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Sir Francis Leggatt^[1] Chantrey RA (7 April 1781^[2] – 25 November 1841) was an English sculptor. He became the leading portrait sculptor in Regency era Britain, producing busts and statues of many notable figures of the time.^[3] Chantrey's most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for St Paul's Cathedral, London. He left the Chantrey Bequest (or Chantrey Fund) for the purchase of works of art for the nation, which was available from 1878 after the death of his widow.^{[citation needed]}

Life

Chantrey was born at Jordanthorpe^[4] near Norton (then a Derbyshire village, now a suburb of Sheffield), where his family had a small farm.^[5] His father, who also dabbled in carpentry and wood-carving, died when Francis was twelve;^[6] and his mother remarried, leaving him without a clear career to follow. At fifteen, he was working for a grocer in Sheffield, when, having seen some wood-carving in a shop-window, he asked to be apprenticed as a carver instead, and was placed with a woodcarver and gilder called Ramsay in Sheffield.^[5]

At Ramsay's house he met the draughtsman and engraver John Raphael Smith^[7] who recognised his artistic potential and gave him lessons in painting,^[8] and was later to help advance his career by introducing him to potential patrons.^[9]

In 1802, Chantrey paid £50 to buy himself out of his apprenticeship with Ramsay^[10] and immediately set up a studio as a portrait artist in Sheffield, which allowed him a reasonable income.

For several years he divided his time between Sheffield and London,^[11] studying intermittently at the Royal Academy Schools.^[12] In the summer of 1802, he travelled to Dublin, where he fell very ill, losing all his hair.^[13] He exhibited pictures at the Royal Academy for a few years from 1804, but from 1807 onwards devoted himself mainly to sculpture.^[5]

Asked later in life, as a witness in a court case, whether he had ever worked for any other sculptors, he replied: "No, and what is more, I never had an hour's instruction from any sculptor in my life".^[14]

His first recorded marble bust was one of the Rev. James Wilkinson (1805–06), for Sheffield parish church.^[15] His first imaginative sculpture, a head of Satan was shown at the Royal Academy in 1808.^[5]

In 1809, the architect Daniel Asher Alexander commissioned him to make four monumental plaster busts of the admirals Duncan, Howe, Vincent and Nelson for the Royal Naval Asylum at Greenwich, for which he received £10 each.^[16]^[17] Three of them were shown at the Royal Academy that year.^[15]

On 23 November 1809, he married his cousin, Mary Ann Wale at St Mary's Church, Twickenham.^[18] By this time he was settled permanently in London,^[12] His wife brought £10,000 into the marriage, which allowed Chantrey to pay off his debts,^[19] and for the couple to move into a house at 13 Eccleston Street, Pimlico,^[15] (recorded as Chantrey's address in the Royal Academy catalogues from 1810).^[20] He also bought land to build two more houses, a studio and offices.^[19] In 1811, he showed six busts in the Royal Academy.^[15]^[20]

The subjects included Horne Tooke and Sir Francis Burdett, two political figures he greatly admired; his early mentor John Raphael Smith, and Benjamin West. Joseph Nollekens placed the bust of Tooke between two of his own, and the prominence given to it is said to have had a significant influence on Chantrey's career.^[15] In the wake of the exhibition he received commissions amounting to £12,000.^[5] In 1813 he was able to raise his price for a bust to a hundred and fifty guineas, and in 1822 to two hundred.^[15]

He visited Paris in 1814,^[21] and again in 1815, this time with his wife, Thomas Stothard, and D. A. Alexander, visiting the Louvre where he especially admired the works of Raphael and Titian.^[22] In 1819 he went to Italy, accompanied by the painter John Jackson, and an old friend named Read. In Rome he met Thorvaldsen and Canova, getting to know the latter especially well.^[23]

In 1828 Chantrey set up his own foundry in Eccleston Place, not far from his house and studio, where large-scale works in bronze, including equestrian statues, could be cast.^[24]

Working practices

Sir Walter Scott by Sir Francis Chantrey (1832), Victoria Park, Halifax, Nova Scotia

Chantrey developed a procedure of making a portrait sculpture in which he would begin by making two life-sized drawings of his sitter's head, one full-face and one in profile, with the aid of a camera lucida. His assistants would then make a clay model based on the drawings, to which Chantrey would add the finishing touches^[25] in front of the sitter.^[26] A plaster cast would be made of the clay model, and then a marble replica made of that.^[25] Allan Cunningham and Henry Weekes^[27] were his chief assistants, and made many of the works produced under Chantrey's name.^[5] The debilitating effects of heart disease made him even more reliant on assistants in the last few years of his life.^[28]

Style

Chantrey was rare among the leading sculptors of his time in not having visited Italy at a formative stage in his career.^[12] A writer in Blackwood's Edinburgh Magazine in 1820 saw him as liberating English sculpture from foreign influence:

Those who wish to trace the return of English sculpture from the foreign artificial and allegorical style, to its natural and original character—from cold and conceited fiction to tender and elevated truth, will find it chiefly in the history of Francis Chantrey and his productions.^[21]

More recently, Margaret Whinney wrote that Chantrey "had a great gift for characterisation, his ability to render the softness of flesh was much admired" and that "though compelled by the fashion of the day to produce, on occasions, classicizing works, his robust common sense and his enormous talent is better displayed in works which combine an almost classical simplicity of form with naturalism in presentation".^[12]

Works

Monument to Amelia Ann Smyth, d. 1817 (wife of acting Lt. Gov. of Nova Scotia George Stracey Smyth), St. Paul's Church, Nova Scotia

Chantrey was a prolific sculptor. According to an article published in 1842, he produced, besides his busts and reliefs, three equestrian statues, 18 standing ones, 18 seated ones and 14 recumbent figures.^[29] His most notable works include the statues of George III in The Guildhall, London; of George Washington in the State-house at Boston, Massachusetts;^[5] of George IV at Brighton (in bronze); of William Pitt the Younger in Hanover Square, London (in bronze);^[24] of James Watt in Westminster Abbey and in Greenock (also a bust, plus one of William Murdoch, at St. Mary's Church, Handsworth); of William Roscoe and George Canning in Liverpool; of John Dalton in Manchester Town Hall; of Lord President Blair and Lord Melville in Edinburgh.^[5]

He made a bronze equestrian statue of Sir Thomas Munro for Madras (now Chennai)^[15]^[24] and another of King George IV, originally commissioned, on the instructions of the king himself, to stand on top of the Marble Arch, in front of Buckingham Palace, but eventually placed in Trafalgar Square.^[24]^[30] The horses in these two works are identical.^[29] A third, of the Duke of Wellington for a site in front of the Royal Exchange in London, was completed after Chantrey's death.^[24]

He executed four monuments to military heroes for St Paul's Cathedral: they commemorate Major-General Daniel Hoghton, Major-General Bowes, and Colonel Henry Cadogan, and (in a single monument) Major-Generals Gore and Skerrett.^[31] He was also responsible for the memorials to Sir James Brisbane in St James' Church, Sydney and to Reginald Heber in Calcutta,^[32] a replica of which was made for St Paul's Cathedral in London.^[33] Other good examples of his church monuments are those to the Earl of Farnham (1826) in Urney Parish Church, Cavan^[34]^[35] and Mary Anne Boulton (1834) in Great Tew^[36] In Snaith church there is a notable monument to Viscount Downe by Chantrey.^[37]

One of his most famous works was The Sleeping Children, a monument to two girls of the Robinson family, depicting them asleep in one another's arms, the younger holding a bunch of snowdrops. It attracted a great deal of attention when shown at the Royal Academy in 1817, before its installation in Lichfield Cathedral. The design of the monument was widely rumoured to be by Thomas Stothard; Chantrey's biographer, James Holland, however gave more credence to another account of its history, according to which Stothard had merely made a drawing from Chantrey's preliminary model.^[38] Another popular work, much reproduced, was a small statue, made for Woburn Abbey of the young Louisa, Lady Russell, depicted cradling a dove.^[39]

The Derby Museum has an unusual bust of William Strutt.

