Page:Dictionary of National Biography volume 18.djvu/158

 1848; C. R. Smith's ‘Antiquities of Richborough,’ 1850; Evans's ‘Ancient British Coins,’ 1864; Madden's ‘Jewish Coinage,’ 1864. He also illustrated Lord Londesborough's ‘Miscellanea Graphica,’ B. Faussett's ‘Inventorium Sepulchrale,’ and many of the works of Thomas Wright, the antiquary, including his ‘Archæological Album,’ 1845. Fairholt's antiquarian knowledge and fidelity as a draughtsman were much in demand for the illustration of learned publications, and he regularly drew for the Society of Antiquaries, for the British Archæological Association (from 1843 to 1852), and for the Numismatic Society of London (from 1854). He was also employed as artist and writer for the ‘Art Journal.’

Fairholt was the author of the following works, most of them containing illustrations by himself: 1. ‘Lord Mayors' Pageants’ (Percy Society), 1842, &c. 2. ‘Costume in England,’ 1846; 2nd ed. 1860 (his best known work). 3. ‘The Home of Shakespeare,’ 1847. 4. ‘Tobacco: its History and Associations,’ 1859. 5. ‘Gog and Magog,’ 1860. 6. ‘Up the Nile,’ 1862. He edited several works for the Percy Society, including ‘Satirical Songs and Poems on Costume,’ 1849, and was editor of ‘A Dictionary of Terms in Art’ (London, 1854), 8vo, and of Lyly's ‘Dramatic Works,’ 1856, &c. He was elected fellow of the Society of Antiquaries in 1844, and contributed to its proceedings during sixteen years. He was also a member of the British Archæological Association, and contributed to its ‘Journal’ (vols. i. ii. v.; see Journ. Brit. Arch. Assoc., General Index, vols. i–xxx.), and was a member (elected 1845) of the Numismatic Society of London. He wrote four papers in the ‘Numismatic Chronicle.’

Fairholt's busy life was chiefly spent in London, and he used to say, ‘I hate the country.’ In 1856, however, he went with Lord Londesborough to the south of France and to Rome (his journey described in C. R. Smith's Collectanea Ant. vol. v.), and afterwards on two occasions to Egypt. Six years before his death he was found to be suffering from tubercular consumption, but he worked on as usual. He died on 3 April 1866, at 22 Montpelier Square, Brompton, and was buried in the Brompton cemetery. Fairholt was a companionable man, and among his friends were S. C. Hall, Halliwell, J. H. Rimbault, Thomas Wright, and C. Roach Smith, his executor. He bequeathed a collection of between two and three hundred volumes on civic pageantry to the Society of Antiquaries. His prints and works on costume he left to the British Museum, and his Shakespearean collections to Shakespeare's birthplace, Stratford-on-Avon. His general library he left to be sold for the benefit of the Literary Fund.

[C. R. Smith's Collectanea Antiqua, vi. 296–311; C. R. Smith's Retrospections, i. 218–26; Gent. Mag. 1866, 4th ser. i. 764, 913; Brit. Mus. Cat.; Encyclop. Britann. 9th ed. art. ‘Fairholt;’ Numismatic Chron. new ser. vi. 15, 16; Proceedings, Soc. Antiquaries, 2nd ser. iii. (1866), 287–8.] 

FAIRLAND, THOMAS (1804–1852), lithographer and portrait-painter, showed an early taste for drawing, and practised from nature in Kensington Gardens. He subsequently became a student of the Royal Academy under Fuseli, and gained a silver medal for a drawing from the cast of Hercules which stood in the entrance-hall of that institution. Turning his attention to line-engraving he became a pupil of Charles Warren [q. v.], but was more attracted by the new art of lithography, in which he produced some very good works. Among these may be noted ‘The Recruit; or Who'll serve the King?’ ‘The Village Champion,’ and ‘Left Leg Foremost,’ from pictures by R. Farrier, ‘The Poacher's Confederate,’ after Charles Hancock, ‘The Rat-Catcher,’ after A. Cooper, and others of a similar nature, including a set entitled ‘The Sportsman's Exhibition. A Series of Heads of the principal British Sporting Dogs,’ from pictures by Sir E. Landseer, A. Cooper, and C. Hancock. A volume of ‘Comic Sketches,’ after W. Hunt, published in 1844, attained great popularity. His most important work, and one of the best ever executed in lithography, was the cartoon of the Virgin and Child (known as the Rogers Madonna) by Raphael; this was done when the cartoon was in the possession of Messrs. Colnaghi. Other subjects lithographed by him were ‘The Misers,’ after Q. Matsys, ‘Napoleon crossing the Alps,’ after David, ‘Imogene,’ after Westall, and some portraits. Owing to the decline of lithography, due to foreign competition and the vagaries of fashion, Fairland devoted himself to portrait-painting, and enjoyed the patronage of many eminent and illustrious personages, including royalty. He was, however, never able to place himself and his family above the pressure of pecuniary difficulties, and after a prolonged struggle between industry and ill-health he died of consumption in October 1852, in his forty-ninth year. William Fairland, perhaps his brother, also practised as a lithographer, and executed ‘The Culprit Detected,’ after R. Farrier (published 1831), ‘The Lovers' Vigil,’ after Smirke, and others. He also executed anatomical subjects. 