that of LL.D. from Cambridge. In 1862 he was president of the British Medical Association, and in 1869 he became president of the Royal Medical and Chirurgical Society. In 1870 he was made physician extraordinary to the queen, and in 1873, on the death of Sir Henry Holland [q. v.], he became physician in ordinary. In 1874 he was created a baronet. He was also a member of the senate of the London University. On 11 Dec. 1880 he was elected honorary fellow of Caius College.
Burrows continued to see patients at his residence, 18 Cavendish Square, until shortly before his death, when he became incapacitated by bronchitis and emphysema, to which he ultimately succumbed. He died in Cavendish Square on 12 Dec. 1887, in his eighty-seventh year, and was buried at Highgate cemetery on Saturday, 17 Dec. 1887. On 18 Sept. 1834 he married Elinor, youngest daughter of John Abernethy, by whom he had eight children; two children died in early life, and three sons, who attained to manhood, predeceased him. Lady Burrows died in 18B2.
In person Burrows was tall, well formed, with handsome and expressive features; his voice was clear, he always spoke briefly and to the point. There is a portrait of him by Knight in the great hall of St. Bartholomew’s Hospital; it was painted by subscription from his friends and pupils in 1866. A second portrait in his robes as president of the Royal College of Physicians, by W. Richmond, R.A., painted about 1874, is now in the possession of his son, Sir F. A. Burrows, bart., at 33 Ennismore Gardens, London. There is also a bust, executed about 1875, by Wugmuller, at the Royal College of Physicians, and a replica, executed in 1898, by Danta Sodini of Florence, in the hall of the General Medical Council, Oxford Street, London, W.
Burrows’s Lumleian lectures ‘On Disorders of the Cerebral Circulation and the Connection between Affections of the Brain and Diseases of the Heart’ were published in book form in 1846. In them he explained and illustrated experimentally the condition of the circulation in the brain under varying conditions of pressure. In 1840 and 1841 he wrote the articles on ‘Rubeola and Scarlet Fever’ and on ‘Hæmorrhages’ in Tweedie’s ‘Library of Medicine.’ He also published ‘Clinical Lectures on Medicine’ in the ‘Medical Times and Gazette,’ and papers in the ‘Medico-Chirurgical Transactions,’ vols, xxvii. and xxx.
[British Medical Journal, 1887; The Lancet, 1887; Churchill’s Medical Direct.; Lodge’s Baronetage; information supplied by his son-in-law, Alfred Willett, esq., F.R.C.S., of 36 Wimpole Street; Memoir by Sir James Paget in the St. Bartholomew’s Hospital Reports, 1887; Venn’s Biogr. Hist, of Gonville and Caius Coll. 1898, ii. 179.]
BURTON, Sir FREDERIC WILLIAM (1816–1900), painter in water-colours and director of the National Gallery, London, was born on 8 April 1816 at Corofin House on Inchiquin Lake, co. Clare, Ireland. He was the third son of Samuel Frederic Burton, a gentleman of private means and distinguished as an amateur landscape painter, who possessed considerable property at Murgret, co. Limerick; he traced his descent in a direct line from Sir Edward Burton of York, who, for his loyalty and military services in the wars of the Roses, was made a knight-banneret by Edward IV in 1460. Sir Edward’s grandson Edward was the founder of the family of the Burtons of Longnor Hall in Shropshire. Thomas and Francis, two sons of Edward Burton of Longnor, settled in Ireland in 1610, and acquired considerable landed property in co. Clare. From this Francis Sir Frederic Burton’s father was lineally descended. His mother, Hannah, was the daughter of Robert Mallet, civil engineer of Dublin.
In 1826 the Burtons removed to Dublin for the purpose of completing the education of their younger children; and here Frederic, who had very early developed a great love of art, received his elementary instruction in drawing under the brothers Brocas. At this time, while copying a picture in the Dublin National Gallery, by his great personal beauty, as well as by the promise of his work, he attracted the attention of George Petrie [q. v.], landscape painter and archæologist, which grew into a lifelong friendship. For a time Burton’s artistic work was influenced by that of Petrie. But very early he developed a vigour in the grasp of his subject and a command of colour which Petrie, with all his refinement of feeling, never attained. He made such rapid progress in his art that in 1837, when he was only twenty-one, he was elected an associate of the Royal Hibernian Academy, of which he became a full member in 1839. He first acquired distinction as a painter of miniatures and water-colour portraits. But in 1839 a drawing of a Jewish rabbi gave promise of what he was to be in a higher field of art. This was confirmed in 1840 by his ‘Blind Girl at the Holy Well,’ and in 1841 by his ‘Aran Fisherman’s Drowned Child,’ and his ‘Connaught Toilette.’ The first two of these drawings were acquired by the Irish Art Union, and finely engraved for their subscribers. The ‘Connaught Toilette,’ if a
