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WARD, EDWARD MATTHEW, E.A. 



WARD, JOHN, LL.D. 



himself), not admitted in their works.' An 8vo volume of ' Letters 

 from Warburtou to one of his Friends' (Hurd), appeared in 180'J ; and 

 in 1841 another 8vo volume was published by Mr Kilvert, entitled 

 'Literary Remains of Bishop Warburton.' But many letters of War- 

 burton's, and also anecdotes of his life, which have not been collected, 

 are to be found scattered over various publications. A portion of his 

 correspondence which is not much known is contained in the ' Account 

 of the Life and Writings of John Erskine, D.D., late one of the minis- 

 ters of Edinburgh,' by Sir Henry Moncrieff Welwood, Bart., D.D., 

 Ediub., Svo, 1818, pp. 42-64 and 164-186. 



*WARD, EDWARD MATTHEW, R.A., wag born in Pimlico, 

 London, in 1816. His early inclination for art was carefully fostered 

 by his parents. In 1834 he entered the Royal Academy as a student, 

 under the auspices of Wilkie aiid Chantrey. In the same year he 

 exhibited his first picture, 'Mr. 0. Smith as Don Quixote,' at the 

 Gallery of the Society of British Artists. In 1836 he went to Rome, 

 whore he remained three years, and on his way home made a brief 

 stay at Munich, in order to study fresco-painting under Cornelius. At 

 Rome in 1838 he gained a silver medal given by the Academy of St. 

 Luke, for a picture of ' Cimabue and Giotto,' which was exhibited at 

 the Royal Academy on his return to England in 1839. The next 

 year he sent a 'King Lear' to the Academy exhibition; in 1841, 

 ' Thorwaldsen in his Study at Rome,' and ' Cornet Joyce seizes the 

 King at Holmby, June 3, 1647;' and in 1842, 'Queen Elizabeth, 

 widow of Edward IV., delivering the young Duke of York into the 

 hands of Bourchier, archbishop of Canterbury, and Rotheram, arch- 

 bishop of York, at the Sanctuary at Westminster.' But his abilities 

 had as yet scarcely obtained recognition; and in 1843 he was unsuc- 

 cessful in a more direct competition : 'Boadicea,' a cartoon of heroic 

 size, which he sent to the cartoon competition at Westminster Hall, 

 gaining neither prize nor praise. He found however where his strength 

 lay. A picture of 'Dr. Johnson perusing the manuscript of the 

 " Vicar of Wakefield," ' which appeared at the Academy in the same 

 year, caught alike the eye of the critic and of the public. The painter 

 had told in a plain, lively way an excellent and characteristic story of 

 two of our best-known literary men, and its skilful treatment secured 

 the suffrage of those whom the subject had attracted. He followed it 

 up the next year by a ' Scene from the early life of Goldsmith,' and 

 ' La Fleur's departure from Montreuil.' In 1845 appeared another 

 capital picture a ' Scene in Lord Chesterfield's Ante-room in 1748.' 

 ' The Disgrace of Lord Clarendon,' which was exhibited in 1846, was 

 of a more elaborate character, and altogether of a higher order of 

 merit. His subsequent contributions to the Exhibitions of the Royal 

 Academy have been ' The South Sea Bubble, a scene in 'Change 

 Allr:y ' a picture displaying alike observation, humour, and deep 

 feeling in 1847; in 1848, ' Highgate Fields during the great fire of 

 London in 16G6,' and an 'Interview between Charles II. and Nell 

 Gvvynne, as witnessed by Evelyn;' 'Benjamin West's first effort in Art,' 

 and ' Daniel Defoe and the manuscript of Robinson Crusoe,' in 1849 ; 

 ' James II. in his palace at Whitehall receiving news of the lauding of 

 the Prince of Orange,' and ' Izaak Walton angling.' in 1850 ; in 1851, 

 'The Novel Reader,' 'John Gilpin delayed by his customers,' and 

 ' The Royal Family of France in the prison of the Temple,' which 

 exhibited, like all these French pictures, a depth of pathos hardly to be 

 found in any other of his works, 'The Last Sleep of Argyle ' excepted; ' 

 ' Charlotte Corday going to Execution,' in 1852 ; ' The Executioner 

 tyiug WishJfrt's book round the neck of Moutrose,' and 'Josephine 

 signing the act of her Divorce,' in 1853 ; ' The Last Sleep of Argyle 

 before his Execution,' in 1854 ; ' The Last Parting between Marie 

 Antoinette and her Son,' and ' Byron's early love,' in 1856. 



