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See also:CHANTREY, See also:SIR See also:FRANCIS LEGATT (1782-1841) , See also:English sculptor, was See also:born on the 7th of See also:April 1782 at See also:Norton near See also:Sheffield, where his See also:father, a See also:carpenter, cultivated a small See also:farm. His father died when he was eight years of See also:age; and his See also:mother having married again, his profession was See also:left to be chosen by his See also:friends. In his sixteenth See also:year he was on the point of beingapprenticed to a. See also:grocer in Sheffield, when, having seen some See also:wood-See also:carving in a See also:shop-window, he requested to be made a See also:carver instead, and was accordingly placed with a Mr See also:Ramsey, wood-carver in Sheffield. In this situation he became acquainted with See also:Raphael See also:- SMITH
- SMITH, ADAM (1723–1790)
- SMITH, ALEXANDER (183o-1867)
- SMITH, ANDREW JACKSON (1815-1897)
- SMITH, CHARLES EMORY (1842–1908)
- SMITH, CHARLES FERGUSON (1807–1862)
- SMITH, CHARLOTTE (1749-1806)
- SMITH, COLVIN (1795—1875)
- SMITH, EDMUND KIRBY (1824-1893)
- SMITH, G
- SMITH, GEORGE (1789-1846)
- SMITH, GEORGE (184o-1876)
- SMITH, GEORGE ADAM (1856- )
- SMITH, GERRIT (1797–1874)
- SMITH, GOLDWIN (1823-191o)
- SMITH, HENRY BOYNTON (1815-1877)
- SMITH, HENRY JOHN STEPHEN (1826-1883)
- SMITH, HENRY PRESERVED (1847– )
- SMITH, JAMES (1775–1839)
- SMITH, JOHN (1579-1631)
- SMITH, JOHN RAPHAEL (1752–1812)
- SMITH, JOSEPH, JR
- SMITH, MORGAN LEWIS (1822–1874)
- SMITH, RICHARD BAIRD (1818-1861)
- SMITH, ROBERT (1689-1768)
- SMITH, SIR HENRY GEORGE WAKELYN
- SMITH, SIR THOMAS (1513-1577)
- SMITH, SIR WILLIAM (1813-1893)
- SMITH, SIR WILLIAM SIDNEY (1764-1840)
- SMITH, SYDNEY (1771-1845)
- SMITH, THOMAS SOUTHWOOD (1788-1861)
- SMITH, WILLIAM (1769-1839)
- SMITH, WILLIAM (c. 1730-1819)
- SMITH, WILLIAM (fl. 1596)
- SMITH, WILLIAM FARRAR (1824—1903)
- SMITH, WILLIAM HENRY (1808—1872)
- SMITH, WILLIAM HENRY (1825—1891)
- SMITH, WILLIAM ROBERTSON (1846-'894)
Smith, a distinguished draftsman in See also:crayon, who gave him lessons in See also:painting; and Chantrey, eager to commence his course as an artist, procured the cancelling of his indentures, and went to try his See also:fortune in See also:Dublin and See also:Edinburgh, and finally (18o2) in See also:London. Here he first obtained employment as an assistant wood-carver, but at the same See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time devoted himself to portrait-painting, bust-See also:sculpture, and modelling in See also:clay. He exhibited pictures at the See also:Academy for some years from 1804, but from 1807 onwards devoted himself mainly to sculpture. The sculptor Nollekens showed particular zeal in recognizing his merits. In 1807 he married his See also:cousin, See also:Miss See also:Wale, who had some See also:property of her own. His first imaginative See also:work in sculpture was the See also:model of the See also:head of Satan, which was exhibited at the Royal Academy in 18o8. He afterwards executed for See also:Greenwich See also:hospital four See also:colossal busts of the admirals See also:Duncan, See also:Howe, See also:Vincent and See also:Nelson; and so rapidly did his reputation spread that the next bust which he executed, that of See also:Horne See also:Tooke, procured him commissions to the extent of 12,000. From this See also:period he was almost uninterruptedly engaged in professional labour. In 1819 he visited See also:Italy, and became acquainted with the most distinguished sculptors of See also:Florence and See also:Rome. He was chosen an See also:associate (1815) and afterwards a member (1818) of the Royal Academy, received the degree of M.A. from See also:Cambridge, and that of D.C.L. from See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford, and in 1835 was knighted. He died after an illness of only two See also:hours' duration on the 25th of See also:November 1841, having for some years suffered from disease of the See also:heart, and was buried in a See also:tomb constructed by himself in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of his native See also:village.
