Page:Encyclopædia Britannica, Ninth Edition, v. 7.djvu/592

570 Edinburgh, taking at once a good rank in his profession, and showing considerable versatility in subject-matter. Portrait-painting for some years occupied much of his time ; and he was particularly prized for likenesses of ladies and children. In February he was appointed master of the school of design of the Board of Manufactures, Edinburgh. In he published a pamphlet on the management of schools of this description, which led to his transfer from Edinburgh, after eighteen months service there, to London, as superintendent and secretary of the then recently established school of design at Somerset House. Mr J. II. Herbert was head-master about the same time. Dyce was sent by the Board of Trade to the Continent to examine the organization of foreign schools ; and a report which he eventually printed,, led to a remodelling of the London establishment. In he was made a member of the council and inspector of provincial schools, a post which he resigned in. In, being appointed professor of fine art in King s College, London, he delivered a noticeable lecture, The Theory of the Fine Arts. In he had been elected an associate of the Royal Scottish Academy ; this honour he relinquished upon settling in London, and he was then made an honorary R.S.A. In he became an associate, in  a full member, of the London Royal Academy ; he also was elected a member of the Academy of Arts in Philadelphia. He was active in the deliberations of the Royal Academy, and it is said that his tongue was the dread of the urbane President, Sir Charles Eastlake, for Dyce was keen in speech as in visage ; it was on his proposal that the class of retired Academicians was established. In January Dyce married Jane, daughter of Mr James Brand, of Bedford Hill, Surrey. He died of a cancerous disease in his house at Streatham on 14th February, leaving two sons and two daughters. Such is a brief outline of the honourable and prosperous career of one of the most learned and accomplished of British painters one of the highest in aim, and most con sistently self-respecting in workmanship. His finest pro ductions, the frescoes in the Queen s Robing-room in the Houses of Parliament, may rightly be called great, and an honour to the country and time which produced them ; these frescoes, and the Avater-glass paintings of Maclise in the same building, would find few rivals in contemporary Continental labours. Generally, however, there is in Dyce s work more of earnestness, right conception, and grave, sensitive, but rather restricted powers of realization, than of authentic greatness. He has elevation, draughtsmanship, expression, and on occasion fine colour ; along with all these, a certain leaning on precedent, and castigated semi- conventionalized type of form and treatment, which bespeak rather the scholarly than the originating mind in art. The following are among his principal or most interesting works (oil pictures, unless otherwise stated). : The Daughters of Jethro defended by Moses; Puck. : The Golden Age ; the Infant Hercules strangling the Serpents (now in the National Gallery, Edinburgh) ; Christ crowned with Thorns. : A Dead Christ (large lunette altar-piece). : The Descent of Venus, from Ben Jonson s &quot; Triumph of Love ;&quot; The Judgment of Solomon, prize cartoon in tempera for tapestry (National Gallery, Edinburgh). : Francesca da Rimini (National Gallery, Edinburgh)., and again : The Madonna and Child. : Dunstan separating Edwy and Elgiva. : Joash shooting the Arrow of Deliver ance (the finest perhaps of the oil-paintings). : The Meeting of Jacob and Rachel. 1851 : King Lear and the Fool in the Storm. : Christabel. : Titian s first Essay in Colouring. : The Good Shepherd. Pegwell Bay (a coast scene of remarkably minute detail, showing the painter s partial adhesion to the so-called &quot; pre-Raphaelite &quot; movement of that time). : George Herbert at Bemerton. Dyce executed some excellent cartoons for stained glass : that for the choristers window, Ely Cathedral, and that for a vast window at Alnwick in memory of a duke of Northumberland ; the design of Paul rejected by the Jews, now at South Keningston, belongs to the latter. In fresco-painting his first work appears to have been the Consecration of Archbishop Parker, painted in Lambeth Palace. In one of the West minster Hall competitions for the decoration of the Houses of Parliament, he displayed two heads from this composi tion ; and it is related that the great German fresco-painter Cornelius, who had come over to England to give advice, with a prospect of himself taking the chief direction of the pictorial scheme, told the Prince Consort frankly that the English ought not to be asking for him, when they had such a painter of their own as Mr Dyce. The cartoon by Dyce of the Baptism of Ethelbert was approved and com missioned for the House of Lords, and is the first of the works done there,, in fresco. In he began his great frescos in the Robing-room subjects from the legend of King Arthur, exhibiting chivalric virtue. The whole room was to have been finished in eight years ; but ill-health and other vexatious trammelled the artist, and the series remains uncompleted. The largest picture figures Hospitality, the admission of Sir Tristram into the fellowship of the Round Table. Then follow Religion, the Vision of Sir Galahad and his Companions ; Generosity, Arthur unhorsed, and spared by the Victor ; Courtesy, Sir Tristram harping to la Belle Yseult ; Mercy, Sir Gawaine s Vow. The frescos of sacred subjects in All Saints Church, Margaret Street, London ; of Comus, in the summer-house of Buckingham Palace ; and of Neptune and Britannia, at Osborne House, are also by this painter. Dyce was an elegant scholar in more ways than one. In he obtained the Blackwell prize at Aberdeen for an essay on animal magnetism. In – he published an edition of the Book of Common Prayer, with a dissertation on Gregorian music, and its adaptation to English words. He founded the Motett Society, for revival of ancient church-music, was a fine organist, and composed a &quot;non nobis &quot; which has appropriately been sung at Royal Academy banquets. His last considerable writing relating to his own art was published in, The National Gallery: its Formation and Management.  DYEING is the art of colouring in a permanent manner porous or absorbent substances by impregnating them with colouring bodies. Most vegetable and animal bodies are porous or absorbent, and can be dyed ; some minerals also, such as marble, can absorb liquid colouring matters ; but the term dyeing is usually confined to the colouring of textile fibrous materials by penetration. The superficial application of pigments to tissues by means of adhesive vehicles, such as oil or albumen, as in painting or in some kinds of calico-printing, is not considered as a case of dyeing, because the colouring bodies so applied do not penetrate the fibre, and are not intimately incorporated with it. The mere saturation of textile fibre with a solution of some coloured body and subsequent drying do not constitute a case of dyeing, unless the colour becomes in so far permanently attached to the fibre that it cannot be washed out again by the solvent employed or by common water. In the present article dyeing will be considered only with relation to the vegetable and animal fibrous substances which are commonly used in clothing or furniture, the less important arts of dyeing feathers, skins, ivory, wood, marble, &c., being left over for treatment under other headings.
 * St John bringing Home his Adopted Mother;