THOMAS DUNCAN (1807—1845), a native of Perthshire, first attracted notice by his pictures of a Milkmaid, and Sir John Falstaff. In 1840, he exhibited at the Royal Academy his historical painting, Entrance of Prince Charlie into Edinburgh after Preston Pans, and next year produced Waefu' Heart, from the ballad of "Auld Robin Gray," which is now at South Kensington.
DANIEL MACLISE (1811—1870) was born at Cork, and was intended for the unromantic calling of a banker's clerk. Fortunately for the world he soon left the bank stool for the studio of the Cork Society of Arts. In 1828, he transferred his attention to the Academy schools in London, and soon obtained the gold medal for the best historic composition, representing The Choice of Hercules. He had previously exhibited Malvolio affecting the Count. In due course appeared, at the British Institution, Mokanna unveiling his features to Zelica, and Snap-Apple Night, which found a place at the Royal Academy. Maclise became a full Academician in 1840. His latter years were chiefly occupied with the famous water-glass pictures in the Houses of Parliament, The Interview of Wellington and Blucher after Waterloo, and The Death of Nelson at Trafalgar. The noble cartoon (bought by subscriptions of artists, who likewise presented the designer with a gold port-crayon) of the former is now the property of the Royal Academy. Maclise executed many book illustrations, including those for "Moore's Melodies," and "The Pilgrims of the Rhine." He executed a noble series of designs delineating The Story of the Norman Conquest. A collection of his drawings has been bequeathed to the South Kensington Museum by Mr. John Forster. Maclise painted a few portraits, among them that of Charles Dickens, who spoke thus of the dead painter, "Of his prodigious fertility of mind and wonderful wealth of intellect, I may confidently assert that they would have made him, if he had been so minded, at least as great a writer as he was a painter. The gentlest, and most modest of men; the freest as to his generous appreciation of young aspirants; and the frankest and largest-hearted as to his peers. No artist ever went to his rest leaving a golden memory more free from dross, or having devoted himself with a truer chivalry to the goddess whom he worshipped." The most remarkable works of Maclise are Macbeth and the Witches; Olivia and Sophia fitting out Moses for the Fair; The Banquet Scene in Macbeth; Ordeal by Touch; Robin Hood and Cœur de Lion; The Play Scene in Hamlet (National Gallery); Malvolio and the Countess (National Gallery).
CHARLES LANDSEER (1799—1879), the elder brother of the more famous Sir Edwin Landseer, was a pupil of Haydon and the Royal Academy Schools. In 1836 appeared his Sacking of Basing House (now in the National Gallery). He was elected an A.R.A. in the following year, became a full member in 1845, and Keeper in 1851. Amongst other good works by him are Clarissa Harlowe in the Spunging House (National Gallery), Charles II. escaping in disguise from Colonel Lane's House, and The Eve of the Battle of Edgehill.
CHARLES LUCY (1814—1873) began life as a chemist's apprentice in his native town of Hereford. He soon forsook the counter, and went to Paris to study painting. Coming to London, he exhibited Caractacus and his Family before the Emperor Claudius, a work which formed the introduction to a long series of historic pictures, noteworthy among which are The Parting of Charles I. with his Children, The Parting of Lord and Lady Russell, and Buonaparte in discussion with the Savants, all of which were exhibited at the Academy. Lucy established a great reputation in Europe and America.
JOHN PHILLIP (1817—1867) was one of the best colourists of the English school. He was a native of Aberdeen, began life as an errand boy to what the Scotch call a "tin smith," and afterwards became an apprentice to a painter and glazier, and seems to have had instruction in his early pursuit of art from a portrait painter of his native town, named Forbes, who was very generous to him. A picture by Phillip secured him the patronage of Lord Panmure, who sent him to London. In 1837 the young painter entered the Academy Schools. He exhibited two portraits in 1838, and two years later returned to Aberdeen, exhibiting in the Royal Academy Tasso in Disguise relating his Persecutions to his Sister. Once more returning to London, Phillip exhibited The Catechism, and several pictures of Scottish life, as The Baptism, The Spae Wife, The Free Kirk. Illness compelled him to visit Spain in 1851, and here he produced many excellent pictures of Spanish life, which greatly added to his reputation, and gained for him the sobriquet of "Don Phillip of Spain." A Visit to Gipsy Quarters, The Letter-writer of Seville, and El Paseo are examples of his Spanish pictures. In 1857 Phillip was elected Associate of the Royal Academy, and exhibited the Prison Window in Seville. Elected a full member in 1859, he painted next year The Marriage of the Princess Royal, by command of the Queen. La Gloria, one of his most celebrated works, appeared in 1864. His pictures combine correctness of drawing with boldness, if not refinement, of colouring—which is seldom met with in the works of our best painters.
ALFRED ELMORE (1815—1881), an Irishman by birth, won for himself fame as a painter of historic scenes and genre subjects. Among his works are Rienzi in the Forum; The Invention of the Stocking Loom and The Invention of the Combing Machine; Marie Antoinette in the Tuileries; Marie Antoinette in the Temple; Ophelia; and Mary Queen of Scots and Darnley. He was elected a R.A. in 1857.
