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Lawrence by Frances, daughter of Charles Chauncy, M.D., of Derby, was born in 1751, and educated at St. Paul's School and St. John's College, Cambridge, where he graduated B.A. in 1771 as seventh wrangler, and proceeded M.A. and was elected fellow in 1774. At college he was a contemporary of Edward Law, afterwards lord Ellenborough [q. v.] He was called to the bar at the Inner Temple in June 1784, and to the degree of serjeant-at-law on 9 Feb. 1787, and in March 1794 succeeded Sir Henry Gould the younger [q. v.] as justice of the common pleas, being at the same time knighted. In the following June he was transferred to the court of King's bench on the resignation of Sir Francis Buller [q. v.] He was a member of the special commission that tried Thomas Hardy [q. v.], Horne Tooke, and other partisans of the French republic for high treason in 1794–6, and concurred with Lord Kenyon in dismissing the prosecution for libel brought by Tooke after his acquittal against the printer and publisher of a report of the House of Commons, which reflected on him and his colleagues as disaffected to the government. Lawrence was a judge of great ability and independence of mind, and sometimes differed from Lord Kenyon, notably in the case of Haycraft v. Creasy in 1801, an action for damages for false representation made in good faith, when Kenyon gave judgment for the plaintiff. Kenyon's vexation at being overruled — for the other members of the court agreed with Lawrence — is supposed to have hastened his death. Lawrence's extreme scrupulousness is evinced by the fact that his will contained a direction for the indemnification out of his estate of the losing party in a suit in which he considered that he had misdirected the jury. In consequence of a difference with Lord Ellenborough, he resigned his seat on the king's bench in March 1808, and returned to the common pleas, succeeding to the place vacant by the death of Sir Giles Rooke [q. v.] His health failing, he retired in Easter term 1812, and was succeeded by Sir Vicary Gibbs [q. v.] He died unmarried on 8 July 1814, and was buried in the church of St. Giles-in-the-Fields, where there is a monument to him. He was something of a connoisseur in art, and had a small collection of pictures, including works by Spagnoletto, Franz Hals, Sir Joshua Reynolds, Opie, Morland, and other celebrated artists, which was sold after his death.

 LAWRENCE, STRINGER (1697–1775), major-general, 'father of the Indian army,' son of John Lawrence of Hereford and Mary, his wife, was born on 6 March (24 Feb. O.S.) 1697. The register of All Saints' Church, Hereford, records his baptism on 27 Feb. (O.S.) in the same year. His family is not mentioned by Duncumb (Hereford Collections). His name cannot be traced in the public record offices of London and Dublin, but he appears to have been appointed ensign at Gibraltar on 22 Dec. 1727, in General Jasper Clayton's regiment (afterwards the 14th foot, and now the West York) (manuscript Army List in War Office Library). It is not unlikely that he had served in the ranks of some regiment during the previous siege (cf. Brit. Mus. Add. MS. 23643). Lawrence became lieutenant in Clayton's on 11 March 1736. His name appears on the roll as late as 1745, but not in 1748 (manuscript Army Lists in War Office Library). During his period of service in it, the regiment was long at Gibraltar, and was employed as marines in Sir Charles Wager's fleet on the coast of Italy during the war between the Spaniards and Imperialists. It went to Flanders after Fontenoy, but returned immediately, and fought at Culloden. In 'Quarters of the Army' (Dublin Castle), 1748–9, Stringer Lawrence appears as a major in Hougnton's (45th foot) by mistake for Charles Lawrence [q. v.], who died a brigadier-general and governor of Nova Scotia in 1760.

In January 1748, when Dupleix at Pondicherry was initiating his plans for establishing French supremacy in Southern India, Lawrence, a stout hale man of fifty, described as a soldier of great experience, arrived at Fort St. David from England with a commission as major to command all the company's troops in the East Indies, and a salary of 820l. a year, inclusive of his allowance as member of council (, Hist. Madras Army, i. 25). He received the king's brevet of 'major in the East Indies only' 9 Feb. the same year. One of his first acts was to form the independent companies of European foot, which the company had long maintained for the defence of their factories, into a battalion five hundred strong, the Madras European regiment, afterwards the famous Madras fusiliers (now the 1st Dublin fusiliers). In June 1748 Lawrence cleverly


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Lawrence foiled an attempted French surprise of Cuddalore during the temporary absence of the British naval squadron under Admiral Thomas Griffin [q. v.] A feint of withdrawal led the French to try a midnight escalade, when an unexpected fire of artillery and small arms sent them back precipitately to Pondicherry. In August arrived Admiral Edward Boscawen [q. v.], with a fleet carrying a large force of marines, and a commission to command in chief by land as well as sea. Boscawen sent Lawrence to attack Ariancopang, a small French post close to Pondicherry, where he was made prisoner by a French cavalry patrol, was carried into Pondicherry, and there detained during the unsuccessful siege by Boscawen, and until the news of the peace of Aix-la-Chapelle led to a cessation of hostilities and the restoration to the English of the city of Madras. In 1749 Lawrence commanded at the capture of Devicota, in Tanjore. Clive served under him as a lieutenant of foot on this occasion, and the friendship then commenced lasted through life. The year after Lawrence was sent with six hundred Europeans to the camp of Nazir Jung, successor of the great Nizam al Mulk as ruler of the Deccan, to treat with him in the interests of the company; but, disgusted with the treatment of his troops, he marched them back to Fort St. David, of which place he was made civil governor as well as military commandant. He appears to have had much trouble with his officers at this time (cf. Parl. Hist. xv. 260 et seq.) Lawrence returned to England on private affairs in October 1750.

Upon his return to Fort St. David, 13 March 1752, Lawrence found Olive at the head of a force destined for the relief of Prichinopoly, the last refuge of Mohammed Ali, the nabob of Arcot, who was there besieged by Chunda Sahib and his French allies. Lawrence, as senior officer, assumed the command, but with sound sense and in a manly spirit he wrote to the Madras government that Olive's successes were not due to luck but to good judgment (, Life of Clive, i. 103). The English expedition was everywhere successful, and the operations concluded with the surrender of Chunda Sahib (who was treacherously put to death by the Mahrattas) and the surrender, on 3 June 1752, on the island of Seringham, opposite Trichinopoly, of the French beleaguering force under M. Law, when eight hundred Europeans, including thirty-five commissioned officers, and two thousand trained sepoys laid down their arms. It was one of the heaviest blows yet struck at Dupleix's policy. After the capture of Volconda and Trevadi, Lawrence placed garrisons in Trevadi and Trichinopoly, where he left Captain John Dalton (1726–1811) [q. v.] in command, and returned to Fort St. David. Next month the French, having received reinforcements, were again in the field, and on 26 Aug. 1752 were defeated by Lawrence, with an inferior force, at Bahur (Behoor). As usual, the brunt of the fighting fell to the Europeans on both sides, and the action is remembered as one of the few on record where bayonets were fairly crossed. The English grenadiers broke the ranks of the French, who in their heavy loss reckoned, it is said, over one hundred casualties from bayonet-thrusts alone (Hist. of the Madras European Regiment, pp. 77-8). Clive was afterwards employed by Lawrence in the reduction of Covelong and Chingleput, services he successfully accomplished [see ]. In January 1753 the French, undaunted by their reverses, were once more in the field with five hundred Europeans, sixty European cavalry, two thousand trained sepoys, and a fine body of four thousand Mahratta horse, under Morari Rao, who had previously fought on the side of the English, iawrence's whole available force had to be employed in convoying supplies to Trevadi, and the march was a continuous running fight with the Mahratta horsemen, who displayed great gallantry. Morari Rao was shot by an English grenadier, whose comrade he had just cut down. Out of respect to the memory of a brave man, Lawrence placed the body of the Mahratta chieftain in his own palankeen, and sent it in with a flag of truce, and a request that the palankeen be returned. The latter, however, was taken to Pondicherry and paraded through the streets to show the natives that the English were defeated and Lawrence killed. Finding the position taken up by the French close to Trevadi too strong for attack as intended, Lawrence was considering the advisability of carrying the war into other quarters, when, on 20 April, news reached him from Dalton at Trichinopoly of the straits to which he was reduced. Lawrence at once started for Trichinopoly, and entered that place after a most arduous march, during which he lost many men by the heat, on 6 May (N.S.) 1753. From that time until 11 Oct. 1754 he was constantly engaged in defending the place, his most important engagements during the period being the battles of Golden Rock, 26 Jan. 1753, and of Sugarloaf Rock, 21 Sept. 1753 (, iii. 135). Lawrence appears to have advocated the cession of the place in accordance with treaty arrangements, but was overruled by the Madras authorities, who, like the French, attached

