[Born at Bristol, 1769. Died 1830. Aged 61.]
Of humble origin; the father of Sir Thomas being the landlord of the “Black Bear,” at Devizes, in Wiltshire. At an early age evinced great delight in drawing, and a talent for the recitation of poetry. Received his first instruction at Bath from Mr. Hoare, the painter in crayons; and when thirteen years old, gained from the Society of Arts the great silver palette and five guineas, for a copy, in crayons, of the “Transfiguration.” When eighteen, he exhibited seven female portraits at Somerset House. In 1791, chosen Associate of the Royal Academy. In 1815, knighted; and in 1820, upon the death of West, elected President of the Royal Academy. The first portrait painter of his time, and in other respects an accomplished man. His numerous works are representations of the most notable and wealthiest people of his day, by whom he was courted, honoured, and richly rewarded. His colouring was clear and brilliant, and his design most graceful; but vigour and truthfulness of character are not always remarked in his productions. Lawrence had little or no education,—he was removed from school when only eight years old,—but he must have picked up much on his road. One of our great actors has acknowledged his large debt of gratitude to Lawrence for instruction, advice, and intellectual training.
[By E. H. Baily, R.A. Taken the year after Sir Thomas Lawrence’s death.]
397. Charles Kemble. Player.
[Born at Brecknock, 1775. Still living.]
The living chief of a family remarkable for dramatic genius. Since the time of Garrick, until very recently, the English stage has not been without its Kemble, as one of its brightest ornaments. Mrs. Siddons and John Kemble, were the sister and brother of Charles. As the representative of Falconbridge, Mercutio, Benedick, Cassio, and similar characters, Charles Kemble has been without an equal in our time. He first appeared at Sheffield, as Orlando, in “As You Like it,” in 1792. His first appearance in London was at Drury Lane Theatre (1794), in the character of Malcolm, in “Macbeth.” He retired from the stage in 1836, but subsequently returned to the boards for a short time, in 1840, in order to play a few of his best parts before her present Majesty. He played for the last time, April 10, 1840, in the character of Hamlet.
[By Dantan, 1842.]
398. Francis Chantrey. Sculptor.
[Born at Norton, near Sheffield, 1781. Died in London, 1841. Aged 60.]
The first portrait sculptor of his day, but not equally famous for works of imagination, the very few compositions of this kind that proceeded from his chisel having been suggested to him by other more poetic minds. Chantrey did not command astonishment, but compelled admiration by the simplicity, beauty, and truth, that were stamped on all his productions. His portraits are faithful, characteristic, and most artistic representations; idealizing the individual; and in this branch of his art he undoubtedly outstripped all rivals. His success was very great. He began life as a carver’s apprentice, and was a journeyman carver in London, where he helped with his own hand to furnish the dining-room of Mr. Rogers, the poet—a room in which many times, in after life, he sat, one of the most welcome and sociable of the guests there assembled. Wealth and honour came to him earned by labour and perseverance; and the fruits of his industry, amounting to £90,000, he bequeathed to the Royal Academy, for the purchase of “works of fine art of the highest merit in painting and sculpture,” such works “being executed within the shores of Great Britain.” The bequest was worthy of a man whose mind, whose works, whose habits, all bore the strong impress of the nation in which he was born, and of the people from whose heart he had sprung.