Honours

Chantrey was elected an Associate of the Royal Academy in 1816 and a full Academician in 1818.^[12] In 1822 Henry Wolsey Bayfield named Chantry Island in Ontario after him.^[40] He received the degree of MA from Cambridge, and that of DCL from Oxford,^[5] and was knighted in 1835.^[41]

Death

He died suddenly at his home in Eccleston Street, Pimlico, London, on 25 November 1841,^[42] having suffered from heart disease for some years. He was buried in a tomb constructed by his assistant James Heffernan in the churchyard of his native village, Norton in Derbyshire (now a suburb of Sheffield).^[43]

Bequest

By his will, dated 31 December 1840, Chantrey (who had no children) left his whole residuary personal estate after the decease or on the second marriage of his widow (less certain specified annuities and bequests) in trust for the president and trustees of the Royal Academy (or in the event of its dissolution to such society as might take its place), the income to be devoted to the encouragement of British painting and sculpture, by "the purchase of works of fine art of the highest merit ... that can be obtained." The funds might be allowed to accumulate for not more than five years; works by British or foreign artists, dead or living, might be acquired, so long as such works were entirely executed within Great Britain, the artists having been in residence there during the execution and completion. The prices to be paid were to be "liberal," and no sympathy for an artist or his family was to influence the selection or the purchase of works, which were to be acquired solely on the ground of intrinsic merit. No commission or orders might be given: the works must be finished before purchase. Conditions were made as to the exhibition of the works, in the confident expectation that the government or the country would provide a suitable gallery for their display; and an annual sum of £300 and £50 was to be paid to the president and the secretary of the Royal Academy respectively, for the discharge of their duties in carrying out the provisions of the will.^[44]

Lady Chantrey died in 1875 and was buried with George Jones in Highgate Cemetery, and two years later the fund became available for the purchase of paintings and sculptures. The capital sum available amounted to £105,000 in 3% Consols (reduced to 2½% in 1903), which was producing an available annual income varying between £2,100 and £2,500 by around 1910. Initially the works acquired were shown at the Victoria and Albert Museum, but in 1898 the Royal Academy arranged with the treasury, on behalf of the government, for the transfer of the collection to the National Gallery of British Art, which had been erected by Sir Henry Tate at Millbank.^[45] It was agreed that the Tate Gallery should be its future home, but that the trustees and director of the National Gallery should have no power over what works were to be transferred there, or added to the collection at a later date.^[5]^[46]

By the end of 1905, 203 works had been bought—all but two from living artists—at a cost of nearly £68,000. Of these, 175 were oil paintings, 12 were watercolours, and 16 were sculptures.^[45] The bequest remained the main source of funding for expanding the collection of what is now Tate Britain until the 1920s, and it remains active today.^[47]

References

^ Sometimes spelled Legatt
^ "Chantrey, Francis Leggatt, 1781–1841". ArtUK.org. Retrieved 24 December 2022.
^ Citizens and Kings (2007), p. 302
^ C D Waterston; A Macmillan Shearer (July 2006). Former Fellows of The Royal Society of Edinburgh, 1783–2002: Part 1 (A–J) (PDF). Royal Society of Edinburgh. ISBN 090219884X. Archived from the original (PDF) on 24 January 2013. Retrieved 18 September 2015.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j Chisholm 1911, p. 847.
^ Gunnis, Robert. Dictionary of British sculptors,1660–1751.
^ Holland, pp. 43, 50
^ Burke, Edmund (1842). Annual Register volume 83. p. 232. Retrieved 30 July 2011.
^ Whinney 1971, p. 148
^ Holland, pp. 43–4, disputes the claim, frequently made, that his apprenticeship had only six months to run.
^ Holland, pp. 42–44
^ ^a ^b ^c ^d ^e Whinney 1971, p. 147
^ Holland, p. 50
^ Report of the trial of the cause Carew against Burrell, Bt and another, executors of the late Earl of Egremont. London: William Nicol. 1841. p. 64. Retrieved 3 August 2011.
^ ^a ^b ^c ^d ^e ^f ^g Stephen, Leslie, ed. (1887). "Chantrey, Francis Legatt" . Dictionary of National Biography. Vol. 10. London: Smith, Elder & Co. pp. 44–47.
^ Holland, pp. 125–127
^ "Vice-Admiral Horatio Nelson (1758–1805), 1st Viscount Nelson". National Maritime Museum. Retrieved 6 April 2013.
^ "Sir Francis Chantrey". Twickenham Museum. Archived from the original on 11 September 2014. Retrieved 6 April 2013.
^ ^a ^b Jones 1849, p. 9
^ ^a ^b Graves, Algernon (1905). The Royal Academy: A Complete Dictionary of Contributors from its Foundations in 1769 to 1904. Vol. 2. London: Henry Graves. pp. 40–41.
^ ^a ^b "Francis Chantrey, sculptor". Edinburgh Magazine. VII: 3–10. April 1820.
^ Jones 1849, p. 16
^ Jones 1849, pp. 27–29.
^ ^a ^b ^c ^d ^e "British bronze sculpture founders and plaster figure makers, 1800–1980 – C". National Portrait Gallery. Retrieved 7 April 2013.
^ ^a ^b "Preliminary drawings for busts and statues by Sir Francis Chantrey, circa 1807–40". National Portrait Gallery. Retrieved 3 March 2013.
^ Holland, p. 295
^ "Stevens T. 'Weekes, Henry (1807–1877)', Oxford Dictionary of National Biography (2004)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. 2004. doi:10.1093/ref:odnb/28969. Retrieved 17 March 2008. (Subscription or UK public library membership required.)
^ Knight, Charles, ed. (1858). "Chantrey, Sir Francis". The English Cyclopædia of Biography. Vol. II. London: Bradbury & Evans. p. 163.
^ ^a ^b "Sir Francis Chantrey and Allan Cunningham". Fraser's Magazine. 27: 664–5. 1843.
^ "Chantrey's Statue of George IV in Trafalgar Square". Illustrated London News. 4: 128. 24 February 1844. Retrieved 2 August 2011.
^ Dimock, Arthur (1901). The Cathedral Church of St. Paul. Bell's Cathedrals. London: George Bell and Sons. pp. 125–30.
^ Initially installed in St John's church, Calcutta it was transferred to the city's new cathedral in 1847. Whinney 1971, p. 172
^ Whinney 1971, p. 172
^ Potterton, Homan (1975). Irish Church Monuments, 1570–1880.
^ "Perfected by the Hand of Taste: Funerary Monuments at St Patrick's Cathedral, Armagh". www.buildingconservation.com. Retrieved 3 August 2021.
^ "Mary Anne Boulton (1834) at Great Tew". flickr. 28 April 2006.
^ Betjeman, John, ed. (1968). Collins Pocket Guide to English Parish Churches: the North. London: Collins. p. 349.
^ Holland, pp. 267– 74
^ Holland, p. 276
^ "About Chantry Island". Chantry Island. Marine Heritage Society. 2 March 2016. Archived from the original on 8 February 2017. Retrieved 29 March 2017.
^ "St James's-Palace, July 1, 1835". The London Gazette (19285): 1283. 3 July 1835.
^ Holland, p. 329
^ Dictionary of British Sculptors 1660-1851 by Rupert Gunnis p.196
^ Chisholm 1911, pp. 847–848.
^ ^a ^b Chisholm 1911, p. 848.
^ Treasury Letter, 18054-98, 7 December 1898
^ Macdonald, Sharon; Fyfe, Gordon (29 June 1998). Theorizing museums: representing identity and diversity in a changing world. Wiley-Blackwell. p. 214. ISBN 0-631-20151-3.

Sources

Citizens and Kings (Exhibition Catalogue). Royal Academy. 2007. ISBN 978-1-903973-23-3.
Holland, John (n.d.). Memorials of Sir Francis Chantry, R. A., sculptor, in Hallamshire and Elsewhere. Sheffield: J. Pearce, Jun.
Jones, George (1849). Sir Francis Chantrey, R. A. Recollections of his Life, Practice and Opinions. London: E. Moxon.
Whinney, Margaret (1971). English Sculpture 1720–1830. Victoria and Albert Museum Monographs. London: Her Majesty's Stationery Office.

Attribution:

This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Chantrey, Sir Francis Legatt". Encyclopædia Britannica. Vol. 5 (11th ed.). Cambridge University Press. pp. 847–848.

External links

157 artworks by or after Francis Leggatt Chantrey at the Art UK site
"Archival material relating to Francis Leggatt Chantrey". UK National Archives.
Portraits of Sir Francis Leggatt Chantrey at the National Portrait Gallery, London
Works by Sir Francis Leggatt Chantrey at the National Portrait Gallery, London
Profile on Royal Academy of Arts Collections
Sleeping Child., an image drawn by Henry Corbould and accompanied by Felicia Hemans's poem, The Child's Last Sleep, from the Friendship's Offering annual for 1826.
Lady Louisa Jane Russell., drawn by Henry Corbould from the statue at Woburn Abbey and accompanied by Felicia Hemans's poem, The Child and Dove, from The Literary Souvenir annual for 1826.
The Sculptured Children., a poem by Felicia Hemans for the Forget Me Not annual for 1829 on The Sleeping Children in Lichfield Cathedral.

