literature at King's College, London. In painting he had | Turner, which was to become his first work. Modern Painters, lessons from Copley Fielding and afterwards from J. D. Harding. vol. i., by a Graduate of Oxford," was published May 1843, But in the incessant travelling, drawing, collecting specimens when the author was little more than twenty-four. It produced and composition in prose and verse he had gained but a very a great and immediate sensation. It was vehemently attacked moderate classical and mathematical knowledge when he by the critics, and coolly received by the painters. Even Turner matriculated at Oxford; nor could he ever learn to write was somewhat disconcerted; but the painter was now known tolerable Latin. As a boy he was active, lively and docile ; to both Ruskins, and they freely bought his pictures. The a good walker, but ignorant of all boyish games, as naïf and family then went again to the Alps, that John might study as innocent as a child; and he never could learn to dance or mountain formation and Truth in landscape. In 1845 he to ride. He was only saved by his intellect and his fine nature was again abroad in Italy, working on his Modern Painters, the from turning out an arrant prig. He was regarded by his second volume of which appeared in 1846. He had now plunged parents, and seems to have regarded himself, as a genius. into the study of Bellini and the Venetian school, Fra Angelico As a child he had been "a savant in petticoats"; as a boy and the early Tuscans, and he visited Lucca, Pisa, Florence, he was a poet in breeches. At the age of seventeen he saw Padua, Verona and Venice, passionately devoting himself to Adèle, the French daughter of Monsieur Domecq, Mr Ruskin's architecture, sculpture and painting in each city of north Italy. partner, a lovely girl of fifteen. John fell rapturously in love He wrote a few essays for the Quarterly Review and other with her; and, it seems, the two fathers seriously contemplated periodicals, and in 1849 (aet. 30) he published The Seven Lamps their marriage. The young poet wooed the girl with poems, of Architecture, with his own etchings, which greatly increased romances, dramas and mute worship, but received nothing the reputation acquired by his Modern Painters. except chilling indifference and lively ridicule. To the gay On the 10th of April 1848, a day famous in the history of young beauty, familiar with Parisian society, the raw and Chartism, Ruskin was married at Perth to Euphemia Chalmers serious youth was not a possible parti. She was sent to an Gray, a lady of great beauty, of a family long intimate with the English school, and he occasionally saw her. His unspoken Ruskins. The marriage, we are told, was arranged by the passion lasted about three years, when she married the Baron parents of the pair, and was a somewhat hurried act. It was Duquesne. Writing as an old man, long after her death, evidently ill-assorted, and brought no happiness to either. Ruskin speaks of his early love without any sort of rapture. They travelled, lived in London, saw society, and attended a But it is clear that it deeply coloured his life, and led to the "Drawing-room at Buckingham Palace. But Ruskin, imdangerous illness which for some two years interrupted his mersed in various studies and projects, was no husband for a studies and made him a wanderer over Europe. brilliant woman devoted to society. No particulars of their life have been made public. In 1854 his wife left him, obtained a nullification of the marriage under Scots law, and ultimately became the wife of John Everett Millais. John Ruskin returned to his parents, with whom he resided till their death; and neither his marriage nor the annulling of it seems to have affected seriously his literary career. As the father was resolved that John should have everything that money and pains could give, and was one day to be a bishop at least, he entered him at Christ Church, Oxford, as a gentleman-commoner-then an order reserved for men of wealth and rank. Ruskin's Oxford career, broken by the two years passed abroad, was not very full of incident or of useful ness. 66 99 66 Though he never became either a scholar or a mathema- Ruskin's architectural studies, of which The Seven Lamps was tician, he did enough accurate work to be placed in the honorary the first fruit, turned him from Turner and Modern Painters. fourth class both in classics and in mathematics. By the young He planned a book about Venice in 1845, and The Stones of bloods of the "House" he was treated pleasantly as a raw Venice was announced in 1849 as in preparation. After intense outsider of genius. By some of the students and tutors, by study in Italy and at home, early in 1851 (the year of the Great Liddell, Newton, Acland and others, he was regarded as a Exhibition in London) the first volume of The Stones of Venice youth of rare promise, and he made some lifelong friendships appeared (aet. 32). It was by no means a mere antiquarian and with men of mark and of power. Both he and his college took artistic study. It was a concrete expansion of the ideas of kindly the amazing proceeding of his mother, who