wark, and Westminster,’ 1819; Wilkinson's ‘Londina Illustrata,’ 1808; Ireland's ‘History of the County of Kent,’ 1829–30; ‘The Architectural Antiquities of Great Britain;’ and ‘Beauties of England and Wales.’ He also drew some of the illustrations to the ‘European Magazine.’ The Crace collection of London topography, now in the British Museum, contains many of his drawings.
George Sidney Shepherd (d. 1858), his son, practised watercolour-painting in the same style, but his works were more artistic in treatment; they were mainly topographical views, but also included rustic subjects and still life. He exhibited at the Royal Academy and Suffolk Street from 1830 to 1837, and with the New Watercolour Society, of which he was elected a member in 1833, from that year until his death in 1858.
Thomas Hosmer Shepherd (fl. 1825–1840), probably a brother of George Sidney Shepherd, painted exclusively views of streets and old buildings in London and other cities, which he executed with great truth and accuracy. He drew the whole of the illustrations for the following topographical works: ‘Metropolitan Improvements, or London in the Nineteenth Century,’ 1827; ‘London and its Environs in the Nineteenth Century,’ 1829; ‘Modern Athens displayed, or Edinburgh in the Nineteenth Century,’ 1829; ‘Views of Bath and Bristol,’ 1829–31; ‘London Interiors, with their Costumes and Ceremonies,’ 1841–3; and ‘A Picturesque Tour on the Regent's Canal.’ Shepherd was largely employed by Frederick Crace [q. v.] in making watercolour views of old buildings in London previous to their demolition, and some hundreds of these are in the Crace collection in the British Museum.
[Redgrave's Dict. of Artists; Universal Cat. of Books on Art; exhibition catalogues.]
SHEPHERD, JOHN (fl. 1550), musician, born probably about 1521, was in 1542 appointed instructor of the choristers and organist at Magdalen College, Oxford. He resigned in 1543, but resumed the post in 1545. In 1547 he was paid 8l. as teacher of the boys for one year, and other sums for repairing the organ and providing various church furniture, vestments, and books. He then resigned again; but in 1548 he supplied twelve music-books, for which he was paid 5s. From 1549 to 1551 he was fellow of the college. He probably then entered Edward VI's Chapel Royal (cf. Hawkins, Hist. of Music). On 21 April 1554 Shepherd supplicated for the degree of Mus. Doc. Oxon., ‘having been a student in music for the space of twenty years;’ but his petition was apparently not granted. He reappears in the records of Magdalen College for 1555, but in a very unfavourable light. He had dragged a boy ‘in vinculis’ from Malmesbury to Oxford, probably for impressment as a chorister, and was publicly reprimanded by the vice-president on 2 and 15 June. The last reference to him is on the following 15 Dec., when he was paid 20s. for some songs.
In the manuscript written by Thomas Mulliner [q. v.], the musician is described as ‘Master Sheppard of the queenes chappell;’ but he is not mentioned in the cheque-book (Camden Society's Publications, 1872), which begins in 1561. He was probably still alive in 1563, as an anthem by him, ‘O Lord of Hosts,’ is included in the appendix to the four-voiced setting of the ‘Psalter’ published by John Day in that year. Another anthem by him, ‘Submit yourselves one to another,’ was printed in Day's ‘Certayne notes … to be sung at the morning, communion, and evening praier’ (1560), and ‘Morning and Evening Prayer, and Communion set forth in four parts’ (1565). Tallis's ‘I give you a new commandment,’ from the same publications, has also been erroneously ascribed to Shepherd, and was reprinted with his name in the ‘Parish Choir’ (1847). In Barnard's ‘Selected Church Musick’ (1641) is another anthem in two sections, ‘Haste Thee’ and ‘But let all,’ by Shepherd; and in some seventeenth-century choir-books at Durham (one of which set is now in the British Museum as Addit. MS. 30479) he is credited with the fine anthem still in use, ‘O Lord, the Maker of all things,’ which Barnard ascribed to William Mundy, but Aldrich and Boyce to King Henry VIII, from whose ‘Prymer’ the words were taken.
A large number of unpublished works by Shepherd are preserved in cathedral choir-books and in manuscripts at Buckingham Palace, the British Museum, the Royal College, and Christ Church, Oxford. They are mostly to Latin words, and are nearly all vocal. But there is a song with lute accompaniment in Brit. Mus. Addit. MS. 4900; a pavan and a galliard for the lute in the Christ Church MSS., and some short organ ‘Versus’ in Mulliner's book are purely instrumental. Addit. MS. 29246 contains works by Shepherd arranged for the lute.
Shepherd's most important works are four masses preserved in Addit. MSS. 17802–5, with four alleluias and ten motets. One of the masses is constructed on a secular tune, ‘Western wind, why dost thou blow?’ which has been also used for masses by Tye and
