JOHN

See also:

• HENRY
• HENRY (1129-1195)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

HENRY

See also:

• JOHN HENRY FOLEY (1818-1874)
• FOLEY, SIR THOMAS (1757-1833)

FOLEY (1818-1874)  , Irish sculptor, was born at Dublin on the 24th of May 1818 . At thirteen he began to study drawing and modelling at the schools of the Royal Dublin Society, where he took several first-class prizes . In 1835 he was admitted a student in the schools of the Royal Academy, London . He first appeared as an exhibitor in 1839 with his " Death of Abel and Innocence." " Ino and Bacchus," exhibited in 184o, gave him immediate reputation, and the work itself was after-wards commissioned to be done in marble for the earl of Ellesmere . " Lear and Cordelia " and " Death of Lear " were exhibited in 1841 . " Venus rescuing Aeneas " and " The Houseless Wanderer " in 1842, " Prospero and Miranda " in 1843 . In 1844 Foley sent to the exhibition at Westminster Hall his " Youth at a Stream," and was, with Calder Marshall and John Bell, chosen by the commissioners to do work in sculpture for the decoration of the Houses of Parliament . Statues of John Hampden and Selden were executed for this purpose, and received liberal praise for the propriety, dignity and proportion of their treatment . Commissions of all kinds now began to come rapidly . Fanciful works, busts, bas-reliefs, tablets and monumental statues were in great numbers undertaken and executed by him with a steady equality of worthy treatment . In 1849 he was made an associate and in 1858 a member of the Royal Academy . Among his numerous works the following may be noticed, besides those mentioned above:—" The Mother "; " Egeria," for the Mansion House; " The Elder Brother in Comus," his diploma work; " The Muse of Painting," the monument of James Ward, R.A.; " Caractacus," for the Mansion House; " Helen Faucit"; " Goldsmith " and " Burke," for Trinity College, Dublin; " Faraday "; " Reynolds "; " Barry," for Westminster Palace Yard; " John Stuart Mill," for the Thames embankment; " O'Connell " and " Gough," for Dublin ; " Clyde," for Glasgow; " Clive," for Shrewsbury; " Hardinge," " Canning " and " Outram," for Calcutta; " Hon .

James

Stewart," for Ceylon; the symbolical group " Asia," as well as the statue of the prince himself, for the Albert Memorial in Hyde Park; and " Stonewall Jackson," in Richmond, Va . The statue of Sir James Outram is probably his masterpiece . Foley's early fanciful works have some charming qualities; but he will probably always be best remembered for the workmanlike and manly style of his monumental portraits . He died at Hampstead on the 27th of August 1874, and on the 4th of September was buried in St Paul's cathedral . He left his models to the Royal Dublin Society, his early school, and a great part of his property to the Artists' Benevolent Fund . See W . Cosmo Monkhouse, The Works of J . H . Foley (1875) .