left her The Seven Lamps--that the buildings and art of a people are husband and her home to reside in Oxford, that she might watch the expression of their religion, their morality, their national over her son's health. The one success of his Oxford career aspirations and social habits. It was, as Carlyle wrote to the "Salsette author, was the winning the Newdigate Prize by his poem a sermon in stones,' a singular sign of the times," and Elephanta," which he recited in the Sheldonian Theatre" a new Renaissance." It appeared in the same year with the (June 1839). Two years of ill-health and absence from home Construction of Sheepfolds-a plea for the reunion of Christian ensued. And he did not become a Graduate of Oxford" churches-in the same year with the essay on Pre-Raphaelitism, until 1842, in his twenty-fourth year, five years after his first the year of Turner's death (19th December). The Stones of entrance at the university. In fact, his desultory school and Venice was illustrated with engravings by some of the most college life had been little more than an interruption and hin- refined artists of his time. The author spent a world of pains drance to his real education--the study of nature, of art and of in having these brought up to the highest perfection of the reliterature. Long before Ruskin published books he had ap- productive art, and began the system of exquisite illustration, peared in print. In March 1834, when he was but fifteen, and those facsimiles of his own and other sketches, which make Loudon's Magazine of Natural History published an essay of his his works rank so high in the catalogues and price-lists of on the strata of mountains and an inquiry as to the colour of the collectors. This delicate art was carried even farther in the later Rhine. He then wrote for Loudon's Magazine of Architecture, volumes of Modern Painters by the school of engravers whom and verses of his were inserted in Messrs Smith & Elder's Ruskin inspired and gathered round him. And these now rare Friendship's Offering, by the editor, T. Pringle, who took the and coveted pieces remain to rebuke us for our modern lad to see the poet Rogers. At seventeen he wrote for Black- preference for the mechanical and unnatural chiaroscuro of wood a defence of Turner, which the painter, to whom it was first photogravure-the successor and destroyer of the graver's art. submitted, did not take the trouble to forward to the magazine. Although Ruskin was practised in drawing from the time that At eighteen he wrote a series of papers, signed Kata Phusin, he could hold a pencil, and had lessons in painting from some i.e." after Nature," for Loudon's Magazine, on "The Poetry of eminent artists, he at no time attempted to paint pictures. He Architecture." In 1838 (he was then nineteen) Mr Loudon wrote said himself that he was unable to compose a picture, and he to the father, " Your son is the greatest natural genius that ever never sought to produce anything that he would call a work of it has been my fortune to become acquainted with.” original art. His drawings, of which he produced an enormous quantity, were always intended by himself to be studies or memoranda of buildings or natural objects precisely as they appeared to his eye. Clouds, mountains, landscapes, towers, Having recovered his health and spirits by care and foreign travel, and having taken his degree and left Oxford, Ruskin set to work steadily at Herne Hill on the more elaborate defence of churches, trees, flowers and herbs were drawn with wonderful precision, minuteness of detail and delicacy of hand, solely to recall some specific aspect of nature or art, of which he wished to retain a record. In his gift for recording the most subtle characters of architectural carvings and details, Ruskin has hardly been surpassed by the most distinguished painters. In 1853 The Stones of Venice was completed at Herne Hill, and he began a series of Letters and Notes on pictures and architecture. In this year (aet. 34) he opened the long series of public lectures wherein he came forward as an oral teacher and preacher, not a little to the alarm of his parents and amidst a storm of controversy. The Edinburgh Lectures (November 1853) treated Architecture, Turner, and Pre-Raphaelitism. The Manchester Lectures (July 1857) treated the moral and social uses of art, now embodied in A Joy for Ever. Some other lectures are reprinted in On the Old Road and The Two Paths (1859). These lectures did not prevent the issue of various Notes on the Royal Academy pictures and the Turner collections; works on the Harbours of England (1856); on the Elements of Drawing (1857); the Elements of Perspective (1859); and at last, after prolonged labour, the fifth and final volume of Modern Painters was published in 1860 (aet. 41). This marks an epoch in the career of John Ruskin; and the year 1860 closed the series of his works on art strictly so called; indeed, this was the last of his regular works in substantial form. The last forty years of his life were devoted to expounding his views, or rather his doctrines, on social and industrial problems, on education, morals and