regard he had for his musé by so generously rewarding him for celebrating his grace's seat at Canons' (Daily Post). He died in a 'large old house' at Canonbury, where he had rooms, on 11 Jan. 1738 (cf. Gent. Mag. September 1743, p. 491). He was buried, 'in a private but decent manner, in Islington churchyard.' His other writings were: 'Malpasia, a Poem Sacred to the Memory of … Lady Malpas,' 1732; 'Ulysses, an Opera,' 1733; and 'Annotations on the Old and New Testament,' 1735. He also translated the following dramas and operas: 'Poro, Re dell' Indie,' 1731; 'Rinaldo,' 1731; 'Venceslao,' 1731; 'Catone,' 1732; 'Eyio,' 1732; 'Sosarme Re di Media,' 1732. His 'Peruvian Tales' (1734), said to be translated from the French, and continued by Samuel Kelly, had considerable popularity (republished in 1817). He also translated the 'Spectacle de la nature,' by Antoine Noel, abbé de la Pluche, London, 1733 (Halkett and Laing, Dict. of Anonymous Lit. p. 2465), and pieces by Crébillon and La Fontaine.
[Nichols's History and Antiquities of Canonbury (with quotation from Daily Post); Bibliotheca Topographica Britannica, ii. 32 sq.; Notes and Queries, 2nd ser. vi. 71; Grove's Dict. of Music, i. 758; Preface to Peruvian Tales, 1817 edition; Brit. Mus. Cat.]
HUMPHRIES, JOHN (d. 1730?), violinist and composer, published 'Six Solos for a Violin and Base with a Thoroughbase for the Harpsichord,' London, 1726. He is said to have died in 1730.
[Dict. of Music, 1827, i. 383.]
HUMPHRY, OZIAS (1742–1810), portrait-painter, son of John Humphry and Elizabeth Upcott his wife, was born at Honiton 8 Sept. 1742. He was educated at the grammar school there, and at an early age was sent to London, where he studied for two years at the St. Martin's Lane academy and the Duke of Richmond's gallery in Privy Gardens. He returned to Honiton on the death of his father and practised portrait-painting for a short time at Exeter, and in 1762 went to Bath, where he lodged with the Linleys, and was articled to Samuel Collins, the miniature-painter. The latter retired to Dublin in the following year, and Humphry came again to London, where, encouraged and assisted by Reynolds, he settled, and became a member of the Society of Artists. A miniature of John Mealing the model, which he exhibited with the society in 1766, was purchased by the king, who commissioned him to paint the queen and other members of his family. Thenceforth Humphry took a leading place in the profession. The Duke of Dorset was one of his earliest patrons, and gave him much employment throughout his career. In 1768 he took a house in King Street, Covent Garden. After making unsuccessful suit for the hand of Miss Paine, daughter of the architect, who became the wife of Tilly Kettle [q.v.], he left England for Italy with his friend Romney in March 1773. He was absent four years, visiting Rome, Florence, Venice, and Naples, where he studied from the antique and made copies of celebrated pictures. On his return to London in 1777 he established himself in Rathbone Place; in August of that year Dr. Wolcot ('Peter Pindar') addressed some eulogistic verses to him (see Notes and Queries, 5th ser. iv. 5); and in October John Opie, then a lad of fifteen, applied in vain for employment in his studio. For the next few years Humphry painted life-sized portraits in oils. He was elected A.R.A. in 1779, and in that and the next year exhibited at the Royal Academy; but, finding himself unable to compete successfully with other artists in that line, by the advice of Sir Robert Strange he went to India in 1785. There he became intimate with Warren Hastings and Sir William Jones, and, resuming miniature-painting, visited the courts of several native princes, where he earned large sums; but ill-health necessitated his return home in 1788, and he took a house in St. James's Street. Some portraits which he exhibited in the following year revived his old reputation, and in 1791 he was elected a Royal Academician. While he was engaged in executing for the Duke of Dorset a series of miniatures from family portraits at Knole to decorate a cabinet, his eyesight gave way, and, compelled to abandon miniature work, he turned to crayon drawing. At Knole there is a portrait of the Duke of Dorset, which is inscribed on the back, 'The first portrait in crayons painted by Ozias Humphry, R. A.; it was begun in May and finished early in June 1791.' Humphry quickly became one of the ablest workers in crayons. In 1792 he was appointed portrait-painter in crayons to the king, but in 1797, while in the full tide of success, his eyesight totally failed, and the portraits of the Prince and Princess of Orange, exhibited in that year, were the last he drew. The remainder of his life was passed in seclusion, and he died in Thornhaugh Street 9 March 1810. He was buried in the ground behind St. James's chapel in the Hampstead Road. A friendly notice of him by John Taylor appeared in the 'Sun' after his death.
Humphry stands in the front rank of English miniaturists, and his works have always been admired for their simplicity and refinement, correct draughtsmanship, and har-
