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CAL most important style, as the "Entrance to Pisa from Leghorn," painted in 1833—a grand landscape. Callcott was elected a member of the Royal Academy in 1810, and was for many years a constant and important contributor to its exhibitions. In 1837 he was knighted by the queen, and in this year he unfortunately forsook the line of art upon which he had founded his deserved reputation, and became a figure painter. His first attempt in this new province was a large picture of "Raphael and the Fornarina," exhibited in 1837, well known by the print from it by Lumb Stocks, A.R.A., which was distributed to the subscribers of the London Art Union in 1843. This picture was followed in 1840 by another work of like pretensions—"Milton and his Daughters;" but it was so far from maintaining the credit of his previous attempt, that it was generally admitted to have been a complete failure. It was a great injury to his reputation. It exhibited one of the first of living landscape painters as below mediocrity as a figure painter. From this time Sir Augustus did little more; his health rapidly failed him. In 1844 he was appointed conservator of the royal pictures, as successor to Mr. Sequier—an honourable office, but one of small remuneration, and which he held for a few months only. He died on the 25th of November the same year.—R. N. W.  CALLCOTT,, was the daughter of Rear-admiral George Dundas, and was born in 1788. In 1809 she married Captain Graham, R.N., who died at sea in 1822. She was married to Sir Augustus Callcott in 1827. Lady Callcott was a great traveller, and spent several years in India and South America. She twice visited Italy, and published two works relating to it—"Three months in the environs of Rome," and "Memoirs of Poussin." She also published a "History of Spain," in 2 vols., "Little Arthur's History of England," "The Little Brackenburra's Essays towards the History of Painting," and a "Scripture Herbal," her last work. Lady Callcott, who was an invalid for eleven years, died 21st November, 1843. Her memory will long be affectionately remembered, not only for her talents and great acquirements, but for her generous, kind, and pious disposition.—J. T.  CALLCOTT,, Mus. Doc, was born at Kensington in November, 1766, and died May 15, 1821. His father was a bricklayer and builder, and the musician, like his brother Sir Augustus, the painter, was the offspring of a second marriage, both bearing their mother's maiden name of Wall. John, as a schoolboy, showed an equal capacity and inclination for languages, which grew with his years. In course of time he became master of Latin, Greek, Hebrew, and other dead and oriental tongues, and he read French, Italian, and German, with the same fluency. He was intended for the profession of surgery, and evinced considerable aptitude for the study of anatomy; his feelings were so shocked, however, by witnessing an operation, that he fainted in the room, and could not be induced to apply himself further to the pursuit. His first interest in music was excited when he was twelve years old; his father was then engaged upon some repairs of Kensington church, during which young Callcott had occasionally to attend him, and thus had opportunities of hearing the organist practise, an accident that determined his ultimate destiny. In the year of his chirurgical probation, he made constant visits to the Kensington organist, whose warm encouragement stimulated his natural taste; and when, at thirteen, he abandoned the study of surgery, he had no difficulty in deciding upon that of music to replace it. It was at Christmas in 1780 that he made his first attempt at composition in writing music for a private play. When he was about sixteen he made the acquaintance of Dr. Arnold and Dr. Cooke, whose influential professional position enabled them greatly to assist Callcott's advancement. Among other advantages he obtained from these friends, was an introduction to the society called the Academy of Ancient Music, at whose concerts he played in the band, and also produced, with great credit, an anthem for two choirs and orchestra. In 1783 he succeeded Attwood as assistant organist to Reinhold at the church of St. George the Martyr, which appointment he held for two years. In 1789 he competed for the organ of St. Paul's, Covent Garden, when the interest of the electors was divided between him and Charles Evans, the glee writer; so these two friends agreed to accept the office jointly, and share its duties and its remuneration. When in 1795 the church was burned, Callcott played once in aid of the fund for its re-erection, at Ely chapel, Holborn, on which occasion he was introduced to William Horsley, organist of the chapel, who subsequently became his son-in-law. He was also engaged as organist at the Female Orphans' Asylum from 1792 till 1802, when he was succeeded by Horsley, who had been his assistant. He wrote his first glee in 1784, for the prize given by the Catch Club; but he was this time an unsuccessful candidate. He made up for his ill-fortune in 1785, when he gained three of the four prizes for glees, canons, and catches, annually awarded by that society. He gave a rare example of industry in sending, two years later, a hundred compositions for the prizes; this inundation was so extraordinary as greatly to embarrass the regular proceedings of the club, and a law was consequently passed that no candidate should be allowed to offer more than three pieces for each of the four prizes. Though Callcott was made an honorary member of the club, he regarded the new statute as a personal affront, in resentment of which, in 1788, he refused to write for the prizes. In 1789, however, he was persuaded of his error, and, in compliance with the restriction, submitted twelve compositions; on this occasion he gained all the four medals, a success of which there has been no other example in the entire history of the Catch Club. Greatly interested in this class of composition, Callcott helped to promote its cultivation by organizing, in conjunction with Dr. Arnold, the Glee Club, which held its first meeting at the New Coffee-house, December 22, 1787. He was likewise one of the original members of the Concentores Sodales, another institution to encourage the writing of glees and canons, which was established in 1798. When Haydn visited England in 1790, Callcott placed himself under him for a course of lessons. With that master he especially studied orchestration, but, though he played several instruments, he never excelled in this branch of the art. He took his bachelor's degree at Cambridge, by invitation of Dr. P. Hayes, the professor, when he was scarcely nineteen, and set Wharton's Ode to Fancy for his exercise. He was made doctor of music at Oxford in 1800, when he obtained his testamen for a Latin anthem. A few years prior to this he became deeply interested in the investigation of the theory of music, to which he was strongly stimulated by Overend, an organist, who possessed the extensive manuscripts of Dr. Boyce on this subject. Callcott's classical attainments greatly facilitated his researches into the ancient systems, and his fluency in living languages enabled him to read all that had been written upon modern art. From 1797 his chief attention was spent upon the compilation of a musical dictionary, the collecting of materials for which became the hobby of the rest of his life. As after several years he felt himself in some respect compromised in not having fulfilled his announcement of this purposed work, he thought it necessary to produce something of a theoretical character, and accordingly wrote his "Grammar of Music," which occupied the leisure of 1804 and 1805. This book was, at the time when it appeared, the most comprehensive musical treatise that had been written in English, and, though later theories have superseded it, its merit is still acknowledged. He made some preparation for a biographical dictionary, but proceeded only for the first few letters. He published in 1801 a small educational book called "The Way to Speak Well," intended to have been the first of his series; but he did not carry out this design. In 1805 Dr. Callcott was appointed to succeed Dr. Crotch as lecturer at the Royal Institution, but was never able to enter upon the office; his constant habit of excessive application had for long undermined his health, and his reason now gave way under the ceaseless strain upon it. For five years he was an inmate of a lunatic asylum, during which time his lucid intervals were occupied with musical composition and religious exercises. He then returned to his friends, and resumed his avocation of teaching; but in three years his malady regained its power, and it became necessary to place him once more under restraint, and thus he remained until his death. He married in 1790, on which occasion he wrote his prize glee, "Triumphant Love." Of his several children, his son, William Hutchins Callcott, is known as a musician by his song, "The Last Man," and by his numerous pianoforte arrangements.

Dr. Callcott was the author of "Angel of Life," and some other esteemed songs; his reputation as a composer, however, rests chiefly upon his glees, canons, and catches, of which a large collection was edited by W. Horsley, and a far greater number remain unpublished. His glees may be divided into the 