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 REDGRAVE.

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preserve inviolably the settlement of the United Church of England and Ireland^ and the doctrine, dis- cipline, and government thereof, as by law established, within England and Ireland^ and the territories thereunto belonging." With refer- ence to this subject his lordship published a pamphlet entitled " Lord Macaulay on the Coronation Oath," 1869. Lord Redesdale took a prominent part in the debates on the Alabama Claims. He published in 1859 "Thoughts on English Prosody and ^ "fianslations from Horace," and *" Further Thoughts on English Prosody."

REDGRAVE, Richabd, R.A.,son of a manufacturer, in whose count- ing-house he passed his earlier years, chiefly employed in making designs and working-drawings, be- sides occasionally sketching from nature, was born in Pimlico, April 30, 1804. He began to study from the marbles in the British Museum in 1822, was admitted a student in the Royal Academy in 1826, and about tJhis time was forced to eke out his resources by teaching land- scape drawing. He twice com- peted, but wifliout success, for the Academy's gold medal, having been defeated on the second occasion by Maclise. A picture exhibited at the British Institution, " Gulliver on the Farmer's Table," bought for the purpose of engraving, was his first success. His next effort, " Ellen Orford," from Crabbe, rejected at the Institution, was hung " on the line " at the Academy in 1838, and at once purchased. It was followed by "Quintin Matsys," "Olivia's Return to Her Parents," in 1839 ; and " The Reduced GenlJeman's Daughter," in* 1840, which commanded imme- diate purchasers and fresh commis- sions, thus enabling the painter to relinquish the drudgery of teach- ing, and to devote himself entirely to his art. In 1840 he was elected an Associate, and amongst other works produced " The Castle- builder,^ 1841 ; " TJ19

Poor

Teacher," 1843; "The Sempstress/' and " The Wedding Morning — the Departure," 1814; "The Gover- ness," 1845 ; " Sunday Morning," 1816 ; " Fashion's Slaves," and "Country Cousins," painted for Mr. Vernon, 1848. In 18*2, and in 1846, he exhibited landscapes at the Academy. His best known works are — " Happy Sheep," " The Moor-hen's Haunt," 1847; "Spring —the Trout's Dark Haunt," 1848 ; " The SoUtary Pool," 18 19 ; " The Evelyn Woods," 1850 ; " The Poet's Study," 1851 ; " The Woodland Mirror," 1852; "The Forest Portal," 1853; "An Old-English Homestead," 1854 ; and " The Midwood Shade." Meanwhile he tried his hand on several figure-pieces of higher pre- tensions, such as " The Attiring of Griselda," 1850 ; "The Flight into Egypt," 1851 ; in which year Mr. Redgrave was elected R.A. During the latter years of the Government School of Design, Mr. Redgrave was its head-master, and on the formation of the Department of Practical Art, subsequently en- larged into that of Science and Art, he prepared a system and course of instruction, which, under his supervision as Inspector-General of Art Schools, is being gradually extended throughout the United Kingdom. In conjunction with Mr. H. Cole, he formed the Museum of Ornamental Art at Marlborough Hoiise, increased under their joint charge into the Museum of Art at South Kensington. Mr. Redgrave was selected to be the medium through whom Mr. Sheepshanks presented his unequalled collection of British pictures to the nation, stipulating that they should be placed at l^ensington, and thus in- suring the success of the young in- stitution. In 1851 Mr. Redgrave was named one of the jurors on the section of Fine Arts, and wrote a report on the general state of De- sign as applied to manufactures in the Great Exhibition. The arrange- ments for representing British Art