[1] Sometimes spelled Legatt

[2] "Chantrey, Francis Leggatt, 1781–1841". ArtUK.org. Retrieved 24 December 2022.

[3] Citizens and Kings (2007), p. 302

[4] C D Waterston; A Macmillan Shearer (July 2006). Former Fellows of The Royal Society of Edinburgh, 1783–2002: Part 1 (A–J) (PDF). Royal Society of Edinburgh. ISBN 090219884X. Archived from the original (PDF) on 24 January 2013. Retrieved 18 September 2015.

[FOOTNOTEChisholm1911847-5] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j Chisholm 1911, p. 847.

[gunnis-6] Gunnis, Robert. Dictionary of British sculptors,1660–1751.

[7] Holland, pp. 43, 50

[register-8] Burke, Edmund (1842). Annual Register volume 83. p. 232. Retrieved 30 July 2011.

[9] Whinney 1971, p. 148

[10] Holland, pp. 43–4, disputes the claim, frequently made, that his apprenticeship had only six months to run.

[11] Holland, pp. 42–44

[whin147-12] Whinney 1971, p. 147

[13] Holland, p. 50

[14] Report of the trial of the cause Carew against Burrell, Bt and another, executors of the late Earl of Egremont. London: William Nicol. 1841. p. 64. Retrieved 3 August 2011.

[dnb-15] ^ ^a ^b ^c ^d ^e ^f ^g Stephen, Leslie, ed. (1887). "Chantrey, Francis Legatt" . Dictionary of National Biography. Vol. 10. London: Smith, Elder & Co. pp. 44–47.

[16] Holland, pp. 125–127

[17] "Vice-Admiral Horatio Nelson (1758–1805), 1st Viscount Nelson". National Maritime Museum. Retrieved 6 April 2013.

[18] "Sir Francis Chantrey". Twickenham Museum. Archived from the original on 11 September 2014. Retrieved 6 April 2013.

[jones9-19] Jones 1849, p. 9

[graves-20] Graves, Algernon (1905). The Royal Academy: A Complete Dictionary of Contributors from its Foundations in 1769 to 1904. Vol. 2. London: Henry Graves. pp. 40–41.

[edin-21] "Francis Chantrey, sculptor". Edinburgh Magazine. VII: 3–10. April 1820.

[22] Jones 1849, p. 16

[23] Jones 1849, pp. 27–29.

[bronze-24] "British bronze sculpture founders and plaster figure makers, 1800–1980 – C". National Portrait Gallery. Retrieved 7 April 2013.

[npg-25] "Preliminary drawings for busts and statues by Sir Francis Chantrey, circa 1807–40". National Portrait Gallery. Retrieved 3 March 2013.

[26] Holland, p. 295

[odnb-27] "Stevens T. 'Weekes, Henry (1807–1877)', Oxford Dictionary of National Biography (2004)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. 2004. doi:10.1093/ref:odnb/28969. Retrieved 17 March 2008. (Subscription or UK public library membership required.)

[cyclo-28] Knight, Charles, ed. (1858). "Chantrey, Sir Francis". The English Cyclopædia of Biography. Vol. II. London: Bradbury & Evans. p. 163.

[fraser-29] "Sir Francis Chantrey and Allan Cunningham". Fraser's Magazine. 27: 664–5. 1843.

[30] "Chantrey's Statue of George IV in Trafalgar Square". Illustrated London News. 4: 128. 24 February 1844. Retrieved 2 August 2011.

[31] Dimock, Arthur (1901). The Cathedral Church of St. Paul. Bell's Cathedrals. London: George Bell and Sons. pp. 125–30.

[32] Initially installed in St John's church, Calcutta it was transferred to the city's new cathedral in 1847. Whinney 1971, p. 172

[33] Whinney 1971, p. 172

[34] Potterton, Homan (1975). Irish Church Monuments, 1570–1880.

[35] "Perfected by the Hand of Taste: Funerary Monuments at St Patrick's Cathedral, Armagh". www.buildingconservation.com. Retrieved 3 August 2021.

[36] "Mary Anne Boulton (1834) at Great Tew". flickr. 28 April 2006.

[37] Betjeman, John, ed. (1968). Collins Pocket Guide to English Parish Churches: the North. London: Collins. p. 349.

[38] Holland, pp. 267– 74

[39] Holland, p. 276

[CI-40] "About Chantry Island". Chantry Island. Marine Heritage Society. 2 March 2016. Archived from the original on 8 February 2017. Retrieved 29 March 2017.

[41] "St James's-Palace, July 1, 1835". The London Gazette (19285): 1283. 3 July 1835.

[42] Holland, p. 329

[43] Dictionary of British Sculptors 1660-1851 by Rupert Gunnis p.196

[FOOTNOTEChisholm1911847–848-44] Chisholm 1911, pp. 847–848.

[FOOTNOTEChisholm1911848-45] Chisholm 1911, p. 848.

[46] Treasury Letter, 18054-98, 7 December 1898

[47] Macdonald, Sharon; Fyfe, Gordon (29 June 1998). Theorizing museums: representing identity and diversity in a changing world. Wiley-Blackwell. p. 214. ISBN 0-631-20151-3.

