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JOHN DANIEL MORELL (1816-1891)

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Originally appearing in Volume V18, Page 829 of the 1911 Encyclopedia Britannica.
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JOHN DANIEL MORELL (1816-1891), British educationalist, was born on the 18th of June at Little Baddow, Essex, where his father was minister of the Congregational church (1799—1852). He proceeded to Homerton College in 1833, where he studied theology under Dr Pye Smith. He then entered Glasgow University, where he took his M.A. degree in 1841. Subsequently he studied philosophy and theology under Fichte at Bonn, and returned to England to undertake the pastorate of the Congregational church at Gosport. After three years' work, he decided to give up the ministry in favour of philosophical work. As early as 1846 he made his name by his Historical and Critical View of the Speculative Philosophy of Europe in the Nineteenth Century, which brought him to the notice of Lord Lansdowne, who made him an inspector of schools. From 1848 till 1876 he was active in this capacity. As a result of his experience he published numerous educational works, e.g. The Analysis of Sentences (1852), The Essentials of English Grammar and Analysis (1855), Handbook of Logic (1855), Grammar of the English Language (1857). He also published four lectures on The Philosophical Tendencies of the Age (1848), The Philosophy of Religion (1849), Fichte's Contributions to Moral Philosophy (1860), Philosophical Fragments (1878), An Introduction to Mental Philosophy on the Inductive Method (1884). He died on the 1st of April 1891. MOREL-LADEUIL, LEONARD (1820-r888), French gold-smith and sculptor, was born at Clermont-Ferrand. He was apprenticed first to Morel, a manufacturer of bronzes, under whom he became one of the most expert chasers, or ciseleurs, in France, and then to Antoine Vechte, to acquire the art of repousse (q.v.)—the art in which he was to excel. He studied further under J. J. Feuchere and then attracted the notice of the comte d'Orsay and the duc de Morny, through whose recommendation the French government, desirous of popularizing the idea of the new Imperialism, commissioned him to produce the Empire Shield." Napoleon III. notified his warm approval, but the trade, annoyed that a ' craftsman should obtain commissions direct, resented the ' innovation and thenceforward boycotted the young artist, whose beautiful and poetic vase, " Dance of the Willis " (the spirits dancing round the vase, above the lake represented on a dish below) none 'would take. He was encouraged. nevertheless by a foreign dealer in Paris, Marchi, who employed him on statuettes, mainly religious in character, until 1859, when Messrs Eikington, in .view of the great exhibition of 1862, engaged him to work in Birmingham for three years in iepousse, assuring him a free hand. Following his silver " Night came " Day, and then the " Inventions " vase, which placed him at once at the top of his profession. This was followed by the beautiful plateau called " Dreams," which was subscribed for (£15oo) by Birmingham as the town wedding-gift to the prince and princess of Wales. Morel-Ladeuil's contract was then renewed for five years, but as a matter of fact he remained with the firm for twenty-three years at their London house, the first result being his masterpiece the " Milton Shield: Paradise Lost " (in repousse steel and silver), which was the sensation of the Paris Exhibition. It was bought by the English government for £3000, and thousands of copies made by " galvanoplastie " or electrotype were sold and spread all over the world. Then after " The Months " came another masterpiece, the " Helicon Vase," in steel, silver, and gold, priced at £60oo, which in course of time was presented by the ladies and gentlemen of the royal house to Queen Victoria on her first jubilee: For the Philadelphia Exhibition (1876) Morel-Ladeuil produced " A Pompeian Lady at her Toilet," following it in 1878 with the " Bunyan Shield," a companion to the Milton. After putting forth his reliefs " The Merry Wives of Windsor," " The Merchant of Venice," and " Much Ado about Nothing," in view of his failing health he retired to Boulogne, where he died of angina pectoris on the 15th of March 1888, and was buried with much ceremony at Clermont-Ferrand. His total work, apart from the productions of his youth, numbers 35 pieces, which richly reveal his elegant and refined fancy and grace, his feeling for correct and dainty ornament, and his love of pure art marked by an elevated if rather sentimental taste and a noble style. See L' Euvre de Morel-Ladeuil, sculpteur-ciseleur, by L. Morel (Paris, 1904).
End of Article: JOHN DANIEL MORELL (1816-1891)
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