 of any nation, resident in Great Britain when they were 
 completed. All purchases must be bond-fide purchases 
 of finished works, no commissions may be given to artists 
 to execute them, and they must be publicly exhibited for 
 at least one month at the annual exhibition of the Eoyal 
 Academy. Chantrey's design was thus to form and 
 establish a "public national collection of British Fine Arts, 
 in Painting and Sculpture;" but he expressly stipulates 
 that no part of the money shall be expended in providing 
 a gallery for their reception, as he expected the nation to 
 supply one free of charge upon his estate. Lady Chantrey, 
 however, so long as she remains a widow, has a life-interest 
 in his residuary personal estate, which is estimated at 
 about 2500 per annum, vested in five trustees, including 
 the President and Treasurer of the Eoyal Academy. In 
 addition to this noble gift, Chantrey left to his principal 
 assistant, Allan Cuningham, 2000, and a life annuity of 
 100 to him or his widow ; also a bequest of 1000 to 
 Henry Weekes, his assistant, in each case on the condition 
 that they completed his unfinished works before they 
 resigned their offices. 
 
 Lady Chantrey still survives. She presented the original 
 models of the entire series of Sir Francis Chantrey's busts 
 (a very valuable collection of eminent contemporary por- 
 traits), the greater part of his monumental figures, and 
 his studies from the antique, to the University of Oxford, 
 
 c c 2
 
 388 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 on the condition that a permanent position should be 
 assigned to them in the Taylor Buildings, where they are 
 now placed, in the Western Sculpture Gallery. 
 
 Of the two AKCHITECTS elected during West's Presi- 
 dentship, we must first speak of that remarkable man, Sir 
 JOHX SOANE, E.A., who rose to eminence and riches from 
 a very humble beginning. The real name of his family 
 was Swan. His father was a bricklayer or small 
 builder at Eeading, where he was born on the 10th Sep- 
 tember, 1753. Dance, the architect, employed him at 
 first as an errand boy or attendant, and afterwards placed 
 him on the rank of a pupil. His sister was also a servant 
 in Dance's family. He subsequently studied with Holland, 
 an architect of some position, and remained with him till 
 1776. He became a student at the Eoyal Academy in 
 1771, and five years afterwards obtained the gold medal 
 for a design for ' a Triumphal Bridge,' which was based, 
 in a great measure, upon that made by Thomas Sandby, 
 to illustrate one of his lectures on Architecture at 
 the Academy. At the recommendation of Sir William 
 Chambers, he was sent to Italy with the allowance 
 granted for three years to travelling students. An octavo 
 volume of " Designs for Temples, Baths, &c.," previously 
 drawn by him, was published in 1778, after he had left 
 England, which sadly detracted from the good opinion 
 entertained of his abilities, many of them being designed 
 in wretched taste, and all of them being characterised by 
 that littleness of manner, and those whims and fancies 
 which distinguished more or less all his after works. 
 His name was spelt " Scan " in this book, and at a later 
 period he took great pains to buy up all the copies which 
 were then in circulation. 
 
 During his stay in Italy he studied all the ancient 
 buildings, and made some original designs for a Senate 
 House and a Eoyal Palace. Mr. Thomas Pitt, afterwards 
 Lord Camelford, met him in Italy, and obtained for him
 
 CH. IX.] SIR JOHN SOANE 389 
 
 the appointment of architect to the Bank of England, on 
 the death of Sir Eobert Taylor. In 1788 he published 
 a volume of plans and elevations of several country 
 mansions designed by him, in which great pains are 
 taken to attend to the conveniences of the interior 
 arrangements, but little taste or invention is displayed 
 in regard to the general design. By his marriage with 
 Miss Smith, the niece of George Wyatt, a wealthy builder 
 in the city, he became, on his wife's uncle's death, the 
 owner of a very considerable fortune. Subsequently he 
 succeeded to several lucrative appointments clerk of the 
 works at St. James's Palace in 1791 ; architect to the 
 Woods and Forests in 1795 ; and Surveyor to Chelsea 
 Hospital in 1807. 
 
