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 1861 a declaration of the validity of the marriage of her mother with her father. In June 1866 she petitioned the court to declare that the Duke of Cumberland and Olive Wilmot were lawfully married, and that Olive, afterwards Olive Serres, was their legitimate child. All the documents previously mentioned in the controversy—about seventy in all—were produced; but before the solicitor-general, Sir (afterwards Lord Selborne) [q. v.], finished his address for the crown, the jury unanimously declared the signatures to be forgeries.

Mrs. Ryves afterwards published a pamphlet, ‘Ryves v. the Attorney-General: Was Justice done?’ 1866. She enjoyed a pension from the Royal Academy in consideration of her father's eminence, and died at Haverstock Hill on 7 Dec. 1871, leaving two sons and three daughters.



SERVICE, JOHN, D.D. (1833–1884), Scottish divine, son of John Service, engraver in the calico works of Robert Dalglish, M.P., at Lennoxtown, was born at Campsie on 26 Feb. 1833. He received his education at the Campsie parish school, and then entered the calico works as a clerk. At fifteen he was sent to Glasgow University to study for the church. For several years afterwards he was engaged in literary work, editing the ‘Dumbarton Herald’ in 1857, and from 1858 till 1862 he was sub-editor under [q. v.] of Mackenzie's ‘Imperial Dictionary of Universal Biography.’ He was ordained in the church of Scotland in 1862, and for ten months performed ministerial work at Hamilton, near Glasgow. Shortly afterwards he spent eighteen months in Australia owing to failure of health. At the end of the period he was inducted to St. John's presbyterian church (May 1866) at Hobart Town in Tasmania.

He returned to Glasgow in May 1870, and in 1871 he became assistant to Charles Strong at Anderston, which position he left on being presented by the Earl of Stair to the parish of Inch, near Stranraer. While there he wrote a novel, which, after running through ‘Good Words’ under the title of ‘Novantia,’ was issued in 1875 as ‘Lady Hetty: a Story of Scottish and Australian Life.’ A volume of sermons and essays, entitled ‘Salvation Here and Hereafter,’ appeared in 1877, and caused a sensation in Scotland on account of its broad-church views. Service also wrote much in the ‘Glasgow Herald’ and other newspapers. In 1871 he contributed to the ‘Contemporary Review’ an article entitled ‘The Spiritual Theory of Another Life.’ On 30 April 1877 Glasgow University conferred on Service the degree of D.D., and on 19 Dec. 1878 he was appointed minister of the new west-end church at Hyndland, Glasgow, a position he occupied until his death on 15 March 1884.

On 29 April 1859 Service married Jessie, second daughter of James Bayne, teacher of music in Glasgow, by whom he had four sons and two daughters.

A volume of ‘Sermons’ by Service was published in 1884, with a prefatory notice and portrait of the author. His ‘Prayers for Public Worship’ appeared in 1885. In 1880 he contributed an essay on Burns to Mr. T. H. Ward's ‘English Poets.’



SETCHEL, SARAH (1803–1894), water-colour painter, daughter of John Frederick Setchel, a bookseller in King Street, Covent Garden, London, was born in 1803. After leaving school, she took up drawing with energy, but received no regular instruction beyond that which she derived from studying at the British Museum and the National Gallery, and from some lessons in miniature-painting from [q. v.] Her first exhibited work, ‘Fanny,’ appeared at the Royal Academy in 1831, and she continued to exhibit there and at the Society of British Artists until 1840, when she sent to the latter exhibition ‘A Scene from Howitt's Rural Life of England.’ She was elected in 1841 a member of the New Society (now the Royal Institute) of Painters in Water-colours, and in the following year contributed to its exhibition ‘A Scene from “Smugglers and Poachers” in Crabbe's Tales of the Hall,’ a drawing of much power and pathos, representing a prison interior where a young man whose life is in jeopardy is visited by his betrothed. It became very popular, and was engraved in mezzotinto by Samuel Bellin as ‘The Momentous Question.’ Her works appeared but seldom in the exhibitions, and one other only became well known. This was ‘The Heart's Resolve,’ a subject from Crabbe's tale of ‘Jesse and Colin,’ exhibited in 1850, and engraved by Samuel Bellin as a companion plate to ‘The Momentous Question.’ She continued to exhibit domestic subjects until 1867, but her later works did not sustain her earlier reputation. 