age of formality attached to the term ‘enthusiasm,’ which he vehemently denounced, while he was equally ardent in defence of what he styled ‘the decent services and rational doctrines of the church of England.’ Noble manners, an engaging disposition, affable and condescending address, a genial and good-humoured bearing, even if some allowance is made for partiality in description, make up an attractive portrait. His hospitality was generous, even to excess, and if the gossip of the day is to be credited his own example did not place any severe restraint on the clergy who gathered round his table. On his death Horace Walpole speaks of him as ‘a sensible, worldly man, but much addicted to his bottle’ (Walpole, Last Diaries, ii. 8–9). His son more guardedly records that ‘wherever he lived hospitality presided; wherever he was present elegance, festivity, and good humour were sure to be found. His very failings were those of a heart warm even to impetuosity.’ His open-handed, generous character was manifested in the splendid additions he made to the archiepiscopal palace at Bishopthorpe, where he also erected a new gateway, ornamented the chapel at great cost, and rebuilt the parish church in the taste of the day. It deserves notice that, in an age when the fine arts suffered from prevalent neglect, the archbishop proved himself a liberal patron of English artists (Lecky, Hist. of England in the Eighteenth Cent. vi. 161). In 1766 he lost his eldest daughter at the age of sixteen, and in 1773 his wife died. He never recovered this last blow, and died at Bishopthorpe 10 Dec. 1776. By his own desire he was buried under the altar of the parish church, with as little pomp as possible. Of his five sons the eldest, Robert Auriol, succeeded his uncle, Thomas Hay [q. v.], as ninth earl of Kinnoull, 1787. Six of the archbishop's sermons which had been printed separately at the time of their delivery were collected by his youngest son, the Rev. George Hay Drummond, and published in one volume, Edinburgh, 1803, together with a short memoir and ‘A Letter on Theological Study.’ These sermons display clearness of thought and force of expression, the matter is sensible and to the point, the composition is good, and the language dignified. The ‘Letter on Theological Study’ was written to a young friend, and not intended for publication. The advice as to the selection of books is very sensible, and free from narrowness, wide reading being recommended, including works not strictly theological. A portrait by Sir Joshua Reynolds was engraved by Watson. A small medallion portrait is prefixed to his sermons.
[Memoirs of his life by his son, prefixed to his Sermons; Cassan's Lives of the Bishops of Salisbury, pp. 284–303; Walpole's History and Diaries; sources referred to in the article.]
DRUMMOND, SAMUEL (1765–1844), portrait and historical painter, was born in London on 25 Dec. 1765. His father fought for the Pretender in 1745, and in consequence was obliged to leave the country for some time. At the age of fourteen Samuel ran off to sea, but after six or seven years he left the service, and determined to devote himself to art. Without having had any instruction he began by drawing portraits in crayons, and for several years he was employed upon the ‘European Magazine.’ He then attempted painting in oil, and exhibited for the first time some portraits at the Society of Artists in 1790. In 1791 he sent to the Royal Academy ‘Wilton's First Sight of Olivia’ and two other pictures; in 1793, two sea-pieces, with some portraits; in 1801, ‘The Woodman;’ and in 1804, ‘The Drunken Seaman ashore’ and ‘Crazy Jane.’ In 1808 he was elected an associate of the Royal Academy, where many years later he succeeded Archer James Oliver as curator of the painting school. He gained some repute by his naval subjects, such as the ‘Death of Nelson,’ exhibited at the British Institution in 1807, the ‘Battle of Trafalgar,’ and the ‘Battle of the Nile,’ exhibited at the same place in 1825, the first two of which have been engraved, and a large picture of ‘Admiral Duncan receiving the Sword of the Dutch Admiral De Winter after the Battle of Camperdowne,’ exhibited in 1827, a commission from the directors of the British Institution, by whom it was presented to Greenwich Hospital. In 1829 he sent to the British Institution ‘The Gallantry of Sir Walter Raleigh.’ His principal occupation was portrait-painting, but he also painted landscapes, in which he imitated the Florentine pictures of Wilson. His later works were chiefly subjects from the Bible and the poets, some of which have been engraved. Between 1790 and 1844 he exhibited 303 pictures and drawings at the Royal Academy, and 101 at the British Institution and other London exhibitions. In the latter part of his life his circumstances became reduced, and he frequently received assistance from the funds of the Royal Academy. He died in London on 6 Aug. 1844.
Portraits by him of the elder Charles Mathews, the comedian, and of Richard Parker, the leader of the mutiny at the Nore, were in the National Portrait Exhibition of 1867. In the National Portrait Gallery are a portrait in oil of Sir Marc Isambard
