739 



STONE, EDMUND. 



STONE, NICHOLAS. 



710 



was made chief-minister of the prince-bishop of Lvibeck, of which office 

 he fulfilled the duties with zeal and ability ; but the concerns of this 

 small state could not occupy all his attention, and he translated the 

 last discourse of Socrates, and some of the dialogues of Plato, the notes 

 to which gave great offence to the admirers of the French revolution 

 then in progress. On the death of Catherine of Russia in 1797 he waa 

 sent as ambassador to Russia to compliment the emperor Paul on his 

 accession. Friedrich had been hitherto a zealous Protestant, and in 

 his ' Sendschreiben an einen holsteinischer Kirchspielvogt in Schwe- 

 den,' (' Epistles to a Holstein Parish- beadle in Sweden ') had defended 

 Lutherauism vigorously ; but apparently alarmed at the course the 

 revolution waa taking in France, on which the Protestant section of 

 Germany, in his opinion, looked with too favourable an eye, he relin- 

 quished his office, repaired to Minister, and with his whole family was 

 there admitted into the Roman Catholic Church. His conversion pro- 

 duced a great sensation in Germany, and embroiled him with many of 

 his friends, particularly with J. H. Voss, but not with his brother, who 

 continuing a Lutheran remained as attached as ever. On his conver- 

 sion he commenced hia ' Geschichte der Religion Jesu Christi,' of 

 which the first edition was published in 15 volumes in 1806. It com- 

 mences with the creation, and comprises much of secular as well as 

 ecclesiastical history. It was considered so able that Pope Pius VII. 

 caused it to be translated into Italian, which was performed by J. G. 

 de Rossi and Henri Keller, and published in 1824. Count von Stolberg 

 also translated two treatises of St. Augustin, and a few other small 

 works on religious subjects, but his chief production at this period was 

 his 'Leben des Alfred's des Grossen,' published in 1815, a monarch 

 whom he indirectly claims as an ancestor of his own family, in which 

 work he displays an intimate acquaintance with Anglo-Saxon history. 

 After visiting a married son in the summer of 1819 at his residence 

 in Soder, where he complete 1 his last work, ' Ein Biichlein von der 

 Liebe ' (translated by J. Dalton into English under the title of ' A little 

 Book of Love of God '), he returned to his own home at Sondermuhlen 

 near Osnabriick, where he died on December 5, 1819. His works are 

 even more varied than we have indicated, for they include odes, satires, 

 hymns, elegies, &c., but all his productions are full of the noblest 

 sentiments, the kindliest feelings, and the holiest aspirations, while 

 the language and the imagery are of a bolder character than those of 

 his brother. It may be remarked of both the brothers that they 

 are among the number of German poets whose lyrical productions 

 are in by far the greatest portion, uurhymed. They also in their 

 dramas have introduced a great variety of the classical metres. 

 ' STONE, EDMUND, a mathematician of North Britain. He was of 

 humble origin, having been the son of a gardener in the service of the 

 Duke of Argyll, and he was born near the end of the 17th century, 

 probably on one of the duke's estates. A servant of the family 

 taught hirn, when a boy, to read ; and with no other guide than his 

 own genius he at length became learned in the higher branches of 

 mathematical science. The duke, happening accidentally to become 

 acquainted with the extent of his scientific acquisitions, took an oppor- 

 tunity of drawing from him an account of the steps by which he had 

 attained them, and learned with surprise that, from a desire to under- 

 stand the use of a rule and compass, and how to make computations 

 relative to tbe art of building, the youth from books only had taught 

 himself arithmetic and geometry, together with as much of Latin and 

 French as enabled him to read scientific works in those languages. 



It will be readily imagined that the young man was not left in his 

 then obscuro situation : in fact the duke, his master, generously gave 

 him an employment which allowed him to have sufficient leisure for 

 his studies ; and he continued to cultivate the mathematical sciences 

 to the end of his life. He was elected a Fellow of the Royal Society 

 in 1725, and there is inserted in the 'Philosophical Transactions' 

 (vol. xli.) a paper by him in which is an account of two lines of the 

 third ordtr, which are not mentioned by Sir Isaac Newton or by Mr. 

 Stirling. It is not known from what circumstance Mr. Stone lost the 

 support of the noble family which had patronised him, but it appears 

 that in the latter part of his lift) he subsisted by giving lessons in 

 mathematics, and that he died in poverty in 1768. 



Mr. Stone published in 1723 a translation of Bion's ' Treatise on 

 Mathematical Instruments;' in 1726 a 'Mathematical Dictionary,' in 

 1 vol. 8vo; and in 1730 a translation of the Marquis de I'Hdpital's 

 ' Analyse des Infiniment Petits,' together with a treatise by himself on 

 the ' Method of Fluents, or the Inverse Method of Fluxions.' This 

 work has been criticised by John Bernoulli ; but the mistakes which 

 occur in it are candidly ascribed to the circumstances under which 

 it was written. In the following year Stone published ' The Elements 

 of Euclid,' in 2 vols. 8vo ; and in 1735 a translation from the Latin of 

 Dr. Barrow's ' Geometrical Lectures.' 



* STONE, FRANK, A.R.A., was born at Manchester on the 23rd of 

 August 1800. The son of a cotton-spinner and manufacturer, he waa 

 educated at Manchester, and at Prestbury in Cheshire, with a view to 

 commercial pursuits. On leaving school he entered his father's 

 factory, and continued in business until his twenty-fourth year, when 

 he adopted the profession be bas since so honourably pursued. 



