were reprinted in A. H. Brown's ‘Organ Arrangements,’ 1886. Six of Stanley's preludes and fugues are included in Pittman's ‘Progressive Studies for Pianoforte, Organ, or Harmonium,’ 1882. One hymn tune is used in the Temple church.
Stanley's portrait by Gainsborough, a half-length, was finely engraved by Mary Ann Rigg (Scott), and published in 1781. Another portrait, representing him at the organ, was engraved by Mac Ardell, and appeared in the ‘European Magazine.’
[European Mag. 1784, ii. 171; Gent. Mag. 1760 p. 218, 1779 pp. 103, 317, 1780 p. 37, 1786 pp. 442, 512; Georgian Era, iv. 313; C. F. Pohl's Mozart in London, p. 179; Morning Post, June 22, 1786; Courtney's English Whist, p. 313; Marpurg's Traité de la Fugue et du Contrepoint, Berlin, 1756, § 2, p. xxv; Burney's General Hist. of Music, iii. 621, iv. 587, 654, 663; Grove's Dict. of Music and Musicians, iii. 690; C. F. Abdy Williams's Degrees in Music, p. 85; Ouseley's Contributions to Naumann's Illustrirte Geschichte der Musik, English edit. p. 920; Musical News, 16 Oct. 1897.]
STANLEY, MONTAGUE (1809–1844), actor and painter, was born at Dundee on 5 Jan. 1809. His father, who was in the royal navy, was ordered to New York in March 1810, and took his family thither. By the death of his father in 1812 Stanley was left entirely to the care of his mother. She married again in 1816, and removed with her son to Halifax, Nova Scotia. In 1817 the family went to Kingston, Jamaica. Two years afterwards Stanley sailed for England with his mother and a young brother and sister, and settled with friends in Lancashire. It was about this time that he first evinced a taste for drawing, but he had already shown a predilection for the stage, and in 1824 he took a theatrical engagement at York, under the assumed name of Manby. In the summer season of 1826, resuming his own name, he joined W. H. Murray's company at Edinburgh. ‘He was a very handsome young man, well suited for the parts he played, and was useful as well as a singer, being often cast for vocal parts such as Don Ferdinand in “The Duenna”’ (Dibdin, Annals of the Edinburgh Stage, p. 319). Although he acted at Dublin in 1830 and London in 1832–3, he remained at Edinburgh twelve years, taking his farewell benefit on 26 Feb. 1838, when he played Richard III. He appeared for the last time on 28 April, when he played Laertes to Charles Kean's Hamlet. ‘One of his best parts was Robert Macaire, in which the mixture of broad farce and melodrama seemed to suit him exactly’ (ib. p. 373). His withdrawal from the stage was due to religious scruples.
On quitting the stage in 1838 he mainly devoted himself to painting, which he had practised while an actor. At the same time he taught drawing, elocution, and fencing, in which he was an expert, and wrote serious verse, some of which was printed in the ‘Christian Treasury.’ There is no record of his having had any regular art education. It is stated that he took lessons from John W. Ewbank [q. v.] in Edinburgh at a comparatively late period in his career. When not confined by theatrical or tutorial duties to Edinburgh, he visited Wales, England, and the west of Scotland, making sketches, which he afterwards completed as pictures for the Scottish Academy. From 1828 till 1844 (save in 1831–32–33) he was a regular exhibitor there, mainly of Scottish landscapes. The only picture shown by Stanley in the Royal Academy of London, ‘Wreck on the Lancashire Sands,’ was exhibited in 1833, while he was in London. He was elected an associate of the Royal Scottish Academy in 1839.
He secured a house at Ascog in Bute early in 1844, but died there on 4 May in that year, being buried in the churchyard. He married in 1833 an Edinburgh lady of good position; she survived him with seven children. Stanley made his reputation as a landscape-painter, and many of his pictures have been engraved as book illustrations. Sir T. Dick Lauder's edition of Uvedale Price's ‘On the Picturesque’ (1842) was illustrated by sixty wood engravings from Stanley's designs. Others were engraved for his published biography by the Rev. D. T. K. Drummond. Many of them were burnt while being conveyed by railway to Edinburgh to be sold by auction, a spark from the engine having ignited the truck in which they were packed.
[Brydall's Art in Scotland, p. 469; Drummond's Memoir of Montague Stanley, Edinburgh, 1848; Redgrave's Dict. of Artists; Dibdin's Annals of the Edinburgh Stage, passim; Catalogues of the Royal Academy and Royal Scottish Academy.]
STANLEY, THOMAS, first Earl of Derby (1435?–1504), was son of Thomas Stanley, first lord Stanley (1406?–1459), and his wife, Joan, daughter and coheiress of Sir Robert Goushill of Hoveringham, Nottinghamshire, by Elizabeth Fitzalan, dowager duchess of Norfolk (d. 1425).
Sir John Stanley, K.G. (1350?–1414), the founder of the family fortunes, was his great-grandfather. He came of a younger