The See also:works of Chantrey are extremely numerous. The See also:principal are the statues of See also:Washington in the See also:State-See also:house at See also:Boston, U.S.A.; of See also:George III. in the See also:Guildhall, London; of George IV. at See also:Brighton; of See also:Pitt in See also:Hanover Square, London; of See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
James See also:Watt in See also:Westminster See also:Abbey and in See also:Glasgow; of See also:Roscoe and See also:Canning in See also:Liverpool; of See also:Dalton in See also:Manchester; of See also:Lord See also:President See also:Blair and Lord See also:Melville in Edinburgh, &c. Of his equestrian statues the most famous are those of Sir See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas See also:Munro in See also:Calcutta, and the See also:duke of See also:Wellington in front of the London See also:Exchange. But the finest of Chantrey's works are his busts, and his delineations of See also:children. The figures of two children asleep in each other's arms, which See also:form a monumental See also:design in See also:Lichfield See also:cathedral, have always been lauded for beauty, simplicity and See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace. So is also the statue of the girlish See also:Lady Louisa See also:- RUSSELL (FAMILY)
- RUSSELL, ISRAEL COOK (1852- )
- RUSSELL, JOHN (1745-1806)
- RUSSELL, JOHN (d. 1494)
- RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
- RUSSELL, JOHN SCOTT (1808–1882)
- RUSSELL, LORD WILLIAM (1639–1683)
- RUSSELL, SIR WILLIAM HOWARD
- RUSSELL, THOMAS (1762-1788)
- RUSSELL, WILLIAM CLARK (1844– )
Russell, represented as See also:standing on tiptoe and fondling a See also:dove in her bosom. Both these works appear, in design, to have owed something to See also:Stothard; for Chantrey knew his own scantiness of ideal invention or See also:composition, and on See also:system sought aid from others for such attempts. In busts, his leading excellence is facility—a ready unconstrained See also:air of See also:life, a prompt vivacity of See also:ordinary expression. See also:Allan See also:Cunningham and Weekes were his See also:chief assistants, and were indeed the active executants of many works that pass under Chantrey's name. Chantrey was a See also:man of warm and genial temperament, and is said to have See also:borne a noticeable though See also:commonplace resemblance to the usual portraits of See also:Shakespeare.
Chantrey See also:Bequest.—By the will dated the 31st of See also:December 184o, Chantrey (who had no children) left his whole residuary See also:personal See also:estate after the decease or on the second See also:marriage of his widow (less certain specified annuities and bequests) in See also:trust for the president and trustees of the Royal Academy (or in the event of the See also:dissolution of the Royal Academy, to such society as might take its See also:place), the income to be devoted to the encouragement of See also:British See also:fine See also:art in painting and sculpture only, by " the See also:purchase of works of fine art of the highest merit . . . that can be obtained." The funds might be allowed to accumulate for not more than five years; works by British or See also:foreign artists, dead or living, might be acquired, so See also:long as such works were entirely executed within the shores of See also:Great See also:Britain, the artists having been in See also:residence there during such See also:execution and completion. The prices to be paid
were to be " liberal," and no sympathy for an artist or his See also:family was to See also:influence the selection or the purchase of works, which were to be acquired solely on the ground of See also:intrinsic merit. No See also:commission or orders might be given: the works must be finished before purchase. Conditions were made as to the See also:exhibition of the works, in the confident expectation that as the intention of the testator was to form and establish a " public collection of British Fine Art in Painting and Sculpture," the See also:government or the See also:country would provide a suitable See also:gallery for their display; and an See also:annual sum of £300 and £50 was to be paid to the president of the Royal Academy and the secretary respectively, for the See also:discharge of their duties in carrying out the provisions of the will.
