Page:Dictionary of National Biography volume 54.djvu/442

 his field of illustration, though he often went over the same ground again for different publishers. He illustrated Shakespeare, e.g. for Tegg, Bell, Boydell (three plates only), Kearsley, Heath, and Pickering; the ‘Spectator,’ and many poets and novelists for John Sharpe; Spenser for Kearsley, Burns for Cadell and Davies (he visited Scotland for the purpose in 1809), Byron for John Murray, a number of poets for the Chiswick Press, some of the ‘Waverley’ novels, and Rogers over and over again; but, excepting perhaps by the Watteau-like fancy of scenes from the ‘Decameron,’ a number of which were exhibited at the Royal Academy in 1819 and 1820, he added little to his known accomplishment as a book-illustrator. This was not, however, his only employment. In 1799 he commenced the decoration of the grand staircase at Burghley House, near Stamford, for the Marquis of Exeter. The subjects of his designs are ‘War,’ ‘Intemperance’ (‘Antony and Cleopatra’), and the ‘Descent of Orpheus into Hell,’ and the figures are much larger than life. He exhibited sketches for this work in 1806 and 1810, one of which is now in the National Gallery. The execution of this important commission occupied the summers of four years, during which he lost his mother, who lived with him.

In 1806 Stothard received a commission from Cromek the engraver to paint his famous picture of the ‘Canterbury Pilgrims setting forth from the Tabard Inn.’ The subject had been treated before by Stothard for Ritson, but Cromek had previously offered the commission to William Blake, and hence ensued a lamentable breach between the two old friends which was never healed [see, (1757–1827), and ]. The picture (now, with many sketches for it, in the National Gallery) was exhibited in 1807 in England, Scotland, and Ireland, and drew crowds. The engraving was entrusted to Luigi Schiavonetti [q. v.], who etched the plate and engraved wholly or in part some of the figures. After his death it was being worked upon by Francis Engleheart [q. v.] when Cromek died (1812). It was next given to Niccolò Schiavonetti, who had not finished it at his death in 1813, and it was finally completed by James Heath [q. v.] and published in October 1817, some years after Blake's rival engraving. Its success was enormous, but Stothard had no share in the profits. All he received was 60l. from Cromek for the picture, which Cromek sold to Hart Davis for 300l. Cromek promised him an extra 40l., but never paid it, and Stothard did not like to press the widow for it. She gave him some copies of the engraving. Stothard made a copy of the picture for Samuel Rogers, and another, lengthened and altered, for Mr. Benson of Doncaster. He is also said to have made a third copy, which was perhaps that exhibited by Lady Marian Alford at the winter exhibition of old masters at the Royal Academy in 1872.

During these years his taste was frequently consulted in the decoration of the houses of his wealthy friends and patrons, of whom Samuel Rogers was the earliest and most constant. Stothard helped in the decoration of Rogers's house in St. James's Place (built 1803), and in the illustration of successive editions of his poems for over forty years. In the most elaborate editions of Rogers's ‘Italy’ (1830) and the ‘Poems’ (1834) Stothard joined with Turner in contributing illustrations, which were engraved on steel by Finden and others. The smaller engravings on wood by Luke Clennell (the first of which appeared in Rogers's ‘Pleasures of Memory,’ 1810) are justly prized for their close imitation of Stothard's beautiful touch with the pen. Less known are the little illustrations of the ‘Pleasures of Memory’ (1808) and ‘Human Life’ (1810) in the ‘Royal Engagement Pocket Atlas,’ an annual for which he provided the headpieces for many years. Other patrons (and friends also) were Robert Markham (archdeacon of York), Thomas Hope, William Beckford of Fonthill, Samuel Boddington, whose children he painted, and Colonel Johnes of Hafod, whose library he decorated (1810) with eight scenes from Froissart and Monstrelet in imitation of sculpture. He also designed the monument (executed by Chantrey) for Johnes's daughter, his own pupil, who died in 1811.

In 1812 he was appointed librarian of the Royal Academy, after acting as deputy for two years. In 1814 he successfully competed for the silver shield to be presented by the merchants and bankers of London to the Duke of Wellington in commemoration of his victories. His design for this elaborate work, well known as the ‘Wellington Shield,’ was prepared in three weeks, and excited great admiration. He also executed the models for the silversmiths Green, Ward, & Green, and made etchings of the designs. Among his miscellaneous works are many other designs for silver plate, such as salvers, knife-handles, and decanter-tables of much elegance, prepared for Rundle & Bridge; and he designed the reverse of the gold medal of the Royal Academy, and