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Lawrence an exaggerated importance to the possession. After successfully keeping his opponents at bay for over fifteen months, Lawrence, on the approach of the rains in 1754, withdrew his troops into cantonments, and on 11 Oct. that year arranged a three months' cessation of hostilities, which ended in a conditional treaty. 'A Narrative of Affairs on the Coast of Coromandel from 1730 to 1764.' written by Lawrence himself forms the first part of the 'History of the War in India.' London, 1759, 4to (2nd edition, 1761, 8vo), compiled by Richard Owen Cambridge [q. v.] Lawrence returned from Trichinopoly to Madras, where he was presented by the government with a diamond-hilted sword, valued at 750 guineas, in recognition of his distinguished services. He received the king's commission of 'lieutenant-colonel in the East Indies only' from 26 Feb. 1754. The first king's regiment which had served in India — the 89th foot (Primus in Indis) — arrived in 1754, under Colonel John Adlercron, who, by seniority, superseded Lawrence in the chief command. Lawrence regarded the supersession by an officer unversed in Indian affairs as an injustice, and he steadily refused to serve under Adlercron's orders. But during a period of alarm in 1757, when Clive was away in Bengal, Lawrence offered his services, and was welcomed in Adlercron's camp as a volunteer. In that capacity he served in the operations against Wandiwash, and afterwards, receiving the local rank of brigadier-general, commanded in various operations in 1757-9. The latter year saw the return of the 39th to England, and the first formation of the Madras native army by the union in battalions of the independent companies of sepoys, armed and drilled in European fashion on the plan originally adopted by the French at Pondicherry (, Hist. Madras Army, i. 142). Lawrence commanded in Fort St. George during the famous siege by the French under Lally, when between 17 Dec. 1758 and 17 Feb. 1759 over twenty-six thousand shot, eight thousand shells, and two hundred thousand rounds of small-arm ammunition were poured into the place. On the arrival of an English fleet under Admiral Focock, the French withdrew to Pondicherry. Lawrence afterwards successfully persuaded the Madras authorities against any reduction or withdrawal of the English force in the field.

Lawrence's health had suffered severely during his past campaigns, and in March 1759 he represented his inability to retain the command. He received the rank which he held at his death, that of 'major-general in the East Indies only,' on 9 Feb. 1759, and at the end of that year he left India, carrying with him the respect of both Europeans and natives. He was received with high honours at the India House, where his statue was placed in the sale-room, beside those of Clive and Pocock. His friend Clive supplemented his modest income by settling on him an annuity of 500l. (, Life of Clive, ii. 187). Lawrence appears to have been consulted by the home government in 1763 respecting the transfer of king's officers to the company's ordnance (cf. Cal. State Papers, Home Office, 1760-6). In October 1760 he was president of a board ordered to advise on the reorganisation of the Madras army (see Wilson, Hist. Madras Army, i. 213) This appears to have been Lawrence s last recorded service. One of his monuments (that at Dunchideock) describes him as having held the chief command in India 'from 1747 to 1767.' Lawrence died at his residence in Bruton Street, London, on 10 Jan. 1775, within a few weeks after the death of Clive. He was buried on 22 Jan. 1775, in the little village church of Dunchideock, near Exeter, which contains his tomb, erected by the Palk family, with an epitaph by Hannah More (see Gent. Mag. lxiv. 730). Except an annuity of 800l. to a married nephew named Twine, and bequests to servants, he bequeathed all his effects to his friend, Robert Palk, governor of Madras in 1763, and afterwards the first baronet of Haldon (cf., Peerage, under 'Haldon'), whose son, Lawrence, afterwards the second baronet, was Lawrence's godson. A tall column, set up by the Pains on Haldon Hill, near Exeter, is known as the Lawrence monument. In after years the East India Company erected a monument to Lawrence in Westminster Abbey, surmounted by his bust by Taylor, and inscribed: 'For Discipline established, Fortresses protected, Settlements extended, French and Indian armies defeated, and Peace restored in the Carnatic.' Monuments exist at Madras and Calcutta. A portrait of Lawrence by Sir Joshua Reynolds is in the India office.

Sir John Malcolm says (Life of Clive, ii. 66) that Lawrence neither was nor pretended to be a statesman, but was an excellent officer. Though without the brilliancy of genius, he showed sound practical knowledge, good judgment, and a marked absence of jealousy. He was especially generous in recognising the merits of his subordinates, and to this quality we are not a little indebted for the early successes of Clive.


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Lawrence

 LAWRENCE, THOMAS (1711–1783), physician, second son of Captain Thomas Lawrence, R.N., by Elizabeth, daughter of Gabriel Soulden of Kinsale, and widow of a Colonel Piers, was grandson of another Dr. Thomas Lawrence (d. 1714), who was nephew of Henry Lawrence (1600–1664) [q. v.] and was first physician to Queen Anne, and physician-general to the army (Gent. Mag. 1815, pt. ii. p. 17).

Lawrence was born in the parish of St. Margaret, Westminster, on 25 May 1711, and, accompanying his father when appointed to the Irish station about 1715, was for a time at school in Dublin. His mother died in 1724, and his father then quitted the navy and settled with his family at Southampton. The son finished his preliminary education at the grammar school in that place, and in October 1727 was entered as a commoner of Trinity College, Oxford. After graduating B.A. in 1730, and M.A. in 1733, he chose medicine for his profession, and removed to London, where he attended the anatomical lectures of Dr. Frank Nicholls [q. v.] and the practice of St. Thomas's Hospital. He graduated M.B. at Oxford, 1736, M.D. 1740, and succeeded Nicholls as anatomical reader in the university, but resided in London, where he also delivered anatomical lectures.

Lawrence was admitted a candidate of the London College of Physicians in 1743, and a fellow in 1744. After filling various college offices he was elected president in 1767, and was annually re-elected for seven consecutive years. After 1750, finding the popularity of his anatomical lectures diminished by the increasing celebrity of William Hunter [q. v.], he abandoned them, and devoted himself wholly to medical practice, in which, owing to occasional fits of deafness and to some personal peculiarities, he achieved less success than his abilities, learning, and character deserved. About 1773 his health began to fail, and he first perceived symptoms of 'angina pectoris,' which continued to distress him during the rest of his life. In 1782 he had an attack of paralysis, and in the same year removed from London to Canterbury, where he died on 6 June 1783. He was buried in St. Margaret's Church, and a tablet, with a Latin epitaph, was placed in the cathedral.

