966
SANT— SANTLEY.
mione, contra Stephanum I., II., contra Nicogtratum, Cononem, Cal- liclem. He has alao revised and edited a Commentary on the Rhe- toric of Aristotle, which was left in a nearly completed form by Mr. Cope, and was published in three volumes by the University Press in 1877. He has since edited, in 1880, the Baechm of Euripides, with critical and explanatory notes, and with numerous illustrations from works of ancient art. A revised edition of this work, with additional illustrations, appeiu^ in 1883 . He is now preparing an edition of the speech of Demosthenes against the law of Leptines.
SANT, James, R.A., was born at Croydon, April 23, 1820, and received his first instruction in art from John Varley, one of the fathers of the British school of painting in water- colours. It was not however till 1842 thdt he devoted himself to painting as a profession by becom- ing a student of the Boyal Academy, where he studied for four years. Shortly after leaving he began to exhibit those ** subject pictures,*' or " fancy subjects," of single figures generally, and these frequently children, by which he is probably most widely known, many of them having been engraved. Of these we may select as typical examples the " Infant Samuel," the " Infant Timothy," Little Bed Riding Hood," and "Dick Whittington." Among Mr. Sant*s numerous other works of this description are the "Light of the Cross," "Mother's Hope," " Morning " and " Evening," " She Never Told her Love," "Har- mony," "Young Minstrel," "Re- trospection," " Sa«on Women," " The Boy Shakspere," " The Walk to Emmaus," " The Miller's Daugh- ter," and " Young Steele." Works of this class were the best possible preparation for, or alternation from, the practice of portraiture, to which the pressure of fashionable favour has almost confined Mr. Sant in later years. His style of portrait
painting is refined, poetical, and graceful, and he frequently throws in accessories connecting the sitter with some interesting incident. His pictures of children are especially pleasing, and in this particular branch of his art he is without a competitor. The largest collection of Mr. Sant's works is at Strawberry Hill. For Countess Waldegrave the artist painted no fewer than 22 membe^ of her distinguished circle, including the Du(£es8 of Sutherland, the Marchioness of Westminster when Lady Constance Grosvenor, the Countess of Shaf- tesbury, the Duke and Duchess d'Aumale, the Duchess of Welling- ton when Marchioness of Douro, the Earl and Countess of Clarendon, Lord Lyndhurst, the Marchioness of Clanricarde, M. Van der Weyer, the Belgian Minister, Viscount Strat- ford de Reddiffe, Coimtess Morley, Earl Grey, Bishop Wilberforce, and Countess Waldegrave herself. This Strawberry Hill gallery of pictures was exhibited at the French Gal- lery, Pall MaU, in 1861. To enumerate all the fashionable and j other notabilities whose portraits have been painted by Mr. Sant would far exceed our limits. He was elected A.R.A. in 1861 ; RJL. in 1870; and in Jan., 1871, was appointed Principal Painter in Ordinary to the Queen in succession to the late Sir George Hayter, when he was commissioned to paint a large picture of Her Majesty and her royal grand-children, t^e three eldest ch3dren of the Prince of Wales, and a State portrait of the Queen for the Turkidi Embassy. In June, 1877, Mr. Sant was elected a corresponding member of the Royal Accademia Raffaello in Urbino.
SANTLEY, Chablbs, barytone singer, born at Liverpool, after re- ceiving a good musicsii and general education in his own country, pro- ceeded to Italy to complete lus pro- fessional training. He made his first appearance as an operatic singer in this country at Covent