 He was elected an Associate in 1795, and E.A. in 
 1802 ; and was Professor of Architecture at the Eoyal 
 Academy from 1806 till his death. A variety of public 
 and private buildings engaged his attention during several 
 years, in all of which a great want of unity of design 
 and purpose was conspicuous, arising apparently from a 
 constant effort at originality, experiments in parts, and 
 successes in details, which left the whole incongruous ; 
 while there were serious defects and omissions in other 
 parts. The north-west corner of the Bank of England is 
 his best work, and far surpasses all the rest of his per- 
 formances. In this work he applied the Tivoli-Corinthian 
 style, which he was the first to introduce into this country. 
 He possessed great ingenuity and contrivance, and suc- 
 ceeded especially in perspective effects, depending upon 
 interior arrangements and minute details; but he never 
 carried out the idea on a definite plan, so as to give unity 
 to the whole work. 
 
 In 1828 he published a series of folio plates of designs 
 for public and private buildings, to record his labours 
 as an architect; and in 1832 he issued a description of the 
 house he erected in Lincoln's Inn Fields, which is full of 
 objects of interest, but is a strange jumble of oddities
 
 390 HISTOHY OF THE ROYAL ACADEMY [On. IX. 
 
 and eccentricities. He commenced the formation of the 
 museum of antiquities, the collection of pictures, and the 
 library in 1812, and spent large sums upon them during 
 the remainder of his life. By success in his profession, 
 and the property he obtained in right of his wife, he 
 became a wealthy man ; and late in life he had a serious 
 and bitter quarrel with his only surviving son, who ex- 
 cited his father's anger by writing a severe criticism on 
 his works in one of the periodicals of the day. Many 
 persons, knowing that Sir John Soane had vowed that he 
 would disinherit his son, hoped to obtain a share of his 
 property ; but in 1833 he obtained an Act of Parliament 
 vesting his museum, library, &c. in trustees, for the use of 
 the public after his death, limiting admission to two days 
 a week for three months of the year, by tickets issued by 
 the curator, an officer to be nominated by the Eoyal 
 Academy, to reside on the premises, with an income pro- 
 vided out of the funds bequeathed by Sir J. Soane, for 
 its preservation and management. l 
 
 The formation of this museum was the amusement of 
 the chief portion of a lifetime, and cost upwards of 
 50,000. There are Egyptian, Greek, and Eoman 
 antiquities, sculptures and gems, rare books and manu- 
 scripts, architectural models, and several valuable pictures ; 
 among them, Soane's portrait by Lawrence; the famous 
 ' Snake in the Grass,' by Eeynolds ; the series of pictures of 
 ' The Eake's Progress,' and ' The March to Finchley,' by 
 Hogarth ; a fine work by Canaletti, and others by Turner, 
 Fuseli, CaUcott, Eastlake, &c. The house must be seen to 
 be understood ; for cabinets, recesses, ceilings, and walls, 
 doing double duty by moveable planes, are all covered and 
 full of articles ingeniously arranged ; and these are found 
 in little monk's parlours, crypts, courts, recesses, cata- 
 
 1 Mr. Bailey was the first curator Academy from among the candidates 
 
 thus appointed, and in 1861, on that who then offered themselves for the 
 
 gentleman's death, Mr. Joseph office, to succeed him. 
 Bonomi was selected by the Royal
 
 CH. EX.] SIR ROBERT SMIRKE 391 
 
 conibs, and other apartments as fantastic in shape as in 
 name. 
 
 In 1831 Soane was offered a baronetage, but refused it, 
 purposely that his son might not even inherit an empty 
 title from liim : he, however, accepted the honour of 
 knighthood for himself. His health and faculties re- 
 mained unimpaired until the day of his death, which 
 occurred rather suddenly at his house in Lincoln's Inn 
 Fields, on the 20th January, 1837. He was buried at St. 
 Giles's burial-ground in the Old St. Pancras Eoad, where 
 two tall cypress-trees mark the site of his grave. 
 