Lawrence is chiefly remembered as the friend of Dr. Johnson, who was one of his patients. He was introduced to Johnson by Dr. Richard Bathurst [q. v.] Johnson, who corresponded with him about his own ailments in Latin, said that he was 'one of the best men whom he had known' (19 March 1782). Mrs. Thrale gives a painful account of a visit which she and Johnson paid Lawrence when he had just partially recovered from a paralytic stroke.

On 25 May 1744 Lawrence was married in London to Frances, daughter of Dr. Chauncy, a physician at Derby, by whom he had six sons and three daughters. His wife died on 2 Jan. 1780, and on the 20th of the same month Johnson wrote him a letter of friendly and pious condolence. When one of his sons went to the East Indies Johnson wrote the elegant Latin alcaic ode, 'Ad Thomam Laurence, medicum doctissimum, cum filium peregre agentem desiderio nimis tristi prosequeretur.' Another of his sons was Sir Soulden Lawrence [q. v.]

Lawrence's works were all written in elegant Latin, which he regarded as the only fitting vehicle for medical treatises. They are: 1. 'Oratio Harvæana,' 4to, London, 1748. 2. 'Hydrops, disputatio medica,' 12mo, London, 1756, in the form of a dialogue between Harvey, Sir George Ent, and Dr. Hamey, grounded on the doctrines of Stahl. 3. 'Prælectiones medicæ duodecim de calvariæ et capitis morbis,' 8vo, London, 1757. An analysis of this work and also of the next is given by Haller in his 'Biblioth. Anatom.' ii. 537–8. 4. 'De Natura Musculorum prælectiones tres,' 8vo, London, 1759. 5. 'The Life of Harvey' prefixed to the college edition of his 'Opera Omnia,' 4to, London, 1766, for which Lawrence received 100l. 6. 'Life of Dr. Frank Nicholls, "cum conjecturis ejusdem de natura et usu partium humani corporis similarium,"', 4to, London, 1780, privately printed.

 LAWRENCE, THOMAS (1769–1830), president of the Royal Academy, was born in the parish of St. Philip and Jacob,


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Lawrence Bristol, on 4 May 1769, and was the youngest of sixteen children, most of whom died in infancy. His father was the son of a presbyterian minister, and had been well educated and articled to a solicitor; but when his articles had expired he preferred idleness and verse-making to the pursuit of his profession. During a varied career he was at different periods an actor and a supervisor of excise, and made a runaway match with Lucy, daughter of William Read, vicar of Tenbury and rector of Rocheford, both in Worcestershire. He had sunk to be the landlord of the White Lion in Broad Street, Bristol, when his son Thomas was born. This venture not prospering, he removed in 1772 to the Black Bear Inn at Devizes, at that time a favourite resting-place of the gentry on their way to Bath. Here the precocious talents of his youngest son soon formed a notable feature of the entertainment provided for his guests. The father taught him to recite passages from Pope, Collins, and Milton, standing on a table before his customers. Thomas, moreover, developed early an astonishing talent for drawing, so that when he was but five years old his father usually introduced him to his visitors with ' Gentlemen, here's my son. Will you have him recite from the poets or take your portraits?' Apart from these accomplishments, he appears to have been a boy of spirit, fond of athletic games, with a passion for pugilism. The earliest portraits of which there is a distinct record are those of Mr. and Mrs. (afterwards Lord and Lady) Kenyon, which were drawn in 1775, the lady in profile, because, the child said, ' her face was not straight.' About this time he was sent to his only school at 'The Fort.' near Bristol, which was kept by a Mr. Jones. With the exception of a few lessons in fVench and Latin from a dissenting minister in Devizes named Jervis, this was the only regular education he received ; but it would appear from an anecdote related of him in mature life that he had some acquaintance with Greek.

Notwithstanding the gentlemanly manners of the father, who was always fashionably dressed, and the astonishing talents of his beautiful boy, with his bright eyes and long chestnut hair, the Black Bear did not succeed much better than the White Lion, and when Lawrence was ten years old or a little more the family left Devizes. It is hinted that the infant prodigy was too much pressed upon the attention of the ordinary guests ; but his talents were too decided not to attract the attention of the more intelligent. Among these are noted the names of Garrick, Foote, Wilkes, Sheridan, Burke, Johnson, Churchill, Sir William Chambers, and Mrs. Siddons. Prince Hoare [q. v.] not only praised the drawing of Lawrence's hands and eyes, but painted his portrait at the age of seven (or ten), which was engraved by Snerwin and exhibited at the Royal Academy. Before he left Devizes he had been taken to Lord Pembroke's at Wilton, and to Corsham House, the seat of the Methuens, where he was permitted to study some copies of 'old masters,' of which he made imitations at home, apparently from memory. One of these, 'Peter denying Christ,' is particularly mentioned by the Hon. Dairies Barrington. He was also taken to London when about ten years old by Hugh Boyd, and introduced at several houses, where he displayed his talents. From the time they left Devizes young Lawrence's pencil seems to have been the main support of the family. After successful visits to Oxford, where he took the likenesses of the most eminent persons of the university, and to Weymouth, the Lawrences settled at Bath, to their great benefit. His brother Andrew obtained the lectureship of St. Michael's, and contributed to the family income. His sisters after a while obtained employment, one as companion to the daughters of Sir Alexander Crawford, and the other at a school at Sutton Coldfield, Warwickshire, while Thomas soon became recognised, not only as a prodigy, but as an artist of taste and elegance, and his price was soon raised from a guinea to a guinea and a half. His portraits were mostly half-life size and oval, and executed in crayons. One in pencil of Mrs. Siddons as Zara and another of Admiral Barrington were engraved, and the same honour was paid later to another drawing of Mrs. Siddons as Aspasia. To his attractions as an artist and a reciter were added those of personal beauty and agreeable manners. The beautiful Duchess of Devonshire patronised him, Sir H. Harpur wished to adopt him as a son, and William Hoare, R.A., proposed to paint him as a Christ. His studio (2 Alfred Street, Bath), before he was twelve years old, was the favourite resort of the beauty and fashion of Bath. Here he also made the acquaintance of Ralph Price. He had, nevertheless, an inclination for the stage, as a readier means of assisting his family ; but this his more prudent fatner, with the assistance of Bernard the actor, adroitly contrived to divert. At the house of the Hon. Mr. Hamilton on Lansdowne Hill he copied (in crayons on glass) some copies of 'The Transfiguration' of Raphael, 'The Aurora' of Guido, and 'The Descent from the Cross' of Daniel de Volterra, and in 1784 he obtained a


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Lawrence premium of five guineas and a silver palette for the first of these from the Society of Arts in London. The rules of the society alone prevented the award of their gold medal, as the work had not been executed within a year and a day of the date it was sent in to the Adelphi ; but to mark their sense of its merit they had the palette 'gilt all over.'

