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father, and painted with much fidelity rustic scenes and groups of cattle. He exhibited in London, ana eventually settled there. Attacked by inflammation in the eyes, and suffering generally from weak health, he returned to Leeds, where he died in December 1842, aged 33.
RHODES, Richard, engraver. Prac- tised in the line manner, in which he ex- celled. He engraved some of the illus- trations of the 'Ancient Terra-cottas in the British Museum/ 1810, and some illus- trations of the English poets. In the latter part of his career he was for many years the principal assistant to Charles Heath. He died at Camden Town, November 1, 1838, aged 73. .
RICHARDS, John Inigo, R A., land- scape and scene painter. He chose as his landscape subjects the ruins of old domestic and ecclesiastical buildings, but was chiefly distinguished as a scene painter. In 1763-65 he exhibited views at the Spring Gardens' Rooms. He succeeded Dafl, in 1777, as the principal scene painter at Covent Garden Theatre, and held that engagement for many years. He was one of the found- ation members of the Royal Academy, and a contributor of landscapes and figures, from 1769, to the exhibitions. In 1788 he was appointed the secretary to the Academy, and from that time was only an occasional exhibitor. He repaired the cartoon by Leonardo da Vinci, which belongs to the Academy. After suffering many years from ill-health, he died in his apart- ments at the Academy, December 18, 1810. His scenery for 'The Maid of the Mill' delighted the town, and in 1768 one of the scenes was engraved by Woollett, and had a large sale. Both Hearne and McArdell engraved after him.
RICH ARDSON, George, architect. He received a Society of Arts' premium in 1765, and was in full professional practice at the end of the 18th century. He pub- lished, in 1794, 'A Complete System of Architecture;' also *A Supplement to Vitruvius Britannicus,' and 'The New Vitruvius Britannicus: Plans and Eleva- tions of Modern Buildings.' He lived many years in Tichfield Street, became very distressed in his old age, and was often assisted by the generosity of the sculptor Nollekens.
% RICHARSON, Jonathan, portrait painter. He was born in 1665, and lost nis father when only five years of age. His mother married a second husband, a scriv- ener, to whom he was articled against his inclination. But, released in the sixth year of his apprenticeship by the death of his father-in-law, he choose art for his pro- fession, and became the pupil of John Riley, with whom he continued four years, and ended by marrying his niece. He 356
acquired enough of his master's manner to support a solid and lasting reputation, even during the lifetime of Kneller and Dahl; and on their deaths he ranked with Jervas as at the head of the profession. Walpole says of him : ' His men want dignity, his women grace ' — which, if true, is redeemed by the honest character and great individu- ality of his portraits. His heads are well and carefully drawn, and well coloured, and some half-lengths by him may be praised but hardly his whole-lengths. He etched a few portraits in a slight but spirited man- ner. He was also distinguished: as a writer. Dr. Johnson said of nim, ' He is better known by his books than his pictures/ a doubtful compliment for a painter, which, if true in the Doctor's days, is assuredly not in ours. He wrote * An Essay on the whole Art of Criticism in Relation to Paint- ing,' 1719; * An Argument in behalf of the Science of a Connoisseur,' 1719; * An Ac- count of some Statues, Bas-reliefs in Italy, &c.,' 1722; * Explanatory Notes and Re- marks on Milton s Paradise Lost, with the Life of the Author,' 1734. In his writings he was much assisted by the classic attain- ments of his son, some witless allusions to which in his preface to Ids ' Notes on Mil- ton,' led to a caricature of both father and son by Hogarth, and to the reply of Prior, when asked by him what title he should give to one of his books, * The memoirs of yourself and your son Jonathan, with a' word or two about painting.' We learn also that he inflicted upon all comers to Old Slaughter's, Button's, and Will's his 4 Notes on Milton,' which he persisted in reading to them. He had many years re- tired from the practice of his profession, when he died suddenly, at his house, in Queen's Square, Bloomsbury, May 28, 1745. His collection was sola by an auc- tion in February, 1747, which lasted 18 days. His drawingsproduced 2060J., his pictures about 7001. Hudson, who had married one of his daughters, purchased many of the dra win srs.
RICHARDSON, Jonathan, portrait painter. Only son of the above. He paint- ed only as an amateur. Living with his father in great harmony, he assisted him in all his pursuits, and shared in his labours. A portrait of Matthew Prior by him is en- graved. He died in Queen Square, Blooms- bury. June 6, 1771, aged 77, and was buried in the churchyard of St. George-the- Martyr.
RICHARDSON, Thomas Miles, land- scape painter. Was born at Newcastle- on-xyne, May 15, 1784. His family were well-descended, andpossessed property in North Tynedale. He was apprenticed to an engraver in Newcastle, and, on his death, transferred to a cabinet-maker. On the conclusion of his apprenticeship he com-