 Sir EGBERT SMIRKE, E.A., is the eldest son of Eobert 
 Sniirke, E.A., and the brother of Sydney Smirke, E.A. 
 He was born in 1780, and received from his father a 
 careful training in the knowledge of art. He did not 
 choose painting, however, but architecture as his especial 
 study ; and entered the Schools of the Eoyal Academy in 
 1796, where he obtained the gold medal in 1799 for his 
 design for "a National Gallery for Painting," &c. He 
 subsequently made a tour in Italy, Sicily, Greece, and 
 Germany, from which he returned in 1805. The first- 
 fruits of this journey were the " Specimens of Conti- 
 nental Architecture," published in folio, in 1806, and his 
 contributions to Donaldson's " Antiquities of Athens " and 
 other works, giving the results of his investigations into 
 the remains of ancient art. 
 
 While still a very young man he had opportunities (by 
 the aid of influential friends and patrons) of displaying 
 the talents he possessed, which rarely fall to the lot of 
 genius. His first work as an architect was Covent 
 Garden Theatre, the most important specimen of the 
 Grecian-Doric style which had then been erected in the 
 metropolis. There was a large tetra-style Doric portico, 
 ornamented with sculptures in relief by Flaxman. The 
 interior was altered in 1847 to adapt it for the Italian 
 Opera ; and the whole was destroyed by fire on the 5th of
 
 392 HISTORY OF TIIE ROYAL ACADEMY [On. IX. 
 
 March, 1856. His next work of importance was the 
 Mint, erected in 1811, in the same style, but with a rusti- 
 cated basement. It is a neat, unpretending, but sub- 
 stantial-looking pile of three stories, having a centre with 
 attached columns supporting a pediment and wings. A 
 more imposing work is the General Post Office in St. 
 Martin's-le-Grand, commenced in 1823, and finished in 
 1829. It is in the Grecian-Ionic style, making little 
 pretensions to architectural display, except on the side 
 facing the main street, where there are three porticoes, 
 one at each end of four columns, and a centre one of six 
 columns, surmounted by a pediment, all of the Ionic 
 order. While this work was in progress he also erected, 
 in the same style, the College of Physicians and the 
 Union Club at Trafalgar Square. The club-house belong- 
 ing to the United Service in Charles Street, Eegent Street, 
 was designed by him ; but being subsequently sold for the 
 use of the Junior United Service Club, it was recently 
 altered to a design of a less sombre character. 
 
 In 1830-31 he was employed at the Inner Temple, 
 extending King's Bench walk in the Grecian style, and 
 completing the library in the Gothic. Subsequently he 
 erected King's College as the east wing of Somerset 
 House. The restoration of York Minster, after the fire 
 of 1829, was conducted under his superintendence, and 
 is his chief work in the Gothic style. The Carlton Club 
 was completed by him in 1834, a pseudo-classic structure, 
 which being heavy and unattractive, was subsequently 
 removed to give place to the present very striking and 
 ornamental design by his brother Sydney. In connexion 
 with him, he designed the Oxford and Cambridge Club, 
 completed in 1838, the most ornamental of any of his 
 works. 
 
 While all these buildings were in progress, another more 
 important one was making slow progress towards com- 
 pletion. This was the British Museum, one of the largest 
 architectural works of the present century. It was com-
 
 CH. IX.] SIR ROBERT SMIRKE 393 
 
 menced in 1823, but from various causes the portico was 
 not completed till 1847. It is of the Greek-Ionic order, 
 carried out externally with great severity, but one of the 
 most imposing Grecian structures in the metropolis. The 
 grand front is 370 feet long, consisting of a central por- 
 tion with advanced wings. There are 44 columns in the 
 fa9ade, 5 feet in diameter and 45 feet high, resting upon 
 a stylobate 5^ feet high. Westmacott's alto-relievo group 
 fills up the tympanum of the pediment. There was an 
 open quadrangle in the original design 320 by 240 feet, 
 the greater part of which has since been filled up by the 
 noble new reading-room and its connected buildings. 
 Much difference of opinion has been expressed as to the 
 suitability of the building for its purposes, but with the 
 exception of some few internal arrangements which are 
 considered defective, it possesses the dignity and simplicity 
 suited to the objects of a public museum of archaeology 
 and natural history ; and in many of its apartments, both 
 as to size, height, and lighting, admirably fulfils its 
 purpose. 
 
