landscapes such as 'A Distant View of Harrow on the Hill' (1889) and 'Beachy Head' (1896). Meanwhile he pursued his Eastern themes in 'Sheep-Shearing in Egypt' (1892) and 'Laban's Pasture' (1895). In 1897 'The Ploughman and the Shepherdess' was acquired for the Tate Gallery by public subscription. Goodall from time to time in later life painted portraits. Among his Bitters were Sir Moses Montcfiore (1890), William Beatty-Kingston, his wife (1890), his daughter, Rica (1894), and (Sir) Anderson Critchett (1898). Goodall's portrait by himself was exliibited at the Royal Academy in 1881.
In 1876 Goodall purchased the estate of Grims Dyke, Harrow, and on it his friend Norman Shaw built an imposing residence. But after some twelve years Goodall returned to London, and his Harrow house passed in 1890 to Sir William Schwenck Gilbert [q. v. Suppl. II]. At the end of his life he published a volume of gossiping 'Reminiscences' (1902). He died on 29 July 1904 at 62 Avenue Road, St. John's Wood, where he had resided since his removal from Harrow, and was buried in Highgate cemetery.
He married in 1872 Alice, daughter of John Tarry, a lawyer, and by her had a large family, including Frederick Trevelyan Goodall [q. v.] and Howard Goodall [q. v.], both artists, who predeceased him. Goodall fully satisfied the public taste, which liked a story told in paint clearly, correct in detail, and with a certain simple kind of sentiment. His painting throughout his career showed much technical ability but very little inspiration.
[Goodall's Reminiscences, 1902, with list of pictures and drawings; Graves's Royal Acad. Exhibitors, 1905-6; The Times, 31 July 1904.]
GOODMAN, Mrs. JULIA, whose maiden name was Salaman (1812–1906), portrait painter, born in London on 9 Nov. 1812, was eldest of the family of twelve sons and two daughters of Simeon Kensington Salaman by his wife Alice Cowen. Charles Kensington Salaman [q. v. Suppl. II] was her eldest brother After attending a private school in Islington, Julia developed a taste for art, receiving lessons from Robert Falkner, a pupil of Sir Joshua Reynolds. At first she successfully copied old masters but soon devoted herself to portrait painting, and obtained many commissions. In 1838 she exhibited for the first time at the Royal Academy, her last picture appearing there in 1901. Among her sitters were many persons prominent in society, including the Earl of Westmorland, Sir John Erichsen, Sir Francis Goldsmid, Sir G. A. Macfarren, Prof. David Marks [q. v. Suppl. II], and Gilbert Abbott à Beckett. Her portraits in oils or pastels numbered more than a thousand. She died at Brighton on 30 Dec. 1906, and was buried in the Golder's Green cemetery of the West London Synagogue of British Jews.
In 1836 she married Louis Goodman, a City merchant, who died in 1870. Among her seven children were Edward John Goodman, at one time sub-editor of the 'Daily Telegraph,' and Walter Goodman, a portrait painter, who painted a good portrait of his mother.
[Jewish Chronicle, 4 Jan. 1907.]
GORDON, JAMES FREDERICK SKINNER (1821–1904), Scottish antiquary, born at Keith, Banffshire, in 1821, claimed descent from the Gordons of Glenbucket, in Strathdon. Educated at Keith School and then at Madras College, St. Andrews, he gained, when fifteen years of age, the Grant bursary at St. Andrews University, and graduated there with distinction in 1840, proceeding M.A. in 1842. Appointed organising master in the (episcopal) national schools at Edinburgh, he was ordained deacon in the Scottish Episcopal Church in 1843 and priest the next year. After a first curacy to the bishop of Moray (Dr. Low) at Pittenweem, Fifeshire, he removed in 1843 to Forres as curate to Alexander Ewing, afterwards bishop of Argyll and the Isles at Forres (1843-4). His experiences at Pittenweem are narrated in his 'Scotichronicon.' In 1844 he was translated to the charge of St. Andrew's Episcopal Church, Glasgow, the oldest post- Reformation church in Scotland, and there he remained till 1890, when he retired owing to advancing years. At Glasgow he devoted much energy to the development of episcopacy, and raised funds wherewith to remodel and endow his church. He was a pioneer in effecting the removal of ruinous tenements and slums in the neighbourhood, thus initiating the movement which resulted in the Glasgow Improvement Act of 1866. His 'High Church' tendencies sometimes led to friction in his own denomination; but his earnest philanthropic work brought him general admiration.
Gordon led at the same time a strenuous literary life, closely studying the history of the catholic and the episcopal churches in Scotland, and the antiquities of Glasgow.