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@@ Line 1: / Line 1: @@
-{{short description|English sculptor}}
+{{short description|English sculptor (1781–1841)}}
 {{Use British English|date=July 2017}}
 {{Use dmy dates|date=July 2017}}
 [[File:Francis Leggatt Chantrey (1782-1841' by Henri Bone after John Jackson.jpg|thumb|upright|300px|Portrait of Chantrey standing next to a bust of [[William Hyde Wollaston]], 1831, by [[Henry Bone]] after [[John Jackson (painter)|John Jackson]]]]
-'''Sir Francis Leg(g)att Chantrey''' {{Post-nominals|country=GBR|RA}} (7 April 1781<ref>https://artuk.org/discover/artists/chantrey-francis-leggatt-17811841</ref> – 25 November 1841) was an English sculptor. He became the leading portrait sculptor in [[Regency era]] Britain, producing busts and statues of many notable figures of the time.<ref>''Citizens and Kings'' (2007), p. 302</ref> Chantrey's most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for [[St Paul’s Cathedral]], [[London]]. He left the '''Chantrey Bequest''' (or '''Chantrey Fund''') for the purchase of works of art for the nation, which was available from 1878 after the death of his widow.
+'''Sir Francis Leggatt<ref>Sometimes spelled '''Legatt'''</ref> Chantrey''' {{Post-nominals|post-noms=[[List of Royal Academicians|RA]]}} (7 April 1781<ref>{{Cite web|url=https://artuk.org/discover/artists/chantrey-francis-leggatt-17811841|title = Chantrey, Francis Leggatt, 1781–1841|website=ArtUK.org|accessdate=24 December 2022}}</ref> – 25 November 1841) was an English sculptor. He became the leading portrait sculptor in [[Regency era]] Britain, producing busts and statues of many notable figures of the time.<ref>''Citizens and Kings'' (2007), p. 302</ref> Chantrey's most notable works include the statues of King George IV (Trafalgar Square); King George III (Guildhall), and George Washington (Massachusetts State House). He also executed four monuments to military heroes for [[St Paul's Cathedral]], [[London]]. He left the ''Chantrey Bequest'' (or ''Chantrey Fund'') for the purchase of works of art for the nation, which was available from 1878 after the death of his widow.{{cn|date=December 2022}}
 ==Life==
 [[File:Nelson's Column, 2012 (2).JPG|thumb|left| King George IV by Chantrey, [[Trafalgar Square]], [[London]]]]
-Chantrey was born at [[Jordanthorpe]]<ref>https://www.royalsoced.org.uk/cms/files/fellows/biographical_index/fells_indexp1.pdf</ref> near [[Norton, Sheffield, South Yorkshire|Norton]] (then a [[Derbyshire]] village, now a suburb of [[Sheffield]]), where his father had a small farm.
+Chantrey was born at [[Jordanthorpe]]<ref>{{Cite book |url=https://www.royalsoced.org.uk/cms/files/fellows/biographical_index/fells_indexp1.pdf |title=Former Fellows of The Royal Society of Edinburgh, 1783–2002: Part 1 (A–J) |author=C D Waterston |author2=A Macmillan Shearer |publisher=[[Royal Society of Edinburgh]] |isbn=090219884X |date=July 2006 |access-date=18 September 2015 |archive-date=24 January 2013 |archive-url=https://web.archive.org/web/20130124115814/http://www.royalsoced.org.uk/cms/files/fellows/biographical_index/fells_indexp1.pdf |url-status=dead}}</ref> near [[Norton, Sheffield, South Yorkshire|Norton]] (then a [[Derbyshire]] village, now a suburb of [[Sheffield]]), where his family had a small farm.{{sfn|Chisholm|1911|p=847}}
-His father, who also dabbled in carpentry and wood-carving, died when Francis was twelve;<ref name="gunnis">{{cite book|title=Dictionary of British sculptors,1660–1751|first=Robert|last= Gunnis|year=|page=}}</ref> and his mother remarried, leaving him without a clear career to follow. At fifteen, he was working for a grocer in Sheffield, when, having seen some wood-carving in a shop-window, he asked to be apprenticed as a carver instead, and was placed with a woodcarver and gilder called Ramsay in Sheffield.<ref name="eb1911"/> At Ramsay's house he met the draughtsman and engraver [[John Raphael Smith]]<ref>Holland, pp. 43, 50</ref> who recognised his artistic potential and gave him lessons in painting,<ref name="register">{{cite book|last=Burke|first=Edmund|title=Annual Register volume 83|url=https://books.google.com/books?id=xiVb9xx-dV8C&pg=RA1-PA232&dq|accessdate=30 July 2011|page=232}}</ref> and was later to help advance his career by introducing him to potential patrons.<ref>Whinney 1971, p. 148</ref> In 1802 Chantrey paid £50 to buy himself out of his apprenticeship with Ramsay<ref name="eb1911"/><ref>Holland, pp. 43–4, disputes the claim, frequently made, that his apprenticeship had only six months to run.</ref> and immediately set up a studio as a portrait artist in Sheffield, which allowed him a reasonable income.<ref name="eb1911"/>
+His father, who also dabbled in carpentry and wood-carving, died when Francis was twelve;<ref name="gunnis">{{cite book|title=Dictionary of British sculptors,1660–1751|first=Robert|last= Gunnis}}</ref> and his mother remarried, leaving him without a clear career to follow. At fifteen, he was working for a grocer in Sheffield, when, having seen some wood-carving in a shop-window, he asked to be apprenticed as a carver instead, and was placed with a woodcarver and gilder called Ramsay in Sheffield.{{sfn|Chisholm|1911|p=847}}
+At Ramsay's house he met the draughtsman and engraver [[John Raphael Smith]]<ref>Holland, pp. 43, 50</ref> who recognised his artistic potential and gave him lessons in painting,<ref name="register">{{cite book|last=Burke|first=Edmund|title=Annual Register volume 83|year=1842|url=https://books.google.com/books?id=xiVb9xx-dV8C&pg=RA1-PA232|access-date=30 July 2011|page=232}}</ref> and was later to help advance his career by introducing him to potential patrons.<ref>Whinney 1971, p. 148</ref>
-For several years he divided his time between Sheffield and London,<ref>Holland, pp. 42–4</ref> studying intermittently at the [[Royal Academy Schools]].<ref name="whin147"/> In the summer of 1802 he travelled to [[Dublin]], where he fell very ill, losing all his hair.<ref>Holland, p. 50</ref> He exhibited pictures at the [[Royal Academy]] for a few years from 1804, but from 1807 onwards devoted himself mainly to sculpture.<ref name="eb1911"/> Asked later in life, as a witness in a court case, whether he had ever worked for any other sculptors, he replied: "No, and what is more, I never had an hour's instruction from any sculptor in my life".<ref>{{cite book |title=Report of the trial of the cause Carew against Burrell, Bt and another, executors of the late Earl of Egremont |url=https://books.google.com/books?id=vnsDAAAAQAAJ&printsec=frontcover#v=onepage&q&f=false |accessdate= 3 August 2011|year=1841 |publisher=William Nicol |location=London|page=64 }}</ref>
+In 1802, Chantrey paid £50 to buy himself out of his apprenticeship with Ramsay<ref>Holland, pp. 43–4, disputes the claim, frequently made, that his apprenticeship had only six months to run.</ref> and immediately set up a studio as a portrait artist in Sheffield, which allowed him a reasonable income.
-His first recorded marble bust was one of the Rev. James Wilkinson (1805–06), for [[Sheffield Cathedral|Sheffield parish church]].<ref name="dnb"/> His first imaginative sculpture, a head of [[Satan]] was shown at the Royal Academy in 1808.<ref name="eb1911"/> In 1809 the architect [[Daniel Asher Alexander]] commissioned him to make four monumental plaster busts of the admirals [[Adam Duncan, 1st Viscount Duncan|Duncan]], [[Richard Howe, Earl Howe|Howe]], [[John Jervis, 1st Earl of St Vincent|Vincent]] and [[Horatio Nelson|Nelson]] for the [[Royal Naval Asylum]] at [[Greenwich]], for which he received £10 each.<ref>Holland, pp. 125–7</ref><ref>{{cite web|url=http://collections.rmg.co.uk/collections/objects/64026.html|title=Vice-Admiral Horatio Nelson (1758–1805), 1st Viscount Nelson|publisher=National Maritime Museum|accessdate=6 April 2013}}</ref> Three of them were shown at the Royal Academy that year.<ref name="dnb"/>
-[[File:George Washington, Massachusetts State House by Sir Francis Chantrey, Harper's Weekly 26 Feb 1861.png|thumb|George Washington, [[Massachusetts State House]] by Sir Francis Chantrey, [[Harper's Weekly]] 26 February 1861]]
+For several years he divided his time between Sheffield and London,<ref>Holland, pp. 42–44</ref> studying intermittently at the [[Royal Academy Schools]].<ref name="whin147"/> In the summer of 1802, he travelled to [[Dublin]], where he fell very ill, losing all his hair.<ref>Holland, p. 50</ref> He exhibited pictures at the [[Royal Academy]] for a few years from 1804, but from 1807 onwards devoted himself mainly to sculpture.{{sfn|Chisholm|1911|p=847}}
