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some of his best landscapes. At the same time he was occupied in bringing out his great work, ' On the Ecclesiastical Archi- tecture of Ireland/ In 1845 he visited Scotland. In 1847 the University of Dublin conferred on him the degree of LL.D., and in 1849 he was granted a well-earned pen- sion on the Civil List. He was president of the Royal Hibernian Academy, and in 1859 resigned the office. He died in Dublin, January 17, 1866, and was buried in the Cemetery Mount St. Jerome; His 'Life and Labours in Art and Archaeology ' was published by Dr. W. Stokes, Dublin, 186a

PETTIT, John, engraver and drafts- man. Practised in London, in the dot manner, in the latter part of the 18th cen- tury. He engraved a portrait of George Prince of Wales, and 'Yorick and the Grisette ' 1784.

PHELPS, Richard, portrait painter. He practised in the first half of the 18th century. J. Faber engraved after him a portrait of Bampfield Moore Carew.

PHILIPS, R., portrait painter. He was much employee! towards the middle of the 18th century, and died in 1741.

PHILIPS, Charles, portrait painter. He was born in 1708, and was the son of a portrait painter (probably of the foregoing), and painted many persons of distinction, among them the Princess Augusta of Wales and Frederick Prince of Wales. His por- traits are usually of a small size. He is also known as a painter of conversation pieces. Earl Cathcart has a work of this class, a family group of Lord and Lady A. Hamilton and children, carefully finished, comprising eight figures, looking like dolls, in a great library, and all evidently posed for the portrait painter ; faithful likenesses, no doubt, and well painted, but very poor in composition. It is signed and dated 1731. There is also a portrait by him of Bishop Warburton in the National Portrait Gallery. Several of his portraits are engraved. He died in 1747.

PHILIP, John Birnib, sculptor. His name first appears in 1858, when he exhi- bited at the Royal Academy an alto-relievo of ' The Archangel Michael and Satan/ for St. Michael's Church, Cornhill. This was followed by some monumental works, and in 1863 by the reredos for St. George's Chapel, at Windsor, and a recumbent figure of Lady Herbert of Lea. He was at this time engaged upon the Prince Consort's memorial m Hyde Park, and executed 'Geology* a statue, and 'Geometry' a statue ; but he will be best remembered by his figures in alto-relievo representing archi- tecture and sculpture, on two sides of the podium of the monument, which gave him a well-earned reputation. He also ex- ecuted eight statues for the Royal Gallery in the Palace at Westminster, and the 330

statues in front of the Royal Academy at Burlington House. Probably his only classical work was his 'Narcissus,' exhibited in 1873. He died of bronchitis at Chelsea, March 2, 1875, aged 48, and was buried in the Brompton Cemetery.

PHILLIP, John, R.A., subject and portrait painter. Was born at Aberdeen, the son of an old soldier, April 19, 1817? He early showed a great talent for painting and produced a good likeness of his old grandmother. To improve himself he got employment with a house-painter, but was injured by a fall, and soon found his mis- take. He then gained the notice of an artist at Aberdeen, who gave him some advice and assistance. He earned a few shillings by painting the portraits of his acquaintance, and with the assistance of a skipper trading to the Thames was enabled to carry out a plan that possessed him, of coming to London to see the exhibition. He was then 17 years of age, and during one week's stay he spent six days at the Academy, and managed also to see the works at the British Institution, and the Elgin marbles at the British Museum. On his return he set resolutely to work upon a

group of four figures, which being shown to orcf Panmure, he sent him to London in 1836, placed him under T. M. Joy, and provided him with the means to continue nis studies.

During the three following years he studied in London, and painted some por- traits. In 1837 he was admitted to the schools of the Royal Academy, and in 1838 and 1839 he exhibited a portrait at the Academy ; in 1840 sending nis first subject picture, 'Tasso in Disguise, relating his Persecutions to his Sister,' and the same year returned to Aberdeen. There he

Eainted a few portraits, and in 1841 came ack to settle in London, but did not exhibit at the Academy till 1847 ; when he contributed 'Presbyterian Catechising,' and continued to contribute Scotch subjects, his ' Baptism in Scotland,' 1850. giving the first promise of his future excellence. This was followed, in 1851, by ' Scotch Washing,' ' The Spae Wife,' and * A Sunbeam.' His constitution, always weak, now showed signs of failure, and, advised to try a warmer climate, he determined to visit Spain, and in 1852 did not exhibit.

At Seville, where he spent some months, his health improved, and his art found a new development. Filled with admiration for the works of the Spanish painters, espe- cially Velasquez, and no less so with the picturesque peasantry, their rural customs and celebrations, and the glowing scenery by which they were surrounded ; both his art and his subject were thenceforth Span- ish, and his future works found their inspir- ation in Spain, and rivalled the great