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George lV portrait

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Agostino Aglio

It is possible that this drawing is the original drawing from the lithograph published in 1823 of George IV. George IV married Maria Anne Fitzherbert, a Roman Catholic. The marriage was illegal, however; and in 1795, to secure parliamentary settlement of his enormous debts, he made a political marriage with Caroline of Brunswick. In constant and open opposition to his father, George associated closely with the Whigs, particularly Charles James Fox, whose friend he became in 1781. As a result, when George III had his first serious fit of insanity in 1788–89, the Tory William Pitt proposed that the regency vested in the prince be closely restricted (to prevent George bringing his Whig friends to power), while Fox, usually the opponent of royal prerogative, wanted the prince to have unlimited powers as regent. In 1811, after the king had become permanently incapacitated, George became regent on terms very similar to those proposed by Pitt in 1788. However, when the limitations on his power to make appointments and spend crown revenues were removed in 1812, the prince regent retained most of his father's ministers, breaking his connection with the Whigs. The Tories, under the leadership of the 2d earl of Liverpool for most of the period, remained entrenched in power throughout the regency and George's subsequent reign. As regent and as king, George was hated for his extravagance and dissolute habits, and he aroused particular hostility by an unsuccessful attempt, immediately after his accession (1820) to the throne, to divorce his long-estranged wife, Caroline. During his reign the monarchy lost a significant amount of power. George's only legitimate child, Charlotte Augusta, married (1816) Prince Leopold of Saxe-Coburg (later Leopold I, king of the Belgians) but died in childbirth in 1817. George was succeeded by his brother William IV. See Regency. Aglio, Augustine 1777-1857, painter, decorator, and lithographer, was born at Cremona and educated at Milan. About 1801 William Wilkins, the architect, afterwards R.A., made his acquaintance abroad, and travelled with him in Italy and Greece. Aglio executed in aquatint the illustrations to Wilkins's ‘Magna Græcia.’ He returned to Rome in 1802, and afterwards came to England, where he settled and spent the remainder of his life. He decorated the Opera House in 1804, Drury Lane Theatre in 1806, and the Pantheon in 1811. In 1819 he painted the ceiling and altar-piece of the Roman catholic chapel in Moorfields, and he decorated the summer-house in the gardens of Buckingham Palace and the Olympic Theatre. From 1807 to 1846 he was a frequent exhibitor at the Royal Academy, and sent many works to the exhibitions of the Society of British Artists. His contributions to the Academy were principally landscapes, but to the society he sent many scriptural pieces. A portrait of George IV as a knight of the Garter was lithographed by Aglio in 1823. In 1840 he exhibited at the Royal Academy a picture of ‘The Enthronisation of Queen Victoria,’ which, with two portraits of the queen and others of his works, have been engraved. In 1844 and 1847 he competed unsuccessfully for the decoration of the Houses of Parliament, sending on the first occasion a large landscape with figures in fresco, and on the second a large oil picture of Rebecca. He was an artist of much industry and versatility, but of no great talent. His most extensive performance was a work called ‘Antiquities of Mexico,’ illustrated with a thousand lithographic plates from ancient Mexican paintings and hieroglyphics in the royal libraries of Europe. This work was executed at the expense of Lord Kingsborough. Nine volumes out of ten projected were finished and issued in folio (1830-48). A set at the British Museum contains sixty pages of the tenth volume. Aglio also published ‘Twelve Pictures of Killarney,’ ‘A Collection of Capitals and Friezes, drawn from the Antique’ (1820), ‘Sketches of the Decorations in Woolley Hall, Yorkshire’ (1821), and ‘Studies of various Trees and Forest Scenery’ (two numbers only, 1831). Aglio died 30 Jan. 1859, and was buried in Highgate Cemetery. Sources Bryan's Dict.; Pilkington; Brit. Mus. Cat.; Catalogues of Royal Academy and Society of British Artists; Nagler's Künstler-Lexikon (edited by Meyer, 1872). The artist: Aglio, Augustine 1777-1857, painter, decorator, and lithographer, was born at Cremona and educated at Milan. About 1801 William Wilkins, the architect, afterwards R.A., made his acquaintance abroad, and travelled with him in Italy and Greece. Aglio executed in aquatint the illustrations to Wilkins's ‘Magna Græcia.’ He returned to Rome in 1802, and afterwards came to England, where he settled and spent the remainder of his life. He decorated the Opera House in 1804, Drury Lane Theatre in 1806, and the Pantheon in 1811. In 1819 he painted the ceiling and altar-piece of the Roman catholic chapel in Moorfields, and he decorated the summer-house in the gardens of Buckingham Palace and the Olympic Theatre. From 1807 to 1846 he was a frequent exhibitor at the Royal Academy, and sent many works to the exhibitions of the Society of British Artists. His contributions to the Academy were principally landscapes, but to the society he sent many scriptural pieces. A portrait of George IV as a knight of the Garter was lithographed by Aglio in 1823. In 1840 he exhibited at the Royal Academy a picture of ‘The Enthronisation of Queen Victoria,’ which, with two portraits of the queen and others of his works, have been engraved. In 1844 and 1847 he competed unsuccessfully for the decoration of the Houses of Parliament, sending on the first occasion a large landscape with figures in fresco, and on the second a large oil picture of Rebecca. He was an artist of much industry and versatility, but of no great talent. His most extensive performance was a work called ‘Antiquities of Mexico,’ illustrated with a thousand lithographic plates from ancient Mexican paintings and hieroglyphics in the royal libraries of Europe. This work was executed at the expense of Lord Kingsborough. Nine volumes out of ten projected were finished and issued in folio (1830-48). A set at the British Museum contains sixty pages of the tenth volume. Aglio also published ‘Twelve Pictures of Killarney,’ ‘A Collection of Capitals and Friezes, drawn from the Antique’ (1820), ‘Sketches of the Decorations in Woolley Hall, Yorkshire’ (1821), and ‘Studies of various Trees and Forest Scenery’ (two numbers only, 1831). Aglio died 30 Jan. 1859, and was buried in Highgate Cemetery.

Taken from www.goantiques.com with thanks