Mr. Ward had competed unsuccessfully for one of the prizes 

 offered by the Fine Arts Commissioners in 1843, but ten years later 

 (1853) the Commissioners invited him to paint some pictures for the 

 palace of Westminster, and he agreed to paint eight of which he has 

 already completed two or three the finest being his ' Last Sleep of 

 Argyle,' one of the most masterly works of its class which has been 

 produced by the English school. Mr. Ward is a painter of great 

 power, his pictures display originality of conception ; a happy and 

 natural disposition of the figures ; a direct and manly way of telling 

 his story; true and characteristic, yet wholly unexaggerated expres- 

 sion ; clear and forcible colouring ; and in costume, scenery, and 

 general details much and careful research. It may be that his pictures 

 as a whole, are somewhat wanting in simplicity and spontaneity, but 

 he is a thoroughly conscientious painter, and year by year his style 

 improves. 



Mr. Ward was elected an associate of the Royal Academy in 1847, 

 and R.A. in 1855. His wife, * Mrs. HENRIETTA WARD, granddaughter 

 of James Ward, R,A. (the subject of the following article), is also a 

 painter of very considerable ability. She has exhibited at the Royal 

 Academy, 'Result of an Antwerp Marketing,' in 1850; 'The Pet 

 Hawk,' and'Roweua, from Ivanhoe,' in 1851; ' Antwerp Market,' in 

 1852; 'The young May Queen,' in 1853; 'Scene from the Camp at 

 Chobham,' in 1854 ; ' The Morning Lesson,' in 1855; ' The Intruders,' 

 and the 'May Queen,' in 1856; and ' God save the Queen,' in 1857; 

 several of which have deservedly attracted much attention. 