 In 1808 Sir Eobert Srnirke became an Associate, and 
 in 1811 was elected a Eoyal Academician. His diploma 
 work was a view of ' The Eestoration of the Acropolis of 
 Athens.' He was appointed Treasurer in 1820, and held 
 the office till 1850. He resigned his position as an Acade- 
 mician on 20th of May, 1859, finding that age and infirmity 
 rendered it necessary that he should retire from his pro- 
 fession, and that he was no longer able to fulfil the duties 
 of his position in the Academy with the energy and 
 activity he felt they required. His brother Sydney suc- 
 ceeded to the seat which he vacated. Sir Kobert was one 
 of the architects of the Board of Works and Public 
 Buildings, until the office was abolished in 1831, when 
 the honour of knighthood was conferred upon him in 
 acknowledgment of his past services. 
 
 The forty members who during the period in which
 
 394 HISTORY OF THE ROYAL ACADEMY [On. IX. 
 
 Benjamin West presided over the Academy, were elected 
 to fill the vacancies existing in the ranks of the Acade- 
 micians, were no unworthy successors (as we think the 
 preceding outlines of their several lives will have shown), 
 of the original members who established the Academy 
 under Sir Joshua Eeynolds, and of those who were after- 
 wards associated with him during his presidentship over 
 the institution.
 
 395 
 
 CHAPTEE X. 
 
 ASSOCIATES ELECTED DURING THE PRESIDENTSHIP OF BEN- 
 JAMIN WEST, WHO DID NOT SUBSEQUENTLY BECOME ROYAL 
 ACADEMICIANS. 
 
 Painters : J. DowifMAir, G. GARRARD, T. CLARKE, A. J. OLIVER, S. DRTTM- 
 MOND, G. ARNALD, W. WESTAXL, G. F. JOSEPH, W. ALLSTON. 
 
 Architect: J. GANDT. 
 
 Associate Engravers : A. SMITH, J. FITTLER, J. LANDSEER, W. WARD, 
 W. BROMLEY. 
 
 THE younger artists enlisted into the ranks of the 
 Academy as associates during West's presidentship, 
 have now to be noticed. Among those of this class who 
 did not afterwards attain the higher grade of Eoyal 
 Academician (15 in number) there were 9 painters, 1 
 architect, and 5 associate engravers. The painters were 
 John Downman, elected in 1795 ; George Garrard, in 
 1800; Theophilus Clarke, in 1803; A. J. Oliver, in 
 1807 ; S. Drummond, in 1808 ; G. Arnald, in 1810 ; 
 W. Westell, in 1812 ; G. F. Joseph, in 1813 ; and 
 W. Allston, in 1818. The only architect was Joseph 
 Gandy, elected in 1803. The engravers were Anker 
 Smith, elected in 1797 ; J. Fittler, in 1800 ; John 
 Landseer, in 1806 ; W. Ward, in 1814 ; and W. Bromley, 
 in 1819. 
 
 JOHN DOWNMAN, A.E.A., was a student at the Eoyal 
 Academy in 1769, and became an Associate in 1795. 
 He devoted himself chiefly to portrait and miniature 
 painting, but frequently exhibited pictures of fancy sub- 
 jects, such as 'The Death of Lucretia,' 'The Priestess
 
 396 HISTORY OF THE ROYAL ACADEMY [On. X. 
 
 of Bacchus,' ' Tobias,' ' Fair Kosamond,' ' The Eeturn of 
 Orestes,' ' Duke Eobert,' ' Bacchante,' &c. He was a 
 large and constant contributor during many years to the 
 exhibitions of the Academy, and was a man of very 
 superior abilities and qualities of heart. He died at 
 Wrexham, North Wales, on the 24th of December, 1824, 
 and left a large collection of his works to his only 
 daughter. 
 
 GEOEGE GAEEAED, A.E.A., was born on the 31st of 
 May, 1760, became a student at the Academy in 1778, 
 and was elected an Associate in 1800. He seems to 
 have combined painting and sculpture in his practice ; 
 for sometimes he was an exhibitor of pictures of horses 
 and dogs, and landscapes, and at others of sculptured 
 busts, bas-reliefs, and monuments. He died on the 8th 
 of October, 1826, at Queen's Buildings, Brompton. 
 
