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JOHN HENRY FOLEY, R.A., R.H.A.

JOHN HENRY FOLEY was born in Dublin on the 24th of May, 1818. From early life his tastes pointed to Art, which being cherished by his grandfather, Mr. Schrowder, a sculptor of the same city, he entered the Royal Dublin Society as a student at the age of thirteen, and in one year carried away the first prize in each of the four separate departments for the study of the figure, animals, architecture, and modelling. With the ambition common to men of genius, he determined upon making London his future home. He became a student of the Royal Academy at seventeen, and being soon admitted to the higher schools for the study of the "life," worked with such power and earnestness as to be awarded the first prize therein. This success dates his transition from the pupil to the master, the Academy Catalogue for 1839 containing his name as the author of two works, 'The Death of Abel,' and that sweetly simple figure 'Innocence.'

In his twenty-second year (1840) appeared the Ino and Bacchus,' a conception of such classic beauty and poetic feeling as to place him at once on a level with the master-spirits of his art. This charming composition now graces the vestibule of Bridgewater House, having been purchased in marble by that distinguished patron of art, Francis, first Earl of Ellesmere. Following this, and still indulging in the ideal fancies of the poet, in 1842 was produced 'The Houseless Wanderer,' a shivering, girlish form, so touchingly expressive, the coldest heart might warm in response to its appeal for pity.

It will be remembered that by this date the Westminster Hall competition, in 1844, was becoming the leading topic in art circles, as an occasion for demonstrating to the world the existence of an art element in the national mind, and for once more practically

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vindicating our competency against the taunts of those who contend that our lymphatic temperament renders us insensible to the beauties, and incapable of mastering the difficulties, of art. rare an opportunity was not lost to the body of English sculptors, who, with one exception only, entered as competitors for the promised honours. Of this number was Mr. Foley, who at the close of the exhibition was proclaimed one of the three successful candidates. The works exhibited by him in this contest were the 'Ino and Bacchus' and 'A Youth at a Stream,' modelled for this occasion, a creation of the purest ideal beauty and natural truth, combining every quality essential to the most exalted art, and well calculated to enhance the brilliant promise founded on the 'Ino and Bacchus.' This work is now familiar to us all as one of the classics of English sculpture.

The successful issue of this competition placed in Mr. Foley's hands the commissions for the statues of ' Hampden' and 'Selden,' for the New Palace of Westminster; the former being executed in 1847, the latter not until 1853. These two noble figures, now in St. Stephen's Hall, rank among the finest portrait-statues in existence; an earnest thoughtfulness and manly vigour animating every limb and feature, evinces the deep penetrative discernment of character and power of expression possessed by the artist; whilst the costume and accessories are, in their treatment, in the highest degree picturesque, yet withal duly subordinate to individuality.

The great success attending these two last-named works exercised a material influence on the future career of their author, for previous to the 'Hampden,' Mr. Foley's productions had been chiefly of an ideal character, a class of subject he had originally purposed exclusively to follow; but, in the absence of demand for such labours, offers of portraiture induced him to accept commissions for the latter, for which his extended academic training gave him unusual advantages. From this date we find portraiture constituting a great part of his practice, by which change, though to the loss of ideal works, our School of Sculpture has become enriched by portrait-statues of the highest order. The Royal Academy, in 1849, elected Mr. Foley an Associate of that body. In 1851 appeared The Mother,' a group of maternal grace and childish playfulness. Two years after this date was produced 'Selden,' and in 1854 Egeria,' executed for the Mansion House. This charming

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figure forms one of a series of commissions, in illustration of English history and English poetry, given by the Corporation of London, under the mayoralty of Alderman Challis.

High, however, as the qualities of Mr. Foley's works had securely placed him in the list of European artists, he was by this time deeply engaged on a group of the late Lord Hardinge and charger, the result of which has tended, more than the combined influence of all his previous successes, to his present elevation among his contemporaries. The small model for which his late Lordship sat was produced in 1849; but the large work was not completed till 1856, although the horse, Meanee, a favourite Arab, which bore his Lordship through the Sutlej campaign, was finished in 1853. In attempting to describe this magnificent work, words can but poorly convey an idea of its daring power and masterly grandeur; but artists, who have travelled wherever the remains of art exist, whether Classic or Gothic, pronounce it the finest work of its kind in the world. Those who can recall the occasion of its exhibition at Burlington House, will remember how its criticism. was marked by every term that admiration could suggest; what, however, must have been more gratifying to its author was the unanimous acclamation with which its appearance was hailed by the whole brotherhood of art. A requisition was presented to Mr. Foley, bearing the signatures of upwards of 150 leading names in art and literature, expressive of their admiration of its high merit, their desire to see its duplicate erected in London as a testimony to the capability of English art, and their willingness to assist in the accomplishment of the same; such a compliment had never before been paid to any English sculptor. This unrivalled group, representing his Lordship as surveying the operations of the battlefield, was executed for Calcutta, in commemoration of his services as Governor-General of India; and a friend, writing from that city, says, that the horse-trainers of the desert, struck by its force and nature, exclaim, "It is the work of the good Genii, for no skill of man could make it."

Two years subsequent to the completion of the 'Hardinge,' the Royal Academy conferred on its author the rank of Academician, at which date (1858) was executed a second commission for the Mansion House, Caractacus.' This heroic figure, most grandly conceived in action and expression, ranks among the finest works of its author, and is especially to be noted for a profound anato

mical knowledge and masterly treatment of masculine form. In 1859 Mr. Foley presented to the Academy his diploma work, statuette of the elder brother in Comus,' since which time he has been chiefly engaged on monumental and portrait-statues. The model for the statue of Manockjee Nesserwanjee, a Parsee, was completed in 1861 for Bombay; in the year following 'Goldsmith,' for erection in front of Trinity College, Dublin, one of the most successful portrait-statues of modern times.

Among the principal works of a monumental kind erected by Mr. Foley, may be noticed those for Mrs. F. West, in Milford Church, Hants. ; Sir F. Lawley, Hints Church, Staffordshire; Hon. James Stuart, for Ceylon, unfortunately lost at sea; General Nicholson (who fell at Delhi), in Lisburne Cathedral, Ireland; Mr. Whittaker, of Hurst; and James Ward, R.A.; while in his busts live some of the most distinguished men of the age. Of commissions in hand may be mentioned those of the late Prince Consort, for Birmingham; Sir Charles Barry, for the Palace of Westminster; Lord Herbert; Lord Canning; Sir James Outram (equestrian), for Calcutta; Mr. John Fielden, Todmorden; and Father Mathew, for Cork.

In the Hyde Park Exhibition of 1851 and the International gathering just closed, Mr. Foley's works were especially prominent by their number and importance, and largely assisted in upholding the rank of British Sculpture. The principle of his study is founded on the Antique, aided by an intimate knowledge of, and reference to, Nature; but the peculiar characteristic of his genius is its extreme versatility; for, in viewing his varied range of subject, we find the same evidence of original power marking alike his treatment of the ideal, the historic, or the individuality of portraiture; and whilst his ideal groups betray a highly poetic conception, his portrait-statues are in the highest degree the embodiment, mental and personal, of the individuals represented.

At the close of last year Mr. Foley was elected a member of the "Académie Royale des Sciences, des Lettres, et des BeauxArts de Belgique," in the room of the late Professor Ritschel, of Dresden.