religion, wherein art becomes an incidental and instrumental means to a higher and more spiritual life. And his teaching was embodied in an enormous series of Lectures, Letters, Articles, Selections and serial pamphlets. These are now collected in upwards of thirty volumes in the final edition. The entire set of Ruskin's publications amounts to more than fifty works having distinctive titles. For some years before 1860 Ruskin had been deeply stirred by reflecting on the condition of all industrial work and the evils of modern society. His lectures on art had dealt bitterly with the mode in which buildings and other works were produced. In 1854 he joined Mr F. D. Maurice, Mr T. Hughes, and several of the new school of painters, in teaching classes at the Working Men's College. But it was not until 1860 that he definitely began to propound a new social scheme, denouncing the dogmas of political economy. Four lectures on this topic appeared in the Cornhill Magazine until the public disapproval led the editor, then W. M. Thackeray, to close the series. They were published in 1862 as Unto this Last. In the same year he wrote four papers in the same sense in Fraser's Magazine, then edited by J. A. Froude; but he in turn was compelled to suspend the issue. They were completed and ultimately issued under the title Munera Pulveris. These two small books contain the earliest and most systematic of all Ruskin's efforts to depict a new social Utopia: they contain a vehement repudiation of the orthodox formulas of the economists; and they are for the most part written in a trenchant but simple style, in striking contrast to the florid and discursive form of his works on art. In 1864 Ruskin's father died, at the age of 79, leaving his son a large fortune and a fine property at Denmark Hill. John still lived there with his mother, aged 83, infirm, and failing in sight, to whom came as a companion their cousin, Joanna Ruskin Agnew, afterwards Mrs Arthur Severn. At the end of the year 1864 Ruskin delivered at Manchester a new series of lectures-not on art, but on reading, education, woman's work and social morals-the expansion of his earlier treatises on economic sophisms. This afterwards was included with a Dublin lecture of 1868 under the fantastic title of Sesame and Lilies (perhaps the most popular of his social essays), of which 44,000 copies were issued down to 1900. He made this, in 1871, the first volume of his collected lectures and essays, the more popular and didactic form of his new Utopia of human life. It contains, with Fors, the most complete sketch of his conception of the place of woman in modern society. In the very characteristic preface to the new edition of 1871 he 66 proposes never to reprint his earlier works on art; disclaims many of the views they contained, and much in their literary form; and specially regrets the narrow Protestantism by which they were pervaded. In the year 1866 he published a little book about girls, and written for girls, a mixture of morals, theology, economics and geology, under the title of Ethics of the Dust; and this was followed by a more important and popular work, The Crown of Wild Olive. This in its ultimate form contained lectures on Work," "Traffic," "War," and the "Future of England." It was one of his most trenchant utterances, full of fancy, wit, eloquence and elevated thought. But a more serious volume was Time and Tide (1867), a series of twenty-five letters to a workman of Sunderland, upon various points in the Ruskinian Utopia. This little collection of Thoughts," written with wonderful vivacity, ingenuity and fervour, is the best summary of the author's social and economic programme, and contains some of his wisest and finest thoughts in the purest and most masculine English that he had at his command. In 1869 he issued the Queen of the Air, lectures on Greek myths, a subject he now took up, with some aid from the late Sir C. Newton. It was followed by some other occasional pieces; and in the same year he was elected Slade professor of art in the university of Oxford. He now entered on his professorial career, which continued with some intervals down to 1884, and occupied a large part of his energies. His lectures began in February 1870, and were so crowded that they had to be given in the Sheldonian Theatre, and frequently were repeated to a second audience. He was made honorary fellow of Corpus Christi, and occupied rooms in the college. In 1871 his mother died, at the age of 90, and his cousin, Miss Agnew, married Mr Arthur Severn. In that year he bought from Mr Linton, Brantwood, an old cottage and property on Coniston Lake, a lovely spot facing the mountain named the Old Man. He added greatly to the house and property, and lived in it continuously until his death in 1900. In 1871, one of the most eventful years of his life, he began Fors Clavigera, a small serial addressed to the working men of England, and published only by Mr George Allen, engraver, at Keston, in Kent, at 7d., and afterwards at 1od., but without discount, and not through the trade. This was a medley of social, moral and religious reflections interspersed with casual