 THEOPHILUS CLAEKE, A.E.A., was born in 1776, and 
 became a student at the Academy in 1793 ; he was 
 elected an Associate in 1803. He occasionally exhi- 
 bited a few fancy subjects, such as ' The Pensive Girl,' 
 and ' The Lovers,' from Thomson's " Seasons ; " but his 
 practice appears to have been chiefly confined to the paint- 
 ing of portraits. It is not known when he died, but his 
 name was erased from the list of Associates in 1832. 
 
 AECHEE JAMES OLIVEE, A.E.A., was born in 1774, 
 was admitted as a student at the Eoyal Academy in 1790, 
 and became an Associate in 1807. He lived in New 
 Bond Street, and practised there as a fashionable painter 
 of portraits. He exhibited a large number of such works 
 for several years at the Academy. In 1835 he was 
 appointed Curator in the Painting School, but after- 
 wards fell into ill-health, and was maintained principally 
 by aid from the funds of the Academy until he died in 
 1842.
 
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 /
 
 CH. X.] DRUMMON D ARNALD WESTALL 397 
 
 SAMUEL DBUMMOND, A.E.A., was born in 1770, entered 
 the schools of the Academy in 1791, and was elected an 
 Associate in 1808. His principal occupation was portrait 
 painting, but he also exhibited occasionally Scripture, 
 classic, and fancy subjects, by the engravings from which 
 he was favourably known to the public. He succeeded 
 Oliver as Curator of the Painting School, and was fre- 
 quently granted assistance from the funds of the Academy 
 in the latter part of his life, although he continued to prac- 
 tise his profession until his death in 1844. His portrait 
 of Sir M. I. Brunei, and a miniature of Mrs. E. Fry, are 
 in the National Portrait Gallery. 
 
 GEOKGE AKNALD, A.E.A., was born in 1763, and was 
 elected an Associate of the Eoyal Academy in 1810. He 
 was afterwards appointed Landscape Painter to the Duke 
 of Gloucester, and contributed to the exhibitions com- 
 positions from nature, views of tranquil English scenery, 
 and some French landscapes. He died at Pentonville 
 on the 21st of November, 1841, in his 78th year. 
 
 WILLIAM WESTALL, A.E.A., was a younger brother of 
 the Eoyal Academician, Eichard Westall, and was born at 
 Hertford, on the 12th of October, 1781. He studied 
 under his brother, and in 1801, on the recommendation 
 of West, was appointed draughtsman to the voyage of 
 discovery undertaken by Captain Flinders in the " In- 
 vestigator." He was thus employed for two years, until 
 the ship was abandoned, when he was transferred to 
 its companion, the " Porpoise," in which he was wrecked 
 on a coral reef on the north coast of Australia. He 
 was picked up by a ship bound for China, where he 
 remained some months, and then made his way to 
 India, visiting the interior to sketch the most remark- 
 able scenes he met with in that country. On his re- 
 turn to England he failed to obtain adequate employ- 
 ment, and again set sail, this time for Madeira and
 
 398 HISTORY OF THE ROYAL ACADEMY [On. X. 
 
 the West India Islands. In 1808 he returned to exhibit 
 his collection of water-colour drawings, but the result did 
 not answer his expectations. After the return of Captain 
 Flinders, the Government gave Westall directions to pre- 
 pare his sketches for engraving with the published account 
 of the voyage, and he also received commissions to paint 
 several views in Australia. Some of these novel scenes 
 attracted considerable attention when exhibited at the 
 Eoyal Academy in 1812, the year in which he became an 
 Associate, having been previously elected a member of 
 the Water-Colour Society. 
 
 For several years after this period he devoted his time 
 exclusively to drawing for engravers, and thus acquired 
 a neatness of style which spoiled the effect of his paint- 
 ings on a large scale. Among his chief works, those 
 representing the scenery of the English lakes are the 
 most attractive. In that charming locality he obtained 
 the friendship of the " lake poets " Southey and Words- 
 worth. He also drew and engraved in aquatinta views of 
 monastic ruins in Yorkshire, Oxford, Cambridge, &c. 
 Latterly he painted very little in oil-colours, and contri- 
 buted very few works to the Eoyal Academy. In 1847 
 he met with an accident, breaking his arm, and injuring 
 himself internally, from the consequences of which he 
 never perfectly recovered. He died on the 22nd of 
 January, 1850. 
 
