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Exhibitions. In 1815 he sent a 'Model for a National Monument in St. Paul's;' in 1817, 'Prometheus Chained;' in 1819, 'Adam and Eve;' and in that and the following year a 'Model for a National Monument.' With these works he exhibited busts, and was a frequent competitor for public works. Two of the public monumental tablets in St. Paul's are by him, but he appears to have met with little encouragement. He exhibited for the last time in 1829.
KENDRICK, Miss Emma Eleonora, miniature painter. Daughter of the above. She first exhibited at the Academy in 1811, and became successful as a miniature painter, And was a large contributor to the Academy Exhibitions for many years. She was also, between 1815 and 1820, an 'exhibitor' at the Water-Colour Society, sending with her miniatures 'Cupid and Psyche,' 'Cleopatra dissolving the Pearl,' 'Dido expiring on the Funeral Pile.' In 1831 she was appointed miniature painter to the King. After 1835 she exhibited only on two or three occasions, the last in 1840. She also occasionally exhibited classic subjects and portraits at the Society of British Artists down to 1841. She published, in 1830, a work on Miniature Painting. She died April 6, 1871, aged 83.
KENNEDY, William Denholm, landscape and figure painter. Was born at Dumfries, June 16, 1813. He went to Edinburgh early in life, and was well educated there. In 1830 he came to London, and in 1833 entered the schools of the Royal Academy, where he gained the friendship of Etty, R.A., by whom his future art was influenced. In 1835 he was a successful competitor for the Academy gold medal—the subject 'Apollo and Idas,' and in 1840 he was elected to the travelling studentship. He went at once to Italy, where he studied about two years, returning with a large collection of studies and sketches. He first exhibited at the Academy in 1833, commencing with domestic subjects, and was a regular contributor up to 1841, when he went to Rome. In 1844, after his return, he exhibited some landscape compositions with figures, and thenceforth the influence of his Italian studies was apparent. With the exception of the years 1855, 1856, and 1857, he was an unwearied contributor to the Academy Exhibitions up to his death. He tried every class of subject, except portraiture, but his chief works were classic landscape compositions, founded upon Italian scenery— freely painted, rich in colour, and with groups of figures well introduced. But he was unable to maintain his early promise, and did not gain good places on the walls of the exhibition. His health also failed, and he fell into a state of despondency and neglect. He had suffered about two ears from dropsy, and was also tried by the loss of his brother, when on June 2, 1865, having the previous evening been left in his usual state of health, he was found dead in his bed. On an inquest, he was shown to have died from natural causes.
KENT, William, architect and painter. He was born of poor parents in Yorkshire, in 1685. After receiving the rudiments of a common education, he was apprenticed to a coach-painter, but ran away from his master and came to London about 1704. He had at least learnt the use of his colours, and tried to support himself as a portrait painter, making some attempts at history. It is said his genius gained him friends, who made a purse and sent him to Rome in 1710. There he studied painting, and gained a second-class medal. Continuing to devote himself to his studies, his first resources became exhausted, and one of his countrymen allowed him 40l. a year for seven years. Afterwards he gained the notice of Lord Burlington, who assisted and patronised him. He returned to England for a short time and made a second journey to Rome, and then coming back in 1719 he settled in London, and had an apartment in Lord Burlington's house. He first, through his patron's influence, found employment as a portrait painter, but his likenesses had no individuality, and were in every respect meretricious. He painted an altar-piece for St. Clement's Church in the Strand, which Hogarth, who did not spare him on other occasions, caricatured; and the bishop ordered its removal in 1725. He ventured to design the conceited monument of Shakespeare in Westminster Abbey. He then undertook ornamental design, to which his tastes were better suited. He decorated Wanstead House, Rainham, and several ceilings for Sir Robert Walpole at Hampton, in the usual allegorical style of the period, and the praises bestowed upon some of the architecture in these painted designs induced him to try that art, with which he combined landscape gardening, but his chief works are in architecture. He assisted Lord Burlington, who was an amateur in that art. He built Devonshire House, Piccadilly; the Earl of Yarborough's house in Arlington Street; the Horse Guards, Whitehall; and altered and decorated Stowe, Houghton, and Holkham, his favourite work—the elevation of which is mean and poor in its parts. He made another journey to Italy in 1730.
He had great influence on the taste of his day, and was consulted on every description of furniture, utensil, and even dress. He designed some of the illustrations for an edition of Gay's 'Fables,' Pope's Works, and Spenser's 'Faerie Queen,' all of them very poor. As an ornamental gardener he
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