*WARD, JAMES, R.A., was born in Thames-street, London, in 

 October 1770. He was apprenticed to an elder brother, a mezzotint 

 engraver, and a pupil of Smith ; but preferring painting, he taught 



himself to paint by a careful study and imitation of the works of 

 George Morland. So closely indeed did ho in his early pictures 

 imitate Morland 's manner, that, according to Dayes, the picture- 

 dealers used to purchase his pictures at a low price, and having 

 inserted Morland's name, sell them at a greatly increased rate as the 

 genuine works of that master. It would seem from Mr. Ward's auto- 

 biographical sketch (printed in the ' Art Journal' for June 1849) that an 

 active export trade in these 'Morlands' was for some years carried on 

 with Ireland. Competent judges have declared that these early works 

 were in truth scarcely if at all inferior to Morland's in their technical 

 qualities, while they were purer and fresher in feeling, and equally 

 true to nature ; so that the purchasers were perhaps, after all, rather 

 gainers than losers by the deception. ' A Bull Bait,' one of his early 

 efforts, was considered a work of rare promise. But though, as a 

 matter of choice, he continued to paint, for many years he found it 

 necessary to engrave, and in January 1794, he was appointed " painter 

 and engraver to the Prince of Wales," afterwards George IV. As 

 soon as he could do so however, he laid aside the 'scraper,' and 

 thenceforward wrote himself painter only. For many years he was in 

 great request as a painter of portraits of favourite horses, high-bred 

 bulls and cows, and the like ; his spare hours being given to works of 

 a more ambitious class, and of a large size, in which however animals 

 were the chief actors such as his life-size 'Horse and Serpent;' his 

 large landscape of ' Deer Stalking ;' his ' Bulls fighting across a tree at 

 St. Donat's,' and the ' Fall of Phaeton.' The last was but too close an 

 emblem of the pointer's fate. He could handle cleverly enough his 

 horses and steers on this lower world, but he was ambitious to soar 

 into "the highest heaven of invention." In an evil hour the British 

 Institution offered a premium of 1000Z. for a design illustrative of the 

 battle of Waterloo. Ward sent in a sketch to which the premium 

 was awarded, and the directors gave him a commission to expand it 

 into a "national picture" for Chelsea Hospital. The result was an 

 enormous ' Battle of Waterloo an Allegory.' When finished an 

 exhibition was made of it at the Egyptian Hall, to which nobody 

 would go ; and it was then hung up at Chelsea Hospital, but after 

 enduring for a season the scoffs alike of the learned and the ignorant, 

 the allegory was taken down, and rolled up, and laid aside to rot. 

 From historical he travelled into theological allegory, with, as might 

 be expected, no more success, his education (or want of it) and his 

 turn of mind entirely disqualifying him for success in the higher 

 branches of art. But happily he did not give over painting scenes of 

 rustic and animal life, and though for his own pleasure, or from a 

 sense of duty, he would persist in painting such subjects as the 

 'Triumph over Sin, Death and Hell;' or such still more unpromising 

 themes as ' Ignorance, Envy, and Jealousy, filling the throat and 

 widening the mouth of Calumny,' or adventuring to represent the 

 ' Star of Bethlehem ; ' he yet indulged his admirers with fresh and 

 vigorous representations of a ' Landscape with Cattle,' a ' Council of 

 Horses,' and the like. His largest and most characteristic picture of 

 this class, ' Bull, Cow, and Calf,' painted in avowed rivalry with Paul 

 Potter in 1822, formed in the present year a noticeable feature among 

 the modern pictures in the Art-Treasures Exhibition at Manchester. 

 Holding on his own way, Mr. Ward continued, through evil and 

 through good report, to paint without any abatement of spirit, though 

 necessarily some loss of skill, long after he had passed his eightieth 

 year. In fact, 1855 was the first year in which the exhibition of the 

 Royal Academy did not contain some new specimen of the veteran's 

 pencil. 



WARD, JOHN, LL.D., was born in London in 1679, and was one 

 of the fourteen children of a dissenting minister of the same names, 

 who was originally from Tysoe in Warwickshire, and died in 1717, 

 leaving of this numerous family only this son and a daughter. Ward 

 held the situation of clerk in the navy-office till 1710, when he opened 

 a classical school in Tenter Alley, Moorfields. His first publication 

 was a small octavo tract in Latin, on the elegant and graceful arrange- 

 ment of words in sentences, which appeared in 1712. He appears to 

 have continued to teach his school till September 1720, when he was 

 elected professor of rhetoric in Gresham College. This appointment 

 he held till his death October 31st, 1758. 



Ward was from the beginning a leading member of a society of 

 gentlemen, mostly divines and lawyers, who, with occasional interrup- 

 tions, met once a week from 1712 to 1742, to discuss in written dis- 

 courses questions of civil law and the law of nature and nations. In 

 1723 he was elected a Fellow of the Royal Society, and in 1736 a 

 member of the Society of Antiquaries. In 1750 the degree of LL.D. 

 was conferred upon him by the University of Edinburgh. In 1753, 

 on the establishment of the British Museum, he was elected one of the 

 trustees. 



His principal publications, besides the tract already mentioned, 

 were a Latin translation of Dr. Mead's 'Discourse of the Plague,' 

 which appeared in 1723 ; a treatise, in Latin, on the principles of 

 Punctuation, appended to an edition of the ' Elementa Rhetorics ' of 

 Vossius, printed at London in 1724 ; a new and very correct edition, 

 with a learned preface, of Lily's Latin Grammar, in 1732 ; an edition 

 of Maximus Tyrius, published in 4to in 1740 by the Society for the 

 Encouragement of Learning, of which he became a member in 1736 ; 

 'Lives of the Professors of Gresham College,' folio, London, 1740; a 

 new edition of Cauiden's Greek Grammar, 1754 ; and ' Four Essays 