In 1831 Mr. Stone came to London, and in the following year he was 

 elected a member of the (Old) Society of Painters in Water Colours ; 

 and thenceforth, for some fifteen years, his pictures whether illustra- 

 tions of texts from Shakspere, original fancies, or the quiet, graceful 



female studies which generally found a place on the 'screen' were 

 among the more attractive of those contributed to the annual 

 exhibitions of that society. But, like many other painters who have 

 commenced their career by practising in water-colours, he became 

 ambitious of excelling in a vehicle which allowed a freer and wider 

 development of his powers. It was in 1840 that he sent to the Royal 

 Academy hia first subject oil-picture, ' Tha Legend of Montrose.' It 

 obtained a good place, and was a decided success; and every year 

 since then with the exception of 1855, when he did not exhibit 

 Mr. Stone has had the rare fortune to maintain his position on I he tine 

 of the Royal Academy exhibitions. In 1841 his picture from Henry 

 Taylor's ' Philip Van Artevelde,' afterwards engraved under the title of 

 ' The Heart's Misgivings,' obtained the prize at the British Institution. 

 His standing as a painter in oil-colours being secured, he gradually 

 gave up his practice in water-colours, and, looking forward to academic 

 honours, he in 1847 resigned hia connection with the Water-Colour 

 Society, that step being rendered necessary by the requirement 

 of the Royal Academy, that candidates for admission to that body 

 "shall not be members of any other society of artists established 

 in London." He was elected an Associate of the Royal Academy 

 in 1851. 



The following comprise the more important of Mr. Stone's pictures 

 painted subsequently to those noticed above all of them, with the ex- 

 ception of the second, being exhibited at the Royal Academy in the years 

 mentioned : ' The Interview of Charles I. with the Infanta of Spain,' 

 1841; 'The Bashful Lover and the Maiden Coy' (British Institution, 

 1842); 'Admonition,' 1842; 'The Last Appeal,' 1843; 'Cross-Pur- 

 poses,' 1844; 'Scene from Hamlet the Queen and Ophelia,' and 

 'The First Appeal,' 1845 ; 'Evening,' 1846 ; 'The Impending Mate,' 

 and 'Mated/ 1847. These were the last of a series of sentimental 

 subjects which were engraved and had an immense popularity, but 

 which are undoubtedly far from worthy examples of Mr. Stone's 

 pencil. In 1848 he essayed a loftier flight, bis chief work being 

 'Christ and the Woman of Bethany,' a production displaying very 

 considerable artistic skill and fine feeling. 'The Duet' appeared in 

 1849; in 1850 'The Gardener's Daughter,' a very charming reading 

 from Tennyson's well-known poem ; and a larger piece from the 

 ' Tempest.' A more important and more successful Shaksperiau 

 rendering, ' The Merchant of Venice Bassauio receiving the Letter 

 announcing Antonio's Losses and Peril,' appeared in 1851, and secured 

 the artist's election into the Royal Academy. His contribution for 

 1852 consisted of a characteristic portrait of ' Dr. Hooker in the 

 Himalaya, surrounded by his Collections,' and three small pictures. 

 In 1853 he sent another Scriptural subject 'The Master is Come,' 

 a work which in its calm solemnity of style afforded a remarkable con- 

 trast to the piquant grace of his other picture, a group of lively girls 

 apparently engaged in the concoction of some arch-plot, entitled 

 ' Now I'll tell you what we'll do.' In 1854 he produced ' The Old, Old 

 Story,' and the ' Mussel Gatherer;' and in 1856 'Doubt.' In the pre- 

 sent year (1857) his pictures are, Faust's 'Margaret,' a grave and 

 even sombre painting, and ' Bon Jour, Messieurs,' a hilarious group of 

 French peasants in a rustic cart, painted with a thoroughly genial 

 humour and truth, which render it one of the most charming little 

 works of its kind we remember to have seen ; and in it Mr. Stone has 

 struck upon a vein which every one will rejoice to see him pursue 

 further. We have indicated the leading characteristics of Mr. Stone's 

 pictures a choice of subject of considerable range, but for a time 

 tending strongly towards sentimeutalism, and in the realisation of his 

 theu:e, along with a lucid manner of telling his story, constant grace 

 aud beauty of form and feature, refinement of style, delicacy of touch, 

 occasionally rich, and always pleasing, colour ; but we ought also to 

 add that, like every other painter who loves his art, his later works 

 evince growing carefulness of execution aud expansion of view, and 

 that in respect alike of their technical aud their mental qualities his 

 latest works are his best. 



STONE, NICHOLAS, master mason to Charles I., was born at 

 Woodsbury, near Exeter, in 1586. He lived three years in London 

 with one Isaac Jones, his master, and then went to Holland, where he 

 worked for Peter de Reyser, whose daughter he married. He returned 

 to England about 1614, and was for many years chiefly employed in 

 making monuinenta for the nobility and gentry. In 1619, ho was 

 appointed master mason for building tho new Banqueting House of 

 Whitehall, on which he was engaged two years at 4a. IQd. per day ; 

 and in 1626, at the commencement of the reign of Charles I., he was 

 appointed master mason of Windsor Castle. The patent is in 

 Rymer's ' Foedera,' vol. xviii. p. 675. The history of Stone's works is 

 fully recorded by himself in a pocket-book, which was in the possession 

 of a Mr. Hawksmore, and of which Vertue obtained a copy. This 

 pocket-book contained a full account of the various monuments he 

 had executed, with the sums of money he received for them, and the 

 names of the persons for whom they were constructed. 



According to this book, Stone erected in 1641 a monument to the 

 Earl of Orrnond, at Kilkenny, for which he received 400J. He icceived 

 hi the following year 500J. for a monument to Henry Howard, earl of 

 Northampton, erected in Dover Castle. For a tomb made for Lucy 

 Harrington, countess of Bedford, 1616, he bargained for 10'2QL, 

 besides the charges for carriage and iron and setting up. This year 

 ho went to Scotland : and he gives the following account of his trans- 



