WILLIAM BEECHEY was born at Burford, in Oxfordshire, in the year 1753. After having completed his education, he was placed under an eminent conveyancer, at Stow, in Gloucestershire, and afterwards came to London, where he was articled to an attorney. His first master dying, he was assigned over to Mr. Owen, of Tooke's Court, but was too impatient to stay out the term of his indentures, from which he procured his release in 1772. A writer in a late publication asserts, that Beechey left his master without his consent, and hiding himself from his connexions, was at length discovered, by a friend, at a village alehouse, painting a sign for the owner, which still hangs over the door. However this may be, he, in the same year, commenced a student of the Royal Academy; and was induced to take this step, not only from an innate dislike to the profession he had abandoned, but from a love also of the art to which he now determined to devote himself. His good taste at once led him to select the works of Sir Joshua Reynolds as his best models, and he was not long before his copies were succeeded by originals of no ordinary merit. The first picture which he exhibited at Somerset House, was the Chevalier Ruspini and his family. We may also mention, among his early works, the portraits of Dr. Strachey, Archdeacon of Norwich, and his family, and portraits of the Duke and Duchess of Cumberland. These pictures gained him some reputation, but not sufficient to induce him to trust to the metropolis alone for employment. He accordingly removed to Norwich, where he tried his hand, with success, on small conversation pieces, after the manner of Hogarth. Some of these were exhibited at Vandergucht's rooms, at the Lyceum, where they were much admired; they would have been admitted into the Royal Academy, but for the large size of the frames. At Norwich he also painted the size of life, and gained so much reputation in this style,

that he ventured to leave Norwich and settle in London. His residence was at first in Brook Street, and, subsequently, in Hill Street, Berkeley Square, and George Street, Hanover Square, where, we believe, he now resides. Persons of the first distinction flocked to his easel, and among his sitters were the Duke of Montagu, Lord Maccartney, the Earl of Morton, Lord Cornwallis, Lord St. Vincent, &c., &c. He was elected an associate in 1793, and a royal academician in 1797; having previously been appointed painter to the queen, and employed by both their majesties on several works. The principal of them were a whole length portrait of the queen, and portraits of all the princesses, exhibited in the lastmentioned year, and the grand picture of the king at a review, attended by the prince, the Duke of York, &c. This is a very masterly performance, and one of which it has been justly said, it has not the air of a modern work, but combines, with the fidelity of portrait, the interest and expression of a historical picture; two excellences that have been seldom united. A portrait of his majesty, George the Third, obtained for him the honour of knighthood, and the appointment of painter to his majesty.

To specify all the numerous portraits painted by Sir William, would be to name almost all the aristocracy of the kingdom. Omitting the invidious task of selection from these, we will only particularize his portraits of Miss de Visme, in a straw hat, of Mr. John Trotter, of a Miss Rudd, and of Miss Lushington, in the character of a Bacchante, all remarkable for ease and elegance, and particularly noticed at the time of exhibition by the critics and artists. We should not, perhaps, omit to mention a portrait of Lady Beechey, with the youngest of eight children in her arms; this is a charming performance, worthy both of the artist and his subject, herself no mean votary of the canvass. She was a resident of Norwich, and the second wife

of our artist, whom she has brought fifteen children: of them thirteen are living; one of them is a lieutenant in the navy, who accompanied Captain Parry in his early voyages of discovery, and is an artist of some celebrity. Several of Sir William's pictures have been engraved, and have been imitated also in enamel, by the eminent academician, Mr. Bone.

As an artist, Sir William will, probably, be assigned a place next after that of Reynolds, whose competitor it was his ambition to be, and not a mere

follower, though an avowed admirer, of his style. He was encouraged to persevere in the original task which he had chosen, by the celebrated Paul Sandby, who was one of the first to perceive the talents, and foretell the success, of the subject of our memoir. Sir William is not what Fuseli calls a mere face painter; his portraits, both male and female, are marked with character and truth: in the latter class, indeed, the beauty of the generality of his sitters has deprived him of the power of flattering.