In his seventeenth year he began to paint in oils. One of his early efforts in oil colours was a 'Christ bearing the Cross.' some eight feet high, and another was a portrait of himself, which was more successful. So satisfied was he with these first attempts that he wrote to his mother that, 'excepting Sir Joshua, for the painting of a head I would risk my reputation with any painter in London.' This letter is dated 1786, and appears to have been written from London ; but the following year is that given by his chroniclers fir his migration from fiath to the metropolis, where he took handsome apartments in Leicester Square (No. 4). His father now purchased, with a legacy left to his daughter Anne, a small collection of stuffed birds and curiosities, then being exhibited in the Strand, and added thereto some of his son's works. But this, like his father's other ventures, proved a failure, not even paying its expenses. To the Royal Academy exhibition of this year he had contributed 'A Mad Girl.' 'A Vestal Virgin.' and five portraits. Soon the apartments in Leicester Square were given up, and a house taken in Duke Street, St. James's, where the whole family were reunited, and Lawrence removed his studio to 41 Jermyn Street, and in September 1787 entered the schools of the Royal Academy. His drawings of 'The Fighting Gladiator' and 'The Apollo Belvedere' distanced all competitors, Dut he did not contend for the medal. He obtained an introduction to Sir Joshua Reynolds, and took with him his portrait of himself in oils before mentioned. Reynolds examined it carefully, and, recommending him to study nature rather than the old masters, gave him a feneral invitation to visit him, of which jawrence availed himself. Reynolds always afterwards showed an interest in him. It is even stated, though on the doubtful authority of the lampooner John Williams, who wrote under the name of Antony Pasquin, that Reynolds once said of Lawrence, 'This young man has begun at a point of excellence where I left off.' Among other artists with whom he associated at this time were Joseph Farington [q. v.], Robert Smirke [q. v.], and Henry Fuseli [q. v.] ; while his beauty, manners, and talent lor reciting poetry soon gained him a welcome in high society. His professional position 6teadily progressed. Among the list of his portraits given by his biographer, Williams, as executed prior to or immediately after coming to London, are found the names of such patrons of the arts as Lord Mulgrave and Mr. Locke of Norbury, Surrey, and a long list of the nobility, including the Duchess 01 Buccleuch, the children of Lord Melbourne, and Lord Abercorn. The names of the Prince of Wales and the Dukes of York and Clarence are also there, and the Royal Academy Catalogue of 1789 shows that he had at that time, though by what channel is not known, obtained court patronage. In this year he exhibited a portrait of the Duke of York, in the next portraits of the queen and the Princess Amelia. A portrait of 'An Actress' (exhibited 1790) was probably that of Miss Farren, afterwards Countess of Derby, whom he painted in a fur-lined white satin winter cloak (called a ' John ' cloak) and muff, with naked arms, an inconsistency which gave him his first taste of hostile criticism. But the picture caught much of the fascination of the popular actress, and brought him into notice with the public.

He now moved his studio from Jermyn Street to 24 Old Bond Street, and in 1791 his portraits were varied by 'Homer reciting the Iliad.' a commission from Payne Knight, and in 1792 a portrait of George III marked his progress in royal favour. The presence in the same exhibition of a portrait by Hoppner of the Prince of Wales showed the rival positions which the two artists were henceforth to occupy till the death of Hoppner in 1810 [see ].

Lawrence so pleased George in that he endeavoured to procure his election as an associate (an extra or supplemental associate) in 1790, when the artist was only twenty-one years old, or three years under the age required by a rule which had been sanctioned by the king himself. Notwithstanding the support of Reynolds and West the Academy elected Francis Wheatley instead, an act of independence which gave Peter Pindar (Dr. John Wolcot [q. v.]) occasion for his 'Rights of Kings, a Collection of mock-heroic Odes.' in one of which he recommends the academicians to go with halters round their necks and implore pardon from 'much-offended Majesty.' saying :

Forgive, dread Sir, the crying sin, And Mister Lawrence shall come in.

The Academy practically followed the doctor's advice, for Lawrence was elected on 10 Nov. 1791 a supplemental associate — an irregular honour which no artist has since


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Lawrence enjoyed. The royal favour was still more strongly employed in the following year, when on the death of Reynolds Lawrence was appointed principal portrait-painter in ordinary to the king. The appointment was immediately followed, if it was not preceded, by a commission for portraits of the king and queen, to be presented to the Emperor of China by Lord Macartney, who set out on his embassy to China in this year (1792). Lawrence was also now elected painter of the Dilettanti Society, who, in order to grant him membership, abrogated their rule that all members must have passed the Alps.

In 1793 he exhibited another poetical picture, 'Prospero raising the Storm.' and among his portraits were those of Sir George Beaumont, Mr. (afterwards Earl) Grey, the Marquis of Abercorn, and the Duke of Clarence. In February of the following year he was elected a Royal Academician, an honour which was immediately followed by an increase of influential patronage and another change of address, this time to Piccadilly, opposite the Green Park. In 1795 he painted Cowper the poet, who pressed him to come and stay with him at Olney. But not satisfied with a reputation as a portrait-painter he now nerved himself for a great effort in the poetical line, and chose 'Satan calling his Legions' for his subject. The 'Satan' (exhibited in 1797), now in the possession of the Royal Academy, showed clearly that the 'grand style' was beyond the reach of the artist. Though civilly and seriously treated by some critics, one of whom called the figure of Satan 'sublime.' it was severely handled by others, especially Antony Pasquin, who, in his 'Critical Guide to the Present Exhibition at the Royal Academy.' compared the rebel angel to 'a mad sugar-baker dancing naked in a conflagration of his own treacle.' To Lawrence, however, the effect of the picture was satisfactory. 'The Satan.' he wrote to Miss Lee, ' answered my secret motives in attempting it ; my success in portraits will no longer be thought accident or fortune ; and if I have trod the second path with honour it is because my limbs are strong. My claims are acknowledged by the circle of taste, and are undisfuted by competitors and rivals.' His friend, Fuseli, however, who had said of it that 'it was a d—d thing certainly, but not the devil.' also took exception to it on the ground that the idea was oorrowed from him, and this occasioned the only interruption in the long friendship of these two very different artists, who as a rule cordially admired each other's works. The interruption was probably dissolved in laughter, for Lawrence was able to prove, by a sketch which he had taken of Fuseli as he stood in a wild posture on a rock near Bristol, that his idea of Satan was taken not from Fuseli's paintings but from his own person. Other stories with equally-slight foundations are told of Lawrence s borrowings from Fuseli, one in particular relating to the 'Prospero raising the Storm' (see Library of the Fine Arts, 1831, p. 367 ; and, Century of Painters, ii. 14). In the same year as the Satan appeared Lawrence achieved a less doubtful success by a portrait of Mrs. Siddons. It was in this year also that he lost both his parents, to whom he was greatly attached. His mother died in May and his father in September.

After the Satan Lawrence did not attempt another picture of pure imagination, but contented himself with portraiture, with now and then a picture which he called 'half history.' representing John Kemble in different characters. The first of these was 'Coriolanusat the hearth of Aufidius' (1798), which was followed by 'Rolla' (1800), 'Hamlet' (1801), and 'Cato' (1802). 'Rolla' was painted over 'Prospero raising the Storm.' and though the features were Kemble's the body was drawn from Jackson the pugilist. The 'Hamlet' is considered the finest of the group, and was presented by William IV to the National Gallery. In the year after the 'Hamlet' (1802) Lawrence for once consented to take a part in private theatricals at the Marquis of Abercorn's at the Priory, Stanmore. The prince was there, with the Duke and Duchess of Devonshire, Lord and Lady Melbourne, and other distinguished guests. Lawrence took the parts of Lord Rakeland in the 'Wedding Day' and Grainger in 'Who's the Dupe?' The performances were a success, but he seems to have thought acting derogatory to a person in his position, and determined not to act again except at the marquis's.

