WILLIAM WYNNE RYLAND was born in London in the year 1732. He was placed at an early age under Ravenet, with whom he made much progress in the art. At the expiration of his apprenticeship he went over to Paris, and lived with Boucher between four and five years. On leaving Paris, he started for Rome, where he studied some time. On his return to England, where his fame had preceded him, he was welcomed and courted by all members of his profession. He was soon employed by the favourite minister, the Earl of Bute, and being introduced to their majesties, he was honoured by the appointment of Engraver to the King. To extricate himself from some embarrassments, he committed an extensive forgery upon the East India Company, for which he was tried and executed in the year 1783.
MAGNANIMITY.
It is stated of this artist that while awaiting his trial he so conciliated the friendship of the governor of Bridewell that he not only had the liberty of the whole house and garden, but when the other prisoners were locked up of an evening, the governor used to take Ryland out with him. His friends concerted a plan by which he was to take advantage of this indulgence to effect his escape. But when this was mentioned to the prisoner he seemed much affected at the proposal. He protested that if he was at that moment to meet his punishment, he would embrace it with all its terrors rather than betray a confidence so humanely given. This resolution he adhered to, and ultimately preferred the risk of death to a breach of friendship.
SELF-POSSESSION.
On the forgery being discovered, a reward of five hundred pounds was offered for his apprehension. Large placards mentioning this high reward, and giving a close description of his person, were posted all over the town. Ryland had secreted himself at a friend’s house in the neighbourhood of Wapping. Notwithstanding that the detectives were all alert, he would venture out after dark. In crossing Little Tower Hill, a stranger passed him, turned round, followed, and confronted him with, “You are the very man I want.” Ryland, looking him steadily in the face, calmly answered, “But you are mistaken in your man;” adding, “I have not the pleasure of knowing you.” The stranger, who really was looking for some other person, apologised for his mistake, and resumed his way.
RED CHALK ENGRAVINGS.
“Ryland and Picot, a French engraver, who had learned from Demarteau, in Paris, the mode of stippling in what was termed the red chalk manner, had brought it over to England about the year 1770. Demarteau, who was himself an excellent draughtsman, confined his attempts to the clever chalk drawings and sketches by Boucher and Vanloo, of whose Academy figures he produced bold, mellow, and unrivalled imitations. Ryland and Picot made use of the stippling to produce elaborate prints from finished pictures. Like other easy novelties, it became immediately the fashion, and for a time gave currency to the languid elegance of Angelica Kauffman’s designs, who, in return, extolled the stippling to her courtly patrons. Dilettanti lords and ladies, the connoisseurs of St. James’s and St. Giles’s, the town and country, clamoured in admiration of the ‘beautiful red prints.’ They became a favourite decoration everywhere from the palace to the lodging-house, and a sentimental swarm of sickly designs from incidents in favourite novels succeeded to the gentle, nerveless groups of Angelica.”—European Magazine.
TENIERS (DAVID), FATHER AND SON.
DAVID TENIERS was born at Antwerp in 1582. He studied under Rubens, and afterwards at Rome. On his return home he employed himself in painting small pictures of carousals, fairs, and rural scenes, which he executed in an admirable manner. He died in 1649. He had two sons, Abraham and David, who were both artists; the former excelled in the chiaroscuro, and expression of character. The younger, David, born at Antwerp in 1610, was called “the Ape of Painting,” from his facility in imitating any style. He was esteemed by several sovereigns, and the King of Spain erected a gallery on purpose for his pictures. His chief talent lay in landscape and conversations. He died in 1694.