THIS celebrated enamel-painter was born on the 6th of February, 1755, at Truro, in Cornwall, of poor but respectable parents, his father being a cabinet chair-maker. His son was intended for the same occupation; but removing, when about twelve years of age, with his parents, to Plymouth, he was there bound apprentice in a China factory; the proprietor agreeing to take him without premium or expense, in consequence of the talent he had displayed in the execution of a set of playing-cards. The establishment being subsequently removed to Bristol, Mr. Bone completed the term of his apprenticeship in that city, in 1778; having latterly received from his employers a weekly stipend, for his attention in supervising the work of the other apprentices, in the painting department of the factory. The industry, also, which has formed so conspicuous a feature in the life of Mr. Bone, particularly developed itself during the period of his employment at Bristol. Although the hours at the factory were from six in the morning until six at night, he was accustomed to rise at four o'clock, and, in company with another apprentice, practise drawing, by copying prints, then publishing, after designs by Cipriani; the purchase of which was no small effort to persons of such narrow income. Nor were the two hours previous to his regular occupation all that he devoted to improvement; for, the proprietors of the factory allowing their best hands

a certain sum for work done out of the time allotted to business, he frequently made the total amount of his daily occupation to consist of from sixteen to eighteen hours. About a year after the expiration of his apprenticeship, the proprietors of the Bristol factory failing, the subject of our memoir determined to hazard his fortunes in the metropolis. The generosity of an early friend, Mr. Morris, who tendered his purse to an unlimited amount, removed all pecuniary obstacles, and, with the loan of five pounds, added to another guinea, all he had been able to save, he quitted Bristol, and arrived in London early in the month of August, 1778.

The first employment in which he engaged, was that of enamelling, a business then much in vogue, and in which, although he was, as yet, un practised, he soon made considerable progress. It was at this time that he first conceived the idea, which he has since so amply realized, of raising the art of enamel-painting from the mere hardness and dry effect of China, to the full depth and brilliancy of oil pictures. His first effort, in that branch of art, was a portrait of his wife, a descendant of Philip Vandermeulen, painter to William the Third, and whom he married in 1779. This picture, which cost him considerable trouble, was executed during his leisure hours, and was exhibited at the Royal Academy in the year 1780. His next work was a portrait of himself, and was exhibited at the

same place, in 1782: these efforts were the more surprising, as Mr. Bone then knew Petitot and Zinc by name alone.

About this time, finding the remuneration he received for his labour as a device painter inadequate to the support of his family, then consisting of a wife and two children, he determined to commence business on his own account. By the superiority of his work he was soon known to, and employed by, many of the principal jewellers in London, who afforded him constant occupation, for about twelve years, as a device painter, both in enamel and on ivory. Some time in the year 1794, he was introduced to Dr. Wolcot, more generally known as Peter Pindar, who was immediately struck with the powers of the artist in enamel portrait; an occupation with which he still continued to employ his leisure hours, and, from time to time, exhibited his productions at the Royal Academy. It was by the advice of this gentleman, that Mr. Bone wholly abandoned his occupation as a fancy painter, and devoted himself to miniature and enamel. For several years subsequent to this period, it was Mr. Bone's custom to pay an annual visit to his native county, where, by the kind introduction of Dr. Wolcot and others, he was very generally employed in painting miniatures, and usually returned to London with many commissions to execute enamel copies after his own works. The artist once ventured to suggest to his friend, that some persons in the west might not be much inclined to attend to a recommendation of his, considering his satirical habits. "Never mind," said Wolcot; "some will employ you for love, and some from fear, so that it will be all one to you."

The advance in public estimation of this eminent artist was now extremely rapid. Having exhibited a portrait of the late Lord Eglinton, the Prince of Wales immediately purchased it, and sent his commands for Mr. Bone to attend at Carlton House, where he was received with the most marked condescension and kindness. For several years his royal highness was the purchaser of all the artist's enamel pictures, which were not executed by commission; and, in 1800, he was appointed enamel painter to his munificent patron. On the 3rd of November, in the following

