COLLINS, WILLIAM, ILA., was born in Great Tachfield-street, London, September 18, 17b7. His father, a native of Wicklow, was the author of varlet's works which attracted some notice in their day ; among others a poem on the slave trade, a novel entitled Memoirs of a Picture,' and a 'Life of George Slorland.' The elder Collins was a picture-dealer as well as an author, though in neither calling had he had much pecuniary success. Morland was a friend of his, and when his son began to exhibit a fondness for art and some skill in drawing, he readily obtained Morlaud's consent that the youth might stand beside him and watch him paint. William made tolerable progress in his pictorial studies. He entered in 1807 as a student at the Royal Academy at the same time as Etty, and in after life the two R.A.'s were fond of comparing their early drawings and subse quent progress. His earliest appearance as an exhibitor on the walls of the Royal Academy was in 1607, when he contributed two small Views ou Millbank,' and from that time, with the exception of two years when he was away in Italy, he did not miss an exhibition for the remaining nine-and-thirty years of his life. His father's death in 1812 threw upon the young painter serious responsibilities, but these only stimulated him to increased exertions. For some time he was forced to paint portraits as the readiest means of securing a moderate income, but his landscapes and rustic groups began to make their way, and he was soon enabled to follow the bent of hia genius. Almost from the first he showed his fondness for painting groups of homely children engaged in some favourite diversion, or taking part in some juveuile trick ; but it was not till the year following his election as associate of the academy, which took place in 1814, that he struck into that path—the representation of coast scenery—which perhaps most surely led him to fame aud fortune. From that time—indeed, from some three.-or four years previous —Collins never wanted patrons; his course from first to last was one of moderate but unbroken success.
As a painter of rustic life, or rather, perhaps, we ought to say of country children and homely couutry scenery, Collins had hardly a rival. He watched the habits and noted every movement of the rough and unsophisticated urchins, and seldom failed to depict them in their most natural and unrestrained gaiety. Swinging on a gate, happy as a king ; ' gazing with unbounded admiration at the newly born puppy; enticing the stray kitten ; ' outwitted by the saucy robin just at the moment when making sure that the pinch of salt was about to fall on the bird's tail ; exhibiting the fresh-found nest; buying the cherriea,—however the youngsters were represented the truth of the portraiture was at once apparent : and some quaint or novel incident was sure to be added, which marked more graphically than even the principal feature, the keenness of the painter's eye, and the skilfulness of his hand. In his coast scenes these characteristics were equally
visible ; and equally evident al-o was his happiness iu his choice of a subject. In neither was there ever any attempt to surprise or excite. The painter knew exactly what was within the range of his powers. He saw his subject clearly ; knew what he meant to accomplish, and seldom failed to accomplish it. Hence his pictures, apart altogether from their artistic skill, always appear to have a purpose. They show that there was something which really interested and pleased the painter, and as a consequence the spectator is himself also interested end pleased. But their technical qualities are of a very high order. Collins had an excellent eye for form, chiaroscuro, nod colour. From the first he painted always with the greatest conscientiousness. He never slighted any part of his work, and always did his best; and hence his course exhibited continual progress. In hie earlierpictures there may be traced something of feebleness arising from an excess of anxiety to render his work perfect. But, with increased command over his materials, he gradually acquired greater breadth and vigour; and though he always continued to finish his pictures with scrupulous care, he early recognised the truth of the axiom that mere correctness of detail is not finish. And then with this technical and manipulative skill there was shown a close study of nature. The receding or advancing wave, the moist or parched sand, the teeming clouds, every phase and every feature of earth, and sea, and sky, were faithfully observed and unobtrusively represented. No wonder that in a country like this, where every one who can turns to the scenery of nature with never-tiring zest, such faithful transcripts of her com moner aspects, animated too by life-like groups of those peasant children who, to city dwellers at least, always seem so genuine a part of the scenery, should have found abundant admirers and ready purchasers.