Lady Chantrey died in 1875, and two years later the fund became available for the purchase of paintings and sculptures. The See also:capital sum available amounted to £105,000 in 3 % See also:Consols, which (since reduced to 22 %) produces an available annual income varying from £2500 to £2100. Galleries in the See also:Victoria and See also:Albert Museum at See also:South See also:Kensington were at first adopted as the depository of the works acquired, until in 1898 the Royal Academy arranged with the See also:treasury, on behalf of the government, for the transference of the collection to the See also:National Gallery of British Art, which had been erected by Sir See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry See also:Tate at Millbank. It was agreed that the " Tate Gallery " should be its future See also:home, and that " no See also:power of selection or elimination is claimed on behalf of the trustees and director of the National Gallery " (Treasury See also:Letter, 18054-98, 7th December 1898) in respect of the pictures and sculptures which were then to be handed over and which should, from time to time, be sent to See also:augment the collection. Inasmuch as it was See also:felt that the See also:pro-See also:vision that all works must be See also:complete to be eligible for purchase militated against the most advantageous disposition of the fund in respect of sculpture, in the See also:case of See also:wax See also:models or See also:plaster casts before being converted into See also:marble or See also:bronze, it was sought in the See also:action of Sir F. See also:Leighton v. See also:Hughes (tried by Mr See also:Justice See also:North, See also:judgment May 7th, 1888, and in the See also:court of See also:appeal, before the See also:master of the rolls, Lord Justice See also:Cotton, and Lord Justice See also:Fry, judgment See also:June 4th, 1889—the master of the rolls dissenting) to allow of sculptors being commissioned to complete in bronze or marble a work executed in wax or plaster, such " completion " being more or less a See also:mechanical See also:process. The See also:attempt, however, was abortive.
A growing discontent with the See also:- INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)
interpretation put by the Royal Academy upon the terms of the will as shown in the works acquired began to find expression more than usually forcible and lively in the See also:press during the year 1903, and a debate raised in the House of Lords by the See also:earl of See also:Lytton led to the See also:appointment of a select See also:committee of the House of Lords, which sat from June to See also:August 1904. The committee consisted of the earls of See also:Carlisle, Lytton, and See also:Crewe, and Lords See also:Windsor, Ribblesdale, See also:Newton, and Killanin, and the witnesses represented the Royal Academy and representative art institutions and art critics. The See also:report (ordered to be printed on the 8th of August 1904) made certain recommendations with a view to the prevention of certain former errors of See also:administration held to have been sustained, but dismissed other charges against the Academy. In reply thereto a memorandum was issued by the Royal Academy (See also:February 1905, ordered to be printed on the 7th of August 1905—Paper 166) disagreeing with certain recommendations, but allowing others, either intact or in a modified form.
Up to 1905 inclusive 203 works had been bought—all except two from living painters—at a cost of nearly £68,000. Of these, 175 were in oil-See also:colours, 12 in See also:water-colours, and 16 sculptures (ro in bronze and 6 marble).
See The Administration of the Chantrey Bequest, by D. S. See also:MacColl (16mo, London, 1904), a highly controversial publication by the leading assailant of the Royal Academy; Chantrey and His Bequest, by See also:Arthur See also:Fish, a complete illustrated See also:record of the purchases, &c. (London, 1904) ; The Royal Academy, its Uses and Abuses, by H. J. Laidlay (London, 1898), controversial; Report from the Select Committee of the House of Lords on the Chantrey Trust; together with the Proceedings of the Committee, Minutes of See also:Evidence and Appendix (Wyman & Sons, 1904), and See also:Index (See also:separate publication, 1904).
End of Article: CHANTREY, SIR FRANCIS LEGATT (1782-1841)
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