Lawrence, who was still popular at the palace, is said to have amused George III y his flirtation with Mrs. Papendiek, the wife of a German musician of the king's household. The king, who espoused the side of the unfortunate Princess of Wales, now discarded by her husband, gave a commission to Lawrence to paint the portrait of the princess and her daughter the Princess Charlotte. While engaged upon these portraits he slept several nights at Montagu House, Blackheath, where the Princess of Wales was then living, was alone with her in the painting-room, and sat up late (though not alone) with her. After the portraits were finished he continued to call upon her. The


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Lawrence conduct of both parties was imprudent, and a charge of undue familiarity was set up, which formed part of the inquiry known as 'the delicate investigation' [see, of Brunswick-Wolfenbiittel]. The report of the commissioners completely exculpated Lawrence, but not content with this he explicitly denied the charges in an affidavit. This incident is said to have checked for a while the influx of lady sitters, but his progress was still steady, for in 1806 he raised his prices from thirty to fifty guineas for a three-quarters portrait, and from one hundred and twenty to two hundred for a whole length. Among the portraits of this period, 1800-10, were Curran, of whom he made a very spirited likeness, Lords Eldon, Thurlow, and Ellenborough, Sir J. Mackintosh, two important groups of the Baring family, William Pitt (posthumous), Mrs. Siddons (his lastportrait of her), Lady E. Foster, and Lady Hood.

By the death of Hoppner in 1810 Lawrence was left without a rival. He moved from Greek Street, where he had lived since 1798, and took a house in Russell Square (No. 65), where he remained till his death, is prices, which had been raised in 1808, were now raised again — the smallest size from eighty to a hundred guineas, and full lengths from two hundred to four hundred guineas apiece.

In 1814, if not before, the favour of the prince regent began to descend upon him. His ' friend at court ' in this instance was Lord Charles Stewart, afterwards Marquis of Londonderry, whose friendship he constantly enjoyed afterwards. Lawrence had taken advantage of the peace to proceed with other English artists to Paris to see the pictures which Napoleon had brought together in the Louvre from every quarter of Europe, but he was recalled by the prince to England to paint the portraits of some of the allied sovereigns, their ministers and Minerals then assembled in this country, heir stay was too short for Lawrence to complete his task, but the next year's Academy showed that he had not been idle, for it contained his portraits of Prince Metternich, the Duke of Wellington (holding the sword of state), Blucher, and Platoff. They were painted at York House, now replaced by the mansion of the Duke of Sutherland. Lawrence's first portrait of the prince regent was also exhibited this year.

On 22 April 1815 he was knighted by the prince regent, who assured him that he was proud in conferring a mark of his favour on one who had raised the character of British art in the estimation of all Europe.

In 1817 Lawrence painted a portrait of the Princess Charlotte, intended as a present to her husband on his next birthday, which she did not live to see. In his letters to Mrs. Wolff Lawrence gives an interesting account of the private life of the princess. Shortly afterwards he was sent by the prince regent to Aix-la-Chapelle (where the powers of Europe were assembled in congress), in order to complete the series of portraits which now hang in the Waterloo Gallery at Windsor. He was allowed a thousand a year for contingent expenses and paid his usual price for the portraits. A portable wooden house with a large painting-room was also specially made for him. It was to be sent out and erected in the gardens of the British ambassador, Lord Castlereagh. It arrived too late, but its place was well supplied by part of the large gallery of the Hotel deVille, which was fitted up for Lawrence's painting-room by the magistrates of the city. At Aix-la-Chapelle he painted the emperors of Russia and Austria, the king of Prussia, Prince Hardenburgh, Prince Metternich, Count Nesselrode, the Due de Richelieu, and other distinguished persons. The emperor of Austria and the King of Prussia both presented him with diamond rings. He then proceeded to Vienna, where he painted the emperor of Austria again, Prince Schwartzenburg, Count Capo D'Istrias, the generals Tchernicheff and Ovaroff, Lord Stewart (the British ambassador), Baron Gentz, &c. Here a still more magnificent chamber was allotted to him for a painting-room, and he records with much satisfaction the friendly reception accorded to him by the leaders of Viennese society. At Rome, which at first he found 'small.' though he was afterwards overpowered by its ' immensity.' equal if not greater honours awaited him. Apartments in the Quirinal were allotted him, with servants, a table, and a carriage. Here he painted two of his finest portraits, Pope Pius VII and Cardinal Gonsalvi, and repainted his portrait of Canova, which he presented to the pope. Great admiration was excited in Rome at these and his other works, and he was looked upon as another Raphael. His vanity was perhaps more flattered than ever. But notwithstanding his great success and the attentions which were lavished on him by the society at Rome, both native and foreign, he was very glad to turn his face homewards.

When he again arrived in England on 20 March 1820 it was to receive fresh honours. During his absence George III had died, and also Benjamin West, the president of the Royal Academy. George IV continued his appointment as principal portrait-painter in


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Lawrence ordinary to his majesty, and the Royal Academy elected him president on the evening of his return. The king, in giving his sanction to the election, presented Lawrence with a gold chain and a medal of himself, inscribed 'From His Majesty George IV to the President of the Royal Academy.' In the catalogue of the Royal Academy for 1820 he was able to add to his honours 'Member of the Roman Academy of St. Luke's, of the Academy of Fine Arts at Florence, and of the Fine Arts at New York.'

He had now reached the summit of his profession, and attained a fame which increased rather than diminished during the next and last ten years of his life. This is a period marked also by equal activity and skill. To it belong his portrait of Lady Blessington, celebrated in Byron's verses, and the charming Miss Fry, now in the National Gallery, and one of the last of his works. In this period were also executed his most famous pictures of children, the young Lambton, son of John George Lambton, afterwards first earl of Durham, the Calmady children, the charming group called 'Nature.' and the children of the Marquis of Londonderry, as well as a series of pictures painted for Mr. (afterwards Sir Robert) Peel, including Lord Liverpool, the Duke of Wellington, Canning, Southey. The well-known portraits of Mrs. Peel and her daughter, and the groups of the Countess Gower and her son, of Lady Georgiana Agar Ellis and her son, and the Marchioness of Londonderry and her son, and portraits of Sir Walter Scott and Thomas Moore were also among his latest works. The favour of the king continued with him to the end. In 1826 he sent Lawrence to Paris to paint the portraits of Charles X and the dauphin, and he subsequently allowed him to wear the cross of the Legion of Honour which was conferred on him by the French king. A magnificent service of Sevres china, which was also sent to him by Charles X, was left in his will to the Royal Academy to be used on state occasions. Other m inor hou ours in the shape of diplomas from the academies of Bologna, Venice, Vienna, Turin, and Copenhagen fell upon him. He was also created a D.C.L. of Oxford, 14 June 1820, and was a trustee of the British Museum. Nothing could apparently exceed his prosperity. He lived in a fine house, which was a perfect museum of art treasures, and included the finest collection of drawings by the old masters ever made by a private person ; he held every distinction which could fall to one of his profession, and was courted by the highest society scarcely less as a man than as an artist. Yet, notwithstanding all this, he was never free from anxiety or the necessity for continual labour. As a boy he hampered himself by allowing his father 300l. a year, and signing a bond on his behalf, but since the death of his parents he made large sums of money. His prices were high. Lord Gower paid fifteen hundred guineas for the portrait of Lady Gower and her child, and Lord Durham paid him six hundred guineas for that of his son. Yet he had managed his affairs so ill that at sixty years of age he was still continually harassed by his pecuniary obligations. He died of ossification of the heart, after a few days' illness, on 7 Jan. 1830, and was buried with many honours in St. Paul's Cathedral. When his estate was realised it was found to be no more than sufficient to meet the demands upon it, but 3,000l. was produced by an exhibition of his works at the British Institution, and this sum was devoted to the benefit of his nieces. Lawrence no doubt spent much money on his collection of drawings, but he lived simply and entertained little, and he may be elieved when he says : 'I have neither been extravagant nor profligate in the use of money. Neither gaming, horses, curricles, expensive entertainments, nor secret sources of ruin from vulgar licentiousness have swept it from me.' But he began early in life to anticipate his income, and when he had money in hand he would lend it or give it away with lavish and thoughtless generosity. But if Lawrence was a bad hand at keeping money, he was very accomplished in the art which, when combined with professional skill, chiefly enables a portrait-painter to make a fortune — the art of a courtier. The desire of pleasing was bred if not born in him, and from the time he pencilled his father's guests in the Black Bear at Devizes till his death he never lost a sitter by an unflattering likeness. Nor did he fail to make use of any of the advantages with which nature had endowed him. Though not tall (he was under five feet nine), his beautiful face, active figure, agreeable manners, and fine voice were not thrown away upon either lords or ladies, emperors or kings. Even George IV pronounced him a high-bred gentleman, and his own portrait was so much in request that the king, Sir Robert Peel, Lord Francis Leveson Gower, and the city of Bristol were at the same time candidates for the first from his easel.