thoughts about persons, events and art. Fors means alternatively Fate, Force or Chance, bearing the Clavis, Club, Key or Nail, i.e. power, patience and law. It was a desultory exposition of the Ruskinian ideal of life, manners and society, full of wit, play, invective and sermons on things in general. It was continued with intervals down to 1884, and contained ninety-six letters or pamphlets, partly illustrated, which originally filled eight volumes and are now reduced to four. The early years of his Oxford professorship were occupied by severe labour, sundry travels, attacks of illness and another cruel disappointment in love. In spite of this, he lectured, founded a museum of art, to which he gave pictures and drawings and £5000; he sought to form at Oxford a school of drawing; he started a model shop for the sale of tea, and model lodgings in Marylebone for poor tenants. At Oxford he set his pupils to work on making roads to improve the country. He now founded "St George's Guild," himself contributing £7000, the object of which was to form a model industrial and social movement, to buy lands, mills and factories, and to start a model industry on co-operative or Socialist lines. In connexion with this was a museum for the study of art and science at Sheffield. Ruskin himself endowed the museum with works of art and money; a full account of it has been given in Mr E. T. Cook's Studies in Ruskin (1890), which contains the particulars of his university lectures and of his economic and social experiments. It is unnecessary to follow out the history of these somewhat unpromising attempts. None of them came to much good, except the Sheffield museum, which is an established success, and is now transferred to the town. In Fors, which was continued month by month for seven years, Ruskin poured out his thoughts, proposals and rebukes on From his career and opinions were issued in his lifetime both at home society and persons with inexhaustible fancy, wit, eloquence | in Great Britain and the United States. Many volumes about and freedom, until he was attacked with a violent brain malady in the spring of 1878 (aet. 59); and, although he recovered in a few months sufficiently to do some occasional work, he resigned his professorship early in 1879. The next three years he spent at Brantwood, mainly in retirement, and unhappy in finding nearly all his labours interrupted by his broken health. In 1880 he was able to travel in northern France, and began the Bible of Amiens, finished in 1885; and he issued occasional numbers of Fors, the last of which appeared at Christmas 1884. In 1882 he had another serious illness, with inflammation of the brain; but he recovered sufficiently to travel to his old haunts in France and Italy-his last visit. And in the following year he was re-elected professor at Oxford and resumed his lectures; but increasing brain excitement, and indignation at the establishment of a laboratory to which vivisection was admitted, led him to resign his Oxford career, and he retired in 1884 to Brantwood, which he never left. He now suffered from frequent attacks of brain irritation and exhaustion, and had many causes of sorrow and disappointment. His lectures were published at intervals from 1870 to 1885 in Aratra Pentelici, The Eagle's Nest, Love's Meinie, Ariadne Florentina, Val d'Arno, Proserpina, Deucalion, The Laws of Fesolé, The Bible of Amiens, The Art of England and The Pleasures of England, together with a series of pamphlets, letters, articles, notes, catalogues and circulars. 66 In the retirement of Brantwood he began his last work, Praeterita, a desultory autobiography with personal anecdotes and reminiscences. He was again attacked with the same mental malady in 1885, which henceforth left him fit only for occasional letters and notes. In 1887 it was found that he had exhausted (spent, and given away) the whole of the fortune he had received from his father, amounting, it is said, to something like £200,000; and he was dependent on the vast and increasing sale of his works, which produced an average income of £4000 a year, and at times on the sale of his pictures and realizable property. In 1872 a correspondent had remonstrated with him in vain as to taking usury," i.e. interest on capital lent to others for use. In 1874 Ruskin himself had begun to doubt its lawfulness. In 1876 he fiercely assailed the practice of receiving interest or rent, and he henceforth lived on his capital, which he gave freely to friends, dependants, public societies, charitable and social objects. The course of his opinions and his practice is fully explained in successive letters in Fors. Until 1889 he continued to write chapters of Praeterita, which was designed to record memories of his life down to the year 1875 (aet. 56). It was, in fact, only completed in regular series down to 1858 (aet. 39), with a separate chapter as to Mrs Arthur Severn, and a fragment called Dilecta, containing letters and early recollections of friends, especially of Turner. These two books were published between 1885 and 1889; and except for occasional letters, notes and prefaces, they form the last writings of the