ROYAL ACADEMY OF ARTS IN LONDON. At the accession of George III., painting, sculpture, and architecture, notwithstanding there were eminent artists in all these branches, were in a lower state in Great Britain than in most parts of Europe. Foreign critics (lid not hesitate to assert, that the ungenial climate or the physical defects of the English presented insuperable obstacles to the attainment of excellence in the arts. Whether these opinions induced the young king to turn his attention to the subject, and endeavour to remove this national stigma, cannot now be known, but it is certain that he soon began to show a strong disposition to encourage the arts.
This avowed disposition of the king encouraged the artists of the metropolis to endeavour to establish an academy of art somewhat similar to that which had long been in successful operation in France. A privateacademy or association of painters had been formed as early as 1711, under the presidency of Sir Godfrey Kneller ; but differences arose between the foreign artists (then an important and comparatively nume rous body in London) and the English members, when the latter, with Sir J amea Thornhill at their head, seceded and opened in 1724 a new academy. On the dostli of Thornhill, ten years later, his eon-in-law proposed to the old society to reunite, and the two bodies formed the well-known "Academy In St. Martin's Lane." All these were, however, rather schools for drawing from the living model and the antique, and pro moting mutual intercourse among the artists, than academies on the csntinental model : that is, in which instruction should be given in painting, sculpture, and architecture, and certain marks of distinction be conferred on the most successful professors of those arts. Several projects had, however, been put forward for the foundation of a royal acaileinv : among others one by Sir James Thornhill, prior to the establishment of the private one above mentioned ; one by Gwynn, the architect, in 1749 ; one in 1753 by the members of the St. Martin's Lane Academy, which probably fell to the ground through the oppo sition of Hogarth ; and another, of which the proposals were issued in 1755. The next effort was more successful. An institution which had been formed in 1754, called " A Society for the Encouragement of Arts, Manufactures, and Commerce in Great Britain," was the first which included among its objects the offering of rewards to the fine arts. In 1760, with the assistance of the above-mentioned Society, who liberally allowed the use of their great room for the purpose, the artists were enabled to open the first public exhibition, which though not entirely satisfactory to the promoters, attracted great attention, and was for several season, successfully followed by a similar display of their talents at a large room of their own in Spring Gardens. The associated artists were in consequence induced to apply to the king for a charter, which they readily obtained, and in 1765 they were con atituted a body corporate under the title of " The Incorporated Society of Artists." The way was thus paved for the institution of the Royal
Academy; but its immediate cause was a schism which took place in the " Society " soon after their incorporation. It arose from the claim set up by the directors to fill up all vacancies in their own body ; this the members refused to allow, and the directore (seceded. They were , all men of position and Influence, and they at once determined to establish a new and more restricted Institution on the model of the French Academy, If they could obtain the protection and patronage of the king. W. Chambers, F. Cotes, 0. 31. Moser, and II. West pre sented to him a memorial signed by twenty-two artiste, the purport of which wa.s to show the probability that with his royal sanction and ncouragement, and by means of an annual exhibition of their works, they would soon be'able to raise eufficient funds for the support of a gratuitous national school of art. The memorial stated, "The two principal objects which we have in view are the establishing a well regulated (school or academy of design, and an annual exhibition open to all artists of distinguished merit ; wo apprehending that the profits arising from the last of these institutions will fully answer all the expenses of the first ; we even flatter ourselves that they will be more than necessary for that purpose, and that we shall be enabled annually to distribute somewhat in useful charities." The proposal was graciously received. The plan of a constitution was drawn up by Mr. Chambers, and laid before the king, which he approved, and signed on the 10th of December, 1768. Thus was founded " The Royal Academy of Arts in London, for the purpose of cultivating and improving tho arts of painting, sculpture, and architecture." The artists who signed this memorial were : Benjamin West, Francesco Zuccarelli, Nathaniel Dance, Richard Wilson, George Michael Moser, Samuel Wale, J. Baptist Cipriani, Jeremiah Meyer, Angelica Kauffman, Charles Cotton, Francesco Bartolozzi, Francis Cotes, Edward Penny, George Barrett, Paul Sandby, Richard Yeo, Mary Moser; Agostino Carlini, William Chambers, Joseph Wilton, Francis Milner Newton, Francis Hayman. These, with John Baker, Mason Chamberlin, John Gwynn, Thomas Gainsborough, Dominick Serres, l'eter Toms, Nathaniel Hone, Joshua Reynolds, John Richards, Thomas Sandby, George Dance, Francis Hayman, William Hoare of Bath, and Johan Zoffani, composed the original thirty-six academicians. The number forty was not completed till 1780—by the addition of Edward Burch, Richard Cosway, Joseph Nollekens, and James Barry. Their first meeting was held on the 14th of December, when the following officers were elected, namely : J. Reynolds, President ; G. M. Moser, Keeper ; F. M. Newton, Secretary ; E. Penny, Professor of Painting ; T. Sandby, Professor of Architecture ; J. Wall, Professor of Perspective : Dr. William Hunter, Professor of Anatomy. The king appointed William Chambers Treasurer, and R. Wilson Librarian.