I 



NAVY, CONFEDERATE. 



659 



tinder the notice of the religious public at home, 

 but more by the bishop's own earnest and re- 



peated representations, the Red River settle- ing member. 



exhibitions of the Academy, and during the 

 last few years of his life was its oldest surviv- 



ment was erected into an episcopal see, under 

 the name of the Diocese of Rupert's Land, in 

 the year 1849. In 1842, by his exertions, the 

 Church Society was established, and from that 



The series of graphic and humorous works 

 which marked his academic career are among 

 the choicest specimens of the modern English 

 school, and in all of them may be seen the 



day, the diocese may be said to have taken a conscientious labor of a man who despised no 



fresh and more vigorous start. In 1843 the means, however trivial or tedious, tending to 



Church Temporalities Act, obtained through perfection in his art. The subjects of his best 



his exertions, became la\v. In 1844 he founded, known pictures sufficiently indicate the scope 



and by great exertions, obtained from friends of his genius. They include " The Fight Inter- 



ille. This he always considered as the great " The Convalescent " (1822), "The Origin of 



i7!r /vf Vila lifo oml VIA w<itr>Viorl nvftr ito nrr- o Pointoi " flfi()K~\ " TKa T o4- TV. " /I OQK\ 



the partial endowment of the Lower Canada 

 Church University, Bishop's College, Lennox- 

 vi] 



work of his life, and he watched over its pro- 

 gress with the greatest anxiety. Its success, 

 especially that of its junior department recent- 

 ly, was one of the great consolations of his latter 

 years. From this college have been ordained 

 about fifty clergymen, most of whom are now 

 successfully laboring in the Canadian dioceses. 

 MULREADY, WILLIAM, a British painter, 

 born in Ennis, Ireland, in 1786, died near Lon- 

 don, July 7th, 1863. He was admitted a student 

 if the Royal Academy at fourteen years of 

 e, having previously executed some sketches 

 hich excited the admiration of Banks, the 

 iulptor, who predicted that he would distin- 

 guish himself. His early efforts were directed 

 toward what is popularly known as "High 

 Art," and he betrayed the influence of his 

 academic training by attempting such ambi- 

 tious subjects as " Polyphemus and Ulysses," 

 " The Disobedient Prophet," &c. ; but he soon 

 restricted his fancy to shorter and easier flights, 

 and in pictures of modest size and still more 

 modest pretensions he found a range of sub- 

 jects better suited to his taste and capacity. 

 His " Cottage," " Carpenter's Shop," " Kitchen 

 Fire," and similar pieces, painted at the age of 

 twenty or thereabouts, excited comparatively 

 little attention, but with every year he gained 

 in executive ability and knowledge of external 

 nature, until his merits forced themselves upon 

 public notice. 



The "Rattle" (1808), the "Roadside Inn" 

 (1811), and "Punch" (1813), showed him a 

 good painter of genre, with a careful eye for 

 color; and in 1815 his picture of the "Idle 

 Boys" caused him to be elected an associate 

 of the Royal Academy. A few months later 

 he was admitted to the full membership of that 

 body, an honor seldom conferred upon an artist 

 so soon after his first election. Thenceforth he 

 was a pretty regular contributor to the annual 



rupted" (1816), "The Wolf and the Lamb" 

 (1820), "The Careless Messenger" (1821), 



a Painter" (1826), "The" Last In" (1835), 

 "Fair Time" (1840), "The Ford" (1842), and 

 a charming series from the " Vicar of Wake- 

 field," of which " Choosing the Wedding 

 Gown," and " Burchell and Sophia Hay- 

 making," may be taken as examples. A set 

 of twenty designs from this story, produced in 

 1840, are unique in character and execution. 

 Most of the above works have found a place 

 in the royal collection, in the national gallery, 

 and in the chief private collections of the 

 United Kingdom. 



For many years during his early struggles 

 toward eminence, Mulready gave lessons as a 

 drawing-master, and the practice thereby ob- 

 tained, together with his academy studies from 

 the life, gave him a thorough mastery of the hu- 

 man form and of flesh coloring. His " Woman 

 Bathing," exhibited in 1849, though a work of 

 a kind opposite to that in which he had gained 

 his reputation, presents a forcible illustration 

 of his skill in painting the nude figure when 

 he chose to make the attempt. In all technical 

 excellence his career was one of uninterrupted 

 improvement, although in his later pictures the 

 elaborate finish of his style tends perhaps to 

 excess; and for luminous color, delicacy of 

 finish and expression, and accurate drawing, 

 he was almost without a rival. His favorite 

 apophthegm, according to Ruskin, was, "Know 

 what you have to do, and do it," and no one 

 can look at his small and carefully finished pic- 

 tures, of which he produced scarcely more than 

 one a year for exhibition, without feeling tfiat 

 he conformed faithfully to it. In 1848 a re- 

 markable exhibition of his works was formed 

 in London, and in the spring of 1864 there was 

 another in the same city on a larger scale, to 

 which contributions were sent by the Queen 

 and some of the most eminent collectors in 

 Great Britain. 



NAVY, CONFEDERATE. The Confederate 

 Navy Department for the year 1863, com- 

 prised a secretary, S. R. Mallory, and five 

 clerks; a bureau of Orders and Details, Cap- 

 tain F. Forrest ; a bureau of Ordnance and 



Hydrography, Commander George Minor; a 

 bureau of Provisions and Clothing, Paymaster 

 John de Bree ; and a bureau of Medicine and 

 Surgery, Surgeon W. A. W. Spottswpod. The 

 grades remained as previously established, and 



