Page:Dictionary of National Biography volume 45.djvu/224

  on the Study of Divinity, by T. P. s. c. t.’ (i.e. senior canon of Tongres), London, 1756, 8vo, pp. 126; 2nd edit. 1758; 3rd edit., London, 1765, 8vo. This last edition is entitled ‘The Study of Sacred Literature fully stated and considered, in a Discourse to a Student in Divinity.’  ‘Philemon,’ privately printed, sine loco, 1761, 8vo—a pamphlet suppressed by the author containing incidents in his early life.  ‘Censura Commentariorum Cornelii à Lapide,’ in Latin, on a single sheet.  A metrical translation of the ‘Lauda Sion Salvatorem,’ beginning ‘Sion, rejoice in tuneful lays.’

De Backer attributes to him ‘Reasons for the Repeal of the Laws against the Papists,’ by Mr. Berkeley of Spetchley.

His correspondence with William Cole, the antiquary, is in the British Museum (Addit. MS. 5831, ff. 101 b–126 b).



PHILLIPS, THOMAS (d. 1815), historian of Shrewsbury, was a native of that town. His brother Richard (d. 1815) was mayor there in 1814. By the influence of Sir William Pulteney Thomas obtained a place in the customs. He died in London on 9 Jan. 1815. In 1779 he published, in quarto, with several plates, his ‘History and Antiquities of Shrewsbury from its Foundation to the present time, with an Appendix, containing several particulars relative to Castles, Monasteries, &c., in Shropshire.’ The book was, to a large extent, the work of a Mr. Bowen of Halston, Shropshire. It remained the standard history of Shrewsbury till Owen and Blakeway issued their ‘History’ in 1825, with acknowledgments to their predecessor. A second edition of Phillips's work formed the first volume of C. Hulbert's ‘History of the County of Salop’ (1837).



PHILLIPS, THOMAS (1770–1845), portrait-painter, was born at Dudley, Warwickshire, on 18 Oct. 1770. His parents occupied a respectable position, and, after having given their son a good education, they encouraged his inclination for art by placing him with Francis Eginton, the glass-painter, of Birmingham. Towards the close of 1790 he came to London with an introduction to Benjamin West, who found employment for him on the painted-glass windows of St. George's Chapel at Windsor. In 1791 he became a student of the Royal Academy, and in 1792 he sent to the exhibition his first picture, a ‘View of Windsor Castle.’ This was followed in 1793 by ‘The Death of Talbot, Earl of Shrewsbury, at the battle of Châtillon,’ and ‘Ruth and her Mother-in-law;’ and in 1794 by ‘Cupid disarmed by Euphrosyne,’ ‘Elijah returning the recovered Child to the Widow,’ and a ‘Portrait of a young Artist.’ He soon, however, discovered that the scope of his talent lay in portrait-painting, but competition in this branch of art was then severe. Lawrence was in favour with the king and court, and Hoppner with the Prince of Wales and his circle at Carlton House, while Beechey, Owen, and Shee were rivals of repute. Phillips's sitters were at first chance customers of no distinction, and from 1796 to 1800 his exhibited works were chiefly portraits of gentlemen and ladies, often nameless in the catalogue, and still more nameless now. But a notable advance soon took place in the social position of his sitters, and in 1804 he was elected an associate of the Royal Academy, together with his rival, William Owen. About the same time he removed to 8 George Street, Hanover Square, formerly the residence of Henry Tresham, R.A., where he continued to reside until his death, forty-one years later. He became a royal academician in 1808, and presented as his diploma work ‘Venus and Adonis,’ exhibited in that year, the best of his creative subjects, the ‘Expulsion from Paradise’ at Petworth House alone excepted. Meanwhile he rose steadily in public favour, and in 1806 he painted the Prince of Wales, the Marchioness of Stafford, the ‘Marquess of Stafford's Family,’ and Lord Thurlow. In 1807 he sent to the Royal Academy the well-known portrait of William Blake, now in the National Portrait Gallery, which was engraved in line by Luigi Schiavonetti, and afterwards etched by W. Bell Scott.

His contributions to the exhibition of 1809 included a portrait of Sir Joseph Banks, engraved by Niccolo Schiavonetti, and to that of 1814 two portraits of Lord Byron, one in Albanian costume, and the other, considered to be the best likeness of the poet, that which was painted for John Murray, and engraved in line by Robert Graves, A.R.A. A replica of this portrait was in the possession of Sir Robert Peel. In 1818 he exhibited a portrait of Sir Francis Chantrey, R.A.,