author of Modern Painters. His literary career thus extends over fifty years. But he has left nothing more graceful, naïve and pathetic than his early memories in Praeterita -a book which must rank with the most famous "Confessions " in any literature. The last ten years of his life were passed in complete retirement at Brantwood, in the loving care of the Severn family, to whom the estate was transferred, with occasional visits from friends, but with no sustained work beyond correspondence, the revision of his works, and a few notes and prefatory words to the books of others. He wished to withdraw his early art writings from circulation, but the public demand made this practically impossible. And now the whole of his writings are under the control of Mr George Allen, in several forms and prices, including a cheap series at 5s. per volume. The close of his life was one of entire peace and honour. He was loaded with the degrees of the universities and membership of numerous societies and academies. "Ruskin Societies were founded in many parts of the kingdom. His works were translated and read abroad, and had an enormous circulation With regard to his economic and social ideas there is far less general concurrence, though the years that have passed since Unto this Last appeared have seen the practical overthrow of the rigid plutonomy which he denounced, So, too, the vague and sentimental socialism which pervades Munera Pulveris, Time and Tide and Fors is now very much in the air, and represents the aspirations of many energetic reformers. But the negative part of Ruskin's teaching on economics, social and political problems, has been much more effective than the positive part of his teaching. It must be admitted that nearly the whole of his practical experiments to realize his dreams have come to nothing, which is not unnatural, seeing his defiance of the ordinary habits and standards of the world. A more serious defect was his practice of violently assailing philosophers, economists and men of science, of whom he knew almost nothing, and whom he perversely misunderstood: who followed them. men such as Adam Smith, Comte, Mill, Spencer, Darwin and all In art, Ruskin had enjoyed an unexampled training, which made him a consummate expert. In philosophy and science he was an amateur, seeking to found a new sociology and a Utopian polity out of his own inner consciousness and study doing this, he poured forth a quantity of crude conceits and some of nature, of poetry and the Bible. It is not wonderful if, in glaring blunders. But in the most Quixotic of his schemes, and the most Laputan of his theories, his pure and chivalrous nature, his marvellous insight into the heart of things and men, and his genius to seize on all that is true, real and noble in life, made his most startling proposals pregnant with meaning, and even his casual play full of fascination and moral suggestion. In mastery of prose language he has never been surpassed, when he chose to curb his florid imagination and his discursive eagerness of soul, The beauty and gorgeous imagery of his art works bore away the public from the first, in spite of their heretical dogmatism and their too frequent extravagance of rhetoric. But his later economic and social pieces, such as Unto this Last, Time and Tide, Sesame and Lilies, are composed in the purest and most lucid of English styles. And many of his simply technical and explanatory notes have the same quality. Towards the close of his life, in Fors and in Praeterita, will be found passages of tenderness, charm and subtlety which have never been surpassed in our language. Ruskin's life and writings have been the subject of many works The principal is the composed by friends, disciples and admirers. RUSSELL (FAMILY). The great English Whig house of the Russells, earls and dukes of Bedford, rose under the favour of Henry VIII. Obsequious genealogists have traced their lineage from "Hugh de Rozel," alias "Hugh Bertrand, lord of le Rozel," a companion of the Conqueror, padding their fiction with the pedigree of certain Russells who are found holding Kingston Russell in Dorset as early as the reign of King John. But the first undoubted ancestor of the Bedford line is Henry Russell, a Weymouth merchant, returned as a burgess for that borough in four parliaments between 1425 and 1442. He may well have been the son of Stephen Russell, another Weymouth merchant, whose name is just before his in the list of those men of substance in Dorsetshire who, in 1434, under the act of parliament, were to be sworn not to maintain breakers of the peace. Stephen Russell, having served the office of bailiff of Weymouth, was returned as burgess to the parliament of 1395, and one William Russell was returned for King's Melcombe in 1340. Both Stephen and Henry were in the wine trade with Bordeaux, and in 1427 Henry Russell was deputy to the chief butler of England for the port of Melcombe. In 1442 a pardon under the privy seal significantly describes Henry Russell of Weymouth, merchant, as alias Henry Gascoign, gentleman, and it is therefore probable that the ducal house of Bedford springs from a family of