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SANDBY, PAUL, RA. 



SANDBY, THOMAS, R.A. 



which have made his name known throughout Europe, even among 

 those who do not belong to the medical profession. " For the better 

 carrying on these experiments," says Addison, in the ' Spectator,' 

 No. 25, " he contrived a certain mathematical chair, which was BO 

 artificially hung upon springs that it would weigh anything as well as 

 a pair of scales. By this means he discovered how many ounces of 

 his food passed by perspiration, what quantity of it was turned into 

 nourishment, and how much went away by the other channels and 

 distributions of nature." He continued to lecture at Padua to nume- 

 rous audiences for thirteen years, until his reputation occasioning his 

 being frequently sent for to Venice by the people of distinction in 

 that city, he resigned his professorship, in order to dedicate all his 

 time to medical practice. His resignation was accepted, but the salary 

 continued ; and with this testimony of the public esteem he removed 

 and settled finally at Venice, where he died in 1636, aged seventy -five. 

 A marble statue was erected to his honour in the cloister of the 

 Servites, where he was interred; and the College of Physicians at 

 Venice, in return for a legacy which he bequeathed them, annually 

 commemorate him in a laudatory harangue. He was the author of 

 the following works: 1, 'Methodus vitandorum Errorum omnium qui 

 in Arte Medicd contingunt Libri XV.,' Venet., folio, 1602, and several 

 times reprinted. Haller, who gives a short analysis of its contents 

 (' Biblioth. Medic. Pract.,' torn, ii, p. 351), says that there is much 

 useful matter in it, and calls it " magni moment, opus, etsi raro citatur." 



2, ' Commentarius in Artem Medicinalem Galeni,' Venet., folio, 1612. 

 "Fusissimum opus," says Haller, "ut tsedium lectionis vix feras." 



3, ' Ars de Statica Medicina Sectionibus Aphorismorum Septem com- 

 prehensa,' Venet., 12mo, 1614. This is the work by which his name 

 is best known, of which there are numerous editions, and which was 

 translated into several modern languages. The latest edition that the 

 writer has seen quoted is that with a Commentary by A. C. Lorry, 

 Paris, 12mo, 1770. There is a French translation by Le Breton, Pari?, 

 8vo, 1722, and by Pierre Noguez, 12mo, 2 vols., 1725; an Italian one 

 by F. Chiori, Venice, 1743 ; a German one, Bremen, 8vo, 1736 ; and an 

 English one, London, 12mo, 1670', and another by Dr. Quincy, third 

 edition, London, 8vo, 1723. It contains the results of a long series of 

 observations made upon the weight of his own body, and the external 

 causes which influenced its increase and diminution. He treats espe- 

 cially of insensible perspiration, on the due amount of which he makes 

 health and disease depend. There is much curious and valuable matter 

 in the work, though the advances of modern science have thrown some 

 doubt upon the infallibility of some of his aphorisms. He unques- 

 tionably conferred a benefit on medical science by directing the obser- 

 vations of medical men to the functions of the skin ; but unfortunately 

 the doctrines were extended much too far ; and coinciding with the 

 mechanical principles which were coming into vogue after the disco- 

 very of the circulation of the blood, as well as with the chemical 

 notions which were not yet exploded, they contributed to complete 

 the establishment of the ' humoral pathology,' under the shackles of 

 which the practice of medicine continued almost to our own times. 



4, 'Commentarius in Primum Fen Primi Libri Canonis Avicennse/ 

 Venet., folio, 1626. "Memorabile opus," says Haller, "plenumque 

 propriorum inventorum et cogitationum apud auctorem primum nata- 

 rum." In it he describes an instrument that he had invented for 

 measuring the force of the pulse, and several new instruments of 

 surgery. He was also the first physician who attempted to measure 

 by the thermometer (then newly invented) the heat of the skin in 

 different diseases, and at different periods of the same disease. 5, 

 'Commentarius in Primam Sectionem Aphorismorum Hippocratis,' 

 Venet., 8vo, 1629. A work not of much value. 6, ' Liber de Reme- 

 diorum Inventione,' Venet., 8vo, 1629, contains nothing remarkable 

 except the account of some post mortem examinations. A letter by 

 Sauctorius, ' De Calculo,' is inserted in Jo. van Beverwyck's ' De 

 Calculo Renum et Vesicse Liber Singularis, cum EpistoliB et Consulta- 

 tionibus Magnorum Virorum,' Lugd. Bat., 12mo, 1638. All his works 

 were collected and published in four volumes, 4to, Venet., 1660. 



SANDBY, PAUL, B, A., was descended from a branch of the family 

 of Sandby of Bab worth, and was born at Nottingham in 1725. In 

 1746 he came to London, and commenced his artist studies at the 

 drawing school at the Tower. Two years afterwards he was appointed 

 by the Duke of Cumberland draughtsman to the survey of the High- 

 lands, under General Watson, and although chiefly employed in drawing 

 plans, he made a large number of sketches, which he afterwards etched 

 in Edinburgh, and published in folio in London in 1752. A series of 

 seventy engravings of Windsor and Eton, taken during his residence 

 at Windsor with his brother Thomas Sandby, afterwards obtained 

 for him the patronage of Sir Joseph Banks, F.R.S., who purchased the 

 whole of them at a very liberal price, and invited Sandby to accompany 

 him and the Hon. Charles Grevillo on a tour through Wales. In the 

 scenery of that country he found abundant material for his pencil, 

 and of the fruits of this journey he subsequently dedicated to these, 

 his early patrons, forty-eight plates engraved by himself in aquatinta 

 from the drawings he then made. 



