- Roman Republic,’ New York, 1854.
- ‘Persons and Pictures from French and English History,’ 1854.
- ‘History of the French Protestant Refugees,’ by C. Weiss (a translation), 1854.
- ‘Sherwood Forest,’ 1855.
- ‘Memoirs of Henry VIII of England and his Six Wives,’ New York, 1858, 12mo.
- ‘Fugitive Sporting Sketches’ (edited by William Wildwood), 1879.
- ‘Poems’ (edited by Morgan Herbert), 1887.
- ‘The Royal Maries of Mediaeval History’ (left in manuscript).
The works published under the name of Frank Forester were:
- ‘My Shooting Box,’ Philadelphia, 1846, 12mo; another edition 1851.
- ‘Field Sports of the United States and the British Provinces of America,’ London,1848,2vols.; 4th edition,New York, 1852.
- ‘The Warwick Woodlands,’ 1849; new edition 1851.
- ‘Frank Forester and his Friends,’ London, 1849,3 vols.
- ‘Fish and Fishing in the United States and British Provinces of North America,’ London, 1849-1850, 2 vols.
- ‘The Deerstalker,’ 1850.
- ‘Complete Manual for Young Sportsmen,’ 1852.
- ‘The Old Forest Ranger’ (edited by F. Forester), 1853.
- ‘Young Sportsman's Complete Manual of Fowling, Fishing, and Field Sports in general,’ 1852.
- ‘Sporting Scenes and Characters,’ Philadelphia, 1857, 2 vols.
- ‘Horse and Horsemanship of the United States and British Provinces,’ New York, 1857, 2 vols.; abridged as ‘Hints to Horse-keepers,’ 1859.
- ‘The Dog,’ by Dinks, Mayhew, and Hutchinson (edited by F. Forester), 1857.
[Judd's Life and Writings of F. Forester, 1882, 2 vols., with portrait; Picton's Frank Forester's Life and Writings, 1881; International Mag. New York, 1 June 1851, pp. 289-291, with portrait; Appleton's Cyclopædia of American Biography, 1877, iii. 179-80, with portrait ; Allibone, i. 830; New York Herald, May 1858; Duyckinck's Cyclop. of American Lit. 1877, pp. 289-90, with portrait.]
HERBERT, JOHN ROGERS (1810–1890), portrait and historical painter, was born on 23 Jan. 1810 at Maldon in Essex, where his father was a controller of customs. He came to London in 1826, and was admitted a student of the Royal Academy, where in 1830 appeared his first exhibited picture, a ‘Portrait of a Country Boy.’ He continued for some years to paint portraits for a livelihood, but varied his work by designing book illustrations and painting romantic and ideal subjects, which were often suggested by the poetry of Byron. The first of these to attract attention was ‘The Appointed Hour,’ a picture representing a Venetian lover lying assassinated at the foot of a staircase which his mistress is hastening to descend. It was exhibited at the British Institution in 1834, and engraved by John C. Bromley, and again by Charles Rolls for the ‘Keepsake’ of 1836. This success induced Herbert to visit Italy, in order to gather materials for fresh subjects. In 1836 he sent to the Royal Academy ‘Captives detained for Ransom by Condottieri:’ in 1837, ‘Desdemona interceding for Cassio;’ and in 1838, to the British Institution, ‘Haidee,’ ‘The Elopement of Bianca Capello,’ and ‘The Signal,’ engraved, together with ‘The Lady Ida,’ by Lumb Stocks for the ‘Keepsake’ of 1841. ‘The Brides of Venice’ appeared at the Royal Academy in 1839, and this was followed in 1840 by ‘Boar-hunters refreshed at St. Augustine's Monastery, Canterbury.’ About the same time he became a convert to the church of Rome, chiefly through the influence of Augustus Welby Pugin [q. v.], whose portrait he afterwards painted. He exhibited at the Academy in 1841 ‘Pirates of Istria bearing oft the Brides of Venice from the Cathedral of Olivolo,’ engraved with other subjects in Roscoe's ‘Legends of Venice’ (London, 1841, 4to), but henceforward his works were more frequently of a religious character, and often imbued with the reverent spirit of mediaeval art.
Herbert was elected an associate of the Royal Academy in 1841, and on the formation of the government school of design at Somerset House in the same year he was appointed one of the masters. In 1842 his contributions to the Academy were ‘The First Introduction of Christianity into Britain’ and a portrait of Cardinal Wiseman; in 1843, ‘Christ and the Woman of Samaria,’ engraved by Samuel Bellin; and in 1844, ‘Sir Thomas More and his Daughter observing from the Prison Window the Monks going to Execution,’ engraved by John Outrim, and ‘The Acquittal of the Seven Bishops,’ engraved by S. W. Reynolds, but painted some years earlier. In 1846 Herbert became a royal academician, and presented as his diploma work ‘St. Gregory the Great teaching the Roman Boys to sing the Chant which has received his Name,’ exhibited the year before. In 1847 he sent to the Academy ‘Our Saviour subject to his Parents at Nazareth,’ and in 1848 ‘St. John the Baptist reproving Herod.’ About this time he painted also the ‘Assertion of Liberty of Conscience by the Independents in the Westminster Assembly of Divines, 1644,’ engraved by S. Bellin. For the decoration of the houses of parliament Herbert was commissioned to paint in fresco in the poets' hall ‘King Lear disinheriting Cordelia,’ a