Though shining in society he was not a sociable man. Among his many male friends he had few, if any, who could be called intimate. To John Julius Angerstein [q. v.], 'his very first friend' as he calls him, who had early in life helped him with a large loan, to Joseph Farington, R.A., who for many


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Lawrence years tried to regulate his expenditure, to Lysons the antiquarian, who constructed a false pedigree for him, to Fuseli and the Smirkes, to Hamilton, West, Westall, Thomson, Howard, Flaxman, and other artists he was no doubt attached, but he reserved his confidence for the ladies, especially married ladies like Mrs. Wolff and Mrs. Hayman. The bulk of his published correspondence is addressed to ladies, to his sister Anne (Mrs. Bloxam), to Mrs. Boucherette, the daughter-in-law of Mr. Angerstein, to Miss Iiarriet Lee [q. v.], the author of * The Canterbury Tales, &c, to Miss Crofts, and to Mrs. Wolff, the wife of a Danish consul, with whom he was accused of something more than a platonic flirtation. He painted Mrs. Wolff's portrait in 1815, and saw much of her while she lived in London, but for many years before her death in 1829 she had retired into Wales, and Lawrence's stilted letters to her are a sufficient proof of the purity of their relations. But he was a flirt throughout his life, always fancying that he was in love and was causing many flutterings in female hearts. ' He could not write a common answer to a dinner invitation without its assuming the tone of a billet-doux ; the very commonest conversation was held in that soft low whisper and with that tone of deference and interest which are so unusual and so calculated to please.' One lady with whom he thought himself seriously in love was Miss Upton, the sister of Lord Templetown, but all his flirtations were innocuous with one exception. Even his friends could not defend his conduct towards two daughters of Mrs. Siddons. To them and them only he proposed marriage, transferring his affections from one to the other. They were both delicate and died shortly afterwards, and Mrs. Siddons, who had been one of the best of his friends since his childhood, refused to see him again. He still, however, kept up his friendship with John Kemble, and Mrs. Siddons seems to have retained her affection for him, as she expressed a wish that she should be carried to the grave by him and her brother. But Lawrence's death took place shortly before her own. This sad story is confirmed by Fanny Kemble, the cousin of the Misses Siddons, who was herself one of the latest objects of Lawrence's adoration, and owns to have felt something of the 'dangerous fascination' of the old flirt.

Lawrence must be acquitted of any intentions dishonourable or unkind. If his character was of no great depth, he was always kind-hearted and generous to his family, his friends, and his servants. Though solicitous for his own advancement in the world, he never disparaged his rivals, young or old, whether Hoppner or Owen, and to young students he was ever ready with advice and commissions, and he allowed them to study his fine collection of drawings. Of Sir Joshua Reynolds he always spoke in terms of great admiration, giving him a position with the great masters Michel Angelo and Titian, and of the genius of Stothard and Flaxman, Turner and Fuseli, and some others of his colleagues, he expressed warm appreciation. He is said to have purchased a large number of Fuseli's drawings, and his study was adorned with busts of his favourite artists, dead and living, by Bailey and Flaxman.

His love of art was strong and genuine, and though his admiration for certain artists, like Fuseli and Domenichino, seems exaggerated to-day, he never missed what was really fine. He was one of the first to perceive the superiority of the Elgin marbles, and his evidence in their favour before the committee of 1816 is a standing testimony to his judgment. His appreciation of Michel Angelo and Raphael was shown by the large sums he spent in the acquisition of the drawings, which are now in the possession of the university of Oxford, and perhaps the most valuable passages in his generally verbose and commonplace letters are those which deal with the comparative merits of these two great artists. He gives the palm to Michel Angelo — a preference scarcely shown in his own works. These were facile, accomplished, original, and in their own style unexcelled. But this style was on a lower level than that of his predecessors, especially Reynolds, Gainsborough, and Romney. He had little insight into character, and was deficient in imagination. In place of these qualities he had an unusually acute perception of the graces of society, for the elegant airs of the men, for the gracious smiles and sparkling eyes of the ladies. Opie said of him, 'Lawrence made coxcombs of his sitters and his sitters made a coxcomb of him.' and Campbell, with truer appreciation, called his own portrait 'lovely,' and added : 'This is the merit of Lawrence's painting — he makes one seem to have got into a drawing-room in the mansions of the blest, and to be looking at oneself in the mirrors.' As a draughtsman, especially of faces and hands, he is scarcely equalled by any English artist, but his pictures have little atmosphere, and his colour, though brilliant and effective, is often hard and glassy. His children are well-dressed, well-mannered, and pretty, but their attitudes are studied and their expressions artificial. His most perfect works are his drawings in


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Lawrence crayons and pencil, which he continued to execute throughout his life. Many of these are well known by engravings and lithographs, like Fuseli's portrait in Lavater's 'Physiognomy' and the beautiful head of Horace Walpole which he drew in 1796, the year before Walpole's death. It was engraved for the quarto edition of Walpole's 'Works' published in 1798. Another notable drawing was a head of the Emperor Napoleon's son, the Duke of Reichstadt, done in Vienna. Once (1801) he essayed sculpture and modelled the head of Mr. Locke of Norbury. Among other distinguished persons not already mentioned whom he either drew or painted were Bunbury the caricaturist (at Bath), Lady Hamilton (1791), John Abernethy, Sir Humphry Davy, Sir Astley Cooper, Henry (afterwards Lord) Brougham, John Soane, James Watt (posthumous), J. Wilson Croker, and Warren Hastings.

Among Lawrence's pupils were Etty and Harlowe, but he appears to have left them pretty much to themselves, and though he was in many ways fitted for his position as president of the Royal Academy, his addresses to the students were poor.

