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which he chiefly painted. He exhibited with the Society of Artists, 1761, ' Brood Mares,' and ' A Stallion/ and contributed to the first exhibition at the Royal Aca- demy. He died about 1772.
SHAW. James, portrait painter. Born at Wolverhampton. Was a pupil of Penny, R.A. He lived for some time in Charlotte Street, Rathbone Place, and practised as a portrait painter. He exhibited at the Royal Academy in 1776 and 1784, but did not attain celebrity. Died shortly after the latter year.
SHAW, John, F.R.S., architect. He had considerable practice, and built the new Hall at Christ's Hospital, 1829, the new Church of St. Dunstan, near Temple Bar, and other important edifices. He was a member of the Royal Institute of British Architects. Died from a sudden affection of the heart July 30, 1832, aged 56.
SHAW, Henry, F.S.A., architectural draftsman. Born in London, July 4, 1800. He developed an early taste for drawing, and found congenial employment in assist- ing John Britton in his ' Cathedral Anti- quities of Great Britain.' The illustrations for Wells Cathedral, part of this great work, published in 1824. are chiefly by his hand ; and he was also largely engaged upon the illustrations for Gloucester Cathedral, pub- lished in 1828. The following year he published a work of his own, drawn and engraved by himself, ' The Antiquities of Luton Chapel,' and then commenced his unrivalled series of illuminated works, the industrious labours of a long life. He published, in 1832, * A Series of Details of Gothic ArcMtecture,' followed by * Illumin- ated Ornaments,' * Specimens of Ancient Furniture,' ' Ancient Plate and Furniture,' 'Dresses and Decorations of the Middle Ages,' 1839 ; ' The Encyclopaedia of Orna- ment,' 1842; 'Alphabets, Numerals, and Devices of the Middle Ages,' 1845 ; ' Decor- ative Arts of the Middle Ages,' 1851 : ' The Handbook of Mediaeval Alphabets,' 'Anns of the Colleges of Oxford,' 1855 ; « Orna- mental Tile Pavements,' 1858 ; with several other works of analogous character. The examples for these were selected with great knowledge and taste from the purest and best specimens ; but the labour of 40 years met with no other reward than the gratifi- cation found in a cherished pursuit. He died June 12, 1873, aged 73. % SHBE, Sir Martin Archer, P. R. A., portrait painter. Was descended from an old Connaught family, and was born Decem- ber 20, 1769, at Dublin, where his father, a well-educated man, was a merchant. In his boyhood he shewed a fondness for art, and was placed in the Dublin School of Design. His father dying soon after, he was taken in charge by a married aunt, whose partiality for him caused some words 390 .
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with her husband, which, coming to his ears, he suddenly left the house penniless. He was able to find some employment in por- trait painting, and continuing to work hard at his studies, he gained, in 1787, the chief medal in the Dublin School. In June, 1788. he came to London, and bringing a kind introduction from Burke as 4 his little rela- tive ' to Reynolds, he was advised by him to enter the schools of the Royal Academy, which he did in 1790, though he thought himself beyond such instruction. He most earnestly employed his time and oppor- tunities. He had, in 1789, exhibited two heads, and was employed both by Boydell and Macklin to make reduced copies of pictures for engraving, but though he does not appear to have found remuneration for his labours, he refused his aunt's help, and practised great self-denial.
In 1791 he exhibited his first whole- length at the Academy, and struggling on, he quietly gained a name and place in art. His earliest works were theatrical portraits. Lewis (an excellent full-length now in the National GalleryJ, Stephen Kemble, Pope, Fawcett, and others were painted by him in character. At this time he attempted an historical work, which, he says, coet him at intervals three Vears' thought and toil. His subject was 'The Daughter of Jephthah lamenting with her Companions,' exhibited in 1794. In 1798 he completed a large equestrian portrait, which added to his reputation, and in the following year was elected an associate, and in 1800 a full member, of the Academy. He then made a tour on the continent with Samuel Rogers the poet. Though his true art and occupa- tion was in portraiture, he painted some subject works, but they did not add much to nis reputation. These were ' Lavinia/ ' Belisarius/ his presentation picture, 'Pros- pero and Miranda.' Meanwhile he had established his reputation and his position. In 1796 he took a large house in Golden Square, and married, and in 1798 removed to Cavendish Square, where he painted a portrait of the Duke of Clarence, which was engraved.
His genius was not, however, confined to his pencil. Early in his career he had contributed a series of criticisms to a daily journal, and in 1805 gained a literary repu- tation by his ' Rhymes on Art,' of which he wrote a continuation in 1809 under the title of ' Elements of Art.' After several lesser literary works, chiefly connected with art and its interest, he wrote ' Alasco, a Tra- gedy/ which was withdrawn from the stage m consequence of some excisions insisted upon by the licenser of plays, but was printed in 1823, with, an angry preface ap- pealing to the public, and, though coldly received, the copyright is said to have brought him 500/. In 1829 he published