 GEOEGE FEANCIS JOSEPH, A.E.A., was born on the 
 25th of November, 1764, and became a student at the 
 Eoyal Academy in 1784. In 1792 he gained the gold 
 medal for the best historical painting of the year, the 
 subject being a scene from. " Coriolanus ; " and in 1812 
 he was awarded a premium of 100 guineas by the 
 British Institution for his picture of ' The Procession to 
 Mount Calvary.' He was elected an Associate in 1813. 
 Subsequently he established himself in his profession as a 
 portrait-painter in oils, and found full employment in this
 
 CH. X.] WASHINGTON ALLSTON 399 
 
 department of art. His portraits of the Eight Hon. 
 Spencer Perceval and of Sir Stamford Baffles are in the 
 National Portrait Gallery. He also painted fancy pictures 
 from Shakspeare, &c. He resided in Percy Street, Bed- 
 ford Square, and died in 1846. 
 
 WASHINGTON ALLSTON, A.E.A., was a native of America, 
 and was born in South Carolina in 1780. In 1796 he 
 entered Harvard College, and in 1801 came to England 
 to study painting at the Eoyal Academy. In 1804 he 
 went to Paris, and thence to Eome, where he stayed four 
 years, astonishing the artists there by his peculiar effects 
 in colour, obtained by an extensive use of asphaltum, 
 after the manner of Eembrandt. In 1809 he went back 
 to America, and at Boston married the sister of Dr. 
 Channing. He came to England in 1811, and obtained 
 a prize of 200 guineas from the British Institution for 
 his picture, painted in 1812, of 'The Dead Man raised 
 by touching Elisha's Bones,' which was afterwards bought 
 for 3500 dollars by the Pennsylvania Academy of Arts. 
 West praised this picture highly, saying that it reminded 
 him of the highest schools of art of the sixteenth century. 
 Allston's wife died in 1813, which affected him deeply, 
 and his own health became very delicate. The next 
 year he published " Hints to Young Practitioners in the 
 Study of Landscape Painting." In company with C. E. 
 Leslie he again visited Paris in 1817, and was chosen an 
 Associate of the Eoyal Academy in 1818, in which year 
 he was also awarded a premium of 150 guineas by the 
 British Institution for his picture of 'The Angel Uriel.' 
 From this time until his death, which occurred at Cam- 
 bridgeport, a village of Massachusetts, on the 9th of 
 June, 1843, he resided in great seclusion in his native 
 country, devoting himself to elegant studies in literature 
 as well as to painting ; hence his works are little known 
 in England, as for many years he never contributed a 
 single picture to the Eoyal Academy. He was long held
 
 400 HISTORY OF THE ROYAL ACADEMY [On. X. 
 
 in affectionate remembrance, however, by many friends in 
 this country, and among them, by Coleridge, who said of 
 him that he was gifted with an artistic and poetic genius 
 unsurpassed by any man of his age. Leslie held him in 
 great regard, and describes him as " a most amiable and 
 polished gentleman, and a painter of the purest taste." 
 In the Egremont Collection at Petworth are 'Jacob's 
 Dream,' and ' Elisha ; ' Mr. Labouchere possesses ' Elisha 
 in the Desert,' and the Duke of Sutherland ' Uriel.' His 
 works are characterised by great imagination, a thorough 
 knowledge of perspective, and of the use of light and 
 shade. Many years ago he published a volume of poems, 
 and about two years before his death an Italian romance 
 entitled " Monalde." A folio volume of engravings, from 
 the graceful and elegant sketches found in his studio after 
 his death, was published soon afterwards in Boston, U.S. 
 
 JOSEPH GANDY, A.E.A., was the only architect added to 
 the list of Associates during West's presidentship. He 
 became a student in 1789, was awarded the gold medal 
 in 1790, for his architectural design for a ' Triumphal 
 Arch,' and was elected an Associate in 1803. He was 
 an elder brother of Mr. J. P. Gandy Deering, also an 
 architect, but whose practice was limited to a short period, 
 as he became possessed of a large property many years 
 before his death. Joseph Gandy lived in Greek Street, 
 Soho, and exhibited a large number of architectural 
 designs and drawings at the Eoyal Academy. He died 
 in 1844. 
 
