ture. He had been suffering severely from gout some time before his death, which took place at Cambridge, on the 31st of August, 1839, the day on which he completed his 61st year. He was buried in the chapel of Corpus Christi, a part of the new building he had erected for that college at Cambridge. 65 CHAP. XIII. ASSOCIATES ELECTED DURING THE PRESIDENTSHIP OF SIR T. LAWRENCE WHO DID NOT SUBSEQUENTLY BECOME ROYAL ACADEMICIANS. Painters: HENRY EDRIDGE, GEORGE CLINT, AND FRANCIS DANBY. ONLY NLY three of those who were elected as Associates during the presidentship of Sir Thomas Lawrence remained in that rank: these were Henry Edridge, elected in 1820; George Clint, in 1821; and Francis Danby, in 1825. In addition to these there were two Associate Engravers elected during the same period: viz. Richard James Lane, in 1827; and Charles Turner, in 1828. HENRY EDRIDGE, A.R.A., was born in Paddington in 1768. He was apprenticed to W. Pether, the mezzotinto engraver and landscape painter, and became proficient both as a painter of miniatures and landscapes. The latter were treated by him in an especially free and broad manner. His first portraits were on ivory; his subsequent ones were principally drawn on paper with black lead and Indian ink, to which he added very tasteful backgrounds. But he afterwards produced an immense number of elaborately finished pictures in water colours, with light backgrounds; to these succeeded others in which he combined the depth and richness of oil paintings with the freedom of water-colour drawings. Sir J. Reynolds was so much pleased with one of his miniatures, that he insisted upon having it, and paid him handsomely for it. This was the signal for the artist to resign engraving and become a painter; and he did wisely in copying many of the works of his patron for study. He first established himself in Golden Square, and in 1801 removed to Margaret Street, Cavendish Square, where he remained for twenty years. With the desire to indulge his taste for landscape painting, which he cultivated under Thomas Hearne, he made two excursions to Normandy and Paris, in 1817 and 1819, making many interesting drawings subsequently exhibited. Three specimens of his landscapes are now at the South Kensington Museum; and his sketches of the first Lord Auckland and of Robert Southey are in the National Portrait Gallery. He became a student at the Royal Academy in 1784, and was elected an Associate in November 1820. Unhappily he lived but a very short time to enjoy this distinction, for he died from an attack of asthma on the 23rd of April, 1821. GEORGE CLINT, A.R.A., was born in Brownlow Street, Holborn, on the 12th of April, 1770. His father kept a hairdresser's shop in a passage leading from Lombard Street, and apprenticed his son to a fishmonger in the City; but the boy became disgusted with this employment, and afterwards obtained a situation in an attorney's office. Still dissatisfied, he next became a house-painter; and from this "broad style" advanced to miniature painting, which he practised for some years in a house in Leadenhall Street. During this period of his life he had many hard struggles, having married a wife and become the father of a family, and being able to find only occasional and then but poorly-paid employment. Subsequently he practised mezzotint engraving (which he learnt from Edward Bell, the nephew of the publisher of "The British Poets"), and was employed to execute several prints for Sir Thomas Lawrence, with whom, however, he afterwards quarrelled, and lost his patronage. In 1807 he engraved The Death of Nelson,' after Samuel Drummond, A.R.A., and shortly afterwards Harlowe's' Kemble Family,' which was his most important work in this branch of art, and which was so popular that it was re-engraved three times. This plate brought him into connection with many theatrical characters, and he practised among them as a portrait painter in oil, having been aided and encouraged to acquire some skill in this style by Sir William Beechey, to whom his wife showed his first effort her own portrait-and who was his kind patron and friend until his death. About 1816 he removed to Gower Street, and there painted a large series of dramatic pieces, comprising all the principal actors of the time in their most celebrated characters: E. Kean, as Sir Giles Overreach and Richard III.; Charles Kemble, as Charles II.; Young, as Hamlet; Liston, as Paul Pry; Macready, as Macbeth ; &c. Many of these portraits are still in possession of the Garrick Club. The pictorial grouping and composition, expression, and dry humour of these theatrical pictures are excellent. He also practised portrait painting unconnected with the stage, having had Lord and Lady Suffield, Lords Essex, Spencer and Egremont, General Wyndham and Admiral Wyndham among his sitters. One of his pictures, Falstaff and Mrs. Ford,' is in the Vernon Collection, and four others in the Sheepshanks Gallery. These are Young and Miss Glover as 'Hamlet and Ophelia,' scenes from “Paul Pry” and “The Honeymoon," and A Lady of Palermo.' He was elected an Associate of the Royal Academy in 1821; but resigned his diploma in 1835, when he came to the conclusion that, as many artists elected as Associates subsequently to himself had been elevated to the rank of Academicians, their talents had been unduly estimated, to the unjust depreciation of his own. He therefore judged the Royal Academy to be undeserving either of public confidence or support, and joined the agitation against it with all the zeal of a convert and something of the rancour of a renegade. His statements evidently did not impress the Select Committee of the House of Commons which was reappointed in 1836, with Mr. Ewart for chairman, to consider, among other subjects, the constitution, management, and effects of institutions connected with the fine arts, for they did not notice his evidence in their report. For some years before his death Mr. Clint lived in retirement at Peckham, upon the property he had obtained from his profession and that which he had acquired with his second wife. He died at his house in Pembroke Square, Kensington, in April 1854, having entered his 85th year. By his first wife he had a family of five sons and four daughters: two of the former became painters, two gem sculptors, and one a mathematical professor in a college in India. In the circle in which he moved he was much esteemed for his gentlemanly manners, and kindly feelings; and it is to be regretted that he was not content to wait his prospect of attaining higher rank in the Academy, instead of withdrawing from it in consequence of a too partial estimate of his own abilities. FRANCIS DANBY, A.R.A., was born, one of twins, on the 16th of November, 1793, about six miles from Wexford, where his father, James Danby, was residing on his own estate, being a gentleman of moderate fortune. He subsequently removed to Dublin, and shortly afterwards died. His son Francis, who had studied drawing in the school of the Dublin Society of Arts, prevailed on his mother (formerly a Miss Watson of Dublin) to allow him to become an artist, to which she unwillingly assented, and he afterwards studied under O'Connor. In 1812 he painted his first picture for the Dublin Exhibition; the subject-Landscape, Evening'-being the forerunner of many similar glowing sunsets, for which he became so |