HENRY PERRONET BRIGGS (1792—1844), distinguished as an historic and portrait painter, began his art studies at the Academy in 1811, and was made a full member of that body in 1832. His best-known works are Othello relating his Adventures, The first Conference between the Spaniards and Peruvians, and Juliet and her Nurse; the two latter are in the National Gallery. This master in his later years forsook historical painting for portraiture.
CHARLES LOCK EASTLAKE (1793—1865), son of the Solicitor to the Admiralty in that town, was born at Plymouth, and educated first in Plympton Grammar School, where Reynolds had studied, and afterwards at the Charterhouse, London. Choosing the profession of a painter, he was encouraged, doubtless, by his fellow-townsman, Haydon, who had just exhibited Dentatus. Eastlake became the pupil of that erratic master, and attended the Academy schools. In 1813, he exhibited at the British Institution a large and ambitious picture, Christ raising the Daughter of the Ruler. In the following year the young painter was sent by Mr. Harman to Paris, to copy some of the famous works collected by Napoleon in the Louvre. The Emperor's escape from Elba, and the consequent excitement in Europe, caused Eastlake to quit Paris, and he returned to Plymouth, where he practised successfully as a portrait painter. A portrait of Napoleon, which Eastlake enlarged from his sketch of the Emperor on board the Bellerophon when bound for St. Helena, appeared in 1815. This picture now belongs to Lord Clinton. In the same year he exhibited Brutus exhorting the Romans to avenge the Death of Lucretia. In 1819 Eastlake visited Greece and Italy, and spent fourteen years abroad, chiefly at Ferrara and Rome. The picturesque dress of the Italian and Greek peasantry so fascinated him that for a long period he forsook history for small genre works, of which brigands and peasants were the chief subjects. A large historical painting, Mercury bringing the Golden Apple to Paris, appeared in 1820. Seven years later, The Spartan Isidas, now in the possession of the Duke of Devonshire, was exhibited at the Academy, and procured for the painter the Associateship. It illustrates the story told by Plutarch, in his "Life of Agesilaus," of the young warrior called suddenly in his bath to oppose the Thebans. Rushing forth naked with his sword and spear, he drove back the Thebans and escaped unhurt. In 1828, Eastlake produced Italian Scene in the Anno Santo, Pilgrims arriving in sight of St. Peter's, which he twice repeated. In 1829 Lord Byron's Dream, a poetic landscape (National Gallery), was exhibited, and Eastlake becoming an Academician, returned to England. Then followed Greek Fugitives, Escape of the Carrara Family from the Duke of Milan (a repetition is in the National Gallery), Haidee (National Gallery), Gaston de Foix before the Battle of Ravenna, Christ blessing Little Children, Christ weeping over Jerusalem (a repetition is in the National Gallery), and Hagar and Ishmael. To his labours as a painter Eastlake added the duties of several important offices, and much valuable literary work. He was Secretary to the Royal Commission for Decorating the New Palace of Westminster, Librarian of the Royal Academy, and Keeper, and afterwards Director of the National Gallery. In 1850, he succeeded Sir Martin Shee as President of the Royal Academy, and was knighted. From that time till his death, at Pisa, in 1865, he was chiefly engaged in selecting pictures to be purchased by the British Government. He was editor of Kugler's "Handbook of the Italian Schools of Painting," and author of "Materials for a History of Oil Painting."
WILLIAM DYCE (1806—1864), a native of Aberdeen, commenced his art studies at the Royal Scottish Academy. Visiting Italy he studied the old masters, and their influence had a lasting effect upon his style. In 1827 Dyce exhibited at the Royal Academy Bacchus nursed by the Nymphs. In 1830, he settled in Edinburgh, and achieved marked success. The Descent of Venus appeared at the Academy in 1836. Having removed to London, Dyce exhibited, in 1844, Joash shooting the Arrows of Deliverance, and was elected an Associate. In 1847, he produced the sketch of a fresco executed at Osborne House, Neptune assigning to Britannia the Empire of the Sea. Dyce was chosen, in 1848, to decorate the Queen's Robing-Room in the Houses of Parliament, and commenced, but did not quite finish, a large series of frescoes illustrating The Legend of King Arthur. He produced other historic works, chiefly of Biblical subjects, and of great merit.
GEORGE HARVEY (1805—1876) was born at St. Ninian's, Fifeshire, and apprenticed to a bookseller at Stirling. He quitted this craft at the age of eighteen, and commenced his art career at Edinburgh. In Scotland he gained a wide popularity. He took an active part in the establishment of the Royal Scottish Academy, and was knighted in 1867. His favourite subjects were Puritan episodes, such as Covenanters' Communion, Bunyan imagining his Pilgrim's Progress in Bedford Gaol, and The Battle of Drumclog.