was chosen in 1861 to fill the vacancy caused by the election of an Academician from among the Associates, in the room of his eminent father, the late Sir Charles Barry.

EDWARD MIDDLETON BARRY, A.R.A., the third son of that distinguished architect, was born in 1830, and educated for his profession by his father, except during the short time he spent as a pupil of Mr. T. H. Wyatt, until he became a student at the Royal Academy in 1848. For the last ten years of his father's life he was associated with him in the conduct of all his most important works; the Government, therefore, felt that he was the most competent person to complete the Houses of Parliament, and he has been appointed architect to that building accordingly. The new Royal Italian Opera-House, Covent Garden, completed in 1858, is a fair specimen of his abilities. It is erected in the Italian style, with a Corinthian portico and two wings; the sculptured friezes by Flaxman, which adorned the old theatre, are preserved, and introduced over the five arched windows which light the grand staircase. The construction of the building, and its ornamentation within and without, are admirably adapted to the purpose for which it is designed, and the convenience of the visitors. The Floral Hall, adjoining the theatre, chiefly of iron and glass, was subsequently erected from his design. The Birmingham and Midland Institute, the Leeds Grammar School, St. Saviour's Church, Haverstock Hill, and the National Schools of St. Giles's-in-the-Fields, a brick building of great beauty and novelty of design, are among his other works, and give promise, by the proofs they afford of the attainments he already possesses, of his rising to future eminence in his profession as an architect.

Two Associate-Engravers have been elected since Sir C. Eastlake became President of the Academy,Lumb Stocks and John Henry Robinson.

LUMB STOCKS, A.E., was the son of a coal-owner in Yorkshire, and was born at Lightcliffe near Halifax, on November 30, 1812. While at school at Horton near Bradford, he acquired some knowledge of art from Mr. C. Cope, the father of C. W. Cope, R.A., and at the age of fifteen was at his own earnest solicitation brought to London, and articled for six years to Charles Rolls, the engraver. At the expiration of his articles he commenced his profession as a line engraver, by executing some of those small highly finished plates which adorned the Annuals of the period. Subsequently he has found extensive employment, engraving in Finden's Gallery, 'The Christening' after Williams, Moses going to the Fair,' by Maclise, and Nell Gwynne,' by Charles Landseer, as well as for the "Art Journal" a large number of plates from the pictures in the Vernon Gallery and the Royal Collections. Among these were: 'Peace and War,' after Landseer, Uncle Toby and the Widow,' after Leslie, Phillip's Spanish Letter Writer,' Uwins's Cupid and Psyche,' Turner's Apollo killing the Python,' &c. In 1842 the Art Union of London engaged him to engrave Callcott's Raffaelle and the Fornarina.' Subsequently he executed three plates for the Association for Promoting the Fine Arts in Scotland, after the pictures by R. S. Lauder, of The Glee Maiden' and 'Ruth,' and "The Ten Virgins,' by J. E. Lauder. In addition to these works he has since produced a series of prints after J. N. Paton, of the Dowie Dens of Yarrow,' The Dame's School,' and 'The Card Player,' after Webster, Evening Prayer,' after W. P. Frith, R.A., and Many Happy Returns of the Day,' a picture by the same artist, engraved on a large scale for the Art Union of Glasgow. He is now engaged upon another work by W. P. Frith, R.A., Claude Duval,' exhibited at the Royal Academy in 1860.

6

He was elected an Associate-Engraver of the old class in February 1853, and of the new class (in which he has

6

become eligible for the higher rank of AcademicianEngraver) in 1855.

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JOHN HENRY ROBINSON, A.E., was born at Bolton in Lancashire in 1796. He was a pupil of James Heath, the celebrated engraver, and followed his style of line engraving. Among his principal works are 'Sir W. Scott,' after Sir T. Lawrence, Napoleon and Pius VII.,' after Wilkie, 'Little Red Riding Hood,' 'The Mantilla,' and 'Twelfth Night,' after Sir E. Landseer; The Indian on the Ganges,' after Devis, 'The Wolf and the Lamb,' after Mulready, The Mother and Child,'after C. R. Leslie, and The Queen,' after Partridge; the last named one of his best works, remarkable for high finish and delicate execution. He has also engraved several of the works of the ancient masters, The Flower Girl,' after Murillo, 'The Countess of Bedford,' and 'The Emperor Theodosius refused admission into the Church,' after Vandyke, and others; besides a large number of illustrations for books (including some of those in Rogers's " Italy ") and numerous portraits. He has gained a high position in his profession, and has acquired an independence from his successful pursuit of it. He was elected an AssociateEngraver of the new class (which qualifies him for further academic honours) in November 1856.

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CHAPTER XX.

CONCLUSION.

Influence of the Royal Patronage on the Success of the Royal Academy Abstract of the Laws for its Regulation and Government - -The Privileges of Members - The Annual Dinner - The Schools, and the Encouragements given to the Students - Lectures of the Professors · The Exhibition, and the Selection of Contributions — Election of Members: their Retirement, and Diploma Works - The Funds: their Source, and Appropriation — The Charities of the Royal Academy — Parliamentary Control uncalled for — Work for the Academy in the Future - Results of its past Operations on the English School of Art.

HAVI

AVING in the preceding chapters traced the history of the Royal Academy from its formation to the present time, we have now only to refer to the general character of its constitution, and to notice the results which have been attained by its proceedings in the past, as well as to point out some matters of detail in which its usefulness may be extended in the future.

The Royal Academy arose as we have seen by the enterprise of a few men of acknowledged ability in art, out of the chaos of confusion into which the previous societies of artists had fallen by mismanagement; and was ushered into the world under the gracious and liberal patronage of King George III., who not only took a personal interest in its formation, but supported it by large grants out of the Privy Purse so long as it needed his assistance. By the ability of its members it elevated the character of the British School even in the eyes of jealous foreigners, and overcame the sceptical prejudices of connoisseurs at home; and by filling up its ranks from among the best rising artists of the period, it gained an eminence which no other Art Society has ever

acquired in England, and conferred upon the native professors of art in this country a dignity and position which they had never previously been able to attain.

Much of the influence so quickly obtained by the Royal Academy must undoubtedly be attributed to the especial patronage of the Sovereign, which is one of the most important characteristics of the Institution. Not only was it founded by the express command of the King, but George III. provided it with necessary funds, and with apartments in one of his own palaces, until they were exchanged with the Government for new ones. His Majesty retained in his own hands the right of approving of all artists elected into the Royal Academy, drew up in his own handwriting its diploma, and ordered that the Royal Sign Manual should be affixed to the diplomas of all members who became Royal Academicians. He also reserved to himself the appointment of Treasurer and Librarian, and confirmed, or not, according to his pleasure, the other officers elected by the general assembly : he exercised control over its expenditure, and made up during the early years of the existence of the Academy all the deficiencies in its funds. The same control in all these respects is still exercised by the Sovereign; and no donation exceeding £50 can in any one year be granted to any member of the Academy or to any person whatever without Her Majesty's consent.

Ever since its foundation the principal officers of the Academy have been admitted to the presence of the Sovereign for the purpose of submitting for the Royal approval the election of the President and all other officers (except those above named), and also any new law or regulation requiring the Patron's sanction. These proceedings are all entered in a book kept expressly for the purpose, called "The King's Book," the entries in which when approved are signed by the Sovereign, and not countersigned by any Minister of State. This latter circumstance proves that the patronage of the Crown extended