reply published to Strauss and Renan. 8. 'Thomas Chalmers,' an Exeter Hall lecture, 1864. 9. 'Outlines of Apologetical Theology,' 1867. 10. 'Dr. Guthrie as an Evangelist; 1873. 11. 'The Doctrine of the Presbyterian Church,' 1870. 12. 'The Jews in relation to the Church and the World,' 1877. 13. 'Unbelief in the Eighteenth Century,' 1881: a learned and elaborate work. 14. 'Contribution to a Clerical Symposium on Immortality,' 1885. 15. 'Doctrinal Principles of the United Presbyterian Church' (Dr. Blair's manual), 1888. He contributed the article on Kant to the eighth edition of the 'Encyclopædia Britannica,' and a memorial tribute to George Wilson (1818–1859) [q. v.] in 'Macmillan's Magazine,' 1860. His reminiscences and estimate constitute a feature of Veitch's 'Memoir of Sir William Hamilton,' 1869. He wrote frequently in the 'North British Review,' the 'British Quarterly,' the 'Sunday at Home,' and other periodicals, and he issued several publications on church union and disestablishment, besides furnishing some notable disquisitions to the Religious Tract Society. He wrote critical prefaces for a reissue of Culverwell's 'Light of Nature,' 1856; for Bacon's 'Bible Thoughts,' 1862; and for Krummacher's 'Autobiography,' 1869. A posthumous volume, 'Christ the Morning Star, and other Sermons,' appeared in 1893.
[Information from Cairns's brother, the Rev. David Cairns of Stitchel, Kelso, and his nephew, the Rev. David Cairns of Ayton, Berwickshire; MacEwen's Life and Letters of John Cairns, 1895; United Presbyterian Missionary Record, 12 April 1892; Scotsman and other newspapers of 13 March 1892; memorial sermons by the Rev. John W. Dunbar, Edinburgh, and the Rev. R. D. Shaw, Hamilton; personal knowledge.]
CALDERON, PHILIP HERMOGENES (1833–1898), painter, was born at Poitiers on 3 May 1833. He was the only son of the Reverend Juan Calderon (1791–1854), a native of La Mancha and a member of the same family as the celebrated Spanish dramatist, though not his direct descendant. Juan Calderon had been a priest in the Roman catholic church; he left Spain on becoming a protestant, and was married at Bayonne to Marguerite Chappelle. He subsequently settled in London as professor of Spanish literature at King's College, and minister to the community of the Spanish reformed church resident in London. Philip Calderon, who came to England at the age of twelve, was educated mainly by his father. After beginning life as the pupil of a civil engineer, the lad showed so strong a taste
for drawing that it was decided to let him become a painter. He studied at the British Museum and the National Gallery, and in 1850 entered J. M. Leigh's art school in Newman Street, where he began to paint in oils from the life, generally by gaslight. In 1851 he went to Paris and studied under François Edouard Picot, one of the best teachers of his time, who compelled his pupil to draw from the model in chalk with great exactness, and would not allow him to paint. A year of this training made Calderon a firm and rapid draughtsman, with a thorough knowledge of form. During 1852 Henry Stacy Marks [q. v. Suppl.] was his companion for five months in the Rue des Martyrs, Montmartre.
On returning to London Calderon worked in the evenings at Leigh's school, while he copied Veronese and Rubens on students' days at the National Gallery. In 1853 he exhibited his first picture, 'By the Waters of Babylon,' at the Royal Academy. He exhibited there again in 1855 and at other galleries in 1856. He painted many portraits about this time, but did not exhibit them. In 1857 he made his name at the academy by his picture, 'Broken Vows,' which was engraved in mezzotint by W. H. Simmons in 1859, and became very popular. In 1858 he exhibited ' The Gaoler's Daughter' and 'Flora Macdonald's Farewell to Charles Edward.' Works of less importance, shown in 1859 and 1860, were followed by two pictures in 1861, 'La Demande en Mariage' and 'Liberating Prisoners on the Young Heir's Birthday,' which greatly increased his reputation. He gained the silver medal of the Society of Arts for the former picture, which is now in Lord Lansdowne's collection. 'After the Battle' (1862) made a still deeper impression, and revealed in Calderon a master of pathos. The second picture of this year, 'Catherine of Aragon and her Women at Work,' was another success. All his best qualities were exhibited in 'The British Embassy in Paris on the Day of the Massacre of St. Bartholomew' (1863). In July 1864 he was elected an associate of the Royal Academy. His pictures that year were 'The Burial of Hampden' and 'In the Cloisters at Aries.' In 1860 he exhibited what has been described as his masterpiece, 'Her Most High, Noble, and Puissant Grace,' a picture of a little princess parsing, with musicians and heralds, along a gallery hung with arras, and followed by ladies and courtiers. This picture was exhibited at the international exhibition at Paris in 1867, and the painter obtained for it the only gold medal awarded
