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Soho. Here the son was pat to school, and was afterwards placed under a Romish

friest, and gained some knowledge of Latin, le had early showed an aptitude for draw- ing, and at the age of 15 was admitted to the schools of the Royal Academy. In

1807 he illustrated a child's penny book — 'The Butterfly's Ball; or, The Grass- hopper's Feast/ which was so popular that it was followed in the same year by 'The Lion's Masquerade,' 'The Peacock at Home/ and ' The Lioness's Ball ; ' and in the following year by ' The Elephant's Ball/ ' The Lobster's Voyage to the Bra- zils/ ' The Cat's Concert/ ' The Fishes' Grand Gala/ ' Madame Grimalkin's Party/ ' The Jackdaw at Home/ ' The Lion's Par- liament/ ' The Water-king's Levee ; ' and in 1809 by ' Think before you Speak/ which concluded the interesting little series.

These works show what were some of his early employments in art, which it is well known were very various. He drew portraits, taught drawing, which indeed he continued to do all his life, and assisted in some panorama painting. In 1803 he exhibited his first picture, ' The Crypt in Kirkstall Abbey/ at the Royal Academy, followed in 1806 by some views in York city ; in 1807, ' Old Caspar/ his first figure subject, at the British Institution. In

1808 he exhibited some old houses in Lam- beth, and 'The Battle' at the Academy. Before this time, when he was only 18 years of age, and was literally earning his daily breadL he had married, but early in life separated from his wife. His first works were landscape, but he soon found the true bent of his genius, and studying devotedly the Dutch masters, his progress was un- usually rapid. His first important work was ' The Carpenter's Shop/ exhibited in

1809 at the British Institution, a quiet scene of everyday life, with no otner story. In 1811 he exhibited 'The Barber's Shop' — a loutish boy brought to the village barber to be shorn of his unkempt locks ; and still showing marked improvement — with more attempt at character and ex- pression — continuing to make boys the foundation of Ids subject, he painted, in 1813. ' Boys Fishing ; ' in 1815, Udle Boys/ whicn secured him nis election as associate of the Academy in that year, and in 1816, ' His Fight interrupted, the big bully of the school vanquished by a little hero, over whom he had attempted to tyrannise. This work added to his growing reputation, and he was in 1817 elected a full member of the Academy.

He was now the father of four boys ; he had gained the full honours of his profes- sion, and also, with the favour of the pub- lic, confidence in his own powers, and from this time a gradual change took place in his art, and he became more original in his 302

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manner. He painted 'The Village Buffoon/ 'The Bog with two Minds/ and another popular work, ' The Wolf and the Lamb/ exhibited 1820. Continuing in this course, his ' Interior of an English Cottage/ 1828, was a work of high finish and great art merit. His 'Seven Ages' had more of subject and design than is usual with him. and was followed by his ' Giving a Bite, 1838; 'The Sonnet,' 1839, and 'First Love;' and in 1838, 'All the World's a Stage/ in which works the peculiarities and power of his art are fully displayed. In 1840 his illustrations on wood to an edition of the 'Vicar of Wakefield' were published, and from these graceful de- signs he painted some of his most perfect pictures — 'The Whistonian Controversy/ Gown.' In 1848 a fine collection of his pictures and drawings was exhibited at the Society of Arts, intended as the first of a series of the works of our eminent living artists. At Mr. Thornhill Baring's sug- gestion he designed the first postage en- velope in 1840.
 * Burchell and Sophia,' and ' The Wedding

His life was passed in constant study. He said, when examined by the Royal Academy Commission, 'I have, from the first moment I became a visitor in the life school, drawn there as if I were drawing for the prize ; ' and to this his chalk studies, which are inimitable for their drawing and exquisite finish, are a witness, and a proof of his remarkable powers. His choice of subject was feeble, but if on this ground his works lack the interest of those of some of his contemporaries, they will always possess a charm to the lover of art from his beautifully minute execution, the brilliant harmony of his colour, and the extreme completeness of every part of his work. In all these he has left a great example to the students of the English school. His life was a solitary one, but was devoted to the last to his art. His last evening was spent at the Academy; on the following morning, July 7, 1863, he was no more. He was buried m the Kensal Green Cemetery, where his friends raised a monument to his memory. The nation is rich in his works by the bequests of Sheep- shanks and Vernon, now at the {South Kensington Museum. William Godwin wrote a book entitled ' The Looking-glass Life of a Genius or Painter/ which con- tained the incidents of this painter's life, and was illustrated by some of his earliest works, drawn when he was three and four years old.

MULVANY, Thomas Jambs, R.H.A., landscape painter. He was born in Ire- land, and practised there early in the 19th century. He contributed to the Dublin Exhibition in 1809 ; was a strenuous ad- vocate for the grant of a charter of incor-