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mione, contra Stephanum I., II., contra Nicostratum, Cononem, Calliclem. He has alao revised and edited a Commentary on the Rhetoric of Aristotle, which was left in a nearly completed form by Mr. Cope, and was published in three volumes by the University Press in 1877. He has since edited, in 1880, the Bacchæ of Euripides, with critical and explanatory notes, and with numerous illustrations from works of ancient art. A revised edition of this work, with additional illustrations, appeared in 1883. He is now preparing an edition of the speech of Demosthenes against the law of Leptines.

SANT, James, R.A., was born at Croydon, April 23, 1820, and received his first instruction in art from John Varley, one of the fathers of the British school of painting in watercolours. It was not however till 1842 that he devoted himself to painting as a profession by becoming a student of the Royal Academy, where he studied for four years. Shortly after leaving he began to exhibit those "subject pictures," or "fancy subjects," of single figures generally, and these frequently children, by which he is probably most widely known, many of them having been engraved. Of these we may select as typical examples the "Infant Samuel," the "Infant Timothy," "Little Red Riding Hood," and "Dick Whittington." Among Mr. Sant's numerous other works of this description are the "Light of the Cross," "Mother's Hope," "Morning" and "Evening," "She Never Told her Love," "Harmony," "Young Minstrel," "Retrospection," "Saxon Women," "The Boy Shakspere," "The Walk to Emmaus," "The Miller's Daughter," and "Young Steele." Works of this class were the best possible preparation for, or alternation from, the practice of portraiture, to which the pressure of fashionable favour has almost confined Mr. Sant in later years. His style of portrait painting is refined, poetical, and graceful, and he frequently throws in accessories connecting the sitter with some interesting incident. His pictures of children are especially pleasing, and in this particular branch of his art he is without a competitor. The largest collection of Mr. Sant's works is at Strawberry Hill. For Countess Waldegrave the artist painted no fewer than 22 members of her distinguished circle, including the Duchess of Sutherland, the Marchioness of Westminster when Lady Constance Grosvenor, the Countess of Shaftesbury, the Duke and Duchess d'Aumale, the Duchess of Wellington when Marchioness of Douro, the Earl and Countess of Clarendon, Lord Lyndhurst, the Marchioness of Clanricarde, M. Van der Weyer, the Belgian Minister, Viscount Stratford de Reddiffe, Countess Morley, Earl Grey, Bishop Wilberforce, and Countess Waldegrave herself. This Strawberry Hill gallery of pictures was exhibited at the French Gallery, Pall Mall, in 1861. To enumerate all the fashionable and other notabilities whose portraits have been painted by Mr. Sant would far exceed our limits. He was elected A.R.A. in 1861; R.A. in 1870; and in Jan., 1871, was appointed Principal Painter in Ordinary to the Queen in succession to the late Sir George Hayter, when he was commissioned to paint a large picture of Her Majesty and her royal grand-children, the three eldest children of the Prince of Wales, and a State portrait of the Queen for the Turkish Embassy. In June, 1877, Mr. Sant was elected a corresponding member of the Royal Accademia Raffaello in Urbino.

SANTLEY, Charles, barytone singer, born at Liverpool, after receiving a good musical and general education in his own country, proceeded to Italy to complete his professional training. He made his first appearance as an operatic singer in this country at Covent