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              <text>Lawrence Alma Tadema was born on January 8, 1836, in the small but wealthy village of Dronrijp, Friesland (Netherlands). Tadema attended the gymnasium of Leeuwarden, where he was first exposed to the literature and history of ancient Greece and Rome, on which he would draw for the duration of his career. At sixteen, Tadema began his training at the Academy of Art in Antwerp, where he would become the pupil of Van Leys, whose style had considerable influence on the young artist. In 1863, Tadema, newly married, visited Italy for the first time. Tadema’s observations of the first systematic excavations at Pompeii inspired him to create paintings that depicted genre scenes set in Antiquity. Followed several years of productive work. In 1867, Tadema, weary perhaps of the Classical quotidian, turned to Classical historical subjects. (He did not, however, abandon genre scenes.) First among these was The Praetorians Summoning Claudius to the Imperial Throne After the Murder of Caligula (1867). This marked a trend that, starting in 1865, would continue to dominate his art: the depiction of Ancient Rome. &#13;
Possibly acting on the advice of the art dealer Ernest Gambart, in 1870, Tadema moved to England, where his works were more appreciated and sold for considerably greater prices. The immediate cause for Tadema’s departure was probably the outbreak of the Franco-Prussian war. In London, he settled in Townshend House, Regent's Park, where he soon resumed his artistic production. During the 1870s, Tadema made several trips to Italy. In 1874 he had gone for a visit to Rome, where he painted several works that won him a gold medal in Berlin followed by the award of the Prussian Order of Merit in 1881. In 1876, Tadema became an associate of the Royal Academy and an academician three years later.&#13;
In 1886, Tadema moved to his second residence in London in Grove End Road, St John's Wood. This house the artist altered considerably to his liking. Among the most important aspects of the house was the studio, which was designed to simulate Mediterranean light even in the winter months. As he started working in this studio, Tadema’s paintings changed: interiors of warm colors gave way to outside scenes dominated by marble architecture and set against the backdrop of Mediterranean seascapes. In the 1880s, as in the 1870s, his art production was mostly devoted to Roman subjects. This sustained interest in Roman Antiquity was supported by a large library and an extensive reference collection. &#13;
Tadema’s last decades were less productive though he did participate and win awards in Paris Exposition Universelle in 1889 and 1900. The decoration of his new house and his interest in theatre, not to mention his declining health, reduced the time he dedicated to painting. In 1890, he became a member of Oxford University Dramatic Society. His knighthood (1899) and the Order of Merit he received in 1905 testify to his high status in Victorian society. Tadema died on June 25, 1912, in Wiesbaden, Germany, and was buried in St Paul's Cathedral, London, on July 5. The same year a memorial exhibition was held at the Royal Academy in his honor. </text>
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              <text>&lt;p&gt;Ebers, Georg. Lawrence Alma Tadema: His Life and Works. London: W. S. Gottsberger, 1886.&lt;/p&gt;
&lt;p&gt;J. Barrow, Rosemary. Lawrence Alma-Tadema. New York: Phaidon Press, 2003.&lt;/p&gt;
Barrow, Rosemary. “Tadema, Sir Lawrence Alma- (1836–1912).” Rosemary Barrow In &lt;em&gt;Oxford Dictionary of National Biography&lt;/em&gt;, edited by H. C. G. Matthew and Brian Harrison. Oxford: OUP, 2004. Online ed., edited by David Cannadine, May 2011.</text>
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              <text>Born on May 9, 1801 in Victoria Terrace, Exeter, Samuel Cousins was educated at the Exeter episcopal school. His talent for drawing, particularly making portraits and copies of engravings, was displayed in the early school days. In 1812, his drawings (offered for sale at a local shop) caught the eye of Captain T. M. Bagnold, R. M, who recommended them to the attention of the Society of Arts in London. For his drawings, young Cousins received a silver palette award (1812) and a silver Isis medal (1813). The patronage of Sir Thomas Dyke Acland allowed the young Cousins to be sent to London. Thus began his artistic career. This time, his drawings had impressed one of the main engravers in England at the time, S. W. Reynolds, who took Cousins as his apprentice in 1814. By 1826 Cousins was working independently and had produced his first two prints. &#13;
Cousins’ successful career was closely connected to the popular artists of his time, whose paintings he reproduced in his prints. Especially well-known were his prints after two presidents of the Royal Academy: Sirs. Joshua Reynolds and Thomas Lawrence. In November 1835, less than a decade after establishing himself as an independent artist, Cousins was elected Associate Engraver of the Royal Academy. Also in the 1830s, Cousins began making prints after Edwin Henry Landseer, whose pictures of animals proved a very popular subject for reproduction and remained in demand for thirty years. In 1838, Cousins made prints after the Chalon portrait of Queen Victoria.&#13;
 The 1850s marked a turning point in Cousins’ career. In 1854, he was commissioned to engrave Winterhalter’s portrait of Napoleon III. Cousins was reluctant to undertake the commission. The sovereign had to make a special request of him before he relented, making engravings after the portrait of the emperor and his wife. For his work, Cousins was awarded the Legion of Honor — the highest French order for military and civil merits — and a gold medal as a Graveur Étranger (Foreign Engraver). The following year, Cousins was advanced to the rank of Royal Academician. He was one of only two engravers to have been so honored.  &#13;
