Page:Dictionary of National Biography, Second Supplement, volume 3.djvu/406

 Architects with such distinction as to be awarded the Ashpitel Prize. In 1877 he won at the same institute the silver medal for essays with a paper on 'The Decorative Treatment of Constructive Ironwork' (printed Jan. 1882). He was elected an associate of the institute in 1880 and a fellow in 1887, taking till the year of his death an active part in its meetings and committee work. His independent practice dated from 1879, but was never extensive, and he never established an office. After bringing to a close Stevens's work on the Wellington monument, he was engaged simultaneously with (Lord) Leighton [q. v. Suppl. I] and (Sir) Edward J. Poynter in the preparation of a design for the decoration of the cupola of St. Paul's, which was not carried out. Stannus's executed work consisted chiefly of structural or decorative alterations to existing buildings such as the Cutlers' Hall, the gas offices, the unitarian church, and the Channing Hall at Sheffield, the residences of Sir Edwin Durning Lawrence at Ascot and at Carlton House Terrace, the Phoenix brewery at Bedford, a house for Mr. Faber, M.P., at Beckenham, and Norman Macleod's church in Edinburgh. He designed the Sunday School centenary memorial at Essex church (unitarian), Notting Hill, and his own house. The Cottage, Hindhead, Surrey. He also carried out some work in the picture gallery at Kew designed by James Fergusson [q. v.]. When in 1903 it was decided further to complete the Wellington monument by the addition of the equestrian statue of the duke, Stannus, whose forethought had preserved Stevens's plaster model for the figure, was able to lay before the authorities several important drawings and other evidences of the original designer's intentions.

Stannus had great powers of architectural composition. A scheme which he submitted in the competition for the University of California was considered exceptionally skilful. But his energies were mainly absorbed from the age of forty to sixty in the work of a teacher and lecturer, to which he brought exceptional powers of analysis and great lucidity of expression. From 1881 to 1900 he taught modelling at the Royal Academy, and he held appointments as lecturer at University College, London, and at the Royal College of Art, South Kensington. For two years (1900-1902) he was director of architectural studies at the Manchester School of Art, and subsequently (1905-1907) he lectured at the evening school of the Architectural Association. In 1890 and 1898 he was Cantor lecturer to the Society of Arts, and twice received the Society's silver medal. In 1891 he delivered for the same society a course of lectures on Romanesque Architecture in North Italy.

Stannus belonged to the Hellenic and Japan Societies, to the St. Paul's Ecclesiological Society, to the Society of Arts and Crafts, and to that for the Preservation of Ancient Buildings. He had great knowledge of all periods of art, being a continual student and a frequent traveller. His collection of examples, sketches, an photographic lantern-slides was exceptional He was a good linguist, a great reader, a musician, and in a measure a poet. His writing, always carefully studied, shows certain idiosyncrasies of punctuation and style. He died at Hindhead on 18 Aug. 1908.

In 1872 he married Ann, daughter of John Anderson, B.A. London, who with two daughters and a son (Dr. Hugh S. Stannus) survived him.

Apart from the work on Stevens, Stannus's publications, which were largely based on his lectures, were: 1. 'Decorative Treatment of Natural Foliage,' 1891. 2. 'Decorative Treatment of Artificial Foliage,' 1895. 3. 'Theory of Storiation in Applied Art,' 1898. 4. 'Some Principles of Form Design in Applied Art,' 1898. 2. 'Some Examples of Romanesque Architecture in North Italy,' 1901. He also revised for the 3rd (English) edition Meyer's 'Handbook of Ornament,' and assisted James Fergusson in some of the illustrations for his books. He left materials for a work on the classic orders, a subject upon which he had some original ideas.

 STARK, ARTHUR JAMES (1831–1902), painter, born in Beaufort Street, Chelsea, on 6 Oct. 1831, was the only son of James Stark [q. v.], the landscape painter, by his wife Elizabeth Young Dinmore. An artistic aptitude was early fostered by lessons from his father. Between 1839 and 1849, when the family was residing at Windsor, young Stark studied animal painting under Edmund Bristow [q. v.], an intimate friend of the family, and acquired a love of the Thames valley, where he found the subjects of many of his pictures. As early as 1848 he exhibited 