-On 23 November 1809 he married his cousin, Mary Ann Wale at [[St Mary's Church, Twickenham]].<ref>{{cite web|url=http://www.twickenham-museum.org.uk/detail.asp?ContentID=153|title=Sir Francis Chantrey |publisher=Twickenham Museum|accessdate=6 April 2013}}</ref> By this time he was settled permanently in London,<ref name="whin147">Whinney 1971, p. 147</ref> His wife brought £10,000 into the marriage, which allowed Chantrey to pay off his debts,<ref name="jones9">Jones 1849, p. 9</ref> and for the couple to move into a house at 13 Eccleston Street, [[Pimlico]],<ref name="dnb"/> (recorded as Chantrey's address in the Royal Academy catalogues from 1810).<ref name="graves"/> He also bought land to build two more houses, a studio and offices.<ref name="jones9"/>
+Asked later in life, as a witness in a court case, whether he had ever worked for any other sculptors, he replied: "No, and what is more, I never had an hour's instruction from any sculptor in my life".<ref>{{cite book |title=Report of the trial of the cause Carew against Burrell, Bt and another, executors of the late Earl of Egremont |url=https://books.google.com/books?id=vnsDAAAAQAAJ |access-date= 3 August 2011|year=1841 |publisher=William Nicol |location=London|page=64 }}</ref>
-In 1811 he showed six busts in the Royal Academy.<ref name="dnb"/><ref name="graves">
-{{cite book |last1=Graves|first1=Algernon |title=The Royal Academy: A Complete Dictionary of Contributors from its Foundations in 1769 to 1904|url= |volume=2|year= 1905 |publisher= Henry Graves|location=London|pages=40–1}}</ref> The subjects included [[John Horne Tooke|Horne Tooke]] and Sir [[Francis Burdett]], two political figures he greatly admired; his early mentor John Raphael Smith, and [[Benjamin West]]. [[Joseph Nollekens]] placed the bust of Tooke between two of his own, and the prominence given to it is said to have had a significant influence on Chantrey's career.<ref name="dnb"/> In the wake of the exhibition he received commissions amounting to £2,000.<ref name="eb1911"/> In 1813 he was able to raise his price for a bust to a hundred and fifty guineas, and in 1822 to two hundred.<ref name="dnb"/>
+His first recorded marble bust was one of the Rev. James Wilkinson (1805–06), for [[Sheffield Cathedral|Sheffield parish church]].<ref name="dnb"/> His first imaginative sculpture, a head of [[Satan]] was shown at the Royal Academy in 1808.{{sfn|Chisholm|1911|p=847}}
-He visited Paris in 1814,<ref name="edin"/> and again in 1815, this time with his wife, Thomas Stothard, and D. A. Alexander, visiting the Louvre where he especially admired the works of Raphael and Titian.<ref>Jones 1849, p. 16</ref> In 1819 he went to Italy, accompanied by the painter John Jackson, and an old friend named Read. In Rome he met [[Bertel Thorvaldsen|Thorvaldsen]] and [[Canova]], getting to know the latter especially well.<ref>Jones 1849, pp. 27–9</ref>
+In 1809, the architect [[Daniel Asher Alexander]] commissioned him to make four monumental plaster busts of the admirals [[Adam Duncan, 1st Viscount Duncan|Duncan]], [[Richard Howe, Earl Howe|Howe]], [[John Jervis, 1st Earl of St Vincent|Vincent]] and [[Horatio Nelson|Nelson]] for the [[Royal Naval Asylum]] at [[Greenwich]], for which he received £10 each.<ref>Holland, pp. 125–127</ref><ref>{{cite web|url=http://collections.rmg.co.uk/collections/objects/64026.html|title=Vice-Admiral Horatio Nelson (1758–1805), 1st Viscount Nelson|publisher=National Maritime Museum|access-date=6 April 2013}}</ref> Three of them were shown at the Royal Academy that year.<ref name="dnb"/>
-In 1828 Chantrey set up his own foundry in Eccleston Place, not far from his house and studio, where large-scale works in bronze, including equestrian statues, could be cast.<ref name="bronze">{{cite web|title=British bronze sculpture founders and plaster figure makers, 1800–1980 – C|publisher=National Portrait Gallery|url=http://www.npg.org.uk/research/programmes/british-bronze-founders-and-plaster-figure-makers-1800-1980-1/british-bronze-founders-and-plaster-figure-makers-1800-1980-c.php|accessdate=7 April 2013}}</ref>
+[[File:George Washington, Massachusetts State House by Sir Francis Chantrey, Harper's Weekly 26 Feb 1861.png|thumb|George Washington, [[Massachusetts State House]] by Sir Francis Chantrey, ''[[Harper's Weekly]]'', 26 February 1861]]
+On 23 November 1809, he married his cousin, Mary Ann Wale at [[St Mary's Church, Twickenham]].<ref>{{cite web|url=http://www.twickenham-museum.org.uk/detail.asp?ContentID=153|title=Sir Francis Chantrey|publisher=Twickenham Museum|access-date=6 April 2013|archive-date=11 September 2014|archive-url=https://web.archive.org/web/20140911181815/http://www.twickenham-museum.org.uk/detail.asp?ContentID=153|url-status=dead}}</ref> By this time he was settled permanently in London,<ref name="whin147">Whinney 1971, p. 147</ref> His wife brought £10,000 into the marriage, which allowed Chantrey to pay off his debts,<ref name="jones9">Jones 1849, p. 9</ref> and for the couple to move into a house at 13 Eccleston Street, [[Pimlico]],<ref name="dnb"/> (recorded as Chantrey's address in the Royal Academy catalogues from 1810).<ref name="graves"/> He also bought land to build two more houses, a studio and offices.<ref name="jones9"/> In 1811, he showed six busts in the Royal Academy.<ref name="dnb"/><ref name="graves">
+{{cite book |last1=Graves|first1=Algernon |title=The Royal Academy: A Complete Dictionary of Contributors from its Foundations in 1769 to 1904|volume=2|year= 1905 |publisher= Henry Graves|location=London|pages=40–41}}</ref>
+The subjects included [[John Horne Tooke|Horne Tooke]] and Sir [[Francis Burdett]], two political figures he greatly admired; his early mentor John Raphael Smith, and [[Benjamin West]]. [[Joseph Nollekens]] placed the bust of Tooke between two of his own, and the prominence given to it is said to have had a significant influence on Chantrey's career.<ref name="dnb"/> In the wake of the exhibition he received commissions amounting to £12,000.{{sfn|Chisholm|1911|p=847}} In 1813 he was able to raise his price for a bust to a hundred and fifty guineas, and in 1822 to two hundred.<ref name="dnb"/>
+He visited Paris in 1814,<ref name="edin"/> and again in 1815, this time with his wife, Thomas Stothard, and D. A. Alexander, visiting the Louvre where he especially admired the works of Raphael and Titian.<ref>Jones 1849, p. 16</ref> In 1819 he went to Italy, accompanied by the painter John Jackson, and an old friend named Read. In Rome he met [[Bertel Thorvaldsen|Thorvaldsen]] and [[Canova]], getting to know the latter especially well.<ref>Jones 1849, pp. 27–29.</ref>
+In 1828 Chantrey set up his own foundry in Eccleston Place, not far from his house and studio, where large-scale works in bronze, including equestrian statues, could be cast.<ref name="bronze">{{cite web|title=British bronze sculpture founders and plaster figure makers, 1800–1980 – C|publisher=National Portrait Gallery|url=http://www.npg.org.uk/research/programmes/british-bronze-founders-and-plaster-figure-makers-1800-1980-1/british-bronze-founders-and-plaster-figure-makers-1800-1980-c.php|access-date=7 April 2013}}</ref>
 ==Working practices==
-[[File:WalterScottVictoriaParkHalifaxNovaScotia.jpg|thumb|right|Sir [[Walter Scott]] by Sir [[Francis Chantrey]] (1932), [[Victoria Park, Halifax]], Nova Scotia]]
+[[File:WalterScottVictoriaParkHalifaxNovaScotia.jpg|thumb|Sir [[Walter Scott]] by Sir Francis Chantrey (1832), [[Victoria Park, Halifax]], Nova Scotia]]
-Chantrey developed a procedure of making a portrait sculpture in which he would begin by making two life-sized drawings of his sitter's head, one full-face and one in profile, with the aid of a ''[[camera lucida]]''. His assistants would then make a clay model based on the drawings, to which Chantry would add the finishing touches<ref name="npg"/> in front of the sitter.<ref>Holland, p. 295</ref> A [[plaster cast]] would be made of the clay model, and then a marble replica made of that.<ref name="npg">{{cite web|url=http://www.npg.org.uk/collections/search/set/266/Preliminary+drawings+by+Sir+Francis+Chantrey|publisher=National Portrait Gallery|title=Preliminary drawings for busts and statues by Sir Francis Chantrey, circa 1807–40|accessdate=3 March 2013}}</ref> [[Allan Cunningham (author)|Allan Cunningham]] and [[Henry Weekes]]<ref name="odnb">{{cite web |title = Stevens T. 'Weekes, Henry (1807–1877)', ''Oxford Dictionary of National Biography'' (2004) |url = http://www.oxforddnb.com/view/article/28969 |publisher= Oxford University Press| accessdate = 17 March 2008}}</ref> were his chief assistants, and made of many of the works produced under Chantrey's name.<ref name="eb1911"/> The debilitating effects of heart disease made him even more reliant on assistants in the last few years of his life.<ref name="cyclo">{{cite book |editor1-first=Charles |editor1-last=Knight|chapter=Chantrey, Sir Francis |title=The English Cyclopædia of Biography|volume=II|url=|year=1858|publisher= Bradbury & Evans|location=London|page=163}}</ref>