The 1870 exhibition of the Old Masters at Burlington House revived the public’s interest in the art of Sir Joshua Reynolds and Cousins, who was supposed to retire in 1874, began producing prints after the great British master. Their great success stimulated the seventy-year-old artist to produce thirty-seven more plates in a relatively short time. Several of these prints would later be exhibited at the Royal Academy. In 1877, Thomas Agnew &amp; Son held an exhibition of Cousins’ works. In 1884, three years before his death, Cousins retired from the RA and the same year he was photographed for Artists at Home. &#13;
Over his long life, Cousins had built himself a considerable fortune. He donated a substantial sum to the Royal Academy. His generosity also extended to his prized work, which he bestowed on various museums in his late years. Samuel Cousins died on May 7, 1887 at 24 Camden Square, London — the house where he had lived, unmarried and childless, with his affectionate sister Susan, since 1857. He was buried in Highgate cemetery.</text>
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              <text>&lt;p&gt;Fagan, L. A. “Cousins, Samuel (1801–1887).” Rev. Donato Esposito. In &lt;em&gt;Oxford Dictionary of National Biography&lt;/em&gt;, edited by H. C. G. Matthew and Brian Harrison. Oxford: OUP, 2004. Online ed., edited by David Cannadine, 2004.&lt;/p&gt;
&lt;p&gt;Pycroft, George. Memoir of Samuel Cousins, RA. London, 1887. (published for private circulation by E. E. Leggatt)&lt;/p&gt;
&lt;p&gt;Whitman, Alfred. &lt;em&gt;Samuel Cousins&lt;/em&gt;. London: George Bell &amp;amp; Sons, 1904.&lt;/p&gt;</text>
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                <text>Cousins, Samuel, R.A. (1801-1887)</text>
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                <text>"The Inner Studio" </text>
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                <text>&lt;p&gt;Meynell, Wilfred. &lt;em&gt;The Modern School of Art. &lt;/em&gt;4 vols. London: Cassell, 1886. Illustration in Vol. 1, p. 67.&lt;/p&gt;</text>
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              <text>Born in London on March 9, 1850, Thornycroft came from a large family of sculptors from Cheshire. He enrolled in the Royal Academy as a student in 1869, and debuted there as an artist in 1872 with a bust of "Professor Sharpey” and a portrait in relief of “Mrs. Mordant.” Having traveled to Italy, he gained admiration for the antique from the works of Michelangelo. His sculpture &lt;em&gt;Artemis,&lt;/em&gt; completed in 1880, was labeled by F. G. Stephens superior to any of his previous works. In 1883, Thornycroft sculpted what is considered to be his most important work, &lt;em&gt;The Mower&lt;/em&gt;.</text>
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              <text>Gosse, Edmund. "Our Living Artists: Hamo Thornycroft, A.R.A." &lt;em&gt;Magazine of Art&lt;/em&gt; 4 (1881).</text>
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              <text>Zimmern, Helen. “A Sculptor’s Home.” &lt;em&gt;Magazine of Art&lt;/em&gt; 6 (1883): 512-18.</text>
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              <text>Meynell, Wilfred. &lt;em&gt;The Modern School of Art. &lt;/em&gt;4 vols. London: Cassell, 1886.</text>
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              <text>“Hamo Thornycroft, R.A.” &lt;em&gt;Strand Magazine: An Illustrated Monthly&lt;/em&gt; 6 (July 1893): 266.</text>
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              <text>How, Harry. “Illustrated Interviews: XXVI: Mr. Hamo Thornycroft, R.A.” &lt;em&gt;Strand: An Illustrated Monthly&lt;/em&gt; 6 (July 1893): 267-79.</text>
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              <text>Manning, Elfrida. &lt;em&gt;Marble &amp;amp; Bronze: The Art and Life of Hamo Thornycroft.&lt;/em&gt; London: Trefoil Books, 1982.</text>
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              <text>White, Adam. &lt;em&gt;Hamo Thornycroft and the Martyr General. &lt;/em&gt;Leeds: Henry Moore Center for the Study of Sculpture, 1991.</text>
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              <text>Books, L.L.C. &lt;em&gt;Thornycroft Family: Siegfried Sassoon, Hamo Thornycroft, John Isaac Thornycroft, Helen Thornycroft, Thomas Thornycroft, Mary Thornycroft.&lt;/em&gt; London: Books LLC, 2010.</text>
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                <text>Thornycroft, William Hamo (1850-1925), English sculptor</text>
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                <text>Omeka record contributed by Vanessa Pike </text>
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              <text>Emerson, George Rose. &lt;em&gt;William Ewart Gladstone, Prime Minister of England: A Political and Literary Biography.&lt;/em&gt; London: Ward, Lock, Bowden and Co., 1893.</text>
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                <text>Wratten &amp; Wainwright’s ‘London Dry Plates’</text>
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                <text>The Photographic News, May 31, 1889, xv.</text>
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                <text>A brief advertisement for Wratten &amp; Wainwright's 'London Dry Plates" praising their usefulness and listing the types one can purchase.</text>
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