The largest collection of Lawrence's works is at Windsor. In the national collection ore portraits of Angerstein, Benjamin West, Mrs. Siddons, Sir Samuel Romilly, and Miss Caroline Fry, 'A Child with a Kid' (these are in Trafalgar Square), the 'Hamlet.' and a nortrait of John Fawcett, which are on loan elsewhere. At the South Kensington Museum are portraits of Sir C. E. Carrington and his first wife, and of Princess Caroline. In the National Portrait Gallery is another of Princess Caroline, and others of George IV, Lord Thurlow, Lord Eldon, William Windham, Sir James Mackintosh, Wilberforce, Warren Hastings, Samuel Rogers, Thomas Campbell, and Elizabeth Carter. In the British Museum are several of his drawings. The Royal Academy owns an unfinished portrait of himself.  LAWRENCE, WILLIAM (1611?–1681), lawyer, born in 1611 or 1612, was eldest son of William Lawrence (1579-1640) of Wraxhall, Dorset, by Elizabeth (d. 1672), sister of Gregory Gibbes (will of W. Lawrence the elder, registered in P. C. C. 152, Coventry). In 1631 he became a gentleman-commoner of Trinity College, Oxford, and was subsequently called to the bar at the Middle Temple. He rose to considerable eminence in his profession. In November 1653 he was appointed a commissioner for administration of justice in Scotland (Cal. State Papers, Dom. 1653-4, p. 273). By the interest of Colonel William Sydenham, his brother-in-law, he was elected, on 26 Nov. 1656, M.P. for the Isle of Wight, on Sydenham's choosing to serve for Dorset, and on 11 Jan. 1658-9 he was returned for Newtown, in the same place (Members of Parliament, Official Return Dom. 1653-4, pt. i. pp. 505, 509). At the Restoration he returned to England, resumed his practice at the bar, and professed great loyalty. He died on 18 March 1680-1, aged 69, and was buried in Wraxhall churchyard. A memorial to him in the church contains a curious poetical epitaph of his own composition. In 1649 he married Martha (b. 1622), third daughter of William Sydenham of Winford Eagle, Dorset, by whom he had a son, William (will registered in P. C. C. 36, Drax). Lawrence wrote: 1. 'Marriage by the Morall Law of God vindicated against all Ceremonial Laws of Popes and Bishops destructive to Filiation, Aliment, and Succession, and the Government of Familyes and Kingdomes,' 2 pts. 4to, London, 1680, which he was compelled to leave unfinished on account of 'disturbances at the press.' Wood alleges that Lawrence wrote the book 'upon a discontent arising from his wife, whom he esteemed dishonest to him.' 2. 'The Right of Primogeniture in Succession to the Kingdoms of England, Scotland, and Ireland.' 4to, London, 1681, in which he learnedly argues in support of the Duke of Monmouth's succession. 3. 'The two great Questions, whereon in this present Juncture of Affairs the Peace and Safety of his Maiesties Person, and of his Protestant Subjects next under God depend, stated, debated, and humbly submitted to the consideration of Supreme Authority, as resolved by Christ,' 4to, London, 1681, a supplement to the foregoing. Lawrence also translated from the Italian of F. Pallavicino 'The Heavenly Divorce; or, our Saviour divorced from the Church of Rome his Spouse.' 12mo, London, 1679. He was fond of writing poetry, and introduced several pieces in which are not without merit.


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Lawrence LAWRENCE, WILLIAM (1783–1867), surgeon, was born 16 July 1783 at Cirencester, where his father, William Lawrence, was the chief surgeon of the town. Charles Lawrence [q. v.] was his brother. He was educated at a private school in Gloucester till he was apprenticed, in February 1799, to John Abernethy [q. v.], then assistant-surgeon to St. Bartholomew's Hospital. In 1801 Abernethy. as lecturer on anatomy, appointed him his demonstrator. He held this office for twelve years, and was esteemed by the students an excellent teacher of practical anatomy. On 6 Sept. 1805 he became a member of the College of Surgeons, and in March 1813 was elected assistant-surgeon to St. Bartholomew's Hospital. In the same year he was elected F.R.S., in 1814 was appointed surgeon to the London Infirmary for iseases of the Eye, in 1815 surgeon to the Royal Hospitals of Bridewell and Bethlehem, and 19 May 1824 surgeon to St. Bartholomew's Hospital, an office he held for more than forty years, so that he was actively employed in that hospital for sixty-five years.

Lawrence's first publication was a translation of the Latin edition of the 'Description of the Arteries of the Human Body' of Professor Murray of Upsala in 1801 ; the next was an essay on 'The Treatment of Hernia ' in 1806, which obtained the Jacksonian prize at the College of Surgeons, and went through five editions. In 1807 he published a translation of Blumenbach's 'Comparative Anatomy,' in 1808-9 papers in the 'Edinburgh Surgical and Medical Journal' on a variety of cancer and on stone, and 'Anatomico-Chirurgical Views of the Nose, Mouth, Larynx, and Fauces.' The College of Surgeons nominated him professor of anatomy and surgery in 1815, and in 1816 he printed his first course of lectures as 'An Introduction to Comparative Anatomy and Physiology,' and subsequent lectures in 1819 'On the Physiology, Zoology, and Natural History of Man.' Contemporary theologians discerned in these lectures an attempt to undermine the foundations of religion, and Lord Eldon refused an injunction to protect the rights of the author in them on the ground that they contradicted the scriptures (, Report of Cases, 1828, i. 471) ; but the remarks, which at the time excited so much feeling, now seem commonplace attempts to startle his audience, and are of no philosophic value. The author himself valued his conclusions so little that he afterwards announced publicly that he had suppressed the book. Nine subsequent editions appeared without his consent, and as its scientific value was small, the large sale was probably due to its alleged blasphemy. He also lectured at a private school of medicine in Aldersgate Street till in 1829 he succeeded Abernethy as lecturer on surgery at St. Bartholomew's Hospital, an office which he held for thirty-three years. Some of the 'Lectures on Surgery' were published in 1863, and Sir William Savory praises the book for soundness of judgment. His old pupils Sir G. M. Humphry, Mr. Luther Holaen, and others, spoke of him as an admirable lecturer and a first-rate teacher of surgery at the bedside. He headed a public agitation against the management of the College of Surgeons in 1826, and printed a 'Report of the Speeches delivered by Mr. Lawrence as Chairman at two Meetings of Members, held at the Freemasons' Tavern.' The college wisely elected him into its council in 1828, Hunterian orator in 1834 and 1846, examiner for twenty-seven years in 1840, president in 1846 and 1855, and he steadily maintained its privileges against all agitators. This, and the withdrawal of his lectures, were perhaps the only occasions on which he varied his conduct in consequence of the opinions of others, and he was usually inflexible in the maintenance of his own views. In the medical school of St. Bartholomew's Hospital he was a constant attendant at the committee meetings, was seldom opposed, and almost always carried his point. His great ability and large experience caused him to be venerated, and many instances of his personal kindness were known. His large private practice included many cases of ophthalmic surgery, and in 1833 he published a 'Treatise on Diseases of the Eye.' His second Hunterian oration was often interrupted by the indignant comments of his auditors, as he spoke contemptuously of ordinary surgical practitioners. He was first surgeon extraordinary, and then (1857) sergeant-surgeon to the queen, and in the last year of his life was created a baronet (30 April 1867).

He was president of the Medical and Chirurgical Society in 1831, and contributed eighteen papers to its 'Transactions,' besides one with Dr. H. H. Southey on elephantiasis Arabum, and one with Dr. Lee on a dermoid cyst. He also published many essays and observations in the 'Lancet' and in the 'Medical Gazette.'

He resigned the office of surgeon at St. Bartholomew's Hospital in 1865, but continued to act as an examiner at the College of Surgeons till 11 May 1867, when he was seized with paralysis of the right side while walking up the staircase to examine. He was taken nome to bed and was visited by Sir Thomas Watson, who saw that he wished


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Lawrenson to ask for something, but, while his looks showed perfect intelligence, he was incapable of articulate speech. He was given some loose letters out of a child's spelling-box, and laid down the following four, BDCK. He shook his head and took up a pen, when a drop of ink fell on the paper. He nodded and pointed to it. 'You want some black drop' (a preparation of opium), said his physician, and this proved to be what he had tried to express.

He died 5 July 1867 at 18 Whitehall Place. He had lived there for many years. His earlier residences were from 1807 in John Street, Adelphi, and soon afterwards within the precinct of the College of Physicians in Warwick Lane, London.

