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He was entrusted with extensive repairs of King's College Chapel, Cambridge, the additions to Corpus Christi and Em- manuel Colleges, and the repairs of several of the colleges there. He also repaired the chapel of Ely Cathedral, Lincoln Minster, and the towerof Winchester College Chapel. He designed, in the Italian style, the Shire Hall, Cambridge. 1774, and the Guildhall, 1782. He published 'Remarks on the Antiquity of different Modes of Brick and Stone Buildings in England,' 'Observations on Lincoln Cathedral/ * On the Origin and Antiquity of Round Churches, and uipar- ticular of the Round Church at Cam- bridge/ * On Croyland Abbey and Bridge/ and 'Designs for the new building of Benet's, Kmgs, and Emmanuel Colleges, Trinity Hall, and the Public Library at Cambridge.' He ranks among the earliest of the practical revivers of Gothic. He died of paralysis at Cambridge, aged 61, September 14, 1784, and was buried in St. Botolph's Churchyard.
ESSEX, John, 'marbler.' Was em- ployed to make the figures for the tomb of the Earl of Warwick, in Warwick Church, temp. Richard II.
ESSEX, Richard Hamilton, water- colour painter. He was elected an associate exhibitor of the Water-Colour Society in 1823, and from that year to 1836 was a constant contributor to the Society's Exhibitions. His works were all of an architectural character, almost exclu- sively Gothic, with some few architectural designs ; among them were, in 1823, * The Quadrangle of Magdalen College, Oxford.' and (the ' Interior of Beauchamp Chapel, Warwick ; ' in 1825, * Views of the Interior and Exterior of Ely Cathedral ;' in 1831, of some Belgian edifices ; about 1835, drawings of several churches. He. was also an occasional exhibitor at the Royal Academy of works of the same character, his last contributions being some interiors of Canterbury Cathedral in 1853. He died at Bow, February 22, 1855, aged 53.
ESSEX, William, enamel painter. His name first appears in the Academy catalogues in 1818. He was then living in Clerkenwell, and exhibited a ' Dog's Head' in enamel, and in the two following years some animals in enamel. In 1824 ne ex- hibited a head of the Empress Josephine, after Isabey; and the next year some groups of flowers and a landscape, also in enamel. In the succeeding years, continu- ing to paint in enamel, he exhibited por- traits after Jackson, R.A., Lawrence, P.R.A., with an occasional scripture or history subject after the old masters. In 1839 he was appointed enamel painter to the Queen (by whom he was much employed), and in 1841 to Prince Albert. In the lat- ter part of his career he painted one or two 144
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miniature enamels from the life. He ex- hibited for the last time in 1862, and died at Brighton, December 29, 1869, aged 85. He improved the texture of his art, and his works were greatly esteemed. He was one of the last of several well-known and emi- nent enamel painters who flourished in the present century. His son, William B. ESSEX, was brought up in the practice of his father's art. He died at Birmingham in 1852, aged 29.
ETHERIDGE, William, architect. He practised about the middle of the 18th cen- tury, and among other public works he is distinguished as the designer of the bridge at Walton-on-Thames ? 1767. The credit of this work gained him the appointment of surveyor of Ramsgate Harbour. He died October 3, 1776.
- ETTY, William, R.A., history painter.
He was born March 10, 1787, at York, where his father, a respectable man, carried on the business of a miller, and also made gingerbread, which his mother sold. He early showed a predilection for drawing, and scribbled over every plain surface that fell in his way. He learnt little more dur- ing his short schooling than to read and write, but picked up what he could among an intelligent family at home, and was mously taught by his parents, who were Methodists. Of a reserved, shy, and affec- tionate disposition, he was sent from home in his 12th year, and apprenticed to a letter-press printer in Hull, where, not- withstanding hard work and long hours, he found time to cherish his love of drawing and otherwise to gain knowledge — for seven years drudging conscientiously on, all the while dreaming of becoming a painter. Then, his prentice work done, an uncle in London, moved by his entreaties, invited him to the Metropolis, where he arrived in 1805, and after two or three weeks' work as a journeyman printer, was assisted by his uncle to study as an artist. He drew from prints and everything that came in his way, and having finished from the round a drawing of ' Cupid and Psyche,' he took it to Opie, who gave him an introduc- tion to Fuseli, and he gained admission as a student of the Royal Academy in 1807, and was a most diligent attendant in the schools.
He first thought to paint landscape, then inclined to heroic subjects, and then to devote himself, as he said, to ' God's most glorious work, Woman. ' In this uncer- tainty of aim he was attracted by the works of Lawrence, then at the head of his pro- fession, and became, in 1808, by the liberal help of his uncle, his indoor pupil for one year ; after a hard struggle, but with little assistance, he acquired a power of handling and some of the technical manner of his master. He is an example of that perse-