Gascon wine-merchants settled in a port of Dorsetshire, a county remarkable for the number of such French settlers. Henry Russell of Weymouth made a firm footing upon the land by his marriage with Elizabeth Hering, one of the two daughters and co-heirs of John Hering of Chaldon Hering, a Dorsetshire squire of old family, heir of the Winterbournes of Winterbourne Clenston and of the Cernes of Draycot Cerne. John Russell, eldest son of this match, born before 1432, and returned to parliament for Weymouth in 1450, had his seat at Berwick in Swyre, he and his son and heir, James Russell, being buried in the parish church of Swyre. Thus John Russell, son and heir of James, was born in a family of squire's rank, whose younger branches went on for many generations as merchants and shipowners at Weymouth. A happy accident is said to have brought him to court. The archduke Philip, son of the emperor Maximilian, was driven by heavy weather into Weymouth, whence Sir Thomas Trenchard had him escorted to the king at Windsor. According to tradition, John Russell, Trenchard's young kinsman, was lately home from his travels with a knowledge of foreign tongues, those travels being probably made in the mercantile interests of his family. As travelling companion, or as a spy upon the strange guests, young Russell was sent with the archduke, who is said to have commended him to King Henry. Certain it is that on the accession of Henry VIII. John Russell advanced rapidly, serving the crown as soldier and as diplomatic agent. He fought well at Thérouanne, saw the Field of Cloth of Gold and the French disaster at Pavia, lost an eye by an arrow at Morlaix. In 1523 he was knight-marshal of the king's household. In 1526 he married a rich widow, Anne, daughter and co-heir of Sir Guy Sapcotes by the co-heir of Sir Guy Wolston, a match which brought to the Russells the Buckinghamshire estate of Chenies, in whose chapel many generations of them lie buried. His peerage as Lord Russell of Chenies dated from 1539, and in the same year he had the Garter. Having held many high offices-lord high admiral, lord president of Devon, Cornwall, Dorset and Somerset, and lord privy seal-he was named by Henry VIII. as one of his executors. At the crowning of Edward VI. he was lord high steward, and after his defeat of the western rebels was raised, in 1550, to the earldom of Bedford. Queen Mary, like her brother, made him lord privy seal, although he is said to have favoured that Reformation which enriched him. He died in London in 1555, leaving to his son a vast estate of church lands and lands forfeited by less successful navigators of the troubled sea of Tudor politics. In the west he had the abbey lands of Tavistock, which give a marquess's title to his descendants. In Cambridgeshire he had the abbatial estate of Thorney, in Bedfordshire the Cistercian house of Woburn, now the chief seat of the Russells. In London he had Covent Garden with the "Long Acre." Thus the future wealth of his house was secured by those "immoderate grants" which made a text for Edmund Burke's furious attack upon a duke of Bedford. He left an only son, Francis, second earl of Bedford, K.G. (c. 1527-1585), who, being concerned in Wyatt's plot, escaped to the Continent and joined those exiles at Geneva whose religious sympathies he shared. He returned in 1557, and was employed by Queen Mary before her death. Under Queen Elizabeth he governed Berwick, and was lord-lieutenant of the northern counties. Three of his four sons died before him, the third, killed in a border fray, being father of Edward, third earl of Bedford, who died without issue in 1627. The fourth son, William, created Lord Russell of Thornhaugh in 1603, was a soldier who fought fiercely before Zutphen beside his friend Sir Philip Sidney, whom he succeeded as governor of Flushing, and was from 1594 to 1597 lord-deputy of Ireland. | He died in 1613, leaving an only son, Francis, who in 1627 succeeded his cousin as fourth earl of Bedford. This earl built the square of Covent Garden, and headed the "undertakers" who began the scheme for draining the great Fen Level. He opposed the king in the House of Lords, but might have played a part as mediator between the sovereign and the popular party who accepted his leadership had he not died suddenly of the smallpox in 1641 on the day of the king's assent to the bill for Strafford's attainder. William, the eldest surviving son, succeeded as fifth earl, Edward, the youngest son, being father of Edward Russell (1653-1727), admiral of the fleet, who, having held the chief command in the victory of La Hogue, was created in 1697 earl of Orford. The fifth earl of Bedford, after fighting for the parliament at Edgehill and for the king at Newbury, surrendered to Essex and occupied himself with completing the drainage of the Bedford Level. He carried St Edward's staff at the crowning of Charles II., but quitted political life after the execution of his son, Lord Russell, in 1683. In 1694 he was created duke of Bedford and marquess of Tavistock, titles to which his grandson, Wrothesley Russell, succeeded in 1700. The "patriot Lord Russell had added to the family