A portrait of him by Pickersgill, subscribed for by his pupils, hangs in the committee-room of St. Bartholomew's Hospital, and there is a fine bust of him in the College of Surgeons. He married Louisa, daughter of James Trevor Senior of Aylesbury, who died before him, and left one son and two daughters.  LAWRENSON, THOMAS (fl. 1760–1777), painter, is stated to have been a native of Ireland. He first appears in 1760 as an exhibitor at the first exhibition of the Society of Artists, sending a portrait of himself; he was subsequently a regular exhibitor until 1777, sending portraits or miniatures. In 1774 he exhibited a portrait which he had executed in 1783. A portrait of Lawrenson was painted and engraved in mezzotint by his son (see below). He drew and published a large engraving of Greenwich Hospital. Lawrenson signed the roll of the Society of Incorporated Artists in 1766, and is first styled a fellow of the society in 1774. He lived in Great Russell Street, Bloomsbury. There is a portrait by him of John O'Keeffe in the National Portrait Gallery.

(fl. 1760–1780), painter, son of the above, resided with his father. In 1760 and 1761 he obtained premiums from the Society of Arts. He was, like his father, a fellow of the Incorporated Society of Artists, and signed their roll in 1766. He first exhibited with them in 1762, sending a portrait. In 1763 and 1764 he sent portraits to the Free Society of Artists, but in 1766 returned to the former exhibition and continued to exhibit there till 1772, mostly crayon portraits, including in 1771 one of William Smith the actor as 'Iachimo,' which he engraved himself in mezzotint, and in 1769 one of Mrs. Baddeley. From 1774 till 1780 he exhibited at the Royal Academy. Many of his pictures were engraved, including Ann Catley [q. v.] as 'Euphrosyne by R. Dunkarton, Signora Sestini by John Jones, Benjamin West by W. Pether, Sir Eyre Coote by J. Walker, 'A Lady Haymaking,' 'Palemon and Lavinia,' 'Rosalind and Celia,' 'Cymon and Iphigenia' by John Raphael Smith. It is not known when he or his father died.  LAWRIE, WILLIAM (d. 1700?), tutor of Blackwood, was of the family of Lawrie of Auchenheath, in the parish of Lesmahagow, Lanarkshire. He married Marion Weir, heiress of Blackwood and widow of Lieutenant-colonel James Ballantyne, a son of the laird of Corehouse. By her Lawrie had a son, George, who was heir to his mother's estates, and assumed the surname of Weir. Lawrie was tutor successively to his son, who died in April 1680 (General Retour, Nos. 6295, 7618, and, Retours, 1724), and to his grandson, afterwards Sir George Weir of Blackwood. He thus acquired the title by which he was commonly known—tutor or laird of Blackwood.

Besides managing his son's estate, Lawrie, in March 1670, was appointed factor on the extensive estates of James Douglas, second marquis of Douglas [q. v.], and gained complete control over his weak-minded master. He was credited with causing the breach between Douglas and his first wife, Lady Barbara Erskine, who died in 1690, and allusion is made to his share in the quarrel in the familiar ballad on the subject beginning

O waly, waly up the bank

(, Ballads of Scotland, pp. 189-94).

Lawrie was reputed to be a man of piety, and showed a kindly feeling towards the persecuted covenanters. His friendly attitude to them after the engagement at Pentland (28 Nov. 1666) led to his imprisonment in Edinburgh Castle, but he was soon released. Some time after Bothwell Bridge


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Lawson (22 June 1679), however, he permitted some covenanter tenants of his to remain on his lands without denouncing them to the authorities. He was therefore arrested again, was tried, and was condemned to be beheaded at the Cross of Edinburgh on the last day of February 1683. Many landowners in the district had been guilty of like offences, and his fate created widespread uneasiness. Lawrie petitioned humbly for his life, and the Marquis of Douglas obtained a respite of the sentence, on the special ground that no other living person knew anything about the state of his affairs. Lawrie remained in prison until the revolution in 1688, when he was set at liberty (, Hist. Burns edition, ii. 26, 29, 88, iii. 449–52). Lord Fountainhall, who was an occupant of the judicial bench during this period, describes Lawrie as 'a man of but an indifferent character.' and believes his transactions with the covenanters 'were dictated by worldly policy, not by sympathy with their principles and aims.' (Decisions, i. 190, 213, 215).

Lawrie took an active part in the raising of Lord Angus's Cameronian regiment, afterwards the 25th infantry, which was enrolled in one day, and bravely defended Dunkeld in 1689 against the highland army.

Meanwhile Lawrie had resumed his control of the Marquis of Douglas's property, and was fast bringing it to ruin. But when he ventured to meddle with his master's second wife, Lady Mary Kerr, she turned the tables upon him, and after much difficulty secured the appointment of a commission of her husband's friends to investigate his management of the estates. They convinced the marquis that Lawrie had abused his position. He accordingly dismissed Lawrie in 1699, and clamoured for his prosecution. Lawrie was then an old man, and probably died soon afterwards.

 LAWSON, CECIL GORDON (1851–1882), landscape-painter, fifth and youngest son of William Lawson, a Scottish portrait-painter, was born at Wellington in Shropshire on 3 Dec. 1851. Soon afterwards his father settled in London, and Cecil while a child learned the elements of painting in his father's studio. He depended chiefly, however, on self-instruction. At the age of twelve he used to spend whole days at Hampstead, making sketches in oil of the forms of clouds, foliage of trees, and various wayside objects. In 1866 he made his first sketching tour in Kent, Surrey, and Sussex, and began to paint in water-colours careful studies of fruit and flowers, many of which have since been palmed off by unscrupulous dealers as the work of William Hunt, whom Lawson at that time imitated. In 1869 he resumed painting in oil-colours, and studied earnestly the works of the Dutch landscape-painters in the National Gallery. His first appearance at the Royal Academy was in 1870, when his 'Cheyne Walk, Chelsea,' a view taken from the windows of the house in which his father then resided, was hung on the line. In 1871 he sent 'The River in Rain' and 'A Summer Evening at Cheyne Walk,' which were likewise placed on the line, but in 1872 another river scene, called 'A Lament,' was skied, while 'A Hymn to Spring,' a more ambitious work, in which he departed from the traditions of the Dutch school, and came under the influence of Gainsborough, was excluded. In 1872 also he painted the 'Song of Summer,' and in 1873, during a visit to Ireland, 'Twilight Grey.' 'A Pastoral: in the Vale of Meifod, North Wales,' appeared in the Royal Academy in 1873, but in 1874 his two pictures, 'The Foundry' and 'The Bell Inn,' were rejected. He then spent a few weeks in Holland, Belgium, and Paris, and afterwards settled down at Wrotham in Kent, where he began his large picture of 'The Hop Gardens of England.' This he sent to the Royal Academy in 1875, but to his great mortification it was not accepted. In 1876, however, it was hung in a good position and attracted much attention. In 1877 he exhibited a 'View from Don Saltero's in Cheyne Walk, Chelsea, temp. 1777,' and in the same year painted a large and impressive landscape called 'The Minister's Garden,' which he described as a tribute to the memory of Oliver Goldsmith. This work, now in the Manchester Art Gallery, is a poetical conception of nature of very great merit. It was exhibited at the Grosvenor Gallery in 1878, together with 'Strayed: a Moonlight Pastoral,' now belonging to Mr. Cyril Flower, and 'In the Valley: a Pastoral.' In the same year he sent to the Royal Academy 'The Wet Moon, Old Battersea,' and 'An Autumn Sunrise,' suggested by the words in 'Hamlet.'

'The morn in russet mantle clad.'

His contributions to the Royal Academy in 1879 consisted of 'Sundown,' 'Old Battersea, Moonlight,' and 'A Wet Moon,' and among the seven works which he sent to the Grosvenor Gallery were 'Twixt Sun and Moon,' 'The Haunted Mill,' and 'The Hop Gardens of England,' which he had in part repainted, and renamed 'Kent.' It was


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 East Front of Hampton Court Palace.


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