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PETTIE.

are the Norwef^ian Grand Trunk line and the Eoyal Danish line in 185 A. Upon the openinj? of tlie latter, he received from the King of Denmark the Order of the Danne- brog. Towards the close of 185^4 he undertook, without prospect of pro- fit, the construction of a railway from Balaklava, in the Crimea, originated by the late Duke of Newcastle, then Minister-at-War, and in appreciation of these pa- triotic services received a patent of baronetcy, Feb. 22, 1855. Blooms- bury Chapel was built for the Baptists at his expense; and the Diorama premises in the Regent's Park were purchased by him and converted into a chapel for the same denomination. He was returned as one of the members in the advanced Liberal interest for Norwich in Aug., 1847, and again at the general elec- tion in July, 1852, and retired in Dec., 1854. He was elected one of the members for Pinsbury in April, 1859, and at the general election in July, 1865, exchanged his seat for Bristol, but retired from Parliament in April, 1868, in consequence of the bankruptcy of the firm of Peto, Betts, and Crampton, with liabili- ties of above ^£7,000,000. He is the author of " Taxation, its Levy and Expenditure," 1863 ; and "Re- sources and Prospects of America," 1866.

PETTIE, John, E.A., was born at Edinbiirgh in 1839, and studied art in the famous Academy of the northern capital, under Mesiirij. Robert Scott Lauder and John Bal- lantyne, of that Academy, from 1855 tUl 1862, at which date he came to reside in London. His earliest works were contributed to the exhibitions of the Royal Scot- tish Academy. He first began to exhibit at the Royal Academy of London in 1859, when he sent a picture called "The Armourers." Among his subsequent contribu- tions to the annual exhibitions in Trafalgar Square were a quaint pic- ture of a London apprentice of the

fifteenth century crying his wares, entitled " What d'ye lack. Madam:- What d'ye lack?" 1801; another droll picture of a party of itinerant musicians of the same period, a humorous picture, and in the same exhibition, the most important pws ture the artist had yet proditoed, " George Fox refusing to take the Oath at Houlker Hall, a.d. 1663" (1864). Soon afterwards he exhi- bited at the British Institutioxi "The Time and Place," a cavalier waiting for an expected antagonist at the rendezvous for a duel ; and " Out of an Engagement." These two works were engraved, as was also his picture of " The Bible and the Monk — an Inqiusitorial Visit" Mr. Pettie's Academy picture of 1865 was ** A Drumheskd Court Mar^ tial ; " and he sent " An Arrest for Witchcraft" in 1866, in which yew- he was elected an Associate. AuKmg the later works exhibited by him at the Academy are " The Doctor," and " Treason,*^ 1867 ; " Pax Vobis- cum," "Tussle with a Highland Smuggler," 1868 ; " The Disgrace of . Cardinal Wolsey," and " The Gambler's Victim," 1869; "A SaUy,'' " ^Tis Blythe Mayday." and "Touchstone and Audrey,' 1870: "Scene in the Temple Garden," 1871 ; " Terms to the Besieged/' and " Silvius and Phoebe," 1872 ; " Sanc- tuary," "Midnight Watch," and " The Flag of Truce," 1873 ; " Juliet and Friar Lawrence," "A State Secret," and " Ho ! Ho ! Ho ! " 1874; "Scene in Hal of the Wynd'a Smithy" and "Jacobites, 1745," in 1875 ; a portrait of Dr. nilathome. Bishop of Birmingham, "The Threat," and "The Step," 1876; "Hunted Down," "A Knight of the Seventeenth Century,*' and " A Sword and Dagger Fight," 1877; " The Death Warrant," 1879 ; "ffis Grace," 1880; "Before his Peers." 1881 ; " The Palmer." and " Mon- moutii begging his Life from James II.," 1882; f*A Queen's Scholar, Westminster," "Dost Know this Waterfly?" "The Eaneom," and