the period of his death does not affect the calculation. Colgan suggests that the anachronisms are due to interpolations, and perhaps also what is said of the sons of Amalgaid may be referred to the tribes descended from them, and thus belonging to a later period than the narrative would lead one to expect. Colgan gives his life at 26 March, but is uncertain whether that or 13 Dec. is the right date. At the latter the Corbmac mentioned in the ‘Martyrology of Donegal’ seems to be our saint, and is called Cruimther [i.e. presbyter] Corbmac.
[Book of Lecan, Royal Irish Academy, fol. 60 a a; Colgan's Act. Sanct. p. 751; Martyrology of Donegal, O'Currey's MS. Materials, p. 351; Tribes and Customs of Hy Fiachrach, p. 7; Lanigan's Eccles. Hist. ii. 215; Keating's Hist. of Ireland, reign of Diarmuid Mac Fergusa; Annals of the Four Masters, A.D. 544.]
CORBOULD, HENRY (1787–1844), painter, son of Richard Corbould [q. v.], a landscape and miniature painter, was born in London on 11 Aug. 1787. He entered at an early age the schools of the Royal Academy, where he gained a silver medal for a study from the life, and while there obtained the friendship of Flaxman, Westmacott, Chantrey, and West, to whom he sat as a model in the pictures representing ‘Christ rejected’ and ‘Christ healing the Sick in the Temple.’ Corbould's first picture, ‘A Study,’ was hung in the Academy in 1807, when he resided at 70 John Street, Fitzroy Square. In 1808 he exhibited ‘Coriolanus.’ For a considerable time he was principally engaged in designing for book illustrations, such as ‘The Nightingale, a Collection of Songs set to Music,’ ‘Elegant Epistles from the most Eminent Writers,’ ‘The Beauties of Shakespeare,’ ‘The Works of Virgil, translated into English by John Dryden,’ ‘The Poetical Works of James Beattie, LL.D., and William Collins,’ ‘Logic, or the Right Use of Reason, by Isaac Watts, D.D.,’ &c. He was, however, employed for about thirty years by the trustees of the British Museum in making highly finished drawings from the Elgin and other marbles in that institution, which were afterwards published, and are now preserved in the department of prints and drawings. Corbould made drawings from the Duke of Bedford and Lord Egremont's collections; the Dilettanti Society, and the Society of Antiquaries, of which he was a distinguished member. Several of his pictures were engraved by John Bromley, Hopwood, and Robert Cooper. He designed in 1838 the diploma of ‘The Manchester Unity of the Independent Order of Odd Fellows,’ engraved by J. A. Wright. He also made the drawings for an edition of Camden's ‘History of England,’ most of which were engraved by W. Hawkins. Corbould was seized with apoplexy while riding from St. Leonard's to Hurst Green, Sussex, and expired at Robertsbridge, in about ten hours after the attack, on 9 Dec. 1844, and was buried in Etchingham Church, Sussex. He left four sons.
[Redgrave's Dict. of Artists of the English School; manuscript notes in the British Museum.]
CORBOULD, RICHARD (1757–1831), painter, born in London 18 April 1757, possessed talents of a very versatile kind, which he exercised in nearly every department of his art. He painted, both in oils and water-colours, portraits, landscapes, still life, and history, miniatures on enamel and ivory, also on porcelain, and occasionally etched. He was very clever at imitating the style of the old masters, and yet could show an originality of his own. He first appears as an exhibitor in 1776 at the Free Society of Artists, to which he sent ‘The Morning,’ after Claude Lorraine, a stained drawing, ‘A Bunch of Grapes,’ and another landscape. In 1777 he sent a miniature to the exhibition of the Royal Academy, and continued to exhibit there numerous pictures in varied styles up to 1811. Among these may be noticed: ‘Cottagers gathering Sticks’ (1793); four pictures representing ‘The Seasons’ (1794); ‘The Fisherman's Departure’ and ‘Return’ (1800); ‘The Millennial Age; Isaiah xi. 6, 8’ (1801), a picture very much admired at the time; ‘Eve caressing the Flock’ (1802); ‘Hero and Leander’ (1803); ‘Hannibal on his passage over the Alps, pointing out to his soldiers the fertile plains of Italy’ (1808); ‘Contemplation’ (1811). He last appears as an exhibitor in 1817 at the British Institution. It is, however, as a designer of illustrations for books that Corbould is most widely known. He was largely employed by publishers, and his illustrations, engraved by the best artists, show great taste, and occupy one of the highest places in that department of art. We may instance those that he contributed to Cooke's pocket editions of ‘English Classics’ (published 1795–1800), especially those for Richardson's ‘Pamela.’ Corbould resided for some years in John Street, Tottenham Court Road, but later in life removed to the north of London. He died at Highgate 26 July 1831, aged 74, and was buried in the churchyard of St. Andrew's, Holborn, Gray's Inn Road. He left a family of whom two sons, Henry [q. v.] and George Corbould, also distinguished themselves as painters.