+Chantrey developed a procedure of making a portrait sculpture in which he would begin by making two life-sized drawings of his sitter's head, one full-face and one in profile, with the aid of a ''[[camera lucida]]''. His assistants would then make a clay model based on the drawings, to which Chantrey would add the finishing touches<ref name="npg"/> in front of the sitter.<ref>Holland, p. 295</ref> A [[plaster cast]] would be made of the clay model, and then a marble replica made of that.<ref name="npg">{{cite web|url=http://www.npg.org.uk/collections/search/set/266/Preliminary+drawings+by+Sir+Francis+Chantrey|publisher=National Portrait Gallery|title=Preliminary drawings for busts and statues by Sir Francis Chantrey, circa 1807–40|access-date=3 March 2013}}</ref> [[Allan Cunningham (author)|Allan Cunningham]] and [[Henry Weekes]]<ref name="odnb">{{cite ODNB |title = Stevens T. 'Weekes, Henry (1807–1877)', ''Oxford Dictionary of National Biography'' (2004) |year = 2004 |url = http://www.oxforddnb.com/view/article/28969 |doi = 10.1093/ref:odnb/28969 | access-date = 17 March 2008}}</ref> were his chief assistants, and made many of the works produced under Chantrey's name.{{sfn|Chisholm|1911|p=847}} The debilitating effects of heart disease made him even more reliant on assistants in the last few years of his life.<ref name="cyclo">{{cite book |editor1-first=Charles |editor1-last=Knight|chapter=Chantrey, Sir Francis |title=The English Cyclopædia of Biography|volume=II|year=1858|publisher= Bradbury & Evans|location=London|page=163}}</ref>
 ==Style==
@@ Line 36: / Line 43: @@
 [[File:AmeliaAnnSmythStPaulsChurchHalifaxNovaScotia.jpg|thumb|left|Monument to Amelia Ann Smyth, d. 1817 (wife of acting Lt. Gov. of Nova Scotia [[George Stracey Smyth]]), [[St. Paul's Church (Halifax)|St. Paul's Church]], Nova Scotia]]
-Chantrey was a prolific sculptor.<ref name="eb1911"/> According to an article published in 1842, he produced, besides his busts and reliefs, three equestrian statues, 18 standing ones, 18 seated ones and 14 recumbent figures.<ref name="fraser">{{cite journal|title=Sir Francis Chantrey and Allan Cunningham|journal=Fraser's Magazine |volume=27|year=1843|pages=664–5}}</ref> His most notable works include the statues of [[George III of the United Kingdom|George III]] in The [[Guildhall, London|Guildhall]], London; of [[George Washington]] in the State-house at [[Boston, Massachusetts]];<ref name="eb1911"/> of [[George IV of the United Kingdom|George IV]] at [[Brighton]] (in bronze); of [[William Pitt the Younger]] in [[Hanover Square, London|Hanover Square]], London (in bronze);<ref name="bronze"/> of [[James Watt]] in [[Westminster Abbey]] and in Greenock (also a bust, plus one of [[William Murdoch]], at [[St. Mary's Church, Handsworth]]); of [[William Roscoe]] and [[George Canning]] in Liverpool; of [[John Dalton]] in [[Manchester Town Hall]]; of [[Robert Blair, Lord Avontoun|Lord President Blair]] and [[Henry Dundas, 1st Viscount Melville|Lord Melville]] in Edinburgh.<ref name="eb1911"/>
+Chantrey was a prolific sculptor. According to an article published in 1842, he produced, besides his busts and reliefs, three equestrian statues, 18 standing ones, 18 seated ones and 14 recumbent figures.<ref name="fraser">{{cite journal|title=Sir Francis Chantrey and Allan Cunningham|journal=Fraser's Magazine |volume=27|year=1843|pages=664–5}}</ref> His most notable works include the statues of [[George III of the United Kingdom|George III]] in The [[Guildhall, London|Guildhall]], London; of [[George Washington]] in the State-house at [[Boston, Massachusetts]];{{sfn|Chisholm|1911|p=847}} of [[George IV of the United Kingdom|George IV]] at [[Brighton]] (in bronze); of [[William Pitt the Younger]] in [[Hanover Square, London|Hanover Square]], London (in bronze);<ref name="bronze"/> of [[James Watt]] in [[Westminster Abbey]] and in Greenock (also a bust, plus one of [[William Murdoch]], at [[St. Mary's Church, Handsworth]]); of [[William Roscoe]] and [[George Canning]] in Liverpool; of [[John Dalton]] in [[Manchester Town Hall]]; of [[Robert Blair, Lord Avontoun|Lord President Blair]] and [[Henry Dundas, 1st Viscount Melville|Lord Melville]] in Edinburgh.{{sfn|Chisholm|1911|p=847}}
-He made a bronze equestrian statue of [[Statue of Thomas Munro|Sir Thomas Munro for Madras]] (now Chennai)<ref name="dnb">{{cite DNB|wstitle=Chantrey, Francis Legatt|year=1887|volume= 10|pages=44–47}}</ref><ref name="bronze"/> and another of [[King George IV]], originally commissioned, on the instructions of the king himself, to stand on top of the [[Marble Arch]], in front of [[Buckingham Palace]], but eventually placed in [[Trafalgar Square]].<ref name="bronze"/><ref>{{cite journal |title=Chantrey's Statue of George IV in Trafalgar Square |journal= Illustrated London News|volume=4 |page=128 |date= 24 February 1844 |url=https://books.google.com/books?id=Jk4jAQAAMAAJ&printsec=frontcover |accessdate=2 August 2011 }}</ref> The horses in these two works are identical.<ref name="fraser"/> A third, of the [[Arthur Wellesley, 1st Duke of Wellington|Duke of Wellington]] for a site in front of the [[Royal Exchange (London)|Royal Exchange]] in London, was completed after Chantrey's death.<ref name="bronze"/>
+He made a bronze equestrian statue of [[Statue of Thomas Munro|Sir Thomas Munro for Madras]] (now Chennai)<ref name="dnb">{{cite DNB|wstitle=Chantrey, Francis Legatt|year=1887|volume= 10|pages=44–47}}</ref><ref name="bronze"/> and another of [[King George IV]], originally commissioned, on the instructions of the king himself, to stand on top of the [[Marble Arch]], in front of [[Buckingham Palace]], but eventually placed in [[Trafalgar Square]].<ref name="bronze"/><ref>{{cite journal |title=Chantrey's Statue of George IV in Trafalgar Square |journal= Illustrated London News|volume=4 |page=128 |date= 24 February 1844 |url=https://books.google.com/books?id=Jk4jAQAAMAAJ |access-date=2 August 2011 }}</ref> The horses in these two works are identical.<ref name="fraser"/> A third, of the [[Arthur Wellesley, 1st Duke of Wellington|Duke of Wellington]] for a site in front of the [[Royal Exchange (London)|Royal Exchange]] in London, was completed after Chantrey's death.<ref name="bronze"/>
 [[File:Badger church - Isaac Hawkins Browne 01.jpg|thumb|upright|Chantrey's memorial for [[Isaac Hawkins Browne (coalowner)|Isaac Hawkins Browne]], Tory politician, coalowner and essayist, in the parish church of [[Badger, Shropshire]], where he was lord of the manor]]
 [[File:Chantreys Sleeping Children.jpg|thumb|250px|''[[The Sleeping Children]]'' (1817) in [[Lichfield Cathedral]], portrays two young sisters, Ellen-Jane and Marianne Robinson, who died in tragic circumstances in 1812.]]
-He executed four monuments to military heroes for [[St Pauls Cathedral]]: they commemorate Major-General [[Daniel Hoghton]], Major-General Bowes, and Colonel [[Henry Cadogan (British Army officer)|Henry Cadogan]], and (in a single monument) Major-Generals Gore and Skerrett.<ref>{{cite book|series=Bell's Cathedrals|title=The Cathedral Church of St. Paul |year=1901|url=https://archive.org/details/cathedralchurch01dimogoog|first=Arthur|last= Dimock|location=London|publisher=George Bell and Sons|pages=[https://archive.org/details/cathedralchurch01dimogoog/page/n141 125]–30}}</ref> He was also responsible for the memorials to [[James Brisbane|Sir James Brisbane]] in [[St James' Church, Sydney]]<ref name="eb1911"/> and to [[Reginald Heber]] in Calcutta,<ref>Initially installed in St John's church, Calcutta it was transferred to the city's new cathedral in 1847. Whinney 1971, p. 172</ref> a replica of which was made for St Paul's Cathedral in London.<ref>Whinney 1971, p. 172</ref> Other good examples of his church monuments are those to the [[John Maxwell, 2nd Earl of Farnham|Earl of Farnham]] (1826) in Urney Parish Church, Cavan<ref>{{cite book|title=Irish Church Monuments, 1570–1880 |last=Potterton |first=Homan |edition= |year=1975 |publisher= |location= |pages= |isbn= }}</ref> <ref>http://www.buildingconservation.com/articles/funerary-monuments/funerary-monuments.htm (accessed 20/09/2017)</ref> and Mary Anne Boulton (1834) in Great Tew<ref name="eb1911"/><ref>{{cite web|publisher=flickr|url=https://www.flickr.com/photos/mymuk/137716846/|title=Mary Anne Boulton (1834) at Great Tew}}</ref> In [[Snaith]] church there is a notable monument to [[John Dawnay, 5th Viscount Downe|Viscount Downe]] by Chantrey.<ref>{{cite book| title=Collins Pocket Guide to English Parish Churches: the North |editor=Betjeman, John |year=1968 |publisher=Collins |location=London |pages=349 |isbn= }}</ref>