estates by his marriage with Rachel, daughter and co-heir of Thomas Wrothesley, the fourth earl of Southampton, from whom she finally inherited the earl's property in Bloomsbury, with Southampton House, afterwards called Bedford House. Her son, the second duke of Bedford, married the daughter of a rich citizen, John Howland of Streatham, a match strangely commemorated by the barony of Howland of Streatham, created for the bridegroom's grandfather, the first duke, in 1695. The third duke, another Wrothesley Russell (1708-1732), died without issue, his brother John (1710-1771) succeeding him. This fourth duke, opposing Sir Robert Walpole, became, by reason of his rank and territorial importance, a recognized leader of the Whigs. In the duke of Devonshire's administration he was lord-lieutenant of Ireland, and he served as lord high constable at the coronation in 1760. His son Francis, styled marquess of Tavistock, was killed in 1767 by a fall in the hunting field, and Lord Tavistock's son Francis (1765-1802) became the fifth duke. This was the peer whom Burke, smarting from a criticism of his own pension, assailed as "the Leviathan of the creatures of the crown," enriched by grants that "outraged economy and even staggered credibility." He pulled down Bedford House, built by Inigo Jones, Russell Square and Tavistock Square rising on the site of its gardens and courts. Dying unmarried, he was succeeded by his brother John, the sixth duke (1766–1839), whose third son was the statesman created in 1861, Earl Russell of Kingston Russell, better known as Lord John Russell. Lord Odo Russell, a nephew of "Lord John," and ambassador at Berlin from 1871 to his death in 1884, was created Lord Ampthill in 1881. Herbrand Arthur Russell (b. 1858), the eleventh duke and fifteenth earl, succeeded an elder brother in 1893. (O. BA.) RUSSELL, ISRAEL COOK (1852-1906), American geologist, was born at Garrattsville, New York, on the 10th of December 1852. He graduated at New York in 1872, and afterwards studied at the School of Mines at Columbia, where he acted as assistant professor of geology from 1875-77. He was assistant Geologist on the United States Geographical and Geological Surveys in 1878, and in 1880 became attached to the Geological Survey of the United States. In 1892 he was appointed professor of geology in the university of Michigan. His publications include Sketch of the Geological History of Lake Lahontan (1883); The Newark System (Bulletin No. 85 U.S. Geol. Survey, 1892); Present and Extinct Lakes of Nevada (1896); Glaciers of North America (1897); Volcanoes of North America (1897); Glaciers of Mount Rainier (Ann. Rep. U.S. Geol. Survey, 1898); and Geology of the Cascade Mountains (Ibid., 1900). consecration as bishop of Rochester on the 22nd of September 1476, and translation to Lincoln on the 9th of September 1480. As a trusted minister of Edward IV., he was one of the executors of the king's will; but on the 13th of May 1483 he accepted the office of chancellor in the interest of Richard of Gloucester, apparently with great reluctance. He retained the great seal till the 29th of July 1485. Russell was above all things an official, and was sometimes employed by Henry VII. in public affairs. But his last years were occupied chiefly with the business of his diocese, and of the university of Oxford, of which he had been elected chancellor in 1483. He died at Nettleham on the 30th of December 1494, and was buried at Lincoln Cathedral. For contemporary notices see especially More's Life of Richard RUSSELL, JOHN (1745-1806), British portrait painter in pastel, was born at Guildford, Surrey. At an early age he entered the studio of Francis Cotes, R.A., from whom he derived his artistic education, and set up his own studio in 1767. Russell was a man of remarkable. religious character, Sir Thomas More calls Russell " a wise manne and a good, a devout follower of Whitefield. He began an elaborate intro- and of much experience, and one of the best-learned men, spective diary in Byrom's shorthand in 1766 and continued undoubtedly, that England had in hys time." Two English it to the time of his death. In it he records his own mental speeches composed by Russell, for the intended parliament condition and religious exercises, entering with a certain morbid of Edward V., and the first parliament of Richard III., are ingenuity into long disquisitions, and only occasionally record-printed in Nichols's Grants of Edward V. (Camden Soc.). Some ing information concerning his sitters. His religious life is other writings of less interest remain in manuscript. the key to his complex character, as it actuated his whole career. He obtained the gold medal at the Royal Academy for figure drawing in 1770 and exhibited from the beginning of the Academy down to 1805. He was the finest painter in crayons England ever produced, and although he painted in oil, in water-colours and in miniature, it was by his works in crayon that his reputation was made. He wrote the Elements of Painting in Crayon, and described in it his method. He made his own crayons, blending them on his pictures by a peculiar method termed 'sweetening." This he carried out with his fingers, rubbing in the colours and softening them in outline, uniting colour to colour so accurately that they melt into one another with a characteristic cadence. His pastel work is to oil painting what the vaudeville is to the tragedy or the sonnet to the epic." His colours were pure and his blending so perfect that no change is to be seen in his works since they were executed. Sir Joseph Banks, writing in 1789 respecting his portraits of the president, of Lady, Mrs and Miss Banks, stated that "the oil pictures of the present time fade quicker than the persons they are intended to present, but the colours made use of by Russell will stand for ever," and in that prophecy is so far justified. 