Legislature as to the way in which the work was carried on, and the general impatience at the time, labour, and expense involved in it, were very distressing and harassing to the architect; and many circumstances over which he had no control conspired to render his later years a period of great trial and endurance. The decay of the stone of which the building is constructed - magnesian limestone from Anston in Yorkshire-is greatly to be lamented; and no less the spoiling, by damp or other causes, of many of the art-decorations of the interior; yet, despite these things, Sir C. Barry has raised a structure which will be the architectural glory of the reign of Queen Victoria, and one which has been the means of calling forth the first decided patronage of English art by the Government of this country. Long may the noble structure endure as a monument of beauty, perpetuating the taste and skill of its architect!

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CHAPTER XVI.

ASSOCIATES, WHO HAVE NOT SUBSEQUENTLY BECOME ROYAL ACADEMICIANS, ELECTED DURING THE PRESIDENTSHIP OF SIR M. A. SHEE, 1830-1850.

Painters: A. GEDDES, G. PATTEN, JOHN HOLLINS, THOMAS DUNCAN, T. S. COOPER, W. E. FROST, ROBERT THORBURN.

Engravers: ROBERT GRAVES and J. T. WILLMORE.

SEVER

EVEN painters and two engravers, elected as Associates during the period of Sir M. A. Shee's Presidentship, have hitherto remained in that rank. The painters are, A. Geddes, elected in 1832; George Patten, in 1837; John Hollins, in 1842; Thomas Duncan, in 1843; T. S. Cooper, in 1845; W. E. Frost, in 1846; and Robert Thorburn, in 1848. The engravers are Robert Graves, elected in 1836; and J. T. Willmore, in 1843.

ANDREW GEDDES, A.R.A., was born at Edinburgh in 1789, and was the son of David Geddes, an auditor of the Excise. He was educated at the High School and University of Edinburgh, and showed an early desire to become a painter, but was placed by his father in the same office with himself. He was therefore unable to commence his artistic career until after his father's death, when the late Lord Eldon encouraged him in his taste, by giving him free access, for the purposes of study, to his collection of pictures and drawings. By that nobleman's advice, he became a student at the Royal Academy in 1807, at the time when Wilkie, Jackson, and Haydon were studying there. In 1810 he returned to Edinburgh, and, in the course of the next four years, painted, among

other portraits, those of Wilkie, Henry Mackenzie-the author of "The Man of Feeling," - Dr. Chalmers, and other Scottish celebrities.

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In 1814 he came to London; and having previously obtained a large amount of public approbation in Scotland, he then entered his name as a candidate for the Associateship at the Royal Academy. Not succeeding the first year, he withdrew it, and did not again apply for ten years, when he felt how unreasonable was the offence he took at not receiving an immediate recognition of his claims, to the prejudice of prior claimants. In 1815 he visited Paris, and spent a portion of each year after that period in London. In 1818 he painted a picture of The Discovery of the Regalia in Scotland,' introducing portraits of Sir W. Scott and other distinguished natives of Edinburgh. In 1828 he made a prolonged visit to Italy, Germany, and France; and after his return to England in 1831, he painted an altar-piece for the church of St. James, Garlick Hill, the subject of which was, 'Christ and the Woman of Samaria.' In 1832 he was elected an Associate of the Royal Academy. He was chiefly a portrait painter, but executed also a few historical pieces, and occasionally landscapes. His small full-length portraits are the best. He was a skilful etcher in the manner of Rembrandt, but his productions in this style were not published. One of his pictures, A Portrait of Terry, the Actor, and his Wife' the sister of Patrick Nasmyth-who has read her husband to sleep, is in the Vernon Gallery. For four years before his death he suffered from the effects of consumption, and at length fell a victim to that disease, on the 5th of May, 1844.

GEORGE PATTEN, A.R.A., is the son of a miniature painter, and was born on June 29, 1801. Desiring to follow his father's profession, he became a student at the Royal Academy in 1816, and diligently applied himself to the study of the human form. Several years afterwards,

in 1828, he again became a student at the Academy — a rare circumstance in an artist's life-in order that he might qualify himself for the change in his style of painting which he was anxious to effect. He practised as a miniature painter till 1830, when he abandoned that method for oil-painting, which he has constantly pursued ever since. In 1837 he went to Italy, visiting Rome, Venice, and Parma, for the purpose of study, and was elected an Associate of the Royal Academy. After his return to England, he visited Germany, where, in 1840, he painted a portrait of the late Prince Consort, who subsequently conferred upon him the appointment of Portrait Painter in Ordinary to His Royal Highness. His chief employment has been in painting presentation portraits on a large scale, many of which have been annually exhibited at the Academy. Among his works of this class was a portrait of Signor Paganini (1833), the only one ever painted of the famous musician. This picture and another, Dante in Inferno,' were selected by the Royal Academy for exhibition at the Paris Universal Exposition in 1855. In addition to these he has produced a variety of classical and fancy subjects, in which he has displayed a great deal of spirit, and has succeeded in portraying natural flesh tints with great success. Among them are-‘A Nymph and Cupid' (1831), ‘A Bacchante' (1833), Maternal Affection' and Cymon and Iphigenia' (1834), Bacchus and Ino' (1836), The Passions' (from Collins's Ode), 1838, Eve' (1842), The Madness of Hercules' (1844), Hymen burning the Arrows of Cupid,' Cupid taught by the Graces,' and Flora and Zephyrus' (1848), The Destruction of Idolatry in England' (1849), The Prophet Isaiah,' 'Susannah and the Elders,' and The Bower of Bliss'—a subject from Spenser (1858), Bacchus discovering the Use of the Grape, Apollo and Clytie' (1859), &c.

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JOHN HOLLINS, A.R.A., was born in 1798 at Birming

ham, where his father was a portrait painter. His own practice was chiefly in the same style, his portraits being characterised by much freedom and vigour, although deficient in grace and delicacy of handling. In the early part of his career he painted some pictures illustrating history, and the works of the poets and novelists. Among these the best were, A Scene from the Life of Benvenuto Cellini;'Andrea del Sarto's first Interview with Lucrezia di Baccio del Fede, afterwards his Wife;' Tasso reciting his "Jerusalem Delivered" to the Princess Leonora d'Este;' 'Margaret at her Spinning-Wheel,' from "Faust; 'A Scene from "Gil Blas," &c. Subsequently he began landscape-pieces, in which he introduced prominent figures, as in The Hayfield,' 'Dover Hovellers,' Coast-Guard-Cliffs near Dover,' A Scene on Deal Beach,' 'The Fish-Market and Port of Dieppe,' 'Grouse-shooting on the Moors,' 'Young Highlanders Scene in Argyleshire,' Gillies with a young Heron,' 'Scene near Loch Inver, with Portraits;' 'A View of Loch Etive,' and one, painted the year before he died, in conjunction with F. R. Lee, R.A., Salmon-fishing on the Awe,' in which representations of several well-known sportsmen were introduced. He was elected A.R.A. in 1842, and died at his residence in Berners Street, on the 7th of March, 1855.

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THOMAS DUNCAN, A.R.A., was born on 24th of May, 1807, at Kinclaven, in Perthshire, and was educated in Perth, where his parents went to reside soon after his birth. In his In his boyhood he took great delight in painting portraits of his young companions; and while yet a schoolboy, he painted the scenery for a dramatic representation of "Rob Roy," got up in his school. His parents feared that painting might be unprofitable as a profession, so placed him in a writer's office, where he fulfilled the allotted period of his engagement, and afterwards visited Edinburgh, where he became a student at the Royal