HIL
HIN
by himself. He died at 17 Golden Square. May 14, 1844, and was buried in Kensal Green Cemetery.
He was an animal painter, confining himself exclusively to water-colours, but he placed his animals in sweet bits of ap- propriate scenery. He was a most pains- taking sketcher of animals from nature, chiefly in pencil, with frequent indications of surrounding park or rural scenery. Many of his sketches are covered with hieroglyphic notes, apparently a sort of shorthand. From these stores he made his pictures, seldom painting direct from nature. This deprives his work of that clear, vigorous execution, the freshness, and the incidents, which no amount of knowledge can give in the studio. Yet there is great merit in the composition, character, and careful finish of his works. His later drawings, however, became woolly in appearance ana over-wrought, hot, ana disagreeably foxy in colour. His etchings show great character, but do not usually extend beyond the outline, with some slight indications of light and shade. He often worked in connection with Robson and sometimes with Barret.
HILTON, William, portrait painter. Born at Newark. He painted the scenery for a company of actors who played at the chief towns in the Eastern counties, and afterwards practised as a portrait painter at Norwich, and for a time at Lincoln and in London. He exhibited portraits at the Academy in 1776 and 1783. He died 1822. *
HILTON, William, R.A., history painter. Son of the above. Was born at Lincoln, June 3, 1786. His father pur- posed to apprentice him to a trade, but he showed an early attachment to art, and upon his earnest entreaties, and by the assistance of friends, he was taught draw- ing, and became the pupil of Raphael Smith, the mezzo-tint engraver. In 1806 he entered the Academy Schools, and at the same time studying anatomy, he soon mastered the figure. His first known works are a series of well-finished designs in oil for an edition of ' The Mirror,' and if or * The Citizen of the World. 7 He painted the portraits of one or two friends, but did not seek to eke out his means by portraiture, though they were evidently straitened.
He first appears as an exhibitor as early as 1803, and continued to contribute a classic or historic work up to 181 1, when he appears with an ' Entombment of Christ/ for which he was awarded a second pre- mium by the British Institution, having received a premium of 50 guineas in the previous year. This work was followed by 4 Christ restoring sight to the Blind/ and 'Mary anointing the feet of Jesus/ and for this latter work he was fortunate to 212
find a sale to the directors of the Institu- tion, who in 1825 purchased also his fine work, 'Christ crowned with Thorns.' Though bis art was not of a class to be popular, his great merit was early recog- nised by his professional brethren. In 1813 he was elected an associate of the Academy. In 1818 he visited Italy, saw the Art of Rome, and in 1820 gained his full membership. At this time he pro- duced some of his best works, exhibiting one picture annually — in 1821, 'Nature blowmg Bubbles for her Children ; ' in 1823, ' Comus, the Lady in the Enchanted Chair;' in 1825, 'Christ crowned with Thorns;' in 1827, 'The Crucifixion.'
He was, both by his acquirements and disposition, well fitted as a teacher, and in 1827 was selected for the office of keeper, and continuing to paint great works, he exhibited, in 1831, nis 'Sir Calepine res- cuing Serena' and 'The Angel releasing St. Peter from Prison ; ' in 1832, his ' Una ' (engraved for the Art Union); in 1834, his 'Editha seeking the dead body of Harold/ for which the directors of the Institution awarded him a complimentary sum of 100/. ; and in 1838 his last work, 'Herod.' He had in 1828 married the sister of his friend and pupil, Peter de Wint, but had the misfortune to lose his wife in 1835. Naturally reserved and silent, shunning all notoriety, the loss fell heavily upon him; it aggravated an asthmatic complaint from which he suffered. He lost vigour and spirits, and though eager to work, he became unable to finish any- thing ; and wasting away, he died December 30, 1839, in his 54th year. He was buried in the yard of Savoy Chapel, Strand.
The neglect and want of appreciation of his works must have weighed heavily upon him, and it is probable prevented the full development of his powers. On his death several of his finest works remained unsold, and the students of the Academy expressed their regard for him by purchasing and presenting to the National Gallery his 'Sir Calepine.' This, and other works, will not fail to maintain his reputation if they will endure; but they are suffering from the unfortunate pigments, chieflj asphaltum, which he employed. The ' Sir Calepine' and his 'Editha,' also in the National collection, are falling into hopeless decay. Hisgreat triptych, ' The Crucifixion/ at Liverpool, is also in a state of dilapida- tion. It is a noble work, grand in its con- ception and treatment; the action of his figures fine, the drawing good ; and more original than his Scripture subjects gener- ally, which have a leaning to precedent.
HINCHLIFFE, John Ellet, sculptor. Was for the 20 years preceding the death of Flaxman, R.A., his chief assistant, and after his death completed several of his
