JAMES WARD (1769--1859) began life as an engraver, and was thirty-five years old before he devoted himself to painting. He selected animal portraiture, and bulls and horses were his favourite subjects. His most famous, but not his best picture is _A Landscape, with Cattle_ (National Gallery), produced at the suggestion of West to rival Paul Potter's _Young Bull_, at the Hague, which Ward had never seen. Ward's cattle were all painted from life. Morland was a brother-in-law of Ward, and his influence is obvious in the latter's pictures. The life-size cattle in the before mentioned picture are an Alderney bull, cow, and calf in the centre, another cow, sheep, and goat in the foreground. In the National Gallery, too, is his large landscape of _Gordale Scar, Yorkshire_. THOMAS PHILLIPS (1770--1845) was a native of Dudley, and began as a glass painter at Birmingham. Coming to London, he was assisted by West, then President of the Academy, and in 1792 exhibited a _View of Windsor Castle_, and next year _The Death of Talbot, Earl of Shrewsbury, at the Battle of Chatillon_. Phillips was more successful as a portrait painter: his likenesses are faithful, his pictures free from faults, and possess a pleasant tone, though as a colourist he does not occupy a high place. He was Professor of Painting in 1829. In the National Gallery are a portrait of _Sir David Wilkie_, and a _Wood Nymph_. The latter looks more like a young lady fresh from a drawing-room. HENRY THOMSON (1773--1843), the son of a purser in the Navy, was born at Portsea, or, as some say, in London. His works consist of historic and fancy subjects, and portraits. His first picture exhibited at the Academy was _Daedalus fastening wings on to his Son Icarus_. Thomson was, in 1825, appointed Keeper of the Academy in succession to Fuseli. He exhibited, from 1800 to 1825, seventy-six pictures, chiefly portraits. _The Dead Robin_ is in the National Gallery.