In 1753-54, when the scheme for creating a public academy for the 

 arts was first proposed, he was a member of the St. Martin's Lane 

 Academy, and, warmly engaging in the controversy which arose, he 

 ridiculed the opposition of Hogarth to the plan, in a series of etchings 

 published anonymously, which signally exhibited his power as a cari- 



caturist. After the controversy was over, he withdrew the prints, and 

 caused the plates to be destroyed. As a member of the Society of 

 Artists he was a constant contributor to their exhibitions from 1760 to 

 1764. Subsequently, when the society obtained a royal charter of 

 incorporation he was one of the twenty directors, but withdrew from 

 that office after the dissension which followed, and in 1768 became one 

 of the foundation members of the Royal Academy. In the same year 

 he was appointed by the Master-General of the Ordnance chief drawing- 

 master to the Royal Military Academy at Woolwich. This office he 

 held till the close of his life with honour to himself and advantage to 

 the institution. As a teacher of drawing he was eminently successful, 

 and among his pupils and friends he subsequently numbered as cor- 

 respondents the Earl of Buchan, Lord Harcourt, Lord Nuneham, 

 Dr. Norbury (the provost of Eton), and the poete Mason and Gray ; 

 while among the professional artists under his instruction were 

 M. A. Rooker, William Watts the engraver, and the father of Mr. J. D. 

 Harding. 



Paul Sandby painted in oil as well as in opaque colours with greab 

 success, but his name will be remembered" chiefly as the founder of 

 the English school of water-colour painting, he being the first to show 

 the capability of that material to produce finished pictures. He went 

 to nature for his prototype, and being thoroughly acquainted with 

 the principles of linear perspective, he drew on their respective sites 

 his views of cities, castles, and other objects, with characteristic 

 truth and pictorial taste. In his early drawings the process by which 

 he produced the cheerful daylight effects apparent in his landscapes, 

 was to pen carefully the outline of every part of the composition with- 

 out diminution of tint, distributing the shadows with Indian ink, 

 and afterwards throwing a wash of colour over the whole. Although 

 wanting the richness and brilliancy of modern water-colour painting, 

 his works bear the impress of an original mind, and arc efficient 

 in all that regards light and shade, form and composition. As he 

 advanced in years his colouring was more rich and varied, and his 

 later drawings especially exhibit a pleasing harmony of tints. 



Paul Sandby was the first English artist who adopted the method of 

 aquatint engraving, which he brought to great perfection. The best 

 specimens of this class are his views of the Encampments in the Parks 

 in 1780, and of Windsor and Eton, engraved from his own drawings; 

 the Sports of the Carnival at Rome, after David Allan ; and Views in 

 Italy and Asia Minor, after Clerisseau, &c. His etchings are also 

 numerous, chiefly of views and compositions, but occasionally designs 

 of subjects, as those illustrating the ' Cries of London,' Ramsay's 

 ' Gentle Shepherd,' &c. Of his larger works on copper, the plates in 

 the style of Piranesi, from Collins's paintings illustrating Tasso's 

 ' Jerusalem Delivered,' and views in the West Indies and America, 

 are the best. 



A volume of 150 engraving?, copied from his views in England and 

 Wales,' was published as 'The Virtuosi's Museum ' in 1778. He died, 

 regretted by a large circle of friends, to whom his warm-hearted kind- 

 ness and benignity of disposition had endeared him, at his house 

 No. 4, St. George's Row, Hyde Park, on the 9th of November 1809, 

 and was interred in the burial-ground of St. George's, Hanover-square. 



SANDBY, THOMAS, R.A., brother of the preceding, was born at 

 Nottingham in 1721, and is said to have first had his thoughts directed 

 to the arts as a profession, by having perseveringly pursued a new 

 system of perspective which he brought to a state of great perfection 

 and readiness of application. Encouraged by the reputation he 

 acquired by a drawing of his native town made upon these novel 

 rules, he came to London, and was in 1743 appointed draughtsman to 

 the Chief Engineer in Scotland. In this capacity he was at Fort 

 William in the Highlands when the Pretender landed, and was the 

 first person who conveyed intelligence of that event to Government in 

 1745. In recognition of his merits and his services, William, duke of 

 Cumberland, appointed him his peculiar draughtsman, and after the 

 termination of the struggle in Scotland, he followed the Duke in his 

 campaigns in Flanders. In 1746 he was made Deputy Ranger of 

 Windsor Great Park, an appointment which he held for fifty -two years. 

 In this capacity, combined with his professional position as architect 

 to the king, he planned in 1754, the construction of the Virginia 

 Water, the largest artificial lake in the kingdom, and shortly after- 

 wards published a series of eight folio views illustrating the improve- 

 ments and alterations in Windsor Great Park effected by his labours. 



In 1755 he was one of the committee of artists who combined to 

 propose a plan for the foundation of a public academy for the culti- 

 vation of the arts ; in 1766 he belonged to the Society of Incorporated 

 Artists of Great Britain; and hi 1768, on the formation of the Royal 

 Academy, he was appointed the first professor of architecture at that 

 institution, in which capacity he continued annually until 1798 to 

 deliver lectures on architecture, largely illustrated by his own drawings. 

 These lectures were never published, but the original manuscript was 

 presented by the late John Britton to the library of the Royal Institute 

 of British Architects. A large number of his drawings are in the Soane 

 Museum and the print-room of the British Museum, and display both 

 architectural correctness and pictorial taste. Freemasons' Hall in 

 London was built from his design in 1775; and in 1768 he gained the 

 first prize in the competition for the erection of the Royal Exchange 

 in Dublin equally with Cooley, but the latter being an Irishman 

 obtained the commission. A design by him for an ornamental bridge 



