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the work will long survive him as the text-book resorted to in all cases of difficulty.

At the time of his death, Mr. Hatsell was, we believe, the senior Bencher of the Middle Temple; and his remains were removed, on Oct. 24, from Marden Park, for interment in the Temple Church. A hearse, with six horses, was followed by six mourning coaches with six horses each, and several private carriages. The chief mourners were the Right Hon. the Speaker of the House of Commons, the Hon. Mr. Powys, William Ley, and Charles Hoare, Esq. who proceeded in the first coach. Jeremiah Dyson, John Henry Leigh, John Rickman, and George Whittam, Esqrs. the four principal Clerks of the House of Commons, proceeded in the second carriage. The other carriages contained several gentlemen belonging to the House of Commons, with some of the domestics of his household. On entering the great hall, in the Temple, the procession was met by the Recorder, Mr. Baron Maseres, and other Benchers, in their robes, together with a number of gentlemen and officers in their gowns, and other regalia of office : after laying a short time in state in the middle of the hall, the whole proceeded in a solemn walking procession to the Temple Church. On entering the fine Gothic building, the solemn dirge of the Dead March in Saul was struck up on the organ; on which incomparable instrument two appropriate Anthems were performed in the course of the funeral ceremony; after which the body was deposited in the vault. A favorable notice of Mr. Hatsell occurs in that admirable satire, "The Pursuits of Literature."

430

No. XV.

CHARLES ALFRED STOTHARD, Esq. A. S.

THIS eminent artist whose untimely fate has excited such very deep and general concern was the son of Thomas Stothard, Esq. R. A., and was born July 5th 1787. He developed at a very early age a talent for. drawing, and whilst yet in boyhood, entered himself as a student in the Royal Academy where he soon attracted notice for the correctness and facility with which he executed copies from the antique sculptures.

One of his first performances of note was during his stay at Burleigh, the seat of the Marquis of Exeter, whither he accompanied his father, who was employed to decorate the ground staircase of that house with his masterly pencil.

That

He received his ticket as student in the Life Academy, and formed the resolution of becoming an historical painter. From this branch of the art, however, he resolved to turn his attention exclusively to the illustration of our national antiquities, more particularly in a path which had hitherto been but imperfectly explored the delineation of the sculptured effigies erected in our churches as memorials for the dead. eminent antiquary, Mr. Gough, it is true, had compiled a work of great labour and merit on the subject; but the engravings which accompanied it (though much superior to any that had preceded them) formed a secondary object, and could by no means be depended on for accuracy, or afford a correct knowledge of the minutia of antient costume.

In 1810, Mr. C. Stothard painted a spirited picture, representing the murder of Richard II. at Pomfret Castle, in which the costume of the time was strictly adhered to: the portrait of the monarch was taken from his effigy in

Westminster Abbey. This picture was exhibited at Somerset House, in 1811.

In the same year he published his first number of the "Monumental Effigies of Great Britain," the objects of which he detailed in the advertisement which accompanied the publication. These were, to afford the historical painter a complete knowledge of the costume adopted in England, from an early period of history, to the reign of Henry VIII.; to illustrate, at the same time, history and biography; and, lastly, to assist the stage in selecting its costume with propriety, for the plays of our great dramatic bard. In reference to his plan of prosecuting his work, Mr. C. Stothard liberally acknowledged, that he owed the determination of executing the etchings with his own hand, to having seen a few unpublished etchings by the Rev. T. Kerrich of Cambridge, from monuments in the Dominicans and other churches in Paris, "which claim," he adds, "the highest praise that can be bestowed." For the subsequent friendship of Mr. Kerrich, and his candid criticism in the progress of the' work, Mr. C. Stothard, on all occasions, expressed himself much indebted.

The talents of Mr. C. Stothard as an artist, and the depth and accuracy of his research in the objects connected with his pursuit, soon obtained for him a distinguished reputation as an antiquary*; and the acquaintance of characters, eminent for their learning and respectability. Among these were the late Sir Joseph Banks (who highly apreciated him), and Samuel Lysons, Esq. the joint author of "Magna Britannia," who esteemed him as a friend. Mr. Lysons employed him to make drawings, illustrative of his work; for which purpose, in the summer of 1815, Mr. C. Stothard made a journey northward, as far as the Picts' wall, adding to his portfolio many drawings for the "Magna Britannia," monumental subjects for himself, and a number of little sketches, in the most delicate and peculiar manner, of the country through which he passed.