+He executed four monuments to military heroes for [[St Paul's Cathedral]]: they commemorate Major-General [[Daniel Hoghton]], Major-General Bowes, and Colonel [[Henry Cadogan (British Army officer)|Henry Cadogan]], and (in a single monument) Major-Generals Gore and Skerrett.<ref>{{cite book|series=Bell's Cathedrals|title=The Cathedral Church of St. Paul |year=1901|url=https://archive.org/details/cathedralchurch01dimogoog|first=Arthur|last= Dimock|location=London|publisher=George Bell and Sons|pages=[https://archive.org/details/cathedralchurch01dimogoog/page/n141 125]–30}}</ref> He was also responsible for the memorials to [[James Brisbane|Sir James Brisbane]] in [[St James' Church, Sydney]] and to [[Reginald Heber]] in Calcutta,<ref>Initially installed in St John's church, Calcutta it was transferred to the city's new cathedral in 1847. Whinney 1971, p. 172</ref> a replica of which was made for St Paul's Cathedral in London.<ref>Whinney 1971, p. 172</ref> Other good examples of his church monuments are those to the [[John Maxwell, 2nd Earl of Farnham|Earl of Farnham]] (1826) in Urney Parish Church, Cavan<ref>{{cite book|title=Irish Church Monuments, 1570–1880 |last=Potterton |first=Homan |year=1975 }}</ref><ref>{{Cite web|title=Perfected by the Hand of Taste: Funerary Monuments at St Patrick's Cathedral, Armagh|url=https://www.buildingconservation.com/articles/funerary-monuments/funerary-monuments.htm|access-date=2021-08-03|website=www.buildingconservation.com}}</ref> and Mary Anne Boulton (1834) in Great Tew<ref>{{cite web|publisher=flickr|url=https://www.flickr.com/photos/mymuk/137716846/|title=Mary Anne Boulton (1834) at Great Tew|date=28 April 2006}}</ref> In [[Snaith]] church there is a notable monument to [[John Dawnay, 5th Viscount Downe|Viscount Downe]] by Chantrey.<ref>{{cite book| title=Collins Pocket Guide to English Parish Churches: the North |editor=Betjeman, John |year=1968 |publisher=Collins |location=London |pages=349 }}</ref>
 One of his most famous works was ''[[The Sleeping Children]]'', a monument to two girls of the Robinson family, depicting them asleep in one another's arms, the younger holding a bunch of snowdrops. It attracted a great deal of attention when shown at the Royal Academy in 1817, before its installation in [[Lichfield Cathedral]]. The design of the monument was widely rumoured to be by [[Thomas Stothard]]; Chantrey's biographer, James Holland, however gave more credence to another account of its history, according to which Stothard had merely made a drawing from Chantrey's preliminary model.<ref>Holland, pp. 267– 74</ref> Another popular work, much reproduced, was a small statue, made for [[Woburn Abbey]] of the young Louisa, Lady Russell, depicted cradling a dove.<ref>Holland, p. 276</ref>
@@ Line 48: / Line 55: @@
 ==Honours==
-Chantrey was elected an Associate of the [[Royal Academy]] in 1816 and a full Academician in 1818.<ref name="whin147"/> In 1822 [[Henry Wolsey Bayfield]] named [[Chantry Island (Ontario)|Chantry Island]] in Ontario after him.<ref name="CI">{{Cite web |url=http://www.chantryisland.com/about.php |title=About Chantry Island |date=2 March 2016 |website=Chantry Island |publisher=Marine Heritage Society |access-date=29 March 2017 }}</ref> He received the degree of [[Master of Arts|MA]] from [[university of Cambridge|Cambridge]], and that of [[Doctor of Civil Law|DCL]] from [[university of Oxford|Oxford]],<ref name="eb1911"/> and was [[Knight Bachelor|knighted]] in 1835.<ref>{{cite journal|journal=The London Gazette|issue=19285|title=St James's-Palace, July 1, 1835|date=3 July 1835|page=1283|url=http://www.london-gazette.co.uk/issues/19285/pages/1283}}</ref>
+Chantrey was elected an Associate of the [[Royal Academy]] in 1816 and a full Academician in 1818.<ref name="whin147"/> In 1822 [[Henry Wolsey Bayfield]] named [[Chantry Island (Ontario)|Chantry Island]] in Ontario after him.<ref name="CI">{{Cite web |url=http://www.chantryisland.com/about.php |title=About Chantry Island |date=2 March 2016 |website=Chantry Island |publisher=Marine Heritage Society |access-date=29 March 2017 |archive-date=8 February 2017 |archive-url=https://web.archive.org/web/20170208045052/http://www.chantryisland.com/about.php |url-status=dead }}</ref> He received the degree of [[Master of Arts|MA]] from [[university of Cambridge|Cambridge]], and that of [[Doctor of Civil Law|DCL]] from [[university of Oxford|Oxford]],{{sfn|Chisholm|1911|p=847}} and was [[Knight Bachelor|knighted]] in 1835.<ref>{{cite journal|journal=The London Gazette|issue=19285|title=St James's-Palace, July 1, 1835|date=3 July 1835|page=1283|url=http://www.london-gazette.co.uk/issues/19285/pages/1283}}</ref>
 ==Death==
-He died suddenly at his home in Eccleston Street, Pimlico, London, on 25 November 1841,<ref>Holland, p. 329</ref> having suffered from heart disease for some years. He was buried in a tomb constructed by himself in the churchyard of his native village,<ref name="eb1911"/> Norton in Derbyshire (now Sheffield).
+He died suddenly at his home in Eccleston Street, Pimlico, London, on 25 November 1841,<ref>Holland, p. 329</ref> having suffered from heart disease for some years. He was buried in a tomb constructed by his assistant [[James Heffernan (sculptor)|James Heffernan]] in the churchyard of his native village, Norton in Derbyshire (now a suburb of [[Sheffield]]).<ref>Dictionary of British Sculptors 1660-1851 by Rupert Gunnis p.196</ref>
 ==Bequest==
+[[File:Family vault of George Jones in Highgate Cemetery.jpg|thumb|Grave of Lady Mary Ann Chantrey (née Wale) in [[Highgate Cemetery]]]]
 <!-- This section is linked from [[Hamo Thornycroft]] -->
 [[Image:John Dalton statue Manchester City Hall 20051020.jpg|upright|thumb|left|[[John Dalton]] statue at [[Manchester Town Hall]]]]
-By his will, dated 31 December 1840, Chantrey (who had no children) left his whole residuary personal estate after the decease or on the second marriage of his widow (less certain specified annuities and bequests) in trust for the president and trustees of the Royal Academy (or in the event of its dissolution to such society as might take its place), the income to be devoted to the encouragement of British painting and sculpture, by "the purchase of works of fine art of the highest merit ... that can be obtained." The funds might be allowed to accumulate for not more than five years; works by British or foreign artists, dead or living, might be acquired, so long as such works were entirely executed within Great Britain, the artists having been in residence there during the execution and completion. The prices to be paid were to be "liberal," and no sympathy for an artist or his family was to influence the selection or the purchase of works, which were to be acquired solely on the ground of intrinsic merit. No commission or orders might be given: the works must be finished before purchase. Conditions were made as to the exhibition of the works, in the confident expectation that the government or the country would provide a suitable gallery for their display; and an annual sum of £300 and £50 was to be paid to the president and the secretary of the [[Royal Academy]] respectively, for the discharge of their duties in carrying out the provisions of the will.<ref name="eb1911">{{cite EB1911|wstitle=Chantrey, Sir Francis Legatt|volume=5|pages=847–848}}</ref>