 The five Associate Engravers remain to be noticed. 
 These were : 
 
 ANKEK SMITH, A.E., who was born in London in 1759, 
 and educated at Merchant Taylor's School. He was 
 articled, in 1777, to his uncle, Mr. John Toole, an attorney 
 (a brother of the translator of Tasso and Ariosto), in
 
 CH. X.] ANKER SMITH J. FITTLER 401 
 
 * 
 
 whose office he amused himself by copying line engrav- 
 ings with a pen so admirably that James Heath mistook 
 them for prints. He was persuaded by him to learn 
 engraving ; and after receiving instruction for three years, 
 1779-82, from an engraver named Taylor, he became 
 Heath's assistant, and worked largely on the plates 
 bearing that engraver's name, indeed the plate of the 
 ' Apotheosis of Handel,' signed by James Heath, is said 
 to be entirely the work of Smith. In 1787 he was 
 engaged to engrave the plates for Bell's edition of 
 the "British Poets," the "British Theatre," Smirke's 
 illustrations to "Don Quixote," and other small book- 
 plates. At a later period, Boydell also employed him on 
 the Shakspeare Gallery ; and one plate, the ' Death of 
 Wat Tyler,' after Nbrthcote, was so much admired that 
 it obtained for him the rank of Associate-Engraver in 
 1797. He also engraved the plates for Wood's smaller 
 Shakspeare, and for Coomb's works on the " Ancient 
 Marbles and Terra Cottas in the British Museum." His 
 larger works, after Titian, Carracci, and L. da Vinci, bear 
 some resemblance to those of Bartolozzi, and his smaller 
 ones are much esteemed for their beautiful execution and 
 correct drawing. 
 
 His private friends admired his simple piety, and correct 
 taste and judgment. He married in 1791, and left a 
 widow, four sons, and a daughter. His second son 
 became a promising pupil of Chantrey's, but died when 
 only thirty-eight ; the two younger ones became painters. 
 One of his sisters was the mother of Sir Wm. C. Eoss, E.A. 
 He died of apoplexy, in 1819. 
 
 JAMES FITTLER, A.E., was born in London in 1758, and 
 became a student at the Eoyal Academy in 1778. Besides 
 book illustrations, he distinguished himself by numerous 
 works after English and foreign masters, chiefly por- 
 traits, busts, &c. He was appointed engraver to the 
 King, and executed the plates for Forster's "British 
 
 VOL. i. D D
 
 402 
 
 HISTORY OF THE ROYAL ACADEMY [On. X. 
 
 Antiquities, 
 men's Seats, 
 ;nery of Scot- 
 . oblong folio, 
 1804. 
 
 Gallery," many of those for Bell's " British Theatre," and 
 all of those in Dr. Dibdin's "Aedes Althorpianse," pub- 
 lished in 1822, since which time he undertook no im- 
 portant work. His best engravings are 'Lord Howe's 
 Victory ' and the ' Battle of the Nile,' both after De 
 Loutherbourg, and the portrait of Benjamin West. He 
 was elected an Associate-Engraver in 1800, and died in 
 1835^ 
 
 JOHN LANDSEER, A.E., the father of Thomas Landseer, 
 the mezzotint-engraver, of Charles, the present Keeper of 
 the Eoyal Academy, and of the eminent animal painter, 
 Sir Edwin Landseer, was .born at Lincoln in 1769. His 
 instructor in the art of engraving was John Byrne, a 
 landscape engraver of much ability. As early as 1793, 
 he attracted notice by some vignettes, he executed after 
 De Loutherbourg, and by his line engravings for Bowyer's 
 " History of England," and Moore's " Views in Scotland." 
 He subsequently published a clever series of engravings 
 of animals from the works of Eubens, Snyders, Gilpin, 
 and other artists. He next turned his attention to the 
 history of his art, and the position of its professors. In 
 1806 he delivered a course of lectures at the Eoyal 
 Institution, on " Engraving," which were published in the 
 following year, and occasioned some controversy by the 
 peculiar views expressed in them. 
 