* A most conspicuous instance of his acumen was exhibited in the discovery of the origin of the collar S. S., which Camden had wildly conjectured, was derived from Sulpitius Severus, a learned lawyer.

During this absence from London, Mr. Lysons gave him a strong proof of his esteem and regard, by obtaining for him, unsolicited, the honourable post of historical draughtsman to the Society of Antiquaries.

In 1816, he was deputed by that body to commence his elaborate and faithful drawings from the famous Tapestry deposited at Bayeux. During his absence in France, he visited Chinon, and in the neighbouring Abbey of Fontevraud, discovered those interesting effigies of the race of the Plantagenets, the existence of which, after the revolutionary devastation, had become doubtful: the following account of this matter is extracted from Mrs. C. Stothard's Letters from Normandy and Brittany, lately published: "When Mr. Stothard first visited France, during the summer of 1816, he came direct to Fontevraud, to ascertain if the effigies of our early kings, who were buried there, yet existed: subjects so interesting to English history, were worthy of the inquiry. He found the abbey converted into a prison, and discovered, in a cellar belonging to it, the effigies of Henry II., and his Queen Eleanor of Guienne, Richard I., and Isabella of Angouleme, the Queen of John. The Chapel, where the figures were placed before the revolution, had been entirely destroyed, and these valuable effigies, then removed to the cellar, were subject to continual mutilation from the prisoners, who came twice in every day to draw water from a well. It appeared they had sustained some recent injury, as Mr. S. found several broken fragments scattered around. He made drawings of the figures; and upon his return to England, represented to our government the propriety of securing such interesting memorials from farther destruction. It was deemed advisable, if such a plan could be accomplished, to gain possession of them, that they might be placed, with the rest of our royal effigies, in Westminster Abbey."

Mrs. Stothard proceeds to state, that the application failed; but, that it had, notwithstanding, the good effect of preserving these remains from total destruction. At the same period, Mr. Stothard visited the Abbey of L'Espan, near Mans, in search of

the effigy of Berengaria, Queen of Richard I.; he found the Abbey Church converted into a barn, and the object of his inquiry in a mutilated state, concealed under a quantity of wheat. At Mans, he discovered the beautiful enamelled tablet, representing Geoffrey Plantagenet, at once the earliest instance of what is termed a sepulchral brass, and of armorial bearings, depicted decidedly as such. Mr. Stothard's drawings of the royal effigies were, on his return from Fontevraud, submitted by Sir George Nayler to the inspection of his present Majesty, then Prince Regent, who was graciously pleased to express an earnest desire for their publication, and to allow Mr. Stothard to dedicate his work, the "Monumental Effigies," to himself.

In 1817, he made a second journey to Bayeux, for the purpose of continuing his drawings from the Tapestry.

*

In February, 1818, he married the young lady to whom he had so long been attached, the only daughter of John Kempe, Esq. of the New Kent Road, descended from the ancient family of the Kempes, formerly of Olantigh, near Wye, in Kent, aan afterwards of Cornwall. In July following, this lady accompanied him in his third expedition to France, which he made with a view of completing the drawings from the Tapestry at Bayeux. His task being accomplished, he proceeded with Mrs. Stothard on a tour of investigation through Normandy, and more particularly Brittany. In order to render their familes participators in some degree of the pleasures of their journey, Mrs. Stothard addressed to her mother, Mrs. Kempe, a particular detail of their tour, in a series of letters, which her husband illustrated by various beautiful drawings of the views, costume, architectural antiquities, &c. that they thought worthy of notice in their route.

On their return to England, the publication of these materials was strongly recommended by Mrs. Stothard's brother. Messrs. Longman and Co. undertook it in a liberal

* Engravings, faithfully coloured after these drawings, are now publishing by the Society of Antiquaries.

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