Page:Dictionary of National Biography volume 31.djvu/264

 ship’ and another ‘Auld Robin Gray;’ in 1833 by ‘The Spanish Refugees’ and ‘John Anderson, my Jo,’ and in 1834 by ‘Sunset.’ In 1835 he exhibited at the Royal Academy ‘Tam o' Shanter,’ in 1836 ‘The Wreckers,’ in 1837 ‘The English Harvest,’ in 1838 ‘The Saint's Day,’ engraved by William Chevalier for the Art Union of London, and in 1839 ‘The Broken Heart.’ Having been elected an associate of the Royal Academy in 1836, he was in 1839 appointed to the professorship of perspective, which he held until 1860, to the great advantage of the students. About 1840 he resumed portrait-painting and obtained much success, especially with his male sitters. The ‘Heroes of Waterloo,’ better known as the ‘Waterloo Banquet,’ in the possession of the Duke of Wellington, was exhibited in 1842, and engraved by Charles G. Lewis. In 1843 appeared ‘John Knox endeavouring to restrain the violence of the people at Perth.’ Knight became a royal academician in 1844, and in 1848 was elected secretary, after acting in that capacity for a year previously as deputy of Henry Howard (1769–1847) [q. v.] This office he retained until 1873, and discharged its often irksome duties with much tact and ability. In 1848 also he exhibited the ‘Peninsular Heroes,’ which has been engraved by Frederick Bromley. Many of his works were presentation portraits, among them being those of James Walker, for the Institution of Civil Engineers; Arthur, duke of Wellington, for the City of London Club; Sir James Duke, bart., for the town-hall of Montrose; Sir Samuel Bignold, for St. Andrew's Hall, Norwich; Sir George Burrows, bart., for St. Bartholomew's Hospital; John Crossley, for the town-hall, Halifax; the Duke of Cambridge, for Christ's Hospital; and Sir Charles Lock Eastlake, P.R.A., presented by the painter to the Royal Academy. His sitters were very numerous, and some of his portraits have been engraved. He exhibited last in 1878, in which year he was nominated a knight of the Legion of Honour.

Knight died at 24 Maida Hill West, London, on 26 March 1881, and was buried in Kensal Green cemetery. He was an ardent follower of Edward Irving, and held high office in the catholic apostolic church. His wife, who died before him, exhibited at the British Institution and elsewhere between 1832 and 1837 a few pictures of domestic subjects. 

KNIGHT, JOSEPH PHILIP (1812–1887), composer of songs, was the youngest son of Francis Knight, D.D., vicar of Bradford-on-Avon, Wiltshire, where he was born 26 July 1812. He studied music under John Davis Corfe, organist of Bristol Cathedral, and began composing at the age of twenty, when he published a set of six songs under the name of ‘Philip Mortimer’ (1832). Among these were ‘Old Times,’ sung by Henry Phillips, and ‘Go, forget me,’ which became popular both here and in Germany. Under his own name, and in collaboration with Haynes Bayly, he subsequently produced very many songs, the most notable of which were ‘The Veteran’ and ‘She wore a wreath of roses.’ After these came, among other productions, a song, ‘The Parting,’ and a duet, ‘Let's take this world as some wide scene,’ words of both by Thomas Moore. In 1839 Knight visited America, and there composed his famous song ‘Rocked in the cradle of the deep,’ which will always be associated with Braham. On his return to England in 1841 he produced ‘Beautiful Venice,’ ‘Say, what shall my song be to-night?’ and ‘The Dream,’ words by the Hon. Mrs. Norton. Some years afterwards he took holy orders, and was appointed to the charge of St. Agnes in the Scilly Isles, where he remained for two years. He then married, and went to reside abroad, but finally returned to England and resumed composition. His death took place at Yarmouth, Norfolk, 1 June 1887. Knight's songs, duets, and trios number in all about two hundred. Many of these have enjoyed great popularity, but only ‘She wore a wreath of roses’ and ‘Rocked in the cradle of the deep’ seem likely to hold their ground. As a composer he had a remarkable command of pure English melody. He was an excellent organist, and was exceptionally skilful in extemporising. 

KNIGHT, MARY ANNE (1776–1831), miniature-painter, born in 1776, was a pupil of Andrew Plimer [q. v.], and was a skilful painter of miniatures in his manner. She first exhibited at the Royal Academy in 1807, and continued to exhibit occasionally up to the date of her death. She resided for some years at 51 Berners Street and latterly in