In 1414 Patrington was employed as a commissary at Oxford against the lollards. On 1 Feb. 1415 he was provided to the bishopric of St. David's. On 6 April he received a grant of the temporalities of that see during the vacancy (Fœdera, ix. 217). On 9 June he was consecrated by Archbishop Chichele at Maidstone, and on 16 June the temporalities were formally restored. Patrington is said to have afterwards gone to the council of Constance. In 1416 he was offered the bishopric of Chichester, but was at first reluctant to leave St. David's because it was poor. However, on 27 Aug. 1416 he received the custody of the temporalities of Chichester (ib. ix. 384). On 8 Nov. 1417 he had letters of protection, as he was going abroad with the king (ib. ix. 509). On 15 Dec. 1417 he was papally provided to Chichester. But he must have died very shortly after, or even before this, for his will, dated 16 Nov. 1417, was proved on 29 Dec., and application was made for leave to elect a successor at Chichester on 3 Jan. 1418 (ib. ix. 537). Bale and Weever, however, give the date of his death as 22 Sept. 1417. He is said to have been buried in the choir of the Whitefriars Church at London. Weever quotes his epitaph, beginning:
Hic frater Stephanus de Patrington requiescit;
Nomine reque fuit norma, corona, pater.
Walsingham describes him as a man learned in the Trivium and Quadrivium (Hist. Angl. ii. 300). Thomas Netter [q. v.] owed his early advancement to Patrington.
Patrington is credited with the usual lectures on the sentences, determinations, and quæstiones, besides sermons and a commentary on the Epistle to Titus. He is also said to have written against the lollards, and especially against Nicholas of Hereford [see Nicholas]. Other writings ascribed to him are: 1. ‘De Sacerdotali functione.’ 2. ‘Contra statutum parliamenti,’ in opposition to the law against the admission of any one under twenty-one years of age to the mendicant orders. 3. ‘In Fabulas Æsopi.’ 4. ‘Commentarii in Theodulum,’ i.e. a gloss on the pastoral poem ‘Ecloga’ of Theodulus Italus. Dr. Shirley has suggested that Patrington may have been the original author of the narrative which formed the basis of the ‘Fasciculi Zizaniorum’ [see under Netter, Thomas]. With this possible exception, none of his writings appear to have survived.
[Bale's Heliades in Harl. MS. 3838, ff. 33b, 90, 193–4; Tanner's Bibl. Brit.-Hib. p. 581; Le Neve's Fasti Eccl. Angl. i. 244, 296; Weever's Funerall Monuments, pp. 437–8; Villiers de St. Etienne's Bibl. Carmel. ii. 764–6; Godwin, De Præsulibus Angliæ, pp. 509, 582, ed. Richardson; Rymer's Fœdera, orig. ed.; Fasciculi Zizaniorum, pp. 289, 295, 316, and Preface, p. lxvii.]
PATTEN, GEORGE (1801–1865), portrait and historical painter, born on 29 June 1801, was son of William Patten, a miniature-painter, whose works were exhibited at the Royal Academy between 1791 and 1844, and who died on 22 Aug. 1843. He received his early training in art from his father, and in 1816 became a student in the Royal Academy, where he first exhibited a miniature of his father in 1819. In 1828 he took the unusual course of again entering the schools of the academy, in order that he might make himself proficient in oil-painting, the practice of which he adopted in 1830, in preference to that of miniature-painting. In 1837 he went to Italy, visiting Rome, Venice, and Parma; and on his return to England he was elected an associate of the Royal Academy. Early in 1840 he went to Germany to paint a portrait of Prince Albert, which was exhibited at the Royal Academy, and engraved by Charles Eden Wagstaff. He was afterwards appointed portrait-painter in ordinary to the Prince Consort, and obtained a considerable amount of patronage in the painting of presentation portraits, many of which appeared in the exhibitions of the Royal Academy. Among these were portraits of Richard Cobden, Lord Francis Egerton (afterwards Earl of Ellesmere), Dr. Hugh M'Neile, the Hon. and Rev. Baptist W. Noel, and Paganini the violinist, exhibited in 1833, and remarkable as having been the only portrait ever painted of the famous musician. He exhibited his own portrait in 1858. He painted also a number of mythological and fancy, and a few scriptural, subjects, among which were ‘A Nymph and Child,’ exhibited at the Royal Academy in 1831; ‘A Bacchante’ in 1833; ‘Maternal Affection’ and ‘Cymon and Iphigenia’ in 1834; ‘Bacchus and Ino’ in 1836; ‘The Passions,’ suggested by the well-known ode by Collins, in 1838; ‘Hymen burning the Arrows of Cupid’ and ‘Eve’ in 1842; ‘Dante's Descent with Virgil to the Inferno’ in 1843; ‘The Madness of Hercules’ in 1844; ‘The Mouse's Petition’ in 1845; ‘Pandora’ in 1846; ‘Cupid taught by the Graces’ and ‘Flora and Zephyrus’ in 1848; ‘The Destruction of Idolatry in England’ in 1849; ‘Susannah and the Elders’ and ‘Bacchus discovering the use of the Grape’ in 1850; ‘Love defending Beauty from the Assaults of Time’ in 1851; ‘Apollo and Clytie’ in 1857; ‘The Bower of Bliss’ in 1858; ‘The Prophet Isaiah’ in 1860; and ‘The Youthful Apollo preparing to en-