+By his will, dated 31 December 1840, Chantrey (who had no children) left his whole residuary personal estate after the decease or on the second marriage of his widow (less certain specified annuities and bequests) in trust for the president and trustees of the Royal Academy (or in the event of its dissolution to such society as might take its place), the income to be devoted to the encouragement of British painting and sculpture, by "the purchase of works of fine art of the highest merit ... that can be obtained." The funds might be allowed to accumulate for not more than five years; works by British or foreign artists, dead or living, might be acquired, so long as such works were entirely executed within Great Britain, the artists having been in residence there during the execution and completion. The prices to be paid were to be "liberal," and no sympathy for an artist or his family was to influence the selection or the purchase of works, which were to be acquired solely on the ground of intrinsic merit. No commission or orders might be given: the works must be finished before purchase. Conditions were made as to the exhibition of the works, in the confident expectation that the government or the country would provide a suitable gallery for their display; and an annual sum of £300 and £50 was to be paid to the president and the secretary of the [[Royal Academy]] respectively, for the discharge of their duties in carrying out the provisions of the will.{{sfn|Chisholm|1911|pp=847–848}}
 [[File:George IV by Francis Leggatt Chantrey 1827.jpg|thumb|King George IV by Chantrey (1827)]]
-Lady Chantrey died in 1875, and two years later the fund became available for the purchase of paintings and sculptures. The capital sum available amounted to £105,000 in 3% [[Consols]] (reduced to 2½% in 1903), which was producing an available annual income varying between £2,100 and £2,500 by around 1910. Initially the works acquired were shown at the [[Victoria and Albert Museum]], but in 1898 the Royal Academy arranged with the treasury, on behalf of the government, for the transfer of the collection to the [[National Gallery of British Art]], which had been erected by Sir [[Henry Tate]] at [[Millbank, London|Millbank]]. It was agreed that the [[Tate Gallery]] should be its future home, but that the trustees and director of the National Gallery should have no power over what works were to be transferred there, or added to the collection at a later date.<ref name="eb1911"/> (Treasury Letter, 18054-98, 7 December 1898)<ref name="eb1911"/>
+Lady Chantrey died in 1875 and was buried with [[George Jones (painter)|George Jones]] in [[Highgate Cemetery]], and two years later the fund became available for the purchase of paintings and sculptures. The capital sum available amounted to £105,000 in 3% [[Consols]] (reduced to 2½% in 1903), which was producing an available annual income varying between £2,100 and £2,500 by around 1910. Initially the works acquired were shown at the [[Victoria and Albert Museum]], but in 1898 the Royal Academy arranged with the treasury, on behalf of the government, for the transfer of the collection to the [[National Gallery of British Art]], which had been erected by Sir [[Henry Tate]] at [[Millbank, London|Millbank]].{{sfn|Chisholm|1911|p=848}} It was agreed that the [[Tate Gallery]] should be its future home, but that the trustees and director of the National Gallery should have no power over what works were to be transferred there, or added to the collection at a later date.{{sfn|Chisholm|1911|p=847}}<ref>Treasury Letter, 18054-98, 7 December 1898</ref>
-By the end of 1905, 203 works had been bought—all but two from living artists—at a cost of nearly £68,000. Of these, 175 were oil paintings, 12 were watercolours, and 16 were sculptures.<ref name="eb1911"/> The bequest remained the main source of funding for expanding the collection of what is now [[Tate Britain]] until the 1920s, and it remains active today.<ref>{{Cite book |url=https://books.google.com/books?id=3_nIsyJ8BWMC&pg=PA214&dq|title=Theorizing museums: representing identity and diversity in a changing world |first1=Sharon |last1=Macdonald |first2=Gordon |last2=Fyfe |publisher=Wiley-Blackwell |isbn=0-631-20151-3 |page=214}}</ref>
+By the end of 1905, 203 works had been bought—all but two from living artists—at a cost of nearly £68,000. Of these, 175 were oil paintings, 12 were watercolours, and 16 were sculptures.{{sfn|Chisholm|1911|p=848}} The bequest remained the main source of funding for expanding the collection of what is now [[Tate Britain]] until the 1920s, and it remains active today.<ref>{{Cite book |url=https://books.google.com/books?id=3_nIsyJ8BWMC&pg=PA214|title=Theorizing museums: representing identity and diversity in a changing world |first1=Sharon |last1=Macdonald |first2=Gordon |last2=Fyfe |date=29 June 1998 |publisher=Wiley-Blackwell |isbn=0-631-20151-3 |page=214}}</ref>
 ==References==
@@ Line 69: / Line 77: @@
 *{{cite book|title=Memorials of Sir Francis Chantry, R. A., sculptor, in Hallamshire and Elsewhere |last=Holland |first=John |date=n.d. |publisher=J. Pearce, Jun. |location=Sheffield }}
 *{{cite book|url=https://archive.org/details/sirfrancischantr00joneiala|title=Sir Francis Chantrey, R. A. Recollections of his Life, Practice and Opinions|first=George|last=Jones|year=1849|publisher=E. Moxon|location=London}}
-*{{cite book |last1=Whinney|first1= Margaret |title=English Sculpture 1720–1830 |series=Victoria and Albert Museum Monographs |volume= |year=1971 |publisher=Her Majesty's Stationery Office |location=London |page= |pages= }}
+*{{cite book |last1=Whinney|first1= Margaret |title=English Sculpture 1720–1830 |series=Victoria and Albert Museum Monographs |year=1971 |publisher=Her Majesty's Stationery Office |location=London }}
-;Attribution
+'''Attribution:'''
 *{{EB1911|wstitle=Chantrey, Sir Francis Legatt|volume=5|pages=847–848}}
 ==Further reading==
-*{{cite book|title=Chantrey and His Bequest |last= Fish |first=Arthur |year= 1904 |origyear= |publisher= |location=London }}. A complete illustrated record of the purchases, etc..
+*{{cite book|title=Chantrey and His Bequest |last= Fish |first=Arthur |year= 1904 |location=London }}. A complete illustrated record of the purchases, etc..
-*{{cite book|title=The Administration of the Chantrey Bequest |url=https://archive.org/details/administrationof00maccuoft |last=MacColl |first=D. S.|year=1904 |publisher= |location=London }} A controversial publication by the leading assailant of the Royal Academy.
+*{{cite book|title=The Administration of the Chantrey Bequest |url=https://archive.org/details/administrationof00maccuoft |last=MacColl |first=D. S.|year=1904 |location=London }} A controversial publication by the leading assailant of the Royal Academy.
 *''Report from the Select Committee of the House of Lords on the Chantrey Trust'', together with the ''Proceedings of the Committee, Minutes of Evidence and Appendix'' (Wyman & Sons, 1904), and ''Index'' (separate publication, 1904).
@@ Line 86: / Line 94: @@
 *[http://www.npg.org.uk/collections/search/person/mp00834/sir-francis-leggatt-chantrey?search=sas&sText=francis+chantrey&OConly=true&role=art Works by Sir Francis Leggatt Chantrey] at the [[National Portrait Gallery, London|National Portrait Gallery]], London
 * [http://www.racollection.org.uk/ixbin/indexplus?_IXACTION_=file&_IXFILE_=templates/full/person.html&_IXTRAIL_=Academicians&person=5570 Profile on Royal Academy of Arts Collections]
+* {{ws|[[s:Poems of Felicia Hemans in Friendship's Offering, 1826/The Child's Last Sleep|Sleeping Child]]}}, an image drawn by [[Henry Corbould]] and accompanied by [[Felicia Hemans]]'s poem, ''The Child's Last Sleep'', from the Friendship's Offering annual for 1826.
+* {{ws|[[s:Poems of Felicia Hemans in The Literary Souvenir, 1826/The Child and Dove|Lady Louisa Jane Russell]]}}, drawn by [[Henry Corbould]] from the statue at [[Woburn Abbey]] and accompanied by [[Felicia Hemans]]'s poem, ''The Child and Dove'', from The Literary Souvenir annual for 1826.
+* {{ws|[[s:Poems of Felicia Hemans in Forget Me Not, 1829/The Sculptured Children|The Sculptured Children]]}}, a poem by [[Felicia Hemans]] for the Forget Me Not annual for 1829 on ''The Sleeping Children'' in Lichfield Cathedral.
 {{Derby Museum}}
@@ Line 94: / Line 105: @@
 [[Category:1781 births]]
 [[Category:1841 deaths]]
+[[Category:Burials at Highgate Cemetery]]
 [[Category:History of Sheffield]]
-[[Category:Members of The Club]]
 [[Category:Artists from Sheffield]]
 [[Category:English sculptors]]
@@ Line 106: / Line 117: @@
 [[Category:19th-century English painters]]
 [[Category:English male painters]]
-[[Category:Members of the Athenaeum Club, London]]
+[[Category:19th-century English male artists]]

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