66 An important picture by him hangs in the Louvre ("Child with Cherries"), and two, including "The Old Bathing Man "The Old Bathing Man at Brighton," are owned by the crown. At the Royal Academy, of which he was a member, he exhibited three hundred and thirty works, and his portraits were engraved by Collyer, Turner, Heath, Dean, Bartolozzi, Trotter and other prominent engravers. Russell received warrants of appointment to the king, queen, prince of Wales and the duke of York. He was interested in astronomy, a friend of Sir W. Herschell, and no mean mathematician. He drew an exceedingly accurate map of the moon, and invented a piece of complicated mechanism for exhibiting its phenomena, publishing a pamphlet, illustrated by his own drawings, describing the apparatus. Two of his sons inherited their father's talent, and one of them, William (1780–1870), exhibited five fine portraits in the Royal Academy. See George C. Williamson, John Russell (London, 1894). (G. C. W.) RUSSELL, JOHN (d. 1494), English bishop and chancellor, was admitted to Winchester College in 1443, and in 1449 went to Oxford as fellow of New College. He resigned his fellowship in 1462, and appears to have entered the royal service. In April 1467 and January 1468 he was employed on missions to Charles the Bold at Bruges. He was there again in February 1470 as one of the envoys to invest Charles with the Garter: the Latin speech which Russell delivered on this last occasion was one of Caxton's earliest publications, probably printed for him at Bruges by Colard Mansion (see Blades, Life of Caxton, i. p. vii., ii. 29-31). In May 1474 he was promoted to be keeper of the privy seal, and retained his office even after his RUSSELL, JOHN RUSSELL, IST EARL (1792-1878), British statesman, third son of the 6th duke of Bedford, by Georgiana Elizabeth Byng, second daughter of the 4th Viscount Torrington, was born in London on the 18th of August 1792. He was sent to a private school at Sunbury in 1800, and from 1803 to 1804 he was at Westminster School, but was then withdrawn on account of his delicate health. From 1805 to 1808 he was with a private tutor at Woodnesborough, near Sandwich. After travelling in Scotland and in Spain, he studied from the autumn of 1809 to 1812 at the university of Edinburgh, then the academic centre of Liberalism, and dwelt in the house of Professor John Playfair. On leaving the university, he travelled in Portugal and Spain, but on the 4th of May 1813 he was returned for the ducal borough of Tavistock and thereupon came back to England. In foreign politics Lord John Russell's oratorical talents were especially shown in his struggles to prevent the union of Norway and Sweden. In domestic questions he cast in his lot with those who opposed the repressive measures of 1817, and protested that the causes of the discontent at home should be removed by remedial legislation. When failure attended all his efforts he resigned his seat for Tavistock in March 1817, and meditated permanent withdrawal from public life, but was dissuaded from this step by the arguments of his friends, and especially by a poetic appeal from his friend Tom Moore. In the parliament of 1818-20 he again represented the family borough in Devon, and in May 1819 began his long advocacy of parliamentary reform by moving for an inquiry into the corruption which prevailed in the Cornish constituency of Grampound. During the first parliament (1820-26) of George IV. he sat for the county of Huntingdon, and secured in 1821 the disfranchisement of Grampound, but the seats were not transferred to the constituency which he desired. Lord John Russell paid the penalty for his advocacy of Catholic emancipation with the loss in 1826. of his seat for Huntingdon county, but he found a shelter in the Irish borough of Bandon Bridge. He led the attack against the Test Acts by carrying in February 1828 with a majority of forty-four a motion for a committee to inquire into their operations, and after this decisive victory they were repealed (9th of May 1828). He warmly supported the Wellington ministry when it realized that the king's government could only be carried on by the passing of a Catholic Relief Act (April 1829). For the greater part of the shortlived parliament of 1830-31 he served his old constituency of Tavistock, having been beaten in a contest for Bedford county at the general election by one vote; and when Lord Grey's |