Page:Men of the Time, eleventh edition.djvu/60

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43
ARMITAGE.

one year. During the war with Russia he visited the Crimea, and the result was two pictures, "The Heavy Cavalry Charge of Balaklava," and "The Stand of the Guards at Inkermann." These pictures were painted for Messrs. Gambart & Co., and were not exhibited at the Royal Academy. In 1858 he produced a colossal figure, entitled "Retribution," allegorical of the suppression and punishment of the Indian mutiny. In the Upper Waiting Hall of the Palace of Westminster he has executed two experimental frescoes, "The Thames with its Tributaries," and "The Death of Marmion" and in the Catholic Church of St. John at Islington, he painted "St. Francis and his early followers before Pope Innocent III.," and decorated the apse with noble figures of Christ and the Twelve Apostles. In 1869 he was engaged upon the monochrome aeries of wall-paintings in University Hall, Gordon Square—a memorial to the late Crabb Robinson. The composition is 56 feet long, and the figures, thirty-four in number, are somewhat over life size. Mr. Armitage was elected A.R.A. in 1867, R.A. in Dec. 1872; and was appointed Professor and Lecturer on Painting to the Royal Academy in 1875. To the annual exhibitions of that body he has been a regular contributor since 1848. The following is a list of the pictures he has exhibited at the Academy:—"Henry VIII. and Katherine Parr," and "The Death of Nelson" in 1848; "Waiting for a Customer," and "An Incident in the History of Thomas-à-Becket" in 1848; "The Socialists," and "The Vision of Ezekiel" in 1850; "Samson" in 1851; "Hagar" and "The Thames and its Tributaries," a design for fresco in Houses of Parliament, in 1852; "The City of Refuge" in 1853; "The Death of Mannion," another design for fresco at Westminster, and "The Lotus Eater" in 1854; "The Ravine at Inkermann," and "Portrait of Mrs. E. A." in 1856; "Souvenir of Scutari" in 1857; "Retribution" in 1858; "St. Francis and his early followers before Pope Innocent III.," design for fresco in Catholic Church of St. John, Islington, in 1859; "The Mother of Moses hiding after having exposed her child on the river's brink" and "Christ and the Apostles," design for fresco in Catholic Church of St. John, Islington, in 1860; "Pharaoh's Daughter" in 1861; "The Burial of a Christian Martyr in the time of Nero" in 1863; "Ahab and Jezebel" in 1864; "Esther's Banquet" in 1865; "The Remorse of Judas," and "The Parents of Christ seeking Him" in 1866; "Savonarola and Lorenzo the Magnificent," "Christ Healing the Sick," and "Head of an Apostle" in 1867; "Herod's Birthday Feast" in 1868; "Hero lighting the Beacon," "The Sick Chameleon," and "Christ calling the Apostles James and John" in 1869; "Incident suggesting to Æsop his fable of Fortune and the Sleeping Boy," "Gethsemane," and "Le fil de la bonne Vierge—(gossamer threads)" in 1870; "Peace: a battlefield of the late war, twenty years hence," and "A Deputation to Faraday" in 1871; "The dawn of the first Easter Sunday," "A Dream of Fair Women," and a picture "In memory of the great Fire at Chicago" in 1872; "Christ's Reproof to the Pharisees," and "Simplex munditiis" in 1873; "St. John taking the Virgin to his own home after the Crucifixion" in 1874; "Julian the Apostate presiding at a Conference of Sectarians" in 1875; "The Hymn of the Last Supper," and "Phryne " in 1876; "Serf Emancipation: an Anglo-Saxon noble on his death-bed gives freedom to his slaves" in 1877; "After an Entomological Sale: 'beati possidentes'" "The Cities of the Plain," "The Mother of Moses," and "Pygmalion's Galatea" in 1878; "The