 In 1806 he was elected an Associate-Engraver of the 
 Eoyal Academy ; and it is said that he only accepted the 
 rank in order that he might be the better able to seek 
 to remove the cause of contention, existing from the first 
 formation of the Academy, in regard to the admission 
 of engravers to full academic honours. As we have seen 
 in a previous chapter, he addressed a memorial to the 
 President and Council of the Eoyal Academy on the 
 subject, 1 and, after a long discussion, found that he 
 
 1 This document is printed at length in "Pye's Patronage of British Art," 
 pp. 254-57.
 
 CH. X.] JOHN LANDSEER W. WARD 403 
 
 could not obtain any alteration in the laws on the subject. 
 From that time he seems to have indulged more in 
 controversy on art than in the practice of it. He com- 
 menced the publication of a periodical, which soon dis- 
 appeared, and, at a later period, another, the " Probe," 
 to oppose the "Art-Union Journal" in its early 
 career, which failed, like its predecessor. In 1817 he 
 communicated to the Society of Antiquaries a paper on 
 "Engraved Gems brought from Babylon," which was 
 printed in their Proceedings ; and he afterwards delivered 
 a course of lectures on " Engraved Hieroglyphics," at the 
 Eoyal Institution. In 1823 he published a volume, 
 entitled " Sabaean Kesearches ; " and in 1834, a " Descrip- 
 tive, Explanatory, and Critical Catalogue of the Earliest 
 Pictures in the National Gallery," which was a discursive, 
 amusing volume. 
 
 He died on the 29th of February, 1852, in his 83rd 
 year, and was buried in Highgate Cemetery. He lived to 
 see his sons rise to eminence, and one of them to occupy 
 a conspicuous place among the artists of Europe. One of 
 Sir Edwin Landseer's early pictures, ' The Dogs of Mount 
 St. Bernard,' was engraved by his father, and was one of 
 his best works. 
 
 WILLIAM WARD, A.E., was the elder brother of James 
 Ward, E.A., the animal painter mentioned in the last 
 chapter, and was his instructor for some time in his early 
 career in art. William Ward was a mezzotinto engraver, 
 and is chiefly known by his transcripts of the works of 
 -George Morland, his brother-in-law. He engraved por- 
 traits by Eeynolds, Jackson, and others, and copied also a 
 few historical pictures. He was elected an Associate- 
 Engraver in 1814, and held the appointment of Mezzotinto 
 Engraver to the Prince Eegent and the Duke of York. 
 He lived in Warren Street, Fitzroy Square, and died there, 
 very suddenly, on the 1st of December, 1826. His son, 
 William James Ward, followed his father's style, and
 
 404 HISTORY OF THE ROYAL ACADEMY [On. X. 
 
 excelled him in ability, although he displayed great skill 
 in his profession. 
 
 WILLIAM BROMLEY, A.E., was born at Carisbrooke, in 
 the Isle of Wight, in 1769. He was apprenticed to an 
 engraver named Wooding, in London, and soon attracted 
 
 O O 7 7 
 
 the notice of several eminent painters by his works. 
 Among those whose esteem he won, were Fuseli, Stothard, 
 Flaxman, and Sir Thomas Lawrence. Of his early pro- 
 ductions, the most popular were the prints in lYEacklin's 
 Bible, and his copies of Stothard's designs, illustrating a 
 " History of England." He engraved, also, two of Law- 
 rence's portraits of the Duke of Wellington, and one of 
 young Napoleon. Of a different class is his print after 
 Eubens, l The Woman taken in Adultery.' In 1819 he 
 was elected an Associate-Engraver of the Eoyal Academy, 
 and was also a Member of the Academy of St. Luke, at 
 Eome. He was employed for many years by the trustees 
 of the British Museum in engraving the ' Elgin Marbles,' 
 from drawings 'made by Henry Corbould. His son, John 
 Bromley, was also an eminent engraver in mezzotint, but 
 died three years before his father, who survived till 1842. 
 
 END OF THE FIKST VOLUME. 
 
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