Page:Dictionary of National Biography volume 39.djvu/289

Mulready Forgotten Word,' 1832, The First Voyage,' 1833, 'The Last in,' 1835, 'Giving a Bite,' 1836, 'A Toyseller,' the first design for the picture left unfinished by the artist, 'Brother and Sister,' the first design for the picture ('The Young Brother') afterwards painted for Mr. Vernon, and now in the South Kensington Museum, 1837; 'The Seven Ages,' 1838; 'Bob-cherry,' 1839; 'The Sonnet,' 1839; and 'First Love,' 1840.

In these last two pictures he left humour for sentiment, and adopted a more brilliant palette. About this time he again turned his attention to illustration, and published a series of carefully composed and graceful designs to the 'Vicar of Wakefield,' from three of which he afterwards painted pictures. 'The Whistonian Controversy ' was exhibited in 1844; 'Choosing the Wedding Gown' in 1846, and 'Sophia and Burchell Haymaking' in 1847, all of which were very popular. 'Choosing the Wedding Gown,' now at South Kensington, is celebrated for its technical merits, especially in the representation of textures. The skill of Mulready as a painter was never more fully displayed than in the imitation of the silks and brocades, the woodwork of the counter, and the coat of the little spaniel lying upon a pile of rich stuffs. It is by some considered his finest work, but Mulready himself preferred 'Train up a Child in the way he should go,' a boy giving money to some poor Lascars. This, as well as 'Crossing the Ford,' another of Mulready's most popular compositions, was exhibited before the Vicar of Wakefield series, and afterwards Mulready did no better work. His most important pictures not already recorded were 'The Bath,' 'Shooting a Cherry,' which had been many years on hand, though not exhibited till 1848, 'Women Bathing,' and 'The Bathers,' and 'The Young Brother' exhibited in 1857. His 'Mother teaching her Child to pray,' exhibited in 1859, showed a great falling off. It is in the South Kensington Museum, together with the 'Negro Toy Seller,' which was left unfinished at his death. For some time before this took place his health had been much impaired, but neither age nor ill health diminished the ardour with which he worked. He was one of the most careful and conscientious of artists, and made separate studies for every part of his pictures down to the smallest details. To the last, like Etty, he was a constant attendant at the Royal Academy Life School, drawing from the nude, and he commenced some larger pictures with life-size figures, as though his career was commencing instead of drawing to its close. 'When over seventy-five years of age he set himself to practise drawing hands and heads rapidly in pen and ink, at a little life school held by the painters in the neighbourhood of Kensington.' 'I had lost somewhat of my power in that way,' he said, 'but I have got it up again. It won't do to let these things go.'

Mr. F. G. Stephens, his biographer, who knew him well in his later life, tells us that his society was pleasant, that he was full of humour, very kind of heart, considerate and helpful to those in need, loving children, and loved by them in return. He was devoted to the Royal Academy, and his attention to its affairs was once recognised by the present of a large silver goblet by seventy-three of his brother artists. He nevertheless seems to have lived a solitary and reticent life, and had few friends. Among these were Sir John Swinburne, with whom he used to stay at his seat at Capheaton, near Newcastle, and Mr. Sheepshanks, at whose house at Blackheath he was a frequent visitor. Mr. Sheepshanks was also a constant purchaser of Mulready's pictures. His loss was severely felt by the artist, to whom was consigned the task of hanging his magnificent bequest of pictures at South Kensington. Among them are many of Mulready's finest pictures, and studies of Mr. Sheepshanks himself, his house, and a view from its windows.

Mulready resided at Kensington Gravel Pits from 1811 to 1827, but he moved to Bayswater in 1827, and lived at 1 Lindon Grove for the rest of his life. Though subject to attacks of the heart, he remained active to the end, and on the last day of his life he attended a committee meeting of the Royal Academy. He died on 7 July 1863, in the seventy-eighth year of his age, and was buried at Kensal Green.

Mulready was one of the founders and most active members of the Artist Fund, to which he gave the right of engraving his popular picture of 'The Wolf and the Lamb' which brought that charity the sum of 1,000l. Among his numerous works was the first penny postage envelope issued by Rowland Hill in 1840. It was adorned with a design emblematical of Britannia sending winged messengers to all quarters of the globe. This design was the subject of a celebrated caricature by John Leech in 'Punch.' Mulready was often painted by his brother artists, and sat for 'Duncan Gray' in Wilkie's picture of that name. One of the best of his portraits was painted and engraved by John Linnell. 'The Wolf and the Lamb' belongs to the queen, but most of Mulready's best works are now at South Kensington Museum, and the National Gallery, having been bequeathed to the nation by Mr. Vernon and 