year, he was elected an associate of the Royal Academy; on the 30th of June, 1808, he was appointed enamel painter in ordinary to his majesty, King George the Third; and, on the 15th of April, 1811, was elected a royal academician. He was subsequently appointed enamel painter to the Duke of York, and to his majesty George the Fourth. Independently of the vast number of splendid copies after the old masters, executed by Mr. Bone, there are three collections from his pencil which will prove lasting monuments to his fame. One of these is a series of portraits of the Russell family, from the period of their being ennobled in the reign of Henry the Seventh to the present time; executed for the present Duke of Bedford, a nobleman from whom the artist has received many proofs of the most liberal patronage and personal kindness. The next series is that of the principal personages who supported the royalists' cause in the civil wars, painted for James Pickering Ord, Esq., of Edge Hill, near Derby; and the third, though first in point of time, a collection of eighty-five portraits of illustrious characters in the reign of Queen Elizabeth, copied from the most authentic pictures extant. magnificent undertaking has occupied the leisure time of the artist for more than twenty-five years, and has caused the outlay of a very considerable sum of money.

This

To those who have not witnessed the works of this distinguished artist, it is impossible to convey an idea of their exquisite finish and fidelity, whilst the durability of their colours, from the peculiar process of the art, may be almost said to be eternal. In the hands of Mr. Bone, whose unwearying industry and indomitable perseverance overcame all difficulties, enamel painting has been carried to a degree of perfection never before attained.

Mr. Bone has had a very large family, but only five of his children survive; of these, three sons, Henry, Robert, and William, are artists. In person, Mr. Bone is above the middle stature, with a fine intellectual countenance, which is admirably portrayed in a bust of him by Chantrey, The integrity and amiableness of his private character are acknowledged by all acquainted

to have made, the most celebrated are, The Battle of Seringapatam; The Four Periods of a Sailor's Life; the prints to The Pilgrim's Progress; The Death of Captain Faulkner; The Pilgrimage to Canterbury; The Shield of Wellington, etched by the artist himself; and the Procession of the Flitch of Bacon, a charming and delightful picture of conjugal felicity. His picture of The Canterbury Pilgrims was a commission from Mr. Cromek, who exhibited it at Edinburgh, with a view of procuring subscribers to an engraving which he intended to make from it. Not a single name was tendered after a fortnight's exhibition, when Mr. Jeffrey, happening to become a visitor, he was at once struck with the beauties of the picture, and, in a very short time, procured such a number of subscribers as to induce him to put the engraving in hand. Before the print, however, was finished, not only the proprietor, but the two engravers, Louis and Philip Schiavonetti, who were also employed upon it, died; and it was, at last, completed by Mr. James Heath. The picture was strongly applauded by the first artists of the day; West and Turner were foremost in bearing testimony to its merits. Mr. Stothard's most recent performances are, a number of vignette drawings, for Mr. Rogers' poem of Italy. Mr. Stothard has passed the age of threescore and ten, without having sustained any diminution of a justlymerited reputation, or, indeed, if we may judge from his late performances, of the powers by which his fame has been caused. The melancholy circum

stances under which he lost his talented son, the painter of the Monumental Effigies of Great Britain, some years since, was a great blow to his happiness; but he has no small consolation for this severe domestic calamity, in the respect and esteem of a numerous circle of friends and admirers. He is said to behold with peculiar delight, and to retain a perfect remembrance of, objects of animated nature: his feelings, on these occasions, may be conceived from the fact that he has been seen, by a friend, watching the birds at Brooke's repository, in the New Road, till the tears have trickled down his cheeks.

"Stothard's faces," says a writer in The Spectator Newspaper, "breathe innocence and happiness; his figures are instinct, with grace; his scenes are Arcadian, the beau ideal of pastoral beauty. He pictures a world where all is serene, peaceful, and smiling; inhabited by beings of unearthly goodness, gentleness, and tenderness. His designs are a combination of natural loveliness and simplicity, with the elegances of artificial life, blended with poetical refinement, and exquisite taste. The sentiment, however feebly manifested, redeems them from insipidity or affectation. Venerable old man! if the perceptions of thine outward senses are but glimmering, thou hast a world of sweet imaginings within; and if thy trembling hands have but retraced the forms it portrayed in its days of vigour, we are yet charmed anew with thy graceful creations. May thy right hand never forget its cunning, or drop the pencil from weakness, while thou livest!"